Not in This Lifetime Tour- Guns 'N' Roses at New Era

The events of last night had me wonder what else is possible in this lifetime. Will we see flying cars, or is that still too far away? Money has been said that it cannot buy happiness, but I am sure it brought some to any concertgoer at New Era Field yesterday. Who wouldn't when a band as big as Gun's N Roses defied the odds and reunited for what may be their final jaunt to include both rock behemoths such as Slash and Axl? 'It's So Easy'  to presume that it was the major force behind this spectacle, but lets focus on this night, specifically, instead of what fueled this night train's resurgence.
My subconscious has appreciated their hits that I have heard on rock radio, yet I cannot say that I was fan. It wouldn't be an incredible live show without those hits I have grown to love, but it wouldn't be the same without the songs I could not recognize, or would it? 'Pain Lies on the Riverside' and 'The Dolphin's Cry' are songs worthy of any band's canon, and strengthened Live's nine song set. They sold the drama, you could feel the energy that resonated through the stadium, it also helped that there was a livewire of a fan bringing smiles and a couple close calls to the temporary denizens of the pit.
I heard several remark about the synchronized percussion of the two drummers, which was commendable, I could see passion resonate as sweat ran down drummer Chad Gracey's chin  and while I did not have a close enough view of the other drummer, I can say I believe he was not devoid of either.
At one point, Kowalczyk remarked "It's a good day when you open up for Guns 'N' Roses" and I am certain many felt the same. I knew some of their songs, and that they could rock hard, but was not certain if they could pull it off opening up for G'N'R and they did. They even played a tribute to the late, great Chris Cornell,  playing the Audioslave song 'I Am The Highway' near the end.

Of course, with Axl's reputation 'Patience' is required when showtime is on the line, and if you waited until the encore you were rewarded. Their pal, Mr. Brownstone, made an earlier entrance to the stage before they ripped through two 'Chinese Democracy' cuts, one I had an inkling was the eponymous, and the following entry I remembered a little 'Better.' Five tracks in, they welcome us to the jungle and no one seemed to mind.
Their first cover, out of several, made it to the roster of their double album for a reason, yet my only gripe was that  I could not hear the iconic riff in the live performance; so 'Live and Let Die' takes on a whole new meaning? Otherwise, the energy was dangerous; a warm up to the aural strut and swagger of 'Rocket Queen.' While 'You Could Be Mine' brought us into the realm of apocalyptic love, or it may be simply its presence on the Terminator 2 Soundtrack, either way we were able to see a glimpse of how terminators would appear as G'N'R impersonators.
I may be 'Estranged' to most of the names of their songs, but I have not listened to their albums in full for years, yet when I heard that opening riff, it was like reuniting with an old friend I haven't heard from in awhile.
While the visual accompaniment to 'Civil War' and 'Coma' were appropriate it was hearing the former live that enriched its value in my eyes, and it feels like a timely addition to the general set, considering how things are nowadays; similar problems, yet need to be solved in different ways. The latter described how I felt at one point in time; I was tired, but it may also had to do with the overexposure to the proficiency that every band member displayed.
I couldn't sense tension, but I could sense a "sibling rivalry" between Axl and Slash. Slash with the technicality that is sometimes overlooked and taken for granted when compared to the larger than life stage presence of Axl; he is talented for sure, and ran across stage like a madman at certain intervals in the show. There was a plus side to Axl's urge to change his wardrobe, it allowed Slash to showcase his talent with Jams and interludes. Duff even capitalized on Axl's absence singing a cover of 'New Rose' by the Damned, so that tendency benefitted everyone.
While we're on the subject of covers, we might as well mention the cover people clamored to hear, their rendition of 'Knockin' on Heaven's Door,' another cover they made their own. Slash and Richard Fortus dazzled with a duet of Floyd's 'Wish You Were Here' which segued quite nicely into their epic 'November Rain.' The last cover, pre-encore, was not the least worthy of note. Mr. Cornell was honored yet again, by one of the biggest bands in rock, not that his career or influence was anything to easily dismiss. 'Black Hole Sun' suited Axl's voice well and was a slow burning tribute, with a brooding, yet patient fury.
If you left on the 'Nighttrain' then you missed its stop to 'Paradise City,' a song which appeared that it was not going to be performed, yet it was saved for last; all it took was patience! As for the Who, 'The Seeker' became the last cover of the night.
It wouldn't be right if I had not mentioned the rest of the crew. I mentioned Duff, but I loved the fact he was sporting a sign of 'the purple one' on his guitar.
It's unfortunate that Dizzy Reed has been with the band nearly as long as Axl, but he doesn't seem to mind. He has played an integral, yet not as celebrated role in the band, and for that I must make an extra nod.
Even though she has been with the band for roughly a year, I see that her fate might be similar, though Melissa Reese's talent, energy, and beauty, were not unnoticed; with those giants, it is easy to miss others not in the forefront. Just because they remain out of the spotlight, does not mean they are without merit.
Richard Fortus, who has seen his place as both rhythm and lead guitarist, and that energy and passion that I saw him express was noteworthy.
Last but not least, was a pillar of the rhythm section, Frank Ferrer; the stamina, energy, and passion that he showcased also gave me another reason to "rock out" as I would have with the usual suspects.

