Rock Chicago Magazine

Steven Wilson Brings His Masterpiece to Park West

I was originally turned onto Steven Wilson through the recommendation of Kevin Pollack, editor of this online magazine, as he knew I was a prog rocker and thought I would enjoy his music. He was right! I became a huge fan of Wilson’s band, Porcupine Tree, and have followed his multitude of side and solo projects. So it was with great anticipation that I attended the concert at Park West, which was in support of his solo album, The Raven That Refused to Sing (And Other Stories).

Steven Wilson is a musical genius and seems to have boundless energy as he is involved in such a wide array of projects. He is an outstanding musician; playing guitar, keyboards, and other instruments including bass guitar, concert harp, hammered dulcimer, and flute. He is also a great vocalist, lead singer in a number of his band projects. In addition, he is an accomplished songwriter. In addition to his band, Porcupine Tree, he is involved in many other bands and musical projects, serving as both musician and producer in bands such as Blackfield, No-Man, Storm Corrosion (with Opeth frontman Michael Akerfeldt), in addition to his solo work.

This amazing artist also is involved with musical engineering as well. He has been involved in the remastering of classic prog rock albums by Jethro Tull, King Crimson, and Emerson, Lake, and Palmer in surround sound. ( I own his remastered versions of the first ELP album and Tarkus and they are amazing in surround sound!)

This concert featured his third solo album, The Raven That Refused to Sing (And Other Stories) in it’s entirety with some other songs. The touring band was made of the musicians who played on the Raven and they were top notch.

Adam Holzman (son of Elektra Records’ founder, Jac Holzman), an American jazz keyboardist was on keyboards. He has performed as a sideman with numerous performers. Notably, in 1985, he was hired by Miles Davis to play keyboards on Davis’ Tutu album, stayed with him for four years and eventually became his musical director.

Guthrie Govan, an English guitarist and teacher was on lead guitar. He was noted for his work with the bands The Aristocrats, Asia, GPS, The Young Punx, and the Fellowship. In 1993, he was named the winner of Guitarist magazine’s “Guitarist of the Year.” He is considered one of the world’s best contemporary electric guitar players. He plays a wide range of music, but is primarily considered a jazz fusion player and shred guitarist. He travels all over the world and teaches at guitar clinics internationally.

Nick Beggs, another Englishman, was on bass guitar, a notable bassist and known for playing the Chapman Stick. He has played in a number of bands and been involved in many musical projects, including his work with Steven Wilson, and another musician close to my heart, Steve Hackett. In March of 2013 it was announced that he joined the prog rock band, Pineapple Thief.

Theo Travis, an English saxophonist and flautist, has an international reputation as one of the brightest stars on the British jazz scene. In fact, he is regarded as one of the foremost saxophonists and flautists in progressive rock music. He has played on over 110 albums and recorded with various such as Gong, Soft Machine, Legacy, Robert Fripp, Porcupine Tree, Steven Wilson Band, Bill Bruford, and many others.

Rounding out this talented band is the German-born drummer, Marco Minnemann. As is typical for this amazing band Steven Wilson assembled, Minnemann has many solo albums, on which he plays most of the instruments and sings, and is constantly working as a composer and session artist. He played with Steven Wilson on the “Grace for Drowning” Tour 2011-12, as well as The Raven That Refused to Sing (And Other Stories) tour. Minnemann is also noted for being Joe Satriani’s drummer.

The concert was a sellout and Park West was packed, all in attendance anticipating an outstanding concert experience. The lights dimmed precisely at 8 PM and the band walked onstage to a thunderous ovation. As a barefoot Steven Wilson walked onstage the decibel level dramatically increased. For his live shows, it is his custom to play with bare feet. This went back to his early childhood, as he has said, “I always had a problem wearing shoes and I’ve always gone around with bare feet.” He also remarked that playing in bare feet gives him an advantage in operating his diverse guitar pedals. He commented that, “I’ve stepped on nails, screws, drawing pins, stubbed my toe, I’ve come off stage with blood just coming out…I mean, I’ve had it all mate, but to be honest, nothing’s going to stop me.” (Quotations from Wikipedia article). This night, at least, he had no problems with his feet.

The band immediately launched into Luminol from The Raven That Refused to Sing (And Other Stories). Wilson started out on keyboards, as all night the lion’s share of the lead guitar work was done by Govan. Wilson was almost hyperkinetic bouncing between keyboards, electric and acoustic guitars. The band was superlative all night, they were tight, and displayed the outstanding musicianship you would expect form such a talented group of individuals. Vocally, Steven Wilson, was amazing as always and his musicianship impeccable.

The band played all the songs from The Raven That Refused to Sing (And Other Stories), but not in sequential fashion, rather having various songs from Wilson’s other solo albums interspersed.

Set List

1. Luminol (The Raven That Refused to Sing (And Other Stories))

2. Drive Home (The Raven That Refused to Sing (And Other Stories))

3. The Pin Drop (The Raven That Refused to Sing (And Other Stories))

4. Post Card (Grace for Drowning)

5. The Holy Drinker (The Raven That Refused to Sing (And Other Stories))

6. Deform to Form a Star (Grace for Drowning)

7. The Watchmaker (The Raven That Refused to Sing (And Other Stories))

8. Index (Grace for Drowning)

9. Sectarian (Grace for Drowning)

10. Insurgentes (Insurgentes)

11. Harmony Korine (Insurgentes)

12. Raider II (Grace for Drowning)

13. The Raven That Refused to Sing (The Raven That Refused to Sing (And Other Stories))

Encore:

14. Radioactive Toy (Porcupine Tree Song)

Musically, it is hard to pigeonhole Wilson’s music, as you would hear bits of King Crimson, Genesis, Pink Floyd, metal, jazz….indescribable, but unique, interesting, and totally enjoyable. He is an animated performer, roving all over the stage, but delivering vocally and musically.

