TobiasFunke82's Blog

Crue Fest

Sunday July 20, 2008

St. Louis, MO

Verizon Wireless Amphitheater

Signs of a rocking concert:

A) Your ears still ring the next morning.

B) Your neck aches from head banging the day after

C) You wake up with crabs.

Well, as Meatloaf would say “Two Out Of Three Ain’t Bad” and I was fortunate enough to miss out on a dose of VD after my experience at Crue Fest.

Four gents who are certainly no strangers to penicillin (Vince Neil, Nikki Sixx, Mick Mars and Tommy Lee) have taken the beast that is Motley Crue on the road all summer in their very own travelling festival called Crue Fest.

Crue Fest features new metal/hard rock bands Trapt, Sixx AM, Papa Roach and Buckcherry opening for their idols in a six hour long celebration of depravity.

The shining stars of the night are obviously Motley Crue and they cruezed through a 90 minute set list that featured their most popular hits, plus the addition of new tracks Mother F*cker of the Year and Saints of Los Angeles. Saints of Los Angeles featured the singers of the other bands onstage with their mentors for a rowdy final chorus.

The best time to see Motley Crue was on the reunion Red White and Crue Tour back in 2005 because the performance lasted over 3 hours and featured numerous obscure tracks that diehard Motley Crue fans relished. That is really the only problem with Crue Fest – NOT Enough CRUE!!

Though Too Fast For Love, Red Hot, Ten Seconds To Love and Save our Souls are all absent, favorites like Primal Scream, Wild Side, Looks That Kill and Live Wire were delivered almost perfectly. I say almost perfectly because anyone who is a Motley fan knows that Vince Neil is a lazy live singer and leaves out many words during a show. Unfortunately, it’s just something he does (even though he shines on albums), but where he lacks in efficiency the other 3 members pick up the slack, and more than make up for his indolent singing. Though crippled by his debilitating disease Mars’ fingers are as nimble and fierce as ever, Nikki bludgeons the bass guitar and Tommy continues to be his animal self on drums.  With the support of his gang, Vince still delivers those piercingly high notes, and its amazing his voice was still intact by the end of the show when he faced his greatest challenge Home Sweet Home. Home Sweet Home might not seem like the ideal encore, but seeing Vince, Nikki and Mick all huddled around Tommy playing piano on a darkly lit stage was sensational.

Motley Crue proved that they more than still “got it” and showed off a whole new meaning of the phrase “respect for your elders” to the young bands that opened for the kings of sleaze.

Trapt opened the night, but I missed them – Darn (sarcasm).

Sixx AM really impressed the crowd, especially me since Nikki Sixx performed with them and then again with the Crue.

Papa Roach was to me the weakest band on the bill (other than Trapt), but they had the fans in attendance jumping up and down and signing along so I cannot bash on them too much.

Buckcherry, the most fitting band on the bill, exhibited a younger generation of debauchery that must make the members of Motley Crue feel like proud fathers.

The bands chosen for this year’s Crue Fest seemed to be picked to ensure both young and old fans come out to partake in the festival, but also to show that Motley Crue is still relevant in the current music business. After all, they do have a new album (Saints of Los Angeles) that is selling quite well for an aging band. However, many 80’s metal fans wished that some of the other big names of the heyday where on Crue Fest instead of new bands. Though I would love to see bands like Ratt share the stage once again with the Crue, it almost makes sense that they avoid doing an 80’s nostalgic tour since Poison has been doing one for the past several years. However, as I mentioned before I would like more Motley for my money so maybe next year the festival can feature less bands and a longer Motley Crue set. I think a brilliant Crue Fest idea could feature some of the Crue’s Idols rather than new acts. How great would it be to attend Crue Fest next year and see Ace Frehley open, followed by 2 of the Crue’s biggest inspirations Cheap Trick and The Sweet? Now that would be a spectacle.

Rush

Second Leg of Snakes & Arrows Tour

June 28, 2008 Verizon Wireless Amphitheater St Louis, MO

You would think that they were being forced at gunpoint to play for over 3 hours, but no, that’s just Rush being Rush.

Rush took the stage at 8 pm and didn’t leave (despite a well deserved ten minute intermission) until 11:20 pm.

Seriously, who does that? The answer is simple; nobody but Rush does that, and that’s just one of a long list of characteristics that sets this band apart from the competition.

