What's With the VIP Hysteria?

Is it me, or does every band, every concert, every festival offer some VIP package these days? If hundreds (thousands?) buy into the privilege... is it really still a privilege?

I think the entire current trend of VIP hysteria is a load of crap. I saw Uriah Heep Friday night for $5 and guess what? The band was selling a VIP package for $100! That got you a seat on stage and a shirt. Our friend and BBG! writer Brian mentioned to me the other day that Cinderella is offering VIP packages on their summer tour. He said something about $700 but I can't believe they would charge that much. I mean, could they? Who is going to pay $700 for a meet and greet? Or just for the chance to "be up close." Insane.

Then there are those VIP packages that expressly say you will not get to meet the band but you get a close seat... and get early entry to the merchandise tent. Great. A more private chance to spend more money. Bon Jovi does this. I'm sure other really big bands do, too. I know Britney Spears did some VIP packages on our Circus tour that featured front row "couch" seats for a grand a pop or something. You got to tour backstage -- you did not get to meet Ms. Spears.

Then there's Motley Crue. On past tours, they charged hundreds to sit in the first 10 rows and to "meet the band" which was basically a cattle call with a photo.

I've had VIP wrist bands at Rocklahoma and Rock the Bayou. I bought those for the air conditioning. I never care so much about where I'm sitting at a show, especially a festival but I can't take the heat very well, so I plunked down the cash for VIP. This was okay at Rocklahoma but I got ripped off at Rock the Bayou. That festival was in Houston at the end of August and the air conditioning basically broke on the first day. It was miserable and I was out a ton of cash. Sure I was up close, but it didn't matter. There were so few people at that fest, it wasn't hard to get to the barrier whenever I wanted.

Maybe I come at it from a different point of view. I know I'm lucky because I get many media passes to shows and festivals and I can freely talk to bands if I so choose. You will never find me just randomly hanging out backstage -- if I'm around a musician, it is because I am working. I understand I have some certain opportunities others may not, but still. I just can't fathom spending $1,000 to meet... anyone.

Brian disagrees with me. He thinks that VIP is worthwhile in instances where you get certain perks, namely close seats. He had front row at M3 last year and had a ball. I still say it's all a cash grab and it's painful for me to say that. I'm an unabashed capitalist -- but I still just don't think it's "VIP" if just anyone with a credit card can get front row or backstage or whatever. It used to be you didn't have to mortgage your home to meet your favorite bands. You went to shows, you hung around near the buses, and you met your heroes. End of story.

So go ahead. Bash away. I'm sure I'm in the minority opinion here.

Winger, 'Purple Haze' Is Pretty Awesome

I never, ever think about Winger's cover of "Purple Haze" but the song came on Hair Nation yesterday and I had to crank the radio!

Some will think I'm crazy and others will scream and holler, but I swear the Winger version of "Purple Haze" is heavier than the original. I love the crunch of the guitar and Kip Winger's voice on the track. I know that when Winger came out in 1988, critics threw a hissy over the cover, deeming a "new" band not good enough to cover Jimi Hendrix. On that I call hogwash. The guys in Winger are and were supreme musicians. Sure, not everyone can pull off Hendrix, but that is not the case with the Winger guys. Let's not forget the Winger cover features Dweezil Zapa on guitar and that is cool, too.

What do you think?

Farewell 'E Street Band' Saxophonist Clarence Clemons

Clarence Clemons, the saxophone player in Bruce Springsteen's E Street Band, has died. He was 69. Just last weekend, Clarence had a stroke.

Clemons started playing with Springsteen in the early 70s. He is regarded by many as one of the best sax players of all time. Beyond Springsteen, he has collaborated with many other artists including Lady Gaga.

Respect where it is due. 

Concert Attendance Before Being a Fan?

Ever go see a band without really knowing any of their tunes?

Last night I saw Uriah Heep. I'd checked them out on YouTube but don't really own their records. The concert was just $5 and across the street from my house. I went with some friends.

It is weird going to shows when you don't know the lyrics to every song. I'd say 90% of the time, I know every single song performed when I see a band live. That's probably because I'm only paying to see bands I really like, yes? Festivals are the anomaly of course. There are plenty of bands at fests I'll "study for" in advance and still not know songs. Then there are those rare instances when I wasn't really a fan to begin with and seeing the act live completely converts me. During those magical instances, I'll rush home, buy every album and become obsessed.

Question today: which glam band did you see live without really being a fan and were completley flipped during the course of the concert?

Black Stone Cherry, 'Between the Devil & the Deep Blue Sea' - Album Review

I’ve liked Black Stone Cherry for a long time. I’ve enjoyed all their CDs, and was very happy to see them at Rock on the Range a couple of years ago. I pre-ordered Between the Devil & the Deep Blue Sea, and got the special edition, with three extra tracks. Inevitably, as bands try to keep alive on an ever shrinking market, there will be a "super deluxe edition" in a few months, with a DVD of random clips shot during the recording process, a promo video, a couple of acoustic versions, a cover, and some live tracks. I will probably buy that, too.

