Frehley takes Kirby on guitar-fueled rocket ride

Former KISS guitarist, battling illness, soldiers on with fiery performance

By ALAN K. STOUT
MUSIC ON THE MENU
April 17, 2016

WILKES-BARRE - One day after his knockout performance on Friday night at the F.M. Kirby Center, Ace Frehley was trending on social media around the globe, with everyone from TMZ to Rolling Stone magazine noting that the former KISS guitarist was in Wilkes-Barre, Pennsylvania. Frehley, it was widely reported, was taken to Wilkes-Barre General Hospital immediately after Friday’s show -  a show that he cut short by two songs – and was being treated for dehydration and exhaustion. And with that breaking news, the more than 1,000 fans that were at the concert suddenly knew why there were no encores. And if some were originally miffed at the beloved Spaceman, all was then understood and forgiven.

Considering Frehley, who will turn 65 next week, had just recently flown to Los Angeles to shoot a music video with former bandmate Paul Stanley, and had just played three shows in New York, and had spent several hours on Friday afternoon signing hundreds of copies of his new album for his fans at a Wilkes-Barre record store, his fatigue would seem to be quite justified. And considering all of those factors, his performance was thus even more impressive.


Frehley opened the show with “Rip It Out,” the opening track from his milestone 1978 solo album, and followed with, “Toys,” a Zeppelin-esque  number featured on his 2014 “Space Invader” CD.  


“Wilkes-Barre! It’s nice to be back!” shouted Frehley before tearing into a torrid performance of 1977’s “Rocket Ride.” And for Frehley, it was indeed a return to Northeastern Pennsylvania. He had performed solo in the region in 1985 and 1987, twice in 1995, and with KISS in 1975 and 2000. And, interestingly, he had performed at the F.M. Kirby Center – then known as The Paramount Theater – with KISS, twice, in 1974. For his ninth visit to the area, he peppered his set with songs from his time with KISS and from his solo catalog.  There was a riffy rendition of “Strange Ways,” a pounding performance of “Snowblind” and a fiery offering of “Love Gun,” sung by drummer Scot Coogan.


Frehley’s latest solo album, “Origins Vol. 1,”  which was released on Friday, features covers of some of his all-time favorite artists, including Jimi Hendrix, The Rolling Stones, Led Zeppelin and Free. At the show, he performed Thin Lizzy’s “Emerald,” which is featured on the album. “Parasite,” originally recorded by KISS, but sung by Gene Simmons, also appears on the album. Frehley not only rocked it - his way - on the record, but also placed the song in Friday’s set. He followed with a funky rendition of “New York Groove” and a gritty performance of 1989’s “2 Young 2 Die,” sung by guitarist Richie Scarlett. There was also a dazzling bass solo by Chris Wyse.


Of course, the most anticipated solo of the night came from Frehley, who tore it up on his trademark smoking Les Paul following a bombastic performance of “Shock Me.”  He closed the show with “Cold Gin.”

With the house lights dimmed, the crowd wanted more. Chants of “Ace! Ace! Ace!” filled the theater. But after quite a few minutes, the lights were on and house music filled the air. Show over. Frehley, who had been ending his concerts with “Detroit Rock City” and “Deuce,” did not return. Clearly, the audience was confused and disappointed, but what we now know is that Frehley was barely able to finish the set, and that shortly after leaving the stage, he was on his way to a hospital. And so, after entertaining his fans for 42 years, Frehley gets a pass on no encores. If anything, the Rock and Roll Hall of Famer – who will celebrate 10 years of sobriety this year – may have earned even more respect from his audience. The man was tired and not feeling well. It had been a long week and a particularly long day. Yet, just minutes before heading to Wilkes-Barre General, he was singing “Cold Gin” with plenty of zest.


Ironically, earlier in the night, Frehley had performed the fan-favorite, “Rock Soldiers.” It is a term that he sometimes uses to describe his fans.


On Friday night in Wilkes-Barre, he was one.  




(Alan K. Stout has covered rock and pop music in Northeastern Pennsylvania since 1992. His music-related stories appear in The Electric City. His weekly radio show, “Music On The Menu,” airs every Sunday night from 9-10 p.m. on 105 The River. Reach him at musiconthemenu@comcast.net)   

‘The Million Dollar Quartet’ brings a whole lotta shakin’ to The Kirby

Musical adaptation of one of rock’s most legendary moments entertains and enlightens 

By ALAN K. STOUT

MUSIC ON THE MENU

March 20, 2016 

REVIEW

WILKES-BARRE –  Throughout the history of rock music, there have been, from time to time, brief musical explosions which took place within a certain geographic area and had a lasting impact on both music and pop culture. The aftershock of “The British Invasion” of the ‘60s - which gave us The Beatles, The Rolling Stones, The Who and Led Zeppelin – is still felt to this day. The folk scene of Greenwich Village in the ‘60s helped propel singer/songwriters onto the charts throughout the ‘70s, the Motown sound of Detroit helped change the sound of soul and in San Francisco, psychedelics helped produce a jam-based and expansive sound that continues to find new audiences. In the ’80s, on the Sunset Strip of Los Angeles, hard-rock music rose from the streets and blasted across America. And in the ‘90s, in Seattle, grunge felt like a mini-revolution.

All of those movements mattered. All gave us great music. And all had a lasting impact.