This was my 4th Rush show and my mind continues to be blown by how ridiculously stellar this trio is live. There is not a single band on this planet that sounds as good live as Rush does, and with each song they perform, Rush mirrors a studio sound quality that makes you feel like you are listening to the original album cut. I should be used to Rush’s commitment to music by now, but still find myself scraping my jaw off the pavement after one of their concerts. The impression Rush instills in you was perfectly captured on the face of the 4 year old boy sitting atop his father’s shoulders in my vicinity. As Rush opened with the always pleasing Limelight, the little tykes eye’s grew to the size of baseballs and his mouth gaped open with bewilderment (I stood by waiting to catch his pretzel because I swore he was going to drop it). I’m pretty sure the youngster was instantly scarred for life as a Rush fan.

The current Rush tour is a continuation of last years Snakes & Arrows Tour, which was one of the biggest grossing Rush tours of all time. Rush decided to treat their fans to another round, and though the set list stayed pretty much the same as last year’s, it was revamped just enough to not seem recycled. The third song Rush played was worth the price of the ticket alone. Ghost of a Chance, a favorite of mine, which was only played during the Roll the Bones Tour and has been in storage ever since, caused me to have goose bumps it was so wonderfully executed. Geddy Lee’s voice shines on this exquisite song, and its addition to the set list left me overwhelmed.

Along with the classic oldie Rush songs (which Geddy referred to as “veteran” songs) like Red Barchetta, The Trees, Tom Sawyer, Spirit of Radio, 2112, A Passage to Bangkok, YYZ and Freewill, the new tracks from the Snakes & Arrows album measure up with the mighty Rush classics. Spindrift (the beginning sounds like Pantera’s This Love), Amour & Sword, Far Cry, Workin’ Them Angel’s and The Main Monkey Business continue to prove Rush can still churn out fantastic songs 34 years after their first album.

Geddy Lee, Alex Lifeson and the best drummer of all time Neil Peart are so musically gifted that they are in a completely separate stratosphere than the typical musician. Rush impeccably delivers their complex music with a professionalism that is unmatchable. Rush plays like they are scientists curing cancer, and if you have not been to a Rush show then you have not been to a concert. I cannot say enough about this uniquely underrated band and am forever indebted to seeing them live, buying their albums and flaunting their shirts.

Set List:

Limelight
Digital Man
Ghost of a Chance
Mission
Freewill
The Main Monkey Business
The Larger Bowl
Red Barchetta
The Trees
Between The Wheels
Dreamline

Intermission

Far Cry
Workin' Them Angels
Armor and Sword
Spindrift
The Way The Wind Blows
Subdivisions
Natural Science
Witch Hunt
Malignant Narcissism (Neil Peart’s drum solo)
Hope (aka Alex Lifeson’s Guitar Solo)
The Spirit of Radio
2112: Overture / The Temples of Syrinx
Tom Sawyer

Encore:
One Little Victory
A Passage To Bangkok
YYZ

Jagermeister Music Tour Spring 2008 Featuring Type O Negative, Hatebreed, 3 Inches of Blood and Conquest

June 13th, 2008

Sauget IL, Pops Nightclub

The Drab 4 known as Type O Negative gave a rather positive performance making yesterday’s Friday The 13th perfectly ghoulish.

After seeing such a grandiose Iron Maiden concert a mere 48 hours ago, Type O Negative had very big shoes to fill, but the self deprecating band absolutely blew me away leaving me so hyper and hungry for more I was resembling a kid in a candy store.  

The scene was quite different having gone from an arena and pyrotechnics to a small club with nothing more than a band genuinely enjoying themselves, and working their tails off for a much obliged audience.

Out of the 140 concerts I have attended only one band sounds exactly the same live as they do on their albums and that is Rush. However, second place belongs to Type O Negative, whose completely original catalogue of tunes where delivered strikingly close to studio quality.

Since Type O Negative was the first headliner, which by the way makes no sense giving top billing to Hatebreed, they only had a little over an hour to wow the crowd, but they did just that. Known for 10 minute long masterpieces, Type O usually can only get through a handful of songs before the show unfortunately has to end. The crowd was treated to Prelude to Agony, World Coming Down, Kill You Tonight, Christian Woman, Black No. 1, Kill All The White People, Some Stupid Tomorrow, Halloween In Heaven and a snippet of Ode To Locksmiths.

