Category Archives: Musical Musings

Rev Theory continues serving up “Justice” for WWE

By Jonathan Williams

With a hard rock sound somewhere between the party swagger and balladry of Mötley Crüe and the driving post-grunge of Stone Temple Pilots, Rev Theory has established itself as one of the top acts in today’s rock scene. The band has become a touring machine over the past few years, playing upwards of 200 shows a year and sharing the stage with the likes of Buckcherry, Avenged Sevenfold and Lynyrd Skynyrd. Having released its latest album Justice in February, Rev Theory is currently on the HardDrive Live Spring Fling tour with the likes of Saliva, Emphatic, Madam Adam and Seven Day Sonnet (followed by a few dates on the Uranium Tour 2011 with Black Label Society, Hourcast and Anchored).

Photo by Kevin Estrada

Aside from its relentless touring schedule, Rev Theory has also benefited from its tag team-like partnership with WWE, which has not only used Rev Theory songs as official pay-per-view themes on a few occasions, but also enlisted the band to record “Voices,” which has been used at Randy Orton‘s entrance music for the past few years. With WWE choosing the title track from Justice as the official theme song of this Sunday’s Extreme Rules pay-per-view, guitarist Julien Jorgensen takes a moment to talk about the role WWE has played in the band’s success.

Rev Theory has established quite a relationship with WWE, having your music chosen as the official theme song of several pay-per-views and having Randy Orton use your music during his ring entrances. How did this relationship with WWE come about?

Yeah, we’ve had Randy Orton’s theme song for quite some time and I think that’s one of the most popular and celebrated theme songs in a long time. It’s done well for us. Then we did “Light It Up” for WrestleMania XXIV in 2008, and they used “Hell Yeah” for One Night Stand. This time around, for Friday night SmackDown, they licensed “Hangman” as a theme song along with Green Day, so they have two theme songs for that. So, yeah, it seems to be a very fruitful relationship. They just dig the music and we obviously like the exposure, so it works out great.

Our label and management created a relationship over there and Neil Lawi at WWE [vice president of music] has become a great friend of ours and a champion for our band and just took a liking to the music. And their musical director, Jim Johnston, who does all their music and is just a really talented guy, he really dug the band and liked what we were doing. Those two guys really seem to steer the ship as far as musical content for WWE. We went up and met them in Stamford, made a connection and they continue to support our band, and we continue to deliver.

Green Day’s “Know Your Enemy” is used during the opening of SmackDown, so do they use your song for commercials?

They use it for promo spots and throughout the actual show, when they come back from commercials I guess “Hangman” is featured. I guess it goes well with some of the highlight clips they show.

And you guys have also appeared on WWE shows and performed at a couple, right?

Yeah, we just did Monday night Raw. We didn’t perform this time around, but we were in the front row hanging out. We were also at WrestleMania back in 2008 and we also did another Monday night Raw where we did a skit with Jesse and Festus at the time, and they showed the band in the front row. And we’ve done a couple of other things, gone up to Stamford for a couple of interviews and we did a performance of “Voices” for Randy Orton outside at an event in Sacramento.

It seems like your career really took off as a result of WWE’s use of your music. Do you see a lot of crossover between WWE fans and your fans?

Absolutely. Growing up being wrestling fans, and going to the events now, it really is like being at a concert. You’re constantly entertained, there’s a huge light show and it’s like a huge concert with a lot of music, most of it rock based. They tour just like a band and a lot of their shows sell out. We’re seeing all of these fans spill over and they’re just rock fans that dig music and like coming out to shows. WWE fans definitely make up a lot of the fans in our audience.

When you guys write new music now, do you find yourselves writing songs specifically with WWE in mind? Do they ever ask you to write songs specifically for WWE?

We actually never have that in mind, which is the crazy thing. We just don’t think about that and we never have. We just write songs the way we want to write them and it just seems to fit for what they want to do. They dig it, it works and people are digging it. It’s funny, I guess. It’s one of those things where you don’t even try to do something but it just ends up working out a certain way. So we’re going to continue not to try and write music for them so they’ll continue to use it.

With Orton’s entrance music, was that a song you were already working on? Did you specifically want to do his theme music because you guys are fans of his or did WWE ask you to contribute to that song?

They came to us. We had already established a relationship with them and he’s such a big star in WWE that it was a great opportunity for us. Jim Johnston coordinates most of the theme songs, so it was his idea and he came to us. He sent us over a rough demo version of the song and we basically produced a demo version of it and did the vocals for it on the road based on what he wanted. Then Rich [Luzzi] laid the vocals down, we did some background vocals and we sent it back up to him and he did his finishing touches on it. So it was a collaborative thing between WWE and us, initiated by them.

Is there anyone else in particular you’d like to see using your music?