But none of them probably ever would have occurred were it not for what happened in Memphis in the mid-‘50s. It was there, some say, that rock and roll was truly born. And much of it happened at Sun Studio, a small recording facility on Union Avenue where the likes of Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins made their first records. Its owner, Sam Phillips, who had also supported blues artists such as B.B. King and Howlin’ Wolf, was always looking for something new. And when Presley gave him “That’s All Right” and Perkins gave him “Blue Suede Shoes,” he’d found it.

He had found rock and roll.  

And that, more than anything, is what is celebrated in “The Million Dollar Quartet,” an at-times dazzling Broadway musical that visited the F.M. Kirby Center on Friday. The production is based on the true events of December 4, 1956 when Presley, Cash, Perkins and Lewis all found themselves hanging out at Sun Studio on the same day and in turn held a fairly lengthy and impromptu jam session. When listening to the actual recording of that session, it’s clear that it was all done just for fun and for the love of music. Perkins and Cash had already scored national hits, Lewis was a young artist on the rise and Presley - back home in Memphis for the Christmas holiday - was already the reigning king of the charts. There was a good-natured camaraderie and mutual respect between the four young men and there were quite a few laughs as they toiled around with everything from blues and gospel numbers to a few Christmas songs.

The musical production, however, takes that camaraderie and spices in a bit of drama. There is a touch of sibling-like rivalry between the characters in the play, and though that may or may not have actually existed, it does help provide some insight into what each character was likely going through at the time. Presley, who had left Sun to sign with the much larger RCA Records, missed working with Phillips. Cash already felt that he was ready to move on to a bigger label and Perkins, who had suffered a brief career setback due to an auto accident, was trying to sustain momentum. Lewis was up and coming, offbeat and full of energy and felt that his talents could easily make him the next Elvis. And at the center of it all was Philips, who knew that letting Presley go the RCA was the right financial decision but didn’t want to lose any more of his young stars.  

That’s the storyline of “The Million Dollar Quartet.” And it’s a good one. But what really made the show shine was the music. Some numbers featured, such as “Peace In The Valley” and “Down By The Riverside” were actually performed by the quartet on 12/4/56. And in the spirit of artistic license – and in helping demonstrate what an incredible impact that the four musicians had on pop music - other numbers were also included, including  “Blue Suede Shoes,” “That’s All Right,” “I Walk the Line,” “See You Later, Alligator,” “Whole Lotta Shakin' Goin' On,” "Folsom Prison Blues" “Great Balls of Fire,” "Ring of Fire" and “Hound Dog."

Skip Robinson, who plays Presley in the production, did a fine job of capturing both his unpretentiousness and his charisma. Jason Cohen was fabulous as the cocky and quirky Lewis and Evan Buckley Harris gave Cash the inner-strength and decency for which he was known. Christopher Wren often tore it up on the guitar as Perkins and Matthew Scott, as Phillips, was terrific as the proud papa that feared he was losing his musical family yet also took pride when his boys moved on to bigger and better things. At one point in the musical - when Phillips is informed by both Cash and Perkins that they will soon be moving on to Columbia Records - he is initially crushed, but he then quickly ponders the possibilities and potential of another young kid from Texas that he had just signed to Sun: Roy Orbison.

The man had an eye for talent.

Jackey Good, who plays Presley’s girlfriend, Dyanne, also had a few moments to shine, including a fine performance of “Fever.”

In addition to solid acting, “The Million Dollar Quartet” was also very much a concert. In addition to Robinson, Cohen, Harris and Wren, the band also featured Jody Alan Lee on bass and Jon Rossi on drums. It all made for a tight and powerful musical unit which gave the ‘50s classics a fresh energy. Simply put: the band rocked. And the entire ensemble sang flawlessly.

One of the musical's most memorable moments occurred when Robinson, Cohen, Harris and Wren - while all sitting around the piano - froze in the exact same pose captured in the most famous photo that was snapped on 12/4/56. While the four held the position, the actual photo of Presley, Lewis, Cash and Perkins appeared on a large video screen above the stage. 

That alone brought a roar from the crowd.

Interestingly, for many years, the events that happened at Sun Studio on December 4, 1956 were probably not as well known as they should have been. Even today, there is a perception by some that the musical adaptation of what happened that day never actually occurred, and that the play is more of a “What if?” fictional account of what could have happened if Presley, Cash, Perkins and Lewis ever perched themselves around the same microphone. A “dream concert,” if you will. But it did happen. And though “The Million Dollar Quartet” expands upon it in many ways, the most important thing is that it celebrates it. It re-shines the light on four of rock’s most important figures at one of the most crucial points in their respective careers and it reminds us of how Sam Phillips and Sun Records helped make it all happen.

It reminds us that almost everything in rock that happened afterwards – from Liverpool to L.A – first got its start in Memphis.

(Alan K. Stout has covered 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. Reach him at musiconthemenu@comcast.net)

A Don Henley story … and a few more

(click image to enlarge)

By ALAN K. STOUT

MUSIC ON THE MENU 

February 1, 2016 

One of the cool things about being a writer in your 40s is that, when you’ve been doing it for 23 years, you’ve got some miles on you and you’ve got some stories to tell. And I do have quite a few. My aunt told me once that I should write them all down in a book. She thought my kids might enjoy reading them some day. I don’t know if I’ll ever have time for that, but maybe. I have learned, especially lately, that people seem to enjoy hearing cool stories about rock musicians. But for some reason, when you tell them - at least for me - you kind feel like a name-dropper, and so you tend to just keep them to yourself. Even my family and closest friends probably don’t know most of them because I just don’t talk about them.

