Download Festival

Ok, peeps.  I’ve been off my game; haven’t been to many shows in the past year and definitely haven’t been blogging about any of this.  Call this my summer of redemption as I hit a couple of mega-festivals on my vacation.  First up is Download at Donington in the UK; then Metallica’s Orion Festival in Atlantic City.  If seeing 3 Metallica shows isn’t enough (probably won’t be) I can catch them headlining at the Outside Lands Festival in August — but that is far down the road with about 150 bands in between then and now.

Keep posted for more as we are -15 and counting to Download.

A Classical Twist From Malaysia

Kuala Lumpur, Malaysia

June 19, 2011

As you might guess, metal is not readily available or apparent on the Malaysian music scene. So, I switched up genres Satruday evening and went to see the Malaysian Philharmonic Orchestra (MPO), conducted by Hong Kong’s Perry So, as they played a night of Russian composers – the true multicultural event.

The MPO plays in an absolutely spectacular venue called the Dewan Filharmonik Petronas. Unfortunately, no photographs were allowed, but it has to be one of the most beautiful concert halls in the world. It seats perhaps 750 with an ornately decorated ceiling that would give any of the fine European halls a run for their money. Behind the stage, soaring upward several stories are the pipes of an organ that are interwoven into the wood backdrop design. In other words, the DFP hides an organ in plain sight, which is no easy fete.

I can’t remember the last time I went to a classical performance, but certainly none in the past few years since I’ve become a metal fan. However, surprisingly I noted quite a few similarities with my usual musical fare:

• Many patrons were dressed in black. However, I failed to detect a single black t-shirts at this “formal attire” affair proclaiming fealty to Bach, Beethoven or Brahms.

• The entire “band”, also known as an orchestra in this setting, was dressed in black with most of the men wearing tails and the women dressed in a range from black gowns to black pantsuits. Once again, I failed to see anyone promoting an up and coming young artist on their chests behind their cummerbunds.

• The featured composer had two opening acts by other Russian composers. That pesky Tchaikovsky, with his slightly better known works, did his best to upstage the main act written by Prokofiev, although as you will see below it is a bit tough to tell who won that battle of the maestros. Mosolov’s The Iron Foundry was appropriately placed first on the bill, at a whopping 4 minutes.

• Prokofiev’s Symphony No. 5 has plenty of drum beat and crashing symbols to give it a much heavier sound than Tchaikovsky’s Violin Concerto. However, unlike Tchaikovsky that contained solos, it would be more akin to a nu-metal sound and it certainly left me with the impression that it was weighted down. • I much preferred the music with solos in it. The violin solos were beautifully performed by a 25 year old Russian named Valeriy Sokolov. He received thunderous applause between songs, which are more appropriately known as “movements” according to my classical tutor who was aghast that I referred to them as “songs. “ I gather the movements are meant to be a part of a whole, like rock operas (Operation Mind Crime by Queensryche or Tommy by The Who come to mind).

That’s probably about where the similarities end, so on to the glaring the differences:

• There was no merch table. That would definitely explain why I saw no t-shirts supporting “the arts,” so to speak. I noted in the program (yes, another difference: you actually know who is playing what and how long each set will last and how long you have to drink at the bar between set changes) Mr. Sokolov is “generously supported by” a foundation, thus he apparently doesn’t need the cash that a merch table would generate. But, think about it a minute – isn’t classical music missing a huge marketing opportunity? Tchaikovsky’s music may be recognizable once you hear it. And, even Prokofiev’s music from the ballet Romeo & Juliette is on the intro tape at Volbeat concerts (according to my classical tutor). However, those works could be immortalized if they were brought to the masses via a little free advertising on a t-shirt or ladies underwear. Just think Prokofiev on a g-string…

• There was dead silence after each Prokofiev song/movement. I mean, total…complete …utter…silence. I had no idea if the audience liked it, hated it or was bored to tears. I liked it, but not as well as Tchaikovsky. I gather in the classical music circle it is a sign of respect to remain silent and only when a soloist appears is it sometimes permitted to clap at all during the performance. I think that is totally…completely…fucking…weird. No head bobbing; no fists pumping (although, the conductor Perry So was permitted to get animated as the music moved toward its crescendo, hopping up and doubling over a bit as he led his merry band); no yelling approval. Nothing. Nada. Where’s the fun in sitting on your hands for 45 minutes and then clapping until your arms want to fall off?

• Finally, no matter how long or hard we clapped or how many times Sokolov and So returned to our applause (4x), we were unable to induce Sokolov to play another note or So to lead the MPO in a true encore. There must be another Russian composer they could have dug up to give us a bit more and show their appreciation for our attendance and support. Although, I suspect THAT thought never crossed their minds.

