In the liner notes of Public Enemy’s 1990 tour de force “Fear of a Black Planet,” Chuck D. is referred to as “The Lyrical Terrorist” and 30 seconds of “Brothers Gonna Work It Out” is all one needs to see why he’s earned that menacing distinction. His ideas are subversive, his lyrics are abrasive and his stone cold baritone strikes fear into the hearts and minds of Reagan Conservatives from Buffalo to Wasilla. While commercial radio was being dominated by the innocuous melodies of Lionel Richie and Whitney Houston, he came along with an authentic barrage of Black militancy that used intelligent rhymes as its main source of artistic sustenance. At its peak, Public Enemy was a politically charged Afrocentric alternative for those left wondering why the triumphs of the 1964 Civil Rights Act felt like a distant memory.
With a little over a week until Public Enemy invades Buffalo’s Town Ballroom to celebrate the 20th anniversary of “Black Planet,” I had the opportunity to speak with Chuck D. about all things hip-hop and even get his take on a few inflammatory issues currently facing the country at-large.
Question: Before we get started, I’d just like to say that I’m a huge fan and it’s a pleasure to talk with you.
Chuck D: It’s a pleasure talking with you.
Question: It’s been a long time since Public Enemy has played Buffalo. What can fans expect this time around?
Chuck D: They can expect a classic show. We’re calling this outing the “Fear of a Black Plan” tour and we’re ready to bring energy back into live performance. We have a great group called The Impossebulls opening up and they’re the first organic hip-hop group of the new millennium. DJ Lord has replaced Terminator X (retired in 2003), but it’s been a long and great tour and we’re gonna bring it hard.
Question: How has Public Enemy changed in the absence of Terminator X?
Chuck D: Well, we’ve added a guitarist and a drummer and are able extend songs within a live setting, which we didn’t do before. The idea for that actually came from playing with The Roots a while back, so it’s a great changeup for the group.
Question: You wrote “By the Time I Get to Arizona” in 1991 as a response to the Governor’s campaign to stop celebrating Martin Luther King Day. Did you ever think Arizona would again be at the center of controversy 20 years later?
Chuck D: (Laughing) Nobody can predict the future, but I can’t say that I’m surprised by what’s happened as of late. I think a lot of the problems stem from paranoia and fear of brown people, which somehow justifies the white man to take land that wasn’t his to begin with. Everyone talks about how the illegal immigrants are the problem, but I think having a policy on human beings is just fucked up and a way to divert peoples’ attention away from real threats.
Question: Which are?
Chuck D: Media, Government, Ignorance. Just because we have a Black president doesn’t mean everything is perfect. There’s still a lot of work to be done.
Question: What do you think about professional athletes threatening to boycott events held in Arizona?
Chuck D: Athletes need to look out for themselves and not allow outside interests to control them. Growing up, my heroes were guys like Muhammad Ali, Kareem Abdul-Jabbar, Bill Russell, Jackie Robinson and Jim Brown. They made an impact on their own terms. Roberto Clemente would be rolling over in his grave if he could see how Black athletes are being treated these days. The Black athlete is the silent slave of the new millennium and you can quote me on that.
Question: It’s been 20 years since “Fear of a Black Planet” was released. How do you think the album’s themes have evolved through the years?
Chuck D: Before the Internet, the only news we had was what we saw on television and that album was our way of articulating life as we saw it. Songs like “Pollywanacraka” and “Burn Hollywood Burn” reflected issues that mainstream media didn’t think twice about. You guys up in Buffalo should be familiar with government not looking out for the people. At one time, Buffalo had the Erie Canal and other shipping industries to provide jobs, but now the market has evaporated and left a gaping hole in the city. There’s not a job worth beans. The media has a lot to do with it. When MTV is putting forth an image of South Beach as the place to be, why would people want to move to fuckin’ Schenectady? The bottom line is people like to migrate and move on, because they need housing that is super affordable. Look at the BP oil spill. People see the CEO getting multi-million dollar bonuses for fucking everything up and they get upset.
Question: What’s your opinion on the state of hip-hop today?
Chuck D: I think hip-hop is in a good place. Even though the record business is failing, you still have a rich and diverse array of artists that are getting out and learning the business. Today, bands need the opportunity to succeed on both a local and global level and there’s no excuse for not understanding how the system works. Regardless of what you believe, there’s an audience out there somewhere and artists have to find a way to tap into that. No longer are fans just numbers. I’ve been in the business for 25 years and it irks me every time I see rappers who get into the game without knowing how it works. Listen David, the cheapest price you can pay in today’s society is attention and people need to understand that.
Question: Lastly, what were your expectations for hiphopgods.com when it began?
Chuck D: I wanted to create a home for classic artists that may not get the attention they deserve. I was inspired by classic rock and artists like Fats Domino, so I felt that modern hip-hop artists needed a place to go where they could learn about all the great artists of the past. I wanted other classic artists to know that their time is not over and that they’re still a major piece of the picture.
Tuesday, August 3, 2010
Tuesday, July 27, 2010
2010 Summer Movie Catch-Up
As much as I love engaging in profound cinematic analysis, I decided to give readers a break this time around by trimming my reviews down to a few pointed sentences. My latest GERD attack has landed me on the Physically Unable to Perform List and, to be honest, I’m not particularly fond of writing marathon-esque reviews at this point in time.
Then again, few of the films we’ve experienced this summer are worth exhausting that kind of effort over, so it’s a win-win for all tomorrow’s parties.
Let’s dig in:
“Iron Man 2” – Robert Downey Jr. reinvented himself in 2008 as free-spirited playboy/munitions guru Tony Stark but, in 2010, he’s subject to an overstuffed script that loses steam once Stark dons the Iron Man garb. You know your film is in trouble when the lead character is more engaging without the bloated hullabaloo that most superhero films pride themselves on and Downey’s sparkling wit is an inopportune casualty.
