Browse 74303 Reviews & Comments (Page 3214)

Commenter   Comment   Posted On   Date  
  br54knight ***2/4/22 WAS RESCHEDULED TO 3/26/22*** Chris Knight / Mic Harrison / Kevin Abernathy Sep 26, 2022
  br54knight ***2/6/22 WAS RESCHEDULED TO 3/25/22*** Chris Knight Sep 26, 2022
  br54knight ***CHRIS KNIGHT WAS SCHEDULED TO PERFORM BUT HAD TO CANCEL*** Larry Joe Taylor's Texas Music Festival Sep 26, 2022
  br54knight ***4/29/22 WAS RESCHEDULED TO 9/22/22*** Chris Knight Sep 26, 2022
 Marypier Somewhere on the setlst is "Lisa with a Z" that I remember her singing. Liza Minnelli Sep 26, 2022
 fobpurchase I was at the concert the opened with ironman Black Sabbath Sep 26, 2022
 Kiwi When Mark did his traditional pants-drop during the show, the stage was rushed and several people were pressed into the metal gate in front of the stage. This resulted in multiple injuries & those people were taken for treatment on site at Six Flags Marky Mark & The Funky Bunch / Ex-Girlfriend Sep 25, 2022
 Jeffrey Lee <b>One Not-So-Good Night Kiss</b> By Jenefer Hirshberg — The Washington Post Tuesday, December 20, 1977 Mass hysteria, usually reserved for the last few songs that climax a rock concert, raged among last night's Capital Centre crush and greeted Kiss as they appeared on stage. And appear they did, amidst flashing colored lights and minor explosives. The fusion of music and theater on stage is nothing new - remember Little Richard; and if there is a forum for outlandish overstatement, it is in the rock arena. But this is ridiculous. Kiss's two-to-three chord melodyless, lyricless music is so loudly repetitious as to be almost characterless. The character (if you'll pardon the expression) comes from their stage show, which by now is legendary with its blood-spitting, tongue-flicking and fire-spewing - yes, literal pyrotechnics. Throughout the show Paul Stanley and Gene Simmons gratuitously tossed guitar picks into the audience, and during the last number (prior to their two encores) Stanley smashed his guitar, à la Jimi Hendrix and The Who, and threw that into the audience as well, as it rained confetti over the stage. Kiss plays rock and roll with a heavy handedness that is supposed to be mistaken for energy but which has all the subtlety of a lead pipe. This perhaps accounts for the average age of their adorers. The accumulative age of the capacity crowd had to be one of the lowest ever. AC/DC / KISS Sep 25, 2022
 Kiwi Wrong set lists linked - there were 2 shows this day. https://www.setlist.fm/setlist/matt-nathanson/2022/the-kessler-theater-dallas-tx-4bb1b71a.html and https://www.setlist.fm/setlist/donovan-woods/2022/the-kessler-theater-dallas-tx-33b1a85d.html Matt Nathanson / Donovan Woods Sep 25, 2022
 Jeffrey Lee <b>A Glorious Queen, A Humble Squier</b> By Boo Browning — The Washington Post Friday, July 23, 1982 "Hot Space," the title of Queen's latest album, is as good a description as any of the sound achieved both by that band and fellow metallurgist Billy Squier. Mack, who also co-produced Squier's new "Emotions in Motion," adorned both records with his signature wide-open gaps, electrically hot to the point that one can almost hear white noise between the notes. Aside from this academic similarity and the appearance of Squier on one of Queen's tracks, there's really little comparison between Queen's highly stylized album and Squier's ambitious but lackluster performance. "Hot Space" is Queen's most mature work to date, featuring what fellow rocker Rick Derringer was moved to call "a normal Queen side and a Queen-gets-weird side." The "normal" Queen side displays the melody-making talent of Brian May at his best ("Put Out the Fire," "Las Palabras de Amour") and the hit-making instincts of John Deacon, Freddie Mercury and Roger Taylor at their most acute ("Cool Cat," "Calling All Girls"). If that's not enough, there's one of the year's best Lennon tributes ("Life is Real") and a co-performance with David Bowie ("Under Pressure"). In short, there isn't a throwaway in the bunch. The "weird" side can best be described as rechauffe disco. It's as though the group were just now discovering the form, and although comparisons to 1980's "Another One Bites the Dust" are inevitable, they're mostly inaccurate, since Queen has elevated disco to a stature it never attained during its natural life. This is mesmerizing stuff, almost totally physical in its presentation; and if "Body Language" is its best representative, the rest of the side cooks and churns just as confidently, those hot spaces blowing like calculated drafts through icy-cool progressions. But it takes more than a production technique to make interesting music, and Billy Squier's "Emotions in Motion" has too much emotion