A few years ago, however, I read a marvelous book called “Cornflakes with John Lennon,” which was written by a music journalist from the Los Angeles Times. He shared his stories - stories of his meetings with Elvis, and Springsteen, and Elton John, and Lennon – and I just loved it. And so I'm thinking maybe I should share a few of mine from time to time.

Here are two short ones:

* I once saw Alice Cooper sneak a candy bar to a kid behind his parents' back, but also tell the kid not to eat it until after dinner. It was 1996. The kid's parents were big fans. We were hanging out on Alice's tour bus. And all I could think was, "That's pretty funny. To some, back in the  '70s, this guy was 'Public Enemy Number 1.' He was the devil. And here he is acting like a sweet old uncle to this little kid."

* I was the very first person that Steven Tyler spoke with, just minutes after learning that Aerosmith had earned its first No.1 single with "I Don't Want To Miss A Thing." 

"Not but 20 seconds ago, it went to No. 1 in America," said Tyler. "I am freaking.  I can't wait to go outside and smoke a cigar." 

And hey, who could blame him? At that point, the band had already been around for 25 years. They'd had plenty of big hits before, but the guy had literally just found out he had his very first No. 1. I said, "Congratulations." He said, "Thank you." Every time I hear that tune, I think of that. If you're a fan, the whole interview is up on YouTube. We talked for quite awhile about all-things Aerosmith and he really let it fly on a few topics. Just Google my name and Steven Tyler and it should pop right up.

My daughter, who turns nine next week, recently came across some of my work on the web. I guess she Googled her Dad. And suddenly, she thought I was pretty cool. We got to talking about music, and she told me her third-grade teacher loves Billy Joel. I told her I’d seen him play live a few times, and that I’d interviewed him once. She seemed have a hard time getting her head around that. I said, "Just Google my name and Billy Joel and you can listen to it." It’s not that big a deal to me. I did it 20 years ago. But people, even my little girl, seem to like hearing about such things. And I think the main reason is because they like to hear firsthand stories from people that have had nice experiences with such talented artists, and they like learning that despite their great fame, many such artists remain quite grounded.  

(We all love hearing those stories of Elvis visiting a car lot, observing someone he didn't even know checking out a car that they could not afford, and buying it for them on the spot.)  

It took me a long time to realize that. And so now, from time to time, I may share a tale or two.  A few weeks ago, upon his death, I was asked to share some of my David Bowie stories on a few radio stations. You can hear them here:

https://www.youtube.com/watch?v=NIfH7crBMKQ

And here's one about Don Henley ...

Like many of us, since the passing of Glenn Frey, I’ve been listening to my Eagles albums quite a bit. I also watched “The History of The Eagles” documentary the other night. Four hours long and worth every minute. Such a great story.

I saw The Eagles twice. And I always really loved some of Don Henley’s solo work. “The Boys of Summer” and “The End of The Innocence” are, in my opinion, two of the best songs of the ‘80s, and so when Henley came to Montage in 2000, I was happy about the opportunity to interview him. I usually did phone interviews in the day, in the newsroom, but I think he may have been out west when we set up the interview, so his publicist asked if we could do it about 8 p.m. That was fine. And so Don Henley, the man who co-wrote most of the songs on “The Eagles Greatest Hits” - the biggest selling album of the 20th century – called me at my old apartment in Kingston.

That alone was pretty cool. I am sitting in my apartment, talking about music with Don Henley.

The story ran in the paper a few days before the show, and before he even came to town, he'd already read it online, or on the national wire, and I guess he really liked it. (All I did was tell his story in my own way and quote him accurately, so I assume he'd had some bad experiences with the press.) I later met him in person before the show and he was very appreciative of the article, which surprised me because, well, you know ... he's pretty huge and he had been written about thousands of times. At one point, he said to me:

 "Are you also covering or reviewing the show tonight?" 

I told him that I was.

"Well, is this a conflict of interest for you, being back here with me before the show?" he said with a semi-smile. 

I smiled.

"I'm not worried about that," I said. "I'm sure you're going to give a nice show, and I look forward to writing about it. And if I had the chance to come back here and shake your hand, and thank you for your time for the interview, I was going to do it." 

He said he was glad that I did, and we chatted for a bit more. I gave him a printed copy of the story, and he signed one for me, “To Alan – with gratitude. Don Henley.”

That one is a keeper.

A week or so later I opened my mail and found the letter seen above.

I am, in case you didn't know it, a "pocket of decency."

Sadly, the nickname never stuck, but if you'd like, you can still call me "Pocket.”

Looking back on that now, Henley didn’t have to do any of that. He didn’t have to do the interview, during which he was remarkably candid. He didn’t have to take a few minutes to chat before the show. The article was already published. And he certainly didn’t have to also write a follow-up letter to a guy from Wilkes-Barre.

I listen to “Hotel California” these days, or “One of These Nights,” or “Best of My Love,” and I think, “That one was pretty cool. That one was special.”

I highly doubt, with Frey’s passing, that The Eagles will ever play again. But again, I’ve been spinning them a lot lately. And I've been reminded that they were pretty special, too. And I am grateful to have had such a nice experience with one of them. 

(Alan K. Stout has covered rock and pop music in NEPA since 1992. His weekly radio show, “Music On The Menu,” airs every Sunday from 9-10 p.m. on 105 The River.) 

If you don’t have anything nice to say … 

When a pioneer of rock passes on, just be thankful for the music.

And if you don’t dig the music, just zip it.

