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!"
Monday, November 17, 2008
Wednesday, November 5, 2008
I Can't Explain, but I Kinda Can...
Hello loyal readers, thank you yet again for tuning to my little piece of the Internet. This entry will obviously be about the life changing experience that was Monday night that occurred at the Verizon Center in Washington, DC.
When I bought tickets to see The Who back in July or so, whenever they went on sale, I felt they were overpriced for an old band, but was a band important for me to see and hear as I continue to explore the roots of rock. So of course I was excited, and since I had no takers from friends to reimburse me for the $80 ticket, I gifted it to my mother. She hadn't been a headliner concert since seeing and meeting James Brown in the mid 1960's. Her friend's husband owned a strip club James Brown frequented in Charleston, South Carolina. Anyways, back on topic.
My mother didn't quite understand the importance of seeing The Who. I tried to explain to her that they were the innovators of modern rock. Before them everything was blues based. The Who invented the power chord. The Who invented the rock opera with "A Quick One While he's Away" from the album "A Quick One". They were one of the first bands to include synthesizers in their music. The Who even changed equipment practices. They were the first to use stacks of Marshall amps, John Entwistle helped develop the Rotosound guitar string, and even a new type of amp using higher wattage had to be invented for them. The list of things are countless. They were the cutting edge of rock. They were the definition of rock. They ripped the future of rock right out of the hands of Elvis Presley. Personally, I feel they are more influential than The Beatles.
With that said, I still did not expect much from the show. I knew they were aging, I knew Roger Daltrey's voice was fading, and I knew Keith Moon and John Entwistle were no longer with us. Pete's brother*, Simon, playing rhythm guitar, Ringo Starr's son, Zack Starkey playing drums, Pino Palladino on bass, and John Bundrick tickling the ivories. How good can this concert be?
Let me tell you. The Who were the second loudest band I experienced. They were louder than Judas Priest, Heaven and Hell, Ozzy, and Airbourne. The first power chord slammed into our bodies with them opening with "I Can't Explain". They then proceeded to play "The Seeker", "Relay", "Fragments", "Who Are You", "Behind Blue Eyes", "Real Good Looking Boy", "Sister Disco", "Baba O'Riley", "Getting in Tune", "Eminence Front", "5:15", "Love Reign O'er Me", "My Generation", and closed with "Won't Get Fooled Again". I remembered this set list pretty well this time. But if one looks at that list, you'll notice a disturbing absence. Not a single song from the iconic album by The Who. "Tommy". Where was it? Why? How? What?
After a solid five minutes of screaming and cheering, Pete Townshend sneaks out on stage and they play "Naked Eye". The crowd still not satisfied, still no "Tommy". They were chanting just to hear anything from the album. Never have I been to a concert where people chant for an album, not a certain song. The band stumbles around the stage a bit and look at each other, then the lights drop and and single spotlight illuminates Pete, and he hits that first minor seventh chord of "Pinball Wizard" then stops. Half the crowd realized what was about to happen, and of course, due to owning that album in 2 different formats, I know the chord. Pete then proceeds to play through the opening progression slowly, then whips into tempo with his brother* hammering the loud distortion entrance. The crowd explodes! Finally, something from "Tommy". They play through "Pinball Wizard" but they don't stop. They do a medley of the album, featuring full performances of "Amazing Journey", "Sparks", and "See Me Feel Me". After the crowd cheers itself hoarse, the backing band leaves stage and Pete and Roger close the show with a lovely duet they wrote, "Tea and Theatre". They then wished us good night and received a rousing cheer as a small chant was traveling for Pete to come out and bust his guitar. He did not of course.
So here I am 48 hours after the close of the concert. I reflect on it. Its changed how I listen. In the music of The Who, especially live, you can hear the birth of so many musical sub genres. The synth work from songs like "Baba O'Riley" and "Won't Get Fooled Again" inspired progressive rock, the hammering down strum of power chords and melodic drumming was the birth of metal, the fast strumming of power chords and screaming fast and rebellious lyrics birthed punk. The long solo sections wandering their way back to the head influenced jam bands and psychedelic bands. I won't be able to listen to Pink Floyd in the same light, nor AC/DC. I listened to "Who Made Who" by AC/DC and all I could hear were the walking power chord progressions, pioneered by The Who. I can't explain the change in my life this concert presented, but I now understand those before me, and I understand the draw, and just how awesome and powerful this music can be. I understand their ability to move people. I am going to be honest and three times during this show I got chills to the point I shed a few tears. This was the first band I've seen that completely left it all on the stage. They left exhausted, they left us exhausted. There's not many more words I can use to explain this. My mom even understood after the concert now what I was talking about.
I must discuss the opening act though, Inward Eye. This band has a great potential, just if they learned control on stage. Their guitarist just jumps around too much to where it affects his playing I feel. I enjoyed the vocals and the drumming quite a bit. They had a real punk feel to them without being just obnoxious, except for the jumping. His jumping even knocked over a mic on the drumset. They were victims though of the sound guy making sure they didn't sound too good. I listened to their stuff on myspace (http://www.myspace.com/inwardeye) and I enjoyed it quite a bit more. I do believe they have a release soon on iTunes and I do intend to purchase.
In honor of the topic and for my friend Stefanie, h-h-here's the f-f-f-famous clip of The Who on The Smothers Brothers Comedy Hour. Watch the end where Peter Townshend nearly dies.
Good night my friends, I leave you with the lyrics The Who left me with in honor of this being the 40th blog entry:
"All of us sad - lean on my shoulder now
The story is done - 's getting colder now
A thousand songs - still smoulder now
We played them as one - we're older now
All of us sad
All of us free
Before we walk from the stage
Two of us
Will you have some tea?
Will you have some tea
At the theatre with me?"
*Thanks Anonymous for catching my error! (11/6/08)
When I bought tickets to see The Who back in July or so, whenever they went on sale, I felt they were overpriced for an old band, but was a band important for me to see and hear as I continue to explore the roots of rock. So of course I was excited, and since I had no takers from friends to reimburse me for the $80 ticket, I gifted it to my mother. She hadn't been a headliner concert since seeing and meeting James Brown in the mid 1960's. Her friend's husband owned a strip club James Brown frequented in Charleston, South Carolina. Anyways, back on topic.
My mother didn't quite understand the importance of seeing The Who. I tried to explain to her that they were the innovators of modern rock. Before them everything was blues based. The Who invented the power chord. The Who invented the rock opera with "A Quick One While he's Away" from the album "A Quick One". They were one of the first bands to include synthesizers in their music. The Who even changed equipment practices. They were the first to use stacks of Marshall amps, John Entwistle helped develop the Rotosound guitar string, and even a new type of amp using higher wattage had to be invented for them. The list of things are countless. They were the cutting edge of rock. They were the definition of rock. They ripped the future of rock right out of the hands of Elvis Presley. Personally, I feel they are more influential than The Beatles.
With that said, I still did not expect much from the show. I knew they were aging, I knew Roger Daltrey's voice was fading, and I knew Keith Moon and John Entwistle were no longer with us. Pete's brother*, Simon, playing rhythm guitar, Ringo Starr's son, Zack Starkey playing drums, Pino Palladino on bass, and John Bundrick tickling the ivories. How good can this concert be?
Let me tell you. The Who were the second loudest band I experienced. They were louder than Judas Priest, Heaven and Hell, Ozzy, and Airbourne. The first power chord slammed into our bodies with them opening with "I Can't Explain". They then proceeded to play "The Seeker", "Relay", "Fragments", "Who Are You", "Behind Blue Eyes", "Real Good Looking Boy", "Sister Disco", "Baba O'Riley", "Getting in Tune", "Eminence Front", "5:15", "Love Reign O'er Me", "My Generation", and closed with "Won't Get Fooled Again". I remembered this set list pretty well this time. But if one looks at that list, you'll notice a disturbing absence. Not a single song from the iconic album by The Who. "Tommy". Where was it? Why? How? What?
After a solid five minutes of screaming and cheering, Pete Townshend sneaks out on stage and they play "Naked Eye". The crowd still not satisfied, still no "Tommy". They were chanting just to hear anything from the album. Never have I been to a concert where people chant for an album, not a certain song. The band stumbles around the stage a bit and look at each other, then the lights drop and and single spotlight illuminates Pete, and he hits that first minor seventh chord of "Pinball Wizard" then stops. Half the crowd realized what was about to happen, and of course, due to owning that album in 2 different formats, I know the chord. Pete then proceeds to play through the opening progression slowly, then whips into tempo with his brother* hammering the loud distortion entrance. The crowd explodes! Finally, something from "Tommy". They play through "Pinball Wizard" but they don't stop. They do a medley of the album, featuring full performances of "Amazing Journey", "Sparks", and "See Me Feel Me". After the crowd cheers itself hoarse, the backing band leaves stage and Pete and Roger close the show with a lovely duet they wrote, "Tea and Theatre". They then wished us good night and received a rousing cheer as a small chant was traveling for Pete to come out and bust his guitar. He did not of course.
So here I am 48 hours after the close of the concert. I reflect on it. Its changed how I listen. In the music of The Who, especially live, you can hear the birth of so many musical sub genres. The synth work from songs like "Baba O'Riley" and "Won't Get Fooled Again" inspired progressive rock, the hammering down strum of power chords and melodic drumming was the birth of metal, the fast strumming of power chords and screaming fast and rebellious lyrics birthed punk. The long solo sections wandering their way back to the head influenced jam bands and psychedelic bands. I won't be able to listen to Pink Floyd in the same light, nor AC/DC. I listened to "Who Made Who" by AC/DC and all I could hear were the walking power chord progressions, pioneered by The Who. I can't explain the change in my life this concert presented, but I now understand those before me, and I understand the draw, and just how awesome and powerful this music can be. I understand their ability to move people. I am going to be honest and three times during this show I got chills to the point I shed a few tears. This was the first band I've seen that completely left it all on the stage. They left exhausted, they left us exhausted. There's not many more words I can use to explain this. My mom even understood after the concert now what I was talking about.
I must discuss the opening act though, Inward Eye. This band has a great potential, just if they learned control on stage. Their guitarist just jumps around too much to where it affects his playing I feel. I enjoyed the vocals and the drumming quite a bit. They had a real punk feel to them without being just obnoxious, except for the jumping. His jumping even knocked over a mic on the drumset. They were victims though of the sound guy making sure they didn't sound too good. I listened to their stuff on myspace (http://www.myspace.com/inwardeye) and I enjoyed it quite a bit more. I do believe they have a release soon on iTunes and I do intend to purchase.
In honor of the topic and for my friend Stefanie, h-h-here's the f-f-f-famous clip of The Who on The Smothers Brothers Comedy Hour. Watch the end where Peter Townshend nearly dies.
Good night my friends, I leave you with the lyrics The Who left me with in honor of this being the 40th blog entry:
"All of us sad - lean on my shoulder now
The story is done - 's getting colder now
A thousand songs - still smoulder now
We played them as one - we're older now
All of us sad
All of us free
Before we walk from the stage
Two of us
Will you have some tea?
Will you have some tea
At the theatre with me?"
*Thanks Anonymous for catching my error! (11/6/08)
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, September 9, 2008
The battle of Minor vs Major
Hello my friends. I come to you this week with the first of a segment I'm going to title "Album of the *insert arbitrary time frame here*". This entry will be a review of a newly obtained recording of Beethoven's 5th symphony. As I mentioned in a previous entry, I did not have a recording of this piece. I took this a personal insult to myself as it is my favorite piece in the classical repertoire. I am also under the belief that every brass player in an orchestra should have their symphony cherry popped, so to speak, with this piece. It is the birth of brass as a major contributor to the group and of Romanticism. This is the first symphonic piece to include the trombone. In their mighty debut in the 4th movement, you can hear them saying "I am a trombone". You can sing it, seriously.
The recording I chose to pick up is a 200g virgin vinyl pressing from the original tape recording of the never released recording of Pierre Monteux conducting the London Philharmonic Orchestra from 1965.
Right away this recording draws you with a full, dark, rich sound on the now almost cliched "G-G-G-E flat". The interpretation is aggressive and in your face. The tension holds through not just the first movement, but the first three. The pacing of the second movement is very methodical and withdrawn. Though the movement is long, it does not feel it as it stays exciting and pompous. It holds the energy at stasis that was built during the first movement.
I flip the record and get to the real treat, of the third and forth movement. The third movement is firmly in minor and brings back the motif of the first movement, but in slightly different rhythm. After a fugue, the rumblings die down and an incredible crescendo builds to the the attacca forth movement.
HELLO BRASS! The fourth movement opens with a grand release of the tension from the last half hour with a C major arpeggio so loud that it knocks C minor out of your head. Its an emotional moment. Its cathartic and this performance is that. You can hear the trumpets more than normal in the first and second movement but they become a whisper in the third movement, only to take full control of performance in the opening four bars of the forth. A soaring horn sound so dark and rich that it brings chills, and of course fond memories of a friend. Chills at this point are running down my spine.
I truly believe this is probably as close as you're going to come to hearing this symphony as Beethoven desired for it to be heard. Violent, chaotic, good vs evil battle, packed with emotion. This record is full of suspense with masterful production quality. You can feel the orchestra. At the end of the first movement you can hear a collective sigh of relief from the group, as they probably can't even believe the intensity they just captured.
