Nitzer Ebb, Closer To That Total Age

It's been over twenty years since I joined in the chant, and Nitzer Ebb just pulled into town to perform their first New York show in ten years, in a rented camper that they are now touring across in, mind you.  Douglas, Bon and Jason are getting "closer" and from what they said is hiatus that has been anything but "murderous."  Most fans remember Nitzer Ebb as a very heavy industrial group who brought a wall of sound to the forefront of the music industry along with similar artists as Front 242, Nine Inch Nails, Die Warsaw, and Front Line Assembly.  Their sound has aged to a golden stream of elemental tracks mixed with real percussion making their creation a unique and original foundation to the industrial music formation that would later influence Marilyn Manson, Bush, and other music artists under the Mute Records umbrella such as Depeche Mode, all were hooked to the gritty, metallic, and in your face sound that is Nitzer Ebb.  On December 3rd I was treated to a flashback to my younger days as a Goth where Nitzer Ebb, The Cure, Siouxsie & the Banshees highly influenced me to be who I am today.  I met with Douglas McCarthy and Vaughn "Bon" Harris in the downstairs bar of The Gramercy Theater in New York City just before the show began.  What was supposed to take only fifteen minutes to speak to the dynamic duo turned into an over thirty minute deep and energetic Q&A.  These are two childhood friends who have shown me that friendship and commonality binds two unrelated brothers through a family made up of one band and one message.  Enter at your own risk.

The scratchy voice of McCarthy brought chills to my body as I was blasted back to the days gone by.  The days where the lads from Essex molded me and unleashed me to see the world outside the box.  "We live in Los Angeles now in the belly of the dying beast." artistically describes McCarthy regarding the end all of end all to the former music industry.  An industry that has reluctantly sat back on its failure to keep pace with technology or current cultural desires for better music.  "The state of the music industry is such a disaster that if I have to struggle then I'd rather struggle in the sun."  he added, but Douglas and Bon aren't struggling.  They both have succeeded on levels that many music artists of their time and genre vanished without a trace.

"The reality is that the music industry were already pretty harsh and severe prior to the economic down turn.  Our music genre, rather, the Nitzer Ebb music has been fortunate with things being as F'ed in the industry because we decided not to approach a label and spoke to people we knew, like Jonathan Scott Miller (EMI), and we chose to remain on our own.  Even now, with Geffen, what we have is a partnership thing in the states with something called "Artists' Addiction."

Miller created Artists' Addiction formed in 2005 and encompasses a division dedicated to music placement called Stop ! Go Music and a publishing division.  Their goal to bring consumers and clients the best music selections for film, television and gaming takes a new approach to the all too familiar wall paper music by music source libraries.  Miller reached out to Nitzer Ebb about potential projects to have the new music placed into and the partnership was established with much success.

"We are delivering more then Geffen ever could to a kid's home and the Tony Hawk game is probably going to be the biggest selling game on a cross platform for this holiday season.  We are reaching millions and millions of people through this channel now." McCarthy bragged as he reinforced the idea to connect and spread your music vastly.

"No one listens to the radio anymore and we have redirected our music from radio to music placement such as in the newest Tony Hawk game.  The point of fact in video games, specifically lifestyle games (Role Play), represent a whole package is the dream they always wanted.  You've got this direct delivery system to twelve year olds and up where you are playing music to them, the games and consoles are always online, so if the kid is listening to the music that is on the game he likes he can access it directly.  We are selling to our audience in an unrestricted environment.  We don't even have a label and we are doing that."

The band seems very assured to continue seeing an increase in their music revenue.  Nitzer Ebb gave me a great insight to who I wanted to be in a world that tried to keep me in check.  Because of that freedom I made sure I experienced them live each time they toured.  Harris brought to light the band's outlook on the fans, like me who were effected by them who have gone through their own personal identity crisis'.  "Economic depression or not the economy has taken a toll on our productivity to tour as much as we'd like to and it does come with great financial repercussions to the music business.  I think the same fans on this tour will definitely attend the smaller city shows, and there are some fans our age who grew up with the music who don't go to that many shows, but this is where they found their identity which is special to us.  They might not fit the profile of your typical concert goer, but because we mean so much to them they will show up, buy the t-shirts, take home the album, anything to take home a part of us with them."

"We do like touring, we enjoy connecting with the people in a short amount of time throughout many different cities.  It rein firms what you knew all along.  As we were writing this new album we know what we like and our assumption is that there are people out there that go with what we like.  To have that affirmation is the whole point to being in a band.

When a band disappears from the front it is merely impossible to resurrect a reconnection to the fans.  Some fans feel abandoned and some just grow older and appreciate new styles of music.  It's a very big risk that Harris and McCarthy took, but unknowingly didn't see the benefits of.  Harris went on to produce Marilyn Manson, Depeche Mode and Bush while MCCarthy went back to finish schooling at the age of thirty.  To come back as they did with the new album "Industrial Complex" is a true testament to the fire that burns in Harris and McCarthy as it did when they were creating sparks with their first album release "Power of Voice Communications."

"We don't feel a need to reinvent ourselves.  We evolved and challenged ourselves on every record and sometimes suffered for it.  When we first toured in Europe with "Showtime" there was an initial wave of electronic bands and then there was a second wave and people expected a certain thing from us.  We didn't necessarily deliver it we had a lot of the elements, but there was also blues, swing, jazz and other influences in our music that we new to our fans."  spoke McCarthy.

McCarthy cleared his voice and buried his head deep in thought.  The room became stagnant.  He clarified his thought and said, "Ironically, we stood the course, the things that made us less at the time or less successful helped us to live on unlike our contemporaries, like Front 242 and now we see it was our differences that made people uneasy or unsure about what Nitzer Ebb was doing.  Those differences are all now the things that people love about the band today.  When you listen to our back catalog you don't hear anything that sounds the same as any other band's back catalog.  It may have been advisory on points but ultimately we stayed the course towards our master plan."

I brought the question back to the theory that Nitzer Ebb challenged us, the fans, to approach our lives differently through inspiring words and passionate sounds.  "What we tried to do musically was not to instruct people, we relayed our listening habits and expressed ourselves how we felt we needed to do so.  The last thing we thought when we first started a band was that we would be in our mid forties slugging it out on the road.  Mid forties was so far away at that time and now everything seems to make complete sense as far as who we are and where we come from in order to complete this circle of what Nitzer Ebb has always been about."

With the new album available less then a month sales and interest are predicted to raise the awareness of Nitzer Ebb to new levels thanks primarily to the accessibility and placement of the Nitzer Ebb music.  Harris chimed in on a business stand point, "The initial approach to this new album, because we like to compress and push things, got a little far from some of the core fans to really relate to as far as the early stuff.  We made it a point to go right back to basics and not complicate things.  We had a minimal amount of instruments and we went into recording in an instinctive and reactive kind of way just like we did when we were around sixteen years old.  We went in with our emotions and instincts, put that straight into the music and view what you all now have."  Harris affirmed and the he advised, "Don't get all precious about your music, it should be this or it should be that.  Just keep it very simple and very direct.  That was the idea going into this sixth album release.  We've got some songs that are very much like the original basic material with relevance to now in a contemporary feel and I didn't feel like an old man trying play music we played when we were teens."

The music has all the essence of that energy irrelevant to how Nitzer Ebb are now or the world we are living in.  So once they got five or six tracks like that they started to experiment with slightly more sophisticated sounds, with layered stuff, and the freedom to do just what they wanted artistically.  Harris said, "The music just ended up being really creative where we captured a lot of the things that needed to be captured.  As we experimented more, we had the confidence and the relaxation to record without issue.  We managed to fit everything in so it felt related to the whole package and we did this as the team."

