Items filtered by date: November 2007

Despite inclement weather and the confusion of trying to find the actual concert, the Bamboozle Roadshow at Soldier Field was a good time, even if it was only had by few people. This concert had a lot going for it. Big-name acts like LMFAO, Third Eye Blind and All Time Low were all on the bill. How many other festivals out there can see such a diverse line-up for a decent price of $50 (including all of the bullshit Ticketmaster charges)? Here’s what they did right: 1.  Provided a great line-up that offered something for all ages. 2. Had lesser-known bands signing autographs and allowed fans to take pictures with them. And, 3. They booked a great venue.



The Bamboozle Roadshow offered a lot of different acts for all ages. They showcased bands like Forever the Sickest Kids, All Time Low and Boys like Girls to appeal toward the younger female crowd. I honestly can’t remember the last time I was the oldest person at a concert by at least 10 years. Bamboozle broadcasted bands from different generations to the masses, but, the order of performances left something to be desired. For example, why would you have Good Charlotte play before All Time Low? While it may have been a ploy to keep the kids out longer, but those there to see All Time Low don’t even know most of Good Charlotte’s songs. When Joel Madden of Good Charlotte comes on the stage and says, “We wrote this song 10 years ago!” I couldn’t help but think if he knew that the average person in the crowd was in first grade at that time. With that being said, the band did a great job of motivating the crowd and getting them psyched for the other performers in the line-up.



Aside from the lack of not preparing a proper performance order, each band gave one hell of a fun show. All Time Low was completely honest about their technical difficulties, shouting to the crowd, “Our shit doesn’t work and it totally fucking sucks! So who’s ready for snack time?” and proceeded to throw popcorn, Twinkies and other snacks out to fans who stuck around despite the rain. Ten minutes later the band was able to get all of their stuff to work and the crowd lit up like a light switch. Was the day a waste? Nope. People were still able to enjoy great music for the money, and the bands definitely got to see fans that appreciated them.

The crowd surrounding the back porch stage at the House of Blues is sweaty and ready.  They have been warmed up from Chico Trujillo and they want to keep dancing.  The Chicago House of Blues has transformed into a Latin American music bar from the heart of downtown Miami.  The stage lights match the feeling of Grupo Fantasma with infatuation and love.  Grupo Fantasma approaches the stage cool and confident.  They aren’t the kind of guys that feel the need to project their voice when they’re able to have their instruments do the talking for them.



This band consists of 10 different members.  The one thing, among many, that set this band far above other multi-member bands is that every member does more than just play their chosen instrument. Vocalists Kino Rodriguez and Jose Galeano are able to play every percussion instrument while singing with a voice that will attract the attention of any woman.  They are able to sing while keeping a rhythm that matches their hands and hips perfectly. Rodriguez and Galeano are able to keep the crowd entertained and happy. Along with Rodriguez and Galeano, guitarists Beto Martinez and Adrian Quesada play to the way of how a couple dances the tango, flowing and filled with natural beauty.


Grupo Fantasma’s performance brings enthusiasm and passion.  Their show will make you dance, even if you don’t know how.  Grupo Fantasma clearly enjoys their music and has the best advertisement money can buy—a great product.

The lights went out and the band took their place on the stage. There was no opening introduction and it wasn’t necessary. The packed house cheered and waited for the band to start. When the stage lights came up, the band immediately jumped in with “Nothing is Easy,” and the crowd went wild. Everyone in the place was grinning from ear to ear as Jethro Tull started up their show. It was a fantastic night for music.

 

Now with over forty years as a successful touring band, performing shows in five different decades, this bluesy progressive rock band has impressed the hell out of millions. Sunday night at Ravinia was no exception what so ever. Five men took the stage with a job to do; to entertain the audience and that is exactly what they did.

 

The up scaled outdoor theater was a great setting for Tull to perform some of their great hits as “Thick as a Brick,” and “Aqualung” that everyone would expect to hear in their concert. They also dug down deep and pulled out some “B” side material that impressed the true fans. One of the big surprises of the evening was “Farm on the Freeway.” It was a very nice piece from the album Crest of the Knave.

