Buzz Magazine - Chicago Entertainment, News, Sports & Blogs

On a wonderful summer evening, I had the privilege of visiting one of the best venues in the Chicago area.  The Ravinia Festival in Highland Park is a pillar of the outdoor concert community, and I can't believe I considered myself a seasoned concert-goer without ever stepping foot on the grounds.  From an extensive lawn where nobody seems bothered that they cannot see the stage, to the wonderful pavilion where there isn't a bad seat - everyone is bathed in amazing acoustics.  What better band to drive those acoustics than the perfectionists, Steely Dan.

The show started with an instrumental called "Dizzy's Bidness" that consisted of most, and then the entire backing band.  As the two men that make up the heart of Steely Dan, Donald Fagen and Walter Becker, entered the stage the needle was dropped and the band broke into the 1977 album "Aja".

I've become quite a fan of bands covering an entire album at a show, and Friday night's performance of "Aja" did not disappoint.  The tightness of this band and the familiarity with the material really showed as it was a faithful reproduction of the album that reached #3 on the US charts.  Though Fagen's vocals are slightly declining with age, he showed no fear in belting out each song with as much energy as he could possibly muster.  He was quite obviously having more fun than anyone else at the show.  Fagen was given a vocal assist by three lovely backup singers he endearingly referred to as "The Embassy Brats".

After the completion of "Aja", Fagen, Becker and crew broke out material from across the spectrum of the band.  This included an interesting prelude to "Hey Nineteen", where Becker informs the audience of the importance of keeping a hip flask handy.  Prior to this, Becker had been so intensely focused on the music that he seemed as if this little speech was the first time he noticed the audience.  Song after song rocked on, and it became more and more apparent just how great the musicians are that Fagen and Becker have surrounded themselves with.

There were a total of 13 musicians on the stage for the entire show, playing in sync the entire time.  This lead to an extended cover of James Brown's "Papa Don't Take No Mess" where Becker once again stepped up to the mic in order to introduce every single member of the band.  It was a well deserved salute and maybe a bit too long of a rest before the awesome conclusion that was in store.

The set came to a raucous conclusion with "My Old School" and "Reelin' In the Years".  The last song finally got the crowd on their feet - one of my pet peeves at a show is when everyone is sitting down, but the venue doesn't strike me as the kind of place where everyone gets up and dances.

The band was back on stage nearly as quickly as they exited, with Fagen informing us that they still had 7 minutes to play.  The band broke into "Kid Charlemagne" and the crowd went nuts all over again.  As the show wrapped up, Fagen and Becker exited the stage, and the band played everyone off with the theme from "Last Tango in Paris".  This provided excellent framing for a fantastic show.  The band played for a solid two and a half hours and didn't let up once.  Now that I've crossed Steely Dan off the list of my bands to see, my next objective is to see them again as soon as possible!

Shonen Knife, the all-female pop-punk band from Osaka, Japan, is still going strong. With their new release, Free Time, the band is heavily touring the world including a stop in Chicago at Schuba’s on September 21^st – a show not to be missed. Naoko Yamono, Knife’s only original member since their inception in 1981, brings along with her a new lineup whose raw energy and vibrancy rivals any version of the band to date. One of Kurt Cobain’s favorite acts, Shonen Knife has always been known for their entertaining live show, simplistic lyrics and a distinct garage-punk guitar sound – a formula that has given the band an incredibly loyal cult following throughout the years that continues to grow.

Buzz: Tell me about your latest release, Free Time.

Naoko: Free Time is very powerful pop rock album. We recorded last year and released Japanese version in January this year.  In North America, we've just released English lyrics version.

Buzz: Shonen Knife has been together for nearly 30 years. How is touring different today as opposed to the early-mid 80?s?

Naoko: We started to play overseas from 1989. We had just one show in L.A. Then in 1991, we played at 4 cities in U.S. In early-mid 80's we just played in Japan and we've never had a long tour until 1993. Anyway, our shows in early-mid 80's were primitive.  We didn't move so much on stage and the tempo of the songs were a little slow. Today, we improved a little and we can - do ROCK on stage. I got used to the tour. I know how to pack my bag.