I was just excited to be sitting with McCarthy and Harris for my own personal awe, but different time and different place has made meeting, interviewing, and shooting the people who made this possible to me less intimidating to talk to.  I was more curious to learn about what would be brought to the stage and would the show be in the fashion and sense we, the fans, have come to love?  Harris answered, "Our show is stripped down because of the logistics and the current situation dictate that things have to be pretty stripped down.  As always, if we agree to do the show, it's one hundred percent commitment.  We're pretty easy in our personal lives, but when it is time we get on stage it's off.  So they will see traditional Nitzer Ebb."

Nitzer Ebb defied the rules of the music industry by making the most of their success on their own and without restrictive contracts to suffocate them artistically or to break them emotionally from their passion to create music.  Harris exclaimed, "The great thing about this tour is that it feels like it is wrapped up by us directly to the fans that were around all these years and to the new fans who are becoming involved.  We managed to captivate the entire back catalog with one album which is kind of what we wanted to do with the last album some ten years ago.  We going to play the songs we are known for as well as some new tracks to introduce to our fans.  Instinctively we have chosen tracks from Belief, That Total Age and so on up until the Big Hit album.  It's mainly because we've got five albums plus all the pre album releases to consider and now we've added a sixth album.  There is a lot of music to fit in on each show and as things continue to build to the future we will be on a full tour next year.  These next few shows will definitely push us into direction, then we will be reintroducing more and more great songs people haven't heard in a long time like "Warsaw Ghetto" but our view is as always to try an to deliver the most energized show that we can do."

The interview ended with a few memories from my NItzer Ebb experience as well as some from my side kick, Rachel, who relished in my history as a Goth.  Both of us had an inkling that tonight was going to be a raw night to release ourselves to the mercy of Harris and McCarthy's Nitzer Ebb phenomenon.  As we walked away and shook hands with our new friends I had no doubt Nitzer Ebb was going to blaze the frenzy of fans awaiting outside in garb that must have been stored away in mothball casing for twenty years.  Old Nitzer Ebb concert shirts, French Berates, cargo pants tucked into black steel tipped combat boots and me in a Custo shirt with an Ed Hardy zipper hood.  Yes, I conformed and betrayed my blood sucking Goth brothers and sisters this night.  Harris turned away and once again McCarthy would have the last word.  With his sinister smile and grave digger voice he said, "We've got a damn good one.  Probably the best we ever had."

NItzer Ebb took stage and delivered on their promise.  Their was no sacrifice to the sound and age proved true to be just a number.  Twenty years may have gone by, but it forgot Nitzer Ebb.  The metal slams, the below the belt thumps, the ravaging lyrical strikes all combined to remind the room that Nitzer Ebb has more to say.  The simplicity of the stage set up was affective compared to bands who come back after a decade and hide behind smoking mirrors or large scale props and stage theatrics.  That was not the case on this night and I have to admit that I went in with some doubt.  I'm thrilled to be proven wrong and to be put in my place.  As a fan, and a professional that was inspired by the two lads from Essex, I am telling you to be prepared.  Nitzer Ebb haven't reunited.  They reignited.  Much like a fire with a faint amber, it takes one piece of wood, a little breath of air, and the belief that if you want to rekindle your spirits you can.  Nitzer Ebb has a few days left on their tour in the US and will be back strong next year as promised.

Big Phish Reeled In Syracuse

The Phish tank was in a hazy thick fog before the show, the enthusiasm was stimulating, and the buzz was a feverish feeling combined with elation and thrill calling out for the school of Phish to gather. I have witnessed many shows from many genres but what I have witnessed this day was a feeding frenzy that I haven't seen in all my years of attending concerts or that I recorded in the five hundred plus SCUBA dives. The Phishing lines tangled up traffic lanes leaving the city to believe that the end of the world was only moments away. It was Woodstock in Syracuse brilliantly colored in a spectrum array of vivacious colors fluttering from flags, the Birkenstock sandals that were apparently fashionable in thirty degree weather as they are on a ninety degree foot sweating mud-puddle-skipping day of yore. Reflections of years gone by, of the deadhead clans, and of the seasons of love are long but over. It's still cool, man and the day was heavy, man. What I witnessed was the gathering of one mind for one cause with Phish at the epicenter of this twenty first century hippie universe. All this hit me when I stepped out from my conformist vehicle after my Michael Jackson's history funkadocious in car concert. After four hours, a raspy voice from singing, and some three thousand cows grazing on the pasture on my pilgrimage ride up North, I planted my Harley boots down on Syracuse pavement and took in a deep breath of Phish bated air. It was the Phish Phan's way of greeting me welcome while bidding adieu to any conscious way of thinking.

Everywhere you veered your eyes shined a bedazzled spectrum of rainbow stripes printed on long dresses and on so many tie dye suits you couldn't help to feel groovy. The smiling domino effect drenched Syracuse with free thinking Phishermen and Phisherwomen who spread their beauty in peace, shared their beers unconditionally, and who basked in their baking huddles with new found revelations under common displays of unleashed enjoyment. The lady's twirled their orbiting talents through acrobatic hula-hooping. I am sure Ms. Sticks would have lead this event proudly on the parking lot stage. i was shocked to know that it was only 1:00 PM and Phish wasn't going to be taking stage until 8:00 PM. Pre show parties filled out the schedule with regional music artists who displayed their talents on the street and at the official pre-show party at the Oncenter War Memorial Arena Complex. The transformation downtown simulated a floral parade of twenty-first century hippies shocking and awing the locals who congregated for their annual free Turkey drive. I was waiting for the bout to begin. In one corner the fifteen pound Turkey and in the other corner the hemp granola bar, but the arbitrator by mother nature kept order and peace allowing the free spirits to dance, hula-hoop, and to remain toasty in the late autumn chill (Toasty being the emphasis).

I met an amazing woman whose energy and passion for her work exudes her. The passionate Sandra Baker, VP of Sales & Marketing for the Oncenter received me with a great smile and a warm hug. "The Oncenter is dedicated to all the men and women who gave their lives and limbs to keeping our families and our country safe from harms way. It's a remarkable venue with a wonderful museum displaying some of our hometown heros who served in the unfortunate wars and conflicts we have witnessed as a nation. Our ability to memorialize our local Vets is something we are proud of and honor with great respect." Sandra shared insight with me to the history of the Oncenter Complex and welcomed me to take walk the glass enclosed memorial that also captured the attention of many Phish fans. Everyone seemed to be touched by the artifacts, the uniforms, the names listed on the glass windows, and respectfully walked with a serene calmness before entering the Phishing hole. It was here where I felt a sense of pride and a knot in the throat to see both doves and hawks uniting under one roof in the name of music.

The house lights blacked out and the venue fell into darkness swallowed up by the uproar of Phish fanatics making their presence clear. It's was time to put away the stress of yesterday and time to devour the jam band of our generation. Phish walked out into the blue and white lit stage like ghostly apparitions of men walking into Vermont mountain scene. The hysteria penetrated the through the skin piercing the heart. I gathered flash frames in my mind of the faces in the crowd expressing awe, of emotional meltdown, of acceptance, and mostly of true appreciation. The reception, just short of gaggle of screaming bobby girls in the Ed Sullivan theater welcoming the Beatles back to New York, thrust the crowd forward. They waves of fans jumped high in the air reaching out to the boys from the Green Mountain State, and like that, the amps quaked the cameras in my hands and we were off on a very long strange trip that even Jerry Garcia would be proud to say he grandfathered.

