After all these years as a heavy hitter …

Benatar still packs a punch

By ALAN K. STOUT
Times Leader Staff Writer
October 28, 1997    

 “Can you hold on one second?” asks singer Pat Benatar, only a few minutes into the interview. “I’ve got to get my babysitter in here.”

With the sounds of young children at play echoing through the receiver, Benatar returns.

“Let me call you right back,” she says.
   
A few minutes later, the phone rings. Polite and extremely cordial, the refocused singer offers to continue the conversation.
   
“Sorry about that,” she says with a laugh. “It’s impossible to concentrate when someone is screaming in your ear.”
   
No problem, Pat.
   
This is, after all, Pat Benatar. The woman whose pouty stare graced the walls of countless teen bedrooms throughout the ’80s, who has won four Grammy Awards and sold millions of albums in both the pre-MTV and post-MTV eras.
   
Now quite comfortable in the role of rock ‘n’ roll mom and enjoying the fruits of a 17-year marriage to guitarist and collaborator Neil Giraldo, Benatar, 44, has a sleek new album, “Innamorata,” in stores. Benatar describes the record as more “lyric-heavy” and says the project allowed more musical experimentation between herself and Giraldo.
   
“It’s not just about getting out there and cranking out bombastic songs,” says Benatar. “There are fiddles, cellos. … I wanted a lot more vocals, harmonies, and different instrumentation. It has a lot more of an acoustic-driven feel for me.”
   
Not surprisingly, Benatar says her professional working relationship with her husband has strengthened their marriage.
   
“It’s always pretty chaotic,” she says with a laugh. “Our personal life is very smooth, and our musical life is always combative, which is great. I have very set ideas about where I want to go with lyrics, and he has very set ideas about where he wants to go musically.
   
“We have a lot of different dynamics going on. We’re parents, we’re lovers, we’re collaborators, and each one contributes to the other. It’s very invigorating.
   
“Together, it works itself out. We’re respectful of each other, but at the same time, we duke it out.”
   
Benatar, of course,  is a musical collaborator with some muscle. The singer won four consecutive “Best Female Rock Vocal Performance” Grammy Awards from 1981-84 with “Crimes of Passion,” “Fire and Ice,” “Shadows of the Night” and “Love is a Battlefield.” Mixed emotions now spill through Benatar’s words when recalling that period of her career.
   
“Grammys … it’s not the same thing as winning an Oscar,” she says with a pause. “It’s a blessing, and a curse. You want to win it really badly, because you want to be recognized by your peers. At the same time, you don’t want to be part of the ‘mainstream.’ You’re always having this conflict. … I was really happy to win, but at the same time you feel like ‘Oh, God. I’ve crossed the line. Now I’m into this ‘pop thing” and I don’t really want to be winning this.’  But in retrospect, it’s a great honor to have won all of those years in a row.”
   
With radio now so fragmented, Benatar has seen a decline in commercial success. She admits she’s not been sure where she fits into today’s market of Top-40, classic rock, and adult contemporary radio.
   
“I’m not making records to repeat what we’ve done. I’m interested in moving forward. And it’s very frustrating, because you’re considered a ‘vintage’ act. Classic rock stations will play everything that you do except for your new (material), because that’s not ‘vintage.’  And modern-rock stations really don’t play any of what you do, because you’re considered a vintage act.
   
“It’s like a Catch-22.”
   
Regardless, Benatar knows “Innamorata” is a good album. And she’s determined to see it finds its right home.
   
“I don’t want to lose this record,” she says. “I’m a relentless person. We’re just going to stand here and try to break down the barrier and find where the hell it belongs. I’m not sure myself, but I really hate having it dictated to me where I do belong. We’ll try to go as far as we can with it.”
   
That also means hitting the road. And Benatar is headlining clubs across America.
   
“We’re pulling out stuff we haven’t played - things I haven’t even heard in 15 or 17 years,” she says. “We’re doing a blues segment, an acoustic segment of reworked older songs and newer songs, and the ‘hits’ section.