All in all, it was a lovely evening in a beautiful setting where I could listen to music without worry that my feet would be stomped by a fellow patron, except, of course as they tried to scoot by to gain their seats in the same row.

Next Up: Prieta is playing Cesar Chavez park’s free concerts in Sacramento on July 22 and I hear the Steve Gatz Blues Band will be doing a turn at a private party on July 23.

4 decades later KISS still puts on “the show”

May 29, 2011

Sacramento

By today’s standards a KISS show is pretty mainstream – pyro, lights, hard rockin’ music interspersed with some well played guitar solos. But, like Alice Cooper, a KISS show remains a must see in rock lore. The music isn’t complex or deep, but when combined with the godfather of pyro and a light shows, it is just that — a SHOW.

As I stood on Raley Field in Sacramento for the show last Sunday, I was struck by how impressive this must have been in the 70s. I remember high school classmates talking about going to KISS concerts and it was never about the music or about a particular band member, but rather it was always a reference to the SHOW, itself, usually followed by some description of the antics on stage. Combine those theatrics with the kabuki-style makeup, causing the “characters” to look from a distance like skeletons – how truly different was this SHOW? Parents must have wondered were their kids safe when Gene Simmons spewed blood (disappointingly, I wasn’t treated to that spectacle on Sunday)? What bad influence might the bat-inspired character have on their kids?

Both Simmons and Paul Stanley are a hoot to watch. Stanley works a crowd, talking to them, moving them to respond. Simmons just hulks around the stage in his pants with cutouts exposing thighs, making expressions that even those at a distance could follow. I found myself watching the two screens along side the stage too often and missing what was going on all over the stage.  I suspect the screens are the only addition as everything else matched my memories of videos from earlier decades with the big KISS sign lighting up above the stage.

The makeup certainly makes them more expressive and allows them to reach further into the crowds. Simmons hams it up on stage right, while Stanley and his flying v guitar works the crowd from the center.  I can’t say there was any one part of the show that stood out.  But, I was pleasantly surprised by the guitar solos handled mostly by Tommy Thayer. I have seen the original lead guitarist for KISS on a solo tour and I didn’t notice any drop off in talent; both Thayer and Ace Frehley are equally gifted guitarists. I suppose if there was a surprise, it was that I hadn’t realized the KISS music had so many guitar solos. Nothing about their music or lyrics will likely be memorable, but I can say that I definitely enjoyed the show.

Sacramento band Big Boss Graffitti was on just before KISS. That’s a fun band to watch; not sure of the genre – I think the intro described them as dance band. Maybe. BBG is definitely has a fun vibe.

Next up: Unbelieveable, but for the first time in 5 years, I have nothing on the schedule. I may have to check out a little Philharmonic action in Kuala Lumpur this month.

TSO Head Bangs Beethoven

Tallahassee, FL

April 23, 2011

Who knew Beethoven was the original metal master?  Trans-Siberian Orchestra, or TSO as their followers know them, amped the maestro’s music to a power metal setting and rocked the crowd in Tallahasse’s Civic Center last night.

TSO, which for many years only toured during the holiday season doing a Christmas themed rock opera, recently decided to step out and tour during other times of the year.   Beethoven’s Last Night tells the story of Beethoven following the completion of his 10^th Symphony.  For the Beethoven fans reading this, you will realize Beethoven only wrote 9 symphonies, but TSO took a bit of license, also adding some characters and ideas from Faust and A Christmas Carol to whip up a storyline.

Beethoven’s music set to electric violins, keyboards and screaming guitars is quite good.  I’ll have to give him another listen, having always preferred Bach’s work.  Unfortunately, when you work with masterpieces then try to add additional music  round it, the disparity in the quality can be distracting.  And, that’s where I think the show failed me.  I found the show filled with yap, yap, yap narrations, slow musical interludes of mediocre level that were occasionally interrupted by outstanding Beethoven arrangements and too infrequent and short screaming guitar solos.  Roddy Chong on electric violin added the
energy to the lasers, lights and video to move the story along.

Throughout the show, I would find my attention wandering.  I would watch the audience (enthusiastic clapping, but not much head nodding).  I wondered if TSO used this show to play Europe recently, which could have been a huge mistake to take it to the home of serious headbangers.  I also played out in my mind the scene of horror that would strike the Moms and Pops in attendance if Jeff Scott Soto, who sang the Mephistopheles songs, suddenly broke into a death metal growl.  That just wouldn’t be … fit for polite company.

