It was an interesting pairing of solo singer/guitar players last night at City Winery. I often check out artists I review that I don’t know before I go and see them. Often, I end up finding they can be quite different than the usual Youtube videos you see. This can be good or bad. A couple reasons for this. There is the energy of the room that cannot be captured on video or sometimes you end up checking out the videos that do not exemplify the band as much. In this case, both artists were better in person than video.
First up was Edward David Anderson. I would call him a bit of a story teller type of writer and singer. Most of his songs had entertaining introductions and good story lines. I found it interesting that he sat down and played bass drum while he sang and played guitar - a one-man band. His left foot seemed to be getting something like a tambourine sound. I could not see how he did that, exactly. After opening with a nylon string guitar that looked like it had survived a war, he switched over to banjo for a few songs. After that, he played slide on one of those cigar box guitars. He killed it on the cigar box playing a great version of Bill Preston’s “Go ‘Round In Circles”. I really liked that.
Edward was a very funny guy between songs as well. His own songs were great. I really liked one called “That’s My Dog”. He was not too serious and very down to Earth. I thought his music was very accessible, and the crowd was in agreement. He got a great response. He even did some Dylan-esque harp work and, believe it or not, some kazoo while plying guitar and bass drum.
After a short intermission, Seth Walker took the stage. He was sporting and old Gibson hollow body guitar at first. He plugged into a little tube amplifier. He was a little more Blues based, but not a bunch of twelve bar repetition. He had some really good songs, too. He was a switch from Anderson but it was a smooth transition, either one could have been headliner.
He switched to a steel string acoustic after a few songs, joking it was a borrowed guitar. His version of “Blue Eyes Crying in The Rain” was just amazing. Willie Nelson would surely approve. He switched back to the old Gibson for the rest of his set. He also seemed to put a little humor in his delivery. This tends to work rather well in a club this size. The crowd was very relaxed. There was a lot of clapping on two and four during Walker’s set.
Anderson came up and joined Walker for the last couple songs. “Ophelia” was a knockout song I first heard The Band do years ago. It had that kind of Levon Helm vibe.
It was yet another great show at City Winery, which is a real nice place to see a show. The wine is excellent and so is the food. They also have a top-notch staff. The crowd was a nice mix too. I would highly recommend both the venue and the two artists highly. It was a great way to spend a Thursday evening.
It’s as though the minds behind Motley Crue’s farewell tour, “The Final Tour”, thought of every possible stunt, gimmick and visual spectacle that would blow one’s mind and then compacted them all into a single evening. First and foremost, the band hand-picked the perfect act to send them on their way into their, now famous, permanent retirement – Alice Cooper. That’s right, a permanent retirement as Motley Crue. Not wanting to be yet another band that has a farewell tour every few years, the band actually signed legal documents stating that they cannot play together as Motley Crue again after December 31st, 2015. Guitarist Mick Mars declining health has also played a factor in the band’s decision to call it quits, not wanting to go on with rotating tour musicians in place of the originals. One of the few remaining true hair bands of the 1980s that still feature their original lineup, Crue has decided to hang it up while they can still kick some major ass on the stage – and that they do in this final year and a half tour.
Formed in 1981, Motley Crue has been still going strong despite a couple temporary lineup changes and a lack of relevant releases since “Primal Scream”, an added track on the 1991 compilation album Decade of Decadence, to the balls out, in-your-face album Saints of Los Angeles that hit shelves with a bang in 2008 (though, disregarding the reviews of bitter critics, I'd still argue that Generation Swine and New Tattoo are kick ass records). Even in those musically not so productive years, according to some, the band continued to tour and keep busy in the recording studio, successful or not. Now, 34 or so years from their days of opening for Ozzy Osbourne when “Live Wire” and “Piece of Your Action” were cutting edge rock songs, the band returns to say goodbye to the fans that made them the band they have become. Their arrogance and blatant degradation of women that helped make them famous as rock and roll’s “bad boys” now has slowly mellowed into family life behind the scenes, and their rampant drug use and notorious partying that put them in the music headlines so often has now been reduced to having a few beers, if even that. Still, 1980s rock and roll lifestyle aside – like it or not, it was their music that put them high on the charts and made them household names. It is their music and the impact made in such genre that will undoubtedly get them inducted to the Rock and Roll Hall of Fame at some point.
Now it is time for one last hurrah. Once more Motley Crue will remind everyone why they are considered one of the best rock bands of our time.
Led by bassist Nikki Sixx, now fifty-six, he is joined once again by some of the most iconic bandmates of our generation in drummer Tommy Lee (now fifty-three), singer/frontman Vince Neil (fifty-four) and guitarist extraordinaire Mick Mars, who is either now sixty-years-old or sixty-four depending on what you read. Their mission is simple – to embark on a tour that that will blow minds in every way imaginable - a tour that will not be forgotten.
