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Friday through Saturday afternoon, queuing spectators packed the area of Jakarta International Expo, Kemayoran, Jakarta. to watch the inaugural concert of the legendary jazz musician that. Santana one of the main star in the Java Jazz 2011, managed to entertain the masses of various ages and across generations.
In a press conference Friday afternoon (4/3/11), which was brief, Santana, who wore a distinctive white hat and floral dress that reveals her happiness may appear to greet and entertain fans-Pengemar in Indonesia.
The success and satisfaction for the Java Jazz, including Peter F. Gontha the initiators of this jazz festival concert successfully menampilakan Santana, after several delays. Thanks to Santana, the Java Jazz 2011 tickets outside the show organizers predicted, has sold more than 10 thousand pieces per concert. Java Jazz also claim to have created a new record with a total overall tickets sold over 150 thousand shares. Ticket special and separate from daily admission tickets, to see the action stage, the legendary guitarist himself as much as 20 thousand more sold out sold out.
Friday night, 21:00 pm, the inaugural appearance of guitarist born July 20, 1947 a bloody US-Mexico was opened to the accompaniment of national anthem "Indonesia Raya" just a few minutes before Carlos Santana appears above panngung. The audience can not wait to see guitarist showed his guitar a beautiful action game. Message from the applause and screams hysterically for about five thousand spectators felt from the opening until the end of the concert.
The strains of guitar and music performed, such as "Black Magic Woman," "Jingo," "Oye Como Va," "Mary, Mary" and "Smooth", successfully shake up the fans. As usual, every intro song is played, the audience became hysterical. Seen a few among the crowd of spectators who crowded to dance and sing along to music santana. Thunderous applause broke out in every song was finished playing.
After an hour and a half Santana show, the audience still wanted santana play the songs that started it famous since 1966. The audience shouts, "We want more, more, Santana, ..." echoed in the room hall D2 Axis Hall.
Santana concert on the second day, the audience Saturday night was even crazier than the first day. Carlos santana, is scheduled to appear at 22:30 pm, but was delayed for 15 minutes. Outside, the high enthusiasm of the fans seemed to not want to miss one moment to witness the appearance of the musicians adored it.
Above the stage, Santana wearing a brown patterned shirt and wearing a blue striped cowboy hat held up his hands. Greetings and a warm smile thrown in his opening itu.konser this second appearance, a special greeting from santana, a few brief opening words "I dedicate this concert to women, this is for women. Because women who make us happy, enjoy it, "he said. The audience was boisterous and happy can not wait until the Mexican man was holding his guitar and started to warm up.
No less exciting than previous appearances, on the second day Santana appear more terrible and intense. The song "Mary, Mary"became a concert opener, followed by death liukan flowing guitar melody in the middle of pounding drums, bass shreds, and the wail of trumpets, a mainstay santana, for 1.5 hours in entertaining an audience of approximately more than 5000 people packed the hall at second day.
Complacency can be seen from expression Santana audience at the end, they hope Santana will hold a special concert next year.
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Since this time, diehard BLS fans - the Berserkers - along with Wylde have created a heavy metal institution true to his vision of uncompromising, unfiltered, and unrestrained rock ‘n’ roll.
“Order of the Black”, the outfit’s eighth studio album, was released to critical acclaim in August of last year, preceded with an incredible set at the High Voltage Festival. After teasing UK fans for long enough, the Black Label Berzerkus Tour hit our shores on Valentines day, with tonight’s Colston Hall show being the last of eight dates.
Starting their rampage via a melodic intro tape from behind a huge “Sonic Brew” album artwork flag, Zakk and co launch into “The Beginning... At Last” from the aforementioned debut album. The flag drops to reveal the band clad in their ever-present BLS attire, with Zakk stood astride a mic stand consisting of chain, skulls and a crucifix. Already I’m thinking: it doesn’t get much more rock ‘n’ roll than this!
The set-list consists of tracks from across BLS’s eight album catalogue. The first half brings: “Crazy Horse”, “What’s In You”, “The Rose Petalled Garden”, “Funeral Bell”, “Overlord” and “Parade of the Dead”. Flanked by John DeServio (Bass) and Nick Catanese (Guitar), backed by Will Hunt (drums) and a vast Marshall backline, Zakk Wylde and his “brothers” prove themselves to be a brutal live act, totally appreciated by the Bristol “chapter”.
A high point of the evening is the ballad: “In This River”, Zakk's tribute to close friend and former legendary Pantera and Damageplan guitarist Dimebag Darrell, who was shot and killed onstage in 2004. Not only is this an emotional and softer moment in the set, but shows one of the best guitarists on the planet, can also play the piano like a classical veteran.
