Journalist, Author & Syndicated Columnist
Dismiss the ruminations about this being the Rolling Stones’ “401K” tour and faggadabout the Geritol jokes. The Stones may be the grandfathers of rock ‘n’ roll, but they also are consumate professionals who can still teach the youngsters a thing or two about how to put on a good stadium show.
You’d think that having just released the fastest-selling album in British history might have mellowed Oasis’ infamously prickly leader, guitarist Noel Gallagher, just a little. But even though Be Here Now is setting records and debuted in the U.S. last week at No. 2, the elder Gallagher (brother Liam is the band’s lead singer) is as irascible as ever.
Baring his soul with bold lyrics and plaintive vocals, singer-songwriter Peter Stuart has come up with a strong follow-up to his band’s debut. His protagonists suffer from heartache, but Stuart doesn’t wallow in misery. Like Matthew Sweet, he has a knack for marrying bittersweet words with pop melodies to create evocative vignettes. Grade: B+
It was a sad day for Anglophiles when John Squire left the Stone Roses. Without their lead guitarist and primary songwriter, the Roses withered away a few months after Squire quit last year. But he didn’t waste any time crying over what could have been. Instead, he put together the Seahorses, a tight rock ‘n’ roll outfit that made its Chicago debut Tuesday night at Metro.
Though U2 has been making records for almost two decades, the musicians opted to concentrate on the new rather than indulge in nostalgia. But that’s not to say that they didn’t have fun with a few oldies. While their set list included nine cuts from their current “Pop” album, one of the evening’s highlights was the Edge’s campy solo turn at singing “Sweet Caroline,” karaoke style. The guitarist appeared to be having a great time, punching his fist in the air and encouraging fans to sing louder.
The question after Soul Asylum’s gig Wednesday night at Metro wasn’t, “How were they?” but rather, “Why did they play there?” Longtime fans were treated to a solid, if unspectacular, 95-minute set from the formidable Minneapolis-based rock group. But it wasn’t that long ago that the band seemed destined for a brighter future and was sharing headlining status at outdoor festival shows.
For the first time Saturday night, James Iha and D’Arcy weren’t the center of attention. The Smashing Pumpkins musicians, acting as emcees, stood together at the mike, preparing to welcome the evening’s headliner at Metro. Before they could finish their introduction, however, the Frogs walked onstage, dressed in their typically flamboyant costumes.
It was a surreal sight Saturday at the New World Music Theatre. By 4:30 p.m. – three hours after the Revelations of Alternative Rhythms (R.O.A.R.) Festival started – there were only 150 people inside the Tinley Park enormodome. This is a venue that seats 30,000 fans. On the plus side, there were no lines for the restrooms or concessions. But the event felt more like a backyard barbecue than a big-time rock show.
If some of the teenage fans at Q101’s Jamboree 97 were a little distracted Sunday at the New World Music Theatre, it was understandable. Rather than basking in the sun at the first major outdoor concert of the summer, the kids huddled under blankets as if they were at a football game or, more often than not, shivered in their summer shorts and T-shirts. (The cruelest joke was that many had more clothes in their cars, but they weren’t allowed to leave the venue to get them.)
In Great Britain, Oasis isnt just any band–it is the band. To get a perspective of how popular they are in their homeland, check this out: The five-man group from Manchester performed two nights at Englands Knebworth Park to more than 250,000 people. It was the largest audience for any single band in Britain.
There are few things as irritating as bands that slag other groups from the stage. At the Offspring’s show Tuesday night at the Aragon, vocalist Dexter Holland repeatedly slammed the Spice Girls and took a couple of cheap shots at Guns N’ Roses as well as the youthful trio Hanson.
U2 started off its six-song encore with a mighty lemon drop – literally. Riding in the giant mirror ball, the musicians left more than a few fans wondering whether they might have a “Spinal Tap” moment and get stuck in the contraption. (They didn’t.) Rather than “Lemon” – the obvious choice – they played a slowed-down version of “Discotheque” that stripped the song of its oomph. Much better were the haunting ballads “With or Without You” and “One,” which closed the show.
“I think that the whole Bush-copying-Nirvana (thing) is totally full of – – – -,” said Chicago-based producer Steve Albini, who recorded Bush’s latest double-platinum album, “Razorblade Suitcase.”
Blur has always been a band that mainstream America just didnt get. Maybe it was vocalist Damon Albarn’s exaggerated accent or the quintessential British characters he likes to write about, but it seemed that Blur’s fate was to play to a small group of Anglophiles who adored them. That should change with their self-titled record, which was released last week. At their sold-out show at the Riviera Theatre Saturday night, the four-man group (supplemented by a keyboardist and a two-man horn section) went top heavy on cuts from Blur, which is the most accessible of their five albums. They gave their fans a deliriously fun 1-hour 40-minute set that had music, style and showmanship.
“I’m not a male,” Gwen Stefani said. You wouldn’t think that the willowy blonde would have to state the obvious. But as the frontwoman for No Doubt, which has the No. 1 album in America, she has grown used to speculation and innuendo. But even Stefani was surprised at the latest rumor being spread about her on the Internet: that she has too little body fat to be a woman and therefore must be a transsexual. “I have to work out all the time ’cause if I don’t I’d get really chubby,” said Stefani, 26. She tried to punctuate this point by scrunching up her black sweater – a present from Gavin Rossdale of Bush – and pinching her stomach “fat.” Her fingers had little to grasp.
Hating Bush has become such a cliche that it’s easy to overlook one thing: It’s a good band that writes solid music.
With so many cuts from “Mellon Collie and the Infinite Sadness” being played on the radio, it’s easy to forget how many memorable songs the Smashing Pumpkins have that are almost never heard. The five-CD singles/rarities box set “The Aeroplane Flies High” helps give many unheard gems a chance to shine.
With his saucer-sized eyes and wispy blond bangs, Kula Shaker vocalist-guitarist Crispian Mills didn’t look like he could cause much damage when his band made its Chicago debut Saturday night at the Double Door. But looks are deceiving. While Mills’ angelic face may be that of a pinup boy, the 23-year-old musician is a rightful heir to the rock-god throne. He is a frontman who oozes charisma and confidence, minus the arrogance. More importantly, Mills has a distinctive voice that is as capable of handling Far Eastern mantras as blues-based numbers.
It wasn’t that the Wallflowers were particularly physical performers. If anything, they remained as immobile on stage as Blues Traveler. However, their songs had variety and veered in tempo, and singer-guitarist-songwriter Jakob Dylan’s passionate delivery made each song spring to life. The Wallflowers are having their first taste of commercial success, thanks to their haunting hit single, “6th Avenue Heartache.” Their hourlong set included most of the songs on their latest album, “Bringing Down the Horse,” as well as a rocking cover of “Tears of a Clown.”
You wouldn’t expect to see fans doing the polka at a rock concert, but then again, Los Lobos isn’t just any old rock ‘n’ roll band. So when the East Los Angelenos kicked into a rowdy polka, Latin style, halfway through their sold-out concert Friday night at the Riviera, the fans followed suit by partnering up and actually dancing (rather than body surfing or slam dancing).