Every time he and Gwyneth Paltrow begin to elevate the material to a level worth admiring, another vacant battle scene comes along to ruin what could be a pretty snappy action-comedy. I’m reminded of the 1986 Tesla album “Mechanical Resonance,” because that’s really all that results from the 124-minute running time. Machines outweigh emotions and all the audience can do is look ahead with apprehension to 2012’s Iron Man 3. The additions of Sam Rockwell (scene-stealing), Scarlett Johansson (insatiably feisty) and Mickey Rourke (having a blast) make waves, but not enough to make this sequel rise above its apparent lack of flavor.
- ** ½ out of 4
“Robin Hood” – If someone told you that Russell Crowe, Cate Blanchett and Ridley Scott would be spearheading a project based on the merry exploits of Robin of Loxley, you’d be psyched right? I know I was upon first word, but the finished product touts about as much excitement as Sunday at the US Open sans Tiger Woods. Everything that should be oozing with jingoistic friction is victimized by a script that lumbers along at a snail’s pace and leaves the performers floundering in a sea of historical inertia. As much as I loved seeing Blanchett on screen after a year layoff, not even the radiant chemistry she has with Crowe is enough to make me eager for a return to Sherwood Forest.
- ** out of 4
“Prince of Persia: The Sands of Time” – Perhaps my expectations were low or maybe I was simply in high spirits, but I found this harmless video game adaptation to be a rousing way to spend an afternoon at the cinema. Director Mike Newell strings along one hokey action scene after another yet the dedication of Jake Gyllenhaal and the hammy wisecracking of Alfred Molina are more than enough to bring a smile to my face. If inclined, you could read the plot as a jumbled metaphor for America’s current Middle Eastern oil predicament, but you’re better off just enjoying the action and marveling at how stunning Gemma Arterton looks in parachute pants.
- *** out of 4
“The Karate Kid” - What strikes me most about the Jaden Smith-led remake of “The Karate Kid” is its splendid use of Beijing, China as a backdrop for the story. Instead of reducing the host of the 2008 Summer Olympic Games to a highly-polluted foreign network, director Harald Zwart puts the viewer directly in the heart of a city in which people work and play just like any other that American audiences are accustomed to seeing. Not only does Dre (Smith) have to adapt to a change in scenery, but he must also find a way to coexist with a group of bullies out to sour his welcome and the original storyline follows from there. Smith is impressive with his cornrowed charisma and Jackie Chan does the whole solemn widower bit well, but Taraji P. Henson provides the movie with the requisite sensitivity to complete the triangle. It’s a definite crowd pleaser.
- *** ½ out of 4
“Toy Story 3” – Is it smart, funny, sad or moving? How about all four? In one of the best films of the year so far, Pixar continues the story of Andy and his bedroom of misfit toys with a jaunt that is guaranteed to melt the hearts of audiences worldwide. Because many of the children who grew up with the first film are now in college, the fact that Andy is also going off to school may bring some added drama to a tearful yet ultimately ebullient celebration of growing up.
- **** out of 4
“Rush: Beyond the Lighted Stage” – If you saw John Hamburg’s brilliant 2009 bromedy “I Love You Man,” you’ll recall the scene in which Paul Rudd and Jason Segel jam at a Rush concert while Rudd’s fiancée played by Rashida Jones looks on with a mystifying stare. Sadly, Jones’s reaction is echoed by a section of the public that doesn’t “get” why Rush is such an amazing musical outfit. This documentary explores the origin of the band’s mainstream disconnect as well as how others in the industry have been influenced by their sonic sound qualities and I couldn’t get enough.
- **** out of 4
“Greenberg” – Noah Baumbach’s third feature is being marketed as “Ben Stiller like you’ve never seen him before,” but it’s really so much more than that. Yes, it’s about a 40-year-old Jewish misanthrope who spends his days writing complaint letters to corporations that don’t live up to his standards, but Stiller’s subtle nuances play off Greta Gerwig’s train-wreck vulnerability beautifully. My guess is most people will hate this film without giving it a fair shake, but everything about it works and works to indie-film perfection.
- **** out of 4
“The Girl With the Dragon Tattoo” – I don’t know why everyone in Hollywood is clamoring for an Americanized remake of this risqué Swedish gem, because Niels Arden Oplev’s version stands alone as an incisive piece of entertainment. Noomi Rapace turns in one of the best performances of the year as Lisbeth Salander and draws you into her tormented past as easy as she bypasses any computer firewall that comes her way. The content is rough, the violence is said to be borderline misogynistic (I disagree) and it’s subtitled, so don’t say I didn’t warn you.
- *** ½ out of 4
“Dogtooth” – This small, demented Greek film is exactly the type of project that the term “Art House” is made for. You watch it, you have no idea what it all means and then you walk out of it thinking that the entire setup was a stroke of genius on the part of director Yorgos Lanthimos. Watching these three teenagers go through their father’s unorthodox homeschooling is taxing at times, but I assure you the reward is worth your investment.
- **** out of 4
Coming Soon: “Inception” – I’ve seen it, but I’m going to need more than a few sentences to get a handle on it.
Then again, few of the films we’ve experienced this summer are worth exhausting that kind of effort over, so it’s a win-win for all tomorrow’s parties.
Let’s dig in:
“Iron Man 2” – Robert Downey Jr. reinvented himself in 2008 as free-spirited playboy/munitions guru Tony Stark but, in 2010, he’s subject to an overstuffed script that loses steam once Stark dons the Iron Man garb. You know your film is in trouble when the lead character is more engaging without the bloated hullabaloo that most superhero films pride themselves on and Downey’s sparkling wit is an inopportune casualty.
Every time he and Gwyneth Paltrow begin to elevate the material to a level worth admiring, another vacant battle scene comes along to ruin what could be a pretty snappy action-comedy. I’m reminded of the 1986 Tesla album “Mechanical Resonance,” because that’s really all that results from the 124-minute running time. Machines outweigh emotions and all the audience can do is look ahead with apprehension to 2012’s Iron Man 3. The additions of Sam Rockwell (scene-stealing), Scarlett Johansson (insatiably feisty) and Mickey Rourke (having a blast) make waves, but not enough to make this sequel rise above its apparent lack of flavor.
