Converge isn't for the faint of ears. The Salem, Mass.-formed band now based in both Salem and Brooklyn, N.Y., mixes punk aesthetics with a heart-pounding, rapid-fire syle of heavy metal. The four members -- Jacob Bannon, Kurt Ballou, Nate Newton and Ben Koller -- give new meaning to the words frenetic power on the new Axe to Fall, Converge's seventh studio album.
After a career that began in 1990, the Converge members have just recently started seeing the gradual rise of their mainstream appeal. Only the group's last three studio discs, 2004's You Fail Me, 2006's No Heroes and Axe to Fall, which was released Oct. 20, have charted on Billboard's pop albums list.
Axe to Fall has already garnered Converge critical comparisons to seminal hard-core punk band Black Flag. Surely the band's current shows on the Metalocalypse tour with Dethklok, Mastadon and High on Fire couldn't hurt its standing.
Mario Tarradell
Wednesday at 6 p.m. at House of Blues, 2200 N. Lamar St. $34-50-$59.50. Ticketmaster.
Editor's note: We've been choosing Hot Tickets and spotlights in our print Guide section, and now we want to bring those same picks to the Playlist music blog on dallasnews.com. Basically, we go through the concert schedule so you don't have to.
Jay Farrar remains the creative center of seminal alt-country band Son Volt. He wrote all 12 songs on American Central Dust, the band's melodic, slow burn of a new CD. With tracks as potent as "Cocaine and Ashes," "Dust of Daylight," "Sultana" and "When the Wheels Don't Move," to name a few, Dust may be the five-man group's strongest effort since the sought-after debut disc, 1995's Trace. Farrar and company -- drummer Dave Bryson, bassist Andrew Duplantis, electric guitarist Chris Masterson and keyboardist Mark Spencer -- sound artistically rejuvenated. American Central Dust is proof of that. English alternative rocker Peter Bruntnell is the opening act for the band's concert at the Granada Theater.
Mario Tarradell
Thursday at 8 p.m. at the Granada Theater, 3524 Greenville Ave. $20-$30. www.granadatheater.com.
Doesn't it seem as though Motown Records has been celebrating its 50th anniversary for about a couple of years? It officially turned 50 January 12, but the celebration just keeps going. Stevie Wonder, Aretha Franklin and the Temptations will trek on over to Detroit, the label's birthplace, for a two-night shindig Nov. 20 and 21 at various locations in the vicinity of the company's midtown headquarters. Check out Motown's classic music website.
All of this Motown talk gets me thinking about the label's 1980's heyday. Everybody always points to the 1960's and the 1970's as the quintessential Motown decades. I won't argue that. But let's not forget that Motown was very much viable in the 1980's, and with groundbreaking releases like Teena Marie's It Must Be Magic from 1981. She was so ahead of her time, particularly on "Square Biz," an intoxicating slice of R&B, funk and rap that predated the slew of female rappers to come.
Got a favorite Motown album from the '80s? Share with us.
Photo: Teena Marie's It Must Be Magic CD cover courtesy of Motown Records.
Friday night marked yet another terrific concert at Uncle Calvin's Coffeehouse. The inimitable David Wilcox made his debut at Uncle Calvin's, where, incredibly, he had never played. Wilcox has a loyal cult following, and the place was packed. His adoring troupe of fans included a delightful couple, Mike and Mer Dunbar, who attended a Wilcox concert at McDavid Studio in Fort Worth on their first date in 2006. They were married last May and now share the distinction of having attended additional Wilcox shows during 2007, 2008 and Friday night. Mike is 27, Mer is 22, so they're a bit younger than the regulars who return like homing pigeons each Friday night to Fellowship Hall at Northpark Presbyterian Church, where Uncle Calvin's is based. I, like most of the Ballad Tree types who go there, vastly prefer seeing shows at Uncle Calvin's than having to endure the crazy din of American Airlines Center. Those days are gone, and you can have them. There's nothing better than a quiet corner at Uncle Calvin's, a slice of hot apple pie and several cups of hot, black, steaming, flavorful, delicious coffee. Uncle Calvin's offered the chance to fully appreciate Wilcox's rare blend of pristine vocals, dynamic guitar play and songwriting that merges the best of music and storytelling. At times, you feel like you're hearing Jackson Browne, at others F. Scott Fitzgerald.
Photo: David Wilcox, who has just released his 16th album, Open Hand
You know the drill. R. Kelly, the king of salaciousness, was all about his libido Thursday night before a packed house at Nokia Theatre in Grand Prairie. His "Ladies Make Some Noise" tour stop was exactly what you would expect -- 70 percent sex romp filled with tunes such as "Your Body's Callin'," "Strip For You," "Bump N' Grind" and a few others that would make some blush. He's so one-note. But the women in the audience loved it. And the men in the crowd loved the women. Musically, however, Kelly needs less repetitive beats and interchangeable lyrics, and more of the material during the final 30 percent of the show. "Step In the Name of Love" and "Happy People" were actually musical, with old-school grooves and feel-good vibes. Do more of that, R!
Did you go to the concert? What did you think?
Photo: Kelly sexed it up Thursday night (Kye R. Lee/DMN).
Gary Allan and his seven-man band rocked Superpages.com Center Saturday before 8,500 fans. Emphasis on rocked since the California native has all but transformed himself from a rugged country honky-tonker to a super cool arena rocker. And that's just fine. Allan's been steadily moving in that direction for years, so nothing felt forced or calculated. The show was loud, though, and very guitar-heavy. He employed two guitarists, one of which wore a kilt. Plus, Allan's drummer loved to pound on the skins. So tracks such as "Still Learning How to Bend," "I Just Got Back From Hell" and "Watching Airplanes" were amped up and raucous. Even the countrier cuts, "It Would Be You" and "Songs About Rain," ripped to maximum effect.
If you were at the show, tell us what you thought.
As I listened yesterday to the 2-CD, 36-tracks Celebration, the new Madonna career retrospective, I found myself skipping back to cuts from her 1983 self-titled debut album. I'm talking about "Lucky Star," "Holiday," "Everybody" and "Burning Up." Yes, "Borderline" is on there, too. But I always thought that song lacked the vibrancy that permeates the rest of the album. "Lucky Star," "Holiday" and "Everybody" are effervescent examples of dance-pop with personality. Then we have "Burning Up," perhaps the best slice of high-energy dance from Madonna Louise Ciccone. The bouncy rhythm, the pulsating synthesizer line and Madonna's pouty-sexy lyrics about female domination all created an irresistible tune.
OK, what's your favorite Madonna song and why?
Photo: The Celebration CD cover (Warner Bros. Records)
Miley Cyrus brought out brother Trace Cyrus to the stage Sunday night during her sold-out concert performance at American Airlines Center. The siblings sang a tune titled "Hovering." It gave more platform time to Trace, who had already been under the spotlight for 40 minutes as lead singer of his band Metro Station, which opened the show. Trace told us earlier that Miley had fought for he and his group to be part of her tour. Hey, little sis pulls for big bro.
Anyway, Miley's gig left her Hannah Montana TV character in the dust. Her 80-minute stint focused on tracks from 2007's Meet Miley Cyrus, 2008's Breakout and the new EP, The Time of Our Lives. She also whipped out a cover of Joan Jett & the Blackhearts' "I Love Rock 'N Roll." She sang it while atop a motorcycle hooked up to cables that slowly soared above the audience.
Coincidentally, Miranda Lambert also covered "I Love Rock 'N Roll" Saturday night during her State Fair of Texas show in Fair Park. Joan Jett must be flattered. Or not.
In between songs from three CDs -- 2005's Kerosene, 2007's Crazy Ex-Girlfriend and the new Revolution -- Lindale's Miranda Lambert pulled out a few choice covers during her concert Saturday night on the Chevrolet Main Stage of the State Fair of Texas in Fair Park.
She did Gillian Welch's "Dry Town" and Fred Eaglesmith's "Time to Get a Gun." But those are tracks on two of her discs. She scored rock chick points for tackling Joan Jett & the Blackhearts' "I Love Rock 'N Roll," then got all R&B on Wilson Pickett's "In the Midnight Hour."
Her remake props came during an unplanned encore. She did an acoustic rendition of Patsy Cline's "Crazy" (written by one of her musical heroes, Willie Nelson). Then slid into Buddy Holly's "Not Fade Away," and ended with a blistering take on Led Zeppelin's "Rock and Roll."
So now that I'm free from the heat of deadline -- not to mention the space constraints inherent with writing an overnight concert review -- I want to talk about three more moments during Monday night's U2 concert at Cowboys Stadium.
"Stuck In a Moment You Can't Get Out Of" -- It was just Bono on vocals and The Edge on acoustic guitar. Quite intimate. Well, as intimate as you can get in a huge venue packed with more than 70,000 fans.
"The Unforgettable Fire" -- A rare concert song, one that U2 hasn't performed during their treks in nearly two decades. It's still engulfing and passionate, as is just about every track from the CD of the same name. (My favorite U2 tune of all time is "Pride (In the Name of Love)," which is also from The Unforgettable Fire disc.)
