Jessie J "This Christmas Day"

I would be remiss to neglect acknowledging the talent Jessie J possesses before I briefly review her Christmas Album. Her voice can tango with some of the best vocalists around, and inadvertently pays tribute or leads me to recall the stylings of Whitney Houston, Ella Fitzgerald, and even Aretha, but to be Franklin: the name pops in my head, but there was not a performance that reminded me of her.
She can also be quite creative in the studio, but on this album she plays it safe. We have the swingin' sounds, timeless, to lift up your spirit in time for the holidays, but you cannot help but hear de ja vu, only because you may have heard this a numerous amount of times by a plethora of artists. I will say that there are a few songs that stand out: her eponymous original, and "Rudolph The Red Nosed Reindeer/Jingle Bells" medley; the second half of the latter is the more creative half, but the ode to that red-nosed hero serves as a pleasant balance between honoring the canon, and shifting the course before it travels farther toward favor than expected.

Dark New Day "New Tradition"

This is not going to be a New Tradition, writing a review seven years after its seven year delay, but it felt like a necessary one to write considering the supergroup's debut, the connection to their music, and the anticipation of an album that didn't appear possible twelve years ago. Nearly every track that they had premiered on myspace at the same time made the cut, as it should be.
The outset of the album is the continuum of the "calm before the storm." "Fist From The Sky" is not only a synergy of their talents, or an example of audio gestalt, but proof that a hook does not need to be sacrificed for a heavy riff.
The only other tune of the same name that stimulates a similar smile would be a song released five years before by the Foo Fighters, both of equitable intrigue.
"I Don't Need You" can serve as a necessary notification to someone in your life who may believe they are essential to it, heavy and direct enough to dilute their delusion, yet not too abrasive instrumentally to alienate someone that is not a fan of heavier music.  While eponymous tracks can occasionally serve as novelties, "New Tradition" is not one of those tunes; it has an infectious groove that stews until the solo, to where it sizzles.
I find it "Tremendous" that this Lazarus of an LP came to be released after differences between the band and their record label arose, replacing some of the staff in their corner, causing them to shelve the disc before revitalizing it on their new record label. The song itself is good enough, and has enough adhesive to latch on to your memory bank, but not as likable as "Sorry."
"Straightjacket" debates more than a Maserati or Mercedes Benz, but contemplates whether it is best to pursue that passion that may catapult one into a life of fame, or pursue that passion, yet do it on a subtler scale; fame can be a flow of electrons that may subtly magnetize the participant's life to bouts of insanity before they realize that it might not be what they expect.
The next few songs are not lackluster, and you can "Take It From Me," or find out for yourself, but while the aforementioned is not as spunky as the track preceding, it is not without its own brand of attitude, yet not as much attitude or exceeding angst that "Fiend" may possess
One latter can make all the difference and alter the meaning and interpretation of the word; it is clear that the song is directed towards a person that incites tension and frustration, and the tone and vocal inflections reflect that notion. While the lyrics reflect the presumption that the subject could not care less about anybody else, and that the writer is reading a page from that book to take them closer to who they are meant to be.
Unrequited love has been a subject for many a song, and this admiration for another finds us in the place of a gaze of a woman on a pedestal; to love someone you know, or feel, is better than you, and surmise that the union is not a possibility could cause a  "Breakdown." The riff that precedes the eponymous aspect of the song recalls a perfect circle, and the chorus hints at the desperation the perspective presents without portraying weakness.

Ke$ha "Spaceship"

