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

Peace, love, and good music was the theme for the evening at DTE Energy Music Theatre. The event was the 25th Anniversay of the Happy Together Tour, featuring the Buckinghams, Mark Lindsey, from Paul Revere and the Raiders, The Grass Roots, Mickey Dolenz of the Monkees fame, and the Turtles, featuring Flo and Eddie. There was a mixture of young, and… not so young in the crowd.

The brightly colored flowers and peace signs set the tone to take us back in time to the 60’s, where simple, yet classic tunes stand the test of time.

Our emcee for the evening was the voice of famous disc jockey Shadoe Stevens. He told us “boys and girls, cats and kittens“ to sit back, imagine the fun we are about to have and multiply it by a thousand. The first act we were introduced to was The Buckinghams, featuring two original members, bassist Nick Fontuna and guitarist Carl Giammarese. They started the night with “Don’t You Care.” Giammarese’s voice still sounded great.

It was followed by “Knock me off my Feet.” Gibrisi mentioned that The Buckinghams were the most listened to band in 1967. The hits kept coming with “Hey Baby” and a Top 10 hit in 1968 which debuted on The Ed Sullivan Show, “Susan”. The vocals duties switched places as Fortuna sang a rendition of the Soul Survivors’ “Expressway To Your Heart.” Ending their set was their #1 single, “Kind Of A Drag.”

Next in line was Mark Lindsay, lead singer of the group, Paul Revere and the Raiders. He burst on to the stage with a lot of energy jumping right in to the song “Steppin Out,” followed by “Just Like Me.” Lindsay spoke of appearing on the popular teenage show, “Where The Action Is.” His next song was top ten hit “Hungry.” He talked about the wardrobe of the band, which consisted of tight pants, high boots, three corner hats, and a “lace dickey.”

Mark then sang his Top Ten solo single, “Arizona.” The audience participation portion was for the song, “Louie, Louie.” During the song, the band played snippets of such popular songs, “Sunshine Of Your Love”, “Gimme Some Lovin”, and “My Generation.” Lindsay then reminisced of the “summer of love”, then quipped, “I ended up back in the 60’s- my sixties.” “Good Thing” was followed by “Indian Reservation,” which we were told was the biggest selling single for CBS Records until Michael Jackson took over the spot.

He mentioned that Paul Revere and the Raiders had 17 Top 40 records in the 1960’s. Lastly, he finished with the song “Kicks” as a video of the band performing in their heyday played in the background.

Shadoe Stevens introduced the next act as one of the highly successful acts of the 1960’s. They were on the chart for 307 straight weeks, one of nine bands to have 29 plus Top 100 singles, The Grass Roots, featuring original member Rob Grill on lead vocals. Grill didn’t move around the stage, but sitting on his stool, he sang the song, “Temptation Eyes”, followed by “Heaven Knows.”

He said this is the 44th anniversary of the band, joking, “We’re on the Rock and Roll Senior Tour!” Songs that followed were “Sooner Or Later”, their #1 hit, “Live For Today”, “Million Years” and, my personal favorite, “Midnight Confession.”

After a short intermission, Mickey Dolenz of the Monkees fame was the next act. He performed the song “That was Then” followed by “Little Bit Me.” A fan-favorite, “Last Train To Clarksville”, was next. Mickey mentioned that Jimi Hendrix at one time was the opening act for The Monkees. He also reminisced about meeting John Lennon and gave a spot on impersonation, at which time he broke into song performing the Beatles, “Oh Darlin.” “Daydream Believer” also had the crowd cheering.

When Dolenz sang “Steppin’ Stone,” Mark Lindsay came out on stage and they performed together, since apparently Paul Revere and the Raiders also recorded this tune. His next song was the Carole King penned, “Pleasant Valley Sunday.” Finally, he introduced his last song by saying “We sang this song before Shrek.” The tune was “I’m A Believer”, composed by legend Neil Diamond. The crowd enthusiastically joined in.

Our final act of the evening was introduced as having sold 40 million records. Flo and Eddie (Mark Volman and Howard Kaylan) of The Turtles came bouncing out onstage, jumping into their song, “You Baby.” Hit after hit followed with the Bob Dylan song, “It Ain’t Me Babe”, “Elenore”, “The Pied Piper”, made famous by Cripsian St. Peters. In between songs, they bantered back and forth, joking about their age and going to hang out in Ann Arbor in the 1960’s. “You Showed Me” , the slow groove of the night, was followed by the bouncy “She’d Rather Be With Me.”

The finale was their #1 hit, and the name of the tour, “Happy Together”. We all couldn’t help but join in the fun. Wow, what an evening it was. For the most part, although they have aged, they were still entertaining, and a delightful walk down memory lane. I will be sure to mark my calendar for next year’s tour.

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

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.

On a quiet, unassuming stage on the campus of a quiet, unassuming university, pandemonium erupted Saturday night in the form of a concert, with a lineup consisting of acts such as Kittie, Kottonmouth Kings, Coolio, and Insane Clown Posse on what was called the Happy Daze tour.

Kittie was the first band I saw take the stage. Prior to the show, I’d had opportunity to briefly speak with members Morgan and Mercedes Lander, and Ivy Vujic. Backstage, they were very kind and welcoming, but underneath the stage lights, their performance completely belied the polite nature, or even the band’s innocent-sounding name. The bottom line soon became apparent: Kittie had claws.