"City of Blinding Lights" -- During this track from How to Dismantle An Atomic Bomb, Bono plucked a 13-year-old kid from the crowd and walked with him through the stage's outer ring. A cool gesture. Bono probably made that kid's year...or lifetime.
Here are the facts: More than 70,000 people attended U2's concert Monday night at Cowboys Stadium. That stage for the 360 Degrees Tour was mammoth, a spaceship-meets-spider contraption with four claw-like structures, two movable bridges, a circular stage that led to an outer ring and a stunning rotating video screen that stretched into a funnel-cloud shape and was always glittering with lights.
Amazing show, folks. U2 defines stadium rock. I'm going to focus here on one song they sang, "Sunday Bloody Sunday." It was that song, as well as "New Year's Day," that introduced me to U2 in 1983. "Sunday," with it marching beat and anthem-like chorus, mesmerized me from the get-go. So did "New Year's Day," which was so haunting with that signature keyboard intro. Loved them both. Still love them both.
Onstage, "Sunday Bloody Sunday" was passionate, penetrating. Bono, Larry Mullen Jr., Adam Clayton and The Edge haven't forgotten how powerful that song is.
Those Kings of Leon guys do have a few rock anthems in their repertoire, as they proved Wednesday night before a large, adoring crowd at American Airlines Center. And I'm not just talking about "Use Somebody," the group's breakthrough US radio hit that arrived during the more than 90 minute concert's encore.
"Sex On Fire," one of those soaring rockers that throbs at every note, had the audience singing loudly, fist-pumping and jumping. Ditto for "Manhattan," with its irresistible chorus that explodes effortlessly.
But hey, my fave remains "Closer," the first tune they played. I love that moody mix of synthesizer pulses and drum beats. The band was bathed in blue hues, which added to the song's mystique.
Now it's your turn. Were you at the show? If yes, what did you think?
Oh to have been in the planning meeting for the cover of Denton band Bowling for Soup's upcoming album, Sorry for Partyin'. I mean, just look at it. On the one hand, you give it a glance and think, "Guys, put a towel over it!" Then again, you can't help but laugh. Both thoughts are probably the point with this quirky, self-deprecating, good-humored band. Partyin', which follows 2006's The Great Burrito Extortion Case, hits stores Oct. 13. Check out my GuideDaily story on Bowling for Soup sometime next week.
Let's talk about concert pyrotechnics. Metallica has that mastered as well. The metal messiahs brought more than 19,000 fans to American Airlines Center Tuesday night for its Dallas stop on the World Magnetic Tour.
But back to the fire. Literally. The stage floor shot bursts of flames. At one point vocalist James Hetfield was standing at the mike mighty close to the sizzling hot orange-yellow glow. He didn't seem to mind. Also, flanking drummer Lars Ulrich, who was center stage, were banks that shot eight tall flames on either side. Cool, I mean hot, visual!
It was a great show, folks. Metallica remains astonishingly tight. They are consummate musicians still incredibly focused nearly three decades after starting the group.
If you were there, what did you think of the show?
Terrell's Jamie Foxx kept the Nokia Theatre stage busy, busy, busy Friday night during the first of two concerts at the Grand Prairie venue. Most of the night's material came from two Foxx CDs - 2005's Unpredictable and 2008's Intuition. He paid tribute to Ray Charles, whom he portrayed in his Oscar-winning Ray performance, with "I Got a Woman." We also got a throwaway homage to Michael Jackson that featured snippets of Jackson tunes played by DJ Irie with Foxx egging the crowd to sing along, then doing his best Jackson dance impersonation. That was it. Never did Foxx actually cover a Jackson song. Anyway, the finale was a lot of fun. It was an explosive rendition of "Blame It," Foxx's most recent radio hit.
Did you go to the concert? If so, what did you think?
OK, Pink was a blast Wednesday night in front of a near sold-out crowd at American Airlines Center. For about an hour and 45 minutes, the woman born Alecia Beth Moore gave us spectacle and substance. Her "Welcome to the Funhouse" tour is one big roller coaster ride. And who better at command center than the explosive Pink.
Highlights of the evening included "So What," "Funhouse," "Just Like a Pill" and "Get the Party Started," among others. Pink also dared to strip it down, bared her soul and sang "I Don't Believe You" and "Dear Mr. President." Very cool.
So were you there? And what did you think of the show?
So I was surprised by the relatively small crowd Tuesday night at Superpages.com Center for the Creed/Staind concert. There were only 7,000 people there. That's less than half the capacity of the venue. It makes me wonder if the Creed comeback -- this is the band's first tour since 2002 -- doesn't bode well for the upcoming new album, Full Circle, which arrives Oct. 27.
I will say that Creed frontman Scott Stapp was in good voice (strong, throaty), was all about energetic drama onstage, and seemed to be connecting with his band mates. But, man, an hour of Creed is more than enough. 100 minutes is just too much. The songs all sound the same after a while and Stapp doesn't know any other vocal setting but full-throttle.
Staind were really good. I love that melodic intensity, that mixture of melody and hard rock punch. Aaron Lewis is a most intriguing lead singer, a guy that always seems ready to explode but keeps his combustion in check.
Kudos to the legendary Poor David's Pub for back-to-back weekends of terrific shows. I had the pleasure of being at the Jimmy LaFave-Zane Williams doubleheader on Sept. 12 and again on Friday night, Sept. 18, to hear folk music giant David Bromberg. (Check out the fascinating feature on Bromberg written by my colleague Mario Tarradell.) Poor David's has been around for years, of course, but its new location on Lamar near downtown Dallas is really cool. As John Inmon, LaFave's ace lead guitarist, told me, it has terrific acoustics. The sound is absolutely perfect. LaFave put on his usual dynamite show, with Inmon laying down his amazing licks on lead guitar and Bryan Peterson playing the lights out of the piano. No one can move from Chuck Berry to Bruce Springsteen to his own heartfelt ballads as well as LaFave. And Zane Williams, LaFave's warm-up that evening, is a real find. The Abilene native moved to Nashville in 1999 after graduating from Abilene Christian University.
It's funny how songs that stiff on the charts later turn into concert regulars. Seeing the Moody Blues in concert Wednesday night at the Meyerson Symphony Center, the first of two sold-out nights with the Dallas Symphony Orchestra, made me think about this. I've seen the Moodies live, oh, at least three times and they always perform 1986's "The Other Side of Life" and 1968's "Ride My See-Saw," as they did Wednesday night. Great tunes. One's a stomping yet melodic pop-rocker and the other is a swirling, harmonious rocker. Neither were hits -- "The Other Side of Life" stalled at No. 58, while "Ride My See-Saw" couldn't get further than No. 61. And yet every time the band play them live, the audience reacts as if they were huge radio staples. Very cool.
Depeche Mode's song, "Never Let Me Down Again," which the band performed Saturday night before 15,000 fans at Superpages.com Center could very well be the theme for my thoughts on the concert. I've seen Dave Gahan, Martin Gore and Andy Fletcher (along with supplemental musicians) onstage on four separate tours. They've never let me down. These guys are pros at not only blending synthesizers and real instruments to make a full-throttle dance-rock repertoire, but also at persevering. More than two decades into this game, Depeche Mode continues to thrive during packed shows. And they keep delivering new music, the latest disc being Sounds of the Universe, that's always bold and daring.
We're not supposed to divulge too many details of movies before they're released, but anyone who loves the music of Bruce Hornsby (as I do) should rush to a theater Sept. 4 to see World's Greatest Dad, starring Robin Williams. I won't tell you how and why Hornsby plays himself, or why he sings one of his signature songs, "Mandolin Rain." But he does, and writer-director Bobcat Goldthwait uses Hornsby to full comic effect. That's right, comic effect. I also recommend World's Greatest Dad to anyone who's ever been a parent. You may not know this, but Hornsby harbors two fascinating ties to the Dallas area: He's good friends with rocker Don Henley, who was born in Linden in the Piney Woods of East Texas and now lives in Dallas. He and Henley co-wrote "The End of the Innocence." And he's good friends with Dallas Mavericks Coach Rick Carlisle, with whom he shares in common a basketball background and the fact that both play piano. Check out this Eddie Sefko story about that relationship and click the arrow in the video box below to hear Hornsby sing "The End of the Innocence." Lest I forget, World's Greatest Dad has another local connection: It's distributed by Magnolia Pictures, which is co-owned by Mavericks owner Mark Cuban and business partner Todd Wagner.