The show was a bit of a multi-media affair as there was a video screen behind the stage with various supported images/videos being projected. About halfway through the show a sheer curtain dropped in front of the stage and videos were projected on that screen for a portion of the show.

Wilson maintained a good banter with the crowd all night, making comments and introductions to some of the songs. In his introduction to “Post Card” he said, “I am not known for three minute pop songs. In fact, for songs not less than ten minutes long.” The audience ate up his comments all night long.

The concert lasted for over two hours and was a totally enjoyable experience. The icing on the cake was the encore, the Porcupine Tree classic, “Radioactive Toy.” Wilson introduced it by stating, “What to do for an encore?” He made mention of the “Free Bird incident” at Park West. (That was when they recorded the live show for the Porcupine Tree DVD “Arriving Somewhere” at the Park West Theater. As Wilson was talking about the encore for that show, someone screamed out “Free Bird!” Wilson smiled and jokingly said, “Not tonight, that is on the set for tomorrow.”) He kiddingly said we might do it tonight though..

The “Radioactive Toy” encore in its “Pink Floydian” glory was absolutely enthralling and was a perfect end to great concert experience. Steven Wilson is not to be missed, in whatever reincarnation he is in, be it the Steven Wilson Band, Porcupine Tree, Blackfield, No-Man. The man is an incredible talent. The band he has assembled for the Raven, and this tour was a phenomenal collection of musicians which enhanced the entire performance.

Reviewed by Peter S. Sakas on 5/3/13

Photos by Peter S. Sakas

Carl Palmer Brings the “Legacy” to the Arcada

Before I begin the review, I need to make a disclaimer. Emerson, Lake, and Palmer is one of my all-time favorite bands, and I have been a huge fan since their inception. I had seen them numerous times over the various “decades” and had always been amazed by the drumming virtuosity of Carl Palmer, who was and still is my favorite drummer. That said, I believe I can put an interesting perspective on what was one phenomenal concert experience.

I had seen Asia at the Arcada Theater last fall and was impressed that Carl Palmer still was the dynamo I remembered on the drums, performing one of his trademark show stopping solos. But for some reason he seemed a bit subdued when I had met him before the show and he gave a somewhat “workmanlike” performance, not too passionate. He left the tour due to illness shortly thereafter, so maybe there were other factors involved.

Well let me tell you, the sense of disappointment I had last fall, totally dissipated after the Legacy Show. Carl Palmer was engaging the entire night as he took center stage interacting with the audience. He reminisced about his career, playing with ELP, and insights into some of the music. I was impressed, as in all the times I had ever seen him, he was behind the drum kit, only having his time to shine when he performed his perfunctory drum solo. I thought it was wonderful to see him as the “front man” and see how much he enjoyed the role.

The band consisted of Palmer on drums, and two superlative young musicians who just blew me away; Paul Bielatowicz on guitar and Sam Fitzpatrick on bass. What was so amazing about the band was that they played the ELP classics with no keyboards (on rare occasion there was a bit of recorded keyboard) or vocals. The sounds that Bielatowicz and Fitzpatrick generated from their instruments absolutely blew me away as you would swear there were keyboards being played. They were very demonstrative and enthusiastic in their playing which gave great, new vitality to these prog rock chestnuts, with some twists in their interpretations enhancing the experience.

Perhaps it was their youthful vitality, the reworkings of these songs, or the role of “front man,” but I had never seen Carl Palmer play with such enthusiasm and emotion in recent years. He was smiling, gesturing, and really seemed to be enjoying himself all night long. I was sitting in the audience thinking to myself, here is a 63 year old man who is up there playing “his ass off” and seemed to be as fast as ever. After each song he would get up from behind the drum kit, walk to the front of the stage and relate a story. At that time you could hear a bit of heavy breathing as he was talking, belying the fact that he has indeed aged a bit, but still in outstanding shape to do what he does.

The word that I would use to describe this concert experience is “incredible.” To have the opportunity to see Carl Palmer play the drums is an absolute treat, but to see him still play so well and enthusiastically, performing cleverly reworked ELP classics, with two youthful, very talented musicians just blew me away. The fact that I was so impressed is noteworthy as being a huge ELP fan, their music is sacrosanct to me, and instead of thinking that the reinterpretations were blasphemous; I regarded them as a unique and effective reworking of these classics. In general, the music tended to be a bit “heavier” and more “driving” but that just added to the appeal. In fact, some of the younger audience members who were not familiar with the music were just as enthralled by this good solid rock performance.

It was a generous two hour plus show, no opening act and a short intermission. It was a night filled with classic ELP music and some other surprises mixed in the sets. The band opened with The Theme from Peter Gunn which set a driving beat for the night. They then performed KarnEvil 9 First Impression Part 2(Welcome Back My Friends) and the lack of keyboards or vocals was not missed because of the fine musicianship. Hoedown was next, featuring a nice bass solo by Fitzpatrick.

Palmer introduced Knife Edge by stating that they borrowed some music from the composer Janacek for the song, but did not give him credit. He said one day there was a knock at the door and it was his people…..now they pay him. For the next song he mentioned that he used to go to the Marquis Club and would see a band, The Nice, with a charismatic keyboard player, Keith Emerson. So in his honor they played one of The Nice’s trademark songs, America, from “West Side Story.” Mars, Bringer of War from Holst was next, followed by the ELP tour de force The Barbarian. On each of these songs I was absolutely amazed by the music generated by the drums, guitar, and bass of the band and how they could be recreating this music so well!

Palmer began talking about Tarkus saying that in the early 70s they recorded one of the first concept albums, but “we weren’t too sure what it was about!” The band then proceeded to play the piece in its entirety.