From what I can tell this was only released on vinyl. There are CD recordings of Monteux conducting Beethoven's Fifth, but I don't think they are the same as this one. The link to amazon for this product is here. It is a bit of a steep price but I would have paid $100 easily to have heard this live, so $33 with shipping and I can hear it over and over again is a bargain to me. Be warned though, if yo look up a photo of Monteux, he does look like Wilford Brimley. you be the judge:
The recording I chose to pick up is a 200g virgin vinyl pressing from the original tape recording of the never released recording of Pierre Monteux conducting the London Philharmonic Orchestra from 1965.
Right away this recording draws you with a full, dark, rich sound on the now almost cliched "G-G-G-E flat". The interpretation is aggressive and in your face. The tension holds through not just the first movement, but the first three. The pacing of the second movement is very methodical and withdrawn. Though the movement is long, it does not feel it as it stays exciting and pompous. It holds the energy at stasis that was built during the first movement.
I flip the record and get to the real treat, of the third and forth movement. The third movement is firmly in minor and brings back the motif of the first movement, but in slightly different rhythm. After a fugue, the rumblings die down and an incredible crescendo builds to the the attacca forth movement.
HELLO BRASS! The fourth movement opens with a grand release of the tension from the last half hour with a C major arpeggio so loud that it knocks C minor out of your head. Its an emotional moment. Its cathartic and this performance is that. You can hear the trumpets more than normal in the first and second movement but they become a whisper in the third movement, only to take full control of performance in the opening four bars of the forth. A soaring horn sound so dark and rich that it brings chills, and of course fond memories of a friend. Chills at this point are running down my spine.
I truly believe this is probably as close as you're going to come to hearing this symphony as Beethoven desired for it to be heard. Violent, chaotic, good vs evil battle, packed with emotion. This record is full of suspense with masterful production quality. You can feel the orchestra. At the end of the first movement you can hear a collective sigh of relief from the group, as they probably can't even believe the intensity they just captured.
From what I can tell this was only released on vinyl. There are CD recordings of Monteux conducting Beethoven's Fifth, but I don't think they are the same as this one. The link to amazon for this product is here. It is a bit of a steep price but I would have paid $100 easily to have heard this live, so $33 with shipping and I can hear it over and over again is a bargain to me. Be warned though, if yo look up a photo of Monteux, he does look like Wilford Brimley. you be the judge:
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Sunday, September 7, 2008
Vinyl Fetish
Hello my friends, hope everyone has survived the oh so terrible Tropical Storm Hanna. This entry is geared about the new stereo system I obtained from my grandmother. She was kind enough to set me up with a Pioneer receiver with a laser disc/5 CD disc changer and two Marantz 45/450 floor speakers. My dad then gifted me his old Pioneer direct drive turntable, that was just in need of a new cartridge. After a new cartridge purchased from Internet giant, Amazon.com, and a crash course in turntable maintenance, I had a sweet vintage turntable.
A few months ago, I had noticed Record and Tape Traders had just about all of AC/DC's albums on brand new virgin vinyl, on what seems to be about 180g vinyl for $15 each. Very intriguing. So needless to say, the moment I got this stereo set up, I headed for the ol' R&TT. I immediately burned that $15 gift certificate from Sarah Jo on "Back in Black". While digging through the used albums, I did come across "For Those about to Rock". Both came home that day, along with a "Best of Mountain" album. None of these disappointed as I have now become charmed with the full warmth of the vinyl sound. A second trip to the store found a better stocked vinyl room. This trip produced several Journey albums, Queen, and the jewel of the find, "Moving Pictures" by Rush.
Next stop was my basement. In the basement was stores some real gems, including "Thriller" by Michael Jackson, "Umma Gumma" by Pink Floyd, "That's Life" by Frank Sinatra, "Switched on Bach", and multiple 45rpm singles. I have a pretty well stocked and rounded vinyl collection considering how little time I've had a record player. Next was the Internet again.
I ordered off the web "The Pines of Rome" by Respighi and "Paranoid" by Black Sabbath. Both albums phenomenal. Its amazing to hear classical music on vinyl. Analog recordings allow you to hear other things going on with the performance. You can hear the conductor and the strings giving themselves breath cues. You can hear the feet shuffling of the brass section in the quiet sections. It really causes a feeling of actually being at the performance. At this point now, I have to admit that I am in love with vinyl. I find myself in stores now seeing if I can find an album on vinyl instead of CD, even though CD allows me to add it to my iPod. I could even see myself in the future just buying albums in both media, even though this Hi-Fi system has even made my CD collection sound better.
The amount of vintage recordings still available on vinyl is quite amazing, and I look forward to my friend Steve bringing over his vinyl. It is quite nice to have such a sound system to spoil my ears, and today's digital age has made our ears so forgiving to poor production and compression. Give yourself a treat, find a Hi-Fi with a turntable and give yourself the pleasure of listening to some classical or jazz, or even many rock albums on it and hear the difference. Relax your ears and take in the sound. Have a good night my friends.
A few months ago, I had noticed Record and Tape Traders had just about all of AC/DC's albums on brand new virgin vinyl, on what seems to be about 180g vinyl for $15 each. Very intriguing. So needless to say, the moment I got this stereo set up, I headed for the ol' R&TT. I immediately burned that $15 gift certificate from Sarah Jo on "Back in Black". While digging through the used albums, I did come across "For Those about to Rock". Both came home that day, along with a "Best of Mountain" album. None of these disappointed as I have now become charmed with the full warmth of the vinyl sound. A second trip to the store found a better stocked vinyl room. This trip produced several Journey albums, Queen, and the jewel of the find, "Moving Pictures" by Rush.
Next stop was my basement. In the basement was stores some real gems, including "Thriller" by Michael Jackson, "Umma Gumma" by Pink Floyd, "That's Life" by Frank Sinatra, "Switched on Bach", and multiple 45rpm singles. I have a pretty well stocked and rounded vinyl collection considering how little time I've had a record player. Next was the Internet again.
I ordered off the web "The Pines of Rome" by Respighi and "Paranoid" by Black Sabbath. Both albums phenomenal. Its amazing to hear classical music on vinyl. Analog recordings allow you to hear other things going on with the performance. You can hear the conductor and the strings giving themselves breath cues. You can hear the feet shuffling of the brass section in the quiet sections. It really causes a feeling of actually being at the performance. At this point now, I have to admit that I am in love with vinyl. I find myself in stores now seeing if I can find an album on vinyl instead of CD, even though CD allows me to add it to my iPod. I could even see myself in the future just buying albums in both media, even though this Hi-Fi system has even made my CD collection sound better.
The amount of vintage recordings still available on vinyl is quite amazing, and I look forward to my friend Steve bringing over his vinyl. It is quite nice to have such a sound system to spoil my ears, and today's digital age has made our ears so forgiving to poor production and compression. Give yourself a treat, find a Hi-Fi with a turntable and give yourself the pleasure of listening to some classical or jazz, or even many rock albums on it and hear the difference. Relax your ears and take in the sound. Have a good night my friends.
Sunday, August 31, 2008
The Year in Review
Hello my friends, I wish you a hardy "How ya doin'?". Tonight's blog entry is basically a recap and a listing of the best and worst shows and artists seen this year. I immediately preface that this blog is again strictly of my own opinions, and void of emotional feelings. These concert reviews are not influenced by the company kept by me at these events. Alright, now with the political disclaimer out of the way, lets get to the nitty-gritty.
First catagory is going to be best bass players. I saw quite a bit of talent this year on the bass, and heres my top five.
5. Ross Valory (Journey)
4. Justin Street (Airbourne)
3. Lemmy (Motorhead)
2. Geddy Lee (Rush)
And the winner should be no shock, as I went to see this band mainly to hear him.
1. Steve Harris of Iron Maiden. Steve was phenominal, and is one of the tightest and melodic bass players you'll hear in rock.
Next catagory is worst opening act. There were some good ones and some real bad ones seen this summer.
3. Testament (Metal Masters Tour) They weren't that bad but had a major miscue on stage.
2. Lauren Harris (Iron Maiden opener) She is the daughter of Steve Harris. She wasn't that bad but seemed confused and scared. Her backing band sucked
1. Endeverafter (Airbourne) These guys were just plain bad, from ripped off guitar licks, and acting like guitar hero wanna-be's, I had little patience for these guys.
To Follow up, here are the three best opening acts seen.
3. Testament (Metal Masters Tour) I know I listed them as third worse, but they weren't bad except for the onstage missed entrance and actually showing frustration over it.
2. Stone Riders (Airbourne) These guys pretty cool and seemed kind of original
1. In This Moment (Ozzy Osborne, Rob Zombie) This band has the most hardcore chick you'll ever see on stage. I know they have been touring with Ozzfest and stuff, but really, these guys tore it up. Probably the most professionally sounding opening band I've heard.
Next up is best drummer.
5. Mike Bordin (Ozzy Osborne) He really showed he was listening when he was adjusting tempi to keep with Ozzy who was having monitor issues
4. Nicko McBrain (Iron Maiden)
3. Mikkey Dee (Motorhead)
2. Deen Castronovo (Journey)
1. Neil Peart (Rush) Neal is a drumming God. I can't describe what it was like to watch him and hear him play. Hes a percussive symphony orchestra.
So the next category is what I call "The Most Bang for your Buck". This is what concerts I considered the best bargains.
5. Rob Zombie/Ozzy Osborne, $39 (before fees). The seats we had were just off the floor, towards the back, and rocked hard, considering they had the best opener, and amazing multimedia presence of Rob Zombie, then Ozzy with Zakk Wylde. The caliber of talent in the building was amazing for that amount of dough.
4. Rush, $29 lawn seat. Rush was probably the most sound and solid band I heard this summer, with amazing virtuosity. $29 for a lawn seat and two full sets of Rush. Couldn't ask for much more.
3. Metal Masters Tour, $17.50 lawn seat. Testament, Motorhead, Heaven and Hell (Which just about completed my Black Sabbath fun pack), and Judas Priest. Amazing, long, tight show from four veterans of the metal universe.
2. Airbourne, $10 general admission. $10 to see and rock out to the next AC/DC. These guys rocked hard. Their antics and stage presence looked like these guys had been doing it for twenty years.
1. Cheap Trick, Heart, and Journey, $25 lawn. Every one of these bands made you theirs. All of them tight, fresh, and inspiring. What a good time this show was.
Next catagory is the best lead guitarists heard this summer
5. Nancy Wilson (Heart)
4. Tony Iommi (Heaven and Hell)
3. Dave Murray (Iron Maiden)
2. Neal Schon (Journey)
1. Zakk Wylde (Ozzy Osborne) This guy is just bad ass, and his bluegrass banjo upbringing brings a level of technical skill never seen on electric guitar.
Up next is what I call the achievers category. These are the bands or members that I gained the most respect for after seeing them live.
3. Motorhead - I had heard Ace of Spades before of course, but after seeing their act live, I really found I enjoyed their other works too
2. Neal Schon - Journey never really had a prominent guitar voice in their mixing, but after their new album and seeing them live, Neal Schon can definitely shred. I understand now why his parent slet him drop out of high school to play with Carlos Santana
1. Rush - I was mainly going to this concert as a gift for my friend Steve. I mean I had recently come to respect their style, and interesting voicing. But seeing them live and hearing the intricacies of songs like Tom Sawyer, Limelight, and YYZ, I consider myself a major fan of Rush.
The next category up is best set construction.
5. Judas Priest - Nice retro, Flash Gordon looking two tiered stage
4. Heaven and Hell - Smoke, Trees with Gargoyles, and insane lighting
3. Rush - Simple flat stage, but amazing video clips tying into the music to complete the sensation
2. Rob Zombie - B movie clips, dancing girls, drumming robots and a giant alien attack Zombie himself.
1. Iron Maiden - There was pyro, there was changing backgrounds for album covers of songs, two-tiered stage with plenty of room for Bruce to run around. Bruce donning costumes, and top it all off, a 30 ft tall Eddie with glowing eyes.
Next is best set list
5. Airbourne - Did everything from their one album, plus an encore track thats only on the import version of the album, not to mention its a cover of AC/DC. Melt your face.
4. Ozzy Osborne - Can't go wrong closing with "Momma I'm Coming Home" and "Paranoid"
3. Journey - great mix of old and new, but why close with "Anyway You Want It"?
2. Heart - The cover of Love Reign O'er Me still rings in my ears, along with the encore of "Crazy On You"
1. Rush - They did all their big songs in a tasteful order, programmed two sets perfectly building to Neil Peart's massive drum solo. Not to mention, no other band I saw has the courage or talent to do so many instrumentals in a set, including ending the encore set with one (YYZ).
Best lead singer witnessed.
5. Arnel Pineda (Journey) - Arnel is the new sound of Journey, that allows them though to keep to their great hits of the 80's. Arnel's voice needs to do a little more maturing and gain a bit more experience, and he will rival Steve Perry one day.
4. Ozzy Osborne - The Prince of Darkness is always going to be on this list.
3. Geddy Lee (Rush) - His unique stylings were initially my criticism of Rush, but after further analysis, I can't hear any other styling of his voice to carry "Tom Sawyer".
2. Ann Wilson (Heart) - A beautiful and powerful voice, that is incredibly versatile. She can charm you into a hypnotized state, or make your toes curl with passion and energy, just with her pipes.
1. Bruce Dickinson (Iron Maiden) - Bruce. Wow. I said it before and I'll say it again. He's the Freddie Mercury of Metal. There's nothing this man can't do, and nothing he can't sing. (As a side note, the Cheap Trick Greatest Hits Album I bought yesterday was produced by none other than Bruce)
I am going to refrain from picking a favorite concert, as I enjoyed all of them so much and I saw so much talent, I can't compare and contrast, and rank the entire shows. My final list for the night though will be the top ten songs that need to be witnessed live.
