Wednesday, March 31, 2010
Dear U2 (Regarding the upcoming DVD 'U2360° at the Rose Bowl')
Read my reviews of opening U2 Chicago shows last September here and here.
Dear U2:
You have done adamn fine job of documenting your history (both good and bad) and almost never purposely hide something (including Bono's mullet from 1983, you can see it in all of its glory on the Under A Blood Red Sky DVD which came out a few years ago). It's incredibly admirable from every tour since 1983 (with the exception of the 1984-1985 The Unforgettable Fire tour) has been documented in a visual format and with the release of the Rose Bowl DVD, every tour will be available for purchase on DVD. But can you please tell us why every release seems to have at least one song missing? The Slane DVD from 2001 added "Mysterious Ways" as a bonus track, the Chicago Vertigo DVD omitted "Party Girl" even though it was performed during both shows that were filmed. The Zoo TV DVD omitted "Tryin' to Throw Your Arms Around the World", four songs were cut from the Boston 2001 dvd, the Vertigo Milan show was cut in half and paired with a special edition of an album that was difficult to find and the 1987 concert included in The Joshua Tree box set omitted the opening song, "Stand By Me".
For a band of your size and stature, you have handled your legacy and your recorded output better than anyone. However, it's frustrating to see you come so close to perfection and then blow it. Now with the release of the Rose Bowl DVD, it's come to our attention that the show's opener, "Breathe" will be omitted from the DVD but available on a deluxe (and more expensive) 2 disc version. Why?
I understand that some DVD's get shifted and songs get dropped for the 5.1 sound, alas, it's cutting up your legacy and leaving an imperfect and incomplete document for the remainder of time to be viewed. Plus, over 10-million people watched the YouTube broadcast of this show, so it's not like people won't realize that a song is missing. More importantly, "Breathe" is one of the better songs on your last album. If you had to cut a song for the 5.1 sound, why not "Boots", easily one of the worse singles of your career.
I love you guys and you come so close to perfection, why not go that extra step and secure history the way it happened? You wouldn't cut out a family member from pictures, would you?
Sincerely,
Tony Kuzminski
Full Press Release For U2360° at the Rose Bowl
U2: U2360° at the Rose Bowl will be heading to Blu-ray and DVD on the following dates:
UK on June 7 2010
US on June 3, 2010 (both through Mercury Records)
Captured live in front of 97,000 fans at Pasadena’s Rose Bowl in 2009 in support of their tour for the Grammy-nominated album No Line on the Horizon, the full-HD production utilized 27 HD cameras and was directed by Tom Krueger who had previously worked on U23D, the first live action 3D concert movie taken from U2’s Vertigo Tour.
The release will be available in four different iterations:
Single-Disc Blu-ray Edition (includes exclusive BD Live bonus feature. Video footage from the forthcoming 2010 US and European Tour will be continually updated to your player via the BD Live feature on the disc.) SRP $21.95:
Track list:
Get On Your Boots
Magnificent
Mysterious Ways
Beautiful Day
I Still Haven’t Found What I’m Looking For
Stuck In A Moment You Can’t Get Out Of
No Line On The Horizon
Elevation
In A Little While
Unknown Caller
Until the End of the World
The Unforgettable Fire
City of Blinding Lights
Vertigo
I’ll Go Crazy If I Don’t Go Crazy Tonight
Sunday Bloody Sunday
MLK
Walk On
One
Where The Streets Have No Name
Ultra Violet (Light My Way)
With Or Without You
Moment Of Surrender
Single-Disc DVD Edition SRP$14.95:
Track List:
Get On Your Boots
Magnificent
Mysterious Ways
Beautiful Day
I Still Haven’t Found What I’m Looking For
Stuck In A Moment You Can’t Get Out Of
No Line On The Horizon
Elevation
In A Little While
Unknown Caller
Until the End of the World
The Unforgettable Fire
City of Blinding Lights
Vertigo
I’ll Go Crazy If I Don’t Go Crazy Tonight
Sunday Bloody Sunday
MLK
Walk On
One
Where The Streets Have No Name
Ultra Violet (Light My Way)
With Or Without You
Moment Of Surrender
2-DVD Deluxe Edition SRP $21.95:
Featuring the live concert (same tracklisting as above)
Plus:
Squaring The Circle: Creating U2360 Documentary
U2360° Tour Clips
Bonus Track ‘Breathe’ (Live At The Rose Bowl)
Berlin Timelapse Video
Videos:
Get On Your Boots
Magnificent
I’ll Go Crazy If I Don’t Go Crazy Tonight (Animated)
I’ll Go Crazy If I Don’t Go Crazy Tonight (Live At Barcelona)
The Making Of ‘Get On Your Boots’ Video
The Making Of ‘Magnificent’ Video
2-DVD Super Deluxe Box Set SRP $39.95:
Contains live concert plus:
2 DVD
24 page book
Poster
Set-list
Replica Tour Programme
7″ Vinyl
Dear U2:
You have done a
For a band of your size and stature, you have handled your legacy and your recorded output better than anyone. However, it's frustrating to see you come so close to perfection and then blow it. Now with the release of the Rose Bowl DVD, it's come to our attention that the show's opener, "Breathe" will be omitted from the DVD but available on a deluxe (and more expensive) 2 disc version. Why?