BY ALAN K. STOUT

MUSIC ON THE MENU

January 23, 2016

When a famous and beloved musician dies, the tributes usually begin right away. And we’ve seen that a lot in recent weeks.

Bruce Springsteen was on stage in Pittsburgh last week, saying kind words about the mutual respect he and David Bowie shared for one another and offering a fine cover of Bowie’s “Rebel Rebel.” It was his tribute to The Thin White Duke. A few days later, Bruce was onstage in Chicago, offering a tasteful rendition of The Eagles’ “Take It Easy.” It was his tribute to Glenn Frey.

I also saw a clip somewhere online last week of Elton John playing a Bowie song in concert, and I saw where Paul Stanley of KISS had expressed sadness over Frey’s death, via social media, and posted a photo of he and Frey hanging out together at the Rock and Roll Hall of Fame induction ceremony. He called Frey a “brilliant songwriter” and, a week earlier, he had called Bowie “a pioneer in every sense.” I also saw Stanley’s bandmate, Gene Simmons, looking stunned and saddened while appearing on CNN to talk about Frey’s talents and his legacy. Those kind gestures  - because I am a fan of both Springsteen and KISS - were just some of the those that caught my attention. There were many others from other artists.

When you’ve been covering music for newspapers for a long time, and you’ve met and interviewed your share of Rock and Roll Hall of Famers, other media outlets sometimes ask you to share your thoughts on a great artist when they pass on. I talked about David Bowie - who I had met and interviewed in 2004 - on a few radio stations last week, including my home base of 105 The River. And though I had never interviewed Glenn Frey, I had spoken with his longtime friend and bandmate, Don Henley, and I’d seen Frey perform with The Eagles a few times. And so, on my “Music On The Menu” page, on Facebook, I shared some thoughts on him as well. Artists such as Bowie and Frey are among the greatest musicians of our time and I’d like to think that some of their music will far outlive all of us. And thus, when you love music as much as many of us do, it only seems right to show them some respect when they pass. In the past, I’ve written commentaries on the passing of George Harrison, and on the 20th anniversary of his death, I wrote about the incredible contributions to pop music that came from Elvis Presley, and how he pretty much single-handedly changed everything. Both stories moved on the national wires and were read by many. And I was grateful for the opportunity to have shown both artists the respect they deserved.

You can hear some of my thoughts on David Bowie, on 105 The River, here:

https://www.youtube.com/watch?v=NIfH7crBMKQ

And some of my thoughts on Glenn Frey can be found on my "Music On The Menu" page on Facebook. You can visit that page here:

http://www.facebook.com/musiconthemenu

The reason I’m writing about this today is because I read something this week that actually kind of blew my mind. It was a commentary that appeared in the New York Daily News only one day after Glenn Frey had passed away. And it basically said that his band, The Eagles, were horrible.

Look, everyone has their own musical tastes. That’s fine. It’s a good thing. But the logic of the column, as to why The Eagles were awful, was painfully flawed. It compared the band’s music to some of the other major rock and pop artists that were releasing successful music in the ‘70s, and – in the opinion of the writer – because The Eagles’ music was not like theirs, it wasn’t any good.

And thus it was absolutely the most ridiculous article I’ve ever read by a rock/pop music writer. And that includes some of the nonsense dished out by Rolling Stone. Prince doesn't sound like AC/DC. And Billy Joel doesn't sound like U2. And nobody really sounds like Fleetwood Mac. But that doesn't mean they're all not great, and most importantly, being true to themselves. 

You can read the strange article here:

http://www.nydailynews.com/entertainment/music/glenn-frey-death-sad-eagles-lousy-band-article-1.2501461

Artists, first and foremost, write songs that they themselves like. They aren't thinking about anyone else. They take their own musical influences, and their own life’s experiences, and their own observations about the world we live in, and they turn those things into music. Some songs have commercial appeal. Others not so much.  Some artists sell millions of albums. Most do not. But music, to those that craft it, is still art.

(Unless you’re in the often horrific world of contemporary Top-40 pop, where 10 different songwriters and four different producers are all working with one often marginally talented person in an effort to try and make just one hit song.)

Music is a wonderful creative release for highly creative people. And Glenn Frey was one of those people. He was from Detroit. His biggest creative partner, Don Henley, hailed from Texas. Together, they made southern California their home, and they formed a band that released some of the biggest-selling records of all-time. The music was reflective of some of the other fine singer/songwriter music that was happening at the time, when people like Carole King and James Taylor and Jim Croce were all doing fine work. But it was also distinctly Eagles. It was a little bit rock, a little bit soul and a little bit country, sprinkled with the feel of '70s Los Angeles. It came with a distinct mood. 

I’ve never driven through the desert on a cool summer night with the window down. But, thanks to The Eagles, I kind of feel like I have.

And that is one of the band’s greatest gifts to us.

This writer, from the Los Angeles Times, commentating on Frey’s death, captured all of that well:

http://www.latimes.com/entertainment/music/la-et-ms-glenn-frey-appreciation-20160119-story.html

Take a few minutes to read both articles. I’d love to hear your thoughts.

The New York Daily News piece was, to me, simply bizarre. Glenn Frey, who by most accounts was a really good guy, had just died. He was only 67. He should have had another 10, 15 or 20 years. He made a lot of music that made a lot of people happy. And for some reason, a writer took that moment to write about how thought his music sucked.

Weird.

If you were not a fan, why write anything at all? I don’t write a commentary about every artist that passes on. If I admired them and loved their music, or if I had a nice personal experience with them, I do. If not, I just let it go.