 

Ian Anderson throughout the show played tough flute pieces as he danced around the stage. He performed his signature step for brief moments, standing on one leg, kicking through the air with his unique version of an Irish jig. His playing as a flautist has changed over the years from his beginning comical days into a highly sophisticated musician. His runs have become fluent as they flow so wonderfully within every piece of music. He kept the crowd’s attention as he hammed it up on stage doing his best to gain the award of entertainer of the year. Most of the fans that attended would gladly present him with a trophy.

 

Martin “Lancelot” Barre is still one of the most under-rated guitarists to ever pick up a six string. His ability during the entire show was mighty powerful from every note that he played. His solo capabilities are far past what most other guitar players can do and he has the ability to play rhythms that most musicians can only dream about. The intricate display on stage was superb and scary that someone could become so much a part of his musical instrument. For the guitarist who has influenced so many players over the years, hats off to you. 

 

Doane Perry kept the meter going during the concert never missing a beat. This rock band would not be the same without this man behind the drum kit. His triumphant displays come across so effortlessly showing his talent within everything that he plays. His precise engagement with percussion instruments is a delight to see and hear. His drum fills at this show were so amazing, in sync, and to the point. The dynamic range of Doane is unbelievable for the fan and by your average four-four timing drummer. His elevated playing skills have far passed what other drummers have done in Tull and live he has been doing it for over twenty-five years.

 

John O’Hara had a solid keyboard performance during the show on each and every song. One of most important parts of Jethro Tull music had become their keyboard player even though they didn’t even have one when they first started out. They have gone through so many keyboardists over the years and this guy had to duplicate what so many competent musicians have done before him. He pulled off everything without even appearing to sweat. His musical knowledge was apparent as he pulled off the classical runs during the opening to “Locomotive Breathe” and the middle jam in “Thick as a Brick.” He proved that he is more than capable of doing his job as a member of this band and he fits in well.

 

David Goodier provided the low tones that were felt deep down within your body and soul. Approximately a half dozen bass players have taken the stage with this band since 1968 and none of the previous ones may be in the same league. The master of the low end showed his skills during “Bouree” as he displayed sweet bass parts. His quick and finesse like attack kept everyone supplied with the most pristine bass lines within a live setting that anyone could possibly ever imagine. He was sporting a monster of a six string bass that sounded as good as it looked.

 

The night consisted of songs being played such as “Beggar’s Farm” and “A New Day Yesterday.” The sound mix of the group, as always, was just a clear and perfect presentation of music. For the awesome display the band played their fingers to the bone. Ian presented the audience with two giant balloons that he balanaced on his head during “Locomotive Breathe” before throwing them into the crowd. The balloons were knocked around above the crowd like a giant beach ball. Their final song played and Tull put on another tremendous show that could go down in the record books. One of the balloons popped as the fans grabbed for a piece of the souvenir and two small children got the other one to take home. Their final song played and Tull put on another tremendous show that could go down in the record books. Ian and the rest of the band said, “Bye – bye! Bye – bye!” The lights came up and “What a Wonderful World” by Louis Armstrong played through the theater giving everyone their walking music.

 

Ravinia was an excellent setting for this concert to take place. Jethro Tull had a beautiful setting to display their music. The band as always played some of the most difficult music done by any band that ever existed. They came, they played, and they conquered their fans. They brewed the songs of love and hatred as the crowd hummed along and kept on going. It was truly a magical evening.

When I was younger, I thought that plays were these boring events that boring adults went to when they felt like socializing with other boring adults.

As I’ve grown older (and wiser?) I have come to learn that sometimes this premise is not too far off from the truth.. but in the case of Killer Joe, “boring” could not possibly describe one second of this masterpiece written by Pulitzer Prize-winning playwright Tracy Letts.

The Smiths hire “Killer” Joe Cooper (Darrell W. Cox), a detective who moonlights as a hitman, in order to cash in on a scheme hatched by the troubled son, Chris (Kevin Bigley). Chris gets himself into a situation where he owes some money to a group of local thugs, and to get out of it he persuades his father Ansel (Howie Johnson) to hire Killer Joe Cooper for the murder his biological mother (whom Ansel has long since divorced). The insurance policy is set to go to Dottie (Claire Wellin), Chris’s mentally unbalanced sister. Sharla (Somer Benson), Ansel’s new wife, is also in on the deal – and the Smiths tentatively agree to split the money.