“Fire It Up” is followed by a 10 minute, jaw-droppingly intense, guitar solo. Perhaps not the most melodic arrangement of his career, but certainly displaying the fretboard mastery and dexterity of the man that has won nearly every guitar award imaginable, and is a major influence to a new battalion of rock guitarists currently popular today.
There is absolutely nothing wrong with a loud band. However, there is such a thing as “too loud” and this was the only disappointment of the night. Towards the end of the show I had moved to the back of the auditorium in the hope of a clearer sound. During “Godspeed Hellbound” and “The Blessed Hellride”, the guitar was still thick and swamped, the kick drum was still too high in the mix and the overall volume was now becoming painful on the ears.
“Suicide Messiah”, “Concrete Jungle” and “Stillborn” completed what was probably the loudest gig I have ever experienced. Those expecting an encore may have been disappointed, but in all honesty, enough was enough. However, this was a great show of rock ‘n’ roll supremacy, a fact I shall reflect on, whilst awaiting the return of my hearing.
Despite harrowing, arctic winds that tore through the city streets, fans came out in droves to see the legendary ‘Satch.’ The guitarist is touring behind his newest album, Black Swans and Wormhole Wizards, and last night’s show demonstrated beyond question that the virtuoso, responsible for instructing players as reknown as Steve Vai and Metallica’s Kirk Hammett, is as on top of his game as ever.
From the second Joe hit the stage, the underground Best Buy Theater was turned into a world of screaming guitars and otherworldly effects. Satriani is a master of not only rapid-fire playing, but riding a seemingly endless tone up and down the fretboard, diving with the whammy bar only to soar back up in ear-bursting squeals. Fans closest to the stage stared open-mouthed, simply in awe as they watched his fingers fly almost faster than the eye could follow. Virtually every song was instrumental, but unlike most of his rock contemporaries, Satriani fills every second of music with such original, exciting moments and emotion that there simply isn’t room for vocals even if he wanted.
The musician had great stage presence, never removing his green-tinted sunglasses as he strode about and bobbed his head back and forth, leaning back into the crunch of his backing band’s rhythm. The band, consisting of a drummer, keyboardist, bassist and rhythm guitarist, was tightly locked in with their frontman, blasting through tight beats and stopping on a dime, giving Satriani more than enough audio elbowroom to run wild all over their foundation, sounding as well as looking otherworldy as his guitar effects and arpeggio-filled tapping created a rich sonic tapestry.
The show went on for an impressive two straight hours, including a half dozen tracks from the new record which were received just as well as the classic material. Watch my video of new, ultra-catchy song Premonition on the left side of the page. While guitar noodling can get old after a while, Satriani never faltered, keeping things interesting by demonstrating his absolute mastery of the instrument. He broke out acoustic guitars, a harmonica, and engaged in a duel with his keyboardist, battling back and forth on riffs until the keyboardist was finally unable to match a particularly epic high note bent into an impossibly long, overdriven squeal. Later, Joe played the same game with the crowd, fans doing their best to imitate the guitar licks with their voices, but if one thing was proven last night, it’s that no one or instrument can truly match what Satriani does best.
Charmingly polite in his short stage banter between songs, Joe finally took the microphone to sing on the bluesy Big Bad Moon, letting loose with a smooth singing voice that really deserves to be heard more often. Fans, who were sitting for most of the show, finally rose to their feet, and crowded right up to the stage, hands outstretched as Satriani effortlessly blazed his way across every inch of fretboard. He then encored with fan favorites Crowd Chant and Summer Song, his lightening guitar magic as impressive as it was in the beginning of the concert.
Joe Satriani might not have radio hits or rabid fanclubs like other hard rock artists, but make no mistake: This is one of rock’s greatest players, and one of rock’s greatest writers as well. Words can’t truly relate the magic of witnessing Mr. Satriani in person, and fortunately he seems set to continue writing and touring for a long time to come, both solo as well as his roles in supergroup Chickenfoot and the vaunted G3 tours. But in the meantime, fans can check out plenty of video on Youtube, buy his latest record, and be sure that next time Joe comes to town, they are in the crowd and ready to surf with the alien.
Silverchair’s entry to rock stardom came early when they were 14 years old and headlined as the Innocent Criminals at local shows. Johns, Gillies and Joannou proved worthy when they won an Australian record demo competition with “Tomorrow” that helped land them a three-album record deal with Sony Music. The song sat at the top of the Australian singles charts for six weeks. The group re-recorded the track for U.S. consumption and it became one of the most played songs on U.S. rock stations during the ’90s.