“What the f**k up, Juggalos?” lead singer Morgan questioned of the crowd, who remained only semi-responsive throughout the act, at least from where I stood. The command was given to throw up the horns and bang your head as Kittie performed ‘Never Again’ from their 2007 album, Funeral For Yesterday.

Musically, they were excellent. Kittie had a sound that was loud and raw, an anomaly in a bill filled with rap and hip-hop artists. Bassist Ivy was perhaps the member of the band with the most stage presence, whirling her hair around like a long, brown windmill as she played. Mercedes beat the metallic pink drum kit into submission continually. Fourth member Tara McLeod absolutely shredded the guitar, making a novice player like me incredibly jealous.

Morgan’s vocals alternated--quite often--between beautiful, melodic tones and guttural screaming. Perhaps that is where the problem existed when it came to Kittie: It was incredibly difficult to differentiate one song from the next, or even one lyric from another. One unknown number seemed to have a baseline that resembled that of Alice Cooper’s ’School’s Out,’ which was enough to keep me at least interested.

“Are you motherf***ers ready to party?!” Morgan asked again. That garnered a somewhat more lively reaction from the audience, but it didn’t matter in the long run--Kittie’s time on stage was almost up. After a few more moments of introductions and gently plugging their latest record, In the Black, Kittie left us, but not before belting out a tune from that album entitled, ’Forgive and Forget.’

Yes and no, Kittie. I can easily forgive them for the ten minutes my hearing had been blown after the fact, but by no stretch will I be forgetting the all-chick heavy metal band that held their own at the rap concert any time soon.

The fun kept coming with Coolio, the hip-hop star from back in the day--1995 to be precise--who, along with his son and nephew, drove home the vocabulary of the night, what the Juggalos and Facebook users alike like to call the “woot woot!” The trio also taught us a refrain that would also be repeated (albeit only in action) throughout the evening: “Let’s get stupid and act retarded!” After performing the signature piece, ‘Gangsta’s Paradise‘, Coolio went off, and the crowd was starting to get warmed up.

In between Coolio and Kottonmouth Kings, there was a deejay. DJ spun mixes of songs for each act on the bill, the most entertaining being, by far, was ’Chop Chop Slide’, an obscenity laced, Posse-fied version of the Cha-Cha Slide, with such commands as “Be the s**t” and “spin like rednecks” in addition to a rambled list of more or less every word banned from American broadcast television!

There wasn’t much substance to Kottonmouth Kings…no substance other than cannabis, that its. Yes, it was all about the pot with such rousing numbers as ’Where’s the Weed At?’ and ’Proud to be a Stoner.’ Halfway through, it was obvious that the crowd was restless, waiting for what was the main act of the night: ICP.

From what very little I could manage to stand of the Insane Clown Posse, the introduction was a very circus-like atmosphere, complete with an over-the-top ringmaster, and creepy clown music. The two makeup-laden performers shot Faygo soda pop into the raucous audience during ’Hocus Pocus’, wielded hatchets for ’My Axe’ and proceeded to be joined on the stage by zombies while singing about cannibalism and ’Dead Body Man.’ Once again, Alice Cooper would be proud.

“Something special, in your face…something exclusive for you,” they crowed at one point. They were definitely in my face. The backstage Kittie introduction before the show could certainly be considered special. And in the end, the only thing that was Exclusive was the Magazine that had sent me there.

The quiet, unassuming stage and the quiet, unassuming university were desecrated in a matter of hours by an infusion of heavy metal, rap, drugs, and alcohol, most likely to be resurrected only when the sound of the symphony rings through the trees, restoring order where chaos had reigned.

‘Happy Daze’ indeed!

Review by: Ashley Trombley

Looking to see the The Happy Daze Tour 2010 in your neck of the woods? Check out www.razorgator.com to see if they have any tickets available.

Many of the folks who travelled on the recent Chillin’ the Most Cruise with Kid Rock were educated in what exactly a Detroit Party was.

The cruise was promoted by Sixthman, founded in 2001 by Andy Levine, who started the first Rock Boat as a thank you for fans of the band Sister Hazel. Things have grown now from that first cruise that took up part of the boat to 9 separate cruises ranging from Elvis, Music of the 50's and 60's to Electronic Music and easy listening from Lyle Lovett and Emmylou Harris.

This year's cruise took place on the Carnival Inspiration from Tampa to Grand Cayman Island. This cruise was noted as being the fastest cruise by Sixthman to sell out in only 3 days.

I must say that I am biased towards Sixthman, this was my fourth cruise with them, the other 3 being the popular Ships N’ Dip with the Barenaked Ladies. As in the past, Sixthman along with Kid Rock has designed an itinerary that was to keep everyone in a party atmosphere from the pre-event party the night before to our arrival back in port. From the High-Fives from Andy and his staff while waiting to board to answering the same question for the 500th time with a smile, those folks were amazing and helpful.

The crowd was diverse with fans from all corners of the US with the same goal, to celebrate and enjoy the music of Kid Rock, and his musical friends and guests. There was a very varied concert schedule that involved all of the acts and a number of different venues, from the Paris Theater that sat half of the boat, the lido deck outside by the pool for all to enjoy to the small stage in the casino.

