Good morning! I apologize again for abandoning this diary of musical insight from a somewhat well trained amateur musician. It is funny that starting a new blog for work has brought me back to this blog today. Life, again, swept me away from my musical musings, yet life has deposited me again along its soft, sandy shores to write to you, loyal and undaunted reader, my inconsequential and lackluster opinions and experiences in music.

Since last writing, my non-musical schedule has increased, causing me to relax my role in the ever-improving UMBC Symphony. They really are a great bunch of young players and I am excited for my alma mater as they grow better and better musicians and prepare to move into a new facility. The spring concert is approaching and I am only playing on one piece and playing second trumpet, which is just fine with me. I will be performing on Parade by Erik Satie. This was one of my favorite pieces from college when everyday was filled with analyzing the fascinating works of the late romantic, impressionist, and modern music eras. Parade is a ballet with caricatures of different circus acts. The original performance had its sets and costumes designed by Pablo Picasso, concept written by Jean Cocteau, and was written for Diaghilev's ballet, and the choreography by Leonide Massine. It truly was all the mediums of the time merging into one.

To perform the piece is just plain fun. There are typewriters, a lottery wheel, milk bottles, a little ragtime, and of course the siren. The siren poses the only difficulty, which is to not smile and giggle during those sections when playing. The piece, in my opinion, is very successful in recreating the fun atmosphere and transporting the listener to the mood of a circus. Check it out on May 5th at UMBC Recital Hall.

In other musical news, a friend and I attended the Bond and Beyond concert by the BSO. I am a huge James Bond fan (I will not bore you trying to justify my statement). The pieces selected for the concert were quite nice overall. I was happy to hear the main themes from You Only Live Twice, and From Russia With Love, and the guest vocalist did well with the theme from Goldfinger. After intermission, the program strayed to Secret Agent Man, the Soul Bossa Nova (Austin Powers theme), and Concerto for Cellphone, before returning to Bond for the theme from Skyfall, and then a medley of themes they missed to close the concert. The Concerto for Cellphone, which is a charming piece, and not really written to be a mockery, was performed as such. The guest vocalist didn't have the pipes to hold up to Adele with the Skyfall theme, and in my opinion, the orchestra was not putting its full effort into the surprisingly challenging music from the James Bond films. I was also irritated that the orchestra used a synthesizer for the trademark low range electric guitar solos in the principle James Bond theme. The keyboard didn't sound like a guitar, nor did the attack of the notes sound clean or edgy. The intent of the concert was billed to honor the music, while it felt like the concert was made to mock. I understand it was a pops concert, but as a James Bond fan, I felt as if the group was humiliating one of the key characters: the soundtrack. You can't separate the image of Sean Connery riding along the romantic Orient Express without hearing those sweeping strings, or Daniel Craig running through the streets of a city in Madagascar without the flairing brass behind him. The concert left me somewhat heartbroken, to be honest.

Thanks to graduate school and being a grown up, I had to be more selective of my summer music ticket purchases. I chose two shows. Fun and the Lumineers. I will do my best to write about those shows in the near future. Until then, my loyal, loving, doting, reader, I bid you a good afternoon. 

Musical Catch-22

Hello my friend(s - I hope). I write to you tonight on the edge of my seat with nerves. This Sunday at 7:30pm is the UMBC Symphony Fall concert. It's featuring a performance of Shostakovich's Fifth Symphony. This piece has been brutal to my face every rehearsal and I am quite nervous about being able to sustain through it and survive. It's ironic that I would use the word survive with this piece. Shostakovich was trying to do just that when he composed the work. He was trapped in the most outrageous story of a musical catch-22 of which I have ever heard.

I guess I should explain what I mean by a musical catch-22. Musicians, especially those who make a career of it, are always in an on-going battle between playing or writing what they like against playing or writing what will make them money. So you can be happy and broke, or miserable, and not quite as broke. Damned if you do, damned if you don't. For example, I hate playing church services normally because the music is drab, the directors tend to take themselves and their choir of ten old people way too seriously, and the pay is then low because they try to make you feel guilt for charging a church for their services. But it's pay. (To churches like that, remember you hired me, not vice-versa. You'd pay my brother to fix a clogged toilet so you pay me to make people not sleep during your sermons. Anyways, this is about to break my rule of no personal feelings so I better stop.) Last Christmas, I had come close to finding that happy medium. We had decent pay, a cool director and we got to play some of our own arrangements. That was a bit of luck on our part. Shostakovich fixed his musical catch-22 with with a stroke of genius, and a slight shot of luck. Here's the brief background to this piece.

Shostakovich's previous composition, an opera, was a real stinker to the Soviet officials. See, even the arts were monitored in Communist Russia. If a piece was seen as insulting to the Russian people, it was struck down, and sometimes even the composer would vanish. So Shostakovich had a major patron, a guy paying him to write music. After the opera, they tagged a leaky treason charge on the guy, and before he knew it, he was in front of the firing squad. Shostakovich's friends had also started to disappear after meeting with some government officials. So, here is Shostakovich, who loves to write cynical parodies of Nationist marches and incorporate them into his work and insult the Stalin regime. He needs to write a piece that doesn't do that so he doesn't find himself in Siberia, but he can't compromise his artistic integrity and feeling that as a human, he has the right to speak out. He also has to write to make money, but also to not just disappear. So he now has the granddaddy of all musical catch-22's.