I understand that some DVD's get shifted and songs get dropped for the 5.1 sound, alas, it's cutting up your legacy and leaving an imperfect and incomplete document for the remainder of time to be viewed. Plus, over 10-million people watched the YouTube broadcast of this show, so it's not like people won't realize that a song is missing. More importantly, "Breathe" is one of the better songs on your last album. If you had to cut a song for the 5.1 sound, why not "Boots", easily one of the worse singles of your career.
I love you guys and you come so close to perfection, why not go that extra step and secure history the way it happened? You wouldn't cut out a family member from pictures, would you?
Sincerely,
Tony Kuzminski
Full Press Release For U2360° at the Rose Bowl
U2: U2360° at the Rose Bowl will be heading to Blu-ray and DVD on the following dates:
UK on June 7 2010
US on June 3, 2010 (both through Mercury Records)
Captured live in front of 97,000 fans at Pasadena’s Rose Bowl in 2009 in support of their tour for the Grammy-nominated album No Line on the Horizon, the full-HD production utilized 27 HD cameras and was directed by Tom Krueger who had previously worked on U23D, the first live action 3D concert movie taken from U2’s Vertigo Tour.
The release will be available in four different iterations:
Single-Disc Blu-ray Edition (includes exclusive BD Live bonus feature. Video footage from the forthcoming 2010 US and European Tour will be continually updated to your player via the BD Live feature on the disc.) SRP $21.95:
Track list:
Get On Your Boots
Magnificent
Mysterious Ways
Beautiful Day
I Still Haven’t Found What I’m Looking For
Stuck In A Moment You Can’t Get Out Of
No Line On The Horizon
Elevation
In A Little While
Unknown Caller
Until the End of the World
The Unforgettable Fire
City of Blinding Lights
Vertigo
I’ll Go Crazy If I Don’t Go Crazy Tonight
Sunday Bloody Sunday
MLK
Walk On
One
Where The Streets Have No Name
Ultra Violet (Light My Way)
With Or Without You
Moment Of Surrender
Single-Disc DVD Edition SRP$14.95:
Track List:
Get On Your Boots
Magnificent
Mysterious Ways
Beautiful Day
I Still Haven’t Found What I’m Looking For
Stuck In A Moment You Can’t Get Out Of
No Line On The Horizon
Elevation
In A Little While
Unknown Caller
Until the End of the World
The Unforgettable Fire
City of Blinding Lights
Vertigo
I’ll Go Crazy If I Don’t Go Crazy Tonight
Sunday Bloody Sunday
MLK
Walk On
One
Where The Streets Have No Name
Ultra Violet (Light My Way)
With Or Without You
Moment Of Surrender
2-DVD Deluxe Edition SRP $21.95:
Featuring the live concert (same tracklisting as above)
Plus:
Squaring The Circle: Creating U2360 Documentary
U2360° Tour Clips
Bonus Track ‘Breathe’ (Live At The Rose Bowl)
Berlin Timelapse Video
Videos:
Get On Your Boots
Magnificent
I’ll Go Crazy If I Don’t Go Crazy Tonight (Animated)
I’ll Go Crazy If I Don’t Go Crazy Tonight (Live At Barcelona)
The Making Of ‘Get On Your Boots’ Video
The Making Of ‘Magnificent’ Video
2-DVD Super Deluxe Box Set SRP $39.95:
Contains live concert plus:
2 DVD
24 page book
Poster
Set-list
Replica Tour Programme
7″ Vinyl
Monday, March 29, 2010
Album Review: The Verve Pipe-‘A Family Album’ (Three-Stars)
Album Review
Three Stars (***)
By Anthony Kuzminski
Brian Vander Ark crooned and wailed an anthem for a whole generation a little over a decade ago with the wonderfully heartrending and philosophical “The Freshman”. Released in 1997, the song became more than a song, but a prayer to a world hoping to find solace in it or at least a diversion from a callous world that didn’t care. It was an overwhelming accomplishment so early in the career of Vander Ark’s band, The Verve Pipe. Despite making two first-rate follow up albums (a self-titled album in 1999 and Underneath in 2001), the band went on hiatus and Brian Vander Ark released a series of excellent solo albums including 2003’s superb Resurrection. Pulling from within and expunging his own personal demons, Vander Ark is an artist in the truest sense of the word and is anything but a one-hit wonder, but an ever evolving and notable musician. 2009 saw the Verve Pipe reunite and they did more than just reform for reunion shows, but recorded a new record, one no one in their wildest imagination could ever have imagined; a children’s album. The band was asked to contribute to a song to a compilation album, Calling All Kids. What began as one song blossomed almost immediately into ten songs that became A Family Album.
A little more than a year ago, I may have very well dismissed this record, but with a daughter who just turned one, when the disc arrived in my mail, I took an interest, loaded it into my iPod, where it has stayed and continually been played for weeks. Bridging middle ground between Sesame Street albums and the Beatles, the Verve Pipe has created a record that both children and parents can listen to and enjoy. The ten songs that encompass the record are full of bright choruses and contagious melodies that will swim inside your mind after one listen. “Wake Up” is full of serendipitous harmonies, as are all of the album’s eleven songs. “When One Becomes Two” is soft-hearted yet the band’s delivery is spot on. There’s a childish sense of wonder to sing-a-long songs exemplified on “Cereal”, “Suppertime” and “Go To Sleep Now” and yet it’s their experience with writing melodic gems that allows them to get away with a record that induces a smile at every turn.
