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Forner Rolling Stones bassist Bill Wyman has said he was "disappointed" by his role in the Stones 50th anniversary shows.
The legendary group's former bassist joined the band at their London gigs for two tracks, 'Honky Tonk Women' and 'It's Only Rock 'N Roll (But I Like It)', but he admits that he thought he would feature more heavily in their set.
He told The Times: "In December 2011 Keith Richards called and said, 'Come on mate, why don't you have a jam with us?' Then they asked if I'd be interested in getting involved in the band for a special occasion. I thought I would get quite heavily involved, so when they said they only wanted me to do two songs I was a bit disappointed."
Wyman also revealed that he wasn't given much time to rehearse with the rest of the band. "I only had one rehearsal and no sound-check so I just winged it. It was great, but I didn't want to go to America for two songs. I think they understood. Well, Charlie Watts did," he said.
Earlier this month, The Rolling Stones' Ronnie Wood promised that he would be twisting his bandmate's arms into playing this years' Glastonbury. The Stones have been strongly tipped to make their debut on the Pyramid Stage this year. When asked about it, Wood replied: "We've got a meeting next month and that's going to be my first question to them. It's something I've always been interested in. I'm going to twist their arms. I've got lots of high hopes this year, now that we're all rehearsed - let's get it cracking this summer!"
25 Şubat 2013 Pazartesi
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.
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| 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.
24 Şubat 2013 Pazar
Fleetwood Mac's Rumours Ages Well Into Its Thirties
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Whenever a music publication makes a list of top rock albums, Fleetwood Mac's Rumours is there. While the album actually came out 36 years ago, the band is celebrating with what's being called a 35th anniversary expanded edition.
"We've been waiting a long time to put this out," Stevie Nicks told Rolling Stone. "If you were a Fleetwood Mac fan, you get to hear the songs turn into the songs without a lot of overdubbing. It's very simple."
"Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend," writes Stephen Thomas Erlewine of AllMusic.com. "It's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era."
The album is noteworthy of course for such songs as "Go Your Own Way," "Don't Stop," and "You Make Lovin' Fun," but also for the band's own romantic turmoil as the album was being made, which bleeds through into the music.
"That really was a lot of the appeal of Rumours," Lindsey Buckingham admitted in the same Rolling Stone interview. "The music was wonderful, but the music was also authentic because it was two couples breaking up and writing dialogue to each other."
The band recently added more dates to their upcoming tour, which begins April 4 in Columbus, Ohio, and which will include many songs from Rumours.
Christine McVie will not be a part of the tour. In 2012, when the tour was announced, Nicks told Rolling Stone, "(McVie) went to England and she has never been back since 1998, so it's not really feasible, as much as we would all like to think that she'll just change her mind one day. I don't think it'll happen. We love her, so we had to let her go."
The band's 1975 song "Landslide" appeared in Sunday's Budweiser Super Bowl commercial, one of the most popular ads of the night.
For a chance to own the 35th anniversary expanded edition of Rumours, enter the Vintage Rock Giveaway, starting tomorrow. (February 5)
"We've been waiting a long time to put this out," Stevie Nicks told Rolling Stone. "If you were a Fleetwood Mac fan, you get to hear the songs turn into the songs without a lot of overdubbing. It's very simple."
"Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend," writes Stephen Thomas Erlewine of AllMusic.com. "It's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era."
The album is noteworthy of course for such songs as "Go Your Own Way," "Don't Stop," and "You Make Lovin' Fun," but also for the band's own romantic turmoil as the album was being made, which bleeds through into the music.
"That really was a lot of the appeal of Rumours," Lindsey Buckingham admitted in the same Rolling Stone interview. "The music was wonderful, but the music was also authentic because it was two couples breaking up and writing dialogue to each other."
The band recently added more dates to their upcoming tour, which begins April 4 in Columbus, Ohio, and which will include many songs from Rumours.
Christine McVie will not be a part of the tour. In 2012, when the tour was announced, Nicks told Rolling Stone, "(McVie) went to England and she has never been back since 1998, so it's not really feasible, as much as we would all like to think that she'll just change her mind one day. I don't think it'll happen. We love her, so we had to let her go."
The band's 1975 song "Landslide" appeared in Sunday's Budweiser Super Bowl commercial, one of the most popular ads of the night.
For a chance to own the 35th anniversary expanded edition of Rumours, enter the Vintage Rock Giveaway, starting tomorrow. (February 5)
'Phil Spector' Trailer Hits The Web
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HBO Films has released its first trailer promoting the upcoming Al Pacino-starring biopic on imprisoned record producer Phil Spector.
In the clip, Pacino's Spector is shown in full flight, firing rounds into the ceiling of a studio, ranting in court and taking abuse from supporters of Lana Clarkson, who he was convicted of murdering in 2003. And throughout, Pacino parades a range of extraordinary Spector hairstyles.
Oscar-nominee David Mamet [1] wrote and directed Phil Spector, while Barry Levinson serves as executive producer. Pacino plays opposite Oscar-winning British actress Helen Mirren, who portrays Spector's attorney Linda Kenney Baden.
Spector’s self-proclaimed "wall of sound" recording technique transformed 1960s pop music, and placed the music man in the mix of many hits with the likes of the Beatles, the Ronettes and the Ramones. A reclusive character, Spector’s strange behavior is also well documented by some of those artists who’ve worked with him.
On a retrial, Spector was convicted in 2009 of the second-degree murder of Clarkson, a B-movie actress. He's now serving 19 years to life for murder in a California jail. Spector, now 73, won't be eligible for parole until he reaches 88.
Phil Spector will premiere in the U.S. on Sunday, March 24 at 9 pm. International release dates have yet to be confirmed.
In the clip, Pacino's Spector is shown in full flight, firing rounds into the ceiling of a studio, ranting in court and taking abuse from supporters of Lana Clarkson, who he was convicted of murdering in 2003. And throughout, Pacino parades a range of extraordinary Spector hairstyles.
Oscar-nominee David Mamet [1] wrote and directed Phil Spector, while Barry Levinson serves as executive producer. Pacino plays opposite Oscar-winning British actress Helen Mirren, who portrays Spector's attorney Linda Kenney Baden.
Spector’s self-proclaimed "wall of sound" recording technique transformed 1960s pop music, and placed the music man in the mix of many hits with the likes of the Beatles, the Ronettes and the Ramones. A reclusive character, Spector’s strange behavior is also well documented by some of those artists who’ve worked with him.
On a retrial, Spector was convicted in 2009 of the second-degree murder of Clarkson, a B-movie actress. He's now serving 19 years to life for murder in a California jail. Spector, now 73, won't be eligible for parole until he reaches 88.
Phil Spector will premiere in the U.S. on Sunday, March 24 at 9 pm. International release dates have yet to be confirmed.
Not Your Granny's Grammys
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From The Wall Street Journal
Forty million people tuned in to the Grammy Awards last year, the most viewers since Michael Jackson triumphed with Thriller. But that Oscars-size audience was due to the drawing power of a young singer (Adele) and the death of an older one (Whitney Houston) the day before the telecast. This Sunday, without those klieg-light factors, the Grammy Awards are set to be a more accurate mirror of today's music business, a volatile industry where both sales and stardom are spread more thinly than ever.
The once-stodgy awards are finding and honoring new artists faster than ever.
Here's a look at the 2013 Grammy Awards. From Skrillex to Gotye to Swedish House Mafia, this year's crop of nominees represent the changing face of music. Though big names like Justin Bieber and Bruce Springsteen were shut out of the major categories.
But as a result, Grammy viewers will get a better look at how new media and technology are reshaping pop music today.
The overseers of the awards were slow to recognize rock 'n' roll in the 1960s, and later infamously snubbed seminal albums by Eminem and Radiohead in favor of one released by Steely Dan 20 years past the jazz-rockers' prime. In recent years, however, the National Academy of Recording Arts and Sciences has stepped up efforts to make its ranks more young and diverse. The result is a voting membership that—despite some glaring snubs and blind spots—seems more attuned to the artists setting the pace of music culture.