The lighting captured the feel of a star burst beaming through thick forests cascading the mass in emerald greens, rich blues, luscious reds and vibrant yellows. I was compelled to stop shooting and to absorb what was taking place right in front of me. I turned around to face the crowd and took the entire moment in. The lighting coursed through the arena much like a river refracting the sun. Trey Anastasio, Mike Gordon, Jon Fishman, and Page McConnell make up current day Phish. Four simply dressed men took their individual talents and blended their instruments into a bending musical sound welded together in flowing harmonies and breezy riffs. Phish took their place on stage, overtook and captured the minds of seven thousand plus adoring fans with a playlist set that had one beginning and no end in sight. "Rift", "Weekapaug Groove", "Stash", "Llama", and "Tweezer" were just a few selections that were mixed into the massive overload of music performed by what will be the longest running show off-Broadway. There are very few bands who can do what Phish has done by beating the odds as an American culture whose success was built mainly on their live performances rather then a concentration on creating new album material. Phish is now and will always be an institution to their liberal viewing audience and fans. These four free thinkers are going strong and face a long music journey ahead to play their innovative, improvisation, jam band music and have rightfully earned their place as heirs to the Grateful Dead throne. Phish has been swimming upstream for over twenty years now and I hope they will keep swimming because what they leave behind in their path is a stream of the finest music and a live performance unlike anything you have ever been a part of. All I can say at this point is, Phish on!

Joey Williams, On the Road Again

It's 12:30 on a Wednesday morning. Five Time Grammy Award Winner and Lifetime Achievement Award Recipient, Joey Williams has the keen insight from The Blind Boys of Alabama and he is riding co-pilot tonight. After a bigger then life rehearsal for his upcoming show this Friday Joey opened up to me about his life on the road and a revealing portrait of his life through his own words and his own take on who he is from where has has come from. The journey Joey explained to me on our two hour drive back to the Bronx explains clearly why he is essential to the music fans he plays for and the music artists who continue to acquire his talents on collaborative projects from Robert Randolph to future soundtrack work for films. This is a unique night for me to witness the roots of Joey as a music artist, a humanitarian and a friend. Tonight my recording and the interview that took place was as close to a storyteller experience as I have ever had. Joey is the artist and I was the audience.

Williams is sitting in with with Marc Sincavage & Special Guest "The Breakfast" at Skappo (Playright, 144 Temple Street New Haven, CT) in New Haven, Connecticut. The rehearsal was held garage band style in the basement of an Optometrist office in the middle of Hamden, Connecticut. The feeling was relaxed and vibrant. It's just what happens when a local band and a music legend combine in the last place on Earth to play good music. The harmonies were tight, the music was balanced, and the room was hopping to the chicken plucking guitar strings to the heart thumping beat of the bass drum. A Hammond Organ became the cherry on top of this musical sundae sprinkled with the colorful culmination of throw back vibes to current day hit songs. It's not how you play the instrument, it's how the instrument plays you. Remember that folks because this night belonged to the love of music and not for the free meals of candy stashed in the upstairs containers of the eye doctor's office of where we hid from the outside world.

The feel on the drive home had a different feel, but over all Joey and myself sat back to the sounds of Willie Nelson and Johnny Cash who collaborated together for a VH-1 story teller concert some years back. It's the kind of CD that never gets old and the where stories become fairy tales of days gone by. "On the Road Again" started to play and Joey grew excited in the seat as a husky Pete passed out in the back from too much something-a-rather. Just the sounds of mumbles and how Willie Nelson was talking to him through the music caught my ear in between my own personal momentary lapse of reality. The movie in my mind played over and over again. A looping picture of my soul's mate walking towards me in the hallway of the JFK airport terminal. The smile of smiles, the embrace of embraces, and the start of my new life some seventy, yes seventy, pounds lighter. "..and I just can't wait to get on the road again." The song ended and I pressed record on my digital recorder and what happened next was my first deep interview for backstage blogger. An up close and truly personal insight to one of today's most talented guitarists, Joey Williams.

"That used to be one of my mottos. I used to be serious about that tune. I lived that song right there. I remember when the song first came out. When I was growing up and I was on the road. I hadn't been home in a long time from being on the road and I would start singing that." Joey explained to me just before breaking into song, "...and I can't wait to get on the road again." I asked him what is his road was and where his road was bringing him to. He sat back in his seat, pressed his head back on the head rest and with a deep sigh said, "The road was a place to travel on to get to my friends and my family. Back then we weren't traveling around the world. Traveling around the world came later. Back then we were just traveling around the country. We traveled on 95, 85 (Joey laughed lightly), all over the place." Joey's traveling started at the early age of eleven when he was living in Florida. He would travel with his father's quartet, he would perform on stage with the band, and that is initially how he started his life on the road. It's been a grandiose road with collaborations and fill in cameos with such incredible musicians such as Robert Randolph, Dave Hollister, and Keith Sweat. His family life on the road exposed him at an early age to the various cultures, the mindsets of the people, and the ability to grow up with no boundaries through his music. "My mother and father would take us down to the Wilson, North Carolina area where my family and I would spend our summers being a family. That was my road back then. Today it's about playing in the church and always listening to music."

Unlike some music artists, Joey's family is still alive for the most part. His mother and father have shared each step of his success as did his siblings. He recounted one of his aunts who passed some time ago and how her passing was short of the success. She was one person who he hoped would be alive to witness his contribution to the music world. Joey also brought up another person who he says would have truly appreciated his talents. "I also wish my father-in-law could have seen the success I have made at this point and what I have been able to build for my wife." His wife attends a majority of his shows and she is very fond of Joey and his talents from the times I have shared with her backstage. Being on the road with out your spouse can be tough and does come with its own challenges, but Joey's love and dedication to his wife keeps their relationship moving in a forward direction where so many music artist relationships have fallen apart. His passion for his music is essential and the inspiration he has for his wife is apparent through his music and a few glances from stage to her when the connect in their own personal moments. His smile brightens as their eyes meet and its a beautiful moment which I have caught from time to time when I'm not fixed on getting that next shot on camera.

Joey exercises his guitar skills like a man running a triathlon. Each day he wakes up and empowers his soul for music by practicing and looking deep with himself to learn new techniques of playing better then he currently is able to. This is a daily ritual developed from the mind of a five time Grammy award winner who flows through life feeling good and keeping positive. "I have like six statues (5 Grammy Awards and 1 lifetime Achievement Award) in my home from my music. You don't realize it until you start talking about it. It's special and I love saying it. I'm a Grammy Award Winner. I worked really hard in the studio with everything I have and for that dedication, and the band's ability to remain on top of their game, we won the awards we have with great respect from our musical peers. This band has achieved so much after so long of putting in its time, its energy, and its blood. I remember the first time we earned our first Grammy. It was me and Jimmy (Carter). When our name was called we all just stood up on the middle of the floor and we could not believe it. It was the most incredible feeling that I couldn't even begin to describe. The following year we were all sitting together again and we were so nervous as we were the year prior. The feelings I had inside were just like the feelings I had racing through me on our first nomination. We even went to the awards with Robert Randolph that year. Robert was nominated for two Grammies and we were nominated for one. We won another award for our category that night and it was like a double treat. We played and we won our third Grammy Award. The following year was number four with Ben Harper. Even after five wins the feeling doesn't get any less intense and I am always nervous as I felt the first time we were nominated. It's like each time the Yankees win another world series. It never gets old. Just I do."

Joey is a simple man with a very focused goal. To be the best at what he does. His ability to pick up the guitar each day is a blessing that has been bestowed upon him with a higher purpose then to pluck strings or to entertain music fans for a dollar. He brings out the best emotions from out of his fans who depend on his energy and stage presence for warmth of comfort of feeling good in their lives. Joey's musicianship talent expands over a decade and has touched millions of people over the years. He still dreams of a time to collaborate with such music icons as Sting, Mary J Blige, and his mentor, Stevie Wonder. What Joey would bring to their music is a flavorful root that is untapped and unheard by anyone they have partnered with. His ability to capture the moment is done effortlessly with the highest regards from the music industry. There is no project too big or too small for him and he is on the brink of becoming a legend in his own ranks.

"We recently went to San Francisco to do a few songs for a documentary with Anthony Hamilton and some other artists. We are heading back to the states after our world tour with the Preservation Hall Jazz. It's an incredible experience coming from being a kid from the Bronx with a guitar and a dream to be able to see the world on tour doing what I love each day, and if I could do one thing before I leave this Earth I would like to do a duet with Stevie Wonder. It's a dream I have had that ever since I was a kid. I look to Stevie as a mentor because if you are able to do what he has done and to accomplish the level of success he has achieved, then you have to give credit where credit is due. Stevie is the man and a music artist I look up to with the highest respect. He's proven himself and you just can't go wrong following in his footsteps."