Ke$ha has never been one to let the "Bastards" bring her down, which is corroborated by this acoustic guitar anthem inspiring this resilience in all of her fans. It probably did not hurt that it was triple platinum in the U.S. and double platinum in Australia and Canada respectively.
While it was a long time coming, and a raging storm that Ke$ha found herself in for an extended period of time, what came out of it was this Rainbow of an album. I have always been a fan of Ke$ha and her quirky style, and respected what she stands for, and while her music has never been a guilty pleasure, it never felt as accomplished or as consistent as her latest release. While this album may bestow more praise upon her, as it should, there will always be naysayers to counteract the positive, and for that, Ke$ha  says "Let Em' Talk," a rawkin' rejoinder and collaboration with the Eagles of Death Metal.
One of my favorite songs had to be this Dap-King horn infused anthem for the modern "Woman," showcasing her spirit, her vitality, and the power that women hold; some men may take for granted.
If I had to make a comparison with the track preceding, the former would be a blockbuster, and her laidback "Hymn" a sleeper hit, worth every listen you give it, and a nice transition to her hit single "Praying."
Life can throw curveballs of bitterness, and one can either catch them or batter up and aim for better, and the former sees Ke$ha taking the enlightened path and wishing the best for the hellmonger who left her life, and setting the goal to practice what she preaches in "Learn To Let Go."
 While the lyrics speak for themselves in the title track, it serves as cliffs notes to her journey to a brighter and more colorful future, while "Finding You" alludes to the gravity that soulmates forge, even after death that they will reunite, and the initiative to do so.
Have you ever had an article of clothing that expresses you are ready to do business? I cannot tell if her boots are a sign, but I believe her when she says she will "Hunt You Down" in this country-tinged song of devotion; even if the other half cannot commit she jokingly(?) proclaims "Baby, I love you so much. Don't make me kill you."
The latter and the next song are lighter-hearted fare to remind us of her quirky debut single, and in another collaboration with the Eagles of Death Metal, she commands the attentiveness of your "Boogie Feet," which sounds even better live.
"Boots" is another country infused tune that marks the change in her tune when it came to relationships, opening with "I have boys in every country code" before everything changed when she was introduced to the person that would reveal the benefits of true companionship. While the duet with Dolly Parton, "Old Flames (Cannot Hold A Candle To You)" reinforces that loyalty and notion that every relationship preceding only lead to the right person to connect with; a song written for Dolly, by Ke$ha's mother, Pebe, and covered by some good company (Johnny Cash, June Carter, and Merle Haggard).
The next song could serve as an interesting angle when it comes to one of the most famous gargantuan beasts of burden in film, with taglines
"A Love Story of Epic Proportions!"
"The Family has Just Grown Immensely!"
Now that I think about it, King Kong had already hinted at that dynamic, but it would still be cool to see a film that embraces that idea of attempting to have "Godzilla" adjust to living with humans and not destroying everything they may own or love.
Ke$ha was not the first to state that her orgins lie elsewhere, and there have been countless others decades, or simply a few years, prior that could relate; a contemporary that comes to mind due to his explicit statements in regards to that belief is B.O.B. who may not only bring you to the "5th Dimension,: but be from it? Nor has Ke$ha been the first to set up a "Spaceship" on stage, at this point a reference to George Clinton is inescapable. Now, with everything going on in the world there are probably even more people that feel like they don't belong here, for various reasons, because as she correctly states  "I knew from the start I don’t belong in these parts/There's too much hate,  there's too much hurt for this heart/Lord knows this planet feels like a hopeless place," but would it be better in outer space?

Weezer and I s(Teal) a little ti..

My first encounter with Weezer occurred in 2002, engaging in some muppet-assisted madness in "Keep Fishin," the album of which may have been a little underwhelming to hardcore fans, but not as disappointing as the album that followed in 2005. I didn't have to pretend to tolerate Make Believe, it did have some good songs, including the biggest single from the record; which was nearly as flashy and shallow as some of the denizens of "Beverly Hills." There were some memorable tunes, but not as catchy, in a positive light, as those found on "eponymous red."
2008 began a surge in Weezer output with a string of albums including the aforementioned Self-titled/Red Affiliated album in 2008, Raditude in 2009, and Hurley in 2010; which also found a compilation released in the same year Death To False Metal.
Although the time spent has been short, and those who may read this may be more well acquainted with Weezer than I, so you may wonder "What is the point?"
Before I answer that, I would be remiss to not mention Everything Will Be Alright in the End; an album which not only recruited the producer of two of their most well received self titled albums, but was regarded as some of their best material since their initial releases.
While I must  revisit Weezer's "White Album" and Pacific Daydream, I must ask, Teal?
The response to their musical journey to(to) "Africa" could have suggested the idea, but who am I to speculate.
This album is full of great songs...
that sounded just as good, if not better, when recorded by the original artists for their respective albums. The self-awareness of the frivolity of this review is equitable with Weezer and the album that they had compiled of covers, but the purpose is paralell: to prepare for the "Black Album," the review of it anyways.

The Used at Buffalo Riverworks- May 11th,2018

You may be used to the delayed reviews by now, and I hope you consider reading what follows, considering how late it trails the original date. I understand the pun was unnecessary, but appropriate in context.

My appreciation for the band, Red, is not "Gone," it was revitalized.