Consider the top category, album of the year, where the five nominees are made up entirely of young acts. There's not a household name among them (as CBS has no doubt noticed; Justin Timberlake will perform on the show, though he isn't nominated), but each represents the different gears driving music careers now.
Mumford & Sons is a group of folk-rock harmonizers from England who climbed gradually on the strength of live shows and word-of-mouth. Frank Ocean is a hip-hop singer who harnessed an innovative sound and online buzz. The rock band Fun. ("fun." in the band's parlance) demonstrates the enduring power of radio, television and catchy hit singles. And the elder statesmen of the bunch (Jack White and the Black Keys duo) straddle the old school and new, yet they're all under 40 years old.
Bob Dylan, Leonard Cohen and Lionel Richie once would have been no-brainer Grammy nominees, but they were shut out this year.
It's a sign that industry shifts are accelerating the life cycle of young artists. Three out of the five nominees were tapped for just their second release, including the one narrowly favored to win, Mumford & Sons. That follows three years in a row in which the best-album Grammy was taken by acts on their second or third release: Adele (2012), Arcade Fire ('11) and Taylor Swift ('10). That's the longest winning streak by early-career acts in the 54-year history of the Grammys. This suggests that Grammy voters are more open to honoring relative newcomers over lifers for the flagship award. For an organization that's been derided as the "Grannies," that's a significant course correction.
With relentless touring, folk rockers Mumford & Sons built an audience, broke into the mainstream and sold four million albums.
Or an over correction, some argue. Veterans who many industry insiders considered strong contenders for best-album nominations — Dr. John, Bonnie Raitt, Bruce Springsteen — were relegated to the genre categories of blues, Americana and rock. Other legends with new albums in 2012, including Bob Dylan, Leonard Cohen and Lionel Richie, were shut out of the nominations completely. Then again, so was Justin Bieber, along with fellow pop stars One Direction and Nicki Minaj.
All this points to the leveling effect of digital technology, social media and everything else that blew up the old industry. Revenue from recorded music in the U.S. amounted to $7 billion in 2011, less than half for the industry at its peak in 1999, according to the Recording Industry Association of America. In 2012, the compact disc continued its long decline, with sales down 13% from last year, and down 70% from 10 years before, according to Nielsen SoundScan. Apple said this week that its iTunes store had sold its 25 billionth song.
But change is not just a matter of downloads gradually killing CDs. As record stores closed, a wilderness of other music sources have sprouted up. Nearly two-thirds of teens use YouTube as their primary music source, according to Nielsen. As an alternative to downloads, streaming music is gaining, served up in various styles by services like Pandora and Spotify. Even My Space is back, having recently relaunched with a clean interface and a mandate to siphon music fans' loyalty from Facebook .
Countless acts who came out with a hot debut have encountered sophomore slumps. So why has album No. 2 been a charm for so many Grammy nominees lately? "The career arc has shrunk dramatically," says Jeff Rabhan, chairman of New York University's Clive Davis Institute of Recorded Music. The Internet can conjure new stars almost overnight. But when things move at a viral pace, a breakout act can get set aside just as rapidly.
For the past few years, the sales charts have been dominated by two women, Adele and Taylor Swift, whose most recent albums have sold 10.3 million and 3.3 million copies, respectively. In the shadow of these giants, this year's nominees for album of the year offer a more realistic snapshot of what success looks like today. They're artists with core constituencies and strong sales, but whose impact is better measured across the many different channels that listeners shuffle through. When it came to conventional album sales, Frank Ocean's debut, Channel Orange, didn't crack the top 50 of 2012's best sellers. Yet it was No. 4 among albums that got the most coverage by music blogs, a ranking driven by its placement on many best-of-the-year roundups as calculated by the website Hype Machine.
"In addition to the sales of their records, these nominees all moved the needle, whether you're looking at Spotify, or YouTube, or all the other things that are intertwined with the new media [outlets] of our business. It's a validation of how the filters have changed," says Daniel Glass, founder of Glassnote Records, Mumford & Sons' North American label.
After moving to Los Angeles from New Orleans following Hurricane Katrina, Mr. Ocean made connections and started writing songs for other singers, including Justin Bieber. That led to a contract in 2009 with the Def Jam label, but not much came of it initially, and Mr. Ocean turned his attention to working with an underground rap collective known as Odd Future. Recording as a group or as individuals, they released a torrent of music free, often on their Tumblr sites, and rapidly became an online cause celebre because of a raw style and graphic lyrics.
In early 2011, Mr. Ocean released his own free album-length "mixtape" called Nostalgia, Ultra. Recorded without the participation of his label, the music had intentionally ragged edges, and the singer's introspective ballads ran counter to the slickness of commercial R&B. In the song "American Wedding," he sang over instrumentals lifted from "Hotel California." (Online mixtapes occupy a gray area of copyright law because they're generally released free online.) When Mr. Ocean performed the song in concert, he played the Eagles track by triggering a "Guitar Hero" videogame controller.
Nostalgia, Ultra made a big splash online, reinvigorating Def Jam's interest in Mr. Ocean and leading to his contribution of vocals for an album by Kanye West and Jay-Z. Two weeks before the scheduled release of his first retail album, Channel Orange, the singer published a message online that described a "first love" he had with a man. The impact was amplified by the fact that the hip-hop world had never had a star come out as gay or bisexual. Nearly two-thirds of teens use YouTube as their primary music source, according to a Nielsen survey. Since the release last July, Mr. Ocean has performed less than 20 times.
By contrast, Mumford & Sons have done about 75 concerts since last March, when the group started laying groundwork for the release of its second album, Babel, in September. The band was formed by four friends (not family members) in London in late 2007. Among a new wave of British folk acts, Mumford & Sons defined themselves with galloping rhythms, hearty group harmonies and an attacking spirit to their acoustic music and lyrics, as represented by the F-bomb in the chorus of the breakout song "Little Lion Man."
The group kicked off a change in radio programming, as so-called alternative stations have put them and other folk bands into rotation next to hard-rock acts. That was a byproduct of the road work that has always been a linchpin for Mumford & Sons. Since its first concert in America in 2008, the group is on its 12th U.S. tour. For one tour, they traveled by rail with three other bands through the West, a jaunt chronicled in a documentary film. And last summer the group organized seven of its own mini festivals, each including a half dozen like-minded acts on the bill. Five more of these "Gentlemen of the Road" events are scheduled for next summer.
As the band's team marked their progress in the incremental growth of ticket sales, debut album Sigh No More was growing in step. It took one year from release for the album to reach a high of No. 2 on the Billboard chart. Once it got there (boosted by a performance on the 2011 Grammy Awards), Sigh No More held its ground in the top 10 for 20 weeks.
Babel stunned the industry by selling 600,000 copies in its first week. The success of Mumford & Sons, combined with their songwriting and the toe they have in folk tradition, has Grammy prognosticators predicting a best-album win. Others favor the Black Keys or Jack White, as much for the strong albums they made as the respect they've accrued during their own hard-fought ascents.
There is a history of upsets at the Grammys. Mr. Glass, a former executive at Chrysalis Records, recalls being in the audience in 1989 when one of the label's ancient acts, Jethro Tull, a flute-driven classic-rock group, won a Grammy for best hard-rock/metal album, beating out stalwarts like Metallica. It was a farcical moment that still gets dragged out whenever Grammy voters make choices that suggest they're clueless about contemporary music. This year, for instance, an obscure DJ from Lichtenstein, Al Walser, is nominated for best dance recording next to heavyweights such as Avicii and Skrillex, after he made lobbying efforts on a private website for Academy members.
Despite such gaffes, people inside the industry say that in recent years the Academy has aggressively recruited young performers, songwriters and producers. Neil Portnow, the president of the Recording Academy wouldn't disclose evidence to prove the membership is skewing younger. Instead, he points to efforts such as Grammy U, a four-year-old program on college campuses to create a "farm team" of students on a path into the music industry.
Says Mr. Portnow: "Nobody can point a finger at this Academy and say, 'They're out of touch.' "
Forty million people tuned in to the Grammy Awards last year, the most viewers since Michael Jackson triumphed with Thriller. But that Oscars-size audience was due to the drawing power of a young singer (Adele) and the death of an older one (Whitney Houston) the day before the telecast. This Sunday, without those klieg-light factors, the Grammy Awards are set to be a more accurate mirror of today's music business, a volatile industry where both sales and stardom are spread more thinly than ever.