The name Silverchair is a tribute that conjoins bits from the titles of songs by their two major musical influences, Nirvana and Australian alternative rock group You am I. They twisted Nirvana’s track “Sliver” to Silver and grabbed “chair” from You am I’s track “Berlin Chair.”
At the ripe old age of 15 the trio recorded their debut album, Frogstomp, catapaulting the lads’ CD to a number one hit in both Australia and New Zealand. With record sales reaching 2.5 million copies worldwide, Silverchair claimed a hefty fan base and a top ten hit in the U.S. Their reputation won them spots on tours with the Red Hot Chili Peppers and Blink-182. A second album, Freak Show was released in ’97 with three tracks, “Abuse Me,” “Cemetery,” and “Freak” jettisoning up to the top ten charts in Australia. The album went gold in the States.
Daniels vocals cut deep with lyrics that are sometimes uncomfortably personal. Wading through the trauma of anorexia he helped exorcise those demons by writing more songs for Silverchair’s third album, Neon Ballroom. Listen to the highly regarded “Ana’s Song (Open Fire)” and you hear him achingly, painfully yearning to climb out of the wreckage.
And you’re my obsession
I love you to the bones
And Ana wrecks your life
Like an anorexia life
Later, Johns would suffer from the effects of reactive arthritis that was debilitating and proved to be another serious challenge for not only his musical career, but his life.
Released as a video in 1999, “Ana’s Song (Open Fire)” was awarded the best video award by the Australian Recording Industry Association.
Daniel moved into producing when recording the group’s fourth album, Diorama. He worked with producer David Bottrill and the legendary Van Dyke Parks who added orchestral arrangements to a couple tracks. Upon release the album hit the Australian charts at the number one slot before going triple platinum.
Setting out briefly with Australian electronica musician Paul Mac, Johns and Mac put out an internet release, I Can’t Believe It’s Not Rock EP and later collaborated with his wife, pop artist, Natalie Umbruglia on her album Counting Down the Days.
Silverchair disbanded for a short while so members could pursue their individual interests, then re-formed in 2004 to raise funds in support of the victims of the Boxing Day Tsunami that killed 230,000 people. After the show, the three were reinvigorated and decided to regroup as Silverchair.
In October 2007, Silverchair made Australian music history by adding several new ARIA awards to their band’s accomplishments, giving them a career total of nineteen awards, more than any other Australian artist in history, including AC/DC, Midnight Oil and others. The Newcastle trio’s 2007 awards included Album of the Year for Young Modern, Best Group, Best Rock Album (Young Modern), Single of the Year and Highest Selling Single for “Straight Lines.”
He says the key is diversity. “You have to be able to multitask and be multi-faceted,” he says. “If you’re just going to be a guitar player that plays in a band, your options are going to be very limited. If you’re going to play in a band, you should also be able to teach what you know. If you record yourself, then record other people as well and get into the studio thing. If you’re taking care of a lot of the business for your band, maybe start doing it for other bands as well and get into that side of things.”
Thal advises being actively aware of the many different ways you can apply your various skills, and the ways they feed into each other. “You need to have as many avenues as you can at once, because while one thing is going slow, another thing is going better, and you put it all together and you can pay your bills,” he says. “Everything you do lends some assistance or makes you better at everything else.”
One of Thal's earliest music-related jobs was as a teacher, and it’s a career path he highly recommends. “I took lessons when I was a kid for a good eight steady years of just weekly lessons, very academic,” he says. “From there I started teaching out of the basement. Then I started teaching at a music store, and then in my early 20s I set up the music department at a private school. I was teaching music for children there, I set up a jazz band, a choir, music history… a whole music program for this private school. Right before that I was teaching at a music institute that a chain of guitar stores in New York had. At some point I worked my way up to teaching music production and guitar at an actual legitimate college in New York State.”
Thal believes that teaching others also can be an invaluable resource for your own playing, vastly increasing your repertoire and forcing you to think about the motives and outcomes of particular musical choices. “What happens is that everything you’re teaching, you’re also learning,” he says. “You’re learning songs that you can teach, so now suddenly you have a great repertoire if you want to join a cover band. Everything helps everything else.”
In fact, Thal says some of his solo tracks would not exist if not for their origins in giving guitar lessons. “Someone wanted to get into Latin chord progressions and I got into the whole I-II-V in harmonic minor thing in certain rhythms, and next thing you know it’s like, ‘Wow, this is a cool thing,’ and I ended up making a song out of it.”
