Heart Songs / Album Review: Huey Lewis & the News 'Greatest Hits'

"You listen to Huey Lewis and the News and it might be the only thing that stands out from the `80s that's still really enjoyable and not a relic."

-John Mayer

Whether one loves music or not, everyone seems to remember the first album they ever bought. Mine was Fore by Huey Lewis and the News in March of 1987. Twenty-plus years up the road, I still listen to Fore and all of Huey’s albums on a regular basis. It appeared to be inconsequential music at the time, but in reality, as their 2006 Greatest Hits package proves, Huey Lewis and the News is a band whose music will remain timeless for decades to come. Sure, it’s not edgy, forward thinking, but like Bill Haley, Buddy Holly and many of the early Beatles and Elvis albums, these songs are for the most part ageless. I was discussing the perfect summer album with a friend and we were throwing out assorted titles from our past, but I couldn’t get Huey Lewis & the News out of my head, because no matter the time or place, their music seems to hit a chord with anyone and everyone. When I write a “Heart Songs” column, it’s usually because of a singular song that has moved, transformed or just flat out comforted me. There really isn’t one Huey Lewis & the News song that does this more than another, hence why I’ll nominate their Greatest Hits album as an all encompassing mix tape.

One wonders how Huey Lewis and the News became as big as they did in an era where image meant everything. Looking back over a quarter century of videos and pictures, there's no embarrassing outfits and no bad hair (OK, I admit, guitarist Chris Hayes has a mullet in some early pictures, but if one were to ever have a mullet, this would be the one to have). What’s even more surprising is that their no nonsense music appeared to be a flashback of nostalgic hooks and melodies from the 50’s and 60’s, but in reality, twenty years down the road, these songs still resonate as strongly today as when they were first recorded. Even standard pop numbers, like “Heart and Soul” and “Power of Love”, use the keyboards and synthesizers as a rhythm track instead of relying on them for the melody. The bands roots lied in the American R&B rock n’ roll of the pre-Beatles era and magically one senses that whenever Huey Lewis and the News appeared on the music scene, they would have made an indelible impression at any time in the last fifty years because the songs themselves feel like they could have come from any part of the rock n’ roll era.

Time Flies…) inexplicably was missing over half of their hits, including a few number one hits. However Greatest Hits gathers the most comprehensive look to date of the band. The only Top-Forty hits that charted which do not make an appearance here are the Vietnam Veteran anthem “Walking on a Thin Line” from 1984 and “It Hit Me Like A Hammer” from 1991. Their cover of “Some Kind of Wonderful” would have been a nice inclusion but when you have a disc just shy of 80-minutes, one cannot complain about a few missing songs. Two of the band’s albums are not represented here; their sentimental self-titled debut (“Some of My Lies Are True” should have made the cut and I don’t count “Trouble In Paradise” since it’s a live rendition) and the band’s 2001 album, Plan B (which would not have been out of place in record bin of R&B artists from 1962). In my personal opinion, “Hope You Love Me Like You Say You Do” and “Trouble In Paradise” (from the “We Are The World” album) could have been cast off from Greatest Hits in favor of a track from each of those albums but this is a terribly small quibble.

Most of the songs are represented as single edits (most available on CD for the first time). “Back In Time”, “Cruisin’” (a duet with Gwyneth Paltrow) and the a Capella “It’s Alright” also appear for the first time on a proper Huey Lewis and the News album. Besides the Number One singles (“Power of Love”, “Stuck With You”, “Jacobs Ladder”, “Hip To Be Square”) there are numerous other Top-Ten songs that may have been forgotten but are instantly recognizable including “I Know What I Like” highlighted by a thundering back beat by drummer Bill Gibson, the tongue in cheek “Perfect World”, the underrated working anthem “Couple Days Off”, a unwavering cover of “But It’s Alright” and classic rock radio staples ”If This Is It”, “Heart & Soul”, “Workin’ For A Livin’”, “Do You Believe In Love?”, “I Want A New Drug” and “The Heart of Rock N’ Roll”. The album also includes liner notes by Huey Lewis and a special edition of the set has ten extra music videos from their MTV heyday (Sadly, for a band who is widely associated with the music video the disc should have covered all of them).

It’s hard to find a Greatest Hits album by any artist who has had all twenty-one songs chart in the Top-Forty of one of the Billboard charts (Pop, Rock and Adult Contemporary). That in itself is astonishing feat notably considering that seventeen of these cuts made the Top-Ten. Huey Lewis and the News may not have been the most experimental or subversive artists of all time, but they were a group who christened raw energy, instinctive trust in one another and were able to create some of the most perfectly textured harmonies of the last quarter century. The splendor of these songs lies in their minimalism as they still sound novel in a nostalgic good old rock n’ roll sense. Two decades past their commercial peak, the band still plays to large crowds yearly. The band may never have a platinum album again, yet their place in rock n’ roll history is secure. I’m proud to say the first band I ever loved and bought albums from consistently was Huey Lewis and the News. Greatest Hits is meant to sum up the bands place in time and it will most likely define them in the decades to come. Let’s hope another generation rediscovers the wit, charm and harmonies created by the News; Chris, Mario, Bill, Johnny, Sean and Huey.

Buy the album here and here
 

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

On Possessions

"There's nothing I have to have, there's nothing I have to do, and there's nothing I have to be, except exactly what I'm being right now."

- Neale Donald Walsch

Are you like me in that you really enjoy getting rid of things? Over the last several months I have been getting rid of things in my apartment that I simply do not need, things that I never look at or use. Examples from my closet have been clothes and my collection of baseball cards. Why do we keep things around? Maybe because "one day" we might want to look back on them and they'll remind us of a certain time or event that occurred in our life. But as we hang onto these things, we do so to our detriment a lot of the time, we start to be bogged down by material things and we are less free.

It is in our clinging that we turn our backs on the freedom of non-attachment. "There's nothing I have to have," Walsch says. And it is true. We can get caught up in the lie that there are certain things we must have in our lives to be happy or to be free. But these are illusions. And what if we were to turn that sentence to say "There's no one that I have to have." When we place our identity onto someone else, it chokes relationships and friendships and we end up losing them and getting hurt. Instead, we can have relationships and friendships that are about sharing our individual gifts in a way that is beneficial to other people, rather than sharing them in order to get something in return. If we catch ourselves acting this way, in giving just in order to receive, we have not yet learned that other people can not provide our identity or sense of fulfillment for us.

Walsch continues with "There's nothing I have to do, and there's nothing I have to be, except exactly what I'm being right now."

How freeing this truly is if we let it sink into our hearts and minds. In a society bent on being successful (whatever that means), we can sit back, breathe in, and realize that we are enough. You are enough, right where you are, right now. It is hard to live this truth when we see others getting nice jobs or new spouses, new kids, or new boats. We start to compare ourselves to others and become envious of what they have. Now I'm not saying that these things are bad in and of themselves; there's nothing wrong with people getting married and having kids, for example. But the moment we place our worth on these things, is the moment we become frustrated.