 “I’m having the best time I’ve ever had.”

The full audio version of this interview can be heard with this link:

 https://youtu.be/Y5oKkfYt5mc?si=Zuq3HWfTY6vsKD-6   

 

  

 

WHAT JOE DIDN’T KNOW ...

(To hear the audio of the interview, click the arrow)

Def Leppard’s Joe Elliott once did something pretty nice for Brian May of Queen. Elliott had no idea how much May appreciated it. Until this interview.

By ALAN K. STOUT

MUSIC ON THE MENU

March 8, 2025

As any writer will tell you, there are times when you might be interviewing someone, and though you’re being professional and asking all of the right questions that you hope will make for a good story, sometimes – if the interview is going really well, it can turn into a more relaxed conversation. In essence, you and the interviewee just end up shooting the breeze. And sometimes, those parts of the conversation, no matter how interesting they might be, never make it into the published story, simply because they don't really fit the flow of the article.

  

Elliott and May at the Concert For Life

Such was the case with me and Joe Elliott, back in 2000, when I told him how I had once read an interview with Brian May in which May had noted how much a kind gesture Elliott had once made towards him had meant to him. Elliott said that though he clearly remembered the incident with the legendary Queen guitarist, he did not know that May had even remembered it, nor that he had mentioned it in an interview. Elliott seemed somewhat moved that May had recalled it, and what made it pretty cool, for me, was that I was the one that got to tell him.

Poster for "The Concert For Life"

The scene was “The Concert For Life,” one of the greatest all-star rock benefit shows ever assembled. The year was 1992, and the reason for it was to honor the memory of Queen vocalist Freddie Mercury, who had died of AIDS just a few months prior. Some of rock’s best acts took the stage at Wembley Stadium in London, including Elton John, Guns ‘N’ Roses, Robert Plant, David Bowie and Def Leppard. May, still grieving the loss of his friend and bandmate, was a busy man that day. He performed with several of the acts on the bill and he also seemed to be in the role of event organizer and host. Apparently, Elliott felt May was too busy to fully appreciate the magnitude of the day, so he pulled him aside, told him to take a look at the crowd, and suggested he take a moment to simply take it all in.

May did. And he really appreciated it.

Freddie Mercury tribute at Wembley Stadium - 1992. 

But Elliott never knew how much. Until I told him. During my interview with Joe, I told him of how I had once read that interview with May, during which, while reflecting on that epic show, he talked about his gesture. And, apparently, Elliott had never read the interview, or had heard of it, and thus had no idea that, years later, May still recalled it with fondness. 

"It's nice that he remembered," said Elliott, when I relayed the story to him. "I didn't even know that he ever talked about it." 

It's just a little rock and roll story, really. But it's one of my fondest little memories from all of those years I spent interviewing rock stars. 

You can listen to it at the 21:15 mark on the link above. 

I chatted with Joe Elliott a few times over the years and always thought he was a good guy. And based on little stories like this, and the way his band hung in there with drummer Rick Allen after his horrific accident back in 1984, I’m pretty sure that he is.  

Rock and Roll Hall of Famers Def Leppard perform at the Concert For Life 

 -----------------

Alan K. Stout has covered rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," can be heard every Sunday from 9-10 p.m. on 105 The River (104.9-FM) in Wilkes-Barre/Scranton. Follow Alan's thoughts on music on Facebook at:

http://www.facebook.com/musiconthemenu  

 GUEST COMMENTARY

 

It was always ‘Arena Yes’

Former TL columnist, current director

of Visit Luzerne County, reflects on arena’s 25 years

By ALAN K. STOUT

Special to The Times Leader

 

It’s hard to imagine Northeastern Pennsylvania without our wonderful Mohegan Arena. We now have an entire generation of area residents that have literally grown up attending events at the venue. I have photos of my children there, attending “Sesame Street Live,” when they were only six and four years old. For them, it has simply always been a part of life. But for many of us, that wasn’t always the case. Throughout our youth and young adulthood, we didn’t have an arena, and thus when we wanted to attend major events, we had to leave town. And for me, personally, that was the inspiration – back in the mid-’90s – for supporting the “Arena Yes” movement.