Paul Bielatowicz was then featured on solo guitar beautifully performing Debussy’s Claire de Lune. Sam Fitzpatrick was then highlighted on bass with Carl Orff’s Carmina Burana in a somewhat jazzy version of this piece of classical music. Then in one of the most incredible performances of the night, Fitzpatrick performed Stairway to Heaven in its entirety ON THE BASS GUITAR! The crowd went wild. There was a short intermission afterwards.

The band opened the second set with Toccata and Fugue in D Minor, a version of the classical piece originally performed by the band “Sky.” The next piece of music was introduced by Palmer as the first album he recorded with ELP (although not their first release), Pictures at an Exhibition. I was particularly intrigued to hear how the pulled this version off, as there are some absolutely lovely vocals on this piece, such as The Sage, which they executed beautifully. I was also very happy that the band included Blues Variation from the original Pictures album, as in concert ELP would only perform a portion of the album, using ignoring this portion, which I really enjoy. A pleasant surprise.

To close out the set they performed the ELP version of Aaron Copland’s Fanfare for the Common Man. It began with the recorded keyboard fanfare and then into a rocking rendition, highlighted by a spectacular Carl Palmer drum solo. I should mention there were standing ovations all night long but the crowd went nuts after this song and rightfully so it was outstanding.

The encore was the cherry on top of the sundae, the ELP chestnut, Nutrocker. I can tell you, no one left disappointed as it was a great show with great musicianship and a generous amount of music.

A special treat for the concertgoers is that Carl Palmer and the band made themselves available in the lobby after the show, seated at a table and signed any merchandise bought at the show and one additional item. Carl Palmer was very friendly and talkative with the throng of fans working their way through the lines, which was efficiently controlled so there was not too much of a wait despite the length of the line. As Palmer was signing my items, I said, “Your performance tonight reaffirmed why you are one of the world’s best drummers and my favorite.” He seemed sincerely appreciative of my comments and thanked me. Kudos to Carl Palmer, his band, and his manager Bruce Pilato for being available to the fans, which was a touch of class, a gesture well appreciated by the attendees.

Unfortunately, the concert not a sellout and it should have been. Here was a rock legend and a killer band who gave an outstanding performance. The staging was great, the sound crisp and clear. All I can say is those of you who were not there missed a superlative show and if you enjoy classic prog rock or classic rock in general, make sure you see the Carl Palmer Band next time you have the chance. You will not be sorry.

Reviewed by Peter S. Sakas on 4/20/13

Photos by Peter S. Sakas

Widespread Panic Share the Love at UIC Pavilion

Since I first saw Widespread Panic at a tiny club in Raleigh, NC twenty-five years ago they’ve grown from local heroes into headliners, selling out multiple-night runs and festivals across the country.  Loyal fans happily travel to see them or stay home and follow them on the “couch tour” by listening to live streams or a wide-range of bootlegs.  They are one of the best documented bands (you can find most of their shows online) for good reason: every night is different.  Internet chats try to predict everything from show openers to surprise covers.  Plus every time they play a song it stretches out or moves along in various ways as the band successfully blends jazzy jams with percussion grooves and good ol’ rock and roll, always with room for dazzling solos.  This show was their first in Chicago in roughly 18 months, after a year-long hiatus by the band.  Expectations were high, the parking lot scene was bustling, and the crowd were excited to start the two-night visit.

The UIC pavilion set-up reserved the floor for general admission to the dancing area, and from the opening strands of “From the Cradle,” it was put to good use.  For a college basketball arena the sound was surprisingly good – an important factor because this is a band you want to hear all of the parts of equally well.  Unlike concerts where everyone is waiting for the big hits, seeing Widespread Panic is more about the overall sound and the vibe created by the experience.  When is all comes together, as it usually does at a Panic show, the results are magic.  People were grooving from the start of the first set and everyone talks and dances with everyone else – the “goodpeople” section of one popular fanstite is aptly named.

The rest of the first set covered a range of their albums with songs blending into one another.  “Second Skin” led into “Goin’ Out West” then into “Proving Ground” in one notably strong section. They crowd loved hearing “C. Brown” and especially “Carmelita,” a Warren Zevon song they added into their sets last year and was first recorded by the band for their “Wood” album – a record documenting their acoustic tour from that time. 

Jon Bell’s guitar and voice are physically front and center and although a powerful presence, Widespread Panic shows are about the whole band.  Dave Schools on bass provides the groove and is always fun to watch.  Lead guitarist Jimmy Herring, with the band since 2006, manages to add complex lines and intricate details to every song, but never as a spotlit soloist.  Since his days in Aquarium Rescue Unit, a band that went on to provide members to a range of outstanding bands including the Allman Brothers, Herring’s guitar has been a powerful presence and sheer joy to hear.  The rest of the band, Todd Nance on drums, John “JoJo” Herman on keyboards and Domingo “Sunny” Ortiz on percussion round out a sound that made this return to Chicago a welcome return and an evening of the band playing at their best.

The second set opener, “Pigeons,” got the crowd on its feet and then there was no break for nearly eighty minutes.  They started the run with “Pleas” before continuing through “Ride Me High” and “St.Louis,” a song they skipped with two shows in the city of that name earlier this week.  The jam then moved into crowd favorite “Climb to Safety” before pushing things higher with “Driving Song,” “Protein Drink,” and “Sewing Machine.”  Even though these songs are from across their history, they all blended seamlessly tonight, and the crowd devoured every moment of it.