Shostakovich at this point, even has fellow composers watching over his compositions and assisting him. This is where he demonstrates his genius (besides when you hear the performance this Sunday at the UMBC Recital Hall). He starts looking back at the music of one of his heroes, Gustav Mahler. Shostakovich was being told to simplify his music. Mahler was the master of taking something extremely simplistic and growing it into a massive work of majestic proportions. So, Shostakovich takes this concept, and mixes it with ambiguity. He establishes a simple theme of minor sixths that even reduces itself in a few bars, to three short repeated notes, reminiscent of Beethoven's Fifth. This simple motif of repeated notes carries you through the whole symphony. Shostakovich works in his march parodies, but they are more subtle. The Communist regime hails them as great Nationalist marches while the audience hears a march that is almost childish. The Communists heard Shostakovich rebuilding himself as a "Soviet Composer" while the public heard his rebirth as a more subtle satirist and related to the pain the government had put him through. He had done it. Not only did he write a successful piece that both sides liked, he didn't find himself in the goulag after writing it.

In no ways do I think any of us could ever relate to Shostakovich's amazing tale of thumbing his nose at Stalin and making Stalin like it. But I feel his pain. This performance leaves me in a catch-22 of sorts. Every other day, while on the treadmill, I burn calories to this amazing piece. I listen to a recording I got from the library of Leopold Stokowski pounding the London Philharmonic through this piece of ambiguous satire. I listen to their brass and strings both duel the incredibly challenging parts. I almost think Shostakovich wanted to put the performers through the strife that he was facing. But I listen, and I hear the big money maker pros make mistakes. This piece, in itself, asks the performer to make a deadly choice. Do you go for perfection, or do you go for energy? The piece is forty-five minutes long and the brass gets the third movement off. But the demands when playing are very high. The parts are intense, and normally extremely important. I know a lot of you would be asking, "Well Rich, all orchestra trumpet parts are like that, why is this one so critical?" My answer isn't going to be clear. Just know that it is very different. When looking at the part, and listening to the piece as much as I have, you can tell Shostakovich knew exactly what he wanted. How do I sound triumphant, yet mocking, but precise, bold, and chilling? This piece, unlike the marathon that is Tchaikovsky's 5th, or Howard Hanson's virtual horn and trumpet concerto that is his 2nd symphony, it requires a trumpet player to play with almost reckless abandon. You need to just put your sound out there. You can't take a single second of this symphony off. My stand-partner and I are trading some parts back and forth to avoid complete exhaustion, but this piece was written to exhaust. When I'm not playing I still have to follow along as if I am playing otherwise the ideal of the piece is lost. This is the first piece I've played in symphony that I learned more about from listening, than rehearsing. The London Philharmonic didn't get all the right notes. Neither did the New York Philharmonic with Leonard Bernstein conducting. But this is the great catch-22 that Shostakovich created when he wrote the piece that solved his own problem. And it makes you ask yourself as a musician, what do you hope to achieve in your playing when posed with the choice? Right notes or the right feeling? All the recordings I could find of this piece are live. None of them made in a studio. What does that portray to you? That the audience is needed? The energy required to convey this piece can only be captured in the concert hall? One music critic said that the piece unifies the audience and then takes them on a collective emotional wave. I think it does that for the performer as well. In this case, what do you really do? You can only rehearse the tough parts so much before they kill you. The rehearsals have the brass section frothing at the mouth for the conductor to not stop us in rehearsal. I think this means we're ready to make our choice. You may ask what my choice is in this situation? Well, for the struggle that Shostakovich endured to give the world this magnificent piece, I'm going to give him everything I've got. I'll meet the rest of you on the lower right hand side of the page.

Bring the Boys Back Home

Hello my strong, devoted, loyal reader. I am writing to you yet again. As my previous blog entry had mentioned, Melanie and I were attending the 10/10/10 performance of "The Wall: Live" tour with Roger Waters. This is quite a ceremonious entry as it is my 50th. It is also the 30th anniversary of my favorite album, "The Wall" and I am extremely tickled I get to write about a live performance of the album in this historic (only for myself) entry.

I must immediately start off with "WOWEEE OH MY GOD THAT CONCERT WAS AWESOME, I NEVER WANT TO GO TO ANOTHER SHOW IN MY LIFE" kind of statement. At straight face value, this concert was a spectacle of epic proportion. The backing band for Mr Waters was quite proficient and talented. My only real gripe with them was the lead guitar tone was a bit too harsh, as I am used to Mr Gilmour's more mellow tone. The stage effects and projections upon the 200 foot wall were dazzling and enthralling. The real thing that made the concert so moving though, was the deep, personal connection the performer has with the material. Roger was sharing with us his childhood, his political and social beliefs, and his struggle. It is rare to find a musician to be so blunt with his expression and truly wear his emotions on his musical sleeve. He smacks you in the face with the realities of being a child of a soldier and his battles with social pressures and authority, and his conflict with his fame. This piece is about nothing but anti-establishment. To imagine an artist with the courage to perform such an anti-government, anti-commercialism work in the nation's capital is quite courageous.

With that said, I of course have to call Mr Waters out. I spend $70 for a tour program and a tour t-shirt. Mr Waters was selling his tour shirts for $45 and the program for $25. Live Nation is selling these items on their website for $10 less. If I knew he was using this money to feed the starving Africans projected on his wall, or to put the poor crying child reunited with their G.I. father through college, I'd have no issue paying these prices. I stood in line to purchase these items with the rest of Mr Waters' "iSheep", clamoring to get my hands on one of the five male t-shirt patterns. Mr Waters also was selling three female shirt patters, a hoodie, a demin shirt, coffee mugs, two styles of hats, a music CD, a tour program, and a book on the making of the tour. Also, key-chains and metal pins were available. These items being sold by the man who hated the commercialism of music and fame. Who, in the films shown, placed iPod earbuds on dictators and victims with terms such as "iHate" and the previously mentioned "iSheep" on the screen.