 

As the arena notes its 25^th anniversary, it's also hard to imagine anyone opposed to its construction. But there were plenty of naysayers 30 years ago, when the idea of building the arena first began to gain traction. Of course, it was all a bunch of nonsense, fueled by unfounded scare tactics, designed to make people believe the construction of the arena would lead to a heavy tax burden on local residents. I don’t even recall the basis for all of the false proclamations, but as a young music columnist for The Times Leader at the time, I tried to do my part to squash them. I wrote an editorial for the paper, titled “The arena will bring it all back home for us,” outlining the importance of the construction of the arena, and how it was important to bring major attractions here and, in turn, keep those entertainment dollars here. I also did some guest-bartending at the former Market Street Square nightclub and donated all of my tips to “Arena Yes.”

 

Commentary published in 1995

 Thankfully, we won the battle. And the rest   is history.

 

 The early days of the arena were   exciting. I recall walking around the   building, wearing a hard hat, while   working on a story about its   construction.  It was around that time   that I first got to know some of the great   people that worked there over the years,   such as former general manager, the   late Andy Long, and former marketing   director Kathleen Bird. Bob Nocek, Will   Beekman and former marketing director and current general manager Steve Poremba all became trusted and respected colleagues. And the arena, right from day-one, has always been a well-run facility and the home of worldclass entertainment.       

Concert review, 2005

The first concert was Neil Diamond. I remember the day the show was announced, with a big press conference at the Ramada on Public Square. And I remember Diamond christening the stage with a great show a short while later. Since 1999, everyone from Elton John to Prince, Sting, AC/DC, Bon Jovi, Stone Temple Pilots, Def Leppard, The Eagles, Foo Fighters, Cher, John Mellencamp, Janet Jackson, and Simon & Garfunkel have graced its stage. I was fortunate enough to have covered them all, and to see firsthand how much joy they brought to the people of our community, and to those that travelled here just for those shows. For families, the arena has presented shows such as Disney On Ice, The Harlem Globetrotters, the Ringling Bros. and Barnum & Bailey Circus and Monster Trucks. There’s been WWE Wrestling, the annual holiday performances by Trans-Siberian Orchestra, and legendary comedians. And, of course, it is the home of our Wilkes-Barre/Scranton Penguins.

Concert review, 2000

 It truly is hard to imagine NEPA without it.

 

 A few personal memories …

 

 When I covered the Sting show in 2001,   I took my late mother with me as my   “+1.” She was a big fan of the former   lead singer of The Police. After we got to   our seats, I told her that I had forgotten   that there was someone at the arena   that I wanted to introduce her to. She said, “OK,” as she knew that I knew a lot of people that worked there, and she always liked to meet my friends and colleagues. But I could tell as we were heading downstairs, towards the arena offices, that she was also concerned about missing the start of the concert.

 

“Alan,” she said, “who do you want me to meet? The show will be starting soon.”

 

“Sting” I said.

 

Mom - a bit stunned - immediately went into the restroom to adjust her hair and makeup.

 

Concert review, 2001

 On another occasion, I was seated in   The Times Leader’s box, taking in a   Penguins game, and was chatting with   the late Jerry Kellar, our fine sportswriter   known best for his superb coverage of   Penn State football. The box was usually  reserved for advertisers, but would sometimes be opened up for employees. This was in the fall of 1999, very early in the Penguins inaugural season. At that point, I had only been to one prior game, and it was Jerry’s very first game.

 

“This guy likes to fight,” I said to Jerry, as a big, young, strong Penguin entered the rink.

 

Jerry seemed puzzled. The team was brand new to the area and the season had just begun.

