July 25, 2010 – These days, there’s a little extra spring in the steps that Carlos Santana takes on stage, and a wide smile on his face as he plays. Why, you ask? Well to put it simply, the legendary guitarist who introduced the world to latin fused rock music is in love. Santana is on tour billed as Universal Tone with Steve Winwood, so he’s riding not only a high of performing in front of fans, but the high of proposing to his now finacee on stage just earlier this month. Ever since, there’s been a renewed spirit in Carlos that’s quite noticeable.

Sunday evening’s concert in Washington, DC at Jiffy Lube Live was no exception. In a performance that lasted over two hours, Santana showed the crowd (with a little help from Steve Winwood) that there’s still a whole lot of life in the songs that defined a different time, but there’s room for new experimentation, too.

Opening a show with three brand new songs in a row is a risk that few musicians would be willing to take. But that’s exactly how Steve Winwood began his tight set of guitar and organ jams that spanned his entire musical career. He was seated at his Hammond organ for the first two of the night; that signature tenor gliding over the top of newly crafted songs. But the momentum didn’t really pick up until “Dirty City” brought Winwood to the guitar, and he began to interact more with the band behind him.

When Steve Winwood picks up his Stratocaster, you know it’s going to sound good. He claimed a center-stage spot, and blistered away on the guitar surrounded in a semi-circle by his band. Hits from Blind Faith and Traffic followed, and the groove just got tighter and tighter. It felt more like a fun studio jam among friends than a rehearsed concert when the songs were extended and sections elaborated. They had the crowd on their feet for a grand finish of “Gimme Some Lovin’“.

Carlos Santana packs a lot of people on stage to help him deliver the spicy guitar licks that he’s become famous for. Backup singers, percussionists, and horn players were among those who formed the sound known as Santana for the enthusiastic concert-goers. Starting off with latin inspired selections from his 1999 runaway Supernatural album, Carlos and the band collaborated on stage to present a clean, but layered mix of guitar and vocals.

The star of the show looked just as one would expect. Guitar in hand, long locks of curly black hair, topped off with a hat and sunglasses. Yes, Carlos Santana may have stuck to safe bets when it came to his wardrobe, but he wasn’t about to do the same with his music.

Despite his cool demeanor, Carlos wasn’t very coy about sharing feelings when it comes to love and life. In fact, he could hardly wait until after the first song finished to tell the crowd about his recent engagement to drummer Cindy Blackman. “I’m in love, and I’m so very happy,” Santana proclaimed in a rather lengthy chat with his fans.

“I’m happy because my woman is happy. Let me tell all the men that you need to make sure that you keep your love happy, because if you don’t, nothing will go your way, he warned. “Not even Barack Obama will be able to help you!”

But there were no more one-liners after that, as the focus quickly switched from the spiritual aspects of life to the spirit of Santana’s music. The rich sound of lively percussion complimented Carlos’ emotional playing, as he sported a smile that seemed to say “this sounds good”.

But aside from the clear-as-day tone emerging from from his guitar, Santana commanded little attention to himself on stage. Choosing to play in the background behind members of the band more than he chose to play near the front and center of the stage, it seemed unusual at times when his two male singers were hamming it up more than the master.

Santana’s guitar work ranged from the strictly traditional to the highly improvisational, especially noticeable as he worked new sections of notes into the well known solos of “Oye Como Va” and “Black Magic Woman“. Other song choices included danceable favorites like the irresistible “Smooth“, and choices like Cream‘s “Sunshine of Your Love” that had to be favorites for guitar enthusiasts.

That latter track will make an appearance on the forthcoming Guitar Heaven album, along with “Can’t You Hear Me Knocking“, another song that was tested out in front of fans at the concert. The result was an overwhelming success, but one has to wonder what would have happened if the band would have broke into a different song from Santana’s upcoming album – say, AC/DC‘s “Back in Black“, for example. But then again, if anyone could give that song an R&B infusion, it would be Carlos Santana.

Keeping things interesting, Winwood returned to the stage for one song with Santana. It would have been a thrill to see both guitar players in action, but alas – he took to the organ. Still, seeing the two together in concert is something special regardless of instrument.

There’s a humble aura that radiates from the performances of both Carlos Santana and Steve Winwood. They’re brilliant players who deserve all sorts of attention from fans, but they don’t seek it anymore. It’s the spirit of the music, not the glory of rock star fame that attracts them to the stage time and time again.

With sets of hits that encapsulate both psychedelic and latin influences to bring it to life all over again, the two are are a match that can’t go wrong.