The once-stodgy awards are finding and honoring new artists faster than ever.
Here's a look at the 2013 Grammy Awards. From Skrillex to Gotye to Swedish House Mafia, this year's crop of nominees represent the changing face of music. Though big names like Justin Bieber and Bruce Springsteen were shut out of the major categories.
But as a result, Grammy viewers will get a better look at how new media and technology are reshaping pop music today.
The overseers of the awards were slow to recognize rock 'n' roll in the 1960s, and later infamously snubbed seminal albums by Eminem and Radiohead in favor of one released by Steely Dan 20 years past the jazz-rockers' prime. In recent years, however, the National Academy of Recording Arts and Sciences has stepped up efforts to make its ranks more young and diverse. The result is a voting membership that—despite some glaring snubs and blind spots—seems more attuned to the artists setting the pace of music culture.
Consider the top category, album of the year, where the five nominees are made up entirely of young acts. There's not a household name among them (as CBS has no doubt noticed; Justin Timberlake will perform on the show, though he isn't nominated), but each represents the different gears driving music careers now.
Mumford & Sons is a group of folk-rock harmonizers from England who climbed gradually on the strength of live shows and word-of-mouth. Frank Ocean is a hip-hop singer who harnessed an innovative sound and online buzz. The rock band Fun. ("fun." in the band's parlance) demonstrates the enduring power of radio, television and catchy hit singles. And the elder statesmen of the bunch (Jack White and the Black Keys duo) straddle the old school and new, yet they're all under 40 years old.
Bob Dylan, Leonard Cohen and Lionel Richie once would have been no-brainer Grammy nominees, but they were shut out this year.
It's a sign that industry shifts are accelerating the life cycle of young artists. Three out of the five nominees were tapped for just their second release, including the one narrowly favored to win, Mumford & Sons. That follows three years in a row in which the best-album Grammy was taken by acts on their second or third release: Adele (2012), Arcade Fire ('11) and Taylor Swift ('10). That's the longest winning streak by early-career acts in the 54-year history of the Grammys. This suggests that Grammy voters are more open to honoring relative newcomers over lifers for the flagship award. For an organization that's been derided as the "Grannies," that's a significant course correction.
With relentless touring, folk rockers Mumford & Sons built an audience, broke into the mainstream and sold four million albums.
Or an over correction, some argue. Veterans who many industry insiders considered strong contenders for best-album nominations — Dr. John, Bonnie Raitt, Bruce Springsteen — were relegated to the genre categories of blues, Americana and rock. Other legends with new albums in 2012, including Bob Dylan, Leonard Cohen and Lionel Richie, were shut out of the nominations completely. Then again, so was Justin Bieber, along with fellow pop stars One Direction and Nicki Minaj.
All this points to the leveling effect of digital technology, social media and everything else that blew up the old industry. Revenue from recorded music in the U.S. amounted to $7 billion in 2011, less than half for the industry at its peak in 1999, according to the Recording Industry Association of America. In 2012, the compact disc continued its long decline, with sales down 13% from last year, and down 70% from 10 years before, according to Nielsen SoundScan. Apple said this week that its iTunes store had sold its 25 billionth song.
But change is not just a matter of downloads gradually killing CDs. As record stores closed, a wilderness of other music sources have sprouted up. Nearly two-thirds of teens use YouTube as their primary music source, according to Nielsen. As an alternative to downloads, streaming music is gaining, served up in various styles by services like Pandora and Spotify. Even My Space is back, having recently relaunched with a clean interface and a mandate to siphon music fans' loyalty from Facebook .
Countless acts who came out with a hot debut have encountered sophomore slumps. So why has album No. 2 been a charm for so many Grammy nominees lately? "The career arc has shrunk dramatically," says Jeff Rabhan, chairman of New York University's Clive Davis Institute of Recorded Music. The Internet can conjure new stars almost overnight. But when things move at a viral pace, a breakout act can get set aside just as rapidly.
For the past few years, the sales charts have been dominated by two women, Adele and Taylor Swift, whose most recent albums have sold 10.3 million and 3.3 million copies, respectively. In the shadow of these giants, this year's nominees for album of the year offer a more realistic snapshot of what success looks like today. They're artists with core constituencies and strong sales, but whose impact is better measured across the many different channels that listeners shuffle through. When it came to conventional album sales, Frank Ocean's debut, Channel Orange, didn't crack the top 50 of 2012's best sellers. Yet it was No. 4 among albums that got the most coverage by music blogs, a ranking driven by its placement on many best-of-the-year roundups as calculated by the website Hype Machine.
"In addition to the sales of their records, these nominees all moved the needle, whether you're looking at Spotify, or YouTube, or all the other things that are intertwined with the new media [outlets] of our business. It's a validation of how the filters have changed," says Daniel Glass, founder of Glassnote Records, Mumford & Sons' North American label.
After moving to Los Angeles from New Orleans following Hurricane Katrina, Mr. Ocean made connections and started writing songs for other singers, including Justin Bieber. That led to a contract in 2009 with the Def Jam label, but not much came of it initially, and Mr. Ocean turned his attention to working with an underground rap collective known as Odd Future. Recording as a group or as individuals, they released a torrent of music free, often on their Tumblr sites, and rapidly became an online cause celebre because of a raw style and graphic lyrics.
In early 2011, Mr. Ocean released his own free album-length "mixtape" called Nostalgia, Ultra. Recorded without the participation of his label, the music had intentionally ragged edges, and the singer's introspective ballads ran counter to the slickness of commercial R&B. In the song "American Wedding," he sang over instrumentals lifted from "Hotel California." (Online mixtapes occupy a gray area of copyright law because they're generally released free online.) When Mr. Ocean performed the song in concert, he played the Eagles track by triggering a "Guitar Hero" videogame controller.
Nostalgia, Ultra made a big splash online, reinvigorating Def Jam's interest in Mr. Ocean and leading to his contribution of vocals for an album by Kanye West and Jay-Z. Two weeks before the scheduled release of his first retail album, Channel Orange, the singer published a message online that described a "first love" he had with a man. The impact was amplified by the fact that the hip-hop world had never had a star come out as gay or bisexual. Nearly two-thirds of teens use YouTube as their primary music source, according to a Nielsen survey. Since the release last July, Mr. Ocean has performed less than 20 times.
By contrast, Mumford & Sons have done about 75 concerts since last March, when the group started laying groundwork for the release of its second album, Babel, in September. The band was formed by four friends (not family members) in London in late 2007. Among a new wave of British folk acts, Mumford & Sons defined themselves with galloping rhythms, hearty group harmonies and an attacking spirit to their acoustic music and lyrics, as represented by the F-bomb in the chorus of the breakout song "Little Lion Man."
The group kicked off a change in radio programming, as so-called alternative stations have put them and other folk bands into rotation next to hard-rock acts. That was a byproduct of the road work that has always been a linchpin for Mumford & Sons. Since its first concert in America in 2008, the group is on its 12th U.S. tour. For one tour, they traveled by rail with three other bands through the West, a jaunt chronicled in a documentary film. And last summer the group organized seven of its own mini festivals, each including a half dozen like-minded acts on the bill. Five more of these "Gentlemen of the Road" events are scheduled for next summer.
As the band's team marked their progress in the incremental growth of ticket sales, debut album Sigh No More was growing in step. It took one year from release for the album to reach a high of No. 2 on the Billboard chart. Once it got there (boosted by a performance on the 2011 Grammy Awards), Sigh No More held its ground in the top 10 for 20 weeks.
Babel stunned the industry by selling 600,000 copies in its first week. The success of Mumford & Sons, combined with their songwriting and the toe they have in folk tradition, has Grammy prognosticators predicting a best-album win. Others favor the Black Keys or Jack White, as much for the strong albums they made as the respect they've accrued during their own hard-fought ascents.
