Feeds:
Posts
Comments

Posts Tagged ‘Zakk Wylde’

(Above: Slash + Myles Kennedy and co. perform “Civil War,” arguably Guns N Roses’ finest moment.)

By Joel Francis
The Kansas City Star

Slash will always be known as the top-hatted guitarist for Guns N’ Roses, but he’s built quite a body of work in the 15 years since leaving that band. Thursday night at Harrah’s Voodoo Lounge, Slash drew on all phases of his career – Snakepit, Velvet Revolver, his new solo album and, of course, Guns N’ Roses – during his two hour performance.

The early numbers were a quick survey of Slash’s career. “Ghost,” a number from his new self-titled effort opened the proceedings with a slinky, sleazy guitar riff. It was followed by the rough stomp of “Mean Bone” from Slash’s Snakepit days, the “Appetite for Destruction” classic “Nightrain” and Velvet Revolver’s “Sucker Train Blues.”

After a strong opening, the set got even better. “Back to Cali,” another new track, opened with vocalist Myles Kennedy of Alter Bridge and Slash standing shoulder-to-shoulder during a heated call and response that brought to mind Jimmy Page and Robert Plant. Both “Cali” and “Do It for the Kids” rocked harder than anything Slash’s former band came up with for “Chinese Democracy.” “Civil War” and “Rocket Queen,” two of the brightest moments from Slash’s Guns glory days, came next.

Guitarist Zakk Wylde once said playing with Ozzy Osbourne was like being in a glorified cover band, because the performances encompassed material from different eras and songwriters. The same could also be said by Slash’s four new band mates, but they didn’t seem to mind helping Slash recreate his finest moments any more than Wylde did with Ozzy.

Kennedy easily conjured the ghost of Axl Rose, replicating his vocal tics right down to the radio commentary at the end of “Civil War.” He had no problem nailing the high parts on “Rocket Queen,” either. Together, Kennedy and bass player Todd Kerns – who delighted romping around the stage and lip synching to all the Guns N’ Roses songs – came close to capturing the spirit of Velvet Revolver singer Scott Weiland’s tone.

Although the singer is generally regarded as the front man, this was purely Slash’s show. Kennedy dutifully moved himself and the mic stand back by the drums during each solo so Slash could have center stage. Although primarily stationed at stage left, the crowd followed Slash’s movements across the stage like plants chasing sunlight. Kennedy’s one moment in the spotlight came late in the set when Slash relinquished lead guitar duties during a cover of Alter Bridge’s “Rise Today.”

If the first half of the concert was a showcase for great songs Slash helped write, the second half was dedicated to showing off his guitar skills. Slash is the king of the oily riff that goes down smooth and leaves you feeling dirty. Those skills, however, tend to perish without the structure of a song.

Exhibit A was a tedious five-minute blues jam that culminated in the theme from “The Godfather,” another several-minute exercise. After noodling around for nearly 20 minutes – the blues jam was preceded by the instrumental “Watch This” – Slash ended his solos in the best way possible by dropping into the signature riff to “Sweet Child O’ Mine.”

Kennedy held the mic stand over the re-ignited crowd and let them lead the chorus, a trick he would perform again a few minutes later during “Paradise City.” The closing song, it encapsulated all the best elements of the night: energetic crowd participation, big riffs, great songwriting and killer solos. The night ended with some of Slash’s best solos as the ensemble stretched out over the melody.

For $30 fans could take home a recording of the concert. A line was already forming at the table in the back as the band took their final bows. The CDs are a nice souvenir for dedicated fans, but it’s hard to imagine any casual “best of Slash” playlist deviating too much from what he delivered onstage.

Setlist: Ghost; Mean Bone; Nightrain; Sucker Train Blues; Back from Cali; Do It For the Kids; Civil War; Rocket Queen; Fall to Pieces; Just Like Anything; Nothing to Say; Starlight; Watch This; blues jam > Theme from “The Godfather” > Sweet Child O’ Mine; Rise Today (Alter Bridge cover); Slither. Encore: By the Sword; Communication Breakdown (Led Zeppelin cover); Paradise City.