What if our focus turned more toward being than doing? We would have to take a long look at ourselves and ask whether we truly trust our place within Life, within God, that we are beautiful and unique creations just as we are. So our focus can shift from "What must I have to do today in order to measure up (to our own or other's expectations)," to "Who can I be today for myself and others? How can I show up?

Mr. Rogers had it exactly right when he said during almost every show that you and I are special just the way we are. We must realize this and believe this before being able to give selflessly to those we care about. If we don't believe this and let this truth seep in, we may very well catch ourselves giving not from a pure place, but with an attitude of "what are you going to give me or do for me in return."

Who you are, right now, right where you are, is enough. Believe in God, believe in and love yourself just for who you are, not for what you can do.

On Creating Yourself

"Remember, you are constantly in the act of creating yourself. You are in every moment deciding who and what you are. You decide this largely through the choices you make regarding who and what you feel passionate about."

- Neale Donald Walsch

I partially agree with this, that life is ours to take by the horns and live it. Our choices matter. But I also believe in being led. When I was a Christian, I believed that God led us down a path, and it was important to rely on His guidance. And though my beliefs about who and what God is have changed a lot over the last 5 or 6 years, I still believe that God leads us, and that we should ask God to lead us. As we pray or state our desires to God, God works with those and leads us. It is a nice thought that in every moment we are deciding who and what we are, but what of the times when we are in the dark and can not make those decisions without great anguish. These are the times I believe that we can throw our hands up in the air, both in exasperation and in trust, like the trust a child has in its father or mother to pick her up and carry her. On a few occasions I have had the good fortune of feeling like I am being led by God, or as I prefer to call it, Life or Love. Events happen that are just too much to be merely coincidental. A friend contacts me just at the right time. A song comes into my head that I needed to hear at a particular moment.

I have said in the past that I believe that we as humans are no less than a part of God being born into the world to experience life on earth; to hear, to see, to touch. So I believe that we are God. At the same time I believe that God is more than us, more than we can understand, but She always has the best for us at heart. God is behind the scenes and at the forefront of our lives, orchestrating things for us. It is our job to trust, and also to ask things of God and expect an answer. As many people have suggested, that answer may look a lot different than what we expected or wanted, but She will answer.

I have a distinct feeling right now of being caught, of being held by God. When things are uncertain, we can take value in our place within God, and be glad that God is working on our behalf to bring about what should happen in our lives. Here, trust is key. Yes, trust in ourselves and our ability to make decisions, but also trust in God, that He will bring about for us what we need in our lives.

May Music Reviews

I've done a decent amount of writing this past month so here's a rundown of my major concert and album reviews. Some of the best shows and albums were released this month. Click on the highlighted links for the full reviews.

• Butch Walker decimated the Chicago crowd with his longest and arguably best show of his career

• Lorenza Ponce has worked with everyone from Bon Jovi to Sheryl Crow to Pearl Jam. She just released her latest album and it's a treasure trove of really rich tunes.

• Courtney Love/Hole released a new record and don't believe what the mainstream press is saying, this album is a keep through and through.

• Judas Priest did a fantastic reissue of British Steel for their 30th Anniversary.

• Lastly, Will Hoge reminded me what music is all about.

On Mortality

On Understanding Death

"First, understand that death is not an end, but a beginning; not a horror, but a joy. It is not a closing down, but an opening up.

The happiest moment in your life will be the moment it ends.

That's because it doesn't end but only goes on in ways so magnificent, so full of peace and wisdom and joy, as to make it difficult to describe and impossible for you to comprehend."

-Neale Donald Walsch

--------------------

I'm not sure that I believe all of this, but a lot of it sounds really nice, at least for the person that dies. But what of the levels of sorrow faced by family and friends left behind?

This morning I arrived early for church as it was my week to serve as an usher. I saw overflow chairs set up at the back of the sanctuary, and I naturally asked my new usher partner what they were for. At this point she gently told me that they were for a lady's memorial service that was held yesterday. This lady was my former ushering partner who I had just seen a few weeks before. I knew that she had been sick again, but I didn't expect this, so quickly. I will always remember Carol's bright smile.

Hearing of someone's death makes me think about the brevity of life, and making sure that the people you deeply care about know that you in fact do care. And to not take these friendships and relationships for granted, life can be short.

What do I think happens after we die? I am very comfortable in replying with a resolute "I don't know." Maybe it is so that just as we are born from God we return into God. Maybe we come back and live another life. I don't know. But my thoughts on the afterlife are not based on fear whatsoever, just as I try to live a fearless life.

...Let someone know today that you love them.

Walk As If You Are Kissing The Earth

Walking Meditation

"Walking meditation can be very enjoyable. We walk slowly, alone or with friends, if possible in some beautiful place. Walking meditation is really to enjoy the walking - walking not in order to arrive, but just to walk. The purpose is to be in the present moment and, aware of our breathing and our walking, to enjoy each step. Therefore we have to shake off all worries and anxieties, not thinking of the future, not thinking of the past, just enjoying the present moment. We can take the hand of a child as we do it. We walk, we make steps as if we are the happiest person on Earth.

Although we walk all the time, our walking is usually more like running. When we walk like that, we print anxiety and sorrow on the Earth. We have to walk in a way that we only print peace and serenity on the Earth. We can all do this, provided that we want it very much. Any child can do it. If we can take one step like this, we can take two, three, four, and five. When we are able to take one step peacefully and happily, we are working for the cause of peace and happiness for the whole of humankind. Walking meditation is a wonderful practice.

When we do walking meditation outside, we walk a little slower than our normal pace, and we coordinate our breathing with our steps. For example, we take three steps with each in-breath and three steps with each out-breath. So we can say, "In, in, in. Out, out, out." "In" is to help us identify the in-breath. Every time we call something by its name, we make it more real, like saying the name of a friend.

If your lungs want four steps instead of three, please give them four steps. If they want only two steps, give them two. The lengths of your in-breath and out-breath do not have to be the same. For example, you can take three steps with each inhalation and four with each exhalation. If you feel happy, peaceful, and joyful while you are walking, you are practicing correctly.

Be aware of the contact between your feet and the Earth. Walk as if you are kissing the Earth with your feet. We have caused a lot of damage to the Earth. Now it is time for us to take good care of her. We bring peace and calm to the surface of the Earth and share the lesson of love. We walk in that spirit. From time to time, when we see something beautiful, we may want to stop and look at it - a tree, a flower, some children playing. As we look, we continue to follow our breathing, lest we lose the beautiful flower and get caught up in our thoughts. When we want to resume walking, we just start again. Each step we take will create a cool breeze, refreshing our body and mind. Every step makes a flower bloom under our feet. We can do it only if we do not think of the future or the past, if we know that life can only be found in the present moment."