 

“Just watch,” I said.

 

Within less than a minute, fists were flying, and the player was scuffling with an opponent.

 

The player was Dennis Bonvie.

Concert review, 2001

Looking back, I guess it didn’t take very long for any of us to realize that Dennis was the team’s “enforcer.” I later got to know him a bit, and off the ice, he’s one of the nicest guys you’ll ever meet. Perhaps the most popular player in team history, he is now a member of the Wilkes-Barre/Scranton Penguins Hall of Fame.

 

On a few other occasions, some of the legendary musical acts that performed at the arena were kind enough to help support “Concert For A Cause,” a local charity event that was held each year and benefited local United Way programs. Elton John autographed a keyboard. John Mellencamp signed a guitar. Both knew exactly why they were doing it – to support local human-service programs – and those items brought in some big bucks at the annual “Concert For A Cause” rock auction. The arena staff helped make that happen, and I’ve never forgotten that.

 

These days, I serve as Executive Director of Visit Luzerne County, also known as the Luzerne County Convention & Visitors Bureau. And our office fully recognizes the importance of the Mohegan Arena. It is, of course, one of the county’s major attractions. Big shows at the arena often help fill our hotels and pack nearby restaurants. Several shopping areas, including the Arena Hub and Wilkes-Barre Township Marketplace, would not exist if it were not for the arena. It has had an incredibly positive economic impact on the region and has improved our quality of life. Twenty-five years later, it’s still hard to imagine why anyone would have opposed it.

Concert review, 2007

 As many know, the office of Visit Luzerne County   relocated, two and a half years ago, into the historic train   station in Wilkes-Barre. For many years, the building also   served as the Market Street Square nightclub, and one   morning, shortly before we opened our doors for the first   time, I was up on a ladder, decorating our lobby. I was   hanging up some framed images of the major attractions   from throughout the county, and as I hung a framed poster   of one of our true crown jewels – the Mohegan Arena – I   had a little flashback to the time I was bartending - in that   exact same room - more than 25 years prior, trying to   support “Arena Yes.”

 

 I smiled at the irony.

 

We did it. We all did it. The answer was, “Arena Yes.” And thanks to the continued hard work of the arena staff and the Luzerne County Convention Center Authority, it continues to enrich our lives.  

 

Congratulations, Mohegan Arena, on 25 wonderful years.

 

(Alan K. Stout is the Executive Director of Visit Luzerne County. He can be reached at (570) 819-1877 or alan.stout@luzernecounty.org.)

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Spreading his wings

Don Henley talks candidly about his new album,

his new family, the environment,

 his former record label

and The Eagles

By ALAN K. STOUT
The Times Leader
August 25, 2000

  Don Henley sure isn’t your typical rock star.

  He’s incredibly articulate and well-spoken, and he combines grace with an unwavering sense of confidence. He talks passionately about literature, poetry, and language. He speaks with affection about his upbringing, his parents and his own wife and children. He has great command of the subjects that interest him, and he talks with genuine concern about the state of the nation, nature, and environmental issues.

  And, of course – when asked – he’ll talk about his music.

  The Grammy-winning former Eagle’s latest CD, “Inside Job,” was released earlier this summer. It comes 11 years after his previous effort, 1989’s “The End Of The Innocence,” and has already spawned the hit single “Taking You Home.”  The song – another gem in Henley’s long line of jewels – appears to have multiple themes: the love for his wife and children, and perhaps even his decision to raise them in his native Texas, rather than California.

   “It was inspired by my family – by my children and by my wife and the birth of my first daughter,” says Henley, 53, in an interview with the Times Leader. “I’m always squeamish about releasing a ballad like that first, because it sort of type-casts me. For 25 years now, I’ve had to fight this label of `mellow and laid-back’ and all that kind of stuff, and it’s been a struggle. But I decided this time `What the hell? It’s a good song. Let them go with it.’ ”

  For Henley, the joys of having a family of his own did not come until later in life. He married in 1995 for the first time, and although he was in his late 40s at the time, he says he’s glad he waited.

