It is New Years Eve, a night of hedonism.

If you are staying home tonight, or even recovering from a boring New Years Eve party, consider listening to the link below to get a taste of what hedonism is like:

HughHefner.WMA

I had the pleasure of speaking to Hugh Hefner today, on New Years Eve, because we always speak on this day every year to relive the past year's glories.

Just kidding. I interviewed him about a new biography about him called "Mr. Playboy: Hugh Hefner and the American Dream." It is not a tawdry book, but the first exhaustive chronicle of the man, and written by a guy with a good reputation, Dr. Steven Watts, of the University of Missouri.


I recorded the conversation. As always, I apologize for the awkwardness of my questions, as I am a writer, and not a good speaker. But listen to the man. He is 82 years old, and as an 82-year-old man would say, he is as sharp as a tack. And you can listen to me, trying to ask probing, insightful questions when all I really wanted to talk about was, well, you know.

Anyway, If you can't access the link for any reason, I'll be posting it in several weeks after I get around to transcribing it for an article I'll be writing.

When Julianne Hough and Helio Castroneves competed in season 5 of "Dancing With the Stars" in 2007, the pair danced twice -- including during the finale -- to Royal Crown Revue's "Hey Pachuco," catapulting them to a win.

Utahns might not get to win a trophy for winning a TV show this New Year's Eve, but they can still dance to the Royal Crown Revue (right), just one of many musical acts ringing in the New Year along the Wasatch Front.

Royal Crown Revue, one of the bands that reignited swing music in the 1990s, will ring in the new year at The Depot in downtown Salt Lake City. "We like playing music that [has been] lost or been forsaken," said Royal Crown Revue trumpet player Scott Steen.

RCR, as the band is commonly known, was created in 1989 in Los Angeles about the same time as other bands in its genre, such as Big Bad Voodoo Daddy and the Brian Setzer Orchestra, were formed. All three bands were part of the Los Angeles nightclub retro scene immortalized in the 1996 film "Swingers," written by "Iron Man" director Jon Favreau.

RCR got its big break when it appeared in Jim Carrey's 1994 film "The Mask," and was originally booked to be the swing band portrayed prominently in "Swingers" until the band's record label nixed the idea, singer Eddie Nichols said. Big Bad Voodoo Daddy was recruited in its place and saw a surge in popularity because of it.

In hindsight, the band members said, not appearing in "Swingers" did them a favor, because "[we] never thought of ourselves as a swing band," Steen said. A love for rockabilly, soul, jazz and even punk allowed the band not to be pigeonholed, and as a result it has played the Vans Warped Tour as well as opened for rockers such as the Pretenders and the B-52's.

Then came the visibility of "Dancing With the Stars," which brought RCR back into the public eye, as millions of new fans heard "Hey Pachuco." Steen called the play flattering, while Nichols said he's "proud" to have one of his songs featured on the top-ranked show.

As for New Year's Eve, Steen and Nichols said the band likes to play a different playlist, with more danceable songs for people who "tie one on a little bit." In the past, the band performed different variations of "Auld Lang Syne," including a mariachi version and a ska version.

And when the clock swings from 2008 to 2009, Nichols said he needs to kiss someone. Any takers?

Royal Crown Revue
Where » The Depot, 400 W. South Temple, Salt Lake City.
When » 9 p.m.
Tickets » $35 per person or $60 per couple, at SmithsTix

Here's Royal Crown Revue in "The Mask":

Here are some New Year's shows tonight, with Ashley Tisdale returning to the state where the High School Musicals were filmed ...


Royal Crown Revue
Where: The Depot, 400 W. South Temple, Salt Lake City.
When: 9 p.m.
Tickets: $35 per person or $60 per couple, at SmithsTix

Newphoria New Year's Eve Dance with David Archuleta, V-Factory, Ashley Tisdale
Where: McKay Events Center, 800 W. University Parkway, Orem
When: 9:30 p.m.
Tickets: $12.75 at SmithsTix

NYE 2007 Black & White Masquerade Ball featuring DJ Sky Nellor
Where: Harry O's, 427 Main St., Park City
When: Doors open at 8:30 p.m.
Tickets: $60 at SmithsTix and 24Tix

First Night with DJ Rebel, Mana Poly All-Stars, Rumba Libre, Band of Annuals, Afro Omega
Where: Gallivan Center, 239 S. Main St., Salt Lake City
When: 6 p.m.
Tickets: $8 tickets can be purchased in advance at Albertsons, Discovery Gateway, The Leonardo and The Gateway concierge. $10 day of show. Children 12 and younger are free.

"The Downtown Affair" New Year's Eve with DJ Sayo, DJ Jello. DJ Juggy, DJ Latu
Where » The Hotel (155 W. 200 South), Elevate (149 W. 200 South) and Lumpy's Downtown (145 W. Pierpont Ave.), Salt Lake City
When: 9 p.m.
Tickets: $25 in advance, $30 day of, at SmithsTix and 24Tix; each ticket gives you access to all three clubs

Rockapella with Osmond 2nd Generation
Where: McKay Events Center, 800 W. University Parkway, Orem
When : 7 p.m. (precedes Newphoria event at same venue)
Tickets: $20 at SmithsTix

Legends New Year's Eve 2008 with DJ Keoki, Mars & Mystere and DJ Hardware
Where: Saltair, 12408 W. Saltair Drive, Magna
When: 7 p.m.
Tickets: $25 in advance, $35 day of, at SmithsTix and 24Tix

Black & Blue Fetish Ball
Where: In the Venue, 579 W. 200 South, Salt Lake City
When: 10 p.m.
Tickets: $7.50 in advance at 24tix; $10 at door

Growing up, I hated USC (the University of Spoiled Children ... Oops, I mean the University of Southern California) because my grandfather went to USC's rival Notre Dame and my mother and sister went to UCLA, USC's biggest rival.

Once puberty arrived, I changed my opinion slightly when I saw how alluring the USC cheerleaders were. But I have still hated USC and its dominance of the Pac-1o.

But I have to hand it to the USC Marching Band, which will perform in the Rose Bowl's half-time show on Jan. 1. The band will perform Avenged Sevenfold's "Almost Easy," the hard-rock band's first single from the band's self-titled gold album. The band (not the marching band) will be in Salt Lake City to begin the next leg of its tour on Jan. 28.

As for the marching band, it will perform the song at about 4:40 p.m. Mountain time Thursday, on ABC. ABC has said it guarantees a 3-minute portion of halftime will be shown live. Then again, they once promised that "Who Wants to Be a Millionaire" would only be aired one night a week, and we saw how that ended up.

Here's "Almost Easy" and image a rendition of it with a tuba:

And you think Barack Obama's inauguration is going to be special? Phoeey.

Gov. Jon Huntsman is going to one-up President-Elect Obama, because he has snagged the biggest singer of the National Anthem at the governor's inauguration on Jan. 5.

Who's singing the anthem?

DAVID ARCHULETA!!!

It will be at the Utah State Capitol, outside on the South Stairs, at 11:45 a.m. I would tell you where the South Stairs if I were from Utah, because it seems like everybody uses cardinal directions instead of driving directions in the Beehive State. I don't know where south or north or west or east is. I'm from California, where we tell people to either head toward the beach or away from it. Or turn away from the wildfires, which is a good rule of thumb for most means of transportation.

Besides David, attending the ceremony will be Utah National Guard Major General Brian Tarbet, Rich Middle 7th graders and Rose Park Elementary 4th graders.

The whole shebang is open to the public, who will be very cold on the outside but warmed by the smooth, warm notes sung by our Archie.

Capitol gossips are whispering that Archie will run to succeed Hunstman in 2012. He'll be 22 then, and his voice will finally have graduated from puberty, making his giggles sound like ... (insert joke here, because I couldn't think of one).

Audiences attending tonight's "Dancing with the Stars" Tour at the E Center will see not only the stars of today but also the stars of tomorrow.

That's because sharing the stage with stars like Lance Bass and Utah's Derek Hough will be more than 50 young dancers from Orem's Center Stage Performing Arts.

"We're taking the next generation and putting them onstage," said Center Stage's artistic director, Kim Del Grosso. "They're excited and ready to go."

The opportunity came about because of the close relationships the studio has with many of the show's dancers and producers, said the studio's owner, Alex Murillo. And the West Valley City stop is the only one on the tour where young dancers will join the professionals to perform onstage.

Stars on the show -- such as Julianne and Derek Hough and Kim's daughter Ashly Del Grosso -- were once students at Center Stage, he said. Other successful dancers to have trained at the Orem facility include Murillo's son Jared, who was a principal dancer and assistant choreographer for the first two "High School Musical" films and now is in the boy-band V Factory. Marie Osmond also trained there during her successful run on the show.

Young Center Stage dancers will take the stage for an eight-minute set at the beginning of act 2, Del Grosso said. Sixteen couples, between ages 5 and 11, will jive, while the other dancers will perform a blend of jazz, hip-hop, ballroom and pointe, a variation of ballet.

The dancers at Center Stage "worship" Derek Hough, Del Grosso said, and are thrilled to be sharing the stage with him, the winner of the most recent season of the show. (Julianne Hough will not be appearing on the tour.)

In an interview, Derek Hough said he was "overwhelmed with joy" to finally win after his younger sister had won twice. Julianne never teased him about her success, and campaigned for his win after she was eliminated from last season's run, he said.
Hough was pleased that students from his alma mater will be performing onstage at the E Center. "I'm glad people from Utah are getting the recognition they deserve," he said. "With religion, they focus their energies on learning a skill rather than going clubbing."

Derek's father, Bruce, labeled his son "the hardest-working man in show business" during this tour because in each of 38 cities, Derek and fellow dancer Mark Ballas will perform a music concert at a nearby venue immediately after the dance concert. In Utah, the Ballas Hough Band, which will release its album on Hollywood Records in March, will perform at the Murray Theater about 10:30 the same night as the "Dancing" tour stop (tickets available at the door).

Another star performing on the "Dancing with the Stars" Tour is former N*SYNC singer Lance Bass. In an interview, he said he had become aware of Utah's dance talent after becoming friends with the Houghs while competing this season. "I have a lot of friends in Salt Lake City who are very talented artists," Bass said.

Bass, who is gay, said he doesn't hold the success of California's Proposition 8 against The Church of Jesus of Latter-day Saints or Utah, although the November passage of the ballot measure outlawing gay marriage "sets us back in the community."

Bass' partner on the show and on tour is Lacey Schwimmer (above), a California native and LDS member who won the U.S. title of the Young Adult Division of the 2004 U.S. Open Swing Dance Championships, as well as the U.S. National Youth Latin Championship in 2006.

Schwimmer's partner for those championships? Jared Murillo.

"Dancing With the Stars" Tour
When: Tonight at 7:30 p.m.
Where: E Center, 3200 S. Decker Lake Drive, West Valley City
Tickets: $52.50 to $195 at Ticketmaster (325-SEAT)
Dancers: Lance Bass, Toni Braxton, Maurice Greene, Marlee Matlin, Derek Hough, Maksim Chmerkovskiy, Mark Ballas, Kym Johnson, Lacey Schwimmer, Edyta Sliwinska, Karina Smirnoff, Fabien Sanchez, Alec Mazo and Cheryl Burke.

In celebration of its 15th anniversary, the Slamdance Film Festival is launching its first "Slamdance Underground Music vs. Film Tour" that will cross the country and land in Park City for three performances during the festival.

Included in those three performances is the Jan. 15 "Housewarming Party" at the Star Bar, the first day of the festival (which coincides with the Sundance Film Festival.

The music selections will be "focused on intellectual, chilled out hip hop and experimental blues," a Slamdance press release announced. Headliners are hip hop group Pseudo Slang and The Woes, described as a "stew of Delta Blues and early country, of bluegrass and New Orleans marching band music." Boy, I wish I could craft descriptions like the Slamdance PR people.

The tour lifts off Dec. 31 in Brooklyn, and wraps up in Tennessee on Jan. 28.

The Park City dates are:
1. Jan. 15, 10 p.m., The Star Bar, Park City
2. Jan. 16, 5 p.m., Park City (venue TBD)
3. Jan. 17, 5 p.m., Park City (venue TBD)

Here's The Woes in a very dark room:


Here's a track from Pseudo Slang:

Here is a way to stimulate the economy and help a local independent record store at the same time:

Between Monday (Dec. 29) at 7 p.m. and Wednesday at 9 p.m., you can get 20 percent off your entire purchase at Slowtrain Records (221 E. Broadway, Salt Lake City). (Not 20 percent off is local music, because that money needs to go to the musicians.) There will still be a "deep discount" section with imports and compilations and more.

Also, don't forget about Local Music Night at Slowtrain, where you'll see the Black Hens, an alt-country band running in the same circles as Band of Annuals (above). By the way, I need a new pic of Band of Annuals. Hint hint. They'll be freezing at First Night on Thursday night, up on stage before Afro Omega.

Dancer Mark Ballas, who was scheduled to perform Tuesday night with the Ballas Hough Band at the Murray Theater, injured his groin Saturday night dancing in the "Dancing with the Stars" tour at the Staples Center in Los Angeles.

But if you were worried the music concert was canceled, don't fret. Mark is fine and will still play guitar and sing Tuesday night, Bruce Hough (father of Julianne and Derek, the latter who plays in the band) confirmed that Mark will play. The show will go on, which is totally rock 'n' roll. Or, in the Ballas Hough Band, totally pop-rock.

"Dancing with the Stars" champions Derek Hough and Mark Ballas will perform a concert with their band immediately after their appearance at the E Center for the "Dancing with the Stars" tour.

The band, which plays a blend of fun rock-pop, was formerly called Almost Amy, and is now named the Ballas Hough Band.

The group was formed in 2005 in London by Ballas, Hough, Sam Marder, Harry Sullivan and Emily Grace. They moved back to the U.S. in 2008 and were signed to a record deal with Hollywood Records.

Hough and Ballas, who both play guitar and sing, have been singing together ever since they were teenagers and in a group with Derek's sister, Julianne, called 2B1G (2 Boys, 1 Girl). In
an interview, Derek Hough said the band will release its first album in March after recording in Nashville. He describes the sound as Hall and Oates meets Prince meets Maroon 5.

When: Dec. 30, about 10:30 p.m.
Where: Murray Theater, 4969 State St., Murray
Tickets: $12 at 24Tix

Remember, gift gards from any other store are good at Graywhale Entertainment stores once Christmas wraps up. Or unwraps up. Whatever.

As you will soon see, there ain't much live music going on over Christmas weekend. I was considering setting up a web cam of myself documenting the Curious Case of David Burger as he is transformed from a slightly overweight person to a very overweight person over the next few days.