Thich Nhat Hanh, from Peace Is Every Step

Rolling Stones Week: Can’t You Hear 'Em Rocking? (Part Two: Live in Chicago 9/10/05)

Round #2: Saturday September 10th-Chicago, IL

Soldier Field (The Stadium)

“I want to hear the classics” says the twenty-six year old Brooke, as we ride in my car on the way to Soldier Field in Chicago. Her father, sitting to my right, nods his head in affirmation. Both made the trip from Omaha, NE specifically for a father-daughter bonding trip over something they could agree on, the Rolling Stones. A generation apart, different world views, yet somehow, there is something universal about rock n’ roll. They ask me about the show two nights earlier in Milwaukee, wondering if they would see the same show at Soldier Field. Good question and one that I think gets overlooked far too often. Not knowing the exact science of the set list the Stones would pull out, I gave my opinion and best guess as to what the band would and would not pull out. However, I did not think any of it would matter as I could hear the giddiness on Brooke’s voice as she was ready to be rocked.The stadium show is vastly different from the one indoors. There are four times as many people and the stage is about four times as big. I love and hate stadium shows, the spectacle and larger than life atmosphere can be exhilarating, especially when a band and crowd unite. However, some of the most distressing shows I’ve ever seen have been in stadiums. Too many people, long lines, parking nightmares and sometimes where a band is playing to a crowd so large, they do not feel comfortable taking any chances. Bon Jovi at Comerica Park, in the summer of 2003, relied far too much on “calling it in” rather than stimulating their audience. I was not sure how the Stones Soldier Field show would go over? Would they take any chances? Would they call it in?As the house lights went down at 8:40 pm, 60,000 rose to their feet and immediately shook the foundation of the stadium. The opening video sequence was the same as Milwaukee, however when the collision took place on screen, a giant pyrotechnic blast went off above the stage. As the video wound down shadows emerged on stage until Keith Richards stepped up to hit that opening note of “Start Me Up” amidst a blast of flames that encompassed the front of the stage. Was this blast of fire foreshadowing events to come? Right from the first chord strummed, the band was on fire showing each and every one of the 60,000 fans how stadium gigs are done. The first few numbers flowed beautifully and the Chicago crowd and the Rolling Stones came with their “A” game.

One disadvantage of stadium is lesser known material does not come off as well. The crowd reactions to “Rough Justice”, “Infamy” and “Oh No Not You Again” were by no means volatile; however, I just felt the crowd in Milwaukee was more receptive to the Bang material. In a stadium, momentum is lost as quickly as it can be gained. However, with each concert, the Stones are becoming more confident with these new songs and it could be seen during “Rough Justice” which featured a wicked slide guitar solo by Ron Wood whereas “Infamy” showcased subtle but equally remarkable guitar work by Keith Richards as the lights rotated and altered colors which gave the audience eye candy to augment the song.The most fanatical reception of the evening occurred in the early part of the set, as the band ripped through five colossal classics; “Tumbling Dice”, “She’s So Cold”, “Ruby Tuesday”, “Shattered” and “Bitch”. “Tumbling Dice” gave the crowd a jolt of energy needed and brought about a rain shower of lights upon the crowd, next they fired up the paramount live version of “She’s So Cold”, had 120,000 arms waving in the air for “Ruby Tuesday” (believe it or not, it was the first time I witnessed the song live), shattered expectations with a vitalizing “Shattered” which ended on a pitch perfect note which left the audience in ecstasy before “Bitch” conquered the audience with a breathtaking and sadistic performance. Over the course of these five songs, something congealed; the stage effects, solos, audience consciousness, perfect pacing and a bond between the band and 60,000 strangers into a united rock n’ roll family of one.

The focal point of the Milwaukee show was the Ray Charles tribute, “Night Time Is The Right Time”. While it sounded fantastic at Soldier Field, the performance could not compare to Milwaukee’s two nights earlier. Here is where I feel the arena setting worked to the songs advantage because there were fewer people to be lost right from the get go, and the wild card for the Milwaukee was a scorching guitar solo by Buddy Guy. There was no guitar solo at all in Chicago; however, Lisa Fisher prowled the stage like a sex kitten, showcasing rock n’ roll’s second greatest pair of legs (first place goes to Tina Turner) that brought the crowd to life. I actually saw a few people in my row heading for a beer break when Lisa hit her first high note. The couple immediately turned around and came back to their seats to witness the world’s greatest rock band knock out a great R&B cover.Surprisingly, Keith Richards’s solo spots have been the same on every night of the tour regardless of whether it’s a stadium or arena; “The Worst” and “Infamy”. With a rather extensive catalog of tunes at his hands, why not play some of the other tunes off of A Bigger Bang or the resurrected “Thru and Thru” or in the case of a stadium, why not pull out “Happy” and give the crowd a reason to raise their fists? Both songs (“The Worst” & “Infamy”) were executed beautifully, but these songs shined brighter in an arena setting.

Just like the arena show in Milwaukee, the stage flies over to the b-stage at the other end of the stadium during “Miss You”. If I could offer a suggestion to the band, it would be to play a rarity or a new song for the flying stage sequence. This is where you sometimes need a stage propping to enhance a new number, whereas “Miss You” will receive a terrific reaction almost any way it is performed. While I was able to appreciate the musicianship better in an arena, I was impressed with the zealous reaction the fans at the far end of the stadium gave them as they landed. During an arena gig I feel that I’m more focused on the music whereas this time, I’m in awe of the spectacle of the show as the fans surrounding the b-stage are zealous, even more so than anyone in the first ten rows of the stadium. Here is where the band breaks bread with the true fans, the ones who pay over $100 just to sit at the other end of a football stadium, all just to experience the Rolling Stones live. From the nose bleed seats, the Rolling Stones look like ants on stage, but all that matters is the awe-inspiring connection the band forged with the crowd. Thursday night’s finale, “Satisfaction”, is given b-stage treatment tonight as the ardent crowd was pushed to the next level of hysteria. It was amazing to see 15,000 people go fanatical to “Satisfaction” in Milwaukee, but tonight, the 60,000 in the Windy City took the crowd to deafening levels with their cries of approval which the band no doubt received some sort of “satisfaction” from this feedback. There was even a moment where the Mick’s head microphone went dead and while he walked over to grab a hand microphone, the crowd picked up the slack for a brief moment. On the b-stage “Satisfaction” is crude and messy. Sure there are missed cue’s but none of that matters as Charlie Watts, the backbone of the band, holds the band together with his hammering drum fills and as long as he is behind the kit, it allows Ronnie and Keith the ability to improvise on their riffs and solo’s.

“Honky Tonk Woman” was highlighted by the opening riff, as Richards strode across the stage hitting that one note over and over again with one hand appearing cool and calm with a giant grin on his weathered face. At one point, Keith missed a few notes because there was a fan needing his attention. He left the comforts of the stage and went into the pit and shook their hand. I’m not sure what made Keith do this, but it goes to show it’s all about connection for the musical pirate. Shortly after Keith returned to the b-stage, it lifted and made its way back to the main stage as a giant inflated tongue hung over the top portion of the stage. This is another perk of the stadium show; toys and special effects can either add or detract from the music, depending on your personal point of view. Me personally, I don’t care either way, but I did talk to a few people who felt the inflated tongue was one of the best moments and another felt it was the worse of the evening. I give the Stones props for doing their best on each and every tour to enlighten the stadium audience. Pyrotechnics and elaborate lighting ignites those in the nose bleeds with a rush of adrenaline. If you are going to play a stadium, you should be giving your all to the crowd so they feel like they are part of the experience and not in an overpriced seat bored out of their mind. One thing constantly overlooked about each and every time the Rolling Stones stroll through town they silence the cynics with their stage presence as both entertainers and musicians, these are extraordinarily talented musicians who continue to impress me, even after seeing them live a dozen times. If they were hacks, people would not be forking over hard earned money to see a second-rate show. Love them or hate them, the truth is the Rolling Stones are the masters of the live stadium experience.

