I know nothing of Middle Eastern music.
I felt it was only fair to come right out with that from the start. My ignorance on the subject is what really fired my curiosity about Omar Souleyman, the celebrated Syrian musician who has released more than 450 albums and has recently collaborated with Bjork. What fired my curiosity even more was that Souleyman's recent gig in Chicago was at, of all places, The Empty Bottle—this town's best "throw it on the floor" straight up/no frills/party room. Sure, The Empty Bottle is great for Big Freedia or No Bunny, but Souleyman? Something didn't entirely make sense there.
So when Souleyman did hit the stage I found my curiosity sated, at least to a degree. Backed by keyboardist/partner Rizan Sa'id, Souleyman's music was a wedding of what sounded like traditional Middle Eastern music with techno dance and electronica a part of the mix. Being that all of his lyrics were in another language and a majority of the audience was of Middle Eastern descent, I was about the only one in the room who didn't get the messages. However, I can tell you that this was one of the happiest concert/dance parties that I've ever been to in my life. The SRO audience spent the whole show on its feet, huge smiles plastered on their faces, dancing in benign celebration. A young giggling lady kept stepping on my foot and apologizing during the whole show but she was so damn happy and filled with spirit that I really could not complain. Also, presiding over this shuffling sweet-natured mob was Souleyman himself—graceful, engaged, almost saintly, radiating positive vibes in every direction. Obviously, western music could learn something from the east.
On another note, I had no expectation of actually enjoying Judas Priest's SRO "farewell" blow-out at The Venue recently. In fact, I dreaded it. Never mind that my friends from the Gay Metal Society had crammed it into my head long ago that Judas Priest was the "good stuff," second only to Black Sabbath when it came to heavy metal. Also, Judas Priest has been around for more than 40 years and is one of the biggest rock bands on the planet (yes, dear—bigger than KISS; they just don't brag about it).
With the exception of Pink Floyd or vintage Alice Cooper and Queen, heavy metal never did much for me; too monotonous, too abrasive, too shrill (particularly the vocals), and designed to be played too damn loud. On top of all that are the worn out arena cliches from the 70's; long ass drum solos, blankets of smoke, elaborate stage set ups (in Judas Priest's case for this show it was a decrepit nuclear power plant with fuming reactors on either side), lasers, tight nut-crunching leather pants on just about everyone, and pyrotechnics everywhere. And the thrill-less openers for this show, Thin Lizzy (no I did not need to hear "The Boys Are Back In Town" again) and Black Label Society nailed home my doubts. So why did I love Judas Priest's set so much?
A big part of it had to do with out frontman Rob Halford, who made the evening as congenial and charming as an afternoon spent with a favorite auntie and the family photo album. Although Judas Priest is really saying bye-bye to monstrous long mega-tours (no, they are not breaking up) and this show looked backwards, the misty nostalgia was shredded by Halford's supple operatic voice; the twin guitar attack of Glenn Tipton and K.K. Downing; and the pulverizing rhythmic thud of bassist Ian Hill and drummer Scott Travis.
Yeah, they did whip out all those cliches but it all still worked and—get this—was even exciting. Funnier still, on just about every song Halford would pop out in some fetching black leather outfit (more costume changes than Diana Ross but the man could teach Ms. Thing about making an entrance) that forced you to pay close attention. (Those spurs he had on could do some serious damage.) All of this was in service to a set list of favorites for longtime fans (this crowd pumped their fists the ENTIRE two and a half hours of the show) and clueless witnesses like me.
There was thunder aplenty ("Rapid Fire," "Metal Gods," and the appropriate "Judas Rising" were the openers), well-known classics ("Electric Eye" and the second encore "You Got Another Thing Coming," where Halford rode out on a chrome Harley with a riding crop while dressed in a silver metallic riding suit), and a number of stylish surprises. (For example, Joan Baez's "Diamonds and Rust" started as an acoustic ballad and finished in a blaze of glory). That Judas Priest has a distinctive sound (like Pink Floyd) that separates the band from the rest of the pack can't obscure the fact that these guys love to hit like an out-of-control Mack Truck. As for those cliches, well, they may be decades old but they do them better than anybody else and they make them entertaining as hell. Yeah, this I can dig.
Heads up: The word is that Pink Floyd has reunited and will be bringing "The Wall" to Wrigley Field next summer. Tickets are already on sale.
Email me at McBryde299@hotmail.com .