   “I was engaged a couple of times, but I never went through with it,” he says with a chuckle. “I think I would have been a failure if I had done it earlier, and I’ve always believed that the lives of children are too important to be part of an immature experiment.”

   Several of the songs on “Inside Job” reveal a sense of contentment, and tracks such as “Everything Is Different Now” and “Annabel” share the feelings or serenity found on “Taking You Home.” But – as with some of Henley’s previous work – there are also numbers with an edge. “Nobody Else In The World,” “Inside Job” and “Goodbye To A River” were clearly written out of frustration.

  “Partially,” says Henley, when asked if he is a man at peace. “At least with my personal life. My inner life is good, but the world out there really pisses me off.”

  Enter Henley the environmentalist. In 1990, he founded the Walden Woods Project, which is dedicated to preserving historic lands around Walden Pond in Concord, Mass. The location – the site from which Henry David Thoreau and other writers often drew inspiration – remains dear to Henley, as does the preservation project.

   “I founded it, it’s mine – and I can’t let it wither,” he says. “It remains very important to me and I work on it to some degree every week, raising money. We still need to raise $15 to $20 million dollars.”

  According to the Walden Woods Web site, about 70 percent of the Walden Woods area has been properly preserved, but there is still about 30 percent that can be commercially developed. Henley remains committed to not letting that happen.

  “We still have work to do,” he says. “I’m sure I’ll be working on that for the rest of my life, and I want my children to become part of it when they’re older. I think it’s a remarkable project, and I have some really wonderful people working on it with me. It addresses things that we’re losing in our culture: a sense of spirituality, a sense of respect and awe for the natural environment and for history.”

  In addition to the Walden Woods Project, Henley also has worked diligently at preserving open space and wildlife habitats in California’s Santa Monica Mountains and has formed a wetlands science/education institute in Texas. Add that to the fact that he lost his California home in an earthquake, started a family, relocated to Texas, worked on 1993’s “Common Thread: The Songs of The Eagles” all-star country tribute album and then participated in the 1994 Eagles’ reunion, and you might have your answer as to why it has been 11 years since his last album.

  Still, there is a perception that Henley is a musical perfectionist, known to agonize over words and arrangements in his songwriting. He’s asked if his own high standards contribute to his slow pace in the studio.

  “Well, first of all let me say that I don’t think there is any such thing as perfection in the world of art,” he says. “Perfection can only be found in nature, and any attempt of man to achieve perfection will always fall short. I would think a more accurate definition of what I do is that I strive for excellence. That’s one reason (for the time between albums), the other reason is that I never wanted my career to consume my life.”

Henley then offers yet another factor that contributed to the time between records. Prefacing the talk with the condition he couldn’t go into great detail because of legal reasons, he says his departure from his longtime label, Geffen Records, was not cordial. (“Inside Job” is his debut with Warner Bros. Records.)

“It was ugly,” says Henley of the split. “I simply didn’t want to make records for David Geffen anymore. I have absolutely no respect for the man. He’s been in and out of my professional life since 1971. … After The Eagles broke up, he came to me and said `You need to come and sign a record contract with me because you know I’ll take care of you, blah, blah, blah’ … and I fell for it, again, because I was feeling rather insecure and at loose ends at the time. So I signed with him, and it turned out to be the same guy I that remembered he was – who was not somebody I want to work with.

  “I was busting my ass to make really good albums, and they weren’t promoting them in a manner that was commensurate with my efforts. He really didn’t care about the music business at that point anyway, he was more interested in making films, collecting art and doing whatever he does. … I just didn’t feel like putting my heart and soul into any more records for a company that just didn’t really care.”

  One of Henley’s highest profiled endeavors over the past decade came in 1994 when he reunited with The Eagles for the first time in 15 years. “Hell Freezes Over,” the title of the band’s widely successful reunion album and tour, were named after a quote Henley once gave when asked if there would ever be such a reunion. Tension was a common trait in The Eagles’ camp from 1971-’79, and Henley says not much had changed in 1994.