Of course, everything does not quite go according to plan – and this results in a lot of pain and suffering for everyone involved. The Royal George Theater is not admitting guests under 17 for this performance, and for good reason – nudity, graphic violence, and adult language abound in this production. But that’s not to say that they are without reason.. in fact, these scenes are absolutely necessary in order to believe that this family exists in a real space – because every moment of what happens on stage is incredibly real.

The best aspects of theater were in play here: broad swings of emotion, twists and turns, comedy, tragedy, staging, lighting, effects, etc. In fact, the players in this production were so talented that I find myself unable to pick out individual moments of the piece to talk about.

What I will say is that the use of the set and props in Killer Joe was head and shoulders above any other production I’ve seen in recent memory. The actors brewed real coffee, smoked real cigarettes, ate real chicken, and watched real television (this and other aspects of the direction were surely the work of the brilliant Rick Snyder). For me, this took the play an extra step towards reality.. and wow, reality can be a scary place.

This is a play about a family. Sure, it’s a dysfunctional family living in a dilapidated trailer and hiding quite a few skeletons and more than one bag of dirty laundry.. but a family nonetheless. Plenty of attention is paid to the character development here, and that really shines through. Anyone and everyone who appreciates good theater should find their way to the Royal George Theater and see Killer Joe.

There’s good theater and then there’s good attempts at theater. But there are also those rare occasions that a good theater makes a good attempt at a plain bad production; a good example of this is Sex Marks the Spot, a new political comedy by Charles Grippo.

The play attempts to delve into the seedy world of political sex scandals and, based upon an interview with Grippo, illuminate the rarely seen point-of-view of the politician’s wife. Unfortunately for this play, it fails to even cast a flicker of light on either point, and lacks the character development, humor, and plot that would have made the 2 hour play bearable.

Sex Marks the Spot opens up on the incumbent Senator Clooney on the eve of a debate against his challenger, a notorious porn star named Desiree Le Bonque. But to our surprise, or lack thereof, Miss Le Bonque is the Senator’s mistress and threatens to reveal their affair on national television if the Senator does not agree to marry her. The Senator drugs the porn star, a recurring theme throughout the play, and attempts to hide the evidence from his loyal band of idiot supporters. From the nervous, and profusely sweaty campaign manager, to the secretly beautiful yet-disguised-as-frumpy press secretary, these characters are a dime a dozen and lack any real emotional development that would make this play seem realistic.

The play goes downhill from there as the audience is subjected to witless one-liners and commonplace dialogue that a young playwright typically learns to avoid in eighth grade journalism. While the play is supposed to “investigate what goes on ‘behind the scenes’” in the world of political scandals and lascivious affaires, the playwright fails to touch on any of these issues. The characters never come face to face with one another, ironically missing one another by the opening and closing of a door. The characters are horribly stereotyped to the point of boredom; from an overweight hotel security guard eating donuts and lacking any brain power to the nosy journalist trying to get his next big scoop.

And what is severely lacking is Grippo’s so-called focal point of the play, wanting to illuminate the thoughts and feelings of the spouse of the adulterer. The Senator’s wife has approximately ten minutes of stage time in which she rarely expresses any real thought of emotion and is stumbling about it a drug-induced stupor, hardly leaving her any room to develop emotionally.

Sex Marks the Spot was neither funny nor witty, the audience hardly laughed once, making this a far cry from a farce or a comedy. It relied far too heavily on stereotypes and endless run-on jokes and the ham actors did nothing to enhance the enjoyment or the entertainment of this play. Overall, the play lacks the humor and cleverness to be a farce, and the real world familiarity to be a satire.

Sex Marks the Spot runs until July 25^th, at the Theater Building Chicago at 1225 W Belmont, but in a city where great theater can be found around every corner I would suggest saving your money and following your maps to a wittier destination.

The Drury Lane’s production of ‘Sugar’ can be easily summed up as the musical version of the legendary gender bender film ‘Some Like It Hot.’ The show is a revival of the 1972 Broadway musical with book by Peter Stone, music by Jule Styne and lyrics by Bob Merrill with some variations.  In this version, the show is set on Studio 24 where it quickly becomes clear, thanks to clever direction from Jim Corti, the musical is being presented as if it were a movie in the process of being made.  