The Verve Pipe and Brian Vander Ark have created visceral music that flourished with voices and guitars that speak to and resonate strongly with their audience for nearly two decades. While the Verve Pipe is in the process of recording a new record, they’re calling their own shots. They are not tied to a major label at this time and just want to create the best music they can. While A Family Album was a detour I am not sure anyone saw coming, it’s a welcomed collection of songs. It’s the first step in what will hopefully be a flourishing and vital second act. Until those new rock songs appear, A Family Album can keep you company with its insanely fun, playful and memorable songs that will turn your smile upward.
Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.
Links You Should Read: Monday 3/29/2010
It's been a while since I have done one of these and this one is long overdue. Here's a list of great entertainment pieces you should read and check out:
- Rolling Stone has a rather incredible acoustic performance by Butch Walker at this link. It includes three tunes from his latest (read album review here).
- Just when you think people aren't buying music anymore, a company out of Atlanta is finding an audience for long forgotten and lost gospel recordings with brilliant remastering and creative packaging. Read the full article here
- I have only written briefly about a wonderfully eccentric band called Los Campesinos!, but you should check them out. They have created a few of the most memorable albums of the last few years and the best review of their latest was done by NME, check it out here.
- A few friends came back from SXSW raving about J Roddy Walston, who drew comparisons to Jerry Lee Lewis, check out his music and his webpage here.
- NJ.com has a interesting article about the Rock & Roll Hall of Fame showing who will be eligible in coming years and who is still awaiting induction here.
- Bon Jovi piano player Dave Bryan has made a name for himself with his Broadway play, Memphis. He gives some great insight in an interview at this link.
- Being a film fan and one of Ain't It Cool News, there is a great article about the reviewer known as "Capone", which is fascinating and revealing. If you aren't reading Capone's interviews and reviews at AICN, you should, they are some of the most insightful around.
- Here is an interesting article about film criticism and the generally favorable reviews Shutter Island received.
- The Onion A.V. Club did a wonderful piece entitled The Philosophy of Bill Murray. Read it, your
existentiallife will never be the same again (:-)) - The aforementioned Capone sat down with Wes Anderson months ago while he was promoting Fantastic Mr. Fox. It's a great read, check it out here.
- Lastly, Matthew Ryan who has made a great music career for himself did a really incredible piece on Bruce Springsteen for Blurt not too long ago, read it here.
Retro Review: John Mellencamp Live in Rockford, IL, April 9, 2005
John Mellencamp: Walking Tall
The MetroCentre: Rockford, IL, April 9, 2005
By Anthony Kuzminski
Photos by Paul Stinsa
Writer's note: Originally written in 2005, here is a concert review of John Mellencamp's Words & Music tour. I'm leaving the mistakes warts and all on this one.
Grace, mercy and forgiveness
Will help a man walk tall
-Walk Tall, 2004
A little over thirty years ago no one could have imagined that a young and rough around the edges singer named Johnny Cougar would become one of the defining voices of his generation. Unlike most artists who peak early and spend the rest of their careers on a constant decline creatively, John Mellencamp has continually pushed the envelope, never settling into success and losing his creative edge. In the last fifteen years alone, his output has been passionately remarkable, arguably the strongest track record of any recording artist during this time. "Big Daddy" (1989), "Whenever We Wanted" (1991), "Human Wheels" (1993), "Dance Naked" (1994), "Mr. Happy Go Lucky" (1996), "John Mellencamp" (1998), "Cuttin' Heads" (2001) and "Trouble No More" (2003) have all been steadfast albums thrusting sonic and creative boundaries, confirming that Mellencamp is a man who is still a relevant and a vital musical figure. John Mellencamp’s music attempts to have people dream big, think outside of their world. However, one would never know this by seeing him live as he usually plays no more than two or three new songs off any new album. In the last decade, amazing numbers such as "To Live", "Brothers", "Gerry", "Miss Missy", "Crazy Island", "The Family" and "To The River" have all gone unaired in concert or played less than a handful of times. It's a shame to see such insightful poetry disregarded. When I hear a classic album cut from one of my favorite artists, it makes me reevaluate their entire catalog. I have a John Mellencamp bootleg from the early 80’s and on it is a song I had overlooked, “Thundering Hearts”. The muscle, drive and energy given in this performance were like a kick to the gut. It made me dig out my “American Fool” album and I realized I probably never listened to side two of the album (back in the days of cassettes). If not for scorching performance on this bootleg, “Thundering Hearts” would still be lost to me.