and not enough motion. What was so rewarding about last year's "Don't Say No" was the combination of solid hooks and a Queen-like sound; this year, the hooks are missing and all that's left is an epic roar. "Everybody Wants You" and the title track aim for a melody line but miss by a mile. Whereas Squier's Rod Stewartish vocals are comfortable with the simple phrases of "The Stroke" and "My Kind of Lover," they get too much of a workout on songs like "In Your Eyes" and "She's a Runner," with their longer passages and stiffer melodic requirements. Next lesson, Squier should pay as much attention to Queen's songwriting skill as he has to their production style. THE RECORDS, THE SHOWS THE ALBUMS QUEEN, Hot Space (Elektra E1-60128). BILLY SQUIER, Emotions in Motion (Capitol ST- 60128). THE CONCERT: Sunday at 8 at the Capital Centre. Billy Squier / Queen Sep 25, 2022
 Jeffrey Lee <b>Nutty for Nugent: Surviving the Crush of A Night at the Centre</b> By Richard Harrington — The Washington Post Monday, July 14, 1980 "I'd risk my life for rock 'n' roll," said 16-year-old Eric Bermudez of Silver Spring. At the moment, Bermudez was in involuntary traction. So were several thousand other heavy-metal fanatics jammed together tighter than cigaretts in the Capital Center's combat zone, the area directly in front of the massive stage. It seems that half the 15,000 in attendance at last night's Ted Nugent show were crammed into a quarter of the Centre's space. "But who cares!" 19-year-old Wendy Rhodes managed to blurt out. Rhodes, whose pained expression indicated the unattainable distance of the rest rooms, agreed with her friends Nick Moarino and Mark Collins that "Up here you can really see their facial expressions." "But have 'em paint the barrier a different color," said 19-year-old Rudy Childs. Childs, who claimed it had been several minutes since his feet last touched the floor, had his shirt open and the makings of a dark blue belly from rubbing so hard against the restraining barrier. The consensus among these grimacing frontline fans was that this was the place to be. There are, in fact, three places to be and one to pass through quickly at a heavy-metal show at the Capital Centre. The first is the Largo facility's parking lot, near the cars and vans, playing tapes loudly, drinking quickly, getting the last drugs smoked or popped. Some folks even socialize. The caution zone is the actual entrance. Coming in the Liberty Bell entrance, the fans are thoroughly frisked by guards while the somewhat authoritarian recording warns that "You may be required to submit to a search of your person as a condition of entry." After picking your way through the masses of broken bottles and crushed cans and weaving past the barriers, it's hard to get anything by the guards. "A lot of people who've been here before know what's going on," said an off-duty policeman who worked door-duty, sorting prohibited items and liquor into a trashcan and drugs into a box. After scores of arrests following a Heart show at the Capital Centre in May, fans are more cautious about bringing in drugs. Once inside, things got eaiser. Last night was general admission, festival seating with no assigned places. No one is supposed to worry about finding a seat, but a weaving and weeping 16-year-old was shouting at her friend, "Paul's got my ticket . . . Oh God, I can't sit down." Several thousand fans never left the concourse until Nuget came on. For them, the concoursese around the hall was the concert. They walked, sometimes with a little help from their friends, clockwise during the show and in counter-flows during the breaks. There were a lot of new Ted Nugent T-shirts and well-worn ones from previous rock campaigns. One warned "Caution: Falling Drunk." But the combat zone was at the heart of the night. Once you were in it, you were there . If you couldn't stand the heat -- and between the stagelights and the sweltering crowds, it was hot in the zone -- you could get the ushers to help you over the barrier, but you lost your position forever. Sixteen year-old Valerie Milburn of Baltimore looked crushed, physically and spiritually, when she gave in and headed for the bleachers. Coming over the barrier she clutched three shoes in her hand. The vacuum was quickly filled. When the combat crowd raised its hands to applaud or clap along, a few more inches of air space were lost as fans pushed in from behind. A man could have had his suit pressed for nothing there. They all survived. In the course of the night, there were a few arrests, mostly for disorderly conduct. Three folks slept off whatever "it" was outside the Cap Centre's first-aid room. A few cut their feet on broken glass, a few more slipped on the steps. There was a potintially disastrous 20-minute break when the sound system's power was lost. "I guess the Capital Centre can't keep up with us," screamed Nugent when the power was finally restored. He'd just spent 20 minutes proving that he was in good shape by jumping all over the stage and posing provocatively atop a giant column of speakers. However, while he's in good shape, he's no Marcel Marceau. The Cap Centre came back to life, and Nugent went loud bananas again. That's entertainment. Scorpions / Def Leppard / Ted Nugent Sep 25, 2022