 

The action begins and the audience is instantly dazzled by a musical number from Sweet Sue Syncopation Orchestra. Moments into the number, Sweet Sue (Tammy Mader) informs the audience her all-girl band is about to leave Chicago for a gig in Miami. The audience also becomes aware Sweet Sue is in big trouble because her sax and cello players just left the band and she needs them replaced immediately. Across town, Jerry (Alan Schmuckler) and Joe (Rod Thomas) are down on their luck musicians trying to find work like everyone else during The Great Depression. After not being able to land a gig and with no money in their pockets, they try to make a buck working as delivery men. Their luck takes yet another turn for the worse when they haplessly witness the St. Valentine’s Day massacre.  With the mob on their tails, Jerry and Joe need to get out of Chicago as quickly as possible.

 

 

As one might guess, in order to hide from the mob, Jerry and Joe end up joining Sweet Sue’s band. They have both the right and wrong instruments for the gig but thanks to drag they were able to transform into Daphne and Josephine respectively without anyone being the wiser. Their plan was to ditch the band as soon as they were out of harms way. However, that game plan swiftly goes awry when both Jerry and Joe become enamored with Sugar Kane (Jennifer Knox), the singer/ ukulele player of the band who has a history of falling for all the wrong guys.

 

When the “girls” reach the sunny shores of Florida, Joe picks up another persona to try and woo Sugar. This time he is a millionaire named Junior who is the heir to Shell Oil.  Jerry also finds himself being wooed by an old, philandering millionaire (Joe D. Lauck). This love caper comes complete with genuine laughs while still paying homage to Billy Wilder’s original masterpiece.

 

Perhaps the biggest pitfall of any stage version of an iconic film is that it will never be able to escape the endless comparison to its precursor. In that sense, the actors in ‘Sugar’ will have to grow a thick skin to survive being judged against heavy hitters like Jack Lemmon, Tony Curtis and Marilyn Monroe. That being said, the only cast member who was able to peek out from behind the shadow of his predecessor was Alan Schmuckler. Schmuckler has remarkable stage presence along with brilliant comedic timing which would have made Jack Lemmon proud of his portrayal of Jerry/Daphne.

 

My biggest complaint with the casting falls squarely on Sugar herself.  Although Jennifer Knox is quite a talent, she falls short of filling the visual va-va-voom embodied by Marilyn Monroe. Her portrayal of Sugar came off as sweet and vulnerable but was definitely lacking the undeniable sex appeal exuded by Ms. Monroe. I also found she didn’t have enough oomph for her, “The People in My Life,” number which is letdown.

 

As sweet as this show is, it could benefit from some more heat. Overall, the stage cast did the production justice but were not able to outshine the star power of the film’s original cast.   

 

Regardless, fans of ‘Some Like it Hot,’ will not leave the Drury Lane feeling like they got the fuzzy end of the lollipop. Frankly it’s a nice throw back to yesteryear which is accompanied by good music. ‘Sugar’ makes for an entertaining evening but in the immortal words of Osgood Fielding III, “… nobody’s perfect.”

 

The show runs until August 1^st with tickets ranging from $31-45.

For more information, check out the Drury Lane’s website (http://www.drurylaneoakbrook.com/live_theatre/tickets.shtml).  

 

On the heels of his self-titled debut release, Chicago artist, Almond, is currently putting together a string of show dates in which to support his music and plans to start off in the Midwest. If you are not aware of Almond and his work, it’s about time to put him on your radar. His new album, Almond, is a diverse collection of 16 tracks that can only be described as aggressive and chaotic, yet it holds onto an unadulterated originality that puts it in a class of its own. Starting off with a bang with “Many of Your Cares”, a catchy and energetic piece, the album takes its listeners into a series of complicated mood swings, varying from the transcendent to the abrupt and belligerent. The album never drags and can become quite addictive.