July 21, 2010 – There are few bands that can seamlessly combine wacky humor and seriously stunning musicianship into one epic performance. But Rush makes it look natural. Yes, the three hour shows, the thousands of dedicated fans, and the chefs on stage – it’s all happening once again. The trio is back on the circuit with a couple new twists: time machines and moving pictures.

It was a true celebration of all things Rush at the Susquehanna bank Center on Wednesday night, both the humorous and the meaningful. The band took a break from touring last year, and judging by the sheer amount of Rush t-shirts being worn and lyrics being sung, they were missed. A lot.

It’s become law that all Rush shows must begin with a funny video clip. So in that sense, the opening video titled “Rash: The True Story of Rush” was simply for procedural compliance. The strains of “Spirit of Radio” were a key element of the video, so it was a bit of a shock when the song started up again but was being played now by the real deal, instead of the characters on screen. Geddy Lee and Alex Lifeson emerged from the sides of the stage and the rockout began with Neil Peart holding things down center stage.

Three men on stage have never been such a sonic powerhouse, but then came Rush. Peart’s intricate drumbeats mesh with Lifeson’s guitar pyrotechnics and Lee’s hyperactive bass style to create a sound that simply is offered nowhere else. Behind all the brilliant musicianship, the guys by all accounts seem to be having a party of sorts as they play. Alex brings his humor to the forefront at times, while his other personality seems to be the focused, guitar-faced axeman.

Rush always digs deep through their own past to dust off old obscurities, but this seemed like an especially fitting thing to do during a show focused around time travel. “Presto” and “Stick It Out” seemed to be favorites of Geddy, who sang brightly and thumped away on his bass with a little extra zing. And then others, like “Time Stand Still“, were just too fitting to be left out. Despite being far from ever seeing radio play, there was no shortage of fans who were able to sing along to the deeper cuts.

But it was those Rush classics that were consistently stunning to hear. Geddy gave it all his lungs could muster and then some to nail the high notes during “Freewill“, and Alex didn’t want his “Spirit of Radio” guitar solo to ever end. The only other song that came close to achieving the level of power of a Rush classic was oddly enough, a brand new song titled “Caravan“. Fans who downloaded the tune upon its release in June on iTunes were in on the secret of it being an explosive rock jam. It has a strong melody that’s meant to be played live, and is packed with moments of glory for all three players – but Geddy’s punchy bass line during the instrumental break just might have stole it.

All that music business aside, there was plenty of eye candy in the form of cool stage frills to be had. For much of the show, a myriad of shifting and rotating lights had the band swamped in vibrant colors. And the gear behind them could simply be described as a dream come true for anyone fascinated with time travel, or anyone who appreciates cool gadgets.

Lifeson’s amplifiers are enclosed in custom, antique-fashioned cabinets, complete with steam valves, small video screens, dials, and knobs with the sole purpose of – you guessed it – looking cool. It was a visual feast that complimented the superb sound of the band.

Rush is bringing one of its classic albums out of the time machine this year. You might be wondering how the 30-year-old Moving Pictures album holds up in a modern live show. The ethereal keyboard tones do sound lifted from another time, but they’ve aged more like a fine wine. From its hits to its seldom played songs, the performance of the album was heartfelt and cheered all the way through by fans.

The past was given plenty of homage, but current works were far from left out. Still receiving play in addition to the two freshly penned songs are three choices from 2007′s Snakes & Arrows album, and a pair of songs from 1993′s Counterparts (close enough to this decade).

Geddy Lee carried through the set vocally without many flaws, but no doubt appreciated the fact that his band has plenty of instrumental selections to choose from. “YYZ” brought out another level of energy from the band; it’s one rocker that just doesn’t get old. The sounds of the 1993 cut of “Leave That Thing Alone” put the crowd into a daze, but that’s not to say that the bizarre imagery of cartoon animals on the LCD screen didn’t help.

There’s never really been any sort of shortage of stamina among the members of Rush, and this concert was no exception. Peart’s endurance on drums was exceptional, his skill culminating in one of those drum solos that makes a jaw drop. Accomplishing the moody and earthy tones of “Marathon” and the downright heavy crunches of the new piece “BU2B” was a piece of cake for Lifeson. And although Geddy Lee is most known as the fiery bassist, his keyboard expertise can’t be forgotten.

Their catalog of music does span back more than 35 years, but its a living and breathing entity that seems to be given new life with every concert. There’s no need for a time machine to track down Rush performing in their prime – its happening right now.

Def Leppard has set 2010 aside for some much needed rest and relaxation after non-stop touring for nearly a decade, but fans will be glad to hear that the wheels for 2011 activity are already turning. In a recent interview with Billboard.com, Joe Elliot revealed that the band is at work on their first true live album – ever.