When it comes time to work on a solo project, Thal pulls together all these skills, and as the owner of a professional studio, he’s uniquely placed to take advantage of the many luxuries this brings. “Having my own studio, I can afford studio time, obviously, because it’s my studio, and I can pay the bills of owning the studio by recording other people,” he says. “So by being an engineer, that allows you to record your own albums and gets you into production, and next thing you know, you’re a producer and you’re collaborating with other people that come in. Everything becomes this big web where everything is connected in some way, and the more things you do, the more depth it lends to every other aspect of what you do.”
The skills of deconstruction and adaptation that one develops as a teacher can also blend with studio nous in interesting and unexpected ways, including TV work. Thal explains: “There will be people for some TV show who don’t want to license the real song for something, and they’ll come to me and be like, ‘Can you make me a song that sounds like Mötley Crüe?’ and in five minutes I’ll bust something out in the studio and give it to them, and it’s an original song that's capturing the vibe of some other artist, and that right there, that’s another way that the studio and everything we’re talking about comes into play. And now you also have an income stream from the performance royalties of that piece of music. I did it for a sports team, I did it for some shows that have been on MTV once in a while.”
Thal says session work today is much different to the glory days of the ’70s and ’80s. “I could be wrong but I think reading music is less important now and it’s more about the ears,” he says, adding that producers are more likely to simply e-mail an artist an mp3 and ask them to come up with their own part, rather than provide sheet music or a chord chart. “If it’s a jazz thing they will give you a chart, but if it’s a rock thing they’ll just show you on the spot: ‘Alright, just go E to A and back to E.’ And as far as session playing, you have to be able to lock into a groove and have great timing. You have to have a good memory and be able to recall arrangements, or jot down your own little chart of weird hieroglyphics that only you understand, or you have to be able to read other peoples’ hieroglyphics.”
Across his entire career as a professional guitarist/teacher/songwriter/engineer/producer/composer, Thal has observed a simple set of rules for making yourself employable. “Number one, which will be funny coming from a guitarist in Guns N’ Roses, is don't be late! That was always my cardinal rule for everything,” he says. “In order to be on time you need to be early, then wait in your car for 15 minutes and walk in two minutes before whatever time you’re supposed to be there.
“Two: be someone that people want to work with, want to be in a room with and spend 10 hours with. Be relaxed, be calm, don’t cause the stressful vibe, just be cool and keep your intensity knob down a bit and just roll with things.
“Three: be overly prepared. If you just need to know the guitar part, make sure you know the other guitar part, too, and the vocals, and the bass, and the drum rhythm and where the accents are. Really know the song inside and out. Know more than you need to know, and be so prepared that you can bring more than is asked of you, if asked. Those three things matter the most: be on time, be cool, and be prepared. And that’s for anything.”
But for true connoisseurs of six-string ferocity, the knife fight of the year will take place this autumn when Black Label Society's Zakk Wylde and Children of Bodom's Alexi Laiho face off on the Berzerkus tour package. While Wylde is something of a national treasure, Laiho is still a bit of a cult figure.
Born Markku Uula Aleksi Laiho, the guitarist recorded his first album with Children of Bodom in 1997 in Finland. Since then, he and his Nordic band have released six studio efforts, two live albums and an assortment of EPs and DVDs. Beginning as a death metal unit, Bodom rapidly discovered their own unique voice by mixing and matching elements of Scandinavian black metal, European progressive rock, American thrash and Eighties hair metal into a compelling blend of flat-out aggression, catchy choruses and instrumental virtuosity. Are You Dead Yet?, Blooddrunk and last year's album of cover songs Skeletons in the Closet established them as rising stars in America, and tours with the likes of Megadeth and Lamb of God sealed the deal.
Not surprisingly, Laiho, Bodom's vocalist and guitarist, has been singled out for attention. Looking like a trendy, young vampire, and shredding like a 21st century Randy Rhoads, Alexi mixes bluesy hard rock ferocity with dashes of Western classical harmony that rarely sounds fussy in the way that European metal often can. For example, on "If You Want Peace...Prepare for War" from 2005's Are You Dead Yet?, he takes most of what's good about the past 20 years of hard rock lead playing and condenses it into concise, violent blasts of sonic rock salt.
But as Laiho reveals when we sit down with him to discuss the upcoming Berzerkus tour, he's still growing as a guitarist. "I'm still hungry to play and improve," he says. "I still practice every day. I would never think, Okay, now I'm finally good enough."