“Out of Control”, not performed in Milwaukee, added another dimension to the stadium experience, back on the main stage. The jazzy rock number stood out with the help of alternating and veering lights as Jagger and Richards roamed the stage like a warriors. Never ones to rest on their laurels, the band sucked the crowd in with their musicianship on this number. An album track from the 90's, that should have been a bathroom break, was turned into a driving number through the sheer strength of performance and some superlative lighting. No sooner did “Out of Control” end than the beats of “Sympathy For The Devil” could be heard beneath the thunderous response from the crowd. As enormous clouds of red smoke appeared throughout the stadium, the band delivered a truly epic performance of “Sympathy” in every way imaginable; lights, smoke and pyrotechnics (some which were so scorching I thought someone had dropped a cigarette on my hands, even though the pyrotechnic blast occurred a solid one-hundred feet above me.) The explosive finale to “Sympathy” was the cherry on the sundae; it truly had to be seen to be believed as no words I write could recreate this experience.“Jumpin' Jack Flash” began on a bum note. In Keith’s stride to never perform the same song the same way, it felt as if the opening riff was a little off. The crowd appeared to sit there complacent during what is arguably one of their three prevalent songs, which was appalling to me. Bum note or not, the crowd should have been rocking out to this one. There were no stage gimmicks here, but there was passionate resolve in the form of Mick Jagger. Jagger noticed the crowd was lacking in response when he surged forward towards the audience, emptying a water bottle and then kicking it into the audience. He then strove towards the left side of the stage; arms lifted and began to jump up and down inhumanly. Like a man with mystical powers, the crowd became entranced at once and began mimicking him. Here is what every front man in a band should watch when they come across a challenging audience. I’m not sure what was wrong with the crowd, but Jagger took them from a place of complacency to a state of frenzy, merely with the movement of his hips. If that was not enough, he leaped off the stage and prowled down the center ramp so those further back on the main floor would take notice that this was a rock n’ roll show and not a business conference. Instead of losing the crowd, he single-handedly pulled the audience back into the palm of his hand. The main set closer, “Brown Sugar”, rebounded nicely as the instrumentation of the band was flawless. Bobby Key’s sax solo was spot on and during the ending chant of “yeah, yeah, yeah!” the audience was in heaven. The main set climaxed with a few pyro blasts as the band rushed into the darkness to regroup before the encore.

In Milwaukee, the encore was one song, a rousing rendition of “Satisfaction”. For stadiums they are pairing “You Can’t Always Get What You Want” and “It’s Only Rock N’ Roll”. On paper, this may appear to be a bore, yet, there is something to be said about actually being there to experience it. “You Can’t Always Get What You Want” was an enduring performance; however, it could not reach the heights of Milwaukee two days earlier. It’s funny, not even 60,000 soaring voices could compare to the level of adoration and lunacy given by the crowd in Milwaukee. This does not mean that when the Stones play arena and stadium gigs in New York the opposite won’t be true. Upon its completion, “It’s Only Rock N’ Roll” was run through like a standard number at first and appeared to be out of place as the grand finale for a stadium. However, this was no four-minute rocker but one with an extended jam as the band urged the crowd to participate as they brought the song to rousing heights. After a couple of decades of having “Brown Sugar”, “Satisfaction”, “Jumpin’ Jack Flash” and “Sympathy” as semi-predictable closers, the Stones showed the Chicago crowd they still have a few aces up their sleeves. The songs on this night were about the intensity and will of performance. In a stadium, regardless of how legendary the material may be, you can’t “call it in” as the crowd will turn on you quicker than you can say “Jumpin’ Jack Flash”. As the band took their bows, there was no denying they rocked harder than bands forty years younger and enthralled 60,000 in the process. As I met Brooke and her father after the show, they were euphoric in their enthusiasm. Both could not stop talking about seeing the Stones again this coming January, when they make a stop in Omaha. For the remainder of the weekend, they talked about how they wanted to be transported back to the two hours the Rolling Stones owned Chicago. When it comes to concert performances the Rolling Stones are tough to top; Ron Wood and Keith Richards dueling guitars which give each performance its own unique fingerprint, while Jagger elevates his performance every night to take the crowd to that next level and Charlie Watts…what else can be said about the coolest rock star to ever grace this Earth? He’s the most consistent musician I have ever laid eyes upon. He’s the foundation of the band and is irreplaceable.

Throughout two shows, one in an arena and the other in a stadium, the Rolling Stones illustrated the power of perseverance as they come out on stage with all guns firing every night. They do not rest on their prosperous history, but challenge their audience-even when they don’t want to leave the comfort zone. The Rolling Stones have taken rock n’ roll machine further than any other band in the history of the world. All bands a generation behind them are watching them with a close eye to see where the final template ends up. I have a feeling there will never be a “farewell” tour announcement as Ron, Mick, Keith and Charlie will be doing this until they leave this world for another. Love them or hate them, the truth is the Rolling Stones have taken concert performing to heights never touched by any other artist. They are the elder statesmen of rock. Can’t you hear them rocking?

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

Rolling Stones Week: Can You Hear 'Em Rocking? (Part One-Live in Milwaukee 9/8/05)

Here you stand before me
Waiting to be kissed
You're a beauty, such a cutie
How could I resist
-“Oh No, Not You Again”

There she stood, a shapely young blond girl, in her early twenties shaking every bone in her body. She was wearing a tight white top, short jean skirt, red cowboy boots and caught the attention of everyone in her sight. However, whoever was gazing at her, she did not take notice as her eyes were on one man, who was forty-years her senior. Her eyes were transfixed on him as he shook, sauntered and signaled to her when she caught his eye. As their eyes met, she let out a scream at the top of her lungs piercing those around her and her body could no longer contain the stimulation as she shot up and down in the air, almost as if those red boots had mini rockets on them. During all of this commotion, she stretched her arms out wanting to make some kind of a connection with the God in her midst. As he looked at her and howled “Oh No, Not You Again”, she shrieked louder. Why in God’s name is this young twenty-something woman screaming and hollering at a sixty-two-year-old man? I’ll tell you why, the man is Mick Jagger. Say what you want about him -God, Satan, sexy, ugly, ego maniac or tortured soul-the man is a rock God. In the annals of rock n’ roll, the Rolling Stones are unprecedented; other bands have come and gone, but at the end of the day, only the Stones have been able to keep it together through breaks ups, death, drugs and a constantly changing musical climate over forty years.