“There’ll be stuff from this century on it — “Rock On“, “Nine Lives“, “C’mon C’mon“,” Elliott notes. “Vivian [Campbell] has been in the band 17 years, so I think he deserves a shot at being on a live record.”

New material may be in the mix as well. “We’ve got tentative plans to do a four- or five-track EP of new songs as part of it,” Elliott adds.

A tour of stadiums and arenas is likely in the works for next year as well. Who do you think Def Leppard will tour with?

July 16, 2010 – The ’90s may be a decade come and gone, but that’s not to say that a brief revival can’t take place (at least for a few hours). Alternative and punk rock’s highest chart toppers from the era – 311 and The Offspring – have teamed for a summer tour, and nothing’s going to get in the way of the nineties nostalgia. The Offspring grounded themselves on the strength of their popular radio material for a largely predictable but entertaining set, while 311 sought out the fans’ attention with stage moves that begged to be photographed.

Led by frontman Dexter Holland, The Offspring wasted no time in bringing the mosh pit to life. Although the band’s members were mostly stationary on stage, the lighting rig was in constant flux and the hits each arrived with a roar of excitement from the fans who packed themselves into an area far too small for a humid, 95 degree evening. “Pretty Fly (for a White Guy)” and “The Kids Aren’t Alright” showcased a familiar, signature sound that has evolved very little over time. But you won’t hear any complaints from those who recall the strains of each song from their younger days.

The lyrics in tunes like “Why Don’t You Get a Job” do lose some credibility when being sung by men in their 40s, but the fans didn’t seem to have any trouble relating. Everyone from young couples to old friends to even the more odd pairings of mother and daughter were singing along to their favorites.

311 was in popular demand by the time The Offspring had left the stage. Chants grew louder and louder from the pit, and the heat seemed to grow stronger when the crowd lights stayed on for what seemed like far too long. But finally the music began and the lights dimmed, and the band emerged to give the fans just what they came for. “Down” started things out with plenty of activity as S.A. Martinez and Nick Hexum crisscrossed each other on stage.

The rest of the group maintained a lower profile while playing, but they were all heard through the massive sound that came from the front speakers. Jumping up in the air with his microphone, Hexum didn’t seem to mind the heat, and nor did the fans. Fists were aimed at the sky as the sweltering evening carried on with more material from the most popular of the band’s albums.

311 didn’t mess around, they set the volume high and cranked up the lights for much of the set. Even in a recession plagued concert market, the Unity Tour seems to once again have found leagues of fans willing to spend on the loud, adrenaline filled shows.

July 14, 2010 – The crowd is dancing and the sound of sonar is in the air. It can only mean one thing – The B-52s are in concert. But what else if not fun beats and strange sounds would be expected from the infamous party band. At Vienna, Virginia’s Wolf Trap Center for the Performing Arts, the group arrived with their signature hits and some new material, along with plenty of animation.

Opening act Supercluster may share the same hometown as the headliner, but they don’t share much talent; the set was a disappointment. But fortunately the B-52s were standing by to set things straight, and soon went about their duties with catchy riffs reminiscent of a more fun, zany time. “Wig” and “Mesopotamia” set a danceable tone for the rest of the show as both the band and the crowd were on their feet and moving to the music.

Free spirited singer Kate Pierson is a blast to watch and hear on stage as she shakes, shimmies, and lets her voice soar. That bright red hair is now a band trademark, and the show just wouldn’t have been the same without it. Often at her side, Cindy Wilson was in fine voice as she traded between dancing and bongo tapping.

As for the males in the band, Fred Schneider’s behavior on stage hasn’t changed much in the group’s history. Tossing his hands in the air and giving a very familiar monotone performance, it felt like the same old concert that could have seen decades ago. Keith Strickland by far maintained the most restrained demeanor, but that didn’t stop him from ripping it up on the guitar from time to time.

Together, the constant switch between female and male vocalists provided the unique sound that made the band famous, and stayed remarkably true to the original recordings.

The four didn’t have too much to say while sharing the stage, but a glitch during “Love in the Year 3000” did bring out some spontaneity. “I think the phasers wiped out our backing tracks,” quipped Fred Schneider after the song came to a sudden halt just one minute in.

Glitches behind them, the rest of the show was smooth sailing, and great listening. The band tested out a few selections from their newest work, Funplex. The title track was a success, but the crowd was less receptive to “Hot Corner“. Still, the new songs sound so similar to the old classics that none of them could ever disappoint.