While his recorded output continues to evolve and soar, his concerts during the same time frame have lacked the energy and drive his 80’s and early 90’s shows had, which lasted from 120 minutes to 150 minutes. Then in ’94 the shows were reduced to 100 minutes. Since then, I’ve never seen a performance go over 105 minutes and some have been as short as 80 minutes. In turn, I almost always walk away dismayed knowing I did not see John Mellencamp at his best. When you are paying four-times the ticket price (in 2001-02) than you did in 1992 and he’s playing half as long, you are going to walk away disillusioned…plain and simple. Mellencamp fans have been known for being overly critical of his set list choices and lengths of his sets; this is not because we're being difficult or snobs, but because we know one of our favorite artists is capable of being so much more. When I see him play a shortened show skipping many classic songs (hits and deep album cuts) I am aggravated, because I know that these words and music have been a source of comfort to me in my life and I hope that they would heal and comfort others on the same journey. Is it bad to want your child to reach for the stars and reach the highest heights? I say "no". For a man who has taught me about racial tolerance, love, peace, hope and being open minded, I would hope that he would be unbiased to criticism of his shows. While he’s still a viable performer people should walk away from his shows, feeling he is one of the greatest entertainers to ever live, much the same way they did in 1992 after seeing the "Whenever We Wanted" tour, which showcased the man pushing 150-minute sets nightly. Is it bad to want so much from those who can make such a difference in our world and culture?
Last fall, I was fortunate to witness one of the Vote For Change concerts. The performances of the Dylan covers "Seven Days" and "In My Time Of Dying" were commanding, but it was "We Are The People" a track I had forgotten about off of 1987's "The Lonesome Jubilee" album that took the performance into another stratosphere. I saw a man sing the chorus of "We are the people...and we will forever" and mean it. There is nothing greater than seeing an artist go into their back pocket and pull out a ace in the hole that may even surprise a die-hard fan and even shed a new light upon the song. Why won't John Mellencamp do this more often? I'm not sure, only he can answer that question, it's sad to see him overlook some of his best work. It's the equivalent of having a student who has high test scores but consistently comes home with B's and C’s. Some may say “C’s mean degrees”, but it's disheartening when you know your child is capable of so much more. John Mellencamp still rocks with the best of them but I wish he would push his audience and himself a little further in the hopes of expanding our minds and horizons.
The 2005 tour has brought about a hope and promise not felt in a decade. Launched in support of his greatest hits disc, “Words and Music”, this tour is arguably his best since 1992. This is his longest tour and his cheapest since then as well (with tickets priced between $20 and $45, a steal for an artist of Mellencamp’s stature). The stage set up was minimal, but from the opening notes of “Small Town” to the “Check It Out” and “Cherry Bomb” finale, the crowd stood, sang their hearts out and had open arms for their local hero as his just shy of two-hours show was a reminder that when at his best, John Mellencamp can be a enthralling performer rarely outmatched.
Opening the show was “Small Town”, Mellencamp slowly emerged from the side of the stage playing a black Stratocaster and was decked out in a tightly knit blue suit, slicked back hair and white opened collared shirt. The first four songs were all about keeping pace, as “Human Wheels”, “Key West Intermezzo”, “Minutes to Memories” and “Lonely Ol’ Night” all followed. Only for the latter did he discard the guitar, but he looked like a kid up there on the stage as he appears to be at least a sold decade-plus younger than he really is.
After a speedy opening, a chair was placed in front of the stage, the band gathered near the front for what would be an acoustic set. While some people may frown on this, all I can tell you is that it kept our attention and showcased a side of the man I see far too little. “Rain on the Scarecrow” (a song played far too often in the past but invigorated here) and “Paper in Fire” were great revelations showcasing Mellencamp can still reinvent his songs with new arrangements but make them immediately recognizable and give them new life. “Big Daddy of Them All” was the evening’s lone surprise with a sped up arrangement that eclipsed the album version from 1989. This is a crucial illustration of why he should not hesitate to dig deeper into his catalog. A song I always loved was elevated to new creative heights. One can only wonder what other tricks he could potentially pull off if he would only dare to attempt them. “Authority Song” was drastically different from its studio counterpart but it still rocked with Mellencamp even getting off the chair to engage the crowd.
The song with the most genuine and heartfelt message was “Walk Tall”, one of two new songs on his new Greatest Hits collection, “Words and Music”. Every Mellencamp album has a career defining song on it and for the hits package; “Walk Tall” is it. The accompanying video is one of the best I’ve ever seen demonstrating with simple images how ridiculous ignorance can be. This is yet another example of how John Mellencamp is not just writing pure pop tunes, but songs with a message and a meaning. John Mellencamp has grown in ways most never thought imaginable. He’s more than just a rock star but a preacher teaching not the word of God, but merely effortless life lessons we all neglect from time to time.
Instead of a proper show opener, Mellencamp has opted to bring out one of his influences, Donovan, to play a few numbers with his band as he takes a breather in the middle of the set. Mellencamp joined in on “Sunshine Superman” which was followed by a swift twenty-five minute set that showcased both old and new Donovan hits, climaxing with “Mellow Yellow”, which to my surprise, most of the 10,000 in attendance knew. As Donovan exited, the driving beat of the drums hit full force as “I Need A Lover” was resurrected for the first time since 1994. John Cougar’s first major hit, has largely been absent from most of his shows over the last two decades. However, it was a welcome return which led right into arguably his biggest hit- “Jack & Diane”. Over the years Mellencamp has worked the song up in a wide variety of new arrangements, however, the current tour incarnation is arguably the closest it sounds the to studio version. Mellencamp barely had to sing the song as the crowd, in unison, sang it back to him.
