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With the upcoming Music From Another Dimension marking the end of their current deal with Columbia Records, Aerosmith may abandon the label world and take future release matters into their own hands.
Asked during a conference call with reporters on Thursday whether the band would consider self-releasing future projects, frontman Steven Tyler said that "if the band stays together, yeah, we'll definitely go that route, something somewhere over there. We've been keeping record companies stocked with millions of shekels for years, been making a lot of people rich -- not that we haven't, but every now and then you get into arguments with labels (and) you think, 'Where is all this money going?' We've definitely thought of putting stuff out. I was very successful last year with a (single) called 'It Feels So Good.' It proves it can happen."
Guitarist Joe Perry didn't sound quite so definitive about the idea, however, saying that, "We've talked about every idea you can think of out there, and we really don't know. There's so many different directions we can go. (Columbia) has been totally with us and behind us on this album, and really supportive. So the talk about what happens when it gets delivered and we (finish) our commitment with Sony, what are we gonna do next -- it's really an open question at this point.
Music From Another Dimension, Aerosmith's first set of all-new material in 11 years, comes out November 6, while the band starts the next leg of its Global Warming Tour on Nov. 8 in Oklahoma City. The album has been preceded by the singles "Legendary Child," "What Could Have Been Love" and "Lover Alot" and features a duet with Carrie Underwood ("Can't Stop Loving You") and collaborations with Johnny Depp ("Freedom Fighter") and Julian Lennon ("Luv XXX").
Continuing to address the future, Tyler said Aerosmith will go on a full-scale world tour next year and predicted that Music From Another Dimension has "four songs radio is not gonna be able to stay away from, which is unheard of." He promised that he plans to make a solo album next but assured "that don't mean the band's breaking up. It means I'll divert a little and have some fun with other people."
Perry, meanwhile, is following Tyler and drummer Joey Kramer in writing an autobiography, which he hopes to publish in 2013. He's teamed with award-winning author David Ritz, who's worked with B.B. King, Jerry Wexler and, most recently, Bettye LaVette, and the guitarist says that "it's going to be my story, but it's also entwined with Aerosmith and relationships there and the how and the why of that kind of stuff. People have been asking me about it for the last probably five or 10 years... I'll definitely take a different path than the other guys, the way they put their books together. I read probably 40 biographies and autobiographies, musical ones. I can see how some worked and some didn't. I hope this one works. There's a lot to fit into 600 pages or whatever it's gonna be. I'm pretty excited."
13 Ekim 2012 Cumartesi
Character Spotlight: OKLAHOMA!'s Will Parker
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Erin Joy Swank, of the Education & Community Programs Department, recently caught up with baritone Curt Olds. Below is an excerpt from that interview.
Welcome back toCentral City Opera! We last saw you on stage as John Styx in Orpheus in theUnderworld (2010). While keeping guard over Eurydice in Hades, youentertained us in song and dance. This summer you’ll once again charm theaudience as the dancing rodeo cowboy Will Parker in Oklahoma!
You’ve made a careerout of working as a “triple threat,” a performer who acts, sings and dances.Can you explain the similarities and differences working in opera, musicaltheatre and dance?
Thanks for the compliment of calling me a "triplethreat." The skills that might make me a "triplethreat" as you say (singing, acting and dancing) come out of my theatretraining and years of doing musicals as a child and young adult. In the musicaltheatre world, a performer definitely has to possess a singing voice, butsinging tends to be on equal footing with acting ability and, if the dramaticmoment calls for it, the singing might be compromised for dramatic effect.Regarding dance, if a singer also happens to have the ability to dance, then itopens an entire new world of casting possibilities. In the operatic world, singing and attention to the voice iseverything. If an opera singer possessing a world-class voice can also act -- and Imean not only just while singing, but also in the moments on stage that areunsung -- then they have the makings of a major career. But the voice and abilityto use it come first. And that is a very good thing. For most opera singers,acting skills are developed later because of the heavy requirements of foreignlanguages and the study of historical performance practices. With me, when Iwas studying opera, I put all serious acting, dancing and musical theatre studyon the back burner for a little over six years. I had to concentrate on vocalstudies and languages. My mainobjective when performing is to affect the audience, to move them, to make themfeel. Any extra skill to help do that is a bonus.
You’ve played Curlyin a past production of Oklahoma! What is it like to preparefor the role of Will Parker this time?