It's not so much Christmas dinner that will expand me, but a trip to my hometown, a suburb of Los Angeles, where they have In-N-Out Burger's "animal-style" burgers, many El Pollo Loco (I don't speak Spanish, so I don't know what that means) eateries and Jack-in-the-Box tacos. Plus, I like Wall Street subs in the SLC Airport, though I have been pining for a trip to the American Bandstand Grill. Maybe there you can find musical options besides the following:

Octappella
Two nights of a cappella music take over the Jeanne Wagner Theatre as Octappella celebrates its 10th annual Christmas concert with original and traditional holiday and secular songs.
When: Friday at 7 p.m.
Where: Jeanne Wagner Theatre, Rose Wagner Performing Arts Center, 138 W. 300 South, Salt Lake City
Tickets: $8 at ArtTix (801-355-ARTS)

'Twas the Night After Xmas Local Showcase
One of the few shows the day after Christmas will feature local bands hungry for a break. Jayme, Cade, Ex Machina, Rocketworld, Belly of the Whale and Avenue will perform.
When: Friday at 6:30 p.m.
Where: Avalon Theater, 3605 S. State St., South Salt Lake
Tickets: $10 at KTix

Scotty Lee
Local comedian Scotty Lee is on his "Am I Wrong" tour, and this uncensored show will be recorded for video outtakes for his upcoming DVD. He will be joined onstage by fellow comedians Melissa Merlot, Tyler Douglas and Chris Boise.
When: Dec. 27 at 9 p.m.
Where: 5 Monkeys, 7 E. 4800 South, Murray
Tickets: $7 in advance, $10 day of show, at 24Tix

Locals Only Showcase
La Farsa, James Belliston, Han Greenwood, Forget the Whale and Arienette perform at this local showcase held regularly at the Avalon Theater.
When: Dec. 27 at 6:30 p.m.
Where: Avalon Theater, 3605 S. State St., South Salt Lake
Tickets: $10 at KTix

On Monday, Dec. 29, local band the Black Hens will perform at Slowtrain Records (221 E. 300 South) in downtown Salt Lake City.

The show goes on a 7 p.m. and will be over by 8:30 p.m. The show comes right in time because the week after Christmas (except for New Years Eve, which generally just includes a lot of DJ shows, anyway) is a very, veeeeeeeery slow week for music. Especially free shows.

And's here some free stuff from Slowtrain if you go now! (Or as soon as possible!):

MGMT 7''
Buy the new record, "Oracular Spectacular," by MGMT, and get a bonus 7'' for free.

THE DEARS 7''
The new Dears record comes with a bonus 7" for free when you buy it from Slowtrain - limited supply.

EAGLES OF DEATH METAL 10''
Buy the new Eagles of Death Metal album and get a free 1o'' featuring the song Wannabe in LA.

SPINTO BAND 7''
New Spinto Band Moonwink come with a bonus 7'' with two non-LP tracks, including a cover of "Airport" by The Motors.

OASIS CD SINGLE
Single for the song "Sound Of Lightning" plus Primal Scream remix is free when you buy the new album "Dig Out Your Soul."

BONUS CDs
Spend $25 or more at Slowtrain and receive a free, random bonus disc.

Here's the Black Hens:

Dawn Floodman of Sandy is winner of this blog's first-ever contest. She wins a bona-fide autographed copy of Sheryl Crow's new Christmas copy.

And it's not a fake autograph, but one done with a Sharpie. I erased the inscription that said, "All my love to you David, my true love." Just kidding. She does in fact love me, but she didn't write that on the CD.

Here is Dawn's winning entry:

There are many reasons why I should win this CD but I'll narrow them down to the most important.

First and foremost I have been a Sheryl fan since her "All I Wanna Do is Have Some Fun" tune was first released. It kept me from losing my mind while working a dreary office job many, many moons ago. Through the years I have reached for her "Greatest Hits" CD on a regular basis, her lyrics and dynamic voice never grow old and always hit the nerve of whatever mood I'm in. Happily, my entire family is hooked on her! My kids, from the oldest (27) to the youngest (18) love her music, we especially love belting out the lyrics to "Leaving Las Vegas." My personal favorite is "Everyday is a Winding Road."

Second, and truly what makes having this CD so important to me, is that Sheryl and I are members of the Breast Cancer Survivors Club. When I heard about her diagnosis I thought, Wow, cancer really is non-discriminating. I am always saddened when another woman joins our "club," yet each one brings new strength, love and determination to the cause of finding a cure. I am grateful to Sheryl for her courage in going public with her personal battle, she has truly been an inspiration to me and so many who are battling this disease. Knowing someone of her stature and prominence is in this thing with the rest of us makes it a little easier.

Third and final reason, well, reread Numbers 1 and 2! Honestly, though, this Christmas, as I gather with my husband and 4 children, knowing that, like so many others, there will be less gifts, less food, less of everything, I will be rejoicing that I have my health, my friends and my family! Dave, our family has some wonderful Christmas music traditions; Christmas isn't Christmas without the music. One of the first things we pull out are the CD's. It puts us all in the "jolly" mood. My kids have grown up listening to Sheryl and we'd love to add her CD to our Holiday music tradition. It would truly deepen the joy of Christmas in our home this year!

Sincerely,
Dawn Floodman

Sundance is Jan. 15 to Jan. 25 in both Park City and Salt Lake City, but the heralded film festival will have to wait for Jan. 20 if it wants it to be "Sundance Week" in Salt Lake City.

That's because Salt Lake City band Royal Bliss already will have Jan. 12 to Jan. 19 as "Royal Bliss Week," as officially proclaimed by Mayor Ralph Becker.

Royal Bliss (Neal Middleton, Chris Harding, Tommy Mortensen, Taylor Richards and Jake Smith) will release its major-label debut album, "Life In-Between," on Jan. 13. It is a 12-song collection that includes 10 new songs from the rock band, and "Save Me" has received a lot of airplay not just along the Wasatch Front but nation-wide.

"Royal Bliss Week" will kick off Jan. 12 with a 11:30 p.m. acoustic performance at the Taylorsville Graywhale store, followed by band signing the albums as the record goes onsale at midnight. The next day, Jan. 13, the band will be at the Graywhale in Provo at 3 p.m. and the Graywhale in West Jordan at 5 p.m. The same night, the band will play In the Venue (tickets available at 24Tix).

For Idaho fans, the band will play Pocatello on Jan. 14, Twin Falls on Jan. 15 and then leave for a West Coast tour.

Here's "Save Me":

George Strait will be at Usana Amphitheatre on July 17, 2009, and we've just learned who the opening act will be:

Our very own Julianne Hough, from Utah.

Nothing against Julianne, and of course we'd love to see her back in her home state, but the pairing of Mr. Traditional Country and Julianne and her pop-country leanings is a curious case. After all, Strait once sang "Murder on Music Row," which included the lines:

For the steel guitars no longer cry
And the fiddles barely play
But drums and rock 'n' roll guitars
Are mixed up in your face
Ol' Hank wouldn't have a chance on today's radio
Since they committed murder down on music row


But, although George Strait is still a big name in country music circles, Julianne is undoubtedly a draw for many younger fans who have no idea who Mr. Strait is.

David Archuleta returns to Utah for a New Year's Eve party at the McKay Events Center in Orem, with boy-band V-Factory (featuring Utahn Jared Murillo) also performing, with Ashley Tisdale "introducing" V-Factory. (That's because Ashley and Jared, at left, are dating.)

Here are some other shows on New Year's Eve, which is by no means exclusive:

Newphoria New Years Eve Dance with David Archuleta, V-Factory, Ashley Tisdale
Where: McKay Events Center, 800 W. University Parkway, Orem
When: 9:30 p.m.
Tickets: $12.75 at SmithsTix

Royal Crown Revue
Where: The Depot, 400 W. South Temple, Salt Lake City.
When: 9 p.m.
Tickets: $35 per person or $60 per couple, at SmithsTix

NYE 2007 Black & White Masquerade Ball feat. DJ Sky Nellor
Where: Harry O's, 427 Main St., Park City
When: Doors open at 8:30 p.m.
Tickets: $60 at SmithsTix and 24Tix

First Night with DJ Rebel, Mana Poly All-Stars, Rumba Libre, Band of Annuals, Afro Omega
Where: Gallivan Center, 239 S. Main St., Salt Lake City
When: 6 p.m.
Tickets: $8 tickets can be purchased in advance at Albertsons, Discovery Gateway, The Leonardo, and The Gateway concierge. $10 day of show. Children 12 and under are free.

"The Downtown Affair" New Years Eve with DJ Sayo, DJ Jello. DJ Juggy, DJ Latu
Where: The Hotel (155 W. 200 South), Elevate (149 W. 200 South) and Lumpy's Downtown (145 W. Pierpont Ave.)
When: 9 p.m.
Tickets: $25 in advance, $30 day of, at SmithsTix and 24Tix; each ticket gives you access to all three clubs

Rockapella with Osmond 2nd Generation
Where: McKay Events Center, 800 W. University Parkway, Orem
When: 7 p.m. (precedes Newphoria event at same venue)
Tickets: $20 at SmithsTix

Legends New Years Eve 2008 with DJ Keoki, Mars & Mystere and DJ Hardware
Where: Saltair, 12408 W. Saltair Drive, Magna
When: 7 p.m.
Tickets : $25 in advance, $35 day of, at SmithsTix and 24Tix

Black & Blue Fetish Ball
Where: In the Venue, 579 W. 200 South, Salt Lake City
When:10 p.m.
Tickets: $7.50 in advance at 24tix; $10 at door

Here is an item from die-hard Deadhead and editor Scott Murphy:

For folks who love seeing the music of the Grateful Dead performed live, last week brought some good news. On March 2, Deadhead Radio Hour host (and noted singer/songwriter) David Gans will perform in SLC at something called a House Concert. An Internet search didn't reveal any more information about the venue or its locale, but he's slated to play just the same.

Also, April 2, The Depot will again play host to Dark Star Orchestra, a band that reproduces Grateful Dead shows and played to a nearly full house last April. DSO's Rob Eaton said during that concert the band had finally found a SLC venue they liked. That show saw them perform their take on a Grateful Dead Binghampton, N.Y. show from April 12, 1983. One can only hope Salt Lake's good luck will continue.

Now we just to keep our fingers crossed that this year's tour by The Dead, featuring four surviving members of the GD, winds its way to Utah. No dates have been announced so far ... Also, it's too early to tell how many dates Phil Lesh and Friends or Bob Weir's Ratdog will play this year, and where, but of course Deadheads anxiously await that news as well.

If you're sick of Christmas music already, consider the ears of Anna Wilson (left) and Monty Powell, who have been listening to Christmas music since Valentine's Day.

But, then again, what the part-time Utah residents have been listening to -- and writing, and recording, and mixing, and so on -- has been much better than anything you're hearing from any stop-motion animated TV series.

Wilson, with her producing and song-writing husband Powell, has put out one of the best Christmas albums of the year with "Yule Swing." She'll be drawing from that collection of 10 original jazz songs when she performs a benefit concert for the Park City Jazz Foundation tonight.

"When most artists make Christmas albums, they do covers," Wilson said. "['Yule Swing' is] Christmas music for people who want something fresh, new and different."

The brassy, swinging sounds are also different for the pair, who have made their name in country music. Most of the year they live in Nashville, writing country songs for other artists. Powell spent this past year writing for Rascal Flatts and Keith Urban, and Wilson wrote the hit 2008 single "All I Ever Wanted" for Chuck Wicks, boyfriend of Utahn Julianne Hough. She has also written songs recorded by Reba McEntire, Lee Ann Womack, Billy Ray Cyrus and Chris Cagle, while Powell has written songs recorded by Brooks & Dunn, Diamond Rio, Alabama and Tim McGraw).

As their success multiplied, Wilson and Powell -- the latter who had been skiing in Utah for two decades -- decided to buy a winter home near Snow Basin Resort two years ago. "We're ski bums in the winter," Powell said. "We try to spend most of the winter here, because we're guaranteed a white Christmas," Wilson said.

The pair have begun to spend more time in Utah, in part because Powell's daughter is a freshman at the University of Utah, and in part because they have begun to explore the other seasons. Wilson was one of the break-out performers of this summer's Park City Jazz Festival, said Kris Severson, executive director of the Park City Jazz Foundation. "Every year, it seems that someone rises above [most other performers]," Severson said. "She was 'it' this year."
After the festival, Severson and Powell went fly-fishing together, and they hatched the idea of Wilson performing a benefit concert. The foundation relies on concerts like these to aid its educational programs.

In the meantime, Wilson was working on her album, and the last thing she needed was a title, where she benefitted from Utah influences. The name -- "Yule Swing" -- occurred to her and her husband while they were hanging out on a local ski lift.

Anna Wilson
When: Dec. 22 at 7 p.m.
Where: Egyptian Theatre, 328 Main St., Park City
Tickets: $30 for adults, $10 for children; available by calling 435-649-9371 or visiting the "special events" link on www.egyptiantheatrecompany.org .

At Neil Diamond's Friday night show at EnergySolutions Arena, the audience was the moon, and Diamond was the sun -- to paraphrase one of his most famous songs -- and he played the audience with the skill of a master entertainer.

The nearly two-hour extravaganza, with 14 backing musicians and hundreds of lights that stretched out over the audience like the arms of God, re-created an over-the-top showroom in Las Vegas, to the delight and squeals of a nearly sold-out audience.
It was difficult to resist. Diamond, clad in all black with a black acoustic guitar, showed throughout that he was a consummate performer, swaying back and forth to the simple melodies and repeatedly thrusting his arms toward the crowd as if he were
bowling a ball into them, knocking them down in ecstasy.

Diamond, looking very thin but healthy after a long North American tour that will soon wrap up, was amiable throughout, especially to hundreds of fans behind the stage he frequently played to. "They really got stuck with some terrible seats," he said at one point after serenading them with "Play Me."

"Play Me" was just one of the career-spanning hits he performed, including "Sweet Caroline," "Forever in Blue Jeans," "Solitary Man," "I'm a Believer" and "I Am ... I Said," the latter which prompted the biggest cheers of the night.

But, of course, he felt obligated to play three songs from his May album "Home Before Dark," and the crowd was receptive but muted as he trotted them out in the first half of the show. "Pretty Amazing Grace" and especially "Don't Go There" suffered from bloated instrumentation as he tried to adapt those intimate songs into anthems, but a subdued solo turn on the title track "Home Before Dark" revealed what an affecting songwriter he can be, stripped of bombast and theatrics.

One of the highlights of the night included theatrics, though. He sang "You Don't Bring Me Flowers" with one of his three female back-up singers as he acted out the part of a troubled lover, sitting down at a small table on one end of the stage, sipping wine. As the ballad moved to a finish, he stared into the eyes of the back-up singer he was singing to, and finished the song slow-dancing with her and embracing her, to the swoons of many in audience. Schmaltzy, yes. But did it work? Definitely.