The last time I saw TSO I thought they had crossed the metal line and brought metal to the masses.  This time, I think TSO got sucked back into the sea of pop.

Next up:  KISS.

Best show under $25: Volbeat

April 9, 2011

San Francisco

You can’t find a better metal/rock show than Volbeat provides.  It totally kicked my ass twice this week.  I don’t know how they have the energy to put that type of a show on night after night.  Or how front man Michael Poulsen breathes during his rapid fire lyric delivery.  As soon as he backs away from the mic he is immediately engrossed in riffs on his guitar or moving to another microphone.  He does manage a swig or two through the show, however.

I first saw Volbeat open for Metallica in 2007 in Arhus, Denmark and after two concerts this week in Sacramento and San Francisco, I remain ever more impressed with this band of Danes.  Given the chance I’d go see them again and again.  Volbeat remains the only opening act in about 100 concerts I’ve seen since 2006 to get an encore.  Yeah, home crowd and all that, but they were really good back then.  In the five intervening years they have continued to improve, putting out 3 more albums and touring a couple of times to open for Metallica.  Like the masters they clearly have a level of dedication to making sure that every fan feels included, exhausted when they leave and thoroughly appreciated for spending hard earned dollars to come out to see Volbeat.  It is as if Volbeat can’t believe how lucky they are to share music every night with people who want to hear them.

And hearing Volbeat is to hear a unique sound – maybe a fusion of Johnny Cash with some of the metal greats like Motorhead and Metallica.  Whatever it is, it definitely is working for them and they exude a confidence that they can and will entertain you.  I was a little worried about how they would fare after seeing their opening act (the Damned Things) which although suffered from the poor sound quality at Ace of Spades in Sacramento included some of the baddest shredders from Anthrax in the form of Scott Ian and Rob Caggiano and has definite possibilities to be great.  But, when Volbeat took the stage, they owned it.  After a short break at the hour mark, Volbeat returned for another half hour that had the circle pitters in a frenzy.   Not one ballad and only two songs have a slower more melodic start before the uptempo sound slammed you into your neighbor once again.

The Damned Things were not as impressive at the Fillmore (SF), even though the sound was a bit better.   Keith Buckley’s vocals wash out, which is unfortunate because the album Ironiclast is good.  It has a bit of a bluesy southern feel, but still remains riff-laden hard rock.  In Sacramento they felt like they were in the groove, but not so much in SF.  Something was just amiss in their performance.  As for the first opening band Hourcast – heavy on bass with little input from the guitar left me not interested.

Next: I had to pass on Ozzy (schedule conflict) and although I’d love to see Rammstein the Oakland venue doesn’t appeal to me after watching security smoke with the fans at a Met concert and then take forever to boost some overly zealous fans.  So, it looks like KISS at the end of May at Raley Field in Sacramento.

Buddy Guy — Only a 5-time Grammy Winner?

Lake Tahoe, CA

Nov. 27, 2010

Are you kidding me?  How could the best guitarist I have ever seen only have won five Grammys?  Buddy Guy, with 74 years of hard living behind him, exceeded my expectations both as a guitarist and as a showman Saturday night at the MontBleu Casino.  From Clapton to King to Malmsteen, Satch, Trucks and Vai, this Guy has something to learn ‘em all.

Every song he played he communicated so much more than just his considerable guitar playing skills.  Combining his vocals and interpretations (and in some songs different lyrics than you might otherwise have heard), he gave you a connection to the Blues that no recording could do justice to all that he puts into every song.  It is as if each song stands on its own and could be the finale of the show – his last words/notes to the audience at every turn.

He said he doesn’t rehearse with the band (flubbing an early song and restarting it and then playing a duel with his keyboardist).  Having said that though, he played what appealed to him, including a wide-range of music from his catalog, which unfortunately I don’t own enough.  Then he put together a medley of blues songs from other artists, including John Lee Hooker, Clapton and Hendrix.  Let me tell you, Buddy Guy plays Eric Clapton better than Clapton plays Clapton and I wouldn’t be surprised to hear some who knew Hendrix say he’d give Jimi a run for his money, especially with the teeth picking and over the head style playing.

His show was so much more than just playing a few songs and demonstrating his considerable skill with the Fender Stratocaster.  He would pause awhile and talk about the history of the Blues, about his recording experiences, about touring with the Rolling Stones and whatever else came to mind.  He wove an educational experience into the midst of a great night of blues, leaving the audience wealthier in so many more ways.  What an absolute privilege it was to see 5-time Grammy Award winner Mr. Buddy Guy and what a shame he isn’t a household name with 50 Grammys to his name. 

Next up:  nothing on the schedule at the moment.