But the clock was turned back to the ‘70s for fun favorites like “Planet Claire”. Pierson and Schneider took turns wandering around the stage in a faux trance during the song’s haunting rhythms, and the crowd ate it up. There was even additional space age beeping in the form of a flashing gadget waved around by Schneider. And the song’s impossibly high notes were handled by Pierson with ease.

There’s nothing serious about a B-52s concert, except some serious dancing of course. That’s one reason why the fans are still showing up in droves. And the other? Who would pass up the opportunity to hear “Love Shack” live.

Legendary rock icon Paul Rodgers has announced that during his concert tours this year, both Solo and Bad Company, he will be donating rare personal stage items, autographed memorabilia and collectables for a nightly draw. All of the proceeds will be given to the Fender Centers ‘Kids Rock Free’ national music education initiative in efforts to raise money and awareness. Plus Rodgers and his wife, Cynthia, will match all monies raised.

“Without music in schools curriculum there is a void for young people to express, explore and experience music.  We are on a mission to set up this music program across the U.S.  If not for music in my life as a young person who knows where I would have focused my energy,” said Rodgers.

The Kids Rock Free campaign provides free and low-cost music lessons to students age 7-17 and has serviced over 12,000 kids. Rodgers has dedicated himself to the program since 2003, donating his time, talent and finances. In an effort to expand the program nationwide and to help kids across the United States experience music at a very low cost or for free, the push is on to raise additional funding to make that experience a reality.

Those who wish to participate may simply visit the merchandise booth during any concert date and purchase a $5 fundraising ticket. Two random drawings will be held each night, and the winner(s) will take home one (or two) items. Monthly drawings are also being held online on Rodgers’ website, PaulRodgers.com. Rodgers and his wife, Cynthia, will match all donations made during the fund-raising drive.

Additionally, supporters of Kids Rock Free “text-to-donate” can make a $10 donation directly from their mobile phones by texting “ROCK” to 50555. A one-time $10 donation will be added to mobile bills; messaging and data rates may apply. Terms, help and other details can be found online atwww.mgive.com/a.

Rodgers, celebrating over four decades as a writing and charting recording artist (Free, Bad Company, The Firm, Queen + Paul Rodgers, Solo), was recently presented with the “Classic Songwriter” award by Jimmy Page and Jeff Beck at the annual Classic Rock Magazine Roll of Honour 2009. Rolling Stone recently named Rodgers one of the “Top 100 Singers of All Time,” Classic Rock UK placed him at #2 on their “50 Greatest Singers in Rock” list.  His debut solo DVD “Live in Glasgow” is certified Gold and charted at #1 in Canada, #2 in Japan, #3 in the US and #4 in the UK .  Recently released in the U.K. “The Best of Free and Bad Company, featuring Paul Rodgers” hit the charts in the top 10 and is also certified gold.

Paul Rodgers and Bad Company tour dates below:

DATE               VENUE                                                                  CITY/STATE
July 16              Fantasy Springs Casino                                   Indio, CA
July 17              Orange County Fair                                          Costa Mesa, CA
July 22              The Lakeland Center Jenkins Arena              Lakeland, FL
July 23              St. Augustine Amphitheatre                             St. Augustine, FL
July 25              Chastain Park Amphitheatre                            Atlanta, GA
July 27              Bank of America Pavilion                                 Boston, MA
July 30              Choctaw Resort Casino Event Center            Durant, OK
August 1           Outlaw Jam/Frederick Co. Fairgrounds         Frederick, MD
August 4           Casino Rama Entertainment Center               Rama, Ontario
August 14         Dog’s Nest At Grand Bend                              Grand Bend, Ontario
October 4         Potawatomi Casino                                           Milwaukee, WI
October 5         Potawatomi Casino                                           Milwaukee, WI
October 7         The Joint/Hard Rock Hotel & Casino              Catoosa, OK (Tulsa)
October 9         Little Creek Casino Resort                              Shelton, WA *
* denotes Paul Rodgers solo date

ABOUT KIDS ROCK FREE®:
More than 12,000 children have experienced the joy of creating music through the Kids Rock Free music education program. The lessons are provide to any and all kids at no or low cost. Guitar, keyboard, drums and voice are currently offered. More than 800 kids are wait-listed to participate in the KRF program. The classes are taught by experienced teachers from the area. More donations are needed to increase the number of sessions offered, expand the variety and depth of classes and complete the build-out the much needed rooms within the center to accommodate the constant and ever-growing demand for the Kids Rock Free Program.