Oh yeah life goes on
Long after the thrill of livin is gone
Oh yeah say life goes on
Long after the thrill of livin is gone, they walk on
"Jack & Diane" is merely one of a few dozen songs Mellencamp has etched into the hearts minds and souls of the American public over the last thirty years. Even when his shows are shorter, you usually see a show where you know 90% pf the songs by heart. A song, not as well know as "Jack & Diane" raised the bar as Mellencamp's spirited edge put “What If I Came Knocking”, from his underrated masterpiece “Human Wheels”, into another realm as it was delivered full of fervor and rage. Because of his deliverance and ability to connect, this song is also etched into our psyche's if for no other reason than he has been performing it at every show since 1993 with passion and vigor. As I watched him from the second row I was immediately taken with the concentration he was giving the performance of the song. When he hit the line “What if I cam crying after just a few weeks” from the third verse, I thought a vein was going to burst from his neck as he executed the song with the same dynamism you would anticipate from a twenty-year old. This is another case in point of a song that was not a hit but because Mellencamp has stuck with the song it is now a staple of his live performance and one that shines as brightly as any of his top-ten hits. The remainder of the set; “Crumblin' Down”, “ROCK In The USA”, “Wild Night”, “Hurts So Good” and “Pink Houses” were delivered with intensity I have not seen in Mellencamp since Kenny Arnoff was behind the drum kit. None of the newer band mates outshined one another but as a force they drove the Rockford hopeful into a tizzy with one driving beat after another. Individually they may be gifted musicians but as a whole unit that are the driving force behind one of the preeminent songwriters of the last thirty years.
For the encores, “Ain’t Even Done with the Night” was dusted off for its first airing in over twenty years, whose sound was driven by the violin and mandolin. “Night” is merely another song in the line of great pop tunes often overlooked by Mellencamp on each tour. I believe in the force and passion of the man's words and music and I yearn for the day when he will look outside of the fans with short attention spans and deliver to those die-hard fans and convert the others in the process with songs like "The Big Catastrophe", "The Family", "Crazy Island", "Now More Than Ever", "To Live", "Between A Laugh and a Tear" and dozens others Mellencamp has turned his back on. “Check It Out” and “Cherry Bomb” were not classic tunes upon initial listens, but because of the lyric and proficiency of the performances, these songs both became modern day sing-a-long classics.
There are no words that can convey my love and veneration for John Mellencamp. He’s a hero of mine and not just for his music. He consistently puts himself in the line of fire when it comes to politics and doing what is right. He’s one of the founders of Farm Aid and in 1993 when storms ravaged Midwest towns; he rose close to a million dollars by performing charity shows. His music has always taught peace, love and understanding. Look at his multi-cultural band, his progressive thinking videos where a black boy and white girl slow dance together raised a lot of eyebrows and Mellencamp even received a few death threats, but he stuck to his guns because he knew it was the right thing to do. John Mellencamp took a cue from the Crosby, Still and Nash song “Teach Your Children” and did just that, except his children expand to everyone who buys one of his records. With each lyric and musical note he is striving to make the world a better place for his children, all of them. He may hail from a small town, but he thinks big. Like Dylan and Springsteen before him, John Mellencamp is continuing the great American songwriting tradition with stylishness all his own.
This may be a greatest hits tour, but anyone that will be privileged to behold the spectacle will see and hear more than words and music, but a legend and arguably one of the greatest American rockers...ever. The tour is his best in well over a decade showcasing a vast selection of hits, new arrangements, very reasonably priced tickets, a nearly two hour show, an acoustic set and even treasures like “Biggest Daddy of Them All” and for that one song alone, I'd like to say "thank you".
Let me say thank-you to those who love many
Let me say thank-you for those who still play fair
Hallelujah, the meek shall inherit
Let me say thank-you to all you folks out there
-“Thank You” 2004
The MetroCentre: Rockford, IL, April 9, 2005
By Anthony Kuzminski
Photos by Paul Stinsa
Writer's note: Originally written in 2005, here is a concert review of John Mellencamp's Words & Music tour. I'm leaving the mistakes warts and all on this one.
Grace, mercy and forgiveness
Will help a man walk tall
-Walk Tall, 2004
A little over thirty years ago no one could have imagined that a young and rough around the edges singer named Johnny Cougar would become one of the defining voices of his generation. Unlike most artists who peak early and spend the rest of their careers on a constant decline creatively, John Mellencamp has continually pushed the envelope, never settling into success and losing his creative edge. In the last fifteen years alone, his output has been passionately remarkable, arguably the strongest track record of any recording artist during this time. "Big Daddy" (1989), "Whenever We Wanted" (1991), "Human Wheels" (1993), "Dance Naked" (1994), "Mr. Happy Go Lucky" (1996), "John Mellencamp" (1998), "Cuttin' Heads" (2001) and "Trouble No More" (2003) have all been steadfast albums thrusting sonic and creative boundaries, confirming that Mellencamp is a man who is still a relevant and a vital musical figure. John Mellencamp’s music attempts to have people dream big, think outside of their world. However, one would never know this by seeing him live as he usually plays no more than two or three new songs off any new album. In the last decade, amazing numbers such as "To Live", "Brothers", "Gerry", "Miss Missy", "Crazy Island", "The Family" and "To The River" have all gone unaired in concert or played less than a handful of times. It's a shame to see such insightful poetry disregarded. When I hear a classic album cut from one of my favorite artists, it makes me reevaluate their entire catalog. I have a John Mellencamp bootleg from the early 80’s and on it is a song I had overlooked, “Thundering Hearts”. The muscle, drive and energy given in this performance were like a kick to the gut. It made me dig out my “American Fool” album and I realized I probably never listened to side two of the album (back in the days of cassettes). If not for scorching performance on this bootleg, “Thundering Hearts” would still be lost to me.