There is a history of upsets at the Grammys. Mr. Glass, a former executive at Chrysalis Records, recalls being in the audience in 1989 when one of the label's ancient acts, Jethro Tull, a flute-driven classic-rock group, won a Grammy for best hard-rock/metal album, beating out stalwarts like Metallica. It was a farcical moment that still gets dragged out whenever Grammy voters make choices that suggest they're clueless about contemporary music. This year, for instance, an obscure DJ from Lichtenstein, Al Walser, is nominated for best dance recording next to heavyweights such as Avicii and Skrillex, after he made lobbying efforts on a private website for Academy members.
Despite such gaffes, people inside the industry say that in recent years the Academy has aggressively recruited young performers, songwriters and producers. Neil Portnow, the president of the Recording Academy wouldn't disclose evidence to prove the membership is skewing younger. Instead, he points to efforts such as Grammy U, a four-year-old program on college campuses to create a "farm team" of students on a path into the music industry.
Says Mr. Portnow: "Nobody can point a finger at this Academy and say, 'They're out of touch.' "
Whitesnake's Live Made In Japan Coming In April
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Frontiers Records is releasing a live Whitesnake CD/DVD package entitled Made In Japan on April 19th in Europe, April 22nd in the UK and April 23rd in North America.
It will be available as a deluxe double-CD/single-DVD package, a Blu-ray and a standalone DVD. The performance footage was shot in HD and the sound was mixed in 5.1 and stereo -- all taken from the band's co-headlining set at the “Loud Park” festival on October 11th, 2011 held at Saitama Super Arena in Japan during their “Forevermore World Tour.”
The performance was initially recorded only for Japanese TV and future Loud Park promotions, but after three songs were broadcast on a Loud Park highlights program in Japan, demand lead to putting it out for the public at large.
Made In Japan contains songs from Whitesnake’s most recent studio album, Forevermore, as well as classic hits such as “Is This Love,” “Still Of The Night” and “Here I Go Again.”
The bonus CD features never-before-heard outtakes and acoustic versions of material from Forevermore that were recorded during soundchecks on the 2011 Japanese tour.
Additional DVD content includes various band photo slideshows and fan-shot videos. Please see below for the full content listing.
Musicians on Made In Japan include David Coverdale (vocals), Doug Aldrich (guitars), Reb Beach (guitars), Michael Devin (bass), Briian Tichy (drums) and special guest Brian Ruedy (keyboards).
It will be available as a deluxe double-CD/single-DVD package, a Blu-ray and a standalone DVD. The performance footage was shot in HD and the sound was mixed in 5.1 and stereo -- all taken from the band's co-headlining set at the “Loud Park” festival on October 11th, 2011 held at Saitama Super Arena in Japan during their “Forevermore World Tour.”
The performance was initially recorded only for Japanese TV and future Loud Park promotions, but after three songs were broadcast on a Loud Park highlights program in Japan, demand lead to putting it out for the public at large.
Made In Japan contains songs from Whitesnake’s most recent studio album, Forevermore, as well as classic hits such as “Is This Love,” “Still Of The Night” and “Here I Go Again.”
The bonus CD features never-before-heard outtakes and acoustic versions of material from Forevermore that were recorded during soundchecks on the 2011 Japanese tour.
Additional DVD content includes various band photo slideshows and fan-shot videos. Please see below for the full content listing.
Musicians on Made In Japan include David Coverdale (vocals), Doug Aldrich (guitars), Reb Beach (guitars), Michael Devin (bass), Briian Tichy (drums) and special guest Brian Ruedy (keyboards).
Temptations' Otis "Damon" Harris Dead At 62
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Otis "Damon" Harris, a former member of The Temptations who sang on the group's 1972 hit "Papa Was a Rollin' Stone," has died at the age 62, the Baltimore Sun reported on Friday.
Harris, a native of Baltimore, auditioned to join the Temptations in 1971 at the age of 21 after the departure of Eddie Kendricks, one of the original lead singers of the group.
Harris died at the Joseph Richey Hospice on Monday after fighting prostate cancer for 14 years, according to the Sun.
As a teenager, Harris grew up admiring the Temptations, one of the top male singing groups of the 1960s and early 1970s, and formed a band with three high school friends named the Young Tempts that sang Temptations cover songs.
Harris sang with the Temptations until 1975, helping the group win three Grammy awards and lending his voice to hits including "Take a Look Around" and "Masterpiece."
Harris, a native of Baltimore, auditioned to join the Temptations in 1971 at the age of 21 after the departure of Eddie Kendricks, one of the original lead singers of the group.
Harris died at the Joseph Richey Hospice on Monday after fighting prostate cancer for 14 years, according to the Sun.
As a teenager, Harris grew up admiring the Temptations, one of the top male singing groups of the 1960s and early 1970s, and formed a band with three high school friends named the Young Tempts that sang Temptations cover songs.
Harris sang with the Temptations until 1975, helping the group win three Grammy awards and lending his voice to hits including "Take a Look Around" and "Masterpiece."
23 Şubat 2013 Cumartesi
Temptations' Otis "Damon" Harris Dead At 62
To contact us Click HERE
Otis "Damon" Harris, a former member of The Temptations who sang on the group's 1972 hit "Papa Was a Rollin' Stone," has died at the age 62, the Baltimore Sun reported on Friday.
Harris, a native of Baltimore, auditioned to join the Temptations in 1971 at the age of 21 after the departure of Eddie Kendricks, one of the original lead singers of the group.
Harris died at the Joseph Richey Hospice on Monday after fighting prostate cancer for 14 years, according to the Sun.
As a teenager, Harris grew up admiring the Temptations, one of the top male singing groups of the 1960s and early 1970s, and formed a band with three high school friends named the Young Tempts that sang Temptations cover songs.
Harris sang with the Temptations until 1975, helping the group win three Grammy awards and lending his voice to hits including "Take a Look Around" and "Masterpiece."
Harris, a native of Baltimore, auditioned to join the Temptations in 1971 at the age of 21 after the departure of Eddie Kendricks, one of the original lead singers of the group.
Harris died at the Joseph Richey Hospice on Monday after fighting prostate cancer for 14 years, according to the Sun.
As a teenager, Harris grew up admiring the Temptations, one of the top male singing groups of the 1960s and early 1970s, and formed a band with three high school friends named the Young Tempts that sang Temptations cover songs.
Harris sang with the Temptations until 1975, helping the group win three Grammy awards and lending his voice to hits including "Take a Look Around" and "Masterpiece."
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.
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| 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.
22 Şubat 2013 Cuma
'Phil Spector' Trailer Hits The Web
To contact us Click HERE
HBO Films has released its first trailer promoting the upcoming Al Pacino-starring biopic on imprisoned record producer Phil Spector.
In the clip, Pacino's Spector is shown in full flight, firing rounds into the ceiling of a studio, ranting in court and taking abuse from supporters of Lana Clarkson, who he was convicted of murdering in 2003. And throughout, Pacino parades a range of extraordinary Spector hairstyles.
Oscar-nominee David Mamet [1] wrote and directed Phil Spector, while Barry Levinson serves as executive producer. Pacino plays opposite Oscar-winning British actress Helen Mirren, who portrays Spector's attorney Linda Kenney Baden.
Spector’s self-proclaimed "wall of sound" recording technique transformed 1960s pop music, and placed the music man in the mix of many hits with the likes of the Beatles, the Ronettes and the Ramones. A reclusive character, Spector’s strange behavior is also well documented by some of those artists who’ve worked with him.
On a retrial, Spector was convicted in 2009 of the second-degree murder of Clarkson, a B-movie actress. He's now serving 19 years to life for murder in a California jail. Spector, now 73, won't be eligible for parole until he reaches 88.
Phil Spector will premiere in the U.S. on Sunday, March 24 at 9 pm. International release dates have yet to be confirmed.
In the clip, Pacino's Spector is shown in full flight, firing rounds into the ceiling of a studio, ranting in court and taking abuse from supporters of Lana Clarkson, who he was convicted of murdering in 2003. And throughout, Pacino parades a range of extraordinary Spector hairstyles.