When I played Curly, all I really wanted to do was play WillParker. I am definitely a casting possibility for Curly, but personally, I ammuch more like Will Parker and I understand the comic elements of the role.Curly is cool, steady. He has to be to deal so keenly with Jud Fry. Will is awild card and easily excitable. The great thing about Oklahoma! is Istill get to be handsome and cute outside of the central romantic leading man.I feel very fortunate to have played both roles professionally and Rodgers andHammerstein shows are always so fulfilling to perform. I did The Soundof Music earlier this season and Oklahoma! is apersonal favorite of mine. Win win.
You were also a pastApprentice and Studio Artist with Central City Opera. What did you learn orpractice in the artist training program that helped you in your careerdevelopment?
The Bonfils-Stanton Training Program was instrumental to anysuccess I have enjoyed over the past twenty years. I was a college kid fromMontana with no idea how to approach a singing career on a national level. Icame to Denver and sang for John Moriarty and it changed my life. Not only didCentral City Opera's training program offer wonderful classes in diction,audition technique, movement, and repertoire, but it also provided me withquality stage time in comprimario [supporting] roles, recital engagements andscenes concerts. That first summer with Central City Opera led to mygraduate studies at New England Conservatory and additionally, Central CityOpera gave me some of my first principal roles. I will be forever grateful.
The full interview with Curt will be available in the 2012 Opera Insider (festival resource guide) very soon. Stay tuned for more insider interviews!
Erin Joy Swank, of the Education & Community Programs Department, recently caught up with baritone Curt Olds. Below is an excerpt from that interview.Welcome back toCentral City Opera! We last saw you on stage as John Styx in Orpheus in theUnderworld (2010). While keeping guard over Eurydice in Hades, youentertained us in song and dance. This summer you’ll once again charm theaudience as the dancing rodeo cowboy Will Parker in Oklahoma!
You’ve made a careerout of working as a “triple threat,” a performer who acts, sings and dances.Can you explain the similarities and differences working in opera, musicaltheatre and dance?
Thanks for the compliment of calling me a "triplethreat." The skills that might make me a "triplethreat" as you say (singing, acting and dancing) come out of my theatretraining and years of doing musicals as a child and young adult. In the musicaltheatre world, a performer definitely has to possess a singing voice, butsinging tends to be on equal footing with acting ability and, if the dramaticmoment calls for it, the singing might be compromised for dramatic effect.Regarding dance, if a singer also happens to have the ability to dance, then itopens an entire new world of casting possibilities. In the operatic world, singing and attention to the voice iseverything. If an opera singer possessing a world-class voice can also act -- and Imean not only just while singing, but also in the moments on stage that areunsung -- then they have the makings of a major career. But the voice and abilityto use it come first. And that is a very good thing. For most opera singers,acting skills are developed later because of the heavy requirements of foreignlanguages and the study of historical performance practices. With me, when Iwas studying opera, I put all serious acting, dancing and musical theatre studyon the back burner for a little over six years. I had to concentrate on vocalstudies and languages. My mainobjective when performing is to affect the audience, to move them, to make themfeel. Any extra skill to help do that is a bonus.
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| Central City Opera’s ORPHEUS IN THE UNDERWORLD (2010). Pictured (L to R): Joanna Mongiardo (Eurydice) and Curt Olds (John Styx). Photo by Mark Kiryluk. |
When I played Curly, all I really wanted to do was play WillParker. I am definitely a casting possibility for Curly, but personally, I ammuch more like Will Parker and I understand the comic elements of the role.Curly is cool, steady. He has to be to deal so keenly with Jud Fry. Will is awild card and easily excitable. The great thing about Oklahoma! is Istill get to be handsome and cute outside of the central romantic leading man.I feel very fortunate to have played both roles professionally and Rodgers andHammerstein shows are always so fulfilling to perform. I did The Soundof Music earlier this season and Oklahoma! is apersonal favorite of mine. Win win.
 |
| Central City Opera’s OKLAHOMA! (2012). Pictured: Kaitlyn Costello (Ado Annie), Curt Olds (Will Parker). Photo by Kira Horvath. |
The Bonfils-Stanton Training Program was instrumental to anysuccess I have enjoyed over the past twenty years. I was a college kid fromMontana with no idea how to approach a singing career on a national level. Icame to Denver and sang for John Moriarty and it changed my life. Not only didCentral City Opera's training program offer wonderful classes in diction,audition technique, movement, and repertoire, but it also provided me withquality stage time in comprimario [supporting] roles, recital engagements andscenes concerts. That first summer with Central City Opera led to mygraduate studies at New England Conservatory and additionally, Central CityOpera gave me some of my first principal roles. I will be forever grateful.
