Browse 73072 Reviews & Comments (Page 2965)

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 lea.vdrx i miss them đŸ„č❀‍đŸ©č Dreamcatcher Jul 18, 2023
 quintenquist Photos can be found on Instagram at @fuze_magazine or @quintenquistcom. Koyo / fleshwater / Hippie Trim Jul 18, 2023
 Laurent Roy Line-up this night was Brad Gillis, Jack Blades, Kelly Keagy, Kerry Kelly Night Ranger Jul 18, 2023
 Eric Webler Royal & the Serpent came out and did guest vocals with Oxymorrons Adjacent Festival 2023 Jul 18, 2023
 Laurent Roy Originally scheduled April 25, 2020 with Godsmack, Halestorm, Theory Of A Deadman, Dirty Honey, Dinosaur Pile-up... Postponed twice for Covid-19 outbreak Godsmack / Three Days Grace / Black Veil Brides / Wage War / Lilith Czar Jul 18, 2023
 Michael Chambers with the kids but most enjoyable Kylie Minogue Jul 18, 2023
 Michael Chambers with the kids if you please Spice Girls Jul 18, 2023
 Michael Chambers Rob Halford & KK Downing of Judas Priest showed up in the rear circle during the gig. They kindy autographed my Van Halen programme. Van Halen / St Paradise Jul 18, 2023
 Andrew Lenz photo by davidan is not the show poster. it was a poster sold at the show for a soundtrack to a film. M83 / Jeremiah Chiu Jul 18, 2023
 Jeffrey Lee Endangered Musical Landmarks..." by Jack Neely - 08 November 2016 Last month I was riding the free Cumberland Avenue bus when I realized that, while we weren’t looking, Knoxville lost another live-music landmark, semi-legendary to another demographic group. It would be hard to make a case to save the concrete shell at 1820 Cumberland Ave. It had been radically remodeled over the years. Not long ago it was called Bar Knoxville. But it was once a counterculture place called Alice’s Restaurant, known in the ‘70s for live music. John Prine was there once. Later, the same building very efficiently housed three different businesses, cheek to jowl, each so different from each other they could have been in different countries. The <b>Pickle-U Pub</b> was the Strip’s beer joint, a crowded, smoky place, a little rougher-edged than even the Longbranch Saloon; perhaps vaguely aware of a university nearby, its clientele, overwhelmingly male, were mostly skinny unshaven tough guys who came out weekends hoping to witness a good fight. In the other half was Discount Records, a basic brightly lit record store that offered some good deals. Upstairs of all that, though, was an attic nightclub called <b>Bundulee’s</b>, accessible by a narrow staircase in the back of Pickle-U. About 35 years ago, Bundulee’s was the place to find punk rock in Knoxville, mostly local bands like Koro, Turbine 44, and the Five Twins, but also some traveling ones touted in the alternative-music press. Overenthusiastic pogoing had dented its sloped ceilings with cranium-shaped holes. Death Row / Hellion Jul 17, 2023
 Jeffrey Lee Excerpted from Joe Hasselvander's Blog of Doom!!! <b>Death Row, "Pay For All Your Sins"</b> Wednesday, 03 December 2008 Death Row played on the road only once in our brief career while under that name! That was in Knoxville , Tennessee in 1982! The World's Fair was held 2 blocks from where we played and oddly enough the venue was called "Bundulee's Pickle You Pub" right on main street! We were making jokes that from now on we could only play in venues that made mention of vinegar soaked gherkins in their names! This gig was groundbreaking for 2 reasons! It was the first time we had ever played the classic songs, "Through The Shadow", "Petrified" and "Drive Me To The Grave" which was a turning point in the band as we were now venturing into unknown musical territory! It also proved that we went down the same everywhere we played! We were treated with great respect by people who had never heard us until now! After performing down south we were confident enough to move things forward without second guessing ourselves into the grave! We finally found our identity! Unfortunately that was also the green light for a power play from our singer, Bobby! After our return from Knoxville we were feeling pretty good about things and decided to throw a few parties at a local house where our friends Hellion were rehearsing! Hellion had also come along to Knoxville to perform in our little package tour "Cold Day In Hell"! So they too were feeling great and this party went on for the next 3 months! Bobby decided that he would finally come out of his drug induced shell and join the rest of the world in celebration of good times and good friends at the Hellion house! This was something Bobby had not done in years as he had become a hermit! I remember being shocked to find out that he had come out of his house and away from his pusher long enough to hang with the boys! Of course the alcohol was flowing but it still seemed better for Bobby than where he had been! Death Row / Hellion Jul 17, 2023