One of the biggest surprises of the night was the improved acoustics of the cavernous arena, which typically reduces instruments to sludge and makes vocals sound like teachers in a Charlie Brown cartoon. But despite 15 instruments, the sound of the band was remarkably clean and Diamond's gruff but solid vocals were happily high in the mix and easily decipherable. A slight gospel tinge to "Man of God" and Spanish accents to "Pretty Amazing Grace" were heard easily.

Diamond's set list
Holly Holy
Beautiful Noise
Love on the Rocks
Play Me
Cherry Cherry
Home Before Dark
Don't Go There
Pretty Amazing Grace
Crunchy Granola Suite
Done Too Soon
Brooklyn Roads
Am ... I Said
Solitary Man
Forever in Blue Jeans
Sweet Caroline
You Don't Bring Me Flowers
I'm a Believer
Man of God
Hell Yeah
Encore » Cracklin' Rosie, America, Brother Love's Traveling Salvation Show

Here's some shows this weekend. Go this weekend, because between now and Dec. 30, it's a dry, dry Christmas season for Christmas music.

Larry Jackstien Group with Joslyn Petty and Jack Wood
Show of the week : The 15th annual Winter Solstice celebration at the Cathedral of St. Mark will once again feature the Larry Jackstien Group with its soulful, jazzy take on Christmas standards. The program this year is the Great American Songbook Christmas, and it will feature two nationally known jazz singers, Joslyn Petty and Jack Wood. Petty moved from Washington, D.C., to Salt Lake City as a teen, and has collaborated with Utah-based D.J. Kaskade on the No. 1 Billboard Club song "Everything." Her upbeat vocal style is irresistible on the dance floor. Wood, from Los Angeles, earned his chops early on playing with the Ronnie Brown trio, which included
musicians John Clayton on bass and Jeff Hamilton on drums, and since then has devoted himself to performing and recording the great standards. Hearing all of this in the cathedral should be a joy.
When: Dec, 20 at 7:30 p.m.
Where: Cathedral Church of St. Mark, 231 E. 100 South, Salt Lake City
Tickets: Free, with donations accepted

I Set My Friends on Fire
More commonly known as ISMFOF, the post-hardcore duo formed in 2007, and its first album was called "You Can't Spell Slaughter Without Laughter." The duo is on its first tour after receiving some popularity for its MySpace rendition of Soulja Boy's "Crank Dat."
When: Friday at 6
Where: Studio 600, 26 E. 600 South, Salt Lake City
Tickets" $12 at SmithsTix

Shaky Trade and Jebu
Shaky Trade is an Ogden-based funk-rock group with jazz influences and horns. The band, on its MySpace page, said it aspires to create "Moronic rock mixed with thought-provoking-or-are-they lyrics." As a moron, I appreciate that.
When: Friday night. Doors open at 8 p.m.
Where: Teazers Bar & Grill, 366 36th St., Ogden
Tickets: $7 in advance, $12 for VIP tickets, at SmithsTix

Devour the Sky
The Midvale metal band Devour the Sky is a collection of band members from Beyond this Flesh, Endless Struggle, Total Chaos, Lazarus Project, Clear, Flesh Peddler and Separation of Self. I get hungry just thinking of this band. Akashic, Visions of Infinity and Front Line Morale Destroyer are also on the bill.
When: Friday night at 8
Where: Club Vegas, 445 S. 400 West, Salt Lake City
Tickets: $5 at 24Tix

John Allred
Utah's John Allred is playing two Christmas-themed concerts at Velour, bringing his alt-acoustic instincts with him. The first show is acoustic, while he'll be accompanied by his band for the second. The musician played a Los Angeles show at the Knitting Factory on Dec. 12 with Jonathan Jones.
When: Dec, 20 at 7:30 and 9:30 p.m.
Where: Velour, 135 N. University Ave., Provo
Tickets: $7 at 24Tix

Swollen Members (pictured)
British Columbia's most innovative hip-hop group takes a break from recording its forthcoming album, "Beautiful Death Machine," produced by the Dust Brothers, to play Saturday night at In the Venue in Salt Lake City. The band's name may or may not contain innuendo. For what, I wouldn't know. Ask your dad.
When: Dec. 20. Doors open at 9 p.m.
Where: Harry O's, 427 Main St., Park City
Tickets: $20 at SmithsTix

Peter Breinholt
The Pennsylvania native, now a Salt Lake City resident, performs his annual, popular Christmas shows. The folk artist and grad of the University of Utah released his first-ever retrospective compilation on May, commemorating his 15-year career.
When: Dec. 20 at 7:30 p.m.; Dec. 22 at 7:30 p.m.
Where: Rose Wagner Performing Arts Center, 138 W. 300 South, Salt Lake City
Tickets: $12 to $15 at ArtTix

Here's I Set My Friends on Fire's version of Soulja Boy's classic. I'm scared:

For all of the accolades, all of the fame and all of the hits, Neil Diamond has never had a No. 1 album. Until this year.

Right after an appearance as a guest mentor on "American Idol" in April, Diamond's 29th studio album, "Home Before Dark," debuted at No. 1 on the Billboard album chart. At 67, he was the oldest performer ever to claim that No. 1 album spot.

His new songs marked a departure from some of his earlier, more anthemic work. It was a stripped-down collection, featuring no drums, and 12 songs that were among the most intimate and revealing of his career.

Part of the reason for the revolution was Diamond's new producer: Rick Rubin, the long-bearded, eccentric producer who had recorded Johnny Cash's final, critically acclaimed albums. Rubin is well-known in the industry for reviving careers of artists thought to be past their prime.

Diamond, 67, stops in Salt Lake City tonight, and in an interview with The Salt Lake Tribune, talked about his latest success, his guest spots on "American Idol" and his favorite Utah memory.

On his latest album being his first No. 1 of his career:
I didn't expect it. More importantly, it's an album that I feel very good about. I like the songs a lot and [Rubin] did a terrific production job on it, so I feel very good about that. If you get to have your first No. 1 album, it should be one that you really love.
On how he teamed up with Rubin:
It kind of just occurred. Some friends called and said, "Hey, Rick Rubin is looking for you." I said, "Rick who?" We finally connected with each other and I liked him a lot. We got along well with one another. We very gradually began to work, and it kept being good, and still is good. After meeting him, I realized he was really into the music and I thought he would do a terrific job. And I was right.

On how Diamond's newer, more intimate songs fit into his high-energy shows:
They work very well. We added a little bit more [to the new songs], reinterpreted them a little bit. But basically it's the same interpretation as we have on the album and I think they work really well. Come on down to the show and be the judge.

On his "American Idol" appearance:
I certainly was aware of the phenomenon because you can't avoid it. I had only seen little bits and pieces of it. I didn't really know that much about it, but I'm a fan of live music. I love giving kids a chance. It took a lot of guts for these kids to stand up in front of a national audience and do their thing. I certainly wouldn't want to be in their place. A few good years of practice is always helpful. But I think they did a tremendous job. I thought they were very attentive. They didn't need a lot of advice. They were all talented kids -- they wouldn't have made it to that part of the show, the finals, if they didn't have some real talent going for them, for sure. I enjoyed the whole experience.

On Utah memories:
I've always had great experiences in Utah, particularly in Salt Lake City, which we always try to play when we go out on tour. Audiences there have been great. I remember way back in 1976 or 1977, we started off a world tour in Salt Lake City ... My little boy, Jesse, live[d] in California. He had never seen snow before, so I took one of these Thermos boxes out on the runway and I filled it up with snow, covered it up and brought to him [back in California] so he could see what snow looked like. So we had a whole box of Salt Lake City snow back home in L.A. I don't think it's around anymore.

Neil Diamond
When: Dec. 19 at 8 p.m.
Where: EnergySolutions Arena, 301 W. South Temple, Salt Lake City
Tickets: $27.50 to $120 at Ticketmaster.com or 801-325-SEAT

The line-up for this year's Music Cafe at Sundance is up. The Sundance ASCAP Music Café takes place between Jan. 16 and Jan. 23, and takes place on Main Street in between 7th and 9th streets.

Doors open at 1 p.m., and music goes from 2 to 6 or 7 p.m. It is open to credential holders AND the general public, as space allows. If you're a member of the general public, get there at 1 and bring a book.

Here's the schedule:

Friday, January 16
2 p.m. Rosi Golan
2:40 p.m. Tom Freund
3:20 p.m. Dan Wilson (of Semisonic)
4 p.m. TBA

Saturday, January 17
2 p.m. Katie Herzig
2:40 p.m. Chad & Jeremy
3:20 p.m. Dan Wilson
4 p.m. Rachael Yamagata

Sunday, January 18
2 p.m. Chris Mann
2:40 p.m. Katie Herzig
3:20 p.m. John Rzeznik (of Goo Goo Dolls) (above)
4 p.m. Rachael Yamagata

Monday, January 19
2:00 p.m. Birdmonster
2:40 p.m. TBA
3:20 p.m. John Rzeznik (the Goo Goo Dolls)
4:00 p.m. Wynonna

Tuesday, January 20
2 p.m. Rosi Golan
2:40 p.m. Dave Barnes
3:20 p.m. Angel Taylor
4 p.m. TBA

Wednesday, January 21
2 p.m. Angel Taylor
2:40 p.m. Locksley
3:20 p.m. Dave Barnes
4 p.m. Phil Vassar

Thursday, January 22
1 p.m. The People Speak
2:40 p.m. Youth Speaks
3:20 p.m. Landon Pigg
4 p.m. Sara Watkins
4:40 p.m. Phil Vassar

Friday, January 23
2 p.m. TBA
2:40 p.m. Landon Pigg
3:20 p.m. TBA
4 p.m. Lenka

The first contest ever on this site, in the blog's 400-day existence, begins today.

I have a copy of Sheryl Crow's new Christmas CD, "Home for Christmas." It's her first Christmas album ever.

Most importantly, the cover is signed by Ms. Crow.

And I am not talking about a fake signature, but a bona-fide signature, done by a bona-fide marker held by her bona-fide hand.

And I am giving it away, although my wife would probably like it.

To win this contest, you must send to me, either by posting a comment on this blog post or sending an e-mail to me at dburger@sltrib.com, an answer to this question:

"Why do I deserve to win this CD?"

All entries must be sent to me by noon Mountain time this coming Monday, Dec. 22, so I can get it to the rightful owner by Christmas Eve. And if you'd like to win, please give me a phone number and/or an address.

Good luck, and I like funny and there is not a word limit. Sheryl deserves no word count.

Katy "I Kissed a Girl" Perry is among a bunch of artists coming to the area once the New Year gets under way.

The singer, who last appeared here during the Warped Tour this past summer, and who got recently engaged, will be at In the Venue on Feb. 10 (579 W. 200 South). Tickets go on sale this Saturday, and advance tix are $18 and $20 the day of, at SmithsTix.

Jaguares, the rock band from Mexico City will be at The Depot on Feb. 5 at 8 p.m. Tickets for them are available at SmithsTix. Fun fact: The band is named after a jaguar. I love being bilingual.

For country fans, Josh Turner will be at The Depot on Jan. 29, with tickets available at SmithsTix. Fun fact: In Spanish, John Turner is Josh Turner. Spanish is easy!

"Christmas in Washington" premieres tonight on TNT at 9 p.m. Mountain time, in between broadcasts of "A Christmas Carol."

Utah's Julianne Hough will be one of the performers singing in front of the Bushes. I talked to her recently and this what she said about the holidays and the TNT special. The whole interview with her will run this Friday.

Here is what she said ...

On performing for the president tonight:
The fact that ... I'll be performing in front of the president is pretty cool. I was talking to Vanessa Hudgens, actually, a couple weeks ago; she did it last year. She said, "It's pretty scary, you know, you think about it, there's the president front row right in the middle."

On memories of Utah Christmases:
I think Christmas is probably my family's greatest holiday because ... we're so busy. We're all spread out. There's a lot of siblings in my family. So it's really the time where everybody can kind of get together and go through the whole year and catch up and make those memories that you know can last all year. And one of our greatest traditions has always been on Christmas Eve to go ice skating down in Salt Lake. We'd come home, we'd maybe have a little bit of dinner and get some hot chocolate and little marshmallows in there and watch "A Christmas Story," or "A White Christmas," or "The Grinch." Just a nice Christmas movie. And then after that we'd get to open one present at night, and it's always pajamas. And so we get our pajamas on, go to bed, and pretty much spend Christmas day in those pajamas. So it's definitely our favorite tradition.

A man who had his hands in the creation and success of many music institutions in northern Utah is in someone else's hands now.

Jay Evard Welch, a former assistant conductor and conductor of the Mormon Tabernacle Choir, long-time University of Utah professor, and founder of the Mormon Youth Symphony and Choir, Jay Welch Chorale and Salt Lake Repertory Orchestra, died Sunday at the age of 83.

"He was one of the greatest men I ever knew," said Doreen Maxfield Payne, who for 11 years was assistant conductor of the Jay Welch Chorale (now called the Salt Lake Choral Artists) and who visited him in the hospital as recently as Thursday. "I can't give you enough superlatives."

Under the direction of Brady Allred, the Chorale paid tribute to Welch in late 2005 in a concert titled "Do You Hear What I Hear: A Tribute to Jay Welch." Allred, artistic director of the Salt Lake Choral Artists and music professor at the University of Utah, said his aunt and uncle performed in the Jay Welch Chorale for many years. Besides calling Welch's arrangement of "We Three Kings" a "masterpiece," Allred said Welch created a great legacy of music on top of being a "wonderful" man.

Welch was a music professor at the university for 39 years before he retired in 1993. Dr. Ed Thompson, chair of the university's music department for 21 years including more than a decade supervising Welch, said Welch as a teacher was "mesmerizing," "charismatic," "gifted," and "brilliant." Besides teaching music theory and other classes to music majors, he was skilled in teaching music appreciation to thousands of appreciative non-majors, Thompson said. In 2004, the university's Emeritus Alumni Association awarded him the prestigious Merit of Honor Award.

Welch was born in Salt Lake City in 1925, and served in the Navy during World War II the Korean War. He graduated from UCLA with a major in mathematics and minor in music, and after studying at the Paris Conservatory of Music, he recevied a master’s degree in composition and a Ph.D. in music from the University of Utah.

He is survived by his wife, Marcelle, whom he married in the Salt Lake Temple in 1951. Her served as Bishop of the Cottonwood 11th Ward and served two French missions.

Funeral services will be held Dec. 18 at noon at the Bonneville Stake Center. Friends and family may call at Larkin Sunset Lawn today between 5:30 p.m. and 8 p.m. and at the stake center Dec. 18 from 10:30 a.m. to 11:30 a.m.