For and encore the band returned with “Me and the Devil Blues” and “Conrad.”  Many people who come to Widespread Panic shows have the one song in their head that they want to hear and keep listening for signs of it in the band’s long jams, much the same way Grateful Dead fans tried to spot a song coming several minutes before the band launched into it.  Around me people kept thinking they were hearing their personal favorite coming, and of course would have been happy to hear it, but weren’t disappointed by whatever the band chose to play.  After over two and a half hours of music, the crowd spilled out into a chilly Chicago evening and the party continued in the parking lot.  Fans talked about highlights and newly made friends while buying t-shirts and burritos, guessing what songs will appear in the set the next night, and talking about when they’ll see the band next.  After an outstanding night of music from one of the strongest and most enduring bands, I’m already looking forward to their next visit, or maybe even taking a road trip, or at least streaming tonight’s show to bring part of the magic home.

Reviewed by Neil Rigler on 4/12/13

Sevendust, Coal Chamber & Lacuna Coil Rock Mojoes

Sevendust,Coal Chamber, Lacuna Coil, and Candlelight Red blew the roof of Mojoes Tuesday night. Candlelight Red opened the show with a great set, if you are not familiar with them there definitely worth checking out. Next up was Lacuna Coil. The dual vocals of Christina Scabbia and Andrea Ferro was great along with drummer Cristiano “Criz” Mozzati and guitarists Cristiano “Pizza” Migliore and Marco “Maus” Biazzi .They really got the crowd going. Scabbia has one of the best voices in metal. They had a great response to their newer songs.

Sevendust came after Lacuna Coil. Although the stage at Mojoes is small they were moving around the whole time. Sevendust is one of the best metal bands to see live. Their new album Black Out The Sun was just released March 26 and has gotten a great response. Right when Sevendust started playing the crowd went wild. Whats great about Mojoes is you can see from anywhere and you’re not too far from the stage. What I love about Sevendust in their energy and how they connect with the audience throughout the show. Rose is always fun to watch play as is very animate and does the screaming vocals. Sevendust can rock any venue.

Coal Chamber closed the show. I haven’t seen a crowd go so crazy for a band before they even came onstage. This tour is the first time in 10 years Coal Chamber has played the U.S. so it was easy to see why the crowd was so intense when they began to play. There was a great response from the audience for their newer material in addition to the classics.

Reviewed by Alex Kluft on 4/16/13

Photos by Alex Kluft

Dickey Betts Makes Rare Appearance in Chicago

Long time Allman Brothers fans have the opportunity to see founding member Dickey Betts make a rare Chicago area appearance this weekend, as the Guitarist, Singer and Songwriter of such classic radio hits as Rambling Man, Blue Sky and Jessica, is scheduled to hold court for two nights this Saturday and Sunday, the 27^th & 28^th at The City Winery. Located on Chicago’s near Westside at 1200 W. Randolph (at Randolph and Racine), the venue offers a nice modern facility that also has the feel of a throwback to an era gone by. A comfortable room, with a nice open stage and clear sightlines, The City Winery offers a wide variety of wines from its own in house blends to wines from around the world. An appetizer and dinner menu is available as well. Beer and Cocktails are also served.

Betts, who has been on a limited tour schedule for the past three years after announcing his semi-retirement in 2010, and performing mostly east coast shows since, comes to town for the first time in four years. Having spent more than three decades as a member of the Allman Brothers Band, Betts has been touring with his own band Great Southern for the past thirteen years since parting ways with the ABB in 2000. After basically carrying the Allman Brothers on his back following the tragic death of founder Duane Allman, followed one year later by the passing of bassist Barry Oakley, Betts lead the way with writing the music and lyrics to many of the songs on the 1973 release Brothers and Sisters, the bands most successful studio release, keeping the band on top through a very tumultuous period.  In 1989, after an eight year layoff, Betts rallied the troops once more, bringing with him Warren Haynes, who had performed on Betts solo release “Pattern Disruptive” the previous year, and went on for another eleven year Allman Brothers run that included three more studio releases, before ultimately departing.

So if you’re a fan of the man and his music, take advantage of this chance to attend one of his performances this weekend. For more information on tickets and reservations, go to www.citywinery.com, or call 312-733-9463.

Think Floyd USA Brings the “Dark Side” to Viper Alley

The first time I saw Think Floyd USA (TFUSA) was about 6 years ago at an outdoor festival in Mt. Prospect. I had no idea what to expect as this was my first time seeing a Pink Floyd tribute band.  It was a beautiful summer night and the band was on a small stage with overhead colored spot lights with the signature Pink Floyd round projection screen lit up with spotlights and maybe about 50 people sitting in the audience.  As a Pink Floyd diehard fan, I figured I had nothing to lose by checking this band out.  To my surprise, they played Dark Side of the Moon in its entirety, along with other Floyd tunes from Animals, Division Bell, Wish you Were Here and The Wall, almost note for note.  Over the years, numerous Pink Floyd tribute bands started making their way to Chicago and the suburbs so I thought I would check them out and see how well they compared to TFUSA.  I can honestly say that there was no comparison. TFUSA played the songs as were originally written and meant to be heard which I took as a significant sign of respect to the original Pink Floyd band.  I continued to follow TFUSA to other venues around the northwest suburbs and it seemed they got better and better by added more songs to their set list and jazzed up the light show when they added more lasers and lights, plus word got around about this band and they drew quite a crowd.

I saw that TFUSA was on the calendar to play Viper Alley and was anxious to see them for the first time at an indoor venue.  I have been going to Viper Alley since they first opened and I can tell you that the acoustics at this venue are fantastic.  Along with a great stage and a cozy, comfortable atmosphere, Viper Alley offers some great food at reasonable prices. I had called ahead to the box office and the staff was very friendly and accommodating.  They told me the show was sold out and that I might want to consider getting there when the doors opened so I could get a table.

