Russell Brand, the popular British comedian and so-called actor, made a stand-up appearance last night at the Eastern Michigan University Convocation Center in Ypsilanti.

Described by the comedian himself as an evening with a "... nice blend of intelligence and filth,” the show labored heavily towards the latter. Containing chunky bouts of rambling monologue, some moments of hilarious self-help antics, and even some personal memories, Brand’s performance was manic, erratic, contrite, and yet weirdly charming and, at times, bloody hilarious!

Having been opened for by two lame-ass student comedic wannabe's (why ... especially the second one?!), come 8.40pm and Russell Brand is introduced to the half-filled auditorium. Gently bouncing out onto the sparcely created stage for him tonight (basically a large raised square box with a stool and a small table), Brand is given a standing ovation. “Hello, I'm so excited to be here with you tonight," he says, as he looks over the audience. "You're all full of energy and life ... and hormones," he adds, laughing.

Brand then goes off on his first-of-many rambling rants, this one about getting to learn more about Michigan. He mentions he knows Eminem, Michael Moore and then drops the EMU school name of the Eagles, followed by the Wolverines! He then suggests we learn a few British words tonight, as we're gonna hear them anyway! He then gives us the following: Wanking, Sausage Roll, and finally Bumming! Explaining what they mean in an American accent, it was quite easily one of the funniest parts of the show.

"This is like performing at a school assembly," he jokes, as he casts another eye out across the uniformly seated audience. Somebody shouts out 'Katy Perry,' to which Brand replies, "Thank you, yes, Katy Perry, my lovely wife. But, for tonight I am single and all yours."

Jumping off the stage, Brand then walks down one side of the audience, stopping to shake hands, banter, and then finally land on a Frat (fat) guy named Chris. Chris then, unwittingly one assumes, became the focus of the night for Brand. But more on that later.

Once back on stage, Brand notes that "... I kinda say things that are unacceptable, so you're all gonna have to help me," before he then explains why he said that. A story of the VMA Awards the year he hosted it, the very same year that Kayne West stole the limelight from Taylor Swift, Brand tells us how he didn't get to read certain intros he'd written that night. And so wanted to read one, for the introduction of the Twilight cast to us now. It takes time to tell this story, a lot of back and forth, repetition, but when we get to the punchline about how if it's a Vampire's girlfriend's time of the month it can also be the actual Vampire boyfriend's 'time of the month' too, well, the groans are heard echoing throughout!

Brand then rants on about how Fox News is always telling us to fear everything. And that he had never actually seen a fox on the channel! He informs us it isn't natural to always fear such things as Immigrants, Snowmen, or Pedophiles - given that he's 36 years-old and would f**k the guy to death if he tried it on with him anyway! He then grabs the stool, sits center stage, and reads a recent article about him from Britain's Daily Mail. A story that relates how he 'enlisted' both Cindy Crawford and the 'ageless' Sharon Stone(henge) to accompany him to a show, whilst Katy was away on tour, is another long skit. Also inclusive of how 'enlisting' made him sound as bad as the Vietnam War, he finishes the bit drinking some expensive VOSS bottled water.

Asking the audience for inspiration for the next segment of the show someone shouts of 'Puff Daddy,' which leads Brand into an oft-told story of how he and Puff went to Las Vegas to watch the Manny Pacquiao and Ricky Hatton boxing match one year! He then sits back down again to read the local Ann Arbor newspaper. Scouring the gay and bisexual want ads, he brings Chris up on stage, quickly followed by Gabe. Desperately wanting to get Chris set up on a date, it's actually a girl from the audience who agrees to date him. Not thes ex Brand assumed would volunteer for the date, Brand brings her up on stage regardless!

Still somewhat upset that he didn't get Chris set up with a guy, he sets them up on a date (yeah, right!), kisses him goodbye, calls him darling as he leaves (he calls everyone darling though!) and brings Gabe center stage - for a gay phone encounter! Brand then calls a gay massage parlor, tries booking a date for Gabe, before inexplicably breaking out into a created-before-the-show, yet seemingly random sexual innuendo ditty. All whilst keeping the open phone line to the poor gay guy to his mouth/microphone! Come it's end, he thanks Gabe and send him back into the audience - this time without a kiss!

For his final act of the night, Brand suddenly, and alarmingly out of nowhere takes on a strong, impassioned vocal tone to inform us that "... 2012 is going to be our transformation - this is the time for all of us to rise up - this is the time for ... some jokes about Twitter!" And then, and in what turned out to be the funniest portion of the now-being-drawn-out show, Brand reads out some Tweets that both he and Katy have recently received. They start out with lovely words from an unknown male admirer to her, but each end with subsequent posts (minutes later) on Brand's own Twitter page, where the very same once-sedate male is SCREAMING AND SHOUTING PROFANITIES at Brand!

Come the end of that skit, and Brand admits it must be time to go. He thanks everyone for coming out, waves a big, cheesy wave goodbye, and speaks one last time into the mic. "I love you all, " he adds. "Our time here may be done, but it's not over. I'll see you all in the foyer for hugs and photos." And then, much as he came on stage at the start, he leaves it in the very same bouncy manner.

Review by: Russell A. Trunk
Photos by: Jeff Sainlar

Sting’s Back To Bass tour came to Detroit's beautiful Fox Theatre last night. Performing his greatest hits and more, all stripped down to celebrate the 25th anniversary of his solo career, it was one incredible night to behold, believe me!

“Hello, Detroit,” Sting says, as he takes to the stage - and a standing ovation. ‘All This Time’ is the first song, and unlike most all concerts at the luxurious Fox Theatre (that I’ve ever witnessed), the audience didn’t sit right back down and be ‘polite’ in their seats! Nope, far from it, for this audience made sure they got no value for money from their seats and choose to stand for every song that wasn’t a ballad!

After the opening song, Sting then pays compliments to the beautiful, truly stunning Fox Theatre, before acknowledging the city again. “Detroit, it’s great to be here tonight. Wow, this place is incredible. I’ve never been here before.” Then we get the reggae-flavored ‘Every Little Thing She Does Is Magic,’ before stopping (too early in my mind) to intro the entire band!

The beautiful ‘Seven Days’ is next and is followed by the frantic fan-favorite rock song ‘Demolition Man.’ With a simple stage, dressed in black, it’s the spray of white strip light beams from behind him that make the stage suddenly seem 4x as big! “I’m gonna bring you down now,” Sting laughs, as he begins his Storyteller vibe of the night. “This is a song about divorce,” he adds before ‘I’m So Happy’ comes forth. “I have a great love for country songs,” he further reveals, “I don’t know why though as I’m English and come from the North East! This is a song from the late, great Johnny Cash,” he introduces, as ‘Hung My Head’ is next.

After a loud round of applause for the song that sounded oh-so-great, Sting then talks about his writing ethic. About his process. In this case, for ‘Stolen Car,’ he reveals he simply went for a walk in the woods with an iPod on random shuffle. That said, he also nearly put his foot in his mouth, as he remarks that the song is about a physic car thief, and that the latter was a dying job - which was something Detroit should know about! The rock-driven ‘Driven To Tears’ has everyone back up on their feet, the stage beautifully lit.

His voice is incredible, CD-quality still, his passion for playing is ageless. His desire to slap-beat his worn, beaten bass guitar obvious to all. “Before I came here today I looked into how many Detroit shows I’d played. There’s been quite a few, but the first one was at Bookies, back in 1978. I was 10,” he laughs. He then relates a story of a golden field that sits alongside his castle in England, before rolling into ’Fields Of Gold.’ “The next song is about two of my favorite subjects - sex and religion,” he admits, before he sings ‘Sacred Love.’ Sting then tells a long tale of how Halloween originated in England ie: All Hallows' Eve, before revealing that “… this song is about my daddy. We had a difficult relationship. ‘Ghost Story’ says things I should have said to him when he was still alive.” A dark, moody song, Sting alone center stage with two solo white spots beamed down on him. As the song ends, he cocks his head to the side and looks up to the heavens, as the final lyrics ’I must have loved you’ are uttered. The standing ovation is incredible, passionate and has Sting repeatedly thanking everyone.

“Heavy cloud ...”, he then shouts into the audience, to which he gets the correct response of ‘No Rain’ back, before he begins to talk about his partner of 30 years, Trudi. He tells us that there’s no magic formula to their success, but that over the years she has healed him, fixed him, and made him whole. He then adds that she can also annihilate him at any given moment, which gets a huge laugh. ‘Inside’ is the song that follows. A song that features a last three minutes where he lyrically relates ‘love like …’ to 100 different things, it is incredible that he never slips up or lyrically trips up!

Sting then tells us he has a passion for Westerns, with his favorite being ‘The Magnificent Seven,’ followed by ‘Seven Brides for Seven Brothers.’ He then tells us he thought it would be kinda fun to conflate the two stories together in ‘Love Is Stronger.’ The song includes an incredible bass vs. fiddle duel which sees Peter Tickell nearly burn the strings off his instrument! The standing, prolonged ovation for Tickell seems to embarrass him, as he slinks back to the shadows of the stage set. “This is a song about being really cold,” he says, as ‘Hounds of Winter’ is sung next. Featuring a wickedly incredible controlled-wail from backing singer Jo Lawry, her time in the spotlight was perfectly timed.

Sting then talks about fox hunting, how he had respect for the woodland creatures, until one got into his chicken coup and killed all of them. Still, he shows love for foxes with the song he wrote about two of them, one male one female, and their life and death in ‘The Death of The King.’ With no chat in-between, Sting and his full-on band, backed by some beautiful stage light work, launch into ‘Never Coming Home.' Inclusive of more great fiddle work from Tickell, once done, all come to the front of the stage, bow and wave goodbye.

Just some sixty-seconds later, Sting and his band mates re-take the stage and bring us one of the best songs of the night - the incredible ‘Desert Rose.’ Complete with hip shakes from Sting and ethnic vocal expressions in its midsection, the audience applauds it for a full two minutes at its close. Sting then rolls straight into ‘Every Breath You Take,’ before he re-introduces the band again. “Detroit, thank you … goodnight,” he waves, and is gone once again. Swiftly back again for a brilliantly-frantic ‘Next To You,’ he ends it with his trademark guitar-wearing, sideways stage jump.

And, as the band leave the stage, he goes to, but grabs an acoustic guitar instead, walks back center stage, takes a seat on a stool, and under a bright white spot, brings us an exceptional version of ‘Message In A Bottle.’ “Detroit, I love you, goodnight,” Sting says, finally meaning it. For, as he leaves the stage for the last time, the house lights come on, the house music begins to play, and the audience prepares to leave - their collective ears still stinging!

Review & Photos by: Russell A. Trunk

Multi-platinum and Grammy winning rock band, Evanescence, the American rock band founded in Little Rock, Arkansas in 1995 by singer/pianist Amy Lee and guitarist Ben Moody, have certainly undergone some band member transformations over the years. But one thing, luckily for all fans of their music, has remained constant: Amy Lee's soaring vocals.

Now being the only surviving original member, with their third self-titled studio album (the band's first since 2006's The Open Door) now in stores, it's obvious that the group could simply be called The Amy Lee Band. But Lee would never allow that to happen.

Tonight, in front of a sold-out audience, and having been opened by both New York rock band The Pretty Reckless and Rival Sons, come 10.10pm the lights went down and the screams went up! The band walks out on stage, Amy comes to the front, smiles, waves, turns her back and suddenly we're into both 'What You Want' and 'Going Under.' "Thank you, Detroit for being here tonight with us," she acknowledges. "It's been a long time since we were here," she continues. New song 'The Other Side' is next and showcases Amy's incredible depth of vocal in the most magnificent way.

Dressed in back, save for gold leggings and a white belt ensemble, Amy prowls the stage like a chained tiger. Rocking back and forth on her heels as high notes are hit, bowing down, her hair covering her face for the deeper ones, her songs are a cluster of riff-heavy gothic metal, nü-metal with a twist of melancholic, and balls out rock!

'Weight Of The World' is followed by a trip to the keyboard for 'The Change,' before she addresses the crowd again. "Hello, how is everyone tonight," she asks, always smiling, always cheerful. As the stage spots from behind the band light up in thin lime green beam strips, 'Made Of Stone' is next, and then the uber impressive 'Lost In Paradise.'

As a piano is brought onto the stage for Amy, heavy back beats then mix sublimely with some beautiful piano work for 'My Heart Is Broken.' Another piano-led song in 'Lithium' follows, and together with the pounding bass and drums the song is a definite highlight of the night. The rock-bounce of 'Sick' is another audience favorite, with slower new track 'Oceans' right behind it.

The always-brilliant 'Sober' has the crowd in a frenzy, especially as it is first brought to us by Amy on the keyboard. Bathed in a bright, demonic red mist, once she hits center stage the whole ambiance of the track is perfect for Halloween! That bleeds (all pun intended!) into the slower 'Imaginary,' before the final track of the set, the mega hit single from the Daredevil soundtrack 'Bring Me To Life' threatens to blow the roof off! But, sadly there are no other mics on stage and so where Ben Moody would have come in, there is either silence or Amy covers for him. It's just not the same and lets down the song, in truth.

After the song, the band simply walk off, leaving Amy thanking Detroit, once again. A few minutes later and they are back with the slow piano track, 'Never Go Back.' Looking beautiful with all the spots revolving in time behind her, the band then join in halfway through. 'Your Star' is next, before Amy introduces the last song of the night. "Thank you. We've just one more song for you tonight. You have been amazing. The best show on the tour so far." And with that she begins her piano intro to the powerful, beautiful piano ballad 'My Immortal.' Then the strobe lights begin to whirl into action, and finally the band back her up for all their worth. "Thank you, Detroit," Amy says at its end, waving, smiling, shaking front row hands, "We hope to see you all again soon."

I agree, Amy for this was a wonderful, solid, Amy Lee Band ... er, sorry, Evanescence show! And one that my fellow bday journo, Dr. Danny Fox, couldn't get enough of either ... inbetween games of iPhone Scrabble and checking the World Series updates, bless him!

Review & Photos by: Russell A. Trunk

Back in the day, Duran Duran personified new wave for much of the mainstream audience. Their reputation was built through music videos, which accentuated their fashion-model looks and glamorous sense of style. The clever videos also helped Duran Duran's rise to popularity between 1982 and 1984.

Sure their fall from grace was equally fast, but after the group's line-up had fragmented, they eventually pulled off a surprising comeback in the early '90s as a sophisticated soft rock trio. And then, as if suddenly realizing they still had a baying fan base out there, four out of the original band members (sans Andy Taylor) got back together a few years ago and launched a series of harder albums; and lucrative comeback tours!

And so tonight, as the All You Need Is Now Tour 2011 brought the wild boys to Canada, the 5000+ casino crowd were all Tweeting up on the DuranLive screens behind the stage prior to their arrival on stage. And then, come 9.15pm, the house lights went down, the screams went up, and Duran Duran took to the stage.

Lit under a white hot spot only, the still-darkened stage together with billowing dry ice eerily silhouetted Simon LeBon like some form of vampire movie star! But with the applause raised to a new level of expectancy for a cracking, fast-paced classic song to get us in the mood, the boys slid into the slow new track, 'Before The Rain'! Not what anyone expected, and in truth somewhat of a downer to let loose first. Bathed in red, it's a nice enough song, but not what was wanted.

The throbbing bass of John Taylor unleashes one of the true highlights of the night, the always brilliant-to-hear 'Planet Earth,' before the bearded LeBon and company bring us their James Bond song, 'A View To A Kill.' Complete with dancing girls images (ala Bond) on the video screens, LeBon then addresses the audience, "Canada sounds good tonight! It's just amazing to be here. And you're just across the water from America. Well, good evening, Windsor. This is a new song about the one commodity you need all the time." The industrial-sounding 'All You Need Is Now' is then played, before LeBon notes that the following song is for all the shy boys in the audience - 'Girl Panic!' Inclusive of some great percussion drumming from the fiery red head Chastity Ashley, the song is another stand-out on the night.

"How you doing out there," LeBon inquires. "We're gonna play something for the girls now, as that last song was obviously for the boys." They then flow into the beautiful 'Come Undone.' Lit by five lime green spots, and a live video feed of the audience on the screens, it is certainly a sight to behold. Introducing backing singer Anna, we then get the disco-themed 'Safe,' before LeBon jumps into the front row! He then picks on a guy to sing the opening words to one of their songs. Those opening (so-called) words turn out to be 'Nunununah, Nunununah' and lead us into the best energized song of the night, 'The Reflex.'

Complete with a row of their faces high above them that digitally had them singing along to their own song (which was both freaky weird and very cool at the same time), John then asks everyone to clap along to 'The Man Who Stole a Leopard.' A creepy song that comes with its own video news feed of the actual truthful event, LeBon, now jacketless, then introduces another new song; the old school-sounding 'Blame The Machines.' The pounding 'Is There Something I Should Know' is next, featuring a wonderful sax solo, after which John encourages everyone to Tweet during the next song. A weird instrumental, where all but LeBon stay on the stage for four minutes, the audience's Tweets do indeed light up the screens behind the band, as requested.

LeBon then bounces back out, and together with his new shirt brings us their new single, 'Leave A Light On.' Having asked the audience to call their local radio stations and request it; to save him from having to do so, the slow song isn't classic Duran but it's nice enough. He then mentions The President's speech yesterday about bringing all the troops back from Iraq before Christmas, and goes on to dedicate 'Ordinary World' to all those people who have lost people in the conflict.

"John," LeBon asks, "how are we going to get the people up and dancing tonight?" "Whatever we do, it's got to be funky," he replies, as the band then strike up the delicious opening funk-laden chords to 'Notorious.' And they are right as the crowd rises to their collective feet for it. After he introduces the band one by one, the loudest screams of devotion are shown to be for John! After LeBon then leads us into the chant of 'play that f**king bass John' (over and over!), he has a pretty female front row audience member come up on stage and introduce him! Which actually works out well, as she knows what she should say to appease him! "Let's get the BPM's up, Rog,", John suggests to his drummer, before LeBon wonders aloud if anybody is hungry?!

After a rousing, loud and heavy 'Hungry Like The Wolf,' they then bring us an equally energetic, '(Reach Up for The) Sunrise,' before heading off stage at shows end. Coming back just two minutes later, LeBon notes that all the applause makes him feel like he's "noise bathing!" John, now with his own jacket off, then leads us into 'Wild Boys,' which mysteriously (and for my money needlessly) includes a Frankie Goes To Hollywood mid-section break of 'Relax'! Bringing the show to a close with the grand 'Rio,' I can report, hand on heart, that Duran Duran are as good now as they ever were! They musically sound incredibly tight, LeBon's vocals are still on the mark; or close to it, and their stage persona is vibrant, polished, and (still) seemingly effortless.

Review by: Russell A. Trunk
Photos by: Roger Lauzon

www.DuranDuran.com

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For over 30 years, one way or another Richard Marx has consistently made his mark on the music industry. His debut single 'Don't Mean Nothing' and self-titled debut album may well have kicked-started his career as a solo artist back in 1987, but his 14th and latest chart topper, 'Long Hot Summer' (performed by Keith Urban) has given Marx the distinction of having a song he wrote (or co-wrote) top the charts in four different decades!

And so, now out on the road performing different stylings of all his hit singles and more, his first-ever solo acoustic tour made its way to the Sound Board (located inside the Motor City Casino) here in Detroit, MI.

As the 20 string orchestra take their places on stage, Richard Marx slowly walks out. The crowd suddenly burst into life and are up on their feet applauding him. He bows in thanks to them, grabs his acoustic guitar, steps center stage, and what follows is pure, unadulterated musical wonderment for two solid hours.