Amy Ray of the Indigo Girls will perform on Feb. 6 at the Avalon Theater, and there probably isn't too much overlap of audiences between her crowd and the crowd that will be at the Jeff Foxworthy concert the same night.

Here are her lyrics from her "SLC Radio," a strident track off her latest album, "Didn't It Feel Kinder":

Salt Lake City radio radio - fighting the good fight for me
All the songs and all the words that don't get played that don't get heard

I'm pulling in to the LDS nation looking for a community station
Cause I've heard about the kids in Salt Lake City
And how they fight to be set free and how they fight
For you and me radio radio community

I'm sending love to all the Mormons
Ain't nothing wrong with changing their plans
I said keep the good things and throw out the bad things
You gotta pull the reins on a whole lot of suffering

Radio radio SLC fighting the good fight for me
Boys and girls lend a hand, bend an ear in God's land
Take your city on a holiday from pain
All you missionaries can you hear what I say?

I know the bible belt, I know the sobering noose
And everybody's got their own set of rules
But we hear about the kids in Salt Lake City
And how they fight to be free and how they fight
For you and me and radio radio community
I seen a lotta roads and pastures and mountains
I met a lotta folks in a whole lotta towns
I feel a crack in the skin of the majority
They're gonna figure it out
I ain't here to f____ the family

Take your city on a holiday from pain
All you missionaries can't you hear what I say

Way down in the deep south I got the bible belt blues
I want to shake these chains off, what have I got to lose?
I said everybody across this nation
Stand with me and your community station
What have you got to lose?

Take your city on a holiday from pain
All you missionaries can't you hear what I say?

Way down in the deep south
I got the bible belt blues
I want to shake these chains off
What have I got to lose?
I said everybody across this nation
Stand with me
And your community station
What have you got to lose?

Redneck comedian Jeff Foxworthy will get his neck color whitened when he comes to Salt Lake City on Feb. 6 for a stand-up comedy performance at EnergySolutions Arena.

He's best known for his "You Might Be a Redneck If ..." bits and for hosting FOX's "Are You Smarter than a 5th Grader?"

Foxworthy will be here in conjunction with the Sportsmen for Fish & Wildlife convention.

Tickets are on sale now at Ticketmaster (325-SEAT). Prices are $30.

Axl Rose responded to a lot of questions from Guns N' Roses fans yesterday and his publicist released the transcript of his e-mail chat to the media. He seemed most upset at the allegation made by Slash in his book that Axl demanded the rights and name of "Guns N' Roses" or that he wouldn't go onstage back in the "Use Your Illusion" days. Here is the transcript, with my only changes being bleeping out some expletives. Also, I apologize for some of the hieroglyphics, but Blogger has a hard time deciphering apostrophes for some reason. Whatever:

Ok then!! The questions aren't here but the answers as it moves along I think point pretty clearly to what was asked in pretty much order or close of the 7 pages. If I didn't answer it was either already answered, off topic or I mistakenly overlooked the question. My apologies for the inconvenience. It's not as light hearted as some of the other sessions but that's the subject matter. Whew!!

So let’s start here ... the whole Axl wouldn't go on stage yada yada ... is complete and utter crap.

Never happened, all made up, fallacy and fantasy. Not one single solitary thread of truth to it. Had that been the case I would've have been cremated years ago legally, could've cleaned me out for the name and damages. I''s called under duress with extenuating circumstances. In fact the time that was mentioned the attorneys were all in Europe with us dealing with Adler depositions.

Couldn't talk sooner as it could have jeopardized whatever nonsense was going on.

When Guns renegotiated our contract with Geffen I had the bit about the name added in as protection for myself as I had come up with the name and then originally started the band with it. It had more to do with management than the band as our then manager was always tryin' to convince someone they should fire me. As I had stopped speaking with him he sensed his days were numbered and was bending any ear he could along with attempting to sell our renegotiation out for a personal payday from Geffen.

It was added to the contract and everyone signed off on it. It wasn't hidden in fine print etc as you had to initial the section verifying you had acknowledged it.

Now at that time I didn't know or think about brand names or corporate value etc. All I knew is that I came in with the name and from day one everyone had agreed to it being mine should we break up and now it was in writing.

I still didn't grasp any other issues until long after I'd left and formed a new partnership which was only an effort to salvage Guns not steal it.

In my opinion the reality of the shift and the public embarrassment and ridicule by others (which included a lot of not so on the level business types he was associating with at the time) for not contesting the rights to the brand name, were more than Slash could openly face. Also we aren't lawyers or formally business educated so it was just a matter of all of us being naive and doing what we thought was right at the time. Slash was imo being on the up and up in agreeing I had the rights and I wasn't trying to be some snake in the grass pulling a fast one. The others could've cared less.

But when the reality of the breakup hit and the strategy to have me crawl back was put into play Slash had to save face and get business team and public support. Painting me as the one who held a crowd hostage forcing the others to sign over the name worked out pretty well in that regard. I'm the bad guy and Duff, the fans and most importantly himself were the victims. Oh and they had actually made the sacrifice for the crowd, the people, the fans at the show. But again ... IT NEVER HAPPENED.

Media and others ignorantly, wrongly and falsely harped on about it at mine and the fans expense for years and Slash has hoped to use all that to continually sue and have some sort of legal nonsense going on behind the scenes in an effort to reverse things. He wouldn't have been able to get the support and action on the part of his various team members over the years to do so if the truth were out there especially when the statute of limitations had run out years ago.

Why keep the name? I'm literally the last man standing. Not bragging, not proud. It’s been a f_____ nightmare but I didn't leave Guns and I didn't drive others out. With Slash it's been nothing more than pure strategy and saving face while manipulating the public like he used to me. I earned the right to protect my efforts and to be able to take advantage of our contract I'd worked hard for where Slash's exact words were that he didn't care. I get that some like a different version or lineup the same way some like a specific team line up or a particular year of a specific car but because you and I are getting played I'm supposed to throw the baby out with the bath water?

I didn't make a solo record. A solo record would be completely different than this and probably much more instrumental. I made a Guns record with the right people who were the only people who really wanted to help me try, were qualified and capable while enduring the public abuse for years . The songs were chosen by everyone involved. I didn't want to do This I love in anyway shape or form and Robin and Caram insisted gaining Tommy's and the others support. There's been a lot of pressure to go with using my name (all external) but that never felt right to me for this band and the parameters in regard to this music have lots more to do with the mindset of Guns than something else. The instrumental I wrote for End of Days that's more a solo effort at least presently.

As far as a new name ... this is who I am not whatever else someone else thinks of. I don't see myself as solely Guns but I do see myself as the only one from the past making the effort to take it forward whether anyone approves or not and giving beyond what many would or fight for to do so. The name helped the music more than you could ever know and I'm not talking in regards to studios or budgets I mean it as in being pushed by something and having to get the music to a place where I can find my peace regardless of what anyone says. And that wasn't fully achieved until the last round of mastering and swapping out a version of a track at the pressing plant that had gotten inadvertently changed at the last minute.

Also the name was what the industry wanted as well and the burden of keeping it was something to endure in order to make the record. After the monies invested by old Geffen (that were decisions made that have worked out for me but I'm on record as having opposed) dropping the name became suicide.

The cost of legal battles has been astronomical but I felt the deal made with Universal was fair for where it is and most things balanced out for both sides.

David Bowie likes Floyd with Barret, many with Waters and those without. And there are those who like all the different lineups. Imo what makes our situation a bit more unique at least in how it's played out is the ugliness of what really took place. If I'd done what was said then I'd say f____ me too. I also realize this is just one issue in something with upteen however many more so conclusions can't be formulated off this little bit alone by most which is more than understandable.

That said because someone leaves the shop I started in which I still legally have the rights to the name I started it with ... makes up a bunch of nonsense to win public and legal support in an effort to get whatever it is they want at mine and the public's expense… I don't feel any reason whatsoever I should have to throw what I've not only worked for but fought and suffered for away because some hurt, angry, betrayed, misguided and lied to people with a lynch mob mentality, joined by others who could care less (especially in the media), enjoying the controversy and hate, choose one over the other regardless of what's right because they want what they want. And you can still prefer then as opposed to now and no one’s arguing your right to do so.

In regard to nuGuns, I get that sometimes it helps to be able to clarify. Personally I call this Guns and the Illusions or previous lineups old Guns.

We can play what we want as far as I'm aware.

It wasn't so much that it was a good course or that if looking back I could do something differently it's that for better or worse it was the only course and had I not done this Slash would have succeeded in destroying me publicly much more than he, others or myself have so far and I would have gone bankrupt.

I don't know where I'd be but there's clearly no happy ending there and with everything else that had gone on in every other area of my life the devastation isn't something I feel I would have overcome at least to any real degree publicly. Hopefully I would've been able to pick myself up enough to get a job or sing somewhere else but I doubt anything that significant.

The sharing thing is interesting but even with all this time the complications of the red tape and trying to get something out fall on my world to sort and not theirs. They are amazingly supportive and do their best to keep me in up spirits and focused which I had less and less of in Guns way before Sweet Child caught on. If that were to change then that may be something to look at. I hope for us to grow more together as we continue so who knows.

If I hadn't secured the rights I don't know where I'd be and I'd probably call what would then be the current lineup "Those mother f______ers!!"

The name is something I take great pride in as I feel anyone who's been a part of it should, the same as other bands or teams etc. The burden when it is such is a nightmare but not as much or as hopeless as I'd imagine without it could have been.

On the what’s the difference ... I think I get what you're asking ... I feel it depends on how and in what ways either the formers members are using the association and what the true circumstances regarding why they moved on from both the band and the name that would or could affect the decision to continue on with the name by in this case this lineup and or myself.

As for selling more records it'd be nice to be in a position to possibly do so at some point but that's never been my base reasoning. I would think fits into not feeling I shouldn't be forced to throw away possible opportunities in a hostile attempted takeover. I believe I should fight for Guns in a patriotic sense or sense of loyalty or honor. Not just my vision or direction for Guns as those things can evolve and make forward moving positive compromises by what others bring to the table but what principles I feel were important to Guns in regard to an overall commitment to the music. It helped us get here but most of that was with Universal and the positives of that wore off years ago until recently and after the initial run it'll be about the music and us. Then it's about touring and there's not a question the name's helped at least everywhere but not as much the states. With that it comes down to the strength or quality of the performance. Having the name kicks your a___ every night as it's not some side project or something u can f___ off in. You don’t deliver u get your a__ handed to u. So it makes us work much harder than I feel we would outside of it and it hasn't been too ugly yet.

I didn't see lineup changes etc back then I saw it more as a crash and burn, goin' down with the ship. On one hand I knew the band was over before we started touring Illusions but you have hope ... but I saw it more like the Titanic sinking than moving on or surviving. And in reality I went the distance with each and every one in Guns to where they felt for whatever reasons they either couldn't or wouldn't give what Guns required.

And I'm not talking change of styles or sounds etc. A lot of people bought that crap and me having gone in other directions seems to many to have verified that. Then you have the mind twisting equally as true horseshit in Slash's book but I have the rehearsal tapes. There's nothing but Slash based blues rock and he stopped it to both go solo and try to completely take over Guns. I read all this if Axl would've put words and melodies on it could've ... That was denied and I didn't walk till several months after having 3 to 4 hour phone conversations nearly every day with Slash trying to reach a compromise. I was specifically told no lyrics, no melodies, no changes to anything and to sing what I was told or fuck off.

As to what would possibly make me change the name would be some form of evolving that I don't feel we’ve reached yet and not in any way consciously trying to at this time. It's really hard to say. I'd have to feel it was right for me and those involved and whatever we’re doing at that time.

Never thought about that , with the RRHOF. The whole "mature enough" bit was cute. Not to offend anyone but personally I don’t have an interest and other than inducting Elton don’t quite get what it is exactly and who decides what. It seems to mean more to some than others and more so amongst fans. It's nice to get recognition and have some form of acceptance but in regards to joining others the price is too high and just not worth it. It's a ways away and seems a bit presumptuous to be contemplating being inducted now.

About following particular styles yes I do feel there are parameters with Guns as opposed to not being or in Guns. Chinese is imo an evolution not necessarily how each from the past would but how the music and intent could and did. Guns did not have specific lifelong criteria to follow and many of the influences on Appetite were abandoned by the others long before me. In fact Slash hated a good portion of those on Appetite and wasn't all that into the involvement or association but knew it worked at the time and realized it was the cusp of a wave that was growing. It's a trip for me to witness as so many of the people he performs with etc he hated then, them, their bands and their music where the others or I were the fans.

I like touring with these guys a lot more than the old band. The beginning was fun but it started going bad our first gig opening for the Cult in Halifax between Slash and I. That's when the ok I put up with all Axl's and Izzy’s crap now I’m gonna be the man trip started with him runnin' right out front on the ego ramp for the whole show. It was pretty funny.

No one ever talked about or suggested using another name. The guys are really respectful in regard to the old band and I'm not sure if they’ve said a paragraph apiece in all the years towards or about the old band whether I'm talking about whatever or not. But from being with me for so long they know a lot of it's s___ so they get bummed at the endless interviews and nonsense. Personally I'm so proud of them I wouldn't know how to express it. I can't see me handing something like this as they have with so much class and maturity especially being s___ on publicly to such a degree. "Hey join my band, bring an umbrella!!"

If I were to leave Guns I could consider giving, selling, shelving or opening a GNR Burger chain with the name!! Ha!! j/k. I'm not so different than the alumni in that there's generally something going on that makes things suck and when that reaches overflow I want out too but if you didn't when it's ugly I think that'd be less normal.

If I went solo which I haven't I wouldn't call it Guns.

The name does come from mine and Traci’s as the original inspiration but was something I played with not Traci and Guns was Guns before Traci joined. It was Guns Before I knocked on Izzy's window. Earlier I had gotten Tracii to use the name Guns (as he had mentioned a girl had called him Mr. Guns sometime) so he’d stop calling his band Persian Rose. So I guess we have the girl to thank.

The other's having a sense of entitlement to the name isn't completely off but has more to do with how Slash dealt with things and his particular strategy and I say strategy because that’s what it's been. But since I managed to hold out that didn't play out so well for him in regard to the name.

It's a band name more than a brand name. As Tommy said regarding our struggles to make this happen "We’re not lettin' what took so much blood and heart get turned to s___ and dust." And I guess you could apply that to current former or whatever.

Slash never had ANY arguments for keeping the name until long after and again I feel that had a lot to do with seedy biz types and him feeling he had to save face.

Keeping the band name alive was very important. Not out of ego and I don't know exactly why in the sense of putting into words but I think it has something to do with the global effect it has and how Guns surviving in some way is sometimes inspiring to others around the world and in that there's a sense of obligation.

I don't regret keeping the name though I wish more were supportive or at least not as aggressively opposed.

