Greetings, my loyal reader. I won't insult you with an apology for not writing. I write tonight because I finally feel inspired to write again. A bunch of things have happened to me in my musical universe that should be shared, and my opinions are blossoming into fertile flower beds of statements that don't really matter, nor will anyone really care about, but this comes with the territory of having a blog.
So, some major things have changed in my life. I have lost a significant amount of weight. I know in the manifesto of this blog I said I would never mention personal life issues, but this has affected me musically. Mainly, my trumpet playing, I feel, has improved dramatically. I have less resistance and my upper register doesn't sound so strained. My endurance has increased as well. I have dropped 135 pounds of weight off my lungs, torso and upper body. Before, holding the trumpet up was enough of a stress. This has led me to successful performances of Tchaikovsky's 5th symphony, a long production of "The Secret Garden" and currently great rehearsals of Shostakovich's 5th symphony.
The weight loss has also made attending concerts and performances much more bearable. I was able to attend my first Broadway show. Melanie and I saw "The Addams Family" starring Nathan Lane, Bebe Neuwirth, and Kevin Chamberlin. All three we spectacular, and although catchy, the musical was a bit cliche. With such a great and flexible and outlandish medium as the Addams Family, I thought it could have been a bit more "out there".
Also, with comfortable seating, Melanie and I (noticing a theme? She has become quite the little concert goer herself) attended two symphonic multimedia concerts. First, we saw "Planet Earth Live". The Baltimore Symphony partnered up with George Fenton, who composed the soundtrack to the amazing documentary series, to present clips of the show, with their accompaniment played live. Mr. Fenton conducted and narrated the program, explaining how he was moved by certain footage to inspire the music that he composed. We definitely enjoyed the polar bear segment. His music at times would make you laugh, or just well up with tears. The second multimedia symphonic concert we attended was "Star Wars: In Concert". This concert we straight up didn't like. Narrated by Anthony Daniels of C3PO fame, this concert didn't really teach you anything of the inspirations for the soundtrack but merely retold the story of all 6 movies with a series of movie trailer footage mash-ups and selected medleys from the soundtrack. It would have been much better if they took direct full scenes from the films and played the soundtrack to that scene. We only became interested at the end when they began showing behind the scenes footage from making the films, such as artist sketches for different character concepts. Frankly, the subway ride with Boba Fett and Obi-Wan was more fun. Also, I was pretty amused by the line that had a solid 200 people in it, just to get an autograph from "Darth Vader".
Now, also during this time off from the blog, I attended concerts of previously two of my favorite live bands to see: AC/DC and Iron Maiden. We revisited AC/DC on their second stop to the Verizon Center in Washington, DC simply because I had the money and Ticketmaster offered me seats up close, almost floor level. They are a totally different experience up close, as opposed to in the rafters. Melanie and I of course donned the flashing red devil horns and screamed our heads off. AC/DC this time sounded a bit more fresh, and played more classics and less from their new album, which was definitely welcomed. Sadly, though, when seeing Iron Maiden this past time, they did the exact opposite. I barely recognized anything from their setlist. They perfomed songs from their new album, which at the time hadn't been released. Dream Theater opened for them. Little did I know that it would be the last time to see Dream Theater play with Mike Portnoy for quite awhile as he has now left the band. The saving grace of this show was my weight loss, as the Wicker Man Iron Maiden tour shirt I purchased fits me.
Just a few weeks ago, I had an experience that really refreshed my musical spirit. I participated in the Rusty Musicians program with the Baltimore Symphony. I won't make this sound impressive, as all I had to do was be one of the first like 30 trumpet players to e-mail the symphony, but I will say that it was immensely rewarding. I got to have 40 minutes on stage in a rehearsal atmosphere with two trumpet players of the BSO, and conductor Marin Alsop leading a group rehearsal of Brahm's "Academic Overture". The only way I can explain this experience to non-musicians is that imagine your boss at work acted as if they were a partner and was in the situation with you, but also could clearly in one sentence, tell you exactly what they want you to do, how to do it, and make you feel like you're the office hero for doing it. It was so rewarding, and I got a nice compliment from one of the pro's to "play louder". In trumpet speak that's a compliment. It invigorated me to want to play more, and for a second made me think I could actually play in a symphony orchestra of that level. Again, without the weight loss, I would have never even taken the initiative to send the e-mail to get to have this amazing chance.
Melanie has also gotten me to loosen up about pop music as I have now become an official fan of Lady gaga and Florence + the Machine after watching the Video Music Awards on MTV a few weeks ago. I have to admit Lady Gaga's character, plus catchy hooks could make her a big landmark on American music if she can keep the creativity up. Though, I do still hate Auto-Tune. I'm looking at you Justin Bieber. And as a quick note, thanks to Melanie, I have began listening to the Beatles after a 18 year hiatus. Happy Steve?
To wrap up this very lengthy, and self gratifying blog entry, I predict that this weekend I will see a concert that will change my life. This weekend, Melanie and I are seeing Roger Waters' "The Wall: Live" concert at the Verizon Center. This is as close as Mel and I will ever get to see Pink Floyd. Though, I am sad that him and David Gilmour couldn't have buried the hatchet for this tour, my wallet thanks them for not doing so, because I'm sure the ticket price would have been double. "The Wall" is my favorite album by my favorite band. The tension between the band mates rings through in the album as the album deals with the band's inability to handle fame, yet also has a deeper message with hatred and war. This show should be unbelievable as they construct the wall.
This blog entry itself has been about me tearing down my wall of sorts and shedding the barrier that has been keeping me from enjoying life and music for so long. I have my regrets of not doing this in college when I was still competitive in my music and could have gone to grad school. But at the same time, it took help to tear it down. I needed the accomplice to help break a hole in the wall so I could escape the prison my own thoughts and weight had formed. A few years ago, I was saying Good Bye Cruel World, and that I was Comfortably Numb. But now, after The Trial, I'm Outside the Wall.
Showing posts with label AC/DC. Show all posts
Showing posts with label AC/DC. Show all posts
Wednesday, October 6, 2010
Wednesday, May 20, 2009
Somewhere Everybody Should Be
Hello my great and loyal reader(s)! I hope this entry finds you well. I am writing with the world blocked out by some lovely AC/DC vinyl plugging my ears from the outside world and a decent sized grin on my face. This past weekend and week has been pretty spectacular so far. There was a broad spectrum of performers and yet another wonderful shopping experience.
Friday night, I attended the stand-up comedy show of Louis CK. I know that this blog is about music but I feel stand-up comedy, whether clean or dirty, is all about the proper delivery and timing, much like music. Louis is a master of this. He starts the show with material you wouldn't think would be good to open. He avoids the tacky "How are you guys tonight?" start. He opens with an awkward joke that forces you into his world right away. Much like an established rock band will start with a song the fans know, but not the big hit that you would close with. Louis works the audience into a frenzy of laughter driven tears by the end by just piling on the pressure with more and more outrageous stream of thoughts. Unlike older comedians, you have to pay attention to Louis to tell really when one joke ends and another begins. Before I move on though, I must thank him for stopping the show and checking on my safety when the folding chair I was in gave way and I hit the floor. I was still laughing, for the win.
Sunday, I made my way to Pier Six Pavilion in Baltimore to see the Wilson sisters: Heart. After having fun in the Hard Rock Cafe looking on John Lee Hooker's guitar, and complaining about how more mainstream, modern metal groups turn their bass up too high to appeal to those who like Hip-Hop, we got our prime spot on the lawn in the front, dead center to hear the opening act, Danielia Cotton. I really wish I had not heard her. Her band was mediocre at best, and her singing a bit too over the top. A bit too screaming for me. I call it "fake" pipes. Screaming is different than the high note you're going for and frankly, it was the first time at any rock concert I had wished for ear plugs. My ear drums were ringing quite bad. I was quite glad when she was done.
I should mention this is my dad's first rock concert without it being a cover band. He was in awe watching the roadies switch the stage in minutes for Heart. But his real look of awe came when Heart actually came out and brought the house down. They didn't sound quite as good as they did last summer, but I chalk it up to three factors:
1. Saturday night they did a show in Niagara Fall, NY, so they were on the road for 8 hours the night before to get to Baltimore.