The band opened with One of These Days from the album Meddle which featured Jim “Shamus” Bryers on synthesizer.  The band sounded amazing.  There was no break between this song and the band went right into Shine Parts 1-5 from the album Wish you Were Here.  The transition into this song was smooth and featured movie clips on the projector screen of Syd Barrett for whom this album was dedicated to by Pink Floyd.  The lead vocals were performed by Jim Concklin, who recently replaced Mitch as the lead singer of the band, totally blew me away….he sounds just like David Gilmore…wow!  Talk about a major change, Jim made all the difference in how the band sounds now as opposed to when I first saw them.  This track also featured Kyle Stong on keyboards, which Kyle is a talent all by himself.  This song also featured Jim Bryers on saxophone, which was totally drown out by the rest of the band as there was clearly a technical issue going on.  I was tempted to walk over to the sound guys to let them know the deal, but eventually this issue was resolved.  Also, the three female vocalists (Cheryl Jennison, Lindsay Porchetta and Krista Porchetta) joined the band and were singing harmonies, along with the rest of the band.  The harmonies between the female singers and the rest of the band were tight and spot on and folks, this was only the beginning of the show.

At the conclusion of this song, the band went right into the album Dark Side of the Moon in its entirety. The album begins with the song Brain Damage and then into Breathe which features again, synthesizers and also featured Keith DaProza on drums and once again, Kyle Stong on the keyboards. Folks, if I closed my eyes, I could swear I was listening to David Gilmore singing this song, which followed by the song Eclipse which also was performed to perfection and led into Great Gig in the Sky, my favorite song on Dark Side of the Moon.  All three female vocalists took their turns singing this song showcasing their amazing voices.  Following that was the signature sound of coins which began the song Money.  Again, TFUSA played this song true to the album which featured, once again, the sax player.  I could hear the sax a little bit better at this point but not in the parts which predominantly featured sax.  I would like to mention the other guitarists at this point who are Tom Buckley on lead guitar who I remember being the most animated member of TFUSA and Tyler Knaval on bass, playing the catchy riff on this song and the final track on the album, Us and Them, which was even better than any of the previous songs.  Just when I thought the first half of this concert is winding down, TFUSA played what was an amazing version of Us and Them.  I could not stop bouncing my head and basically dancing in my seat.  What turned into a solid jam towards the end of this song was absolutely outstanding.  Just when I thought this would be a nice, mellow ending to the first half, it turned out to be the absolute best song of the night and probably at this point the longest song of the night.

After a brief intermission, the band returned with the song Pigs on the Wing from the album Animals which led into Dogs.  TFUSA played this so true to the album and Tom Buckley broke out the double-necked guitar.  Next, the band played Mother from the album The Wall.  I was curious as to how they would pull off the vocals on this one.  Knowing that Roger Waters sang this song, Jim Concklin sang in his lower register and I was quite surprised how versatile his voice was that he could also sound like a young Roger Waters.  The women vocalists alternated with Jim which added to the song.  Although I would have preferred the song be performed entirely by Jim Concklin, the women added a nice personal touch by TFUSA to change it up a bit.  Staying with The Wall, the band then performed Goodbye Blue Sky, which is one of my favorites from The Wall.  A very peaceful, zen-like song which TFUSA obviously felt should be performed the way I perceived this song.  The stage was completely dark with only white spotlights making the audience feel like it was bedtime.  Kudos to the lighting people on this one.  As an aside, I saw the show The Wall recently performed by Roger Waters.  I do not feel that even he captured this song the way TFUSA did.  It was a truly moving performance sung like a true lullaby which then led into Empty Spaces and Young Lust.  Performing vocals on this song was Jim Bryers who I believe was the obvious choice on these songs.  Keeping the beat, this one had me dancing in my chair.

Following the last set of what was a mini-The Wall performance, the band went back to the Animals album with Sheep.  This song featured Kyle on the keyboards and also featured Tom on the electronic mouthpiece which most people would identify as the “Frampton” sound.  Great sound effects accompanied this song along with great vocals.  The next song was also from Animals and is the most popular song on this album, Pigs. Every Pink Floyd tribute band I have seen has played this song ad nauseum and is probably the most commercial song off of the album.  Skeptical as to how this was going to be performed, I knew this had to be the last song of the night and how this was all going to play out.  Again, the band surprised me by having Tom Buckley sing this song with his electronic mouthpiece and everyone on their feet while Tom walked through the crowd playing his guitar and jamming with the folks in the audience.  At the same time, the girls on the stage were hitting the cowbells and comingling with other band members and everyone on stage were dancing around and having a great time while still keeping the beat.  I think this song was like 10 minutes long with a full blown party on stage and the audience encouraged to join in the fun, even singing along.  What a fantastic concert this was and it left me wanting even more after 3 hours.

The crowd got to their feet and cheered for more.  The band announced one more song and then played Run Like Hell from The Wall.  This is the song that gets people on their feet screaming back “run, run, run, run, run…..”  The band told everyone to get on their feet and join in.  Everyone in the place was dancing and responding in unison.

After the encore, everyone was still on their feet clapping, and the band announced they will perform one last song.  I knew it had to be Comfortably Numb from The Wall which is one of the signature songs.  Yes, I was right.  Again, TFUSA stayed true to the original song while everyone in the crowd was singing along.  What a fantastic way to end the night and left everyone leaving Viper Alley with a smile on their face.

Thank you, Think Floyd USA for staying true to the Pink Floyd legacy and keeping it alive for future generations to come.

Reviewed by Debbie Pollack on 4/20/13

Fleetwood Mac Tears Up United Center by a “Landslide”

After four decades of performing as one of the most successful bands in rock history, last night’s show was just one of many for Fleetwood Mac. For many Chicagoans and people who travelled from other places, it was one fun night of great music from great musicians. The band kicked off the sixth performance on their Live 2013 World Tour to a sold out house at the United Center.