- ** ½ out of 4
“Robin Hood” – If someone told you that Russell Crowe, Cate Blanchett and Ridley Scott would be spearheading a project based on the merry exploits of Robin of Loxley, you’d be psyched right? I know I was upon first word, but the finished product touts about as much excitement as Sunday at the US Open sans Tiger Woods. Everything that should be oozing with jingoistic friction is victimized by a script that lumbers along at a snail’s pace and leaves the performers floundering in a sea of historical inertia. As much as I loved seeing Blanchett on screen after a year layoff, not even the radiant chemistry she has with Crowe is enough to make me eager for a return to Sherwood Forest.
- ** out of 4
“Prince of Persia: The Sands of Time” – Perhaps my expectations were low or maybe I was simply in high spirits, but I found this harmless video game adaptation to be a rousing way to spend an afternoon at the cinema. Director Mike Newell strings along one hokey action scene after another yet the dedication of Jake Gyllenhaal and the hammy wisecracking of Alfred Molina are more than enough to bring a smile to my face. If inclined, you could read the plot as a jumbled metaphor for America’s current Middle Eastern oil predicament, but you’re better off just enjoying the action and marveling at how stunning Gemma Arterton looks in parachute pants.
- *** out of 4
“The Karate Kid” - What strikes me most about the Jaden Smith-led remake of “The Karate Kid” is its splendid use of Beijing, China as a backdrop for the story. Instead of reducing the host of the 2008 Summer Olympic Games to a highly-polluted foreign network, director Harald Zwart puts the viewer directly in the heart of a city in which people work and play just like any other that American audiences are accustomed to seeing. Not only does Dre (Smith) have to adapt to a change in scenery, but he must also find a way to coexist with a group of bullies out to sour his welcome and the original storyline follows from there. Smith is impressive with his cornrowed charisma and Jackie Chan does the whole solemn widower bit well, but Taraji P. Henson provides the movie with the requisite sensitivity to complete the triangle. It’s a definite crowd pleaser.
- *** ½ out of 4
“Toy Story 3” – Is it smart, funny, sad or moving? How about all four? In one of the best films of the year so far, Pixar continues the story of Andy and his bedroom of misfit toys with a jaunt that is guaranteed to melt the hearts of audiences worldwide. Because many of the children who grew up with the first film are now in college, the fact that Andy is also going off to school may bring some added drama to a tearful yet ultimately ebullient celebration of growing up.
- **** out of 4
“Rush: Beyond the Lighted Stage” – If you saw John Hamburg’s brilliant 2009 bromedy “I Love You Man,” you’ll recall the scene in which Paul Rudd and Jason Segel jam at a Rush concert while Rudd’s fiancée played by Rashida Jones looks on with a mystifying stare. Sadly, Jones’s reaction is echoed by a section of the public that doesn’t “get” why Rush is such an amazing musical outfit. This documentary explores the origin of the band’s mainstream disconnect as well as how others in the industry have been influenced by their sonic sound qualities and I couldn’t get enough.
- **** out of 4
“Greenberg” – Noah Baumbach’s third feature is being marketed as “Ben Stiller like you’ve never seen him before,” but it’s really so much more than that. Yes, it’s about a 40-year-old Jewish misanthrope who spends his days writing complaint letters to corporations that don’t live up to his standards, but Stiller’s subtle nuances play off Greta Gerwig’s train-wreck vulnerability beautifully. My guess is most people will hate this film without giving it a fair shake, but everything about it works and works to indie-film perfection.
- **** out of 4
“The Girl With the Dragon Tattoo” – I don’t know why everyone in Hollywood is clamoring for an Americanized remake of this risqué Swedish gem, because Niels Arden Oplev’s version stands alone as an incisive piece of entertainment. Noomi Rapace turns in one of the best performances of the year as Lisbeth Salander and draws you into her tormented past as easy as she bypasses any computer firewall that comes her way. The content is rough, the violence is said to be borderline misogynistic (I disagree) and it’s subtitled, so don’t say I didn’t warn you.
- *** ½ out of 4
“Dogtooth” – This small, demented Greek film is exactly the type of project that the term “Art House” is made for. You watch it, you have no idea what it all means and then you walk out of it thinking that the entire setup was a stroke of genius on the part of director Yorgos Lanthimos. Watching these three teenagers go through their father’s unorthodox homeschooling is taxing at times, but I assure you the reward is worth your investment.
- **** out of 4
Coming Soon: “Inception” – I’ve seen it, but I’m going to need more than a few sentences to get a handle on it.
Monday, July 12, 2010
If you were any nicer, you wouldn't exist...
Ladies and gentlemen, I come before you tonight in search of answers. I come before you tonight as a man seeking to decipher the labyrinthine inner workings of the female psyche and, with any luck, reach a tentative conclusion as to why women love assholes. Spend 10 minutes walking around any of the area’s outdoor festivals this summer and you’ll get a sense of where I’m coming from.
I’m convinced that this phenomenon has existed since the beginning of time, so why not devote a little time to exploring why?
After a year spent meandering through the shallow, vapid wasteland known as Internet dating, I’ve come to the conclusion that being called “nice” is the single most devastating compliment that can be bestowed upon a member of the human race. Think about it. When someone says “That’s nice,” they’re really just dancing around the negative energy that simmers below their pseudo-friendly exterior. They avoid confrontation in the name of common courtesy yet, deep down; they couldn’t care less about whatever it is you’re talking about.
Relationships are no different. When a woman says “You’re such a nice guy,” what she’s actually saying is that you’ll suffice until the “cool” guy gets here. All of the chemistry and sparkling rapport you’ve spent hours cultivating is nothing more than a smoke screen designed to let you down easy once a “real” man becomes mindful of her existence. It doesn’t matter if you’re a cosmic conversationalist or the poster child for feminine understanding and respect, because you’ll never be what Elaine Benes would call “sponge-worthy.”