2. Pier Six does not have the sound system that Nissan Pavilion has.
3. Cheap Trick is a much better opening act and removes some of the pressure.
So with that said, Heart still tore it up. They did a bit of a set I didn't expect, with them doing a few Led Zeppelin covers, including "Angels of Avalon", "Going to California" and "Immigrant Song". Fear not though, Heart still hammered home "Magic Man", "Barracuda", and "Crazy on You". This was pretty much the craziest I had seen Pier Six. I feel though that a lot of people who wanted to go were scared by the cheapest seat being $30. They didn't consider that Pier Six isn't a stadium, its not big. Its an intimate venue and can provide some gems by allowing you to see your favorite groups up close and personal.
Tuesday began with a lovely lunch and then a second trip to Trax on Wax. The owner, Gary, was again friendly and very welcoming and thanked me in person for my blog entry. No need to thank me though, its my obligation to write and share my experiences in the music world. Since it was before pay day and there was a concert that night, I had to be a little tight on the wallet, but still walked out with the previously mentioned AC/DC record. a very nice, practically mint condition original pressing of "High Voltage", which is my second favorite AC/DC album and my favorite with Bon Scott. This album though definitely was remixed when moved to CD. The album is rough, and sounds like it was recorded in a bar, which just adds to the flair of AC/DC being your bad-ass bar band. I also grabbed "Sabotage" by Black Sabbath. This is the sixth album by Black Sabbath. This album is a bit softer than the usual Black Sabbath/Ozzy Osbourne fare. I feel lucky though that I got a version of it from the early pressings that included a 23 second secret track at the end of Ozzy goofing around in the studio. Quite entertaining!
The second half of Tuesday included taking the subway into DC with my pal Beth to see Keane. Keane is one of the very few modern pop groups that I like. I am not fond of them no longer being a trio, but I cannot complain. They bring a prime show to you. Keane's lead singer, Tom Chaplin, has a killer voice, and is the only singer I've seen that could possibly fill Freddie Mercury's shoes, vocally. This band brought a wave of positive energy over the crowd I've never seen. Keane was accompanied by two opening acts, Helio Sequence and Mat Kearney. Helio Sequence is a duo of drums and guitar. They didn't really introduce themselves, and kind of assumed everyone already knew who they were. They also seemed hung up in having lots of synth backing tracks which took away from what skills they were presenting to us. It also caused their songs to sound identical to me, at least in a live setting. Mat Kearney followed them and he really wowed me. Hes not my type of music but he brought a stage presence which was quite nice. My only gripe is that he has a 4-piece band backing him. Come up with a band name and give them credit, considering you're playing rhythm guitar 3 and singing. There were two other guitarists there, both with nice voices, bass and drums. Let them in and come up with a name. Other than that, dude you are golden and going to make lots of money.
Keane though really rocked Constitution Hall, which is not suited for this kind of show at all. Kean brought a simple stage set up with no screens or anything like that. They didn't need it, the whole band is charismatic. They were just straight up fun to watch. I was transfixed much like my father was during Heart. In 72 hours I went from seeing a band a bit past its prime, just doing shows for fun, to seeing bands that are still fresh, young, and having to fight for fans. Might I add that initially at the Keane show, I felt old and out of place. Then I noticed a 40-something man singing his heart out the next section over, and below me a 40-something woman basically doing her impression of Joan of Arc from "Bill and Ted's Excellent Adventure" throughout the whole show. This made me feel better.
Nothing against my friend Beth at all, but the tickets were initially to be for my girlfriend and I to attend, with Keane being one of her favorite bands. I did find myself enjoying this concert a little differently due to company. Beth is a great concert partner and always will be. This was to be my girlfriends second concert; her first was the George Clinton mega-show. I think I would have seen this show through fresher eyes, had I been with a concert noobie and a really big Keane fan. Beth found herself enjoying the groups and discovering them the same way I did. The concert really isn't just about who is playing, but with whom you are sharing. The music is an experience and Keane was one of the first things my darling girlfriend and I shared. It would be a slight if I didn't mention this point in this blog entry. I'm truly grateful Beth came along, as it would have killed me to waste a ticket and Beth is always a lot of fun, and open minded and flexible to whatever we're going to see. But I cannot deny that I was thinking how the show might have been different to me if Melanie had attended.
With that, I sign off for the night. "High Voltage" has played out and the arm on the old Pioneer phonograph has retracted. I leave you tonight with a video of Keane from DAR Constitution Hall, doing my favorite song by them, "Somewhere Only We Know". Have a good night. This one's for you ;-) Enjoy the girl singing terribly out of tune at the start, but who cares, everyone in the building was on cloud nine by this point.
Friday night, I attended the stand-up comedy show of Louis CK. I know that this blog is about music but I feel stand-up comedy, whether clean or dirty, is all about the proper delivery and timing, much like music. Louis is a master of this. He starts the show with material you wouldn't think would be good to open. He avoids the tacky "How are you guys tonight?" start. He opens with an awkward joke that forces you into his world right away. Much like an established rock band will start with a song the fans know, but not the big hit that you would close with. Louis works the audience into a frenzy of laughter driven tears by the end by just piling on the pressure with more and more outrageous stream of thoughts. Unlike older comedians, you have to pay attention to Louis to tell really when one joke ends and another begins. Before I move on though, I must thank him for stopping the show and checking on my safety when the folding chair I was in gave way and I hit the floor. I was still laughing, for the win.
Sunday, I made my way to Pier Six Pavilion in Baltimore to see the Wilson sisters: Heart. After having fun in the Hard Rock Cafe looking on John Lee Hooker's guitar, and complaining about how more mainstream, modern metal groups turn their bass up too high to appeal to those who like Hip-Hop, we got our prime spot on the lawn in the front, dead center to hear the opening act, Danielia Cotton. I really wish I had not heard her. Her band was mediocre at best, and her singing a bit too over the top. A bit too screaming for me. I call it "fake" pipes. Screaming is different than the high note you're going for and frankly, it was the first time at any rock concert I had wished for ear plugs. My ear drums were ringing quite bad. I was quite glad when she was done.
I should mention this is my dad's first rock concert without it being a cover band. He was in awe watching the roadies switch the stage in minutes for Heart. But his real look of awe came when Heart actually came out and brought the house down. They didn't sound quite as good as they did last summer, but I chalk it up to three factors:
1. Saturday night they did a show in Niagara Fall, NY, so they were on the road for 8 hours the night before to get to Baltimore.
2. Pier Six does not have the sound system that Nissan Pavilion has.
3. Cheap Trick is a much better opening act and removes some of the pressure.
So with that said, Heart still tore it up. They did a bit of a set I didn't expect, with them doing a few Led Zeppelin covers, including "Angels of Avalon", "Going to California" and "Immigrant Song". Fear not though, Heart still hammered home "Magic Man", "Barracuda", and "Crazy on You". This was pretty much the craziest I had seen Pier Six. I feel though that a lot of people who wanted to go were scared by the cheapest seat being $30. They didn't consider that Pier Six isn't a stadium, its not big. Its an intimate venue and can provide some gems by allowing you to see your favorite groups up close and personal.
Tuesday began with a lovely lunch and then a second trip to Trax on Wax. The owner, Gary, was again friendly and very welcoming and thanked me in person for my blog entry. No need to thank me though, its my obligation to write and share my experiences in the music world. Since it was before pay day and there was a concert that night, I had to be a little tight on the wallet, but still walked out with the previously mentioned AC/DC record. a very nice, practically mint condition original pressing of "High Voltage", which is my second favorite AC/DC album and my favorite with Bon Scott. This album though definitely was remixed when moved to CD. The album is rough, and sounds like it was recorded in a bar, which just adds to the flair of AC/DC being your bad-ass bar band. I also grabbed "Sabotage" by Black Sabbath. This is the sixth album by Black Sabbath. This album is a bit softer than the usual Black Sabbath/Ozzy Osbourne fare. I feel lucky though that I got a version of it from the early pressings that included a 23 second secret track at the end of Ozzy goofing around in the studio. Quite entertaining!