Along these lines, but in a deeper sense, the basic concept of the concert and album is the band building a barrier between it and the audience. The lyrics have issues with fame and fortune and glitz of the rock 'n' roll lifestyle. The group spends one hour of music building a wall to shield themselves from us. Then after intermission they do two numbers from behind the wall, and suddenly there's Mr Waters before us, walking in front of the wall. It seems to me now, that Roger has come to terms with his fame and fortune and cannot pull himself away now from his crowd. Why else would one build such a large wall, bash the concept behind fans spending money to see him in the first place, just to then stand in front of the wall as if now one is proud of their creation, and sell outrageously priced, yet very diverse tour merchandise? I feel now that Roger Waters is a changed man. In no way is this a criticism of the musicianship or the showmanship demonstrated in this performance, but just a moral dilemma that plagued me on the long metro ride home, and all this following Monday. If he truly hated the stuff he preached against in his music, why would he present it? Why would he charge for it? Why would he make such a production of it? Why would he create it to begin with? My humble opinion is he simply created a monster that took control of him, and he felt presenting it would help.

These things could be the root cause of the divide between him and David Gilmour. This album was really the starting source of contention between them. With Roger now taking "The Wall" on tour again, and presenting it in such a way, I am left with several questions. Has Roger woken up and accepted his fame or is he trying to live both sides of the fence, and is it possible he always has tried to live with both teams of being anti-establishment but in reality is a big part of the establishment? And if Roger has changed and is doing this tour just to celebrate the wonderful music, gripping story, and fantastic concept, why can't he admit David was so important to it, and reunite with him and Nick Mason? At this point why keep the quibble going? Why not tour together? Who would be hurt by a simple mutual apology around some coffee, get the managers talking and plot out a mega tour? Would Gilmour possibly feel like he's submitting by playing "The Wall" again? This concert had such energy, I literally teared up about 5 times during it, and actually lost control and began to cry a little during "Tear Down the Wall" and "Outside the Wall". Why can't these two men of incredible talent tear down their wall? I am in no means saying that it is a fan's right to have their band together at all times. I'm a musician, I know what it is like to professionally disagree with someone so badly that you can no longer stand playing with them, yet you drink a beer with them after. I am simply posing the question of who wouldn't benefit? The fans get one of the most influential art rock bands of all time back together. The agents and merchandising people make millions. Roger Waters finally has his music performed exactly how he wants. Don't forget he credits himself as writing "The Wall" and "The Final Cut" and having it performed by Pink Floyd. As a fan you see that as pretentious but musically, that means he chose them for his piece. He wanted them to perform it. As a composer I can see Roger's point. I can't see what is in it for David Gilmour except for maybe coming out of the decision as the bigger man, willing to forgive Roger for his actions, and play the music of which so many of us fans just can't get enough. So for us, music history, and yourselves, bring down the wall, end the war, and bring the boys back home.

In The Flesh

Greetings, my loyal reader. I won't insult you with an apology for not writing. I write tonight because I finally feel inspired to write again. A bunch of things have happened to me in my musical universe that should be shared, and my opinions are blossoming into fertile flower beds of statements that don't really matter, nor will anyone really care about, but this comes with the territory of having a blog.

So, some major things have changed in my life. I have lost a significant amount of weight. I know in the manifesto of this blog I said I would never mention personal life issues, but this has affected me musically. Mainly, my trumpet playing, I feel, has improved dramatically. I have less resistance and my upper register doesn't sound so strained. My endurance has increased as well. I have dropped 135 pounds of weight off my lungs, torso and upper body. Before, holding the trumpet up was enough of a stress. This has led me to successful performances of Tchaikovsky's 5th symphony, a long production of "The Secret Garden" and currently great rehearsals of Shostakovich's 5th symphony.

The weight loss has also made attending concerts and performances much more bearable. I was able to attend my first Broadway show. Melanie and I saw "The Addams Family" starring Nathan Lane, Bebe Neuwirth, and Kevin Chamberlin. All three we spectacular, and although catchy, the musical was a bit cliche. With such a great and flexible and outlandish medium as the Addams Family, I thought it could have been a bit more "out there".

Also, with comfortable seating, Melanie and I (noticing a theme? She has become quite the little concert goer herself) attended two symphonic multimedia concerts. First, we saw "Planet Earth Live". The Baltimore Symphony partnered up with George Fenton, who composed the soundtrack to the amazing documentary series, to present clips of the show, with their accompaniment played live. Mr. Fenton conducted and narrated the program, explaining how he was moved by certain footage to inspire the music that he composed. We definitely enjoyed the polar bear segment. His music at times would make you laugh, or just well up with tears. The second multimedia symphonic concert we attended was "Star Wars: In Concert". This concert we straight up didn't like. Narrated by Anthony Daniels of C3PO fame, this concert didn't really teach you anything of the inspirations for the soundtrack but merely retold the story of all 6 movies with a series of movie trailer footage mash-ups and selected medleys from the soundtrack. It would have been much better if they took direct full scenes from the films and played the soundtrack to that scene. We only became interested at the end when they began showing behind the scenes footage from making the films, such as artist sketches for different character concepts. Frankly, the subway ride with Boba Fett and Obi-Wan was more fun. Also, I was pretty amused by the line that had a solid 200 people in it, just to get an autograph from "Darth Vader".

Now, also during this time off from the blog, I attended concerts of previously two of my favorite live bands to see: AC/DC and Iron Maiden. We revisited AC/DC on their second stop to the Verizon Center in Washington, DC simply because I had the money and Ticketmaster offered me seats up close, almost floor level. They are a totally different experience up close, as opposed to in the rafters. Melanie and I of course donned the flashing red devil horns and screamed our heads off. AC/DC this time sounded a bit more fresh, and played more classics and less from their new album, which was definitely welcomed. Sadly, though, when seeing Iron Maiden this past time, they did the exact opposite. I barely recognized anything from their setlist. They perfomed songs from their new album, which at the time hadn't been released. Dream Theater opened for them. Little did I know that it would be the last time to see Dream Theater play with Mike Portnoy for quite awhile as he has now left the band. The saving grace of this show was my weight loss, as the Wicker Man Iron Maiden tour shirt I purchased fits me.

