Items filtered by date: November 2007

Grandson of country icon Hank Williams, Hank Williams III(aka Hank III, or III) puts on a show that is truly unclassifiable.  Known to typically perform for three hours, Hank III plays classic style country  back to back with hardcore metal, often blending elements of both into single songs.  Last Saturday I had the privilege of witnessing this uncommon feat at Eagle's Club in Milwaukee.

Lasting an hour and a half, his country set alone could stand as a full concert.  These songs averaged around three minutes each, so you can imagine how many tunes had to be played to fill that time.  Hank dug into the best of his material from the last decade, including nearly all of Straight to Hell, as well as a few from his 2010 release Rebel Within.  Along with the III originals, there was also a performance of Hank Williams' “I'll Never Make it Out of This World Alive.”

As your ears start to twitch with country twang, you begin to welcome a change of pace.  After finishing up “Dick in Dixie,” III's denouncement of 'pop-country', there begins a segue set of 'hellbilly' music. This consists of the same lineup of musicians, only that Hank switches to electric and the band lets their hair down.  It's rougher and a tad faster, and gets the crowd pumped up and moving.  By the time this part of the show wraps up it has been over two hours.  I noticed some people starting to leave, but the inexhaustible Hank III returns to play out the night with Assjack.

At this point the band had all reworked their wardrobes and plugged into more standard rock equipment.  I prepared myself for the possibly horrendous, awful imitation of Hank's metal inspirations.  It’s sometimes fit to say an artist should stick to what they do best.  As it turned out, Assjack wasn't a half-assed act - or half-bad.  Transcending many of the heavier music genres, drawing from metal, punk, grind and touches of thrash, Assjack allows for a release of restlessness for those not yet ready to go home.

While admittedly not the most accessible attraction, a Hank III show is no doubt an impressive demonstration.  The way Hank and his ‘Damn Band’ mutate their evenings convinces me of a working formula that couldn’t be pulled off by just anyone.  This is an energetic group, and hardworking to be sure.  Hank seems to be immersed in an incredible musical living.  Along with his prolific song writing, he records, mixes, and masters many of his own projects.  The latest Assjack album was even performed entirely by Hank III.  If you have a broad appreciation in music, or like your headliners to give you your moneys worth, check this act out.

 www.hank3.com

http://www.youtube.com/watch?v=Tn5Ha3Ufh-M&feature=related

Beats Antique brings two rhythmic styles of music together. With the combination of electronic house sounds and middle-eastern drum beats, this group is one that will turn you into a belly dancer. David Satori and Tommy Cappel are classically trained musicians who provide a rhythm that is as tight as ?uestlove on his three piece drum set, and producer/arranger Zoe Jakes belly dances to the counts of each pulsating drum. The three of them are able to drum tightly and cleanly. They provide a great show that is more of a celebration of rhythm and dance than a traditional concert.

If you love a fusion of belly dancing with electronic beats, this is the band for you. Beats Antique display music very well, and they are just as engaged with their live performance as they are with their music. Job well done!

Halloween is a time when everyone is at their most macabre. Unimaginable scenes of horrific violence appears on every TV screen (The George Lopez Halloween Special, shudder), people line up in droves to get the fecal matter scared out of them at overpriced, elaborate haunted houses, and almost every bar lets their health regulations slide just a bit to make room for extra cobwebs. And it’s awesome.

I have always been a fan of October and its overall creepy theme. Even as a kid, I was drawn to the holiday, and not just because of the candy. There’s just something great about October nights. Especially in a city that offers dozens of themed outings.

This past Saturday as I was searching for something creepy for my lady friend and I to do, I came across a play that sounded right up our alley. It was called Splatter Theatre and was exactly what it sounds like. Take a white room, fill it full of all the stereotypes from your favorite slasher movies (Friday the 13^th, Nightmare on Elm Street, Scream) and kill them off one by one in the juiciest way possible. By the end of the night, the once colorless room is speckled and saturated with the blood of a half dozen nitwit victims.

The brilliance of the play came in the first act where we’re introduced to our characters that are as essential to any horror production as the crazed murderer. You have your jock, your slut, your lesbians, your virgin, your new-to-towner, your inept father figure, your foreigner, plus a bum, a deaf, mute nun and a paperboy, just for good measure. And they all die. Horribly, painful, hilarious ways. In fact the older woman in front of me (which I’m still not sure why she was there) almost vomited on two occasions. As the murders get more gruesome, the room gets redder, and the cast becomes stupider.