The acts that were on board included Paradime (DJ in Kid Rock's band, Twisted Brown Trucker), former member Uncle Kracker (who has went on to acclaim in the pop and music circles), Rehab, Ty Stone, Pop Evil, Mickey Avalon, DJ Mark EP, Jonathan Tyler & Northern Lights, Leroy Powell, John Stone, Yacht Rock Revue, Scott Munns, Heather Luttrell and the tribute bands Dan Halen and Appetite for Destruction.

You could interact with the bands as besides their shows, a number of them sponsored various activities such as bingo and trivia. Later on there was a Q&A session with the folks at Sixthman to gain insight on the cruise process and voice any opinion. Can't sleep? The Lido deck provided a welcome escape into the wee hours with a DJ, Dance Contests and other fun. Perhaps Beer Pong or the men's Wet T-Shirt Contest could have been your thing?

Our Host for the event was Kid Rock, who is extremely proud of his Detroit heritage, as evident by the large Michigan contingent who was equally proud of their native son. As much as he was proud of his music and his influences, he was also proud of his fans which he humbly thanked on numerous occasions. As a thank you to those fans, Kid Rock had his photo taken with everyone right after they boarded the boat, which took around 4 hours to accomplish. Right after the lifeboat drills he then took the stage where he lead the boat in a Jim Beam Toast to the cruise - that's over 2000 shots!

He then performed for everyone an unexpected set that included such boating songs as "Sea Cruise" and "Proud Mary". Things were not dampened as he also announced that the boat's course was being diverted to the Bahamas from the original Grand Cayman itinerary. During the trip, Kid also performed 2 intimate shows for half of the boat, and one night announced over the boat's PA system that he was going to the Lido Pool Deck and DJ'd for 2 hours until the early hours in the morning.

There were a number of events onboard that there was a small charge for (Bingo and the Lap Dancing Classes) and I am sure that some were surprised to hear that the proceeds from those events went to charity. There was a Q&A session planned for 800 random fans in the lounge, however that was moved to the pool deck where the entire boat could participate in the roughly 90 minute discussion. No question was left Unanswered and Kid was open, honest and humble about various questions that included topics about his family and politics, things which don't come up in the mainstream media.

Right after the Q&A there was a meet and greet with the Twisted Brown Trucker Band in one of the Dining Rooms. These folks do not get enough praise for their talent and hard work and in return they were signing autographs and spending a moment with everyone and making the fans feel special. There were many events that Kid attended as a fan and the thankful fans gave him room to enjoy things after he took a few moments to sign a few autographs and spend time with some of his most loyal fans.

Even coming back to the boat from Nassau (the boat was diverted there as there was weather problems expected in the Caymans and there was a better chance in the Bahamas as there was a physical dock rather than transporting people to the island in rough weather), there was Kid greeting folks and taking photographs as they returned onboard.

The fans were so amazing, from the 3 small kids (around 4-5 years old) with Kid Rock shirts watching from the upper decks with their parents to some of the more seasoned fans. Everyone had fun, especially at the theme nights that included Pimp/Ho, Mustache/Miniskirt and Pirate nights. Everyone liked to socialize and people watch the myriad of costumes that emphasized the creativity and openness of all the participants.

The food is worthy of its own article. From the dining room to the Buffet, the food was plentiful and good. Enough alcohol flowed that made us wonder how bad the bar bills were for some, it was said but not confirmed that this was the highest volume of alcohol sales for a Sixthman cruise.

The chances to shop on board were endless, from the normal cruise line and luxury items to the well presented cruise merchandise shop in the ship's library. The prices on the merchandise were well priced to allow those with tight budgets a chance to purchase items from their favorite onboard artists, including a number of Cruise only items. Kid Rock Cruise Suncreen anyone?

If there was anything to be selfish, it was us the fans. We took and took from all of the many talented artists who performed for us and gave our applause, love and adoration in return. That pales in comparison to what the artists gave to us that trip and we will be forever in their debt with our photos and memories for their sacrifice to us and to the music.

Many of us have passed one another on the shuttles, in the airports and in some cases at work knowing that we are all of one band who's anthem for the weekend was supplied by Kid during his 'boat' version of "Cowboy. That being, 'I'm on a Boat Mother****er!'

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.

A crowd of 13,000 close friends gathered at the Palace of Auburn Hills last night, or so it seemed to anyone lucky enough to secure tickets to the sold-out concert of famed crooner, Michael Bublé. For one evening, the always dapper and generation-defying singer transformed the Pistons’ arena into a cheering, dancing frenzy of lighthearted energy. From the first percussion crescendo, Bublé’s remarkably powerful tenor was barely audible over the thunderous applause, and the audience’s enthusiasm was soon rewarded as the performer opened with Cry Me A River off his newest album, Crazy Love.

After thanking the Detroit audience, Bublé continued with All Of Me in his characteristically strolling style. Fresh into his 2010 Crazy Love Tour, Bublé’s limitless energy was in top form as he played with the audience he so clearly values, even taking pictures with one lucky audience member mid-show. Bublé was sure to acknowledge his tour-mates and opening act, Naturally 7, who would join him later as he made his way to the center of the crowd for a performance of All I Do Is Dream Of You.