Joey Williams. A name that shouldn't be new to anyone living above a rock. Joey will continue to play music until the good Lord brings him home. He will continue to march forward and develop his legendary status. There are so few music artists who can paint a room in music as Joey has done time and time again. His free spirit will keep him fresh and keep his music fresh, anticipated, and exciting when it is created. The life and future that will pour out of him in the years ahead are going to massive and it will be the loss of a music fan to not drown there heads in the cleanly baptism of Joey's music. Where there is bright light, warm reception, and love there will be Joey Williams on center stage with his fender in hand plugged into an amplifier ready to blanket you with music in its purest form. It doesn't matter if it is in a seedy bar or in a major venue, Joey keeps himself in check and the music he creates and performs doesn't portrait a man who knows he's accomplished the near impossible. He is a true music artist who plays for the love of playing and nothing less. I'm proud to call Joey my friend and I'm blessed to have had this time in our car ride to learn more about how two people can share the same passion for music on and off the stage. Joey Williams. Wow!

"Almost" Out Of The Book Of Marc

I stepped onto the tour bus parked outside the 53rd street side of the Roseland in New York City where I interrupted an essential meeting between "The Almost" and one of their team members. The subject at hand, "Would you like a tall, a grande, or a Venti from Starbucks?" The flavor of the night in question was the festiveness "Pumpkin Spice Creme" which would be accompanied by a ritual spike to be named at a later time. The team member shot out into the rainy city street in quest of over priced caffeine beverages leaving me alone with the curious group wondering who was the dude with the recorder and camera in hand. I was wondering which one of these guys would be the one to expose the band's weak spot. The band was new to me and, unknown to me, would hit me with a few surprises of their own during our brief interview. We sat in the common area of the tour bus as fans rounded the entire block for this three billed show of featuring Drive-A, The Almost, and The Used.

I have to admit the only thing I knew coming into this show was that Kelly Osbourne's ex-boyfriend was performing in the Used and I was going to speak to the opener band. Never judge a book by its cover and always prepare yourself for anything possible. With a name like "The Almost" I jumped to think that I was going to be interviewing another band making minor noise and whose longevity would be measured in minutes, maybe days, but not by years. I could have slapped myself relentlessly after meeting this group because these boys are the real deal. I had the privilege to sit with Alex Aponte (Bass), Dusty Redmon (Guitar), Jay Vilardi, and Joe Musten (Drums) over a fifteen minute overview the opened deep talks about music, religion, and a great detailed insight to "The Almost" I "almost" wrote off before accepting them.

Dusty Redmon is a colorfully inked intellectual with many thoughts running through his mind. His view of how the band formulated seemed very well thought out. "Aaron needed a band after doing the first album in 2005, by himself and when it came time to play shows he put the call out for a band and got in touch with Jay who knew Alex who brought me and Kenny in to form the first generation of "The Almost." Shortly after we announced our EP in 2007, our drummer Kenny parted ways when he took his vows and married. It's questionable of whose final decision that was (the boys laughed), but Kenny is still a very essential reason why "The Almost" grew and matured musically into the band it know to be today. In his mind he was ready to move on from the band and to follow his personal dreams. When it came time for a new drummer, Joe Musten was in my old band and Aaron took a real liking to his ability to play so he matched the missing void that needed to be filled."

"As a Florida based band we each chose to explore ourselves by following our dreams outside the music and now we live in different areas of the country. I lived in Florida for twenty years before moving to Salt Lake City. Joe and Dusty now live in North Carolina and Jay and Aaron remain in Florida.." added Alex Aponte. "I want to say that the initial discovery of "The Almost" occurred in Florida, but it wasn't until we rolled out. I was stoked when we hit the road on tour for the first time. Things were happening, but we were lucky if we filled a one hundred seater. With Virgin Records relentlessly promoting our album to radio and with us increasing our fan base through touring the states we had a team that would give us that next ring to climb up on our ladder of success as a band."

I, being a traveling photojournalist, can absolutely back the fact that there are states of shame vesus states of fame. Florida is a state of shame whose market is limited in producing great music. The consistent transitional lifestyle of people moving in and out Florida can be of blame because outside of the Senior community gathering a fan base is near impossible unless you are a part of the metal market or an over commercialized circus act. It's hard to be discovered and unless you are fabricated by the likes of Lou Pearlman and molded into a boy band you chances at success are much more limited compared to a major music market like Austin, Nashville, or Manhattan. The internet presence is certainly helpful to me as a photojournalist as it is for young music artists who know all to well of the politics and financials needed to achieve a high level of success in the redeveloping music industry.

"The internet has expanded so quickly and it's hard to keep up with what's hot and what's not. I feel like my dad sometimes when I finally get something like Twitter and then find out it's not cool anymore. Our team and the band is really trying to make sure we stay in touch with our fans. Each of the band members do twitter and update their own personal blogs, and we are trying to stay as hands on as we can while we tour or write music." Dusty explained and continue to touch the fact about creating this band in a theme park driven state not very well know for its music ties. "Being in Florida was a very difficult market to start off in as a young band because it seems the majority of the bands that come out are in the Metal genre. The first tour we were first billed on was our biggest break and is where we grew the majority of our fan base."

"Monster, Monster" is an album internally viewed by its members as the band's first album release because it's the first album that the band each were able to record on and contribute to. This coming from the incredible fact that Aaron released "Southern Weather" as a one man band. Dusty popped a few peanut butter malt balls into his mouth and reflected a moment on the band's new record release. "It is kind of crazy to think about because the first album was completely created by Aaron, so for me this feels like the band's first album because we all played on the album during the recording sessions. There was some pressure on the recording side for me because it was my first time appearing on an album being released by an major label. i remember when we all came together to write the album we were able to do so pretty effortlessly and everything just gelled. We ended up writing more music than we had room for on our first album so those will stay in storage for now until we can revisit them for a future release."

Alex looked over at Dusty and added, "We try to write as many songs as possible and approach our recordings openly so to leave us with multiple options at the end. We prioritize our music by what we feel is really working at that moment and decide at that point which will be our next single. We have so many songs that we had to stop and figure out what we wanted to place in the new album. It's a process that has worked for us as a band and we feel confident expresses who we are."

If it isn't broke don't fix it and understand there is no cardinal rule to what will make or break a music artist and their group outside of artistic differences and the occasional wife swap. Each and every band I interview has made success on their own business model and it has worked for the most part. "Monster, Monster" doesn't seem to be an album created by twelve straight up radio singles. This album consists of a flavorful song list that includes an off kilter country song as well as a long play release titled "Monster." The music is furious, it's heavy, and it is fun. The surprise of the evening dropped into the interview when Alex Aponte dropped the "C" bomb on me. The Almost are aband with a top ten single in heavy radio rotation and a measurable fan base gathered feet from their bus outside. I would think that the band would have been headlining and not supporting a group such as "The Used."

"What is interesting about this tour is we are sandwiched between two bands that are pretty edgy like "The Used" and "Drive-A." We definitely stick out but I think music fans tonight and going forward are cool with it. I guess it's weird because we are Christians in a band and we are not afraid to say that, but we weren't sure how the fans would take it and so far the reception has been tremendous. Each show gets better and better and the fans are leaving having a real positive concert experience and not getting into, too much trouble. I imagine there are fans who have been looking forward to this tour for weeks now or months now and we are going to go out each show and put on the best show each time."