Thankfully, the Springsteens of the world always get it right. They take the same approach. And it’s really not that hard. It’s something most of us, with the exception of perhaps one New York writer, understands:

“If you don’t have something nice to say, don’t say anything at all.”

Especially just hours after someone dies.

Here are two links to Bruce recently covering Bowie and Frey:


Bowie:

https://www.youtube.com/watch?v=CgmhF0XV8uA

Frey:
https://www.youtube.com/watch?v=IrNoGA32H70

Now, if you’ll excuse me, I’m going to pour a nice cold drink and listen to Glenn Frey’s “After The Thrill is Gone.”


He was really good. And so was his band.

(Alan K. Stout has covered rock and pop music in NEPA since 1992. His weekly radio show, “Music On The Menu,” airs every Sunday from 9-10 p.m. on 105 The River)  

BREAKING BENJAMIN is No. 1

As the band tops the Billboard charts, it’s important to note some of the people

 no longer working with the group that helped make it happen.

By ALAN K. STOUT

MUSIC ON THE MENU
July 1, 2015

The first photo seen here was taken about 15 years ago on the roof of The Times Leader building in downtown Wilkes-Barre. It was of a new band called Breaking Benjamin that I was writing about for my “Music On The Menu” column. The band was so new at the time that it didn’t even have a publicity photo, so we took one for them.

The second photo was taken about two years later, also at The Times Leader building. That time, we were in the basement of the newspaper. I've always loved the shot. To me, it has a very urban, subway kind of feel. We used it as the artwork for a cover story that I had written about the band.

I couldn’t help but think about such things today as we get word that the band’s new album, “Dark Before Dawn,” has debuted at No. 1 on the Billboard album chart. There is no doubt that having a band that was originally based out of Wilkes-Barre sitting on the very top of the charts is pretty cool. But it is also, to me, very bittersweet in some ways. I wrote about Breaking Benjamin many times over the years. I saw them play at the old Voodoo Lounge in Luzerne in front of 20 people, and I saw them headline shows at the arena in Wilkes-Barre and the amphitheater at Montage. During that time, Ben Burnley gave me some really good interviews, and while serving as music editor at The Times Leader and later as editor of The Weekender, the band graced the cover of both The Guide and The Weekender several times.  When the group received its very first gold record, the story ran on the front page of the daily newspaper. For me, it was all a lot of fun to write about and I enjoyed covering the story for our readers and for the band's fans.

In 2006, when I was helping organize “Concert For A Cause 4,” I asked former Breaking Benjamin guitarist Aaron Fink if the band might consider playing the show. Aaron said he’d try to make it happen. And he did. And - at the very height of their commercial success - Breaking Benjamin came down to The Woodlands and played a set, for free, for charity, to help out young kids in need. And I have never forgotten that.

So why is this a bittersweet day? Simply because I wish that some of the people that helped make Breaking Benjamin such a successful band were still with them as they hit No. 1 for the very first time. The reason they call it the “music business” is because it’s just that: a business. And sometimes, especially when all most musicians really care about is art and creativity, that really sucks. The two members of the band that I am closest with, Aaron and former bassist Mark James Klepaski, left the group under difficult and bizarre circumstances that ended up in the courts, with all sorts of unnecessary legal mumbo-jumbo.  They are both really good guys, talented musicians, and all they ever really wanted to do was make great music with Breaking Benjamin. In fact, they each believed in Breaking Benjamin so much that they left another band that was already signed to a national recording contract in order to join the group. And so, in my opinion, two good guys and two really great players got screwed.

How do I know they’re good guys? I’ve seen it firsthand. And not just with “Concert For A Cause.” Two years ago, when I asked Aaron and Mark if they would be willing to come down to the Wyoming Valley West Middle School, where I now teach an anti-bullying course, and if they’d be willing to speak to an assembly about the negative effects of bullying, they were both more than happy to do it. And they were great with the kids that day. They had a very positive impact.  And so I am speaking from experience.

Mark has now taken his music to Southern California and is very happy. And Aaron was recently the guest on my Sunday night radio show on 105 The River for the full hour, and he also recently played the monthly “Music On The Menu Live Original Music Series” that I host at Mohegan Sun Pocono. If you haven’t yet heard Aaron’s new solo album, "Saint Sylvania," you should. And his new band, Gentleman East, is also making some great music. I am glad that we have always stayed in touch.

I took this shot for The Weekender when Breaking Benjamin
headlined the area in Wilkes-Barre in 2006. 

Former Breaking Benjamin drummer Chad Zeliga is also a good guy. He’s a monster of a drummer and he actually lives in my neighborhood.  His departure from Breaking Benjamin also seemed completely unnecessary, and I was not surprised at all to find out that when a guy like Zakk Wilde of Ozzy Osbourne fame found out that Chad was available, Chad got the gig. He’s now pretty much doing the same thing he did with Breaking Benjamin - playing killer drums on records and at concerts - but without the silly aggravation. Good for him.

I also know original Breaking Benjamin drummer Jeremy Hummel and original bassist Jonathan Price. Good dudes. Talented guys. My friend Bret Alexander, formerly of The Badlees, produced the first Breaking Benjamin EP, and I still recall him telling me at the time that he saw great potential and talent in the band. Bret even went as far as to connect the group with The Badlees' former manager, Larry Mazur, who later helped Breaking Benjamin land a deal with Hollywood Records. The title of the band's first national release, "Saturate" was actually a gesture of respect to Bret's own Saturation Acres Recording Studio, where they had recorded their first EP.