While his recorded output continues to evolve and soar, his concerts during the same time frame have lacked the energy and drive his 80’s and early 90’s shows had, which lasted from 120 minutes to 150 minutes. Then in ’94 the shows were reduced to 100 minutes. Since then, I’ve never seen a performance go over 105 minutes and some have been as short as 80 minutes. In turn, I almost always walk away dismayed knowing I did not see John Mellencamp at his best. When you are paying four-times the ticket price (in 2001-02) than you did in 1992 and he’s playing half as long, you are going to walk away disillusioned…plain and simple. Mellencamp fans have been known for being overly critical of his set list choices and lengths of his sets; this is not because we're being difficult or snobs, but because we know one of our favorite artists is capable of being so much more. When I see him play a shortened show skipping many classic songs (hits and deep album cuts) I am aggravated, because I know that these words and music have been a source of comfort to me in my life and I hope that they would heal and comfort others on the same journey. Is it bad to want your child to reach for the stars and reach the highest heights? I say "no". For a man who has taught me about racial tolerance, love, peace, hope and being open minded, I would hope that he would be unbiased to criticism of his shows. While he’s still a viable performer people should walk away from his shows, feeling he is one of the greatest entertainers to ever live, much the same way they did in 1992 after seeing the "Whenever We Wanted" tour, which showcased the man pushing 150-minute sets nightly. Is it bad to want so much from those who can make such a difference in our world and culture?
Last fall, I was fortunate to witness one of the Vote For Change concerts. The performances of the Dylan covers "Seven Days" and "In My Time Of Dying" were commanding, but it was "We Are The People" a track I had forgotten about off of 1987's "The Lonesome Jubilee" album that took the performance into another stratosphere. I saw a man sing the chorus of "We are the people...and we will forever" and mean it. There is nothing greater than seeing an artist go into their back pocket and pull out a ace in the hole that may even surprise a die-hard fan and even shed a new light upon the song. Why won't John Mellencamp do this more often? I'm not sure, only he can answer that question, it's sad to see him overlook some of his best work. It's the equivalent of having a student who has high test scores but consistently comes home with B's and C’s. Some may say “C’s mean degrees”, but it's disheartening when you know your child is capable of so much more. John Mellencamp still rocks with the best of them but I wish he would push his audience and himself a little further in the hopes of expanding our minds and horizons.
The 2005 tour has brought about a hope and promise not felt in a decade. Launched in support of his greatest hits disc, “Words and Music”, this tour is arguably his best since 1992. This is his longest tour and his cheapest since then as well (with tickets priced between $20 and $45, a steal for an artist of Mellencamp’s stature). The stage set up was minimal, but from the opening notes of “Small Town” to the “Check It Out” and “Cherry Bomb” finale, the crowd stood, sang their hearts out and had open arms for their local hero as his just shy of two-hours show was a reminder that when at his best, John Mellencamp can be a enthralling performer rarely outmatched.
Opening the show was “Small Town”, Mellencamp slowly emerged from the side of the stage playing a black Stratocaster and was decked out in a tightly knit blue suit, slicked back hair and white opened collared shirt. The first four songs were all about keeping pace, as “Human Wheels”, “Key West Intermezzo”, “Minutes to Memories” and “Lonely Ol’ Night” all followed. Only for the latter did he discard the guitar, but he looked like a kid up there on the stage as he appears to be at least a sold decade-plus younger than he really is.
After a speedy opening, a chair was placed in front of the stage, the band gathered near the front for what would be an acoustic set. While some people may frown on this, all I can tell you is that it kept our attention and showcased a side of the man I see far too little. “Rain on the Scarecrow” (a song played far too often in the past but invigorated here) and “Paper in Fire” were great revelations showcasing Mellencamp can still reinvent his songs with new arrangements but make them immediately recognizable and give them new life. “Big Daddy of Them All” was the evening’s lone surprise with a sped up arrangement that eclipsed the album version from 1989. This is a crucial illustration of why he should not hesitate to dig deeper into his catalog. A song I always loved was elevated to new creative heights. One can only wonder what other tricks he could potentially pull off if he would only dare to attempt them. “Authority Song” was drastically different from its studio counterpart but it still rocked with Mellencamp even getting off the chair to engage the crowd.
