Rob Zombie is a no-bullshit visionary. While leading White Zombie on a gory-fun trail through the rock & roll hemisphere, he carved up electrifying stage productions and music videos filled with fluorescently vivid images of the macabre while playing grungily catchy tunes; something that he continues to do with his solo band.
Within the coziness of the 300-plus seat Manship Theatre, Lindsey Buckingham walked out with a seriousness that normally proceeds a symphony performance, picked up one of the dozen guitars he had lined up behind him, and took the audience on a carousel of notes with a staunch authoritativeness. If you were expecting a rock concert, you guessed wrong. Tonight Buckingham was in artiste mode, creating masterful chord changes with his bare fingers, forgoing a pick in favor of the intimacy a piece of flesh can convey.
After 15 years with Sevendust, guitar player John Connolly has finally stepped out of his comfort zone to take his vocal chords for a test drive on their own. Along with his longtime friends – bandmate Vince Hornsby, Alter Bridge/Creed drummer Scott Phillips and Creed touring guitarist/vocalist Eric “Erock” Friedman – Connolly took what was supposed to be something more solo yet found the energy and chemistry too strong to keep under wraps in his Florida recording studio.
It’s been a year since the release of George Thorogood’s last record, the highly acclaimed back-to-Chess-roots salute 2120 South Michigan Avenue, featuring snazzy rocking interpretations of songs by Sonny Boy Williamson, Chuck Berry and Bo Diddley, yet the guitar player remains on the road, playing songs that have been a part of his repertoire for many years. And this is the very reason that Thorogood has been able to lay these tracks down and do them justice. They are in his blood and a part of his inner chemical balance. His gravelly bad ass vocals with a 50’s kick come alive on such humdingers as “Help Me,” “Mama Talk To Your Daughter” and “Willie Dixon’s Gone.”
Suddenly there is the sound of a cracking whip guitar, slicing through the bright sunlight and out run a bunch of young bucks with flying hair and British accents. This is not KISS and this is not Motley Crue. This is The Treatment, a band causing humongous ripples everywhere they play opening THE TOUR.
Coming into Bush following the departure of founding member Nigel Pulsford during the Golden State tour in 2002, Chris Traynor stuck with Gavin Rossdale after Bush’s abrupt hiatus, playing with him in a project called Insight and then on Rossdale’s solo venture. But 2011 brought forth Rossdale and Traynor with drummer Robin Goodridge and bass player Corey Britz for the recording of The Sea Of Memories. And fans were just as happy to have them back as they were to see their fans, as the first single “The Sound Of Winter” scored at number one.
It is a well-known fact that Tyler Connolly was not a happy camper when he wrote the band’s latest record The Truth Is, but what happened in the process was that a popish, devil having fun, part rock/part rockabilly hornet’s nest of a symposium was created instead of something more sinister. And it worked. The singles have been hits, the shows have been sell-outs, and Connolly just may finally be a happy man once again.
If all you know about Don Felder is that he was the guitar player in the Eagles who came up with the music to “Hotel California”, then you’ve obviously been hiding under a 1970’s-era rock. Publishing his autobiography, Heaven & Hell: My Life In The Eagles, in 2008, it not only opened the doors into one of the most influential and timeless bands of the peaceful easy feeling era but showed his own personal highs and lows in brutal honesty. Since leaving the band in 2000, he has continually played sold out solo shows and shared his memories of growing up poor in the musically fertile Gainesville, Florida. He is a scrapper with an eloquent tongue.
The adventures Mark Evans shares in Dirty Deeds range from the funny (Angus and Malcolm playing in the snow) to the strange (encountering a ghost in an old hotel), from the dark (the creeping onset of depression) to the darkest (the death of his daughter). These are the early days of AC/DC and for Evans, he just wanted to share his stories.
She is not yet 30, but her skills on the guitar has already garnered her some impressive high fives from fret masters such as Carlos Santana and Steve Vai. Hailing from Australia, Orianthi knew early on that her future followed the yellow brick road not through academic poppy fields but along the gleaming stretched out strings of an electric guitar; it’s incredible hum and vivre capturing her soul in such a way that she dropped out of school early and ended up in the promised land of masqueraded broken dreams, where the young lady has actually beaten the jesters and is succeeding where many young musicians have cemented in dead-end non-musical gigs.