Moving quickly and effortlessly from At This Moment to Mack the Knife, Bublé’s flawless vocals continued to energize the diverse audience. Children at least as young as seven, and young-at-heart 80-year-olds were equally heard echoing the lyrics of Bublé’s hits, including his own Everything and standard covers like I’ve Got The World On A String.

Not missing an opportunity to rile up the crowd, Bublé, a British Columbia native and hockey fan, tossed in a few good-natured jabs at the Detroit audience by reminding them of their defeat to Canada’s gold medal hockey team. Later in the performance, Bublé surprised all assembled by announcing that Gordie Howe (“Mr. Hockey”) was in attendance, and graciously serenaded him with Happy Birthday in honor of his upcoming 82nd. He went on to dedicate a soulful rendition of Georgia to the entire Howe family.

After belting out favorites like Best of Me, Crazy Love, and For Once In My Life, Bublé treated the Detroit crowd to his dancing prowess during a Michael Jackson impersonation (complete with tilted hat). He then dove into a Ferris Bueller’s Day Off tribute of Twist and Shout, bringing the audience to its feet. This was soon followed by a daring procession through the throngs of admirers to the center of the Palace arena, where Naturally 7 joined him. In homage to Detroit, Bublé projected a large Red Wings flag on the stage as he thrilled the crowd with his signature single, Home. Making his way back to the front of the arena was no small feat, as admirers (men and women alike) vied for his attention during a walking performance of Save The Last Dance For Me.

Amidst ovations, screaming, and the occasional panty toss, Bublé kept the audience dancing as he concluded the concert with renditions of How Sweet It Is, Heartache Tonight, and Haven’t Met You Yet. After briefly escaping offstage, Bublé was coaxed into an encore by deafening applause. Returning with a stirring performance of Anthony Newley’s Feeling Good, the crowd was also rewarded with Me And Mrs. Jones and a final number of Song For You.

Before disappearing behind the “MB”-emblazoned curtain, Bublé expressed his gratitude to all Detroiters who made the effort to see him despite the economic hardships many here face. In the genuine tone so characteristic of this consummate performer, Bublé said he’d “come back a million times if you’ll have me” – there’s no doubt from the reaction of those thousands gathered in Auburn Hills that they’d have him back in a heartbeat.

Review by:
Michael Fleischmann
Joel Feldmesser

Photographs by:
Russell A. Trunk
Chris Schwegler
www.schwegweb.com

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

As snow fell outside the Royal Oak Music Theatre, the energy inside rose as fans filed in, ready and raring to get their socks rocked off by the likes of Chevelle and Sick Puppies. They would not be disappointed.

The first band to take the stage was a small, and, by their own admission, largely unknown act by the name of Janus. "We’re Janus. We’re from Chicago,” the lead singer informed us. For being a warm-up band, they received a warm reception from the audience. Song after incomprehensible song played on, with the guitarist‘s red streaked hair mostly stealing my attention.

Janus’ front man had a nice voice - when it wasn’t being overpowered by the drums and guitars. It also seemed that he lacked a certain stage presence, only occasionally moving about the platform, choosing to spend the majority of the time rocking back and forth in time with the music as though he had some sort of tic. By the time their set was over, I was willing to bet that this new little band would be successful, as long as the members took the time to share at least their names with those who came to listen.

After an equipment change that took an eternity to complete, Sick Puppies came on. Commanding the stage was the energetic and very handsome Shimon Moore and his band mates: Emma Anzai, and Mark Goodwin. From the very first number, ‘War,’ it was clear that the audience was in for quite an evening.

“We are Sick Puppies, from Sidney Australia!” Moore declared before they launched into their second song - and my personal favorite - ‘Cancer.’ During the song - and throughout the concert - bassist Anzai slapped the bass as though it were a naughty child. After a few more tunes, they announced that they have a new album out, and from it played one of their newer singles, ’Should’ve Known Better.’ The crowd was appreciative, but largely inactive until they were told to “Put your hands up if you’re having a good f**king time!” The fist-pumping continued on through ’Riptide.’ And when the command was given by Moore to “Turn the house lights up so I can see all my f**king new friends,” I couldn’t help but think what a strange sentiment that was; who cusses at their friends? But even the F-word sounds just a little sweeter when it’s spoken in an Australian accent!

Midway through the program, a banner was lowered down behind the band, sporting the name and an image of three interlinking rings. That image would later prove to be the album cover from their latest project, ‘Tri-Polar.’ Moore proceeded to introduce the number ’All The Same’ by explaining its involvement with the youtube Free Hug video movement. That slower song gave way to a more rocking tune, ‘Survive.’ Safely nestled in my comfortable balcony seat, I watched in amazed interest as a few people down below began to crowd surf - or at least attempt to before they were promptly thrown out by the giant security guards that patrolled the place.

The scene would replay itself at least five more times. A Battle of the Sexes shouting match was orchestrated, with the women coming out victorious. Then Moore conducted a poll of how many people in attendance had seen Sick Puppies once or twice before. The majority of the audience had not, a statistic I found surprising.

Drummer Mark Goodwin was relentless, pounding out the driving rhythms of ‘My World,’ a song that drew much audience participation at its chorus. It occurred to me at that point that, for as energetic as they could be, and as powerful as the instrumentals were, Sick Puppies was a very melodic band, a departure from my preconceptions of the alternative rock music scene.