Does that mean Laiho is pumped and primed to, er, "Finnish off" Zakk Wylde in the upcoming guitar slugfest?
"Zakk is one of the best, for sure," he says. "Everyone who was involved with Ozzy Osbourne were the guys I looked up to when I was learning to play. Randy Rhoads, Jake E. Lee and Zakk were some of my biggest influences. Zakk's playing is just so over-the-top crazy, and he's a great singer, too."
Click here to read the full interview on GuitarWorld.com!
"It's great to see that the U.K. still has a strong rock star tradition," Allianz's Claims Manager Robin Stagg told the press.
Two more U.K. natives, Jimmy Page and Jeff Beck, also made it into the top 5. The top 5 guitarists in the poll were Eric Clapton, Jimi Hendrix, Jimmy Page, Jeff Beck and Chuck Berry.
Clapton will have the opportunity to prove that he still deserves the title when he goes on tour in the U.K. next year. Slowhand will play shows in Dublin, Belfast, Glasgow and Cardiff before participating in a six-night residency at the Royal Albert Hall in London.
The program showcases an in-depth look at Steve's approach to the guitar through a 12-week online course which begins January 10, 2011. You can enroll in the program starting today & view an exclusive sneak peek lesson here!
Halford's performance The audience at the ACC received Halford as the metal god that he is – cheering till their lungs were about to burst. The first few rows, kicked their chairs to the side, enabling them to stand up and head bang properly to Halford's pumping metal tunes. Right from the get go, old school full throttle heavy metal filled the ACC, energizing everyone from the front rows to those in the back, sitting just underneath the roof.
If anyone should be in doubt, Halford has been at the centre of heavy metal for about four decades. This was cemented in the second song on the evening's set-list, the one-song Halford biography “Made In Hell.” The crowd grew even more excited and the cheering turned into an inferno of metal roars. Rob continued with “Locked And Loaded.”
Old school heavy metal dudes wear their leather jacket with pride and so did Halford yesterday. However, he had to let go of it just before presenting his latest album “Made Of Metal,” due to the increasing temperature at the ACC. The album is in stores now and the title track is as head bang friendly as anything Mr. Halford has ever laid his hands on – and the crowd loved it.
Throughout Halford's set, you could definitely feel the love – thousands of metal heads' love for heavy metal music. At the end of his set, Halford articulated the atmosphere, “we love you metal heads. Thanks for keeping the metal faith.” The love was clearly mutual, as the fans reached out for their metal god, head banged and sang along throughout the entire show. All in all, an awesome show. Four decades of experience truly does make a difference. Make sure to check out Halford next time he's in town!
Ozzy Osbourne's performance
The film montage served as a great appetizer for what the audience at the ACC had in store. Ozzy came running on stage and set the score right from the get-go: “the crazier you'll go tonight, the longer we play. Let the madness begin!” And so it did.
Ozzy himself added to the madness with non-stop jumping and running around on stage. It was tough not to get sucked into the energy field created by Ozzy and soon, thousands and thousands of metal heads were jumping with their fists high in the air. Ozzy didn't even take a few minutes to just stand around and catch his breath. When he needed to cool down, he nosedived into a bucket of water and then went on. The twenty first rows weren't allowed much rest either. If they chose to stand around for too long, Ozzy would blast them with a hose, spooling out litres of some weird looking foam substance.
Oh yes, and the music. Ozzy's fall tour has been put together in support of his latest album, “Scream.” However, the crowd at the ACC got back to back hits from very different points of the metal icon's career, including 5-10 of Black Sabbath's biggest hits. There was no particular highlight of the evening – the show was one long climax, thanks to Ozzy's impeccable performance. From stage, Ozzy yelled, “I'm still crazy after all these years. It's good to be crazy.” This metal music examiner will have to agree with the prince of darkness on that one – it surely worked well at the ACC yesterday night.
The concert lasted for much more than two hours and every minute was a memorable one. Summing it all up, the Ozzy show truly contained a little bit of everything - humour, craziness, high voltage energy, fireworks, foam guns and good old school heavy metal. Ozzy looked younger compared to his appearances over the past years. Thumbs up, high fives, fist bump and a “well done” from this metal music examiner.
Photo: Tom Pandi
Programme Title: Top of the Pops
Broadcast Date/s: 11/28/91
Length: 4 Minutes
Notes: Kurt was apparently 'possessed' by the spirit of ex-Smiths singer Morrissey for this performance. The footage was also used in Live Tonight! Sold Out! and Kurt and Courtney. It has also been regularly repeated on BBC TV as well. The performance was recorded on 27th November, 1991.