We really dig a lot of the guys. We’ve met a lot of the guys and guys like Triple H have been super cool. We’re actually friends with the Miz and he’s a super nice guy and is a real rock fan. He just got a good new theme song, but he was always complaining that his theme song wasn’t badass enough. They finally gave him one that’s pretty rocking, so he’s pretty happy now.

There’re a couple of guys we’d be happy to work with and do that for. But at the end of the day, Randy Orton is just a badass and he’s a super cool cat. I don’t think we could ask for having a theme song for a better guy.

You mentioned being a wrestling fan growing up. Did that kind of spectacle influence you as a musician and performer?

As far as being a kid, the music didn’t really stick with me other than maybe Hulk Hogan‘s “Real America.” Everybody had their own thing, but it was more about the characters and the show and basically being onstage. A lot of what they do is what performing is all about. A big rock show is not exactly like a WWE performance, but it’s similar: there are big lights, big music and all that stuff. The energy from the crowd is there and you only get one shot to do things. We realized that when we did Monday night Raw and the Rock came back after being retired for seven years. This guy gave a 20-minute sermon and it gave you chills. He was on point, he had his thing down and it was like he was performing a song up there. It was off the cuff, yet somewhat rehearsed, and he was performing, had one chance to do it and that type of feeling is similar to being onstage with a band.

For more information, go to www.revtheory.com.

 

 

Green Day proves it’s “Awesome As F**k” with new live album

With its last two albums, 2004’s American Idiot and 2009’s 21st Century Breakdown (and the recent American Idiot Broadway musical), Green Day has become one of contemporary rock’s most entertaining and opinionated bands. Regardless of where you stand in the ongoing debate of how punk the band is, there’s no denying the talent and charisma that has gone into these rock operas. And anyone who saw the band’s live show during its 2009-2010 21st Century Breakdown World Tour knows that there is still something akin to punk rock energy in the band’s explosive performances backed by over-the-top stage antics and visual displays.

Featuring tracks recorded during this tour, Awesome As F**k captures that energy, which has now crossed generational barriers as well as geographic ones. Though you wouldn’t be able to tell it by the cohesiveness of this live album, each of the 17 tracks on Awesome As F**k was recorded at a different show, with locales ranging from Glasgow and Berlin to New York and Brisbane. While the album is heavy on newer material, including “21st Century Breakdown,” “21 Guns,” “American Idiot” and “Know Your Enemy” (the current theme song for WWE‘s Friday night SmackDown show on Syfy), there are also some older favorites such as “Burnout,” “When I Come Around,” “She” and the previously unreleased “Cigarettes and Valentines,” one of several lost tracks recorded between 2000’s Warning and American Idiot.

One thing that is apparent on Awesome As F**k is Green Day’s (and particularly front man Billie Joe Armstrong’s) love for performing and entertaining the fans. Thankfully missing from the album, however, is the extended medley of Benny Hill-like inanity that tends to erupt during the band’s performances of “King for a Day,” which includes an extended cover of the Isley Brothers’ “Shout.” Without that, Awesome As F**k extracts only the high points of a live Green Day experience, leaving the other tomfoolery for those who actually made it to one of the shows.

The live CD was released by Reprise Records on March 22 with an accompanying DVD recorded in Japan that matches up almost track-for-track with the CD, with the addition of the band’s cover of The Who’s “My Generation” and the same Phoeniz, Ariz. recording of “Cigarettes and Valetines” that appears on the CD. A pink vinyl version was also released on Adeline Records on April 26 that includes an exclusive T-shirt.

For more information, go to www.greenday.com.

Concert previews from the April 21 issue of Creative Loafing

By Jonathan Williams

Here are the concert previews I did for tomorrow’s issue of Creative Loafing.

Peelander-Z, Anamanaguchi, Drop Dead Nasty at the Masquerade.

 

Anamanaguchi plays the Masquerade on April 21. Photo by Ethan Saks

A-Trak, Kid Sister, the Gaslamp Killer, Street Lurkin at the Quad.

Yelle, French Horn Rebellion at the Masquerade.

 

 

Courtesy WWE

R-Truth looks to win WWE title and pursue music career

Photo courtesy WWE

Since his return to WWE in 2008, R-Truth has been a hip-hopping fan favorite with moderate in-ring success. A former National Wrestling Alliance World Heavyweight Champion (and multiple time tag team champion), Truth has been on the verge of the main event picture for a couple of years. He won the United States Championship last year by defeating current WWE Champion the Miz, but lost it back to the Miz less than a month later. Proving how quickly things can change in WWE, Truth now finds himself challenging his old rival for the WWE title in a three-way match also including longtime friend John Cena at Extreme Rules on May 1. Already in possession of a future WWE Tag Team title shot thanks to his NXT rookie Johnny Curtis winning season four, Truth could finally be on the brink of breaking out of his midcard status in much the same way the Miz did last year. In the meantime, the 2008 Slammy Award winner for Best Musical Performance takes a moment to tell us about his burgeoning musical career.