10. Fear of the Dark (Iron Maiden)
9. Crazy On You (Heart)
8. YYZ (Rush)
7. Don't Stop Believin' (Journey)
6. Breakin' the Law (Judas Priest)
5. Number of the Beast (Iron Maiden)
4. Stand Up for Rock 'n' Roll (Airbourne)
3. Separate Ways (Worlds Apart) (Journey)
2. Love Reign O'er Me (Heart)
1. Momma I'm Comin' Home (Ozzy Osborne)
Well my friends, that pretty much covers my personal opinions of the shows I saw this summer. I hope you guys had as much fun as I have had this summer. Thank you readers for being loyal, and thanks to those of you who went to a concert with me this summer. Music is a very intimate part of my life. With me, there are actions, emotions, and music. Thank you for being willing to share something so personal to me as witnessing the creation of music. I hope to continue to write to you about my music life and hope you will keep reading. Good night.
First catagory is going to be best bass players. I saw quite a bit of talent this year on the bass, and heres my top five.
5. Ross Valory (Journey)
4. Justin Street (Airbourne)
3. Lemmy (Motorhead)
2. Geddy Lee (Rush)
And the winner should be no shock, as I went to see this band mainly to hear him.
1. Steve Harris of Iron Maiden. Steve was phenominal, and is one of the tightest and melodic bass players you'll hear in rock.
Next catagory is worst opening act. There were some good ones and some real bad ones seen this summer.
3. Testament (Metal Masters Tour) They weren't that bad but had a major miscue on stage.
2. Lauren Harris (Iron Maiden opener) She is the daughter of Steve Harris. She wasn't that bad but seemed confused and scared. Her backing band sucked
1. Endeverafter (Airbourne) These guys were just plain bad, from ripped off guitar licks, and acting like guitar hero wanna-be's, I had little patience for these guys.
To Follow up, here are the three best opening acts seen.
3. Testament (Metal Masters Tour) I know I listed them as third worse, but they weren't bad except for the onstage missed entrance and actually showing frustration over it.
2. Stone Riders (Airbourne) These guys pretty cool and seemed kind of original
1. In This Moment (Ozzy Osborne, Rob Zombie) This band has the most hardcore chick you'll ever see on stage. I know they have been touring with Ozzfest and stuff, but really, these guys tore it up. Probably the most professionally sounding opening band I've heard.
Next up is best drummer.
5. Mike Bordin (Ozzy Osborne) He really showed he was listening when he was adjusting tempi to keep with Ozzy who was having monitor issues
4. Nicko McBrain (Iron Maiden)
3. Mikkey Dee (Motorhead)
2. Deen Castronovo (Journey)
1. Neil Peart (Rush) Neal is a drumming God. I can't describe what it was like to watch him and hear him play. Hes a percussive symphony orchestra.
So the next category is what I call "The Most Bang for your Buck". This is what concerts I considered the best bargains.
5. Rob Zombie/Ozzy Osborne, $39 (before fees). The seats we had were just off the floor, towards the back, and rocked hard, considering they had the best opener, and amazing multimedia presence of Rob Zombie, then Ozzy with Zakk Wylde. The caliber of talent in the building was amazing for that amount of dough.
4. Rush, $29 lawn seat. Rush was probably the most sound and solid band I heard this summer, with amazing virtuosity. $29 for a lawn seat and two full sets of Rush. Couldn't ask for much more.
3. Metal Masters Tour, $17.50 lawn seat. Testament, Motorhead, Heaven and Hell (Which just about completed my Black Sabbath fun pack), and Judas Priest. Amazing, long, tight show from four veterans of the metal universe.
2. Airbourne, $10 general admission. $10 to see and rock out to the next AC/DC. These guys rocked hard. Their antics and stage presence looked like these guys had been doing it for twenty years.
1. Cheap Trick, Heart, and Journey, $25 lawn. Every one of these bands made you theirs. All of them tight, fresh, and inspiring. What a good time this show was.
Next catagory is the best lead guitarists heard this summer
5. Nancy Wilson (Heart)
4. Tony Iommi (Heaven and Hell)
3. Dave Murray (Iron Maiden)
2. Neal Schon (Journey)
1. Zakk Wylde (Ozzy Osborne) This guy is just bad ass, and his bluegrass banjo upbringing brings a level of technical skill never seen on electric guitar.
Up next is what I call the achievers category. These are the bands or members that I gained the most respect for after seeing them live.
3. Motorhead - I had heard Ace of Spades before of course, but after seeing their act live, I really found I enjoyed their other works too
2. Neal Schon - Journey never really had a prominent guitar voice in their mixing, but after their new album and seeing them live, Neal Schon can definitely shred. I understand now why his parent slet him drop out of high school to play with Carlos Santana
1. Rush - I was mainly going to this concert as a gift for my friend Steve. I mean I had recently come to respect their style, and interesting voicing. But seeing them live and hearing the intricacies of songs like Tom Sawyer, Limelight, and YYZ, I consider myself a major fan of Rush.
The next category up is best set construction.
5. Judas Priest - Nice retro, Flash Gordon looking two tiered stage
4. Heaven and Hell - Smoke, Trees with Gargoyles, and insane lighting
3. Rush - Simple flat stage, but amazing video clips tying into the music to complete the sensation
2. Rob Zombie - B movie clips, dancing girls, drumming robots and a giant alien attack Zombie himself.
1. Iron Maiden - There was pyro, there was changing backgrounds for album covers of songs, two-tiered stage with plenty of room for Bruce to run around. Bruce donning costumes, and top it all off, a 30 ft tall Eddie with glowing eyes.
Next is best set list
5. Airbourne - Did everything from their one album, plus an encore track thats only on the import version of the album, not to mention its a cover of AC/DC. Melt your face.
4. Ozzy Osborne - Can't go wrong closing with "Momma I'm Coming Home" and "Paranoid"
3. Journey - great mix of old and new, but why close with "Anyway You Want It"?
2. Heart - The cover of Love Reign O'er Me still rings in my ears, along with the encore of "Crazy On You"
1. Rush - They did all their big songs in a tasteful order, programmed two sets perfectly building to Neil Peart's massive drum solo. Not to mention, no other band I saw has the courage or talent to do so many instrumentals in a set, including ending the encore set with one (YYZ).
Best lead singer witnessed.
5. Arnel Pineda (Journey) - Arnel is the new sound of Journey, that allows them though to keep to their great hits of the 80's. Arnel's voice needs to do a little more maturing and gain a bit more experience, and he will rival Steve Perry one day.
4. Ozzy Osborne - The Prince of Darkness is always going to be on this list.
3. Geddy Lee (Rush) - His unique stylings were initially my criticism of Rush, but after further analysis, I can't hear any other styling of his voice to carry "Tom Sawyer".
2. Ann Wilson (Heart) - A beautiful and powerful voice, that is incredibly versatile. She can charm you into a hypnotized state, or make your toes curl with passion and energy, just with her pipes.
1. Bruce Dickinson (Iron Maiden) - Bruce. Wow. I said it before and I'll say it again. He's the Freddie Mercury of Metal. There's nothing this man can't do, and nothing he can't sing. (As a side note, the Cheap Trick Greatest Hits Album I bought yesterday was produced by none other than Bruce)
I am going to refrain from picking a favorite concert, as I enjoyed all of them so much and I saw so much talent, I can't compare and contrast, and rank the entire shows. My final list for the night though will be the top ten songs that need to be witnessed live.
10. Fear of the Dark (Iron Maiden)
9. Crazy On You (Heart)
8. YYZ (Rush)
7. Don't Stop Believin' (Journey)
6. Breakin' the Law (Judas Priest)
5. Number of the Beast (Iron Maiden)
4. Stand Up for Rock 'n' Roll (Airbourne)
3. Separate Ways (Worlds Apart) (Journey)
2. Love Reign O'er Me (Heart)
1. Momma I'm Comin' Home (Ozzy Osborne)
Well my friends, that pretty much covers my personal opinions of the shows I saw this summer. I hope you guys had as much fun as I have had this summer. Thank you readers for being loyal, and thanks to those of you who went to a concert with me this summer. Music is a very intimate part of my life. With me, there are actions, emotions, and music. Thank you for being willing to share something so personal to me as witnessing the creation of music. I hope to continue to write to you about my music life and hope you will keep reading. Good night.
Thursday, August 28, 2008
Be Good To Yourself
Good day friends, I come to slightly overhung and under the weather, but happy. I hope you're feeling good too. Last I attended a concert for the ages. This was the highly anticipated Cheap Trick, Heart, and Journey "trifecta from heaven" show as I was calling it to myself.
This concert showed up early on the radar, and boy was I glad we bought tickets early. Nissan Pavilion on this dreary, drizzly night was packed to the limit. After making excellent time there, we of course did some light tailgating with some rum and cokes, and some beer. We then shuffle into the show.
We find a solid good spot in the center of the lawn. Cheap Trick hits the stage. They do their normal carrying-on, introducing themselves repeatedly to the point that its comical. Lets not forget their entrance, "Ladies and Gentlemen, the best band in the world, CHEAP TRICK!!!" Cheap Trick hit us with their line up of "Dream Police", "If You Want My Love", "Surrender", and "I Want You to Want Me". Along with the great songs, they pulled out their marvelous gimmicks including Tom Petersson's 12-string bass and Robin Zander's 5-neck guitar. Though gratuitous, its amazing. And to top off Cheap Trick's set, Deen Castronovo* and Jonathan Cain of Journey came out and did a song with them.
After about 15 minutes and time to get a drink and t-shirt, the lights dropped and out came Heart. Don't be fooled by the soft name, or the beautiful two front women, Ann and Nancy Wilson. These chicks will rock your fillings loose. This is the first performance at a rock concert that gave me goosebumps. I got chills when they covered "Love Reign O'er Me" by The Who. Ann has "the pipes". Her voice can bring you to your knees. Recordings and videos do no justice to the power they bring to you in person. After a powerful and moving set, the crowd was electric and rowdy demanding an encore. After making us wait close to five minutes, they came and delivered an encore version of "Crazy on You". One more thing that helps is that these women, even at their age are good looking, then with the talent they bring, I'm not going to lie, are drop dead sexy to me.
At this point, I'm already starting to suffer fatigue. Heart brings such a well rounded, almost perfect music production to the stage, its hard to fathom that they were not the featured act. They were coming up. There was a rarely experienced sense of energy and anticipation in the air as Journey was being set up on the stage. So much energy that before Journey hit the stage, "Back in Black" by AC/DC is played on the PA and everyone stood up and danced, as if AC/DC just took the stage.
Finally, Journey hits the stage hard with "Never Walk Away" from the new album, "Revelation". The first three notes sang by the new lead singer, Arnel Pineda, demonstrated that he was for real, and that Journey truly is back strong and not going anywhere. Journey's set was a mix of new songs, including "After All These Years" and "Where Did I Lose Your Love" and old hits like "Don't Stop Believin'" and "Open Arms". A big highlight was hearing "Separate Ways" performed live. I won't lie, with the assistance of the alcohol and the adrenaline boost from Heart, I went nuts, absolutely nuts, for this song. Journey also did a song that no one seemed to recognize, something about being a secret agent. It was pretty cool, but the crowd kind of took a breather for it. Journey closed the set with "Be Good to Yourself". They did come back out for an encore for which the hoarse crowd was chanting. "Anyway You Want It" slammed into our ear drums and drove everyone into a frenzy never before seen. I will admit this is my least favorite song by Journey, but live, and a little tipsy, the song contains a ton of energy that is hard to believe coming from a band that just did a seventy minute set of vocally grueling songs.
One of Journey's secret talents in the band, is their drummer, Deen Castronovo. Not only is he a great drummer, that has helped bring Journey's sound into modern times with his heavier style, his backing vocals really help support Arnel's lead vocal efforts. Many times you could hear Deen's voice belting through and its definitely nice.
Neal Schon, former guitarist with Santana, was of course amazing, and definitely on his A-game in his soloing this night. His performing has to be seen live. He is in the top tier of guitarists I've seen live now. The order of preference of guitarists I've now seen live would be:
1. Zakk Wylde (Black Label Society, Ozzy Osborne)
2. Neal Schon (Journey)
3. Dave Murray (Iron Maiden)
4. Tony Iommi (Black Sabbath)
5. John Petrucci (Dream Theater)
6. Chris Scholtes (Several Species)
7. Nancy Wilson (Heart)
8. Joe Perry (Aerosmith)
9. Glenn Tipton (Judas Priest)
10.Phil Campbell (Motorhead)
Well my friends, I think this blog entry has become long enough. In a few days I do plan to have a ratings entry for all the acts seen since January. True, I do have at least two more concerts planned for the calendar year, one is a three-peat and the other is "The Who". That one gets to stand on its own. Have a good weekend, friends.
*Thanks Anonymous for catching that error. Too much partying I guess ;-)
**Yes, I edited my guitar player list. I kinda forgot about John Petrucci, who is amazing
This concert showed up early on the radar, and boy was I glad we bought tickets early. Nissan Pavilion on this dreary, drizzly night was packed to the limit. After making excellent time there, we of course did some light tailgating with some rum and cokes, and some beer. We then shuffle into the show.