Oscar-nominee David Mamet [1] wrote and directed Phil Spector, while Barry Levinson serves as executive producer. Pacino plays opposite Oscar-winning British actress Helen Mirren, who portrays Spector's attorney Linda Kenney Baden.
Spector’s self-proclaimed "wall of sound" recording technique transformed 1960s pop music, and placed the music man in the mix of many hits with the likes of the Beatles, the Ronettes and the Ramones. A reclusive character, Spector’s strange behavior is also well documented by some of those artists who’ve worked with him.
On a retrial, Spector was convicted in 2009 of the second-degree murder of Clarkson, a B-movie actress. He's now serving 19 years to life for murder in a California jail. Spector, now 73, won't be eligible for parole until he reaches 88.
Phil Spector will premiere in the U.S. on Sunday, March 24 at 9 pm. International release dates have yet to be confirmed.
Not Your Granny's Grammys
To contact us Click HERE
From The Wall Street Journal
Forty million people tuned in to the Grammy Awards last year, the most viewers since Michael Jackson triumphed with Thriller. But that Oscars-size audience was due to the drawing power of a young singer (Adele) and the death of an older one (Whitney Houston) the day before the telecast. This Sunday, without those klieg-light factors, the Grammy Awards are set to be a more accurate mirror of today's music business, a volatile industry where both sales and stardom are spread more thinly than ever.
The once-stodgy awards are finding and honoring new artists faster than ever.
Here's a look at the 2013 Grammy Awards. From Skrillex to Gotye to Swedish House Mafia, this year's crop of nominees represent the changing face of music. Though big names like Justin Bieber and Bruce Springsteen were shut out of the major categories.
But as a result, Grammy viewers will get a better look at how new media and technology are reshaping pop music today.
The overseers of the awards were slow to recognize rock 'n' roll in the 1960s, and later infamously snubbed seminal albums by Eminem and Radiohead in favor of one released by Steely Dan 20 years past the jazz-rockers' prime. In recent years, however, the National Academy of Recording Arts and Sciences has stepped up efforts to make its ranks more young and diverse. The result is a voting membership that—despite some glaring snubs and blind spots—seems more attuned to the artists setting the pace of music culture.
Consider the top category, album of the year, where the five nominees are made up entirely of young acts. There's not a household name among them (as CBS has no doubt noticed; Justin Timberlake will perform on the show, though he isn't nominated), but each represents the different gears driving music careers now.
Mumford & Sons is a group of folk-rock harmonizers from England who climbed gradually on the strength of live shows and word-of-mouth. Frank Ocean is a hip-hop singer who harnessed an innovative sound and online buzz. The rock band Fun. ("fun." in the band's parlance) demonstrates the enduring power of radio, television and catchy hit singles. And the elder statesmen of the bunch (Jack White and the Black Keys duo) straddle the old school and new, yet they're all under 40 years old.
Bob Dylan, Leonard Cohen and Lionel Richie once would have been no-brainer Grammy nominees, but they were shut out this year.
It's a sign that industry shifts are accelerating the life cycle of young artists. Three out of the five nominees were tapped for just their second release, including the one narrowly favored to win, Mumford & Sons. That follows three years in a row in which the best-album Grammy was taken by acts on their second or third release: Adele (2012), Arcade Fire ('11) and Taylor Swift ('10). That's the longest winning streak by early-career acts in the 54-year history of the Grammys. This suggests that Grammy voters are more open to honoring relative newcomers over lifers for the flagship award. For an organization that's been derided as the "Grannies," that's a significant course correction.
With relentless touring, folk rockers Mumford & Sons built an audience, broke into the mainstream and sold four million albums.
Or an over correction, some argue. Veterans who many industry insiders considered strong contenders for best-album nominations — Dr. John, Bonnie Raitt, Bruce Springsteen — were relegated to the genre categories of blues, Americana and rock. Other legends with new albums in 2012, including Bob Dylan, Leonard Cohen and Lionel Richie, were shut out of the nominations completely. Then again, so was Justin Bieber, along with fellow pop stars One Direction and Nicki Minaj.
All this points to the leveling effect of digital technology, social media and everything else that blew up the old industry. Revenue from recorded music in the U.S. amounted to $7 billion in 2011, less than half for the industry at its peak in 1999, according to the Recording Industry Association of America. In 2012, the compact disc continued its long decline, with sales down 13% from last year, and down 70% from 10 years before, according to Nielsen SoundScan. Apple said this week that its iTunes store had sold its 25 billionth song.
But change is not just a matter of downloads gradually killing CDs. As record stores closed, a wilderness of other music sources have sprouted up. Nearly two-thirds of teens use YouTube as their primary music source, according to Nielsen. As an alternative to downloads, streaming music is gaining, served up in various styles by services like Pandora and Spotify. Even My Space is back, having recently relaunched with a clean interface and a mandate to siphon music fans' loyalty from Facebook .
Countless acts who came out with a hot debut have encountered sophomore slumps. So why has album No. 2 been a charm for so many Grammy nominees lately? "The career arc has shrunk dramatically," says Jeff Rabhan, chairman of New York University's Clive Davis Institute of Recorded Music. The Internet can conjure new stars almost overnight. But when things move at a viral pace, a breakout act can get set aside just as rapidly.
For the past few years, the sales charts have been dominated by two women, Adele and Taylor Swift, whose most recent albums have sold 10.3 million and 3.3 million copies, respectively. In the shadow of these giants, this year's nominees for album of the year offer a more realistic snapshot of what success looks like today. They're artists with core constituencies and strong sales, but whose impact is better measured across the many different channels that listeners shuffle through. When it came to conventional album sales, Frank Ocean's debut, Channel Orange, didn't crack the top 50 of 2012's best sellers. Yet it was No. 4 among albums that got the most coverage by music blogs, a ranking driven by its placement on many best-of-the-year roundups as calculated by the website Hype Machine.
"In addition to the sales of their records, these nominees all moved the needle, whether you're looking at Spotify, or YouTube, or all the other things that are intertwined with the new media [outlets] of our business. It's a validation of how the filters have changed," says Daniel Glass, founder of Glassnote Records, Mumford & Sons' North American label.
After moving to Los Angeles from New Orleans following Hurricane Katrina, Mr. Ocean made connections and started writing songs for other singers, including Justin Bieber. That led to a contract in 2009 with the Def Jam label, but not much came of it initially, and Mr. Ocean turned his attention to working with an underground rap collective known as Odd Future. Recording as a group or as individuals, they released a torrent of music free, often on their Tumblr sites, and rapidly became an online cause celebre because of a raw style and graphic lyrics.
In early 2011, Mr. Ocean released his own free album-length "mixtape" called Nostalgia, Ultra. Recorded without the participation of his label, the music had intentionally ragged edges, and the singer's introspective ballads ran counter to the slickness of commercial R&B. In the song "American Wedding," he sang over instrumentals lifted from "Hotel California." (Online mixtapes occupy a gray area of copyright law because they're generally released free online.) When Mr. Ocean performed the song in concert, he played the Eagles track by triggering a "Guitar Hero" videogame controller.
Nostalgia, Ultra made a big splash online, reinvigorating Def Jam's interest in Mr. Ocean and leading to his contribution of vocals for an album by Kanye West and Jay-Z. Two weeks before the scheduled release of his first retail album, Channel Orange, the singer published a message online that described a "first love" he had with a man. The impact was amplified by the fact that the hip-hop world had never had a star come out as gay or bisexual. Nearly two-thirds of teens use YouTube as their primary music source, according to a Nielsen survey. Since the release last July, Mr. Ocean has performed less than 20 times.
By contrast, Mumford & Sons have done about 75 concerts since last March, when the group started laying groundwork for the release of its second album, Babel, in September. The band was formed by four friends (not family members) in London in late 2007. Among a new wave of British folk acts, Mumford & Sons defined themselves with galloping rhythms, hearty group harmonies and an attacking spirit to their acoustic music and lyrics, as represented by the F-bomb in the chorus of the breakout song "Little Lion Man."