Now Type O Negative is definitely an acquired taste, but this band is unbelievably underrated and everybody should at least give them a chance. I discovered them about 2 years ago when I was in a metal funk, just tired of everything, and their signature brooding sound breathed new life into my taste in music. Type O Negative’s sound is filled with Black Sabbath D.N.A., with just the right balance of The Door’s, The Cure and the Sunday church lady playing away on her organ. Peter Steele’s voice is unlike anything you have ever heard, and when he harmonizes with guitarist Kenny Hickey the result is hauntingly beautiful. The two flawlessly complement each other, much like Jerry Cantrell and Layne Staley did during Alice In Chain’s glory days.  The icing on the cake for me is Type O Negative’s sacrilegious themes (Peter Steele was dressed like a priest and stood at a pulpit during the show), which rather appeal to me since I suffered through 12 years of Catholic school.

The opening band Conquest, who I expected to be painfully terrible, were actually decent and much better than 3 Inches of Blood who made me bust up laughing while listening to their performance. 3 Inches of Blood’s singer sounded like a midget version of Rob Halford who just couldn’t “deliver the goods” – and that is no way a slam on little people, I myself am only Five Foot Six and am a great admirer of DIO. I opted not to stay for Hatebreed because I did not feel like being punched in the face by angry moshers, and quite frankly, there is no following Type O Negative.

The next best thing to a Led Zeppelin reunion is of course a Van Halen reunion, with the original lineup, and 22 years in the making was completely worth the wait.

Actually the wait for the St. Louis crowd was 23 years since the original concert date was in late October 2007, then postponed to March 31, 2008 and again rescheduled and finally carried out on April 26th.

Given the tumultuous relationship that is Van Halen, I thought after the second cancellation my dream of seeing the real Van Halen live, not Van Hagar, was official dead in the water. However, the Scottrade Center went pitch black promptly at 8:30pm and Eddie’s signature sound could be heard in the dark and a calm washed over me knowing that there would be nothing to stop me from witnessing the Van Halen legacy.

David Lee Roth appeared in an outfit that looked like James Dean, Viva Las Vegas era Elvis and Andrew Dice Clay had a mange et tois, but in typical Diamond Dave fashion, he was able to actually look cool in such a flamboyant costume.

Opening with You Really Got Me was really a metaphor for the show because Van Halen truly did keep us going all night. With the crowd already going nuts after that one song, Diamond Dave announced in a voice I will never forget, probably because it sounded like a nasally male Fran Drescher, “Better Late Than Neverrrrrr!!” All was officially forgiven for Van Halen’s tardiness.

Van Halen is BACK, and all those that are still sore over Michael Anthony’s replacement Wolfgang, should really get over their brooding because father and son Eddie and Wolfie and Uncle Alex are really quite fun to watch as family – father and son played back to back, Eddie messed up his son’s hair, Wolfie hugged his pop and Alex laid down a ferocious and dedicated backing sound that his nephew and brother continually applauded. Only Diamond Dave shares no Van Halen lineage, but he certainly seemed like a brother to Eddie the way they were getting along onstage.

As Van Halen tore through their amazing setlist (all Dave era) , Roth executed his signature kung fu kicks and comical stage presence proving that he is still the quintessential front man.  No front man has ever encompassed such an entertaining stage presence like Diamond Dave. And of course Eddie is still a Guitar God continuing to prove few, if any, can keep up with his style of playing.

The reunited Van Halen all seemed to be having such a fun time performing together it forced me to contemplate, “Why on earth didn’t you do this sooner?”  Let’s face it; the original Van Halen is the one we all want on the road. The difference between Van Halen and Van Hagar is that Van Halen is a dirty rock and roll party band with unbelievably rocking tunes. Van Hagar on the other hand, borders on soft rock that can be played in the background at the dentist when you are having a cavity filled. And those timeless Van Halen classics were perfectly performed Saturday night and kept my head banging so hard that my neck still hurts two days later.

The highlights of the show were Jamie’s Cryin’, Everybody Want’s Some, Hot For Teacher, Beautiful Girls, Little Dreamer, Ice Cream Man, Runnin’ With The Devil, Unchained and I’ll Wait.

If I was forced to make any negative comments it would be not hearing Feel Your Love Tonight or Drop Dead Legs, and the $150 ticket price, which is the most I have ever paid for a single ticket. However, the 2 hour show was certainly worth the price given the commitment the band delivered to their admiring fans.

I keep telling myself Hell has officially frozen over because I saw Dave and The Van Halens onstage harmoniously. The future looks bright for this band of rocking egos.

It's that time of year again -- the summer concert dates are pouring in one right after the other. Here is a list of local shows that shouldn't be missed. Note: Only quality shows worth mentioning will be covered.

April 26 -- The already twice postponed Van Halen reunion show finally comes to St. Louis, Scottrade Center.

May 24 -- St. Louis Rib America Festival (a good FREE time) Atlanta Rhythm Section, The Georgia Satellites and KC and The Sunshine Band.