I’m sure everyone has heard the single, "White Trash Millionaire." A riff driven rock song, it definitely shows their 70s influence, but only in a good way. The second track, "Killing Floor" continues in the same vein. Track three is the first ballad, but it’s a good ballad, not a Def Leppard style ballad. "Such a Shame" opens with one of the faster riffs on the album. I think these guys are outgrowing the Southern rock comparisons, the influence is still there, but they are finding their own sound, and it’s not all based on the past, or in Lynyrd Skynyrd.

The next track, "Blame it on the Boom Boom," is obvious in it’s subject matter, and is in general an obvious rocker. Starting with a very southern sort of riff, it quickly turns in to a foot stomping sing along rock song. I’d love to see the guys play this live.

I’m detecting a pattern here. Track 7 is not quite a ballad, but it’s a more open, acoustic sort of song. All these ballads have their rockier moments, none is "More than Words" or "Two Steps Behind." The next song caught me by surprise the first time. I was listening to this song that starts with a guitar riff and then ends up being slow, but heavy. I realized it’s a cover of Marshall Tucker Band’s "Can’t You See," again tying them to Southern rock. They’ve really changed this up, instead of just doing it like the original. I like it a lot.

The rest of the CD continues in the same vein, solid songs, riff driven 70s influenced rock. I suspect you’ve guessed by now that I really like this band. However, I will say that what they are doing is not ground breaking. Their style of music is not one that calls for a whole lot of variation. The songs hardly all sound the same, but they are based in a solid tradition that doesn’t allow for much variance in overall style. For those reasons, it’s hardly surprising that the three bonus tracks on the deluxe CD are every bit as good as the main 12 tracks. "Staring at the Mirror" starts with a banjo and goes in to a heavy, solid riff before opening up in to a classic rock song. "Fade Away" is another excellent ballad, and "Die for You" cranks up another classic riff to good effect.

These guys have been around for a while, and because of who their parents are, and how they formed, there’s been a bit of a mythology and some expectations that come out of that. With their third album, I feel like they are coming out of the shadow of their past and forging their own identity, still based on their obvious influences, but not overshadowed by them.

Help Switchblade Scarlett

Switchblade Scarlett are a legit Glam band... from Ohio no less! They need some cash to make a proper, commercial ready music video for the song "Party Girls" (being made by Kevin Maistros) and for a vinyl pressing of their debut White. Line. Fever. They only need $7 grand to make it happen... and there are prize levels for donations:

Tier 1: Sponsorship

$5 Autographed Thank You note from the band 

$10 Autographed 8x10 official press kit photo from the band

$25 Autographed copy of White. Line. Fever

$50 Autographed vinyl (pending funding) or an autographed tee/CD combo

$100 Gets you all three + a personalized Thank You video posted on our YouTube page

$300 gets you all of the Tier One prizes framed in your choice of color anodized frame with tempered glass and matting (deliver in the lower 48 included) + a personalized Thank You video posted on our YouTube page

$500 gets you all of the above + a producer credit on the video and on the record

$1000 Gets you all of the above + a quick "This video brought to you by (company or individual name)" still image at the opening video (limit 3). (Excludes broadcast of the video)

$2500 Gets you a fifteen-second commercial at the beginning of the video (limit 1). (Excludes broadcast of the video)

If you want to donate, click their IndieGogo page.

'WhoCares' - Album Review

Back in the early 90s, I saw a video clip on MTV a few times, of Rock Aid Armenia doing a cover of "Smoke on the Water." I always loved the song, but never had a chance to buy it. Recently, it’s been re-released on CD with four versions, a 2010 remix, the original 1989 mix, the 1989 radio mix, and a superfluous version with Ian Gillan singing all through it. The guitarists include Tony Iommi, Brian May, David Gilmour and Ritchie Blackmore. The song was done to aid Armenia after a particularly bad earthquake.

Now there’s a new charity project, called "WhoCares," featuring Tony Iommi on guitar, Nicko McBrain on drums, Ian Gillan on vocals, Jason Newstead on bass and Jon Lord on keys. They’ve recorded a new song with the express goal of rebuilding a music school that has still not reopened, 20 years after the original disaster.

There’s two songs on this CD, as well as some enhanced video. The first, "Out of My Mind" is co-written by Tony and Ian. It is is quite heavy in a slow, doomy Black Sabbath sort of way. I like this song a lot.

I co-incidentally just got the remaster of Black Sabbath Born Again, and while I wouldn’t say this song sounds like it could be on that album, it’s similar in the sense of a Black Sabbath riff with Ian Gillan singing over it. Unlike the original Born Again, the production on this track is very good.

The second track actually loses the all star cast, only Tony and Ian remain for "Holy Water," a song that certainly starts a lot slower and softer. Apparently the instrument I can hear taking a solo is called a "duduk." I admit to having no idea what that is, but it sounds very middle eastern. After about 90 seconds, the song gets a lot heavier, although it’s still more of a progressive rock song than heavy metal. I had assumed that Tony co-wrote both songs, but as it progressed, I thought "There’s no way Tony wrote this," and I was right, Ian did, with Steve Morris. It’s still a very decent track, just not a Black Sabbath-type one.

So, a bunch of members of well regarded rock bands come together for the benefit of a charity. Perhaps it’s an old story, but the cause is a good one, the tracks are good, and I’d certainly recommend this CD as worthwhile for any fan of Iommi or Gillan at least. I’m not sure it’s essential listening for any Metallica or Maiden fans, but I’d still say it’s worth a look.