"This is a song for everyone who wants to bounce up and down,” was the lead-in to ’Anywhere But Here.’ As the audience on main floor went absolutely bonkers, we in the balcony were mostly resigned to rhythmic head nods. It was, after all, a long way down, and some folks were dangerously close to flipping over the railing anyway. Sick Puppies played their set mostly against white light that sparkled off of Shimon Moore’s red Gibson guitar and Emma Anzai’s matching Warwick bass.

The end of the set was by far the highlight of the show, with Moore encouraging us to sing along with the second verse of a song he said we all knew. Sick Puppies continued to deliver a head-banging rendition of the American Idol one-hit wonder, ‘Pants On The Ground.’ Once everybody’s pants were pulled up, the band decimated the Destiny’s Child tune, ‘Say My Name,’ making it almost unrecognizable and therefore a million times better than the original version.

Part of the appeal might have been the mosh pit happening at the front of the theatre; I’m fairly certain not many people moshed when Destiny’s Child sang the song. Returning to their own material, the band dedicated ‘Pitiful’ to all the boys in the pit. During the number, I drew another conclusion: Though melodic, though energetic, though excellent in every other way - Sick Puppies is a band with rather negative connotations to their songs. Not that the audience minds.

‘You’re Goin’ Down’ was the high-octane set closer, after which Moore promised that the band would be out by the merchandise table approximately sixty seconds after the song ended. It was more like thirty seconds, as he jumped into the crowd and crowd-surfed all the way to the back of the theatre, channeling Jack Black in 'School of Rock.' That was the last we heard of Sick Puppies, with the exception of an announcement by the sound check guy that Shimon Moore had lost his microphone pack somewhere between the stage and the souvenir stand, offering an award for its safe return.

How do you follow up an act as electric as Sick Puppies? If you’re Chevelle, you do so with a background of a flying saucer and blue and white strobe lights that have the ability to instigate epileptic seizures. The crowd went wild as the platform on which the drums sat began to glow, illuminating the name of the band.

"Sounds like you’re all f**king fired up!” Chevelle’s leader observed. Dropping F-bombs is exponentially less appealing when an American does it. The majority of their songs sounded the same, except for ‘Well Enough Alone,’ after which the “one guy who actually yawned” in the audience was energized once more by the boos and jeers he received from the rest of the audience. And that left me wondering why Pete Loeffler and his band couldn’t leave well enough alone.

Three bands played Tuesday night to a near sold-out crowd. And in the end, if the price is right, I will certainly go to another Sick Puppies concert. Until then, their albums on my iPod will suffice.

Review by: Ashley Trombley

Looking to see a Chevelle 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.

For 30 years, the Detroit International Jazz Festival (DJF) has attracted visitors and locals to an end-of-summer ritual on Labor Day Weekend that celebrates one of America’s most important art forms. The festival boasts five stages and 100 acts over four days in a city with a rich musical legacy. Sprawling over several city blocks in downtown Detroit – from Hart Plaza to Campus Martius – the festival also offers educational activities, giant puppets, fireworks, rare opportunities to meet the artists and much more. And it’s all FREE!

My favorite Weekend of the Year also happens to mark the end of Summer. The Detroit International Jazz Festival, which is held over the Labor Day Weekend.

This years festival lived up to my expectations, and provided great entertainment from all the different genres of Jazz Music.

The festival opened on Friday night with performances from the Legendary Hank Jones, and the Fusion Masters Chick Corea, Stanley Clarke, and Lenny White.

At 91yrs of age, Pontiac born, Hank Jones is still touring and brought his trio to the Chase Main Stage.

With this years festival being billed as a tribute to the Jones brothers and other family legacy’s, it was very fitting that Jones also appeared at the inaugural Montreux-Detroit festival in 1980.

Maintaining a nimbleness to his playing, Mr. Jones kept the audience enthralled if not in awe of being able to see and hear a true Jazz legend. Local family members were also in the audience to watch their famous cousin and uncle perform the opening set of this years Jazz Festival.

The crowed continued to grow, and anxiously waited for the next act to take the stage. It was none other than the Jazz Super Group, Return to Forever, minus the guitar of Al Dimeola.

Billed as Corea, Clarke & White, they did not disappoint the crowd and graciously played songs from that group and individual favorites. There was even call and response from the audience during the performance of Spain. The night ended too soon, but the DJF was off to a great start!

My Saturday began at the Carhartt Amphitheatre (which used to be the Main stage until 3yrs ago), with the North Carolina Central University Big Band. These talented performers had to persevere being stranded on the side of the road for four hours when their bus broke down the previous day on the way to Detroit. Just like in a movie, they had to sit on the side of the road with instruments, until another Charter Bus arrived from their point of origin.

These young musicians, although still in college are professionals in their own right.

I had an opportunity to speak with several of the band members, and learned that twin horn players, Jonah and Joshua Vincent have a side project called Beatnam Vets, with a new album entitled King Amongst Kings. Most interesting of the duo, is that they perform the soundtrack music to Aaron McGruder’s popular cartoon The Boondocks.

At the Absopure Waterfront Stage, Trumpeter, Sean Jones, made a warm afternoon a few degrees warmer with his band. This amazing talent showed why he is also the first trumpet for the Lincoln Center Jazz Orchestra. Covering an array of music from quite melodies, to fierce riffs, his music kept the audience nodding their heads, or raising their hands in praise of his talent.