Keep reading:

Review: “I Am Ozzy”

Review: Motley Crue

Review: Alice in Chains

Read Full Post »

(Above: Ozzy Osbourne has done a lot of crazy stuff in his life. This might be the most surreal.)

By Joel Francis
The Daily Record

The trails and adventures of Ozzy Osbourne’s life have been repackaged and sold nearly as often as the metal god’s greatest hits.

Between an episode of “Behind the Music,” countless articles and three seasons of reality television on MTV, there’s little new ground for Ozzy’s new autobiography, “I Am Ozzy” to cover.

But just like “Crazy Train” and “No More Tears,” just because you’ve heard them before doesn’t mean you don’t want to hear them again. “I Am Ozzy” may hold few surprises, but it’s still a breezy and entertaining read.

Fans looking for insight into Ozzy’s musical process should look elsewhere. Animal activists are also advised to keep away. In the course of the book’s 391 pages, Ozzy not only (infamously) bites the head off of a dove and a bat, but decapitates his seven-foot stuffed bear and mows down his backyard flock of pet chickens during a drunken rampage.

That phrase, “during a drunken rampage,” is the preface to 99 percent of the book’s stories. It is amazing that Ozzy survived his rampages. Even more incredibly, the cumulative effect of so many successive episodes makes Ozzy’s unthinkable actions seem rational. After reading “I was drunk, so I figured ___” so many times, one starts to become numb to the consequences and may find himself frequently nodding in agreement.

The most entertaining and musically focused chapters detail Ozzy’s time in Black Sabbath. Before recording “Sabbath Bloody Sabbath,” the band holed up at Clearwell Castle in England. The time supposed to be used for rehearsal quickly devolved into a series of pranks designed to convince the others the castle was haunted. These stories show an innocent playfulness than reinforces the bond between band mates and makes them feel more human.

“I Am Ozzy” could also serve as an alternate screenplay for “This Is Spinal Tap.” Ozzy details his difficulties finding the perfect midget to hang onstage and how he placed blood capsules in a wig so it looks like he is suffering head trauma. He also recalls the difficulties of performing in a suit of armor – particularly when fans are flinging handfuls of raw meat onto the stage – and the night the pyrotechnic hand designed to lift him over the crowd malfunctioned.

Despite the hi-jinks, there is a serious side to the book. Ozzy somberly discusses the death of his guitarist and greatest foil, Randy Rhoades, a lawsuit filed by the family of a fan after he committed suicide and dealings with religious fanatics, both Satanists and Christians. Ozzy expresses his regrets, but doesn’t expound on the details (probably because he never had to deal with them).

For the past three decades, Ozzy’s long-suffering wife and manager Sharon has embraced the role of janitor. The Marge to Homer’s Ozzy, Sharon not only had to deal with the consequences of her husband’s addictions, but also had to repeatedly stand up to her father, Don Arden. As Ozzy and Sabbath’s former manager, he uses every dirty trick in the book to steal Ozzy back from his daughter. Sharon is frequently painted as an opportunist, but “I Am Ozzy” leaves little doubt that Sharon had to work very hard for her empire and may even deserve a smidgen of sympathy.

After spending two-thirds of his text on Sabbath and Rhodes, Ozzy breezes through the final 25 years of his life. Guitarists Jake E. Lee and Zakk Wylde (who played with Ozzy for 20 years) get only a passing mention. Ozzy slows down over the last 50 pages to discuss his resurrection on MTV, and health issues.

“I Am Ozzy” may not win any literary awards, but a special prize should be awarded to Chris Ayres for making the Ozz-man sound coherent and engaging. Although the conversational tone is loaded with profanity and British colloquialisms, they make the stories seem even more natural and personal.

If there’s one surprise in “I Am Ozzy” it is how much of Ozzy’s life feels like destiny. Despite the trappings of his fame and success, one gets the feeling Ozzy would have turned out pretty much same. Ozzy the Crazy Ex-Con or Ozzy the Slaughterhouse Worker (both were pre-fame occupations) just seem like lower-budget versions of Ozzy the Metal God.

After all, that’s who he is.

Read Full Post »