The song with the most genuine and heartfelt message was “Walk Tall”, one of two new songs on his new Greatest Hits collection, “Words and Music”. Every Mellencamp album has a career defining song on it and for the hits package; “Walk Tall” is it. The accompanying video is one of the best I’ve ever seen demonstrating with simple images how ridiculous ignorance can be. This is yet another example of how John Mellencamp is not just writing pure pop tunes, but songs with a message and a meaning. John Mellencamp has grown in ways most never thought imaginable. He’s more than just a rock star but a preacher teaching not the word of God, but merely effortless life lessons we all neglect from time to time.
Instead of a proper show opener, Mellencamp has opted to bring out one of his influences, Donovan, to play a few numbers with his band as he takes a breather in the middle of the set. Mellencamp joined in on “Sunshine Superman” which was followed by a swift twenty-five minute set that showcased both old and new Donovan hits, climaxing with “Mellow Yellow”, which to my surprise, most of the 10,000 in attendance knew. As Donovan exited, the driving beat of the drums hit full force as “I Need A Lover” was resurrected for the first time since 1994. John Cougar’s first major hit, has largely been absent from most of his shows over the last two decades. However, it was a welcome return which led right into arguably his biggest hit- “Jack & Diane”. Over the years Mellencamp has worked the song up in a wide variety of new arrangements, however, the current tour incarnation is arguably the closest it sounds the to studio version. Mellencamp barely had to sing the song as the crowd, in unison, sang it back to him.
Oh yeah life goes on
Long after the thrill of livin is gone
Oh yeah say life goes on
Long after the thrill of livin is gone, they walk on
"Jack & Diane" is merely one of a few dozen songs Mellencamp has etched into the hearts minds and souls of the American public over the last thirty years. Even when his shows are shorter, you usually see a show where you know 90% pf the songs by heart. A song, not as well know as "Jack & Diane" raised the bar as Mellencamp's spirited edge put “What If I Came Knocking”, from his underrated masterpiece “Human Wheels”, into another realm as it was delivered full of fervor and rage. Because of his deliverance and ability to connect, this song is also etched into our psyche's if for no other reason than he has been performing it at every show since 1993 with passion and vigor. As I watched him from the second row I was immediately taken with the concentration he was giving the performance of the song. When he hit the line “What if I cam crying after just a few weeks” from the third verse, I thought a vein was going to burst from his neck as he executed the song with the same dynamism you would anticipate from a twenty-year old. This is another case in point of a song that was not a hit but because Mellencamp has stuck with the song it is now a staple of his live performance and one that shines as brightly as any of his top-ten hits. The remainder of the set; “Crumblin' Down”, “ROCK In The USA”, “Wild Night”, “Hurts So Good” and “Pink Houses” were delivered with intensity I have not seen in Mellencamp since Kenny Arnoff was behind the drum kit. None of the newer band mates outshined one another but as a force they drove the Rockford hopeful into a tizzy with one driving beat after another. Individually they may be gifted musicians but as a whole unit that are the driving force behind one of the preeminent songwriters of the last thirty years.
For the encores, “Ain’t Even Done with the Night” was dusted off for its first airing in over twenty years, whose sound was driven by the violin and mandolin. “Night” is merely another song in the line of great pop tunes often overlooked by Mellencamp on each tour. I believe in the force and passion of the man's words and music and I yearn for the day when he will look outside of the fans with short attention spans and deliver to those die-hard fans and convert the others in the process with songs like "The Big Catastrophe", "The Family", "Crazy Island", "Now More Than Ever", "To Live", "Between A Laugh and a Tear" and dozens others Mellencamp has turned his back on. “Check It Out” and “Cherry Bomb” were not classic tunes upon initial listens, but because of the lyric and proficiency of the performances, these songs both became modern day sing-a-long classics.
There are no words that can convey my love and veneration for John Mellencamp. He’s a hero of mine and not just for his music. He consistently puts himself in the line of fire when it comes to politics and doing what is right. He’s one of the founders of Farm Aid and in 1993 when storms ravaged Midwest towns; he rose close to a million dollars by performing charity shows. His music has always taught peace, love and understanding. Look at his multi-cultural band, his progressive thinking videos where a black boy and white girl slow dance together raised a lot of eyebrows and Mellencamp even received a few death threats, but he stuck to his guns because he knew it was the right thing to do. John Mellencamp took a cue from the Crosby, Still and Nash song “Teach Your Children” and did just that, except his children expand to everyone who buys one of his records. With each lyric and musical note he is striving to make the world a better place for his children, all of them. He may hail from a small town, but he thinks big. Like Dylan and Springsteen before him, John Mellencamp is continuing the great American songwriting tradition with stylishness all his own.
This may be a greatest hits tour, but anyone that will be privileged to behold the spectacle will see and hear more than words and music, but a legend and arguably one of the greatest American rockers...ever. The tour is his best in well over a decade showcasing a vast selection of hits, new arrangements, very reasonably priced tickets, a nearly two hour show, an acoustic set and even treasures like “Biggest Daddy of Them All” and for that one song alone, I'd like to say "thank you".
Let me say thank-you to those who love many
Let me say thank-you for those who still play fair
Hallelujah, the meek shall inherit
Let me say thank-you to all you folks out there
-“Thank You” 2004
Sunday, March 28, 2010
Uninspired
It looks like this will be the month with the least amount of writing posted since December of 2006. I'm chalking it up to some family obligations and an overall lack of disenchantment with a slew of things.