 Jeffrey Lee <b>Stewart Rocks Out</b> By Eve Zibart — The Washington Post Thursday, May 31, 1979 "What with all the disco-oriented songs," Rod Stewart said to a sold-out Capital Center crowd last night, "I think it's time to make my statement." With that, he pulled out a harmonica and ground into a bump-and-blues version of "I just Wanna Make Love to You." Stewart's recent multimillion selling work in the disco field has caused plenty of consternation among his longtime rock 'n' roll fans who saw Rod the Mod becoming the king of Studio 54. But Stewart has not defected; aside from the obvious disco numbers like "Da Ya Think I'm Sexy," Stewart's 90-minute show last night was a masterpiece of powerful, bawdy rock 'n' roll. Stewart's singing career stretches back before disco through rock and pub rocks to the blues-weighted British rock of the '60s, and last night he set out to remind the audience of that history. The song list ranged from "Sweet Little Rock 'n' Roller" to "Maggie May" and "Get Back." The hardest hitting rock piece was a medley which careened from "I'm Losing You" to "Standing in the Shadows of Love" to "Layla" and finally an exhausting drum solo by Vanilla Fudge founder Carmine Appice. Rod Stewart Sep 25, 2022
 Jeffrey Lee A loose, somewhat sloppy, no frills - rock 'n roll show without Mick Jagger to steal the spotlight. Like me, if you were there - a slice of unrepeatable history...if not - too bad for you. Go watch it on YouTube. The New Barbarians Sep 25, 2022
 Jeffrey Lee <b>David Bowie's Rock Pastiche</b> By Tom Zito — The Washington Post Friday, April 28, 1978 David Bowie, the rock and movie star, gave an appropriately unusual performance at the Capital Centre Thursday. Included were rather ordinary, though high-powered rock 'n' roll, a dose of somewhat experimental concrete music, a few strains of Kurt Weill's bare-bones lyricism and stage lighting ranging from science-fictionally glaring to fluorescently sublime. For the first half of his two hour show, Bowie drew largely from the avant-gardish musique concrete material of his two most recent albums - music that is largely without lyrical content, relying heavily on unchangeing chord patterns that repeated just this side of tedium. It's a style of serious endeavor that has been pioneered by classical composers, although its volume and lack of instrumental subtlety Thursday made the concrete aspect more impressive than the music. Still, one must admire Bowie for attempting to broaden the musical perimeters of rock concerts, although in the process he may have managed to cut his audience in half. Two years ago - with the sort of spirited rock 'n' roll that composed most of Thursday's show's second half - Bowie filled the Capital Centre. After two albums of his new-style music (and eerie performance in the obstuse science fiction film called "The Man Who Fell to Earth") Bowie attracted merely half a house Thursday night. In the highly commercial world of rock, that may be the price of deviance from the Top 40 norm. David Bowie Sep 25, 2022
 Jeffrey Lee The show was originally scheduled for the previous night (Sunday, 06 August). It wasn't until moments before showtime that it was announced that this night's show would be postponed until the next evening, as Lindsey Buckingham was unable to perform. A pissed-off crowd booed and jeered and the Cap Centre parking lot that night was a nightmare passed midnight! The following night, everyone had to surrender their ticket stub at the door to enter. A debacle. ______________________________________________________________ <b>Everybody Is Entitled To Get Sick</b> By Bill Gold — The Washington Post — August 9, 1978 Three District Liners have sent me bitter letters of protest about "the cancellation of Fleetwood Mac." Even if you've never heard of Fleetwood Mac, you will probably be able to guess that it is a popular rock group. The reason the letters are bitter is that "festival seating" was to be used for the Fleetwood Mac concert at the Capital Centre. "Festival seating" means no reserved seats. You pay a stiff price, but if you don't get there early you don't get a seat close to the performers. So people who