This is not your first time in WWE. Has there been a difference coming back? How do you feel about coming back and having a second chance?

The difference coming back now is I’m more mature, more grown up. It’s a business, it’s an art, it’s a craft and I feel that in what I’m doing now. So it’s a big difference being here now.

Have your opportunities expanded since you’ve been back?

Oh, yeah. Definitely. I even came in with a big boom, coming down through the crowd. I had a big push and I’m in the process now of working on a video for “Like Me Now.” It will probably be done in the next three or four months.

Is that the same song you were coming out to for a while with Eve?

No, that was “Right Time.” It will still be a hip-hop/metal mix like that. It’s just something I did for Vince [McMahon] inside his office for one of the promo packs we had. I rapped it to him and he liked it and said, “Oh, you should do something with this.” So we started working on this video.

Photo courtesy WWE

Is there going to be an album coming out in the future?

Oh, yeah. Definitely. Me and Cena even talking about doing some stuff together. I’m going to branch out a little more. I’m also doing some stuff with Trick Daddy and I’m going to be doing some stuff with a lot of people outside the music industry.

Being that you’re from Atlanta, which is such a big hip-hop town, is there anybody else outside WWE you’d like to work with musically?

I’d love to do some music with [Lil] Wayne, T.I., anybody, man. You’ll probably see a lot of music from me soon, so any one of those guys that want to get down with me, I’m ready to get down with them.

Interview by Jason Von Stein and Jonathan Williams

CD reviews from the April 2011 issue of Stomp and Stammer

By Jonathan Williams

I reviewed the new Duran Duran CD, as well as the reissue of David Bowie‘s Station to Station and a Bowie tribute album, for this month’s Stomp and Stammer. Here are the links.

http://stompandstammer.com/index.php?option=com_content&task=view&id=3696&Itemid=50

http://stompandstammer.com/index.php?option=com_content&task=view&id=3699&Itemid=50

http://stompandstammer.com/index.php?option=com_content&task=view&id=3698&Itemid=50

 

WrestleMania XXVII delivers one of the greatest spectacles in entertainment

John Morrison, Snooki and Trish Stratus celebrate their victory in one of WrestleMania's more unexpected moments. (Photo courtesy WWE)

WrestleMania has been one of the most anticipated events of the year for me for most of my life. But it wasn’t until I finally got to witness this sports entertainment spectacle in person (even getting to take part in a pre-show press conference where John Cena himself answered my question) that I truly felt the electricity and excitement that is in the air at a live WrestleMania. And now that a full week has passed and I’ve had a chance to fully digest the overall experience, it seems like the time is right to share my WrestleMania experience.

Already known as the grandest stage of them all, WrestleMania XXVII proved to be one of the grandest of the grand, breaking the Georgia Dome‘s attendance record with almost 72,000 people. And by the time Cena‘s extended entrance, featuring a full gospel choir, got the main event  underway, I had already felt the hair on the back of my neck stand up several times throughout the night.

Following Atlanta’s own Keri Hilson singing “America the Beautiful” to get things underway, WrestleMania host the Rock made his first appearance of the night.

The Rock electrifies as the WrestleMania XXVII host. (Photo courtesy WWE)

After that, it was moment after moment of breathtaking splendor. Surprisingly, the first match of the night was the much-hyped bout between World Heavyweight Champion Edge and this year’s Royal Rumble winner Alberto Del Rio. Despite its placement on the card, this title match proved to be one of the more exciting bouts of the night, with Christian helping Edge fend off Del Rio’s personal ring announcer Ricardo Rodriguez and his season four NXT rookie Brodus Clay to retain his title. Edge and Christian then joined forces in a celebratory vandalization of Del Rio’s Rolls-Royce, still parked on the entrance ramp.

Like a classic comic book story of good vs. evil, the second match pitted the allegedly disfigured (and previously “Dashing”) Cody Rhodes against Rey Mysterio, whose Captain America-inspired outfit was complemented by a Roy Lichtenstein-like pop art entrance video. While I don’t think Rhodes’ victory got him over as much as WWE would have liked (especially since he didn’t even try to unmask Mysterio as he had previously vowed to do), it did further establish Rhodes as a one-time pretty boy distraught over his marred appearance. The match itself was an early contender for match of the night, especially after Rhodes held Mysterio in the air for several seconds before backdropping him into the ring from the top rope. Ironically, it was Mysterio who removed Rhodes’ mask, using it as a weapon against Rhodes, before Rhodes hit Mysterio in the face with a leg brace behind the referee’s back to get the victory.