May 25 -- St. Louis Rib America Festival (a good FREE time) Jonny Lang & Night Ranger.

May 26 -- St. Louis Rib America Festival (a good FREE time) 38 Special and Head East.

June 8 -- The Stone Temple Pilots Reunion, Verizon Wireless Amphitheater (Riverport).

June 11 -- Iron Maiden's Somewhere Back In Time show, Rosemont IL. Messing my drawers just thinking about it.

June 13 -- The Jagermeister Tour featuring Type O Negative, Hatebreed and 3 Inches of Blood comes to Pop's in Sauget. On a Friday the 13th; should be a ghoulish good time.

June 19 -- Robert Plant and Alison Krauss Fox Theater St. Louis. As a Zeppelin maniac I just think it would break my heart hearing Plant sing covers of folk songs knowing Led just tore it up in England back in December.

June 22 -- Chicago and The Doobie Brothers, Verizon Wireless Amphitheater (Riverport).

June 28 -- The best trio of all time comes back to St. Louis where they always deliver - Rush at the Verizon Wireless Amphitheater (Riverport).

July 18 -- Yes @ The Charter One Pavillion Chicago IL.

July 20 -- CrueFest featuring Motley Crue, Buckcherry, Trapt, Sixx AM and Papa Roach, Verizon Wireless Amphitheater (Riverport). Yea so the other bands suck, but Motley Crue will be there!

July 26 -- Foghat Peoria, Ham n' Jam.

August 2 -- The Bay City Rollers, Decatur Celebration. Hmm, they are still alive?

August 3 -- Edgar Winter, The Decatur Celebration. That is one rocking Albino.

August 8 -- Tom Petty and the Heartbreakers and Steve Winwood, Verizon Wireless Amphitheater (Riverport). Stevey would be worth the ticket price alone, especially since you just know he will play Dear Mr. Fantasy.

August 16 -- Blue Oyster Cult Peoria.

September 13 -- Heart, Cheaptrick and yet another Journey lineup without Steve Perry, Verizon Wireless Amphitheater (Riverport).

TBD -- A Travelling Metal Festival featuring Metal God's Judas Priest, Heaven & Hell (Black Sabbath featuring Ronnie James DIO), Motorhead and Testament is supposedly in negotiations with dates to be announced anytime. Choking on my own excitement.

The Cult – Jagermeister Music Tour, November 29, 2007 The Pageant St. Louis

Typically, one should stay away from cults because they feature brainwashing and toxic Kool Aid. However, unlike Scientology, the superb rock group The Cult, is one cult actually worthy of idol worship.

On Thursday night at The Pageant, The Cult, who is headlining the current Jagermeister Tour, proved that they not only sound exactly the same as they did in 1985, but that they have perfected true rock n’ roll, which will without a doubt enable them to continue their already legendary career indefinitely.

For the past few years The Cult has been dormant while Ian Astbury enjoyed filling in for Jim Morrison as lead singer of The Doors. I was fortunate enough to catch the “The Doors of The 21st Century” at Tinley Park in 2004 where I witnessed a once in a lifetime opportunity. Ian, Robby and Ray were so remarkable it literally scared me. I thought to myself, “If they are this good now, what were they like in their prime?” Ian left The Doors because he felt that “the world needs The Cult” – and we do, especially given the current state of rock and roll (I’m talking about lackluster acts like Nickelback).

The Cult is out of hibernation and better than ever with their new album Born Into This, and every song on the album is pure Cult. On the new album, that distinct Astbury voice, who I rank as one of my top 10 vocalist of all time, sounds rejuvenated and as usual perfectly complements Billy Duffy’s elegantly heavy guitar style. Born Into This sounded amazing in my stereo, and was just as powerful live as the Cult classics we all know and love.

The Cult opened red hot with Nirvana, Electric Ocean and Lil’ Devil, and remained on fire the entire show. Ian’s rhythmic dancing proved to be infectious among the crowd and it was impossible not to join in the fun. I felt like Robert Downey Jr. dancing to Lil’ Devil in the film “Less Than Zero,” however, in the movie Downey’s dance was fueled by drugs, but I was simply high on The Cult. Also, the crowd was very lucky the sprinkler system did not activate, because Astbury looked like a Shaman doing a rain dance most of the night. The tambourine is often thought of as a lethargic instrument due to artists like Linda McCartney (Wings) just standing on stage banging away like a robot. However, Astbury makes playing the tambourine look just as cool as Duffy shredding on guitar.