For more information, please visit: www.paulrodgers.com

ABOUT THE FENDER CENTER/MUSEUM:
The Fender Center for Music Education is a non-profit center dedicated to the music education of children. The 33,000-square-foot building is located at 365 N. Main Street, in Corona, Calif. Run by the Fender Museum of Music and the Arts Foundation, a 501 (c) 3 corporation, the board is made up of civic leaders, elected officials, and business leaders from the Riverside County and Orange Country regions. The main focus of the Center is to provide music education to children at a no or low cost. Music education has been drastically reduced due to money constraints in the public education system. The Fender Center endeavors to bridge that gap by providing an innovative and caring environment for children to explore the world of music performance. Numerous studies have shown that children, who incorporate music into their education, perform better in math and science by a staggering 30 percent. Additionally, children attain a higher degree of personal confidence and a greater sense of accomplish compared to non-music students.

The Fender Center conducts events throughout the year to bring musical experiences to the general public and raise funds to continue the important work of music education. Contained within the Center, the FM Studio, professionally equipped and staffed, records the kids’ performances. FM Studio is available for commercial use and audio recording. Additional information can be obtained at www.fendermuseum.com.

By: Justin Beckner, Rock Concerts Correspondent

Jethro Tull has tiptoed behind the scenes of mainstream rock music for almost 50 years. They brought an element of class and sophistication to popular music and won over their audiences with witty lyrics and an original sound that blended elements of nearly every style of music. Throughout the years they dared to be different and became something great. The following is an interview with charismatic frontman, Ian Anderson.

Melodic Rock Concerts: Hello Ian, it’s good to talk to you again. Last time we spoke you were in the midst of some traveling issues due to the volcano. I suppose that is somewhat common with all of the traveling you do over there.

Ian Anderson: Yes, there’s no hopping on the tour bus from Detroit to Chicago for me. Things are a little more complicated where I live. It makes things a bit more interesting. Normally I wouldn’t travel on a bus. I’ll leave that to the Lords of The Trident, or the Michelin Street Block Party, or Buckcherry. They probably love the tour bus – they’re probably younger than me and don’t need to shower that often.

MRC: Let’s start from the beginning. What was your first instrument and how did that evolve into a career and you taking an interest in so many different instruments?

IA: Well, first of all I’m not really very proficient at anything other than the flute and the guitar. When you don’t have the technical skills in an instrument it allows you or forces you rather to work in more simple and direct terms, which is a good thing if you’re writing songs. It forces you to keep things simple. My first instrument was an Elvis Presley plastic ukulele which I received in the post at the age of about 10. And it was, I believe the last mail order I received, because in the advertisement in the newspaper, the Elvis Presley ukulele looked like a full sized guitar and it was being strummed by someone who looked uncannily like Elvis. However when it arrived it was about a foot and a half long, was made out of really flimsy plastic, it wouldn’t stay in tune, and it broke after the first couple of weeks. But it gave me the opportunity to tune something up and learn some chords. And then when I was 11 I got a Spanish guitar – a nylon string guitar which I put steel string on which caused it to break after a short while too. And it wasn’t until age 15 that I started to play guitar a little more seriously and started playing the blues.

MRC: Did you have an infatuation with music before getting that Elvis ukulele at age 10?

IA: I quite liked music when I was about 7 or 8 because my father would listen to big band jazz, he had some 75 rpm records of Benny Goodman and Duke Ellington and Glenn Miller – that kind of stuff. And I didn’t think about it at the time but I think the reason I liked it was that it was very intricate music. It had a lot of forms and accents to it which was fun and being big band jazz, it would often incorporated the flattened fifth from the blues scale. And that was new to me because up until then all I knew was church music and some folk music. So that blues scale really caught my attention and the next time I really heard someone use it was on the first record I heard from Elvis Presley which I think may have been Heartbreak Hotel. I was never an Elvis Presley fan, I always thought he was rather silly and I still do frankly. Not as silly as his many imitators but pretty silly none the less. I didn’t really go for American rock and roll. It wasn’t until I heard Muddy Waters and Howling Wolf and Bo Diddley and stuff like that when I really got into American music – particularly black American folk blues – the acoustic blues.

MRC: I can sense that in your music. There seems to be some blues roots there.

IA: Yes, along with a strong dislike of Elvis Presley. I think that Elvis Presley was very important in the formation of American music because he was the guy who brought together parts of black American blues and country western music. Much more than Bill Haley and the Comets who were more a rockabilly, innocent, white act to where Elvis had a bit of a theatrical menace to him which was moderately amusing for a very short while. He was very important but certainly didn’t fit my taste in music at the time. Then of course, he went on from being a rock and roll guy to being an extremely cheesy movie star. In his latter days on the casino circuit he wore a rhinestone studded white jumpsuit which was terribly regrettable.

