Joe Bonamassa gets it right

This review was originally posted on the Orange County Register's Soundcheck Blog on Wednesday, Nov. 11, 2009. I took the photo seen here at the show that night.

Joe Bonamassa impresses at The Coach House

Back in February, increasingly acclaimed singer-guitarist Joe Bonamassa released the seventh and strongest album of his burgeoning career, the aptly-titled The Ballad of John Henry.

Featuring a mix of slow, soulful blues (a version of Tom Waits' "Jockey Full of Bourbon," his own "Happier Times"), classic-sounding British blues-rock ("Feelin' Good," "The Great Flood"), the disc's dozen tracks explore the struggles and contributions of real-life working-class heroes.

But performing before a fervent, capacity crowd on Tuesday night, Nov. 10, 2009 at The Coach House in San Juan Capistrano, Bonamassa was another kind of hero altogether - the consummate guitar hero - who gave those everyday Joes he profiles on his latest studio effort a two-hour breather from the uncertain times that have marked the latter half of this decade.

Anyone who has seen Bonamassa, 32, knows the Upstate New York native can shred on six strings. Watching his 15-song performance on Tuesday, it was clear his approach is about much more than the speed and number of notes he played - it's about his bond with the guitar and his band, as well as the emotional depths he reaches with his music.

Kicking off this first of two Coach House gigs by belting his latest title track, Bonamassa's powerful vocals at times recalled Bad Company frontman Paul Rodgers, showcasing just how many skills this long-gestating new star has in his impressive sonic arsenal. And no matter the song, Bonamassa's fretwork lent artful shading to his arrangements.

Although Bonamassa generally let his music making do the talking, he did take a break in the set to note that Nov. 10 marked the 20th anniversary of his first professional show (he has been playing guitar since age 5). He and his band - bassist Carmine Rojas, keyboardist Rick Melick and incredible drummer Bogie Bowles - celebrated the occasion with memorable performances of some of his greatest material, including the fast rocker "Lonesome Road Blues" (akin to primo Eric Clapton) and the beautiful "Happier Times," during which his vocals took center stage.

Whether in a club or outdoors at a festival, something magnetic happens when Bonamassa steps to the front of the stage, leans his head back and simply lets loose. Now that the virtuoso guitarist has teamed that astonishing gift with his vocals and songcraft, best watch out - he might finally get recognized as the next Stevie Ray Vaughan after all.

Shawn Jones, a Southern California-based singer-songwriter-guitarist, displayed many of the same instincts as Bonamassa throughout his 45-minute performance. Armed with an authentic, emotive voice, Jones used every verse, chorus and guitar break to share real feeling with the receptive crowd. His eight-song set here was highlighted by the Delta blues-ish "Glorybound," an upbeat and crowd-pleasing "I Can't Help Myself" and a beautiful ballad titled "Heaven's Daughter" that showcased his dazzling guitar playing and strong vocals.

Reprise Records to release re-mastered Neil Young classics

Reprise Records to release re-mastered versions of Neil Young's classic first four solo albums on Nov. 23, 2009

Nov. 6, 2009 - As part of its ongoing Archives reissue campaign with legendary singer-songwriter Neil Young, Reprise Records will release re-mastered versions of the first four of Young's classic solo albums, 1969's Neil Young and Everybody Knows This is Nowhere, 1970's After the Gold Rush and 1972's Harvest. These very special reissues, which will be available on Nov. 23, have each been re-mastered from the original analog master tapes by Chris Bellman at Bernie Grundman Mastering Studios in Hollywood, CA.

The albums are being reissued on both vinyl and compact disc.

For more information on these releases, visit http://www.neilyoung.com/ or http://www.becausesoundmatters.com/.

'The Village' celebrates music of Greenwich Village

Today marks the official release date for an exciting and eclectic release from 429 Records.

"The Village - A Celebration of the Music of Greenwich Village" features a number of acclaimed artists who might not typically perform together, but whose collective talents are the perfect fit on this fascinating compilation disc.