The details are that my attorney s___ when I made the move. He was very against it fearing long litigation but even then no one talked about brand names or individual interests in a brand name. I look back and have no idea why. Not my people, not his people, no one.
No one pressured me, everyone was afraid and no one including myself wanted to break up Guns or the relationship. And Bubbles and I talk all the time! We can "chat" about the contract and the reasoning another time

The battles were during the breakup. Our people and my individual legal basically forced me to go thru the motions with everything I had to make things work for over 2 years in the sense that if they felt I wasn't making every effort 110 percent and with all the sincerity and all above board I wouldn't have their support which I wanted, couldn't afford to lose or risk losing. Which led to the trial period where Slash played the key bits of Fall to Pieces but once I showed some interest that was over.

I get the part about reckless but it was more about strategy and underestimating how long I would stick with it.

As far as people knowing me, this is a statement that in light of others decisions that I chose to pursue as Guns N' Roses and what some may feel is a different this or that may seem as if the arguments or disagreements are about the band or the style of music such as blues or influences on earlier Guns has some relevance but imo points more to deeper base elements I wanted to put forth for people in general.

Such as a more positive intent and instead of as self destructive more of healing. There's all kinds of things to help you die or be more negative. I wanted to try and make as powerful a hard rock album as we could while incorporating beauty and an openness to other forms both traditional and more recent without going religious etc. I didn't attempt to make a party record or dance record both elements consciously in Appetite. I wasn't trying to purposefully appeal to the heartland or middle America in those ways (not that I was trying to avoid them or have an issue). But for example Sweet Child wasn't in any way trying to write a "hit" mainstream song it was trying to write the best Guns N' Roses Lynard Skynard influenced song we could as tribute and recognition in the tradition of Tuesdays Gone With the Wind or Simple Man etc and at a time when nothing could have seemed more unpopular.

One man forced me to work with others. One man forced me to work with others to survive. And I can't say what would have happened on different terms. I say yes because it was agreed from day one. U have to realize we were on the street. It wasn't the first band. Whoever thought of the name kept the name unless he gave it up or moved on. Everyone was always having a new version of whatever their band name was. I wouldn't have thought of using LA Gunns or any of Slash's band names. We all knew that we could break up the next week. You had to have that stuff somewhat sorted between each other going in. It was a deal that we made. The issue becomes the value or perceived value now and the fans attachment and or acceptance. Really weren't things we consciously considered even during the breakup.

I don't exactly know what Guns NN Roses is but I know it's my job in the sense of an obligation and I'm good with that.
The name and rights have nothing to do with the breakup. That’s all a created facade a decoy and a smoke screen. Now had what Slash said actually transpired then I'd say of course but in reality, No.

Going into Guns there wasn't a No. 2. At that time I was going to make it in a band that started as Guns N' Roses and could evolve but that was the starting point and it was all the way or bust. I knew what I wanted when I knocked on Izzy's window. I also knew I wanted Slash but we still had differences and Izzy wasn't down with it.

I wasn't legally obligated but we probably would have gotten dropped and I would have been driven into bankruptcy.

I think it varies and happy Christmas to u and everyone.

I don’t think about the dangerous bit or status or identification. I've always thought of the symbolism since thinking of the 2 words together. And in that I absolutely feel this is a Guns N' Roses record.

It's an issue that gets brought up a lot especially in the media at all levels and it gets really ugly. It’s ugly right now with dj's across the country who feel their sticking up for something that they bought into unaware. So I wanted to start going at it a bit.

Most critics have higher opinions of theirs than is merited. I haven't read much from outside sources in the media regarding my world that know much of anything let alone what would be in my best interest other than looking at events in hindsight and playing armchair music mogul. Which most times means nothing and though could seem logical is usually just as far off base as anything else they've said.

The heart and commitment these guys play the material with is much more than the others were prepared to give pursuing their own interests for a very long time. The music changed after Slash and I parted so the direction was where I took Guns not where I had intended or tried to go previously. It had a lot to do with not finding or knowing a more blues based player that I found inspiring and I was really knocked down and beat up. Slash, Duff and Matt's decisions had as much to do with kicking a guy when he's down or abandoning ship at the time as anything else. Other things were going on with music as well, we were basically dead at Geffen. I liked other things as well so I wanted to explore, be legitimate and survive. I wasn't doing what was written so often about chasing fads etc. Jesus, I wouldn;t have agreed for Zakk to come down if any of Slash's or the media's nonsense were real. And that could've worked on some level but like Guns it would’ve been up to those two and their relationship. They talk nice but it wasn't pretty ... but it was pretty awesome!!

No plans not to be Guns for the future.

Solo efforts ... Much more experimental and instrumental.

It doesn't bother me unless it's being done at my expense and or to keep him associated as in Guitar Hero. Him being Guitar Hero's fine but not when Activison in using Jungle, having Yahoo use Sweet Child unauthorized, claims no involvement with Slash, his or anyone's image or VR or anyone or anyon'’s music in either camp in promotion or commercials etc. I wasn't broadsided. I read about it as it moved along but Activision continually denied it right up to the release. That's some low life chicanery on all their parts.

Yes Slash was in Guns and on Jungle (and the whole I came to him for his riff is as much crap as him saying he brought Locomotive and Coma in as complete songs) and he has rights to perform it but not to be represented in this context in association with Guns. And since they weren't granted the license it'll take some sorting.

Universal has Guns under contract but I own the name.

I don't have problems with whoever doing the songs but film or video gets into sync rights and I don't have an interest in anyone new, old or whatever trying to sell themselves as GNR under another name that way.

It'’s my understanding the lawyers were scammed like the everyone else so for them to continually try and find a way to reverse things is normal and would seem appropriate but again it NEVER Happened.

Thanks everyone. Hope to get back soon. I'll take a look at that list. As long as we don't get to personal or offensive I'm good with things. Thanks for all the questions, my apologies for not answering specifically to each, this was just a bit easier for this subject. Hope no one took wanting to stay on topic to personal. Thanks again to everyone who participated. Thanks to everyone for the great comments and appreciation. Happy Holidays.

Axl

Lenka will perform at Kilby Court on Jan. 22, perhaps in conjunction with a show somewhere in Park City the same week at the Sundance Film Festival.

Because of the lack of room, the atmosphere at Kilby Court for this show will probably feel like Main Street on the opening weekend, except for rubbing elbows with celebrities, you'll be rubbing elbows with teenagers at the tiny venue.

This is Lenka's first headlining tour, and is in support of her single "The Show," which was tapped as an iTunes single of the week earlier this year and is all over the radio here in Salt Lake City. You probably have also heard the piano ditty during Old Navy's back-to-school ad campaign and on "Ugly Betty." (By the way, if you missed "Ugly Betty" in favor of "Survivor," you were rewarded with another great season. Go Bob!)

Lenka is from Australia, which might or might not explain her choice in headwear. I wouldn't wear it to Sundance, though. People get all uppity there about fur.

Here's "The Show"

The Cheetah Girls (above) and the Clique Girlz concert for tonight at the E Center has been canceled. Rumor has it that the two groups fought about whether it's cooler to have a "z" in place of a "s" when you pluralize a word.

Here are three music Web sites to amuse you this week at work.

1. www.justhearit.com; it's a site where you type in a song and it plays it for you. Apparently, it's legal, too. It's fun for searching for all of the versions of Nirvana's "Smells Like Teen Spirit." Apparently, Paul Anka tackles it, with the emphasis on "tackles."

2. Pollstar has just gone through a redesign, which promises to be more user-friendly and stuff like that. If you haven't gone there before, it's a site that lists the most up-to-date concert information. For example, Yanni's concert here in the summer was announced there first. But don't hold it against the site.

3. This blog. It's not great, but I'm trying.

It had been legend for years, but no one had really confirmed it.

Until now.

On Dec. 11, The Smoking Gun Web site finally got ahold of the hallowed rider that Van Halen used for their 1982 tour. The one where M & M's were requested. The one that demanded that no BROWN M & M's should be in the M & M's bowl.

See the 53-page rider here:

http://www.thesmokinggun.com/archive/years/2008/1211081vanhalen1.html

As The Smoking Gun reports, some defenders of Van Halen maintain that the demand of no brown M&M's was only put in there to see if the venues read the entire rider. Because if the venue didn't eliminate the brown M&M's, what other short-cuts would be made, in terms of staging, lighting, etc.

Besides, everyone knows the green M & M's taste better.

Here are some notable shows this weekend. Have fun, because after this coming weekend, it will be all Christmas music, all the time.

Bronco
The local alt-country band is playing its first show in five months to promote songs from its forthcoming album. Band member Tyler Anderson said the show will showcase new material, and the band hasn't even been practicing songs from 2007's "Constant Everything." The High Beams headline.
When: Tonight at 10
Where: Monk's House of Jazz, 19 E. 200 South, Salt Lake City
Tickets: $5 at the door

Hoobastank
X96's "Nightmare Before X-mas" rock show features Hoobastank, Anberlin, The Brobecks and The Market. Hoobastank is best known for its annoying hit "The Reason," which forever doomed its indie rock cred; the band is due to release its new album, "Fornever," on Jan. 27. Anberlin just released its first major-label album, "New Surrender," in September.
When: Friday night at 6:30
Where: Saltair, 12408 W. Saltair Drive, Magna
Tickets: $9.60 at SmithsTix and KTix

Kurt Bestor
The Utahn is celebrating the 20th anniversary of his Christmas concerts, and he promises new twists and, of course, a new carol to take home. Interesting Bestor fact: He was born in Waukesha, Wis., where the first legal forward pass in a football game happened in 1906.
When: Friday night at 8; Dec. 13 at 2 and 8 p.m.
Where: Abravanel Hall, 123 West South Temple, Salt Lake City
Tickets: $17. 50 to $37.50 at ArtTix or 801-355-ARTS

Jon Schmidt
The pianist and composer plays his annual Christmas concert at Kingsbury Hall. His works have been labeled "New Age Classical," as his inspirations range from Billy Joel to Chopin. He can prove this by properly pronouncing "Chopin."
When: Friday night at 7:30; Dec. 13 at 2 and 7:30 p.m.
Where: Kingsbury Hall, University of Utah, 1395 E. Presidents Circle, University of Utah campus, Salt Lake City
Tickets: $12 to $18.50 at kingsburyhall.org or 801-581-7100

Bone Thugs-n-Harmony
The venerable Ohio rap group has reunited after member Flesh-n-Bone was released from an eight-year prison sentence for assault with a deadly weapon and a probation violation. The group is best known for its 1996 song "Tha Crossroads." Openers include Ta Smallz, LDT, Stew Deez, Felicia and Big Sloan.
When: Dec. 13 at 7:30 p.m.
Where: Murray Theater, 4916 S. State St., Murray
Tickets: $27 at SmithsTix; $100 VIP tickets available

Indigenous
Fresh off playing as part of the Experience Hendrix tour where Buddy Guy, Jonny Lang and Eric Johnson played music written by and associated with Jimi Hendrix, Indigenous is led by singer-songwriter-guitar virtuoso Mato Nanji, touring in support of the recent Vanguard Records release "Broken Lands." The American Indian blues-roots band is becoming a regional favorite.
When: Dec. 14 at 9 p.m.
Where: Bar Deluxe, 666 S. State St., Salt Lake City
Tickets: $15 at the door

Here's Indigenous:

Walt Disney Records' Cheetah Girls (Adrienne Bailon, Sabrina Bryan and Kiely Williams) are supporting their soundtrack and third Disney Channel movie, "The Cheetah Girls: One World."

If your daughters are into that, go early and check out the Clique Girlz (left): 14-year-old Destinee Monroe, 12-year-old Paris Monroe and 14-year-old Ariel Moore, an up-and-coming girl group from New Jersey's Egg Harbor Township.

Destinee plays guitar, Paris plays the piano, all three play the violin, and all three claimed different influences in an recent Tribune interview. Destinee loves Joan Jett and the Rolling Stones, Paris is inspired by Britney Spears and Lady Gaga, and Ariel's pick is Sara Bareilles.

The girls have opened for the Backstreet Boys, Billy Ray Cyrus and the Jonas Brothers, but Destinee said she was most star-struck by Kanye West, who complimented her shoes in an elevator.

When: Dec. 15 at 7 p.m.
Where: E Center, 3200 S. Decker Lake Drive, West Valley City
Tickets: $35 to $45 at Ticketmaster outlets (801-325-SEAT)

Celtic Woman, the Irish-themed music concert that is such a big hit here, will once again come to the Wasatch Front, but this time not at Kingsbury Hall, but at the bigger E Center.

Called the "Isle of Hope" tour, the women will be there on May 12. It's a new show, featuring new renditions of "Fields of Gold" and "Have I Told You Lately That I Love You," as
well as an original number by Brendan Graham, writer of "You Raise Me Up." Musical Director David Downes has composed new music for the 19-member ensemble including the stars of Celtic Woman—Chloë, Lisa, Lynn, Alex and violinist, Máiréad. The show will also consist of favorites such as "The Sky and the Dawn and the Sun," "Danny Boy," and"Spanish Lady," according to the press release.

Tickets go onsale to the general public Monday, Dec. 15 at 10 a.m. at Ticketmaster outlets (325-SEAT). Prices are $69, $59 and $45.

The Golden Globe nominations were announced, and it will be Bruce Springsteen vs. Peter Gabriel vs. Miley Cyrus vs. Beyonce vs. Clint Eastwood. Not too shabby for an after-thought category.


Here's Bruce:



Here's Peter Gabriel:



Here's Miley:



Here's Beyonce:



Here's Clint's song:



Which is the best? Bruce. Did I say that out loud?

Utah's own Julianne Hough will be among the performers on TNT's "CHRISTMAS IN WASHINGTON" TV special, airing on TNT on Wednesday, Dec. 17, at 7 p.m. (Check the listings to confirm the time, since East Coast folks always have trouble remembering there is a Mountain time zone.)

She will perform for the president along with Grammy-winning Christian music group Casting Crowns, Tony-winning performer Kristin Chenoweth, Grammy winner Darius Rucker (formerly of Hootie and the Blowfish) and a cappella talents Straight No Chaser from Indiana University.
Dr. Phil and Robin McGraw will host.

I was able to speak briefly with Julianne Hough about the show "Dancing with the Stars" and other things. Interestingly, although there were reports about her leaving the show to focus on her music, she said she likely will return at one point. Here are her exact words from a transcript of our conversation:

"It's not confirmed [that I will be off the show]. We're still working out the final details. It'll either be the spring season or the fall season that I'll take off. We're not sure quite yet. But [I'm] definitely going to take one season off and really focus on the music. And start writing for the next album and start recording, too."

B. Murphy's flight the evening of Dec. 15 will be a red-eye for more than one reason:

1. He (right) is leaving on a late-night flight to return to his job and new home in Washington, D.C.

2. He will have red eyes -- from crying -- because the flight will immediately follow his last time conducting the Grand Theatre's gospel performance of Handel's "Messiah."