He first brings us ‘Endless Summer Nights,’ then bowing again to the audience’s applause at its end, goes straight into ‘Take This Heart.’ Done with that classic track, Richard takes a seat on a stool before addressing his fans: “It’s been a long time since I’ve been in your neck of the woods. I’m so excited in doing these songs in a different way. This next song comes from an album that went Double Plywood,” he laughs, as do the audience. “It was the first single from My Own Best Enemy. This is called ‘When You’re Gone’.”

Treating the evening as very much a storytelling mode of opportunity, Richard finishes and says, “I’m gonna sing my favorite songs from my albums tonight. But, we should probably get one of those pussy ballads out of the way!” With that said, and the laughter dying down, Richard goes into ‘One Thing Left,’ which features a beautiful cello solo towards the end. Richard is then joined on stage by his pianist, Steve Hornbeak (a fellow recording artist, producer and songwriter). “So, I’m thinking we should sing a more upbeat song,” he ponders aloud. “A fast song. So, I’m gonna sing a song about a girl who gets murdered!” After a shout from the crowd that it’s a fitting song as we’re in Detroit, he laughs, admits the comment was sadly funny (because he didn‘t say it), and then continues to tell us how it was his wife who made him record the next song we hear, ‘Hazard.’

Backed by some video images for the song, once done the crowd clap the loudest so far this evening. “Is everybody doing alright so far,” he inquires. “I want to bring us all up to date. I just heard my new song on the radio the other day. I was driving and it was sandwiched between Nickelback and Lady Gaga! It’s called ‘When You Loved Me’.” Having played that he moves to the piano, reveals he’s going to play a couple of songs (after telling everyone he couldn’t even actually play the thing!) and that he thinks we’ll all know them - but doesn’t want us to sing along to them! “I write songs for other people. I wrote this one with Linda Thompson.” When nobody mutters anything in the audience, he adds, “She was Elvis’ girlfriend,” to which their gasps suddenly become audible. “I don’t sing like Josh Groban, just so you know,” he adds, before heading into ‘To Where You Are.’ Moving back afterwards to his guitar, Steve back on piano behind him, he continues: “Somebody in this room wrote the number one song currently in America! I won’t say who it is, but his initials are Richard Marx,” he laughs. “There was ‘Better Life,’ ‘Everybody,‘ and now this new song, ‘Long Hot Summer’.”

Unaccompanied by strings this time, the song is country hit pop culture personified and has the audience back up on their feet applauding once again. “I was in the car the other day,” he continues, “and Katy Perry came on. And who doesn’t love these Katy Perry songs. So, this is super poppy, but there’s something about the song and the lyrics. So, I wrote a string arrangement for ‘The One That Got Away’ - I hope you like it.” Funnily enough though, the fact he seemingly can’t keep a straight face going into the opening lyrics is proven when he stumbles (over a tempo issue) and has to begin it all again!

Moving on and we next get a video of his three sons (the Marx Brothers … get it?!) singing and playing drums, bass and guitar to a new rockier pop song of Richard’s called ‘Save Me.’ “My three sons are all really talented. I wrote this next song for an album I’m gonna put out next year. They all played on it and all sang on it. But, we took my vocals out the mix. So I’m gonna sing those live now.” Come the songs end and, once again, the applause levels rise. “I’m gonna skip generations now,” he explains. “This is a song I wrote about my dad.” Richard then talks about his dad, growing up with him as a professional jingle writer (Raisin Bran and Chicken Of The Sea), and then ends with, “He was the coolest, greatest dad ever. I hit the dad lottery. I want to sing this for him.” And so the beautiful, truly heartfelt ‘Through My Veins’ is then brought forth. Bathed in red, the song is emotional to the core and has Richard barely able to look at the image of his dad on the screen come its end. We then get the rockier, poppier ‘The Way She Loves Me,’ a song that has everybody handclapping along. Without strings it is pure acoustic heaven.

“I’m gonna do a new song for you now,” Richard reveals. “I know, people are like 'Oh shit,' but for this one I want you singing along. I know you are now all sitting there wondering how you can sing along to a song you’ve never heard before, but it’s easy, trust me.” He then teaches us two 'Naa-naan-naan Naa-naan-naan' chorus lines and we’re off, following him anywhere his wink leads us throughout ‘Over My Head.’ Steve comes back again to the piano and Richard tells us he’s going to sing a song he wrote for someone else. “I got a phone call and was asked if I could write a song for *NSYNC. I said sure, wrote it, and the next day they said they loved it.” He then goes on to tell us that they flew him to the small recording studio in Florida where he spent three days and three nights recording 'This I Promise You’ with them.

Now seated back on his stool, Richard informs us that he’s “… now gonna do two songs back to back,” before launching quickly into snippets of both ‘You Give Love A Bad Name’ and then ‘Poker Face’! Introducing the former as his first number one single, ‘Hold On To The Nights,' the latter as ‘Now And Forever,’ the double shot of acoustic Marx is wonderful. The latter having featured yet another fine cello solo, he talks a bit about audience memberstaking photos. And how he is okay with the fact. That they should definitely do it. And that they should record the show too if they wanted! Or, as Richard himself puts it, “If you got ’em, whip ’em out!”

“I wrote this song when I was 19. About the first girl I ever had,” he laughs, before giving us the last song of the main set, ‘Should’ve Known Better.’ Leaving the stage thereafter following a standing ovation, he is quickly back. “I know how hard it is to be in the business today. So thank you all for coming out and spending whatever money you spent tonight and being with me. I really, really appreciate it.” With that, he picks up his guitar and brings us a wondrous version of ‘Don’t Mean Nothing,’ before sliding gently into the show closer, the always-will-be-known-for pussy ballad, ‘Right Here Waiting.’

Review & Photos by: Russell A. Trunk

Canadian stand-up comedian, television host, and actor Howie Mandel is these days better known as either the once-host of the NBC game show Deal or No Deal, or as a judge on NBC's America's Got Talent (having replaced David Hasselhoff in the fifth season).

But, before his career as a game show host, Mandel was best known for his role on the NBC medical drama St. Elsewhere. And, being a voice actor too, he is rather well-known for being the creator and star of the children's cartoon Bobby's World.

And although he hasn’t done much in the way of stand-up recently, unless you count his quick wit when he either judges the acts on AGT or is trying to make co-host Piers Morgan squirm alongside him, I assumed going into tonight’s show that his routine would be funnier than sh*t - absolutely timeless, worth every penny to both young and old. But, I was sadly very, very wrong!

With a recurring clip from a song by Larry Hooper on the Lawrence Welk Show ('Oh Happy Day') having played several times already on the video screens, John Mendoza was the opening act at 9.15pm. Playing for just 20 minutes, normally I have unwarranted distain for warm-ups (I just want to get to the main act), but BY FAR he was 1000% funnier than anything Mandel-inspired to come! I am so happy I caught his act as Mendoza is a class act, a very funny man, and deserves his own Caesars Windsor show.

As he leaves to a huge round of applause, Howie literally skip-bounces onto the stage to a louder one - the loudest he received all night, in truth. Expecting a completely original routine, perhaps with bouts of his classic stand-up thrown in for good measure, Howie began the night talking about his elevator finger-smelling countermeasure, before doing his usual thing of picking on the security stage front.

One of them, an older man named Frank was his target the entire hour, but being older didn't have the comeback's that Howie was looking to feed off. And yet, Howie kept on and one and on with Frank throughout the show, trying desperately to throw the man a comedic bone. It never quite worked. After making us aware he was from Toronto, ON, Howie then wondered if hair can grow on the butt, and so asked if there was a doctor in the house. All he got, for extended periods of time to chat to was an eye doctor and a Nurse from a nursing home!

The toilet humor soon kicked in with discussions on anal exams and how after one 'real life' proctology exam, after acting up with his own doctor he is now banned for life from his surgery! He then riffs on shopping with his wife, hedgehogs, and even has a chat with various audience members about parrots as household pets. Frank comes back from a break - from sitting stage front to sitting for 20 mins in the break room - so Howie wonders aloud how one can have a break from sitting for a job, to sitting on break!

He than talks about women's clothing, the size '0' dresses, and Shrugs - and how useless they are! Sometimes he does manage to tell a humorous story, sure, but there are no tears of laughter streaming down the faces of the audience. Indeed, for the most part there are huge patches of silence coupled with awkward I-think-I-should-laugh-now snuffles. His interaction with the audience is dicey at best as he cannot hear what they say/shout each time, and so we all have to sit back and watch the clock tick down whilst he and they have a shouting match!

Howie then admits that he has found a way to make every joke funnier re: his 'Ta Da' moment (see photo to right!), and then breaks into Bobby for sixty seconds. But then he actually reveals things that, by the gasping sounds of it, not many knew in the 5000 strong crowd: that he was not only the voice of the Muppet baby Skeeter, but that of Gizmo from the film Gremlins! Then he reveals that they were basically all the same voice, before going into a helium-voice skit that should have been so much better.

Howie then reveals that Allen Funt, creator and original host of the landmark television series Candid Camera, was his original inspiration for comedy. Then he introduces an 'undercover' camera stunt filmed at a Supercuts where he (Howie) was undercover as a hair washer in back - and a bad, chaotic, and yet crazy funny he was too! Now THIS was quite easily the funniest bit of the night!

Not afraid to pull punches, or showcase a sometimes sharp wit and speedy comeback, it's the fact (I think) that he overly tries to convince people he’s insane that weighs him down. ADHD, sure, and his admitted Mysophobia aside, I can see that. But a fine line is drawn throughout this entire show that borders on pockets of revelation. And as if more proof was needed, after the video was played, Howie comes back out to more applause, holds up his iPad for an audience group photo, and then tells us all to f**k off and go home!!

Further explaining that he ran out of material long before the Supercuts video even played, Howie then reiterates that he's not joking, that's it for the night ... and then walks off stage glued to his iPad!

Cue house lights ... and bemused audience faces aplenty!

Review by: Russell A. Trunk

Photos by: Paul Medved

www.howiemandel.com

twitter.com/howiemmandel

www.caesarswindsor.com

Caesars Windsor Upcoming Shows

Just Announced!
Thunder From Down Under
Duran Duran
Pussycast Dolls
Straight No Chaser
Max Pellicano
Paul Anka
Jay Leno, and More!

Box Office hours:
Monday.............Closed
Tuesday............Closed
Wednesday-Sunday
Non Show Day...........12pm-8pm
Show Day...........12pm-12am

In 2010, lead singer Gavin Rossdale put Bush back together and on the back of that this year they released their fifth studio album, The Sea of Memories - through Rossdale's very own Zuma Rock Records.

With a line-up these days featuring founding members Gavin Rossdale (vocals, guitar) and Robin Goodridge (drums) they are joined by Chris Traynor (guitar) and Corey Britz (bass) (Long-time member Nigel Pulsford took his leave shortly before the band's hiatus).

Now touring on the back of that new album for the first time in over ten long years, after both Filter and Chevelle had warmed up the packed house, at 10pm the lights went down, the screams went up, and Bush sauntered onto stage.

Crashing straight into 'Little Things,' it's quickly apparent that Rossdale has lost none of his deep vocal growl as he is straight into its depths. Bathed by only dark color spots, Bush then bring us 'I Believe In You' before the first song to truly excite the crowd, 'The Chemicals Between Us.' Blanketed in a green lit haze, Bush pound the song out.

Continuing on, never a word spoken by any band member, next we get the hard 'Greedy Fly, before finally Rossdale addresses the crowd, "Thank you, good evening," he says, peering out into the darkness. "How are you all doing? What an unbelievable crowd. Unbelievable. Detroit rules. Thank you so much for coming out tonight. This next song is the first song from our new album. This is 'Sound of Winter'."

They follow that so-so track with a blistering extended version of 'Everything Zen,' which not only includes a mid-section break of 'Once In A Lifetime' (Talking Heads), but allows Rossdale to step into the photo pit to get closer to the front row! "Detroit, it feels like here is where it all began for us," Rossdale admits, "so this show feels like a homecoming for us." Bathed in a deep, rich red light, 'All My Life' is next, with the frantic 'The People That We Love' following. And with Rossdale sans guitar, the girls scream as he lets his hair down (literally!) and starts to sing whilst in the pit, head deep in the adoring front row's arms, once again.

Another new track in the form of 'The Heart Of The Matter' is next and is memorable more for the small lime green spots that illuminate Rossdale from behind. Very picturesque. 'All Night Doctors' is introduced as "something different," and it sure is as it is a slow album-track-filler that story tells sweetly. After thanking the crowd for singing along to even the new songs, we're back on track again shortly after with the highly impressive rock-out of 'Swallowed.'

New track 'The Afterlife' is next and it's highly extended mid-section means that Rossdale can spread his legs and run around the venue! Mic in hand, singing every step of the way, never dropping a lyric or note, he mingles with the crowd all around the venue - top to bottom, save the balcony! For a solid eight minutes he does this, nobody doing anything silly to him, he never gets angry - just sings, sweats, and smiles the whole time.

The show is brought to a close with a powerful, loudly-sung-along-to 'Machinehead,' and even after all that running around Rossdale is hardly out of breath. He and the band show great energy from start to finish and are a credit to the music industry. "Unbelievable,", he says as the song ends, "Just unbelievable. Thank you," and then they leave the stage.

Coming back some five minutes later the first of the trio of encore songs is a break-neck version of The Beatles' 'Come Together.' With the guitars wailing, the drummer keeping the backbone solid, Rossdale clings to his mic like it would shatter if he dropped it! "Thank you all so much for coming out tonight," he says, "Wicked."

Then Rossdale takes center stage alone for 'Glycerine,' which brings the energy levels of the crowd down, but the lighters go up, lighting the darkened venue. Lit by those small lime green spots from behind again, the imagery is stunning of Rossdale and his guitar. Ending powerfully as a band, they then launch into 'Comedown, before finally calling it quits on an unbelievable night of rock music at its alternative finest.

Review & Photos by: Russell A. Trunk

Tonight was always going to be a musical oddity. One of which I was very excited to be a part of. The billing was simply Roger Daltrey Plays 'Tommy’, suggesting that he would perform The Who’s landmark rock opera from 1969. Albeit without the band’s only other surviving member, Pete Townshend, their guitarist and author of this complex and much-debated work.

'Tommy' was the fourth album by The Who. A double album telling a (rather) loose story about a "deaf, dumb and blind boy" who becomes the leader of a messianic movement, 'Tommy' is to this day still billed (albeit overtly) as one of the very first rock operas.

And so tonight, here at the Colosseum at Caesars Windsor in Canada, Whooligans young and old filled the 5,000 seat auditorium. All brimming over with intense anticipation for the show and what they would behold, come 9.30pm, the lights went down and for the next two and a half hours Daltrey held us all captivated.

The stage dark, save for a white spot above Daltrey now center stage behind his mic, arms raised, the two minute 'Tommy Intro' is brought forth. Smothered in a rich, dazzling blue stage light, he and his band - Frank Simes (guitar), Scott Deavours (drums), Jon Button (Bass), Loren Gold (Keyboards) and, also on guitar, Simon (younger brother of Pete) Townshend - then lurch into 'Overture.' Now covered in a deep red light, Daltrey bangs his tambourines, all singing thus far covered by Simon Townshend. And boy, does he sound like his older brother!

After a guitar and tambourine jam/huddle center stage, 'It's A Boy' is next, and yet still no Daltrey vocals have come forth. But come '1921' he finally steps to the mic and we hear his vocal tones for the first time tonight. Already sounding rough, throaty, it's actually when he informs us all some two hours later that due to his vocal chords having had surgery on them recently that his throat is delicate these days, that I forgive him right there and then!

Moving on and after a slow lead in the clanging riff to the five minute 'Amazing Journey' allows Daltrey to give us his first mic leash swing performance of the night. As always, he never fails to land said mic in his left hand, never allowing it to hit the floor. His hoarse vocals continue, but it's more noticeable that none of the audience - save for one or two drinking souls - are on their feet. Sure 'Tommy' is not always an explosive, fast-paced concept, but gazing around me it is a very sedate viewing scene.

Behind the band a video screen constantly plays computer generated digital images to flow alongside each song. 'Sparks,' 'Eyesight To The Blind,' and 'Christmas' are all next, before the recurrent “see me, feel me” melodic strand is followed by the storytelling of 'Cousin Kevin.' Townshend then attempts to sing Tina Turner's lead in 'The Acid Queen,' but it has to be said it just doesn't work. He gives it all he's got though, but it just lacks everything that the song was vocally about. 'Do You Think It's Alright?' is next before the erratic 'Fiddle About' allows Daltrey to dig deep into his vocal depths.

The intro to 'Pinball Wizard' gets rousing applause and Daltrey does not let us down. He gives us his best high notes, growls through the chorus, and brings the juggernaut of a song home safely. The quick 'There's A Doctor' is next, before 'Go To The Mirror' and the uber-fun, bouncy, 'Tommy, Can You Hear Me?'. 'Smash The Mirror' is then followed by 'Sensation,' which allows pure, unadulterated Daltrey to ooze through its every musical pore. But, at this juncture of the night, it's obvious his voice is shot.

Standing with a humidifier directly beneath him, pumping moist air up into his face at all times throughout the show, Daltrey knows he has to carry on regardless. As if stiffening his back, let alone his resolve, he brings us a powerhouse 'I'm Free.' Backed by his rock solid tight band, the song is a definite highlight of the show. Interlude track 'Miracle Cure' is next, before the totally brilliant 'Sally Simpson' tells us a five minute story. Complete with South Park-ish video to back it, the Townshend-sung song is spot on perfect.

'Welcome's operatic vibe is then followed by a trip to Tommyville in 'Tommy's Holiday Camp,' before 'We're Not Gonna Take It' bleeds into the glorious "listening to you" finale. After a standing ovation, Daltrey speaks for the very first time to everyone gathered: "Thank you. Thank you so much. Did you enjoy that? I love doing it every night." He then introduces the band, before telling us that he now feels like playing a half hour of Johnny Cash songs!

But, for the time being, his mind is still on The Who. "I'm now gonna play some Who songs in ways I haven't for many years," he explains. "I'm gonna do them my way. Just larkin' about," he adds before the band strike up 'I Can See For Miles' and then a wonderful 'The Kids Are Alright.' With everyone now up on their feet, the best song of this set comes next in a stunning 'Behind Blue Eyes.' Bathed in blue, of course, he closes the song with a drink in hand. Explaining that it wasn't water, he opts to sing what he calls some "survival" music. "I wrote this song about my days working at a factory. When all you had to look forward to was Friday. When I used to get suited and booted and then went out with the band." The song that follows is the wonderful, gritty 'Days of Light.'

The Townshend-sung 'Going Mobile' is a crackin' track to hear live, and is followed by Daltrey explaining that the next song, the bluesy, Celtic-inspired 'Freedom Ride' was the type of song that all modern music came from. However, immediately following the song Daltrey becomes stern with the audience. He tells them he can smell cigarette smoke and 'funny stuff,' before revealing his throat operations and such. He asks whoever it is to put it out, because if it gets into his throat it will "shut me down in two minutes." Then, as he gently strums his guitar, he mutters "Bollocks to you all," but adds a sly smile too!

