America Rocks Tour 2012 -- Live Review
Monday, June 18, 2012 at 12:02AM Reader and regular commenter "Him" shot me an email, offering up this awesome review of the first night of the America Rocks Tour. This review is amazing and I think you will agree. Many thanks to Him for thinking of us and sharing his thoughts on the tour. -- Allyson
America Rocks Tour 2012, June 15, 2012, Avalon Nightclub, Santa Clara, Calif.
The first stop of the America Rocks Tour 2012—featuring Lillian Axe, Pretty Boy Floyd, Bulletboys, Faster Pussycat, and Jack Russell’s Great White—rolled into Santa Clara on Friday night. If this show was any indication of what fans can expect for $25, there are reasons to be pleased . . . and worried.
The brutal truth is that all of these bands are now anchored by one member from their glory days. The less disconcerting fact is that several of the bands demonstrated an ability to provide a tight ride down memory lane. The reality is that Friday’s show was a rough introduction of the tour to the fans, filled with technical problems, prima donna behavior, and signs that several of these bands don’t get along all that well.
The doors opened at 8:00. By the time we arrived at a little past 8:30, Lillian Axe was already well into their set and only a couple of songs away from closing with “Show A Little Love,” one of the bands more well-known songs. Original member Steven Blaze looked every bit the metal elder while shredding away on guitar and relatively new singer Brian Jones capably handled vocal duties.
After a twenty minute break, Pretty Boy Floyd—featuring original member Steve Summers on vocals—took to the stage with an initially energetic version of “Leather Boys with Electric Toys.” But things quickly took a turn towards the confusing. Whether it was problems with the amps, or the drums, or the band, the set ended . . . before the first song was finished. No explanation. No return to the stage. Nothing.
Another short break followed. Then things took a turn for the better. The Bulletboys, featuring Marq Torien, launched into the second best set of the evening. Say what you will about Torien’s purported personality issues, the New Year’s Eve reunion show, or the hired hands that now fill out the rest of the band. The fact remains that Torien is a showman and his mates knows how to hit their marks. He prances and dances around like he is playing to thousands even when there are barely a few hundred in front of him. Fans got a sleazy “Hard as a Rock,” a spirited romp through the O’Jays’ “For the Love of Money,” and a suitably over-the-top set ending “Smooth Up in Ya’.” In contrast with Floyd, a technical glitch with one of the amps didn’t stop Torien. He segued into an impromptu solo song and then right back into the set. With theatrical guitar playing and a decent set of pipes, Torien proved he isn’t just going through the motions. The fans reciprocated the energy, acting like they were also part of a far larger crowd at a much larger venue.
A slightly longer break occurred. Then Faster Pussycat, featuring original member Taime Downe, took the stage. Downe--dressed in black, assuming a persona both aloof and raunchy--hit most of the songs fans wanted: "Bathroom Wall," "Slip of the Tongue," "House of Pain," and so on. And it was the best set of the evening. With a tight backing band anchored by the propulsive drumming of Chad Stewart and bassist Danny Nordahl, Downe avoided the flights of rage or techno that marred earlier revamped versions of the band. He even yielded the stage to Nordahl, who led the rest of the crew in an animated cover of the Supersucker’s “Pretty ****** Up.” Granted, this isn’t the Pussycat of old or even the one that Muscat trucked out several years ago. This is Downe’s baby. And he proved that Pussycat are still, at base, a punk/glam/50s monster capable of delivering fans a set to be remembered. The concert seemed to be hitting its stride, with two great sets in a row and high expectations for the headlining act.
Then there was a wait. And still more of a wait. Then, wait for it, more waiting. After nearly an hour, Jack Russell’s Great White took the stage. From the start it was clear that this wasn’t going to be a set to remember. Russell’s pipes sounded decent when you could hear them. He even kept the crowd singing to a minimum (when compared to some of his peers). But he was placed way too low in the mix for the majority of the set. This led him to engage in a back and forth (and occasionally angry) routine with the sound guy, cutting out of songs to go get the level adjusted. It was also coupled with several long parts where fans were treated to his backing band playing and singing without him. Don’t get me wrong. Guitarist Matthew Johnson is amazing to watch, letting his playing do the talking whereas fellow guitarist Robby Lochner seems more intent to get the crowd going with flash and facial contortions. But fans aren't there to see the backing band no matter how gifted or flashy they might be. They are there to see Russell. Which leads me to bassist Dario Seixas. Coming from the Rudy Sarzo school of playing, Seixas caresses, throws, swings, and toys with his bass almost as much as he actually plays it! He also does something that has popped up in previous clips of the band online: he takes pictures and texts with his phone in the middle of the set. For the life of me, I can’t understand why he does it or why he has been allowed to do it. It is a distraction and, in my opinion, unprofessional.