Buzz: How has your music changed throughout the years?

Naoko: Early Shonen Knife songs were more simple than today. Arrangements were simple, too.  My musical skill is a little bit improved, I think but basic spirit is always the same.

Buzz: Along with KISS and The Beatles, you’ve also had many punk/new wave influences when you first began. Are there any bands out there today that inspire you?

Naoko: I mainly like 70's American rock and 70's British hard rock. Judas Priest, Black Sabbath, Doobie Brothers, Chicago, Strawberry Alarm Clock… Recently I saw Big Elf and Coheed and Cambria at a music festival in Japan. They were so nice. Their music style is 70's that's why I like them. Ah, Brandt Bjork is nice, too.

Buzz: What are your best memories from working with Kurt Cobain?

Naoko: Kurt wanted to play our song "Twist Barbie" at Nirvana's secret gig and he asked me guitar chords. I taught him and we played the guitar together.

Buzz: What is your favorite thing about playing live?

Naoko: I like to see our fans. When I see our audience smiling during our show, I'm so happy.

Buzz: What are your thoughts about American fans?

Naoko: So nice, kind, they understand Shonen Knife very well.

Buzz: What is the biggest difference about being in an all female band in the U.S.
compared to Japan?

Naoko: I can't see any differences but the musical styles are different. Japanese bands usually sing in Japanese.  Naturally, the melody line became Japanese style, which is suitable with Japanese language.

Buzz: What kind of advice would you offer to young female musicians?

Naoko: Keep on Rockin'!

Buzz: What stand out to you as the band’s greatest achievement, whether it be on a
social level or musical?

 
Naoko: It's too difficult question.  Musical.

Thanks Arigato.    

The “Hottest Show on Earth” returned to the Chicago area last weekend at the First Midwest Bank Amphitheatre in Tinley Park, with KISS reminding everyone what made them the rock gods that they are. Though the band received strong support from The Envy and The Academy Is, they didn’t need it. Despite the fact that KISS has been rocking the world for over 37 years, Paul Stanley (a.k.a. “The Lover”) and Gene Simmons (a.k.a. “The Demon”) still carried out the showmanship that made them one of the most famous acts in rock and roll history. With newer members Tommy Thayer and Eric Singer taking on the identities of “The Spaceman” and “The Cat”, this full-on rock show gave fans the chance to experience KISS as though they were still in their height of popularity – in fact this show may have been bigger.

From the opening number, “Modern Day Delilah” off their latest release Sonic Boom, when Simmons, Stanley and Thayer were airlifted over the towering drum set and placed at the front of the stage, it seemed as though the band incorporated something in each song that made the crowd think, “Holy Shit”. Whether a flurry of explosions, giant bursts of fire, or segments of the stage rising to propel a band member, nearly each song was a spectacle in its own unusual way. But not to be overshadowed by the incredible stage effects, was, of course, the music. In a set that lasted two hours and ten minutes, KISS included such songs as “Detroit Rock City”, “Love Gun”, “Calling Dr. Love”, “Firehouse”, “Black Diamond” and “Say Yeah”, also from their latest album.

KISS pulled out all the stops. Tommy Thayer shot fireworks from his guitar ala Ace Frehley and Gene Simmons breathed fire. Not long after, blood oozed from Simmons’ mouth during a haunting bass piece just before he was carried over 50 feet high, above the stage lights, to perform “I Love it Loud”.

The band went on with a six-song encore that kicked off with Eric Singer taking on former drummer Peter Criss’ ballad, “Beth”. While Singer stood center stage to sing, the other three members huddled to his right, quietly jamming in the background. KISS followed up with a couple more big hits before “I Was Made for Loving You” in which Paul Stanley glided across the audience on a cable and landed on a small platform with a microphone in order to perform to the people toward the rear of the arena. When Stanley returned to the stage, the band broke into “God Gave Rock ‘n’ Roll to You” as images from vintage KISS were displayed onto the jumbo projection screens. Finally, white confetti shot out from the stage, transforming the arena into a mega snow globe for the duration of the show, as the band jammed out to “Rock and Roll All Night” amidst thunderous explosions and high-flying stage theatrics – including an ascending drum riser.