Red may be my favorite color, but I cannot say the same for this band. Innocence and Instinct remains one of my favorite albums from them, yet it does not mean there is not room for more. I cannot say this album is devoid of that rage, and occasional beauty, they are known for, because what is the color people claim they say when angry? The orchestrated angst and aggression is not as prominent on this album, which allows listeners to breathe a little eaisr and release some of the panic, which can be especially potent when one feels as if they are "losing control." While I liked the first three tracks, it was the title track that spoke to me. I may play it coy, and no batteries are required, but this song may be "Unstoppable" if given a chance; A song of self-empowerment that may crossover, and why it is so intriguing is that it is not a t(Red)itional  song, and its an uplifting and catchy tune to boot. Looking at the album cover, I can say that Science Fiction has served as a muse, as well as the band of the same name; especially when it came to "Singularity." While "A.I." brought out associations of the movie of the same name, there is more to be discovered; in this album, the song, and life. I'm "Still Alive (Looking For A Reason)" as to why.

Acceptance "Colliding By Design"

Roughly fifteen years ago began a string of three excellent debut albums by "alternative rock" one album wonders for three consecutive years; 2003 saw the release of Revis' "Places For Breathing"; 2004 was a little more "Scenic" with Denver Harbor, and last but not least is the vanguard of the group, who released a followup in 2017.
If all that was left of the band were phantoms of its loose ends and their engaging debut, then I met that with acceptance. after hearing their first single, my expectations were set and soon challenged by word of digital print, and I found that the majority of the album was quite "Different" when it came to energy and alternative rock, emo, pop-punk muscle.
Considering there had been a considerable amount of time to "bond" with these songs, I had to lower my expectations for the band's return, and postponed the listening session until months later; I wasn't ready. "You waited over eleven years and weren't ready for new music from them?" Exactly.
It would be foolish to expect to forge a similar bond in so short a time, or one at all. Also, with that amount of time to create more art and experience life, the latter of which can afford a multitude of interpretations, it would be naïve to expect the same sound from the band that brought us their memorable debut.
I could fit the bill for the "Diagram of a Simple Man," and my commentary may reek of shallow observations at times, yet I cannot help notice something in retrospect; the chorus could be an elder relative to Ocean Park Standoff's union of  one lover and his hypothetical significant other in "If You Were Mine."
It has been said that an artists have their whole life to pen their debut, out of the limelight, but once that focus shifts, they may end up with ten percent of their life to pen a followup, if lucky; unless they decide to take a hiatus of over ten years for the betterment of the band and its members. Regardless of time between the sophomore album and its debut, it will always fall under scrutiny, the degree of which may depend on notoriety.
There are traces of phantoms in this album, and one of which is the title track; albeit a feint one. However, "Sunset" may serve as a better example. It is plausible to become lost in the spectacular sight that most of us take for granted, even contemplate life, or sometimes lose ourselves in the realization of our own insignificance, and that can leave one in the cold, in spite of its radiating warmth.
Another standout would have to be a song that conjures a Phil Collins reference, and may have you think twice. Its sound also urges you to "Come Closer" even amidst the sounds of chaos that uproot an old friend by the percussion.
While one person can say we are all just chemicals, another can proclaim we are both "Fire and Rain," we all have the ability to bring to light our true selves and embrace our inner fire, or douse it by our own doubts and idiosyncracies. You may ask, "To what is this, to what relevancy?" Just to end the review on a golden note. But seriously, that single is great

Another way to pronounce "Great Live Show" is "Lynyrd Skynyrd" (Belated recap at Darien Center on July 13th, 2018)