The second half of Tuesday included taking the subway into DC with my pal Beth to see Keane. Keane is one of the very few modern pop groups that I like. I am not fond of them no longer being a trio, but I cannot complain. They bring a prime show to you. Keane's lead singer, Tom Chaplin, has a killer voice, and is the only singer I've seen that could possibly fill Freddie Mercury's shoes, vocally. This band brought a wave of positive energy over the crowd I've never seen. Keane was accompanied by two opening acts, Helio Sequence and Mat Kearney. Helio Sequence is a duo of drums and guitar. They didn't really introduce themselves, and kind of assumed everyone already knew who they were. They also seemed hung up in having lots of synth backing tracks which took away from what skills they were presenting to us. It also caused their songs to sound identical to me, at least in a live setting. Mat Kearney followed them and he really wowed me. Hes not my type of music but he brought a stage presence which was quite nice. My only gripe is that he has a 4-piece band backing him. Come up with a band name and give them credit, considering you're playing rhythm guitar 3 and singing. There were two other guitarists there, both with nice voices, bass and drums. Let them in and come up with a name. Other than that, dude you are golden and going to make lots of money.
Keane though really rocked Constitution Hall, which is not suited for this kind of show at all. Kean brought a simple stage set up with no screens or anything like that. They didn't need it, the whole band is charismatic. They were just straight up fun to watch. I was transfixed much like my father was during Heart. In 72 hours I went from seeing a band a bit past its prime, just doing shows for fun, to seeing bands that are still fresh, young, and having to fight for fans. Might I add that initially at the Keane show, I felt old and out of place. Then I noticed a 40-something man singing his heart out the next section over, and below me a 40-something woman basically doing her impression of Joan of Arc from "Bill and Ted's Excellent Adventure" throughout the whole show. This made me feel better.
Nothing against my friend Beth at all, but the tickets were initially to be for my girlfriend and I to attend, with Keane being one of her favorite bands. I did find myself enjoying this concert a little differently due to company. Beth is a great concert partner and always will be. This was to be my girlfriends second concert; her first was the George Clinton mega-show. I think I would have seen this show through fresher eyes, had I been with a concert noobie and a really big Keane fan. Beth found herself enjoying the groups and discovering them the same way I did. The concert really isn't just about who is playing, but with whom you are sharing. The music is an experience and Keane was one of the first things my darling girlfriend and I shared. It would be a slight if I didn't mention this point in this blog entry. I'm truly grateful Beth came along, as it would have killed me to waste a ticket and Beth is always a lot of fun, and open minded and flexible to whatever we're going to see. But I cannot deny that I was thinking how the show might have been different to me if Melanie had attended.
With that, I sign off for the night. "High Voltage" has played out and the arm on the old Pioneer phonograph has retracted. I leave you tonight with a video of Keane from DAR Constitution Hall, doing my favorite song by them, "Somewhere Only We Know". Have a good night. This one's for you ;-) Enjoy the girl singing terribly out of tune at the start, but who cares, everyone in the building was on cloud nine by this point.
Monday, November 17, 2008
Who Made Who, Who Made You
Greetings my friends. I hope this entry as usual finds you in good health and spirit. This blog entry is a recap of the weekend plus an update on future musical happenings with me so it could get a little lengthy.
Saturday night, after enjoying a cheeseburger and a fine German-style märzen microbrew, Laura, Sarah Jo, and I stumbled our way over to the sold out Verizon Center, in Washignton, DC for the AC/DC "Black Ice Tour". I heard the mumblings of the opening act while in the tee-shirt line. "The Answer" didn't sound too bad, so no harsh review from me there. I would have liked to hear them but I conceded with the ladies to head over late and then once I saw the shirts, I just had to have one...or three.
So AC/DC starts the show with an amazingly well crafted, witty animation of the band on a train and its speeding out of control, with none other than a demonized Angus Young piling the coal into the boiler, followed with a brief spot of implying Brian Johnson receiving oral sex on the train. I was proud of the parents who brought their seven year old sons to this show, who were in front of us. Anyways, no moral commentary, we're here to rock. So as the train powers its way to its climax, the screen splits and a giant replica steam locomotive explodes onto stage with pyro and fireworks, and of course, devil horns.
AC/DC runs out and slams into "Rock 'n' Roll Train" from their new album. From there, it was just relentless. Angus's striptease to "The Jack", a crowd sing-along to "You Shook Me All Night Long" and "Back in Black", I was glad I stayed sober for this show as I think they would have killed me. This was again, a highly emotional show for me. I can't tell you how much I like these guys. They never changed their sound, they played their cards right business wise and after 35 years, 28 with Brian Johnson singing, are still kicking ass. "Let There Be Rock" accompanied an extensive solo by Angus Young, where we were treated to see his amazing one hand playing technique, where he holds the fret with his index finger, and strums with the middle finger. I also took a solo on Laura's leg at this point. HA! After leaving stage, and a solid 3 minutes of crowd roar that was just as deafening as the band, a trap door opens and red smoke puffs out, and slowly rises from it is Angus, wearing his trademark devil horns. Once out of the pit, he slams into "Highway To Hell". The crowd, now frothing at the mouth practically, gets a glimpse of 6 cannons lined up across the stage, they just showed up there. You didn't see them roll out or anything. We're totally aware now with what they intend to close the show. "For Those About to Rock! FIRE *insanely loud cannon fire and pyro* We Salute You!". Just an insane set closed with the rock anthem that defines the band. They give back to the audience exactly what they are given. An amazing show. That's all I can say.
So this brings me to the appeal of AC/DC. Its not like the lyrics are deep, but its the composition style, and the fact that they are one of the last blues and riff driven rock bands left. Their composition style always starts with the guitar riff, then the bass, then the lyrics and melody. They build in a different way, and can be an acquired taste. This blues basis, though sometimes not seen due to their powerful playing is reflected in the fact that before they started playing, they were playing old blues recordings from the 1940's and 50's. All with dominant guitar riffs. Just more proof of my theory that bands define themselves by the music of others that they play before performing.
So now with no rock concerts until January with The Killers, we focus on some more tame topics. I have agreed to take on a production of "A Funny Thing Happened on the Way to Forum" at Howard Community College. This is the first time I've done a musical for this much money and it has me a ltitle worried but you know, I just have to have faith in my talent and experience.
This weekend is also looking busy, as the quintet will be playing in a benefit concert for cancer at a church in Pasadena, MD, and then playing in the UMBC Symphony Concert. It will be a chop busting weekend witht he potential to be the most rewarding musical work I've ever done.
I will be going to see "Dr Atomic" by John Adams this Wednesday night. It will be a rebroadcast of the Met's production. Which reminds me, I went to see "Norma" by Bellini this past week. It was so sad, I didn't expect an early Romantic Italian opera to hit me so hard. I almost cried in front of Sarah Jane. Crying in front of a girl at an opera could be disastrous.
And to close up, again, the work party planning committee has commissioned me write up the musical entertainment for the night. Sigh. Gone are the days of just attending and enjoying the company.
Also friends, check out Orange Album Project on iTunes!!! Its been released! Keep an eye also for a review of the new album by Killers.
Well good night friends, and as Bon Scott once said "Lets there be lights, drums, guitar...LET THERE BE ROCK!"
Saturday night, after enjoying a cheeseburger and a fine German-style märzen microbrew, Laura, Sarah Jo, and I stumbled our way over to the sold out Verizon Center, in Washignton, DC for the AC/DC "Black Ice Tour". I heard the mumblings of the opening act while in the tee-shirt line. "The Answer" didn't sound too bad, so no harsh review from me there. I would have liked to hear them but I conceded with the ladies to head over late and then once I saw the shirts, I just had to have one...or three.
So AC/DC starts the show with an amazingly well crafted, witty animation of the band on a train and its speeding out of control, with none other than a demonized Angus Young piling the coal into the boiler, followed with a brief spot of implying Brian Johnson receiving oral sex on the train. I was proud of the parents who brought their seven year old sons to this show, who were in front of us. Anyways, no moral commentary, we're here to rock. So as the train powers its way to its climax, the screen splits and a giant replica steam locomotive explodes onto stage with pyro and fireworks, and of course, devil horns.