The cast does a great job of playing these characters as exaggerated interpretations of their real life Hollywood counterparts, most notably the jock and slut combo, who end up fornicating, pretty much the entire performance.

And it’s not just the cast that deserves kudos for a job well done. The “choreography?” of the death scenes, and the artistic spray of the blood on the walls is what gives the play its name and its greatest strength. Never before have a been so moved by the senseless beating of inept police officer as he is bludgeoned upwards of twenty times with a Louisville Slugger.

By far the biggest highlight was a segment called “Meat Puppets,” which is exactly as it sounds. Without spoiling anything, let’s just say it involves an insidious love affair between a chicken, pork chop and a schnitzel. The depravity of the skit reminded me of the best parts of “the Ren and Stimpy Show,” disgusting, juvenile humor at it’s best.

The Splatter Theatre was the first show ever preformed from the Annoyance Theatre, and has been a Halloween staple since the late 80’s. While horror movies may have changed since then, one thing that hasn’t is our blood lust desire to see stupid teenagers getting killed. Everyone loves to root for the bad guy, and in Splatter Theatre, you may have a hard time determining who the bad guy is. Is it the deranged maniac with the hockey mask? Or is it the mindless nitwits that deserve their gruesome fate?

Splatter Theatre is only one of the Halloween themed shows playing around town, and I encourage you to get out of the Cineplex and into the theatre. While not wholly original, it’s at least worth your 15 bucks.

Find out more about Splatter Theatre and The Annoyance at http://www.annoyanceproductions.com/ (4830 N Broadway Chicago, IL 60640, right of the red line Lawrence stop). Sign up for classes, and find more depraved shows nearly every night.

First of all, TYPING IN ALL CAPS IS CONSIDERED RUDE, RIGHT? So, just who does a band who has their name written in all caps (HEALING SIXES) think they are? Oye vey, perhaps I've been watching too much of Larry David's "Curb Your Enthusiasm Show!"

Moving on, the Indianapolis, Indiana boys (Doug Henthorn, vocals, guitar), (Eric Saylors, guitar), (Wade Parish, drums) and Jeff Stone (bass), played on an Indian Summer night in Chicago at the nothing-to-sneeze-at House of Blues. There was clearly no need to snort any NO-DOZ because, let me tell ya, the Healing Sixes' performance kept folks on their toes.
 
No jibber-jabbering amongst the audience about Tom, Dick or Harry Mary bombarded my ears. Nor did I see or hear a single person doing his or her spiel to get into anyone's pants or panties--or leave the floor in front of the stage to chug-a-lug more beers!
 
The Healing Sixes were on fire right from the very start. They ended their performance with The Beatle's "I Am the Walrus," and I was in a blazing sea of love during every part!

Just for the record, Healing Sixes only have their name printed in all caps on some of their materials for their website's address, and all nitpickiness aside, they are truly not rude for doing so at all.
 
They don't act as if they think they are 10 feet tall, yet it's as blue as the sky above to me and many, the HEALING SIXES are a band whose songwriting, plus, high quality playing make them stand out and unlikely to have a drastic career fall.
 
"Healing Sixes are always about emphasizing that their songs create a strong, vibrant--yet never formulated-rock sound (www.HEALINGSIXES.COM.") Also respectable, is they have opened for Ted Nugent, Bret Michaels, Eddie Money, Todd Rungren, Hoobastank and so on--yeah, Healing Sixes sure do get around. But, they are headliners, too, and continue to be buds with their former member, Jason Bonham, who helped the band get more off the ground.

 Ending on a high note, I have a good feeling the Healing Sixes new CD "Blue Jay" is sure to have you whistling "Yay...yay...yay," since it's a "super fly" Rock and Blues CD to play. In addition, you don't want to miss the exceptionally talented Healing Sixes on tour with The Steepwater Band, whose lead vocalist and guitarist, Jeff Massey is widely esteemed as playing the guitar in an "Oh, My God!" way.
 