When a band such as Skynyrd embarks on its final tour, even a casual fan may regret not going. Before that day, all I knew was ""Sweet Home Alabama," "Simple Man," how to pronounce the band's name, and that my friend, Joe, was a big fan. I also knew that the running joke of yelling "Freebird," over any other Synyrd song, at concerts where they aren't even playing has lost its appeal; which may be why I hadn't heard it pronounced aloud. I familiarized myself with some more of their music before the show, and heard almost all of their Innyrds.
I would be remiss to not mention The Marshall Tucker Band and how their set converted me into a fan, without knowing any songs. It may sound like I am sensationalizing their set, but I am just recording how it made me feel. The only song I know the title of is "Dog Eat Dog World," the rest of the songs I will have to find by playing their albums in full. "Can't You See?" Sometimes it only takes one listen for great music to connect with an outsider of the fan base; great music transcends time and generational gaps, and doesn't necessarily require familiarity to move someone new to its sound. I did see why the band has been at it for so long, and given the ability to, and they were appreciative of every year they were able to do what they love and expressed that during the set.
The same thing occurred when I heard the Charlie Daniels Band playing live, the only song I knew was their biggest hit, but never made the connection, until another fan told me what it was before I had seen their set. Their sound also took me by surprise, but only knowing one song out of their cannon or discography, I could not begin to conceptualize.
If these two bands revved you up Skynyrd Nation for the main reason they most likely came for, Johnson tempered that energy and slowed it down a bit with his brand of country; I cannot exactly describe the difference between Southern Rock and Country, but you could tell the difference in their styles.
Out of all the performers, it was Johnson that I was most familiar with, yet that's not saying much because I was mainly out of my element, but it was a pleasant surprise to see him live. He played at least four covers, one of which was the patriotic "This Land is My Land." Johnson made the set a family affair with his sons performing a song, as well as his daughter and her friend singing another. while I cannot recall the majority of titles aside from "That Lonesome Song" or "In Color," I do remember that he made his billing worthwhile.
 When it came to the last of the street survivors, they sounded as energetic as they had when these songs were recorded; they opened with a gigantic record screen and went right to "Workin' for the MCA." They addressed the "Skynyrd Nation" before playing that decent song, but it doesn't compare to "Travelin' Man" or "That Smell." I'm aware the band was not the same coming into the aughties, but their last few albums did not reek of limburger cheese; this commentary might, but to be honest, they meant business when they set their feet on stage, and I could see Johnny a little perturbed at times when the crowd went mannequin.
I understand that many of the concertgoers may have already seen the band before, and that "final tours" don't usually include many surprises, because when most people come to see a live performance they come for their favorites, which may not align with all of the bands' hits, so it would make sense to play the most recognizable on the last stint. Although it was Friday, they gave us a "Saturday Night Special" and presented "The Ballad of Curtis Loew." One of my friend's favorites followed, "Tuesday's Gone," and "Gimme Three Steps" was one of mine. They paid tribute to JJ Cale and other "heroes" via photo compilation as their sound interjected "Call Me The Breeze." "Simple Man," "Sweet Home Alabama" and "Freebird" all graced the ears of the venue patrons, and the latter was preceded by a few minutes of an empty stage for dramatic effect, and included video of Johnny Van Zant singing some of Freebird toward the second half, if I remember correctly, but it is only natural that they do so.
While this was a concert I would not have chosen to see if it were only myself to consider, It would have been a regret later on, after acquainting myself with the music of some of these legends. Passion can serve as a youthanizer,  these artists and their passion for the music, and this concert was a testament to that statement

The (Belated) Adventures of Kesha and Macklemore at Darien Center July 22nd, 2018

I recently found out I am a Gemini, and while I believe that a concert can be  effective in coverting listeners to fans (there is a difference), I was already a fan of Macklemore and his music; what he has done and intends to do with it.
There is usually a reason or story behind every song, and while concerts are about the music, it wouldn't be the same without those stories, those that inspired the music or those that came to be after the music was released. Concerts may spotlight the artist and their music, but the right one will make it about the fans, and Macklemore was one of those artists. From the story about his uber-cool experience with the ride-sharing app, and how he nearly was directed out of the venue had a guard failed to pay more attention to detail. Or there is the story of the snake that he won at Darien Lake, and "Out of all my accomplishments that I've had in my career, winning this snake is in my top three
thousand, but I may keep this forever." (paraphrased).
Before Macklemore opened with his presumptuous party anthem "Ain't Gonna Die Tonight," things happen, he let everyone know that regardless of any factors that may divide (creed, pigmentation, sexual orientation,etc.) that everybody is welcome at this past show and any future shows; that love and acceptance had set the tone. So if had died that night it would have been on a high note.
Whether the palm trees were from a "Thrift Shop" or not, it didn't matter. It was a party, and the venue was an island, of acceptance and elation, to name a few.
Not that it is a requirement, but if Macklemore went on about universal acceptance without performing "Same Love," it may not be the same. I could see and hear the passion throughout one of his biggest tracks and that smile when he reflected on his opening line.
While the original "Willy Wonka" cannot be replaced, Macklemore looked pretty good in that hat.
One of my favorite songs from This Unruly Mess I've Made features Idris Elba makin one heck of a Vincent Price impression. To think it would be a regular surprised me, but what is a party without some dancing?  The performance would be a farce had an actual "Dance Off" failed to occur, while the moves were simultaneously memorable and forgettable, the victory of the six year old was a triumph, and so the recording artist and his snake were parted. "If I had a daughter, and she did half as well as you I would be proud." That placed a smile on this face, and that of many others, most likely, and it would only grow wider with what followed.
Yes, it was written that when Macklemore performed one of his most rocking anthems, that the crowd would go nuts and it would blow the roof off the venue, at least for the lawn seats. One of my favorite high- energy jams to spaz out to. The cooldown consisted of a stroll "Downtown," and then a "Glorious" tribute to his Grandmother, it also described my state of mind at the time. Having a live band perform these tunes added more to the performance for sure.
I must have been so high that I failed to notice that a spaceship landed on the stage. Kesha managed to blow expectations out of the water with her first song; even improving upon the solid musicianship already showcased on her declaration as a "Woman." I was not the only one who brought their  "Boogie Feet," and its been awhile since they have been in use.
Kesha's latest album served as a revival or a phoenix of rainbow flames, rising from the ashes of what was to free herself, in more ways than one. With her shift in style, it was only natural that her live show also undergo a change, allowing her to prove herself and party as a Rock Star.
There were moments where the songs weren't immediately recognizable, but hearing "Timber" with a southern rock swagger was refreshing, although I do enjoy the original.
While some of the fans may have missed the style and sounds of her earlier records," Macklemore said it best when he said "That's life people" even though he was not referring to the concept of change and its constant presence in the world, but the fact that only two lucky fans received golden tickets, from which the winners made their stage debut with "OMG, I'm on stage with Macklemore" either in text or on a social media app of their choice. But to return to the point, I admit that her rock reinterpretation was not as addictive when it came to "Your Love is my Drug," but the energy compensated for that. "We R WHo We R," and this anthem of acceptance of self was even better in its rock reinvention.
"As if you could not tell by now, I am a singer, but I am also a songwriter." While that statement may still draw criticism, even after her resurgence with Rainbow, it would not be accompanied with as much laughter. I find her music to possess a unique charm, and her latest is a pot of gold.
So to answer your question, She did perform Macklemore's future ode to the "Good Old Days," and her tribute to one of her favorite women and songwriters was made when she performed "Jolene."
While "weird" is a subjective term, the duo kept it interesting and made sure the crowd was engaged, because most go for, and to be part of, the experience. Near the end of his set, Macklemore applauded the crowd for their participation and giving it 100%, saying the crowd was the show.