I once went to see Elvis in Las Vegas when he played this big casino. We all got cocked up in some borrowed tuxedos which we were obliged to wear to see Elvis perform. And at the end of the performance some guy came to us and said “Elvis will see you now, he would like to meet you.” And I said, “Actually we’ve got to go. We have an early bedtime because we’ve got a show tomorrow, but thank you very much.” We’re probably the only band to ever decline being ushered in to Elvis’ dressing room to shake his hand. But he seemed like he was barely competent mentally on stage, he could hardly speak and he was falling all over the place, obviously under the influence of a lot of drink or quite a few drugs and possibly too many hamburgers. So he didn’t seem like the type of person you’d want to attempt to have a meaningful conversation with. So rather sadly, we left – it seemed he had turned the corner into some dark cul-de-sac of his life which as we know, it remained so until his death – he never regained proper consciousness after that.

MRC: It’s always sad to see people like that, who have been placed on a pedestal at their strangest and darkest times.

IA: But that was in 1971 and by then, a couple of years into Jethro Tull, we had already seen quite a few people dying with their boots on due to drug and drink and so on. It was a pretty common occurrence that people were beginning to feel the consequences of excessive lifestyles. But that goes back to the 1920s even when jazz musicians used to harm themselves with same excess that would take the lives of Janis Joplin, Jimi Hendrix, Jim Morrison, Keith Moon and all of those people who were dropping like flies all around you. It was a sobering lesson about the rock and roll lifestyle and particularly the inviting of a lot of drugs and chemicals, which never seemed like a good idea to me. So I tended to avoid all of that from the start. When I was in art school I came across drugs for the first time and I was a bit scared off so I didn’t go down that route – yet. I suppose there’s still time but I don’t think it’s likely. I don’t rule out gay sex either but that’s also relatively unlikely. I am 62 years of age and I am saggy of buttocks and no longer firm of thigh or flat of stomach so I don’t think I’d make a good catch. Maybe someone out there would have a soft spot for me but hopefully it would remain so. Anyways, moving on…

MRC: Indeed. Though you have had some mainstream success your sound has been very original and it appears to me that you never changed your sound to fit anyone else’s tastes. It almost seemed that you were a mainstream band that was oblivious to what every other mainstream band was doing at the time.

IA: No, we never tried to consciously change our sound but we did try to evolve our sound over the years. I was just listening to Thick As A Brick, which we recorded in 1972, and that contained one of the earliest synthesizers which was made in the UK. It was called the ANS at the time. But we linked that up to a pitch to voltage inverter and I played my flute through this device which made the flute sound like some weird electronic instrument. It sounded quite horrible but nonetheless it was experimental use of new technology. Technology has always moved us to try new things – with the emergence of better guitars and amps to the 1980s where we saw the beginning of sequencing and sampling and the early computers in music. We’ve always kept up with new technology and used it on our records. But with the exception of a period in 83-84 when we brought the electronic stuff to the forefront for a bit but for the most part, we’ve tried to keep it in the background without letting it dominate the music. And I think that would hold true today with the tools we use like our sound reinforcement and mixing boards and wireless systems – those things are part of what we do everyday. But nonetheless as an acoustic musician I would like to think that what the audience see and hear is pretty much instruments being played as if you were in the same room with me.

I’m the acoustic guy in the band and I’m always a little hesitant about going down the road of electronics myself. But the electric guitar, electric bass and so on are just a part of what we’ve become. I am more comfortable with the sound of acoustic instruments and orchestral instruments, because it’s easier to humanize then and put a personal touch on them. It’s easier to create the nuances and subtleties and expressions to where sticking a finger on a keyboard or sampler, it would sound exactly the same whether you do it or I do it. But if James Burway plays a note on the flute and I play a note on the flute it will sound considerably different, he will sound much better than I do. So I find it much easier to express myself musically with acoustic instruments.

MRC: Do you think that technology has a tendency to make musicians lazier and lose the skills to play acoustic instruments?

IA: I’m sure some musicians have become lazy but it’s probably because they are playing a kind of music where that reliance on technology is just part of the music. And the programs that are written for performing recording music have made it easier for people who maybe don’t have the traditional skills to enter the world of music and find some creative outlet, and that has to be a good thing. I don’t think we all need to be technical wiz kids in order to make good music. But it certainly helps if you can play your instrument tolerably well. But as I said earlier, not being able to play your instrument terribly well can produce some special and striking music. For example Paul McCartney who had a very simple plip-plop bass technique and along with some very limited skills on the piano and acoustic guitar, he didn’t need to progress his proficiency over the years. It allowed him to write great songs, he didn’t have to be a great musician he just had to play well enough to realize his musical vision in terms of writing very good pop songs. But rather like Elvis, I’m not a Paul McCartney fan, I really don’t like his music but I think what he does he does it very well. And though it’s not what I like to listen to, I can still greatly admire and respect his abilities.