I don’t go to shows to find the cracks in the foundation. I look the other way hoping that every time I witness the magic of live rock ‘n roll that I will be transformed to another place and time. With some luck and a virtuous proposal to the right people, I found myself extremely fortunate to review not one, but two Rolling Stones shows over the last week. I was blessed to catch them rock out the Bradley Center in Milwaukee and then two nights later in Chicago at Soldier Field. The focal motive for seeing two shows was to see if there would be a dramatic variation in witnessing the self proclaimed “World’s Greatest Rock Band” in modest (arena) and larger than life (stadium) settings. Is there a difference between shows and venues? Yes. Can it be summed up to altered songs and staging? No. The truth is each show has a unique stamp on it. Sometimes it’s a chosen rarity, a guest performance, a mishap or the response of the crowd that gives each show its individuality and prevailing significance. There are those who say the shows are all the same, the good news is that after seeing these two shows I can say they couldn’t be further from the truth.

Part One: Thursday September 8th-Milwaukee, WI
The Bradley Center (The Arena)

The lights dimmed and an intro video showing a “big bang” in outer space occurring. Out of the wreckage, the band member’s faces appeared one by one until the Keith Richards riff to “Start Me Up” ignited the crowd. Running out of the darkness was the model for all front men; Mick Jagger. Strolling along like a man in his thirties, with a red jacket and hat, he reached out to the near sold-out audience…“Start Me Up, I’ll never stop” he sang and for the next 110-minutes, he never did stop. While “Start Me Up” has opened every show of the tour to date, what follows depends on anyone of a number of circumstances. The song that has held the final slot for the majority of the tour, “It’s Only Rock ‘n Roll”, was next as Richards tore through his best Chuck Berry riff. I somehow knew by not being conservative with their set list, like they had been in stadium over the two previous weeks, something magical would happen.The Stones has one of the vastest catalogs in the history of music so trying to decide what to perform each tour is a daunting task. However, I have yet to go to a Stones show and not see at least one song I’ve never seen before. Tonight, that song was “She’s So Cold”. The standout track from 1980's “Emotional Rescue” was in peak form as the band shred through the number like a band who had something to prove. A quarter century after the song was first written and twenty-three years since it was last performed and the band are setting another benchmark for performance with this emergent version.

Two days prior to the show, the band released their first new studio album of new material in eight years, A Bigger Bang. Tonight, the album was represented by three songs, including “Rough Justice”. There are those who do not want to see this new material, however, if a band stops creating, they stop developing as musicians. “Rough Justice” is proof that the band is still evolving. Keith Richards fired off a few shredding licks which proving the Stones don’t plan on resting on their laurels any time soon.

Exile On Main Street was dispatched next. This is the Stones at their most raw. Ron Wood’s solo was slick and potent as his guitar wailed and screeched signifying that the heart of rock n’ roll is still pulsating with a vengeance.

Jagger introduced “Night Time Is The Right Time”, performed as a tribute to Ray Charles. If a concert is truly astonishing, you will walk away with at least one transcendent moment that will be etched in your heart and mind forever. Tonight, this was that moment. The soulful tune established that beyond all else, the Rolling Stones are the world’s greatest cover band. The soulful rendition had killer vocals from Jagger, but wait, there was more. Out of the back of the stage appeared opening act Buddy Guy. When it came time to solo, Buddy let his axe rip and it was one of the most ferocious acts of performance I’ve ever been witnessed to. In the midst of Buddy’s solo, Ron Wood, who was standing behind Buddy, turned around and watched the solo from the giant screen overlooking the stage. Buddy’s playing was so fervent that he broke a string on his guitar. Wood returned his eyes to the stage where the blues legend himself was mere feet in front of him and stood there in complete awe as he shook his head back and forth is disbelief at the solo he just witnessed. Ron Wood was not the only one doing this but also the 16,000 in attendance. What I had witnessed was arguably the world’s greatest blues guitarist steal the show from the world’s greatest rock band. When the song came to its climactic finish, the crowd in the upper rafters were on their feet roaring with approval the likes of which I’ve seen merely a handful of times in my life.

The first nine songs of the band’s set were perfectly paced and performed. After band introductions, Keith Richards stepped up to the microphone for his two numbers, and surprisingly instead of a rush for the bathrooms, many were eager and did listen attentively. Keith’s songs continue to grow on you with every listen. If you go back to 1980 and picked the twenty-five best songs by the band, many of those numbers would be Keith tunes. “Little T&A”, “I Wanna Hold You”, “All About You”, “Slipping Away”, “Thru and Thru”, “Thief In The Night” and “Losing My Touch” are classics. Keith’s songs have always been faithful to the blues model the Stones based their sound around their first decade. Tonight he started off with “The Worst” from 1994's Voodoo Lounge (arguably the band’s best post-1981 album). A gorgeous sweet sax solo, a harmonizing duet from backup singer Bernard Fowler and Ron Wood’s melodious country pedal steel melodies would give us one of the finest performances of this song as new life was breathed into it. When I first saw this song on the Voodoo Lounge tour in ‘94, it was rough around the edges and in all honesty, felt unfinished. Tonight it was sweet and tranquil. However, before Keith was done, “Infamy” (from A Bigger Bang) would be performed with a iniquitous riffs from Richards backed by a band relishing the prospect to establish themselves as more than just a band who relies on greatest hits.

Mick rejoined the band back on stage, with a microphone wrapped around his head, as the band ran through “Miss You”. Halfway through the song, the stage began to lift with the six main players and it flew over to the b-stage, where your humble narrator happened to be in front of. As the stage landed and the band continued through “Miss You”, it became clearly evident that bassist Daryl Jones, who took over for retired Bill Wyman in 1994, has clearly found his groove as a true member of this band. As I watched his fingers move across those four strings and felt the reverberations of his playing, I realized how underappreciated he is. Daryl’s bass was turned down in the mix for his first few tours following Bill Wyman’s departure, most likely out of respect to Wyman’s style of performing. However, Daryl’s a seasoned veteran now, so for the first time in his tenure I am really hearing and feeling the musicianship he brings to the stage.The final new song of the evening, “Oh No Not You Again”, electrified the crowd with its catchy chorus. Jagger strut his stuff and with wide open arms tried to make contact with as many audience members as possible. Charlie Watts may be 64-years old but his drumming is unprecedented. He whacks them harder and maintains the rhythm better than anyone else. During “You Got Me Rocking” he was hammering his drums so fiercely I thought he may shatter one. The upper rafters were singing and shaking along to the band’s catchiest tune of their post Tattoo You catalog.

The remainder of the show my friends refer to as the Hot Rocks set, as its one powerhouse track after another. “Paint It Black” is one of those haunting songs that resonate as much today as it did when originally written over thirty-five years ago. The classic guitar intro led into a devastating pulsation by drummer Charlie Watts on his kit. As I gazed to the upper rafters to the crowd behind me, seas of people were clapping with their hands in unison. This was merely another song where the band, once again led by inexhaustible Charlie Watts, was firing on all cylinders and they maneuvered the crowd to the next level of madness with this intense performance. “Honky Tonk Woman”, “Sympathy For The Devil”, “Brown Sugar” and “Jumpin’ Jack Flash” were gloriously performed pushing the audience over the top.

