Oso Grande efforts continue in support of local musician

The turnout for the Oso Grande benefit for local musician Rodney Lanier (pictured above) the Friday before Halloween was quite astounding. Personally it was like a reunion with almost everyone I'd ever met or worked with in the Charlotte music scene over the past 17 years. Around 600 people showed up at NoDa's Chop Shop throughout the night to lend a financial donation and an ear to Lanier and his bands Sea of Cortez and Jolene, as well as Benji Hughes, the Houstons and Temperance League.

The first event launched the Rodney Lanier Support Trust, which is aimed at helping Lanier, who is being treated for cancer, offset medical expenses and support himself if the time comes when he's unable to work. With the help of a few large private donations the kick-off event for raised $12,000.

The next event, The 1st National Gathering of the Taco Army, will take place November 25 at Evening Muse (3227 N. Davidson St.). Another is tentatively scheduled for December and will feature Charlotte instrumental surf outfit the Aqualads with a bevy of guest vocalists. The concert will be combined with the release of the band's Christmas cd, which they've also recorded to help raise funds for the trust. A multi-venue benefit concert is also being organized for Spring 2012.

You can keep up with upcoming Oso Grande events at http://www.facebook.com/event.php?eid=204327279635518.

Review & Set List: Foo Fighters at TWC Arena

For those who witnessed the Foo Fighters’ show at Bojangles' Coliseum four years ago, Tuesday’s concert at Time Warner Cable Arena had a lot to live up to. While it may not have surpassed the 2007 show, it met it beat for beat, with frontman Dave Grohl and his wily sidekick drummer Taylor Hawkins performing every last song as if it might be their last. From the opening notes of “Bridge Burning” to the final singalong of “Everlong,” Foo Fighters gave the crowd an intense yet simple straight-up rock show that sent many away thinking this just might be the greatest current rock band around.

England’s the Joy Formidable opened the show with a brief pop-rock wall of fuzz and mood (if you missed the band that celebrity musicians like Grohl have been buzzing about for months, it headlines Amos’ Southend Dec. 1). Punk granddads Social Distortion, who Grohl said were an early influence on him, turned in a mix of new songs and old favorites like “Bad Luck” and Johnny Cash’s “Ring of Fire.” The sound quality for their set was some of the best I’ve heard in the arena.

Foo Fighters -- who took the stage promptly at 9 p.m., promising a long show ahead (“You might want to call in tomorrow,” suggested Grohl) -- were louder and more animated, with Grohl instantly bouncing from foot to foot as the band pummeled through the first two tracks of its latest album “Wasting Light” (“Bridge Burning” and “Rope”). It then went into the hits “Pretender,” “My Hero,” and “Learn To Fly” before veering back to tracks from “Wasting Light.” He dedicated “White Limo” to Dale Earnhardt Jr.

Grohl, in black pants and a button-up shirt, seemed to feel it from the get-go. The intensity -- running down the aisle to a platform nearer to the cheaper seats -- even made modern-rock standards that you’ve heard a zillion times like “My Hero” seem fresh. As the audience beckoned the sentiment of the song back to him, you knew Grohl, at least for the moment, was theirs.

“Arlandria,” an exercise in dynamics, was rather epic for a four-minute rock song that’s not even a single. “These Days,” which Grohl called his favorite, was another newer standout. The new songs went over as well as the old, although as Grohl noted after polling the crowd, Foo Fighters have upped its number of fans in the past four years. “Where have you been for the last 16 years?” he asked those who had not seen the band live before. He sarcastically moaned about rock stardom and about having people like his band (I couldn’t help but think of Nirvana at that moment) before launching into “Cold Day.”

Despite his apparent glee in the power he held over the crowd, he still came off as a relatable guy, putting on a fun and extremely professional show. Ticket prices weren’t astronomical. T-shirts were $25 (I’ve seen less popular acts sell them at The Fillmore for $40). And Grohl was funny and open, especially during the solo acoustic encore, when he talked about buying a house near Nags Head with his first Nirvana paycheck. I never noticed the presence of a guitar tech (or really anyone else besides the band on stage) shuffling an impressive collection of axes on and off stage. Grohl played the blue signature model he premiered during the band's 2007 tour for the first nine songs without retuning -- an impressive feat in itself given the workout he gave the instrument. He pulled out a blue Firebird model for the stoner-y intro to “Stacked Actors,” which morphed into a goofy guitar-solos duel between Grohl and guitarist Chris Shiflett.