  “It was a mixed bag, like it always is,” he says. “There were moments of great joy and satisfaction, and there were moments of great pain and sorrow and anger. It’s always been like that, and it will probably always be like that. But it was gratifying to know that there were that many people that were still interested in us. It was quite something to see the enormous numbers of people who turned out for the concerts. But internally – it could have been a lot more fun than it was, which is generally the case with The Eagles.

  “There’s a great line in `I Can’t Tell You Why’ that says `Nothing’s wrong for as far as I can see, we make it harder than it has to be.’ Well, that should be our theme song.”

  Still, Henley says he’d do it again under the right conditions.

  “If we make a new album of quality – well-thought-out, well-written, well-produced songs – then I would do another tour,” he says. “But I’m not keen on the idea of going out there again just for the money and rehashing the same old stuff. Naturally, if we go out on tour – even if we do have new material – we’ll have to play the old material too, but I don’t want to go out again just for the sake of going out.”

  Although Henley has a decisive answer to every other question he’s asked, there is one to which he has none. “The Eagles – Their Greatest Hits 1971-’75” has sold 26 million copies and has surpassed Michael Jackson’s “Thriller” as the bestselling U.S. album of all time.

  So, how does that feel?

  “I don’t really think about that too much,” says Henley. “It’s nice, and I’m very grateful and pleased, but it’s not something that pops into my mind every day. … I don’t know what it means anyway. Does it mean we’re geniuses, or that we just sunk to the lowest common denominator? …

  “I’m not big on living in the past. I try to live in the present, and to some degree, in the future.”

(Alan K. Stout has written about rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," airs every Sunday from 9-10 p.m. on 105 The River in Wilkes-Barre, Scranton, Hazleton, Bloomsburg.)

 

 

 

A proper KISS goodbye 

Band’s final show, ever, should be on December 2 in New York. And not anywhere else.

By ALAN K. STOUT

MUSIC ON THE MENU

November 1, 2023 

Exactly one month from today, KISS will play the first of the final two shows of its epic “End of The Road” tour, which began almost four years ago, in January of 2019. If it wasn’t for the pandemic, the tour would have ended long ago, but KISS wanted to say a proper farewell to every city and every country that had shown the band some love over the past 50 years, and so the tour – as originally planned – has circled the entire globe. The reviews have been amazing. The shows have been sold out. And KISS will pack it in as a touring unit while still sitting on the top of the world of rock. Which is exactly how it should be for the Rock and Roll Hall of Famers. They’ve earned it. And though it’s a bittersweet feeling to think that this is really it for the powerhouse band, I hope that when they step off the stage at Madison Square Garden on December 2, it is indeed their final show.

Since the December 2 show in New York is the final show of the final tour, you’d think that would be a given. But - because the wording that was first used to promote the show was, “The final show of the final tour,” there seemed to be a little wiggle room for more shows to come afterwards. Yes, I do believe that KISS is never going to tour the globe again, or even just the United States. And, over the past few years, when the band said it would be its last time playing in each city, I believed it to be true. They won’t be back to London, or Sydney, or Philly, or anywhere else. But still, I kept coming back to those words - “The final show of the final tour” – and I kept thinking, “Well, it is going to be the 'final show of the final tour.' But that doesn’t mean they still can’t do an occasional show without a tour.” Other fans picked up on this as well, suggesting that despite it being the "End of The Road," they could still do occasional one-off shows. And there was also some internet chat of the band possibly doing a residency in Las Vegas. That’s not a tour. Some have also called for KISS to do a show at the new Sphere in Vegas. KISS is perhaps the most visual live band of all-time, and some would like to see what they could do in a new state-of-the art venue designed for visuals. That, also, would not be a tour.

Please everyone, stop it.