KISS’ live show is not just a concert; it’s an experience – an experience that should be had by all rock and roll fans. Should KISS return anytime soon, make a point to catch this amazing show.      

"The Bad Boys from Boston” returned to Chicago with a flair and command that could only be associated with Aerosmith. This time taking stage at the Fist Midwest Bank Amphitheatre in Tinley Park, singer Steven Tyler and company delivered a thorough set of classics opening the show with “Same Old Song and Dance” immediately followed with “Train Kept A-Rollin’” and “Love in an Elevator”. The large set included three large projection screens – one on each side and one above the stage, overhead panels to enhance the band’s light show that were lowered and raised, and a catwalk that protruded out into the crowd about 30 or so rows from center stage.

The band’s musical performance was pinpoint precise, with guitarist Joe Perry effortlessly nailing each lick and solo, while Tyler, dressed in classic Aerosmith frontman attire, danced around like a thirty-year-old and utilized his vocal range to perfection. The show included staple elements from the repertoire of rock and roll essentials such as a booming drum solo in which Joey Kramer pounded the skins with his hands in a thumping symphony of blistering beats. Perry also dueled his Guitar Hero counterpart (appearing overhead on screen) ultimately defeating him thanks to masterful fingerwork in a series of tasty progressions.

In addition, the band found themselves defending a crowd member at one point. Tyler reprimanded house security after they pinned down a woman who merely ran up to toss a pink boa onto the stage when the band went into the song, “Pink”. “Leave the woman alone,” shouted the famous singer before continuing with, “Security must not get laid around here.”

Included in Aerosmith’s fun-filled set were favorites “Livin’ on the Edge”, “What it Takes”, “Rag Doll”, “Sweet Emotion”, “Cryin’” and a superb rendition of the Beatles’ “Come Together”. The band also integrated a couple more obscure numbers before finally ending the show with a bang, performing encores “Dream On” and “Walk this Way”.  

Lotus are about to break ground in a way that no other rock band has done prior - they are plotting a tour this fall that truly allows their legion of fans to pay-what-they-want for tickets. The Pay-What-You-Want-Tour featuring Lotus is an eight night run of shows in western U.S. states, sponsored by Ticketweb, that lets the fans decide how much their show ticket will cost. At the $15.00 Pay-What-You-Want level or higher, fans receive free digital downloads of the band's two new EPs Feather on Wood and Oil on Glass, both to be released on October 6, 2009.

The Pay-What-You-Want dates are part of Lotus' larger Fall Tour, running from early-October through the end of the year. Big stops include performances at Denver's Fillmore, NYC's Terminal 5, Baltimore's Sonar, Chicago's Vic Theatre, and others. Lotus brings out several must-see opening acts for many of these shows, including Break Science feat Adam Dietch, The Egg (from London, UK), Big in Japan, and Big Gigantic. Don't miss a few special small shows: here's the scoop - two shows at NYC's Mercury Lounge are being bundled with the T-5 ticket, and the same offer is available for the Denver shows (to get into Quixotes, you must buy the Fillmore ticket).

Downloads of both new EPs will be bundled with advance ticket purchases for select Fall Tour dates including the three New York City shows, two Denver shows, both Boston shows and a few other shows to be determined.  The material on both Feather on Wood and Oil on Glass can be directly traced back to Lotus' 2008 full-length release, Hammerstrike. A number of songs were recorded that didn't find their way onto Hammerstrike (either they hadn't been finished by deadlines or they weren't coalescing with the sound of that project), but after finishing the album, Lotus decided to revisit these tracks, and the results are extraordinary. Feather on Wood is sunnier with a laid-back vibe, yet not afraid of big rock beauty, while Oil on Glass is darker in character, with more head-nodding tempos.