The best thing about The Cult is that with their unique sound you get a little bit of everything. One second I’m completely mesmerized by how beautiful my favorite Cult song Revolution sounds, and the next second I’m banging my head away faster than a bobble head to the furious riff of Rise. On a side note, a complete moron threw ice at Astbury during Rise, but rather than stopping the show ala Axl Rose, Astbury kept a cool head and pointed to the misfit to watch himself. Only a colossal clown shoe would come to a concert and throw items at their idols.

During the set, my buddy turned to me and excitedly yelled, “Now that’s rock and roll.”

Pure and simple the above quote perfectly describes The Cult. She Sells Sanctuary, Love Removal Machine, Born Into This, Dirty Little Rockstar, I Assassin, Firewoman and Wild Flower rounded out an unbelievably rocking concert. The Cult’s refusal to retire and their ability to put out such a fantastic new album truly sets the rock and roll bar for the future.

Astbury took time to comment on the current state of rock and explained that his band was beginning to get noticed once again in the industry. He urged young bands to try harder because you cannot simply grow long hair and a shaggy beard and be rock and roll – it takes much more. Astbury continued to address what’s wrong with music today by bluntly yelling “F*%k American Idol” during the performance. (Perhaps the funniest thing ever to come out of a frontman’s mouth) That type of humor made the show very entertaining and Duffy even chimed  a few times and made a very amusing joke by explaining a backstage party in the basement with The Cult would be much more fun than hanging out in John Wayne Gacy’s basement.

The only grievance I have with the show is that it could have been much longer and I would have liked to hear Sweet Soul Sister. However, the hour and twenty minute show was so continuously energetic and fun that if it would have been any longer my head may have exploded from a pleasure overload.

To say The Cult is phenomenal would be an understatement.

P.S. You know how people are lucky if they catch one guitar pick? Well, I scrambled around on my hands and knees in beer and sweat and caught 4, yes count’em 4, Billy Duffy guitar picks, which I shared with my friends.

Jethro Tull October 15, 2007 Sangamon Auditorium

The long awaited Jethro Tull concert finally came to Springfield last night and a sold out crowd was treated to Ian Anderson’s energetic showmanship.

Anderson’s exhibited how vibrant and perfectly balanced a senior citizen can be as he frolicked around the stage and stood perched on one leg like a pink flamingo during his flute solos.

Anderson alone was a show all in himself due to his hilarious banter with the crowd (dedicating the classic Fat Man to an overweight man in the front row) and ridiculous facial expressions. If he never became a maestro of the flute, Anderson would have made an exceptional mime.

Fellow Tullian Martin Barre was red hot on the electric guitar and he and Anderson frequently played the same notes in a call and response manner between the flute and guitar, which was quite enjoyable to the ears. 

Though the band sounded sensational, their repetitious set list began to take its Tull.

I am one of the biggest supporters of bands playing a heavy dose of album rock during a live show, but Tull’s instrumentals and medieval soft rock all began to sound way too similar and it was hard to tell where one song ended and another began. However, when Jethro Tull would come through and play their amazing classics like Living In The Past, Fat Man, Thick as A Brick, Nothing Is Easy, Aqualung and Locomotive Breath the crowd was treated to a snippet of just how remarkable Jethro Tull is.

The show was a huge tease – just when the band would come alive, they would segue right back into a song that would fit perfectly in a movie like Willow or the Labyrinth. Songs like The Donkey and the Drum and The Water Carrier had me telepathically pleading with Ian to rip into Cross-Eyed Mary, Teacher, Bungle in the Jungle and Skating Away. To not play such staples of classic rock was a slap in the face to the crowd and a bit of a rip-off given the obscure set list (oh, and the ticket price). Only the most diehard Jethro Tull fan could have honestly appreciated the show, and I felt quite upset that Tull could have tore the roof off the auditorium, but chose instead to give us only a taste of their greatness. Also, Jethro Tull does not have a perfect catalogue of music like Led Zeppelin, The Doors, Pink Floyd or The Eagles – they cannot play just any song and command a crowd like their peers I have listed.

I have never seen Tull live since I am a mere 25 years of age and was looking forward to hearing the songs that made this band legendary. I think Tull owes it to their new generation of fans to deliver a truly stellar set list instead of playing their own personal favorites. After all, your fans make you famous so give them what they want. What could have been a phenomenal performance turned out to be just average.

Jethro Tull should have followed in the footsteps of the last rocker to grace us with his presence at Sangamon Auditorium. In 2006, Alice Cooper fully delivered a perfect mix of album rock like Is It My Body and radio favorites like Poison to ensure he reached all the fans in the packed house. I commend Sangamon Auditorium for bringing us two rock legends two years in a row and look forward to a third great in 08.