The band started off the night with three songs from their Rumours album. “Second Hand News” which Lindsey Buckingham wrote about Stevie Nicks, “The Chain” one of my personal favorites, and “Dreams” a number one hit single. After that set, Lindsey took the time to briefly talk to the audience. He mentioned that they hadn’t performed as a band in three years, and that space always brings something new to the table for when they do get together. He went on to say that they had been working on new material, and getting ready to release an EP. “Sad Angel” is one of the songs they decided to perform in promotion and support of the EP.

Throughout the night they played hits such as “Rhiannon,” “Tusk,” “Sara,” “Gypsy,” and “Go Your Own Way.” The list goes on, and every song they wrote has a special meaning, so it’s difficult to pick a favorite. In the midst of so many great moments, there were a few highlights of the night. The crowd cheered and stood up when they heard the opening chords of “Gold Dust Woman.” With its mystical sound, and Stevie’s signature gold shawl and spin, this gem of a song is a Fleetwood Mac staple and obvious audience favorite. Lindsey Buckingham brought the house down with “I’m So Afraid.” In addition to his finger picking ability (which takes tremendous technique), he has an exquisite lyrical style. The song lasted nearly 10 minutes, and his guitar solo was so fantastic that he got what I believe was the biggest and well deserved applause of the night. Along with other greats, Lindsey is easily among the best guitarists.

I have to add that the set up for the stage was a cleverly done combination of lights and film projection. The massive screen in the background synced moving pictures of art and colors with every song while large beams of light that hung from above changed colors for added effect. What made the design unique was that for selected solo numbers such as “Landslide” and “Big Love” a thin and long screen came down from above and focused on either Stevie or Lindsey while they sang or played which created a more intimate connection between them and the audience.

They concluded the night with two sets of encores starting with “World Turning,” a song from their 1975 self titled album during which Mick Fleetwood had a mini drum solo. I expected something more elaborate from him since he has impeccable drumming skills, but his humble, fun loving, and humorous personality made up for it. It is also interesting to note that during Mick’s solo, Lindsey sat down towards the edge of the stage and held his guitar while he listened on. Something about this made me feel like I was sitting it on a jam session with them instead of a huge live concert which was a cool feeling. Next was their upbeat commercial hit “Don’t Stop.” They switched gears and played “Silver Springs,” a beautiful song written by Stevie with a long history. The last song was “Say Goodbye” which Lindsey stated was written about Stevie. While the song’s title seemed like something appropriate to conclude with, I don’t think anyone really wanted to say goodbye.

Fleetwood Mac is one of my favorite bands. I have been a Stevie Nicks fan for years, and have seen her perform in her solo shows. I have seen Lindsey Buckingham perform in his solo show, but this was the first time I had the opportunity to see Fleetwood Mac (“the machine” as they are called) as a band. It would have been more complete if Christine McVie, who was married to the band’s bassist, John McVie, performed with them as she contributed to their success, and wrote one my favorite Fleetwood Mac songs, “You Make Loving Fun,” but I am not complaining. Brett Tuggle played keyboards and sang backing vocals, and while he seemed washed away by the star power of the other members, he was a very talented musician in his own right. For those of you who might have missed out on this concert, Fleetwood Mac is coming back to Chicago in June.

Reviewed by Sarah Breidenbach on 4/13/13

Brit Floyd Numbs the Audience at The Chicago Theatre

I will be completely honest. I have seen what has been the Australian Pink Floyd Tribute Show, 4 times in my life. They have done variations of what we know as the famous Pulse Tour. They have done The Wall. On the very last show they did in Chicago a few years back, they announced that that would be their last show in that lineup, under the name Australian Pink Floyd. They were forming a group called, Brit Floyd. Folks, let me tell you as a musician, as a fan, and of course as someone who knows a thing or 2 about this music; What a superb band! They are THE band in fact to see, because nothing will bring you closer to experiencing Pink Floyd.

From the background vocals, to the lead vocals, from the rhythm guitars, to the blazing leads, from the lasers to the flying Pig! They embarked us on a journey through time, visiting the vinyl of Dark Side of the Moon, Animals, The Wall, Wish you were here, Division Bell, and a few others. These musicians are absolutely stellar, they do what they do, and they do it well. I have been a fan of Damian Darlington for years, for his inate ability to sing and play with such feel, Ian Cattell with the vocal styling of Gilmour and Waters combined! Bobby Harrison was on the lead guitar, and of course I’m leaving out the backbone of the machine itself, all the members that I’m not quoting by name. They all did an incredible job. Each musician was spectacular and not one seemed like “backup” anything — not either guitarist, not the women, not the percussion, not the sax. It was like a dream team.

Just can’t say enough good things about my experience. Not only do they capture Pink Floyd’s music masterfully, the rigorous attention to detail is awe inspiring. No part is left unattended. Lighting, video, sound effects, props and lasers are all wrapped around a superbly talented group. No song created by Pink Floyd is too daunting for these performers. “Great Gig In the Sky” and  ”Echoes” were some of the more challenging pieces that they presented flawlessly. No matter your background or musical preferences, you should make an effort to catch their performance. It is a theatrical masterpiece that is beyond reproach.

Reviewed by Nick Bell on 3/16/13

YES Smokes Through 3 Albums at The Venue

As a prog rocker, the iconic band Yes has been one of my favorite groups, following them for over forty years. I had the good fortune to see them on their 35^th Anniversary Tour in 2005, featuring the classic line-up of Anderson, Howe, Squire, Wakeman and White. I have always been a huge fan of Rick Wakeman and Jon Anderson. As they were no longer with the band I was a bit concerned how the classic sound of Yes would be affected by their absence.