The last KISS show, ever, should be on December 2, 2023, at Madison Square Garden. And there are a few reasons why …

First, that show has already become a destination concert for KISS fans from around the entire world. Diehard fans are emptying their bank accounts to get on airplanes, book hotels and pay steep prices for tickets, just so they can be there for what should be the band’s final concert. And if you’re KISS, isn’t that who you want to play your final concert for? Don’t you want to do your final show in your hometown, at the most iconic arena in the world, before not only some of your most diehard fans from your original homebase, but also people that traveled from all over the globe just to be there? The Hard Rock Café in New York is already promoting a big KISS party at their venue on December 1 and have indicated that people are coming from 20 different countries. Isn’t that who you'd want to play your final show for, not a bunch of high-rollers in Vegas who don’t know anything about the band but scored free tickets from a casino just because they spend way too much time and money on blackjack?

It's absurd.

Another reason KISS should never play live again after December 2 is because when they walk off that stage that night, it will be their decision and it will be on their own terms. How many great artists never got that opportunity? The last time artists such as Elvis Presley, Michael Jackson, John Lennon, Tom Petty, David Bowie, Eddie Van Halen and Prince walked off the stage, they probably all assumed they’d be back. But they weren’t. No one ever really knows what tomorrow will bring. It is not guaranteed to anyone. Glenn Frey never did an announced final show with The Eagles. Freddie Mercury never did an announced final show with Queen. Aerosmith had just begun its final tour when it was totally derailed, and it now looks like the band might never play live again. There probably won’t be final show at the Boston Garden, which both the band and its fans deserve. KISS is being given that opportunity on December 2 at Madison Square Garden. And they should take it. When Paul Stanley, Gene Simmons, Tommy Thayer and Eric Singer walk off the stage that night, they should know it’s for the last time. Stanley and Simmons, who have held the band together for five decades, have said they may shed a few tears that night. Let them flow, gentlemen. You have given your audience 100% at every single show for 50 years. And your fans have been fiercely loyal to you. There should be a lot of emotion in the arena that night both on stage and in the audience. It will be very special. To do any type of show afterwards would diminish it.

I’ve seen KISS in concert 37 times. I haven’t missed a tour in 40 years. I’ve already caught three shows on the “End of The Road” tour (Philadelphia, Hershey and Allentown) and I have a ticket for December 2 in New York. And I am incredibly grateful that the band’s touring days didn’t end in 2001, with the first “Farewell Tour,” and with some show that no one ever talks about or even remembers. Sure, it was great to see Ace Frehley and Peter Criss back with the band from 1996-2001, but the fact is there was nothing significant about the final show of that final tour with the original lineup. And the tours that the band has done since that time with Tommy Thayer and Eric Singer have been fabulous. And if weren’t for those tours, my two kids would have never seen the band. I’m grateful, as a fan, that they marched on for 22 more years. But for all of the reasons I’ve stated here, I am also OK with December 2 being the true and final end of the road.

End it at home, in front of diehard, globetrotting fans. And do it on your own terms.

Thankfully, KISS – despite that original wording – seems to be leaning that way. When Stanley was recently asked about the possibility of doing shows at Sphere, he said he really can’t see it happening. And the band has changed the wordage in recent months when describing the December 2 show. The group’s official website is now simply calling it the “Final Show.”

As it should be.

And, as we all know, it will be utterly spectacular.

Blow the roof of the joint, guys. And then take a very well-deserved final bow.

(Alan K. Stout has written about rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," airs every Sunday from 9-10 p.m. on 105 The River in Wilkes-Barre, Scranton, Hazleton, Bloomsburg.)