"Messiah -- A Community Celebration" at Salt Lake Community College's Grand Theatre has become a Christmas musical tradition, which has enriched Murphy's life -- and the community's -- for seven years.

The concert, featuring up to 150 choral singers and an orchestra whose members come from as far away as Heber City, Ogden, Tooele and Provo, is a still-innovative mash-up of gospel music and "Messiah," a 260-year-old oratorio that chronicles the life of Jesus.

B. Murphy has been the program's gifted, energetic conductor from the beginning, although his first reaction to the idea of blending gospel with classical music was mixed.

Or, rather, not-so-mixed.

"I thought they were crazy," Murphy said, years after friend and Salt Lake Community College academic adviser Deron Hutchinson pitched the idea to him.

Seven years later, Murphy and his cast and crew, who rehearse for three months for each run, have produced a remarkable blend of classical and gospel music that only seems crazy until you've heard it.

One believer is choir member Laura Bedore, a soloist for the first time this year. "I was originally a Handel purist," she said. "If it's not Baroque, don't fix it. But the two coexist so beautifully."

Murphy's participation is coming to an end because he was offered a job promotion he couldn't refuse as the national sales director of a company that stages conventions and expositions. The new job is in Washington, D.C., and he had only one stipulation for his new employers.

He would happily work for them, he said, but only if he was allowed to conduct this year's four performances of "Messiah."

"I could not live with myself if I just got up and left and said, 'Goodbye,'?" Murphy said.

The revamped "Messiah" was initially conceived by Lyle Archibald of SLCC's music department. He had heard Quincy Jones' 1992 CD titled "Handel's Messiah A Soulful Celebration -- Hallelujah!" and wondered if he could replicate the spirit of that reimagined "Messiah."

Each year the music piece has shifted toward more of a gospel/jazz/pop sound, but the music is still rooted in the Baroque tradition, said producer Richard Scott, executive and artistic director of the Grand Theatre.

Much of that is due to Murphy, a New Jersey native who grew up singing in church and directed his first adult choir at age 12. After signing his first recording contract in 1970 as a member of the singing group Chocolate Syrup, he joined the legendary doo-wop group The Platters later that decade. He moved to Utah in 1978.

Hutchinson thought of Murphy when the college was looking for a conductor seven years ago. He and Murphy had been teaching gospel choir workshops all over the nation, including one at Murray High School each year.

Though skeptical, Murphy agreed. "I'm always up for a new adventure," he said.

The choir has grown so large -- a "hodgepodge" of college students and community members, Scott said -- largely because of Murphy's gregarious nature. He is always the center of attention, never seen without a spiffy double-breasted suit, with his shiny bald head rocking as he laughs at others' jokes. He is very inclusive and guarantees that no choir member can leave a rehearsal without hugging at least three people he or she didn't know before the practice -- and one of them invariably is Murphy.

The thing that distinguishes Murphy from other choir directors is that he doesn't believe in using sheet music, standing behind podiums or wagging a baton. The maestro conducts choirs using his entire body, jumping in the air to launch a crescendo, flailing his arms to signal a prestissimo tempo, or bending his legs to communicate a staccato. His style is fluid, but never out-of-control; he conducts with passionate precision.

And that is why no one can imagine the production without him, although everyone vows to continue in future years. (Murphy is planning to conduct three years from now, to commemorate the 10th anniversary.)

And that is why there will be red eyes on closing night.

"It will be a rough night," Hutchinson said.

"It will be a magical night," Murphy said.


"Messiah -- A Community Celebration"
When: Dec. 11-13 and Dec. 15 at 7:30 p.m.
Where: Grand Theatre at Salt Lake Community College, 1575 S. State St., Salt Lake City
Tickets: $10 to $24; seniors, $8 to $22; students, $5 to $12. To purchase, call the box office at 801-957-3322 or visit www.the-grand.org.

The Sundance ASCAP Music Cafe will once again take place on Main Street when the Fest starts.

Obviously, music is not a huge priority, evidenced by the Sundance Web site calling the Music the "Sudance ASCAP Music Cafe." Sudance. Doesn't quite have a ring to it.

Last year, the programming included concerts by Patti Smith, Pan Monahan (Train) and Ingrid Michaelson (left). Even Neil Young stepped up to the stage for a minute.

The cafe will be on Lower Main Street between 7th and 9th Streets (apparently it won't be at the Star Bar, its traditional location) beginning on Friday, Jan. 16 and ending on Friday, Jan. 23. Each day it's open between 2 and 6 p.m.

It's open to the Festival credential holders but if space allows, the general public can get in.

A tip, though: the bigger names perform at about 5 every day, so get there by 2 p.m. so you can snag a seat. Have a drink an you might enjoy some of the lesser-known performers. Watermelon probably won't be provided.

December is a dry month for concerts, so whet your appetites for these upcoming shows, one of which is even in December! And I'm not even counting the Jewish Elvis on Dec. 19!

1. The Warped Tour will stop in Utah once again on Aug. 8. 8/8/09--close to a cool date, I guess.

2. Keys on Main (242 Main St., Salt Lake City) is hosting a Matt Nathanson concert on Friday, Dec. 19. At 5 p.m., there will be a "Mix and Mingle Wine Gala" with wine-tasting of six different wines from Castlecreek Winery. His concert starts at 7 p.m. Tickets are $15, and available by calling 363-3638.

3. Disturbed will perform at Saltair on Jan. 21, if you want to get down with the sickness.

4. Adele (pictured) nominated for a slew of Grammys and who won huge exposure when she was the musical guest on "SNL" the night the real Sarah Palin was on, will be at the Murray Theater Jan. 23.

5. Rascal Flatts will be here on Feb. 26, at EnergySolutions Arena.

6. Yanni, yes, Yanni, will be at EnergySolutions Arena on June 17.

7. And George Strait will be at Usana Amphitheathre on July 17, a Friday night.

Did I mention Yanni?!

An item from contributor Lee Thomsen, a local music buff:

My favorite magazine No Depression (inspired by and named after the Uncle Tupelo album at left) couldn't afford to stay in business. They had published every other month for 75 issues. Their catch-phrase printed on the cover for years was something like "the alternative country (whatever that is) magazine"

We devoted readers were incredibly bummed out when they went out of print, but they have recently been reborn as a website, that I like even more than the magazine that I loved. See it at www.nodepression.com The site is pretty amazing. Right now in their ND Reviews section under ND Records, they are spending the month of December reprinting or newly reviewing the best alt-country albums of 2008. Thus far they've included Alejandro Escovedo, Linda Perhacs, Cat Power, and the Old 97s among others.

For those who are fans of this music, the site is a holy grail of record and live reviews and terrific longer pieces on both mainstream and more often, less mainstream musicians. They have a calendar of upcoming releases and are gradually working through the archive of their magazine to put the whole shooting match online. Finally, they have just published a book-size collection of reviews and articles (as Issue #76). In that sense it's interesting how they are trying to survive in those two entities outside of the magazine business.

Amanda Palmer, one-half of the punk-cabaret duo The Dresden Dolls, played at the Avalon Theater Monday night and gave a compelling visual show as well as a passionate musical performance.

Palmer, on the piano, was accompanied musically only by a cellist and a violinist, but also had the Danger Ensemble on hand, a four-member performing troupe from Australia. They added creepy touches to her stage show, which was loosely based on the theme of her debut solo album released in September, "Who Killed Amanda Palmer?"

She began her show by slowly walking to the stage from the back of the Avalon seating area, wearing an outfit best described as that of a corpse bride. It was slightly unnerving if you happened to be sitting next to the aisle she walked down, especially if you weren't expecting it (like me).

The creepiness of the show continued throughout the evening, though in between songs Palmer was very undead and talkative. One of her more extended bits was talking about Bon Jovi lyrics to "Livin' on a Prayer" (which she ended up played).

The gist of the Bon Jovi discussion was based on this part of the song:

We've got to hold on to what we've got
'Cause it doesn't make a difference
If we make it or not
We've got each other and that's a lot
For love, we'll give it a shot
Whooah, we're half-way there
Livin on a prayer
Take my hand and we'll make it, I swear
Livin' on a prayer ...

She said she and her band had been discussing the lyrics all tour, and she could still not figure out how if "if it didn't make a difference if we make it or not," then how can the narrator then say "we'll make it, I swear." Palmer thought the narrator was lying. Discuss.

Anyway, the album (which is one of the best ones released all year, by the way) was performed mostly in its entirely, and the show closed on another unusual note: she stripped down to her bra and lip-synched to Rihanna's "Umbrella" as the performing troupe flailed umbrellas around her head. Palmer was strumming a ukelele to the song, in addition, and it was a fun end to a concert that was ghostly and evocative at the same time.

Anberlin, in town for the X-96 "Nightmare Before Christmas" bash this coming Friday at Saltair, will give an in-store appearance at the Taylorsville Graywhale (1775 W. 4700 South) Thursday night at 7 p.m.

Amanda Palmer, one-half of the acclaimed punk-cabaret duo The Dresden Dolls, was a big fan of the TV show "Twin Peaks," which pursued the answer to who killed homecoming queen Laura Palmer.

The short-lived but ground-breaking series revealed the killer by peeling away layers to reveal the true nature of Laura Palmer.

Amanda Palmer performs tonight at the Avalon Theater in a solo show that will further reveal who she is.

"I love surprising people and giving them more than they expect," Palmer said in an interview with The Salt Lake Tribune.

The Dresden Dolls are on an amicable hiatus, so Palmer decided to make an album with songs and fragments that never fit into the orchestral nature of the unique duo. Her solo album, "Who Killed Amanda Palmer," is built largely around her weapons of choice -- the piano and intimate, often painful, lyrics.

"I was writing [songs] since I was 12, and didn't make my first record until I was 27," said Palmer, 32, who added that many of the songs were written more than a decade ago.

Palmer, who was friends with pop-pianist Ben Folds, was taken aback more than a year ago when he asked her if he could produce her nascent album. "He's such a genius I had no reservations about saying yes," she said. The result is an affecting record of beautiful ballads that straddle the line between 21st century avant-garde and pre-WWII Germanic cabaret, finding a perfect balance of whimsy and ache.

But when you take Palmer out of the Dresden Dolls, you can't take the Dresden Dolls out of Palmer, so she is following the theatrical tradition the duo included in their shows. An Australian performing troupe, The Danger Ensemble, is performing alongside Palmer and her piano.

"We're finding ways to pull elements of her songs and make them visual," said Steven Mitchell Wright, who directs the four-member troupe. Audiences "deserve" more than a standard stage show, he said, and it also helps Palmer make a connection with the audience.

"Our visions are very similar," Palmer said of Wright. "It's all about the connection, and it's not just about the music ... Following your impulses are the most rewarding parts of being an artist."
Palmer put much of her own money toward bringing the troupe on her world tour, saying she doesn't believe in money, just art. "I could just as easily just do a piano show," but it was "really important" to her to have the quartet join her, she said.

So, as you can see, no one is killing Amanda Palmer. "It's been a labor of love," she said of the dance-music partnership.


Who: Amanda Palmer and The Danger Ensemble
When: Tonight at 7 p.m.
Where: Avalon Theater, 3605. S. State St., South Salt Lake
Tickets: $18 in advance, $22 day of, at SmithsTix and 24Tix

2009 will mark the 15th anniversary of the Slamdance Film Festival, which runs at the same time as the Sundance Film Festival (beginning Jan. 15).

Slamdance, headquarted at the Treasure Mountain Inn at the top of Main Street in Park City, will screen 29 movies, two of which involve music as a major theme:

Punching the Clown Gregori Viens (Director), Henry Phillips & Gregori Viens (Writers) World Premiere, Comedy, 2008, USA, 90 minutes. Cast: Henry Phillips A satirical songwriter comes to LA and puts his life’s work in jeopardy.

Smile Til It Hurts Lee Storey (Director/Writer) North American Premiere, 2009, USA, 81 minutes The amazing true story of Up With People, the singing group that represented an establishment-friendly alternative to the counter-culture.

"Up With People" is pictured at right.

Grade: 3 stars

You know a movie is enjoyable when you wish it were longer.

"Cadillac Records" chronicles the birth and the glory years of Chicago-based Chess Records, which during its two decades of existence churned out epochal blues and rock music from Muddy Waters, Howlin' Wolf, Chuck Berry, Little Walter and Etta James, among others.

But like trying to cram the Sistene Chapel onto a postage stamp, the running time of 109 minutes could have been extended another hour to flesh out some of the interpersonal relationships and social issues at play during those heady times.

The film begins with Leonard Chess (Adrien Brody), the son of Polish immigrants who is determined to better himself. He opens a recording studio and recruits black artists like Muddy Waters (Jeffrey Wright) and Howlin' Wolf (Eamonn Walker) from the deep south to bring blues music to the masses. Riding on that wave of success, he signs Chuck Berry (Mos Def) and Etta James (Beyonce Knowles), who successfully create their own kind of music (rock 'n' roll) in spite of rampant racism.

The best part of the movie is, of course, the music. There are magical moments like when Waters plugs his guitar into an amplifier for the first time, and when Willie Dixon (Cedric the Entertainer) teaches Waters the five-note basis of "Hoochie Coochie Man."

But best of all is the toe-tapping soundtrack that is its own narrative, tracing the progression of acoustic blues and yodeling country-and-western into red-blooded rock 'n' roll.

Just as Joaquin Phoenix and Reese Witherspoon didn't so much mimic the Cashes as embody the spirit and voices in "Walk the Line," Knowles, Mos Def and, most surprisingly, Wright sing the songs of the legends they portray. The toe remains tapping throughout the movie with some of the most infectious grooves ever written.

With a movie filled with so much great music and larger-than-life characters such as harmonica virtuoso Little Walter (Columbus Short), there isn't enough time left to illustrate three-dimensional relationships between the characters, or explanations of why the music they make and love is important. Entire movies could be made to depict the relationship between James and Chess, Chess and Waters, or Waters and Howlin' Wolf, but human connections are mere b-sides to the fun, blisteringly quick narrative. Discussions of the prevalent racism and segregation also could have been lengthened and explored with more depth.

Problems with the chronology of the film (such as suggesting that the Rolling Stones and the Beach Boys preceded Elvis Presley) and blurring of the facts (there were really two Chess brothers, not just Leonard, who created and ran the label) further mar the film.

Nevertheless, the movie shines a spotlight on a neglected record label and time in history that every popular music song on the radio today owes a debt to. And it has a fun way of doing so, with a rollercoaster ride through history every bit as quick as a Berry's duck walk.

Here's a list of some notable concerts this weekend. I have another skiing lesson this weekend. God help me. Or the Aquabats (right).