Last Thursday afternoon I was in Waxahachie with three friends. We toured some of the lovely vintage homes, marveled at the refurbished courthouse downtown, had dinner at 1879 Chisholm Grill and took in Michael Martin Murphey's concert that night at Texas Theater. It was just Murphey and his acoustic guitar (also, sometimes a banjo) with occasional accompaniment by guitarist Steve Weisberg. For more than 2 hours, Murphey traveled through his pop, country and cowboy songs. He was in fine voice, especially during his soaring rendition of "Wildfire," his 1975 pop smash. Murphey can still hit the notes. Also, it was cool to hear "What's Forever For," "Long Line of Love," "Cherokee Fiddle" and "Carolina In the Pines." But the set did seem excessively long, especially when it was so instrumentally spare. Murphey's a talker and storyteller. That's great. It makes him accessible, warm. However, just about every song was preceded by a lengthy tale. You can imagine how that made 2 hours and 15 minutes seem endless. Still, all in all the Dallas native put on an intimate show at a most historic venue.
Photo: Murphey picking and singing (Courtesy of Ron Dougherty).
Ranchera and Latin pop fans surely relished the Pepe Aguilar and Marco Antonio Solis concert Sunday night at American Airlines Center. These two men are pillars of the regional Mexican music genre. Plus, they brought platforms full of musicians. Aguilar, who performed first, had with him a 12-piece mariachi and a 9-piece band. Solis, who closed the show, toted a mini-orchestra complete with string and horn sections, percussionist, drummer and three female background vocalists. Aguilar kept it traditional with a few excursions into pop, while Solis was mostly pop with brief trips to ranchera. They were contrasting artists, but immensely talented all the same. Highlights were plenty, but let's quickly mention Aguilar's jaunty "He Venido A Pedirte Perdon" and lush "Miedo" as well as Solis' dramatic "O Me Voy O Te Vas" and rhythmic "Tu Carcel."
On my way home from seeing Morris Day & the Time Saturday night during the second day of the Fort Worth Musicfest, I popped in my CD copy of Ice Cream Castles and cranked up "Jungle Love" and "The Bird." I just had to have some more. Day and his Time musicians, performing on the parking lot of the Masonic Hall, left the crowd hungry for more soul and funk. That's good showmanship, not to mention serious grooves from bass, drums, guitars and keyboards. Obviously, "Jungle Love" and "The Bird" were highlights of the 75-minute set. But so were "Cool," "Pandemonium" and "777-9311" -- still the funk phone number. OK, now I need to go play What Time Is It?
It's all about the funk! The first night of the three-day Fort Worth Musicfest funked out with headliners Zapp and Bar-Kays. Friday night was cool and breezy, so the crowd easily got up and danced. You couldn't stay seated with these groups playing the platform. Zapp -- "More Bounce to the Ounce," with the signature talk box in amped-up mode, was a big ole funk jam. Ditto for "Nuthin' But a Party." And, oooh, "Computer Love" was all electronically sexy. Bar-Kays -- Lead singer Larry Dodson is an over-the-top master of showmanship. He chewed up funk gems "Shake Your Rump to the Funk," "Move Your Boogie Body" and the totally wicked "Freakshow On the Dance Floor." Uh-huh, it sure was.
Complaints are running rampant about the sound at Cowboys Stadium in Arlington, particularly in regards to the venue's three concerts so far -- George Strait, Jonas Brothers and Paul McCartney. Having reviewed all three shows, I've had no problems with the sound system. But then again, I was sitting on the floor for all three gigs. For McCartney Wednesday night, I was in section D, row 15, seat 3. That's essentially 15 rows, center, from the stage. The sound was fine. Two colleagues of mine sat in section 119, toward the back, and they also thought the sound was fine. It could very well be a situation of where you're sitting, maybe even down to the minute angle of your seat. But overall, stadiums are bad places to hear and appreciate music. Stadiums tend to be huge, cavernous and circular. Those are three acoustic deterrents. Also, remember that they are made primarily for sporting events, not concerts. The emphasis is on the 50-yard line or home base, not speakers and sound travel. Does this excuse poor acoustics at Cowboys Stadium or Texas Stadium, which wasn't a whole lot better? Not at all. But as concert ticket buyers, it's something to keep in mind. Mega-stars draw massive crowds, which require a mammoth venue to accommodate everybody. It's always bound to leave something to be desired.
Photo: McCartney at Cowboys Stadium Wednesday night (Tom Fox/DMN).
More than two-and-a-half hours of Paul McCartney Wednesday night at Cowboys Stadium in Arlington almost wasn't enough. He performed 36 songs backed by a great four-man band. But think of all the songs he didn't do. That could be another show...or two. Anyway, among the many highlights, here are three of my faves:
"Jet" -- The propulsive rocker with the shout-out chorus was an in-your-face blast from the word go.
"Back In the U.S.S.R." -- How can you not get caught up in the vibe? All together now..."Back in the U.S.S.R."
"Live and Let Die" -- Those pyrotechnic explosions were unexpected and startling. But the sparkly fireworks during the hard rocking part of the song added visual excitement to the sonic thrill.
"Helter Skelter" -- Speaking of hard rocking, this one's a fist-pumper. It was part of his second encore.
OK, now it's your turn. Did you go to the show? What did you think?
American roots music veterans Willie Nelson, John Mellencamp and Bob Dylan, along with New York City outfit The Wiyos took the stage Friday at QuikTrip Park. Here's a quick recap of the concert: The Wiyos - Bob Wills by way of Brooklyn. Swinging Americana with an urbanized, eclectic feel. Loved the trumpet, megaphone and upright bass combo. Willie Nelson - An hour of Willie is not enough, but he packed 'em in. "Whiskey River," "Me and Paul," "On the Road Again," "Crazy," "Always On My Mind." Classic Nelson. John Mellencamp - No "Jack & Diane" or "Hurts So Good." Gasp! Still, Mellencamp roots-rocked hard during "Crumblin' Down," "Troubled Land" and "The Authority Song." Bob Dylan - Great 5-piece band blending folk, blues and rock. But, wow, onstage Dylan's voice is really an acquired taste. He was in intermittent growl mode.
For a full review of the shows, see www.dallasnews.com/entertainment Saturday or GuideDaily Sunday.
Photos: Nelson (left) and Mellencamp at QuikTrip Park (John F. Rhodes/DMN).
As promised last year, the 2009 Tejano Music Convention will take place in Dallas Aug. 21-22 at the Hyatt Regency Reunion Hotel. The event features performances by Tejano and conjunto veterans Gary Hobbs, Ram Herrera, Jay Perez, Hometown Boys, Elida Reyna and many others. It will also mark the reunion of '90s group Fandango USA. Comedians Willie Barcena and Gilbert Esquivel are set to serve as hosts. The convention, sponsored by Southwest Airlines, is shorter and cheaper this year due to the struggling economy. Registration is $15-$80; organizers expect 5,000 people to attend. For more information, go to tejanoticket.com. To register, call 913-397-8850 or email info@tejanoticket.com.
Another piece of news from Idol Records: Label founder Erv Karwelis has launched Exploding Plastic, a boutique imprint of Idol that will cater to "art pop." According to Karwelis, "the bands will have an indie pop/art pop style which would include psychedelic and symphonic type bands." Dylan Silvers, frontman for The Crash That Took Me, will decide on most of the signings for the imprint. Already released on Exploding Plastic: Snow In June, the trippy, soundscape-ish debut disc by Little Black Dress, which is Toby Pipes (formerly of Deep Blue Something) and Nolan Thies. A second Exploding Plastic release, the forthcoming CD by The Crash That Took Me, should arrive in October. Also on tap is a compilation of bands from Iceland, Japan, Italy, England and the US (including Dallas artists). That could emerge later this summer.
See my story on Erv Karwelis and Idol Records here.
Photo: CD cover of Little Black Dress' Snow In June (Exploding Plastic/Idol Records).
Among the thrills of going to a concert is leaving with one song whose words and melody won't get out of your head. It's usually a new song, and being among the first to hear it is one of the thrills of live performance. I got to hear two on Friday night, July 17, and can't stop thinking about either. The incomparable Gretchen Peters, who headlined that night at Uncle Calvin's Coffeehouse, played a new song titled "Mother," which she wrote for a CD tribute to the activist, Mary Harris "Mother" Jones. Despite enormous personal tragedy (she lost her husband and their four children in a yellow fever epidemic and later lost her shop, her home and all her possessions in the Great Chicago Fire), Mother Jones rallied American miners and championed workers' rights like no one ever had. "You were the Madonna of the mines/our Lady of the Picket Lines," Peters sang, to terrific accompaniment by Barry Walsh, her keyboardist, accordion player and fiancé. I'm often skeptical of warm-up acts, so I was pleasantly surprised to hear John Fullbright, whose hometown is Okemah, Okla., the same as Woody Guthrie. The parallels don't stop there. Fullbright looks a lot like Woody, sounds a lot like Woody, and from early indications, writes a lot like Woody. His song "The High Road" is a tale of an extraordinary love. Jack and Suzy are young lovers but share a bond so strong and enduring that it underscores the power of Fullbright's lyrics, which state, "Living comes natural to many/love comes naturally to few ... you take the high road to freedom/And I'll take the low road to you." It was a gift getting to hear such a magical young talent perform. I hope we have many more such chances in the future. Woody would be proud: He could not have a better clone.