The cross over of Christian Rock into mainstream music is still a rather new concept and has not happened very many times. The last band to jump that hurdle to a notable level was Creed and arguably by Amiee Mann as well. When kids want to crowd surf and vent their frustrations it's not very common to do it to messages of love and peace or other foundations principles of Christianity. "There are a few songs more so than the last album where we do lyrically promote Christian view points, but the message Aaron writes lyrically with the album is more about how everybody on this Earth has a monster deep inside of them and it's important to sort out your personal issues with your family, your friends and your faith no matter your creed. I think everything is much more metaphorical and not so cliche, but we don't hide the fact we are who we are." clarified to me.

Dusty and Alex continued to illustrate the group's music manifestation was able to keep Christian view points in its lyrics. "We take the Christian principles and apply them to person the song connects to without stating the obvious or promoting religion directly into the lyrics. We believe in the bible and we present that to a person a guide to getting help or to embrace themselves in order to get through life's challenges. It's our way to say they aren't alone but the fans can transcribe that message in their own person views how they want to. We certainly aren't asking people to jump on the Christian bandwagon, but I think every person can grab and take a part of our message and to apply to their own life and that is what makes music and lyrics so powerful."

So what about groupies and the idea that a touring band is a party band? That was squashed when I took notice of a giant Television wired to a Wii gaming system. Alex tapped on one of the game boxes laid out on the table, "People have come onto our tour bus and we shocked to learn how calm we remain backstage or on a tour bus. They tell us how the experience is unlike any other backstage experience they ever had because we are very laid back and pretty quiet compared to other bands. It's not because we are boring dudes, it's because we are chill and like to have a fun time without the party scene." That is such a refreshing change to be a part of in my opinion because as the boys pointed out to me they are just five boys who know live in different areas of the country that come together to play the music they love and spread their messages of love, peace and harmony through a blend of very catchy music with great hooks.

"When we play in front of a live audience we go in with the thought to just play and to have fun with the music we created and the fans who we connect with. The crowd sings along whether they heard us twenty times before or this is the first time they are exposed to our music and our live show. We just want to have a good time and to share ourselves and our passion with the crowd." The interview concluded over a future prediction of what the each band member would like to do outside of the band and it was Joe who had the most colorful idea and which silenced the entire room. "I thought about this more and more for the last two years. I want to open up a super cool barber shop where I grew up in North Carolina. You know to do regular salt of the Earth haircuts for cops." Adam Sandler as the Zohan ran through my mind and I tried to imagine Joe in cut jean shorts cutting Salt-of-the-Earth haircuts for Cops, Construction Workers, and other blue collar gents who would enter his old fashion Carolina barbershop. "I want to do cool Rock 'n' Roll hair cuts. Not like sassy or Zohan style." Ok scratch Zohan and replace with Leather Face without the chainsaw.

The night was beyond anything I was expecting. Three great bands took stage and put holes through my head with heavy action music and inspirational messages. The ocean was deep this night and the crowd suffers poured over the flood gates one after the other. From the first opener, L.A.'s "Drive-A" to the headliner, "The Used," the Roseland capsized anyone brave enough to enter the pit. The music was tough the electricity was a continuous output of amps mixed with blended metal. The fierce and ravaging music by Drive-A was enhanced when Bruno Mascolo launched himself in the the waiting riptide of the crowd. it was an unbelievable sight and the crowd immediately connected and accepted the little man with the enormous voice.

The Almost took stage to a hungry audience that was ready to be raptured. Aaron parted his sea with a mighty salute and rock star roar. The crowd replied back with deafening gratitude as the Almost made the unholy, holy and exorcised the frenzy of fans into a acrimony of fire flared fanatics powered by force of goodness. The rise of hands, the yells for more, and the halo from the lighting illuminated the darkness of the Roseland into a robust blaze of imagery and theatrics. The Almost sequentially played an uplifting playlist solidifying any doubts that a band founded on Christian beliefs could keep pace with bands whose image are raunchy remnants left over from grunge or Emo influences. The Almost will continue their tour with The Used playing a number of cities throughout West coast. The shows are limited and the tickets are in high demand so get online now and get yourself to one of these remaining shows.

An Album To The 6 Billionth Citizen

Salman Rushdie sat between the members of Dredg sharing the spotlight of an unprecedented event hosted by Spin Magazine at Housing Works Bookstore & Cafe in New York City. "Liner Notes" was created to bring various artists from different mediums of art together in a showcase presenting one artist whose art has influenced another artist who shares an equal yet unique perspective of that art piece. The event Spin Magazine created allows a in-depth look at how one artist can express and manipulate another artist's creation. In tonight's round, Salman Rushdie's "Imagine There's No Heaven: A Letter to the 6 Billionth Citizen" was the feature of the evening which influenced the Band Dredg to write their best recorded album to date "The Pariah, The Parrot, The Delusion."

The guests sat in anticipation with no idea of what to expect and not fully understanding how two totally different voices could be combined in agreeable terms. Would these two artists put their views to the side and get through an hour long session together without the threat of artistic differences was a burning question in my mind which was answered and quickly subdued when Mr. Rushdie took center stage to read an except from his book "The Ground Beneath Her Feet." The book explores time and space in a conventional manner between two parallel universes. The journey spans over forty years of pop culture and focuses on a gifted musician (Ormus Cama) and his soul's mate, Vina Aspara, whose amber voice sings, lures, and traps her listeners instantly through a vocal canvas of color notes. Despite earthquakes, heartbreaks, and a tare through a continuum of both time and space, the story happens to be Mr. Rushdie's most optimistic book written yet. The versus read this night pierced me deeply but the pain was soothing as I was able to find with in me a way to connect with my own soul's mate who sits more then 1200 miles away from me. If she could only know how I feel and how much experiencing this night would impact her own personal perceptions I know our 1200 plus miles apart would vanish to inches apart.

With my own idea of a book in the making I have written my love of loves one letter for each day since we met and the messages behind Mr. Rushdie's writings have personally opened my eyes and made valid my theory of true love or what she has beautifully expressed to me my "soul's mate." Salman Rushdie has inspired millions, perhaps billions across the world and now he can add one more to that list. Thanks to the idea of synchronicity or that everything happens for a reason I have experienced my own personal light and understand with a new clarity as to the tests that have been put before me. I understand why life has traveled up some of the highest mountains I ever had to climb and why I had to start in the lowest of valleys to reach this new insight as I perceive it today. I understand now why I met Dredg and came to this latest event in my life and to witness this collaboration of artists goes well beyond the beauty of an album cover or chapters written by one man's brilliant pen.

Dredg joined Rushdie on stage after the his reading to confirm their own claim as true music artists. Dredg paints their shows with minimal glitz or glamour. Going to a Dredg performance is allowing you to open up and listen to the roots of music without being distracted by flashy stage works. The music is enough to draw the audience in and tonight I was even more impressed to listen to this particular performance by Dredg toned down to acoustic and electric instrumentation minus the percussion. Loud music can deafen you when played at a lower level and being loud isn't always best. The blend of the music highlighted by Gavin Hayes' vocals was tremendous. The impression the band made was unholier than thou, if I may borrow the term, and it stole the air out of the old bookstore where the guests leaned forward in their chairs, drawn in tightly to the music Dredg exuded. The set was a short and very sweet five song list. "Pariah," "Lightswitch," "The Ornament," "Information," and "Cartoon Showroom."

The night embraced the love of music with the importance of expression, but leave it to the last person you would think of in this story to break the serious tone of the evening with dark humor. Rushdie managed to gather everyone in the room together with such amazing stories of his life and the collaboration attempt by Alex James of the acclaimed band "Blur." The eccentric Rushdie sat in his chair and impersonated a slob, alcohol driven, filthy mouthed Londoner ranting about a collaboration idea. Another highlight came when one guest asked Rushdie if he meant for his controversial book "Satantic Verses" to be so affective to the believers that hunted him for a decade. Rushdie sat back with a smile and said, "Being sentenced to death by the Ayatollah Khomeini really ruins your weekend."