AC/DC runs out and slams into "Rock 'n' Roll Train" from their new album. From there, it was just relentless. Angus's striptease to "The Jack", a crowd sing-along to "You Shook Me All Night Long" and "Back in Black", I was glad I stayed sober for this show as I think they would have killed me. This was again, a highly emotional show for me. I can't tell you how much I like these guys. They never changed their sound, they played their cards right business wise and after 35 years, 28 with Brian Johnson singing, are still kicking ass. "Let There Be Rock" accompanied an extensive solo by Angus Young, where we were treated to see his amazing one hand playing technique, where he holds the fret with his index finger, and strums with the middle finger. I also took a solo on Laura's leg at this point. HA! After leaving stage, and a solid 3 minutes of crowd roar that was just as deafening as the band, a trap door opens and red smoke puffs out, and slowly rises from it is Angus, wearing his trademark devil horns. Once out of the pit, he slams into "Highway To Hell". The crowd, now frothing at the mouth practically, gets a glimpse of 6 cannons lined up across the stage, they just showed up there. You didn't see them roll out or anything. We're totally aware now with what they intend to close the show. "For Those About to Rock! FIRE *insanely loud cannon fire and pyro* We Salute You!". Just an insane set closed with the rock anthem that defines the band. They give back to the audience exactly what they are given. An amazing show. That's all I can say.
So this brings me to the appeal of AC/DC. Its not like the lyrics are deep, but its the composition style, and the fact that they are one of the last blues and riff driven rock bands left. Their composition style always starts with the guitar riff, then the bass, then the lyrics and melody. They build in a different way, and can be an acquired taste. This blues basis, though sometimes not seen due to their powerful playing is reflected in the fact that before they started playing, they were playing old blues recordings from the 1940's and 50's. All with dominant guitar riffs. Just more proof of my theory that bands define themselves by the music of others that they play before performing.
So now with no rock concerts until January with The Killers, we focus on some more tame topics. I have agreed to take on a production of "A Funny Thing Happened on the Way to Forum" at Howard Community College. This is the first time I've done a musical for this much money and it has me a ltitle worried but you know, I just have to have faith in my talent and experience.
This weekend is also looking busy, as the quintet will be playing in a benefit concert for cancer at a church in Pasadena, MD, and then playing in the UMBC Symphony Concert. It will be a chop busting weekend witht he potential to be the most rewarding musical work I've ever done.
I will be going to see "Dr Atomic" by John Adams this Wednesday night. It will be a rebroadcast of the Met's production. Which reminds me, I went to see "Norma" by Bellini this past week. It was so sad, I didn't expect an early Romantic Italian opera to hit me so hard. I almost cried in front of Sarah Jane. Crying in front of a girl at an opera could be disastrous.
And to close up, again, the work party planning committee has commissioned me write up the musical entertainment for the night. Sigh. Gone are the days of just attending and enjoying the company.
Also friends, check out Orange Album Project on iTunes!!! Its been released! Keep an eye also for a review of the new album by Killers.
Well good night friends, and as Bon Scott once said "Lets there be lights, drums, guitar...LET THERE BE ROCK!"
Monday, October 27, 2008
Marriage of Convenience
Good evening friends, I hope things find you harmonious tonight. This secular musical missal will be on the topic of the new AC/DC album, "Black Ice". This is their newest album, just released last Monday. It was a Walmart only release though I did see a few copies being sold in Record and Tape Traders.
The album starts out with their new single, "Rock 'n' Roll Train". I like this song quite a bit. Standard AC/DC fair. All the songs on here are standard AC/DC. Never leave the formula because it works too well. But there is a glaring issue with this album.
The album is 15 tracks long. AC/DC albums are normally between 5-10 tracks. They are normally concise and they pack a harder punch. I can't but help blame Walmart for this. I can't imagine Walmart saying we want the exclusive rights to your album, but you can make it however you want. I believe Walmart told AC/DC to stretch the album to be over an hour, otherwise they won't sell it for the already low price of $11.88. Some of the guitar licks aren't strong enough to carry an album. I imagine the original album looked like this:
1. Rock 'n' Roll Train
2. Big Jack
3. Anything Goes
4. War Machine
5. Smash 'n Grab
6. Stormy May Day
7. Black Ice
Then Walmart saw that was only 45 minutes and said "Oh no no no, we're about giving our customers value!" and thus AC/DC, to keep the massive distribution machine that is Walmart on board, went back in the studio and wrote and recorded some songs that are almost cliche versions of the band's style. This really broke my heart. I knew there would be something fishy with this album, but with how good the last Journey album was, which was a Walmart exclusive, I had hopes for the AC/DC album to potentially be a reincarnation of "Back in Black" or "Dirty Deeds Done Dirt Cheap". but instead its a really strong AC/DC album with pop filler mixed in.
When compared to other AC/DC albums I don't think this one is as strong, but simply because its watered down. Based on the tracks above only, I'd rate it this way:
Uniqueness: 9 - no one can sound like AC/DC
Composition: 6.5 - They're missing an epic anthem, such as For Those about to Rock or Let there be Rock
Vocals: 9 - Brian Johnson drops out of his howl a few times to sing and have a more smokey, jazz voice. Its refreshing.
Instrumental: 7 - You have to wait awhile before you get a guitar solo in this album
Value: 10 - I can't argue with $11.88
But with the album in its current released, bloated state, I'd rate it like this:
Uniqueness: 6 - the style gets a bit dry.
Composition: 5.5 - some sound like they were written to fill time, not our mind
Vocals: - 9
Instrumental: 5 - You have to wait even longer for a guitar solo
Value: 6 - I'd take fewer tracks for a better feeling of completion at this price.
There you have it, the long awaited review of the new album, "Black Ice". In one week I will be seeing The Who. I know you're jealous. I'll be sure to write all about it.
Be good my friends. In the spirit of upcoming events, I quote Roger Daultry with, "Why don't you all f-fade away (Talkin' 'bout my generation)
And don't try to d-dig what we all s-s-say (Talkin' 'bout my generation)"
Be good to yourself.
The album starts out with their new single, "Rock 'n' Roll Train". I like this song quite a bit. Standard AC/DC fair. All the songs on here are standard AC/DC. Never leave the formula because it works too well. But there is a glaring issue with this album.
The album is 15 tracks long. AC/DC albums are normally between 5-10 tracks. They are normally concise and they pack a harder punch. I can't but help blame Walmart for this. I can't imagine Walmart saying we want the exclusive rights to your album, but you can make it however you want. I believe Walmart told AC/DC to stretch the album to be over an hour, otherwise they won't sell it for the already low price of $11.88. Some of the guitar licks aren't strong enough to carry an album. I imagine the original album looked like this:
1. Rock 'n' Roll Train
2. Big Jack
3. Anything Goes
4. War Machine
5. Smash 'n Grab
6. Stormy May Day
7. Black Ice
Then Walmart saw that was only 45 minutes and said "Oh no no no, we're about giving our customers value!" and thus AC/DC, to keep the massive distribution machine that is Walmart on board, went back in the studio and wrote and recorded some songs that are almost cliche versions of the band's style. This really broke my heart. I knew there would be something fishy with this album, but with how good the last Journey album was, which was a Walmart exclusive, I had hopes for the AC/DC album to potentially be a reincarnation of "Back in Black" or "Dirty Deeds Done Dirt Cheap". but instead its a really strong AC/DC album with pop filler mixed in.
When compared to other AC/DC albums I don't think this one is as strong, but simply because its watered down. Based on the tracks above only, I'd rate it this way:
Uniqueness: 9 - no one can sound like AC/DC
Composition: 6.5 - They're missing an epic anthem, such as For Those about to Rock or Let there be Rock
Vocals: 9 - Brian Johnson drops out of his howl a few times to sing and have a more smokey, jazz voice. Its refreshing.
Instrumental: 7 - You have to wait awhile before you get a guitar solo in this album
Value: 10 - I can't argue with $11.88
But with the album in its current released, bloated state, I'd rate it like this:
Uniqueness: 6 - the style gets a bit dry.
Composition: 5.5 - some sound like they were written to fill time, not our mind
Vocals: - 9
Instrumental: 5 - You have to wait even longer for a guitar solo
Value: 6 - I'd take fewer tracks for a better feeling of completion at this price.