The Healing Sixes' and The Steepwater Band's Tour dates and CD information can be found at: www.HEALINGSIXES.COM and www.steepwater.com

Steppenwolf Theatre company celebrates the 50th anniversary of Harper Lee's landmark novel To Kill a Mockingbird, featuring Lookingglass Theatre ensemble member Philip R. Smith as the wise and patient Atticus Finch, Bubba Weiler as the coming-of-age Jem Finch, Larry Neumann Jr. as the villainous Bob Ewell, Claire Wellin as the distraught Mayella Ewell, and 5th grader Caroline Heffernan as the bold, tomboyish Scout Finch, who plays her character with such fearlessness that it's hard to believe that this is her first time on the Steppenwolf stage.

The entire cast puts on a superb show, with Carolyn Defrin as a grown up Scout who narrates the story. The only thing I can fault this play for is the fact that it's not the novel. So many details are left out, but of course this is necessary for theatre or film, unless you want to be sitting in a theatre for twelve hours. Having the older version of Scout fill in the gaps with narration helped move the story along and still keep in many details that could not easily fit into the scenes themselves.

Set in Alabama during the Great Depression, To Kill a Mockingbird follows the journey of Scout and Jem Finch, whose father Atticus has been appointed to defend Tom Robinson, a black man accused of assaulting a white woman. As the trial progresses, Jem and Scout witness their community in a tense tug-of-war with racism and justice. This timeless classic compels us to take an honest look at our nation's past, as well as our moral responsibility to each other. Published in 1960, author Harper Lee has received countless literary awards and
recognitions, including the Pultizer Prize for Fiction in 1961. The novel was adapted to the stage by Christopher Sergel, who has also adapted novels such as Up the Down Staircase and Winesburg, Ohio.

Don't miss out on this honest, compelling, and undeniably captivating piece of theatre. To Kill a Mockingbird runs Friday, Saturday, & Sunday at 7:30 PM until November 14th at Steppenwolf's upstairs theatre at 1650 N Halsted. There are also weekday matinees at 3 reserved for school groups.

"Before Elvis there was nothing." – John Lennon

Over one billion albums sold! No solo artist has ever reached the popularity status of Elvis Presley. The power that was in his voice, the friendliness in his show, and the complete musical package was just a masterful presentation. Many have tried to duplicate his style and presence within their show without much success. No one has ever been able to duplicate him accurately, until now. The Ultimate Elvis Tribute was a powerful depiction of the King of rock n’ roll; what a phenomenal show it was to see.

Four different Elvis performers took turns singing through a chronological presentation of the greatest performer that ever lived. From the early breakout days to the beginning of the 1970’s, every performer did just an awesome job vocally and within their show, they brought you back to the live Elvis experience. For the people who never saw a live show from Presley, this is the show to see. There is a little bit of every era of the King.    

The Early Years

Victor Trevino Jr. started the show in the role of young Elvis. The band backed him up performing the rockabilly style hits from over a half century ago. The band came in kickin’ the music out with the hallow body guitar, standup bass, and small drum kit. In the back was a piano player tickling away at the ivories. Trevino sang songs like “Don’t Be Cruel,” “Heartbreak Hotel,” and “Hound Dog.” He stole a lot of the ladies hearts when he sang “Love Me Tender.” Women were lined up in front of the stage to get kisses in between vocal lines, waiting for the young King. He performed a fantastic replication of the early era of rock n’ roll music. After his opening songs he came back and pulled off the more difficult “G.I. Blues” without a flaw. He was just awesome.

The Hollywood Years

Kevin Mills came out and took the stage for the movie star-post army era. He brought out one of the most popular songs, “Blue Hawaii.” The background singers/dancers took it to the next level and just knocked the audience over. There was a storm of music coming from the stage and it was attributed to hurricane Mills blowing straight off of the island of Hawaii. He performed some of the more mature debonair songs from the popular movie career. Unbelievable!

Kevin had a co-performer for some of the songs. Lori Russo came out and performed as Ann Margret and she was amazing. The girl on stage was Ann Margret. She looked so much like her, danced, and spoke like the incredible entertainer. She was a carbon copy of Margret within every move she made and truly has the voice of an angel. Together they sang “The Lady Loves Me” with absolute grace as they became one for the song. They absolutely had to do the song “C’mon Everybody.” The crowd chair danced - snapping their fingers, clapping their hands, and turning their heads to the left and the right. They performed the Ray Charles hit “What’d I Say” from the movie Viva Las Vegas. Of course, they did the upbeat title track from that movie as well. Lori Russo and Kevin Mills gave the crowd their monies worth, but the show wasn’t over yet.