Content: Smells Like Teen Spirit
A plethora of Canada’s best rock and blues musicians are banding together in a benefit concert for well-loved, Canadian Guitar Hero, Frank Soda. Vancouver’s Soda, who is in Toronto for cancer surgery was a staple of the bar scene in the 1970’s as the front man for his band The Imps.
The diminutive guitarist was an early exponent of rock theatre, often performing with an exploding television set on his head. But it was Soda’s guitar work that made him a legendary performer on the Toronto bar circuit, including the Piccadilly Tube, where The Imps recorded their album, Live in the Tube. Influenced by the likes of Clapton, Beck, Page, and Hendrix, Soda’s skills with an electric guitar were out of all proportion to his short stature. Soda’s remarkable energy and charisma, fuelled his incendiary rock and blues solos, guaranteeing The Imps sold our houses, night after night. The Carpet Frogs’ front man, Nick Sinopoli, comments:
“Frank is a great musician and a helluva nice guy. He’s influenced so many guitarists and gave me my start. It’s only right that we do what we can to help him.”
The benefit concert will take place at the Rockpile on Sunday November 28th. Doors open at 6PM and the bands hit the stage at 7PM. Admission is $10.00 with all proceeds going to a fund to offset Frank Soda’s medical expenses.
Partial list of performers:
CONEY HATCH
WILD "T"
SCARPELLI
THE ANTLERS W/MIKE TILKA & TERRY WATKINSON
ROCKIZOID W/DENNIS DEMARCHI
RUSSELL "DWARF" GRAHAM
MICHAEL WHITE
THE HINGES
The EMCEE WILL BE MIKE MANDEL
The Rockpile is at 5555 Dundas Street West phone (416) 504-6699
"I can't believe it's November," Johnson says in a soft Texas drawl as he runs a hand through his touseled mound of hair. "Must've been 65 degrees or something outside. I actually went to the beach, and with this sweater on, it almost got downright hot. Not that I'm complaining - it was nice."
Johnson and the rest of the stellar cast of performers on the fall run of the Experience Hendrix tour (the lineup includes Steve Vai, Kenny Wayne Shepherd, Johnny Lang, Billy Cox, Susan Tedeschi and Living Colour, among others) have been having a blast during the past few weeks. "This might be the best Hendrix tour yet," says Johnson, a veteran of several such excursions. "Everybody's been playing their hearts out. It's been really cool."
Even so, with only a few dates left, Johnson admits he's looking forward to heading home to Austin to kick back for the holidays before he takes part in the second leg of the Guitar Masters tour in early 2011. After that, he says, he'll turn his attention to promoting his brand-new album Up Close. "I'm so happy that the record's done and how well it came out," he says. "I've got to get a band together and get touring. That should be a lot of fun," he says with a chuckle.
As he often does, Johnson has arrived at the venue early, a good hour before the other musicians are due for soundcheck. "I like a little private time on stage," he says. "It gives me a chance to get my rig together the way I want. Plus, it's a great opportunity to play some riffs, do a little jamming. Sometimes you get a song idea that way. I can play in my room, but there's no substitute for hearing yourself on stage and getting that nice big wall of sound coming at you."
Born Free is the latest from our formerly bad-ass American; this is an album that tries so damned hard to be steady southern rock, coming shy of a respectable clone. First, let us get the positive points noted quick and painlessly.
Rock’s years of advancing toward something more mature seem to have finally paid off to some extent. Opening titular single “Born Free” is a powerful tune all around, being cribbed by TBS for its 2010 MLB coverage; Chili Peppers drummer Chad Smith, Los Lobos guitarist David Hidalgo, and Heartbreakers keyboardist Benmont Tench take the place of Rock’s typical Twisted Brown Trucker backing band (it pays to have friends when Kracker has screws loose); production by Rick Rubin yields more stripped-down bar band elements to yet another album in his oeuvre, indicating his and Rock’s cameo in the video for Johnny Cash’s “God’s Gonna Cut You Down” wasn’t coincidence.
Songs like “Rock Bottom Blues” and “God Bless Saturday” are the biggest indicators that the Kid is hard at work trying to bring on a Silver Bullet 2.0. If it were anyone else, we’d mock the stuffing out of ‘em, but coming from Kid Rock, we know what to expect, and this is a big step up from crap like “All Summer Long”. The general mood about Born Free is to promote a feel-good summer vibe during this chilly time of year, a record to pop on and pop a top with friends over. Unfortunately, it’s as if Nickelback made an entire album of nothing but “This Afternoon” remixes. A little originality, please?