There you have it, the long awaited review of the new album, "Black Ice". In one week I will be seeing The Who. I know you're jealous. I'll be sure to write all about it.
Be good my friends. In the spirit of upcoming events, I quote Roger Daultry with, "Why don't you all f-fade away (Talkin' 'bout my generation)
And don't try to d-dig what we all s-s-say (Talkin' 'bout my generation)"
Be good to yourself.
Saturday, October 18, 2008
The ways of the young trumpet in the symphony
Hello friends. I hope you all are well as I write to you at an earlier time than normal, as I finally have some peace and quiet to concentrate with my Tomita CD of Debussy classics playing, creating an atmosphere perfect for (pro)creation.
This entry is a bit to let off a little steam from orchestra rehearsal this week, as I learn more and more not to trust the dynamic markings from the composer. We are currently working on Beethoven's Seventh symphony, as I have mentioned in previous entries in this blog. Beethoven is an interesting beast to try and tackle for the young trumpeter in a symphony. All dynamics are normally forte or fortissimo yet most of the time you shouldn't be heard above a whisper. Never mind, the first parts are normally fairly high. He lets you play out a little more than Mozart does but never really to where you feel comfortable or confident. So here's a chart I devised to translate Beethoven's dynamics to trumpet:
fortissimo - mezzo forte at most, you're part of the collective timbre, keep your bell in the stand, don't project
forte - mezzo piano, not important, you're keeping the time and place, keep your bell in the stand, don't project
mezzo forte - why bother playing, the conductor won't be able to tell if you are or not.
mezzo piano - ditto
piano or pianissimo - This means the part is soft over all and its probably more exposed than you wish and you're going to screw up this part. Also you're probably in unison with tympani, better pray they can count. Don't forget your horn is cold from sitting there for 600 bars while the strings saw their way through the development of the sonata. That section is in another key that the trumpets of the time couldn't play in. You are wishing for those days to come back.
On the other side of the spectrum, we are also working on Finlandia by Jean Sibelius. This we almost can't be too loud. My only fear is that I'm playing second, so I'm trying not to over step my stand my stand partner so she can learn to build up her volume and power. Shes got it, just needs to not be shy about it. So heres a chart for Finlandia:
fortissimo - as loud as you can be to blend with the trombone, looking for a pipe organ sound
forte - is the signature fanfare that repeats, tastefully in the front
mezzo forte - not existant
mezzo piano - n/a
piano - n/a
pianissimo - Only there once, so you can crescendo to fortissimo in 4 beats to fortissimo with the low brass.
Well as I sit here on the eve of AC/DC's new album and a quick jaunt to the beach by myself to get my wits together, I'm now listening, to Keane's new album. I'm a bit disappointed as I don't like the 80's pop sound their new producer gave to them, I liked their older more raw piano and drums sound. They have a fuller sound to them now. But don't get me wrong, I still like them and I like this album, and I'm glad Tom Chaplin seems to have gotten his life back together after his stint in rehab. The thing though is I have a feeling these guys are a little younger than me, so I am doubting they are old enough to have experienced 80's music when it happened, and I think that is where the rub is with this album. I'm not saying I am old enough either, since I was born in 1980, I was like 3 with Michael Jackson's Thriller, so I couldn't do an 80's sound either without it sounding more like a mocking. This album puts me in fear with the Killers new album considering they hired the same producer and will also have an 80s touch to it. Though the Killers did pretty well, I think, with the Springsteen inspired "Sam's Town".
Have a good weekend my pals, and I will catch you on the other side of my mini vacation.
This entry is a bit to let off a little steam from orchestra rehearsal this week, as I learn more and more not to trust the dynamic markings from the composer. We are currently working on Beethoven's Seventh symphony, as I have mentioned in previous entries in this blog. Beethoven is an interesting beast to try and tackle for the young trumpeter in a symphony. All dynamics are normally forte or fortissimo yet most of the time you shouldn't be heard above a whisper. Never mind, the first parts are normally fairly high. He lets you play out a little more than Mozart does but never really to where you feel comfortable or confident. So here's a chart I devised to translate Beethoven's dynamics to trumpet:
fortissimo - mezzo forte at most, you're part of the collective timbre, keep your bell in the stand, don't project
forte - mezzo piano, not important, you're keeping the time and place, keep your bell in the stand, don't project
mezzo forte - why bother playing, the conductor won't be able to tell if you are or not.
mezzo piano - ditto
piano or pianissimo - This means the part is soft over all and its probably more exposed than you wish and you're going to screw up this part. Also you're probably in unison with tympani, better pray they can count. Don't forget your horn is cold from sitting there for 600 bars while the strings saw their way through the development of the sonata. That section is in another key that the trumpets of the time couldn't play in. You are wishing for those days to come back.
On the other side of the spectrum, we are also working on Finlandia by Jean Sibelius. This we almost can't be too loud. My only fear is that I'm playing second, so I'm trying not to over step my stand my stand partner so she can learn to build up her volume and power. Shes got it, just needs to not be shy about it. So heres a chart for Finlandia:
fortissimo - as loud as you can be to blend with the trombone, looking for a pipe organ sound
forte - is the signature fanfare that repeats, tastefully in the front
mezzo forte - not existant
mezzo piano - n/a
piano - n/a
pianissimo - Only there once, so you can crescendo to fortissimo in 4 beats to fortissimo with the low brass.
Well as I sit here on the eve of AC/DC's new album and a quick jaunt to the beach by myself to get my wits together, I'm now listening, to Keane's new album. I'm a bit disappointed as I don't like the 80's pop sound their new producer gave to them, I liked their older more raw piano and drums sound. They have a fuller sound to them now. But don't get me wrong, I still like them and I like this album, and I'm glad Tom Chaplin seems to have gotten his life back together after his stint in rehab. The thing though is I have a feeling these guys are a little younger than me, so I am doubting they are old enough to have experienced 80's music when it happened, and I think that is where the rub is with this album. I'm not saying I am old enough either, since I was born in 1980, I was like 3 with Michael Jackson's Thriller, so I couldn't do an 80's sound either without it sounding more like a mocking. This album puts me in fear with the Killers new album considering they hired the same producer and will also have an 80s touch to it. Though the Killers did pretty well, I think, with the Springsteen inspired "Sam's Town".
Have a good weekend my pals, and I will catch you on the other side of my mini vacation.
Monday, September 29, 2008
Album of Arbitrary Time Period
Hello my good friends. I hope this entry finds you in a good time in your life, health and spirituality. This entry is going to be pretty short as I covered so much in the last entry. I am writing because I did pick up the new album by Dragonforce. "Ultra Beatdown". Dragonforce is one of those guilty pleasures, thanks to their uplifting yet power metal sound. The easiest way to describe them is if Journey and Slayer formed to make some sort of super group.
This album showed a most definite progression in the band. Sure they still play fast but there's a lyricism in it now as the group matures. The keyboards are bit more prominent and another excellent metal ballad (a forgotten art these days, the power ballad) graces this album. Overall, I think they still have a lot of room to grow, composition wise, as their songs still sometimes sound the same. If you're looking for a happy album, but still want to get your metal on, Dragonforce's "Ultra Beatdown" is the way to go.
Summary
Uniqueness: 8
Composition: 7
Vocals: 8
Instrumental: 9
Value: 8
OVERALL: 8.5
Just as a side note, also on that shopping trip, I picked up Rock Band 2 and some vinyl. Rock Band 2 is of course, cool. Great song selection. And if you own Rock Band 1, you can download just about all the tracks for $5 from the original disc. Also all your downloaded tracks still work in Rock Band 2.
As for the vinyl I bought, I found some great stuff, as I bulk up my AC/DC and Journey vinyl collection. I even found my favorite Journey album, "Frontiers" which features "Separate Ways" and "Open Arms". I also found Queen's "Jazz" album. Very cool. I love Bicycle Race. Its interesting that the cuts on that album are slightly different than the ones on the Queen's Greatest Hits album.
Alright my friends, I wish you a good night. Please, October 5th at the Catonsville Library, 2pm. The brass quintet will be rockin' the house! No cover. We'll have treats! Let me know if you need directions!!!