To read some of Alan’s other KISS-related articles, click the links:

KISS “End of The Road” tour a victory for the music:

https://musiconthemenu.blogspot.com/2019/03/kiss-end-of-roadtour-victory-for-music.html  

KISS and the Rock and Roll Hall of Fame:

https://musiconthemenu.blogspot.com/2014/02/kiss-and-rock-and-roll-hall-of-fame-by.html

 

 

BADLEES RETURN TO WILKES-BARRE FOR ROCKIN’ THE RIVER

WILKES-BARRE – The Badlees will perform at the third and final show of the 2023 Rockin’ The River music series on Friday, July 28. The free, all-ages concert will take place at the Millennium Circle at River Common in Wilkes-Barre. Gates open at 5 p.m. Music starts at 6 p.m. There will be food, beer and wine vendors. Also on the bill is special guests, Joe Burke & Co.

 The Badlees, a critically-acclaimed roots-rock band, spent its formative years playing in clubs throughout Northeastern Pennsylvania, including the former Jitterbugs, Market Street Square and The Staircase. In 1995, with a growing regional and state-wide following and with the release of its “River Songs” album, the band signed a national recording contract with Polydor/Atlas Records. Two tracks from the album, “Angeline is Coming Home” and “Fear of Falling,” hit the national charts. The band toured with Bob Seger and also shared the stage with Robert Plant and Jimmy Page and The Allman Brothers. The music video for “Angeline Is Coming Home,” which appeared on VH1, starred Emmy-Award winning actress Julianna Margulies and was directed by Anthony Edwards.

 “That was an amazing time, just to see everything that was happening around that band,” said Alan K. Stout, executive director of Visit Luzerne County, which presents the Rockin’ The River concerts. “I remember, in the spring and summer of ’95,  ‘Angeline’ being in rotation on four different commercial radio stations in the Wilkes-Barre/Scranton area, and that was before they even signed a record deal. It was unprecedented.”    

 By the mid-90s’s, in the Wilkes-Barre area, the band’s occasional homecoming shows had outgrown the clubs and were held at venues such as the Genetti’s Grand Ballroom, The Woodlands Grand Ballroom, the former Bud Light Amphitheater at Harveys Lake and The F.M. Kirby Center. In 1999, the band signed a second national recording contract with Ark 21 Records, which released the critically-acclaimed “Up There Down Here” album. Still, the group remained loyal to its Northeastern Pennsylvania roots and also appeared annually at the former “Concert For Karen/Concert For A Cause,” which raised nearly a quarter of a million dollars for local charities.

“As great as a band as they are, they’re just a great as people,” said Stout, who as a former newspaper reporter and columnist wrote more than 40 articles about The Badlees and its members side projects and, as a radio show host, produced seven radio specials spotlighting the group. “And, after all of these years, their fans still feel a deep connection to the music. The songwriting is in the same caliber as Springsteen, Petty and Mellencamp. Their most recent album is just as good as their first. But they’ve also really evolved as artists. You can ask anyone that’s followed them over the years and they’ll all tell you the same thing … the songwriting, the musicianship, the vocals, the harmonies, the live performances … it’s the whole package.”

 Today, The Badlees fan base continues to extend throughout Pennsylvania, from Harrisburg to Wilkes-Barre to every town in-between. In 2021, the band was inducted in the Central Pennsylvania Music Hall of Fame and in 2022, the group released its ninth full-length studio album, simply titled “The Badlees.” In the fall of 2023, the group will be inducted into the Luzerne County Arts & Entertainment Hall of Fame.

 Stout says Visit Luzerne County is proud to be bringing the band back home for this Friday’s Rockin’ The River event.

“The Badlees have been on our radar for a few years,” said Stout. “This year, it finally worked out. And it just feels right. The band first built its following in towns all along the Susquehanna River. The Susquehanna River is actually featured on the cover of the ‘River Songs’ album. And so to be bringing the band to Wilkes-Barre for a show right along the Susquehanna … I can’t think of anything more fitting.”

 Major sponsors of Rockin’ The River are Geisinger, DiscoverNEPA, the City of Wilkes-Barre and Mountain Productions. For more info about Rockin’ The River, visit www.vistluzernecounty.com

 (Badlees photo credit: Jim Gavenus)