His band consisted of strong talents also, Brian Hogans on Saxophone took several opportunities to showcase his technical prowess on a couple solos. The pianist Orrin Evans, was reminiscent of Thelonious Monk in look and style. And his rhythm section of Vicente Archer and Josh Davis, rounded out this top notch act.

Back over at the Amphitheatre was another Legend, Dave Brubeck, and his quartet. At 88yrs of age, he still swings, and hasn’t lost any “time”. The Amphitheatre was packed to capacity, with people spilling onto Hart Plaza, and watching the performance on the Jumbo Monitors. He of course played standards and the songs which made him famous, “Blue Rondo a la Turk”, and “Take Five”, from the 1959 album Time Out. I must mention that as part of this years legacy tribute, The Brubeck Brothers Quartet played earlier in the day, featuring son’s Dan on drums, and Chris on Bass/Trombone.

I must admit that I knew little about crossover Jazz/Hip Hop Drummer Karriem Riggins, before the week leading up to the DJF. As an Jazz artist he has played with the likes of Betty Carter and Oscar Peterson, as a Hip Hop producer he has worked with Common, The Roots and Kanye West.

I was very curious to see what he would bring to the stage, with a band consisting of Geri Allen on piano, Robert Hurst on Bass, vibraphonist Warren Wolfe, and DJ Pete Rock on turntables. I was expecting to hear something similar to a “HeadHunters” set, but what I got was a cornucopia of Jazz and Hip Hop, with neither of it really taking off for me.

As a tribute to Detroit Hip Hop, he brought on stage T3 and Elzhi, the surviving members of Slum Village. They performed a couple of songs with the band, in tribute to Baatin and Jay Dilla, former members of Slum Village, both now deceased. Besides an improvised break between Karriem and DJ Pete Rock, it seems as if the DJ served no real purpose on stage. All the players on stage during the set are individually great talents, but as a group offered no real substance.

Saturday night ended on a high note at the Mack Avenue Pyramid Stage with the Lyman Woodard Tribute directed by Drummer Leonard King, and guitarist Ron English. Jazz/Funk/ R&B organist Lyman Woodard died this past February, but his music lives on in Detroit and with anyone that loves the sound of the Hammond B3.

The set consisted of previous performers with Lyman including: JuJu Johnson (saxophone), Steve Hunter (trombone), Rayse Biggs (trumpet), and sitting in on the B3, Chris Codish (who never performed with Lyman, but a formidable player, and Brothers Groove member). An interesting side note from Leonard King, that answered a question that many have asked over the years was “what race was Lyman?”, Leonard answered that he was “White……but it didn’t matter”, and that he didn’t learn of this until 1996, and that he met him in 1973.

Unfortunately, due to a late start that was no fault of the band, the group was cut short and was unable to do an encore to the disdain of both the audience and Leonard King. This was definitely a great set, and left all in attendance wanting more.

I made it to only one performance on Sunday, but what a performance it was! Pete Escovedo’s Latin Jazz Orchestra featuring Juan Escovedo. For more than 50yrs Mr. E, has been playing Latin Jazz and Salsa with the likes of Tito Puente, Herbie Hancock, and even Prince, among others. He brought a stellar band which included his son Juan (congos), and Justo Almario (saxophone). It didn’t take long before couples were dancing at the front of the stage.

Truly a highlight of the day for me, being a fan of Latin Jazz and percussion. Another thing that impressed me about the group was their stage presentation, they were all dressed to kill! So many bands currently fail to present themselves as performers and artist, but not this group. The group I was with kept fingers crossed that Sheila E would surprise the audience and join her dad and brother for a song, that never happened. Maybe next year!

Monday began for me at the Waterfront Stage with McKinfolks, a reunion of Detroit’s famed McKinney family and tribute to pianist Harold McKinney. This group formed by Daughter and Drummer Gayelynn Mckinney, brought onstage vocalist Michelle Mckinney, Carlos Mckinney (Piano), and Kiane Zawadi (Trombone).

When I spoke with Gayelynn about her motivation to put together the tribute to her fathers music, she told me that when she found out that the DJF was doing a “family thing”, she said that Wendell Harrison suggested “Why don’t you do something for your pops?” She told him “You know what, that’s exactly what I’m going to do” So she put a proposal together and submitted it to the DJF. They called her up and told her that they would like for her to do that.

She said that it felt like her dads spirit was all around, and that he also had a street named after him over the weekend in the Harmonie Park area of Detroit. When asked about picking who would play in the McKinfolks band, she said it worked out fairly easily. And because she was given plenty of notice of the scheduled date, she was able to notify her cousin Carlos Mckinney in enough time that allowed him to put it in his calendar, now that he lives in Atlanta and is a “busy man”.

Yes I am a fan of Latin Jazz, and I remember the days of Latin Jazz Fridays at the Montreaux Detroit Jazz Festival. Well fortunately for me, Monday at the Pyramid stage had the Chuchito Valdes Quartet. The energetic son of Chucho, and grandson of Bebo Valdes, each an allstar pianist of their generation. I must give much respect to the entire band, Emilio Valdes (drums, and no relation), Frankie Ocasio (Congas), and Jonathan Paul (bass).