He promised a long show, and although it wasn’t the 30-plus-song marathon I saw Guns n’ Roses deliver in Greenville last week, it clocked in at the two-hour and 40-minute mark. There were a few surprises. The group revisited its cover of Pink Floyd’s “In the Flesh,” which it did with Roger Waters in September for “Late Night with Jimmy Fallon’s” “The Wall” tribute. It closed its set with “All My Life.” Grohl returned for three solo acoustic numbers: “Wheels,” “Best of You,” and “Times Like These,” each performed on the platform at the far end of the arena. Then “Dear Rosemary,” with the full band, morphed into Tom Petty’s live jam “Breakdown.” But it was “Everlong” -- a song Shinedown guitarist Zach Myers called this generation’s “Stairway to Heaven” last week when covering it at his own show -- that served as the final hurrah.

Set List:

Bridge Burning

Rope

Pretender

My Hero

Learn to Fly

White Limo

Arlandria

Breakout

Cold Day

Stacked Actors

Walk

Monkey Wrench

Let it Die

These Days

This is a Call

In the Flesh

All My Life

Encore -

Wheels

Best of You

Times Like These

Dear Rosemary

Breakdown

Everlong

Charlotte's Sugar Glyder reveals new video

Charlotte rock quartet Sugar Glyder released the above video for its track "Song Holiday" Friday. It features footage filmed locally at Amos' Southend as well as other live performances and the band on the road. The song is from its album "Lovers at Lightspeed," which was released earlier this year.

Gwar frontman releases statement on guitarist's passing

Barely two weeks after launching its current tour at Amos' Southend and just a week after its triumphant return to network television on "Late Night With Jimmy Fallon," Richmond-based metal legends Gwar announced the death of lead guitarist Cory Smoot (pictured with and without costume above). Smoot, 34, assumed the role of Flattus Maximus in 2002. He was found dead in his bunk Thursday. Cause of death is as yet undetermined.

Gwar frontman Dave Brockie, aka Oderus Urungus, released the following statement on Smoot's passing and the future of Gwar this afternoon:

"After a restless night spent hurtling through the desolate Canadian wilderness, I crawled from my bunk on the tour bus to face reality, grudgingly aware that the the dark dream that gripped us would not fade with the day. We have lost a brother, a husband, a son, and one of the most talented musicians that ever slung an ax. Cory Smoot, longtime lead guitar player for the band GWAR, has passed at the age of 34.

As the singer of GWAR and one of his best friends, I feel it is my duty to try and answer some of the questions that surround his tragic and untimely death. I know the sense of loss and pain is far greater in scope than in the insulated environment of a band on tour, and I will do my best to provide what clarity and comfort I can.

The most glaring question is how? And unfortunately that is the hardest question to answer. The truth will not be known until the medical officials have finished their work. All I can do is relate what we saw with our own eyes.

The last time I saw Cory was after our show in Minneapolis on Weds. night. It was a great show at First Avenue in Minneapolis, one of our favorite places to play. Cory was happy. He was excited about the band and especially the new studio he was building in the Slave Pit back in Richmond. He was deeply in love with his wife, Jamie, and was busily planning their family and future in the beautiful home they had. As usual, after some autographs and banter, I was probably the first person in their bunk as we got ready for a big drive into Canada, and Cory and the rest of the guys were not far behind. As I fell into the slumber that only playing GWAR shows can induce, everything seemed right in the world.

We found Cory the next morning as we collected passports for a border crossing. He was in his bunk, unresponsive, and it quickly was clear that he was dead. It was without a doubt the most horrible moment of my life. That's all I can say about it.

Within moments everybody was off the bus, standing in a wind-swept parking lot in the middle of nowhere, trying to come to grips with the shock of it. First the ambulance arrived, and then the police, but there was nothing that could be done other than fully investigate the scene and remove Cory with care and respect.

We are completely devastated and shocked beyond belief. One night we had our friend and colleague, happy and healthy in the middle of our best tour in years- and the next morning, so suddenly, he was gone. Never have I seen starker proof of the fragility of life.

Cory will be transported home to Richmond over the next few days, and an announcement regarding services will be made soon. We ask everyone to respect the families wish for privacy, and especially to keep his wife, Jamie, in your thoughts and prayers.

As we work our way through these difficult days the question is -- what will GWAR do? After a lot of consideration, we have decided to carry on with the tour. Although the great temptation would be to return home, curl into a fetal position, and mourn, we can't do that. First off, Cory wouldn't want that. He would want us to go on and would be pissed if we didn't. Plus we know the fans don't want us to quit. They are going to want a chance to come to grips with their loss, and there is no better place to do that than at a GWAR show. Though it's hard to believe, I think we all would feel a lot worse if we stopped. For better or worse we have to see this through.

That doesn't mean that Cory will make his final journey without us. When the arrangements have been finalized, Cory's best friend and GWAR's music tech Dave "Gibby" Gibson, and myself will return home to attend the services and pay the proper respects to our comrade.

Out of respect to Cory, we have officially retired the character of Flattus Maximus. Flattus has decided to return to his beloved "Planet Home", and will never return to this mudball planet again. And this is a sadder place for that.