The ’68 Comeback Special

Leo Days came out in a black leather suit looking like he could take on the world. The fitting song, “T-r-o-u-b-l-e” was chosen for the attitude being presented. His was just monstrous performer within everything he did. The voice came through your very soul and connected to your musical being in a way that could have only been done by the King. Smiles were on the faces amongst the concert-goers, from ear to ear, during the awesome Elvis classic “One Night.” He sat at the front of the stage with the rest of the band singing his heart out, just like they did in 1968. He also performed “Jailhouse Rock” and a perfect version of “Are you lonesome tonight.” The middle monologue was so much like the record and there was no lip-syncing being done. This man was really that talented.

Vegas and the Early 1970’s

Bill Cherry slid across the stage in sequined jumpsuit and cape for the final jaw dropping performances. His amazing voice bellowed through the auditorium with every note. His impersonation was done so naturally. During one of the most popular songs of that era, “Suspicious Minds” Cherry had a chance to shine and that’s exactly what he did. He handed out scarves to the ladies in the audience and some women went nuts for them as if Presley was on the stage in front of them. One lady tried tugging at a scarf around his neck before he had the chance to hand it over. Two other ladies were both snatching at the same one in front of the stage before they regained their sense of reality. Bill Cherry’s best performance was during the patriotic classic “An American Trilogy.” Often considered one of the best tributes to America, this song had veterans standing and saluting the stage. The incredible set of pipes brought down the house and unfortunately was leading everyone to the end of the show.  

During the entire show, Elvis Presley sang his heart out for the audience at The Horseshoe Casino. This was not a bunch of bad impersonators, but a group of well trained professionals that brought the best music ever made to the stage. The unbelievable voices of all four men, the awesome band, and the backup singers brought the works of Elvis alive once again. They were all fantastic.

Trevino, Mills, Days, and Cherry combined their efforts into one show that well represented Elvis Presley, The King of rock n’ roll. Each one of the performers had a well rehearsed and well scripted part, becoming the greatest icon of the twentieth century. Elvis may have left the building forever, but his music lives on with great impersonators like these four gentlemen. As each one gives their all to perform, the King is looking down upon them. After seeing this show, he must be smiling with delight. They did his songs such justice. He would be proud.  

The Venue, located in the Horseshoe Casino in Hammond, Indiana, was rocking over the weekend as Chris Isaak once again graced the Chicagoland area complete with his distinctive falsetto, trademark suits, witty humor and of course the well-oiled machine that is his band. Oh, and did I mention his charisma? In a well-paced set that lasted nearly two hours, Chris’ voice never sounded better and his band played with a fire that got hotter by the moment. Refreshing with a Chris Isaak show is how genuine and comfortable the band is with each other. Displayed is a chemistry that cannot be faked. Not only is the band’s easiness with each other fun to watch, but there is plenty of choreographed routines they share along with a good sense of humor.

Chris Isaak looked sharp, taking the stage wearing a westernized black suit with silver sequins, but, with such a strong performance, it wouldn’t have mattered if he were wearing khakis and a knitted sweater. While including his own hits such as “Baby Did A Bad, Bad Thing”, “Big Wide Wonderful World” and “The Best I Ever Had”, he also included a few of his own faves by some of his inspirations. Stepping into the crowd and taking a seat next to a woman in the first couple rows, Chris went into Elvis Presley’s “Love Me Tender” and later again paid homage to “The King” with a beautiful version of “It’s Now or Never”. He also included a James Brown number before going into “Roy Orbisson’s “Pretty Woman” during a four song encore in which Chris switched into his famous mirrored suit. As many great moments that occurred throughout the show, one of the highlights was when guitarist Hershel Yatovitz led the band into a dreamy orchestration of “Wicked Game”, undoubtedly entrancing the entire room with his mesmerizing tones and Chris’ heartfelt singing swimming over the music.