This album showed a most definite progression in the band. Sure they still play fast but there's a lyricism in it now as the group matures. The keyboards are bit more prominent and another excellent metal ballad (a forgotten art these days, the power ballad) graces this album. Overall, I think they still have a lot of room to grow, composition wise, as their songs still sometimes sound the same. If you're looking for a happy album, but still want to get your metal on, Dragonforce's "Ultra Beatdown" is the way to go.
Summary
Uniqueness: 8
Composition: 7
Vocals: 8
Instrumental: 9
Value: 8
OVERALL: 8.5
Just as a side note, also on that shopping trip, I picked up Rock Band 2 and some vinyl. Rock Band 2 is of course, cool. Great song selection. And if you own Rock Band 1, you can download just about all the tracks for $5 from the original disc. Also all your downloaded tracks still work in Rock Band 2.
As for the vinyl I bought, I found some great stuff, as I bulk up my AC/DC and Journey vinyl collection. I even found my favorite Journey album, "Frontiers" which features "Separate Ways" and "Open Arms". I also found Queen's "Jazz" album. Very cool. I love Bicycle Race. Its interesting that the cuts on that album are slightly different than the ones on the Queen's Greatest Hits album.
Alright my friends, I wish you a good night. Please, October 5th at the Catonsville Library, 2pm. The brass quintet will be rockin' the house! No cover. We'll have treats! Let me know if you need directions!!!
Tuesday, September 23, 2008
Fall is the new Spring
Hello loyal readers. I hope this blog finds everyone in good spirit. This entry is about how I find myself surrounded in all sorts of musical happenings this time of year.
The UMBC Symphony has started up again. On our first concert it appears we will be playing Beethoven's 7th, Finlandia by Sibelius, and Selections from Carmen, and Mother Goose Suite. A lot of work, especially the Beethoven which is surprisingly chop busting. The good thing is that so far, its got my transposing chops back in shape! Beethoven is Trumpet in D, and Finlandia is Trumpet in F.
On the quintet front, I finished an arrangement of Money by Pink Floyd which will work nicely to demonstrate the concept of a head sheet in jazz. Our set for October's library Jazz gig (October 5th, 2pm you better be there) is shaping up to be very diverse, with a nice surprise ending. We plan to be educational and entertaining like our Christmas show, which we aren't booked for yet!
On the rock concert itinerary, things are very exciting as I will get to scratch two more acts off my list of "Bands to see before I die". Here's that list, by the way, with stars next to acts I have seen or tickets to see them. Please remember this is of all time so some acts could already be deceased.
10. Miles Davis
9. Queen with Freddie Mercury
8. Maynard Ferguson *
7. Dave Brubeck
6. Iron Maiden *
5. Journey *
4. Ozzy Osborne *
3. AC/DC *
2. The Who *
1. Pink Floyd
So that's right, if you've been paying attention to the Baltimore/Washington concert schedule, AC/DC and the Who are both coming to town in November, and I have tickets to both shows. This Saturday morning, after a very close call, I did score some tickets to AC/DC in the upper deck of the Verizon Center. I am already excited for that show. Luckily some friends had promised that no matter the price, if AC/DC came close, we would go. For $92.50 plus fees for each ticket and relatively short notice of the concert, we are lucky to have seats. Also to add, as a general rule of thumb, the ticketmaster "best available" search does not lie. The Who tickets I bought as a knee jerk reflex. I had no one to go with, I just dropped the $80 plus a piece and decided I'd either find a friend willing to repay or take my mom, as she has not been to a real rock concert since James Brown in early 60's. Mom is super excited to say the least. We've been warming her up on Several Species, a local Pink Floyd tribute group.
There's also some new albums on the horizon. AC/DC, The Killers, Keane, and Queen all have new albums due out in October or November. I'm not pleased that AC/DC is a Wal-Mart exclusive, but that is the trend in business, and I will be there October 20th, probably after work, to pick up my copy. The single, "Rock 'n' Roll Train", is definitely good, and really doesn't sound like they've dropped a step. The Killers and Keane have both teamed up with famed producer Stuart Price to produce their new albums. This definitely got me a little too excited for such pop rock. I love the Killers semi-retro sound, and I just love Keane's driving ballads and lead singers fully, billowy voice. The Queen album, I am nervous about, as I am not a fan of Paul Rogers' voice. I still miss Mr Mercury to this day, but I can't hold it against Queen, and I will certainly buy the album, to hear the instrumental work alone.
The immediate future holds the Renaissance Faire in Crownsville, MD. There's always plenty of interesting music acts at this thing, and normally at least one hidden gem, such as E Muzeki, who was doing covers of classic rock on traditional Greek and eastern instruments. If I find anything I'll report back of course right here.
Well my friends, enough rambling from me. May your ticket convenience fees be low! Good night.
The UMBC Symphony has started up again. On our first concert it appears we will be playing Beethoven's 7th, Finlandia by Sibelius, and Selections from Carmen, and Mother Goose Suite. A lot of work, especially the Beethoven which is surprisingly chop busting. The good thing is that so far, its got my transposing chops back in shape! Beethoven is Trumpet in D, and Finlandia is Trumpet in F.
On the quintet front, I finished an arrangement of Money by Pink Floyd which will work nicely to demonstrate the concept of a head sheet in jazz. Our set for October's library Jazz gig (October 5th, 2pm you better be there) is shaping up to be very diverse, with a nice surprise ending. We plan to be educational and entertaining like our Christmas show, which we aren't booked for yet!
On the rock concert itinerary, things are very exciting as I will get to scratch two more acts off my list of "Bands to see before I die". Here's that list, by the way, with stars next to acts I have seen or tickets to see them. Please remember this is of all time so some acts could already be deceased.
10. Miles Davis
9. Queen with Freddie Mercury
8. Maynard Ferguson *
7. Dave Brubeck
6. Iron Maiden *
5. Journey *
4. Ozzy Osborne *
3. AC/DC *
2. The Who *
1. Pink Floyd
So that's right, if you've been paying attention to the Baltimore/Washington concert schedule, AC/DC and the Who are both coming to town in November, and I have tickets to both shows. This Saturday morning, after a very close call, I did score some tickets to AC/DC in the upper deck of the Verizon Center. I am already excited for that show. Luckily some friends had promised that no matter the price, if AC/DC came close, we would go. For $92.50 plus fees for each ticket and relatively short notice of the concert, we are lucky to have seats. Also to add, as a general rule of thumb, the ticketmaster "best available" search does not lie. The Who tickets I bought as a knee jerk reflex. I had no one to go with, I just dropped the $80 plus a piece and decided I'd either find a friend willing to repay or take my mom, as she has not been to a real rock concert since James Brown in early 60's. Mom is super excited to say the least. We've been warming her up on Several Species, a local Pink Floyd tribute group.
There's also some new albums on the horizon. AC/DC, The Killers, Keane, and Queen all have new albums due out in October or November. I'm not pleased that AC/DC is a Wal-Mart exclusive, but that is the trend in business, and I will be there October 20th, probably after work, to pick up my copy. The single, "Rock 'n' Roll Train", is definitely good, and really doesn't sound like they've dropped a step. The Killers and Keane have both teamed up with famed producer Stuart Price to produce their new albums. This definitely got me a little too excited for such pop rock. I love the Killers semi-retro sound, and I just love Keane's driving ballads and lead singers fully, billowy voice. The Queen album, I am nervous about, as I am not a fan of Paul Rogers' voice. I still miss Mr Mercury to this day, but I can't hold it against Queen, and I will certainly buy the album, to hear the instrumental work alone.
The immediate future holds the Renaissance Faire in Crownsville, MD. There's always plenty of interesting music acts at this thing, and normally at least one hidden gem, such as E Muzeki, who was doing covers of classic rock on traditional Greek and eastern instruments. If I find anything I'll report back of course right here.
Well my friends, enough rambling from me. May your ticket convenience fees be low! Good night.
Tuesday, June 24, 2008
Taking Inventory
Salutations to all my readers this evening. Tonights topic is more of just an observation on my music purchasing habits. As many of you know I am about to take a trip to the Greater Boston area. One of the great music towns in the United States and the World. So many great bands, such as Boston, Aerosmith, and of course, Dreamtheater, all started there. Not to mention their world class symphony that has been home to many of the worlds finest conductors, and defined the standard for a pops orchestra with Mr Arther Fiedler and his relation with Leroy Anderson. So needless to say, I'm excited.