The 13 songs on the disc are a celebration of the early-mid 1960s, when the Greenwich Village area of New York City was suddenly the center of a "musical, political and social evolution" that gave birth to a movement that stretched from the Big Apple (Bob Dylan) to Orange County, California (Tim Buckley). The artists who emerged out of this scene created groundbreaking folk music that gave voice to a young generation grappling with everything from the Vietnam War to the civil rights movement.

Fast forward to 2009 and more than a dozen artists pay musical tribute with renditions of popular songs of the day, as well as traditional gems that captured the youthful spirit of those turbulent times. Many compilations have a great song or two, with the others worth nothing more than a single listen. Not "The Village." This collection is especially strong, with Rickie Lee Jones kicking things off with a funky "Subterranean Homesick Blues" that is loose and infectious. Lucinda Williams also tackles a Bob Dylan classic, but her emotive delivery of "Positively 4th Street" is hushed and haunting.

Anyone who wonders whatever happened to Sixpence None the Richer will hear that the appeal of the reunited group is intact. Covering the traditional "Wayfaring Stranger," singer Leigh Nash's beautiful soprano floats over an artfully-arranged soundscape highlighted by Matt Slocum's wonderful guitar work.

Shelby Lynne also tackles a Dylan classic, using her strong vocal and a simple backdrop of guitars in "Don't Think Twice It's Alright." Other highlights on this ambitous collection include John Oates Americana-styled "He Was a Friend of Mine," Los Lobos' "Guantanamera," and Rachael Yamagata's "Both Sides Now."

Priced at only $11.99 at Amazon.com, I really recommend this set to everyone who is a fan of folk music, the '60s music scene or any of the artists featured on the collection.

The Bravery delivers in energetic show at House of Blues

This article was first posted on the Orange County Register Web site on Monday, Nov. 2, 2009.



The Bravery preview new songs at vibrant Mouse House show



While the Bravery may continue to sound like a hybrid born out of early Cure and War-era U2, the quintet's strong concert on Sunday night (Nov. 1) at House of Blues Anaheim was certainly no tribute act.

Under the charismatic leadership of singer Sam Endicott, the group's thrilling 70-minute show celebrated the New York band's blend of post-punk, new-wave and alt rock with 18 songs pulled from the past as well as its coming release, Stir the Blood, a self-described angry album due Dec. 1, 2009.

The Bravery had several things going in its favor at the Mouse House: a large and enthusiastic crowd in tune with the outfit's approach plus a set list showcasing the band's songwriting and live skills at their best.

Whether performing its best-known material ("Unconditional," "Believe," "An Honest Mistake," "The Ocean") or new songs ("I Have Seen the Future," "Jack O' Lantern Man"), the Bravery's cohesive sound blended with artful projections of lights and films shown behind and over them. Endicott, lead guitarist Michael Zakarin, bassist Mike Hindert, drummer Anthony Burulcich and keyboardist John Conway didn't use the visuals so they could scale back their own musical attack, but rather to enhance the show.

Among the strong new sneak peeks in the mix were "Slow Poison," bolstered by both a driving dance beat and a layered guitar sound (Zakarin used a violin bow to play his electric guitar, evoking Sigur Ros), and "Red Hands and White Knuckles," which Endicott described as his love song to New York City.

The Bravery has a potent one-two attack with a lineup that features both a commanding lead singer and a skillful lead guitarist. Endicott used his outgoing personality and striking vocals to lead the proceedings with Zakarin fitting in comfortably nearby, before suddenly unleashing memorable fretwork that provided extra zing throughout the set.

A true bonus for those who caught the Bravery on Sunday night was the inclusion of two strong opening acts. Although the Dustys and Living Things each performed for only about 30 minutes, both acts made the most of their brief turns. The former, from Arlington, Va., recall England's Doves, offering up alluring indie-rock; the latter, out of St. Louis, creates retro rock that's an unlikely sonic cross between the Ramones and '70s Rolling Stones, punched up by raw, in-your-face lyrics.