Are women lying when they express their desire to find a genuine guy? Do they have some unexplained biological imperative that attracts them to guys who swear and wear tight shirts?
I don’t pretend to have a definitive response to either of those questions, but experience has led me to believe that nice guys have to exert twice as much effort just to have a chance with women deemed universally attractive.
When discussing the Sunset Strip of the 1980s, director Penelope Spheeris speculates that certain women derive arousal through sexual discrimination and I can’t help but think she might be onto something. Women literally threw themselves at every drug-addled, disease-infested rock star that crossed their path and wore the misogynistic overtones of the scene like a badge. They were objectified on a daily basis yet never seemed to get enough public humiliation to eradicate their delusions of grandeur.
Of course, I use the Strip as an extreme example of how “nice” guys are no match for the allure of “bad boy” rockers, but the general idea is very much in play.
If you’re still reading, you may be under the impression that I’m complaining about this sorry state of affairs, but that’s not the case at all. To say I’m complaining would be to imply that I somehow wish to pull a John Kerry and flip-flop my way over to the dark side. We both know that will never happen.
If anything, this is a rallying cry for guys who still cringe when thinking about how Laura chose Ted over Steve on “Family Matters.” Granted, she did end up marrying Steve in the show’s final season, but only after she realized the error of her ways. Maybe that’s it. Maybe certain physically stunning yet annoyingly self-important women feel that they’ll have us “nice” guys to fall back on in the event that their other relationships don’t pan out.
Think of it like that scene in the Howard Deutch classic “Pretty in Pink” when Duckie (Jon Cryer) tells Andie (Molly Ringwald) that he’ll no longer be around to offer unrequited emotional support. That’s what we’ve come to as a society. External beauty and materialism have overtaken intelligence and authenticity in the center stage of a relationship and the “nice” guys are the odd men out on all fronts.
Once again, these are just the astute observations of someone trying to get a handle on the world as we know it, so consider it an ongoing dilemma with no end in sight.
I’m convinced that this phenomenon has existed since the beginning of time, so why not devote a little time to exploring why?
After a year spent meandering through the shallow, vapid wasteland known as Internet dating, I’ve come to the conclusion that being called “nice” is the single most devastating compliment that can be bestowed upon a member of the human race. Think about it. When someone says “That’s nice,” they’re really just dancing around the negative energy that simmers below their pseudo-friendly exterior. They avoid confrontation in the name of common courtesy yet, deep down; they couldn’t care less about whatever it is you’re talking about.
Relationships are no different. When a woman says “You’re such a nice guy,” what she’s actually saying is that you’ll suffice until the “cool” guy gets here. All of the chemistry and sparkling rapport you’ve spent hours cultivating is nothing more than a smoke screen designed to let you down easy once a “real” man becomes mindful of her existence. It doesn’t matter if you’re a cosmic conversationalist or the poster child for feminine understanding and respect, because you’ll never be what Elaine Benes would call “sponge-worthy.”
Are women lying when they express their desire to find a genuine guy? Do they have some unexplained biological imperative that attracts them to guys who swear and wear tight shirts?
I don’t pretend to have a definitive response to either of those questions, but experience has led me to believe that nice guys have to exert twice as much effort just to have a chance with women deemed universally attractive.
When discussing the Sunset Strip of the 1980s, director Penelope Spheeris speculates that certain women derive arousal through sexual discrimination and I can’t help but think she might be onto something. Women literally threw themselves at every drug-addled, disease-infested rock star that crossed their path and wore the misogynistic overtones of the scene like a badge. They were objectified on a daily basis yet never seemed to get enough public humiliation to eradicate their delusions of grandeur.
Of course, I use the Strip as an extreme example of how “nice” guys are no match for the allure of “bad boy” rockers, but the general idea is very much in play.
If you’re still reading, you may be under the impression that I’m complaining about this sorry state of affairs, but that’s not the case at all. To say I’m complaining would be to imply that I somehow wish to pull a John Kerry and flip-flop my way over to the dark side. We both know that will never happen.
If anything, this is a rallying cry for guys who still cringe when thinking about how Laura chose Ted over Steve on “Family Matters.” Granted, she did end up marrying Steve in the show’s final season, but only after she realized the error of her ways. Maybe that’s it. Maybe certain physically stunning yet annoyingly self-important women feel that they’ll have us “nice” guys to fall back on in the event that their other relationships don’t pan out.
Think of it like that scene in the Howard Deutch classic “Pretty in Pink” when Duckie (Jon Cryer) tells Andie (Molly Ringwald) that he’ll no longer be around to offer unrequited emotional support. That’s what we’ve come to as a society. External beauty and materialism have overtaken intelligence and authenticity in the center stage of a relationship and the “nice” guys are the odd men out on all fronts.
Once again, these are just the astute observations of someone trying to get a handle on the world as we know it, so consider it an ongoing dilemma with no end in sight.
Wednesday, June 2, 2010
2010 Molson Canal Concert Series
The lineup for the 2010 Molson Canal Concert Series is the musical equivalent of Thanksgiving dinner.
Some of the acts you love, some you hate and others will have to appeal to you when the time comes to get down to business. City of Lockport mayor Michael Tucker has stated publicly that this is the "best year yet," but I have a feeling that not everyone is as smitten with the current crop of musicians. I'll admit that I wasn't sold at first glance, so consider this an opportunity to let the organizers know how you feel.
Is it wrong to complain about a free concert series? Perhaps, but I don't think it's out of line to demand a lineup that doesn't scream of convenience and desperation.
What do you think?
June 25 - Rusted Root - They've become a staple of the outdoor summer concert season and always put on a rousing set of freewheeling jam tunes, but they're what I would call a safe pick.
July 2 - Our Lady Peace - I'm one of the biggest OLP fans around, so I have no problem bringing them back for a second year. As always, get there early and go easy on the liquids.