In preparation for this trip, I have put in a rush job of getting just about every CD I own on to my iPod. This of course causes me to go through my CD collection and I noticed a few patterns.
First pattern is change. My CD collection has changed from being classically oriented to being rock oriented. I own more Pink Floyd than any other band, with a tie between AC/DC, The Killers, and Boston's own Dreamtheater. I must admit my connection to the public library is where a majority of my music on the iPod has come from. Which is why I actually have almost every AC/DC album on my iPod, and my dad has been the source of the Pink Floyd albums I don't personally own. For the record, between him and I, the only non-compilation album by them we don't own is Atomic Mother.
Second observation is that with a couple bands, I have copped and simply own "Greatest hits" albums. I am embarrassed that the only album by Judas Priest, Queen, and Nightwish that I have is a "greatest hits". I also own Journey's Greatest Hits and their newest album, Revelation. I am proud though these are not bands known for concept album work, so its not like a Pink Floyd greatest hits album that makes you pretty much miss the actual message of the band. I would consider these bands to be more fluff content, though very enjoyable.
The third thing that caught my attention was the size of my jazz collection currently. I have more than I thought, though again, a lot of it are bargain bin compilations, such as Sinatra's Capitol Record's years, and the greatest of Cab Calloway. I do own "Kind of Blue" but I have never listened to my copy of it. Theres a good chance I never will. I also owned "Time Out" at some point by Dave Brubeck Quartet, but I can't find it. I must say I have a taste for the latin jazz, as the genre shows up the most, with The Best of Perez Prado (the guy who wrote the real Mambo no. 5), Tito Puente "Live at Grossinger's", and Jesus Alemany's "Cubanismo".
The fourth and final main observation for the night is an odd one. My classical collection has some quirks. The most owned time period is actually French Impressionist Orchestral works. Saint-Saens, Dukas, Satie, namely. The next is actually the 1812 Overture, specifically. I have about 5 different recordings I believe, including one recorded with period muzzle-load cannons. The brands of choice are Deutsch-Gramophone and RCA Victor. My iPod though will probablt be the only one you find though that contains at least one Mahler symphony, and two Bruckner Symphonies. I love the brass. My most prized recordings are vintage re-masterings of the Dvorak's New World Symphony by the Chicago Symphony with Fritz Reiner at the helm, and the Pines of Rome with the same set up. Both are awe inspiring albums and every brass player should listen to. Every musician should take a listen, its something to aim towards one day.
I wish you kind folks good night and I leave you with this sad last short observation of my CD collection. I have at least one CD that has "A Fifth of Beethoven" by Walter Murphy (of Family Guy fame) but I do not own a single recording of Beethoven's Fifth Symphony in C minor. Sad.
Good night.
In preparation for this trip, I have put in a rush job of getting just about every CD I own on to my iPod. This of course causes me to go through my CD collection and I noticed a few patterns.
First pattern is change. My CD collection has changed from being classically oriented to being rock oriented. I own more Pink Floyd than any other band, with a tie between AC/DC, The Killers, and Boston's own Dreamtheater. I must admit my connection to the public library is where a majority of my music on the iPod has come from. Which is why I actually have almost every AC/DC album on my iPod, and my dad has been the source of the Pink Floyd albums I don't personally own. For the record, between him and I, the only non-compilation album by them we don't own is Atomic Mother.
Second observation is that with a couple bands, I have copped and simply own "Greatest hits" albums. I am embarrassed that the only album by Judas Priest, Queen, and Nightwish that I have is a "greatest hits". I also own Journey's Greatest Hits and their newest album, Revelation. I am proud though these are not bands known for concept album work, so its not like a Pink Floyd greatest hits album that makes you pretty much miss the actual message of the band. I would consider these bands to be more fluff content, though very enjoyable.
The third thing that caught my attention was the size of my jazz collection currently. I have more than I thought, though again, a lot of it are bargain bin compilations, such as Sinatra's Capitol Record's years, and the greatest of Cab Calloway. I do own "Kind of Blue" but I have never listened to my copy of it. Theres a good chance I never will. I also owned "Time Out" at some point by Dave Brubeck Quartet, but I can't find it. I must say I have a taste for the latin jazz, as the genre shows up the most, with The Best of Perez Prado (the guy who wrote the real Mambo no. 5), Tito Puente "Live at Grossinger's", and Jesus Alemany's "Cubanismo".
The fourth and final main observation for the night is an odd one. My classical collection has some quirks. The most owned time period is actually French Impressionist Orchestral works. Saint-Saens, Dukas, Satie, namely. The next is actually the 1812 Overture, specifically. I have about 5 different recordings I believe, including one recorded with period muzzle-load cannons. The brands of choice are Deutsch-Gramophone and RCA Victor. My iPod though will probablt be the only one you find though that contains at least one Mahler symphony, and two Bruckner Symphonies. I love the brass. My most prized recordings are vintage re-masterings of the Dvorak's New World Symphony by the Chicago Symphony with Fritz Reiner at the helm, and the Pines of Rome with the same set up. Both are awe inspiring albums and every brass player should listen to. Every musician should take a listen, its something to aim towards one day.
I wish you kind folks good night and I leave you with this sad last short observation of my CD collection. I have at least one CD that has "A Fifth of Beethoven" by Walter Murphy (of Family Guy fame) but I do not own a single recording of Beethoven's Fifth Symphony in C minor. Sad.
Good night.
Tuesday, June 3, 2008
Never stopped believin'
Friends I write this blog to you in the light of the new word. This word is of Journey, the new lead singer Arnel Pineda, and their new album Revelation. I did not think this band would ever bring themselves back after Steve Perry leaving ten years ago. His voice and song writing skills were almost on a Freddie Mercury level. With Neal Schon now doing most of the songwriting, the guitar is a little heavier, and their sound has made the jump to the new millennium but they're still 100% Journey at heart. I found myself on the second listen singing along. The CD is a great investment as well. Disk 1 is new material, Disk 2 is Arnel singing classic Journey songs, and then the concert DVD. The DVD is an hour long and contains the new line up performing new and old Journey hits.
On a totally unrelated note, I did attend my first opera about 1 month ago. I saw the Baltimore Opera Company put on Madame Butterfly. I have to tell you I really enjoyed the multimedia experience. I have listened to many operas on the radio and CD but never seen one performed. Its quite an experience. But with that I must present my review.
I enjoyed the overall presentation. They used projections instead of a mostly real set. The projections went from being abstract, pseudo-Japanese art prints (tacky flowered wallpaper), to being overly blunt ( a ship sailing straight at the audience and Butterfly belts her heart out). I will not bash the end of the first act fading to a starry night as Pinkerton completes his seduction of Butterfly. The use of projection was not wise, though. The projections were projected from the house, meaning anyone who stood on the stage were covered by the images, wiping out the quite nice costuming. There were also numerous technical difficulties with the projector, which is not good considering its the last dress rehearsal before they charged ($125 I believe was the cheapest seat) people to see them.
The orchestra, overall, was quite good. There were times where the phrasing could have been slowed for dramatic pause and more chances to allow applause would have been nice. Some tempi seemed rushed. I also had huge issue of only one intermission. They took the intermission after act 1, but not after act 2, and they proceed to still play the prelude to act 3, which felt like an out of place intermezzo for 15 minutes of serious music. It took me about 6 minutes into it to recognize that this is what they did. I did not like that at all.
The blocking of the production was quite awkward as well, sometimes there were extras on stage you couldn't quite understand what they were still doing there and looked bored on stage. Then you had off stage singing when the character should have been on stage. Worst of all, Butterfly tells her son to go play in the garden so she can kill herself. He goes to the opposite side of the stage from Pinkerton's American bride who is waiting in the garden. He then proceeds to walk in a circle waving an American flag while his mom kills herself with the same sword her father used to kill himself. It was very uncomfortable to watch.
Though my review sounds negative, it was a positive musical experience for me to witness how an opera is put on live and the singing, overall was quite nice. Just a lot of the issues I had were things that a group with such high standards should have taken care of, since they charge so much. This isn't a community group putting on Gilbert and Sullivan, this is a city's representation and contribution to the arts. I may have too high of standards since i do like to watch the Metropolitan Opera on public television.