I have a half dozen DVD reviews half completed, a bunch of almost done music reviews and yet when I have free time, I just can't seem to focus. I hope to get everything completed and up and running in the coming weeks.
xT
I have a half dozen DVD reviews half completed, a bunch of almost done music reviews and yet when I have free time, I just can't seem to focus. I hope to get everything completed and up and running in the coming weeks.
xT
Monday, March 22, 2010
Life
It is a climbing to and a falling in
It is a pushing into and being pulled
It is a swimming into and a wading within
It is a running into and a resting in
It is a grabbing hold of and a letting go
It is a closing up and an opening to
This is life with You, Undefinable Presence
"God" won't do, as it bears many worn images
"Mystery" won't work because it suggests a never-finding
So I will call you Love and I will call you Life, because You are gentle and ever-present, and you have my best interests at heart.
It is a pushing into and being pulled
It is a swimming into and a wading within
It is a running into and a resting in
It is a grabbing hold of and a letting go
It is a closing up and an opening to
This is life with You, Undefinable Presence
"God" won't do, as it bears many worn images
"Mystery" won't work because it suggests a never-finding
So I will call you Love and I will call you Life, because You are gentle and ever-present, and you have my best interests at heart.
Thursday, March 18, 2010
RIP: Alex Chilton 1950-2010
This is a sad day. Alex Chilton passed away yesterday from a heart attack. It's entirely possible you haven't heard of Alex Chilton, if that's the case, go here. I'll fully admit I didn't know too much of Chilton until the Replacements immortalized him in the song "Alex Chilton" from their 1987 record, Pleased To Meet Me. If you have ever seen That 70's Show, then you heard "In the Street" by Cheap Trick, but it's really a cover of a Big Star song (co-written by Chilton) from the early 70's. Throughout his whole career, Chilton walked just outside of the mainstream, but one listen to the power-pop goodiness of his songs, well, it's hard to imagine wy he wasn't a household name.
Just last year, Rhino Records put out a incredible box set by Chilton's most famous group, Big Star. I would highly suggest buying it and if it's too costly, check your library. There are other writer's more talented than myself to write about the man and his career, so I will leave it to them, but I highly suggest you check him out yourself.
Rolling Stone's Rob Sheffield has a wonderful tribute that should be read here.
Rolling Stone's Rob Sheffield has a wonderful tribute that should be read here.
Friday, March 12, 2010
This Friday Feeling
I like this fatigued feeling, this feeling that says go back to bed, the feeling that is aided by the fact that I haven't been able to have a shower today because the hot water is off. It is the feeling that says "You are enough. You don't have to change. In fact, stop changing. Just become more you." It is a feeling aided by another gulp of the coffee I am drinking, and by the overcast sky that is visible through the big picture window here at the café. It is the feeling that says "You don't have to believe anything or interpret anything in this moment. In this moment you don't have to be anything, you can just be." Because nothing is wrong here, right now.
Wednesday, March 10, 2010
Tuesday, March 9, 2010
Email of the Day-March 9, 2010
The following email was received today in regards to this post.
Well Tony, it looks like Jon didn't listen to you after all.
They started at they promised, but I guess after fans rushed to buy more tickets, to catch the oldies, now it's back to the same cookie cutter set lists, changing 2/3 songs per show, don't cut it.
Jonny boy lied to the fans again.
Anonymous
Well Tony, it looks like Jon didn't listen to you after all.
They started at they promised, but I guess after fans rushed to buy more tickets, to catch the oldies, now it's back to the same cookie cutter set lists, changing 2/3 songs per show, don't cut it.
Jonny boy lied to the fans again.
Anonymous
Monday, March 8, 2010
Roger Ebert on the 2010 Oscar Tribute to John Hughes
I must admit to being floored by seeing a full tribute to John Hughes. The Oscar ceremonies (as much as I love watching them) can be stuffy and difficult for the non-movie lover to watch. But this tribute jumped off the screen at me. I always viewed tributes like this to people who spent fifty-years in the industry or to someone on the level of Charlie Chaplin, Kurosawa, Fellini, Hitchcock. I never imagined they would do such a heartfelt, lengthy and emotional tribute to a man who never won an Oscar, heck he wasn't even nominated (from what I can find and recall).
As always, Roger Ebert in doing his review of the awards show nailed the Hughes tribute:
Director John Hughes was too great a legend to be simply included in the traditional "In Memoriam" tribute. The special clip package of his work stirred desires to see his films again. They seemed good at the time, and in these dreary days, they seem miraculous. As the stars he made — his "children" —strode forward, it became one of the greatest moments in Academy Award history.
Read Ebert's full commentary on the awards and show here.
As always, Roger Ebert in doing his review of the awards show nailed the Hughes tribute:
Director John Hughes was too great a legend to be simply included in the traditional "In Memoriam" tribute. The special clip package of his work stirred desires to see his films again. They seemed good at the time, and in these dreary days, they seem miraculous. As the stars he made — his "children" —strode forward, it became one of the greatest moments in Academy Award history.
Read Ebert's full commentary on the awards and show here.
Saturday, March 6, 2010
Thursday, March 4, 2010
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