When Alice Cooper and his minions hit the stage, it’s go time. Each band member takes on a personality of their own, almost as if they popped out of the pages of a comic book. Already known for his theatrics, Cooper weighs into the night by kicking his set off with “The Black Widow” and follows up strongly with “No More Mr. Nice Guy”, “Under My Wheels”, the classic “I’m Eighteen”, “Poison” and “Go to Hell”. Each song a theatrical performance in itself, with costumes, heavy duty props and special effects, we even see a twenty or so foot tall Frankenstein monster emerge then run about the stage during “Feed My Frankenstein”. When a frightening nurse leads a straight-jacket wearing Alice Cooper to a guillotine, the anticipation continues to mount. The nurse urges the crowd to drop the hammer on Alice and with massive shouts of approval – SLICE! The blade crashes down and Cooper’s head falls to the floor before being picked up by the executioner who parades it around for all to see to the tune of “I Love the Dead”.
Colorful, exciting and shocking, Alice Cooper’s set would have already more than satisfied my taste rock and roll that evening. Baby heads surround Glen Sobel’s drum kit as he wails away while guitar duties are shared by Tommy Henriksen, Ryan Roxy and Nita Strauss, who was a show in herself. Chuck Garric plucks the bass and adds his own distinct flavor to Cooper’s band. Often the band triumphantly gathers center stage led by Cooper, exchanging riffs and showboating for the crowd.
At sixty-seven-years old, Alice Cooper may have still his best touring days ahead, especially if his band is as engaging as the one he has now. Thoroughly entertaining in every aspect desired in a ball’s out rock show, Cooper’s show was pure rock and roll bliss.
In what we could only wish was a longer set, Alice Cooper finishes off the crowd with a power-charged rendition of “School’s Out” that medleys with Pink Floyd’s “Another Brick in the Wall”. Nothing short of amazing, at that point it seemed Cooper may have stolen the night.
A short breather.
After appropriately hearing The Sound of Music’s “So Long Farewell” throughout the stadium, the familiar revving of a Harley Davidson engine thrusts Motley Crue onto the stage with “Girls, Girls, Girls”. Mick Mars, looking that of a New Orleans crypt keeper, strums the crunchy chords as Vince Neil struts forth. Nikki Sixx looks to be in great shape though frontman Vince Neil's slightly chubby frame doesn’t keep him from rocking at full throttle. Tommy also looks to be in peak form as he slams the cans with the same fervor and precision as ever.
Over the years Motley Crue has made a point of creating a stage spectacle to remember for each tour. This is their biggest show by far. Fireworks jet out at some point in nearly every song only to be complemented with massive bursts of fire, laser lights and gusts of streaming smoke. As per usual the band is accompanied by two dancers to sexy up the set and add backing vocals. Twenty-foot flames are even shot out of Nikki’s bass as they kick into “Shout at the Devil”. Like I said, they thought of everything.
Outside of the pyrotechnics and amazing special effects, Motley Crue puts out a long, flavorful set that includes favorites “Wild Side”, “Same Ol’ Situation”, “Smokin’ in the Boy’s Room”, “Live Wire”, “Motherfucker of the Year” and a rocked out version of “Anarchy in the U.K.” complete with a squadron of masked combatants that shoot water into the crowd with high-powered Super Soakers.
Somewhere near the half way point, an emotional Nikki addresses the crowd, thanking everyone for their years of support - a nice warm and fuzzy moment amidst one of the best concerts in some time.
And what would a Motley Crue show be without an insane drum solo? Again, thinking of what would be most mind blowing stunt to pull off, Tommy Lee’s entire drum set ascends up and over the crowd half way across the stadium as be blasts along with a series of clips from his fave songs including some Led Zepplin, Black Sabbath and Beastie Boys. Mick Mars immediately follows up Tommy’s antics with a blazing solo of his own before the band kicks it into high gear with “Dr. Feelgood” and “Kickstart My Heart”, a finale number that is definitely one for the books that includes everything but the kitchen sink. In their massive send off number, both Neil and Sixx are propelled out over the crowd as they each man their own pod-like thingy. Mick Mars mans the main stage standing on a riser that raises him a good twenty feet. At the same time, a thirty foot round pentagram burst into flames behind Lee’s drum set while a barrage of explosions take place and streamers fall from the ceiling so thickly one cannot see the crowd across the way. It is a memorable farewell that could only be done in Motley Crue fashion.
With yet another ace up their sleeve, the band returns for an encore to a small stage located in the center of the arena for a more intimate version of what Sixx has referred to as the band’s “Stairway to Heaven” in “Home Sweet Home”. Having been to more concerts than I will ever be able to count, I can honestly say that Motley Crue’s “Final Tour” is one of the best I have ever seen, and speaking with fans after the Milwaukee, Chicago and Toledo shows (yes, I went three times), it seems most would agree. This is it for one of the last true rock bands of an unbelievable era in our music history – a band that carved the way for a countless hair bands - a band that has truly left an impression on the music industry. This is it for a band whose music has passed the test of time and is every bit as significant as it was when first released. Sixx has sure come a long way from hacking bass riffs with London in 1980 then hand-picking a motley assortment of band members (Ding! A Motley Crue!) that could have only made it this far together thanks to the perfect chemistry.
Watching Motley Crue performing “Live Wire” as an opening act in 1982 at what was then called the Rosemont Horizon, it was apparent I was witnessing what would be a special band. It has been fun to watch them grow musically and as performers ever since and rising above some pretty meaty bumps in the road. I’d guess the band has more than a few good tours left in them, but as Motley Crue members say themselves, “All bad things must come to an end”. And what an end it is.
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