The near-seven minute 'Who Are You' is next (can't help thinking of CSI every time I hear this song now!), before Daltrey explains his love for Johnny Cash's music growing up, and how it inspired him as a musician. He then brings us a long Johnny Cash medley, which allows him to keep his vocals at a grumbled hush; very Cash-reminiscent, in truth. After that comes a rockin' 'Young Man Blues,' which in turn is backed by another CSI-themed track, the always-incredible 'Baba O'Riley.'

He then thanks everyone for staying with him his entire career, that he couldn't have done it without them, and reveals that the slow-paced 'Without Your Love' is dedicated to each and every one of them/us. He then tells us about the first time The Who came to Detroit to play, which the audience helped remind him was actually Southfield, and wished all the workers looking for jobs all the best. Admitting, now with ukulele in hand, solo on stage save for a bass, that this was going to be "a weird way to end the show," he gives us a beautiful, truly beautiful 'Red Blue And Grey.'

As the song ends, some of the band members come back out on stage for one more bow, and Daltrey speaks to the audience one last time. "Thank you for coming. It's been great to play for you. And I hope things pick up for you all soon." And then, in one final nod to the fact he had just played to a casino crowd, he adds, "And, be very, VERY lucky tonight!"

Review by: Russell A. Trunk

Photos by: Paul Medved, Caesars Windsor.

www.RogerDaltreyLive.com

www.caesarswindsor.com

Caesars Windsor Upcoming Shows

Just Announced!
The Moody Blues
Dionne Warwick
Howie Mandel
Barry Manilow ... and More!

Box Office hours:
Monday.............Closed
Tuesday............Closed
Wednesday-Sunday
Non Show Day...........12pm-8pm
Show Day...........12pm-12am

Being British, I've been a long time fan of Blondie. The rock band, founded by singer Debbie Harry and guitarist Chris Stein were pioneers in the early American New Wave and punk scenes of the mid-1970s. Their music infiltrated England from the very beginning, their first four albums - Blondie, Plastic Letters, Parallel Lines and Eat to the Beat - all beloved and adored over there; and all very successful.

Sadly, I never saw them in their heyday and just as I got old enough to consider traveling to see them live around the country, Blondie broke up after the release of their sixth studio album, The Hunter in 1982.

The band than reformed in 1997, achieving renewed success (even a #1 single in the UK with 'Maria' in 1999), and has toured and performed throughout the world during the following years. They even got themselves inducted into the Rock and Roll Hall of Fame in 2006.

And so, here in the 5,000 seater Colosseum at Caesars Windsor, Ontario Canada, Blondie's Panic of Girls tour has come to entertain - and I was very excited. Admittedly, and in the spirit of full disclosure, I am mates with drummer Clem Burke (freshly a PhD), but I promised him that this review would reflect my true, honest journalistic viewpoint of the show. Which, for better or for worse, it most certainly does!

Conservatively taking the stage at 9.10pm, the three original remaining band members (Harry, Stein and Burke) combine forces with guitarist Tommy Kessler, bassist Leigh Foxx, and Matt Katz-Bohen on keyboards and are quickly into their musical groove with 'Union City Blue.' With all eyes, and ears on Harry - herself dressed like a reticent Cyndi Lauper - it is instantly noticeable that she seems to be going through the motions of the song. Thankfully she then gives us a more spirited 'Dreaming.' Bathed in yellow lights, the crowd applaud the classic song.

Musically, one of the best moments of the show comes when a spirited drum solo connects with some wailing guitar and suddenly, rather like an old school 12" remix, 'Atomic' is brought forth. With the band set up in the middle of a huge, otherwise empty stage, Harry then proceeds to wander into the unlit wilderness of stage right. Sadly though, as she begins to sing, her vocal strains show weary depreciation. Couple that with the aforementioned impassive approach, in general, and we most certainly weren't off to the musical races.

"This is a big night for us as we haven't been here for a while," Debbie announces. "We are celebrating the release of our recent album, the Panic of Girls. But, we won't panic! We're gonna start out with 'D-Day'." A new song, it was instantly noticeable that Harry summons more depth of spirit for these tracks.

'Call Me,' coupled with an audience sway and en mass clapping of hands is next, but it's certainly not vocally close to what it used to be. "You look good tonight," Debbie informs the audience, as she sips from a white china mug. "We traditionally do this next song for the girls. Or all those that think they are girls," she laughs, before going into 'Maria.' A song of their latter years that I've always loved, under these purple and blue spot lights, and some nice vocal control, the song was proved to be a nice highlight.

New track 'Girlie Girlie' is next. A reggae, island-flavored number (originally sung by Sophia George) it changes the tone of the show completely. Noticeably though, Debbie has to unsubtly refer to the teleprompter between her speakers for a large amount of the lyrics. Which isn't surprising as that portion of the song must include the name of every single country in the world! 'What I Heard' has a great, pounding flow to it and actually sounds like it could be an old school Blondie track.

Debbie then takes the time to introduce the band. Starting with Chris Stein she also shares the fact that he is known as 'McNasty,' before revealing that Clem Burke had just been certified as a Doctor. And that he was available to do any medical thing that we wanted tonight! The could-do-without 'China Shoes' is next. With the opening lines sung by a Chinese-sounding Harry - which thankfully didn't last - at least it gave the audience a chance to visit the bathrooms.

The Latin influenced, flamenco fast-fun number 'Wipe off My Sweat' may have a questionable title, but man does it shake things up! Just perfectly placed in the set, the song has everyone up and hip shakin'. Bathed in Devil red lighting it was a true highlight of the set. And with Debbie (finally) removing her flimsy white tutu-ish clip-on skirt, now dressed solely in a black top, black leggings with a cool buckle belt for image, at long last this was the Debbie Harry image that everyone had come to see behind a mic.

"Alright, you guys, here we go," she shouts as the crowd get off their seats and rush the stage for a standing-only viewpoint. And it was perfect timing as new track 'Horizontal Twist' was unleashed next. Complete, obviously with massive amounts of actual Twist moments, it was yet another flashback sound to their heyday. 'Mother,' which refers to a club in Manhattan that Debbie used to frequent is next, but it's a set filler; and one that Dr. Burke works hard to keep a decent live track.

A solid drum solo combined with a guitar swagger suddenly get joined by some keyboard-supplied chimes that all lead into the always-beloved 'Rapture' - which itself then bleeds straight into the Beastie Boys' '(You Gotta) Fight for Your Right.' Sadly, the former contained the weakest vocal performance of the night from Harry, but at least there was no teleprompter required for the infamous rap chorus. But the latter turned out to be a wicked extended rock version and a lot of fun to listen to.

And as the fist-pumpin' crowd dies down, Blondie give us the last song of the set, 'One Way Or Another.' Amazingly, and out of nowhere, Harry's deep vocal power is riding high now and she sounds great throughout the song! A true classic song from a truly in-her-prime-sounding singer, this was indeed a very cool way to close the show.

Of course, an encore was inevitable and as the band returns just some three minutes later, Harry (complete with china mug) addresses the audience. "Are you all having fun so far?" After a generous response from her fans they bring us 'Love Doesn't Frighten Me.' A rather catchy pop song for sure, but as it ends and a telephone rings in the background, it's the fan-cherished 'Hanging On The Telephone' that gets us all to our feet. As the fourth ring kicks in, Debbie 'answers it' - "Hello, is this Caesars Windsor. This is Blondie calling." And then we're headlong into it, but by now Harry's vocals are cracking, her actual fortitude of vocalized effectiveness ripped away.

The final song of the night, the highly-anticipated 'Heart of Glass' does, however, give everyone a glimpse of Blondie as they once where. Everyone, and I mean everyone are up on their feet, the stage lights spinning colorfully out of control, the band rockin' it out. And an arm-swaying Harry is trying to give it all that she has left in the tank. With an extended ending, one that included a really instrument-powered finale, the song is done. And as the band walk off waving, Harry's final words ring in our ears, "Thank you so much, everybody. Have a wonderful weekend."

Review by: Russell A. Trunk

Photos by: Roger Lauzon

www.blondie.net

www.caesarswindsor.com

Caesars Windsor Upcoming Shows

Just Announced!
The Moody Blues
Dionne Warwick
Howie Mandel
Kathy Griffin
Barry Manilow
Roger Daltrey, and More!

Box Office hours:
Monday.............Closed
Tuesday............Closed
Wednesday-Sunday
Non Show Day...........12pm-8pm
Show Day...........12pm-12am

Tonight was the last day of a month long musical romance between two Latin powerhouse groups - Los Lobos headlining for Los Lonely Boys. The relatively cool night was about to heat up as Los Lobos took the stage. With a kinda mellow sound they relax us with 'Yo Canto (I Sing)' then without hast pick up the tempo while dropping in such favorites as 'Shakin' Shakin' Shakes,' 'Chuco's Cumbia,' and 'Pigfoot Shuffle.'

Then they treat us to the time tested cover of Ritchie Valen's 'La Bamba' which set the night afire. Things were made even hotter when Los Lonely Boys joined Los Lobos on stage for the first encore of the evening.

After a brief intermission Los Lonely Boys take the stage. 'I Am The Man To Beat' came first with 'American Idle' following. 'Love in My Veins,' 'Heart Won't Tell A Lie,' then ("A while back we met some people with a couple of children who said, hey these kids are a product of your music. To which I said nooo, that's your product" - bassist Jojo Garza) 'Fly Away' are all next.

Henry takes us through some selections, some of which are not on the set list for the night. But most all are from the new release, Rockpango. Los Lonely Boys are here to stay as long as they like. After setting the night on fire they reintroduce Los Lobos to everyone for a jam session which seemed to go on forever. Just one look at the Meadowbrook security faces expressed their very same thoughts!

By the time the night was over it was obvious that Henry, Jojo and Ringo Garza had left the masses in Oakland County all with a little Latin flavor and wanting more.

As we all know by now, KISS, the all-American rock band rose to prominence in the mid and late-1970s on the basis of their elaborate live performances - featuring fire breathing, blood spitting, smoking guitars, and pyrotechnics!

Easily identified by their trademark face paint and stage outfits, KISS have been playing explosive live shows ever since! And tonight, here at a packed Colosseum at Caesars Windsor, at just past the 8pm mark, their chosen personae of comic book-style characters blazed forth: The Demon (Simmons), Starchild (Stanley), Spaceman (Frehley), and Catman (Criss).

As the lights go down, as usual a booming announcing voice is the first thing to greet us: 'You wanted the best. You got the best. The hottest band in the world ... KISS' - which is followed by the large black covering KISS curtain being removed to reveal the boys in all their glory.

Bathed in a purple light, 'Modern Day Delilah' is the first song of the night and as good as it was, as many constantly pointed out around me throughout the entire show, the overall loudness of the show was well below what we had witnessed before. "How ya doin,' Windsor," Stanley asks, "Windsor always comes to visit us at our Cobo Hall and Joe Louis shows so tonight we come to see you!" And, once the screams had died down he adds, "Wild animals, make some noise," as Simmons leads us into 'Let Me Go Rock 'N' Roll.'

Inclusive of an early Thayer guitar solo, Stanley (a constant rambler at the mic) hopes we all feel good tonight and adds, "Tonight is not about size. It is about power. I don't want you to be like Oshkosh or Montreal. Little Windsor, just be yourselves. Tonight is your night to show us that you're number one!" 'Firehouse,' complete with on-stage TV flames and pyros is next, before Stanley is off again, "Last night we played CasinoRama in Orillia, but we've forgotten about them already!"

Stanley then stops the flow of the show by getting each side of the audience to scream the loudest against each other! An act that goes on for too long, and ultimately leads nowhere, before Simmons takes over with 'Deuce.' "This next song comes off Destroyer," you-know-who informs us, "An album that had a few hits, if I recall." A drum solo then introduces us to 'Do You Love Me' before Stanley spots all the bums on seats still, "You havin' a good time, Windsor? I mean, if so, come on, this ain't TV you're watching tonight! Stand up for rock 'n roll," he then screams, as Simmons launches into the beloved 'Calling Dr. Love.'

"Let's switch it up a little bit," Stanley suggests, as Thayer sings 'Shock Me.' A song originally written by once-lead guitarist Ace Frehley, it is no shock (pun intended) that poor Thayer doesn't sing again tonight! The highlight of the song though is when Stanley plays his guitar between his legs, but as that only lasts 10 seconds it's over in the blink of a thigh!

The song bleeds into a Thayer solo (of course), which then allows drummer Singer to back him with his own moments of solo time. Then, and after Singer's own three minute drum solo, as if trading musical barbs, the pair feed off one another. One minute Thayer is playing his guitar upside down behind his head, the next Singer is standing on his drum kit and stil playing it! Then, as Thayer's guitar is hoisted into the heavens, Singer asks the audience if they are ready to play along with him and clap their hands. To which they are, and do as amid another this-time-longer drum solo, flashing lights and pyros go crazy for the skin beater.

Thayer then comes back out, his guitar now in hand, and does his guitar-neck gun fire routine, before Singer asks the audience if they are still with him. Standing back up on his kit, he produces a bazooka, aims it at a fake light high above the stage, and fires off at it, causing it to 'explode' and fall to the stage!

"You're not feeling tired, are you?" Stanley inquires. "I know this is only Wednesday, but it feels like a weekend. So, I declare this the weekend," he bellows, as they launch into 'I Love It Loud.' He then sings alone the opening to 'Love Gun,' but without backing, his hoarse voice is exposed, and he even manages to forget one of the lines.

Weirdly, by now it's obvious the band has been, in my opinion and many more around me, stuck in a musical second gear. And when Simmons comes out and does his demonic Demon solo bass guitar act, complete with blood oozing from his mouth, well, for a few moments KISS resembled a Vegas nightclub act. Bathed in green light one minute, red the next, his moment is fleeting out there, but also tired.

The always-impressive 'God Of Thunder' is next before in a quiet moment Stanley begins to play Led Zeppelin's 'Stairway to Heaven' - albeit it for just 10 seconds! "Is that what you wanted to hear, Windsor?" he asks the audience, "Anybody out there know the song 'Black Diamond'? Sung by Singer (pun intended), it springs forth before Stanley informs us that next they are going to do a song about a city not too far from them tonight. And so, of course, they launch into 'Detroit Rock City' which is beloved by one and all gathered.

With Singer's drums now billowing rocket-like high above the stage, the culmination of the song brings a full 60 second frozen-rock stage pose by the three guitarists. Then, ninety minutes after it had begun, Stanley wishes everyone a goodnight, before they all leave the stage.

Returning for the always-expected encore, they first shake hands with audience members, Singer throws his sticks into the crowd, and they have a group bow for the cameras. "You don't wanna go home yet, do ya?", Stanley inquires, "Good, so we're gonna play some more for you." Which they do in the form of acoustically backing Singer; now center stage, mic in hand, all alone under the spot for 'Beth.' Resembling a cat in headlights (pun intended), he looked like he wanted the song to be over within the first verse, but actually managed to get through it with flying colors.

Informing us that they didn't want to end on a mellow note, and that they wanted things hard and heavy, 'Lick It Up' powers out. Midway though we get a burst of The Who's 'Won't Get Fooled Again,' before Stanley takes to the mic one last time, "If you want a little rock and roll in your life all you have to do is 'Shout It Out Loud'."

En mass of giant cannons boom millions of pieces of confetti into the air for a full three minutes or more as the song plays through the sea of white-shredded paper. And as the paper still manages to linger in the air, they burst into the show ender, 'Rock and Roll All Nite.' Complete with an endless array of firecracking pops and electronic guitar whoops from the stage, Simmons and Thayer rise up to the Gods on their respective end-of-stage platforms as the song, and the show finally comes to a spectacular end.

Review by: Russell A. Trunk

Photos by: Paul Medved and Roger Lauzon

'Confetti' Photo by: Russell A. Trunk

www.KISSontour.com

www.caesarswindsor.com

Caesars Windsor Upcoming Shows

Just Announced!
Drake
The Moody Blues
Blondie
Jeff Dunham: Identity Crisis Tour
Dionne Warwick
Howie Mandel
Barry Manilow
Roger Daltrey, and More!

Box Office hours:
Monday.............Closed
Tuesday............Closed
Wednesday-Sunday
Non Show Day...........12pm-8pm
Show Day...........12pm-12am

As if the month of July isn't hot enough, we're in the middle of several days of 90 degree + weather with today hitting 102! And to top that off STYX / YES invade the DTE Energy Theatre in Clarkston.

The time is 7:34pm, the weather is 92 degrees, and STYX is now on stage at the start of a very HOT night. Right out of the box STYX hits us with 'Blue Collar Man (Long Nights)' - the first single that STYX released from the Pieces of Eight album - and then 'The Grand Illusion.' 'One With Everything' is next after which keyboardist and vocalist Lawrence Gowan tells the crowd, "All you vampires, you got about a minute and a half before you can come out," to which they roar their approval.

'Lady,' 'Lorelei' (the 1976 single released from rock band Styx's album Equinox), 'Man In The Wilderness,' and 'Suite Madame Blue' along with 'Crystal Ball' are next. Gowan is quick to inform us that James "JY" Young - the lead guitarist is "breathing molten lava" while Tommy Shaw picked up a 12 string Fender from the 60's to showcase on 'Suite Madame Blue.'

STYX doesn't seem to have lost a step as they came out rockin' and kept the high energy up throughout the evening. Oh, did I also mention it was 92 degrees at this outdoor event?!??!?!

Tommy tells us that he was born in Alabama but lived in Michigan for 10 years and dreamed of playing here at Pine Knob (the name of the venue before it became DTE)! 'Fooling Yourself' is next on the docket with surprise guest Chuck Panozzo (past band member) joining them on stage. He stays for 'Miss America' and the remainder of the night thereafter.

With lights slightly dim, Lawerence leads us in several short accapella selections like 'Fat Bottom Girls,' 'The Wall' and three more before he goes into 'Come Sail Away.' After a quick stage exit, where they left us crying out for more, they sent us happy into the break with a rocking rendition of 'Renegade.' The temperature after the STXY set an easy 105!!

Yes takes the stage at 9:25pm and (thankfully) it's only 91 degrees by now! They provide several selections like 'Fly From Here – Overture,' 'Tempus Fugit,' 'Yours Is No Disgrace' and 'Art Of The Sunrise' as we sit like school childern watching the teachers show us how it's done.

They decide to teach us about ourselves with 'I've Seen All Good People' and 'We Can Fly.' Lead singer David Benoit lets us know "It's good to be back at Pine Knob" as the crowd screams in approval. Not much for talking to the crowd David also informs us that 'We Can Fly' - from the sessions for 1980's Drama album and yet now the bands first brand new Yes single in over 10 years! - has also been used as a TV title track.

Benoit also lets us know that 'And You And I' is "... a song for our loved ones". 'Owner of A Lonely Heart' is next to which Benoit tells us we should "... get up and dance for this one." Yes round out the set with 'Starship Trooper,' and after a few moments retake the stage and send us on our way with 'Roundabout,' the opening track off their 1971 album Fragile.

A hot day yes, but a even hotter night!!!

It's always a great time watching Jimmy Buffett perform! Heck, it's always a good time listening to Jimmy Buffett CDs as the bright sunshine cascades down, and the margaritta's flow like water! And tonight was no different as both aspects of a JB experience were on show from about 4pm onwards!

From around that time, the parking lot at the open air concert was packed full with partygoers galore! Extravagant costumes, tropical attire and so much alcohol it could stop a shark from fifty feet away. The show itself was over 6 hours away and yet 95% of the adoring fans were already starting to get prepared for it!

Once inside, as 'Don't Stop Believin' filters through on the speakers, the crowd instinctively knew that the great man's appearance was not too far away now.