My friend Freddie Fabbri was the band’s first manager, and he was willing to put his whole career in radio on the line in order to help break Breaking Benjamin. It was Freddie, all of those years ago, that first urged me to get my ass over to The Voodoo Lounge to check them out, and it was Freddie that hooked the band up with Bret to record that first album. And it was Freddie that first put “Polyamorous” on the radio.

None of these people that I’ve mentioned here are involved with Breaking Benjamin today. And that is why, to me, the news of the band hitting No. 1 on the charts comes with some mixed emotions. It’s not that I am not happy for the band. I am. I really am. I’ve always loved the work of current bassist Aaron Bruch and was a huge fan of his former project, Panacea. That band, in my opinion, also deserved a record deal and Aaron deserves the chance to play on some of the biggest stages in the country. I caught some of the all-new Breaking Benjamin’s set at Brews Brothers West last year (the old Voodoo Lounge) and Aaron was in top form. He’s a good fit and his work on the new album is excellent.  And I've known John Phillips, the band’s current road manager, for almost 15 years. And I am also happy for him in that he’s gotten the chance to tour the country with a great band.

So yeah … I go way, way back with all of these guys and I’ve known all of the key players. Lots of folks around here know these people. For me, it all started 15 years ago, when another good friend, Lyn Carey, recommended that I write about this new band called Breaking Benjamin for my “Music On The Menu” column. That was the first time I’d ever heard of them. I wrote the story. We took their picture on the roof. It was the first time they’d ever been written about, anywhere. Seems like yesterday. But it wasn’t. It was a long time ago. And again, in my opinion, every single person that I’ve mentioned here today that have all been a part of a band from Wilkes-Barre having the No. 1 album on the charts deserves a big shout out. Congratulations to all of you. That is not to take anything at all away from Ben Burnley, who is an incredibly gifted songwriter and vocalist. Breaking Benjamin, as he has always shown, is his band, and again, he’s always been very cool to me. But I am also sending out congratulations to the others … to Jonathan, to Jeremy, to Aaron, to Mark, to Chad, to Bret and to Freddie. And of course to Ben, Aaron and John, and to the other current members of the band, whom I have never met.   

Today, Wilkes-Barre, Pennsylvania, is the home of the No. 1 band in America. And a lot of cool people from NEPA helped make that happen over the years. I am proud to have known all of them. And today, I just wanted to give some of those people a nod of respect and to advise them that maybe it’s best – just for one day - that we all put the odd inner-dynamics of Breaking Benjamin on the side, that we take just a moment to realize this will probably never happen again, and that we make note that this is indeed pretty damn cool.

Cheers to you all.

Especially those that helped get it all started.

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COMMENTS:

Shares on Facebook: 60

Dawn Randazzo: Very cool Alan. Glad somebody said it!

Auralee Collins: Very good read!

Jeff Bonomo:  Excellent article as always Alan!

Donny Lombardo:  Jonathan Price was looking particularly good that day!

Paul Miorelli:  Thanks for that Alan. Well put. Thank you.

Mark Fitzgerald:  Isn't Ben the only one left? Good article, I saw the Eddie trunk interview somewhere and I had no idea what was going on.

Freddie Fabbri:  Damn

Paul Young:  Got all nostalgic. Nice job Alan K. Stout

Mark James Klepaski :  Likewise ^^^

Ron Lieback: Well said!

Joe Strazdus:  Very Nice Al !

Mike Baresse:  Great article Alan K. Stout! Spot on!!

Zhach Kelsch:  Incredible article. Well-done Alan.

Brian Quinn: Very cool, Alan.

 Mark Heltzel:  1st night at the Voo Doo ...4 people showed up! I payed them 50$ out of my pocket...those were good days..Ii still have the very 1st contract for the band

Colleen Fenwick-Dutcher:  This was a great article. Nice work! Speaking as a hardcore Breaking Ben fan for 12 years... I'll always love Ben, but I don't like how Aaron, Mark, Jeremy and Chad never get any mention/credit. They were part of Breaking Ben for years, and even though they're no longer with the band, they still helped to put Breaking Ben on the path that lead them to where they are today. And they're all great guys! I'm one of those fans that gets there hours and hours before doors even open just so I can run to get to the front row, and I remember at at least two shows that I went to, I showed my Breaking Ben tattoo that is on my forearm to Mark while he was playing, and he made sure to get as close to me as possible to throw his pick to me, and he made sure that I caught them. He did that on two separate occasions, and I was so ridiculously happy! And another time I saw Mark at a Chevelle concert, and he was nice enough to let me take a photo with him (which I later felt bad for because he was flying under the radar it seemed until after I noticed him, then a line formed for pictures lol sorry Mark!). My point is, I'm glad that you wrote this article to give a greatly deserved congratulations to some talented and kind guys!

2014: YEAR IN REVIEW

Dustin Douglas released one of the best local albums of 2014

Weekender music writer shares his thoughts on the year’s highlights

By ALAN K. STOUT

MUSIC ON THE MENU

As some readers may know, I covered music extensively for both The Times Leader and The Weekender from 1992-2011. In 2011, when I left the company on excellent terms, I stayed on as a music correspondent and told our readers that I still might be contributing a few articles per year. And that’s what I did. From 2011 through most of 2014, I probably did about 10 stories in total.