Note: Once and for all, No One in Jethro Tull is Named Jethro Tull.

A darkly intriguing trailer, critical acclaim and David Cronenberg at the helm made Eastern Promises one of my top fall picks sight unseen. However, this movie could not be a bigger disappointment and is grossly overrated.

What exactly is making every critic on the circuit hail Eastern Promises as an exceptional cinema masterpiece? I feel like I have been About Schmidted once again, only this time bloody gore takes the place of a nude Kathy Bates, which is still graphic and scary, but nowhere as frightening as Bates’ full figure.

Cronenberg and Mortensen first teamed up in the surprising hit A History of Violence. Their first outing was obviously their best since that movie had every element of a truly great movie; sharp script, explosive violence, a turbulent relationship and an original concept.

Unfortunately, Eastern Promises is less History of Violence and more like a really bad episode of The Office. Much like The Office, Eastern Promises has a couple of captivating scenes, but enduring the entire length of the film is not worth the couple of payoffs the viewer receives.

The critiques I have read explain Eastern Promises as; “gripping acting,” “flawless scenery,” “a tight simplistic plot” and “a modern day Godfather.” Did we watch the same movie? The script is so lethargic and lackluster that it appears the screenwriter was constantly shrugging his shoulders as he wrote it as if to say, “well, its ok, but nothing outstanding.”

The groundbreaking twist that is being so highly revered was so cliché I actually gritted my teeth in disgust when it was revealed. I thought Cronenberg had much more respect for an audience given the fact he used to only be a cult icon, and one that chose originality over box office appeal. Speaking of box office, Eastern Promises did not even make a million dollars opening weekend, which in Hollywood means a complete and utter failure.

I simply am not ready to drool all over this movie when I was left wanting so much more. The slap in the face ending leaves us no closure and is the straw that broke the camel’s back. We all know Butch Cassidy and The Sundance Kid don’t have a chance in hell when that movie concludes, but Eastern Promises could have gone in numerous directions, none however are addressed.

I cannot help but be reminded of Entourage as I reflect on Eastern Promises. Perhaps Eastern Promises had a young dimwitted producer like Eric in over his head because Eastern Promises is the Medellin of the fall movie season.

Let’s stop all the artsy fartsy complex movie reviews and see Eastern Promises for what it really is – an unfulfilled promise.

3:10 to Yuma

A couple of years ago I insisted to all that would listen that Christian Bale, Russell Crowe and Johnny Depp are the three best actors in Hollywood. I still stand by this statement today, and feel that the torch has been passed from cinema greats like Robert Redford, Paul Newman and Robert Deniro onto this new group of fantastic actors.

Apparently someone out there was listening because 3:10 to Yuma pairs Bale and Crowe together and the outcome is beyond quality acting. These two foreigners ditch their accents and come across as more American than apple pie, and consequently breathe new life into a dying genre in Hollywood – The Western.

Bale and Crowe have a unique bond that keeps the viewer guessing are they friend or foe? Their brilliant acting, combined with an authentic depiction of the lifestyles and hardships of the late 1800’s will certainly make 3:10 to Yuma a contender this Oscar season.

Bale is so dedicated to his acting craft I often wonder if he is able to separate his intensity in real life scenarios. To me, he is the best of the best right now and I hope that the academy finally recognizes his talent. His career is full of legendary characters. Check him out as an adolescent boy in Empire of The Sun and you will be blown away by the fact a kid upstages everyone else in the film, even John Malkovich. However, my favorite Bale film and coincidentally my favorite male performance of all time is Bale’s depiction of Patrick Bateman in American Psycho. After reading the book by Bret Easton Ellis, I cannot even picture anyone else in the role. It’s insane that he did not even receive a nomination for best actor for his role in American Psycho.

Bale and Crowe both have awesome projects to look forward to in the future – Crowe in American Gangster and Bale in The Dark Knight. With leading men like Bale and Crowe, instant classics are still a possibility in a movie industry plagued by run of the mill, cliché garbage.

Fun Fact:

Bale dropped an amazing 63 pounds for his role as the emaciated insomniac Trevor Reznik in the film Maquinista, El (2004) with only a single vitamin consultation with a nutritionist to guide him. For the most part, he only ate salads and apples, chewed gum, smoked cigarettes, and drank nonfat lattes. Gained it all back for Batman Begins, but could not even do a single push up when he first starting training.