During one of Seixas’ rounds of texting, members of the Bulletboys and Faster Pussycat were standing in front of me. They were openly mocking the band, even going so far as to take a picture of the texting which they then passed around to each other, laughing. This wasn’t off to the side of the stage, and there weren’t that many people crowding the stage (at best, the crowd was a very light three deep during any of the sets and never more than a few hundred in total). So they were out in the open and clearly none too worried about how their behavior would be interpreted. And to be quite honest: why should they be worried? Their bands pulled off headlining sets as opening acts. It might be as unclassy as Seixas’ behavior. But their bands left the audience wanting more. By the end of Russell’s set, and at nearly 2:00 in the morning, not even “Rock Me” managed to get its customary reaction from the crowd that had stayed to watch.
In terms of value, the America Rocks Tour 2012 makes sense in theory. With some of the technical kinks resolved, it might also work in practice. But there are clear signs that some of the bands still think it is the 80s, others haven’t yet hit their stride, and still others see this as a paycheck. With the tour having only just begun, these are troubling signs indeed. I hate to say it: caveat emptor.
Reader Comments (47)
And here is an argument for a night of more then four bands.
Their was no reason to have more then four bands. Scenario: get to venue buy first drink before first band wear uncomfortable shoes to look good. after crappy first band ends wait for next, twenty mins get more drinks to pass time, hear second band eh they'er not too bad, boy feeling tipsy for sure, wait longer like 30 mins before third band... and they suck get more drinks feeling groovy la la, smoke a few to ease the boredom between bands, ok fourth band now sitting down haven more drinks errrppp... gotta pee getting sleepy this band is boring let's jump around try to wake up.. get more drinks they'er fuggen drunk off they'er asses. fallen down sixth band fianly ends at 2 am after a 35 min set,, hey dude the show is over wake up get up off the floor and go home. The most common thing with to many bands at one show in succession is three quarters of the people have gone home, they could not stand around any more get any drunker and had to work the next day. ya/ll know that 80's bands bring out the 40 somethings right not like the stay up all night twenty something? save the six bands for the twenty somethings. this way you headliners still have fans who stick around to see you instead of leave fore you even go on.
Know your demographics when planning a fuggen show and the venue... start on time, end on time, adversities, promote, price the tickets right and don't add local bands to an existing tour for christ sake that was the biggest waste of time.... regroup get organized have an order and rinse and repeat ... Have one tour manager and then fire him/her when they fuck it all up. if ya'll using more then one tour manager your tour won't last, duh to many chiefs no buenos homies. Biggest thing you all are trying to be the bigger star why don't you all stop the shit and start supporting each other because the crap effects the shows period and it translates on stage any dumb ass fan who docent understand whats going on can see it and to say that the fans don't give a crap about what they are hearing is a total insult to the fans and they should not support you, fans are your bread and butter give them what they are paying for...
OK Chezzya is done and going to take a Nap
Kenny I'm not a "bitter twat." You and Rock-It sound as much the bitter twats as ANYONE on this board. INCLUDING the over blown take his eyeliner and rock alone MetalBoob! BUT this isn't for name calling or starting a war. Let me give you the abbrevriated version of what I was trying to say...
1. The EGOS on this tour are RIDICULOUS. This is 2012, NOT the hair raising 80's. Their fleeting success said bye bye long ago, not unlike their hair.
2. They are being overly pretentious with their demands on the "quality" they're demanding in the form of production, etc from the promoters. It's one thing to expect the best, but do you see the places they're playing? This ain't the House of Blues or an arena somewhere. It's Tom's Bowling Alley in Hit Your Cow In The Ass Middle America.
3. SARCASM when pointing out a BulletBoy song or a Lillian Axe song. I had to GOOGLE Lillian Axe for a song and I was smack in the MIDDLE of the Sunset Strip in the 80's. They were successful to a HANDFUL of people. Pretty Boy Floyd? Gimme a break they have MORE success now than when they were TRYING to succeed. The BulletBoys were a C level band AT BEST. They had a good song and Torien has milked it for well over 20 years. Good for him, but honestly do you recall a HEADLING TOUR EVER from ANY of THOSE THREE BANDS? Oh, you don't? Cuz it NEVER HAPPENED. Faster Pussycat back in the day peaked at a B Level while Great White hit the B+ status (and I'm being VERY generous on ALL those). Maybe those bands meant something to you, 3 of the 5 I was a FAN of. The difference? I was never delussional enough to think they were on par success wise as a Poison, Motley, or Ozzy. Holy hell, if you honestly think these are cream of the crop bands individually, you need to call 911 cause you are a danger to yourself and others. As a whole in the form of this package, its a good solid show.
4. Steve Whiteman is the consumate professional. KIX was on target with Great White and Faster Pussycat, so the comparison is VALID.