The full interview with Curt will be available in the 2012 Opera Insider (festival resource guide) very soon. Stay tuned for more insider interviews!
Denver Public Library's Fresh City Life takes a Road Trip
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Last Saturday, participants from Denver Public Library's Fresh City Life took a road trip to Central City. First on the agenda was attending one of the Bonfils-Stanton Foundation Artists Training Program's classes, which focused on auditioning. We watched as the young artists, chosen from a pool of over 900 applicants, rehearsed an aria as if they were at an audition. Program Administrator Marc Astafan and Principal Coach Michael Baitzer gave each singer feedback on their mock auditions -- everything from their attire to the organization of the book of music given to their accompanist.
After watching a few of the talented young artists, we made our way down the hill to Main Street for an old-fashioned shoot out, performed by members of the Gilpin County Historical Society.
Next on the agenda was a look at the costumes of Oklahoma! with Costume Designer Marcy Froehlich. You can get your own virtual sneak peak of the costumes in our earlier vlog post.
After a lunch in the beautiful Opera Garden, we took a tour of the historic Teller House, once the most opulent hotel between Chicago and San Francisco. Finally, it was time for the Oklahoma! wandelprobe.
An important stage of the opera production process is the sitzprobe-- a German term which literally means "seat test." It's the rehearsal in which the singers sit on the stage while singing with the orchestra for the first time.
A wandelprobe, however, is an entirely made-up word, used for when the singers actually move around the stage while rehearsing with the orchestra for the first time. After enjoying the first hour of the wandleprobe from the Opera House's balcony, we made our way back to Opera Garden for a quick Q-and-A session.
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| Apprentice Artist Stephen Carrol sings his audition aria as Program Administrator Mark Astafan, right, looks on. |
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| An unsuspecting onlooker is roped into an attempted shotgun wedding before being run out of town. |
Next on the agenda was a look at the costumes of Oklahoma! with Costume Designer Marcy Froehlich. You can get your own virtual sneak peak of the costumes in our earlier vlog post.
After a lunch in the beautiful Opera Garden, we took a tour of the historic Teller House, once the most opulent hotel between Chicago and San Francisco. Finally, it was time for the Oklahoma! wandelprobe.
An important stage of the opera production process is the sitzprobe-- a German term which literally means "seat test." It's the rehearsal in which the singers sit on the stage while singing with the orchestra for the first time.
A wandelprobe, however, is an entirely made-up word, used for when the singers actually move around the stage while rehearsing with the orchestra for the first time. After enjoying the first hour of the wandleprobe from the Opera House's balcony, we made our way back to Opera Garden for a quick Q-and-A session.
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| Participants from Fresh City Life watch from the balcony as the cast sings "Kansas City" with the orchestra for the first time. |
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| Gene Scheer (Ali Hakim) sings "It's a Scandal, It's an Outrage," surrounded by a chorus of cowboys. |
Britten's Brilliant Twelve-Tone Row in THE TURN OF THE SCREW
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Central City Opera opens its third mainstage production tonight with the creepy and cool opera The Turn of the Screw. While not as toe-tapping as the songs from this year's Oklahoma!, the score is very interesting. The opera is organized in a way that would thrill those of the Type-A personality. Benjamin Britten built the entire opera on a twelve-tone row, which is a non-repetitive ordering of a set of pitches. You can listen to the twelve-tone row here.
The opera is divided into two acts, with each act containing eight scenes, and the first act preceded by a Prologue. Before each scene, the chamber orchestra plays a short introduction based on the twelve-tone row you just heard. Each introduction features the instruments that are important in the following scene. You may be thinking: “Wow, this sounds so mathematical and boring. How can this music be interesting, dynamic, and evocative?” Britten was a genius at getting the music to serve the story. His use of instrumentation and speech-like melody brings out all of the colors and emotions of the drama happening on stage.
Listen again to that twelve-tone row, then watch the first scene of the opera below, produced by the Glyndebourne Festival in 2011. You’ll hear the main theme – with the twelve-tone row masterfully played by the entire orchestra – then the Governess’s first aria. Note the use of percussion in the theme and during the first scene. Britten uses the percussion to invoke the feeling of anticipation, excitement, and a bit of apprehension – all feelings that the Governess has as she is traveling to Bly House to begin her new job.