As usual, Jimmy's opener Ilo Ferreira took the stage first @ 8.15pm and played three songs. A singer from Cape Verde, together with his high, beautiful voice (in much the same vein as a young Sam Cooke) Ferreira's acoustic music made you wish he hadn't stopped at just three!

Now with a hundred beach balls flying overhead, tshirts being shot out of handheld stage cannons, the baking 100 degree heat relentless above our heads, 'Tequilla' comes over the speakers - which gets everyone frenzied to say the least! And then, at 8.35pm, and to the stage sounds of Buster Poindexter's 'Hot Hot Hot,' his devoted base of fans known as "Parrotheads" raised their collective voices as one to welcome the man himself to the stage.

He kicks things off with 'The Wino And I Know,' which features a nice touch with the backdrop being a New Orleans street car ... named Desire! "It's great weather for a ragtop day," he says, before going into, of course, 'Ragtop Day.' As the barefooted-Buffett continued to bring his delightful, and colorful 2011 tour to the masses, he also brought his usual back-up ladies to brighten the stage in front of the 13-member Coral Reefer Band!

"This is like taking in a steam bath and a show at the same time," he jokes, talking about the incredible heatwave. "This is my 25th sold-out show here at Pine Knob," he continues, and he truly seems to still be enjoying himself greatly.

'Off To See The Lizard' is next, before he comments on how low the stage is (re: his recent fall off stage in January during a concert in Sydney, Australia, gashing his head), "If I was to fall off today at least here someone would be able to catch me!"

Buffett's show is a combination of good ol' fashioned JB staples ('Come Monday,' 'Cheeseburger In Paradise,' etc.), covers (Bill Withers), and collaborations - such as Zac Brown Band's 'Knee Deep.' Buffett then talks about one of his first gigs that he ever played in Detroit, at the now-gone Raven, an old blues joint, before the lovely Nadirah Shakoor performs a Caribbean version of Withers' 'Use Me.'

The novelty song, 'Why Don't We Get Drunk' is sung next, and Buffett relates the story of a woman he knows who sent her boy to school one day with that album, not knowing the song was on there! The mother quickly got a stern call back from the school!

'Margaritaville,' complete with it's "lost verse" included is next, before guitarist and vocal harmonies expert Mac McAnally sings 'A Pirate Looks At Forty' and then gives us an acoustic verson of 'Back Where I Come From' - which Kenny Chesney has also recorded.

With the show coming to its first end, the heat was still so relentless and the cameras on stage showed the overly-packed parking lot of people - all happy, all drunk, all in love! 'Changes in Latitudes, Changes in Attitudes' is next, before 'School Boy Heart' and 'Fins' (the 24th song of the night and the one where he had a senior moment - as he calls them - for he sang the first verse, then the third verse, then the third verse again!) are the last songs before the encore.

Coming back out quickly enough, the first encore is 'It's Five O' Clock Somewhere,' before he goes into 'Brown Eyed Girl.' The second encore is another acoustic number, this time 'Growing Older But Not Up.' He then thanx the audience for allowing him to keep doing his wonderful summer job, wishes us all safe travels and a good night ... and is then gone, for another year, at least.

As we all know by now, Huey Lewis and the News are an American rock band that had a massive run of hit singles during the 1980s and early 1990s. Eventually scoring a total of 19 Top 10 singles across the Billboard Hot 100, Adult Contemporary and Mainstream Rock charts, their greatest success was in the 1980s with the #1 album, Sports.

Their latest album, Soulsville (released in 2010) is, amazingly, the band's first in nearly a decade! A cover album of hits from the Stax Records era, basically the Memphis equivalent of Detroit's Motown, this allowed Huey to explore his favorite singer - the late, great American vocalist Johnnie Taylor.

And so, as the sun began to set behind the grassy hill here in this (sadly) third-filled-only beautiful outdoor arena, the feel of Soulsville U.S.A. that we knew was going to influence the Huey Lewis & The News set structure was immediately put on hold! For the first musical bullet out the barrel was the News-classic, 'The Heart of Rock & Roll'!

But that soon changed as for the next 8 songs played only that one song was a News-known tune. Next came 'Free,' The Staple Singers' 'Respect Yourself,' and Isaac Hayes' 'Soulsville.' "Hello, Motor City," Huey bellows out to the crowd, his voice notably not as gruff, not as throaty, not as loud as it has been before.

From then on we don't hear much else spoken by Huey save for more tracks from Soulsville - such as 'I Want To (Do Everything For You),' 'Never Found A Girl,' and the first song to really get people up on their feet, Rufus Thomas' toe-tappin' 'Little Sally Walker.'

Huey then chats to a man in the crowd about Michigan State, which gets well-rounded boo's from the 'Go Blue!' section of the audience, before he takes his usual poll: "Raise your hands those that have seen us play live before? OK, now raise your hands if you're seeing us for the very first time?" Obviously, there was a large section of raised hands on the latter, because Huey then jokingly adds: "I'm a little surprised by that as we've only performed here at Pine Knob 30 or 40 times in the past 32 years!"

He then intro's the band and they go acapella for both '60 Minute Man' and 'Uh Huh,' before we're (finally) back to a News-classic, 'The Heart Of Rock & Roll.' Then comes 'I Want a New Drug' (which bleeds seamlessly into 'Small World') which also has the crowd back up on their feet, but the pace of the band, and the overall singing power of Huey are a) slow, and b) still noticeably low.

We're then transported back to the Memphis neighborhood with the Wilson Pickett classic, 'Don't Let The Green Grass Fool You,' before 'Never Like This Before' brings the show to a close. Huey bows to the crowd, waves goodbye, fist pumps and leaves the stage - but only for a brief moment, of course!

Five minutes later and the band are back for a long encore of songs. "Here's a song we wrote 25 years ago," Huey says, as the opening chords to 'Power of Love' back him. " Who knew we'd still have to play it every night!" It's after that the show dissolves a little. As if the game plan had run out, Huey asks the audience what songs they would like to hear. After a few minutes of shouted out titles, we then get 'Hip To Be Square,' before he asks again and then gives us their hit, 'Do You Believe in Love?'

By now Huey's voice is gone, his known-screams and yelps down to a pulled back head movement on the mic when any song required such a vocal moment. He is noticeably tired, but is a trooper, as always and so just when you think that's it he launches into a blistering 'Walking on a Thin Line' (which he dedicates to those "on the front line").

Bringing the show to a close, the usual show-ender of 'Workin' For A Living' is dedicated to "all the workin' folks" and once done, a massive group stage bow and universal fist pump signals the end of yet another Huey Lewis & The News concert - albeit more a night when the musical community of Memphis overly embraced the soul of their News-performance.

Firstly, this review was meant to start with my very first viewing of UK phenom Plan B (or Ben Drew, as he is also known) - a British rapper, singer-songwriter, who has taken the music world by storm across the Pond. But, and without a word of warning - as his name was on all the advertising, on all the tshirts - he hadn't been part of the tour for some two weeks or more. Gutted, heavily disappointed, and more such feelings washed over me - so much so that I drowned my sorrows with some drinks at the bar (watching Gwen Stefani-esque blonde Christina Criss perform) whilst the new opener, Patrick Stump played instead.

OK, with all that now out of my system, I returned for the stage performance of the highly-rated singer, songwriter, and dancer named Janelle Monae - a 26 year-old singer who encapsulates the word Entertainer to a tee. Unfortunately, she also encapsulates the words Quirky, Hi-NRG, and (sometimes) seemingly Battier Than A Belfry!

As the lights go down, the 13-strong band strike up, three black-cloaked figures slowly creep on stage. Revealing herself to be one of them, Janelle - always seen in a tuxedo, rocking a pompadour - then takes the next 12 minutes to sing the one opening song! Her music is a blend of alternative, R&B and funk sounds. Indeed, from the backdrop video screen, it seems that some of her songs are inspired by things like Muhammad Ali and even Star Wars!

Backed by a wonderful, tight rhythm section, plus an extra percussionist, a four person swing section, two brass players, an OTT (rock) guitarist, three back-up singers, and, of course, dancers (everyone clothed in angled, black-and-white retro-futurist outfits), Janelle is still (at times) alone on the stage. Everyone behind her takes their cues from her - whether she is writhing on the floor, chanting erratically into her mic, or simply stalking the stage like a confused tiger!

Early into her set tonight she stops the funk and comes back out solo, just her and the Kravitz-wannabe guitarist, to slow everything down for her take on Nat King Cole's classic, 'Smile.' She then fires the tempo straight back up by announcing that "This is for you," before the best song of the night is performed, 'Sincerely Jane' (aka, Walking Dead).

For most all the songs Janelle fleshes out the visuals with a 70's style video projection in the background and a lighting scheme that captures the entire stage at times. And, some two-thirds of the way through her act, Janelle decides to sing another long song, but breaks it up with some on-stage easel painting! Bringing out an artist's vision of, well, Love, she creates her minds eye view of Love 'alive,' before launching into another great track, 'Cold War.'

The Grammy nominated star then brings forth a quite excellent version of 'Tightrope,' that features a lot of James Brown-esque shoe shine slides; and upper body shifts! Sadly, after nine minutes, it turns into a weird "La-la-la-la-la" fest for Janelle, as those are the lyrics muttered into the mic (standing up, bending over, running out into the crowd; posing for photos along the way, or simply lying down out of sight) for the following seven minutes straight!

When the curtain opened on Bruno Mars tonight, well, my God I actually took in how many teenagers (mostly female) and even younger were packed into the venue! Thousands, quite literally! Bruno sure has a younger audience, but that said he keeps the show flowing along for all ages.

Mars, better known in the UK as Peter Gene Hernandez (!) is first seen holding his guitar, spots shining down on him, a big cheesy grin on his face - something that NEVER left him the entire show! The singer/songwriter/producer behind such radio smash hits as B.o.B.'s 'Nothin' On You' and Travie McCoy's 'Billionaire' quickly finds his groove amidst the drum beats and the flashing lights. "I'm gonna play the first song I ever wrote," he says, once the applause has died down. "It's not on my album though - it's called 'Top Of The World'."

He then explains that the next song is the one that "inspired 'Billionaire'", before giving us two minutes of the 1959 hit single by Barrett Strong. 'Money (That's What I Want)' - before bleeding straight into 'Billionaire.' "I've got you all night, Windsor," he announces, before singing the slow song, 'Our First Time.'

The best song of his set, for me, came next in the shape of the frantic 'Runaway Baby.' Complete with the cheesy smile, a dangerous hip thrust (or three), and his silky smooth voice, Bruno is on fire tonight for his adoring audience. "This is the kind of music that I grew up listening to," he informs the crowd, "and why the album was called Doo-Wops & Hooligans - this is 'Dance In The Mirror'."

'Marry You' is then bled straight into 'The Lazy Song,' where the heavily extended track is broken up in the middle, so that his musical sidekick Philip Lawrence can take center stage with his mid-section exclamation, "Oh my God! This is great!" - three times! 'Count on Me' is dedicated to all the girls here tonight, but it's Bruno's charm as a stand-out artist - cracking jokes, conversing in an overly-friendly manner with the audience - that makes him a total star right now.

"I wrote the next song when I was drunk,", he laughs, as we get to hear 'Liquor Store Blues.' But, as we wind down the show, his two big hits come barreling out, with the first, 'Beautiful Girls' being sung (in its last few bars) to a hand-picked front row guest (no teenager, trust me!). And then, as we had all waited patiently, his current massive radio play hit 'Grenade' was unleashed and totally rocked the house.

With an encore of 'Just the Way You Are,' Bruno proved tonight he can hold his own, that he channels the aura of the King of Pop - the snarled lips, the hand slam on his guitar, the solo spots center stage, hat tilted, left foot heel up, toe down - and, most importantly, that he is definitely here to stay for a long, long time.

Review & Photos by: Russell A. Trunk

www.BrunoMars.com

For those that don't know, Hollywood Undead is an American rap/rock band from Los Angeles, CA. With their debut, Swan Songs released in 2008, their live CD/DVD 'Desperate Measures' in 2009, and their brand new CD American Tragedy just-released, the band - where all of the band members use pseudonyms and wear their own unique mask whilst performing - are an incredible musical force to be reckoned with, trust me!

Hollywood Undead consist of six (6) band members - Charlie Scene, Da Kurlzz, Danny, Funny Man, J-Dog, and Johnny 3 Tears - and with the three opening bands having played tonight all done, well, the lights went down, the sweltering heat factor topped 100 degrees (easily!), and the band hit the stage; one by one.

Raging straight through the first three songs without breathing, 'Undead Nightmare,' 'Sell Your Soul, and 'Been to Hell' suddenly they all remove their masks for the fourth song, 'Gangsta Sexy.' Wearing tshirts and jeans, the band now look, well, like any touring band out of LA, so quite why they take the masks off is beyond me, sorry!

The band, however, whether they have the masks on or not are highly entertaining, that's for sure. Each song is sung with passion, the sweat literally pours off them all for the 80 minute show, and each band member gets a mighty chunk of lead mic time.

'California' is next and has the entire packed-tightly-into-the-small venue crowd up on their feet! Another fan favorite, including the young man next to me named Nick A. is the Charlie Scene-sung 'City,' which has everyone singing the lyrics at the tops of their collective voices. "It's Saturday night, so let's all get f**ked up," Scene screams, before adding, "This song's about getting fat and is called 'Black Dahlia'!"

The pulsating, and my personal fav of the night song, 'Comin' in Hot' is next, with 'Coming Back Down' ("I don't mean to kill the vibe, but this is a song about the death of a loved one" - Scene) following it closely. Primarily sung by Johnny 3 Tears, it is a great track, and one that warrants more attention be lured back to their debut album.

'Paradise Lost,' sung by J-Dog is next, before Funny Man chats about the fact he was meant to be wearing a Tigers baseball cap tonight, but that their merch guy hadn't found him one! But then, out of the crowd one is thrown, he wears it, thanks the guy, and the band blast into the hyper-catchy, 'My Town.' Scene then asks the crowd to place five fingers in the air, before 'No. 5' is brought forth.

As they head towards the encore, 'Young' is the last song of the set, and man does it wind everyone up to 11 on the dial! This is easily the best song of the night audience-participation wise, and for five full minutes it is a sight to behold - the crowd becoming one with the band.

After a quick break, they come back with two more songs - the first the hilarious, and yet weirdly tuneful 'Everywhere I Go' (... bitches always know, that Charlie Scene has got a weenie that he loves to show!), and the second is 'Hear Me Now' sung by Johnny 3 Tears - a man who resembles Mickey Rourke (as he is today); inclusive of bulk, hair and vocal mannerisms ... sorry!

Review & Photos by: Russell A. Trunk

CAKE, the alternative rock band from Sacramento, CA are noted for their idiosyncratic approach to music. The band first became popular in the late 1990s with their album Fashion Nugget, which spawned several singles - including one that would be their highest-charting single ever, 'The Distance.'

And although the band has switched out several members in the years since their debut album, CAKE's musical style is characterized by the one constant; the one ever-present - lead singer John McCrea and his half-sung, half-spoken vocals and lyrical wordplay.

Tonight, in front of a sold out, packed house, as soon as the introduction about all cell phones off, all photographers to be hunted down and thrown out, the instrumental overhead music begins! Some 7 minutes later it is still playing, but then it crescendos, out come the band (to an incredible bout of applause), and they go straight into 'Sad Songs & Waltzes.'

Standing in front of a large mountain scenery backdrop, wearing white gloves, a hat over his eyes, and an outdoor jacket, McCrea literally conducts his band of merry men throughout each song. 'Opera Singer' is yet another way he shows this to its fullest, as his arms move with the beat, his "orchestra" behind him following along intently. 'Mustache Man (Wasted)' continues the college music flashback fest, before McCrea speaks for the first time: "We are Cake ... we are here to serve you, Detroit."

'Shadow Stabbing' is very well received, 'Long Time' also, before McCrea stops the show to introduce his on-stage tree! As he does so, the crowd clap. "That's got to be a first in rock 'n roll," he laughs, "an audience clapping for a tree!" He then explains he will be giving the tree away at some point in the show, but that in the meantime a yellow Cake tshirt would have to do!

McCrea then intro's the next song by saying, "This one was written while driving an automobile," which, of course means we then get 'Stickshifts And Safetybelts.' Next up is 'Sick Of You' which soon turns into McCrea halving the audience down the middle; getting them to "voice off" against each other on differing chorus lyrics - for a full 10 minutes!

Back after an intermission, the reasoning for such a thing overly explained by McCrea; just in case anyone didn't understand the need, and 'Love You Madly' is the first song sung. The massively-popular 'Sheep Go to Heaven' (a song that also references Dionysus' half man/half goat drunken companions!) brings with it an en mass crowd sing-along. McCrea then takes off his coat and intro's a song from their debut album, the total band jam 'Jolene.'

But, and weirdly, it is now that McCrea stops the show again, and once again for the on-stage tree giveaway! Bringing up the house lights, it is quite easily the strangest thing I have ever seen happen at a concert. For McCrea then takes 12 minutes to speak about the tree, orchestrating a contest right there and then for the correct audience answer to what the tree actually is to win it! It is, quite simply, a mind-numbing 12 minutes to behold! (FYI: For the record, it was a peach tree!)

'Federal Funding,' the opening track on their brand new album, Showroom of Compassion is next before McCrea speaks once more, "Thank you for remembering we exist!" And then the final song of the already overly-long two-set piece, the heartily-welcomed 'Never There' is brought forth.

CAKE's first encore song is 'Short Skirt/Long Jacket' which features a funky trumpet bass line, and has subsequently become the theme song to the TV series 'Chuck.' They follow that up with a cover of Perren and Fekaris's (written), but Gloria Gaynor sung, 'I Will Survive.' Finally, after nearly two and a half hours, they bring the show to a close with the second single from their second album, the massive radio play hit, 'The Distance.'

Review by: Russell A. Trunk

Principal Photo Credit: David Turcotte

The triumphant hit musical 'Chicago' finally had its delayed opening night at the Fisher Theatre and boy, was it worth waiting for!

Broadway's razzle-dazzle smash, the recipient of six Tony Awards, two Olivier Awards, a Grammy and thousands of standing ovations; inclusive of en mass to their collective feet tonight, is the sensational tale of sin, corruption, ... and all that jazz!

And, for added showbiz appeal, John O'Hurley (he of the iconic role as J. Peterman in 'Seinfeld') takes the role here of lawyer Billy Flynn; playing Detroit's Fisher Theater now through May 22nd.

Ever since it opened on Broadway in 1975, 'Chicago: The Musical' has introduced the Windy City's prohibition era and its subsequent swinging sounds to younger generations. Here tonight, as the lights went down on the noticeably older crowd, and the hot young scantily-clad blonde came stage right to introduce us to the show, well, you just knew all the guys in the audience were going to have to keep their wandering eyes in check!

Act 1 opens with the classic 'All That Jazz,' and features Velma Kelly and company. Played in fine at-the-peak-of-her game style by Terra C. MacLeod, her vocal pitch does give cause for initial concern, but that worry soon dissipates as she warms up. The next stand-out moment, if not the routine of the night is 'Cell Block Tango,' where six prison inmates all relate stories of how they killed their men!

All lined up on chairs front of stage, they move, they groove, they spill their beans and come the near 10 minute finale, well, let's just say we feel more sorry for them then the men they murdered!

Next up and we are welcomed into the world of predatory prison matron "Mama" Morton! Played in incredible vocal style by Roz Ryan (a Detroit native, no less) she steals every single scene she is in! Her take on 'When You're Good to Mama' is captivating.