This past fall, however, I came back into the fold on a more frequent basis. And the reasons were simple: 1) I still love to write about music, and 2) I continue to receive many records from local artists, who send them my way in hopes that we’ll give them some airplay on my weekly radio show. And since they’re often very good, and since I‘m already playing them, I wanted to write about them, too. Thus, since October, I've been back in The Weekender almost every week, and because of that, they've asked me to share my thoughts on some of the musical highlights of 2014.

One of the things I really like to see on the local music front is people trying new things. Sometimes, you need to take a chance. Last year, in 2013, the band Cabinet decided to take on the challenge of holding a musical festival at Montage Mountain. And this year, with the “Susquehanna Breakdown,” they were back with another such event. Major props to that group, and their manager, Bill Orner, for making that happen. It’s not easy, but they've got something good going, and they've already announced that they’ll be back again in May. Congratulations also to Will Beekman and The F.M. Kirby Center for its successful “Chandelier Lobby Series,” which recently hosted two sold-out shows with Cabinet. It’s another fine example of someone taking a chance on something new and then seeing the public respond in a positive way.

Along those same lines, you've got to love what Ken Norton and Joe Caviston pulled off in Scranton back in October with the inaugural “Electric City Music Conference” and the “Steamtown Music Awards.” This was a particularly ambitious undertaking and once again, it was well received by the local music community. And I would be remiss if I didn't mention the people that I work with at 105 The River and at Mohegan Sun at Pocono Downs. In June, we launched the new “Music On The Menu Live Original Music Series” at Breakers. Once a month, we select one of NEPA’s best original artists and we put them live on stage and, just as importantly, live on the radio, where they are given the opportunity to play their songs for a wide listening audience. There’s probably not anything quite like it being done by any other station in the country and I’m proud to be a part of it.   

As I said at the top of this article, one of the reasons you've seen my byline a bit more in The Weekender in recent months is because I wanted to write about some of the fine local albums that have come my way at the radio station. Some of this year’s highlights, which I did write about, were “Black Skies & Starlight” by Dustin Douglas, “Rhythm of Our Hearts” by Mike Dougherty, “Under The Covers: The Songs of Tom Flannery” by Tom Flannery,” “In The Aftermath” by Eddie Appnel, “Diary” by Jane Train and the self-titled release by the Phyllis Hopkins Trio. Other gems from late 2013 or 2014 were “Eleven” by Dani-elle, “Sound Makes Waves” by Nick Coyle, “Change.Adjust.Continue” by Graces Downfall and “Sounds From Thursday Evening” by Suze.  And just a few weeks ago, I received an album from Black Tie Stereo that also ranks among the year’s best local releases.

Sometimes people ask me, after more than 20 years of being involved with the NEPA music scene, what I still like about it the most. That’s it right there. It’s writing about records like those and playing them on the radio.

Other interesting items that I enjoyed writing about in 2014 were the 20^th anniversary of longtime area favorites Flaxy Morgan and a book, “Counting Down Springsteen: His 100 Finest Songs,” by Old Forge native Jim Beviglia.  If you’re a fan of The Boss, you should pick up a copy.

In the summer, we learned about a new all-star band, Gentleman East, featuring Bret Alexander, Paul Smith and Ron Simasek of The Badlees and Aaron Fink of Breaking Benjamin. I was surprised to see The Badlees implode only a few short months after the release of a fine double-disc album, but so far, I’m liking what I’m hearing from Gentleman East. The band’s debut CD should be one of the most highly anticipated records of 2015.

Gentleman East, a new all-star project, made its debut in 2014. 

As for Breaking Benjamin, just when it looked like the band might be done, it surprised fans with two club shows at Brews Brothers West, the former Voodoo Lounge, which was where the group first cut its teeth as a live band. I was there. And it was mobbed. These shows led to a mini-tour of the east coast and there should indeed be new music from Breaking Benjamin in 2015.

As for the national music scene, I don’t cover it nearly as much as I once did. Our own Brad Patton does a great job with that. But it was fun to dust off the old notebook and cover the Soul Asylum show at Mohegan Sun, and to interview Rock and Roll Hall of Famer Paul Katner of Jefferson Starship. And another big interview is what led to my personal favorite musical memory of 2014 …

Mary Ann Stout meets KISS at Montage Mountain

In August, I interviewed Paul Stanley of KISS. It was the sixth time that I’d interviewed him on the phone over the years, and I’d also met him in person several times. I am a big fan. And the band knows that I am a big fan. Thus, I was invited to go backstage for a brief hello with the group when the band came to Montage. What made this one special was that, for the first time, I took my seven year-old daughter with me. When Paul first saw her standing with me, he pointed to her, looked at me, and said “Is she yours?” When I said, “Yes,” he bent down to look at her at eye level and made a bit of a fuss over her. And later, during the show, he tossed a few guitar picks her way. Pretty cool stuff from the Starchild. And a great memory from 2014.

Looking forward to 2015 and making many more.

(Alan K. Stout has covered rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, “Music On The Menu,” airs every Friday from 9-10 p.m. on 105 The River. This story also appears in the December 31, 2014 edition of The Weekender)

   

‘Diary’ an open book on growth and healing

Popular area singer finds artistic expression through new CD   

By ALAN K. STOUT

MUSIC ON THE MENU
DECEMBER 17, 2014

Jane Train’s debut album, “Diary,” is just that. It’s a deeply personal record filled with songs that chronicle both pain and healing. And for the talented and charismatic vocalist - known best to area music fans for her work with the popular band M80 - there was a lot of healing needed. The album, she said, was mostly inspired by her marriage and divorce. Music, and writing about her experience, helped her move forward.