 

Almond is a true creative workhorse already adding two new songs to his live show, “Into the Woman” and “Assholes”. The unique thing about Almond’s live show is that all tracks, except his vocals and guitar, are transferred from a laptop through the PA system, therefore he plays alone, yet is accompanied with a full band sound. However, Almond is such a stimulating presence in himself, the visual of a live backing band is not even missed. His shows are lively and his songs unpredictable, but Almond, being his own worst critic, will say otherwise about the latter though it is far from the truth.   

 

I caught up with the unusual talent that is Almond at his studio as he was taking a break from his latest recording project.

 

Buzz – Your new self-titled CD, Almond, was just released in May. How much of the material is based on life experience, and what song captures Almond the artist the most?

 

Almond – Jesus Christ.  None of them are fantasy.  I mean, they were all inspired by my personal travels and trials as a young person.  But there is a violent fantasy one.  It was inspired by actual violence, which I emphasized and extended in song format.  And the particular person involved in the real life event(s) has heard the song and is OK with my exploiting their (emotional) wounds.  Ah, and, I think 'I Can't Get Pregnant' and 'Icefish' best catch my Almond pose. 

 

Buzz – Strange things can happen at Almond shows. What was the strangest thing that ever happened while playing live? Can I bring up the doughnut incident?

 

Almond – In 2004 I was crowned Prom King of the Prom Party in Chelsea's Basement.  I wore a crown and was handed a beer then walked around not talking to anybody.  Some girl almost got her ass kicked.  Next question?

 

Buzz – When playing live, you sing and use the guitar while the rest of your tracks are run through the PA. Does this inhibit you, or is it freeing? And, how does the crowd respond to this?

 

Almond - I have a lot of freedom, totally.  I'm the only douchebag in my band so I don't have to deal with other assholes.  Plus, I can rely on technology much better than assholes.  I've never met anyone skilled enough to play with me, really.  It's for the best that I never play with other people.

 

Buzz – Would you ever consider using a band to back you up at a live show?

 

Almond – Yes, I often consider it.  But I would have to have a drummer and a percussionist.  The drum rhythms I make are impossible to play on one set (most of the time).  Some guy with cymbals, woodblocks, and shit sticks would be necessary but it would all look so ridiculous why, why.  It would be difficult, so I would probably make all new songs more fitting for a band arranged live shot. They would all be in 4/4 ababcab C Major and be instrumental.

 

Buzz – Your music has many different sounds. How would you describe your music?

 

Almond – Observational humor.

 

Buzz – Can you tell me some of your musical influences?

 

Almond – If you mean bands, then I'd say a lot of metal.  Initially.  Which is fun(ny) because not many of my songs sound heavy or nothin'.  But more so and overall I would say stuff like Xiu Xiu, or Arab on Radar, or Liars...  and Talking Heads.

 

Buzz – How have you grown as an artist over the past few years?

 

Almond – My songs are getting more predictable, and therefore more accessible.  Sometimes you're listening to one and can guess what's gonna happen next, which irks my face.  I'm singing a lot more. 

 

Buzz – I found it interesting that you went to high school and college with 2010 American Idol winner, Lee Dewyze. Your music couldn’t be more different that his. Would you ever want to collaborate with Dewyze? What were your experiences like with him?

 

Almond – Oh, I love Lee.  He's wanted to fight me a few times, but only because he doesn't like my laugh.  He likes to sing his brains out and jam out with guitar chords from what I've witnessed.  I want to play drums in his band.

 

Buzz – You are incredibly original. Is it tough to keep coming up with new ideas or does it come naturally to you?

 

Almond – You just gave me an idea for a song.  Thank you.

 

Buzz – Lastly, if you could have your fans take home one thing from an Almond show, what would it be?

 

Almond – Finger tapping skills.  Good luck.

 

To find out more about Almond visit www.myspace.com/yesalmond

 

 

 

 

Saturday night at Harrah’s Casino in Joliet, Illinois can be a very special place to go, but when they have a musical act playing it’s even better. One of the best traveling bands around played a fabulous show for their audience. Creedence Clearwater Revisited took the stage entertaining fans of all ages and everyone had a great time.