U2 performs at the Rose Bowl

These great photos were taken by Joe Hail.

My review of the show is below the images.

Photos courtesy of Joe Hail.

Every time I catch U2 in concert and have to deal with the unbearable gridlock, obnoxious contingent of casual fans who could really care less about the music and the real-life hassles of going to a big rock show, I recall my magical first-time encounter with the Irish quartet.

A day or so after I graduated from Cal State Fullerton, I headed to the US Festival on Monday morning, May 30, 1983. I wasn’t very familiar with U2 when I arrived at Glen Helen Park in San Bernardino County, but after catching Bono, guitarist the Edge, bassist Adam Clayton and drummer Larry Mullen Jr. unleash an epic show constructed around the recently-released album “War,” I was an instant convert and have caught the band countless times since in shows here in Southern California, as well as in San Jose, Ca., Florida, New York and Nevada.

So it will come as no surprise that I braved the relatively-short trek up to the Rose Bowl in Pasadena last night (Sunday, Oct. 25) to see U2 on its 360° Tour. After all, this is reportedly the only public performance by the band coming to California this year.
In terms of the technology, stage design anchored by “The Claw” and the top-notch sound system, amazing. The band’s set list was also strong (check it out below, thanks to O.C. Register music writer Ben Wener, who posted it earlier today with his review on www.ocregister.com). In contrast to those positives, the crowd I dealt with in my section was of the idiot variety. Why go to a show if you’d rather play with your iPhone, cell phone or go on beer runs all night? When the polite security person tells you to get out of the handicapped section and go to your assigned seat, don’t yell obscenities when you are at fault.

Okay, now that I have that out of my system, how was U2 – that is the real question. There was plenty of shining moments across the concert for sure. Early in the set, “Get on Your Boots” outdistanced the studio recording on the “No Line on the Horizon” album. And the magnificent “Magnificent” was exactly that. Of the other songs performed last night whose versions really hit home, I count “Beautiful Day,” the blistering “Vertigo,” powerful “Until the End of the World” and “Ultraviolet (Light My Way)” as the definite highlights.
I was sadly disappointed by the version of “The Unforgettable Fire” and especially “Walk On” (one of my favorite ‘00s U2 songs); they just seemed flat to me. The title track off “No Line on the Horizon” was also a bit of a disappointment. But make no mistake, the band itself continues to play with a fire and power that defies their 30-year history as a band.

With audiences being what they are today – notably bored and distracted by anything not involving themselves – I wonder if any band can really capture an audience for an extended set in a gigantic setting such as the Rose Bowl. After all, a reported 95,000-plus were on hand Sunday night, with who knows how many more watching via a well-publicized streaming of the two-hour concert via YouTube. U2 continues to be a great band, and there is a good chance that those who stood on the floor and crowded near the stage felt the awesome surge that I did when I first felt that unforgettable fire on a blistering day in May more than 26 years ago.

What did I think of the opening night’s act? Well, because of the difficulty getting into the Rose Bowl, waiting in line 15 minutes to get a bottle of water, I only caught the last 1/3 of the Black Eyed Peas’ set. The only highlight was watching Slash tear it up on the classic Guns N’ Roses track “Sweet Child o’ Mine.” Less than 24 hours after catching Fergie and company, that’s all I remember of their time in the limelight. I so wish that we had got Muse like so many other stops on the 360° Tour!