Scott Stapp gone Solo! (Riviera Theatre-May24th2017)

I would be remiss if I had failed to mention the opening performance of Jeremy Willet, it was short yet sweet, uplifting and heartfelt, unexpected and engaging. All four songs were worthy of note, yet "Empty Grace" was the only title that I remembered. Unfortunate, but the praise was not full of empty words and the result was a fuller heart; It was a great way to start of the night.
I have heard of the second band, by name, but not by their aural identity, and finally I heard their brand of modern hard rock. Their sound is perfectly suited for the acoustic avenue, and I will do the "Best I Can" to present them in a positive light, not difficult, without bias, and without saying "Sorry," which unpologetically injected a tribute to Chris Cornell with a few verses from Temple of the Dog's "Hunger Strike," which was one of their finest moments. The setting also brought their harmonies, akin to Alice in Chains, to prominency, on songs such as "Die Trying" and others, which tend to be buried under their studio-electric counterparts. One of my favorites had to be "Tear Down The Wall," one of their more assertive entries, in the acoustic vein.
As much as I love the opener, I was not ready for the loading of the gun in the query, and the "Bullets" that followed. The latter is one of their heaviest songs, sonically, and didn't expect to hear it in this performance. I watched some performance videos before hand to see how this acoustic treatment would work, but it still took me by surprise that it was on the set.
Stapp would introduce most songs with a little known fact or story regarding the next entry whether it was when they reflected on their rise to fame and how the haters are formed out of human clay with "What If" or how the denouement of their debut would have been under a different name; how they questioned if this piece was in alignment with their identity; how it was stressed that they have it on the record, and so they closed the album with one of their most engaging, popular, and complementary entries on this document of life. There were many, but of all performances of the night, this was another "One" to remember.
The majors such as "My Own Prison," "Higher," "Arms Wide Open," "My Sacrifice" and "One Last Breath" were all performed , the last of which was preceded by a universal call to arms in renouncing and eradicating the stigma of mental illness and the isolation that it presents, especially when the one suffering is too afraid to seek assistance because they feel they will not be understood.
The life of a successful rock band present opportunities for each member to improve or belittle themselves, as well as memories. "There were many good times" Stapp reminisced about his six consecutive daily jam sessions with The Doors and Woodstock '99, and how his love for the band, and his budding interest in music of his own design, began; due to the fact that Jim Morrison had indirectly convinced Stapp to enroll in his alma mater.  "Roadhouse Blues" was an uplifting, enthralling, and complementary break from the grittier and darker material that had preceded it.
With their rising fame, a conflict of egos began brewing as they had completed molding their Human Clay tour, and writing sessions for their third album had found a perfect description of the state that the band was in with "Weathered." It was a song I was hoping to hear, and heard it twice!
Scott had remarked how his career came Full Circle. First, going to parties with his pal and colleague of awesome, Mark Tremonti, and playing acoustic for anyone that would listen to find himself with a wider audience willing to listen and sing along.
The human will can surprise more than just the self, but any onlookers, disbelievers, haters, etc. As band's relations disintegrate, they can also regain traction with absence, and so I describe the polar opposite when it came to the need of Creed, individually and as a whole, to "Overcome" their differences, mute their egos and create the album that never was; but promised before they compiled their Greatest Hits. The song itself has a passionate and energetic frontman breathing life into the words and listener, in alignment with air-guitar and head-bang worthy fury of Tremonti, Phillips and Marshall, whispers to the will, and a universal and timeless message. The value was only reinforced with this dynamic rendition of the song; the majority utilized the, due to artistic liberty or ignorance, "Drum Stool" until the aggressive climax where we saw the drum kit at large and every member on point; but that occurrence was not rare, considering Ron Thal was part of the band.
I had my doubts when I had heard that the show would be acoustic, but after checking a few clips, they subsided. I feel that the acoustic was even better than a full electric, devoid of the excessive noise and volume, that dependent on venue, can really drown the vocals. You could hear every member playing their part, literally, in a full sound.