It's 2009 and with so much energy going into two very impressionable pieces of written works, Salman Rushdie's essay and Dredg's latest album both surround a beautiful concept and view at humanity. So how is it that the world we live in still finds the written word and the freedom of expression through music and books a threat to power? Why do artists continue to create verbal and written ammunition knowing that odds are against them? It is conceivable that the 6 billionth citizen could be in a country where he will never learn or hear about either Dredg or Salman Rushide and their life changing messages.

" This 6 billionth child could be in a country where such messages are censored which is sad. A lot of the world now is like that now. I don't truthfully know the answer. All I can do is put the message out there and hope that the message will reach this child somehow. Another great thing about this musical collaboration is that it takes the message to another place where different people will hear it in different ways and it multiplies the message. All you can do as an artist is put it out there. None of us in this age can control the powers that say what we can listen to or what we can say. All we can do is disregard them and do our work. Maybe at the end it will find its audience."

Dredg Out Your Rushdie, Here Comes Something Different.

Orlando, Florida. Vacation destination. Disney controlled and infiltrated with some of today's most questionable members of society. Not this night. Downtown Orlando became the epicenter for American progressive and alternative rock band, "Dredg" to unleash the music from their latest album "The Pariah, The Parrot, The Delusion." This is the band's fourth full album release and the first to be released completely independent from a label's backing. Dredg, like many bands today, is seeing the value of being independent from the labels in order to properly express their message as they see fit and to keep better control over their creative expression and what a message this album has is nothing less than intense and truly brilliant. "The Pariah, The Parrot, The Delusion" is an aspiring anecdotal album aroused by the brilliance of author Salman Rushdie, whose book "The Satanic Verses" brought on controversy that sent the author into hiding for a decade. The author also wrote and essay titled "Imagine There's No Heaven: A Letter to the 6 Billionth Citizen" which became the backdrop to this latest Dredg album.

Dredg has been through a four album transmogrification in which has adapted a spectrum of sound and reclamation of artistry through music expression. The detail of the production in this album is very conscientious and Dredg executed the recordings straightforward with their heart and soul. The band has come a long way, but the effects of the economy and downfall to the music industry has put the band in a position to fend for itself. Gavin Hayes (Lead Vocalist & Guitarist) and I sat off to the side stage and discussed his view of the bands approach to recording music in the state that our economy has fallen onto and the current pattern to music sales because with eighteen tracks to absorb off the latest album tracks need to be carefully written in order to attract dedicated fans and new fans to make their purchase online rather then in store like the "old days."

"We haven't really changed our approach so much from a writing stand point. We are still focused when we are creating a record. Our goal is still from the packaging to the songs to having a complete record under lined with theme and identity. That's always going to be important to us no matter which way the business turns. We never think of the records as a song by song compilation. We try to create something that is cohesive. The only difference on this record is that we are independent now and partnered with ILG (Independent Label Group) which is mainly promotion and distribution. I felt like a little weight was lifted and I feel we went more back to our roots on this record."

The third release "Catch Without Arms" was viewed by Gavin as an album that was created on a song to song manner. It was a record based on opposites and conflicting opinions. The rebellious take on the record was emphasized instrumentally and felt a little more cohesive. Dredg didn't want to regurgitate the same record this time and it was a direct reaction to the touring of that album that brought them to dig deeper within their recordings. They toured with a lot of rock bands over the years and at that time felt like their shows were coming off a little passive. "We didn't really write that record with touring live in mind. Our last record was kind of how we wanted to write songs that better translated in our lives and I think this new record is a combination of the first two. There are a lot of elements that could be on LCO and even on our first record with instrumental pieces."

Leaving Interscope to become an independent music group wasn't a surprise to anyone. The business has completely changed over these last nine years and it were at the tail end of people buying CDs. From there the business flipped itself upside down and Dredg really didn't fit the label's model anymore because the label had to adjust their business model so they could make money. There were bands around Dredg who were selling more albums then they were at the time and those bands were getting dropped. To go independent made sense

"Our manager approached us about working with ILG after ILG approached him. It just felt like the right step to take because to distribute an album takes a lot of capital and we needed the backing to release our new album. It was important to us to see the records on the shelves and to build a small budget to promote that record is now available. Technically we are part owner of DCI on that level and we can be viewed as running our own label even though it's just us on that label. It's not like we are going to be out there signing bands but it feels good and I feel more in charge. It's kind of similar to a distribution deal where we are running our label with them. It just felt right and together we are going to increase our fan base. If this was ten years ago it wouldn't have been the right decision for us, but for where we are at in our career it's like a perfect marriage."

Once Dredg is about to recoup expenses from this last album they will be able to see gain unlike what they saw with Interscope. As an true independent band they are supporting themselves on costs and anyway to save a dollar is money they need to invest back into the group. This is what it means to be a struggling artist. Their tours are increasing and it has taken them around the world. It allows them to network with other bands and to create new tours with bands they have co-headlined with in the past. Dredg submits the bands they have worked with to their booking agent and management and create the tour around what they want and not what a label wants. One of those creative controls the band has as an independent is artistic control. If you are a fan you understand what I mean just by viewing their album covers and colorful lyrics. Gavin painted me a picture between the art and the music as it is created for Dredg.

"The arts are a big influence for the group. Drew (bassist) and I met in art class where we were drawing and painting long before we were playing music and the other members add to our appreciation for art through cinema and even books. This last album Drew and I painted a picture for each song and we created them to connect with our fans by adding images that evolved into a treasure hunt which allowed us to connect with our fans on a much deeper level. Fans end up purchasing the paintings as well as the albums. The clues to the treasure hunt go up on our website and the fans get really involved with the hunt. Cinema became an avenue for me as well as Mark in which we separately scored different movies. Film scoring is something we want to get into even on an Independent Film level. There something behind that format that is cool because it's behind the scenes. I think aspects of our music blend in well and can transition over well to cinema. The one movie that really stood out to me as the score of scores was Kubrick's 2001 Space Odyssey. It's visually stimulating and with minimal dialog supported by incredible music. Overall it just works flawlessly. I have read something that the creators were using some of the music just for screening and it worked out really well so I don't know if it was a mistake that the music became the emphasis of the movie but what a great mistake if it was."

Art has been a heavy influence to people on all levels and it is no surprise to see how a man's essay such as Salman Rushdie's "Imagine There's No Heaven: A Letter to the 6 Billionth Citizen" would influence a band receptive to artistic expression to write an album influenced by another man's written imagery. Gavin views progress as an event that has always relied on strong efforts and courageous acts by individuals who are willing to chance themselves by drawing outside the lines so to speak. To get away for the old traditions and to break away from old beliefs in order to make a better tomorrow. Salman Rushdie is a beautiful representation of such courage and a major reason why the band chose to use his essay as the foundation of "The Pariah, The Parrot, The Delusion."

This Thursday Dredg will be sharing the stage with the renowned author and believe me it's not very often that an internationally acclaimed author will share a spotlight with a band from San Francisco, but the rockers have shown their sincerity and their dedication to writing music for the love of music. Together Salman Rushdie and Dredg will come together at New York City's Housing Works Bookstore Cafe for SPIN Magazine's third installment of Liner Notes. The event brings together musicians and authors as part of a continuous event to raise funds for the Housing Works non-profit group which was created to provide homeless and low-income people living with HIV/AIDS and their families with adequate housing, food, social support, drug treatment, health care, and employment. Liner Notes has been a success thus far and I am truly excited to see what comes from the uniting of Salman Rushdie and Dredg. The band is extremely excited and flattered to share an evening with such a talent.

The Father, The Son, and The Holy Sh*t, It’s Judas Priest!

The parishioners gathered outside in their biker bests and long raggedy hair ready to raise hell in the eyes of Judas Priest. The star studded event went beyond the pierced jugulars, faded tattoos, and ritual beer chugging baptism of one Judas Priest first timer. Everywhere you glanced another head banger was parading through the cigarette butt lined walkway with a holier than thou commandment boldly printed across the chest such as, "I (heart) Big Fake T**ts" and "Find a face and sit on it." The not-so-virgins lured these men like the Silicon Sirens trying to lure Ulysses on his ten year journey home form the Trojan War. The only sign of the trojan war here were a few wrinkled packets stuffed iin the baskets as free giveaways. The Godfathers of metal chose this night at the Seminole Hard Rock to be the setting of their most historic recording to date. For the 30th anniversary celebration of their 1980 release, "British Steel," Judas Priest chose to honor the anniversary by capturing this one performance on video to be released on DVD in the near future.