You can bet that before performing her clothes-dropping anthem, some fans did "Take It Off," and donated a few shirts and bras to Kesha's wardrobe, to which she graciously accepted and thanked the fans. She took a selfie for another and graced a fan of sweet sixteen with a towel adorned with boobsweat; you could not find a more unique and personal gift for an animal than that. Then, there was a rainbow flag that was given by a fan, to which she exclaimed "this brings me good luck," and then had it arranged to wrap around her microphone stand.
Kesha did take out her guitar to play her anthem that shouted out the bastards, and encouraged the "different" animals, or any outsider, to be themselves and to not allow that persecution for being different to drag them down.
Her fauxnale was determined by the reaction of the crowd to her song , that could have been the last before she would "Blow" the joint; leave, smoke, double entendre. Long story short, it wasn't over. She played a one of the darker colors of her rainbow, but that was merely because it reflected a darker time in her life, to which it still draws much emotion. "Its a little different every night, but I still feel it." The crowd was "Praying" to hear her debut smash, which still causes me to cringe occasionally, or laugh a little at times when I focus on the delivery and lyrical content aside from the chorus; it is a fun song, but it serves as an example of her growth as an artist, from the other end of the spectrum.

The Goos at Shea's- October 20th

If you have known of a band for nearly two decades after its breakthrough album, and they hail from an umbrella locale , it's safe to say its time to see that band. I cannot designate a reason why this year I felt so compelled to see the Goo Goo Dolls live this year, and it really wasn't because of the 20th anniversary of Dizzy Up The Girl,  but it may have been due to the fact that I couldn't let any more time slide by without seeing them live. While the riff was a little muted, their energy more than made up for it, as well as that percussive break before that "Yeah" moment.
Although the former 2-Day, then 3-Day residency was in honor of the celebrated album, I had not heard it "from top to bottom" until that night. While I did not know the majority of songs aside from "Broadway" and the string accompanied "Black Balloon," my body was still under the influence of euphoria, and their performace was quite persuasive. The percussion of Craig Mcintyre was lively and sounded spot on, and  Rzeznik may have appeared disconnected at times, but he was engaging, and focused on giving us the best he has. Robby reminded me of Alice Cooper, and not just for his looks; that is a compliment. His silent interactions, kept the crowd engaged, and his leg extensions communicated excitement and vitality. If there were a song that had the crowd dizzy with anticipation, it would be "Iris," and it was quelled by their performance of the song with its larger than life sound and thematic transcendancy.
The first break found Rzeznik admitting that it would be a good time to bring out a celebrity guest, and that there was a reason he doesn't have many famous friends, most of them are a--holes, "and this guest is no exception." The rectangular vertical screen revealed the next few songs to be a collaboration with himself. The first of which being the song promising "Better Days," and it was a heartwarming, candid and energizing presentation that included "Can't Let it Go" and "Two Days in February," the latter of which found Takac jumping in toward the end.
One of the reasons why I had never seen them was because I hadn't heard much aside from the hits, and the interest in going to a show wasn't as potent until now; point being, the only song I could "Name" when it came to the deeper cuts was that breakout hit from A Boy Named Goo, that was preceded by a phony story before the performance.
 One song that sounded out of place in the context of the rock show was "So Alive," and it was during that extended performance that Rzeznik had the crowd participate in a test to see if their patience was "Notbroken," the latter song included commentary remarking how it was written when the world was in some of its darkest days and it seemed that no one that had power to do anything about it cared.
While I had a few more that I would have liked to hear, I was floored when "Big Machine" was played, and it was the near ending to a show better than expected, coming from a fan, not the biggest, but big enough to see their musical showcase.