Just the other day I heard Cory tell a story about how some 20 years ago he was fourteen years old, at his first GWAR show, grabbing at the rubber feet of our then- current Flattus, and how blown away he was at the fact that now HE was the one getting his feet pulled by the same kid that he used to be. Cory was always in awe of the patterns of life and went through it with a wide-eyed amazement that translated through his playing. I've never known anyone who could pick up literally any instrument and rock it the first time he touched it, and more than that make it look easy. Behind that rubber monster outfit, and sometimes even obscured by it, was one of the most talented and beautiful people I have ever known. I know everyone who's life was touched by Cory truly loved him, as do we, his bandmates and brothers.

There should be some kind of announcement soon regarding services, etc. It would be great to have a memorial show at some point soon, where some of the bands that Cory worked with could come together and show their love for this truly amazing man who left us all too soon and will be sorely missed by many, many people.

Dave Brockie, Nov. 4, 2011"

This week's hot concerts

Anthrax

7:50 p.m. Saturday, November 5, Fillmore, 1000 Seaboard St. $37.50. www.livenation.com

Following the success of The Big Four and the widely welcomed and critically hailed new album, “Worship Music,” Anthrax teams with second wave thrash acts Testament and Death Angel on a five-week cross country trek.

How the Other Half Gives

8 p.m. Saturday, November 5, Evening Muse, 3227 N. Davidson St. $10-$12. 704-376-3737.

Singer-songwriters Tyler Mechum, Emily Lynch, Luke Cunningham and Ryan Bonner have created a charitable tour benefiting different organizations in each city they play. Here they’ll clean, perform at, and donate to The Ronald McDonald House of Charlotte.

John Common & Blinding Flashes of Light

10:30 p.m. Monday, November 7, Evening Muse, 3227 N. Davidson St. $7-$9. 704-376-3737.

A rising star in his hometown of Denver, this Jacksonville, NC native pulls together a rich indie-folk ensemble that trade in chamber pop, gospel, and singer-songwriter styles with impressive camaraderie and depth.

Foo Fighters

7 p.m. Tuesday, November 8, Time Warner Cable Arena, $33.40-$62.55. www.ticketmaster.com

Fans that witness the Foo Fighters’ killer 2007 show have waited four years for its return. Though not as intimate as the Bojangles Coliseum show, this one boasts openers Social Distortion and the Joy Formidable, a band that other musicians seem to be talking about.

Fishbone

8 p.m. Tuesday, November 8, Tremont, 400 W. Tremont Ave. $15-$18. www.etix.com

Twenty-five years after its first release the alternative funk-rock legends, who are always a musical riot on stage, recently released a new EP just as its “Everday Sunshine” bio-doc is slowing premiering to wider audiences around the country.

Hank III

8 p.m. Wednesday, November 9, Amos’ 1423 S. Tryon St. $15-$18. www.etix.com

Hank Jr.’s ornery son promises a three hour set featuring his many musical facets - there's classic country for the diehards as well as metal, doom, Cajun, and his admittedly weird experimental twist on auctioneer vocals.

Premonition 13/Gates of Slumber

7:30 p.m. Wednesday, November 9, Tremont, 400 W. Tremont Ave. $10-$12. www.etix.com

Scott “Wino” Weinrich of St. Vitus/Spirit Caravan fame heads up this stoner metal outfit. With Indianapolis’ Gates of Slumber, who performed a hypnotic, riff-heavy blues-metal set opening for Orange Goblin last Spring.

Marsha Ambrosius

7:30 p.m. Wednesday, November 9, Fillmore, 1000 Seaboard St. $39.50. www.livenation.com

One half of the British R&B duo Floetry launched a solo career earlier this year that’s already garnered her three Soul Train Award nominations and an American Music Awards nomination.

Beloved Charlotte blues singer still collecting awards

Nearly a year after succumbing to cancer Charlotte-based blues singer Robin Rogers continues to collect awards. Last Thursday, October 27, her husband and musical partner Tony Rogers accepted the 2011 Blues Blast Music Award for Female Blues Artist of the Year on Rogers' behalf at the annual ceremony at Buddy Guy's Legends in Chicago. Tony Rogers also performed two of his wife's songs, "The Plan" and "Don't Walk Away" (a nominee for Song of the Year), with Sharrie Williams and Bob Corritore. Winners were determined by the magazine's readers. Rogers also received the award in 2009.

This follows her Contemporary Blues Female Arts of the Year title, which she received in May at the Blues Music Awards in Memphis.

Rogers received numerous accolades for 2010's "Back in the Fire," which was released shortly after she was diagnosed with cancer. The album debuted at #3 on Billboard's blues album chart. Sadly Rogers died at age 55 in December 2010.