We find a solid good spot in the center of the lawn. Cheap Trick hits the stage. They do their normal carrying-on, introducing themselves repeatedly to the point that its comical. Lets not forget their entrance, "Ladies and Gentlemen, the best band in the world, CHEAP TRICK!!!" Cheap Trick hit us with their line up of "Dream Police", "If You Want My Love", "Surrender", and "I Want You to Want Me". Along with the great songs, they pulled out their marvelous gimmicks including Tom Petersson's 12-string bass and Robin Zander's 5-neck guitar. Though gratuitous, its amazing. And to top off Cheap Trick's set, Deen Castronovo* and Jonathan Cain of Journey came out and did a song with them.
After about 15 minutes and time to get a drink and t-shirt, the lights dropped and out came Heart. Don't be fooled by the soft name, or the beautiful two front women, Ann and Nancy Wilson. These chicks will rock your fillings loose. This is the first performance at a rock concert that gave me goosebumps. I got chills when they covered "Love Reign O'er Me" by The Who. Ann has "the pipes". Her voice can bring you to your knees. Recordings and videos do no justice to the power they bring to you in person. After a powerful and moving set, the crowd was electric and rowdy demanding an encore. After making us wait close to five minutes, they came and delivered an encore version of "Crazy on You". One more thing that helps is that these women, even at their age are good looking, then with the talent they bring, I'm not going to lie, are drop dead sexy to me.
At this point, I'm already starting to suffer fatigue. Heart brings such a well rounded, almost perfect music production to the stage, its hard to fathom that they were not the featured act. They were coming up. There was a rarely experienced sense of energy and anticipation in the air as Journey was being set up on the stage. So much energy that before Journey hit the stage, "Back in Black" by AC/DC is played on the PA and everyone stood up and danced, as if AC/DC just took the stage.
Finally, Journey hits the stage hard with "Never Walk Away" from the new album, "Revelation". The first three notes sang by the new lead singer, Arnel Pineda, demonstrated that he was for real, and that Journey truly is back strong and not going anywhere. Journey's set was a mix of new songs, including "After All These Years" and "Where Did I Lose Your Love" and old hits like "Don't Stop Believin'" and "Open Arms". A big highlight was hearing "Separate Ways" performed live. I won't lie, with the assistance of the alcohol and the adrenaline boost from Heart, I went nuts, absolutely nuts, for this song. Journey also did a song that no one seemed to recognize, something about being a secret agent. It was pretty cool, but the crowd kind of took a breather for it. Journey closed the set with "Be Good to Yourself". They did come back out for an encore for which the hoarse crowd was chanting. "Anyway You Want It" slammed into our ear drums and drove everyone into a frenzy never before seen. I will admit this is my least favorite song by Journey, but live, and a little tipsy, the song contains a ton of energy that is hard to believe coming from a band that just did a seventy minute set of vocally grueling songs.
One of Journey's secret talents in the band, is their drummer, Deen Castronovo. Not only is he a great drummer, that has helped bring Journey's sound into modern times with his heavier style, his backing vocals really help support Arnel's lead vocal efforts. Many times you could hear Deen's voice belting through and its definitely nice.
Neal Schon, former guitarist with Santana, was of course amazing, and definitely on his A-game in his soloing this night. His performing has to be seen live. He is in the top tier of guitarists I've seen live now. The order of preference of guitarists I've now seen live would be:
1. Zakk Wylde (Black Label Society, Ozzy Osborne)
2. Neal Schon (Journey)
3. Dave Murray (Iron Maiden)
4. Tony Iommi (Black Sabbath)
5. John Petrucci (Dream Theater)
6. Chris Scholtes (Several Species)
7. Nancy Wilson (Heart)
8. Joe Perry (Aerosmith)
9. Glenn Tipton (Judas Priest)
10.Phil Campbell (Motorhead)
Well my friends, I think this blog entry has become long enough. In a few days I do plan to have a ratings entry for all the acts seen since January. True, I do have at least two more concerts planned for the calendar year, one is a three-peat and the other is "The Who". That one gets to stand on its own. Have a good weekend, friends.
*Thanks Anonymous for catching that error. Too much partying I guess ;-)
**Yes, I edited my guitar player list. I kinda forgot about John Petrucci, who is amazing
Sunday, August 17, 2008
No "lite" matter
Good evening my friends. I hope you all are all happy, healthy, and well. This entry will be about a topic that can make me grind my teeth with fury some days. This topic is so dear to my heart and many others, and I'm sure will only be voicing the opinion of many of you. This subject of course is the horror that is "free" radio anymore. Baltimore's radio has become full of conglomerate, pre-recorded, no effort radio. Stations like Jack FM, which touts a huge playlist still tends to lean towards mediocrity and contains no DJ art form. Spinning records for a radio station and programming is a true lost art. No longer can you call a station and get the DJ, nor will you hear a DJ talk about a song, or talk in a song. These days are over.
This leads me to the specific point...Lite FM stations. I'm sur eyou have unintentionally listened to these same 30 songs over and over again. This station prides itself on not letting those generic, run of the mill songs from slipping through the cracks. Gloria Estefan, Whitney Houston, Celine Dion, with a little bit of Journey sprinkled in. Disco still lives on in this universe. This is the only station I know though that will play those genre-less stars and hair metal (More Than Words is by one of the must under-rated hair metal bands, Extreme, which refers to my last blog entry, if you like that song, you like Metal, thats right, your aunt singing along at the doctor's office is now a metal head). So lets get back on topic.
I like Journey, probably more than I should. Journey is Lite FM's saving grace for me. We listen to it 8 hours a day at the library in the work room. No one truly likes this station, but its the one we all hate equally and tolerate. I like to put ont he classical station but I can't because one coworker says "This is what I get my teeth drilled to" and another one claims that it actually gives her a headache. I don't understand this. I can't handle musical ignorance in that respect. I can't take people insulting art really. I will never bash any performer, I will just say I don't care for what they're doing.
The most mind numbing part of it is that its the same songs, over and over again, every day. You can set your watch to "I don't wanna wait for our lives to be over" and "Don't Stop Believin'". I really ask myself everyday, what DJ in their right mind at that station enjoys that music and enjoys only hearing that music over and over again. And my answer to myself is none, and they pre-record themselves saying the station ID. There is no way I could be in that studio for 8 hours and not go, "you know I'm supposed to play 'I Will Survive' right now, but I think I want to hear 'For Those about to Rock' by AC/DC right now...FIRE!!" And I do think I'd be fired. My blood would curdle though. Radio DJ is one of my dream jobs, but not in this format at all. Every station seems pre-programmed. I wouldn't even play my favorite stuff all the time or over and over again. I'd try to put on something exciting and new every day. This repetition though isn't just on Lite FM, or "free" radio. It occurs a bit on Satelite radio stations as well, but not quite as badly. Frequently though the DJ at least is in the studio with the tape playing.
This blog lately has been fairly negative. I don't like that, as music is a positive and pretty much the best thing in my life, and always will be. On a positive note though, I went to hear Kristen's punk band, Type 53. They were quite good, very tight, and solid. They truly carry the punk attitude. They did mostly their own songs but also threw in a few covers of The Clash, and they're trademark that they avoid is a very skilled cover of "Airstrike". kristen, I doubt ya read this but, nice damn job tonight!
On that note, this is Sig signing off.
This leads me to the specific point...Lite FM stations. I'm sur eyou have unintentionally listened to these same 30 songs over and over again. This station prides itself on not letting those generic, run of the mill songs from slipping through the cracks. Gloria Estefan, Whitney Houston, Celine Dion, with a little bit of Journey sprinkled in. Disco still lives on in this universe. This is the only station I know though that will play those genre-less stars and hair metal (More Than Words is by one of the must under-rated hair metal bands, Extreme, which refers to my last blog entry, if you like that song, you like Metal, thats right, your aunt singing along at the doctor's office is now a metal head). So lets get back on topic.
I like Journey, probably more than I should. Journey is Lite FM's saving grace for me. We listen to it 8 hours a day at the library in the work room. No one truly likes this station, but its the one we all hate equally and tolerate. I like to put ont he classical station but I can't because one coworker says "This is what I get my teeth drilled to" and another one claims that it actually gives her a headache. I don't understand this. I can't handle musical ignorance in that respect. I can't take people insulting art really. I will never bash any performer, I will just say I don't care for what they're doing.
The most mind numbing part of it is that its the same songs, over and over again, every day. You can set your watch to "I don't wanna wait for our lives to be over" and "Don't Stop Believin'". I really ask myself everyday, what DJ in their right mind at that station enjoys that music and enjoys only hearing that music over and over again. And my answer to myself is none, and they pre-record themselves saying the station ID. There is no way I could be in that studio for 8 hours and not go, "you know I'm supposed to play 'I Will Survive' right now, but I think I want to hear 'For Those about to Rock' by AC/DC right now...FIRE!!" And I do think I'd be fired. My blood would curdle though. Radio DJ is one of my dream jobs, but not in this format at all. Every station seems pre-programmed. I wouldn't even play my favorite stuff all the time or over and over again. I'd try to put on something exciting and new every day. This repetition though isn't just on Lite FM, or "free" radio. It occurs a bit on Satelite radio stations as well, but not quite as badly. Frequently though the DJ at least is in the studio with the tape playing.
This blog lately has been fairly negative. I don't like that, as music is a positive and pretty much the best thing in my life, and always will be. On a positive note though, I went to hear Kristen's punk band, Type 53. They were quite good, very tight, and solid. They truly carry the punk attitude. They did mostly their own songs but also threw in a few covers of The Clash, and they're trademark that they avoid is a very skilled cover of "Airstrike". kristen, I doubt ya read this but, nice damn job tonight!
On that note, this is Sig signing off.
Sunday, August 10, 2008
A Lesson in Metal
Hello friends and thanks again for reading. Its hard to believe I'm already at 31 entries. Tonight's entry is touch again on the topic of Heavy Metal. This is because of two reasons. The first was this past Thursday, some friends and I attended the second stop of the Metal Masters Tour. The second reason is because several people lately have made some insulting comments about metal, and my taste in it. These people though are, well for a lack of better wording, ignorant, in what metal is and its roots.
Heavy metal is a genre of rock music that came out of the rock and blues movement in the US and UK. Its defined by virtuosic guitar solos and driving beats. It developed out of the progressive psychedelic rock area. Some of the earliest metal bands are Led Zeppelin, Black Sabbath, Deep Purple, and Iron Butterfly. That's right, so if you like Kashmir, Paranoid, Smoke on the Water, or In-na-godda-da- vita, you like some metal. These bands spurred off bands such as AC/DC which drives the blues aspect of metal, Judas Priest who dropped the blues feel and pushed the power chord and epic sound, and Motorhead, who added the element of punk rebellion to metal. Iron Maiden and Judas Priest developed the epic metal and the concept of British Steel. In the 1980's glam-rock was a cover really for metal bands such as Guns n Roses, Motley Crue, Dokken, and countless others. Metal gets a bad rap because of the sometimes dark or rebellious tones of the songs. The problem is that a lot of the imagery used in the darker metal comes straight from the book of revelations in the bible, from famous works of literature( Rime of the Ancient Mariner used by Iron Maiden), or right from society and the history books. At no point have the mainstream metal bands every sung for you to kill yourself, your mother, your dog, your neighbor, or your goldfish. If anyone really wanted to pay attention they would realize that most of the lead singers of the big metal bands are quite educated and are extremely fan oriented. Bruce Dickinson of Iron Maiden is a trained airline pilot and a historian. Rob Halford of Judas Priest has a three and a half octave vocal range. Ther'es serious skills there and amazing song writing occurring in metal. The only demonic, hate-filled music in metal is being made by the white supremacists or the dark, too serious for their own good thrash metal bands.
With that out of the way, I go into the Metal Masters Tour show last Thursday at the Nissan Pavilion. The line up was Testament (an American Thrash metal band from the 1990's), Motorhead (British metal band, some times referred to as biker metal or punk metal, formed 1975), Heaven and Hell (a reunion of Black Sabbath with Ronnie James Dio), and Judas Priest (British metal group, formed in 1970).
I must say Testament sounded a bit rusty but they started to get themselves going by the time their half hour set was up. I wanted to hear more of them. Not much else I can say about them.
Next up was Motorhead. I've not heard much of Motorhead, but I respect Lemmy (Lead vocals and bass) to no end. Motorhead came out and rocked the house and thats when the first bit of crowd behavior started becoming an issue. Motorhead put a solid hour long set together, featuring their big song, Ace of Spades. This is when things got loud.
The next band was Heaven and Hell. Their staging was quite elaborate with demons in the trees breathing fog and red eyes. Also lots of lighting effect, including turning Dio completely red. Tony Iommi, lead guitar, totally still tears it up after all these years. They chose to call themselves Heaven and Hell for this tour instead of Black Sabbath to not cause any confusion with the fact that Ozzy is doing a solo tour currently (which I attended back in January).
Judas Priest was the headliner and the act I was most interested to see. They have been in existance since 1970. Rob Halford is one of the biggest and most famous lead singers in rock, not just metal. They were smart and did the a song from the new album first, and then went digging into their back catalog. They even had Halford ride out his big motorcycle and sing Hell Bent for Leather from the back of the bike. Way cool. My only gripe was that they did Breakin' The Law early in the set and Halford did not sing the chorus even once. He had the crowd sing it. Sure thats fun, but damn it, I am there primarily for you to sing, not the drunks in earshot. Over all a great show.