I left the movie theater Friday cheesing from ear to ear because I was so satisfied with the completely over the top Shoot Em Up. To onlookers it may have seemed that I just stepped out of a comedy due to my permanent grin, but the culprit was an action packed bloodbath.

Laughing at a bloodbath of bullet riddled action? Am I some kind of sick weirdo? Not at all because Shoot Em Up presents itself in such a stylized, humorous manner, that it’s quite ok to be amused by such brutality.

Clive Owen plays a nobody, a drifter, who uses food stamps and crunches more carrots than Bugs Bunny. He sees a pregnant lady about to be executed and feels the need to intervene. For the next two hours, he outlandishly kills over 200 bad guys, plays the role of father figure to a newborn, makes love to a prostitute (while killing a bad guy brigade) and continues to heartily eat his vegetables.

As if the movie could not appeal to me more, the only thing that stops a crying baby is Heavy Metal music. The newborn is soon equipped with an Ipod full of metal and a bullet proof vest to protect him from stray bullets. Many of the scenes incorporate Heavy Metal classics from Motorhead, Motley Crue and AC/DC, which provide the perfect accompaniment to imaginative gun battles that will leave you thunderstruck.

The constant humor and vicious performances by Clive Owen and Paul Giamatti makes Shoot Em Up one of the three best movies of the summer. (The other two being Superbad and Knocked Up and I have yet to see 3:10 to Yuma).

So if a movie is so twisted and superb, why did such an immediate classic only rake in 5.5 Million this weekend? People, go see this witty depiction of gratuitous violence that will without a doubt leave you cinematically fulfilled.

Fact: Geddy Lee is the best bass player of all time.

Fact: Neil Peart is the best drummer of all time.

Fact: Alex Lifeson is without a doubt one of the most underrated guitarist of all time.

Fact: Rush is the best trio of all time and the best Progressive Rock band of all time, and their performance on August 24, 2007 at Verizon Wireless Amphitheater in St. Louis is all the evidence one would need to support such bold claims.

My 127th concert was quite a lengthy one due to Rush playing a 28 song set list that clocked in at over 3 hours. I can’t think of a band that plays for over 3 hours except the last two times I have seen Rush when they did the same exact feat. I can barely play guitar for 30 minutes at a time without my fingers hurting, and neck requiring an aspirin because of the weight of the guitar. Therefore, any band willing to perform for 3 hours obviously loves their job and their fans.

The near sell out crowd erupted in pandemonium when Rush opened with Limelight. This would be one of the few radio popular Rush songs that the band played. The set list was definitely meant to appease the diehard Rush fans since it was full of obscure album rock, instead of the signature Red Barchetta and Working Man. Entre Nous, Digital Man, A Passage To Bangkok, Circumstances, Mission, Between The Wheels, Natural Science and Witch Hunt had me continuously repeating “I can’t believe they just played that.”

The great thing about Rush is they can literally play any song from their extensive career and still hold an audience in the palm of their hand. I found myself rediscovering certain Rush songs because I had never heard them live. Mission for example, came across as beautiful, symphonic, raucous and enlightening, and has become a new Rush favorite for me. The new album Snakes and Arrows also sounded brilliant in concert. It is so refreshing to actually want to hear a classic rock band’s new material and songs like Far Cry, Armor and Sword, Spindrift, The Way The Wind Blows and Workin’ Them Angels were just as memorable as the legendary Rush favorites. And only Rush can get away with incorporating three instrumentals in a set list. YYZ, The Main Monkey Business and Malignant Narcissism are so extraordinary musically, words were not necessary to keep a huge crowd entertained.

The highlights of the show were Dreamline and the visually stunning green laser show that accompanied the song, Mission, Entre Nous, A Passage To Bangkok, The Spirit of Radio, Freewill and Tom Sawyer.

Geddy, Alex and Neil are such a musical phenomenon that even though I know it is only three musicians onstage, the signature complex songs sound like they are being delivered by an entire orchestra, not just a trio. This is a band that plays so well together it’s almost scary. To put it simply; they are too good to be true. Rush’s music possesses an intellect that places them ahead of the pack, and is one of the reasons they are so underappreciated. St. Louis is a haven for Rush fans and it felt awesome to be around so much adoration. The crowd praised their beloved band and exhibited why St. Louis is one of Rush’s favorite cities to play. I look forward to future jaw dropping Rush shows since they are on my list of bands to always see when they tour.

Fact: Geddy Lee is the best bass player of all time.

Fact: Neil Peart is the best drummer of all time.

Fact: Alex Lifeson is without a doubt one of the most underrated guitarist of all time.