July 9 - Gretchen Wilson - WNY's growing Country scene will be all over this one
July 16 - Three Dog Night - Without vocalist Chuck Negron, something just feels incomplete.
July 23 - Blues Traveler - You can't go wrong with John Popper and Co. at their best
July 30 - Rik Emmett - He's still a dynamic axeman but, once again, he plays the area every year and offers few surprises.
Aug 6 - Kansas - "Carry On Wayward Son" and "Dust in the Wind" still pack an emotional punch
Aug 13 - Tears For Fears - 1985, sure, but 2010? Really?
Aug 20 - Big Sugar - The Canadian blues-rockers just reunited and, in my opinion, will deliver the finest show of the series.
Some of the acts you love, some you hate and others will have to appeal to you when the time comes to get down to business. City of Lockport mayor Michael Tucker has stated publicly that this is the "best year yet," but I have a feeling that not everyone is as smitten with the current crop of musicians. I'll admit that I wasn't sold at first glance, so consider this an opportunity to let the organizers know how you feel.
Is it wrong to complain about a free concert series? Perhaps, but I don't think it's out of line to demand a lineup that doesn't scream of convenience and desperation.
What do you think?
June 25 - Rusted Root - They've become a staple of the outdoor summer concert season and always put on a rousing set of freewheeling jam tunes, but they're what I would call a safe pick.
July 2 - Our Lady Peace - I'm one of the biggest OLP fans around, so I have no problem bringing them back for a second year. As always, get there early and go easy on the liquids.
July 9 - Gretchen Wilson - WNY's growing Country scene will be all over this one
July 16 - Three Dog Night - Without vocalist Chuck Negron, something just feels incomplete.
July 23 - Blues Traveler - You can't go wrong with John Popper and Co. at their best
July 30 - Rik Emmett - He's still a dynamic axeman but, once again, he plays the area every year and offers few surprises.
Aug 6 - Kansas - "Carry On Wayward Son" and "Dust in the Wind" still pack an emotional punch
Aug 13 - Tears For Fears - 1985, sure, but 2010? Really?
Aug 20 - Big Sugar - The Canadian blues-rockers just reunited and, in my opinion, will deliver the finest show of the series.
Three Days Grace headlines diverse springfest
For me, the University at Buffalo’s Springfest 2010 was literally a last-minute audible.
I awoke the morning of the show and decided that six hours of listening to one of the most anomalous lineups in recent memory would be an inspired way to spend my Saturday night.
I mean, can anyone really argue with a $35 ticket price for an event that could have easily been held in a 20,000-seat arena for twice as much? I didn’t think so.
The fact that the headliner was Canadian alt-rock group Three Days Grace didn’t hurt either so, even if the other acts turned out to be complete rubbish, the evening would’ve still been deemed a success.
Los Angeles-based folk trio Lady Danville took the stage first and offered the crowd a collection of modest, uplifting “road” tunes that screamed of what writer David St. John would call a “West Coast sensibility” of freedom and permission. Imagine that you’re driving on a serene summer day with the windows ajar listening to Led Zeppelin’s “Going to California” and you’ll get idea of the laid-back groove I’m talking about.
Guitarist Daniel Chang displayed intricate finger-picking and the vocal harmonies were sublime, but I feel the music’s charm may have been lost on those expecting a hardcore rock show.
Luckily (or not), Florida’s own Anberlin was around to quench their thirst for frantically uneven pop-rock that doesn’t assert itself as being anything special.
Lead vocalist Stephen Christian sings at a pitch reserved for the helium-induced wailing of every emo band this side of Panic! At the Disco, but does so over riffs more suited for grunge than whatever category they happen to fall into. Odd stuff indeed, but it was certainly a spirited effort and no one can take that away from them.
Then it was onto N.E.R.D, a Pharrell Williams-led rap-funk outfit that made up for in funkadelic pizzazz what they lacked in lyrical poignancy.
Williams himself announced this portion of the evening to be “a celebration of the beautiful female” and later cemented that notion by bringing female audience members up on stage for a little Pharrell-style dance off.
The band played an inspired fusion of rock, rap and funk carried by dual drummers who were the real stars of the show, but I can’t say that I’d rush out to buy the record.
Three Days Grace took the stage to what felt like an empty arena and proceeded to play an explosive ninety minutes of alt-rock that didn’t miss a beat in terms of loyalty to the recorded material.
“Break,” “The Good Life” and “Pain” set the mood while lighter tunes like “Last to Know” and Phil Collins’s “In the Air Tonight” brought the emotional depth vocalist Adam Gontier is so skilled at divulging. They put on a sizable arena show with pyrotechnics and all for an audience of which less than half appeared to be familiar with the band’s work so, for that, I applaud them.
I awoke the morning of the show and decided that six hours of listening to one of the most anomalous lineups in recent memory would be an inspired way to spend my Saturday night.
I mean, can anyone really argue with a $35 ticket price for an event that could have easily been held in a 20,000-seat arena for twice as much? I didn’t think so.
The fact that the headliner was Canadian alt-rock group Three Days Grace didn’t hurt either so, even if the other acts turned out to be complete rubbish, the evening would’ve still been deemed a success.
Los Angeles-based folk trio Lady Danville took the stage first and offered the crowd a collection of modest, uplifting “road” tunes that screamed of what writer David St. John would call a “West Coast sensibility” of freedom and permission. Imagine that you’re driving on a serene summer day with the windows ajar listening to Led Zeppelin’s “Going to California” and you’ll get idea of the laid-back groove I’m talking about.
Guitarist Daniel Chang displayed intricate finger-picking and the vocal harmonies were sublime, but I feel the music’s charm may have been lost on those expecting a hardcore rock show.
Luckily (or not), Florida’s own Anberlin was around to quench their thirst for frantically uneven pop-rock that doesn’t assert itself as being anything special.