In one of the shortest matches of the night, the Corre fell to the team of Kane, the Big Show, Santino Marella and Kofi Kingston (replacing Vladimir Kozlov, who was injured by the Corre earlier in the weekend at WrestleMania Axxess). In a whirlwind of chaos in which all eight competitors hit big moves in and out of the ring, the Big Show quickly leveled Heath Slater with a punch to the face to get the pin.

CM Punk and Randy Orton put on another great match, with Punk further establishing his villainous persona by focusing on Orton’s injured knee and Orton hitting the mid-air RKO for an impressive victory.

Though it didn’t end with Michael Cole on the bad end of a Jerry Lawler piledriver as many had hoped, the next match definitely provided the comic relief it was meant to bring to the show. It all started with special guest referee “Stone Cold” Steve Austin riding to the ring on the ATV he used at WrestleMania 25 (which had also been on display for several days at WrestleMania Axxess) and almost running over Jack Swagger on the entrance ramp. The next few minutes basically consisted of Lawler showing Cole why he is “The King,” and “Stone Cold” showing a clear bias towards Lawler. After making Cole tap out, Lawler and Austin celebrated in the ring with a “Stone Cold” toast, only to have the anonymous Raw general manager reverse the decision and award the match to Cole via disqualification. But Lawler still had the last laugh as he and Tough Enough‘s new host celebrated with a
“Stone Cold” beer toast that resulted in Booker T and Josh Mathews receiving Stunners.

Things went from comical to serious as Triple H then made his grand entrance flanked by Spartan-like warriors and wearing a skull mask with a king’s crown, to the tune of Metallica‘s “For Whom the Bell Tolls.” The Undertaker then made his deliberate descent to the ring with little fanfare other than flames, smoke, a layer of fog hovering across the arena floor and that haunting Johnny Cash song that has become his new theme music. This match would become the most impressive match of the night, with Triple H dominating the early portions of the match, even going so far as to use the Undertaker’s own Tombstone Piledriver against him, followed by a confident mockery of the Undertaker’s pinning technique… only to have the Undertaker kick out just when it seemed that his undefeated WrestleMania streak had ended. There would be several more kick-outs and near finishes, proving that neither man was willing to give up this fight.

After putting each other through almost every possible physical test (including plowing through Michael Cole’s glass commentary case), Triple H eventually reminded the audience that this was a no holds barred match as he brought his signature sledgehammer into play. But Undertaker surprised us all as he clamped on his own previously-barred submission hold, the Hell’s Gate. Though he lasted longer than anyone else has ever lasted after having this chokehold applied, Triple H eventually had no choice but to tap out. And even though the Undertaker’s streak remained alive, it was the Undertaker who was carted out of the ring on a stretcher while Triple H was able to walk away in defeat.

This incredible athletic display was followed by the match that many fans were dreading: Trish Stratus, John Morrison and Jersey Shore‘s Snooki vs. Dolph Ziggler, Michelle McCool and Layla. This match served its purpose, however, providing a moment of silliness in which Snooki surprised many by hitting a series of backflips to get the pin over McCool. The match was over quickly and, even though neither male competitor was ever tagged into the match, Morrison and Ziggler got to show off a little with Morrison hitting Starship Pain outside the ring.

Snooki picks up the win over Michelle McCool. (Photo courtesy WWE)

Though I still don’t understand why Edge and Del Rio didn’t get the same fanfare that Cena and the Miz (or Triple H and the Undertaker) got in the main event for the WWE Championship, I was definitely impressed by the extended video package that preceded the Miz’s entrance, which featured the back of Miz’s head as he watched a wall of monitor screens displaying his rise from The Real World to WrestleMania main eventer. And even though I also still don’t quite get why Cena had a gospel choir sing for about ten minutes before he ever made it to the ring, it was yet another moment that sent chills down my spine.

This match lived up to the hype it had built up for the past several weeks, with the Miz proving that he’s a viable champion and Cena showing why he is one of the most respected (though clearly not one of the most popular) members of the WWE roster. After a surprise double countout that left both men lying outside the barricade, the Rock finally made his much anticipated appearance, restarting the match as a no disqualification match, exacting his revenge on Cena for the previous week’s Attitude Adjustment with a Rock Bottom that allowed Miz to get the victory.

Featuring superstars from at least three different eras, WrestleMania XXVII not only bridged the gaps between these different eras for fans young and old, it also allowed younger talents to prove their worth against more established competitors. WrestleMania XXVII had pretty much everything you could ask for from any type of entertainment show, with thrills, humor, drama and displays of athleticism that made this arguably one of the best WrestleMania’s of all time.

Though it was clearly catering to a broader audience than some traditional wrestling fans would like, this WrestleMania renewed my faith in what is now known as sports entertainment. And getting to experience it live in my hometown only made it that much more exciting.

Review by Jason Von Stein. WrestleMania press conference footage courtesy Russ Weakland of Hollywood Life.