Just a few weeks ago, I had an experience that really refreshed my musical spirit. I participated in the Rusty Musicians program with the Baltimore Symphony. I won't make this sound impressive, as all I had to do was be one of the first like 30 trumpet players to e-mail the symphony, but I will say that it was immensely rewarding. I got to have 40 minutes on stage in a rehearsal atmosphere with two trumpet players of the BSO, and conductor Marin Alsop leading a group rehearsal of Brahm's "Academic Overture". The only way I can explain this experience to non-musicians is that imagine your boss at work acted as if they were a partner and was in the situation with you, but also could clearly in one sentence, tell you exactly what they want you to do, how to do it, and make you feel like you're the office hero for doing it. It was so rewarding, and I got a nice compliment from one of the pro's to "play louder". In trumpet speak that's a compliment. It invigorated me to want to play more, and for a second made me think I could actually play in a symphony orchestra of that level. Again, without the weight loss, I would have never even taken the initiative to send the e-mail to get to have this amazing chance.

Melanie has also gotten me to loosen up about pop music as I have now become an official fan of Lady gaga and Florence + the Machine after watching the Video Music Awards on MTV a few weeks ago. I have to admit Lady Gaga's character, plus catchy hooks could make her a big landmark on American music if she can keep the creativity up. Though, I do still hate Auto-Tune. I'm looking at you Justin Bieber. And as a quick note, thanks to Melanie, I have began listening to the Beatles after a 18 year hiatus. Happy Steve?

To wrap up this very lengthy, and self gratifying blog entry, I predict that this weekend I will see a concert that will change my life. This weekend, Melanie and I are seeing Roger Waters' "The Wall: Live" concert at the Verizon Center. This is as close as Mel and I will ever get to see Pink Floyd. Though, I am sad that him and David Gilmour couldn't have buried the hatchet for this tour, my wallet thanks them for not doing so, because I'm sure the ticket price would have been double. "The Wall" is my favorite album by my favorite band. The tension between the band mates rings through in the album as the album deals with the band's inability to handle fame, yet also has a deeper message with hatred and war. This show should be unbelievable as they construct the wall.

This blog entry itself has been about me tearing down my wall of sorts and shedding the barrier that has been keeping me from enjoying life and music for so long. I have my regrets of not doing this in college when I was still competitive in my music and could have gone to grad school. But at the same time, it took help to tear it down. I needed the accomplice to help break a hole in the wall so I could escape the prison my own thoughts and weight had formed. A few years ago, I was saying Good Bye Cruel World, and that I was Comfortably Numb. But now, after The Trial, I'm Outside the Wall.

Crazy Concerts

As I drove my girlfriend home tonight and daydreamed (at night) of the upcoming vacation to Maine and Boston, I thought of all the crazy stuff I've witnessed. Though I'm virtually a noob still at concert attending, I've seen a decent share of crazy fans, and crazy performers. So without further ado, here's the top 10 crazy things I've seen.

10. The Smoker - AC/DC
During "Back in Black", while everyone is going crazy, this dude just came up and sat next to me, lit a Marlboro and just sat on the step and just nodded along, like all is right in the world. Security didn't care because too much insanity was going on down on the floor.

9. The misguided Drunk - Rush
So Rush is wrapping up their second set at Nissan Pavilion with their famous instrumental, "YYZ". This drunk guy wandered over towards us and we all learned that apparently, there are lyrics to this wonderful song. Then proceeded to try and become our friend, and flirt with Beth.

8. King Kong guitarist - Airborne
I was hypnotized by the volume and power these guys brought, but somewhere between the hippy girl's seizure like dancing and the beer being sprayed on the audience, the lead singer and guitarist climbs the 9ft tall speaker tower on the side of the stage at the Recher and released a hellish solo on to the masses.

7. The Nazi in a trench coat - The Killers
There we are, an icy night in Fairfax, Virgina, rocking out in the Patriot Center. In the middle of a song, this guy climbed on stage wearing shorts, a trench coat, and to finish of the insanity plea, a black Nazi combat helmet. He takes the stage and begins dancing. Since no one acted on it we assumed it was some abstract weird happening the Killers put together, since they tend to be a more of a European phenom than American. Brandon Flowers stops singing to say "Do we have security in this place? Anyone know who this is?" Security promptly sweeped in, landing a devastating shoulder block and dragging the guy off stage.

6. The Monster Mosh - Motorhead
So to make a long story short, during Motorhead's set at the Metal Master's Tour at the Nissan Pavilion, about 1/3 of the lawn area turned into a massive mosh pit, involving what looked to be up to 300 people at one point. It was a breath taking scene, that was scary, yet fun to witness.

5. Body Count - Metal Masters Tour
Long story short again, Beth and I were keeping a count of the people being thrown out by security from the pavilion. We stopped counting around 30 or so. An all around insane show. Never mind the two friends who were on the blanket next to us who were hugging and laughing during Motorhead, but by the time Heaven and Hell hit the stage, they were throwing punches at each other. MMmmm Alcohol.

4. Dude in the Diaper calls the shots - George Clinton and Parliament Funkadelic
My girlfriend and I attended this show, which was incredibly long, and incredibly awesome. But something magical was going on. We were watching a Jam band with just a leader calling what to play. This leader was not George, but a dude wearing nothing but a diaper and some Nike's. Mel and I had both scoped him out on youtube, but never realized how important he was. The music was so groovalicious, I could barely walk out.

3. Boob Cam - Ozzy Osbourne
So while Zakk Wylde was soloing away at the Verizon Center, the camera for the big screen basically panned and scanned the audience for bare chests of women to broadcast on the big screen. They would zoom in on a hot chick until she would expose her self. According to one innocent soul I told of this, "Thats illegal".