Two tracks off of Born Free include marketable and redeeming collaborations: a second tag-along by Sheryl Crow on “Collide”, and a double whammy by default country high-note Martina McBride and rapper T.I. on “Care”. It should be noted, while the Crow endeavor comes off pretty generic, “Care” is probably the best song on an effort that is otherwise strictly a series of bluesy tunes. Why? Everyone does their parts grandly, even guest pianist…Bob Seger.
Wait, what? Oh yeah, Bob Seger plays piano on a Kid Rock album, while the rap-rocker himself shamelessly copies him. Last fucking straw, Kid.
Rock forces his notes through a scratchy sandpaper straw and a pseudo-garage rock counting off before every other song on Born Free, instead of relaxing himself as proven in songs like “Only God Knows Why”; Rock is a glorified MC who sang over a Lynyrd Skynyrd/Warren Zevon loop and called it a “sample”. Can you say “blatant rip-off”? Kid Rock went from mindless indulgences like “Three Sheets To The Wind” and a guest spot on ICP’s debut release, to making songs that would be justifiable go-to filler in your local dive’s jukebox. The Double Deuce wouldn’t have been caught dead with this garbage; blind white boys play better rock music. Even the all-star band behind Rock was held back, like having Rex Harrison recite lines from American Pie — there’s only so much you can do.
In the end, it comes down to one fact alone – I would rather hear “Her Strut” over and over, right after pardoning “Shakedown”, than go through this forgery again. If not for Seger and company’s contributions, the raspy out-of-water element that is Kid Rock would have been completely lost. I like to think Seger did his pieces at gunpoint, in a separate room. Now, who’s taking bets on whether or not T.I.’s bit role should be considered community service? Does he get out of jail early for such generous behavior?
The event starts at 7 PM at Land Shark Tailgate Stage at Sun Life Stadium (2267 Dan Marino Blvd.), Miami Gardens. The tailgating is free with game tickets.
The pre-game event will also mark the return of Joe Perry to the tailgate stage. The Aerosmith co-founder / guitarist performed last season with his other band, Joe Perry Project, and is joining Lewis on stage for a few songs on Thursday.
Other bands on the tailgating bill include POISON's Bret Michaels and CHEAP TRICK.
For more info visit Miamidolphins.com.
The band comments, "After four years and two albums we have to announce that Janne is no longer in the band.His goals and ambitions couldn't have come true in poisonblack and we totally understand and respect that.His creativity needs a different setting than poisonblack can and ever will provide.This is the one and only time we`re going to explain the reasons behind his departure,so do not bother asking.We thank him for the music, the unforgettable moments we all shared together on - and offstage and wish him the best for the future."
Singer Benny Dayal keeping musician Greg Howe company on stage. Photo: Special Arrangement
It's Wednesday evening and the city has a date scheduled with Greg Howe. Considering his credentials, at least half the city should've poured into the Museum Theatre. But there are barely any people. Franks Got The Funk and Borrowed Halos open for Greg Howe; they are competing for the finals of the Underground Band Hunt. Perhaps people will start arriving soon. Rows and rows of empty chairs and a bunch of bored old-men — the sight is unbearable.
No buzz
Franks Got the Funk and Borrowed Halos try their best to rock the place, but no one is moved. There are a couple of teenagers and a bunch of foreigners. The same bored expression is on everyone's face. The place is dead. One of the world's greatest shredders, Howe's played with NSYNC, Justin Timberlake and Michael Jackson. But he's not played with any rock bands. Whatever could this hype be all about?
Most people who seem to have bothered with a concert in the middle of the week look like they're here only because they had nothing else to do and wanted to experiment experimental jazz-fusion. Shredder doing jazz-fusion, interesting...
Nevertheless, the evening seemed never ending. Time had suddenly decided to stop. The sound setting took hours. The theatre seemed to have been gassed with a strange poisonous concoction of boredom and absolute darkness. The only place where there was any bit of light was a soft yellow spot on the stage. All one could see was shadows move. Sound setting.
Finally Saroop Oommen, of Unwind Centre, decided to come on stage. After a long lecture on HMI guitars, one of the sponsors, Saroop finally blessed the audience with Greg. On stage is a tall thin Afro-American guy with two skin-heads and an Italian drummer. Neither Greg nor his band-mates look like they can do much. Saroop Oommen, of Unwind Centre, introduces the band. There is a slight whimper, it was someone cheering and Greg hits the notes. Everyone's hit unawares. For a minute, dead faces were replaced by wide-open eyes and mouths gaping for air.