For the lone encore, Richards took to the stage, front and center, to play arguably rock’s most celebrated riff, “Satisfaction”. The current incarnation of “Satisfaction” has been stripped back where it has less emphasis on the spectacle and more of a concentration on the crude performance. As the song came to a rousing finale, the Milwaukee crowd was rapturous. I was tired after standing for close to two-hours watching this band give it their all, and I’m less than half of Ron Wood’s age (58). I went into the show with a cynical chip on my shoulder not believing they would capture my imagination as I felt they would not show me anything I had not seen before. I’m happy to say that I was dead wrong. It appeared to me that the Stones still had something to prove as this determination would flow over into the stadium performance two nights later.

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

Heart Songs: Will Hoge -"Washed By The Water"

Heart Songs: Will Hoge-“Washed By The Water”
By Anthony Kuzminski

• Read Will Hoge: The Redemption of Rock N' Roll here.
• Read Hoge's Draw the Curtains album review here

When A Tribute To Heroes aired in September of 2001. The world was reeling from chaos and ache few had seen in our lifetimes. The evening of music came as much needed relief because besides looking at each other, we look to the artists of the world to help translate our pain into songs. It was a great night for music, but one performance stood out. With no fancy introduction, Bruce Springsteen kicked off festivities by saying “This is a prayer for our fallen brothers and sisters” and proceeded to perform a then unreleased song, “My City of Ruins”, that immediately connected and acted as a band aid for a wound so deep we weren’t ever sure it would heal. That’s the power of a transformative song. On the broadcast later that evening, U2, Billy Joel, Dave Matthews, Bon Jovi and Sting serenaded us with well known songs that provided solace. But it was Bruce’s haunting acoustic based performance that stayed with me and many. It was a risk, but one that worked marvelously. I had been fortunate enough to see the song the previous December when he played a charity show in Asbury Park, NJ, but this acoustic rendering brought it to its core. As I watched his 2002-03 tour in support of The Rising, “My City of Ruins” was a nightly highlight because people connected with it. They remembered it from the broadcast and the power of its prayer-like lyrics comforted many when little else could.

Since that performance the world has seen its fair share of tragedies where musicians have stepped up to offer a helping hand, including Hurricane Katrina and most recently the Haiti charity telethon from this past January. When the Haiti relief show aired, I felt disconnected. It was a well intentioned and well performed show, but something was lacking. There were too many cover versions from my liking, almost as if some of the artists performing secretly admitted that their catalogs are thin, compared to those who have come before. With the Nashville floods, I must admit to not seeing something larger being done for the community. It seems to be an issue within their community with only those who live there stepping up to the plate. This past weekend, I sat and watched GAC’s Music City Keep Playin' - A Benefit for Flood Relief. If the flooding had occurred in New York or Los Angeles, you can bet there would have been multiple benefits occurring. As I watched the show, I loved seeing Keith Urban perform “Help” by the Beatles and “Better Days”. Kellie Pickler looked and sounded radiant, Brad Paisley put his money where his mouth was by donating $100,000 of his own money and Sheryl Crow (who debuted a new tune) was one of the few artists with ties to rock n’ roll to appear. But it was the finale that was downright unworldly when Will Hoge and his band took the stage to perform “Washed By The Water”.

Hoge is no newcomer to the industry, but despite his magnetic stage performance and soul-searching records, many are still unaware who he is. But there he stood, front and center with an acoustic around his neck bringing the proceedings to a rousing conclusion. The song was written in the wake of Katrina’s aftermath in September 2005 where a live recording was uploaded to Hoge’s site for a free download. However, Hoge held onto the song and didn’t release it until October 2007 when he released his rousing masterpiece, Draw the Curtains, my top record of 2007 and one of my five favorite of the decade. Like a thunderbolt, Hoge’s performance riveted the crowd to their feet and healed them like a preacher evoking the word of God. You didn’t have to be religious to be stirred by this performance, it was pulled from the depths of his heart and we sat up took notice and felt like he was embodied by the spirit of Sam Cooke. There are few songs as good as “Washed By The Water”, let alone top-to-bottom records as enthralling as Draw the Curtains. I’ve watched Hoge for the last five years. He has delivered some of the most blistering live performances I’ve ever seen. I can count the number of shows I’ve seen on one hand where an artist came out and proceeded to blow my mind with me never having heard a note of their music. I’m not talking about giving a breath taking performance that makes you appreciate artistry, but one that shifts your life focus; one that brings pain, love and experience into perspective. Hoge has done this time and time again.

This wasn’t about grandstanding or hoping his next week Soundscan sales would see a bump, this was about soul. In fact, Hoge isn’t a household name and it would have been safer for him to cover a classic, but he delivered more than a heart rendering moment but one that came from within. Hoge evokes feeling and sentiments the way a genuine artist does. He wasn’t doing this for financial gain; he was doing it because it’s the right thing to do. The best part of it all is that Hoge didn’t cover “Hallelujah” or a song from the past because he couldn’t find the words. This was an original song he composed. He pulled these lyrics from within his core, delivered it with fortitude and in the process secured everyone’s consciousness by striking that emotive chord within us. Watching Hoge and his band break down the chorus was shimmering; “Been washed by the water, the water can't wash us away”. The people rose from their seats, clapped their hands and raised their voices to the sky. After two hours, it was the moment where the music allowed us to truly sense other people’s pain and loss. We’ve all experienced despondency in our lives, but it’s rare to find someone to encapsulate those feelings in a song. The way the voices lifted, the clapping heightened, the organ swelled and the sensation of the entire crowd like a communal prayer gathering around this gospel tinged hymn; it all came together for a moment that was as good as anything I’ve watched on television in over a decade. Nashville (and the entire music industry) may be filled with bigger stars than Will Hoge but few are as good and after Sunday night, the world knows why.
Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter


Listen to "Washed By The Water" here or here



Flood benefit photo credit:
Will Hoge at Music City Keep On Playin’: A Benefit For Flood Relief, May 16, 2010 at the Ryman Auditorium in Nashville, Tennessee. Photo by Ed Rode/edrode.biz.

Rolling Stones Week: Bill German's 'Under Their Thumb' Book Review

If you love reading, then you must purchase Bill German's wonderful memoir of his time with the Rolling Stones; Under Their Thumb: How a Nice Boy from Brooklyn Got Mixed Up with the Rolling Stones (and Lived to Tell About It)
You can buy it here.

There are books filled with more danger, more minute details and more debauchery, but few humanize them the way German does. I can't think of anyway to spend better time on a beach or on a lazy Sunday afternoon. It will break you heart in ways you didn't know it could be broken, but ultimately, it's a rewarding read. Here's a snippet followed by a link to my full review below.

Here's a snippet of my review:
Stanley Booth and Robert Greenfield’s accounts of the bands in the late 1960’s and early 70’s find them knee deep in excess and epic misbehavior, but German’s book is for my tastes the most truthful and readable. Not to take anything away from Greenfield and Booth, but their books are poetic and legendary and involve people and world’s the average person would never be able to break into. German’s book makes you feel like you were in the studio right next to Wood and Richards as they track Dirty Work. That is not to say that German doesn’t have some juicy tidbits to share including a confrontation where Jagger angrily confronts him about not being terribly kind to their Live Aid performances and about how the monster machine of the band began to work once the band signed on with Michael Cohl in the late 80’s. However, what makes the book so enjoyable is his fly-on-the-wall nature of his writing. Some writers have complained that German was merely a fan who held onto the wings of the band and was able to do so by pure luck. They are missing the point. While Greenfield’s and Booth’s books may have more of an edge to them, ultimately, both were blinded by becoming too close. German was always aware of his place and ultimately, it is the perspective of a fan we love the most and German knows this character better than anyone.