2. Pot Chimney - Aerosmith
So the blanket in front of us on the lawn at Nissan never really seemed to be paying attention to the show, having never stood, or anything. They just sat in a circle, and as the show went on, a thicker and thicker plume of smoke came from the "stew pot" of hippies. Before I knew it, I had a heavy duty contact high and felt as if I was 10 feet tall, and I was pretty hungry.

1. Get off my boyfriend - Iron Maiden
After the show, walking out amongst the bikers and metal heads, a fist flew past my face, and into the back of the neck of the guy in front of me. He then turns and looks at me, but I quickly duck as the dude behind me admits to throwing the punch. But, before the guy can retaliate, this thick, butch woman jumps on the dude's back and puts him in a sleeper hold, better known as by old school WWF fans as, The Million Dollar Dream. She then begins screaming "Get off him! Don't you touch him, Back off!" But it didn't much matter as the dude was turning red, then purple, as his eyes closed. From the dialogue, it was obvious that it was the dude's own girlfriend beating up her boyfriend to spare him an "ass whoopin'". We rolled out quick after that, as we watched drunk and stoned headbangers try to find their car in the field. I did overhear this nugget of a line "Why don't we just call the police and ask if they have seen your car?" "Yeah, that's a great idea, I'll tell them I can't find my green Dodge Neon with the Deceptacon logo sticker on the trunk. You're a genius."

Well folks, that's my list, I hope you enjoyed it. It felt good to write such a light-hearted entry for once. I didn't feel compelled to write about Michael Jackson, being that about 6 months ago or so, I had wrote, almost forecasting his death, how he would be this generations great loss to music.

This list is why I go to these shows. Its all about the music and the people and sharing it with them. Good night. Thanks for reading.

Somewhere Everybody Should Be

Hello my great and loyal reader(s)! I hope this entry finds you well. I am writing with the world blocked out by some lovely AC/DC vinyl plugging my ears from the outside world and a decent sized grin on my face. This past weekend and week has been pretty spectacular so far. There was a broad spectrum of performers and yet another wonderful shopping experience.

Friday night, I attended the stand-up comedy show of Louis CK. I know that this blog is about music but I feel stand-up comedy, whether clean or dirty, is all about the proper delivery and timing, much like music. Louis is a master of this. He starts the show with material you wouldn't think would be good to open. He avoids the tacky "How are you guys tonight?" start. He opens with an awkward joke that forces you into his world right away. Much like an established rock band will start with a song the fans know, but not the big hit that you would close with. Louis works the audience into a frenzy of laughter driven tears by the end by just piling on the pressure with more and more outrageous stream of thoughts. Unlike older comedians, you have to pay attention to Louis to tell really when one joke ends and another begins. Before I move on though, I must thank him for stopping the show and checking on my safety when the folding chair I was in gave way and I hit the floor. I was still laughing, for the win.

Sunday, I made my way to Pier Six Pavilion in Baltimore to see the Wilson sisters: Heart. After having fun in the Hard Rock Cafe looking on John Lee Hooker's guitar, and complaining about how more mainstream, modern metal groups turn their bass up too high to appeal to those who like Hip-Hop, we got our prime spot on the lawn in the front, dead center to hear the opening act, Danielia Cotton. I really wish I had not heard her. Her band was mediocre at best, and her singing a bit too over the top. A bit too screaming for me. I call it "fake" pipes. Screaming is different than the high note you're going for and frankly, it was the first time at any rock concert I had wished for ear plugs. My ear drums were ringing quite bad. I was quite glad when she was done.

I should mention this is my dad's first rock concert without it being a cover band. He was in awe watching the roadies switch the stage in minutes for Heart. But his real look of awe came when Heart actually came out and brought the house down. They didn't sound quite as good as they did last summer, but I chalk it up to three factors:
1. Saturday night they did a show in Niagara Fall, NY, so they were on the road for 8 hours the night before to get to Baltimore.
2. Pier Six does not have the sound system that Nissan Pavilion has.
3. Cheap Trick is a much better opening act and removes some of the pressure.
So with that said, Heart still tore it up. They did a bit of a set I didn't expect, with them doing a few Led Zeppelin covers, including "Angels of Avalon", "Going to California" and "Immigrant Song". Fear not though, Heart still hammered home "Magic Man", "Barracuda", and "Crazy on You". This was pretty much the craziest I had seen Pier Six. I feel though that a lot of people who wanted to go were scared by the cheapest seat being $30. They didn't consider that Pier Six isn't a stadium, its not big. Its an intimate venue and can provide some gems by allowing you to see your favorite groups up close and personal.

Tuesday began with a lovely lunch and then a second trip to Trax on Wax. The owner, Gary, was again friendly and very welcoming and thanked me in person for my blog entry. No need to thank me though, its my obligation to write and share my experiences in the music world. Since it was before pay day and there was a concert that night, I had to be a little tight on the wallet, but still walked out with the previously mentioned AC/DC record. a very nice, practically mint condition original pressing of "High Voltage", which is my second favorite AC/DC album and my favorite with Bon Scott. This album though definitely was remixed when moved to CD. The album is rough, and sounds like it was recorded in a bar, which just adds to the flair of AC/DC being your bad-ass bar band. I also grabbed "Sabotage" by Black Sabbath. This is the sixth album by Black Sabbath. This album is a bit softer than the usual Black Sabbath/Ozzy Osbourne fare. I feel lucky though that I got a version of it from the early pressings that included a 23 second secret track at the end of Ozzy goofing around in the studio. Quite entertaining!