On a side note, I must ask what is the appeal of going to these concerts with the purpose to get drunk? You pay good money only to drink and get in a fight, or ruin someone else's experience. I only say this because we had a group next to us that didn't recognize the area we had staked. We were staked at the front edge of the lawn, right before the 70 degree slope down to the sidewalk. The group next to us kept moving over and stood right in front of us, forcing themselves to keep balance on the hill. It almost seemed intentional, and appeared it was when one member of the group got his wish and found himself in a fist fight with one of his own friends, a guy he was hugging 5 minutes prior to the fight. Now I'm not saying there shouldn't be alcohol. Sure, have a drink or two, dance to the music in your own area, but why the violence? The music doesn't call for it, not even inspiring for violence. I guarantee Lemmy would say "Bloody hell, whats this fuckin bullshit mosh pit?" These bands come out and bow after their sets, they hug kids near the front and give out their drumsticks? You think they want you beating the crap out of each other? The true fans go and listen, have fun and appreciate. You look like an asshole, and a good bet is you are an asshole. Notice I don't even care if you smoke your weed or whatever there, none of my business, and I haven't seen a pothead try to punch his best friend for what seems to be for standing within ten feet of his woman. I have seen a drunk do that. Immature and useless.
Well my friends, I wish you good night. To quote Lemmy "We are Motorhead and we playing fucking rock n roll music, good night!"
Heavy metal is a genre of rock music that came out of the rock and blues movement in the US and UK. Its defined by virtuosic guitar solos and driving beats. It developed out of the progressive psychedelic rock area. Some of the earliest metal bands are Led Zeppelin, Black Sabbath, Deep Purple, and Iron Butterfly. That's right, so if you like Kashmir, Paranoid, Smoke on the Water, or In-na-godda-da- vita, you like some metal. These bands spurred off bands such as AC/DC which drives the blues aspect of metal, Judas Priest who dropped the blues feel and pushed the power chord and epic sound, and Motorhead, who added the element of punk rebellion to metal. Iron Maiden and Judas Priest developed the epic metal and the concept of British Steel. In the 1980's glam-rock was a cover really for metal bands such as Guns n Roses, Motley Crue, Dokken, and countless others. Metal gets a bad rap because of the sometimes dark or rebellious tones of the songs. The problem is that a lot of the imagery used in the darker metal comes straight from the book of revelations in the bible, from famous works of literature( Rime of the Ancient Mariner used by Iron Maiden), or right from society and the history books. At no point have the mainstream metal bands every sung for you to kill yourself, your mother, your dog, your neighbor, or your goldfish. If anyone really wanted to pay attention they would realize that most of the lead singers of the big metal bands are quite educated and are extremely fan oriented. Bruce Dickinson of Iron Maiden is a trained airline pilot and a historian. Rob Halford of Judas Priest has a three and a half octave vocal range. Ther'es serious skills there and amazing song writing occurring in metal. The only demonic, hate-filled music in metal is being made by the white supremacists or the dark, too serious for their own good thrash metal bands.
With that out of the way, I go into the Metal Masters Tour show last Thursday at the Nissan Pavilion. The line up was Testament (an American Thrash metal band from the 1990's), Motorhead (British metal band, some times referred to as biker metal or punk metal, formed 1975), Heaven and Hell (a reunion of Black Sabbath with Ronnie James Dio), and Judas Priest (British metal group, formed in 1970).
I must say Testament sounded a bit rusty but they started to get themselves going by the time their half hour set was up. I wanted to hear more of them. Not much else I can say about them.
Next up was Motorhead. I've not heard much of Motorhead, but I respect Lemmy (Lead vocals and bass) to no end. Motorhead came out and rocked the house and thats when the first bit of crowd behavior started becoming an issue. Motorhead put a solid hour long set together, featuring their big song, Ace of Spades. This is when things got loud.
The next band was Heaven and Hell. Their staging was quite elaborate with demons in the trees breathing fog and red eyes. Also lots of lighting effect, including turning Dio completely red. Tony Iommi, lead guitar, totally still tears it up after all these years. They chose to call themselves Heaven and Hell for this tour instead of Black Sabbath to not cause any confusion with the fact that Ozzy is doing a solo tour currently (which I attended back in January).
Judas Priest was the headliner and the act I was most interested to see. They have been in existance since 1970. Rob Halford is one of the biggest and most famous lead singers in rock, not just metal. They were smart and did the a song from the new album first, and then went digging into their back catalog. They even had Halford ride out his big motorcycle and sing Hell Bent for Leather from the back of the bike. Way cool. My only gripe was that they did Breakin' The Law early in the set and Halford did not sing the chorus even once. He had the crowd sing it. Sure thats fun, but damn it, I am there primarily for you to sing, not the drunks in earshot. Over all a great show.
On a side note, I must ask what is the appeal of going to these concerts with the purpose to get drunk? You pay good money only to drink and get in a fight, or ruin someone else's experience. I only say this because we had a group next to us that didn't recognize the area we had staked. We were staked at the front edge of the lawn, right before the 70 degree slope down to the sidewalk. The group next to us kept moving over and stood right in front of us, forcing themselves to keep balance on the hill. It almost seemed intentional, and appeared it was when one member of the group got his wish and found himself in a fist fight with one of his own friends, a guy he was hugging 5 minutes prior to the fight. Now I'm not saying there shouldn't be alcohol. Sure, have a drink or two, dance to the music in your own area, but why the violence? The music doesn't call for it, not even inspiring for violence. I guarantee Lemmy would say "Bloody hell, whats this fuckin bullshit mosh pit?" These bands come out and bow after their sets, they hug kids near the front and give out their drumsticks? You think they want you beating the crap out of each other? The true fans go and listen, have fun and appreciate. You look like an asshole, and a good bet is you are an asshole. Notice I don't even care if you smoke your weed or whatever there, none of my business, and I haven't seen a pothead try to punch his best friend for what seems to be for standing within ten feet of his woman. I have seen a drunk do that. Immature and useless.
Well my friends, I wish you good night. To quote Lemmy "We are Motorhead and we playing fucking rock n roll music, good night!"
Sunday, August 3, 2008
A trip to Whoville and the jungle of Nool
Good evening readers. Tonight's topic is to summarize this summer's musical experience. I had the joy(?) of playing in the orchestra for a local production of "Seussical". For those of you not familiar, the musical "Seussical" was written by Stephen Flaherty and Lynn Ahrens which some aid by Eric Idle. The show was basically a broadway flop. Opening in November of 2000 and closing in May of 2001 after only 198 performances. After closing, the books were taken back and were reworked to make the story an hallucination.
The story operates similar in the fashion as the "Fantasticks" and "Pippin" operates. There is a narrator guiding characters through various plot devices and eventually having them all cross paths. Its kind of a Quentin Tarrantio approach to musicals. In the case of "Seussical", the narrator is the Cat in the Hat, who not only is guiding and interacting with the audience to take them through the story, but guiding the young child Jo-Jo into the world of Dr Seuss. Jo-Jo first meets Horton the Elephant int he jungle of Nool as Horton hears a dust speck screaming for help. Then Jo-Jo is transplanted into being a citizen of Who (the speck Horton hears is the planet of Who). Who is in trouble of course, torn over how to put butter on your bread, and Horton is accused of being insane, but one bird believes him. The animals in the jungle want Horton locked up and his dust speck on the clover destroyed. On top of that, this floozy of bird got herself knocked up and seduces Horton to sit on her egg, and Horton ends up in a circus. The story never really explains how Horton escapes the circus but that's not important, because everyone is singing.
Musically, the score is a dream for the orchestra. The songs almost never stop. There's no downtime. Every song forwards the plot and if the show isn't over in two hours, you're doing it wrong. Faster to the bar, faster to being happy. The orchestration is bit cramped though, as each reed book (three total) appear to require four instruments for each player. The brass books had been condensed into two trumpet parts and one trombone part. Which results in not the fullest sound on the brass side of things. A french horn part and even a second trombone part could be used. Especially considering the screamer style the first trumpet book is written in. Support voices would definitely help.
The show does move at a frantic pace and left me exhausted after every performance. There are thirty-one official songs of the show, but many numbers are split into long sections that segue to each other for ten to fifteen minutes at a time.
So now that the story and element of the show are set, lets get to the meat of the entry. This was the first show I had done in a while that I felt good about my overall performance. I thought I had a good ratio of right notes, and not too many bricks. I was also very happy to get my friend and hetero musical life partner involved in the production by covering the drum set. He read the book like a champ and learned the ropes of community theater fast. He learned not to necessarily trust watching the conductor, that he's in it with us, and that the singers will make us look bad but we can't make them look bad. Also the fact that you must either fit in or sink with the musicians involved. It's just as important to get along socially as it is to be responsible for your part and talent. Stevie, if you're reading, I'm proud of you and I hope you don't regret agreeing to do it even in the tough times you're having.
Alright enough of the sappy crap. So the cast was pretty stereotypical. A few pieces of talent, the rest raw meat just making our lives in the orchestra a living hell. The best way to explain it was a few songs I got seasick from the tempo fluctuations. There was the funk tune sung by some monkeys. I can't explain to you but, imagine if Isaac Hayes was an eighth note slow singing "Shaft", every time. They were hesitant, almost like they were waiting for some audible cue that was never there. Now imagine the frustration of the brass section with horn pops on beat four, and its clear the singer isn't supposed to be singing on beat four, but you can still hear him. Add to that the drummer hanging on for dear life on his stereotypical sixteenth note beat on the high hat. Dead in the water my friends, every night, without fail. The cue line for the song?
Cat in the Hat:"Hang on Jo-Jo, things are about to go wrong!!"
"How true, how true" said the sad kangaroo and the young trumpet player in the pit said "Meee tooooo!".
Only one more complaint and again its a tempo issue. The curtain call is a big band, Benny Goodman/Gene Krupa salute to "Green Eggs and Ham". The cast just is dying to come out clapping to it. Here's the problem, they see the music is written in 4/4 time. The song is too fast for that and is played in cut time. So they clap on the after beat instead of the back beat. Crash and burn my friend, crash and burn. So with their clapping off, their singing of the song is off too. Hang on again Jo-Jo, the orchestra is going into phasing metric modulation hell!!!! Especially when you're the loudest and highest voice in the pit and you are the one punctuating the "Four - One" feel. Lets not forget that everything except an eight bar section of this song is above the staff. It's an exhilarating and nerve wracking experience.
I have to admit, "Seussical" is one of my favorite shows to play, and was a fun way to celebrate my ten year anniversary with Liberty Showcase Theatre of Baltimore, Maryland. Its been fun and every show, though bitched about, has been fun to play with them. Every year I get better and learn more about musicals, and I get to know the orchestra better. I feel blessed really to continuously be called back year after year with a group as talented in the orchestra. I've never been asked to audition, I've just always been trusted to learn the part and try to help in any way I can. The help this year included putting together an arrangement of the Muppet Show theme for the orchestra to play before the Entr'acte. I couldn't have been more honored, and I learned how to write for strings and for saxophones. Thank you Ted, Elisa, Joe, Erica, Lisa, Matt, Steve, and Jonell for the memories and I hope for another ten years with you folks there.
This blog entry has been far too sentimental for this time of the night, and I must sign off. This entry rambled itself out quite well. Right now the sky is turning pink, and when figuring out what will happen next, I'm asking you, What do you think? All the thinks I can think have been thought, and when making the telephone, Bell asked, "What hath God wrought?". God gave us a musical where all the lines rhyme and just needs a twist of lime.
Good night.
The story operates similar in the fashion as the "Fantasticks" and "Pippin" operates. There is a narrator guiding characters through various plot devices and eventually having them all cross paths. Its kind of a Quentin Tarrantio approach to musicals. In the case of "Seussical", the narrator is the Cat in the Hat, who not only is guiding and interacting with the audience to take them through the story, but guiding the young child Jo-Jo into the world of Dr Seuss. Jo-Jo first meets Horton the Elephant int he jungle of Nool as Horton hears a dust speck screaming for help. Then Jo-Jo is transplanted into being a citizen of Who (the speck Horton hears is the planet of Who). Who is in trouble of course, torn over how to put butter on your bread, and Horton is accused of being insane, but one bird believes him. The animals in the jungle want Horton locked up and his dust speck on the clover destroyed. On top of that, this floozy of bird got herself knocked up and seduces Horton to sit on her egg, and Horton ends up in a circus. The story never really explains how Horton escapes the circus but that's not important, because everyone is singing.
Musically, the score is a dream for the orchestra. The songs almost never stop. There's no downtime. Every song forwards the plot and if the show isn't over in two hours, you're doing it wrong. Faster to the bar, faster to being happy. The orchestration is bit cramped though, as each reed book (three total) appear to require four instruments for each player. The brass books had been condensed into two trumpet parts and one trombone part. Which results in not the fullest sound on the brass side of things. A french horn part and even a second trombone part could be used. Especially considering the screamer style the first trumpet book is written in. Support voices would definitely help.
The show does move at a frantic pace and left me exhausted after every performance. There are thirty-one official songs of the show, but many numbers are split into long sections that segue to each other for ten to fifteen minutes at a time.
So now that the story and element of the show are set, lets get to the meat of the entry. This was the first show I had done in a while that I felt good about my overall performance. I thought I had a good ratio of right notes, and not too many bricks. I was also very happy to get my friend and hetero musical life partner involved in the production by covering the drum set. He read the book like a champ and learned the ropes of community theater fast. He learned not to necessarily trust watching the conductor, that he's in it with us, and that the singers will make us look bad but we can't make them look bad. Also the fact that you must either fit in or sink with the musicians involved. It's just as important to get along socially as it is to be responsible for your part and talent. Stevie, if you're reading, I'm proud of you and I hope you don't regret agreeing to do it even in the tough times you're having.