Lead vocalist Stephen Christian sings at a pitch reserved for the helium-induced wailing of every emo band this side of Panic! At the Disco, but does so over riffs more suited for grunge than whatever category they happen to fall into. Odd stuff indeed, but it was certainly a spirited effort and no one can take that away from them.
Then it was onto N.E.R.D, a Pharrell Williams-led rap-funk outfit that made up for in funkadelic pizzazz what they lacked in lyrical poignancy.
Williams himself announced this portion of the evening to be “a celebration of the beautiful female” and later cemented that notion by bringing female audience members up on stage for a little Pharrell-style dance off.
The band played an inspired fusion of rock, rap and funk carried by dual drummers who were the real stars of the show, but I can’t say that I’d rush out to buy the record.
Three Days Grace took the stage to what felt like an empty arena and proceeded to play an explosive ninety minutes of alt-rock that didn’t miss a beat in terms of loyalty to the recorded material.
“Break,” “The Good Life” and “Pain” set the mood while lighter tunes like “Last to Know” and Phil Collins’s “In the Air Tonight” brought the emotional depth vocalist Adam Gontier is so skilled at divulging. They put on a sizable arena show with pyrotechnics and all for an audience of which less than half appeared to be familiar with the band’s work so, for that, I applaud them.
Saturday, April 3, 2010
Getting a little country with Ransomville
When The Buffalo News unleashed its list of ‘Bands to Watch’ in 2009, burgeoning Country-rock outfit Ransomville was notably absent from the proceedings. Despite opening for the likes of James Otto, Charlie Daniels and David Allan Coe, this fiery quintet with energy to burn couldn’t fight their way into mainstream consciousness. They had the look, urgency and appetizingly antithetical sound to separate them from the pack but, for some reason, local media didn’t want to bite.
To put it mildly, the idea of their brand being anything but your grandmother’s Country music has positioned them in a realm void of trite classification and old-school sticklers just can’t have that.
About halfway through their set at Club Paradise in Blasdell on Saturday, I experienced what Jules Winnfield of “Pulp Fiction” would refer to as a “moment of clarity.” As someone who has never been particularly fond of Country music in any way, shape or form, I came to the realization that the genre once defined by whiny relationship yarns and small-town axioms doesn’t have to suck. What these guys brought to the table is a reminder that no matter how banal a scene appears to be, all it takes is one ambitious young band to come along and inject the industry with a much-needed sense of direction.
Ransomville consists of lead vocalist Dan McClurg, guitarists Rob Burgio and John Rosini (both formerly of Seven Day Faith), bassist Josh Long and drummer Johnny Misso. I had the opportunity to speak with the guys prior to Saturday’s show and found their humility to be most engaging as they plowed through whatever questions came their way.
Although it was only 12 minutes, I got the sense that if they continue down their current path, they could easily find themselves in the thick of things come late 2010.
Then again, don’t take my word for it. Here’s what they had to say:
Question: How did you guys decide on the name Ransomville?
Burgio: I think it was the phrase “held for ransom” that initially drew our attention and we threw ‘ville’ behind it to make it sound country, because that’s what we are. It has nothing to do with the town of the same name as none of us are from there, so we just thought it sounded Country-rock and stuck with it.
Question: What are some of your major influences?
Rosini: Anything from 80s hair bands and classic rock to my earlier involvement with the pop scene.
McClurg: I grew up with more traditional Country artists like Merle Haggard, Waylon Jennings and Johnny Cash, but I also enjoy modern acts like Kenny Chesney.
Burgio: We’re not trying to do this or that. We’re just trying to write a good song and we have a very Country vocalist so, no matter what we do, it’s going to sound Country.
Question: How do you think being in Western New York has impacted your ability to make it within the Country scene?
Burgio: So far, so good. The good thing is that we’re one of the only original Country bands around that pushes their own music and prints their own records. A lot of bands appear to be focusing on covering Country, which is great, but our aim has always been we’ll do our own music and then add a few covers along the way. We stick to the integrity of what we do and everything else is secondary. Luckily, the response has been unbelievable. Our fan base is growing, the CDs are selling, it’s great. Of all the bands I’ve been in, it’s amazing how rapidly people are attaching themselves and wanting to help us out.
Misso: We have heavy rock fans that are into this band. People from all genres of music are calling us saying ‘I love your stuff and I don’t even like Country.’
Burgio: Yeah, I mean all throughout Wyoming County we’re building a strong following and every show gets busier and busier. Dan’s from there, so they already know him as a vocalist and putting him together with our band has been terrific.
McClurg: From what I’ve seen, people love the screaming guitars and intricate soloing so, if we throw a strong Country lyric on top of that, you can’t beat us.
Question: Where do you get your main inspiration for songwriting?
Burgio: Women. I know it sounds cliché as hell, but it really is that simple.
McClurg: I think one of my goals is to acknowledge the people fighting overseas because, if it weren’t for them, some of us may be drafted out right now.
Burgio: We didn’t finish the CD and say we’re done. We continued to write while the record was being finished and I truly believe our songwriting can come from anything. We’re looking for a label to come in with some money and guidance to bring out the best we have to offer.
Question: Would you say the crowds have been more male or female?
Burgio: It’s a good mix with different age groups as well. I mean, we’ve seen an 80-year-old grandma out there having a good time, so it’s certainly a variety.
Question: Are there any mainstream bands that you look at and say “We’re just as good as they are?” If so, what are they?
Burgio: You have artists like Jack Ingram, Carrie Underwood, Taylor Swift and Jason Aldean, but not too many bands. That’s what I grew up with, that’s what I live for. I think the industry is screaming for a real band to come out that has personality and can connect itself to the audience.
Rosini: There really aren’t too many bands at the moment. You have Rascal Flatts, but they’re a trio and we’re actually a rock band.
Burgio: There’s no doubt in my mind that we can hang with anybody.
To put it mildly, the idea of their brand being anything but your grandmother’s Country music has positioned them in a realm void of trite classification and old-school sticklers just can’t have that.