Rod Stewart played it smart Sunday night before a nearly sold-out crowd at Nokia Theatre in Grand Prairie. He surrounded himself with a strong band, including a female violinist and saxophonist plus three background vocalists, and had the good sense to keep his 90 minute set to recognizable tunes that showcased his talents, not his weaknesses. That means he didn't do a single pop standard from his awfully misguided Great American Songbook CDs of late. Instead the 64-year-old London native quickly settled into a nice groove that found him exploring hits from the '70s, '80s and '90s. He was in decent voice, able to dance and move about the stage and eagerly played into the hands of the enthusiastic crowd, particularly the women. Highlights included the classics "Tonight's the Night (Gonna Be Alright)," "Maggie May," "Hot Legs" and "The First Cut Is the Deepest." It was totally cool to hear him do "Young Turks" and "Forever Young," two of his better '80s staples, and pay homage to soulsters Sam Cooke ("Having a Party," "Twistin' the Night Away") and the O'Jays ("Love Train"). Sure, he went overboard with the soccer fan thing, throwing soccer balls into the audience when he should have been concentrating on his singing and using too much video footage of soccer games. But that's part of Rod, love it or leave it.
For a full review of the Rod Stewart concert, go to www.dallasnews.com/entertainment Monday or see GuideDaily Tuesday.
Photo: Stewart performing in Germany in 2007 (Volker Hartmann).
Sound and vision make an intensely powerful pair, especially when talking about progressive metal band Tool. Maynard James Keenan, Danny Carey, Adam Jones and Justin Chancellor take that artistic merger to arguably the loftiest level of any current hard rocking group. There's a deep, metaphorical reason for every beat, riff and chord progression and its accompanying video image. Nowhere was that more pronounced than in concert Saturday night before a sold-out crowd at Nokia Theatre in Grand Prairie. For nearly two hours, Tool used screen pictures, strobe and laser lights to not merely augment, but interpret its brand of metal. That's no small accomplishment. Tool is all about precision. Nothing is sloppy; it's all methodically well-executed. Drummer Carey, dressed in his signature basketball shorts and tank top, pounded with perfection, all the while making sure that the rhythm section was tight, piercing and profound. Tool's songs rattle your core, for sure, but they aren't noise. They represent the intricate, ambitious talents of four men who are as enigmatic as they are professional. During "Lateralus," one of two encore tunes, we got dual drumming from Carey and Ashton Bird (of opening outfit Tweak Bird) that was both tribal and rock-fortified. For "Vicarious," Keenan, the "anti-frontman" who never had a spotlight on him, stripped down to just boxer briefs. It's as if he was trying to give the audience a, well, vicarious thrill.
For a complete review of the Tool concert, go to www.dallasnews.com/entertainment Sunday or see GuideDaily Monday.
Photo: Keenan in pouncing mode (G.J. McCarthey/DMN).
A couple of memorable visuals come to mind when thinking about Aerosmith's headlining performance Sunday night before a massive crowd at Superpages.com Center. First there's Steven Tyler blazing his way through "Dream On" while he stands on the stage's catwalk as a fan blows his hair and a wall of steam rises up from the floor. He looked like some kind of rock 'n' roll aura. Then, during "Love In An Elevator," the lighting rigs and four rectangular video screens hanging over the band went up and down like, well, an elevator. Way cool. Aerosmith, after an hour-long set from that rock 'n' blues Texas trio ZZ Top, proved age is for seasoning, not withering. The group from Boston rocked hard for nearly 90 minutes delivering many career classics, from the signature "Walk This Way" to the brooding "Janie's Got a Gun." What a kicking rhythm section comprised of drummer Joey Kramer, bassist David Hull (subbing for Tom Hamilton who is recovering from surgery) and guitarists Joe Perry and Brad Whitford. A major highlight of the evening: A sizzling blues-rock jam that brought ZZ's Billy Gibbons back to the platform.
For a full review of Aerosmith and ZZ Top go to www.dallasnews.com/entertainment Monday or see GuideDaily Tuesday.
Photo: Billy Gibbons of ZZ Top during his group's opening set Sunday night (Jason Janik/Special to DMN).
Smokey Robinson is one dapper dude. He can wear a slick blue suit, a black and white tuxedo, even a flaming red outfit and always look cool. He's still mighty youthful at 69, able to dance, gyrate and swoon with ease. So naturally he enthralled the crowd of 1,200 Saturday night at Bass Performance Hall in Fort Worth. Armed with a nine-member band and two female dancers, the Motown legend performed for two hours. He did everything you'd expect -- the Motown classics when he was part of The Miracles; the hit solo material; and pop standards from his 2006 CD, Timeless Love. Robinson was the quintessential old-school entertainer. He told stories of the Motown glory days, name dropping The Temptations, Stevie Wonder, Diana Ross and the Supremes, among others. He worked the audience, particularly the ladies in the house, some of which ended up onstage with him. Three numbers geared toward the women were showstoppers. "Being With You," his 1981 crossover smash, was sultry. He sang a part of it in Spanish while in tight embrace with one of his female background vocalists. "Just to See Her," from 1987, was a melodic delight. And "Cruisin'," which closed the show, was a slow, sexy, rhythmic manifesto.
For the full review of Smokey Robinson, go to www.dallasnews.com/entertainment Sunday or see GuideDaily Monday.
Photo: Robinson smoked! (Brandon Wade/Special to DMN)
Asia and Yes shared a guitarist (Steve Howe) Wednesday night at Bass Performance Hall in Fort Worth during a nearly sold-out concert by both progressive rock groups. And keyboardist Geoff Downes spent a little time tickling the ivories for Yes before he helped inaugurate Asia. But performing back-to-back on the same night boldly highlighted the stylistic differences between the two bands. Asia, which opened the show, peppers its brand of progressive rock with plenty of pop hooks and soaring choruses. Lead singer John Wetton remains in outstanding voice. With Yes, however, those characteristics are the exception, not the norm. That gave Asia's set more immediacy and instant familiarity, particularly during the radio staples "Heat of the Moment," "Only Time Will Tell" and "Sole Survivor." Yes, on the other hand, is prone to long, winding, heavily instrumental pieces that are great showcases for the musicians but not the singer. Plus, the Yes vocalist is currently Canadian Benoit David since longtime wailer Jon Anderson is ailing at home. David is a decent singer, but he's miles away from Anderson's distinctive pipes.
Usher broke down in tears before finishing his rendition of Michael Jackson's "Gone Too Soon" (a lovely ballad from 1991's Dangerous, by the way). He walked down to the where the casket is, took off his sunglasses and the tears flowed. He got a group hug from the Jackson family, including Jermaine and Janet. He then walked over to Katherine Jackson (Michael's mother) and gave her a hug. Very touching. Then, Smokey Robison spoke about his beliefs that there is life after this step. He said this about Michael: "He's gonna live forever twice. Because the world right here will never forget Michael Jackson."
Photo: Usher tries to finish the song (Kevork Djansezian).
Queen Latifah is so cool. I've always thought that. She walked to the podium at the Staples Center and told us about Michael Jackson from a fan perspective. She name dropped "Dancing Machine" and the famous robot moves. Way cool. She was real, heartfelt. Then she read words by poet Maya Angelou, a stirring poem titled "We Had Him." How great to see the Queen and hear the talents of Angelou. Also of note: Lionel Richie delivered a rousing "Jesus Is Love" back by a choir; Mariah Carey and Trey Lorenz gave us a passionate (if slightly over-baked) "I'll Be There;" and of course Stevie Wonder performed. Watching the memorial on television - I got CNN on - works best for me. You can escape some of the madness of actually being there. Jason Sheeler, I do not envy you.
During one between-song moment Monday night at Nokia Theatre, Britain's Got Talent winner Paul Potts reached for a mug set atop a nearby stool. "Just like an Englishman," he said, "I have my tea handy." Such casual quips, not to mention stories about opera, about growing up listening to classical music and about his beloved wife, filled the time that Potts wasn't exercising his operatic tenor. Those asides made him all the more human, endearing. But every time he opened his mouth to sing, Potts really showcased his talents. His voice has such a pure tonality, almost an earnest innocence to it that makes him sound refreshingly honest. Surely his story is one of unassuming everyman emerges out of nowhere to capture the world with sheer musical power. There's no image steering this gravy train. With 12 local musicians onstage - strings, harp, french horns, timpani drums, clarinet, flute - and pieces from his second CD, the all-Italian Passione, as well as his heralded debut, One Chance, Potts thoughtfully and fervently sang for a small but engaged crowd. Sandwiched into his show were special guests Neal E. Boyd, winner of America's Got Talent, and Diane di Stasio, a soprano from Nashville. Potts was gracious to share the stage with them, but the attention was all for him.