Want to know more? This blog post is part of the article What to Listen for in The Turn of the Screw, found in the 2012 Opera Insider (Festival Resource Guide - PDF).
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| Twelve-Tone Row on which the opera is based |
The opera is divided into two acts, with each act containing eight scenes, and the first act preceded by a Prologue. Before each scene, the chamber orchestra plays a short introduction based on the twelve-tone row you just heard. Each introduction features the instruments that are important in the following scene. You may be thinking: “Wow, this sounds so mathematical and boring. How can this music be interesting, dynamic, and evocative?” Britten was a genius at getting the music to serve the story. His use of instrumentation and speech-like melody brings out all of the colors and emotions of the drama happening on stage.
Listen again to that twelve-tone row, then watch the first scene of the opera below, produced by the Glyndebourne Festival in 2011. You’ll hear the main theme – with the twelve-tone row masterfully played by the entire orchestra – then the Governess’s first aria. Note the use of percussion in the theme and during the first scene. Britten uses the percussion to invoke the feeling of anticipation, excitement, and a bit of apprehension – all feelings that the Governess has as she is traveling to Bly House to begin her new job.
Want to know more? This blog post is part of the article What to Listen for in The Turn of the Screw, found in the 2012 Opera Insider (Festival Resource Guide - PDF).
Video Clips from LA BOHÈME - Central City Opera's 2012 production
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Central City Opera's La Bohème continues through August 12th. To whet your appetite, enjoy these snippets from the production.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
12 Ekim 2012 Cuma
Video Clips from LA BOHÈME - Central City Opera's 2012 production
To contact us Click HERE
Central City Opera's La Bohème continues through August 12th. To whet your appetite, enjoy these snippets from the production.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
Guns N' Roses - Concert Review
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The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.
While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
I'm Going Back To School
To contact us Click HERE
The last few weeks have been very busy for me as I interviewed and landed a new job at the School of Rock. I can't begin to describe what a great Holiday gift this is for my family. I could easily detail my months and months (and months) of unemployment, the hundreds of cover letters I wrote and resumes I sent, the dozens of interviews I had (but was never left standing at the end), blah, blah, blah... but I'd much rather look to the future and the work I'll be doing for School of Rock. There are 75+ SOR's across the country including three in Colorado. I'll be working to open new franchises across the country, and eventually internationally. So here's a little breakdown on what the SOR is all about:
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
Jerry Gaskill of King's X Suffers Heart Attack
To contact us Click HERE
Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
To contact us Click HERE
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
11 Ekim 2012 Perşembe
Video Clips from LA BOHÈME - Central City Opera's 2012 production
To contact us Click HERE
Central City Opera's La Bohème continues through August 12th. To whet your appetite, enjoy these snippets from the production.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
Guns N' Roses - Concert Review
To contact us Click HERE
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.
While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
I'm Going Back To School
To contact us Click HERE
The last few weeks have been very busy for me as I interviewed and landed a new job at the School of Rock. I can't begin to describe what a great Holiday gift this is for my family. I could easily detail my months and months (and months) of unemployment, the hundreds of cover letters I wrote and resumes I sent, the dozens of interviews I had (but was never left standing at the end), blah, blah, blah... but I'd much rather look to the future and the work I'll be doing for School of Rock. There are 75+ SOR's across the country including three in Colorado. I'll be working to open new franchises across the country, and eventually internationally. So here's a little breakdown on what the SOR is all about:
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
Jerry Gaskill of King's X Suffers Heart Attack
To contact us Click HERE
Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
To contact us Click HERE
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
10 Ekim 2012 Çarşamba
Video Clips from LA BOHÈME - Central City Opera's 2012 production
To contact us Click HERE
Central City Opera's La Bohème continues through August 12th. To whet your appetite, enjoy these snippets from the production.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
Guns N' Roses - Concert Review
To contact us Click HERE
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.