The second half of Tuesday included taking the subway into DC with my pal Beth to see Keane. Keane is one of the very few modern pop groups that I like. I am not fond of them no longer being a trio, but I cannot complain. They bring a prime show to you. Keane's lead singer, Tom Chaplin, has a killer voice, and is the only singer I've seen that could possibly fill Freddie Mercury's shoes, vocally. This band brought a wave of positive energy over the crowd I've never seen. Keane was accompanied by two opening acts, Helio Sequence and Mat Kearney. Helio Sequence is a duo of drums and guitar. They didn't really introduce themselves, and kind of assumed everyone already knew who they were. They also seemed hung up in having lots of synth backing tracks which took away from what skills they were presenting to us. It also caused their songs to sound identical to me, at least in a live setting. Mat Kearney followed them and he really wowed me. Hes not my type of music but he brought a stage presence which was quite nice. My only gripe is that he has a 4-piece band backing him. Come up with a band name and give them credit, considering you're playing rhythm guitar 3 and singing. There were two other guitarists there, both with nice voices, bass and drums. Let them in and come up with a name. Other than that, dude you are golden and going to make lots of money.

Keane though really rocked Constitution Hall, which is not suited for this kind of show at all. Kean brought a simple stage set up with no screens or anything like that. They didn't need it, the whole band is charismatic. They were just straight up fun to watch. I was transfixed much like my father was during Heart. In 72 hours I went from seeing a band a bit past its prime, just doing shows for fun, to seeing bands that are still fresh, young, and having to fight for fans. Might I add that initially at the Keane show, I felt old and out of place. Then I noticed a 40-something man singing his heart out the next section over, and below me a 40-something woman basically doing her impression of Joan of Arc from "Bill and Ted's Excellent Adventure" throughout the whole show. This made me feel better.

Nothing against my friend Beth at all, but the tickets were initially to be for my girlfriend and I to attend, with Keane being one of her favorite bands. I did find myself enjoying this concert a little differently due to company. Beth is a great concert partner and always will be. This was to be my girlfriends second concert; her first was the George Clinton mega-show. I think I would have seen this show through fresher eyes, had I been with a concert noobie and a really big Keane fan. Beth found herself enjoying the groups and discovering them the same way I did. The concert really isn't just about who is playing, but with whom you are sharing. The music is an experience and Keane was one of the first things my darling girlfriend and I shared. It would be a slight if I didn't mention this point in this blog entry. I'm truly grateful Beth came along, as it would have killed me to waste a ticket and Beth is always a lot of fun, and open minded and flexible to whatever we're going to see. But I cannot deny that I was thinking how the show might have been different to me if Melanie had attended.

With that, I sign off for the night. "High Voltage" has played out and the arm on the old Pioneer phonograph has retracted. I leave you tonight with a video of Keane from DAR Constitution Hall, doing my favorite song by them, "Somewhere Only We Know". Have a good night. This one's for you ;-) Enjoy the girl singing terribly out of tune at the start, but who cares, everyone in the building was on cloud nine by this point.

Trax on Wax

hello all. This is just going to be a quick plug for the new vinyl record store that has opened in Catonsville. I Just visited this place and give it a full endorsement. With an incredible selection of used vinyl available for extremely reasonable prices, this place was a breath of fresh air to me. I now have a new place to continue my vinyl collecting. For $20, I was able to get "Odds and Sods" and "Who's Next" by The Who, "Magical Mystery Tour", and "Sgt Pepper's Lonely Hearts Club Band" by The Beatles, Steve Perry's solo album, "Escape" by Journey, and "Spirit" by Spirit. Clearly a great mix of stuff for great prices. There was no hassle from staff, and plenty of space to browse. The entire collection is alphabetical order, to where you feel like you must put an album right back in its place. The best part is a turntable available for public use, so you can test the albums before you buy, but unlike Record and Tape Traders, everything looked to be at least in playable condition. They will also convert vinyl to CD for you, I'm sure for a charge though. This is also to announce that I am going to give the Beatles another chance, thus why I bought those two albums. I will keep you posted on the result!

I beg you in the area to give this place a check. Buy something too, the owner is nice as anything!

On another note, this week, I will be taking Mom to go see Heart. Lets hope they're as spectacular as they were last summer!

Good night friends!

It's Hard

Hello friends, I'm sorry I have not written lately. This blog entry though is just going to be some observations and an update of musical events going on.

First off, the UMBC Symphony concert is this weekend, which will again feature my brass quintet in the lobby playing for guests waiting for the doors to open. We decided that it would be fun to add a drummer to the mix since we decided to do an all rock set this time. I'm very excited to debut the arrangement of the Overture from "Tommy". We are also doing "Under Pressure" by Queen, and "More Than a Feeling" by Boston.

The Symphony concert itself is only utilizing me for the Triumphant March from Aida, which is a lot of fun and a whole lot of playing. I'm going to miss having my Tuesday nights occupied by music. This problem is exaggerated by the fact that my summer musical has been canceled. I really won't HAVE to touch my trumpet again until September, but you know that won't happen.

On the arranging front, I have been on a Who kick with "Happy Jack" and "Behind Blue Eyes" now under my belt and in the quintet binder. While on this exploration of The Who, I learned that they really enjoy the key of D, and really how important Keith Moon was to the group. His complicated, and stream of conscious style of drumming really highlighted the rhythmic pulses of the group and is evident as the back bone of the compositional style of the group. This is easiest heard when listening to the album, "Its Hard" which featured Kenney Jones on drums since Keith had died. This was their second album without Moon. The sound of the band is still pretty good, but its missing a dynamic and the group sounds much more conservative. After listening to this album, I decided to put on "The Who by Numbers", which was the next to last album Keith Moon played on before his death. The entire album just has this pure energy that is generated by his rumbling toms and a budding anticipation of a massive fill happening at any time. I discuss this because I also learned today Mike Myers (of Shrek fame) will be playing Keith Moon in an upcoming biopic. I fear this could be terrible and not work at all. He kind of resembles him but I am in no mood to hear Mike Myers' terrible english accent for 2 hours in a serious manner. I can't even stand the Austin Powers stuff. I don't think he has the acting chops to portray the deep and complex battles Keith Moon had with chemical addictions. What would be next here? Casting Seth Rogan to play Roger Daltrey because of his curly hair? This smells of a terrible idea, but you know I will go see it to pay my respect to one of the best bands ever and the best rock drummer ever.