Even from the nosebleed perch -- Section 308, Row B, Seat 1, to be exact -- it was easy to grasp the gist of a Beyoncé concert: The woman is 70 percent fashion plate and 30 percent artist. Her show Sunday night at American Airlines Center, part of her current "I Am Tour," was all about windblown hair, leg-baring, bust-hugging costumes, runway dance moves and diva perfection. To be fair, she is gorgeous. It doesn't take a genius to figure out why the Houston native is making millions shilling hair products, lipstick and perfume. She has that striking, supermodel appearance. But artistically she's as empty as they come. Yes, Beyoncé can sing. She can carry a tune and has plenty of lung power. However, there's nothing special or instantly recognizable about her voice. And her music, solo and when she was with Destiny's Child, is utterly disposable. Whether delivering uptempo numbers such as "Crazy In Love" and "Single Ladies (Put a Ring On It)" or ballads such as "Halo" and "Broken-Hearted Girl," Beyoncé couldn't get passed the prefabricated, perfunctory vibe of the songs. Even with a large band behind her, including a percussionist and horn section, it all sounded soulless. Nothing about her musically sticks, nor does it say anything about her as an artist other than she aims for mass appeal and exposure.
I know I'm probably being extremely naive, and doing way too much positive wishful thinking, but why can't we just let Michael Jackson rest peacefully? And to remember him, those that wish to remember him, we should all play his music. This guy was a polarizing artist-celebrity-tabloid-magnet-superstar. Got it. But he's dead now. No amount of reporting, analyzing, fuming, name-calling or finger-pointing is going to bring him back. For those who have a stake in his life, whether it be family, business associates, lawyers, doctors, etc., go ahead and cross all the T's and dot all the I's in regards to his estate, death, financial obligations. I'll read those stories with interest, as I have been doing. For everybody else, just chill out and pop in a Michael Jackson disc. I've been playing the Dangerous CD from 1991 and the Number Ones compilation from 2003. When all is said and done, after all the turmoil surrounding his death settles, all we have left is Michael's music. That is his legacy.
Photo: MJJ performing in 2001 (Kevin Mazur/WireImage).
Yes, I was there. Yes, the JoBros put on a cool show Saturday night at Cowboys Stadium in Arlington. Read what I thought of the concert, which opened the Westlake-based sibling trio's 2009 world tour, here. I also want to once again mention how impressed I was with Jordin Sparks, who came off so full of talent, earthiness and sexy sass without being all sexed-up. She did it with class. Honor Society, the unsigned New York City band that have been plucked out of obscurity by the Jonas Brothers and given a head-spinning golden opportunity, were fun, too.
Were you there? What did you think of the gig?
PHOTO: The JoBros in action Saturday night at Cowboys Stadium (Tom Fox/DMN).
I spent the morning hanging out with The Jonas Brothers at Cowboys Stadium in Arlington. OK, it's not like the JoBros and myself are buds or anything, but I did interview them in person at the venue shortly after a press conference to announce the kickoff of the group's upcoming tour. That show is, of course, June 20 at Cowboys Stadium. Anyway, expect a cool triple-octagon, in-the-round stage, lasers, lights, a 360-degree crane that takes the brothers out over the crowd, and opening acts Jordin Sparks and Honor Society.
"We want this show to feel really interactive with the fans," Kevin Jonas told a small crowd of reporters, photographers and cameramen. "We hope they go home happy," added Joe Jonas.
Oh, one more piece of news: The sibling trio's fourth studio album, Lines, Vines and Trying Times, will be released June 16. Kevin Jonas says it will feature a horn section, a "funk feel" and rapper Common on one track.
Look for my full story on The Jonas Brothers in GuideDaily soon.
Photo: From left to right -- Joe, Nick and Kevin Jonas (Disney Channel).
T-shirt watching is a pastime of mine. I like seeing and reading what's on them and who's wearing them. I get a kick out of it. During the stage set change from Lee Ann Womack into Blake Shelton two members of Shelton's road crew caught my eye. One had on a black T that said "Blake Shelton Crew." Obvious, right? So far so good. Then another guy had a Foreigner Agent Provocateur tour shirt. Hmm...that one made me stare. Agent Provocateur is Foreigner's fifth studio album. It was released in 1984 and is best known for featuring the sought-after, gospel-tinged ballad "I Want to Know What Love Is." I thought "how cool" and "how odd" almost at the same time. Would love to know the back story of that guy's torso attire.
What a refreshing show. Canadian rocker Bryan Adams brought his acoustic guitars, a harmonica and a piano player -- that's it -- to his acoustic tour that stopped Wednesday night at the beautiful Majestic Theatre. Before a full house, a very enthusiastic crowd, Adams delivered more than two hours of passionate playing and singing. He did just about every song you'd expect, including a few from his underrated newest CD, 2008's 11. Most enjoyable was how much Adams seemed to relish this setup. Performing acoustically in small theaters, he said, gave him a chance to rediscover his songs. Clearly the man's repertoire is filled with well-crafted, rock-meets-pop tunes that have been the soundtrack for a generation. Highlights were plenty, but I'm partial to four numbers. "Run to You," which opened the gig, was the perfect beginning. The crowd was instantly clapping out the song's beat and Adams was full-throttle from the get-go. A while later we got "Cuts Like a Knife" and "Summer of '69." The former is a sing-along gem about the pleasure and pain of love. The latter remains an anthem about the freedom of youth. Then there's "Heaven," without a doubt the best ballad in Adams' bag of staples.
Nobody would accuse No Doubt of delivering deep thinking songs. This is the band that gave us "Hey Baby" and "Hella Good," two infectious party tunes designed solely for the purpose of fun. But there was something almost anthem-like about the way Gwen Stefani and her band performed "Just a Girl" before a sold-out crowd Saturday night at Superpages.com Center. Stefani, the only female in a stage full of men, showed us her muscles, then dropped to the floor for a round of push-ups. She roared through the frenetic, loud, ska-punk staple like she was in charge. Before long she had the women and the men in the audience chanting the hook. Stefani's message came through crystal clear: Don't mess with this girl. Stefani and company are back on the road for the first No Doubt tour in five years. There's no new CD to promote -- that should come in 2010 -- just a celebration of the California group's radio-heavy repertoire. The group put on a 90 minute stint after sets from opening acts the Sounds and Paramore. Jumping (during "Bathwater") and swaying (during the reggae-spiced "Underneath It All") kept the masses moving. That's just the way Stefani wanted it. The activity on the platform was constant from everybody, even shirtless drummer Adrian Young with his spiked blond hair and black lipstick. It was cool to see trumpet and trombone used on "Excuse Me Mr." And "Ex-Girlfriend" all but encapsulated the No Doubt sound, a totally hyper mixture of ska, new wave and punk.
When it comes to music, we all have our favorites. And Jimmy LaFave has rapidly become one of mine. I first heard his name a few years back from Abby Goldstein, whom I've never had the pleasure of meeting. Abby once hosted a dynamite show on KERA-FM (90.1) called Lone Star Saturday Night. She played LaFave, Robert Earl Keen, Billy Joe Shaver, Lisa Loeb, Rhett Miller, The Derailers, Slaid Cleaves, Guy Clark and many other Texas heavyweights. I was driving around on a rainy night when I first heard her play LaFave's terrific cover of "Walk Away Renée," a hit single in 1966 by The Left Banke. Judging by the way he handles it, only LaFave was meant to record that song. Sadly, Abby moved to New England in 2006, spelling the end of Lone Star Saturday Night. I have since learned, however, that LaFave makes frequent trips to North Texas for live shows, one of which he performed Thursday night at a gorgeous little venue next to the pool at the Belmont Hotel in Oak Cliff. (Please click below to read on!)
Photo: Jimmy LaFave and John Inmon during a past show at Bend Studio in Dallas
GRAND PRAIRIE - Jennifer Hudson has an amazing voice. That's the good news. That's also the bad news. It's bad only in the sense that she could damage it if she isn't careful. Remember that her concert Thursday night at Nokia Theatre had to be rescheduled twice because she strained her vocal cords during this tour and had to rest her pipes. And folks, onstage Hudson doesn't hold back. Before an enthusiastic crowd that also seemed to enjoy trek mate Robin Thicke's earlier set, J-Hud was full throttle from the get-go. Almost immediately she let loose an avalanche of lung power during "We Gon' Fight" and "You Pulled Me Through," two uplifting manifestos. Before her hour was up, the Grammy-winning Hudson was sassy fun during "Pocketbook," which had her waving around a red purse and strutting for the audience. She was oh so soulful during "If This Isn't Love" and "Spotlight," a sunny, danceable slice of old-school R&B if ever there was one. But wow, the encore. You know what it was, the tour-de-force "And I'm Telling You I'm Not Going" from her Oscar-winning performance in Dreamgirls. She still sings the song with her entire body. Those notes seem to emerge from the deepest regions of her being.
For a full review of the Jennifer Hudson and Robin Thicke concert go to dallasnews.com/entertainment/music Friday or GuideDaily Saturday.
Photo: J-Hud doing her thing Thursday night at Nokia (Ben Torres/Special to the DMN).