About halfway through their set at Club Paradise in Blasdell on Saturday, I experienced what Jules Winnfield of “Pulp Fiction” would refer to as a “moment of clarity.” As someone who has never been particularly fond of Country music in any way, shape or form, I came to the realization that the genre once defined by whiny relationship yarns and small-town axioms doesn’t have to suck. What these guys brought to the table is a reminder that no matter how banal a scene appears to be, all it takes is one ambitious young band to come along and inject the industry with a much-needed sense of direction.
Ransomville consists of lead vocalist Dan McClurg, guitarists Rob Burgio and John Rosini (both formerly of Seven Day Faith), bassist Josh Long and drummer Johnny Misso. I had the opportunity to speak with the guys prior to Saturday’s show and found their humility to be most engaging as they plowed through whatever questions came their way.
Although it was only 12 minutes, I got the sense that if they continue down their current path, they could easily find themselves in the thick of things come late 2010.
Then again, don’t take my word for it. Here’s what they had to say:
Question: How did you guys decide on the name Ransomville?
Burgio: I think it was the phrase “held for ransom” that initially drew our attention and we threw ‘ville’ behind it to make it sound country, because that’s what we are. It has nothing to do with the town of the same name as none of us are from there, so we just thought it sounded Country-rock and stuck with it.
Question: What are some of your major influences?
Rosini: Anything from 80s hair bands and classic rock to my earlier involvement with the pop scene.
McClurg: I grew up with more traditional Country artists like Merle Haggard, Waylon Jennings and Johnny Cash, but I also enjoy modern acts like Kenny Chesney.
Burgio: We’re not trying to do this or that. We’re just trying to write a good song and we have a very Country vocalist so, no matter what we do, it’s going to sound Country.
Question: How do you think being in Western New York has impacted your ability to make it within the Country scene?
Burgio: So far, so good. The good thing is that we’re one of the only original Country bands around that pushes their own music and prints their own records. A lot of bands appear to be focusing on covering Country, which is great, but our aim has always been we’ll do our own music and then add a few covers along the way. We stick to the integrity of what we do and everything else is secondary. Luckily, the response has been unbelievable. Our fan base is growing, the CDs are selling, it’s great. Of all the bands I’ve been in, it’s amazing how rapidly people are attaching themselves and wanting to help us out.
Misso: We have heavy rock fans that are into this band. People from all genres of music are calling us saying ‘I love your stuff and I don’t even like Country.’
Burgio: Yeah, I mean all throughout Wyoming County we’re building a strong following and every show gets busier and busier. Dan’s from there, so they already know him as a vocalist and putting him together with our band has been terrific.
McClurg: From what I’ve seen, people love the screaming guitars and intricate soloing so, if we throw a strong Country lyric on top of that, you can’t beat us.
Question: Where do you get your main inspiration for songwriting?
Burgio: Women. I know it sounds cliché as hell, but it really is that simple.
McClurg: I think one of my goals is to acknowledge the people fighting overseas because, if it weren’t for them, some of us may be drafted out right now.
Burgio: We didn’t finish the CD and say we’re done. We continued to write while the record was being finished and I truly believe our songwriting can come from anything. We’re looking for a label to come in with some money and guidance to bring out the best we have to offer.
Question: Would you say the crowds have been more male or female?
Burgio: It’s a good mix with different age groups as well. I mean, we’ve seen an 80-year-old grandma out there having a good time, so it’s certainly a variety.
Question: Are there any mainstream bands that you look at and say “We’re just as good as they are?” If so, what are they?
Burgio: You have artists like Jack Ingram, Carrie Underwood, Taylor Swift and Jason Aldean, but not too many bands. That’s what I grew up with, that’s what I live for. I think the industry is screaming for a real band to come out that has personality and can connect itself to the audience.
Rosini: There really aren’t too many bands at the moment. You have Rascal Flatts, but they’re a trio and we’re actually a rock band.
Burgio: There’s no doubt in my mind that we can hang with anybody.
Megadeth celebrates 20th anniversary of Rust in Peace
Heavy Metal fans are a resilient bunch.
They attend the shows, buy/download the albums and wholeheartedly embrace the preservationist philosophy that makes the genre so alluring. Mainstream society has labeled them barbaric man-children searching for an excuse to be violent, but they have channeled their marginalized status into a rallying cry hell-bent on furthering the “us vs. them” mentality.
They’ve endured deaths, congressional hearings and the arrival of Grunge only to emerge stronger and more aware of just how threatened the public is by an alternative worldview. If Rock and Roll is about sticking it to the “man,” then metal is about sticking it not only to the man, but anyone who has ever told you to keep your mouth shut.
For those of you out there who still look down upon Heavy Metal as nothing more than noxiously feral clamor with little social significance, allow me to present last Saturday’s concert featuring Megadeth, Testament and Exodus as exhibit A for how off-base general perceptions have become. Few bands would’ve been able to keep up with the physically demanding tempo of the evening’s material and the fact that most of the members are closing in on 50 makes it that much easier to applaud. It was a fan’s paradise and the bands rewarded them in every way imaginable.
First up was Exodus and they proceeded to filter out any lingering notions that it was going to be a tranquil event when singer Rob Dukes refused to get started until the pits were open for business. The crowd was up to the challenge, so the set was marked by screeching vocals and a “Gangs of New York”-esque wall of death in which the audience charges into each other hoping to achieve the ultimate metal high.
I’ll admit that I didn’t know too much about Exodus other than they were Metallica guitarist Kirk Hammett’s original group, so the music didn’t quite resonate with me the way I’d hoped. They seemed content to cater to the die-hards while ignoring any potential converts and, if I were to assign an epitaph to this portion of the show, it would read “I survived the circle pit and all I got was this mildly engaging set form Exodus.”
After about 45 minutes of rising energy levels, Testament took the stage to perform their 1987 debut “Legacy” in its entirety and reminded me of why I love this music in the first place.