Read the rest of it here

Album Review: Judas Priest -'British Steel' 30th Anniversary Reissue

Judas Priest
‘British Steel’
30th Anniversary Reissue Review
By Anthony Kuzminski

What can be said of Judas Priest’s British Steel? It’s more than a seminal metal record, but arguably one of the greatest metal albums ever made. There are other records from the 1980’s that drastically outsold British Steel but how many will be still be studied and listened to a hundred years from now? Judas Priest is a wholly unique entry in the world of metal as the collective band found a way to evoke shadows in their unyielding performances. Iron Maiden, Metallica and Slayer would go on to define the sound of 80’s metal, but this is ground zero; the jumping off point where all other metal records from the eighties would take their cue. Their previous album, Killing Machine (titled Hell Bent For Leather in the US) showed shades of the fruition of their songwriting, notably on the songs “Hell Bent For Leather” and “Delivering the Goods”, but the depth to which they ascended on British Steel was unparalleled at the time. None of their albums had cracked the Top-100 in America, but in the summer of 1980, British Steel entered the Top-40 and was a Top-5 record in the UK and stands to this day as the only record Priest has issued to crack the Top-10 on either side of the Atlantic.

Recorded in January and February 1980 at Tittenhurst Park, a house formerly owned by John Lennon, the sessions proved to be fruitful as the band pinned down a sound other metal bands would try to emulate but would often fall short. Ian Hill’s bass is righteous, Dave Holland’s svelte drumming discharges ammo while the twofold guitar assault of K.K. Downing, and Glen Tipton unleash a bursting vehemence by making six-string riffs all that more prevailing with twelve-strings, which are downright volcanic. It wasn’t until Iron Maiden arrived that anyone came close to mimicking this sound and even then, it was Priest’s calling card. With this durable underpinning, the one and only Rob Halford transmute supremacy and conviction with his defiant vocals. The whole album exudes a larger-than-life echo that would help define not just a decade of music but would be the seed an entire genre would return to time and again.

British Steel commences with “Rapid Fire” which pummels the listener with guttural energy as the five-piece band sets the tone like an army hurtling into battle. “Metal Gods” with its apocalyptic groove solidifies the albums mythic stature. There are heavier and faster songs in their cannon and in the world of metal but few songs before this one congeal and ooze pure metallic sway. If the Rolling Stones were brought up in Birmingham and were a decade younger, this is what they would have sounded like in 1980. “Breaking the Law” is infamous with Beavis and Butthead but even before the pimply faced teens secured its legacy, this was one of the most accessible and superb metal tunes ever recorded. “Grinder” flattens you in one sweeping swoop (and the bonus live track is just as gripping). “United” is seen by some as sell-out with its shiny chorus but the hand-clap drum attack of Holland’s drums and Halford’s vocal command elevates the song to astounding levels. The sing-a-long chorus culminates with a bold swelling of voices chanting the chorus until the final fade. “The Rage” is a showcase for Ian Hill’s bass with its trenchant drive and ear-piercing vocals by Halford. “Steeler” is served with a wall of swelling guitars while the album’s best known cut, “Living After Midnight” is delivered with sheer gusto. “Midnight” is a classic rock staple to this day and took Judas Priest from cult metal band to a worldwide force to be reckoned with. It’s one of those rare tunes that transcend the genre with the magnified dual guitars of Downing and Tipton framed by the storming rhythm section all of which is spewed forth with molten precision by a band whose bulletproof foundation is eternal.

The 30th Anniversary edition of the album includes the remastered album (with two bonus tracks) and a live DVD of a full 2009 concert performance which features British Steel in its entirety. An added bonus is a mini-documentary about the making of the record with the four core members of Judas Priest. On the band’s website you also have the option of ordering live concert on CD as well. The CD portion of British Steel has the original UK running order of the album and isn’t different from the 2001 edition and it houses the same bonus tracks. It emanates rapt vocals, ascending guitar licks and a rhythm section that is terse and stinging. The dynamics of the remaster radiates on your iPod and also on a top tier stereo system. Most remasters merely involve the raising of volume fortunately this is not the case with this latest edition of British Steel. There’s a new cover to differentiate this edition from the standard one, but have no fear, the original cover in the third page of the booklet and can be substituted in your jewel case. However, the real gem of this set is the bonus DVD. It contains a sixteen song concert from last summer. They perform the British Steel record in its entirety along with other Priest classics “Victim of Changes”, “Freewheel Burning” and "You’ve Got Another Thing Comin'". The performance of “The Ripper”, from 1976’s Sad Wings of Destiny was especially invigorating with the crowd relishing it. Thirty years after songs were recorded, bands should be a few steps behind, out of sync, have ravaged voices and be calling in the performance. Not Priest. They convey bliss in the concert performances and despite a few more wrinkles; you would never know otherwise this was a band a few decades on from when the original album was recorded. The core of the group is the same aside from drummer Scott Travis who was up to the task of bringing this classic album to life. For some acts, these full album shows are a way of lining their coffers with more bank, but Judas Priest reminded us why British Steel isn’t just a great record, but an essential one as well. This is a great package and the only question you should be asking yourself is why you don’t already own it.

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

Rolling Stones Week : 2006 Live Review from Chicago

In honor of the new edition of Exile On Main Street which hits stores today (in the UK, tomorrow in the US), I'll post a different Rolling Stones article every day. When I launched the blog in November of 2006, I had been writing extensively for nearly six years. I saw it as a way to write and channel more when my writings had been filed but were waiting to be published.The first article on this blog was a no brainer, a live review of their October 2006 Chicago show.

It was a year after their tour had been launched, it was their 9th Chicago area performance in 4 years and it was 28 dgerees outside. This show should have been disasterous. Instead, it was downright epic with the Stones delivering what may have been the best performance I've ever seen them give. God love them, they still had it. 

Go here to read my full review of their October 11th show from Chicago in 2006.

The set list had more in common with their best club gigs from 2002 and 2003 rather than the predictable stadium set. “Live With Me” and “Monkey Man” were both delivered with urgent precision. Neither song has been a staple in any of their sets, but both songs have been performed on a regular basis going back to 1994. However, it would be the chosen rarities that would define the evening. The first jaw-dropping moment occurred during “Sway”, a song that before last year had never been performed live in its thirty-five year history. I was hoping it would appear during the band two-night arena run last January, but needless good things come to those who wait and it was delivered with seductive fervor. There raw energy with which Ron Wood delivered his solo with meticulousness also brought the crowd to its feet. Personally, I always believed Ron was a loose cannon on the concert stage, but he has proven himself over the last few tours to be the bands secret weapon waiting in the wings. There is more than a smattering of the sublime involved, whenever one bears witness to the exhibition on Ronnie’s inner light with the guitar strapped around his neck. Much like “Can’t You Hear Me Knocking” (also from 1971’s Sticky Fingers), one wonders why it took the band so long to perform this one live. 