I must discuss one more thing. The other night I was giving my close friend Steve a ride home from a party and he asked me a very difficult question, which in the 10 minute ride home I could not fully answer. Since Steve recently embarrassingly admitted to reading my blog, I feel I should use this space to answer him.
Steve asked me, basically, why do I listen to what I listen to? With my odd taste in bands, what draws me to them and not others. Why metal? why progressive symphonic metal? Why AC/DC? Why Journey? There is no simple answer to this complex question and I know he understands this. I will try my best to explain. My love of metal is connected to my love of Romanticism and virtuosity. There is a certain virtuosic thing in symphonic metal combined with a composition level not found in much of pop music. Prog and symphonic metal satisfies the classical music lover in me in a rock 'n' roll way. I hear Wagner, Strauss, and Mahler in the long compositions of Dream Theater and Rush. My enjoyment of AC/DC, Judas Priest, and Iron Maiden, and those types of acts, such as Ozzy Osbourne, comes from the ability to listen and enjoy myself without the analysis stage of listening occurring. They're fun acts that have some exact musical influence that hits me deep. For example, AC/DC's guitar riffs are straight out of standard blues riffs but are put in a straight, in your face chest thumping way, along with a very distinct vocal style. Judas Priest touches on the rebellious spirit that I find myself also relating to in the music of The Clash and The Ramones. There are also bands that I listen to because I feel a certain member's talents combined with excellent songwriting skills makes them a must listen. Journey, with Steve Perry's "pipes", as my friend Andy has dubbed them, combined with their song writing and expansive chordal vocabulary makes them a group that you must at least own their greatest hits album. Iron Maiden's bass player, Steve Harris, is a fantastic bass player and does some really cool things you won't hear in other rock bands, such as small bass fills and even sections where the bass is busier than the lead guitar. That combined with some really kick ass lyrics with an in your face approach and beat, and some epic composition skills, makes them worthy of listening and mild fanaticism. These reasons I listed cover pretty much why I like every band that I do like. So to finish that off I will list for you my top 10 favorite bands, in order, for now at least.
10. Judas Priest
9. Black Sabbath (with Ozzy and Dio, but preferred Ozzy)
8. Ozzy Osbourne (solo, with Randy Rhodes, and with Zakk Wylde)
7. Iron Maiden
6. Dream Theater
5. Journey
4. Queen
3. AC/DC
2. The Killers
1. Pink Floyd
Honorable Mention: The Beatles, UFO, The Ramones, The Clash, Deep Purple, Rush, Airbourne, Avenged Sevenfold, The BeeGees, Boston
Another thing I do take into consideration is the use of concept albums, and in my opinion, Pink Floyd combines that with all the items I mentioned above; great composition skills, overflowing virtuosity, driving beats, with a rebellious and independent spirit. And as a side note, on that list, after this summer, I will have seen 6 of those top 10 bands live. I just had to rub that in.
With that my friends I bid you a good night. Remember your blanket for those lawn seats and enjoy the second hand pot.
On a totally unrelated note, I did attend my first opera about 1 month ago. I saw the Baltimore Opera Company put on Madame Butterfly. I have to tell you I really enjoyed the multimedia experience. I have listened to many operas on the radio and CD but never seen one performed. Its quite an experience. But with that I must present my review.
I enjoyed the overall presentation. They used projections instead of a mostly real set. The projections went from being abstract, pseudo-Japanese art prints (tacky flowered wallpaper), to being overly blunt ( a ship sailing straight at the audience and Butterfly belts her heart out). I will not bash the end of the first act fading to a starry night as Pinkerton completes his seduction of Butterfly. The use of projection was not wise, though. The projections were projected from the house, meaning anyone who stood on the stage were covered by the images, wiping out the quite nice costuming. There were also numerous technical difficulties with the projector, which is not good considering its the last dress rehearsal before they charged ($125 I believe was the cheapest seat) people to see them.
The orchestra, overall, was quite good. There were times where the phrasing could have been slowed for dramatic pause and more chances to allow applause would have been nice. Some tempi seemed rushed. I also had huge issue of only one intermission. They took the intermission after act 1, but not after act 2, and they proceed to still play the prelude to act 3, which felt like an out of place intermezzo for 15 minutes of serious music. It took me about 6 minutes into it to recognize that this is what they did. I did not like that at all.
The blocking of the production was quite awkward as well, sometimes there were extras on stage you couldn't quite understand what they were still doing there and looked bored on stage. Then you had off stage singing when the character should have been on stage. Worst of all, Butterfly tells her son to go play in the garden so she can kill herself. He goes to the opposite side of the stage from Pinkerton's American bride who is waiting in the garden. He then proceeds to walk in a circle waving an American flag while his mom kills herself with the same sword her father used to kill himself. It was very uncomfortable to watch.
Though my review sounds negative, it was a positive musical experience for me to witness how an opera is put on live and the singing, overall was quite nice. Just a lot of the issues I had were things that a group with such high standards should have taken care of, since they charge so much. This isn't a community group putting on Gilbert and Sullivan, this is a city's representation and contribution to the arts. I may have too high of standards since i do like to watch the Metropolitan Opera on public television.
I must discuss one more thing. The other night I was giving my close friend Steve a ride home from a party and he asked me a very difficult question, which in the 10 minute ride home I could not fully answer. Since Steve recently embarrassingly admitted to reading my blog, I feel I should use this space to answer him.
Steve asked me, basically, why do I listen to what I listen to? With my odd taste in bands, what draws me to them and not others. Why metal? why progressive symphonic metal? Why AC/DC? Why Journey? There is no simple answer to this complex question and I know he understands this. I will try my best to explain. My love of metal is connected to my love of Romanticism and virtuosity. There is a certain virtuosic thing in symphonic metal combined with a composition level not found in much of pop music. Prog and symphonic metal satisfies the classical music lover in me in a rock 'n' roll way. I hear Wagner, Strauss, and Mahler in the long compositions of Dream Theater and Rush. My enjoyment of AC/DC, Judas Priest, and Iron Maiden, and those types of acts, such as Ozzy Osbourne, comes from the ability to listen and enjoy myself without the analysis stage of listening occurring. They're fun acts that have some exact musical influence that hits me deep. For example, AC/DC's guitar riffs are straight out of standard blues riffs but are put in a straight, in your face chest thumping way, along with a very distinct vocal style. Judas Priest touches on the rebellious spirit that I find myself also relating to in the music of The Clash and The Ramones. There are also bands that I listen to because I feel a certain member's talents combined with excellent songwriting skills makes them a must listen. Journey, with Steve Perry's "pipes", as my friend Andy has dubbed them, combined with their song writing and expansive chordal vocabulary makes them a group that you must at least own their greatest hits album. Iron Maiden's bass player, Steve Harris, is a fantastic bass player and does some really cool things you won't hear in other rock bands, such as small bass fills and even sections where the bass is busier than the lead guitar. That combined with some really kick ass lyrics with an in your face approach and beat, and some epic composition skills, makes them worthy of listening and mild fanaticism. These reasons I listed cover pretty much why I like every band that I do like. So to finish that off I will list for you my top 10 favorite bands, in order, for now at least.
10. Judas Priest
9. Black Sabbath (with Ozzy and Dio, but preferred Ozzy)
8. Ozzy Osbourne (solo, with Randy Rhodes, and with Zakk Wylde)
7. Iron Maiden
6. Dream Theater
5. Journey
4. Queen
3. AC/DC
2. The Killers
1. Pink Floyd
Honorable Mention: The Beatles, UFO, The Ramones, The Clash, Deep Purple, Rush, Airbourne, Avenged Sevenfold, The BeeGees, Boston
Another thing I do take into consideration is the use of concept albums, and in my opinion, Pink Floyd combines that with all the items I mentioned above; great composition skills, overflowing virtuosity, driving beats, with a rebellious and independent spirit. And as a side note, on that list, after this summer, I will have seen 6 of those top 10 bands live. I just had to rub that in.
With that my friends I bid you a good night. Remember your blanket for those lawn seats and enjoy the second hand pot.
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