The group kicked off a change in radio programming, as so-called alternative stations have put them and other folk bands into rotation next to hard-rock acts. That was a byproduct of the road work that has always been a linchpin for Mumford & Sons. Since its first concert in America in 2008, the group is on its 12th U.S. tour. For one tour, they traveled by rail with three other bands through the West, a jaunt chronicled in a documentary film. And last summer the group organized seven of its own mini festivals, each including a half dozen like-minded acts on the bill. Five more of these "Gentlemen of the Road" events are scheduled for next summer.
As the band's team marked their progress in the incremental growth of ticket sales, debut album Sigh No More was growing in step. It took one year from release for the album to reach a high of No. 2 on the Billboard chart. Once it got there (boosted by a performance on the 2011 Grammy Awards), Sigh No More held its ground in the top 10 for 20 weeks.
Babel stunned the industry by selling 600,000 copies in its first week. The success of Mumford & Sons, combined with their songwriting and the toe they have in folk tradition, has Grammy prognosticators predicting a best-album win. Others favor the Black Keys or Jack White, as much for the strong albums they made as the respect they've accrued during their own hard-fought ascents.
There is a history of upsets at the Grammys. Mr. Glass, a former executive at Chrysalis Records, recalls being in the audience in 1989 when one of the label's ancient acts, Jethro Tull, a flute-driven classic-rock group, won a Grammy for best hard-rock/metal album, beating out stalwarts like Metallica. It was a farcical moment that still gets dragged out whenever Grammy voters make choices that suggest they're clueless about contemporary music. This year, for instance, an obscure DJ from Lichtenstein, Al Walser, is nominated for best dance recording next to heavyweights such as Avicii and Skrillex, after he made lobbying efforts on a private website for Academy members.
Despite such gaffes, people inside the industry say that in recent years the Academy has aggressively recruited young performers, songwriters and producers. Neil Portnow, the president of the Recording Academy wouldn't disclose evidence to prove the membership is skewing younger. Instead, he points to efforts such as Grammy U, a four-year-old program on college campuses to create a "farm team" of students on a path into the music industry.
Says Mr. Portnow: "Nobody can point a finger at this Academy and say, 'They're out of touch.' "
Forty million people tuned in to the Grammy Awards last year, the most viewers since Michael Jackson triumphed with Thriller. But that Oscars-size audience was due to the drawing power of a young singer (Adele) and the death of an older one (Whitney Houston) the day before the telecast. This Sunday, without those klieg-light factors, the Grammy Awards are set to be a more accurate mirror of today's music business, a volatile industry where both sales and stardom are spread more thinly than ever.
The once-stodgy awards are finding and honoring new artists faster than ever.
Here's a look at the 2013 Grammy Awards. From Skrillex to Gotye to Swedish House Mafia, this year's crop of nominees represent the changing face of music. Though big names like Justin Bieber and Bruce Springsteen were shut out of the major categories.
But as a result, Grammy viewers will get a better look at how new media and technology are reshaping pop music today.
The overseers of the awards were slow to recognize rock 'n' roll in the 1960s, and later infamously snubbed seminal albums by Eminem and Radiohead in favor of one released by Steely Dan 20 years past the jazz-rockers' prime. In recent years, however, the National Academy of Recording Arts and Sciences has stepped up efforts to make its ranks more young and diverse. The result is a voting membership that—despite some glaring snubs and blind spots—seems more attuned to the artists setting the pace of music culture.
Consider the top category, album of the year, where the five nominees are made up entirely of young acts. There's not a household name among them (as CBS has no doubt noticed; Justin Timberlake will perform on the show, though he isn't nominated), but each represents the different gears driving music careers now.
Mumford & Sons is a group of folk-rock harmonizers from England who climbed gradually on the strength of live shows and word-of-mouth. Frank Ocean is a hip-hop singer who harnessed an innovative sound and online buzz. The rock band Fun. ("fun." in the band's parlance) demonstrates the enduring power of radio, television and catchy hit singles. And the elder statesmen of the bunch (Jack White and the Black Keys duo) straddle the old school and new, yet they're all under 40 years old.
Bob Dylan, Leonard Cohen and Lionel Richie once would have been no-brainer Grammy nominees, but they were shut out this year.
It's a sign that industry shifts are accelerating the life cycle of young artists. Three out of the five nominees were tapped for just their second release, including the one narrowly favored to win, Mumford & Sons. That follows three years in a row in which the best-album Grammy was taken by acts on their second or third release: Adele (2012), Arcade Fire ('11) and Taylor Swift ('10). That's the longest winning streak by early-career acts in the 54-year history of the Grammys. This suggests that Grammy voters are more open to honoring relative newcomers over lifers for the flagship award. For an organization that's been derided as the "Grannies," that's a significant course correction.
With relentless touring, folk rockers Mumford & Sons built an audience, broke into the mainstream and sold four million albums.
Or an over correction, some argue. Veterans who many industry insiders considered strong contenders for best-album nominations — Dr. John, Bonnie Raitt, Bruce Springsteen — were relegated to the genre categories of blues, Americana and rock. Other legends with new albums in 2012, including Bob Dylan, Leonard Cohen and Lionel Richie, were shut out of the nominations completely. Then again, so was Justin Bieber, along with fellow pop stars One Direction and Nicki Minaj.
All this points to the leveling effect of digital technology, social media and everything else that blew up the old industry. Revenue from recorded music in the U.S. amounted to $7 billion in 2011, less than half for the industry at its peak in 1999, according to the Recording Industry Association of America. In 2012, the compact disc continued its long decline, with sales down 13% from last year, and down 70% from 10 years before, according to Nielsen SoundScan. Apple said this week that its iTunes store had sold its 25 billionth song.
But change is not just a matter of downloads gradually killing CDs. As record stores closed, a wilderness of other music sources have sprouted up. Nearly two-thirds of teens use YouTube as their primary music source, according to Nielsen. As an alternative to downloads, streaming music is gaining, served up in various styles by services like Pandora and Spotify. Even My Space is back, having recently relaunched with a clean interface and a mandate to siphon music fans' loyalty from Facebook .
Countless acts who came out with a hot debut have encountered sophomore slumps. So why has album No. 2 been a charm for so many Grammy nominees lately? "The career arc has shrunk dramatically," says Jeff Rabhan, chairman of New York University's Clive Davis Institute of Recorded Music. The Internet can conjure new stars almost overnight. But when things move at a viral pace, a breakout act can get set aside just as rapidly.
For the past few years, the sales charts have been dominated by two women, Adele and Taylor Swift, whose most recent albums have sold 10.3 million and 3.3 million copies, respectively. In the shadow of these giants, this year's nominees for album of the year offer a more realistic snapshot of what success looks like today. They're artists with core constituencies and strong sales, but whose impact is better measured across the many different channels that listeners shuffle through. When it came to conventional album sales, Frank Ocean's debut, Channel Orange, didn't crack the top 50 of 2012's best sellers. Yet it was No. 4 among albums that got the most coverage by music blogs, a ranking driven by its placement on many best-of-the-year roundups as calculated by the website Hype Machine.
"In addition to the sales of their records, these nominees all moved the needle, whether you're looking at Spotify, or YouTube, or all the other things that are intertwined with the new media [outlets] of our business. It's a validation of how the filters have changed," says Daniel Glass, founder of Glassnote Records, Mumford & Sons' North American label.
After moving to Los Angeles from New Orleans following Hurricane Katrina, Mr. Ocean made connections and started writing songs for other singers, including Justin Bieber. That led to a contract in 2009 with the Def Jam label, but not much came of it initially, and Mr. Ocean turned his attention to working with an underground rap collective known as Odd Future. Recording as a group or as individuals, they released a torrent of music free, often on their Tumblr sites, and rapidly became an online cause celebre because of a raw style and graphic lyrics.
In early 2011, Mr. Ocean released his own free album-length "mixtape" called Nostalgia, Ultra. Recorded without the participation of his label, the music had intentionally ragged edges, and the singer's introspective ballads ran counter to the slickness of commercial R&B. In the song "American Wedding," he sang over instrumentals lifted from "Hotel California." (Online mixtapes occupy a gray area of copyright law because they're generally released free online.) When Mr. Ocean performed the song in concert, he played the Eagles track by triggering a "Guitar Hero" videogame controller.