Bob Seger: The Final Tour at Keybank Center January,17th 2019

Can a silver bullet of over seventy three years still transmit happiness upon the hearts of concertgoers?
Can a Grand Funk Railroad of fifty years still take you on a glorious bullet train ride of nostalgia, or for those first timers, showcase the majesty and energy that rock and roll can present?
The answer is "YES!" in both counts, I came to the show with a limited knowledge of the Headliner's tunes, aside from the major hits, and correctly intuited that Grand Funk covered "Loco-Motion," and not wrote the song, realized in retrospect.
From the first song, the admiration of this band and their performance went from zero to sixty in a short amount of time. It would be pointless in denying the vigor this love of music and music itself had afforded the members, or that they were devoid of "Rock n' Roll Soul." Their excitement and energy remained infectious throughout, and they kept their promise outlined in the opening line on "Footstompin' Music" as that love was evident in their performance.
There have been many times in a concert where I find myself in the moment and cannot entirely process the event until the next day, and this was no exception, yet I was able to enjoy it completely this time.
Their short set included three covers all worthy of praise, but the one that drove the whole crowd to their feet was the rock refurbishment of Carole King's "Loco-Motion." As I recount that performance, as a newly initiated fan on the "Inside Looking Out," I find myself jamming out to an older video recording of the band performing The Animals cover live, as I write this, and I found that the energy did not really waver from then to now. I may still be experiencing euphoria, but the set was really "Some Kind of Wonderful."
Songs with longer than average running time can still captivate an audience, even the later generations addled with an eroded attention span, and "I'm Your Captain (Closer To Home)" holds that honor. Their set's denouement, although shorter, was just as memorable; I could infer the title of the latter, but I had to look up the title of the former.
While I am a little more familiar with Bob Seger and his magazine of silver bullets, there were a good amount of songs I had to reacquaint myself with, and not only did I find out there were songs that I had recognized before knowing the name, but the resolution of the saga of the Seger song without a name came to pass; "Mainstreet" and its live rendition was as good as I can hope for.
For all of his touring, you would think it would have worn him down, and while it may have slowed him down, he is "Still the Same." He did weave in some acoustic guitar led performances within the show, but it was for the betterment of it and the song's resonance.
He was an energetic geriatric, with all due respect; he was also a gracious host, and not only gave every member of the core band and extended touring members their due, and exclaimed their recent accolades, but made sure that the whole arena was given some "face time."
To ask how any artist can continue with their pursuit of music for so long can be due to the fact that they are attuned to the flame within, the music within their heart, as sappy as that can be, it helps immensely to love, and believe in, your art.
Although we have been hearing it all along, with its charms, the question still arose. To when will we hear "Good Old Rock N' Roll?" five songs in, and at the right time.
It is interesting to hear songs such as 'The Fire Down Below," implications included, and "Her Strut" in the same set as the tribute to his children "In Your Time," prefaced by the dedication to his kids, as well as "Come To Poppa," which showcase the dimensions  of the artist; the latter of which can find itself straddling between the healing that love can bring with or without the linkage of loins.
To tour is to really put love to the test, and some of his songs can serve as anthems for the vagabond heart, or the seeker on an existential quest, to find the holy grail of belonging and purpose, or maybe it is the result of that grasp of the grail, and though a "Travelin' Man" Seger has come to be, he has found the one alluded to in "You'll Accomp'ny Me." Live Renditions of the aforementioned, as well as "Roll Me Away" and "Beautiful Loser," also serve as solid odes to the road and its gravity for those in search of more.
As if the concert wasn't already saturated with great songs, some of his biggest hits were yet to be played, and track I still associate with Chevrolet, was another poignant moment giving life to everyone on stage; nostalgia flowed through the venue as he sang this tune he may have recalled, not only how he felt when it was written initially, but what the song was about, when he was reminiscing about being eighteen.
Then there is his most famous of songs that was never an official single, and one many pined to hear, he had to integrate a tidbit of info, and before that iconic saxophone intro, he spotlighted Alto here. You can hear a song thousands of times, but even then it's possible that hearing it live and being present can provide it in a different light, and I believe it did; no, I haven't heard the song over one hundred times, that I can recall, but it was a pleasant experience after all.
Another poignant moment would have to be when he performed Bob Dylan's "Forever Young," that featured a slideshow of artists we have lost in recent years such as: Petty, Prince, Aretha Franklin, and there was a nostalgic Pic with Seger and Petty, and some of Dylan among others I could not recall. He gave praise to Dylan before the song began; if I remember correctly, about him being one of the best songwriters? Sounds about right.
It was nice to hear "We've Got Tonight" live, another song I wasn't aware Seger sang, a some calm before the conjoined "Travelin' Man/Beautiful Loser." While the chorus rang in my ears, as it came to the second encore, I was too tired to contemplate, but we heard two great tunes that showcased both sides of the silver bullet man; the melodic and infectious "Against The Wind," and the lateral riot of "Hollywood Nights."
It's a night that I will not forget, and it may be the first of more concerts I go to with my dad.