As the rain came down during the performance, the audience simply opened their umbrella’s, and never lost their groove. During one of the songs, Chuchito stood up and began to dance to the music and as if by magic the rain stopped, the sun came out, he sat back down and continued jamming! I could have listened to the band play long past the encore performance.

The final group for me was Stefon Harris and Blackout, at the Amphitheatre. This 30yr old master of the Vibraphone and Marimba mixes Jazz, Soul and Hip Hop in his music, in a manner that others have attempted, but not to the degree and style that he has accomplished. Stefon has a very warm stage presence and informed the audience that he is a new dad, and introduced his lovely wife, who was sitting up front watching the set.

It was nice to watch him move seamlessly from the soft tones of the Marimba, to the harsher more aggressive Vibraphone. Stefon Harris and his young band Blackout have recently released their second CD entitled URBANUS, and I recommend you pick up a copy. When I asked if the baby was allowing him to get any sleep yet? He replied, “You gotta love Grandparents!”

And you GOTTA LOVE THE DETROIT JAZZ FESTIVAL!

Review & Photos (4,5,7) by Jim Esnault

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!

What do mosh pits, double bass, leather skirts, Rockstar energy drink, and DTE Energy Music Theater in Detroit, Mi have in common? Mayhem Fest 2009. This hardcore event of metal boasted bands like White Chapel, Jobforacowboy, God Forbid, Behemoth, Trivium, Mushroomhead, Slayer, and Marilyn Manson. There were high flying motor cycles, free Rockstar energy drinks, three stages, and the Jagermeister was flowing all day long. Metal bands came from all over the country to be there, Mayhem Fest even hosted a band from right here in Detroit.

As soon as they hit the Hot Topic stage the crowd exploded is screams of metal mayhem. Being from Detroit, The Black Dahlia Murder felt good to be home. They ravaged the crowd with their super fast double bass, extremely heavy guitar, mind numbing lyrics, and intense solos. Trevor Strnad, the lead vocalist, constantly yelled for the crowd to mosh. At one point, he had every one in the crowd stop, he said that he wanted a circle pit and wasn’t going to start until he had one. There was no waiting, as soon as he said that, the entire crowd got into it. The Black Dahlia Murder left the crowd broke down, bleeding, and wanting more.

As All That Remains takes the Jagermeister stage, the crowd immediately gets ready to mosh. When the first song begins to sound from the speakers, the crowd explodes into thousands of screaming fans bashing into each other all in the name of metal. The singer, Philip Labonte, was all over the stage, from standing on the speakers on the edges of the stage to standing on the bass drum. At one point, he takes out a camera and starts to video the crowd. He says that they are making a music video and wanted to get some footage of the crowd. Labonte admitted to the crowd that he loves vagina and even dedicated a song to it. All That Remains destroys the crowd with their heavy guitars and bass and their powerful melodies.

Cannibal Corpse hit the Hot Topic stage with an onslaught of horrocore metal music. They come at you hard and fast with a metal sounds like no other putting the crowd into a frenzy with their super fast drumming to their mind numbing solos. The entire crowd would scream along with the bands barley understandable lyrics with ease. After interviewing Alex Webber, the bassist, seeing him on stage and the kind of music that he played was sort of Dr. Jeckel Mr. Hyde. With his two years of history and his two dogs that are like toto from the wizard of oz, you would never had expected him to play the death metal that he loves.

There wasn’t much movement on the stage during the songs due to how fast and hard these guys played. Other then George "Corpsegrinder" Fisher, the lead vocalist, moving around on the stage and both Rob Barrett and Pat O'Brien, the guitarists, coming up to the front to do their solos, the band just stayed in one place, swinging their extremely long hair in circles as they played. Cannibal corpse leaves you bleeding on the side of the road gasping for air, and you love it.

Thousands of people file into the lawn and pavilion to watch this epic event of metal on the main stage. The intensity of Killswitch Engage electrifies the crowd into a trance of head banging. The band comes out one by one dawning shirts that look like tuxedos At one point this very large man wearing the same tux shirt that the band was wearing, but about five times too small and shorts that were about six times too small came running out on to the stage and started dancing, as fast as he came on he was gone. The whole crowd, along with the lead singer was confused about what just happened. Killswitch Engage rocked the fans with high energy and pyrotechnics, leaving us screaming and begging for more.

A white sheet covers the whole main stage and the sounds of guitars start. After a few minutes, the sheet drops and the crowd erupts in chants of the bands name. Slayer takes the stage and blasts you with a metal sounds that rivals none. Thousands upon thousands of screaming fans bang their head and throw their fists in the air. Mosh pits form in the lawn as pieces of sod get thrown into the mix. After all of the songs the lights would dim and the band would congregate at the drums then come right back out with another song.

With their most popular songs, Tom Araya, the lead vocalist, would say the chorus before the song to get the crowd hyped and to let them know of the song they were about to play. This epic onslaught of metal blows away your eardrums and emits onto you a feeling of shear adrenalin. You are compelled to slam your head back and forth and pound the seat in front of you until there is nothing left but a mangled piece of plastic. The show that slayer puts on is a show that no band can emulate. Their explosive energy and use of pyrotechnics and lights in the shapes of crosses spinning on the backdrop of the stage, sometimes stopping the spinning as the cross was upside down, were so amazing they will make your eyes bleed.