Alright enough of the sappy crap. So the cast was pretty stereotypical. A few pieces of talent, the rest raw meat just making our lives in the orchestra a living hell. The best way to explain it was a few songs I got seasick from the tempo fluctuations. There was the funk tune sung by some monkeys. I can't explain to you but, imagine if Isaac Hayes was an eighth note slow singing "Shaft", every time. They were hesitant, almost like they were waiting for some audible cue that was never there. Now imagine the frustration of the brass section with horn pops on beat four, and its clear the singer isn't supposed to be singing on beat four, but you can still hear him. Add to that the drummer hanging on for dear life on his stereotypical sixteenth note beat on the high hat. Dead in the water my friends, every night, without fail. The cue line for the song?
Cat in the Hat:"Hang on Jo-Jo, things are about to go wrong!!"
"How true, how true" said the sad kangaroo and the young trumpet player in the pit said "Meee tooooo!".
Only one more complaint and again its a tempo issue. The curtain call is a big band, Benny Goodman/Gene Krupa salute to "Green Eggs and Ham". The cast just is dying to come out clapping to it. Here's the problem, they see the music is written in 4/4 time. The song is too fast for that and is played in cut time. So they clap on the after beat instead of the back beat. Crash and burn my friend, crash and burn. So with their clapping off, their singing of the song is off too. Hang on again Jo-Jo, the orchestra is going into phasing metric modulation hell!!!! Especially when you're the loudest and highest voice in the pit and you are the one punctuating the "Four - One" feel. Lets not forget that everything except an eight bar section of this song is above the staff. It's an exhilarating and nerve wracking experience.
I have to admit, "Seussical" is one of my favorite shows to play, and was a fun way to celebrate my ten year anniversary with Liberty Showcase Theatre of Baltimore, Maryland. Its been fun and every show, though bitched about, has been fun to play with them. Every year I get better and learn more about musicals, and I get to know the orchestra better. I feel blessed really to continuously be called back year after year with a group as talented in the orchestra. I've never been asked to audition, I've just always been trusted to learn the part and try to help in any way I can. The help this year included putting together an arrangement of the Muppet Show theme for the orchestra to play before the Entr'acte. I couldn't have been more honored, and I learned how to write for strings and for saxophones. Thank you Ted, Elisa, Joe, Erica, Lisa, Matt, Steve, and Jonell for the memories and I hope for another ten years with you folks there.
This blog entry has been far too sentimental for this time of the night, and I must sign off. This entry rambled itself out quite well. Right now the sky is turning pink, and when figuring out what will happen next, I'm asking you, What do you think? All the thinks I can think have been thought, and when making the telephone, Bell asked, "What hath God wrought?". God gave us a musical where all the lines rhyme and just needs a twist of lime.
Good night.
Monday, July 21, 2008
The Chicken Dinner, Rushed
Compatriots, I come to you bearing good news. I hope this news finds you all in good spirits and health. I am writing with a bit of a concert review. This past Saturday, I attended the "Snakes and Arrows Tour 2008 - An Evening with Rush" at the Nissan Pavilion in Bristow, Virginia.
I will first off hit you with some of the fun of going to a concert. I attended with Beth, and my hetero-musical life partner, Steve. We've been musically courting each other officially now for about 3 weeks. Steve and I are very similar in that we want to be early, we don't want to miss a thing, we never head to the parking lot early after the show either. So we got there shortly after the parking lot opened, popped out some hot dogs, chips, and some beer, and we had at the feast with a little Pink Floyd playing in the background. This is where the tee-shirt spotting began.
I like to observe the culture at each concert I go to. The easiest way to do that is simply by the tee-shirts people are wearing. I must say, at this concert, there was no trend really, except people felt there wasn't a need to wear a music oriented shirt. Most shirts were of Rush, which I don't like, for some reason it screams "Pathetic" to me, wearing the shirt of the band you're there to see (the only exception seems to be with Iron Maiden, where its more than acceptable to wear your Iron Maiden shirts). The shirts seemed to reflect though the diversity of what people hear and find in Rush's music. There was a fair share of the "Prog" music fans ( a term Steve and I both don't care for as it is used as a catch all), metal fans (Steve refuses to acknowledge Rush's link to metal) and just general "Happy Go Lucky, its Saturday night, lets party and listen to good music" fans.
So on to the music. I must immediately say, Rush tickles the musicality side of my enjoyment. They are creative, ingenious, and skillful songwriters. The use of poly-meter, syncopation, and harmony is impressive. Add to that, their virtuosity and showmanship and you have one of the best live shows you can imagine. They are the most well balanced rock trio's ever. The sound and complexity that they're capable of is simply amazing. My favorite part is that even with today's music being lyric focused, they were not afraid to do three instrumentals in their set, including YYZ as the end of their encore.
This concert, two sets of all Rush, no opening act, was probably the best rock concert I've attended musically. They played hits like "Tom Sawyer", "Limelight", and "Subdivision", along with some stunning photography and witty video intro's featuring Jerry Stiller. Random, but awesome. The funniest thing is that Geddy (bass, synth's and vocals) has replaced his amps, or "appliances" with large chicken rotisserie's that were being tended to by a roadie dressed like a chef. With smoke, lasers and some tasteful pyro, Rush brought it all and bowled over the crowd. Neil Peart did an incredible solo on his massive drum set, utilizing everything he had available to him, and even crossing genre's by ending his solo with a sweet swing tune. Just amazing. His drum solo was more than just playing fast and demonstrating technique. He put together a composition for the crowd.
Well my good friends and loyal readers. I wish you good night.
I will first off hit you with some of the fun of going to a concert. I attended with Beth, and my hetero-musical life partner, Steve. We've been musically courting each other officially now for about 3 weeks. Steve and I are very similar in that we want to be early, we don't want to miss a thing, we never head to the parking lot early after the show either. So we got there shortly after the parking lot opened, popped out some hot dogs, chips, and some beer, and we had at the feast with a little Pink Floyd playing in the background. This is where the tee-shirt spotting began.
I like to observe the culture at each concert I go to. The easiest way to do that is simply by the tee-shirts people are wearing. I must say, at this concert, there was no trend really, except people felt there wasn't a need to wear a music oriented shirt. Most shirts were of Rush, which I don't like, for some reason it screams "Pathetic" to me, wearing the shirt of the band you're there to see (the only exception seems to be with Iron Maiden, where its more than acceptable to wear your Iron Maiden shirts). The shirts seemed to reflect though the diversity of what people hear and find in Rush's music. There was a fair share of the "Prog" music fans ( a term Steve and I both don't care for as it is used as a catch all), metal fans (Steve refuses to acknowledge Rush's link to metal) and just general "Happy Go Lucky, its Saturday night, lets party and listen to good music" fans.
So on to the music. I must immediately say, Rush tickles the musicality side of my enjoyment. They are creative, ingenious, and skillful songwriters. The use of poly-meter, syncopation, and harmony is impressive. Add to that, their virtuosity and showmanship and you have one of the best live shows you can imagine. They are the most well balanced rock trio's ever. The sound and complexity that they're capable of is simply amazing. My favorite part is that even with today's music being lyric focused, they were not afraid to do three instrumentals in their set, including YYZ as the end of their encore.
This concert, two sets of all Rush, no opening act, was probably the best rock concert I've attended musically. They played hits like "Tom Sawyer", "Limelight", and "Subdivision", along with some stunning photography and witty video intro's featuring Jerry Stiller. Random, but awesome. The funniest thing is that Geddy (bass, synth's and vocals) has replaced his amps, or "appliances" with large chicken rotisserie's that were being tended to by a roadie dressed like a chef. With smoke, lasers and some tasteful pyro, Rush brought it all and bowled over the crowd. Neil Peart did an incredible solo on his massive drum set, utilizing everything he had available to him, and even crossing genre's by ending his solo with a sweet swing tune. Just amazing. His drum solo was more than just playing fast and demonstrating technique. He put together a composition for the crowd.
Well my good friends and loyal readers. I wish you good night.
Wednesday, July 9, 2008
Jonell
Hello friends. I write to you tonight with great sorrow. I know I had promised not to get too personal in this blog but, I cannot help it in this situation. This Sunday, my good and dear friend Jonell Lindholm passed away from a long fight with cancer.
Jonell was an extremely talented French horn player. Jonell was one of the most active musicians in Baltimore area, playing with anyone, anywhere, for any amount of money, even gratis. I worked with her in the UMBC Symphony, Liberty Showcase and Glyndon Players, Columbia Symphony, and of course in The Usual Suspects.
Jonell taught me all the tricks of playing in a symphony; write in the tough transpositions, look over the clarinet player's shoulder when playing Beethoven in case you get lost in the long rests, play loud and confident no matter what, don't be afraid to count out loud and on your fingers, and brass players stick together. Jonell never criticized anyones playing, except for Stan. But then she was never really mean.
Jonell was great to do chamber music with. She always had positive criticisms and was willing to try and play anything, no matter how crappy the arrangement. Of all the situations, I will miss her from our quintet rehearsals. She would always bring the group back on task, and chime in with a proper timed, Michigan accented "Oh brother". Her musicianship was second to none. She was always professional. Always with a pencil and ready to learn.
I don't think I can talk much more without getting worked up again, so I say, "Here's to you Jonell. May all the parts in heaven be in F already. I loved you and loved working with you." Good night.
Jonell was an extremely talented French horn player. Jonell was one of the most active musicians in Baltimore area, playing with anyone, anywhere, for any amount of money, even gratis. I worked with her in the UMBC Symphony, Liberty Showcase and Glyndon Players, Columbia Symphony, and of course in The Usual Suspects.
Jonell taught me all the tricks of playing in a symphony; write in the tough transpositions, look over the clarinet player's shoulder when playing Beethoven in case you get lost in the long rests, play loud and confident no matter what, don't be afraid to count out loud and on your fingers, and brass players stick together. Jonell never criticized anyones playing, except for Stan. But then she was never really mean.
Jonell was great to do chamber music with. She always had positive criticisms and was willing to try and play anything, no matter how crappy the arrangement. Of all the situations, I will miss her from our quintet rehearsals. She would always bring the group back on task, and chime in with a proper timed, Michigan accented "Oh brother". Her musicianship was second to none. She was always professional. Always with a pencil and ready to learn.
I don't think I can talk much more without getting worked up again, so I say, "Here's to you Jonell. May all the parts in heaven be in F already. I loved you and loved working with you." 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.
Sunday, June 22, 2008
A Real Trooper
Hello folks. I hope this entry finds you guys in good spirits and the humidity hasn't gotten you yet for the summer. We all know what summer means for me. Musicals and outdoor rock concerts. Life doesn't get much better than that, and this summer opened with a big metallic bang. IRON MAIDEN. I must admit this was one of the most intense musical sensations in my life. Yes, in my LIFE.
The concert opened with Steve Harris' s (Bass-Iron Maiden) daughter, Lauren Harris. She has a band put together of what seems to be generic studio rockers putting on a stereotypical metal look for her. Their performances were nothing to write home about. Lauren Harris, I am not sure about. She has skills, and her stage presence is an Ozzy Osbourne derived "Stand and Deliver" style. The issue is that she hasn't settled on a style and I would have preferred her to be a screamer (hehe). She sang very low, in a tenor range. If she sang like an alto, even in falsetto, she would have been killer. In the range she sang it would have worked for her to go country, which would be a shame since shes a Brit. I mean, Iron Maiden's male lead singer sang two octaves higher than her at times. It was the first time I really felt bad for an opening act. The girl is very good looking and has talent and her songs weren't bad, just I think her vocal range needs to be thought about and she needs a real band with whom she has a bond.
After about forty-five minutes since Lauren finished, and the sun has gone below the horizon, the lights go out. A video clip of the members of Iron Maiden boarding their private Boeing 757 (thats right, I can recognize some different models of commercial jets, my grandfather worked for the airlines), then a camera shot through the window of the cockpit and there sits none other than Bruce Dickinson, lead singer, airline pilot, DJ, and historian. Bruce Dickinson this evening demonstrated some amazing front-man skills, of keeping the crowd entertained while the set changed and the guitarists changed guitars or re-tuned. Combine that with one of the most recognizable voices and you have a Freddie Mercury of metal. Those of you who know me and read this, know how high I regard the late Queen lead-man. This is big for me to compare him. Bruce's voice was right on for being a live performance. A lot of bands, understandably, change the vocal lines some from the album for live performances. I heard maybe, MAYBE three instances of this at the concert. Very impressive considering they just played the night before in Philadelphia.
This concert was very special since Iron Maiden was not pushing a new album on this tour, and only had 14 shows in the United States on this massive world tour. The theme of the tour is "Somewhere Back in Time". They are basically touring their greatest hits from the years 1980-89. This means the set included hits like "Number of the Beast", "Run to the Hills", "The Trooper", and their 13-minute masterpiece based on Samuel Coleridge Taylors famous poem, "Rhyme of the Ancient Mariner". They were coming to rock, and melt your face. The shredding along with the pyro just did exactly that. After playing a set with those songs plus about 7 others, they leave the stage. The audience already running only on adrenaline and alcohol, screaming for more. They come out and perform three more songs as an encore, ending with their title song "Iron Maiden" which includes a giant walking and dancing Eddie (the zombie alien that appears in all the Iron Maiden logos and art). This was very amusing as the guitarists (all three of them, not including the bassist and band leader, Steve Harris, who is one of the best bassists in metal) formed together to battle Eddie with their guitars.