Old School Metallica

Santa Monica

Nov. 4, 2010

In true LA fashion it was a night of glitz, glamour, a few gamers, actors, basketball stars and former politicians — all there to open for Metallica .  A lot of rock performances today, stripped of their laser show, pyrotechnics and fancy stage sets, would leave you with a whole lot of nothing.  But not in Metallica’s case, where going old school is what these four very talented musicians are all about as they once again demonstrated Thursday  in Santa Monica. 

While a coffin-rigged gig would have fit well in the midst of an LA glitzy private party for the release of Call of Duty: Black Ops video game, it was gratifying to see Metallica without the enhancements.  It is how I imagine they must have looked 25+ years ago as they left LA to move to San Francisco and played the small clubs.  Metallica always has been about hard work and good musicianship, not settling for anything less than the best live or recorded sound they can provide.  They play with the same verve whether in front of tens of thousands at an outdoor festival or in a Santa Monica Airport hangar with just 1500 in attendance.  And, the fan response is uniformly positive with a lot of very happy metal fans leaving with their ears ringing, drenched in sweat.

In fairness, about a third of the attendees were Metallica fan club members, provided with free access to the non-ticketed (open bar) event.  This, of course, explains how I got there since I’ve not played much in the way of video games after Pac-Man was introduced.  The free passes ensured that  a sufficient number of stage-crowding-lyric-screaming-circle-pit maniacs from around the west coast appeard in case the gamers attending the event couldn’t be enticed away from their on-line worlds into the metal world.  It also provided Metallica, who is always appreciative of their fans, an opportunity to reward them with a club-only show  before the close out the World Magnetic tour later this month in Australia.

It was pretty much standard Metallica concert-going fare: a fight to my left just minutes before the show started; a large circle pit to my right just minutes into the show, and a crowd surfing stunt by Guillermo (Jimmy Kimmel Live side-kick) in a paper-mache donkey outfit (ok, that last bit is a little unusual in my experience, but this was LA, so the standards are a little different).  I stuck my elbow into the ribs of a couple guys trying to bull their way to the front by pushing me out of the way.  Sorry studs, go somewhere else; I wasn’t giving up my position 3-4 people from the front row.  For the most part, the Metallica fans were on pretty good behavior, especially given the open-bar factor. 

Kudos to the few gamers who dared to stand amongst us near the front – you could tell them because some wore tennis shoes, others wore non-black shirts and most of them had very worried looks on their faces as the crowd surged and swayed.  One gamer to my right, would look around nervously, especially after he got slammed a couple of times by an errant pit participant.  It didn’t seem to deter him from videoing most of the show.  By the end he was even singing along to Sandman, with a fist pumping high and still filming with the other hand.   One more convert, Metallica.

As with the small-venue show I saw in Marin County last year, Metallica stuck mostly with playing the older material – only Cyanide made an appearance from the Death Magnetic album, and it was a pretty uptempo show.  The slowest song played all night was Fade to Black which, while it has some slower parts, is a song about suicide and wouldn’t qualify as a warm and fuzzy ballad.  I’m still impressed that after nearly an hour and a half, Metallica would bring on Battery one of their fastest songs.  These guys are so impressive to see live and up close.

What was not pretty standard concert going fare was having a Metallica show opened by speeches from a CEO,  a former governor (Gray Davis) and a basketball star (Kobe Bryant) all the while emceed by an actor (Zach Braff from Scrubs).  Also not in the norm was the look we got of  the Call of Duty: Black Ops game set for release next week (amazing video) as it was played by representatives from all six branches of the military.  Coast Guard kicked some serious butt in the video world that night. 

The entire event was sponsored by Activision the company that makes (publishes?) the Call of Duty brand of games, as well as Guitar Hero.  (Yes that explains the Metallica connection).  Activision has donated $1 million from the pre-sales profits to an endowment that encourages hiring of veterans and will help provide post-service training and education needed to introduce them into civilian jobs.  According to CEO Bobby Kotick, who handled the occasional “Metallllllica” from the black-clad sea in front of him well (bet that wasn’t something he hears at his shareholder meetings), said that unemployment among veterans is 20% higher than for non-veterans.  On average vets starting wages post-service is $10,000 per year less than if they had not served.  Kotick’s foundation will apply pressure on fellow corporations to hire vets and will continue to provide aid and training to the service men and women.  While socially responsible corporations probably aren’t a metal-head’s first interest, they do tend to be patriotic souls and responded well to calls for support of the troops and veterans. 

Maybe President Obama should consider having the middle east peace talks open for Metallica next.  A little head banging and time in the circle pit might just help settle some differences.

Next up:  Buddy Guy.