James Taylor's two-hour concert Friday night at Fair Park Music Hall can best be described as a folk rave-up. While folk remains the iconic singer-songwriter's calling card, he continued to make sure and pepper the proceedings with plenty of R&B, blues and even some gospel. He had plenty of help from a very capable eight-member band, including four background vocalists and one passionate drummer. A large portion of the show, which was divided into two sets with an intermission, came from Covers and Other Covers, Taylor's two CDs of songs penned by outside scribes. The best of that bunch was "Wasn't That a Mighty Storm," which was oh so soulful, and a beautiful, wistful rendition of "Wichita Lineman." The lanky Taylor remains in good voice, and his energy level seemed to increase as the gig progressed. By the end he was jumping, vamping and growling. That was fun to watch, but the creative crux of this man could be found on the thoughtful masterpieces "Fire and Rain" and "Sweet Baby James." When he sang those songs, sitting peacefully on a stool, all seemed right with the world. Taylor can still sooth.
For a full review of James Taylor's concert, go to www.guidelive.com Saturday and GuideDaily Sunday.
Photo: Taylor worked his magic at Fair Park Music Hall (Mike Stone/Special to DMN).
Get ready for the masses! Teen pop-country sensation Taylor Swift brings her Fearless Tour Sept. 25 to American Airlines Center, it was announced today. Tickets go on sale May 22 at 10 a.m. at all Ticketmaster outlets. Swift's trek obviously supports her mega-successful sophomore album, Fearless, the follow-up to her career launching debut, the 3-million-selling Taylor Swift. The singer-songwriter's opening acts are American Idol alum Kellie Pickler and new country group Gloriana. According to her Nashville publicist, Swift's concert will feature "graphics, sets and visual elements designed by Taylor herself." Get ready for the masses, folks!
Checking the morning e-mail has become a ritual I enjoy. Stashed among the SPAM is usually at least one diamond in the rough, maybe a shout-out from a friend you haven't heard from in years or a silly-sick joke from a friend who's full of them. Occasionally, however, you get a jolt, like the one I got Tuesday morning. I heard from a friend named Barbara, whose husband Dave -- one of my best friends -- had died of a heart attack. It was no less a jolt when I heard several weeks ago that Dave had suffered a stroke. Dave was an inspiration. A marathon runner, he was lean and in shape. He also had a wicked sense of humor. I met Dave and Barbara when I moved to Plano 11 years ago. Their son Jeff was the first to welcome us to the neighborhood; he offered to play with our son Sam, which made Sam feel so welcome and wiped away in an instant his fears of moving to a new place. We soon got to know Dave and Barbara as well and found the Nelsons to be a warm, gracious, loving family who made our lives better simply by knowing them. I've never gotten over the fact that they moved away a few years ago; the neighborhood hasn't been the same since. And although Dave and I often joked about our differences (politics, sports), we shared a passion for travel, fine food and the same kind of music: The Rolling Stones, the Grateful Dead, Jimmy Buffett, Bruce Springsteen and Jackson Browne. (Please click below to read on.)
Photo: The cover of Jackson Browne's Late for the Sky, which contains the masterpiece "For a Dancer"
OK folks, take a deep breath. That Jennifer Hudson and Robin Thicke concert at Nokia Theatre in Grand Prairie has been rescheduled yet again. It is now May 21. The Oscar- and Grammy-winning J-Hud has been ordered by her doctor to go on vocal rest because of strain found on her vocal cords. So naturally it's been a logistical nightmare rerouting the tour. Tickets for the original May 7 date will be honored May 21. Those of you that made plans to attend the show May 16 (the first rescheduled date) now need to plan on May 21. Tickets are still available through Ticketmaster.
PHOTO: Hang on, folks, J-Hud is coming! (Charles Sykes)
The jokes, the natural between-song banter, the hilarious and sometimes twisted song lyrics as well as the impeccable comic timing of Christopher Guest, Michael McKean and Harry Shearer could easily make you forget that these guys are good musicians. So here's a reminder. Guest, McKean and Shearer took the Nokia Theatre stage on a horribly stormy Saturday night to perform songs from This Is Spinal Tap and A Mighty Wind done acoustically. Well, mostly. Shearer's electric bass was plugged in as was McKean's keyboards. The show, dubbed "Unwigged & Unplugged" and meant to celebrate the 25th anniversary of Tap, aimed to merge the metal of Tap and the folk of Wind. It did that splendidly, even without a drummer onstage. McKean quipped that they couldn't afford the costly insurance rock drummers require. Nothing felt missing. These guys played acoustic guitar, mandolin, upright bass, electric bass, harmonica, keyboards. They even did the old finger snapping thing. When you weren't uproariously laughing, you were marveling at the seamless three-part harmonies ("Never Did No Wanderin'" from Wind), the morphing vocalizations (McKean in bombastic rocker pipes on "The Majesty of Rock" from the Tap follow-up CD, 1992's Break Like the Wind) and the rapid-fire folk instrumentation ("Old Joe's Place" from Wind).
For a full review of Unwigged & Unplugged go to www.guidelive.com Sunday and the Guide Daily section on Monday.
Photo: Shearer, McKean and Guest in action Saturday night (Nan Coulter/Special to DMN).
You could call Fleetwood Mac's current tour an oldies show. It is, after all, titled "Unleashed: Hits Tour 2009," which means the 23-song set consists solely of classic radio staples and album tracks. There is no new CD to promote. In fact, the band hasn't recorded one since 2003's Say You Will. But that tag completely sells this concert short. Fleetwood Mac, which packed the American Airlines Center Thursday night, remains highly influential. Talk to any of today's popular country acts (especially the ones with a pop-rock musical bent) and the Mac is mentioned. Stevie Nicks, FM's longtime temptress, has left her stamp on so many female vocalists of the last 20 years -- pop, rock, country and otherwise. And anyway, Thursday night's show was fiery. Even during songs that didn't quite gel -- such as Lindsey Buckingham's manic, robotic "Tusk," there was something to admire. In that case it was Mick Fleetwood's ferocious marching beat drumming. But the highlights were many, particularly Buckingham's amazing rendition of "Big Love," which was just him at the mike while he finger-picked an acoustic guitar. The wall of sound was astonishing. Nicks' "Sara," "Gypsy" and "Dreams" brought back such evocative memories. Great songs never get old.
For a full review of the Fleetwood Mac concert, go to www.guidelive.com Friday and check Guide Daily on Saturday.
Photo: Nicks, Fleetwood and Buckingham at the AAC (John F. Rhodes/DMN).
Beyoncé is everywhere. She's got her manicured nails touching just about every aspect of mainstream entertainment these days. And come July 5, she'll be on the American Airlines Center stage. The Houston native begins her "I Am..." tour June 21 at Madison Square Garden in New York. Her trek will end with a four-night stand July 30 through Aug. 2 in Las Vegas at the Encore at Wynn. Tickets go on sale April 25 at 10 a.m. at all Ticketmaster outlets. By the way, Beyoncé is making 2,000 seats at each venue available for $20 a pop. Gracious, isn't she?
Photo: The ubiquitous Beyoncé works it at the recent Oscars (Mindy Schauer).
This is pretty cool. Alex Carew from Spinner.com offers funky trivia on how some bands, solo artists got their names. Check it out.
Lady GaGa: Christened Stefani Joanne Angelina Germanotta, her producer based her snappier name on Queen's hit 'Radio Ga-Ga,' likening her glammed-out pop vocal approach to Freddie Mercury. Radiohead: Originally calling themselves On a Friday, a critic pointed out that he was bored by their name- they swapped it for the title of the Talking Heads song, 'Radio Head'. The Rolling Stones: Mick Jagger picked up their band name from blues giant Muddy Waters, who hit big with the song 'Rollin' Stone' in 1948. Bright Eyes: Likely encountered in the 1978 animated film about rabbits, 'Watership Down.' We're still waiting for Conor Oberst to return the favor when some new four-piece band names itself A Spindle, a Darkness, a Fever and a Necklace. Judas Priest: Priest bassist Ian Hill admits their name came from the Bob Dylan song, 'The Ballad of Frankie Lee and Judas Priest'. It's safe to assume they wouldn't be the metal gods they are today had they taken the 'Frankie Lee' half of the title instead. The Pretenders: According to one version of the story, Chrissie Hynde was hanging out with some rough characters, one of whom wanted to play his favorite song for her. After making sure that none of his pals were in sight, the guy put on the Platters classic 'The Great Pretender.' Death Cab for Cutie: Quite a pedigree to this odd little phrase: Neil Innes, who co-wrote 'Death Cab for Cutie' with Vivian Stanshall, says he came across it in an old pulp fiction magazine. Written as an Elvis parody, the Bonzo Dog Band song appeared in the Beatles' 'Magical Mystery Tour' film. Thirty years later, Pinwheel guitarist Ben Gibbard borrowed it for his new band's name. Jet: Inspired by the Paul McCartney-helmed Wings song 'Jet.' Because if it sounds like the Beatles, and it ain't nailed down, these Aussie boys are having at it. Godsmack: Despite admitting being aware of the song in question, Godsmack insist they're "not some Alice in Chains clone band" and have given two alternate origin myths for the name. Either the band is named after the Almighty smiting singer Sully Erna with a cold sore after he made fun of someone else's blemish, or it stems from the band's favorite retort, "God will smack you for that one." Ladytron: Inspired by Roxy Music's "Ladytron." Ladytron's Daniel Hunt has considered remixing the original Roxy track: "I thought about what I could do with it, but I just haven't got 'round to it. Maybe it'll be crap." We can't wait.