While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
I'm Going Back To School
To contact us Click HERE
The last few weeks have been very busy for me as I interviewed and landed a new job at the School of Rock. I can't begin to describe what a great Holiday gift this is for my family. I could easily detail my months and months (and months) of unemployment, the hundreds of cover letters I wrote and resumes I sent, the dozens of interviews I had (but was never left standing at the end), blah, blah, blah... but I'd much rather look to the future and the work I'll be doing for School of Rock. There are 75+ SOR's across the country including three in Colorado. I'll be working to open new franchises across the country, and eventually internationally. So here's a little breakdown on what the SOR is all about:
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
Jerry Gaskill of King's X Suffers Heart Attack
To contact us Click HERE
Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
To contact us Click HERE
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
9 Ekim 2012 Salı
Video Clips from LA BOHÈME - Central City Opera's 2012 production
To contact us Click HERE
Central City Opera's La Bohème continues through August 12th. To whet your appetite, enjoy these snippets from the production.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
From Act One, an excerpt of "O soave fanciulla" with Mimi & Rodolfo:
From Act Two in the Café Momus:
From Act Three with Marcello & Mimi:
Glimpses of Central City Opera's 2012 production of LA BOHÈME
Music by Giacomo Puccini
Libretto by Giacosa and Illica
Based upon Henri Murder's 1849 novel SCÈNES DE LA VIE BOHÈME
Conductor: John Baril
Director: Kevin Newbury
Assistant Director: R. B. Schlather
Scenic Designer: David Korins
Costume Designer: Jessica Jahn
Lighting Designer: David Martin Jacques
Wig/Makeup Designer: Dave Bova
Associate Conductor: Adam Turner
Musetta: Deborah Selig
Marcello: Troy Cook
Rodolfo: Eric Margiore
Mimi: Elizabeth Caballero
Colline: Ryan Speedo Green
Schaunard: Chris Carr
Alcindoro: Thomas Goerz
Performed by the Central City Opera Festival Orchestra
Visit the La Bohème website for more information.
Guns N' Roses - Concert Review
To contact us Click HERE
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.
While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
The following Guns N' Roses review was written by TDWenger of Listen Up Denver. I'm posting his review here because, to be completely honest, I didn't stay for the duration of the GNR marathon show. Keep reading and you'll understand why...
The Scene: The scene at the Guns N’ Roses show at the 1st Bank Center was pretty much what I thought it might be. There were plenty of aging metalheads in leather and old tour t-shirts with big haired ladies in tight outfits on their arms and they were rubbing shoulders with well dressed suburban couples in their late 30′s out to relive their glory days with songs like “Welcome To The Jungle” and “Paradise City.” Sure there were some younger folks who came out to catch a glimpse of a fading legend, but the average age in the arena was pushing 40 for sure. It was an interesting crowd to say the least and the variety of people that turned out for a walk down memory lane was a clear testament to the wide reach of GnR’s material in the late 80′s and early 90′s.
Guns N’ Roses: First off, I’ve got to admit that the main reason I headed out on a Sunday night to catch this show was because I didn’t want to miss the opportunity to catch an Axl Rose meltdown. While they do seem to be fewer and farther between than just a few years ago, it’s by no means unheard of these days. For better or worse, Axl didn’t fly off the handle and instead decided to be surprisingly professional. Guns N’ Roses was scheduled to take the stage at 11pm (yes you read that right, 11pm . . . on a freakin’ Sunday) and at the stroke of the hour, the lights went down and the theme song from Dexter came pumping from the PA. Within seconds, the lights came up and guitarist DJ Ashba appeared in silhouette against a giant LED screen emblazoned with a GnR logo. As he launched into the opening riff from “Chinese Democracy,” an array of pyrotechnics exploded around the stadium sized stage, Axl and the rest of the band appeared, and we were off on quite an interesting ride.
Though the opener was a lot less than it could have been, the band followed it up with a trio of tunes from Appetite For Destruction as if to say to the mom’s and dad’s who had to go relieve a babysitter “there, you got what you came for, you can go now.” I’ve got to admit that Rose’s voice sounded pretty impressive on what I thought would be the defacto opener “Welcome To The Jungle,” and as he pushed into “It’s So Easy” and “Mr. Brownstone” I thought we might be in for surprisingly good show.
Unfortunately, what followed was an on again, off again set that was in desperate need of an editor. With solo after gratuitous solo, the band stretched . . . and stretched . . . and stretched the show out to three full hours, not bidding us goodnight until 2am. Axl has publicly bragged about how long the show is on this tour, and I’ve got to say that this is NOT the hit filled powerhouse set that will leave you begging for more in the wee hours of the morning. Rather, there were moments where it was downright boring as the band slogged through track after track from Chinese Democracy, and a slew of poorly chosen teases and covers like ”Baba O’Riley,” “Another Brick In The Wall,” and even “The Theme From The Pink Panther.” What it all added up to was a whole bunch of filler, much of which was totally unnecessary at 1am on a Sunday night. Axl and his band could have put on a polished, and really quite good, 90 minute show that focused on a few tracks from Chinese Democracy and the rest of the hits that people came to hear, rather than forcing us to sit through song after song that should have been left on the cutting room floor. Editing certainly doesn’t seem to be Mr. Rose’s strong suit.