The celebrities came out from the metal yard including Lita Ford, Nicko McBrian (Iron Maiden - Drummer), and Jim Florentine (Comedian) who co-introduced the metal salute to Judas Priest along side of Eddie Trunk (SIRIUS Radio/VH1 Host). After an "Eddie is Sexy" chant from the arena and followed by a metal breaking sound check, the lights blacked out and the pandemonium ripped through the crowd as the cameras began to roll. Seconds later the massive canvas draped in front of the stage came crashing down and the clergy of carnage appeared amongst the chaos of lights, rock horn salutes and camera strobes. The uproar of the fans, the turbulence of the sound, and the bedlam of the entrance made Judas Priest abundantly clear. Any disbelievers who think a band this vintage should hang up their jackets and perish, croak or give up the ghost need to succumb to their own conviction.

The Priest brought out all the guns for this show. Rob Halford has stood the test of time with his quasi-operatic vocal style and high-pitched screams rumored to hit an ear piercing G#6. He is living proof that a man can remain a Metal God among his fans no matter what his preferences are sexually, faithfully, or otherwise. As a songwriter, a performer, and now the label owner of Metal God Records, Rob encompasses the true definition of "living the dream," but it's with the Priest-hood he shares the stage with that Rob exemplifies as a leader manifested by his band. Glenn Tipton and K.K. Downing ravaged their fans with guitar thrashing riffs while Ian Hill underlined the motion with his bass and Scott Travis detonating the drums. The explosive performance gathered tremendous acknowledgment and astonishment from the fans, the music professionals, and especially this photojournalist on what will forever be a monumental evening for Judas Priest.

The tour is winding down and if you have any chance to get to either of the remaining four shows then do it. Reading this review, watching an internet clip, or waiting for the DVD to be released is in no way shape or form comparable to the feeling you could receive from over 1 million watts of pure metal energy condensed into infuriated sound, bursting through the blinding light show, and exhaling voice that is Judas Priest. The closest experience I can even imagine will take place ions from now when the universe collapses on itself and history is reborn. It is just what happened last night at the Hard Rock Live. Judas Priest "British Steel" was reborn and it was fantastic. Thank you Metal God for this honor. Your worshipers are rejoicing this morning to your sons, Judas Priest.

Sugar Ray Granulates Fort Lauderdale

The Culture Room is one of those clubs that you just happen upon when looking for an open deli at ten o'clock at night. With the exception of an airy courtyard, the club is a venue for the up close and very personal. The room was tightly packed leaving me to fight for space towards the front. After a few pushes and even fewer apologies or thanks I found an amazing spirit named Bianca defending her two square foot area with all of her might. This full figured beauty reminded me of the days long gone. The days when fans would go just about anywhere and at anytime to buy a ticket to see their favorite band. Bianca was fused to her sister and their cousin at the hip and the cost to squeeze yourself in set the the ladies back a whopping seventy-five dollars and that was before the beers that Bianca shared with my camera bag and Custo Barcelona shirt. I learned for an additional fifteen dollars you can meet the band after the show without any opportunity to snag a photo. Ok, don't get me wrong. The twenty-five dollars to see Sugar Ray with Fastball opening as the support is not bad. Tack on another ten dollars for parking and fifteen for the magical pink sticker bracelet and you were fifty dollars in the hole of this overly cramped evening with 350 of your newest friends. By the looks of the fans that fifty dollars is a full day's pay. Sugar Ray's popularity peaked in the latter half of the 1990's, but seriously?. In a time when music is being mishandled by the labels and intervened by the government this is hardly the time to milk your fans for the extra buck.

With that said I will add that as inclined as I was to not dip into my pocket for the bracelet Sugar Ray did knock out the audience with hard rocking hits one after the other. Mark McGrath is one frontman who is absolutely 41 going on 28. His delivery and stage presence was fluid, jarring, and colorfully vibrant with excitement. While most men in their forties have lost their hair, gained their "Daddy/Beer Guzzling" 50 lbs, Mark has preserved himself as a truly fit man who will steal your daughters away with his alluring glances, his pulchritudinous smile, and admirable ability to connect deeply to his fans while on stage. I was expecting to see a show that would be downscaled and delivered by an ego driven front man, but Mark McGrath is the real deal and lead Sugar Ray with such forcefulness and intensity that the potency of his leadership and his spirit left me with a get-up-and-go drive. His devotion for his craft is visually stimulating to watch. Constantly unfixed on stage and pumping the crowd up into a conniption of devoted zealots, McGrath is committed to Sugar Ray and loyal to the music first. He may have gone Co-Host Extra crazy in Hollywood, but he's still pure Sugar Ray at heart.

Sugar is now touring in support of their latest release titled "Music for Cougars" which I am assuming is a title referencing the young ladies who once attended the shows over the years or more likely dedicated to the Mother's who picked their intoxicated daughters off the floors after a solid Sugar Ray performance. Whatever the meaning behind the album's sultry title, tracks like "She's Got The (Woo-Hoo)," "Love Is the Answer," and "Morning Sun" are substantial evidence that being contracted to a major label or not you have to believe in yourself and the songs you create or your window of opportunity will shut you down. Sugar Ray isn't done by a long shot and their tour bus window is wide open. The tour continues West with stops in Tennessee, Texas, Washington and California but I think we will see them again real soon. Keep this in mind. If you have to wake up early "Every Morning" for work to "Answer the Phone," "When It's Over" Sugar Ray will continue to sweeten our most bitter day. "Someday" you will understand what I am talking about.

Miami’s Gone Green For Green Day

Miami has come a long way since the blue collar trend setters of the 1980's, Crocket & Tubbs A.K.A - the blazer jacket fashion police of Miami Vice, and even more so from the spectacular rainbow connection faux showgirls of the Bird Cage. No matter which image you mirror your wardrobe after, one thing is for certain, tonight not all Miamians slipt themselves into Custo Barcelona like I did. Green Day and Kaiser Chief made an "All Post Bulletin" for all in need of economic rehabilitation and who want to infuse diesel driven energy, raw metal music, and tantric lyrics to relieve their personal woes. American Airlines Arena was the epicenter of this quake and it burst at its seams with the infestation of dedicated fans and a trickle of a few newbies. The local radio stations gathered under the palm trees just adjacent to Biscayne Boulevard where a mirage of CSI Miami's Lt. Horatio Caine would preparing to investigate the onslaught about to take place on center stage.

Kaiser chief is a music experience that never ceases to shock me and thanks to the brilliant organization and guidance of manager, Mike Darling, the lads from Leeds have made a brilliant british march across the pond that make even the snootiest of Brits loosen their nickers for a night along with a grinning nod of approval. Their ability to make instant connection has been followed by the increase of their ever expanding nexus of a fan base. Lead vocalist, Ricky Wilson, blitzed the stage and posed statuesque like front and center atop his stage monitor. His fists punched the electrified air with his glory stick in hand to pay homage to the gods of rock above. They must have given him the green light because the reception from the fans pushed the air out of the building and the deafening answer was, "WE ARE READY TO GLORIFY YOU!" Kaiser Chief brings a new attitude to the stage underlined by the homage they pay to the influential bands before like Blur, Madness, and The Jam.