There are people other than musicians walking on the stage. Everyone's so agape that no one seems to notice them. The sound of the guitar is deafening. A million notes are flying out of Greg's guitar at the speed of light tearing Museum Theatre apart.
Greg is performing for the first time in India, and he's living up to his reputation of being one of the best shredders in the world. His self-titled album ranked the 10th greatest shred albums of all time by Guitar World magazine. Greg is Trey Anastasio, Hendrix, McLaughin, and Malamsteen all rolled into one.
Brent Mason, Paul Gilbert, Scotty Anderson, Eddie Van Halen, Steve Vai and Yngwie Malmsteen. That's a small amount of people, but I appreciate so many guitar players and what they do. I love being inspired by their playing and incredible talent.
What album/song inspired you to play fast?
"Far Beyond the Sun," from Yngwie Malmsteen's Rising Force album. I first heard that on the radio in Michigan, and it blew my mind. It was an epiphany and changed my life. The speed and grace of his playing is what really blew me away. I remember how easy he made it look and sound when I saw him play it. I was always amazed by the fluidity of his playing.
What helped you progress dramatically as a guitarist?
I think having patience really helped me. I'll start out slow with something and gradually increase my speed with a metronome. I keep doing that with certain scales or ideas, arpeggios and so on. Having the patience to keep improving with my speed and technique has always helped me make progress.
What was your biggest technical hurdle?
Incorporating my right hand into my soloing, such as finger picking along with shredding. Using banjo rolls and Spanish-style guitar playing along with a rock style was a very big hurdle for me, and a huge accomplishment.
Talk about a key performance in your own discography that you feel is a successful example of what you try to achieve.
The song "The Nightmare Unravels" from The Art of Malice was a big achievement for me, because I used a bunch of different techniques within that song. There's behind-the-nut bends, sliding arpeggios, banjo rolls...everything but the kitchen sink. And I'm proud of it!
Is shredding a good thing?
That question is as almost as good a question as "What is the meaning of life?" I think shredding is a great thing, and I love it. It's my favorite thing to do. I'm proud to be called a shredder. I know it's always up for debate, but I'm on the Team Shred side. I think what really excites me about it is the speed and taking it to the extreme. I like taking everything to the extreme, and it helps me grow as a player.
What are you currently working on, and what is your goal as a player?
I'm working on new Spanish/flamenco instrumental songs that I'm trying to push the limits on. I love learning new styles of music, and flamenco is what I'm studying right now. My goal is to continue what I'm doing as long as I can do it. I'd like to play as long as Les Paul did. My goal is to keep playing well into my Nineties.
Double Fantasy was the last album Lennon released in his lifetime. It hit the streets about a month before his murder, a grim chronological juxtaposition that has always lent greater poignancy to the album's songs. Double Fantasy was meant to be Lennon's "comeback" album, his return to the music business and public life after five years of retirement during which he had focused on the simple joys of domesticity and raising his son, Sean. Instead, the album became Lennon's farewell to a vast and adoring fan base, many of whom had admired him since the earliest days of Beatlemania...
The Hold Steady: Guitar TAB Anthology contains 17 of their greatest songs from all five of their studio albums, including Almost Killed Me, Separation Sunday, Boys And Girls In Americ, Stay Positive, and Heaven Is Whenever. Fans and guitarists can play and sing to their favorite songs from The Hold Steady, including “Sequestered In Memphis,” “Stay Positive,” “Hurricane J,” and more. Also included is the song “Girls Like Status” from the soundtrack to Aqua Teen Hunger Force Colon Movie for Theaters.
Dubbed “America's greatest bar band” by Rolling Stone magazine, The Hold Steady has forged its place in rock music with its musical styles of “Seventies hard-rock guitar grind” and “Eighties college-rock romanticism,” often compared to Bruce Springsteen for their raw sound and lyricism. To date, the band has produced five studio albums, one live album, and four EPs.
The Hold Steady: Guitar TAB Anthology is now available for $21.99. Pick up your copy at a local music retail store, or buy it today at Alfred.com.
Titles:
Killer Parties
The Swish
Chips Ahoy
Citrus
Girls Like Status
South Town Girls
Stuck Between Stations
Hurricane J
Rock Problems
The Sweet Part Of The City
The Weekenders
Cattle And The Creeping Things
Your Little Hoodrat Friend
Constructive Summer
Lord I'm Discouraged
Sequestered In Memphis
Stay Positive