Nostalgia, Ultra made a big splash online, reinvigorating Def Jam's interest in Mr. Ocean and leading to his contribution of vocals for an album by Kanye West and Jay-Z. Two weeks before the scheduled release of his first retail album, Channel Orange, the singer published a message online that described a "first love" he had with a man. The impact was amplified by the fact that the hip-hop world had never had a star come out as gay or bisexual. Nearly two-thirds of teens use YouTube as their primary music source, according to a Nielsen survey. Since the release last July, Mr. Ocean has performed less than 20 times.
By contrast, Mumford & Sons have done about 75 concerts since last March, when the group started laying groundwork for the release of its second album, Babel, in September. The band was formed by four friends (not family members) in London in late 2007. Among a new wave of British folk acts, Mumford & Sons defined themselves with galloping rhythms, hearty group harmonies and an attacking spirit to their acoustic music and lyrics, as represented by the F-bomb in the chorus of the breakout song "Little Lion Man."
The group kicked off a change in radio programming, as so-called alternative stations have put them and other folk bands into rotation next to hard-rock acts. That was a byproduct of the road work that has always been a linchpin for Mumford & Sons. Since its first concert in America in 2008, the group is on its 12th U.S. tour. For one tour, they traveled by rail with three other bands through the West, a jaunt chronicled in a documentary film. And last summer the group organized seven of its own mini festivals, each including a half dozen like-minded acts on the bill. Five more of these "Gentlemen of the Road" events are scheduled for next summer.
As the band's team marked their progress in the incremental growth of ticket sales, debut album Sigh No More was growing in step. It took one year from release for the album to reach a high of No. 2 on the Billboard chart. Once it got there (boosted by a performance on the 2011 Grammy Awards), Sigh No More held its ground in the top 10 for 20 weeks.
Babel stunned the industry by selling 600,000 copies in its first week. The success of Mumford & Sons, combined with their songwriting and the toe they have in folk tradition, has Grammy prognosticators predicting a best-album win. Others favor the Black Keys or Jack White, as much for the strong albums they made as the respect they've accrued during their own hard-fought ascents.
There is a history of upsets at the Grammys. Mr. Glass, a former executive at Chrysalis Records, recalls being in the audience in 1989 when one of the label's ancient acts, Jethro Tull, a flute-driven classic-rock group, won a Grammy for best hard-rock/metal album, beating out stalwarts like Metallica. It was a farcical moment that still gets dragged out whenever Grammy voters make choices that suggest they're clueless about contemporary music. This year, for instance, an obscure DJ from Lichtenstein, Al Walser, is nominated for best dance recording next to heavyweights such as Avicii and Skrillex, after he made lobbying efforts on a private website for Academy members.
Despite such gaffes, people inside the industry say that in recent years the Academy has aggressively recruited young performers, songwriters and producers. Neil Portnow, the president of the Recording Academy wouldn't disclose evidence to prove the membership is skewing younger. Instead, he points to efforts such as Grammy U, a four-year-old program on college campuses to create a "farm team" of students on a path into the music industry.
Says Mr. Portnow: "Nobody can point a finger at this Academy and say, 'They're out of touch.' "
Whitesnake's Live Made In Japan Coming In April
To contact us Click HERE
Frontiers Records is releasing a live Whitesnake CD/DVD package entitled Made In Japan on April 19th in Europe, April 22nd in the UK and April 23rd in North America.
It will be available as a deluxe double-CD/single-DVD package, a Blu-ray and a standalone DVD. The performance footage was shot in HD and the sound was mixed in 5.1 and stereo -- all taken from the band's co-headlining set at the “Loud Park” festival on October 11th, 2011 held at Saitama Super Arena in Japan during their “Forevermore World Tour.”
The performance was initially recorded only for Japanese TV and future Loud Park promotions, but after three songs were broadcast on a Loud Park highlights program in Japan, demand lead to putting it out for the public at large.
Made In Japan contains songs from Whitesnake’s most recent studio album, Forevermore, as well as classic hits such as “Is This Love,” “Still Of The Night” and “Here I Go Again.”
The bonus CD features never-before-heard outtakes and acoustic versions of material from Forevermore that were recorded during soundchecks on the 2011 Japanese tour.
Additional DVD content includes various band photo slideshows and fan-shot videos. Please see below for the full content listing.
Musicians on Made In Japan include David Coverdale (vocals), Doug Aldrich (guitars), Reb Beach (guitars), Michael Devin (bass), Briian Tichy (drums) and special guest Brian Ruedy (keyboards).
It will be available as a deluxe double-CD/single-DVD package, a Blu-ray and a standalone DVD. The performance footage was shot in HD and the sound was mixed in 5.1 and stereo -- all taken from the band's co-headlining set at the “Loud Park” festival on October 11th, 2011 held at Saitama Super Arena in Japan during their “Forevermore World Tour.”
The performance was initially recorded only for Japanese TV and future Loud Park promotions, but after three songs were broadcast on a Loud Park highlights program in Japan, demand lead to putting it out for the public at large.
Made In Japan contains songs from Whitesnake’s most recent studio album, Forevermore, as well as classic hits such as “Is This Love,” “Still Of The Night” and “Here I Go Again.”
The bonus CD features never-before-heard outtakes and acoustic versions of material from Forevermore that were recorded during soundchecks on the 2011 Japanese tour.
Additional DVD content includes various band photo slideshows and fan-shot videos. Please see below for the full content listing.
Musicians on Made In Japan include David Coverdale (vocals), Doug Aldrich (guitars), Reb Beach (guitars), Michael Devin (bass), Briian Tichy (drums) and special guest Brian Ruedy (keyboards).
Original GNR Drummer Adler Hitting The Road
To contact us Click HERE
Adler, the new band led by original Guns N Roses drummer Steven Adler, have announced the first leg of their Back From The Dead tour.
Adler's debut album, Back From The Dead, was released November 26th via New Ocean Media. Recorded in Los Angeles with producer Jeff Pilson (Foreigner, Dokken), the CD consists of 11 tracks, ranging from adrenaline-pumping rockers ("Back From The Dead", "Own Worst Enemy", "Another Version Of The Truth") to arena-rock anthems ("Good To Be Bad", "Blown Away") to powerful, heartfelt ballads ("Waterfall", "Just Don't Ask").
Back From The Dead also includes guest appearances by Adler's former GNR bandmate Slash and Rob Zombie/ex-Marilyn Manson guitarist John 5.
Adler the band includes Steven Adler on drums, Jacob Bunton on lead vocals and guitar, Lonny Paul on guitar and Johnny Martin on bass.
"The process of making this record was incredible," Bunton says. "Our musical influences are all over the place and this record is a perfect reflection of everything that we love about rock 'n' roll."
"I'm so proud of this record," adds Adler. "This is the record I've been wanting to make for over 20 years and now I've finally found the band with the perfect chemistry to make it happen!"
Check out Vintage Rock's Junkman chatting with the members of Adler, as well as his separate interview with Steven Adler.
The band is also finalizing the European leg of the Back From The Dead tour, slated to start in mid- September. The tour will include dates in Spain, Germany, Italy, Holland, France, Belgium and the United Kingdom. Dates and venues TBA.