"Off With Their Heads" is the fourth Kaiser Chief album under the Universal Music label. The band shows no signs of slowing down and like a fine wine fermenting on a Napa Valley vineyard Kaiser Chief will only become more substantial to young music fans yearning for a unique blend of fresh music. Let's face it. Generation "X" & "Y" are victims in the political game of radio and MTV to the point that they are dumbed down to a cookie cutter lifestyle that just doesn't extend past Juicy wear and Nickel Back. Kaiser Chief's song list was heavy and flavored including their recent money song "Never Miss a Beat," "Good Days Bad Days," and "Like It Too Much." Once again I spun out of the photographer radar in a spiral to the first riff of "Ruby." As quick as the boys jumped on stage they were off and the unlucky lost souls outside were surely green with envy to not be inside because the arena's foundation fissured from the opener and the Gods of Rock could only guess what would happen next.

It amazes me to see that no matter who you are at a concert, no matter what your role is, when the lights black out your heart races, your eyes widen, and you lose yourself completely. If our own exits from this planet would mimic the feeling of waiting for a band to take stage then my exit will be one with the horns of rock blazed in the air on one hand and a flickering lighter in the other. Miami roared so loud that the sound track playing on stage sounded more like a gnat buzzing in your ear outside during a hurricane. Green Day's entrance immediately followed when a spectrum of LED lights broadcasted an eye popping scene of the Manhattan skyline stunningly portrayed on stage. Views of the Empire State Building, Midtown, and Downtown areas were broken by the bullets of spotlights targeting their aim on Green Day. One by one the mayhem crept out from behind the stage much like a grungy New Yorker exiting a Bleecker Street night club just before dawn. The adrenaline poured through the stoked fans, the band was pumped, and I was numb because it's moments like this I get to look back on my life as a music fan who once swore I would always be in the front row of a show. Twenty some odd years later and a life filled with enough events and adventures to write a full feature screenplay about, I was where I wanted to be. In front of the tall guy who was blocking my view.

Green Day is an atomic blast that erupted over a decade ago and the power they push increases with no tell-tale sign of a break up or side project. Their days of grunge and ripping the listener a "new one" still dominates the music industry. Their longevity is partly due to their consistent sound, radical presence, and most importantly, "keepin' in real" (staying true to their sound) while other bands have faded and vanished during their unjust reinventions. Green Day is what they are and have always been. The sentinels of rockdom. The song list expanded over three pages and well past the 10:30 PM curfew that a majority of the fans were given this night and who without a doubt will sleep tonight tucked in their beds happily dreaming of moshpits, fists of fury, and a band-aid box worth of battle scars. Green Day and Kaiser chief continue their march forward to bring sheer madness to a city near you and I will have to remind you of this. Don't wait for the golden reunion tour. Get yourself to the show now because this will haunt you as the "would of, should of, could of concert" your kids will hark on you one day for missing.

It's A Hard Rock Life For John Legend

The Hard Rock Seminole Hotel & Casino was the hotspot for big card hands last night as the dealer sent this journalist home with more riches than he imagined working in with only twenty dollars for parking, a maxed out credit card, and debit card recently replenished by unemployment. I walked into the Hard Rock Live! arena to the bittersweet songs of Michael Jackson flowing throughout the energized venue. The tickets sold out and the awaiting crowd inside paid homage to Michael Jackson in dance. The venue playlist spanned Jackson's career from his earliest days with the Jackson Five through to his last recordings on "Invincible." One surprise track of Jackson's that played over the crowd was "Another Part of Me" which premiered in the late 1980's Walt Disney 3-D action adventure movie "Captain EO" at Disney's EPCOT Center exhibit "Journey Into Imagination." The music interrupted by the cheers from the crowd as one woman became possessed by the King of Pop and danced furiously without missing a beat in front of the sold out arena. The classy venue served up a fine spirit for the guests to sip. The audio popped off, the crowd bubbled, and a new face walked alone to front and center stage with her acoustic guitar strapped to her glass figure body.

Porsche Smith is a new singer/songwriter hitting the circuit now increasing her fan base seven fold as the recently proclaimed grand prize winner of John Legend's "Be Legendary Radio One" Competition. Porsche is one music visionary whose self written music and performance is purely from the heart. Her one song set was a flush of hearts to astonished crowd seemingly ready to Simon Cowell the new singer off the stage. This natural and undiscovered artist received a well deserved applause from the audience reassuring an awaiting John Legend that his contest winner was the best choice and a person who will carry his name and reputation well and proudly. Her poise and bravery to step so calmly onto the Hard Rock Live! stage and opening for John Legend is one huge pill to swallow. I can only imagine she is resting well this morning knowing that she climbed and conquered her own Mount Everest and the most spectacular view ever. I will be definitely be paying close attention to Porshe Smith as she continues to adventure forward in, what I hope will be, a long and enriched career as a music artist. As fast as Porsche entered onto the stage she exited but she excited accomplished and one step closer to her goal to play and share good music from the heart for those who are open to listen.

The stage cleared and the crowd hustled to their feet when the lights went down signaling the arrival of my favorite spice, India.Arie. Rob Lewis (Musical director, Music arranger, Record producer, Music composer, Keyboardist) listed off a resume fit for a queen with his booming voice and the crescendo of his keys. The anticipation of India.Arie's appearance on stage ended when the spot light popped highlighting a very colorful India.Arie wearing a flowing gown with a top that accented her curvaceous body and warm inviting smile. The connection between artist and fan was instant and India.Arie walked forward, mic in hand, with the greatest of ease. Her voice filled my ears with such delight and her presence on stage warmed me deep within. My yearning of wanting to see India.Arie live on stage started when I first exposed in 2001 to her first music video titled "Video." Since that time India.Arie has proven herself to the music industry as a force to be reckoned with and really earned mediocre recognition that I truly believe she well deserves. It just proves to me that the state of the music industry in 2001 and currently still doesn't understand the definition of good music. India.Arie is nothing less than masterful and pure.

India.Arie accepted the invitation to join the John Legend tour this summer and since then has added such depth and beauty to every show. Her forty minute set could have extended longer. Her fans were very vocal with thunderous appreciation after each song including "The Heart Of the Matter" where India.Arie metamorphosed from singer to elegant pixie. She walked up center aisle through the adoring crowd wearing a brilliant colored dress and a pair of waving wings that tinted delicate shades of color onto her bare bronze skin. The lightning of flashes strobed and captured the singer in a flip-book like motion with her hands reaching out and making contact with fans who stretched out as she walked by. My experience at this show was well worth the wait to encounter her live performance. It was less then one month ago that India.Arie fell ill, but she was in full health for this show and she laid down a full house at the Hard Rock Seminole Hotel & Casino.

John Legend. Need I say more? John Legend was the sure bet as the ace in the hole for the evening and how could he not be? Center arena became center stage when John Legend was illuminated in before the dazzled crowd. He opened his set with the most soulful and alluring rendition of Bob Marley's "Redemption Song" adding new meaning to Bob Marley's album "Legend." John was accompanied by an army of security who more or less reminded me of the defensive line of the 2009 Pittsburgh Steelers. The fans reached out as far as they could hoping to feel so much as a breeze when Legend passed by. He reached back connecting with every hand that broke through the security wall and making his way slowly to the stage. The fans elevated the temperature to sweltering and I was taken back by the enormity of John Legend's voice bellowing out into the galvanized arena. It's a whole new respect and admiration for John Legend, who has come miles from his days in his University of Pennsylvania co-ed a cappella group, "Counterparts." His success, since his discovery by the cousin of Kanye West, has inspired a nation to take note that good music isn't a thing of the past, but is here now and it's coming to a city near you very soon. John Legend is touring in support of his latest release "Evolver" which is his third release and has once again grasped his fans in frenzy of sold out venues. Commandeering such a feat is becoming more difficult during a time of economic uncertainties, but John Legend has created a tour line up perfect for the fans feeling the financial squeeze and providing his fans with the perfect medicine. A night of feel good music during a not so feel good time. John Legend closed the night out at Hard Rock Seminole Casino & Hotel with a royal flush on the stage.

The John Legend tour is not to be missed as it continues touring around the U.S. throughout the North East and making it's way West before heading to Ontario, Canada.