Doug “Cosmo” Clifford and Stu Cook revisited their music with some very worthy musicians. The group jammed for the evening playing such hits as; “Born on the Bayou,” “Down on the Corner,” “Fortunate Son,” “Suzie Q,” and everything else including the kitchen sink. If classic rock radio was a part of your life, you knew every single song played by this fantastic band.

The Band:

 Clifford and Cook were the rhythm section canvas for CCR allowing the hired guns to help complete these classic works of art. For over fifty years since these two met they have been entertaining audiences as a super tight group and were very lucky to have been able to reach the success they accomplished.

Tapping away at the drums with the clock like beat was Doug Clifford. His kit may be small, but he didn’t need much else to put on fantastic show with the amount of talent that he has. His experience was apparent throughout the night and he never lost the beat. He was flawless.

Stu Cook provided the bottom end and occasionally went low with his five stringed earth mover. The smooth tones were amplified through an Aguilar amp head and a matching set of SWR four-ten cabinets. He played with precision and was in a synchronized locked with “Cosmo” all night long.

The big man at the front of the stage was John Tristao. His lead vocal capabilities sounded just like the original vinyl pressings. Tristao played some great rhythm guitar and sang Creedence songs with perfection. He acted like a real life cartoon character with his crazy antics on stage and obscure facial expressions. He is a true entertainer and a great front-man for the band.

Guitar virtuoso Tal Morris absolutely screamed on guitar solos through every single song. CCR never sounded so good! Some of the solos stuck pretty close to the studio recordings, but most were embellished on and he added a new and improved twist to the old classics. His tone was sweet music to the ears.

Steve Gunner filled out the group’s sound with vocals, guitar, keyboards, and some small percussion instruments. Although he was in the role of a utility man, everything he added was very well done. This “Jack of all trades” hit some high notes as a backing vocalist, played some tight rhythm guitar, and keyboard accents that were very rich. The songs may not have sounded complete without his musical presence.  

The main set ended with a few of the most popular songs being played back to back, including “Bad Moon Rising” and “Proud Mary.” The group took their break from the stage and received their applause for a job well done. They returned to the stage for the encore busting out some more ditties for the fired up crowd. Amongst the CCR hits played during their commanded return was also the Little Richard song “Good Golly Miss Molly.” The show came and went so fast, delighting your ears with their hits, and then they were gone.

The new CCR was absolutely awesome to see and a tremendous way to spend a Saturday night. The group revisited every single hit including “Midnight Special.” The crowd had a lot of energy and a lot of fun dancing in the aisles. The traveling band was having their fun dancing and playing on stage. Creedence Clearwater Revisited is the real McCoy. These genuine rock music icons were a delight to see live and would be suggested to anyone. Their show is a must see!!

The parking lot at the First Midwest Bank Amphitheatre has turned into a performance space with a crowd growing too big for even the Metro to hold. Q101’s Jamboree is an aide memoire of the magical second stage; the kind of stage that broadcasts newer music to the masses and is able to rock the crowd harder than any main stage act. The crowd is eager. People are hungry for music that will give them the bragging rights to say they saw a band before they became HUGE, and trust me when I say that the Crash Kings will be huge!


Crash Kings have an amazing product that you will hold on to. Brothers Tony (piano and vocals) and Mike Beliveau (bass) have orchestrated a new breed of rock. A classic piano, bass and drum-style trio that consists of one major thing that bands like Keane lack: balls. Mike, along with drummer Jason Morris, provides a rhythmic driving force reminiscent of a 1970s Pontiac GTO — full of force that keeps your pedal to the metal.


Tony approaches his keys with a fire like Jerry Lee Lewis or Jimi Hendrix. He embraces it and plays harder and faster. He uses a regular instrument that is played with effects that no synthesizer could even touch. You can easily tell that Tony has taken the time to adjust every knob and button to his liking. He is able to create sounds from a piano that will never be matched by Pro-Tools or any computerized-processed instrument. Tony brings a voice that matches his intensity of piano playing perfectly. His intuition and musicality matches the tour de force that follows the name of the band perfectly.


Crash Kings’ music explodes like a crash of sound that will astonish your senses. As producer Dave Sardy said, “Crash Kings are the missing link between Queen and Rage Against the Machine.” So hop in and enjoy the pure ecstasy of a rockin’ life-changing experience.