Mary J Blige "The Strength of a Woman"

The Strength of a Woman is not determined by the quality of her music, nor is it determined by the length of her career. Longevity? A classic album does not bolster. I am not an avid fan nor hater, yet I respect and appreciate her.
The beginning not only finds itself as one brassy and serotonin-inducing opener, but is an important step in preparing oneself to love and be loved by others, to improve upon the foundation of one's soul, it also features an appropriate guest, but to truly love others, you must  first "Love Yourself." A feel good introduction to this next chapter in her career, before we find ourselves in the "Thick of It."
The strength will not falter, even amidst deceptive prospects for "The One" ("Set Me Free"), or failed realization of potential ("Glow Up"). In fact, it can prove to be "Indestructible," which  doesn't have her preaching but can serve as a unisexual message to know one's worth and prevent the closing of one's heart.
While some of the lyrical content was written in pain, there is positivity present, and sometimes it shines, like a "Smile" will often lighten our hearts, and once you "Find the Love" you need and seek, you will find strength, but it may come from within, or without. The strength of another may not be revealed all at once, as it has many facets. The album has much to give, as the title track will reveal.

Yellowcard's Second Swan

While the general consensus concerning first impressions ring true, when it comes to music, I find how you end a career more important than a debut. While, the album was a fauxnouement, the Paper Walls that constructed the origami swan were incredibly sturdy, The album was energetic. earnest, and engaging; a testament to their growth, in merely a year. The Lights and Sounds were merely a preparation for something greater.
I could not answer the rhetorical question that their return had set in motion, but I was able to ask "What Happened?" after listening to the sounds of Southern Air. It sounded like a document of a band scratching the studio itch, when interest for a follow-up was virile; recording when they possessed the energy, intent, and motivation, yet not the heart or the patience for the best or most creative ideas, but this is where I find it difficult to critique an artist's work because I am not sure where they were coming from, nor do I know how they truly felt in spite of it written on paper; it was a good album, just not my favorite.
The eponymous album, is another chance to make a statement as to who you are as a collective, or an artist, to where you stand, or at least give an example of how you believe that you should sound. They manage to score in the final period, without even a hint of a yellow card. They manage to show their range, rawkin' riffs or somber keys, sometimes even in the same song. "like Air?"  Yes, but it did not seem as forced as the songs on that album were, and the instrumental accompaniment, fresher; at least in this context. As for favorites, you "Got Yours," and I have mine; such as the aforementioned and "Savior's Robes." I could name every song, yet some are more apparent. The hurt is gone, especially after releasing an album such as this one. You have succeeded, and may you rest in peace.

Belated Dragonforce Review

Dragonforce's songs have always been exhibitions of their technical prowess and a platform for their positive messages. Fear not, for they have continued the tradition, but have reached critical mass, or Maximum Overload to be specific.                                                                                                          While their music is good, there is just an excess of auricle stimulation that it borders on the blasé; which would affirm this truth after consecutive listens in a daily timeframe, or even in a weekly discipline.  Maybe it's a nonchalant declaration of "I'm not a power-metal fan." I wouldn't say that, but from experiencing their music, I would say it rings true for Dragonforce.                                    After the "The Game" the band had constructed for "Tomorrow's Kings," exalted in its execution, they toned it down for "No More."                                                                                                    What struck me first were the "Three Hammers," the solo; pounding percussion in the latter half;  and the band's "Symphony of the Night." While I did not mind the following tracks, "Defenders" sounded too much like "No More," or the chorus at the very least.  I would have to say "Extraction Point" was another standout; others may grimace at its praise, but it injected diversity into the album, and gave us a breather before delving into the "City of Gold." I cannot speak for Cash, but I reveled in the "Ring of Fire" because it re-lit the waning appeal the band possesses; personal preference, not a critical dismissal.  It was a signal that the album (traditional) was coming to a close.