Behind this massive black curtain hanging from the top of the main stage lights are flashing to the beat of a bass drum. Then the curtain drops and out steps Marilyn Manson, the crowd erupts. Explosions of music come from the speakers. After every song, he tosses his microphone and a stage hang comes out with a new one. As the crowd rages on, Manson puts on a truly controversial show including, but not limited to, burning a fake bible. For some of the songs, like Sweet Dreams, he had things attached to the microphone to add to the effect of the song.

For instance, during Sweet Dreams, the entire place went dark except for a few lights on stage, and Manson comes out wearing a white cloak over his head with a light attached to his microphone so all that you could really see was his face. For the beginning of the song called Dope Show, Manson was center stage with about four stage hands around with him what looked like a life support system, and right before the song, he told the crowd to not do drugs. As the band plays longer, the crowd is drawn in by the lyrics and truly unique metal experience that only Manson creates. Manson interacts with the crowd by throwing them his jackets and hats, inviting them to scream along with him into the microphone, and even spitting beer at them.

At one point, Manson takes these devil horns that a fan has been holding up the entire show and puts them on. The stage goes red and looks truly demonic. As he finishes his show with Beautiful People, the crowd only wants more. After an incredible stage show, come truly unique music, and very powerful lyrics, the fans are left standing in their seats in awe of the spectacle that Manson just put on.

Review and Photos by: Ramon Trevino, Jr & Steve Alvarado

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

The Beach Boys are as American a band as any other band known to the business. Formed in 1961, the group gained popularity for its close vocal harmonies and lyrics reflecting a Southern California youth culture of cars and surfing. Sure, Brian Wilson's growing creative ambitions later transformed them into a more artistically innovative group - one that earned critical praise and influenced many later musicians - but tonight all we heard was sweet surfin' music as if time had stood still!

As one would expect, the next two hours were filled with all their classics and so much more. And so as the sounds of a recorded song sang the lyrics to 'Surfin' on strolled the band - who then proceeded to sing live the remainder of the song! Harmonizing like it was only yesterday for them 'Catch a Wave' was followed by 'It's OK,' 'Hawaii,' 'Little Honda' and 'Two Girls for Every Boy.'

"How about that drummer," finally exclaims Mike Love. "Some six or seven songs without stopping. Wow, anyway," he now says to the crowd, "thank you all for showing up tonight." Next came the mandatory cell phone-waving song, 'Surfer Girl' before Bruce Johnston came to the fore on keyboards with his own beautiful song, 'Disney Girls.' A cover of The Students' doo wop song 'So Young' (sung by the guitarist) was next and was followed by 'Don't Worry Baby', sung in turn by the bassist this time.

Playing to the truly multi-generation crowd tonight, this second show in the run here at Caesars, whether The Beach Boys sang their surf songs, car songs, or relationship laments, the enthusiastic crowd was dancing in their seats and (soon enough) the aisles to the classic sounds.

'Still Cruisin' is next and is followed by another couple of the aforementioned car songs in both 'Little Deuce Coup' and '409.' The wonderfully-written 'Little Old Lady From Pasadena' - complete with Love turning his mic stand into a walking cane - is followed by 'Shut Down' which in turn is followed by the fan favorite of the night so far, 'I Get Around.' "Thank you," says Love, "my fine people of Canada and the USA." Introducing the lead guitarist before he sang the next song, Love mentions that he's going to sing a very important song. And that there's only ever been one group ever to have done a love song about a car - and he was in that very same band! 'Ballad Of Ole Betsy' is brought forth and wow, what a great song it is. "A moment of silence for Pontiac, Love halfheartedly says at the end of the song, before admitting, "I used to have a GTO for Christ's sake!"

"This is a patriotic song for cheerleading," Love explains, sometimes behind the keyboardists attempts to do as many hockey game time organ sounds as possible for the Canadian crowd! 'Be True To Your School' is that song, and is followed by another mandatory cell phones out song, 'In My Room.' Bruce Johnston's wonderfully sung 'God Only Knows' (dedicated on the night to Carl Wilson) is followed by the drummer singing 'California Dreamin' and a stirring version of 'Sloop John B.'

'When I Grow Up To Be A Man' is then matched with a doo wop version of 'Why Do Fools Fall In Love' sung by the one guitarist, with the other one stage left then taking the vocals on 'Then I Kissed Her.' 'Wouldn't It Be Nice' is next with both 'California Girls' and then the song made especially for the film 'Cocktail' is next, 'Kokomo.' But, and to my mind, the best was saved for near last as a simply pulsating, nerve tingling, rousing rendition of 'Good Vibrations' is sung like it always has been down the years.

Bringing the long set to a close with the bouncy 'Help Me, Rhonda,' the guys waved goodnight and left the stage. Coming back a few minutes later we got 'Barbara Ann,' where they invited a handful of pretty gals up on stage to dance with them! 'Surfin' USA' is next and has the crowd in fits of surf dances, knocking inflated beach balls for six as they came raining down on them! And, for the final, final encore they covered Eddie Cochran's 1958 song, 'Summertime Blues' before ending with 'Fun, Fun, Fun' ... and trust me, yes it was, was, was!

Review and Photos by: Russell A. Trunk

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