While that lack of editing was a major blow to the musical portion of the night, it served to make the visual side of things very interesting. The stage set up was so big that it could have been left over from GnR’s days of touring stadiums with Metallica. With two levels, five video screens, enough acreage to raise a couple hundred head of cattle, an arsenal of pyrotechnical effects, and a dizzying array of lights hanging overhead, the set-up rivaled any of the biggest bands touring today. Frankly, with a rig like this, I have no idea how the band is going to clear any money from this tour. The small arena might have been two-thirds full and there was plenty of room to move around on the floor or to find a seat to wait out some of the slower moments of the evening.While there were plenty of those slow moments, songs like “Live And Let Die,” “Sweet Child O’ Mine,” and “November Rain,” delivered just about everything I was hoping for. The three guitarists that are touring with this band in an effort to duplicate the guitar heroics that Slash pulled off on his own, did an admirable job and most of legendary solos were played note for note. There is no lack of talent in this band, and while at times it seemed like we could have been at a Vegas show due to the exorbitant production values, for the most part these guys proved their worth as musicians, as opposed to actors.
The two and half hour set wrapped up with a version of Bob Dylan’s “Knockin’ On Heaven’s Door” that went on for what seemed like an eternity as Axl begged the sparse crowd to sing to him, followed by a high energy take on “Nightrain” which allowed Rose to put his singing prowess on display once again as he hit all the notes and growls in the powerhouse tune. After a brief encore break, the band came back and closed the show with a self indulgent 30 minute mini-set that featured at least 3 drawn out instrumentals that did nothing to advance the show. By the time they got to “Patience” and “Paradise City” much of the crowd was poised to hit the parking lot but Axl had one last surprise in store for us when confetti cannon’s by the soundboard exploded, filling the air with millions of pieces of red paper.
The marathon show was nothing short of over-the-top . . . in every way. From the stage set-up, to the three guitar attack, to the three hour set time, to the 34 song setlist, Axl did it his way, so it was more than fitting that the walk-out music for the evening was Frank Sinatra’s “My Way.” When all was said and done I would say that ended up enjoying about half the show and on the drive home I did my best to figure out how to get that other hour and half of my life back. I have one word for you Axl: “Edit.”
Energy: B-
Sound: C
Musicianship: A-
Stage Presence: A-
Set / Light show: A
Overall: B
I'm Going Back To School
To contact us Click HERE
The last few weeks have been very busy for me as I interviewed and landed a new job at the School of Rock. I can't begin to describe what a great Holiday gift this is for my family. I could easily detail my months and months (and months) of unemployment, the hundreds of cover letters I wrote and resumes I sent, the dozens of interviews I had (but was never left standing at the end), blah, blah, blah... but I'd much rather look to the future and the work I'll be doing for School of Rock. There are 75+ SOR's across the country including three in Colorado. I'll be working to open new franchises across the country, and eventually internationally. So here's a little breakdown on what the SOR is all about:
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
We believe the best way to learn music is to play music. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels.
School of Rock teaches guitar, bass, vocals, keyboards, drums and combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting.
To date our students have played thousands of concerts, to more than 100,000 people, at such legendary venues as CBGB's, The Trocadero, The Knitting Factory, The Whiskey, The Roxy, The Experience Music Project, The Big Easy and BB King's Blues Club in Times Square. We have also had the great fortune to be able to perform at music festivals from Lollapalooza and Austin City Limits, to Zappanale in Bad Doberan, Germany.
Jerry Gaskill of King's X Suffers Heart Attack
To contact us Click HERE
Details are sketchy at this hour, but Facebook reports are coming in that King's X drummer Jerry Gaskill has suffered a heart attack.
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
From Dug Pinnick: Jerry had a heart attack last night. He was operated on and is in stable condition at the hospital. Were all waiting for more info. I will keep you posted.
From Russell Arcara: Prayers are needed at this time for my very dear friend Jerry Gaskill He has suffered a heart attack and is in the ICU at this very moment. My FB friends are powerful prayers and he needs our continuous prayer. His family and I would be extremely grateful!!!!!