Austin Weyand and Crescent Moon
The Intermountain Acoustic Music Association presents fingerstyle guitarist Austin Weyand and Crescent Moon, a bluesy folkgrass band. Weyand is the 2008 champion of Wyoming's Fingerstyle Guitar Competition and holds a master's degree in jazz studies from Northern Illinois University.
When: Friday night at 7:30
Where: South Valley Unitarian Universalist Society, 6876 S. Highland Drive, Cottonwood Heights
Tickets: $5 suggested donation

Starmy and Will Sartain
Kilby Court and Urban Lounge owner Will Sartain, Starmy and Rope or Bullets are all releasing CDs at this party, with Sartain's father, Gene, also performing.
When: Friday. Doors open at 9 p.m.
Where: Urban Lounge, 241 S. 500 East, Salt Lake City
Tickets: $5 at SmithsTix

Josh Rosenthal
Salt Lake resident and Nashville recording artist Josh Rosenthal has just released his fifth CD, "Narratives: A Christmas Album." The artist describes his sound as a blend of John Denver, Lyle Lovett, John Mayer and Willie Nelson. Rosenthal will perform his new album live during 10 shows this month. Visit www.myspace.com/JoshRosenthal for more information on his other shows.
When: Dec. 6 at 7 p.m.
Where: Daybreak Community Center, 4544 W. Harvest Moon Drive, South Jordan
Tickets: Free

Scotty Lee
Is Scotty Lee the next Marcus? The local comedian and single parent is on his "Am I Wrong?" stand-up tour. See his routine at www.ScottyLee.net.
When: Dec. 6 at 8 p.m.
Where: Urban Lounge, 241 S. 500 East, Salt Lake City
Tickets: $7 in advance, $8 day of, at SmithsTix

The Aquabats
In a concert called "Hooray for the Holidays," The Aquabats headline with supporting acts Suburban Legends, DJ Lance (from Yo Gaba Gaba) and Super Hero. The Aquabats, a ska-rock band from Southern California, claim to be superheroes on a quest to save the world from evil and wear superhero costumes to prove they aren't kidding. Or maybe they are kidding.
When: Dec. 6 at 6 p.m.
Where: In the Venue, 219 S. 600 West, Salt Lake City
Tickets: $17 in advance, $19 day of, at SmithsTix

Ryan Shupe and the Rubberband
Local favorite Ryan Shupe and his alt-country band, along with Broadway veteran James Conlee, are holding a Christmas concert. The band's fourth studio album, "Last Man Standing," was released in May. Conlee has been a soloist with the Utah Symphony and with the BYU Young Ambassadors.
When: Dec. 6 at 7 p.m.
Where: McKay Events Center, 800 W. University Parkway, Orem
Tickets: $12 at SmithsTix

Aiden
Aiden is a Seattle post-hardcore band that prides itself on precision combined with experimentalism. Named for the young boy in "The Ring," the band is playing its last show of the year on this date (Dec. 7). Civet and God Or Julie are also on the bill.
When: Dec. 7 at 6:30 p.m.
Where: Avalon Theater, 3605 S. State St., South Salt Lake
Tickets: $12 at SmithsTix

Here's Aiden from "The Ring":



Here's Aiden the band:

It has been a long two months since David Byrne's electrifying season opener at the Eccles Center, so the 2008-2009 season for the Park City Performing Arts Foundation begins in earnest this month.

Two shows -- country-rocker Ryan Bingham on Dec. 6 and Canadian fiddler Natalie MacMaster on Dec. 20 -- kick off an eclectic schedule for the rest of the season without another two-month break.

Ryan Bingham: The 27-year-old singer-songwriter from New Mexico walked away from a promising bull-riding career to pursue music.

"It was a passion," he said about rodeos. "It was never for the money. My heart wasn't in it when it got to be competitive and about money."

Bingham is touring in support of his major-label debut album, "Mescalito," released in 2007 and featuring folk-rock influenced by dusty living in Southwestern border towns for much of his life.

Although Bingham isn't well known, he has a fine supporting cast. Former Black Crowes guitarist Marc Ford produced his first album and Bingham is signed to esteemed Lost Highway Records, home of artists with similar off-kilter world views and music: Willie Nelson, Ryan Adams and Lucinda Williams. Although backed by his band, Dead Horses, the Steve Earle-soundalike favors stripped-down songs that give you dirt under the fingernails just listening to them.

Natalie MacMaster: Fiddling and dancing at the same time can take a toll on the strongest of men, but MacMaster will be in Park City with the unenviable task even those strongest men couldn't tackle.

She will be eight months pregnant.

"The show is the same," the 36-year-old Nova Scotian said. "People tell me I'm tough and strong. I say, tough, strong and stupid. Tough, strong and crazy."

MacMaster grew up in a family of fiddlers trained in the Cape Breton fiddle tradition, a Canadian and Celtic style that emphasizes rhythm, she said, to spur dancing. Dancers usually are front and center in typical Cape Breton shows, but because of MacMaster's virtuosity, she is at the front of the stage and draws crowds because of her musical talent.

She dances occasionally when she fiddles, but band members do most of the step-dancing, she said.

After all, What to Expect When You're Expecting curiously doesn't have a chapter devoted to step-dancing.


Park City Performing Arts Foundation 2008-2009 season
Dec. 6: Ryan Bingham
Dec. 20: Natalie MacMaster
Dec. 31: Three Dog Night
Feb. 7: Marcia Ball
Feb. 14: Loudon Wainwright III and Leo Kotke
Feb. 27-28 » Aquila Theatre Company
Mar. 10: Grupo Corpo
Mar. 21: The Art of Bellydance
Apr. 4: The Hot 8 Brass Band
Apr. 11: Ballet West World Premiere
Apr. 18: Sarah Vowell
Where: Eccles Center for the Performing Arts, 1750 Kearns Blvd., Park City
Tickets: Call 435-655-3114 or go to www.parkcitytickets.com. Individual tickets range from $18 to $65 for all regular season shows. The Three Dog Night show tickets range from $25 to $125.

It seems like summer was here just yesterday, but already the folks in Eagle Mountain City are planning their next Pony Express Days.

Former "American Idol" contestant Josh Gracin and Darryl Worley will perform on Saturday, June 6 at the Silverlake Amphitheatre (7920 N. Silverlake Parkway, Eagle Mountain) as part of the town's "Tribute to Our Troops" celebration. Both are country artists, with Worley having three No. 1 country singles and Gracin best being known for being an active Marine during his season-two appearances on "Idol."

Tickets for the concert will be $15, and tickets will go onsale in January through SmithsTix and at Eagle Mountain City Hall (1650 E. Stagecoach Run.)

I'd buy them at SmithsTix, because I don't know where Eagle Mountain is. I'm from California.

Legendary folk singer Rosalie Sorrels will perform at Ken Sanders Rare Books (268 S. 500 East, Salt Lake City) on Tuesday, Dec. 16 at 7 p.m.

The event is a record-release party for her new album, "Strangers In Another Country: The Songs of Bruce 'Utah' Phillips." The party and concert will be free, and her album will be available for $15.

Born in Idaho, Sorrels has a vast knowledge of the history of folk music, ranging from English ballads to Mormon pioneer songs. She left her life as a housewife in the 1960s and went on the road with her 5 children to begin her music career. Sorrels lived in Salt Lake City for a time, and writers such as the recently late Studs Terkel, Oscar Zeta Acosta and Hunter Thompson are among those who wrote liner notes for her albums.

As for Phillips, he died this year after a long lime agitating. The honorary hobo ran for the Senate, served his country in the Korean War, was a labor activist, and Sorrels was among the first to record and popularize his folk songs.

The Sundance Film Festival is little more than a month away, and here are four films with at least a tangential thread to music:

Once More with Feeling / USA (Director: Jeff Lipsky; Screenwriter: Gina O'Brien): A comedy about a psychiatrist who undergoes a midlife crisis and pursues his long-lost ambition of becoming a singer through karaoke. Cast: Drea de Matteo, Linda Fiorentino, Chazz Palminteri, Susan Miser, Lauren Bittner. World Premiere

It Might Get Loud / USA (Director: Davis Guggenheim) : The history of the electric guitar from the point of view of three legendary rock musicians. Cast: The Edge, Jimmy Page, Jack White. U.S. Premiere

Passing Strange / USA (Director: Spike Lee; Lyrics: Stew; Music: Stew and Heidi Rodewald): A musical documentary about the international exploits of a young man from Los Angeles who leaves home to find himself and 'the real'. A theatrical stage production of the original Tony-Award winning book by Stew. Cast: De’Adre Aziza, Daniel Breaker, Eisa Davis, Colman Domingo, Stew. World Premiere

The Carter / USA (Director: Adam Bhala Lough): An in-depth, intimate look at the artist Dwayne "Lil' Wayne" Carter Jr, proclaimed by many as the "greatest rapper alive" Cast: Lil' Wayne, Brian Williams, Cortez Bryant. World Premiere

The festival begins Jan. 15.

The Grammy award nominations were announced, for releases between Oct. 1, 2007 through Sept. 30, 2008. Robert Plant, Alison Krauss, Coldplay and Adele are the bigger winners so far.

For the first time, the nominations were announced in a "concert" broadcast on CBS Wednesday night. It was interesting in that established bands performed covers, like the Foo Fighters played a passable version of Carly Simon's "You're So Vain." But Taylor Swift revealed her vocal insecurities by giving a tone-deaf performance of the Brenda Lee's country standard "I'm Sorry" and Celine Dion, who postponed a Salt Lake concert 12 days prior because of a nasty-sounding case of vocal cord inflammation, sang the execrable "At Seventeen."

Here are the main nominations, with the complete list at www.grammy.com:


Record Of The Year (Award to the Artist and to the Producer)
-- Chasing Pavements, Adele
-- Viva La Vida, Coldplay
-- Bleeding Love, Leona Lewis
-- Paper Planes, M.I.A
-- Please Read The Letter, Robert Plant & Alison Krauss

Album Of The Year
-- Viva La Vida Or Death And All His Friends, Coldplay
-- Tha Carter III, Lil Wayne
-- Year Of The Gentleman, Ne-Yo
-- Raising Sand, Robert Plant & Alison Krauss
-- In Rainbows, Radiohead

Song Of The Year
(A Songwriter's Award.)
--American Boy, Estelle Featuring Kanye West
-- Chasing Pavements, Adele Adkins
-- I'm Yours, Jason Mraz
-- Love Song, Sara Bareilles
-- Viva La Vida, Coldplay

Best New Artist
-- Adele
-- Duffy
-- Jonas Brothers
-- Lady Antebellum
-- Jazmine Sullivan

Here's Adele's song "Chasing Pavement":

Matthew Babcock is a free-lance writer and university instructor at Brigham Young University-Idaho in Rexburg. He attended the Hudson River School (left) show in Midvale last weekend, and fortunately for us he wrote a piece about the show and his experience. Here is his piece:

"School's Out"

So I did something I'd never done before. And sadly, I won't get the chance to do it again. In retrospect, it's something I probably shouldn't have done (the timing was bad) but I couldn't have stopped myself if I'd wanted to.

Last weekend, at the tail end of a rejuvenating Thanksgiving Break (when I should have been doing other things, like seeing to the needs of my pregnant wife and four young daughters), I drove south from Idaho to Midvale, Utah, to see my younger brother, Steve, and his band play their farewell gig.

At the outset, my weekend fling was nothing more than a chance to say howdy to Steve, a University of Utah graduate and former Salt Lake City resident who not long ago entered the corporate machine in Colorado so he could feed and house his own brood. Steve didn't know I was coming, and so by the time I soared all 75,000 miles of my Dodge minivan over Malad Pass, with "Road Trip," a track from Hudson River School's debut CD, Scenes from a Vinyl Recliner, melting the copper from my feeble dashboard speakers, I began to laugh out loud. Why? Partly because I was looking forward to surprising Steve, but mostly because what I was doing felt so ridiculous but so sublime. The prospect of driving for hours to see an obscure rock concert in an even more obscure venue, Midvale's Main Street Theatre, had unhinged my spirit, and perhaps rattled a few bureau drawers in my psyche. It was a curious feeling. Innocent fun fueled on euphoria. The high-octane grandeur of small epics.

So why did my solo excursion to see America's final River show leave me feeling so melancholy once I returned? It's Monday morning, and I'm still trying to figure it out.

Despite the guilt I felt about abandoning my wife and kids, I drove to Salt Lake intoxicated with a sense of liberation, even destiny, as I traveled down to dedicate my holiday weekend to a littered but deserving back-street episode in Rocky Mountain rock history. Thirty minutes before the show, I cruised into Midvale, passing through the neon-spangled gauntlet of bodegas, tattoo parlors, late-night hair salons, and pawn shops that has usurped Midvale's once picturesque nineteenth-century Main Street drag. Unsure that I had found the right place, I gaped around as I drove slowly through the tree-shrouded shadows. Across from Midvale's impressive historical society museum, which in the company of so many shanty-town facades stuck out like an eyesore, I found a parking space, grateful to step into the placid late fall air and stretch my legs. As I walked south in search of the refurbished vaudeville hall in which my brother would unleash his swan song, I was reminded of how much of the world's history is made every day in the forgotten buildings and down the tin pan alleys that few people visit.

If I returned home from my impromptu junket with feelings of sadness, it clearly wasn't the show's fault. The warm-up act, The Trademark, a Provo-based metal band and long-time HRS devotees, rang the modest crowd's deci-bells with a spine-warping original set, complete with stage dives and audience shout-outs. Despite their rough edges, The Trademark displayed admirable energy and stage presence, especially in the face of such sparse attendance, which included one socially maladjusted scrooge who mega-heckled them in the silence between numbers.

"You suck!" the girl bellowed.

"Hey," The Trademark's stocky bassist countered. "Just so you guys know, I don't think you know how important this show is. This is for Hudson River School. We were just starting when, around here, they were the thing. Up there."

By the time Hudson River School was setting up and preparing to rain sparkling thunder from the rafters, the tiered hall held somewhere between fifty to sixty assorted fans. There could have been as many as one hundred (I can't remember, I didn't take my eyes of the stage for most of the night).

As Steve and his bandmates maneuvered casually around the floor, mixing with fans and family and hoisting their kids in the air, a visual montage of the group's history, assembled by guitarist Spencer Jacobs, eased across a screen at center stage. The pastiche of snapshots told the story of the band's colorful nearly ten-year trajectory of musical experiments and experiences: the live show from the Superdrag tour in L. A.; the late-night recording sessions; and shot after shot of the four lads ("dads" is more accurate now for more than one band member), all sleep-deprived with "road bedhead," eating burgers for breakfast in greasy spoon restaurants. A series of enhanced black-and-white promo pics showed them piloting Big Wheels and other kiddie bikes down a parking garage ramp. These last pictures reminded me of an image currently preserved on one of the band's You Tube "mood pieces" (the guys aiming their expressions at the camera with classic Lennon/McCartney sang-froid as they stand and straddle kiddie bikes on a crosswalk, a la alternative Abbey Road). During the slide show, the room fell silent. It felt as if I'd stumbled into a wedding reception or college reunion instead of a rock concert. The palette of visual memories recalled for everyone the band's signature X-factor: four offbeat guys in perfect synchronicity.