Imagine Dragons "Evolve"

Did this band title the album to make a declaration permanently and perfectly sequenced out of hubris or was the intent less egotistical? Will that even be determined here? Will we ever know?
While this generation of artists may not be as iconic or timeless as artists from generations and decades past, there are some good bands. Unfortunately, a good amount utilize smoke and mirrors to enhance their staying power in the consciousness, and enhance their value in the eyes of those critical and/or those on the fence.
I don't know why this opener appeals to me, but I have yet to determine. I wanted to use the title in the sentence? That would be a step back in style to say the least, but the next song resonates because of the beat and the bridge with its all encompassing message.
First things First, I might not write what you wanna hear
to be more critical, to write what you wanna read
No fake love, ooooooh
I'd rather be constructive and tell the truth
Hey! This is one of my favorite pop songs,
with an aggressive tone, that I have heard in a while
I don't expect reading this to produce a smile
Still debating if I'm a believer
Second things second, i'll return to the trad review
Haters may listen and state that there's nothing new
This next two songs are cases where I cannot explain why I like them, but I'll make it up to you with some odd reference or overcompensate, which may infuriate; the latter's aural atmosphere was of the eighties with a Young Modern edge, how about those sweet lines?
They are not the only band that Queen has influenced, even if I had researched bands that were inspired by them, I wouldn't catch the bands of the future, if that "matriarch" of rock set their soul ablaze yesterday. "To the mouth of the river!!!"
While I can say that I enjoyed a lot more of the songs on this record, I cannot determine whether it was because they evolved or they focused more on quality than quantity. The last four have their own personal charms that incite enjoyment, all four have enough to say that it's a good song, not always to say "it's my favorite!"
The pacing and higher octave of what sounds like an out of breath robot, a conundrum, is a quirk that makes dancing in the dark more alluring, as long as there is no asthma attack involved; A.I.'s ever evolving state is already a little alarming.
I appreciate the thunder found in the lyrics, but I cannot say I am persuaded to believe that is the truth, but things aren't always as they appear so we'll let it roar; it's not up to me to determine its truth, just declare what my interpretation is which cannot change what it truly is.
The adoration I feel as I gaze into the "Mouth of the River" is due to that recurrent percussion wave and the instrumental elements the coexist peacefully along the shore.
At the end, I am already aware that you cannot create an everything to everyone album where no song is unloved or unappreciated, where each track resonates with everyone for different reasons, and acclaim is universal, and for it to be a genuine declaration of the band and each of its members. So did they? To each interpretation their own.