The Randy Rogers Band, that cool country band from the Austin area, drew a whopping 18,561 fans to the group's Friday night gig at Lone Star Park in Grand Prairie. Those are huge numbers, particularly in these perilous economic times. According to Dan Leary, Lone Star Park's Director of Communications, the RRB show ranks as the "seventh largest non-fireworks night attendance in track history." In fact, the first six places are filled by fellow Texans -- Cross Canadian Ragweed (two shows), Willie Nelson (three shows) and Pat Green (one show). Pretty cool, huh? If you were there Friday night, tell us about the concert.
Canada's Nickelback, fronted by the lanky Chad Kroeger, sure has all those rock band cliches down pat. Let's see here: Wink-and-grin talk about sex and drugs? Check. Cursing onstage? Check. Explosions and flaming pyrotechnics? Check. Drinking just for fun? Check.
In about two hours Saturday night at Superpages.com Center, Kroeger and his fellow 'Backers gave the packed amphitheater a show heavy on stereotypes and radio-ready tunes. For all of Kroeger's attempts at being cool and irresponsible (he giddily kept commenting on the wafting marijuana smoke), he's still the lead singer of a group that has sold 18 million albums in the United States and certainly keeps tabs of its growing mainstream chart hits.
All of that said, Nickelback sure was entertaining, particularly when it performed cuts from the new Dark Horse CD. Those songs, such as "Something In Your Mouth," "Gotta Be Somebody," "Next Go Round" and "Burn It to the Ground," are catchy, hearty rockers with huge pop hooks.
For a full review of Nickelback, whose "Dark Horse Tour 2009" featured opening acts Saving Abel and Seether, check www.guidelive.com Sunday and GuideDaily Monday.
Photo: Kroeger larger-than-life while onstage at Superpages.com Center Saturday night (Cody Duty/DMN).
Lindale's fiery country-rocker Miranda Lambert is one of three vocalists (along with Jazmine Sullivan and Zooey Deschanel) reinterpreting the memorable "the touch, the feel of cotton" music that was retired in 2001 and has now been relaunched. The campaign, dubbed "The Fabric of My Life" features television commercials that began airing April 5. Lambert, still promoting her awesome 2007 CD, Crazy Ex-Girlfriend, has this to say about cotton: "My style in three words is comfortable, funky, my own. Cotton is a big part of that style so I was very excited to be part of this campaign. My favorite outfit is jeans, T-shirt and a great pair of cowboy boots but on a summer day, there is nothing like throwing on a cotton sundress and boots."
Photo: Miranda loves her cotton (Ben Torres/Special to DMN).
KISS, those trend-setting masked men, want fans in the United States and Canada to route their upcoming North American tour, which begins in September. Right now, Paul Stanley, Gene Simmons, Eric Singer and Tommy Thayer are playing soccer stadiums in South America. But the KISS 2009 North American tour will be completely routed by fans. Go to www.eventful.com/KISS and cast your vote. You'll see that Dallas is currently in fourth place. The cities with the most votes should end up on the band's itinerary. You can also check out a KISS-produced video announcing the promotion here. Simmons says this in a prepared statement: "KISS has never followed the rules -- we have always broken them. KISS has never listened to critics -- we have always listened only to the fans." So let your voices be heard!
Photo: Paul and Gene in concert! (Courtesy of www.kissonline.com)
It may have taken them 14 years to reunite, record a new studio disc, 2008's The Block, and hit the road for a successful tour last year -- it stopped at American Airlines Center in October -- but now NKOTB can't stay away. Joey, Donnie, Jordan, Danny and Jonathan play Superpages.com Center July 17. Tickets for the "Full Service Tour" go on sale Saturday, April 4, at noon at all Ticketmaster outlets. Ticket Prices are $85, $65, and $45 for reserved, and $25 for lawn seats. Also, during that first sales week, lawn seats are only $10 each.
So here's what I want to know: How many of you that were at the October AAC show will come back for more and attend the Superpages.com Center gig?
Photo: NKOTB did their thing last October at AAC (Tim Gruber/DMN).
Rod Stewart brings his raspy pipes to the Nokia Theatre stage for a July 26 concert performance. Tickets for the iconic singer's gig go on sale Monday, April 6, at 10 a.m. at all Ticketmaster outlets. Stewart's most recent studio album was 2006's Still the Same...Great Rock Classics of Our Time. Last year his former longtime label, Warner Bros., released The Definitive Rod Stewart, a two-CD collection of 30 career hits.
Photo: Rod the Mod from an October 2007 show in Oberhausen, western Germany during his "Greatest Hits 2007" tour (Volker Hartmann).
Fans of pop-country trio Rascal Flatts have two reasons to rejoice: First, Gary LeVox, Jay DeMarcus and Joe Don Rooney perform in concert June 13 at Superpages.com Center. Tickets, priced at $76 for reserved and $36 for lawn seats, go on sale Saturday, April 4, at 10 a.m. at all Ticketmaster outlets. Doors open at 6 p.m. and the show starts at 7:30 p.m. with opening act Darius Rucker. OK, the second reason is Unstoppable, the group's sixth studio album, which arrives in stores April 7. There. Is that enough Rascal Flatts activity for ya?
Photo: Rascals LeVox and DeMarcus at Superpages.com Center July 21, 2008 (G.J. McCarthy/DMN).
Heavy metal hierarchy and digital downloads -- is it a match made in musical heaven? We're about to find out. Metallica will release its entire discography exclusively to iTunes Tuesday, as in tomorrow. We're talking 163 tracks from nine studio albums, one double live album, one double covers album, bonus tracks and more. The Complete Metallica, which is what the digital box set has been dubbed, arrives at all other digital music outlets April 28. Metallica continues high visibility since its recent South by Southwest Music Festival appearance and concert performance. The video game Guitar Hero Metallica, with 28 tunes from the metal masters, is now available. Also, Metallica will be inducted into the Rock and Roll Hall of Fame and Museum in Cleveland April 4. Oh, and the guys will be hard-rocking American Airlines Center Sept. 29. Tickets go on sale April 4.
Photo: James Hetfield and Kirk Hammett turned Austin's Stubb's upside down March 20 (Erich Schlegel/Special to DMN).
Denton's Eli Young Band, currently enjoying a Top 20 country hit with "Always the Love Songs," makes its Jimmy Kimmel Live debut Thursday at 11:05 p.m. central on ABC-TV (Channel 8). "Always the Love Songs," by the way, is from the group's way cool major label debut CD, Jet Black & Jealous. These are hometown guys making us proud.
Photo: Chris Thompson, Jon Jones, Mike Eli and James Young get all jet black and jealous for a professional portrait by photographer Kristen Barlowe.
AUSTIN - Jeffrey Steele knows how to sell a song. It's no wonder so many of his compositions turn into huge hits for mainstream country artists. In concert Saturday night at the Ranch, accompanied by his four-man band, Steele delivered 45 minutes of scorching country-rock with more than a few nods to R&B and blues. As a performer he's full-throttle from the first note. He sang with grit, honesty and gusto, letting his soulful wail carry him on a set of songs the crowd knew such as "Help Somebody" (a hit for Van Zant), "I'm Tryin'" (Trace Adkins), "What Hurts the Most" (Rascal Flatts) and "My Town" (Montgomery Gentry). His originals were even better, particularly the hilarious "Drunk Girl" and the Cajun-spiced corker "Something In the Water." This guy's almost too good for Nashville. He belongs in Texas.
Photo: Steele in a concert shot from 2008 (Anthony Scarlati).
AUSTIN - Certainly much of the arty nonchalance, the elegant despair and the graceful melancholy at the heart of Echo & the Bunnymen can be credited to lead singer-songwriter Ian McCulloch. Onstage Saturday afternoon at the Bat Bar inside the Austin Convention Center, McCulloch led his four Bunnymen cohorts through an hour's worth of familiar songs during the band's return engagement to South by Southwest. The SXSW Live taping - yes, large cameras took up valuable space in an already overcrowded room - encapsulated the Bunnymen magic. McCulloch, dressed in black with dark sunglasses, epitomized the new romantic British movement from which the band emerged. Angst, psychedelia, new wave and anthem rock played into cheered-on staples "Seven Seas," "Bring On the Dancing Horses," "Nothing Lasts Forever," "The Killing Moon" and of course "Lips Like Sugar." McCulloch, an expert at brooding resignation, can now be definitely seen as one of the architects of the sound that would influence big bands of today such as Coldplay, the Killers and Radiohead.