“I felt like I needed to do my art,” says Train. “And I felt like I needed to heal from investing in a relationship that failed and that put me through the most extreme emotions that I’d ever felt in my life.”


Though, with M80, Train has graced the stages of NEPA for nearly a decade, her resume also includes plenty of national work. From 1999-2000, she toured the country as a backup singer with Liz Phair, co-headlining shows with artists such as Sheryl Crow, Sarah McLachlan, Dixie Chicks, Queen Latifah and Deborah Cox. With Phair she also toured as an opener for Alanis Morissette, and last year, as a solo artist, she opened for Motley Crue. Simply put, Train has befriended many musicians, which might explain why “Diary” not only features work by former Breaking Benjamin members Aaron Fink, Mark James Klepaski and Chad Szeliga, but also Nick Coyle (Lifer/The Drama Club/Stardog Champion), Tyler Grady (American Idol), Dale Stewart (Seether,) Ron “Bumblefoot” Thal (Guns ‘N Roses) and Clint Lowery (Sevendust), who co-wrote five songs.

Train says initially, she was not planning on an all-star album, but as the sessions began, the record took on a life of its own.

“At the very beginning, I didn’t think about getting all of the big players on it,” she says. “But as it developed, I just started thinking ‘Let me ask so and so, who I’ve known for X amount of years, and have never, ever asked for a favor.’ I guess once I got one person, and then two, I thought ‘I’m getting everybody.’ ”

She laughs.

“Diary” is a big-sounding album with booming production. Tracks include “Love & Hate,” “Time To Shine,” “Small Town,” “Tides” and “Beauty For Ashes.” There’s also an explosive cover of My Bloody Valentine’s “Only Shallow.” Train says writing the songs was cathartic and that the process became a bit of a journey.

“At first, the songwriting relied more heavily on lyrics,” she says. “I have one song that’s actually kind of poppy, but it’s a very sad song, and I don’t think it was until Clint from Sevendust entered the picture that some of the darker elements that I really craved were brought out. I don’t know why I didn’t go there on my own originally, but Clint brought it out. I touched on subjects that were not happy, because I definitely was not happy. With life in general, I was happy, but I was still healing and still wounded.”

She held nothing back.

“I needed to express all of this in a very honest way, like a musical diary,” she says. “I know I’m not the only one who has encountered loss, suffering and grief. I had a lot to say that people could relate to, and I needed to say it. Finally, my music was coming alive and my healing was well under way. I wrote about everything that I went through.”

In addition to penning songs about relationships, Train also tackled other topics.

“I included a song against bullying called ‘Breathe Out,’ ” she says. “I hang out with a lot of gay people and I’ve heard painful stories about what they’ve gone through. Although I’m straight, I was bullied in school because of my frizzy hair, and then when I was the new girl. It was horrible. I didn’t have many friends growing up. Kids are brutal.”

Such songs have already connected with people.

“Before my CD was finished, I had the opportunity to open for Motley Crue,” says Train. “I felt completely at home on that stage, and I received a lot of positive feedback on Facebook, including one mother that reached out to me and said she found my song ‘Time to Shine’ online. She then went on to say how her son was bullied in school and had mentioned suicide. They listened to my song and cried together. He said one day it would be his ‘time to shine.’ I cried when I read this. I wrote to her and offered to talk to him over Skype. She was so excited. I spoke to this amazingly smart, cute, and funny 12 year-old for two hours. We laughed, and he did mention the suicide thoughts to me. I said, ‘Why would you kill yourself and let them win? Stay alive just to piss them off!’ He laughed and agreed.”

Train says she then sent the boy the song “‘Breathe Out.” It too connected.

“They thanked me for reaching out by having the lyrics to my song printed on a canvas over a beautiful photograph of storm clouds the mother had taken,” she says. “I bawled when I received that gift. I’m still in touch with them. Over the summer, the young boy gained confidence from that talk and is hardly bothered at all by those bullies. I heard he even has his first girlfriend. “

Train credits her own faith in God in getting her through tough times. She says that the CD cover, which was shot in England and shows her leaning on a cross, is reflective of that. And through it all, she’s also maintained good humor. She says that her” “first post-divorce kiss” was with none other than Rock and Roll Hall of Famer Gregg Allman, with whom she had a brief romance that turned into a steady friendship.

“I think Gregg Allman is the only person I didn’t get to play on the album,” she says with a laugh.

“Diary” is available at the Gallery of Sound as well as iTunes, CD Baby and Amazon and can be heard on Spotify. It is also available at M80’s shows and at www.janetrainonline.com. Train says that after a few years of work, she is happy to finally get her music out there to her fans.

“This was a selfish effort,” she says. “I don’t mean it in a bad way. I wasn’t doing it for money or anything. It was selfish in that I really, really needed to get this out to help me heal and to feel accomplished. In all of the years I’ve been doing music, since I was 12, I never once put out a full CD. I’m excited that it’s done, and what’s making everything new for me is the people that are telling me what songs they love, and what they mean to them. That’s the part that’s pretty awesome.”

(This story first was first published as the cover story of The Weekender on December 17, 2014.  Alan K. Stout has covered rock and pop music in NEPA since 1992. His weekly radio show, “Music On The Menu” airs Sunday nights from 9-10 p.m. on 105 The River in Wilkes-Barre/Scranton. His commentaries on music and concert reviews are now published by the Bold Gold Media Group.)