Back From The Dead 2013 Tour Dates:
3/2 - Ramona Mainstage - Ramona, CA
3/7 – Tokyo Duo -Tokyo, Japan with Duff McKagan’s LOADED
3/8 – Tokyo Duo -Tokyo, Japan w/ Duff McKagan’s LOADED
5/16 - The Coach House - San Juan Capistrano, CA
5/17 - Count's Vamp'd - Las Vegas, NV
5/18 - Club Red - Tempe, AZ
5/30 - St. Rocke - Hermosa Beach, CA
5/31 - Whisky A Go Go - Hollywood, CA
6/19 - Backstage Bar - Tacoma, WA
6/20 - El Corazon - Seattle, WA
6/21 - Diamondz - Jerome, ID
6/22 - Rock The Falls Festival - Idaho Falls, ID
6/23 - Jammin Joe's - Arvada, CO
6/26 - TBA - Bismarck, ND
6/27 - Legacy Ballroom - Fargo, ND
6/28 - The Reverb - Waterloo, IA
6/29 - The Grove - Lincoln, NE
6/30 - Busters - Mankato, MN
7/3- The Summit Summer Concert Series - Whitesburg, KY
7/4 - The Back Bar - Janesville, WI
7/5 - Diesel Concert Theatre- Detroit, MI
7/6 - Montage Theater - Rochester, NY
7/7 - Shipwrecked Music Hall - Dennisport, MA
7/8 - Legendary Dobbs Concert Hall - Philladelphia, PA
7/9 - House Of Rock - White Marsh, MD
7/10 - Dead Horse Cantina - Mckees Rocks, PA
7/11 - Changes Niteclub - New Castle, PA
7/12 - Revolution Music Hall - Amityville, NY
7/13 - The Rock Junction - West Greenwich, RI
7/14 - TBA - New Jersey
7/15 - TBA - New York, NY
7/16 - Empire - West Sprinfield, VA
7/17 - Tink's Rock House - Marion, OH
7/18 - The Tap House - Akron, OH
7/19 - TBA - Cleveland, OH
7/20 - Tailgators - Bolingbrook, IL
7/21 - TBA - St. Louis
7/24 - House Of Blues - Houston, TX
7/26 - House Of Blues - Dallas, TX
7/27 - TBA - San Antonio, TX
7/28 - TBA - El Paso, TX
For more information, check out the band’s website at www.adlerrocks.com
Adler Facebook is at www.facebook.com/adlermusic
Adler Twitter is at www.twitter.com/adlerrocks
Adler's debut album, Back From The Dead, was released November 26th via New Ocean Media. Recorded in Los Angeles with producer Jeff Pilson (Foreigner, Dokken), the CD consists of 11 tracks, ranging from adrenaline-pumping rockers ("Back From The Dead", "Own Worst Enemy", "Another Version Of The Truth") to arena-rock anthems ("Good To Be Bad", "Blown Away") to powerful, heartfelt ballads ("Waterfall", "Just Don't Ask").
Back From The Dead also includes guest appearances by Adler's former GNR bandmate Slash and Rob Zombie/ex-Marilyn Manson guitarist John 5.
Adler the band includes Steven Adler on drums, Jacob Bunton on lead vocals and guitar, Lonny Paul on guitar and Johnny Martin on bass.
"The process of making this record was incredible," Bunton says. "Our musical influences are all over the place and this record is a perfect reflection of everything that we love about rock 'n' roll."
"I'm so proud of this record," adds Adler. "This is the record I've been wanting to make for over 20 years and now I've finally found the band with the perfect chemistry to make it happen!"
Check out Vintage Rock's Junkman chatting with the members of Adler, as well as his separate interview with Steven Adler.
The band is also finalizing the European leg of the Back From The Dead tour, slated to start in mid- September. The tour will include dates in Spain, Germany, Italy, Holland, France, Belgium and the United Kingdom. Dates and venues TBA.
Back From The Dead 2013 Tour Dates:
3/2 - Ramona Mainstage - Ramona, CA
3/7 – Tokyo Duo -Tokyo, Japan with Duff McKagan’s LOADED
3/8 – Tokyo Duo -Tokyo, Japan w/ Duff McKagan’s LOADED
5/16 - The Coach House - San Juan Capistrano, CA
5/17 - Count's Vamp'd - Las Vegas, NV
5/18 - Club Red - Tempe, AZ
5/30 - St. Rocke - Hermosa Beach, CA
5/31 - Whisky A Go Go - Hollywood, CA
6/19 - Backstage Bar - Tacoma, WA
6/20 - El Corazon - Seattle, WA
6/21 - Diamondz - Jerome, ID
6/22 - Rock The Falls Festival - Idaho Falls, ID
6/23 - Jammin Joe's - Arvada, CO
6/26 - TBA - Bismarck, ND
6/27 - Legacy Ballroom - Fargo, ND
6/28 - The Reverb - Waterloo, IA
6/29 - The Grove - Lincoln, NE
6/30 - Busters - Mankato, MN
7/3- The Summit Summer Concert Series - Whitesburg, KY
7/4 - The Back Bar - Janesville, WI
7/5 - Diesel Concert Theatre- Detroit, MI
7/6 - Montage Theater - Rochester, NY
7/7 - Shipwrecked Music Hall - Dennisport, MA
7/8 - Legendary Dobbs Concert Hall - Philladelphia, PA
7/9 - House Of Rock - White Marsh, MD
7/10 - Dead Horse Cantina - Mckees Rocks, PA
7/11 - Changes Niteclub - New Castle, PA
7/12 - Revolution Music Hall - Amityville, NY
7/13 - The Rock Junction - West Greenwich, RI
7/14 - TBA - New Jersey
7/15 - TBA - New York, NY
7/16 - Empire - West Sprinfield, VA
7/17 - Tink's Rock House - Marion, OH
7/18 - The Tap House - Akron, OH
7/19 - TBA - Cleveland, OH
7/20 - Tailgators - Bolingbrook, IL
7/21 - TBA - St. Louis
7/24 - House Of Blues - Houston, TX
7/26 - House Of Blues - Dallas, TX
7/27 - TBA - San Antonio, TX
7/28 - TBA - El Paso, TX
For more information, check out the band’s website at www.adlerrocks.com
Adler Facebook is at www.facebook.com/adlermusic
Adler Twitter is at www.twitter.com/adlerrocks
The Rascals Reunite For Broadway Dates
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From Billboard.com
The band that gave us "Good Lovin,'" "People Got To Be Free" and "I've Been Lonely Too Long" are grooving their way to Broadway.
The original members of the 1960s-era blue-eyed soul quartet — singer Eddie Brigati, keyboardist Felix Cavaliere, guitarist Gene Cornish and drummer Dino Danelli — will reunite for what producers call "a hybrid of a rock 'n' roll concert and a Broadway show."
Performances of "The Rascals: Once Upon a Dream" will begin April 15 at the Richard Rodgers Theatre and will last only 15 performances, ending May 5. The show made its debut in late 2012 in Port Chester, N.Y.
It will showcase their hits, which also include "It's a Beautiful Morning," ''How Can I Be Sure" and "Groovin,'" and tell their history through archival footage, narration and dramatic film segments.
Steven Van Zandt, a founding member of Bruce Springsteen's E Street Band, is producing the show. Van Zandt inducted the band into the Rock and Roll Hall of Fame in 1997.
"The Rascals created music that inspired a generation - and that feeling has lived on through their original fans and the legions of new fans that have discovered their music over the years," Van Zandt said in a statement.
Tickets go on sale Friday.
The Rascals trip to Broadway comes on the heels of other acts that have made the Great White Way into a concert location, including Barry Manilow, Frankie Valli and Hugh Jackman.
The band that gave us "Good Lovin,'" "People Got To Be Free" and "I've Been Lonely Too Long" are grooving their way to Broadway.
The original members of the 1960s-era blue-eyed soul quartet — singer Eddie Brigati, keyboardist Felix Cavaliere, guitarist Gene Cornish and drummer Dino Danelli — will reunite for what producers call "a hybrid of a rock 'n' roll concert and a Broadway show."
Performances of "The Rascals: Once Upon a Dream" will begin April 15 at the Richard Rodgers Theatre and will last only 15 performances, ending May 5. The show made its debut in late 2012 in Port Chester, N.Y.
It will showcase their hits, which also include "It's a Beautiful Morning," ''How Can I Be Sure" and "Groovin,'" and tell their history through archival footage, narration and dramatic film segments.
Steven Van Zandt, a founding member of Bruce Springsteen's E Street Band, is producing the show. Van Zandt inducted the band into the Rock and Roll Hall of Fame in 1997.
"The Rascals created music that inspired a generation - and that feeling has lived on through their original fans and the legions of new fans that have discovered their music over the years," Van Zandt said in a statement.
Tickets go on sale Friday.
The Rascals trip to Broadway comes on the heels of other acts that have made the Great White Way into a concert location, including Barry Manilow, Frankie Valli and Hugh Jackman.
21 Şubat 2013 Perşembe
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.
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
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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!
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