Long Awaited and Lacksadaisacal in Release Time "Logan" review

The movie was many things but a bad production. You would figure that after the third solo film spotlighting the infamous wolverine, that the plot is more anemic than its predecessors, yet it is the opposite. It is a lively swan song, with heart, which the other two seemed to lack. The plot was kept simple, yet in spite of that there is much to be said. Seeing X-24 in action you realize that in spite of Logan's violence, there was always a purpose for it; even if there were more tempered ways to handle things, he didn't exceed the need, too much.
It is an origin "film' in its own right, a minimalistic and focused effort, that applies to his daughter and the next generation mutants; a sub plot, but it was not drawn out like X-Men Origins: Wolverine was. It was a survival story: In their race against the clock, Logan and Professor X must drop Lara off at a haven in South Dakota so all of her composited cohorts can make it to Eden in time.
It also was a film that dealt with bereavement, as the two remaining X-Men had to cope with loss in their own ways; either Xavier subconsciously cast aside his mental baggage into the recesses of his memory, while Logan drank away his misery, or the culprit was old age.
What was spectacular about this film was the humanizing effect the plot had on Logan and Xavier. While their characters may be timeless, it brings us to the realization that their physical counterparts will not last forever, and that they can age just as we. We think of all the power these meta-humans have, but not what happens to it as they age; it nary depreciated, but it was the control that waned. The ever present limp in old man Logan, and the lethargic regeneration that became an inconvenient affliction. We knew his death was approaching, and so did he, he yearned for it, and left his current state well enough alone; to think that which endowed him with the magnificence, would end up as a malfeasance.
Xavier's tremendous mental prowess can be declared a "Weapon of Mass Destruction," especially after being maligned with seizures; the effect it has is paralyzing, and can trigger seizures of other people, among other maladies. It could have been the Alzheimer's that was off duty for that moment of clarity as to how only Logan and he still live and breathe. Yet, Stewart keeps his portrayal far  from pitiful, yet stirs empathy, and proves he has not lost complete control of his powers. His manner is less reserved than previous entries, and expresses a spark that was ever present, yet was often managed by a filter; not that he engages in a massive brainstorm, or monsoon, of obscenities. We see that although age can afford us inconveniences, we can still set a higher level of expectations for ourselves instead of limitations.
It was also an example of cine-pihany. We know that Wolverine can be a devilish derriere, but we see Logan as a meta-human and not just a killing machine. When they resided in their new friends' abode for a night, Xavier tried to stress that this was an aspect of life he was missing; this is what life is with people who love each other, and that was paraphrased. He shrugs it off, easier than it was to rescind his responsibility as a father. He retorts "I never wanted this," at some point, to his daughter as she remains adamant that Eden exists. Whether he had fully realized his feelings before he professed "bad things happen to those I care about," I am not certain, yet "Then I should be fine" left a deeper laceration than their claws ever could.
Another aspect, was how they kept the life that Logan lives, and that which Wolverine lives parallel, even if it was just through the comic vehicle and a wolverine action figure at the end. You didn't even feel that it was a superhero movie, and that was some of the charm. Considering the R-rating and the eponymous character, there was a lot of violence, but it was warranted; call it a post-apocalyptic western with true grit.

Redfoo "Party Rock Mansion"

As I partywalked into the Party Rock Mansion, I could not help but smile. A mansion for one person is often an extravagant waste. While I did enjoy the duo's personality, and a majority of their songs moderately, at most, I do not recall LMFAO, so I brought my own grain of salt and set my expectations to low; so now with only one half, the music might be half as good, but I don't remember their music as well as some say I should, and that is only because it wasn't that memorable to me, and I say this constructively.
In spite of criticisms, from more acclaimed and credible, or at the least well known Redfoo blew open the door with "Keep Shining" and took for another fun ride on the "Party Train." I knew it could not last long, because by the third song I have had "Too Much." "Can you stop placing the song titles in the sentences? It's not clever, it's overdone!" I'm sorry, I overexerted my hopes and decided to just listen to the sounds of the shore instead of commenting on track four. "No, thanks, I'll stay here."
I walked around the massive abode, thinking of all the beach beauties, after the posse went crusin'. I'm not strictly a "Booty Man," but that verse in the song had me laugh in silence, and maybe that hs changed from last this was written.

Maybe I should have went with the crew, I don't mind the solitude. That changed when I heard echoes of the sounds of yesteryear that queried "Do you love me?" "I find it to be an intriguing interpolation of the song, but that does not speak for you." No response. Even though none of the switches turned on in the hallway I could see the next room, and it was"So Lit" with three funky elements on the subtle base; it was not invisible, but just enough to remind you of those perfect September nights.
I was about to leave, but a party crasher started playing the Sax ike it was a "New Thang," and I would have to say it heightened the class of the songs that followed, especially the "Juicy Wiggle," not only a spectacle but, behind, a collaboration between sax and ivory. Did I just see an elephant in the room, or did I yak from dehydration; that would be "dry-heaving" wouldn't it. "I apologize. I don't want to bespoil a house such as this, but I have to disagree with the statement that "Good Things Happen When Ya Drunk." So I'll skip the bar talk, day drinking, spend a minute thinking I focus on the darkness of the human race too much, locked inside the house, I need to venture "Where The Sun Goes." What a Wonder-ful idea that was, I smile because of the song, and groan because of the inanity of the pun, but it was awesome Stevie made it to the party...rock...mansion. I found myself at the grotto, and this beautiful girl handed me a number without an introduction. That is all of the proof you need to know that this is a fictional account, but at last you enjoyed the brief escape from reality. "Maybe" a little bit? "Okay, now you ruined it." This album exceeded expectations, but you may remember where it was set at; regardless, it sounds like sleeping gem.