Read the rest here.

Album Review: Lorenza Ponce-‘Soul Shifter’

Lorenza Ponce-‘Soul Shifter’
Album Review
3.5 Stars (*** ½)
By Anthony Kuzminski
{But the album here or here}

In the music world, we often pay so much attention to those upfront and center we tend to overlook the talents standing in the shadows that help bring the artist’s vision to life. While they may not receive due consideration, they are fundamental to the artists career. Could you imagine Bruce Springsteen breaking through without the E Street Band? Or seeing David Bowie without Mick Ronson, Carlos Alomar or Gail Dorsey? How about Elton John without long time guitarist Davey Johnstone? Even the newly formed New York Dolls, who are missing some integral members, have muscle behind them in guitarist Steve Conte and bassist Sammi Yaffa, who aren’t mere replacements but channel the spirit and soul of Johnny Thunders and Arthur Kane respectively. These names may not be entirely familiar to you but they give the artists music shape, fleshes it out and helps elevate it to the heights that it is engrained into our psyche for all eternity. They implant the music with soul in ways an accomplished session musicians could only dream of. Lorenza Ponce is one of these unheralded artists. You’ve seen her on tour with Sheryl Crow and Bon Jovi along with dozens of television broadcasts with everyone from Pearl Jam to Michael Buble to John Mayer. She’s also an in-demand session musician who has worked on recent albums by Fall Out Boy and has worked with such illustrious producers such as Tony Visconti (T.Rex & David Bowie). Her resume can’t even be called extraordinary, it stretches beyond mere words. She can now add significant solo artist to the ever growing resume. Soul Shifter, her fourth solo record, but her first to embrace the foundation of rock n’ roll is a stunning album that defines her as more than “the girl with the violin”. On Soul Shifter Ponce has taken an excursion from her new age experience to embrace the underbelly of rock n’ roll. While it isn’t a guitar heavy affair, it still holds enough bite to make you stand back and take notice. At the forefront of the easy-on-the-ear recordings are piercing and outspoken lyrics. Delving deep into her psyche and heart are commentaries on artists who have lost the plot, sensuality and the search for faith and meaning in a world that defies logic. Imagine Alanis Morissette in a jazz club with a hushed sultry voice, an enticing violin utilized like a Les Paul that tempts the soul and you have Lorenza Ponce.

Kicking the album off, “Casual Girl” is a slow moody declaration of thwarted fantasies which are fit between a paradox of mind and body. Ponce’s voice is seductive as it pulls you in like a whispered secret in the night. Her violin is only in the forefront for the song’s solo. “Casual Girl” sets the tone for the record as a paean of longing for the need of another whose heart becomes unhinged and yet the temptation and desire doesn’t bring solace. In a pop world filled with songs about scorn, Ponce turns the tables and has created a sultry tune of enticement and desire. Notice is served immediately that Ponce is anything but casual, but will challenge her audience with complex narratives where questions may go unanswered. “Remedy” is awash with cooing backing female vocals that help augments the song. The minimalism of the production allows the listener to relish the subtle nuances of organ, violin and percussion. The song is steeped in an insatiable aura where the narrator defines love as an incurable curse. “Baby Please Don’t Go” is a raved up violin driven scorcher done in a wholly distinctive and stylish arrangement you won’t soon forget. Some bluesman somewhere tonight will hear think and give a winking endorsement. The longing for an unforeseen need continues on “Frostbite” with a chorus that is sung angelically. She delicately paints a picture that balances love against resistance. “What Happened To You?” is a glacial analysis of a nondescript artist who has misplaced their muse. The bluesy beat is ominous like a fuse slowing burning until her violin compliments the lyrical assault in a contemptuous solo. I’m not sure if there has ever been a more undeviating denunciation of artistic bankruptcy. (“Once upon a time you could make us feel / You was what our God was all about”). It’s more than a finger pointing conviction but a call-to-arms to reignite those creative juices (“Now we’re all waiting for you/ And you’re way overdue”). The violin at the closing stages of this track brings the fervor of the lyrics message into view. “Testify” is a simplistic ode with a slab of banjo highlighting the search for the tangible consequence in life. We live in our past, holding so much from within and the lyrics delve into whether or not we will come forth expunge our souls and truly live life without fear (“Can you stand up, look me in the eye and testify?”).

“Soul Shifter” is a zapping retro piece with ELO-like strings and brooding lyrics about an inexplicable inspiration about how art can bring perspective and influence into one’s life. The song musically is framed by an understated organ and rhythm that builds to a combustive finish. When I asked Ponce about the title and inspiration, she responded, “A ‘Soul Shifter’ is someone who will turn your blue mood into joy and laughter, without you even thinking about it. They are so cool, funny and genuine that you can’t help being drawn into their world. Frank Sinatra was one of these people. His music, charm, and talent were so significant that to hear him sing, read his interviews, or watch old footage of him performing; all of it is profoundly is uplifting. He is a ‘Soul Shifter’. I would also consider Dolly Parton, and Keith Richards ‘Soul Shifters’. On “Let It Down”, a cover of George Harrison’s solo cut from his debut solo LP, All Things Must Pass Ponce matches the visceral imminence of the original with a languid tempo which compliments her silky vocals. The chorus is delivered like a declaration. The emotional frankness of the performance works beautifully with the rest of the album’s themes. “I Won’t Lose Faith” closes the record and is a sobering and melancholic ballad reflecting on disenchantment with the state of the world. This six-minute lament is not preachy or sentimental but an opulently produced and discreet song that allows you to ponder the faults of the world while concurrently instilling faith. It’s the perfect way to end the record with a beautifying glance into the existential matters her heart. There is an overriding sense of empowerment and yearning which build throughout the album’s ten songs, which are best digested in the album’s running order. As each song unfolds, you’ll unfurl a piece of your soul and more importantly, it’s a body of work that forces one to deliberate their place in life.



Lorenza Ponce’s years working behind the scenes have done her well as she has crafted a body of work worthy of deep dissection and discussion. The characters that inhibit these songs find themselves in regrettable situations but it forces them to come to terms with their life paths and how to veer back on course. The album’s sound and production is downright lush; tight instrumentation with honeyed vocals which ultimately are embroidered by her fanciful violin which never engulfs the song but merely allows it to steal the spotlight momentarily. More remarkable are her mysterious and tranquil vocals. She sings with self-assurance and a sensual demeanor that makes one ache with regret at missed opportunities. Soul Shifter offers ruminations of life and love conveyed with offhand grace vocally and musically. It is an intensely personal collection of songs where characters are wise, confident and in control of their destiny through their own devotion and resolve. Ultimately Soul Shifter is an endearing record because the songs paint precise visions and the musical trimmings help form the images in our minds in an experience that is downright cinematic. The sequencing puts the themes into a widescreen perspective where they expose themselves to us one by one like mini chapters of her life. Yearning, needing, confidence, brutal honesty and in the end optimism infuse the thematic composition of Soul Shifter which is more than a mere collection of songs but ten revealing vignettes with depth that share a lineage with one another.

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

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