On the flip side, there are a lot of incredibly gifted guitar players, especially in America. People like Steve Vai and others like him, maybe their skill is more of a limiting factor when it comes to writing marketable popular music. And of course Stevie Vai is not in the business of writing peppy pop music, thank goodness. He writes for people who like more adventurous and technically excellent music. But he is less well know than a lot of guitar players from a lot of rock bands that only know six chords.

Going back now to Tony Iaomi, he wrote the book on writing very simple riffs with a limited technique which was partially due to the physical injury to his fingers from when he was a teenager working in a sheetmetal factory. So that set him on the path of having to make the best of what he had which fit his simple and direct form of writing and performing music which everybody loves. Even I do for ten or fifteen minuets.

MRC: You worked with Tony back in the early days didn’t you?

IA: Yes, briefly. We knew him indeed before the time when Black Sabbath was born out of a Birmingham band that used to support the early Jethro Tull back in 1968. And Tony came on and played or rather mimed on a film – we performed on the Rolling Stones rock and Roll Circus which was a show that never aired until many years later when it came out on VHS. But that was the only time that Tony got together with us. And then shortly after his band went on to change their name to Black Sabbath and got themselves an image that caught the fancy of particularly the Americans. And around the time that they were making it big in the USA, we bumped into them somewhere and split the bill with Black Sabbath. This was around ’69 or something like that. But on that night Ozzy Osbourne wasn’t feeling so well and he had the great courtesy to come to me personally and tell me that he wouldn’t be able to do the show. I honestly can’t remember if we did the show without Black Sabbath or if the audience got their money back. But I do recall his respectful manner.

MRC: You seem to have a very good bond with your current guitarist, Martin Barre.

IA: Yes, well Martin joined the band in 1968, I believe it was almost Christmas Day. He played with the band a couple of dates in late January 1969 and then went in to record an album which was Martin’s first time in a studio and he and I were really learning as we went along. He was quite an uninformed guitar player – he had a great deal of technical skill but he didn’t have any particular interest in any special type of music, he was very open to new ideas and the songs that I was writing. And I would give him some of my limited knowledge on guitar playing and how to approach something. He responded to that rather uniquely, most other guitar players already had definite ideas and definite styles and such. It was good that Martin’s natural ability and his awareness were rather limited at the time. He was more of an open book that could be written on by an aspiring songwriter. I don’t think he really developed a definite style until around the time before we went in to record the Aqualung album. He was settling down a bit by that point and developing his own style.

MRC: Do you have any new material in the works?

IA: Well we always have some new stuff that we play on stage and there are a lot of songs we mean to record which are in various stages of completion. But it’s a matter of getting everyone together and doing it. But it’s not a priority of mine to spend months in rooms with no windows to make a record which frankly isn’t going to be listened to by that many people in this day and age because there are so few physical records out there left. It’s mostly iTunes at this point. And given the amount of records that are selling these days, recording one is not really a priority. I would much rather spend a month playing 20 shows in interesting places to lots of nice people than spending a month in a windowless room to make a record. But we have the opportunity to play those new songs on stage and we do it quite often. It’s pretty common that we do a couple of new songs each show. Even our older repertoire can be subject to changes from time to time to keep things interesting.

As they prepare to release their thirteenth studio album, World Gone Crazy, on the eve of the 40th anniversary of their first album release, the Doobie Brothers have signed with HOR Entertainment, a full-service imprint and entertainment services company led by a team of deeply experienced music industry professionals.

The Doobies are a quintessentially American rock-n-roll band who have combined elements of rock, blues, soul, country, jazz and more into one of the most appealing blends of popular music of the last half-century.

Their indelible contributions to the American songbook – from “Listen To The Music” and “China Grove” to “Black Water” and “Long Train Runnin’” – remain as beloved and relevant as ever. But Pat Simmons, Tom Johnston, John McFee and Mike Hossack are far from resting on those considerable laurels.

And if ever a company came close to matching the skill, craft, heart and passion of the Doobie Brothers, it’s HOR Entertainment. Launched in October of last year, HOR brings a record division, publishing, film & television and merchandise under one roof. The executive team is loaded with experienced industry veterans poised to bring a fresh approach to the ever-changing music business.