 Jeffrey Lee Excerpted from Joe Hasselvander's Blog of Doom!!! Wednesday, 04 February 2009 <b>Tales From The Abyss Pt. 1: Pentagram, Lee Dorian And The Serpent's Gold</b> Here's one that I have been holding back for some time. This is my personal account of my experience on the 1994 Black Sabbath tour for their album "Cross Purposes". This 3 month romp through Heaven & Hell was an extremely noteworthy one and is not likely to exit my brain anytime soon as I sacrificed much and gained very little. In hindsight I would not have missed it for the world! It was Halloween night 1993 and my old band Pentagram had made it's 3rd attempt at re-forming due to public response for the re-releases of "Relentless" and "Day Of Reckoning" on Peaceville Records now part of Music For Nations. We had just played our first show back on the circuit in Northern Virginia a month before to a capacity crowd of new and old fans that was absolutely overwhelming! This Halloween night though was to be an extra special one for us as a band. The venue was an old ski lodge in Braddock Heights, Maryland that was rumored to once house Nazi spies in World War II and a few of them as the story goes took their own lives in that place rather than divulge what they knew about the Third Reich! It was kind of spooky to say the least with it's dressing rooms stretching down very old and poorly lit hotel hallways. Fans and old friends kept sneaking through security to get a peak at us, especially the girls wanting to see their favorite Penta-member in a compromising position getting our stage clothes on! I finally gave up and just asked them if they would please not spill their drinks on my clothes. The band took a few photos on the stairs in the hall as a drunk Marty Swaney attempted to put his fist up my ass through my leather pants so that I would take a bad photo. You can see this stupidity in the photo. We were wondering if he was going to be all right to play the gig. We all huddled in Bobby's room to go over our set when Lee Dorian, vocalist for British Doom band Cathedral popped in the doorway with a female friend. He had come all the way from New York to see the show. He told us he had waited his whole life for this night as he was a huge fan of Pentagram. We had a great conversation about the state of doom metal and how it fit in to contemporary hard rock. It was time to hit the stage and it was no easy task as the small room we were playing in was packed to the rafters with very drunk touchy feely fans! I barely got to the stage with all my clothes and jewelry intact! We played a blistering set which still exists on video today. What I didn't know was that meeting Lee Dorian was going to change my life forever. Wretched / Pentagram / Internal Void Jul 17, 2023
 Jeffrey Lee <b>MUSIC</b> By Mike Joyce - The Washington Post - July 21, 1994 Alone and together, Billy Joel and Elton John made a spectacle of themselves at RFK Stadium last night, celebrating their Top-40 successes and over-40 endurance to the sellout crowd's utter delight. Joel arrived first onstage, flanked by giant murals depicting the Stars and Stripes and the Union Jack. Hung over the center of the stage, as if marking common ground, was a banner inscribed with the words "Heart and Soul." John strolled on moments later, and after embracing, the two collaborated on a series of engaging duets -- facing each other at grand pianos, trading verses on "Your Song" and "Honesty," sharing harmonies, ovations and quips. Joel dedicated the latter song to the National Enquirer, which zealously covered the breakup of his marriage with Christie Brinkley, while John smiled broadly and knowingly. If their kinship was obvious from the outset, so was the affection the crowd held for both of them. Fifty thousand fans -- young, old and in between -- treated the evening as if it were a once-in-a-lifetime event. The tour certainly was a first. Whether the 21-day partnership, officially dubbed "The Face to Face Tour," will ever be repeated is anyone's guess, but if it isn't it won't be for lack of ticket buyers. When John's band emerged, adding rhythm and harmony to the mix, the two singers revived "Don't Let the Sun Go Down on Me" nearly right on cue, as daylight gave way to shadows. For the next 75 minutes of the 3 1/2-hour show the stage belonged almost exclusively to John and his band. Looking entirely unlike his formerly flamboyant self in a white dinner jacket and dark slacks, he opened his set with a faithful and rousing version of "Philadelphia Freedom" before fashioning an ornate, baroque-to-boogie prelude to "Take Me to the Pilot." He then charged that song, "Levon" and "Rocket Man" with a potent combination of R&B inflections and gospel spirit, only to lose the momentum with a plodding, overwrought rendition of "The One." Rebounding with "New York State of Mind," a tribute to Joel, John wistfully crooned the sentimental lyric over a lush and dreamy arrangement. The balance of the set had several highlights, including a crowd-fueled version of "I Guess That's Why They Call It the Blues" (with Joel sitting in) and one resounding low light -- a video-accompanied version of "Can You Feel the Love Tonight," basically a commercial for "The Lion King." After the intermission, Joel countered with "I Go to Extremes," pounding the song into shape with his hands and butt. Throughout the set he was far more animated than John, jumping on top of the piano during "Big Shot" and mimicking a hip-swiveling Elvis during "It's Still Rock and Roll to Me." He also made his alliance with John seem like something more than merely an extremely lucrative pop merger. "I was a fan of his before I married my first wife," he said before launching a luminous version of "Goodbye Yellow Brick Road," "and after being married to my second wife, I'm still a fan." If the feeling wasn't mutual, John did a great job of masking it when he later joined Joel onstage, adding to the rhythmic swagger of "My Life." Though Joel's voice lacked John's winning tunefulness, the emotional sweep of his music and his band's versatility were consistently impressive, encompassing nearly cinematic storytelling ("Saigon Nights"), tender reflections ("Goodnight, My Angel") and lots of crafty and contagious Top-40 fodder ("It's Still Rock and Roll to Me" and "Only the Strong Survive"). For the encores, the pair were united again and sent the crowd home singing "Bennie and the Jets," "It's a Hard Day's Night," "Candle in the Wind" and other hits. Elton John / Billy Joel Jul 17, 2023
 Jeffrey Lee <b>SETZER 'ORCHESTRA' SWINGS AND ROCKS</b> By Geoffrey Himes - The Washington Post - April 29, 1994 BRIAN SETZER has been infatuated with '50s fashions ever since he launched the Long Island rockabilly trio the Stray Cats in the early '80s. Now, however, his '50s fanaticism has taken an unexpected left turn into the big-band pop-jazz of Nat King Cole and Frank Sinatra. The new album, "The Brian Setzer Orchestra," reintroduces the former Stray Cat as the crooner, guitarist and leader of a 17-piece horn band. When he croons, "Days turn cold, nights grow long like an old Sinatra song" over a Nelson Riddle-ish string chart, there's a hint of campiness or irony in the lush arrangement. Nonetheless there's more to this project than the usual Harry Connick Jr. or Linda Ronstadt nostalgia exercise. For one thing, Setzer brings the guitar out of the big-band background to become a lead instrument, not just to imitate jazz horn lines but to add jump-blues and rockabilly licks to the mix. Although Setzer sings numbers associated with Cole and Bobby Darin -- as well as some originals in the Sinatra style -- the album is less interesting when it's paying tribute to big-band crooning than when it's mixing that genre with early rock 'n' roll. It's not as strange as it first seems. Elvis Presley, after all, often sang with TV orchestras, and Ray Charles and Big Joe Turner toured with big bands. Setzer, his music director/saxophonist Michael Acosta and their arrangers, Mark Jones and Billy May, allow the rhythm to rock without losing its essential swing, and the bluesy twang of Setzer's guitar stands out against the massed harmonies of the horns. This blend of rock and swing works best on the songs from the rock side of the fence, where Setzer is least likely to get overwhelmed by the jazz guys: Carl Perkins's "Your True Love," Vince Taylor's "Brand New Cadillac," Etta James's "Good Rockin' Daddy," Wynonie Harris's "Sittin' on It All the Time" and Setzer's own "Ball and Chain." THE BRIAN SETZER ORCHESTRA -- "The Brian Setzer Orchestra" (Hollywood). Appearing Saturday at the Bayou. Brian Setzer Orchestra Jul 17, 2023