On this tour the band was performing three albums in their entirety, The Yes Album, Close to the Edge, and Going for the One. Wakeman was replaced on keyboards by Geoffrey Downes and the replacement for Jon Anderson (Benoit David as of late) on vocals was Jon Davison. Davison was in a band Sky Cries Mary and also had recorded a couple of albums for the prog rock band, Glass Hammer. To fill out the band there were long-time members Steve Howe on guitars, Alan White on drums, and Chris Squire on bass (the only band member who has played on every album).

The Venue at the Horse Shoe Casino was an apparent sell out. The lights dimmed, the strains of Stravinsky’s “Firebird Suite” began (the traditional opening music for Yes), and the band walked onto the stage to a rousing ovation. There was a large video screen suspended at the rear of the stage and at the opening, vintage images of the band were shown. During the show, each album and song were displayed on the screen when they began, and various graphics were projected or live video of the band. In addition, two large video screens also flanked the stage projecting live video of the band. It was very nicely done.

The band opened with the album “Close to the Edge” and played the entire album in sequence. (My favorite Yes album) The opening song was the nearly 20 minute classic, “Close to the Edge.” Any qualms I had about the vocalist Davison instantly dissipated when he began to sing. His vocals were outstanding and he sounded just like a young Jon Anderson. The vocals on Yes songs are very high and difficult to sing, but Davison hit the high notes effortlessly, held them unwaveringly, and really took my breath away. My wife, who attended the concert with me (also a huge Jon Anderson fan), was equally impressed with the quality of Davison’s vocal performance. He seemed to channel Jon Anderson with his movements around the stage and had a great stage presence. He accompanied on percussion, guitar, and keyboards as well.

My other concern was the keyboards. I had seen Geoffrey Downes this fall when he was touring with Asia and developed a deep respect for his abilities on keyboards. However, Rick Wakeman is a god of the keyboards to me and his keyboards were iconic on so many of the Yes songs that I was afraid that there might be a significant difference in the sound of these songs. Once again, my fears were assuaged as soon as I heard the keyboards. Downes captured the classic sounds Wakeman produced on the keyboards and sounded wonderful. Interestingly, you could catch bits and pieces of a modern flair Downes added to the keyboard music, which actually enhanced the experience. Outstanding job. Downes seems to be one of the hardest working keyboard players around (touring with Asia and now Yes) and has proven to be one of the premier players in the world.

The rest of the band was tight and solid. Steve Howe showed his absolute mastery of the guitar with superlative work on all sorts of guitars all night long. His playing was spot on and he played with great enthusiasm which is a testimonial to his professionalism realizing that he has been playing this music for over 40 years. Chris Squire played a thundering bass, showing why he is regarded as one of rock’s best bassists and he too showed great energy, roaming all over the stage, gesturing, posing, seeming to be enjoying himself on stage immensely. Alan White, as per usual, was steady on drums providing the driving force for the band, coupled with Squire. I had interviewed White (also on rockchicago.net) and had asked him what keeps him going after all these years. He said the best part of the day is when he goes on stage and seeing the smiling/happy faces make him extremely satisfied. And smiling/happy faces there were, as the crowd absolutely was enthralled by the performance of the band.

At the completion of the song “Close to the Edge” the band received a standing ovation, which was pretty much a given at the end of each song all night long. The crowd loved the music; the band seemed to feel the love and gave it right back.

They continued through the album performing “And You and I” and “Siberian Khatru.”

Chris Squire then related that this was their first time in Hammond, Indiana. He continued by saying that this show they would be doing three albums in their entirety in sequence. He then introduced Steve Howe who introduced the next album. He said following the “Tales of the Topographic Ocean” they went to Switzerland, spent a few million dollars and did a kind of recollection album. It starts with some bloke….he then launched into the frenetic guitar opening of “Going for the One” from the same named album.

The following song on the album was one of my favorites, “Turn of the Century,” highlighted by the acoustic guitar of Steve Howe and the lovely vocals of Jon Davison. My one complaint is throughout the night there were ignorant people who kept talking….not so much of a problem on the louder songs, but very annoying on a song such as this…it really detracted from the magic on stage. At the end of the song Davison stood, outstretched his arms to the Heavens, and brought the audience right with him.

I would like to make another observation about Jon Davison. He REALLY seemed to be enjoying himself on stage. He was constantly smiling, acknowledging members of the crowd, and would occasionally clutch their outstretched hands. I attended the Meet and Greet after the show and I remarked to him what a superlative job he did. I also mentioned that he seemed to be having so much fun up there it had such a positive effect on the audience. He was flattered and happy that he conveyed that feeling, because that was the way he felt. I was definitely impressed with him, vocally, but also as a person, because he was very genuine and appreciative of the fans.

“Parallels” followed, a lesser known song from the album, but the advantage of performing entire albums as some of these chestnuts had rarely been performed in concert. When the band began “Wondrous Stories” the crowd joined in and sang along with great gusto. A definite highlight. The final song from “Going for the One” was the 15 minute “Awaken” which showcased the fine keyboard talents of Geoffrey Downes, who gave a majestic performance.

The final album was the album which really surged their popularity, “The Yes Album.” The opening track, “Yours is No Disgrace” was a tour de force for Steve Howe, who was an animal on guitar. Once again the audience joined in on vocals.

Jon Davison then introduced Steve Howe who performed “Clap” his acoustic solo piece, which was well-received by the crowd, who obviously clapped along!

Another iconic song from this album followed, “Starship Trooper” which the band attacked with fervor, Squire was playing with flair, mugging, went over and mugged with Steve Howe, and the audience was full-throatedly accompanying with their vocals. During the portion of the song entitled “Wurm,” a really driving section of the song, the crowd was standing and dancing. There was one audience member who was dancing uninhibitedly and Jon Davison pointed him out to the crowd and said, “Follow that man!”

