Hershey Review (The Patriot News)

MacMan · #1 06-15-2005, 08:06 AM

Henley, Nicks performances revive hits, affirm renown
CONCERT REVIEW
Wednesday, June 15, 2005
BY BARRY FOX
Of The Patriot-News

Don Henley and Stevie Nicks, two of rock's heavyweights, on the same double bill is an intriguing idea.

In reality, it's two stars past their primes who can still put on a decent show.

At times inspired, at others sounding tired, the dynamic duo came to Hershey's Giant Center Monday night.

Henley, the Eagles' drummer, led off the festivities with the foreboding sounding "The Genie."

Jangling a tambourine, he picked up with the pace with his old band's "Witchy Woman," matching any version the Eagles could produce, and sounded in fine voice, which was tested on the song's falsetto parts.

On the line "there she stood in the doorway" from the classic "Hotel California," Nicks emerged from the shadows for a trio of duets that included Henley's solo hits "New York Minute" and "Last Worthless Evening."

Nicks' voice seemed to fill the arena, and her more energetic persona added badly need animation to the stoic Henley.

There is no banter from the Texan, just the sporadic "thank you" through an hour-plus greatest hits set.

His voice sounded raspy but serviceable on "The Heart of the Matter."

His stellar band gave real punch to "Dirty Laundry," "Life in the Fast Lane" and "All She Wants To Do Is Dance."

Henley used a nice, delicate touch on The Eagles' "Desperado" and played to the crowd, letting them sing back the line, "you better let somebody love you" before stepping aside for Nicks.

With a more elaborate stage set, a larger band and back-up singers, Nicks, using a microphone draped with beads and scarves, opened her uneven set with Fleetwood Mac's "Dreams."

A nice acoustic intro to "Rhiannon" slid into a strange, high-pitched, train-whistlelike refrain, and then Henley was back to assist on Fleetwood Mac's "Gold Dust Woman."

He took Tom Petty's part on "Stop Draggin' My Heart Around," but Henley's voice is not as distinctive as Petty's, making their take more lackluster than the original.

Henley exited after their rendition of Bonnie Raitt's "The Circle Dance," and Nicks seemed to leave the stage after every other song for a subtle wardrobe change -- flowing skirts of different hues and capes of varying colors, perfect for her signature whirling dance move.

When she was center stage, "Stand Back" was followed by Nicks providing the soundtrack for a "Beauty and the Beast" film.

"Edge of Seventeen" closed out the set, and Nicks ended the night shaking hands with fans in the front row and kissing a young girl on the head.

In total, it was a three-hour show that had its moments, just not enough of them.

pennlive.com

sparky · #2 06-15-2005, 08:18 AM

Quote:

Originally Posted by MacMan

Henley, Nicks performances revive hits, affirm renown
CONCERT REVIEW
Wednesday, June 15, 2005
BY BARRY FOX
Of The Patriot-News

Don Henley and Stevie Nicks, two of rock's heavyweights, on the same double bill is an intriguing idea.

In reality, it's two stars past their primes who can still put on a decent show.

At times inspired, at others sounding tired, the dynamic duo came to Hershey's Giant Center Monday night.

Henley, the Eagles' drummer, led off the festivities with the foreboding sounding "The Genie."

Jangling a tambourine, he picked up with the pace with his old band's "Witchy Woman," matching any version the Eagles could produce, and sounded in fine voice, which was tested on the song's falsetto parts.

On the line "there she stood in the doorway" from the classic "Hotel California," Nicks emerged from the shadows for a trio of duets that included Henley's solo hits "New York Minute" and "Last Worthless Evening."

Nicks' voice seemed to fill the arena, and her more energetic persona added badly need animation to the stoic Henley.

There is no banter from the Texan, just the sporadic "thank you" through an hour-plus greatest hits set.

His voice sounded raspy but serviceable on "The Heart of the Matter."

His stellar band gave real punch to "Dirty Laundry," "Life in the Fast Lane" and "All She Wants To Do Is Dance."

Henley used a nice, delicate touch on The Eagles' "Desperado" and played to the crowd, letting them sing back the line, "you better let somebody love you" before stepping aside for Nicks.

With a more elaborate stage set, a larger band and back-up singers, Nicks, using a microphone draped with beads and scarves, opened her uneven set with Fleetwood Mac's "Dreams."

A nice acoustic intro to "Rhiannon" slid into a strange, high-pitched, train-whistlelike refrain, and then Henley was back to assist on Fleetwood Mac's "Gold Dust Woman."

He took Tom Petty's part on "Stop Draggin' My Heart Around," but Henley's voice is not as distinctive as Petty's, making their take more lackluster than the original.

Henley exited after their rendition of Bonnie Raitt's "The Circle Dance," and Nicks seemed to leave the stage after every other song for a subtle wardrobe change -- flowing skirts of different hues and capes of varying colors, perfect for her signature whirling dance move.

When she was center stage, "Stand Back" was followed by Nicks providing the soundtrack for a "Beauty and the Beast" film.

"Edge of Seventeen" closed out the set, and Nicks ended the night shaking hands with fans in the front row and kissing a young girl on the head.

In total, it was a three-hour show that had its moments, just not enough of them.

pennlive.com

WHAT A LAME ASSED REVIEW.

Number one, the writer sucks.
"At times inspired, at others sounding tired" ???
WTF ?

What sixth grade educated editor allowed that stinking couplet to be unleashed on an unsuspecting and unprepared public ? Both the editor (and I use the term loosely) and the writer (I shouldn't use the term at all) need to be hauled out to the friggin woodshed and soundly beaten for this slab of tripe.

blinker12 · #3 06-15-2005, 09:18 AM

Quote:

Originally Posted by sparky

What sixth grade educated editor allowed that stinking couplet to be unleashed on an unsuspecting and unprepared public ? Both the editor (and I use the term loosely) and the writer (I shouldn't use the term at all) need to be hauled out to the friggin woodshed and soundly beaten for this slab of tripe.

Seriously! *shudder*
That's the worst (published) writing I've seen in years.

vermicious knid · #4 06-15-2005, 10:31 AM

Quote:

Don Henley and Stevie Nicks, two of rock's heavyweights, on the same double bill is an intriguing idea.

In reality, it's two stars past their primes who can still put on a decent show.

This first part is no gem either. He uses the term "In reality" as if he is about to show why his first inclination was incorrect, but then doesn't really. How much of a probing mind does it take to see that they are past their prime? It is normal for someone's prime artistic output to be in their twenties and thirties. Did the writer just figure out at the show that their amount of musical output is less than it was, and that its the younger stars getting most of the attention in America?

Quote:

At times inspired, at others sounding tired, the dynamic duo came to Hershey's Giant Center Monday night.

They sounded tired/inspired while they were coming to the Center? Like, the writer was observing them in their limosines pulling up to the venue?

I'd say this review had moments of clarity, just not enough of them.