After three encores the audience seemed defeated, just rocked into surrender. Even after the lights came up you had to just stand there and catch your breath. This concert was a barn stormer and will be tough to beat, but with a line up of Rush on July 19th, The Masters of Metal Tour, featuring Judas Priest, Motorhead, a reunited Heaven and Hell, and Testament on August 7th, Journey, Heart, and Cheap Trick on August 27, and Several Species on September 20th, there will be ample opportunity for others to turn up the heat. Its going to be a hot summer. I leave you with a clip of "Number of the Beast" by Iron Maiden, performed live at Merriweather Post Pavilion. I was at this performance and I feel the clip demonstrates what I was talking about! I wish you guys peace and nimble fingers for your board tapping in your massive solos.
The concert opened with Steve Harris' s (Bass-Iron Maiden) daughter, Lauren Harris. She has a band put together of what seems to be generic studio rockers putting on a stereotypical metal look for her. Their performances were nothing to write home about. Lauren Harris, I am not sure about. She has skills, and her stage presence is an Ozzy Osbourne derived "Stand and Deliver" style. The issue is that she hasn't settled on a style and I would have preferred her to be a screamer (hehe). She sang very low, in a tenor range. If she sang like an alto, even in falsetto, she would have been killer. In the range she sang it would have worked for her to go country, which would be a shame since shes a Brit. I mean, Iron Maiden's male lead singer sang two octaves higher than her at times. It was the first time I really felt bad for an opening act. The girl is very good looking and has talent and her songs weren't bad, just I think her vocal range needs to be thought about and she needs a real band with whom she has a bond.
After about forty-five minutes since Lauren finished, and the sun has gone below the horizon, the lights go out. A video clip of the members of Iron Maiden boarding their private Boeing 757 (thats right, I can recognize some different models of commercial jets, my grandfather worked for the airlines), then a camera shot through the window of the cockpit and there sits none other than Bruce Dickinson, lead singer, airline pilot, DJ, and historian. Bruce Dickinson this evening demonstrated some amazing front-man skills, of keeping the crowd entertained while the set changed and the guitarists changed guitars or re-tuned. Combine that with one of the most recognizable voices and you have a Freddie Mercury of metal. Those of you who know me and read this, know how high I regard the late Queen lead-man. This is big for me to compare him. Bruce's voice was right on for being a live performance. A lot of bands, understandably, change the vocal lines some from the album for live performances. I heard maybe, MAYBE three instances of this at the concert. Very impressive considering they just played the night before in Philadelphia.
This concert was very special since Iron Maiden was not pushing a new album on this tour, and only had 14 shows in the United States on this massive world tour. The theme of the tour is "Somewhere Back in Time". They are basically touring their greatest hits from the years 1980-89. This means the set included hits like "Number of the Beast", "Run to the Hills", "The Trooper", and their 13-minute masterpiece based on Samuel Coleridge Taylors famous poem, "Rhyme of the Ancient Mariner". They were coming to rock, and melt your face. The shredding along with the pyro just did exactly that. After playing a set with those songs plus about 7 others, they leave the stage. The audience already running only on adrenaline and alcohol, screaming for more. They come out and perform three more songs as an encore, ending with their title song "Iron Maiden" which includes a giant walking and dancing Eddie (the zombie alien that appears in all the Iron Maiden logos and art). This was very amusing as the guitarists (all three of them, not including the bassist and band leader, Steve Harris, who is one of the best bassists in metal) formed together to battle Eddie with their guitars.
After three encores the audience seemed defeated, just rocked into surrender. Even after the lights came up you had to just stand there and catch your breath. This concert was a barn stormer and will be tough to beat, but with a line up of Rush on July 19th, The Masters of Metal Tour, featuring Judas Priest, Motorhead, a reunited Heaven and Hell, and Testament on August 7th, Journey, Heart, and Cheap Trick on August 27, and Several Species on September 20th, there will be ample opportunity for others to turn up the heat. Its going to be a hot summer. I leave you with a clip of "Number of the Beast" by Iron Maiden, performed live at Merriweather Post Pavilion. I was at this performance and I feel the clip demonstrates what I was talking about! I wish you guys peace and nimble fingers for your board tapping in your massive solos.
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.
Sunday, April 27, 2008
Concert Etiquette
Hello my friends. I come to you this evening to discuss a couple things. Both topics are spurred by the music events I attended this weekend. I witnessed incredible violations of concert etiquette and experienced some horrendous musical theater cliché. Lets start though with the etiquette. Here are my rules for concerts:
1. Respect the Performer
2. Respect the Performance
3. Know the rules of the performance - e.g. if it is a classical concert, do not clap between movements, clap for the concert master, conductor, and solist everytime they enter the stage.
This past weekend, me and a lovely friend of mine attended a performance of the Baltimore Symphony Orchestra, conducted by Yan Pascal Tortelier. The group performed the "Armenian Suite" by Richard Yardumian, Piano Concerto no. 1 by Sergei Prokofiev with Yuja Wang on piano, and closed with "Symphonie Fantastique by Hector Berlioz.
The BSO has matured quite a bit under the new directorship with Marin Alsop. The performed all three pieces with intensity and precision. They presented a concert of such passions that it made you have to move. A man a few rows in front of me was getting into the concert and was doing some small conducting of his own in his seat. This is not unusual especially at a concwert with such rhythmic and all out primal feels such as the Armenian Suite and Piano Concerto (Soloist at one point got so into it she pulled a Jerry Lee Lewis and stood while playing for a bar or two). The man in the seat between me and armchair conductor is getting ore and more agitated for some reason. You must understand that the guys seat was not rocking and hitting his legs, his arms weren't blocking a view and he wasn't making any noise doing this. When the concert finally ended and everyone jumped to their feet to give the group and its conductor a standing ovation, especially the percussionists who were incredible, the man directly in front of me, grabs his wife by the arm, gets in the enthusiast's face and says "He's the conductor not you, and now you know for the next time". He then proceeded to storm out of the hall, not giving the orchestra his respect. Never mind that this is taking place 4 rows from the stage, on the side where the conductor enters. The conductor made multiple nods down to us and could clearly see the scene. I was furious, I was embarrassed for music lover in me. The upset man simply didn't get the passion of romantic music. In his own maneuver to punish a man loving music in demand of having a concert the way he wants, he forgot the key thing that its about the performer and the listener and nothing else. This man was not listening and experiencing the music and in that he disrespected the performer, which violates the first rule and second rule. I had to tell the faux conductor that I appreciate his passion and that you have to let it out. He was so friendly we practically made a new friend on the way out of the concert, with him and his daughter. We walked out together and the jerk was forgotten. The group performed so well and its sad it had such a bad audience. I heard at least 10 cell phones ring and there was a woman two rows back that I swear had tuberculosis. It was gross and rude, and she never excused herself. I could only imagine the level of embarrassment her guests had.
If you've ever been to a classical concert with a soft section you know that coughing spreads like a plague. People have no control or concept that everything in the hall projects and your cough is as loud as a trumpet to someone concentrating. I don't understand why you would come to something like that sick. Also these coughs are normally just throat clears done without covering the mouth or muffling in anyway and its just gross and distracting. COUGHERS OF THE WORLD, HEAR ME NOW WHEN I SAY GET A HALLS, A COUGH DROP AND GET UP AND LEAVE THE HALL UNTIL YOUR THROAT IS CLEAR. Stop punishing us who can control ourselves.
Now that my rant is done, I must bid this post farewell. Thank you for reading, let your meter be simple and cadences be perfect.
1. Respect the Performer
2. Respect the Performance
3. Know the rules of the performance - e.g. if it is a classical concert, do not clap between movements, clap for the concert master, conductor, and solist everytime they enter the stage.
This past weekend, me and a lovely friend of mine attended a performance of the Baltimore Symphony Orchestra, conducted by Yan Pascal Tortelier. The group performed the "Armenian Suite" by Richard Yardumian, Piano Concerto no. 1 by Sergei Prokofiev with Yuja Wang on piano, and closed with "Symphonie Fantastique by Hector Berlioz.
The BSO has matured quite a bit under the new directorship with Marin Alsop. The performed all three pieces with intensity and precision. They presented a concert of such passions that it made you have to move. A man a few rows in front of me was getting into the concert and was doing some small conducting of his own in his seat. This is not unusual especially at a concwert with such rhythmic and all out primal feels such as the Armenian Suite and Piano Concerto (Soloist at one point got so into it she pulled a Jerry Lee Lewis and stood while playing for a bar or two). The man in the seat between me and armchair conductor is getting ore and more agitated for some reason. You must understand that the guys seat was not rocking and hitting his legs, his arms weren't blocking a view and he wasn't making any noise doing this. When the concert finally ended and everyone jumped to their feet to give the group and its conductor a standing ovation, especially the percussionists who were incredible, the man directly in front of me, grabs his wife by the arm, gets in the enthusiast's face and says "He's the conductor not you, and now you know for the next time". He then proceeded to storm out of the hall, not giving the orchestra his respect. Never mind that this is taking place 4 rows from the stage, on the side where the conductor enters. The conductor made multiple nods down to us and could clearly see the scene. I was furious, I was embarrassed for music lover in me. The upset man simply didn't get the passion of romantic music. In his own maneuver to punish a man loving music in demand of having a concert the way he wants, he forgot the key thing that its about the performer and the listener and nothing else. This man was not listening and experiencing the music and in that he disrespected the performer, which violates the first rule and second rule. I had to tell the faux conductor that I appreciate his passion and that you have to let it out. He was so friendly we practically made a new friend on the way out of the concert, with him and his daughter. We walked out together and the jerk was forgotten. The group performed so well and its sad it had such a bad audience. I heard at least 10 cell phones ring and there was a woman two rows back that I swear had tuberculosis. It was gross and rude, and she never excused herself. I could only imagine the level of embarrassment her guests had.
If you've ever been to a classical concert with a soft section you know that coughing spreads like a plague. People have no control or concept that everything in the hall projects and your cough is as loud as a trumpet to someone concentrating. I don't understand why you would come to something like that sick. Also these coughs are normally just throat clears done without covering the mouth or muffling in anyway and its just gross and distracting. COUGHERS OF THE WORLD, HEAR ME NOW WHEN I SAY GET A HALLS, A COUGH DROP AND GET UP AND LEAVE THE HALL UNTIL YOUR THROAT IS CLEAR. Stop punishing us who can control ourselves.
Now that my rant is done, I must bid this post farewell. Thank you for reading, let your meter be simple and cadences be perfect.
Tuesday, April 8, 2008
A Return...to Rock \oo/
Hello my friend(s) who may still pay attention to this blog. I wish a warm welcome. This blog entry is intended to bring you up to speed on some things lately. Recently, the UMBC Symphony presented a strong, almost professional caliber performance of the 3rd and 4th movement of the Symphonie Fantasique by Hector Berlioz. I was particularly proud. My brass section got a standing ovation. The corwd started standing once we were told to stand alone for applause. One of the best honors I've ever received playing. Also before the concert, the quintet knocked the lobby crowd out with Irish Tune from County Dairy by Percy Grainger, Ashokan Farewell, from the Civil War miniseries by Ken Burns, Lucy in the Sky with Diamonds by the Beatles and Springtime For Hitler from the Producers. Big time hit. The group right now is working on the 5th movement of the Berlioz, and the quintet is working on Open Arms by Journey and Brain Damage by Pink Floyd.
Now to the subject above. I was recently blessed to hear an up and coming power rock band from Australia named Airbourne. I first heard them on the airing of the WWE Royal Rumble. I purchased their CD and it was love. They have all the power, sound, skill, and quality of a young AC/DC. I consider myself lucky to have seen them live, in an intimate setting like the Recher Theatre in Towson, MD. The place only holds 700 and its standing room only. I was also there for another Several Species concert but I had to leave early due to throwing my back out breaking the fall of a guy who blacked out. But, I digress.
The two opening bands were quite...interesting. For $10 to see Airbourne was quite a deal, but we know for $10, the openers were going to be rough. The first band, called Stone Riders. They were pretty good. Sounded strangely like a mix of Zeppelin and Rolling Stones but its missing the technical proficiency. The second band, Endeverafter, sucked big time. They did nothing play fast, guitar licks that sounded strangely familiar with bad lyrics and really my friend Pat and I thought were trying to audition for Guitar Hero. We were convinced when the guitarist did a name that tune section that included "Rain of Blood" by Slayer (Guitar Hero 3), and "Cowboys from Hell" by Pantera (Guitar Hero 1). Their music really sounded like nothing but copy and pasted licks from the video game. No passion, no soul, little skill. I should have known better when the bassist from the band was warming up by playing other peoples music (he warmed up on the bass line to Don't Stop Believin' by Journey. Now you all know I heart Journey the Steve Perry years, but still this is a clue that the group you're about to hear sucks. Besides an on stage warm up, totally unacceptable if you're not a symphony, or in a venue so small theres a parking lot and a stage, and its raining in the parking lot).