5. I DO know what is and has happened on this tour. It's nothing more than one band worrying the next is getting better sound, catering, etc than the other. Who suffers? The poor bastards that paid good money to hear PBF do ONE SONG and LEAVE THE STAGE. Watching these bands put it on auto-pilot shouldn't be tolerated. And an ass hat scab player tweeting while on STAGE, goofing on one of the openers!?!? WTF? You want to defend that bullshit, feel free.
A couple of you are sheep. You'll defend these guys to the death because at one point in your life their songs meant something. That's great, that's what a fan does. But for God's sake use your head when you're slamming someone for stating facts. Point out ONE thing that I wrote that is either a lie or an untruth? Calling me names like Kenny Ozz did or getting aggressive like Rock-It did, if it makes them feel like better people great. I'm sure in their own homes they're really THE INSIDER. I just think these knuckleheads bringing drama to a 5 band bill for no other reason than their own egos is assinine. They're 4 or 5 shows into this tour now...they keep getting reviews like the one above (whick made Blabbermouth AND Metal Sludge) the person or persons who are going to pay are the ticket buyer and that sap promoter who is going to lose more that night than most of us will make in a month. The truth hurts and the Insider really does feel your pain.
I actually got a call from one of the 2 tour managers (yes there are 2, Jack's Great White has one and the others are using the same TM) They'll be at the club at NOON to load in, set up, and prepare for an evening of fun. Do I expect a burp somewhere along the line? Absolutely. Will I tolerate my ticket buyers eating a shit sandwich over someone's ego? No more than I would tolerate a fan pissing off one of the bands on this bill. The tour managers can worry about the production end, our sound guy can handle the sound because he KNOWS the CLUB AND the equipment. Will he hand control over to their sound guys if they want? Sure but he isn't gonna be pissed off enough to just walk away, he'll be right by them when they need him. We're prepared for the slip ups that occur on every big show. It happens and it becomes a problem if you let it.
So Mr. Insider, I'll report back here on Monday either agreeing with what you said or finally dispelling any b.s. that's running a muck.
Peace out yo! And if you're in Imperial, PA on Sunday come out to Grim's Roadhouse...I'll buy ya a drink or two. Tickets at: http://www.showclix.com/event/JACKSGW
And Insider, though I've never MET Kenny Ozz, I know enough people that know him and he is neither bitter (only with some of his Facebook posts when he can't make a show LOL) nor is he a twat (that I KNOW of hahahahaha)
And to Mr. Insider... It is a bit hard for me (and probably others here) to care about your so called review if you had to google Lillian Axe or the Bullet Boys.
~ LONG LIVE THE EGO ~
Last comment on this thread... I'll go to the "America Rocks" Tour and decide on my own what I like and don't like, just as I've been doing since the early 80's.
1. You have six bands playing in four days, two are local acts that are “GOOD” (hence they should have their own pull of fans),
2. Four “national” acts that are on the tour (which should be enough for people to buy a ticket ahead of time)
3. Your “dive bar” has a capacity of ONLY 150 – you’d think people would be “on it” and already bought tickets due to that fact alone for fear of not getting into the show because of a “sell-out”.
4. The gig is four days away. Not four months, four weeks – four DAYS.
5. YOU STILL HAVEN’T SOLD OUT THE SHOW? Most venues by this point have sold at least 150. The 60 some-odd comp tickets you probably had to agree to don’t count in the mix...
To boot, I could book ONE band in my backyard and get 150 people to show up in the same day.
Just wondering when the plug will be pulled on this tour. Everyone is losing their asses.
PS to “Insider”– who was Tweeting and goofing on the openers? I’m curious! That’s messed up!
Understand ONE thing...the market here in the outskirts of Pittsburgh is mostly WALK UP. I had Faster Pussycat here earlier in the year, sold 20 tickets in advance...day of show 178 people in the bar. I'm not worried in the least.
As for YOUR thinking of COMP tickets...ain't happening. I X'd every stupid thing out in my contracts. They want FREE guests...comes off their guarantees. They don't play for free and I don't have the capacity to ALLOW free.
As for where you got the idea that I put a band on to PULL from their fanbase. Please, there fanbase was buying tix to the show whether the bands played or not. I did it to give exposure to bands that I believe in. Bands that will continue to BUILD a fan base and continue to BUILD that base in my club. It's called business. Not even sure why I'm addressing YOUR smuggness. Are YOU an insider trying to IMPRESS...ain't working.
To Kenny Ozz, we'd be two twats in a pod bro...I'd probably buy us more than a COUPLE of rounds hahahaha. Let me know if you ever head to the Tap House in Akron or ya care to take a show in here in Pittsburgh, we'll rock it.
but on a personal note to the America Rocks Tour groups (because I know y'all read this board)...if you bring it to the Starland, I'll bring it, too. But, if [mr. steve 'sex' summers' and/or the 'clean and sober' captain jack] or the rest of the musicians wanna pull an axl rose, then fuck you...I guess I was wrong all along, but I will nail your ass to the sheets in this blog afterward...if ally permits.