Set list: U2 at the Rose Bowl, Sunday night, Oct. 25, 2009

Intro music: Space Oddity (David Bowie) / Kingdom of Your Love (excerpt)

Main set: Breathe / Get on Your Boots / Magnificent / Mysterious Ways / Beautiful Day (with snippets of In God’s Country and the Beach Boys’ God Only Knows) / I Still Haven’t Found What I’m Looking For / Stuck in a Moment You Can’t Get Out Of (acoustic) / No Line on the Horizon / Elevation / In a Little While / Unknown Caller / Until the End of the World / The Unforgettable Fire > City of Blinding Lights / Vertigo (with snippet of the Stones’ It’s Only Rock ’n’ Roll) / I’ll Go Crazy If I Don’t Go Crazy Tonight (Redanka Remix) (with snippet of Frankie Goes to Hollywood’s Two Tribes) > Sunday Bloody Sunday / MLK > Walk On

First encore: Bishop Desmond Tutu message > One > Amazing Grace > Where the Streets Have No Name

Second encore: Ultraviolet (Light My Way) / With or Without You / Moment of Surrender

Rachael Ray launches Hall & Oates-minded campaign

Hey everybody, read and join in the effort! I signed the petition earlier today!

Rachael Ray Outraged Over Rock and Roll Hall of Fame Oversight;
Launches Campaign to Induct Daryl Hall and John Oates

Check out her petition here: http://bit.ly/2uqabU

Rachael Ray was outraged at a recent taping of her show with guests Daryl Hall and John Oates when she learned that the biggest-selling pop duo of all time have not been inducted into the Rock and Roll Hall of Fame. The episode will air November 6, 2009. Determined to right this egregious wrong, Rachael said "Hall and Oates has my vote!" in a call to action posted on her blog, urging fans to leave comments advocating Daryl and John's induction. In fewer than 48 hours, the makeshift petition had amassed nearly 400 testimonials, plus groundswells of support on Twitter (#hallandoatespetition) and Facebook. Check out Rachael's petition and fan comments here: http://bit.ly/2uqabU

Fueling the uproar is the success of 'Do What You Want, Be What You Are: The Music of Daryl Hall and John Oates' (RCA/Legacy), the duo's first ever box set, which debuted at #89 on the Billboard chart this week – the third highest CD box set debut of 2009 behind the two Beatles sets – and #17 on the R&B chart.

Critics are effusively praising the "unsurprisingly excellent" (Washington Post Online) set, saying 'Do What You Want...' "will make fans' dreams come true (woo-ooh!)" (Entertainment Weekly). The Huffington Post declares that the "74-track assembly truly is one of the best box sets ever released."

Eclectic lineup still connects at Jack's Fourth Show

Note: This review was originally posted on the Orange County Register's Soundcheck Blog on Sunday, Oct. 11, 2009.

Jack’s Fourth Show, the latest daylong bash presented by Southern California’s Jack FM radio affiliate, boasted one of the most bizarre bills in memory, a mix of favorites from the late ’70s and early ’80s that spanned mainstream rock (Eddie Money, Foreigner), cutting-edge alt-rock heroes (the B-52’s, above, Joan Jett and the Blackhearts), funk pioneers (George Clinton & Parliament-Funkadelic), new wave also-rans (Missing Persons) and even one of those hair bands (Ratt).

But in truth, the night’s lengthy lineup -– which ran from 4-11:30 p.m. on a chilly Saturday at Verizon Wireless Amphitheater in Irvine –- was much like the station’s wide-ranging play list.
Although many of the seats were empty when Missing Persons kicked things off, lead singer Dale Bozzio and the latest version of her band delivered a solid 40-minute set featuring all of the L.A. group’s classic hits. While Bozzio’s high notes occasionally sounded pinched, the work of original guitarist Warren Cuccurullo (a member of Duran Duran in the late ’80s and throughout the ’90s) was exceptional, adding plenty of bite to the old standbys.

If the adage “what was old is new again” could be considered a formula, it proved successful for several of the acts this night. Songs such as the hard-driving “Mental Hopscotch” and the timeless “Walking in L.A.” were especially powerful, with the quartet displaying a bit of the magic that got them booked at the legendary 1983 US Festival alongside heavyweights such as U2, the Pretenders and David Bowie.