So that brings me to Airbourne, where they opened with "Stand Up for Rock 'n' Roll" (thats right I wasn't baked or drunk enough to forget the set). This song has a very similar feel to "Thunderstruck" by AC/DC, except for a massive accelerando, that immediately lets you know this band is going to be in your face for the next 90 minutes. They did every song from their album "Runnin' Wild" but in a more concert appropriate order, closing the set with "Too Much Too Young Too Fast" and "Running Wild". Then for an encore which was demanded so fast they barely got off stage that was about 10 minutes long and was insanely loud because the front vocalist/guitarist turned his stage amps all the way up, which sounded amazing. The song was something lightning. I didn't get the exact title through the screams and his grovely Aussie accent. But rest assured the song kicked my ass, my friends ass, and every ass in there that stayed for the encore. We were pumped. The concert was pure testosterone and adrenaline. I witnessed first hand my first mosh pit, and stage diving. I will definitely be paying attention to their tour location to see them again.
Well my friends I must sign off for the evening. my pals and I are currently in search of more concerts to attend, which I will write about. I apologize for abandoning my blog for so long and I hope you will continue to come back. I will try not to be so distant. Let your Rock be rollin' and your bass drum pedal be double, Rock on dudes. To quote the genius(sic) lead singer and guitarist of Endeverafter, "You are the fuck. Metal is the fuck" Good night
Now to the subject above. I was recently blessed to hear an up and coming power rock band from Australia named Airbourne. I first heard them on the airing of the WWE Royal Rumble. I purchased their CD and it was love. They have all the power, sound, skill, and quality of a young AC/DC. I consider myself lucky to have seen them live, in an intimate setting like the Recher Theatre in Towson, MD. The place only holds 700 and its standing room only. I was also there for another Several Species concert but I had to leave early due to throwing my back out breaking the fall of a guy who blacked out. But, I digress.
The two opening bands were quite...interesting. For $10 to see Airbourne was quite a deal, but we know for $10, the openers were going to be rough. The first band, called Stone Riders. They were pretty good. Sounded strangely like a mix of Zeppelin and Rolling Stones but its missing the technical proficiency. The second band, Endeverafter, sucked big time. They did nothing play fast, guitar licks that sounded strangely familiar with bad lyrics and really my friend Pat and I thought were trying to audition for Guitar Hero. We were convinced when the guitarist did a name that tune section that included "Rain of Blood" by Slayer (Guitar Hero 3), and "Cowboys from Hell" by Pantera (Guitar Hero 1). Their music really sounded like nothing but copy and pasted licks from the video game. No passion, no soul, little skill. I should have known better when the bassist from the band was warming up by playing other peoples music (he warmed up on the bass line to Don't Stop Believin' by Journey. Now you all know I heart Journey the Steve Perry years, but still this is a clue that the group you're about to hear sucks. Besides an on stage warm up, totally unacceptable if you're not a symphony, or in a venue so small theres a parking lot and a stage, and its raining in the parking lot).
So that brings me to Airbourne, where they opened with "Stand Up for Rock 'n' Roll" (thats right I wasn't baked or drunk enough to forget the set). This song has a very similar feel to "Thunderstruck" by AC/DC, except for a massive accelerando, that immediately lets you know this band is going to be in your face for the next 90 minutes. They did every song from their album "Runnin' Wild" but in a more concert appropriate order, closing the set with "Too Much Too Young Too Fast" and "Running Wild". Then for an encore which was demanded so fast they barely got off stage that was about 10 minutes long and was insanely loud because the front vocalist/guitarist turned his stage amps all the way up, which sounded amazing. The song was something lightning. I didn't get the exact title through the screams and his grovely Aussie accent. But rest assured the song kicked my ass, my friends ass, and every ass in there that stayed for the encore. We were pumped. The concert was pure testosterone and adrenaline. I witnessed first hand my first mosh pit, and stage diving. I will definitely be paying attention to their tour location to see them again.
Well my friends I must sign off for the evening. my pals and I are currently in search of more concerts to attend, which I will write about. I apologize for abandoning my blog for so long and I hope you will continue to come back. I will try not to be so distant. Let your Rock be rollin' and your bass drum pedal be double, Rock on dudes. To quote the genius(sic) lead singer and guitarist of Endeverafter, "You are the fuck. Metal is the fuck" Good night
Thursday, January 17, 2008
Just...what the hell is it?
Greetings and salutations my good friends. I hope this blog finds you in good health and spirits. The rainy and snowy Baltimore has somewhat isolated me to the indoors, providing for some quality time with the Xbox 360 and some lovely listening choices. Well besides maiming fellow geeks and 13 year old children who insist on screaming in the microphone with their mouth filled with hardware, I took time to listen to two CDs.
The first of which I won't spend much time on it as it was somewhat covered before. This CD is Rob Zombie's new release, "Live". Which is just that, a CD of a live performance. The liner has no location or date listed which makes me sad. I like to know things like that. The thing is metal works so much better with a crowd. Not that I don't enjoy the art on a recording, but the audience reflects the energy and really brings it out. Not to mention, a band can't do a fade out on a live album, so we get to hear them fully composed out. As some of you know, the fade out, in my opinion, is a huge cop out. The hardest part of composing is the ending, how to finish your idea. Too many bands just let it go and fade out on a loop. This is lame. Anyways. This CD had lots of energy, and the standard primal rage feel the Zombie packs into a show. It was great to recover the fun of a few Saturdays ago with a CD. It is practically the same set.
The second CD that I listened to was by a band I never heard of before. It was recommended to me by my branch manager and friend, Bob. He had heard them on NPR. The group is called "Over the Rhine". It is hard to describe them. The library cataloged it as "Rock". I would put it more in popular. The core of the group is a duo, of a guy on piano and a lovely female vocalist (appearance and voice wise). They add on an unusual combo including bass clarinet, trumpet, trombone, saxophone, and some others. The arrangements for the instruments are quite good. They have a New Orleans brass band kind of sound to them, with very smooth, complex chord progressions. The lyrics are very deep, yet simple and have great movement to them. The words themselves are part of the melody, the syllables flow wonderfully. So this brings me to the title. Just what the hell would you classify this music?
Theres a clip of them. Are they jazz? Are they rock? Are they blues? I can't tell you, but they hit something in me. I haven't been excited by a newish band like this since "The Killers". Their flow is something to be envied and studied for my lyric writing in the future.
With the sounds of the Trumpet Child, I end this blog entry with wishes of your A's be 440, and your Allegro to be brisk but controlled. Good evening
The first of which I won't spend much time on it as it was somewhat covered before. This CD is Rob Zombie's new release, "Live". Which is just that, a CD of a live performance. The liner has no location or date listed which makes me sad. I like to know things like that. The thing is metal works so much better with a crowd. Not that I don't enjoy the art on a recording, but the audience reflects the energy and really brings it out. Not to mention, a band can't do a fade out on a live album, so we get to hear them fully composed out. As some of you know, the fade out, in my opinion, is a huge cop out. The hardest part of composing is the ending, how to finish your idea. Too many bands just let it go and fade out on a loop. This is lame. Anyways. This CD had lots of energy, and the standard primal rage feel the Zombie packs into a show. It was great to recover the fun of a few Saturdays ago with a CD. It is practically the same set.
The second CD that I listened to was by a band I never heard of before. It was recommended to me by my branch manager and friend, Bob. He had heard them on NPR. The group is called "Over the Rhine". It is hard to describe them. The library cataloged it as "Rock". I would put it more in popular. The core of the group is a duo, of a guy on piano and a lovely female vocalist (appearance and voice wise). They add on an unusual combo including bass clarinet, trumpet, trombone, saxophone, and some others. The arrangements for the instruments are quite good. They have a New Orleans brass band kind of sound to them, with very smooth, complex chord progressions. The lyrics are very deep, yet simple and have great movement to them. The words themselves are part of the melody, the syllables flow wonderfully. So this brings me to the title. Just what the hell would you classify this music?
Theres a clip of them. Are they jazz? Are they rock? Are they blues? I can't tell you, but they hit something in me. I haven't been excited by a newish band like this since "The Killers". Their flow is something to be envied and studied for my lyric writing in the future.
With the sounds of the Trumpet Child, I end this blog entry with wishes of your A's be 440, and your Allegro to be brisk but controlled. Good evening
Monday, January 7, 2008
All aboard the Crazy Train
Alright, hello again music fans. I am here and still alive after the 12 days of Christmas. I almost didn't survive.
The topic of this entry will be the Rob Zombie/Ozzy Osbourne concert I attended on January 5th in Washington, DC.
Before I go into the musicality, I must say I am disappointed in parents and the "straights" who showed up to the concert, behaving kind of like its a piano recital at Carnegie Hall. there were children there. Parents brought their kids, to hear Ozzy Osbourne, the "Prince of Fucking Darkness". Rob Zombie showing his gore fest, naked lady B movie clips while playing, and never mind the chicks in the crowd flashing the cameras for the giant screens in around the arena. Bad idea folks. I saw many parents taking their kids out. Good job wasting that money. Take them to Hannah Montana.
Anyways, the music. The first band to go on was the opening act of "In This Moment". good metal group. Four goth looking guys then one pretty blond lead singer who dresses like little bo peep. She skips around the stage then starts screaming. But don't let the scream fool you, shes got some pipes on her for some real singing. I was impressed.
Thats a clip of them from Ozzfest.
Rob Zombie was everything as expected. His stage presence, presentation, and performance were all tight, and well synchronized. Puppets, costumes and all were amazing. Not to mention the Rob zombie feel of always pushing the tempo, in your face, primal pulse really surges through you and rattles everything in your body. Plus, the dancing girls he always has, which is a trademark, were really good, and good looking. "Dragula" was amazing live. He really puts on a multimedia experience.
During the break I enjoyed watching the roadies go up the rigging and such, and thought it was interesting they played AC/DC over the PA system. That was cool. It reminded me of the DreamTheatre concert where they actually played string quartets.
So Ozzy hits the stage and immediately begins cursing and then the first song tears it up. It was from his new album, so a good way to warm people up before he hits them with Crazy Train and Mr Crowley back to back. This is where Zakk Wylde was owning everything. His solos were tight, original, and technically sound. Ozzy was having hearing issues, so the monitors were turned up causing some feedback. Ozzy was recovering from the flu so he was probably on cough syrup, and had clogged ears. Ozzy sadly only did one Black Sabbath song, Paranoid, and it was his encore. The cool thing was though it was an extended version with tons of Zakk Wylde solos. During "Mamma I'm Comin' Home", Zakk broke a string during a solo. He walks over to Ozzy who bends over and breaks off the string completely for him and Zakk doesn't miss a beat or note. It was quite impressive.
Overall this concert was amazing. I can't imagine a better musical experience in this genre. The opening act was actualyl able to put me into the trance, which is a big thing, and then the rest of the concert locked in. It was three and a half hours of pure metal joy, and it felt like 15 minutes to me. Just intense and fun.
So here I am at the end of this fun entry. Let your metal be hard, and your double bass pedal quick and even stroke.
The topic of this entry will be the Rob Zombie/Ozzy Osbourne concert I attended on January 5th in Washington, DC.
Before I go into the musicality, I must say I am disappointed in parents and the "straights" who showed up to the concert, behaving kind of like its a piano recital at Carnegie Hall. there were children there. Parents brought their kids, to hear Ozzy Osbourne, the "Prince of Fucking Darkness". Rob Zombie showing his gore fest, naked lady B movie clips while playing, and never mind the chicks in the crowd flashing the cameras for the giant screens in around the arena. Bad idea folks. I saw many parents taking their kids out. Good job wasting that money. Take them to Hannah Montana.
Anyways, the music. The first band to go on was the opening act of "In This Moment". good metal group. Four goth looking guys then one pretty blond lead singer who dresses like little bo peep. She skips around the stage then starts screaming. But don't let the scream fool you, shes got some pipes on her for some real singing. I was impressed.
Thats a clip of them from Ozzfest.
Rob Zombie was everything as expected. His stage presence, presentation, and performance were all tight, and well synchronized. Puppets, costumes and all were amazing. Not to mention the Rob zombie feel of always pushing the tempo, in your face, primal pulse really surges through you and rattles everything in your body. Plus, the dancing girls he always has, which is a trademark, were really good, and good looking. "Dragula" was amazing live. He really puts on a multimedia experience.
During the break I enjoyed watching the roadies go up the rigging and such, and thought it was interesting they played AC/DC over the PA system. That was cool. It reminded me of the DreamTheatre concert where they actually played string quartets.
So Ozzy hits the stage and immediately begins cursing and then the first song tears it up. It was from his new album, so a good way to warm people up before he hits them with Crazy Train and Mr Crowley back to back. This is where Zakk Wylde was owning everything. His solos were tight, original, and technically sound. Ozzy was having hearing issues, so the monitors were turned up causing some feedback. Ozzy was recovering from the flu so he was probably on cough syrup, and had clogged ears. Ozzy sadly only did one Black Sabbath song, Paranoid, and it was his encore. The cool thing was though it was an extended version with tons of Zakk Wylde solos. During "Mamma I'm Comin' Home", Zakk broke a string during a solo. He walks over to Ozzy who bends over and breaks off the string completely for him and Zakk doesn't miss a beat or note. It was quite impressive.
Overall this concert was amazing. I can't imagine a better musical experience in this genre. The opening act was actualyl able to put me into the trance, which is a big thing, and then the rest of the concert locked in. It was three and a half hours of pure metal joy, and it felt like 15 minutes to me. Just intense and fun.
So here I am at the end of this fun entry. Let your metal be hard, and your double bass pedal quick and even stroke.
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