Between Brothers

Although I was a neutral party when it came to this alternative Oasis to nostalgia, I kept tabs on the bands that followed after the brothers' band dissolved; not their side projects, but their "in pursuit of music wthout the family conflict" ensembles. Both Beady Eye and Noel Gallagher's High Flying Birds were good, but not remarkable, and that is coming from a neutral party. However, the third album was a similar situation as with The Strokes and I; it caused me to revisit their earlier material and reconsider the relationship. Finding out there was a solo album from Liam, I thought to review both and place them together, because that's one of the only ways they will be found in a close vicinity.
 The best response I have when it comes to listening to this new solo album is by saying "As you were, Liam Gallagher." For what it's worth, I have little constructive criticism, and while it's not my favorite song, its a good one. The album is not perfect, but when something isn't broke, it may be easier to leave well enough alone. Nor is this my cup of tea, but there are some good songs. If you are a fan of what he has done so far, you better run to the  local record store, except not many exist anymore. This style I formulate my reviews with, is not sarcasm serving as a wall of glass, or a distraction, just some artistic liberty, and the introduction is quite... it foreshadows some rockers and solid songwriting. "Doesn't Have to Be" may be the winner for me, but for "All My People/All Mankind" there are more songs to enjoy, while spoil the discovery of what you can find?
So I end one review with a question and begin with another on the next round, Who Built The Moon?
It was the opening song that warned me to keep my ears open for more. Again, like the Strokes, Noel Gallagher's High Flying Birds managed to capture my attention, because they "Keep on Reaching" for something more, something different; and I was so distracted by the monotone of Casablancas in the singles that I had little interest in exploring their first two records in full.  I did listen to the debut of Noel Gallagher's High Flying Birds, but don't remember chasing all of yesterday. The latter song  mentioned with its horn flourishes and its rock and its R&B aesthetic, just found itself out my grasp to describe and express why I like it so much. The same thing with "It's a Beautiful World," I cannot tell you why, but title aside that statement is true; although we cannot exactly see it as beautiful all the time. "Be Careful What You Wish For" not only sounds like a warning from the future trip to the farm, but an Aerosmith classic where female vocals replace the horns. As for what follows, do we find out who built it? Does it matter? Not just the answer, but what is it without the discovery of that answer. I implore you to sample the album for yourself. There is more to be enjoyed.

More Stocking Stuffers

Lorretta Lynn may not convert your White Christmas Blue, but may help make it merry if you prefer to listen to an ole-fashioned country Christmas album with the spirit of Willie Nelson. I don't recall him recording one, and he has recorded many records, but I believe he may record one like this; that notion was brought to you by "To Heck With Ole Santa Claus." I appreciate the originals, and she manages to keep the covers appealing.

The Greatest Gift of All from Rascal Flatts would have to be their original "A Strange Way To Save The World," and while I appreciate their funky horn infused rendition of "Go Tell It on the Mountain" that may have some fans ecstatic enough to say "Joy to the World" as well, I found it to be a pleasing album, and worthy of their canon.
 I cannot call this the best way to celebrate the season, or the best album released in the genre, in the year but Jennifer Nettles surprised with her solo Christmas set; no particular reason that I could hear, aside from her voice and the arrangements, from the brassy opener to what sounds like a muted Zat You accompaniment in "God Rest Ye Merry Gentlemen." "Celebrate Me Home" and "Count Your Blessings Instead of Sheep" may sound like directives to please your best life, or live your best life, but they end up being great songs. To those that are still here, Merry Christmas with love!

There are not many  vocalists that can sing as one drunk during karaoke at a Christmas Party on one track, and then rival any Crosby collaborator on the next. While Deschanel does have a nice voice, her delivery can sound monotone, as it did on "Happy Holiday" which did have stiff competition; the person I can say shares this tendency would be Julian Casablancas, especially in the first two Strokes records, which means she is in good company. You even get to hear M Ward  on "Run Run Rudolph" which found instrumentation and tone differentiating this version from its brothers and sisters. The best way to approach a cover is not to attempt to top or copy the original, recording what appeals to your heart, and that may yield the best results. Proof is in the aforementioned, but even moreso with the overdone "All I Want For Christmas is You, but I will keep the rest of the details under wraps.
Jordan Smith
While I love Christmas music, I find the expansion of what's available to be staggering and overwhelming, so I may disregard some records for sanity's sake. Considerng how many times the selections on the album were covered, I questioned why bother? Although it sounds Grinchy, I did  have a change in heart after hearing this engaging version of the iconic dismiss song, Tis The Season after all.
Leslie Odom Jr.
In a land where sugar plums may have lost their luster, and artists pump as much holiday spirit in their Christmas distractions that they could muster. Whether the intent is Simply Christmas and the desire to profess love through song, or for a reason that may beckon coal is uncertain; not for any artist in particular, but it comes up all the same. "The Christmas Waltz" and its treatment is an example of the times, to put it simply, a quicker tempo, done in good taste, may put a smile on your face.  The calming chords and strumming rhythm of a song simply titled "Christmas" manages to capture the serenity that the season can bring, as does the extended version of "My Favorite Things." I have not heard "Merry Christmas Darling" out of the Carpenters' context, which is a classic, so this was a pleasant surprise, and while it cannot replace the original, it stands well on its own. This is an album that may surprise you, and you may find "Winter Song" serving as your soundtrack to those long, cold post holiday nights where that solace and inner light flicker.