And so we also get to meet Roxie Hart, played by a seductive Tracy Shayne; a noticeably older lady than we've seen take the role before, but one that still has the energy of a teenager; that's for sure!

The first appearance of John O'Hurley comes in 'All I Care About,' but it's immediately noticeable that he hasn't got a great singing voice. Indeed, 95% of his time on stage is spoken word - and, at times, he seems to stutter in his head as he searches for the right lines at the right times.

That said, his voice is deep, textured and bodes well with the songs he is given. He also seems to enjoy a well-choreographed fan-feather routine, and even adds his own flavor to the performance. Such as when he (seemingly) breaks character, turns to the conductor, removes his baton from his hand, and says (pointing at the on-stage orchestra pit): "You know, if you got yourself a proper instrument, they'd give you a chair!"

Into Act 2 and we get more storyline surrounding Mary Sunshine (T.W. Smith), a gossip columnist who is not what she appears to be, and one of the (sad) highlights of the show, Roxie's husband Amos's (Ron Orbach) big number, 'Mr. Cellophane,' a lament on the worst thing that can befall an actor: not to be noticed!

"Mama" continues to spread her thoughts far and wide, inclusive of her take on dating: "Do you know what the difference is between dating and screwing around? Dinner!" And even the court room scene where Billy is able to score major headlines for Roxie's trial (SPOILER! ... which ends in an acquittal!), is well orchestrated; stage set, lit, acted by the ensemble cast.

And so, this tale of celebrity criminals - Roxie Hart and her rival Velma Kelly - within the confines of 'Chicago: The Musical' has everything you could want in a show: stunning dancing, an edge-of-your-seat story, and one showstopper after another.

Review by: Russell A. Trunk

As you should all know by now, 'MAMMA MIA!' is the ultimate feel-good show that has audiences singing along and, come the end, up from their seats and up on their feet!

And now the smash-hit musical - that combines ABBA’s greatest hits; such as “Dancing Queen,” “S.O.S.,” “Super Trouper,” “Take A Chance on Me” and “The Winner Takes It All,” with an enchanting tale of love, laughter and friendship - is here in Detroit at the Fisher Theatre.

But, in case you are not aware, 'MAMMA MIA!' is the story of young Sophie, who lives with her mother on a small Greek island. She is about to be married to Sky and wishes for her father to walk her down the aisle. However, she has a problem, who is her father?

Her mother does not want to tell her and so Sophie reads her mother’s diary and discovers the name of three men who could possibly be her dad. Sophie secretly invites all three men to the wedding. The fun starts when the three men arrive on the island and discover why they have been invited!

This Detroit version of the show is chock full of endless energy and enthusiasm, but some of the singing is, well, just plain bad! Point in case, the role of Sky tonight was played by understudy Mario Matthews - a man who might well be easy on the eyes for the ladies, but who simply cannot carry a note in a bucket to save his life! Off pitch, off key, he should have been off stage the whole time!

Lead actress, Kaye Tuckerman (as Sophie's mother, Donna) was good, held her notes well, but was not perfect either. Originally heralding from Sydney, Australia, come the second act and her Aussie vocal tones were threatening to break through more often than not. And then we have Sophie herself, played by Chloe Tucker. A graduate of the Hamilton Academy School of Music in LA, she sure was energetic, but even her vocals seemed to want to slip down to New Jersey!

As for the show itself, it starts off slow, plot building for our sake, but when the mixture of Abba songs, camp dance routines, platform boots and Lycra costumes all come together, well, the show really takes flight. Indeed, the first big show tune of the night is '"Money, Money, Money," with a dear-in-headlights version of "Mamma Mia!" following closely. But, it's the bedroom scene between the highly-entertaining Mary Callanan (Rosie) and Alison Ewing (Tanya, easily the best actor on show tonight) - complete with singing, dancing, and acting to boot - that steals the show right there and then!

What's also noticeable is that the show seems to be evolving through the ages. For now there are speeches included that surround email, the internet and other such modern things. Into the second act, another slow start eventually leads to a nice, vented "The Winner Takes It All" from Donna, but it is fast becoming noticeable that the three lead men have no power in their own singing voices. Sadly, if they sing alone we beg for accompaniment, and if they sing with someone they get drowned out!

Hence, it is the three leading ladies - especially a great comic double act (Rosie and Tanya) - that completely steal and then dominate the show; before said show, and all its soppy romance comes to a delightful end.

So, whether it’s your first visit or your fourteenth, see the show that has the whole world coming back for more - because every time feels like the first time at 'MAMMA MIA!'

Review by: Russell A. Trunk

If you've lived under a rock for the past 30 years, Thin Lizzy are an Irish hard rock band formed in Dublin way back in 1969. And sure, some 30 years on the band has lost two influential members - guitarist Gary Moore and vocalist Phil Lynott - but tonight we had one founding member (drummer Brian Downey) and two long time members, keyboard player Darren Wharton and guitarist Scott Gorham.

Rounding out the new Thin Lizzy (Band) were Vivian Campbell (Def Leppard), Marco Mendoza (Whitesnake), and Ricky Warwick (The Almighty) on vocals.

Seated front row, the pre-set dry ice wafting off the stage directly at our seats, suddenly the lights go down, the famous Thin Lizzy logo sign becomes lit, and the boys come back to town. 'Are You Ready' and 'Waiting For An Alibi' are first out the cannon, and it is immediate to notice just how similar Warwick's vocal tone is to that of the late, great Lynott.

"All right, Detroit," Warwick asks, before heading into a blistering 'Jailbreak.' With the four guitarists front and center, the keyboards and drums set back, it constantly looks like an army invading! "Good evening, Detroit." Warwick continues, "Thin Lizzy is back in your town and ready to kick out the jams," and with that 'Do Anything You Want' bleeds seamlessly into 'Don't Believe A Word.'

Warwick then introduces Marco Mendoza, before they head into a beautiful 'Dancing In The Moonlight (It's Caught Me In It's Spotlight),' from which they emerge to rapturous applause. Showing off heavy guitar work in 'Massacre,' the stage becomes bathed in green for 'Angel Of Death.' Warwick then introduces keyboardist Wharton ("He's born and bred in Manchester, England. He is Darren 'Dazza' Wharton") and they both share vocals on the always-heartfelt (albeit this time, overly drawn out), 'Still In Love With You.'

A cracking 'Whiskey In The Jar' storms through town next, before Warwick addresses the audience once again, "What I love about Detroit is all the real music that comes out of Motown." He then intoduces guitarist Goram as the "bad ass of rock 'n roll" before the band head into 'Emerald.' With the logo now in green, the songs mid-section direct from the Glen, they match the power of that with "a song that Phil wrote about running away and chasing your dreams", 'Wild One.'

Warwick then introduces drummer Downey who opens the song 'Sha La La,' and complete with strobes ablaze, we roll into the obligatory drum solo. With the other band members off stage, unfortunately Downey's solo seemed like it was going in slow motion. Perhaps age, perhaps a lack of energy come this late stage of the show, he ain't no Tommy Lee - but then again, who is?! Back on stage, we then get the harmonica-opened 'Cowboy Song,' before the (main) set is finished off with, of course, 'The Boys Are Back In Town.'

"Thin Lizzy thank you very, very much," gushes Warwick, "Goodnight," as they leave the stage, but some three minutes later they are back, this time with Goram introducing the hard working Warwick. "He is the Celtic warrior, the glue that keeps us all together." And then they power into one of the best songs performed tonight, a rousing, high octane version of 'Killer On The Loose.'

Bringing the first encore to a close with a by-the-numbers 'Rosalie' (a song dedicated tonight to "... the king of rock 'n roll himself, Mr Phil Lynott"), they quickly leave the stage, and soon thereafter return with a song this time dedicated to Gary Moore, the always-layered 'Róisín Dubh (Black Rose): A Rock Legend.'

Review & Photos by: Russell A. Trunk

'OMG ... it's OMD!'

For a month prior to this local-to-me concert I was like a cat on a hot tin roof with anticipation! Orchestral Manoeuvres in the Dark have always been a firm musical favorite of mine, and with both original (core) members - singer Andy McCluskey and keyboardist Paul Humphreys - still on board after some 25 years, well, the time was perfect for a small venue USA gig.

Once inside, the tour tshirt purchased, the beers primed, I noticed that the stage was small, no funky props in sight, the screen-projection backdrop (that they have used on this History Of Modern tour in the UK) nowhere to be seen. Regardless, it was going to be a night to remember (I sincerely hoped and prayed, at least!). And so, as time ticked by and opening act Oh Land came and went, various bouts of crowd excitement mixed with nervous endearment began to surface amongst the already-enthusiastic gathering.

Come the witching hour, both McCluskey and Humphreys take to the stage - no pomp, no circumstance. Humphreys - attired in a snappy black suit, black shirt, with black tie, McCluskey clad in black pants, white shirt, and a black tie - take to their instruments (bass guitar and keyboards respectively) and suddenly we're off and running with a song from their new album, 'New Babies: New Toys.'

Next up and we're given a twofer from their synthpop golden era in both 'Messages' and the manic-paced 'Tesla Girls.' Removing his tie completely, McCluskey announces to the crowd, "I think it's been 23 years since we last played here together. But, we're not playing all the weird shit for all the die hard fans tonight, trust me," he laughs. With that they launch into 'Radio Waves,' from the under-rated '93 album, Dazzle Ships, before culling the title track from the new album, 'History of Modern (Part I).' But not before McCluskey makes a very important announcement: "The good news is I've stopped playing bass. The bad news is the dancing now starts!"

And, my God, he wasn't wrong to have warned us about that strange factor of his stage persona! With both arms flailing windmill style, his torso seems to be spasmodically human one minute, dementedly possessed the next. Indeed, in a marriage of opposites, his energetically jerky, dancing-like-my-dad-would tics are combined with his completely unaffected, stone-like facial expression!

For the track, 'Forever (Live And Die),' Humphreys takes a rare stance center stage and with his mellow tones knocks it vocally out the park. Stood mainly behind his Roland keyboard, sometimes even looking shy, thankfully McCluskey is soon back on lead; the classic 'If You Leave' next on the set list. Sounding just like the record, his vocals are still spot on, the song having everyone singing at the tops of their voices.

The first single from their 1981 album Architecture & Morality. 'Souvenir' is next, complete with a strong synthesized melody, it again features a rare lead vocal by Humphreys. Not well known to the Americans within the crowd, for us Brits it was a rare treat to hear such a classic song performed live.

Having had technical difficulties along the way on this tour overseas, such bugs don't let them down here tonight either. Just a few chords into 'Joan Of Arc' and McCluskey halts the proceedings, revealing that he feels the song would be better if he actually turned his bass guitar on! Turning to his tech side stage, he wonders aloud, "Is there a problem with my bass playing I'm not aware of? Am I just such a shit bass player that you just turned it off?!"

Deciding to leapfrog that song, the McCluskey-penned 'Maid of Orleans (The Waltz Joan of Arc)' is sung next. Complete with discotheque strobe lights that fairly blinded me from start to finish, as promised, once sung they went back and brought us 'Joan Of Arc.' New tracks 'New Holy Ground' and 'Green' (the latter performed whilst swathed in a stunning green light) finds the crowd numb, before the great 'Talking Loud and Clear.' "This is the last slow song of the night," McCluskey warns them. And as much as the song still possesses a gentle bounce, it melds beautifully into their hit, 'So in Love." Complete with lavender LED light blocks, the song ignites the crowd once more.

Deciding to leave off the set list (for America) a beloved, and yet rarely heard oldie, 'Bunker Soldiers,' McCluskey makes an announcement: "This is a new song. Don't panic! Brothers and Sisters, pray with me," before they go into 'Sister Marie Says.' A song that combines classic OMD somber lyrics with a chirpy melodic tune, it goes down well. As the synthesized steel-drum sounds of 'Locomotion' are greeted by en mass of excited fans, the fun beat behind it soon has most all hip swaying. As for McCluskey up on stage, his shirt drenched, his erratic, demented monkey-like body jerks still in full flow, as he reaches the climax of the song he is clearly (almost) out of breath.

The classic 'Dreaming' was next and turned into one huge sing-a-long, before McCluskey reveals that 'Sailing on the Seven Seas' "... used to be a new song, but that was 20 years ago!" Bringing the set to a close, prior to the encore, the song of the night was given to us on a plate in 'Enola Gay.' The song, about a said-named American plane that dropped the atom bomb on Hiroshima in World War II, and with McCluskey back on bass, storms the ear drums of the crowd.

Coming back out for a quick two-song encore, McCluskey's statement that had they known that it (the reception) was going to have been like it had tonight, that they would have never left it 20 years and would have been back sooner, my personal OMD favorite is played: 'Walking On The Milky Way.' A song that was written by McCluskey as his OMD resignation statement back in 1997, to this day it still (musically/lyrically) resonates with me. Bringing the show to a complete close with fan favorite, the key-frantic 'Electricity,' as much as I loved the show so much, never wanting it to ever end, waving goodbye regardless, McCluskey bids all a fond farewell, "Drive safe and we shall see you again soon."

I hope so, McCluskey ... I hope so!

Review & Photos by: Russell A. Trunk

www.omd.uk.com

Shakespeare and Sondheim essentially joined forces at Detroit’s Fisher Theatre September 30 through October 16th as the curtain went up on West Side Story, an adaptation of Romeo and Juliet set against the Manhattan gang scene of the 1960’s.

With music by Leonard Bernstein, lyrics by Broadway master Stephen Sondheim, a libretto by Arthur Laurents, and stunning choreography by Jerome Robbins, the production was sure to delight the mix of young and old that filled the theatre’s seats on opening night.

ACT ONE

The curtain goes up to reveal Riff, a well-respected member of the Jets, a white street gang. He leers out at the audience for a moment, and then snaps his fingers. More of the Jets appear, and begin taunting a Puerto Rican that has wandered onto their turf. The Puerto Rican has backup, though, as his gang, the Sharks, surface and proceed to attempt to rough up their adversaries. (“Prologue”) For being two tough gangs, it was thoroughly amusing watching their ballet-esque fight moves! Officer Krupke and Lt. Schrank arrive and break up the tussle, chasing the Sharks away, but not before warning both groups to quit fighting on their beat, or else suffer the consequences.

Riff and the other Jets decide that a rumble would be the best way to secure their hold on the block, and realize that they must ask Tony, a founding member of the gang who’s been distant lately, to help. Some of the other members question Tony’s loyalty, but Riff assures them that Tony will come through. (“The Jet Song”) The scene change finds working stiff Tony telling drugstore owner Doc about the feeling he’s unable to shake that something huge is about to happen. (“Something’s Coming”)

At the local bridal shop, Puerto Rican beauty Maria and her streetwise cousin, Anita, discuss the relationships they have with their boyfriends, Chino and Bernardo, respectively. We also discover that Maria and Bernardo are brother and sister. That night is the dance at the local gymnasium, which is neutral territory. While both gangs dance with their own, Tony and Maria’s eyes meet from across the crowded dance floor. They kiss. This ignites an argument between Riff and Bernardo, which ends in the calling of a “war counsel” at midnight to determine the finer points of the ensuing rumble. Both promise to stick to their own sides.

Tony leaves the dance, and reflects on his newfound love interest named “Maria.” As fate would have it, he wanders directly to her balcony. The two profess their love for one another, channeling the Bard’s star-crossed lovers. (“Tonight”) Before parting ways, Maria and Tony vow to see each other again. Meanwhile, Anita and the rest of her amigas debate the pros and cons of living in the United States. (“America”)

Inside the drugstore, the Jets anxiously await both Tony’s and the Sharks’ arrivals. Action, one of the tougher members, is getting riled up, but Riff preaches about the importance of staying “Cool” and remaining focused. The Sharks--and Tony show up, and Tony manages to talk the groups out of a free-for-all, and instead to a one-on-one fistfight. Both gangs are satisfied with the arrangement, but inwardly decide to bring the switchblades--just in case.

Tony makes a getaway back to Maria at the deserted bridal shop. He reassures her that the rumble will hardly be an issue, and they imagine their wedding. (“One Hand, One Heart”) The following evening, everyone is preparing for what will happen next. (“Tonight--Quintet) The Jets and Sharks are concentrating on the ensuing confrontation: Anita is looking forward to the night of passion she and Bernardo will indulge in, and Tony and Maria are delighting in soon seeing each other once again.

At the rumble, Diesel steps up to defend the Jets, but Tony rushes in, making one final attempt at peace. Bernardo taunts him, and Riff jumps in to stick up for his best pal. Tony begs Riff to back down, but he refuses. Riff and Bernardo draw their switchblades, and fight. (“The Rumble”) Bernardo stabs and kills Riff. Out of rage, Tony grabs the knife, and stabs Bernardo. As police whistles near, both gangs scatter, leaving an agonized Tony alone with the two corpses. As Anybodys, the Jets resident Tomboy, returns and persuades him to go, he does, leaving the two corpses behind.

INTERMISSION

ACT TWO

The second act opens on a positive note, with Maria, unbeknownst to what has happened, telling her friends all about how happy she is. (“I Feel Pretty”) Chino, Maria’s betrothed, comes in bloodied, and she asks the results of the rumble. Chino tearfully informs her of her brother’s death, and she is incredulous. As Maria fervently prays for everything to just be a mistake, Tony climbs in through the window. She throws herself at him, punching him, screaming that he killed Bernardo. Tony holds her, and together they dream about a place where there’s no violence, and tolerance for love exists. (“Somewhere.”)

Out in the neighborhood, the Jets are attempting to collect themselves after everything that’s happened. They begin to wonder how hoods end up the way they do, and why the police are always breathing down their neck. The result is “Gee, Officer Krupke,” a zany little number that is probably as humorous as it is stupid.

Back in Maria’s bedroom, she and Anita commiserate over lost loves. Anita tells her less worldly cousin that she couldn’t possibly have a life with “A Boy Like That.” Maria counters, “I Have a Love,” and, with a new understanding having been reached, Anita promises that she will prevent Chino from exacting revenge on Tony, and tell Tony that Maria still wants him. The culprit is hiding out in Doc’s drugstore cellar, and when Anita shows up to deliver the news, she is harassed by the Jets that are hanging around, and, out of anger, says that Chino has found out about Maria’s romance, and has shot her.

Tortured by the alleged death of his girlfriend, Tony runs out into the empty streets, calling for Chino to kill him, too. As if on cue, up comes Maria. As Tony goes toward her, Chino emerges from the shadows and shoots him. Tony dies in Maria’s arms, and she delivers a dramatic soliloquy about the number of bullets in the gun: One for Tony, and now, one for her--but they are only words. She is joined by members of both gangs, and the curtain falls as Action, the new leader of the Jets, gently places a hand on Maria’s shoulder, signifying the end of the conflict.

Since hitting Broadway in 1957, West Side Story has become renowned as one of the most beloved stage musicals of all time--and rightfully so. Everything from the music to the acting was superb. Kyle Harris as Tony, especially, was fantastic. The only quirk was the bilingual nature of the show. Parts of the “Tonight” reprise as well as “I Feel Pretty” were sung in Spanish, a notion I quickly dubbed admirable, yet irritating. The choreography was breathtaking as young men leapt and pirouetted across the stage and young women provocatively lifted their skirts and kicked up their heels. Sitting near people far older than I, gave me even less shame to mouth along with the lyrics that I knew so well.