Back in the ’80s, San Diego-bred outfit Ratt was one of several acts that gave rise to the SoCal heavy metal scene. Watching the long-haired quintet perform Saturday night, this reviewer had two observations: 1) The band’s songs are still as simple as ever, with chanted choruses and Stephen Pearcy’s lead vocals rarely wrapping themselves around anything resembling a full-fledged melody; and 2) Ratt’s approach nonetheless resulted in some headbanging tunes (“Round and Round,” “Wanted Man,” “Back for More”) that aren’t nearly as bad as I thought they were, thanks to some impressive Thin Lizzy-esque duel guitar workouts from Warren DeMartini and Carlos Cavazo.

But poor Eddie Money. When he emerged to perform, the sound system was completely in chaos. There was stage noise for the first five minutes or so, making it difficult for even the most discerning listeners to decipher that he and his band were playing “Two Tickets to Paradise.” By the time he got to his next song, “Think I’m in Love,” the sound thankfully improved.
Dishing out most of the Top 40 hits he scored in his heyday, Money remains a personable entertainer who pleased the party faithful with “Shakin’,” “Baby Hold On” and “Walk on Water.” But the best song of his turn in the spotlight came when he teamed with his daughter Jesse to perform “Take Me Home Tonight,” with the 21-year-old filling Ronnie Spector’s original role.

Performing as always with an ever-changing lineup of Parliament-Funkadelic, George Clinton primarily reminded that his skills as a vocalist have long ago deteriorated. His set worked, however, because his dance-ready funk was delivered with such power by a large ensemble of backing vocalists and musicians, many music fans couldn’t help but get on their feet and move to the grooves. The highlight was a set-ending, freewheeling version of “Atomic Dog.”
Things got even better as the night wore on, notably when Joan Jett and the Blackhearts took the stage. Jett’s set might well have been the strongest of the night, with the influential singer-songwriter delivering stripped-down, straight-ahead versions of old and new material for 50 minutes.
“Bad Reputation,” “Cherry Bomb,” her well-known version of Bruce Springsteen’s “Light of Day” and Jett’s biggest hit, “I Love Rock ‘n’ Roll,” all worked well, as did the confessional “Naked” off her latest studio album, 2006’s Sinner. She closed her brisk set with her cover of “Crimson and Clover” and her own “I Hate Myself for Loving You.”

The party continued with a 65-minute showcase from the B-52’s, though anyone looking for surprises from the group was disappointed. One of the most distinctive troupes to emerge from the late ’70s new wave movement, the outfit’s classics (“Private Idaho,” “Planet Claire,” “Mesopotamia”) and newer stuff from 2007’s Funplex (“Pump,” “Ultraviolet”) blended together into one big dance mix.
The pleasing harmonies of singers Cindy Wilson and Kate Pierson were terrific on the upbeat “Roam,” while the deadpan counterpoint of Fred Schneider, set against the ladies’ sweet vocals on “Rock Lobster,” couldn’t help but bring smiles despite the cold night air.

I’m sure I’m not the only longtime music follower who scratched his head at the thought of Foreigner following Jett and the B-52’s, especially considering guitarist Mick Jones is the only original member left in the group. Yet the band has figured out how to capture lightening twice. Its recently released disc Can’t Slow Down debuted relatively high on Billboard’s Top 200 chart, bolstered by the voice of Kelly Hansen, who in concert sounds almost identical to original frontman Lou Gramm.
I’m still unconvinced of the classic-rock credentials of songs such as “Head Games,” “Urgent” and night-ending “Hot Blooded,” but there is no question that this version of Foreigner played as if it had no doubts about those tracks’ lasting appeal. Likewise, “Double Vision” and the Moody Blues-ish “Starrider” (with Thom Gimbel playing both flute and guitar) were delivered rousingly, thanks to Jones’ guitar work and Hansen’s strong vocals.
The crowd, much of which hung around until the end of the concert, seemed to love the stuff.

Deluxe edition of Keane's 'Hopes and Fears' set for release

Can't wait for this one friends! Had to share the news. This came in my inbox last night...