 Jeffrey Lee Was with Scott "Wino" Weinrich of The OBSESSED at this show. Stray Cats / The Slickee Boys Jul 17, 2023
 Jeffrey Lee Page can still play; Plant can’t sing like he used to, is the conclusion I had after seeing Jimmy Page and Robert Plant on March 23 (my golden birthday) at the U.S. Air Arena in DC. The first part of the set was done in with standard rock versions of their songs. For a moment I wondered what happened to all the innovativeness present on No Quarter, but I needn’t have feared—it was just late in coming. They opened with some sort of a poem—I think it was recited by someone who didn’t have a English or American accent. Then the introduction to Immigrant Song followed by the Wanton song was played. They followed it up with Celebration Day, Thank You, and Dancin’ Days. The first surprise of the show came when they played Shake my Tree which was originally done by the Coverdale/Page duo. Plant has made fun of Coverdale in various interviews, but I preferred Coverdale’s singing to Plant’s attempt at it. However, they could’ve picked other songs from C/P that would’ve gone over a lot better. Page was on the Theremin for this one. Yet another surprise followed when they played Lullaby (originally performed by the Cure) accompanied by guitarist Porl Thompson who played a few more songs with them. Then it was No Quarter and Gallows Pole. Things really started to liven up when they introduced Nigel Eaton on the Hurdy Gurdy. It was interesting to hear my first Hurdy Gurdy live solo ever. They then went on to Nobody’s Fault but Mine, The Song Remains the same, Since I’ve been Loving You (which was when the strings orchestra joined in), and Friends (introducing the Egyptian orchestra). This was then followed by a medley of Calling to You, Light my Fire (by the Doors—which surprised me a bit), and a bit of Dazed and Confused. The last two songs before the encore were Four Sticks and In the Evening. Page’s guitar working on Black Dog during the encore was excellent, particularly the solo part. They toppped the whole set with Kashmir. The set list choice was indeed excellent. The guitar playing was somewhat, rather typically, sloppy but still excellent. Plant’s vocals were never up to mark. This was most evident in their encore when they did Black Dog. But this shouldn’t be a surprise since Plant doesn’t do the high notes on The Battle of Evermore (which was a notable absence in this set list along with Stairway to Heaven. I don’t think Plant could’ve sung the high (and my favourite) part anyway). It’s not to say that Plant is a bad singer, but that he can’t do the vocal gymnastics he used to do before. In terms of a show however, it was quite well done—there was a lot of psychedelic projection to keep the audience engaged. Rusted Root opened. I like this band a lot, especially the popular tune Send me on My Way, which I missed because we arrived late at the show. But I thought they performed the two songs I saw rather well, even though it wasn’t as polished and tight as the studio versions—there was some spontaneity that resulted because of this and I thought this was good. They remind me a lot of Jethro Tull, and I figure opening for Page and Plant, they should’ve gained some notoriety. Plant asked “Can you feel it?” The DJ at DC101 didn’t seem to have a clue as to what he was talking about, but I have a suspicion it was about haze of pot that hung over the audience. Maybe my experience would’ve been better if I had smoked a joint, but I think of all the dinosaurs that are crawling out of the woodwork (oxymoron), Page and Plant are definitely on the bottom half of my list as far as playing live is concerned, but definitely on the upper end in terms of album release. I do think all the versions of songs on No Quarter are extremely well done and fresh-sounding, but they do not hold up well when played live, especially at a big arena. Jimmy Page & Robert Plant / Rusted Root Jul 17, 2023