West Side Story tells a timeless tale, about the triumphs and risks that accompany true love. And living in a time in which the concepts of relationships and tolerance are such monumental ideals, it brings to thought that maybe, just maybe, “there’s a place for us, a time and place for us…somehow, someday, somewhere…”

Review by:
Ashley J. Trombley

Looking to see 'West Side Story' performed in your neck of the woods? Check out www.razorgator.com to see if they have any tickets available.

The Far North East of England is not exactly a hot bed for musical acts, but over the last 5-10 years it has produced some notable contradictions to that theory with The Futureheads being at the forefront.

Their self-titled debut album release in 2004 came out to worldwide critical acclaim and rightly so! It's definitely up there as one of my personal favorite releases in the last 15 years.

Four years and three albums (2006's "This is Not the World", 2005's "News and Tributes", 2010's "The Chaos") later they are back in Detroit. The crowd tonight at the Magic Stick was small, but highly enthusiastic, definitely a group of hard-core Futureheads fans here tonight kids.

The lads opened up in blistering fashion with the title track from their latest release, The Chaos. As the opening line says "5, 4, 3, 2, 1, Let's Go!!" we were off and running!!! Unfazed by the small turnout they proceeded to give the crowd an amazingling high energy show. Buzzsaw guitars and catchy harmonies were the order of the day. Rhythm guitarist and vocalist (all members sing) Ross Millard bashes away on his Fender like his life depends on it!

These guys really love what they do with jokes and banter with the audience coming thick and fast ("you've had a few ales haven't you luv?"). When the crowd was singing along to their brilliant version of Kate Bush's "Hounds of Love" you would have thought there were a thousand people in that room.

Highlights for me were the tracks off the first album such as "False Conversation", "Carnival Kids" and "Hounds Of Love", but tunes such as "Struck Dumb" and "Heartbeat Song" off their current release made me run home afterwards and throw their latest one on! It definitely gives you a new impression of these tunes hearing them live. Great stuff!

They finished up with the last track on their latest release, Jupiter, sounding a little like Queen there..well almost, before taking a short break. Even though the crowd was small they were bloody loud and were not leaving until they heard some more. It didn't take long before the lads were back on stage for another 2 tunes, "The Connector", and "Work is Never Done" before finishing the evening up with one of the best tracks off their first release "Man Ray".

This was one of the best shows I have seen in some time by one of the leading exponents of melodic, hook driven, harmony laden guitar bands to come out of England in the last dozen years. Next time they come to town, and we hope we won't have to wait another 4 years, make sure you check them out. You will NOT be disappointed. I will be singing these tunes out loud (badly, mind you) for many days to come!!!

Review & Photos by:
Robert "Jacko" Jackson

Looking to see The Futureheads in concert in your neck of the woods? Check out www.razorgator.com to see if they have any available.

English band One eskimO may not be on everybody's musical radar quite yet, but trust me when I say that day is fast approaching. Indeed, if you have not yet heard their song 'Kandi', a song that was #1 on the adult alternative charts in many cities for many weeks, well, which rock have you been hiding under?

One eskimO is fronted by singer-songwriter Kristian Leontiou and includes musicians Pete Rinaldi on guitar, Jamie Sefton on bass/horns and Adam Falkner on drum/percussion. This is a band whose repertoire is alive with flowing textures and expertly created songs. They have a very unique sound, but their songs are still catchy and easy to listen to - as tonight's crowd can easily attest to.

Taking quietly to the stage, they quickly set about putting the Michael Franti & Spearhead crowd at musical ease. Opening with 'Hometime,' Leontiou's voice is clear, smooth and very well orchestrated for the song. But this song is less to do with those vocals and more to do with Sefton's unique instrument coupling. Playing both the bass guitar AND the horn at the very same time, it's this incredible talent that has everyone around me enthralled.

As we progress through their 10 song set - a set that just featured the quartet, for all intents and purposes, rooted to their chosen stage spots; no quirky animations, no hypnotic visions blaring above nor behind them - more songs from their self-titled debut album are brought forth. 'Givin' Up' and the brilliant, horn-guided, crowd appreciated 'Hurricanes' are next. This is followed by the melody-driven 'Astronauts' - a truly beautiful moment where voice and soulful beat live in perfect harmony - and then 'Simple Day.'

But it's when we get to the radio air play fav, 'Kandi' that the audience suddenly realizes they have heard this bands stuff before! Opening with a hypnotic acoustic guitar line, and complete with some subtle percussion, the song is just perfect for those lazy, hazy days of summer.

Devoid of any real stage banter between songs, Leontiou's vocal tones wrapped perfectly around and within every single note, 'Chocolate' is next up, but it's when we get to the fantastic 'UFO' that suddenly the crowd is all ears; swaying to the beat. With Sefton's horn mixing with the intricate guitar-plucking of the vastly under-rated Pete Rinaldi, the slightly darker, atmospheric song speaks volumes for all us mere mortals: 'If I'm such a Superhero, why does it feel like my feet can't leave the ground?'

And lest we forget the incredible drum work from Falkner. Although, in truth, saying Falkner simply plays the drums is like saying Moby simply plays the keyboards! Sitting on what can only be described as a hobo-assortment of boxes, weird-shaped dangly things, complete with pedals, keys, and a sound modulator, Falkner (head down at all times) is a force unto himself; his controlled energy pulsating at all times stage left.

Bringing the show to a close, Leontiou thanks the audience for being here tonight, hopes they enjoyed the show, and announces the last song, 'Amazing.' And, much like the fact that it is also the final track off their album, the songs conclusive feel brings darkness to the stage once sung.

And so, and without a sniff of an Eskimo to be seen - let alone a monkey, a giraffe, or a guitar playing penguin - the show is finally over ... until next time.

Review and Photos by: Russell A. Trunk

OK, and for the record, this version of the seminal British Two Tone Ska revival band only includes founder Dave Wakeling (on lead vocals and guitar). His once-partner in musical crime, co-vocalist Ranking Roger now, along with his son tour the UK under the band's original name, 'The Beat.'

Got all that ... good, so let's continue ... at a sold-out venue tonight, Dave Wakeling's English Beat take the stage at just after 10pm to a hearty welcome from the packed house. And straight off they break into their hit version of the Smokey Robinson classic, 'Tears Of A Clown.'

With the venue so packed tight that wherever you stood when they came on is where you watched them from the entire night, Wakeling's new side man, Two Tone Tony asks, "Are you ready to do some Skankin'?" The answer is a huge yes, and as they go into 'Rough Rider.' Elbow to elbow in the audience, we try are best to groove to the beat.

In what turned out to be a fabulous 2 hour night of high energy musical entertainment, we got such hits as 'Best Friend,' 'Hand's Off She's Mine,' and 'Twist and Crawl.' "I used to sing this next song to me liver," Wakeling jokes to the audience. 'Can't Get Used to Losing You' is the song sung next!

The English Beat, themselves packed into a tight stage space seem to be a very happy group of guys. Always smiling, always singing, next up is the General Public song, 'I'll Take You There.' And, opened by some religious chanting from Wakeling, 'I Confess' is next. "Do you remember the 198-0?" Two Tone Tony asks. "Punk, Rock, Reggae." And it's then we listen to the first new English Beat song of the night - and it sounds just like anything they might well have written back 30 years ago!

Wakeling is dedicating the 2010 tour as a celebration of the 30th Anniversary of their album, I Just Can't Stop It. A lot has changed in 30 years. The audience is older, their hair grey, and the belly's not as slim, but the music is still as spot on perfect as it ever was. Next is the mix of 'Whine & Grind' and 'Stand Down Margaret,' before another new track is unveiled.

Yet another new track, 'How Can You Stand There' comes our way before Wakeling steps outside of himself: "A fella named Dave Wakeling was the inspiration for this next song." 'Good Thing' is then sung, before he announces 'Tenderness' - "39 years of top quality ska we've served up for you guys. He's another one." At that point it was, by far, the best received song of the night!

Another great highlight of the night was their version of 'Save It For Later' that included the mid-section break off into Pearl Jam's 'Better Man' - which is an homage to PJ's long standing tradition of doing the same (in reverse) during their own live shows. "Are you ready for some more Skankin' tonight?," Two Tone Tony inquires, before we barrel into 'Ranking Full Stop' - which bleeds directly into the massively crowd welcomed, 'Mirror In The Bathroom.'

For the encore, we get the slower-paced new track, 'The Love You Give Lasts Forever,' before 'Jackpot' and a Two Tone Tony Magic Bag ditty are all forthcoming. Come the final chord struck, the band thank everyone by shaking each and every hand offered them front stage. Tonight, groups of middle-aged women and dressed up rude boys and rude girls mingled with faux mods and (due to baldness) skinhead's galore - and all in perfect harmony!

Review by: Russell A. Trunk

With the Joe Louis Arena barely half-sold, the rest of the empty seats hidden behind giant hung black cloths, the atmosphere inside was still above average - the teenage screams for Lifehouse far out-piercing those of any other band this night!

First on were Cavo. A hard rock band from St. Louis, Missouri, they know how to command a stage with their, albeit screamed, yet radio-friendly songs. Indeed, at times their songs even sounded a little 'post-grunge,' but I digress. Vocalist Casey Walker prowls the stage, back and forth, working the audience, as the band make their way through the near entirety of their major label debut, Bright Nights Dark Days.

Walker is a highly capable vocalist whose harmonies are scattered throughout every song they perform, but as a whole the band are a very tight musical outfit. Songs such as 'Let It Go,' 'Blame,' and the first single release 'Champagne' have everyone up. And as much as Cavo's lyrical content didn't necessarily amaze those here tonight, every song was well received.

Next up were Lifehouse. Doing this tour as part of their own Smoke & Mirrors (new CD) tour, the trio (plus hired drummer) - who came to prominence in 2001 with the hit single 'Hanging by a Moment' - all take the stage at the same time, instruments playing, heads down. Out to prove themselves as a credible rock band, not just a band known for writing sappy pop ballads, Lifehouse get down to business quickly. 'Halfway Gone' is followed by 'Nerve Damage,' which in turn is backed by the album title track.

The boys from Los Angeles then introduce us to certain new songs from their new album, explaining the reason behind the lyrics. Indeed, during one of these new songs, lead singer Jason Wade takes it upon himself to walk the seated aisles of the JLA! Rock 'n roll 101 at its grass roots finest. 'Whatever It Takes' brings the screams louder from the crowd, before both 'Wrecking Ball' (sung by bassist Bryce Soderberg), and the ultimate crowd-pleaser, 'Hanging By A Moment.'

Daughtry, as you all well know by now, is Chris Daughtry (former American Idol season 5 finalist) and his chosen band of merry musical men, who are trying to bring good old-fashioned American rock back to arena's everywhere. The trouble is, well, sorry, but he just doesn't have the persona big enough to do that. With his brand of cookie-cutter rock 'n' roll, Daughtry may well have proven his place on the billboard charts, but live he is just aiming too high.

Daughtry come on stage - after an eternity of waiting for them, with what sounds like incidental Batman music beckoning their imminent arrival - with 'What I Want' and 'No Surprise.' "Detroit Rock City," Daughtry bellows out, but follows it with nothing else. The ballad 'Life After You' is next, which is followed by the first real hit of the night, 'It's Not Over' and then 'Learn My Lesson.'

Sure Daughtry know how to take a stage, how to pose, how to throw down the songs, even the lighting is precise, orchestrated, but it's Daughtry's own frontman banter, complete with nervousness that make you sink a little into your seat. But then, we get one of the highlights of the night. Daughtry steps to the front of the stage ramp, guitar in hand, bathed in a red/blue spot, and soberly sings Phil Collins' 'In The Air Tonight.' Complete with multiple thin lime-green laser lights that shoot out, scatter, and pulse brightly upon every notable drum beat thereafter, the song truly deserved the standing ovation that it received.

Then singing a leftover from the last album, 'What We Have Become,' 'Over You' is next and is quickly followed by the sing-along set ender, 'Feels Like Tonight.' After a long, too long delay in getting back to the stage, and with people leaving by the dozens, the first encore of Billy Idol's 'Rebel Yell' is pure cheese - and actually shows that Daughtry's voice is starting to break up. 'Home' is sung to an every depreciating crowd, before the show finale, 'There And Back Again.'

In truth, if this was a mission to resurrect the corpse of arena rock, and if it solely sat on the shoulders of the fourth-biggest-selling American Idol, I have to say that said corpse barely moved. Indeed, and with regard Daughtry in general, the so-called Resurrection had not found many believers here tonight.

Review & Photos by:
Russell A. Trunk

Looking to see Daughtry in concert in your neck of the woods? Check out www.razorgator.com to see if they have any available.

ACT ONE

The atmosphere was electric as patrons, young and old alike, waited in anticipation for the night to begin. I was not sure what to expect, except that I was about to experience a production of CATS. The longest touring musical in U.S. history was the creation of Sir Andrew Lloyd Webber and is based on T.S. Eliot’s book, “Old Possum’s Book of Practical Cats.” As the lights went down, we were surrounded by total darkness; the only source of light was the green, glowing eyes of the cats peering in the darkness throughout the crowd. One feline pounced towards the child at the end of my row, sending her scrambling into her mother’s arms.

The cats made their way towards the stage, which resembled a foggy, moon-lit junkyard. They began to tell the story of the Jellice Ball. Once a year, the cats gather together at the Jellicle Ball to rejoice. The leader, a wise cat named Old Deuteronomy, selects one lucky kitty to enter the Heaviside Layer to be “re-born” into a new life. Various characters are introduced to us. First, we meet Jennyanydots, “The Old Gumbie Cat“, whose favorite pastime is sitting, sitting, (did I mention sitting?) all day long. The Rum Tum Tugger burst on to the scene, reminiscent of a rock star, shaking his hips, and driving all of the ”kittens” wild. He thinks he’s “the cat’s meow” and makes no bones about it.

We are then introduced to Grizabella, the Glamour Cat. She reminded me of a fading Hollywood starlet, with sad eyes and even sadder facial expressions. As she moved through the crowd of her peers, they shunned her as if she had the plague. At one time, she had been a part of this group of Jellicle Cats, but her desire to go out and explore the world on her own drove a wedge between them. She tried to parade around with elegance, yet painfully struggled to regain her dignity. Watching her almost brought tears to my eyes. As she is reminiscing, we hear a line or two of the song, “Memory”. She then slinks off into the darkness.

Several other colorful felines come on to the scene: Bustopher Jones, a hefty high-society cat who enjoys many a meal in the pubs he frequents. Mongojerrie and Rumpelteazer, high-energy partners who have a gift of getting into trouble. Victoria, the white cat, and Munkustrap, the large grey tabby round out the group. To the sound of crashing garbage cans and glass breaking, we become aware that trouble is brewing. As the end of the first act is coming to a close, we see Old Deuteronomy enter the junkyard. The skittish kitties once again come around to greet the great leader. His presence has a calming influence over them. Grizabella attempts yet again to establish a touch from one of her tribe to no avail. She again slinks off into the night, tail between her legs.

ACT TWO

The second act begins with the Jellicle ball having ended. The cats are now content and lounging around Old Deuteronomy. We are met by two new members of the group: Gus, the Theatre Cat, and Skimbleshanks, the Railway Cat. Gus is an aged stage actor on the decline. He takes a moment and reminisces about his glory days, in particular, his starring role in “Growltiger’s Last Stand”. Several cats reenact his crowning achievement, complete with swashbucklers and dancing Siamese warriors. This part of the play was a bit confusing for me. What I did enjoy was the duet that was done in opera-like fashion.

After Skimbleshanks sang about his tending of his railcar, a thunderous crash has the cats scurrying in several directions. Macavity, an evil cat, shows up to wreck havoc on their celebration. His evildoers kidnap Old Deuteronomy. Two frisky kittens, Demeter and Bombalurina, sing a cabaret-style ditty about Macavity’s dirty deeds. He appears to perform his evil deeds and then, like a vapor, vanishes. Old Deuteronomy returns, but is actually Macavity in disguise. His plot is exposed and he battles with the other male cats. Macavity makes his escape by causing an explosion, sending the junkyard into complete darkness.

Rum Tum Tugger calls upon Mr. Mistoffelees, the Magical Cat. This part of the show was magnificent. I didn’t know what I liked best; the numerous pirouettes, the acrobatics, the dance number itself. Mr. Mistoffelees was absolutely magical. He brings light back into the junkyard and brings Old Deuteronomy back to us.

Grizabella returns again, mustering up all her energy to sing the signature song of the production, “Memory”. Chills came over me as she threw her heart and soul into this performance. With everything as it should be, Old Deuteronomy makes his selection as to who will be reborn with a new Jellicle life. It is none other than Grizabella herself. At this point, the other cats in the tribe reach out to her. We watch and cheer her on as she ascends into the Heaviside Layer.

The ending scene tells us that cats have three names: The one the owners give them, the name amongst their peers, and a secret name that one may never know. Cats have are a lot like people in many ways. They can be aloof, independent, lazy, greedy, regretful, and have a deep yearning for acceptance and love. This play combines several of these characteristics. We can see ourselves in their eyes if we really look.

Tuesday night, a “Memory” was made for every patron in the theatre, human and feline alike.

Review by:
Becky Trombley

Looking to see 'Cats' performed in your neck of the woods? Check out www.razorgator.com to see if they have any tickets available.

A line of people filed into Ann Arbor’s acoustic hotspot, The Ark, the rainy Saturday night--though whether or not they entered two-by-two is anyone’s guess. The intimate, 350 seat theatre was peppered with children, middle-aged folk, and the occasional college student. All had come to see The Band of Heathens.

Gordy Quist, Seth Whitney, Colin Brooks, Ed Jurdy, and John Chipman comprised the group, whose mellow, blues/country style belied their name. They played a set that lasted over two hours, with no intermission, and no opening act. That takes skill.

The small venue made it possible for the audience to interact with the band. “Where’re you from?” one fan shouted out during the early moments of the set. “We’re from Austin, Texas,” the keyboardist answered, “where’re you from?” But that statement was only partially true--band member Gordy Quist is a Michigan expatriate, having moved to Texas when he was ten.

The music began with ‘What’s This World’, a smooth jam reminiscent of The Grateful Dead, I heard one spectator say. Returning to The Ark after a stint here in January, The Heathens brought along a few shameless plugs of their newest record, ‘One Foot in the Ether,’ off of which they played the next few songs, including ‘Say’ and ‘Talking Out Loud.’

The three leading members of the band would switch instruments almost constantly, from acoustic and electric and slide guitars, to keys, and back again, sharing vocal duties. A spot of technical difficulties came and went, but did nothing to dampen the enthusiasm of the crowd, who joked with the musicians and shouted out requests; there was even the obligatory “Freebird!”

And when the equipment was finally repaired, they soldiered on with a song entitled ‘Hallelujah’, a tune rejoicing more about life on the open road than about working microphones or speakers. The harmonies carried on through my personal favorite number, ‘L.A. County Blues.’

There is a certain amount of mystique and expectation that comes with a name like The Band of Heathens. But some listeners might argue that they aren’t heathens at all. Rather, their music carries some Christian connotations. This is perhaps most prevalent in the Baptist church-inspired ‘Shine a Light’ and the ‘Judas ‘Scariot Blues’, a number which was dedicated to “the original goat and heathen.”

Indeed, the numerous references to God would make some listeners wonder if there is some other point to be sold other than the music. But religious allusions took something of a backseat to clever double-entendres and good Southern cookin’ with the end of the evening’s crowd-favorite, ‘Cornbread.’ And when the whole thing was over, the near sold-out room was brought to their feet.

The Band of Heathens has garnered a large following that snakes its way all across this great land of ours. And they’ve managed to add one more person to their fan base. I eagerly look forward to their return to Michigan.