Hopes and Fears - Deluxe Edition

On May 10th, 2004 Interscope Records released ‘Hopes and Fears’, selling over 5.8 million copies worldwide, and landing a top 10 spot on the Billboard 200.

The album was also voted one of the “Best British Albums” ever in a Q Magazine/HMV poll, the first of two Keane albums to feature in the Top 20*.

Over the course of 10 years as an unsigned band, Keane had written what was to become one of the classic albums of our time, and one of the last multi-million selling albums of this generation. It marked a triumph for the three boys from Battle in East Sussex, but it was a success not without controversy. As a debut record, it stood alone in its originality. The absence of any guitars, a powerful, almost operatic vocal delivery, and a wall of melodic sound made solely from pianos, keyboards and a set of drums. The emotion of the record gave a voice to millions. The landscape at the time was awash with new bands from across the Atlantic, and it took Keane and ‘Hopes And Fears’ to bring all the attention back to British talent. The song writing talent of Rice-Oxley, now world renowned, reaped an Ivor Novello in 2004 for Best Composer of the Year.

Yet despite having written a record that united so many different people from all walks of life across the globe, its sudden phenomenal success almost tore the lifelong friends apart. For with its undisputed accolades, it quickly changed the band’s lives and threatened not only their long-standing friendships, but the career of Keane as well. Having fought against the grain for a decade around the country’s backroom bars in the back of a van, this sudden shot to fame for Keane transformed the very dynamics that had reaped them these rewards in the first place. This sweetest of victories could have turned remarkably bitter, but it created an edge and strength of resolution that had pulled Keane through from day one, and has subsequently set the tone for their future releases and successes ever since. In addition to the original tracklisting this deluxe album showcases previously un-released and rare material including early demo ‘Into The Light’, recordings from the band’s earliest Steve Lamacq and Jo Whiley radio sessions, the timeless b-side and fans favourite, ‘Snowed Under’ (from ‘Somewhere Only We Know’), and their debut self released singles. The sleeve notes have been penned by long-time supporter Steve Lamacq where he describes the first time he caught them at the Bull and Gate in Kentish Town, “there were only three of them but they sounded huge. They were independent of mind but definitely accessible”.



Hopes and Fears - Deluxe Edition

CD ONE
1. Somewhere Only We Know
2. Bend And Break
3. We Might As Well Be Strangers
4. Everybody’s Changing
5. Your Eyes Open
6. She Has No Time
7. Can’t Stop Now
8. Sunshine
9. This Is The Last Time
10. On A Day Like Today
11. Untitled 1
12. Bedshaped
13. Somewhere Only We Know Lamacq Live
14. Bedshaped Lamacq Live
15. Bend And Break Lamacq Live
16. We Might As Well Be Strangers Lamacq Live
17. This Is The Last Time Jo Whiley Live Lounge
18. With Or Without You Jo Whiley Live Lounge
19. A Heart To Hold You Jo Whiley Live Lounge

CD TWO
1. Snowed Under B-side
2. We Might As Well Be Strangers DJ Shadow Remix
3. Into The Light Demo Unreleased
4. Call Me What You Like Demo Zoomorphic single 1
5. Closer Now Zoomorphic single 1
6. Rubbernecking Zoomorphic single 1
7. Wolf At The Door Zoomorphic single 2
8. She Has No Time Demo Zoomorphic single 2
9. Call Me What You Like Zoomorphic single 2
10. Everybody’s Changing Fierce Panda single 1
11. The Way You Want It Fierce Panda single 1
12. This Is The Last Time Demo Fierce Panda single 2
13. Bedshaped Demo Fierce Panda single 2
14. Allemande Fierce Panda single 2
Live EP - Released 5th May 2005
15. Somewhere Only We Know Live
16. We Might As Well Be Strangers Live
17. This Is The Last Time Live
18. Everybody's Changing Live



www.keanemusic.com
www.myspace.com/keane