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Shannon
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The Times Tribune: All Dolled Up
« on: Aug 4th, 2006, 1:38pm » |
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http://www.thetimes-tribune.com/site/news.cfm?newsid=17014045&BRD=21 85&PAG=461&dept_id=450444&rfi=6
All dolled up
By: Josh Mcauliffe
Staff Writer
08/04/2006
If You Go
Who: Counting Crows and Goo Goo Dolls
When: Friday, Aug. 11, 7 p.m.
Where: Toyota Pavilion at Montage Mountain
Details: Tickets are $25, $39.50, $49.50, and $75 and available through all local TicketMaster locations, by phone at 693-4100 and online at ticketmaster.com.
Hey, remember the 1990s?
The decade of Clinton, Seinfeld and O.J. was also a transcendent period for music, one that saw the death of hair metal, the mainstream acceptance of rap, the return of bubblegum pop and the ascendency of alternative rock.
Two of the biggest acts to emerge from the latter category were the rootsy, moody Counting Crows and the guitar-driven power popsters Goo Goo Dolls. Though it’s been seven years since the 90s came to a close, both bands remain alive and well, and are currently in the middle of a co-headlining summer tour that will pass through Toyota Pavilion at Montage Mountain Friday, Aug. 11.
This marks the first Montage appearance for the Goo Goo Dolls, who played Wilkes-Barre’s F.M. Kirby Center in 2002 and the old Catholic Youth Center in 1999. Unlike their touring mates, the band has new music to promote in the form of its 2006 release, “Let Love In.”
Produced by former Alanis Morissette svengali Glenn Ballard, the album is chock-full of the polished, radio-friendly riffs that have defined Goo anthems like “Name,” “Iris” and “Slide.” Singles so far include “Stay With You,” “Better Days” and a cover of Supertramp’s “Give A Little Bit.”
The band wrote most of the album in its native Buffalo before heading to Los Angeles to record with Mr. Ballard, a serene presence whose “whole vibe is that he’s just bewildered by bad vibes,” said bassist Robbie Takac.
“It really was sort of a freeing type thing,” Mr. Takac said Thursday during a phone interview from the road. “As you see what he does and his musical abilities and how he applies them to your musical situation...it’s such a tangible thing.”
As a result of their time with Mr. Ballard, the Goos now have a renewed sense of purpose for their music that hadn’t been there for a while, Mr. Takac said.
“It seems weird that after all this time, we’ve gotten a breath of life. But it really does feel that way now,” he said. “We’ve definitely become more excited about that process.”
This summer’s partnership with Counting Crows marks the third time the Goo Goo Dolls have been part of a packaged tour, according to Mr. Takac. So far, he said, relations between the two bands have been “like a lovefest.”
“This has been a really awesome summer for us,” said Mr. Takac, noting the band’s set is made up of hits and “about 80 percent” of “Let Love In.” “We most certainly gain fans for this kind of thing.”
By now, the Crows, led by singer-songwriter Adam Duritz and his ever-present dreadlocks, are Montage veterans, having played the amphitheater in 2000 and 2003 as part of co-headlining tours with Live and John Mayer, respectively. On both occasions, the band put together strong, high-energy shows that could have gone on way longer than the 75 minutes they were allowed, shortened sets being one of the drawbacks of the co-headinling gig.
Recently, the band released “New Amsterdam: Live at Heineken Music Hall,” which features songs recorded at a 2003 concert in the Netherlands. The album provides a telling glimpse of the Crows as live act, filled with the improvisational leaps and bounds that have become the hallmark of the band’s stage show.
In other words, don’t expect “Mr. Jones,” the Crows’ most popular tune, to sound all that much like the version that first began saturating radio playlists in late 1993. That was the year the San Francisco-bred band broke out with their debut CD, “August and Everything After,” a multi-platinum smash that yielded one introspective hit after another, from the bouncy “Mr. Jones” to the more somber “Round Here,” “Rain King” and “A Murder of One.”
Although their subsequent releases — 1996’s “Recovering the Satellites,” 1999’s “This Desert Life” and 2002’s “Hard Candy” — never quite matched the success of “August,” the Crows, like their touring mates, have nonetheless managed to outlast the vast majority of their 90s contemporaries.
In these highly fickle times, surely there’s something to be said for longevity.
Contact the writer: [email protected]
©The Times-Tribune 2006
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nmf016
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Re: The Times Tribune: All Dolled Up
« Reply #1 on: Aug 4th, 2006, 5:50pm » |
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Quote:| Though it’s been seven years since the 90s came to a close |
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Apparently, the 90s ended in August, 1999. Hmmm.
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