Kimberly Katz' Platinum Press

National Pastime Theatre has done it again, this time producing Doo Lister’s Blues, a story that takes place in Chicago during the 1960’s amidst riots and revolution. Terry Abrahamson’s powerful story revolves around a black barber, Doo Lister – a songwriter who pushes the envelope by exercising free speech, despite strong warnings from the F.B.I. who view his material as that which could incite race riots.

Abraham’s piece, both thought provoking and inspiring, is beautifully brought together by the outstanding direction of Victor J. Cole, its strong cast, and very memorable musical numbers.

The show wastes no time in getting started as modern day rapping narrator “Nine Pound Hammer” (Al Tamper” Mayweathers) bursts out onto the stage to heavy hip hop beats, setting the stage for this inspiring story. The show then takes the audience back to the mid-1960’s to Doo Lister’s barber shop. Doo Lister (played brilliantly by Warren Levon), an aspiring songwriter, and his uncle “Catfish” (Kenneth Johnson) tend the shop where it is business as usual until outspoken record distributor “Rebecca Zwieg” (Victoria Abram-Copenhaver) enters their lives and changes everything forever. Urging Doo to sing about the important things taking place on the streets and around the nation rather than songs that always equate love to sweets, it takes a personal tragedy before his eyes begin to open.

Doo Lister’s Blues cast couldn’t be more perfect. Lucy Sandy is wonderful as Doo’s wife, Maria Lister. Sandy and Levon exhibit a true genuineness as a couple trying to get by in such a hard time, making the story that much more authentic. Levon also showcases his ability to entertain with hard-hitting spoken word numbers coupled with a strong stage presence. Damien Crim, who is highly believable in a role that could only succeed if just the right amount of conflict and sympathy are brought forth, plays F.B.I. agent Jewel Moton. Terry Froncois should also be noted for his excellent portrayal of younger brother, Buck Lister.

Doo Lister’s Blues is an important piece that is masterfully presented and can be seen through November 27th. Complete with catchy songs, extraordinary acting and a well-suited set, this is a show that should be seen by everyone. For more information on show times, visit www.NPT2.com.  

On my drive downtown from suburbia I had plenty of time to second-guess my plan to bring my almost seven year old daughter to an 8 PM showing of Disney’s, The Lion King at the Cadillac Palace Theatre. Her eyes were already heavy as I pulled into a parking garage just down the street. This quickly changed as she took in the energy of other theatergoers. This was then sustained for the two and a half hour show by the amazing performers. The elephant that sauntered down the aisle certainly helped, later followed by wildebeests, hyenas, and birds. The music, singing and dancing kept my daughter fixated on every move and word.

The director has evoked a heightened level of attention to detail in all of the cast and crew and the puppeteers stayed true to their characters. It is obvious they have studied not only the lines and vocal inflections, but also the nuances of their characters movements and manners. The play stayed true to the story line of the animated original. Their favorite songs from the movie like “The Circle of Life” and “Can You Feel The Love Tonight” will dazzle both kids and adults. But those songs are not the only reason to see this play. The costumes are amazing, the story line is brilliant and it all comes together due to a talented cast. The Lion King is well suited for audiences of all ages.

Before you buy your tickets, be aware that while the Cadillac Palace Theatre is cozy. Seats to the far sides of the stage will provide an obstructed view of activities that take place in the rear corners. The show is in Chicago for nine weeks through Saturday, November 27. For tickets or additional information, go to www.BroadwayInChicago.com.

I'd like to start by stating the fact that sound at Subterranean is not ideal to any band, but the music intrigued me, so I bought an E.P., that was a good sign.  Do you remember any of the following; Lucky Boys Confusion, The Insecurities, The Waiting Game, One Life, 15 Minutes Late, Logan Square or Swizzle Tree?  Of Course!  This is a Chicago made super group, but they are not striving for this status, this is 6 guys (2 guitars, 1 bass, 1 drummer, 1 keyboardist, 1 singer) that are doing it for the love of music.  It's a more mature melding of the above mentioned bands, it's about 10 years of life experiences from where they were, it's mellowed, still has an edge is hooky and bouncy with thought behind the lyrics.  It feels/sounds like they breathed life back into the music and gave it a soul.  They love the audience and interaction with everyone, they want you to sing-a-long, bounce, have fun and conncet with them.  They talk with you not at you, they make the music for them, but for you to enjoy with them.