After a few clipped prefatory remarks from Bobby Brinton, the group's lead man, the River crew released a torrent of delightfully amplified melodies. For most of the show, I remained to the side, balanced on a railing, so I could get a good view of Steve and his bass guitar. As the show progressed, raising the mercury in the rock thermometer with every punchy backbeat and swooping power chord, I removed my hooded sweatshirt and proudly displayed my "HRS" T-shirt in the purple glare of the ultraviolet lights. Looking around, I saw many other fans, both old and young, wearing similar T-shirts. It may have been at that moment that the first inklings of sorrow struck me. It was over, I realized, before it had begun. Here I was, grooving to this fabulously soul-elevating sound with so many strangers who felt like family, and it was all because we had come to say goodbye.

If rock concerts can have themes, that may have been the one for the night: family. At times, I was struck by the make-up of the motley mob that had gathered in Midvale and adopted me for the night. Next to the guy with egg-beater hair and pierced nose, a grandmother in loafers and lacy vanilla sweater was getting jiggy, her ears corked with yellow foam ear plugs, her fingers tapping the cover of a library book. The girl in denim skirt, fish-net stockings, and Pat Benatar coiffure was careful not to skewer her stiletto heels through the toes of the tow-headed eight-year boy in collared shirt and jeans who kept banging his head against the air and throbbing his body like a trout taking shock therapy. It truly was a case of mulligan stew for the American soul. And I thought to myself, as I failed repeatedly to control my body's contortions, what other band in America could have drawn all this diversity under one roof on the same night? In the sold-out Vanity Fair of America's self-indulgent, absurdly nuanced, and overly niched music market (in which you are only a cowboy, skinhead thrasher, or Satanic misanthrope) where can you find artists whose appeal welcomes all age groups, cultural arenas, and musical tastes?

At Midvale's Main Street Theatre last Saturday night, that's where.

With each song, the band became more loose, animated, and unified. And with each song, we roared our approval. However, even as I hopped in happy chorus with my fellow tribesmen, women, and children, I looked around and saw that, despite our boundless energy, a nagging unsatisfaction still plagued us. We all seemed to be asking the same thing: Why didn't somebody sign them? Why hadn't they landed a major recording contract? It was the question that, along with every snappy River riff, lingered in the air. At one point, this shared undercurrent of proletarian angst erupted between numbers from a back row.

"Clive Davis is a fool!" someone shouted.

Those in attendance understood this fan's reference. Over three years ago, Clive Davis, a Sony recording executive, flew Hudson River School to New York for an audition. The trip resulted in a studio-produced single, the infectious and hip track, "Useless," and the possibility of a full CD contract, depending on how "Useless" played on American airwaves. For whatever reason, Davis chose not to sign them, and they returned home to finish self-producing Rise & Fall (so aptly and tragically titled), their professionally packaged follow-up CD, which they recorded in drummer Andy Patterson's studio and sold for six dollars the night of the Midvale concert.

On stage, however, the band only smiled at the bitterness expressed by its most vocal fan of the night. Uninterested in treading sour grapes through the winepress of the past, Bobby Brinton thanked us all for coming after each number, only once commenting on their hard luck.

"We almost made it," he said during a pause in the action.

In fact, in the Rise & Fall liner notes, the philosophical four thank Clive Davis for the chance to record with him at Sony. The words to one song they featured in their farewell set, "Don't Keep Me Waiting," a track not included on either Scenes or Rise & Fall, but released to fans via the Internet, summed up a moment of Zen enlightenment for the band and us. In this driving, exuberant celebration of future hopes, Brinton sings, "Don't waste time / Expecting what you had / If you give it up now / You'll never reach it / Stay in line / Forget about the past / If we live it up now / We'll always feel it." And as Brinton and his band advised those of us who gathered to witness the send-off, we lived it up and are still feeling the exhilaration of what we saw and heard in that backstreet theater. To end the show, Brinton played a solo acoustic version of "Rise & Fall" (a mesmeric folk-rock ballad that serves as an anthem for the band and, in many ways, the American quest for meaning). "They tell me it's part of the territory," Brinton sings, "Well, I don't know why you'd be sorry / Believe in me / When the hope we carried / Is broken, buried / Please keep me in your sight."

To my brother Steve and Hudson River School, I say you have nothing to be sorry about. You gave us more than we deserved, and you got far less than you should have received.

At the end of the show, which featured a pillar-shaking rendition of "The Great Mistake," the lights showered the hall with pale brightness, and we all squinted and looked around like homeless pets, not wanting to leave. Yes, the great mistake, I thought, as the band mingled with the fans on the floor like marines through a village of refugees, was that those who were in a position to didn't sign these guys. Reluctantly, we said our goodbyes, got our autographs, and trudged out of the Saturday night smoke and rubble of a dream unrealized. In the lobby, I took a moment to talk to Steve.

"So how's it going?" I asked, masking the rising whimper in my chest.

"All right," he said. "We made enough tonight to pay the rent on the place, so that's good."

Ah, little brother, the corporate dad. Here's me, blubbering like a dumped teenage crush, rending my T-shirt in sackcloth-and-ashes because of the demise of one of America’s most innovative mini-meccas, and he's concerned about keeping the ledger tidy.

On the drive back, I thought about Steve's cool reaction and wondered why I had become so emotionally involved in something that had started out as a simple favor to my brother. Listening to "Rise & Fall" again in my car, I realized why the tune had sounded so familiar, and I remembered that the Midvale show had not been my first River gig. Years back, when they were just starting out, Hudson River School played at Craigo's Pizza, a college hangout near the campus where I work. With a flash of recognition, I realized that Bobby had played "Rise & Fall" as an acoustic number there as well, that the song had to be at least a decade old, and that, after the Craigo's gig, the band had crashed in sleeping bags on our living room floor. The theme? Family.

Aficionados of nineteenth-century American art history will tell you that the Hudson River School, which included such painters as Thomas Cole and Asher Durand, became known for their sweeping landscapes that inspired awe and filled viewers with a limitless expanse of vision. Somehow, these painters walked out into the world, which for them was the pristine Hudson River Valley, and found that art was a matter of recording what you saw, and that what you saw in the outside world could enhance your inner life. Then, at the onset of the twenty-first century, a group of upbeat twenty-somethings in T-shirts and skatepunk shoes lugged their amps around the urban plateau of the greater Salt Lake area, and beyond (all the way to the Hudson River, as fate would have it) and splashed their rock canvas with a similar blend of inner and outer landscapes. In my car, past Pleasant View, I made the mistake of playing "Road Trip" again, to take me home. In this song, Brinton dabs minimalist notes and words like a plein air enthusiast cracking open his portmanteau of pigments at roadside on a desolate American highway: "Faded lines / Stretched to the sky / It's just the same design / Forever / Say your goodbyes / It's time to return back / To our former lives / Endeavors." At which point, I pulled off onto the shoulder and wept like a child.

At home, I sat in the car and listened to as many songs as I could before my wife came out and made me come in the house. Somewhere out on the road, I realized why I had felt so despondent.

It just wasn't fair.

We all know that the storage units and basements of the world bulge and rattle at every moment with the hopeful earthquake of garage bands that deserve larger audiences. But Hudson River School is not, and never will be, a garage band. When an amateur band forms and gives it a shot, we cheer from the aisles and wish them well. But when a band tries for nearly ten years (through college, work, marriage, family, and children) and when the music that band produces is really good, somehow we question the ethics of the universe. Anyone who listens to Hudson River School's music will conclude that their failure to secure a record deal is a reflection of the perverse and capricious standards of the popular music industry, rather than a commentary on the band's lack of creative talent. It's hard to say this, but in the end, Hudson River School might be better off not lumped in with the cookie-cutter, mail-order cliches that festoon and undermine contemporary music in America. Perhaps it is best that they won't share air time with all the moussed boy bands, cross-eyed emo jump-monkeys, and people who, rather than learn to play their instruments, feel the most musically remarkable thing they can do is streak buck naked through a ghetto in front of a prurient army of digital cameras.

So I've done something I've never done before. I've turned off my radio. All my Hudson River School CD's and EP's are set to perpetual autoplay in my car. Perhaps this is the final guerilla action that can deliver a breath of lasting justice. By not listening to the industry that wouldn't listen to my brother's band, I will replace the music of the moment with a river of enduring tunes.

Though much of what Hudson River School accomplished lies broken, buried, I will still believe in them and keep them in my sight.

As if there weren't enough concert news to report today, the fifth annual Rockstar Energy Drink's Taste of Chaos Tour will hit In the Venue in downtown Salt Lake City on Saturday, Feb. 21.

The bands include Thursday, Bring Me the Horizon, Four Year Strong, Pierce the Veil, and, my favorite strictly because of the name, the Cancer Bats.

Past performers on the tour include My Chemical Romance, Taking Back Sunday, the Used, Deftones, Rise Against and 30 Seconds to Mars.

Tour co-founder Kevin Lyman handpicks the tour lineup, as well as the Warped Tour.

Like Rockstar, the bands this year are enhanced with the potent blend of guarana, Ginkgo, Ginseng and Milk Thistle.

Tickets go onsale Friday, Dec. 12 at 10 a.m. See www.rockstartasteofchaos.com for info.

Here's Thursday, the headliner:

On April 14, Britney will be at EnergySolutions Arena. No details yet on ticket prices, but they go onsale this Saturday. The Pussycat Dolls open. Tickets will go on sale at 10 a.m. and can be purchased at the EnergySolutions Arena Box Office, all Ticketmaster
outlets, or by calling 1-800-745-3000.

And today is her 27th birthday, and also the day her new album "Circus" is out.

You know you like it. Ooh-ah-ah.

Two performers who have sold out shows within the last year are coming back to Utah, so get your tickets as soon as they get on sale.

B.B. King will be at Kingsbury Hall on April 14. Tickets go onsale this FRIDAY at 10 a.m. at the Kingsbury Hall box office and all SmithsTix outlets (468-8499).

The price isn't available yet, but you might pay a pretty penny that's worth every nanopenny.

And, not to be morbid, but B.B. is 83.

In addition, comedian Brian Regan, who sold out three shows at Thanksgiving Point recently, will be at the Ellen Eccles Theater in Logan on both Feb. 26 and 27. Tickets for this show also go on sale Friday at 10 a,n, at the Ellen Eccles box office, online at www.centerforthearts.com or by calling 435-752-0026.

Regan's tickets are $39.50 each.

Kurt Bestor wants to put the "mas" back in Christmas.

"Mas" as in more, more, more.

The attitude is appropriate because the Utah composer and musician is celebrating the 20th anniversary of his beloved Christmas concerts this December with five shows at Abravanel Hall, and he wants this year's shows to have more than the previous 19 years' shows.

"I started preparing for this in June," Bestor said as he tested a $250,000 Fazioli piano -- he called it the Lamborghini of pianos -- he will use for his shows. "It's a bit daunting."

The Christmas concerts Bestor performs every December have become a tradition in Utah and Idaho. The tradition began two decades ago when Bestor had recorded a Christmas CD he wanted to promote, and he booked Abravanel Hall, showing a bit of grandiosity, he said.

It was successful, so in the show's third year, he added a second show. The concerts now have expanded to five at Abravanel, with others performed from Idaho Falls, Idaho, to St. George.
Bestor, who produces the shows himself, has longtime collaborators helping him prep the platinum anniversary shows.

"I can't discuss too much," said Gary Justesen, owner of Oasis Stage Werks, which is lighting the show at a cost Bestor estimated as $75,000. "He wants to make the 20th anniversary notable . . . I know he spent more time on it this year. He put in a little extra effort -- not that in the others he hasn't -- but this year there's icing on the cake. There's an extra effort."

Rick Baldassin, owner of Baldassin Pianos and the piano Bestor will use in the concerts, said he's heard Bestor talk about this year's shows more than usual. "It's a milestone for him," he said. "I know it's on his mind more."

Bestor was loath to reveal too many details about the show this year, but said crowds expect changes every year. Balancing traditional favorites -- such as composing a new Christmas carol every year -- while keeping the show fresh is a challenge, he said, but one he relishes.

"Every year 40 percent of the show is fresh," he said. "I think people wonder, 'What's he going to do this year?' " he said. But he did reveal a little: In addition to a new carol he spent extra time composing this year, he is working on a "jazzical" version of "God Rest Ye Merry Gentleman" that his orchestra will play during the show.

"There are a couple of 'gasping' moments in the show," Bestor said.

Another way he keeps every year different is by bringing in guest performers. This year, Utah native Jenny Oaks Baker, the first violinist in the National Symphony Orchestra for seven years, will perform. Before attending the Curtis School of Music in Philadelphia (Bestor's alma mater) and then receiving a master's degree from the Julliard, Baker as a high school student was a violinist in Bestor's Christmas shows.

"No one does Christmas like Kurt," said Baker, who now lives in Washington, D.C. with her family. "He is Mr. Christmas."

One tradition that won't change is that the Race family of Salt Lake City will again be in the audience. Bestor looks forward to seeing the family every year.

"The reason we go to his concert every year is because he is just an important part in our Christmas holiday," said Ashlee Race, 20.

Ashlee's older sister, Aymee, called to order tickets for last year's Bestor show while she was in the hospital following lung surgery. "I love his show now more as an adult because it truly sets the tone for Christmas," Aymee Race said. "I feel like I can't start the holiday season 'til I go to the Kurt Bestor show, no joke."

"We are loyal fans from Kurt's first concert to this season," said Ashlee and Aymee's father, Rob Race. "The first concert of Kurt's we were in the first row watching four or five musicians, no back drop, a bare stage and [we were] having the time of our lives."

This year, the Races can expect much more -- or mas -- staging than that.

"A Kurt Bestor Christmas" celebrates its 20th anniversary with five Salt Lake City performances. When » Dec. 10, 7:30 p.m.; Dec. 11 at 7:30 p.m.; Dec. 12 at 8 p.m.; Dec. 13 at 2 p.m. and Dec. 13 at 8 p.m. Where » Abravanel Hall, 123 W. South Temple, Salt Lake City Tickets » $17.50 to $37.50 at Arttix (355-ARTS) Info » Bestor also performs in St. George on Dec. 6, Orem on Dec. 8, Ogden on Dec. 16, Pocatello on Dec. 18 and Idaho Falls on Dec. 19. Go to www.kurtbestor.com for details