Vocalist Chuck Billy is such a killer showman that, at times, it felt as if they had three guitar players, because he was using the microphone stand to echo whatever frenetic solo lead guitarist Eric Peterson happened to be busting out at the time. His voice was fresh, controlled and primal to the point that his 2001 cancer scare is but a distant memory as every breath injected just the right amount of passion into each song.
Classics such as “Do or Die,” “Alone in the Dark” and “Apocalyptic City” displayed exemplary execution and, judging from the raucous ovation, still sound as menacing as they did 23 years ago. I was curious about how the absence of virtuoso Alex Skolnick (currently touring with Trans-Siberian Orchestra) would affect the album’s punch, but the rest of the guys compensated nicely and delivered it with the rebellious flair we’ve come to expect.
As for the main attraction, if you consider Metallica to be The Beatles of thrash metal, then Megadeth is undoubtedly The Rolling Stones. They have the speed, intelligence, versatility and all-around adversarial attitude to keep churning out tunes as long as Dave Mustaine’s ego will let them.
From the opening note of “Holy Wars…The Punishment Due,” Dave Mustaine, David Ellefson, Chris Broderick and Shawn Drover exploded onto the Town Ballroom stage determined to silence the naysayers once and for all.
I like to think of Megadeth’s oeuvre as a classically-based hybrid that emphasizes intricate arrangements and staccato notes the same way a symphony from Beethoven or Mozart would which, to me, speaks to how complex their material really is. Watching them tackle songs such as “Take No Prisoners” and “Tornado of Souls” in a live setting is an adrenaline rush unlike any I’ve experienced at a concert and the fluidity with which Mustaine and Broderick tear through the riffs is metal at its finest. Having Ellefson reunite with the band a little over a month ago only added to the excitement, so any fan that missed out on this one should make an attempt to catch them in Toronto on July 29 to see “Rust in Peace” the way it was meant to be. You won’t be disappointed.
Not that it means anything, but I overheard some guys on the subway talking about how Megadeth's 90-minute set was beyond what Metallica brought to HSBC Arena back in October 2009.
I'm just saying...
.
They attend the shows, buy/download the albums and wholeheartedly embrace the preservationist philosophy that makes the genre so alluring. Mainstream society has labeled them barbaric man-children searching for an excuse to be violent, but they have channeled their marginalized status into a rallying cry hell-bent on furthering the “us vs. them” mentality.
They’ve endured deaths, congressional hearings and the arrival of Grunge only to emerge stronger and more aware of just how threatened the public is by an alternative worldview. If Rock and Roll is about sticking it to the “man,” then metal is about sticking it not only to the man, but anyone who has ever told you to keep your mouth shut.
For those of you out there who still look down upon Heavy Metal as nothing more than noxiously feral clamor with little social significance, allow me to present last Saturday’s concert featuring Megadeth, Testament and Exodus as exhibit A for how off-base general perceptions have become. Few bands would’ve been able to keep up with the physically demanding tempo of the evening’s material and the fact that most of the members are closing in on 50 makes it that much easier to applaud. It was a fan’s paradise and the bands rewarded them in every way imaginable.
First up was Exodus and they proceeded to filter out any lingering notions that it was going to be a tranquil event when singer Rob Dukes refused to get started until the pits were open for business. The crowd was up to the challenge, so the set was marked by screeching vocals and a “Gangs of New York”-esque wall of death in which the audience charges into each other hoping to achieve the ultimate metal high.
I’ll admit that I didn’t know too much about Exodus other than they were Metallica guitarist Kirk Hammett’s original group, so the music didn’t quite resonate with me the way I’d hoped. They seemed content to cater to the die-hards while ignoring any potential converts and, if I were to assign an epitaph to this portion of the show, it would read “I survived the circle pit and all I got was this mildly engaging set form Exodus.”
After about 45 minutes of rising energy levels, Testament took the stage to perform their 1987 debut “Legacy” in its entirety and reminded me of why I love this music in the first place.
Vocalist Chuck Billy is such a killer showman that, at times, it felt as if they had three guitar players, because he was using the microphone stand to echo whatever frenetic solo lead guitarist Eric Peterson happened to be busting out at the time. His voice was fresh, controlled and primal to the point that his 2001 cancer scare is but a distant memory as every breath injected just the right amount of passion into each song.
Classics such as “Do or Die,” “Alone in the Dark” and “Apocalyptic City” displayed exemplary execution and, judging from the raucous ovation, still sound as menacing as they did 23 years ago. I was curious about how the absence of virtuoso Alex Skolnick (currently touring with Trans-Siberian Orchestra) would affect the album’s punch, but the rest of the guys compensated nicely and delivered it with the rebellious flair we’ve come to expect.
As for the main attraction, if you consider Metallica to be The Beatles of thrash metal, then Megadeth is undoubtedly The Rolling Stones. They have the speed, intelligence, versatility and all-around adversarial attitude to keep churning out tunes as long as Dave Mustaine’s ego will let them.
From the opening note of “Holy Wars…The Punishment Due,” Dave Mustaine, David Ellefson, Chris Broderick and Shawn Drover exploded onto the Town Ballroom stage determined to silence the naysayers once and for all.
I like to think of Megadeth’s oeuvre as a classically-based hybrid that emphasizes intricate arrangements and staccato notes the same way a symphony from Beethoven or Mozart would which, to me, speaks to how complex their material really is. Watching them tackle songs such as “Take No Prisoners” and “Tornado of Souls” in a live setting is an adrenaline rush unlike any I’ve experienced at a concert and the fluidity with which Mustaine and Broderick tear through the riffs is metal at its finest. Having Ellefson reunite with the band a little over a month ago only added to the excitement, so any fan that missed out on this one should make an attempt to catch them in Toronto on July 29 to see “Rust in Peace” the way it was meant to be. You won’t be disappointed.
Not that it means anything, but I overheard some guys on the subway talking about how Megadeth's 90-minute set was beyond what Metallica brought to HSBC Arena back in October 2009.
I'm just saying...
.
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