Fact: Rush is the best trio of all time and the best Progressive Rock band of all time, and their performance on August 24, 2007 at Verizon Wireless Amphitheater in St. Louis is all the evidence one would need to support such bold claims.

My 127th concert was quite a lengthy one due to Rush playing a 28 song set list that clocked in at over 3 hours. I can’t think of a band that plays for over 3 hours except the last two times I have seen Rush when they did the same exact feat. I can barely play guitar for 30 minutes at a time without my fingers hurting, and neck requiring an aspirin because of the weight of the guitar. Therefore, any band willing to perform for 3 hours obviously loves their job and their fans.

The near sell out crowd erupted in pandemonium when Rush opened with Limelight. This would be one of the few radio popular Rush songs that the band played. The set list was definitely meant to appease the diehard Rush fans since it was full of obscure album rock, instead of the signature Red Barchetta and Working Man. Entre Nous, Digital Man, A Passage To Bangkok, Circumstances, Mission, Between The Wheels, Natural Science and Witch Hunt had me continuously repeating “I can’t believe they just played that.”

The great thing about Rush is they can literally play any song from their extensive career and still hold an audience in the palm of their hand. I found myself rediscovering certain Rush songs because I had never heard them live. Mission for example, came across as beautiful, symphonic, raucous and enlightening, and has become a new Rush favorite for me. The new album Snakes and Arrows also sounded brilliant in concert. It is so refreshing to actually want to hear a classic rock band’s new material and songs like Far Cry, Armor and Sword, Spindrift, The Way The Wind Blows and Workin’ Them Angels were just as memorable as the legendary Rush favorites. And only Rush can get away with incorporating three instrumentals in a set list. YYZ, The Main Monkey Business and Malignant Narcissism are so extraordinary musically, words were not necessary to keep a huge crowd entertained.

The highlights of the show were Dreamline and the visually stunning green laser show that accompanied the song, Mission, Entre Nous, A Passage To Bangkok, The Spirit of Radio, Freewill and Tom Sawyer.

Geddy, Alex and Neil are such a musical phenomenon that even though I know it is only three musicians onstage, the signature complex songs sound like they are being delivered by an entire orchestra, not just a trio. This is a band that plays so well together it’s almost scary. To put it simply; they are too good to be true. Rush’s music possesses an intellect that places them ahead of the pack, and is one of the reasons they are so underappreciated. St. Louis is a haven for Rush fans and it felt awesome to be around so much adoration. The crowd praised their beloved band and exhibited why St. Louis is one of Rush’s favorite cities to play. I look forward to future jaw dropping Rush shows since they are on my list of bands to always see when they tour.

When I look back on the life changing events throughout history, I often ask myself what is the worst decision ever made?

Was it sharing the atom bomb technology with Russia back in the 40’s?

The Vietnam War?

Crystal Clear Pepsi?

For me the worst decision ever made is simple: FOX cancelling the funniest sitcom of all time Arrested Development. The painfully funny Arrested Development was so brilliantly written it frankly was above the head of the average Joe TV viewer. No sitcom in the history of television has ever tied separate story lines together as well as Arrested Development. And then of course there is the perfectly casts cast.

Scene stealer Michael Cera, who played George Michael on the show, is the definitive blank slate actor. His commitment to being void of personality is now on the big screen in the comedy hit Superbad.

Since the dawn of the Superbad trailer back in April, I have been overjoyed knowing that George Michael has a career after Arrested Development.

Cera’s signature acting style will without a doubt cause him to be typecast, but why shouldn’t it? No one can deliver a quirky shy performance like Michael Cera and I look forward to any future projects he makes.

Superbad is a brutally hilarious illustration of the common adolescent male. The two best friends played by Cera and fellow newcomer Jonah Hill, will certainly go down in comedy history as one of the best portrayals of true high school brotherhood. The movie, much like other Judd Apatow/Seth Rogen films, never lets up on the vulgarity, but still as dirty as it is, comes across as sweet and genuine in typical Apatow fashion.

The aspect of Superbad that appealed to me the most was that it was heavy on observational humor, and not joke after joke after joke. It made me feel good and reflect on my past endeavors, like an X-rated version of the Wonder Years. The movie will appeal mostly to guys hence why three 16 year old girls left halfway through the movie. I associated their early departure with immaturity, and failure to see humor in non Adam Sandler movies.

Underneath the booze and sex of the film, is the real storyline of that one particular friend that helped make your high school years tolerable. Enjoy seeing a little of yourself in the boys of Superbad.