Yesterday I wrote about the joy—the thrill!—of live music. I’m excited to see it making a comeback after the long, weary months of The Age of The Virus, and hope we will witness a renaissance of live entertainment.
There is palpable excitement to the night—a delectable frisson, the promise of things to come. The night is when things happen. Granted, they aren’t always good things, but they night promises to be eventful.
One reason for the Christmas music focus is that my students have their big Christmas Concert this Friday. It’s always a great deal of fun, and we try to go for a homemade Trans-Siberian Orchestra vibe (if only I could get the administration to spring for some laser lights and pyrotechnics).
As an independent musician and a music teacher (I also teach history), I find myself playing the role of concert impresario quite a bit. One lesson I’ve learned is that the money people—the producers—will always have their notes and revisions, often last-minute. Your well-oiled, tried-and-true concert formula can often get totally upended with changes. Learning to roll with the punches is hard, but necessary.
Last Christmas, I gave you my heart wrote a series of hard rock album reviews for Orion’s Cold Fire, photog’s excellent blog. This week, my students have their big Christmas concert, with all the spectacle and merriment that involves. In that spirit, I thought I’d dedicate this Lazy Sunday to my reviews of Dokken’s first three albums, which you can read in full at Orion’s Cold Fire.
“A Very Dokken Christmas, Part II: Tooth and Nail” (Review on OCF) – If I’m not mistaken, Tooth and Nail is the first Dokken album I ever heard, after learning more about the band in The Rageaholic’s Metal Mythos: DOKKEN video. It’s a great album, and it saved the band financially. In one of those classic stories of artists getting screwed by major labels, Dokken was around a million bucks in debt after the release of Breaking the Chains and the subsequent tour, even though it was a hit record. Tooth and Nail‘s title is no accident, as the band really did drag themselves “straight to the top” (to quote the title track). This album got them out of debt—and on the way to hair metal superstardom.