The ensuing song was probably the favorite of most people in attendance as when the familiar strains were heard the crowd went nuts and began singing along to “I’ve Seen All Good People.” Steve Howe was on mandolin. Jon Davison was especially energized, smiling at the crowd, pointing at crowd members, saying “Let’s see those hands” encouraging the audience to clap along, which they did.

The final two songs were deep album cuts, “A Venture” and “Perpetual Change.” At the closing section of “Perpetual Change” there were two “cannons” which shot confetti all over the crowd ending the concert on a very festive and upbeat note. At the end of the song Davison was once again interacting with the crowd and shaking hands.

I am sure most everyone knew what the encore song was going to be and they were not disappointed, “Roundabout” from the album “Fragile.” It was enthusiastically performed; the audience was dancing and singing along. A superlative end to an outstanding concert experience.

This was one of the best concerts I have attended, it was a generous length, outstanding music and musicianship, by one of the greatest prog rock bands of all time, exemplified by their staying power on the music scene. But one of the superb attributes to this concert was the enthusiasm of the band members, who have (except Davison) been performing this music for over forty years, but the music sounded fresh and they played like it was new and exciting to them. I really appreciated that. Additionally, Geoffrey Downes and Jon Davison proved to be great additions to the band, proving my initial trepidation about the change in personnel to be unfounded.

One final comment about the Venue at the Horse Shoe Casino. This was our second concert event here and both have proved to be wonderful experiences. The sound in the Venue is top notch. The music is not too loud and sound is clear and crisp, catching all the nuances of the performance. We will definitely be back in the future…it was well worth the trip from north of Chicago!

Reviewed by Peter S. Sakas on 3/16/13

Photos by Peter S. Sakas

The Road to St. Patricks Day Begins: Dropkick Murphys @ Aragon Ballroom

This past Friday night the Dropkick Murphys brought their St. Patricks Day tour to the Aragon Ballroom in Chicago.  Almost every time the Murphys come to Chicago or Milwaukee I am usually in attendance. This past September they were apart of Riot Fest in Humboldt Park and for the past three years they have played a post-game concert in Milwaukee at the Bradley Center after the Admirals game.  For whatever reason they are not doing their annual show after an Admirals game this year, so the Aragon looks to be my only local Dropkick fix this winter.

On this tour they have Old Man Markley from Los Angeles warming the crowd up.  Old Man Markley is a punk and bluegrass band that packed a wallop with their mixture of sounds that they brought to the stage.  Markley’s arsenal consisted of many unique instruments including an autoharp, a washtub bass, a banjo, a fiddle and a washboard. Now one might think with seven players on stage playing diverse folk esque instruments that the sound might not be mixed well, especially at the Aragon. But I have to tell you that the sound was great and not one thing was overpowering the other. Even the washboard was audible in the mix.

Most of the lead vocals were covered by guitar player, John Carey but on a few songs the reigns were handed to the autoharp player, Annie DeTemple. This group was equally bad ass. Fiddle player, Katie Weed was smoking and Joey Garibaldi was a mad man on the washtub bass, which was an actual steel washtub. It would not surprise me at all to see these guys pop up on the festival circuit this year. They had the Murphys crowd in the palm of their hand and I see many big things in the future for these bluegrass punks.

Around nine o’clock the lights dimmed back down and the sounds of “The Foggy Dew” by The Chieftains and Sinead O’Connor came blaring through the speakers. The Murphys have been using this Irish ballad as their stage intro for many years now.  Soon after,  the sounds of a fast paced acoustic guitar led the charge and boys jumped right into “The Boys Are Back” off their newest album,  Signed and Sealed in Blood. 

It has been sixteen years now that the Murphys have been on the scene.  I remember seeing them on their first tour in 1997 when they were the opening act for the Mighty Mighty Bosstones.  Every year since then especially in the past ten or so, they seem to be growing in popularity and the venues keep getting bigger. This time at the Aragon, they had no problem filling it and if it wasn’t sold out it was damn close.

If you haven’t had the chance to see a Dropkick show then you are missing out. Guiness, whiskey, dancing, jigging, moshing and plenty of smiles are just some of the elements of a Dropkick show.  Their set was an hour and a half of Irish punk goodness. They held nothing back and gave the crowd what they asked for including the anthems, “The Warriors Code,” “Johnny, I Hardly Knew Ya,” “The Gauntlet,” and “The Irish Rover.” 

Their new album, Signed and Sealed in Blood is very good and their best effort in a while. Not dissing their last album, Going Out In Style at all but they definitely stepped it up a tad for this latest one. They did give us some treats from the last album including the title track, “Going Out In Style.”  They also broke it down and did an acoustic jam in the middle of the set with the sing along, “Worker’s Song.”  They kept the venue singing along when they went into the ballad, “Rose Tattoo” off of Signed and Sealed in Blood. They debuted that one back in September when they were at Riot Fest and that’s when I knew the album to come was going to be a classic.

The set concluded with the anthemic “I’m Shipping Up to Boston” in which the whole crowd loses their shit. They of course disappear and come back for a raucous encore as per usual. Surprisingly a lot of people started leaving but the bulk of the crowd stayed knowing that their encore is always a worthy treat. This time around the four song encore included the Murphys rendition of the AC/DC classic, “Dirty Deeds.”  For a couple years now they have been covering “TnT” by AC/DC, but keeping with their love for the classic rockers they just changed up the tune selection.

Overall the Murphys kicked ass like they always do. If they come your way definitely check them out, it’s a live show you don’t want to miss. Here’s to hoping they come back this a way in the summer.

Reviewed by Todd Anthony on 2/22/13