think highly of Fleetwood Mac bought every available ticket, took annual leave from their jobs, hired baby sitters in some cases and , in at least one instance, drove 75 miles to the Capital Centre. Hundreds of Fleetwood Mac fans showed up hours before the doors opened and stood in line patiently just to make sure they'd have good seats. And what did they get for their trouble? Fleetwood Mac canceled at the last moment! The group's guitarist had undergone a spinal tap two days before and was in too much pain to perform. Quite an uproar greeted the announcement, and three of the protests spilled over into letters directed to this column. One who is not a rock fan - and I am not - is momentarily tempted to dismiss the entire matter as a tempest in a teapot. It would be so easy to say, "If they weren't so fanatical about rock music they wouldn't be so bitter about a cancellation." But hold on a moment. Those of us who are not rock fans usually have other enthusiasms that we take just as seriously. Opera buffs stand in line for hours for the privilege of buying standing room tickets. Baseball fans show up the night before Opening Day to be sure they'll get a ticket. Ski enthusiasts knowingly risk broken bones to enjoy their sport, spelunkers tempt fate in caves that even a self-respecting bat wouldn't explore, and the sanest people in town go wild over TV programs, movies, plays, football teams, chess matches, soccer and other entertainments. How, then, can any of us criticize another person's excesses? Having a hobby or a special interest adds zest to life and therefore makes good sense, especially when enthusiasm isn't permitted to turn into fanaticism. One thing does seem strange to me about the Fleetwood Mac hubbub, however. Although it was explained to the group's admirers that the cancellation was caused by illness, many in the crowd just wouldn't accept illness as a valid excuse. They came to see their idols, and by golly they wanted to see them, sick or well, pain or no pain. That, it seems to me, is unreasonable. Everybody is entitled to be sick once in a while. Everybody is subject to accident. Everybody has days when he just plain feels lousy and can't do his job properly. Even the great gods of the entertainment world are subject to mortal ills. Can't we be a little less demanding of those we elevate to hero status? Bob Welch / Fleetwood Mac Sep 25, 2022
 Jeffrey Lee Billed as "The Big Night". Along for the ride as tour support was Jet Records label and Birmingham, England based, Trickster. ______________________________________________ <b>ELECTRIC LIGHT ORCHESTRA</b> By Jennefer Hirshberg — The Washington Post Monday, September 25, 1978 The Electric Light Orchestra lifted off in its spaceship (60 feet in diameter, 25 feet high) at 21:23 Saturday at the Capital Centre amidst smoke, flashing orange and yellow lights, fluorescent green laser rays emanating from the ship and a crescendo of other-world sounds. Curiously, the band's music, itself, never seemed to get off the gound. The ship, looking like a giant white mushroom cap with 16 bubble eyes dotted symmetrically around the dome, separated, slowly lifting its top half upwards where it hovered high over ELO, who simultaneously erupted from the bowels of the spaceship. The visual image borrowed symbolically from Botticelli's "The Birth of Venus." And the visual spectacle was clearly the focus of the concert. Laser light shows projected on a movable screen were designed as visual complements to the sound, but for the most part stole the show. The 525,000 watts of light proved more interesting than the watts of sound. Compromises favored the visual. The speakers were mounted 25 1/2 feet from the ground (to avoid screening the stage) with two full-range speakers (heavily balanced to the low end) pointed towards the floor, causing the sound in the floor seats and the first 20 rows up to appear as a continuous rumbling glissando. Mud-puddle vocals were buried in the warp of sound. Electric Light Orchestra (ELO) / Trickster Sep 25, 2022
 TommySeconds Venue is in Northampton, not Springfield. Ben Harper also played! Sonic Youth / Sleater-Kinney / Juliana Hatfield / Martin Sexton / Toots & The Maytals / Rahzel Sep 25, 2022
 Bryan O'Loughlin PJ’s accurate setlist (it’s incorrect here): https://www.setlist.fm/setlist/pearl-jam/2022/highland-festival-grounds-at-the-kentucky-expo-center-louisville-ky-13b01da1.html Bourbon & Beyond Sep 25, 2022
 Bryan O'Loughlin Pearl Jam’s setlist here is incorrect! https://www.setlist.fm/setlist/pearl-jam/2022/highland-festival-grounds-at-the-kentucky-expo-center-louisville-ky-13b01da1.html Bourbon & Beyond Sep 25, 2022
 x.onnel (not seen = wasn’t there) Frantic City Sep 25, 2022