Good day my friends. I leave you with a video of Eminence Front with a much better drummer, Zak Starkey. He's the son of Ringo Starr, and former student of Keith Moon

Funk You Very Much

Greetings friends. I am back from a short break due to not having a computer. I write to you tonight about the last two concerts I attended.

First is the concert put on by The Killers. They are touring currently to push their third album (Sawdust was a collection of unreleased tracks), "Day & Age". My feelings for the album was that it was very synth heavy, and I wasn't sure if it would work for a live show. I was very wrong. The Killers now how really put together a great, top class, live show. Brandon Flowers has developed a great front man persona, a mix of Springsteen, Bowie, and a hint of Mercury. The only hang up is that they only had three albums from which to perform. Due to this, their set list was a bit predictable, but always enjoyable, as I really can't think of a song by them I don't like. The show was your routine opener for 45 minutes, then The Killers played for 2 hours.

The opener, M83, was pretty good. Their stage presence rubbed me the wrong way as neither vocalist faced the stage. Their songs with lyrics weren't very entertaining. This band really shined in its instrumentals, especially with the beast they have on drums!

The second concert I attended was with a concert virgin, and she lost her cherry the best way possible. We saw George Clinton and Parliament Funkadelic. They were hot. I can't describe it much more than that. The opener, Let the Monkey Go, played for an hour, then Parliament came out and played for four hours! FOUR HOURS! Four glorious, groovilicous, galactic funk oozing over the celestial spirits jiving all at once. GC and P-Funk hit all their big hits; "Aquaboogie", "Flashlight", "Stomp", "Atomic Dog", plus just letting the band go in these jam sessions that were inspired by some chemical stimulation. With massive solos, especially in "Maggot Brain" played by Mike Hampton on guitar, the crowd was whipped into a frenzy for hours without a break. It was the first concert I left early. I couldn't take anymore. They exhausted me. The party was intense! I was disoriented when leaving Ramshead Live to where I had to lean on the wall to put my jacket on. Mind you, I had nothing to drink. This was my first concert at Ramshead, and I have to say I was impressed with the venue. Good sound, simple layout, great views. My friend ended up having the time of her life. She got to see Gary "Starchild" Shider (dude in a diaper) in person. What's amazing about him is he wears a diaper and Nike's on stage. Strange this is, you don't find it strange. He calls the shots in the band, he calls out the sections and the solos. You can't question his authority and his choice of apparel. You basically say to yourself "Dude in the diaper is the head honcho, that's that."

I have currently started working on a new musical, "Big River" which opens March 13. I get to play some country music, which is a fun change. Also, this Sunday, UMBC Symphony performs at 8pm. Hear me play Rimsky-Korsakov!! Check these things out.

I'd like to take a moment to just apologize for not writing as much in my blog. Things have picked up for me in other areas of my life which has made me not as prolific. But on the horizon, theres the Keane concert and potentially seeing Twisted Sister and Extreme. Don't think I've forgotten about you, loyal reader. There's plenty of fun on the horizon. As for now I wish you good night, and that you don't miss your vocal cues.

Don't play those bars, I'm going to do an impromptu solo

Hello friends. I do apologize again for the long break, but the holidays and a last minute production sucked away all my writing time, and also my creative juices. I am back though to write some of my recent thoughts on prior musical events. I will start with the most negative.

I just finished playing in a pit for "A Funny Thing Happened on the Way to Forum". Well, not really finished, it wrapped up two weeks before Christmas, but you know what I mean. This was probably one of the worst run musicals in which I've ever participated. From a cast that didn't have one single singing voice, to a musical director with very little experience, and stage director who could only say "Make it more Broadway" as her only criticism, its a miracle that every night sold out the 80 seat theater space. I must make this statement because its terribly true, but please do not take it as a homophobic remark, but the show would have made much more sense if the courtesans for the house of Marcus Lycus had been portrayed by drag queens. Really, the worst decision of the whole production was to put the "orchestra" (I put quotes because it was a violin, cello, drum kit, piano, trumpet, trombone, clarinet/sax, and flute, that's it. This is a Sondheim show, he writes big) in a catwalk in the back of the hall, in a corner that was acoustically dead. This means they could not hear us, and we could not hear them. So pitch, tempo, concept of the whole show was just about lost, except for violent, and loud pounding on the synthesizer piano. The lack of a conductor for proper cuing was also a poor choice. It was hard to hear vocal cues which is essential for every orchestra member to hear if there's no conductor. I cannot complain too much because the show was successful overall and people were working hard and doing their best to pull it off, and I did make the most money I've ever made playing trumpet from this production.

So onward to other topics. I watched the poor lip sync'ing inaugural concert on January 19th on HBO. The only performer who did not lip sync and should have was Bono with U2. Some highlights of the show though was when Stevie Wonder made Usher and Shakira, and just about everyone else involved look like amateurs, Pete Seeger trying to lead people in a sing-a-long but people failing to grasp how that works, and Bono doing a one-liner about peaceful Palestinians that made everyone seem a little uncomfortable. The low lights were many, such as James Taylor singing with four other people who were indistinguishable, John Mellancamp walking 20 feet away from the microphone and not playing his guitar, yet playback sounded like he was still doing both, and Garth Brooks. All of Garth Brooks. First was Garth Brooks being set up as "The Sound of American Radio". Then was Garth Brooks singing American Pie, but avoiding the really fun and artistic verses. Then the topper. Garth Brooks performing "Shout" by The Isley Brothers. Again, a disclaimer as I'm not racist or anything, but Garth Brooks, you're not black. You should not have gone within a fallout radius of that song, or any other song published by an R&B or Doo-Wop group ever. Snoop Dogg would never sing "Ring of Fire", you don't sing "Shout". I happen to know Ronald Isley is very much alive and performing. Why could he not do his own song? I'm sure you call him and ask him, he'd do it for a fair wage. I had to stop watching the concert once Beyonce came out to sing "America, the Beautiful". Because her and Josh Groban both suffer from the "I can't sing a note on down beat of one" syndrome. They always, ALWAYS go silent on beat one and ciondense the first syllable to fit on the and of one. Whats wrong with letting the melody stand and letting your voice carry the tune? Nothing, and I think it can be taken as a weakness in your performance.