Review by: Ashley Trombley

Looking to see a The Band of Heathens in concert in your neck of the woods? Check out www.razorgator.com to see if they have any available.

Temperatures hovering near freezing did nothing to keep the masses away from the Fillmore theatre on Saturday night. The marquis outside the building warmly welcomed concertgoers, promising them a rocking experience. And so it was, with Puddle of Mudd, Shinedown, and Skillet comprising the bill for the evening.

At 7:28 PM, the lights dimmed, and Skillet took the stage. I had long since been a fan of the band, but had never had the chance to see them live, until now. "Let’s get this party started!” front man John Cooper shouted to the crowd, who were eager to warm themselves up before the main event began.

Skillet pounded out their song 'Hero' under the glow of blue and white lights. They played a few more numbers, eventually coming to an admittedly cheesy “love song” called 'Believe.' The most-anticipated part of their set came with the absolute jams 'Monster' and 'Rebirthing,' essentially the two biggest singles from Skillet’s most recent two albums.

But before they left the stage, Cooper addressed a very important subject, one that was undoubtedly on everyone’s mind: Naming the band. “Yes,” he said, “we were named after a frying pan, and yes, I think it’s stupid, too!”

The set changes happened at a steady pace, and by 8:15, Skillet’s banner was peeled back to reveal that of Puddle of Mudd: A winged cross with a human eye in the middle that stared expectantly into the crowd. “Get up out of your seats and have a good time!” commanded Mudd lead vocalist Wes Scantlin.

On that cue, the bassist and guitarist let fly several beach balls into the audience, which bounced around throughout the opening numbers 'Control' and 'Famous.' After that point, the beach balls mysteriously vanished and were replaced with the simultaneous pumping of fists. Bassist Doug Ardito launched his half-full water bottle into the raucous crowd during the intro to their current radio hit 'Spaceship.' Oddly enough, it wasn’t the only beverage to be tossed about over the course of the evening.

'Blood On The Table’s ending was punctuated not by the cheers or whistles or devil-horn hand gestures that had accompanied the set thus far, but rather, spirit fingers; an action that I found to be wholly amusing. We were then told to high-five and get to know our neighbors, which for me ended up being a few biker-looking guys and their girlfriends. During this little lull in the music, I repeatedly heard one fellow behind me mistakenly refer to singer Wes Scantlin as actor Wesley Snipes.

As the case of mistaken identity carried on, I took notice that while Scantlin didn’t resemble Snipes in the slightest, he did look a little like the late Nirvana vocalist Kurt Cobain; with his long, blonde hair and even the flair with which he played the music.

Either way, I’m sure Scantlin would be flattered to hear of the comparisons. Drummer Ryan Yerdon officially became the hardest-working member of the band during 'Take It All Away.' His steady, driving backbeat propelled the audience onward to synchronic, side-to-side arm waves.

By now, it was midway through the set, and Scantlin decided to show a little love to not only the audience, but also to the crew, and press. “Thank God for Detroit,” he exclaimed, “and thank God for the Fillmore!” A few seconds later, the band plunged into 'Stoned,' one of those appropriate-for-the-occasion fan-favorite songs. During the number, a few of the rowdier front-row members attempted to start a mosh-pit, but couldn’t get everyone else to join in.

When 'Stoned' was finished, Scantlin gave a quick “Thank you, goodnight,” and the four members began to walk offstage. Greeted by boos, they quickly returned, grinning slyly, as though proud that their gag had fooled the audience. To reassure that they weren’t going anywhere anytime soon, Puddle of Mudd performed another crowd pleaser, the lyrically simplistic - yet incredibly catchy - 'Psycho.' There was an overwhelming sense of audience participation with another quasi-mosh happening at the chorus.

Paying homage to the hard rock masters that came before them, the band performed a cover of AC/DC’s 'TNT' that was nothing short of - excuse the pun - explosive! Until now, the people up in the balcony had all but been forgotten by those of us in the thick of things on the main floor. Looking up, one could clearly see that the folks up top weren’t as wild as the rest of us, but no less crazy.

Scantlin then took things down a notch with a softer, acoustic batch of songs including 'Already Gone.' The other three members reappeared just in time for their set-closer, 'She Hates Me.' The tune dissolved in the middle, and eventually morphed into the chorus of 'Summer Nights' from Grease. Guitarist Paul Phillips shredded the lead guitar right back into 'She Hates Me' which ended on a big rock and roll flourish.

And then they were done. As the way was being prepared for Shinedown, Puddle of Mudd’s set was dismantled to the tune of their final number being played in a Vince Guaraldi-esque piano motif.

The night wore on, but the crowd was still going strong, and Shinedown’s appearance at 9:27 PM only seemed to further electrify the atmosphere. The area closest to the stage was almost completely packed, and all of the sardines were raring for what they were convinced was going to be another awesome addition to the evening. But Shinedown wasn’t a hit with everyone - I found the lyrics to at least their first three songs nearly impossible to decipher!

The songs seemed harder than the band I’d heard on the radio mere hours before. 'If You Only Knew' was the singular bright spot, spared, somehow, of the ferocity that plagued other numbers. Frontman Brent Smith addressed the crowd with the news that no one was really surprised to hear: The concert had sold out two nights in a row.

At one point, Smith jumped into the audience and hung around the first few rows, instructing everyone to jump around…and jump around. After the expected 10:30 PM end time passed, the band finally decided it would be a good idea to make their final statement: Sometimes goodbye is a second chance.

I acquired a pair of tickets to a concert full of bands I’d never seen, had hardly heard of, and would have been quick to denounce. But together, Skillet, Shinedown, and Puddle of Mudd - especially Puddle of Mudd -broadened my musical horizons, and in the process, rocked my socks off!

Review by: Ashley Trombley

Looking to see a Puddle Of Mudd in concert in your neck of the woods? Check out www.razorgator.com to see if they have any available.

Essentially, 'Jersey Boys' is the story of how four blue-collar kids became one of the greatest successes in pop music history. They wrote their own songs, invented their own sounds and sold 175 million records worldwide – all before they were thirty!

That said, and with nearly three dozen songs that hit the top of the charts decades ago (and yet still remain sing-along favorites), this riveting portrayal of the lives of Franki Valli and The Four Seasons goes way deeper than simply being a tribute band night out.

Sung (initally) in French, the story unfolds to the backdrop of 'Ces Soirees-La' = 'December 1963 (Oh What A Night)' before the nights main narrative is brought forth by Tommy DeVito (Matt Bailey). It's then, as we listen in on his tales of the rise and fall of The Four Seasons, that we quickly realize just what the band, and its members went through back in the '60s.

The tidy art of DeVito's storytelling reveals that it was he himself who discovered Francesco Stephen Castelluccio (aka Frankie Valli, played brilliantly by Joseph Leo Bwarie) and brought him into the group one night. It was he who taught the kid about the two types of women ("Type A and Type B"), and that it was he also that persuaded the boy wonder to join them on his first jewelry store heist; that, of course, went wrong!

Indeed, a lot of time was spent behind bars for various members of The Four Seasons, Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi, but in DeVito, the felony-addicted Jersey Boy they had a parentally-minded driving force quite like no other to keep the group together.

"My hand to God" (as founder DeVito might say), this stage show is packed with musical wonderments and personal revealments that, well, even I didn't know anything about! Castelluccio (showcasing Bwarie's fluid falsetto) makes his debut as a core member of the band at The Silhouette Club, but it's at Mangio's Pizza where Frankie Castelluccio became Frankie Valli ("... with an I not a Y"!).

A fake killing to try and extort money from a young, naive Valli is next (but be warned, this scene contains high doses of dark profanity throughout - not for the kids!), followed by more name changes - The Four Lovers, The Wonder Who? - but it's when the band is introduced to Bob Gaudio (Josh Franklin) by none of other than (later-to-be-famous-actor) Joe Pesci, that the bands musical backbone becomes solidified. For the 15 year-old boy who had co-written the hit '(Who Wears) Short Shorts' as a member of the Royal Teens in '58 was a lyrical genius.

As the backdrop of early group arrangements and single wannabes accompany their every move - 'You're The Apple Of My Eye,' 'Earth Angel,' 'My Mother's Eyes,' 'I Go Ape,' etc. - the band go through a self-doubting phase; until suddenly a song that comes out of nowhere by Gaudio takes them to the top of the charts and onto American Bandstand - 'Sherry.' And the way they show this 'filmed' on stage is incredible and a definite highlight of the night.

The fast-paced show then gives us the origins of their next hits, 'Big Girls Don't Cry' and 'Walk Like A Man,' before (and weirdly, as it is the only time it is sung during the night, and only by Gaudio, and only a third of it at that!) 'December 1963 (Oh What A Night)' is brought forth. The Angels' with 'My Boyfriend's Back' is a nice '60s Vegas visual touch before the break-up of Valli's marriage ('My Eyes Adored You') is revealed.

But, as the groups flamboyant producer, Bob Crewe (Jonathan Hadley), a legendary music-business showman who throws out astrological proclamations like candy, it's definitely his help that creates hit song after hit song for the band. Nothing more so than when the Four Seasons (now finally named after the witnessing of an old bowling alley sign coming to life with its own real name!) go on the Ed Sullivan show and perform amidst the British Invasion, 'Dawn (Go Away)' to a studio of screaming young teens.

Culminating that performance with their backs to us, leaving us blinded by the huge studio lights they endured back then, the boys took their TV bow in some strikingly-visual style. But then, to the faint reprise of 'Walk Like A Man' the story's dark side comes back, as the band is given the news that DeVito owes the bookies $150,000.00!

Intermission

The seamlessly-directed production restarts with some pop-art inspired backdrop projections (by Michael Clark) and to the musical vibes of 'Big Man In Town.' The band get arrested for an outstanding $120.00 hotel bill from days gone by, and Detroit gets a personal shout out - as Valli falls in love with a local newspaper reporter, Lorraine (Alterman). 'Beggin' is sung at a club to a local mobster (one on their side, luckily) to ask for his help in getting DeVito out of the monetary mess he is in, but all he can do is get the loan payment delayed, sending DeVito to Vegas to be watched over!

Taking on their shoulders DeVito's $150,000.00 bookie debt and the $500,000.00 tax lien, the band reduces down to just two members (Gaudio now leaves) under the monetary weight. Together with Nick Massi (original cast member, Steve Gouveia - a musician who stereotypes himself as "the Ringo" of the group!), Valli then gets a couple more songs out before Massi also quits the band (for personal/selfish reasons). Vallie recruits a whole new backing band and changes the group officially to Frankie Valli and the Four Seasons, hence the first song they record, 'Opus 17 (Don't You Worry 'Bout Me).'

With no medleys in sight, yet some classic songs cut way too short for a devoted audience, we next witness the break down of Valli's relationship with his daughter, Francine ('Bye Bye Baby'). With worse news on the front to follow soon enough, the band take new song 'C'mon Marianne' high into the charts. But it's a highly notable turn at the Roostertail (Detroit) that provides an all-important role in this story, as their wonderful 'Can't Take My Eyes Off You' finally breaks; bringing the band one of their finest chart moments ever!

But, with trouble brewing on the home front, Valli goes back home ('Working My Way Back To You') to confront his ex-wife about their daughter - but, after a an all-too-quick phone call with Francine, a hot moment later and she is found dead of an overdose. 'Fallen Angel' is one of the most incredibly sung, acted moments of the night; the powerful scene still bringing a tear to my eye writing this.

The Four Seasons (original group members, 1960–1965) were then inducted into the Rock and Roll Hall of Fame in 1990, singing 'Rag Doll' for the occasion. Admitting that none of them would have guessed they'd still be together some 40 years on, they each reveal what they have subsequently done: DeVito now works for Pesci; Gaudio loves his boating; Massi passed away on Christmas Eve 2000 ("... for a Catholic, is that style or what?" - DeVito); and Valli himself, well, he is still out there singing and doing what he loves the most - entertaining.

And so, to the full company group ensemble piece, 'Who Loves You,' everyone comes out, takes their bow, and with the entire stage lit up like a Christmas Tree, we finally say goodnight to a musical that, even after all this time, just seems unstoppable.

And, on a personal note, I'm sure a very special now-passed-away Auntie of mine loved every second of the show, from her seat next to me.

So, my partner in crime Lauren Galasso and myself attended the Sun City Carnival Tour (headlined by Kenny Chesney) and featuring, among others, Sugarland at Ford Field in Detroit, MI. With Lauren knowing every song and ecstatic to be there, I have to admit I myself was viewing musical acts that I wasn't too familiar with.

What I didn’t realize before the show was that I recognized and was able to sing along with almost every song that was played. Sugarland consists of Kristian Bush and Jennifer Nettles. The group has become very popular because of the lead singer Jennifer Nettles ability to bring incredible emotion and soul into the music.

They opened with a song that showcased just that talent, 'Love.' The band moved from there to 'Settlin', then 'It Happens,' and 'Baby Girl' - where the graphics were mostly cute pictures of Jennifer Nettles growing up. 'Want To' was next, then 'Already Gone,' 'Stay,' and 'All I Want To Do.'

At this point, Sugarland played a medley of 1980’s and early 90’s pop songs. Everything was included from Madonna’s 'Holiday' to Salt-N-Pepa's 'Push It.' Jennifer Nettles said how wonderful it was to be in Detroit at a beautiful Ford Field and asked if everybody was having a good time, before returning to the music with 'Down In Mississippi (Up to No Good)' - which featured casino pictures splashing randomly across the background.

A Country Music chart topping version of Bon Jovi’s 'You Can’t Go Home' was next. 'Something More' followed, and the set closed with a fun version of Katrina and the Waves' song 'Walking on Sunshine' with Jennifer playing the tambourine. Towards the end of the song, the curtain covered them as the lights came up and the music died. During all of the songs, an endless sea of people were dancing and singing along. I found myself to be one of them by the end of the show.

Arriving at DTE Energy Music Theatre at 3pm for an 8pm concert with a wooden fin attached to the car confused my 18 year-old sister! She, of course was a Buffett Virgin! If you have been to a “phlocking”, you understand. If you have not then I will try to explain.

As we started to drive into the parking lot, her expression was nothing short of astonishment as not only was the parking lot full, but what it was full of. College Football tailgating is nothing compared to the big leagues of a Jimmy Buffett concert! There was a sea of decorated cars, trucks and motor-homes. We parked next to a van with a 3 foot plastic pirate parrot tied to the top. That came in handy as a marker to find the car.

Everyone seemed to have some sort of a gimmick. The ladies across the parking isle had a wheel of fortune game where spinning the wheel gave you a task. Down the isle of motor-homes a gentleman was painting parrots on women wherever they wanted. My sister chose her left calf. Margaretville Tequila and food goods was there giving free samples of their non-alcoholic products, as well as temporary tattoos. Different creative games and displays were seemingly endless with everyone in sight having a good time smiling and laughing and eating grilled food.

We met people dressed as clowns, pirates, and beach bums. We even met several people in shark suits. There were the Buffett followers for Jesus and the Femme’s for Buffett too. (Lesbian awareness group I guess). People from all over the country and even some from other countries, all coming to party were there. We ran into several Buffett virgins other than my sister. Most were excited to be there, but there was this one young man who was forced by his sponsors to wear a bulletin board describing that he was a virgin and seeking advice on how to behave!

Anyway, after the parking lot for 5 hours was the concert... beach balls bouncing, tropical images everywhere, a sea of people cheering. Jimmy was in the house!

"Hello, Michigan," announces Buffett, as he takes the stage with his customary Jamaican ribbon wrist bands. "Not only do you finally get a summer night, but you also get THIS," and with a single broad wave, the music ignites and we get 'Lage Nom Ai.' 'Stars on the Water' (modified to 'Stars Over Michigan') is next before he speaks again: "Thank you, Pine Knob is my favorite spot ... except for the economy! But I'm delighted to be here and I love Michigan. I love the Parrot-Head Fans and the crazy cousins from Canada. We need to get in the mood and set the curriculum. Oh yeah, our Professor of Chronology has broken clocks, they all say 5:00pm!"

'5 O'clock Somewhere' is obviously sung next and after acknowledging that we have "tropical weather in Michigan" he heads straight into 'Manana.' 'Volcano' is next and after he acknowledges the abundance of drink here in Michigan, Buffett then references the economy, healthcare, his take on death panels and how to escape them, unemployment, cash for clunkers, and getting old! He then introduces 'Mac' McAnally, Jr. as a good friend and support ... and the that very same man then plays an acoustic guitar while Jimmy Buffett sings, 'Why Don't We Get Drunk and Screw.'

Intermission:

During Intermission, it was the usual scenes from the parking lot as well as beach, surfing and sailing with tropical background music. Bob Marley’s “One Love” sang by people all over the world, throughout Africa, Europe, Asia, South America, The Far East, Middle East, USA digitally mixed together dominated the latter part of the intermission.

During the end of Bob Marley’s song, a ukulele could be heard playing along with the rhythm becoming more dominant than the soundtrack. It turned out to be Jimmy Buffett playing solo. As the lights faded from the screens and the stage lights came back up Jimmy started to sing and The Coral Reefer Band joined in.

Buffett then spoke about the hard times in Michigan and having an understanding about what’s going on here. He said that the song, 'Nobody from Nowhere”' was written with Michigan in mind. "Please welcome Ilo from the land of Volcano’s. I met him in a bar. My bar!," Buffett then proudly announces, as then Ilo sings a song that he wrote as a child. Buffett then introduces the band members and their titles as Professor of, guitar and vocals, keyboard and vocals, etc.

'Southern Cross,' 'Gypsies In The Palace' (which Tina, a beautiful beach bunny from Daytona, FL. here extending a business trip, had snuck in somehow to sit next to me, and informed me that Buffett gets an A+ ... and that she would trade her Dad for him if she could!), 'A Pirate Looks at Forty,' and then the obligatory 'Fins.'

Waving goodnight to the crowd, Buffett is soon back on with the first encore song, 'We Are The People Our Parents Warned Us About,' he follows it with The Beatles' 'Yellow Submarine,' before he ends with, "I had a wonderful time, thank you!" And, for good measure we get a quick second encore song of 'Lovely Cruise' before he is finally gone for good for the night.

After the concert, was the parking lot. There is no use in trying to leave, just relax, watch the dis-assembly and wait for the rush to die down with a diet Coke and a grilled hotdog. Our lovely blond no longer a Buffett-virgin tried to describe her enthusiasm and her desire to come again next year. One more and we might have a bona fide parrot-head on our hands!

Paolo Nutini, a Scottish singer/songwriter from Paisley, can give you one of two shows - he can either be his usual self, where he comes across as seemingly drunk, high, talking mixed, slurred gibberish to the audience, and blatantly unaware of anything save for his extraordinary vocal tones; or he can be caught in a studio's spot lights, perched atop a stool, strumming acoustic-style, his voice pitch perfect, his eyes not prone to rolling in the back of his head!

Tonight, yep, you guessed it, we got (as most people seem to also relate to along the length of this tour thus far) the former! Which is not to say that there is anything less lacking in the show, far, far from it, but you do just keep your fingers crossed that he doesn't at some stage barrel off into the crowd, or worse still, fall flat out into the pointy drum kit!

Arriving on stage at 9.50pm, the small, un-air conditioned venue packed to the seams, standing room only, the band take the stage ahead of Nutini. And then, as he makes his way to the mic, head and shoulders hunched forward (a theme for the night), the crowd find their voices of praise and delight. Kicking off with the upbeat 'New Shoes,' halfway through the song and his face is streaming with sweat. 'High Hopes,' a new song from 'Sunny Side Up' is next, followed by 'Alloway Grove,' and 'Pencil Full Of Lead.'