 Jeffrey Lee Once again...if I may; the name "Capital Centre" was no longer in use. You are mistaken. The venue had been re-branded USAir Arena. See my listing with my newspaper advert and ticket. That should settle any discrepancy or doubt. Jimmy Page & Robert Plant / Rusted Root Jul 17, 2023
 Jeffrey Lee <b>Ziggy Stardust and the Spiders from Mars review – Bowie bids farewell to an icon in legendary gig</b> DA Pennebaker’s documentary offers moving moments and raw immediacy as the musician takes on his final performance as Ziggy Stardust By Peter Bradshaw, The Guardian, UK Thursday, 29 June 2023 DA Pennebaker’s record of David Bowie’s final concert on the Ziggy Stardust tour at London’s Hammersmith Odeon in 1973 (Bowie is part of the reason we will never be reconciled to saying “Eventim Apollo”) is rereleased after a restoration. It was the legendary “all killer no filler” gig at which, in the presence of the Spiders from Mars – Mick Ronson (guitar), Trevor Bolder (bass), Mick Woodmansey (drums) – he retired his Ziggy Stardust persona, announcing to a stunned crowd that it was the last time he would ever play (as Ziggy). The show itself, in which Bowie and band members appear starkly key-lit in darkness, with the crowd glimpsed briefly and almost stroboscopically, looks intriguingly intimate, like something at a much smaller club venue. The concert is straightforward and almost minimalist in its staging and Bowie’s cheeky theatrical genius and rackety exotica has something panto about it. Often, the piano and sax lines in Changes give the event a Vegas-residency feel, although no Vegas residency, even in 1973, would be so austerely presented. (Aladdin Sane is incidentally, along with “the Beatles”, a phrase which has transcended its own wordplay origins.) We periodically see Bowie in his dressing room, smoking fags and exchanging relaxed badinage with wife Angie (“You’re just a girl, what do you know about makeup?”). It is possible to feel a kind of awe for the assistants who had the honour of helping Bowie’s body in and out of the various costumes; assistants whose intimacy with greatness is all the more stunning for being so casual. An unassuming Ringo Starr is seen in the corner of the dressing room in one shot. On stage, the songs are so familiar yet they are given a new raw immediacy in the film. When Bowie sings in Space Oddity: “Tell my wife I love her very much she knows”, the last two words are a kind of wondering afterthought, a parenthesis, a murmured micro-soliloquy commenting on his final desperate message; the terrible lonely dignity of this married man is very moving. Out of the blue, Bowie has created someone from the non-rebellious class, one of the mamas and papas who back on Earth are being driven insane by their pretty-thing children. Other moments grab you: are you supposed to laugh when Time “falls wanking to the floor”? I think it is supposed to be funny at some level. In My Death, his cold-eyed headshake on “Angel or devil, I don’t care” is arresting. There is an epic guitar solo from Ronson during The Width of a Circle, and also some wacky mime from Bowie. He segues into a vocal sample of the Beatles’ Love Me Do, during The Jean Genie – another inspired touch. Bowie also brings on guest guitarist Jeff Beck, whose pairing with the blond-mopped Ronson puts an unworthy and even blasphemous thought into my head: were they the inspiration for Nigel Tufnel and David St Hubbins? As it happens, Bowie cheekily compares Ronson to Suzi Quatro. It is wonderful when at the final iconic moment in the spotlight, some fans get on to the stage and hug Bowie and he is entirely easygoing and unprecious about it. How amazing to have seen this live. Ziggy Stardust and the Spiders from Mars is released on 3 July in cinemas, and on 11 August on Blu-ray/CD. Ziggy Stardust and the Spiders from Mars: Jul 17, 2023
 Jason Hamel Didn't mojo Nixon and The Violent Femmes play this show? The Pogues / Violent Femmes / Mojo Nixon and Skid Roper Jul 17, 2023
 BburgDaddyo This concert was the night of a huge tornado outbreak across Indiana. Weather was bad but the show was great. Don Henley / Edie Brickell & New Bohemians / The Innocence Mission Jul 17, 2023