On a personal front, I'm looking at a light orchestra set up for the next orchestra concert. This I'm kind of happy about. I need a bit of a break from the duties. Its sometimes nice to not need to be so necessary in a group, and be able to just show up, contribute, and then leave.

My current missions in purchasing music consists of completing my Who discography, and the harder challenge of doing the same for Journey. Journey's older albums seem to be going out of print on CD as most people just want the Greatest Hits album and the Escape album. I've been having better luck with finding them used on vinyl. And of course, you know I have no issue with that, considering Steve Perry's voice is magical on vinyl. That reminds me that I'm trying to get as much of the Who on both mediums, of CD and vinyl. I am still always looking for Pink Floyd on vinyl as well.

Well my friends, I sign off on this entry and promise to keep you all updated on my musical musings in this world. I hope the new year has been gentle to you so far!

I leave you tonight with this video of The Isley Brothers doing their famed song "Shout" just so you can try and see why Garth brooks made me so angry!

Who Made Who, Who Made You

Greetings my friends. I hope this entry as usual finds you in good health and spirit. This blog entry is a recap of the weekend plus an update on future musical happenings with me so it could get a little lengthy.

Saturday night, after enjoying a cheeseburger and a fine German-style märzen microbrew, Laura, Sarah Jo, and I stumbled our way over to the sold out Verizon Center, in Washignton, DC for the AC/DC "Black Ice Tour". I heard the mumblings of the opening act while in the tee-shirt line. "The Answer" didn't sound too bad, so no harsh review from me there. I would have liked to hear them but I conceded with the ladies to head over late and then once I saw the shirts, I just had to have one...or three.

So AC/DC starts the show with an amazingly well crafted, witty animation of the band on a train and its speeding out of control, with none other than a demonized Angus Young piling the coal into the boiler, followed with a brief spot of implying Brian Johnson receiving oral sex on the train. I was proud of the parents who brought their seven year old sons to this show, who were in front of us. Anyways, no moral commentary, we're here to rock. So as the train powers its way to its climax, the screen splits and a giant replica steam locomotive explodes onto stage with pyro and fireworks, and of course, devil horns.

AC/DC runs out and slams into "Rock 'n' Roll Train" from their new album. From there, it was just relentless. Angus's striptease to "The Jack", a crowd sing-along to "You Shook Me All Night Long" and "Back in Black", I was glad I stayed sober for this show as I think they would have killed me. This was again, a highly emotional show for me. I can't tell you how much I like these guys. They never changed their sound, they played their cards right business wise and after 35 years, 28 with Brian Johnson singing, are still kicking ass. "Let There Be Rock" accompanied an extensive solo by Angus Young, where we were treated to see his amazing one hand playing technique, where he holds the fret with his index finger, and strums with the middle finger. I also took a solo on Laura's leg at this point. HA! After leaving stage, and a solid 3 minutes of crowd roar that was just as deafening as the band, a trap door opens and red smoke puffs out, and slowly rises from it is Angus, wearing his trademark devil horns. Once out of the pit, he slams into "Highway To Hell". The crowd, now frothing at the mouth practically, gets a glimpse of 6 cannons lined up across the stage, they just showed up there. You didn't see them roll out or anything. We're totally aware now with what they intend to close the show. "For Those About to Rock! FIRE *insanely loud cannon fire and pyro* We Salute You!". Just an insane set closed with the rock anthem that defines the band. They give back to the audience exactly what they are given. An amazing show. That's all I can say.

So this brings me to the appeal of AC/DC. Its not like the lyrics are deep, but its the composition style, and the fact that they are one of the last blues and riff driven rock bands left. Their composition style always starts with the guitar riff, then the bass, then the lyrics and melody. They build in a different way, and can be an acquired taste. This blues basis, though sometimes not seen due to their powerful playing is reflected in the fact that before they started playing, they were playing old blues recordings from the 1940's and 50's. All with dominant guitar riffs. Just more proof of my theory that bands define themselves by the music of others that they play before performing.

So now with no rock concerts until January with The Killers, we focus on some more tame topics. I have agreed to take on a production of "A Funny Thing Happened on the Way to Forum" at Howard Community College. This is the first time I've done a musical for this much money and it has me a ltitle worried but you know, I just have to have faith in my talent and experience.

This weekend is also looking busy, as the quintet will be playing in a benefit concert for cancer at a church in Pasadena, MD, and then playing in the UMBC Symphony Concert. It will be a chop busting weekend witht he potential to be the most rewarding musical work I've ever done.

I will be going to see "Dr Atomic" by John Adams this Wednesday night. It will be a rebroadcast of the Met's production. Which reminds me, I went to see "Norma" by Bellini this past week. It was so sad, I didn't expect an early Romantic Italian opera to hit me so hard. I almost cried in front of Sarah Jane. Crying in front of a girl at an opera could be disastrous.

And to close up, again, the work party planning committee has commissioned me write up the musical entertainment for the night. Sigh. Gone are the days of just attending and enjoying the company.

Also friends, check out Orange Album Project on iTunes!!! Its been released! Keep an eye also for a review of the new album by Killers.

Well good night friends, and as Bon Scott once said "Lets there be lights, drums, guitar...LET THERE BE ROCK!"

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)

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 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.

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!!!

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 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:

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.

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.

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