The inside of the Metropolitan Pavilion West looked a lot like a fashion show on April 15, when a room full of […]
I Was There . . .
When Mali makes international headlines, it’s usually due to war and violence within the country. It was in the midst of this […]
All aboard the gypsy caravan for a one way ticket into the void. The mighty Wolfmother took Webster Hall like a proverbial […]
I’ve gotta be honest: I went into this thing expecting it to be a breeze. Never would I have imagined that catching […]
As Chris Daughtry’s honey-toned voice belted out the heartwarming lyrics to “Home,” I couldn’t help but think how stoked my college girlfriends […]
The four norsemen of the rockpocalpyse have landed on US soil and it would be an understatement to say it was anything […]
Richard Patrick, former touring guitar player for Nine Inch Nails and current mastermind behind Filter sat down (or rather stood up due […]
As much hitting is us with the heavy yet commercial title track from his latest album, Barre ran through lots of blues (interestingly enough, switching from electric guitar to mandolin-an instrument Barre manned often through the many pastoral passages of Tull music-during the most blues tune of the night, “Crossroads”) and lots of Tull. As Mr. Barre told this second-show-of-the-night crowd, he was changing things up from the first set and I watched as he called out tunes to the band and they rolled through “Smoke Stack Lightening” and his sly cover of “Eleanor Rigby” as well as Tull classics like a very heavy “Sweet Dreams,” his special send-up of “Skating Away (On The Thin Ice Of A New Day”) “Minstrel In The Gallery early on and my personal favorite of the night, Barre’s 8-minute read of the middle of the Tull “concept” piece “Thick As A Brick.”Without Ian Anderson’s leading flute through this stuff I really came to appreciate Barre’s guitar parts in these classic tunes…as well delighting in him taking on those lead flute parts.
Austin, Texas is known for spawning more than a handful of hard rocking, groove laced groups ranging from the acid drenched 13th […]
After the intermission it was Hackett taking out only Genesis nuggets and the band settling in for obscure tunes like “Can-Utlility and the Coastliners” and then more recognizable stuff like the lilting “Cinema Show”-Hackett and Stolt on dual guitar picking-and Roger King managing note-for-note reads on “The Lamb Lies Down on Broadway” and “The Musical Box.”