It goes without saying how much of a talent Jerry is - all KX fans are hoping that this situation isn't life threatening and that he'll make a full recovery. Selfishly, I'd love to see him perform in Denver in two short months, but if I had to put money down I'd say he'll be resting and the tour will either be postponed or a replacement drummer will be brought in to play their upcoming dates.
Get well soon, Jerry!
DLR: I'm Eddie Van Halen's Biggest Fan
To contact us Click HERE
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
The 2012 Van Halen tour is only a few shows in and the fan reviews continue to be strong.
VH have been dropping some rarely-played gems in the setlists and mixing things up a little as they settle into the start of the trip.
This week, VH play two nights at Madison Square Garden, and the New York Post caught up with David Lee Roth for an update on the band’s tour in support of “A Different Kind Of Truth.”
“We’re doing a lot of tunes that don’t usually get out of the deck and Edward is more lucid now than any time in my memory,” explains Roth. “I’m his biggest fan. I still remember the first time I saw him playing in a backyard party in Pasadena in high school. He was great then and he’s great now. We’ve come full circle.”
Asked what sets VH apart from other bands, Dave says “We throw a sick party, and if you get invited, you gotta go. For starters, on this tour Kool and the Gang are opening our shows, and that’s full circle for us because we used to play ‘Hollywood Swinging’ in five-sets-a-night-beer-bars. And the first three songs on our new record are thunder-funk. What we’re giving is the best of the old and the new — think of it like watching ‘Dragnet’ on your iPad.”
Roth was asked how the pop world changed since VH started in the 70s.
“These days, I see too much cheerleading and not enough stagecraft, and what I’m seeing isn’t worth cheering for,” replies Roth. “The questions I want to ask most of my colleagues are: Can you even do the whole song from beginning to end? Can you do it onstage like you did it in the studio? Do you float like a butterfly or sting like a pre-recorded bee?”
8 Ekim 2012 Pazartesi
Rock Legends Cruise II Boasts Major Classic Rock Acts On Carribean Cruise
To contact us Click HERE
On Thursday, January 10, 2013, thousands of rock fans are expected to board a luxury cruise vessel in Fort Lauderdale, Florida that'll be taking them to Labadee, Haiti for what promises to be the classic rock cruise of a lifetime: the Rock Legends Cruise II.
Here's the rundown...
Approximately two-dozen artists will be performing multiple sets in at least three separate, easily accessible, venues over four days and four nights (think: "hours of greatest hits").
One big classic rock festival at sea aboard 154,407 tons of fun known as Royal Caribbean's Liberty of the Seas -- one of the biggest, fastest and most luxurious passenger ships in existence, spanning over 1,100 feet long.
One moment you're by the pool basking in the sun and the next, you're taking in live musical performances by some of your all-time favorite classic rock bands (see below for the incredible line-up in its entirety).
You and a few thousand other classic rock fanatics wonder, "How did I get here?" as you sing along to such rock anthems as "Feels Like The First Time," "Can't Get Enough," "Up Around The Bend," "Carry On Wayward Son," "You Ain't Seen Nothing Yet," "Rocking into the Night," "Can't You See," "Don't Fear The Reaper," "Fool For The City" and "Flirtin' with Disaster."
No, it's not a dream, just the ultimate rock and roll getaway on the high seas -- Rock Legends Cruise II -- benefiting the Native American Heritage Association (NAHA).
So what if your voice is shot by Monday morning?
You just had the time of your life.
In addition to their musical performances, the artists will be mingling alongside fans during the four-day excursion.
"Didn't I just see Artimus Pyle in line for the breakfast buffet?"
Just an idea of what's in store...
Rock Legends Cruise II will depart Port Everglades in Fort Lauderdale, Florida early Thursday evening (January 10, 2013), then dock in Labadee, Haiti (a secure, private resort leased, managed and operated by Royal Caribbean located on the north coast of Hispaniola) the following Saturday before returning to Fort Lauderdale on Monday morning, January 14, 2013.
In between the musical performances, passengers will be able to enjoy such on board activities as surfing (thanks to the ship's FlowRider wave generator), volleyball, basketball, boxing, cantilevered whirlpools and a variety of gourmet restaurants and casual dining.
What a way to start off the new year!
Book your cabin now before they're gone!