Review: Guns n' Roses' marathon Halloween in Greenville

Driving my son to preschool Tuesday morning I heard a disc jockey joking about Guns n’ Roses' concert in Greenville Monday – how the audience was probably still waiting on the band to arrive and how Axl Rose brought donuts on stage. I thought, “Um, you obviously have no idea.” The assumption (and my daddy always warned me about assumptions) that the show was terrible was pretty far off considering its sheer length and quality.

Expectations were admittedly low for our group traveling to see what I call Axl’s Guns n’ Roses Halloween night at the Bi-Lo Center. Recent reviews criticized everything from Rose’s appearance to his voice. Given my own experience with his tardiness at a show in Greensboro a few years ago I was skeptical but optimistic. Imagine my surprise when Rose and his hired Guns performed a nearly tireless, three hour set that included just about everything you’d want to hear – and did it well. Though the sound was iffy at times, Rose’s voice was fairly impeccable. He got a little screechy, but he sustained high notes, dug for low ones, and didn’t swipe at them the way Vince Neil does while omitting lyrics to Motley songs.

Rose appeared to play it smart. Flat screen monitors (aka teleprompters) were placed strategically on stage, although I didn’t notice him cheating. He ducked into what appeared to be an onstage dressing room during practically every musical break. I suspect he was puffing oxygen to sustain his voice and, if so, it worked like a charm. Who cares if a 49-year-old man has to grab some gas to put on a good show? Thank you for thinking ahead.

Following sets by Buck Cherry and a local opener called Kelen Heller on a minimal, haphazard looking set, Guns n’ Roses went on close to 11 p.m. (not a bad wait at all). I appreciated that they sprung for Halloween decorations. The stage was adorned with hanging corpses, spiderwebs, and a doll baby with a spinning head. With plenty of screens, lights, and pyro, the stage was now what I considered elaborate enough for a Guns n’ Roses’ show. It began with “Chinese Democracy.” Rose sounded pretty spot-on. He wasn’t 1987 skinny, but he wasn’t bloated with cornrows either. He looked fairly normal – jeans, t-shirt, leather jacket, hat, dark sunglasses. Much like at the Greensboro show the band launched into the 1-2-3 “Appetite” punch of “Welcome to the Jungle,” “It’s So Easy” and “Mr. Brownstone.” By the time they got to “Rocket Queen” I was pretty much sold, but still waiting for his vocals to give out.

That never really happened. His voice recovered during solos from most of the band members. Gn’R fans’ biggest complaint of course is that Guns isn’t really Guns without the original line-up (or at least the “Illusion” one) and I agree. I wasn’t awed by the sight of guitarists DJ Ashba or Richard Fortus the same way I would be by the mere presence of Slash or Duff. But I didn’t grow up with their posters on my walls (although I am wowed by the Replacements’ Tommy Stinson’s lanky frame bounding recklessly across the stage like Jack Skellington). The players do fine jobs of recreating Guns’ catalog. There are moments where I can tell something isn’t quite the same without Slash’s guitar tone, but that's being pretty picky.

The setlist touched on most of “Appetite” (minus “Think About You,” “Anything Goes,” “You’re Crazy” and sadly “My Michelle”), some of the “Illusion” records (“You Could Be Mine” was a treat; "Estranged" made the cut, "Civil War" did not) and “Chinese Democracy.” Rose looked reinvigorated and genuinely happy during the uncharacteristically dancey “Better.” The group did several covers. My favorites were Stinson's punky “My Generation” and Dizzy Reed’s piano version of “Baba O’Riley” back-to-back.

I was confident enough that things were winding to a close during “Sweet Child O’ Mine." Enough to vacate my stage side seat after an altercation with an extremely drunk older man in our row, but Rose and company still had plenty more juice left in their batteries.

It was actually quite cozy watching “November Rain,” Ron "Bumblefoot" Thal’s version of the “Pink Panther Theme,” and “Don’t Cry” from the balcony where you could appreciate the pyro without questioning your hearing after every pop. My husband noted that from afar Rose looked like Alan Jackson in his Stetson crooning “Knockin’ On Heaven’s Door.” This was roughly 26 songs in (not including some of the jams) and his voice was still in good condition. “Night Train” closed a truly electric set, but the encore went on for another half hour. It included “Patience” (where Rose noted that he and Stinson were being particularly accommodating), "Nice Boys," and the confetti-laden grand finale of “Paradise City.”

It was now after 2 a.m. and Rose had outlasted much of the crowd. He was certainly accommodating and even warm. For anyone willing to hang, he definitely gave Greenville its money’s worth although from our balcony view it was painfully apparent that the floor of the 11,000 capacity arena was maybe half full at its peak. Rose and his former bandmates could undoubtedly perform for stadiums full of fans if it reunited, but I wonder if that grin would still be plastered across his face?