BTW don't give Sweet Lou any shit he's a stand up guy and a true professional. I've toured through Pittsburgh and he made everything happen and that is to be commended!
Fucking FUNNY MONEY travels with their own lights, sound board and sound guy. I've seen them many times over the years and NEVER did they sound bad, be it in a shit hole dive bar or a quality concert hall. And the ONLY attitude that Steve and the guys bring is a FUN LOVING one. Do they still have problems? Sure they do, but you don't see Whiteman throwing a hissy fit and end it all. The people that forked over their paychecks to see these shows would be happy just to hear these guys fart even out of key.
Yes this is true for Funny Money and KIX, I get the same mix on any system I come across.
You don’t need to be a “rocket scientist” to figure out that if you have your own gear (Console, snake, FX rack, mic’s, cables and IEM”s, plus some LED fixtures) you will ensure that you will have “Your” mix every show no matter what venue you are in, roadhouse or concert venue.
And yes we do have issues from time to time, shit we are like family over 13years together, we keep it in house not in the public eyes, if ya got an issue in our family get ur ass to the dressing room or out back, never in view of the fans.
This is our "Fun Time" we all have regular jobs during the week and our weekends are our 'Play Day" and that reflects on the stage for the fans who, essentially pay us for that release of energy and showmanship.
As for the other comments on here, I do agree that it’s a major overload on some venues that are just not capable to handle this kind of “arena want-a-be” event. Most of these venues will have “house” systems with at least 24ch console, and if you are lucky a monitor console. (I know what Im talking about; I’ve seen the schedule and have graced some of the venues on their schedule in my years of touring) I don’t think any of the Talent Buyers sprung much more in production costs, but I could be wrong, who knows. Yes the EGO’S, I’ve been around some of these acts and seen it first hand back stage, so I will leave it at that. Not inviting an internet bashing of my post.
I will say that Sweet Lou is what he is, a sweet soul , and whenever we graced through his venue doors; we were meet with respect and hospitable environments. Could never say anything negative about Lou,BUT you need to get FM / KIX back to Pitts…
I’ve heard the reviews from associates in the biz that, it is a train wreck waiting to happen,drinking way too much and drugs by aging rock stars = FAIL
That’s my 2 cents going back to my normal life now.
As for "The Insider" I went back and read what he posted. Maybe it's his convoluted thinking and his inability to put a solid thought into words, but if I'm understanding correctly, he's stating there's inner turmoil with each band and some of the bands are going in house and taking the house sound person out of the picture. If you don't know the house and equipment, that could backfire on the band's sound guy. I'm hoping they let us run the house sound without interference, if not our guy will be right there IF the shit hits the fan. Seems like there is a LOT of "sound/production" problems on this run so far...I don't think EVERY place can have a shitty system, but ya never know.
I have a group of guys following me around with a camera this week to document this week. Why? Who knows, they need to turn in a documentary for a college course and I get to be their BORING AS SIN subject. At least I'm HOPING to STAY boring this week hahahahahaha
I sincerely hope it works out for you and you turn a nice profit. I feel for you guys,trying to deal with swirling torrents of bullshit from every direction. That's why I said these guys need to be thankful for the opportuninty to still tour this great country and make a living doing what all of us frustrated musicians would kill to do! Stop worrying about "their sound is better than ours",or they get to play a longer set than us" etc.Peace out!!!
1. Great White - Took the stage on time. Jack Russell sounded great and his band was excellent. Played most of the songs I wanted to hear except Old Rose Motel and Face the Day. There were some problems with the mics at the beginning, but seemed to get fixed halfway through. He complained about a stomach virus, and it looked like he may have puked offstage during the set. Put finished it like a true professional.
2. Pretty Boy Floyd - I am not a huge fan, but they totally rocked the place. Played all the major songs and few new ones. Steve Summers and Kristy Majors stayed at the club for the rest of the night taking pictures and signing autographs.
3. Faster Pussycat - I was expecting a bit more, but still put on a good show. I was hoping they'd play Nonstop to Nowhere, but hard to fit everything into a 30 minute show.
4. Lillian Axe - I don't know a lot of their material, but Steve Blaze can really shred on the guitar. He also hung at the club all night meeting fans. Very approachable and a true gentleman.
5. Bullet Boys - A bit of a disappointment. They started a bit too early. I was in the beer line when they took the stage and nobody seemed ready when the show began. Marq Torien sounded good, and the band was ok, but the crowd never seemed that into it. Maybe because they played too much new material. I would have liked to hear Hang on St. Christopher instead.