Most levels are still available including interior, ocean view, ocean view with balcony and a variety of suites, with pricing beginning at $1,049.00 per person (double occupancy).
For further information including specific details, ticket/cabin purchase, what's included and answers to FAQ's, please go to www.rocklegendscruise.com or call 888-666-1499.
To view the Rock Legends Cruise II commercial, please see: http://rocklegendscruise.com/commercials/
For information on Liberty of the Seas, please see: http://www.royalcaribbean.com/findacruise/ships/class/ship/home.do?shipCode=LB.
ROCK LEGENDS CRUISE II 2013 - COMPLETE LINE-UP
Foreigner
Paul Rodgers
Creedence Clearwater Revisited
Kansas
Bachman & Turner
38 Special
The Marshall Tucker Band
Blue Oyster Cult
Foghat
Molly Hatchet
Kentucky HeadHunters
Bobby Keys & The Suffering Bastards
Atlanta Rhythm Section
Pat Travers Band
Melvin Seals & JGB
The Artimus Pyle Band
Black Oak Arkansas
Royal Southern Brotherhood
Devon Allman's Honeytribe
SwampDaWamp
Whiskey Myers
Fired Guns
Mike Zito
Citizens Band Radio
The Blue Lords
Here's the rundown...
Approximately two-dozen artists will be performing multiple sets in at least three separate, easily accessible, venues over four days and four nights (think: "hours of greatest hits").
One big classic rock festival at sea aboard 154,407 tons of fun known as Royal Caribbean's Liberty of the Seas -- one of the biggest, fastest and most luxurious passenger ships in existence, spanning over 1,100 feet long.
One moment you're by the pool basking in the sun and the next, you're taking in live musical performances by some of your all-time favorite classic rock bands (see below for the incredible line-up in its entirety).
You and a few thousand other classic rock fanatics wonder, "How did I get here?" as you sing along to such rock anthems as "Feels Like The First Time," "Can't Get Enough," "Up Around The Bend," "Carry On Wayward Son," "You Ain't Seen Nothing Yet," "Rocking into the Night," "Can't You See," "Don't Fear The Reaper," "Fool For The City" and "Flirtin' with Disaster."
No, it's not a dream, just the ultimate rock and roll getaway on the high seas -- Rock Legends Cruise II -- benefiting the Native American Heritage Association (NAHA).
So what if your voice is shot by Monday morning?
You just had the time of your life.
In addition to their musical performances, the artists will be mingling alongside fans during the four-day excursion.
"Didn't I just see Artimus Pyle in line for the breakfast buffet?"
Just an idea of what's in store...
Rock Legends Cruise II will depart Port Everglades in Fort Lauderdale, Florida early Thursday evening (January 10, 2013), then dock in Labadee, Haiti (a secure, private resort leased, managed and operated by Royal Caribbean located on the north coast of Hispaniola) the following Saturday before returning to Fort Lauderdale on Monday morning, January 14, 2013.
In between the musical performances, passengers will be able to enjoy such on board activities as surfing (thanks to the ship's FlowRider wave generator), volleyball, basketball, boxing, cantilevered whirlpools and a variety of gourmet restaurants and casual dining.
What a way to start off the new year!
Book your cabin now before they're gone!
Most levels are still available including interior, ocean view, ocean view with balcony and a variety of suites, with pricing beginning at $1,049.00 per person (double occupancy).
For further information including specific details, ticket/cabin purchase, what's included and answers to FAQ's, please go to www.rocklegendscruise.com or call 888-666-1499.
To view the Rock Legends Cruise II commercial, please see: http://rocklegendscruise.com/commercials/
For information on Liberty of the Seas, please see: http://www.royalcaribbean.com/findacruise/ships/class/ship/home.do?shipCode=LB.
ROCK LEGENDS CRUISE II 2013 - COMPLETE LINE-UP
Foreigner
Paul Rodgers
Creedence Clearwater Revisited
Kansas
Bachman & Turner
38 Special
The Marshall Tucker Band
Blue Oyster Cult
Foghat
Molly Hatchet
Kentucky HeadHunters
Bobby Keys & The Suffering Bastards
Atlanta Rhythm Section
Pat Travers Band
Melvin Seals & JGB
The Artimus Pyle Band
Black Oak Arkansas
Royal Southern Brotherhood
Devon Allman's Honeytribe
SwampDaWamp
Whiskey Myers
Fired Guns
Mike Zito
Citizens Band Radio
The Blue Lords
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