But, it's when he comes up for air, thanking the crowd, graciously accepting their prolonged applause, that the quietly-beautiful, 'Loving You' is brought to the fore - and becomes one of the top 3 songs sung live that night. The small, tiny-small stage fits the 7 musicians in a very cramped manner for sure, but they avoid each other masterfully throughout the set. "Thank you," speaks Nutini, on a rare moment of chat with his fans, "does anyone know Little Walter? No, well, this is his song," and we then get 'Mellow Down Easy' [which was actually written by Willie Dixon, but what the hey!]

'Last Request,' a song amazingly released some three years ago now is next, and simply features Paolo and the keyboardist, together with the harmonies of the crowd. A guitar solo next for 'These Streets,' lit by the solo spot is good, but it's when the band joins in the song really takes off. The very folk-infused 'Growing Up' is next and has people swaying back and forth as if they were on a ship. And after some completely inaudible speech from Nutini, we get the below-par 'Chamber Music' - although it does feature a triple guitar duel midway for kicks!

Hit new single 'Candy' has everyone alive and in love with him again though and is followed by the rockabilly influenced 'Funky Cigarette.' "I hope you enjoy this next song," he then pleads, hands clasped together as if in prayer, and soon we are knee deep in 'Coming Up Easy.' Then, to the range tones of his 'Hi Di Hi's, it runs flawlessly straight into a fantastic, spot on cover of the old Coasters song, 'Down In Mexico.'

"We've got a few more if you want to hear them," Nutini asks the crowd, and so backed by some funky horns, the ska-influenced '10/10' is next and totally rocks the house. The slow, No Other Way' is next which ends the main portion of the performance, but they quickly come back on (Nutini's neck now wrapped in a Celtic FC scarf) and give us both 'Tricks Of The Trade' (another slow, and short guitar solo moment for him), and the bluesy 'SleepwalKing.'

And finally, bringing the passionate, uplifting and sweaty musical journey to an end, Nutini announces the final song of the night - and it wasn't what the crowd were either expecting, wanting, or baying for, trust me! Instead of his monster hit 'Rewind' we got 'Jenny Don't Be Hasty' from his debut album. Ending with a thank you, a bow of the head, he wipes his face on the white towel, throws it into the audience, waves goodnight, and leaves every single person in the crowd wondering just why 'Rewind' hadn't been sung! Shame.

Asia, the rock group formed in the early '80s was always a band labeled as a "supergroup." Including former members of veteran progressive rock bands Yes, King Crimson, Emerson, Lake & Palmer, Uriah Heep, Roxy Music, Wishbone Ash and The Buggles, and as of 2008, there are actually two distinct groups using the Asia name: a reunion of the band's original line-up performing as 'Asia,' and 'Asia - Featuring John Payne,' featuring three members from later incarnations of Asia.

Tonight the one that opened up for the mighty Yes was the former - with guitarist Steve Howe doing the honors in both bands! Taking to the stage, one by one, the visibly aged band kicked off with 'Wildest Dreams' and 'Only Time Will Tell' before John Wetton speaks to the crowd, "How are you all? It's been 26 years since we last played here - right here," he says, now pointing at the stage itself. 'An Extraordinary Life' from the recently-released Phoenix album is next. "If you cast your minds back to the very first pair of hands you saw in our first video, they were his," he says, now pointing at keyboardist Geoff Downes, who plays the intro to The Buggles' 'Video Killed The Radio Star' - complete with megaphone chorus and extended ending!

Once a stadium favorite at U.S. sporting events, Asia may not look like your typical rock band any more, but man, do they play as good as they ever did. With Wetton's vocals as spot on perfect as they were back in '82, it's Carl Palmer up next to speak. "Hello, we've got some retro stuff for you through the evening. And so, as John was in King Crimson, he's now gonna be in the 'Court of the Crimson King' for you tonight." With the crowd watching it, sat very still in their seats, trance-like even, upon its ending they all rose in unison and gave a two minute standing ovation.

"It's great to see you all tonight and we've got plenty more good music for you," Downes announces, before keying us into acoustic versions of both 'The Smile Has Left Your Eyes' (which sounded great slowed down), and 'Don't Cry' (which should never have been slowed down!). Although Steve Howe's electric mandolin playing was wonderful!

Wetton's announcement that they were going to do another song from their murky past and that it featured a drum solo from Palmer meant that up next was ELP's 'Fanfare For The Common Man.' And wow, what an energetic drum solo it was! Putting the once-great Tommy Lee himself to shame it featured all his signature drum solo moves, including cymbals and duel gongs! 'Sole Survivor' was next, before Wetton's question to the crowd if they wanted to hear one more was (obviously) greeted affirmatively, and so 'Heat Of The Moment' sprang forth. Ending the song with Downes on portable keyboards, rockin' out center stage as if he had an electric guitar, the crowd joined in the chorus over and over ... until it was over! "Thank you, you've been great - and we'll be back in another 26 years," jokes Wetton, as he and the band wave furiously to their fans before leaving exit stage right.

Yes, the English progressive rock band that formed in over there in London, England in the late '60s are a band whose music is marked by sharp dynamic contrasts, extended song lengths, abstract lyrics, and a general showcasing of instrumental prowess.

And tonight, trust me, all that fell into place, song by song, as usual! Taking the stage as quietly as Asia had done an hour before, the (original) band members of Yes already looked tired! Getting straight into it with 'Siberian Khatru,' the nine minute opener certainly allowed any naysayers re: Jon Anderson's replacement, Canadian Benoît David to hang their heads in shame! David's distinctive high-register lead vocals, much like when Steve Augeri replaced Steve Perry in Journey back in '98, were pitch perfect identical (give or take) to those of Anderson.

'I've Seen All Good People' allowed the crowd to find their voices, if not their feet. "Thank you all for turning up on a Monday night," Chris Squire announces to the crowd, before introducing the two newest members to the band - the aforementioned David and Rick's son, Oliver Wakeman on keyboards. The instrumental beginning turning to rock trip 'Tempus Fugit,' together with its ever-changing colorful light show, all keyed by a tremendous Squire bass line was next - before Howe (doing double duty in both bands) states that they're now going to take a look back at the vintage Yes years - and then gives us 'Astral Traveller.' The prog-rock band then played their collective way through the lengthy song, midway all but Alan White leaving the stage, allowing him to drum solo. Not in the same league as Palmer, it seemed to be in slow motion, if truth be told.

Now bathed in pale blue spotlights, opened by another Howe guitar moment ("Just when you thought Steve Howe was going to get a rest, he's taken over from James Brown as the Hardest Working Man in Showbusiness," Squire laughs), 'And You And I' (Cord of Life/Eclipse/The Preacher the Teacher/Apocalypse) is next. Then there's even time for Howe to take the solo spotlight for some guitar pickin' acoustic music, as he shows us his skills for a few minutes, changing the tone of the show completely. A stunning mini performance, everyone is back up on their feet, clapping like crazy at songs end.

"OK, we're now going to do a song that was a big hit for Yes, back when I wasn't in the band," Howe laughs. "I was off doing other things." The fantastic, and eagerly awaited 'Owner Of A Lonely Heart' is brought to the fore and the crowd is up on their feet and lovin' it! An extended version with a fantastic light show, once ended the standing ovation pose was back in style! Announcing that the opening song from their Drama album, 'Machine Messiah' is next, the song is yet another strong piece that allows both Howe and Downes to shine. It also features, for the first time, the acoustic guitar and tambourine work of David - not to mention a stage full of a sea of dry ice for extraordinary visual effect!

'Roundabout' is a fun, lengthy tune that comes next and pushes Squire center stage to enjoy some guitar limelight. David ensures that all the audience is now up on their feet by beckoning wildly that they indeed do so - and, they all do! "Thank you," Howe says, "we've got one more left for you - this is 'Heart of the Sunrise'." And with that, the band head off into the symphonic song in style. Having taken a quick group bow, to yet another standing ovation, they don't hang around in coming back and performing their true last song of the night, the eagerly awaited (and at times bayed for), continuous cadenza of chords known affectionately as, 'Starship Trooper'!

Whitesnake, the typical, hard working, hard singing English hard rock band, founded still-to-this-day David Coverdale may have lapsed in their group cohesion of the last few years, but tonight they performed as if it were 20 years ago!

As Coverdale walks out on stage, unannounced, all casual-like, his beaming smile dazzles all that fall under it. Sure his tanned face isn't as young as it once was, and sure his waistline might not be as slim as he'd hoped for these outdoor shows, but man, can that dude still control a set of classic Whitesnake songs!

After a brief intro we get 'Best Years' which segueways into 'Bad Boys' and 'Love Ain't No Stranger.' "It's good to be back, Detroit, as always," he pays comment. "And tonight is an anniversary night of sorts, because 25 years ago we released 'Slide It In'!" 'Slow 'n Easy' is next. "With your permission," he continues, "we'd like to do a new song from our last album, 'Good To Be Bad' ... so here's 'Lay Down Your Love'."

As the baking hot sun cooked down on us all, Whitesnake pounded the stage with their band of young, good-lookin' guitarists for the ladies. A guitar stand-off between Reb Beach and Doug Aldrich is next up, but turns out to be more of an elongated 'here's me, now you' session for ten minutes. But, their guitar work feeds neatly into 'Crying In The Rain,' complete with mid-section drum solo from Chris Frazier.

The fact that Coverdale can quite clearly still hit those beloved wailed high notes is a tribute to his vocal tones, but, and as we head into the final few songs of the night, it's plainly obvious it's all at a price. For, and with the band intros over, we slide into 'Is This Love' effortless, but he seems to be allowing the audience to sing more of the words than I've seen before. "Here's a song for ya," he shouts into the mic, "so make some f**kin' noise, Michigan," before he heads into 'Give Me All Your Love' and the barnstormer, 'Here I Go Again.'

Coverdale is now obviously losing his normal singing voice, and so brings the crowd into the lyrics more and more, to the dismay of some hardened Whitesnake fans around me. Another throaty scream towards the end of 'Here I Go Again' keeps the crowd clapping, before 'Still Of The Night' closes the show in magnificent style. "Thank you for your hospitality," he says, as the band group together for a final bow (the throes of 'We Wish You Well' gently playing behind them), "and don't let anyone ever make you feel bad."

Judas Priest, yet another classic English heavy metal band from Birmingham, broke up a while ago, but after almost twelve years apart, the band and original lead vocalist Rob Halford announced in 2003 they would indeed reunite.

Tonight though, as the huge curtain came down to reveal the band on stage to their adoring fans, it was Halford's static stage presence that bewildered most all. Two songs in and Halford hadn't even left his stage center, back from the edge, hunched over his mic stand like some threatened schoolboy protective of his lunch money! Then, coming to the stage front, he finally speaks. "The Priest is back! Tonight we're gonna do something special. As it's the 30th anniversary of the 'British Steel' album, we're gonna do it all for you tonight."

'Breaking The Law' is next and is greated by one and all in absolute musical jubilation, for they now knew that front to back, JP were going to unleash every track from 1980's 'British Steel' album. 'Rapid Fire,' 'Metal Gods,' 'Grinder,' 'United' and, of course radio fav 'Living After Midnight' all are sung to the max that Halford's vocal tones could plummet the depths of! At this stage, the fact that Halford kept coming on stage to only solo and then went sidestage hidden while the guitars did their thing wasn't questioned. However, later, it was ... more than once by people around me!

'Don't Have to Be Old to Be Wise,' the brilliant 'Rage' (complete with lime green flashing-thin strobe lights), and 'Steeler' kept the show rolling along, but I couldn't help thinking that the three guitarists looked just like Spinal Tap! Anyway, the next song to get the crowd all riled up was the dark tale of 'The Ripper.' Set out in red strobe lights it looked the part for sure. From their concept album came the violently heavy 'Nostradamus,' complete with backdrop of said man and his glowing red eyes, and then was followed by 'Hell Patrol.'

With Halford still wrapped up in his multiple layers of leather clothing, his well-rounded belly hidden for the most part, but not always, the two lead guitars come to front stage and wailed, whilst Halford dug deep into a long version of 'Victim Of Changes' to bring the set to a close.

To the sounds of many motorbike revs, Halford then comes back on stage sitting atop a gleaming machine. Now adorned with a long, glitterball-styled leather jacket, he then proceeds to sing 'Freewheel Burning' slightly hunched over it, facing far stage left! Even on 'Burn In Hell' he only manages to gently get off it and kneel one knee on it; his now-in-place classic cap's brim completely covering his eyes!

The bike off stage now, and Halford in a less shiny, but equally long leather jacket, 'Blood Red Skies' is next and as everyone starts to look at their watches as the 11.00pm witching hour fast approaches, the last song of the night, 'You've Got Another Thing Coming' is brought to the fore.

KISS, the all-American rock band formed in New York City back in '72 have never looked back since those original heady, uncertain days. Easily identified by their trademark face paint and stage outfits, KISS rose to prominence in the mid and late-1970s on the basis of their elaborate live performances - featuring fire breathing, blood spitting, smoking guitars, and pyrotechnics! And with their original line-up, together with their makeup and costumes, they took on the personae of comic book-style characters: The Demon (Simmons), Starchild (Stanley), Spaceman (Frehley), and Catman (Criss).

Tonight here at a near-packed 5,000 Caesars Windsor Casino house, come the 9.15pm witching hour, the house lights shut off, the crowd rose to their feet, and cometh the hour, cometh the band.

An announcing voice is the first thing, as usual, to greet us: 'You wanted the best. You got the best. The hottest band in the world ... KISS' - which is followed by the large black curtain falling and Paul Stanley, Gene Simmons and Tommy Thayer being lowered down from the back on a huge platform into the sight of their adoring legion of fans.

Here to promote their 2008/09 European KISS Alive/35 Tour, the three guys immediately come center stage to rock out 'Deuce.' Next up is 'Strutter,' which allows all the guitar-slingers to come front of stage, one by one to get some immediate face time - with the audience, and in the case of Simmons and Stanley, us press! Simmons' saliva-coated tongue is straight out of his mouth, lickin' his strings up and down, whilst Stanley quickly gives us his trademark guitar-playing-between-the-legs routine!

"We played to 22,000 last night," Stanley announces between songs, "and I want to tell you, size doesn't matter!" With that they launch into 'Got To Choose,' 'Hotter Than Hell' and 'Nothin' To Lose.' "This is the greatest part of the country," Stanley says. "I want you to know that. Anyway, we have a new album coming out in October and it's gonna ROCK!" 'C'mon And Love Me' is then brought to the fore, but then with Stanley stating that he thought they needed to turn up the heat a little bit, the much heavier 'Parasite' allows Simmons to have a turn at the mic.

With the huge KISS-lit sign always behind them pulsating, dazzlingly at times, the band continued onwards with their pure rock show. 'Watchin' You' is next, but not before a little Led Zeppelin riff is played by Thayer. His guitar over his head, behind his back, the stage lights off save for a white hot spot and some dry ice for further effect. To cap it all off, come his own finale he fires three firework explosions out from his guitar neck!

"Here's one we never, ever don't do ... '100,000 Years'", Stanley announces, the opening of the song down to Simmons and his thumping bass lines. Complete with a long, oh so long, Eric Singer drum solo - he himself on a raised drum set high in the sky, smoke firing out from beneath to simulate a rocket lift off - it's not long after he's finished that Stanley, and not for the first time tonight, gets a little shirty with the crowd. "Windsor, I want you to sing for me tonight." He sings, they don't. "I gotta break it to you, Windsor, that sucked! OK, catch your breath as we're starting it again!" This time they get their voices louder for their hero. "That's more like it. OK, now, when I put my hand up I want everybody to shout, Hey!" He does, they kinda weakly do. "Come on, Windsor. Do you feel alright? Let's try it again." This time, and after many, many air fist punches, the crowd is there for him all the way.

"This next song is about alcohol," he says, as the band head into the Simmons-sung 'Closing Time.' With enough time in-between songs for Stanley to make fun of a couple kissing in the front row while they were playing, 'Let Me Go, Rock And Roll' is next up, complete with a long Thayer solo break ... again. By now Simmons' chin makeup is all but off, his eyes leaking black eye liner, his entire look that of the clown from 'It'! Stanley's hasn't budged an inch, still looking vaguely effeminate in imagery, it's only his hair that seems sweaty.

Next we get a Stanley guitar solo which starts out one-handed, nonetheless, before he heads into 'Black Diamond.' "I want you to sing and clap along with me now," Stanley announces. And they do, but not to his level of wish. "For God's sake, sing something will ya!" he then fires back at them. They try again and they (obviously) fail again! "Can you imagine how good it'll be the next time we try this?!" Finally finding their true vocals, the crowd sing along with the chorus for Stanley. "That was awesome. Thank you, Windsor".

One large pyro blast later and Stanley's back at the mic. "Windsor, I'll tell you something. We're living in a world of turmoil - T.U.R.M.O.I.L. - but rock 'n roll will save us. So, we're gonna do a song tonight to bring the world together, because we wanna 'Rock And Roll All Nite,' people!" Cue the monster confetti cannons into action and suddenly the entire indoor arena is being showered in small bits of glittery paper shards - for the entire song! Once that euphoria has died down, Simmons comes center stage. Beating on his bass, a white hot spot the only light on him, the other two guitar slingers strut around the stage. Stanley fakes the infamous Pete Townshend guitar breaking swing six times ... before he finally does it for real!

"We love you, thank you," Stanley admits, before the lights come down and the band leave the stage. Coming back for the first encore song, the KISS-lit sign pulsating so vividly in the darkness it was enough to make a blind man see, the band come back on and have a photo taken with their backs to the now-fully-lit crowd for their website. "You don't wanna go home, that's good," he says, as they break into 'Shout It Out Loud' and then crowd favorite 'Lick It Up' - complete with a mid chorus guitar break off into The Who's, 'Won't Get Fooled Again'!

They leave the stage again, but quickly return with Simmons alone, center stage, standing in a flow of dry 'red' ice, adorned by a white spot from above, as he bass beats his own intro. Complete with 'blood' pouring from his mouth in some comic book, comical B-movie horror moment, he laps it up (literally), before the wired-for-flight musician is hoisted (violently and erratically) up into the Gods ... to finish 'I Love It Loud' up there on the slightly-now-lowered lighting rig!

"This was a big hit around the world," Stanley cites, as they break into the soft rock favorite, 'I Was Made For Lovin' You,' before soloing a vocal-only intro into 'Love Gun.' "OK," he finally says, the sweat now clearly starting to erode his forehead makeup, "We got a song about rock in a city. But that city could be you guys here tonight. The rock city we love tonight is you, Windsor ... because you are our 'Detroit Rock City'!" Culminating in a spinning wheel of mini-fireworks, added quickly to with some blazing white larger fireworks, the last chords were struck, the band left the stage for the final time, and after 2 hours and 15 minutes the show was finally over ... until October, when they return!

Review and Photos by: Russell A. Trunk

www.KISSontour.com

www.caesarswindsor.com

Caesars Windsor Upcoming Shows

Just Announced!
The Commodores
Larry the Cable Guy
Loretta Lynn
Donna Summer
John Legend
Michael Bolton
Bobby Vinton

Box Office hours:
Monday.............Closed
Tuesday............Closed
Wednesday-Sunday
Non Show Day...........12pm-8pm
Show Day...........12pm-12am