Photo: Ian McCulloch during a SXSW gig back in 2006 (Erich Schlegel/DMN).
AUSTIN - During a long walk, about an hour and 35 minutes, that took me through much of downtown Austin, even to the Texas Capitol building, I went scoping for people wearing T-shirts emblazoned with musician logos. Here's what I spotted: Cher, the Beatles, the Clash, Depeche Mode, Led Zeppelin, AC/DC, Metallica, Judas Priest, Motorhead, Johnny Cash, Medeski, Martin & Wood, Grateful Dead, Lynyrd Skynyrd, Coheed and Cambria, Os Mutantes, Arctic Monkeys and even High School Musical. OK, that last one is iffy. I must say I thought I would see more of them. This is Austin, live music capitol of the world. And this is the South by Southwest Music Festival. I was a bit disappointed.
Photo: The AC/DC T-shirt I saw (Courtesy of www.allposters.com).
AUSTIN - Devo is almost indescribable. The new wave icons, now considered godfathers of electronic music, put on a refreshingly unusual show before a packed crowd late Friday night into Saturday morning at the Austin Music Hall. It was the five-man band's debut concert at South by Southwest.
Leaders Mark Mothersbaugh and Gerald Casale along with Bob Mothersbaugh, Bob Casale and Josh Freese delivered quirky, satiric, symbolic and energetic madness for 80 minutes. They traced career tunes and threw in some new ones, especially the cool opener, "Don't Shoot, I'm a Man."
Using video montages, a guitar, drums and lots of synthesizers - not to mention gray uniforms, orange crossing guard vests and those signature red flower pot hats - the group mesmerized the audience. Highlights were plenty, but let's mention "Whip It," "Girl U Want," "Secret Agent Man," "Freedom of Choice" and "Beautiful World."
In fact, during "World" they were all in black T-shirts, matching boxer shorts, knee pads and calf-high black socks. Well, except for Mark Mothersbaugh who became Booji Boy, a Devo character from the group's inception. He wore a child doll head mask complete with backward baseball cap and a football jersey nightgown.
The point? Perhaps it was the irony of innocence in a world now completely devoid of it.
Photo: Devo during their keynote panel Thursday afternoon at the Austin Convention Center (Erich Schlegel/Special to DMN).
AUSTIN - I spent the better part of Friday afternoon with the Del Castillo guys - Mark Del Castillo, Albert Besteiro, Mike Zeoli, Alex Ruiz and Rick Del Castillo. Austin's premier Latin rock band played a 30-minute set at the Viper Room inside Rusty Spurs during South by Southwest. Four of those six songs in their set came from Del Castillo, the group's great fourth album, which will be released April 7. Fans of the group's ridiculously rhythmic fusion of flamenco, rock, blues, cumbia, reggae, salsa and ranchera will definitely want a copy of the disc. It will be available at Waterloo Records in Austin and through the Del Castillo website. Mark Del Castillo says they are negotiating national distribution and that should be in place by the end of the summer.
Meanwhile, check www.guidelive.com and GuideSunday for my piece on Del Castillo.
Photo: The cover of Del Castillo (courtesy of the band's myspace page).
AUSTIN - I'm not a smoker, but I couldn't help but marvel at the old-fashioned cigarette vending machine, the kind with the pull knobs, standing in the back area of Rusty Spurs on East 7th Street. I haven't seen one of those in, oh, decades. Or perhaps I just hadn't noticed. Anyway, this one had packs of Marlboro, Camel Lights, Natural American Spirit and Parliament Lights. It works because I watched two people purchase cigs while I stood nearby. Are these things still pretty prominent?
Photo: It wasn't exactly like this, but real similar. So you get the idea. (Courtesy of www.artomat.org)
AUSTIN - So I'm walking back to the hotel Wednesday night after the Austin Music Awards at Austin Music Hall and I'm immediately halted in my tracks by the sounds of a band covering A-ha's 1985 hit "Take On Me." Me being an '80s music aficionado I had to hear more. Turns out it was the Spazmatics, a band that bills itself as "the ultimate new wave 80s show." The four-man group has a sense of humor, of course. Notice the bicycle helmet, the neck brace and the geeky attire. Anyway, they did a faithful cover of "Take On Me" and then launched into the Romantics' "What I Like About You." Pretty cool! The crowd at the Cedar Street 208 Courtyard, where the band was playing, were loving it. Plus, like me, many passers-by were stopping to get a glimpse of the '80s fun. What a blast!
Oh! I just noticed on the Spazmatics' myspace page that they have a Dallas gig tonight at 10 at the Loft. Just FYI for you fellow '80s music fans.
Photo: The Spazmatics in a photo from the group's myspace page.
AUSTIN - Mexico's intriguing new singer-songwriter Ximena Sariñana, who looked incredibly child-like even at 23, made her South by Southwest debut late Thursday night at Momo's. Armed with her firecracker four-piece band, the brunette artist offered several songs from her acclaimed debut disc, Mediocre. Her songs, especially "Mediocre," "Pocas Palabras (Juan)" and "Sintiendo Rara," have a darkly emotive undercurrent and soaring pop choruses. She sang with passion, like a sonic punch, which belied her youthful appearance. Also, she's very much a Latina of our modern era. She belted in Spanish but always spoke to the crowd in English.
AUSTIN - Thursday afternoon was all about speeches and forums at South by Southwest. In about four hours, I listened to enlightening comments from Quincy Jones, Oak Ridge Boys and Devo. All of them spoke at the Austin Convention Center. Here are highlights from each. Quincy Jones - "Q" was at the podium for nearly 2 hours. That was way longer than his allotted time. But hey, this is the man Quincy Jones. You don't cut him off. Especially since he was so personable, relaxed, chatty and expounded on an extraordinary 50-plus years career that took him through music, movies, philanthropy, television and business. At 76, he's clear as a bell and eager to tell anybody about his experiences. He name dropped - Michael Jackson, Stevie Wonder, Barbra Streisand, Ray Charles, Whoopi Goldberg, Oprah Winfrey, Willie Nelson - and you knew he wasn't just boasting. I could fill up five blog posts and still not cover everything he said. I'll just let "Q" say it best: "Music is the only thing that affects the left and right brain simultaneously. That's why it's so powerful...it's the universal language." Oak Ridge Boys - Yes, those Oak Ridge Boys. On their first visit to South by Southwest, Joe Bonsall, William Lee Golden, Richard Sterban and Duane Allen talked about career reinvention. They've gone from gospel to country to pop and now to rock 'n' roll. We learned that their upcoming CD is produced by rock man Dave Cobb (Shooter Jennings) and features a more stripped-down sound a la what Rick Rubin did with the late Johnny Cash. Sounds like it will be a cool record. Devo - The five-man, iconic new wave group gave us a rundown of their existence, from 1972 to today. We got to see a nifty new video for the fresh tune, "Don't Shoot, I'm a Man." They were decked out in gray uniforms, orange crossing guard vests and of course the signature red flower-pot hats. A new CD is coming this fall. How will it be released, particularly in this age of alternative ways to deliver music to the masses? Ah, the possibilities are endless with forward thinkers like Devo.
Photo: "Q" at an Essence magazine awards luncheon last month (Dan Steinberg).
AUSTIN - How about walking in on the Austin Music Awards Wednesday night at Austin Music Hall and feasting your eyes and ears on a mass of musicians up on the platform jamming an intoxicating mix of blues, folk, rock and enough Americana groove fusion to set the house ablaze. That was the scene and the players were Suzanna Choffel, Ruthie Foster, Carolyn Wonderland, Laura Scarborough and many others. They were loose and passionate. So much so that Scarborough went from the vibraphone to the accordion to the hoola hoop. Yes, you read that right. She was a twirling ham with a glittery hoola hoop on the side of the stage.
The Austin Music Awards, presented by the Austin Chronicle, have traditionally been the official ramp up show for the South by Southwest Music Festival. It was no different this year. A bunch of plaques were presented by host Andy Langer. In fact, Wonderland took two of them - best blues band and best female vocals - while Choffel won in the best indie band category and Scarborough went home with best keyboards honor.
But the star of the shindig was Bob Schneider. Austin loves him. He, backed by his band Lonelyland, snagged best male vocals, best bluegrass band and band of the year. When he performed on the platform, he was there for four songs. That might have been too much Schneider, but the crowd adored him. Give him credit for this, he's a maverick with the instruments. With help from best teen band winners the Fireants, Schneider employed a steel drum player, a cellist, a trumpeter, a violinist and even a musical saw player. He worked the guitar, the keyboards, the harmonica and one trumpet. And he never broke a sweat.
Read more about the Austin Music Awards Thursday in www.guidelive.com and Friday in GuideDaily.
Photo: Carolyn Wonderland in a posed publicity shot.
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