Listing of forthcoming Lotus tour dates (and who will be opening each show):

September 4    Bottom Line    Nagoya, JP    
September 5    Metamorphose Festival    Tokyo, JP
September 6    Drunkard's Stadium    Kashiwa, JP
September 18   Mercury Lounge    New York, NY
September 19    Mercury Lounge    New York, NY
October 2    Aces Lounge    Austin, TX
October 3    Aces Lounge    Austin, TX
__

PAY-WHAT-YOU-WANT Dates (Oct 6-Oct 14)
October 6     The Roxy    Hollywood, CA          w/ Break Science ft  Adam Dietch                
October 7    The Independent    San Francisco, CA        w/ Break Science ft Adam Dietch
October 8    McDonald Theatre    Eugene, OR        w/ Break Science ft Adam Dietch
October 9    The Showbox    Seattle, WA        w/ Break Science ft Adam Dietch
October 10    Crystal Ballroom    Portland, OR        w/ Break Science ft Adam Dietch
October 11    The Nightlight    Bellingham, WA        w/ Break Science ft Adam Dietch
October 13    Knitting Factory     Boise, ID        w/ Break Science ft Adam Dietch
October 14    Murray Theater    Salt Lake City, UT        w/ Break Science ft Adam Dietch
__ __ __

October 15    Belly Up    Aspen, CO                
October 16    Quixotes    Denver, CO
October 17    The Fillmore    Denver, CO
October 20    Granada Theatre    Lawrence, KS        
October 21    The Old Rock House    St. Louis, MO        w/ The Egg
October 22    Slowdown    Omaha, NE        w/ The Egg
October 23    First Avenue    Minneapolis, MN        w/ The Egg
October 24    Turner Hall Ballroom    Milwaukee, WI        w/ The Egg
October 26    Copper Dragon    Carbondale, IL        w/ The Egg
October 27    Bluebird Nightclub    Bloomington, IN        w/ The Egg
October 28    Bogart's    Cincinnati, OH        w/ The Egg
October 29    House of Blues    Cleveland, OH        w/ The Egg
October 30    The Town Ballroom    Buffalo, NY          w/ The Egg
October 31    Sonar    Baltimore, MD        w/ Big In Japan & The Egg
November 4    Higher Ground    Burlington, VT        w/ The Egg
November 5    Paradise Rock Club    Boston, MA        w/ The Egg
November 6    Paradise Rock Club    Boston, MA        w/ The Egg
November 7    Revolution Hall    Troy, NY        
November 10    Is Venue    Charlottesville, VA        w/ Big Gigantic
November 11    Cat's Cradle    Carrboro, NC        w/ Big Gigantic
November 12    Variety Playhouse    Atlanta, GA        w/ Big Gigantic
November 13    Bear Creek Music & Arts Festival    Live Oak, FL             
November 14    Orange Peel    Asheville, NC        w/ Big Gigantic
November 27    Vic Theatre    Chicago, IL        
November 28    Terminal 5    New York, NY        

What critics have been saying about Lotus:

I had a chance to chat with Anna about her band and influences. She explains that music has always been big part of her life—she began taking piano lessons when she was just four-years-old and picked up the violin when she was in the 2nd grade. Anna remembers, “Sitting on our kitchen counter, in the early 70's...

Queensryche is currently touring their new DVD release, which contains a performance of Operation Mindcrime I & II in their entirety live at the Moore Theatre in Seattle, where the band originated. Pamela Moore, though she did not perform with the band, was on hand at the Sears Center to watch as Queensryche once again...

Otep thrilled the audience by playing their promotion song “Ghost Flowers” along with a few other tracks that I’ll be waiting to hear again when their new CD comes out in March 2007. Still, as great as their new material sounded, Otep didn’t neglect to share with us their older stuff, such as “My Confession”, “Buried Alive”...