“I am very happy to see the band sign to HOR,” says the Doobie Brothers’ manager Bruce Cohn. “I think it’s a great opportunity for HOR to work with a heritage band and for the Doobies to have the focus of the entire company for their release…a win/win situation for all concerned!”

CEO/Head of A&R Larry Lee understands the business as few can, having been an artist, writer, producer and executive. His credits include Mr. Big, Meatloaf, Roger Daltry and more. President/Head of A&R Curt Cuomo is a Grammy-nominated writer and producer who has worked with KISS, Eddie Money, Edgar Winter, Slash and Clint Black, among others.

“After a decade the Doobie Brothers have made, what I consider to be a career album, with their longtime legendary producer Ted Templeman. I am thrilled that HOR Records will be releasing the Doobie Brothers’ World Gone Crazy and we look forward to being a part of the band’s next chapter in music history,” said Lee.

Other executives include: Business & Legal Affairs/A&R Scott Bradford (Panic! At The Disco, The Shins, Plain White T’s), VP/New Media Hab Haddad (KISS, Ted Nugent, Night Ranger, Hootie & The Blowfish) and VP/Marketing & Promotions Bob Divney (Green Day, Faith No More, Audioslave, Depeche Mode).

World Gone Crazy will be released Sept. 28 on HOR Records.

July 11, 2010 – 35 years into his diverse musical career, there aren’t too many things that Sting hasn’t tried. But touring across the country with a full orchestra – yes, that just might be one of them. Although the concept may seem foreign at first, the implications of such a show are quite clear – it surely means Sting’s classics reworked with a full instrumental twist. Although the “Symponicity” concert at Bristow, Virginia’s Jiffy Lube Live lived up to those expectations, the performance was not without its surprises.

Singing proud with joyful movement and expressions at the start of the show, Sting was quickly in command of both the crowded stage behind him and the thousands of fans in front of him. He playfully danced and tapped percussion as the orchestra and backup band pumped out the peppy tones of “If I Ever Lose My Faith in You”. The delicate acoustic blend of Sting and the Royal Philharmonic Orchestra rippled through the amphitheater, and a great evening of music had begun.

The flavor of each selection ranged from the flirtatious delivery of “Every Little Thing She Does is Magic” to the emotion stirring notes in “Why Should I Cry for You”. Like the crowd, at times the Englishman appeared lost in the moment too – it wasn’t uncommon to find the singer locked in a deep gaze while singing reflective lyrics about love and loss.

Without the comforts of his bass guitar, it was pure pipes that were charged with keeping the show alive. Fortunately, Sting’s voice sounded great from the start, with its retained range and power setting in fully during the challenging moments of “Every Little Thing”. Although he may be more suited to sing atop traditional rock guitar, the orchestra brought his unique tone to the forefront.

Harmonizing to Sting’s right was the talented Jo Lowry, who lit up the evening in her own right with contagious energy and a voice that could kill. She worked herself into a downright frenzy during uptempo numbers like “She’s Too Good for Me” and “Next to You“.

The musical arrangement of songs varied greatly, but shared an overwhelming success. Some sounded not too far removed from studio counterparts, while “Roxanne” was unexpectedly stripped down to its core. But from start to finish, the 26 song set was both cohesive and diverse. And it almost goes without saying that the orchestra was skilled, they’re the Royal Philharmonic after all.

Although the Virginia crowd seemed to be enjoying the live performance, it took the familiar strains of “King of Pain” to bring them up on their feet to stay. The consummate entertainer, Sting even brought out matching dance moves for the exotic beats of “Desert Rose“.

If the stunning visual presentation wasn’t convincing enough, Sting clearly arrived with a full arsenal of weapons: his signature, soaring voice to win over the critics and fans alike, his charm to please the ladies of the audience, and the Royal Philharmonic Orchestra…to cover anything else. Some live experiments work and others don’t, but Symphonicity is certainly a notch in the success column.

Pete Townsend and Roger Daltrey are bringing back The Who next year for a world tour, on which the band will perform songs from 1973′s Quadrophenia album. After bringing their spectacle of hits to this year’s Super Bowl, the two have decided to take the show out on the road once again.

Roger Daltrey told Billboard.com: “We definitely don’t want to stop. We feel it’s the role of the artist to go all the way through life ’til you can’t do it anymore.”

Brief tours have taken place in recent years, but the group’s last major tour was all the way back in 2007. Plans are far from being complete for next year’s run, but Daltrey says things are progressing. “We’re just working out what to do next,” he told Billboard.com. “We’ve got ideas, we’re looking on probably being out there, hopefully if all goes well, in the spring of next year.”