Daughtry Bores Fans at Arena Concert

According to Madison.com, Daughtry's first arena tour flopped hard! The fact that tickets are being cut in half for his tour (some being sold for as little as $13.99 and still not selling out) and his new album flopping at the record stores (and soundscan), I'd say Daughtry's 15 mins are just about up. Read on...

Fifty-two years ago, when Jerry Lee Lewis pounded out that dizzy rock 'n' roll classic "Great Balls of Fire," could he have even imagined a time when actual balls of fire would thunder forth onstage to a flaccid version of the genre he helped define?

Probably not. He probably couldn't have imagined "American Idol," either, or the relentless stream of carefully packaged singers it keeps shooting out.

Yet here we are. Saturday night at the Alliant Energy Center, massively successful "American Idol" finalist Chris Daughtry staged a spectacle with his band Daughtry that copped rock's power without much heart.

Yes, there were great balls of fire, torrents of sparkly firecrackers and booming canon shots. Daughtry (the man) can posture all he wants, hold his arms up to the heavens in actorly distress and flex his sculpted and tattooed biceps, but he never called forth anything like the feral shiver of Lewis yelping "I want to tell the world that you're mine, mine, mine, mine!"

But let's forget Jerry Lee Lewis for now. He's such a distant cousin to today's hard rock that it's a bit of an unfair comparison. Even in the context of the hard rock genre that Daughtry places itself in, however, Saturday night's show fell short. There were many times during the show when the band came close. Lead guitarist Josh Steely would pluck out a nasty opening hook, and I'd think "Alright! Rock 'n' roll!" But then Daughtry (the man) would neuter it with a plodding melody and brooding lyrics.

So he's a sap and doesn't do anything Creed or Nickelback hasn't already done. This should come as no surprise to anyone who's heard the band's self-titled 2006 debut or this year's follow-up, "Leave This Town." But what's most disappointing is that Daughtry can't muster the emotions of the songs any better live.

Even the fans, who filled about two-thirds of the Coliseum, looked bored during songs like "One Last Chance" and busied themselves with cell phones and texting. In general, though, the crowd gave the band an enthusiastic reception, sang along to the radio hits and pummeled the ground like a stampede of animals for the encore. It's amazing what being on television will do for a band.

Like openers Cavo and Theory of a Deadman, Chris Daughtry is a gracious presence on stage and seemed genuinely grateful to be performing. His energy never lagged during the 90-minute show, and whatever he lacks in songwriting and emoting, he makes up partially with his fine, arena-ready voice -- all the more impressive on Saturday evening since he said he'd spent the day before sick in his hotel room.

Mid-show the rest of the band left the stage, and he sat on a stool for a faithful acoustic cover of Phil Collins' "In the Air Tonight." ("Put that song on the top of the list of songs I wish I wrote," he said afterward.)

Daughtry can belt out a ballad, but his voice sounded best in arena rock mode. Likewise, the band seemed most comfortable and at ease battering out larger-than-life rock like the grand finale "There and Back Again." In between Daughtry's megaphone-distorted vocals and bassist JP Paul's slapping solos, "There and Back Again" was the only time during the show when the music seemed worthy of fire balls.

Another Four Star Review for the New Taylor Hicks Album!

Here's yet another awesome review for Taylor's new album "The Distance" from a music blog called "popyoularity". Enjoy!

The Distance

4/5 stars (fyi - she gave Kelly Clarkson's crappy album 3.5 stars)

For some music artists there is no life after being dropped by their record label. This is not the case for Taylor Hicks, whose latest album The Distance reaches out to a broad audience and holds its own in the music scene.

Although Hicks had to rely on his own label, Modern Whomp Records, to release this record, it has not held him back. The record is a delivery of country, pop, soft rock and some blue grass tunes. Always setting himself apart from mainstream artists for not succumbing to the modern sound of electronic beats, and instead opting for a large instrumental backing, in his music Hicks’ voice is almost a breath of fresh air.

The record is sure to be a favorite for love tunes such as “Once Upon A Lover” which reflects upon the wanting of a past lover. The track begins with a slow rhythmic piano tune and works its way to a fast paced instrumental song amplified by the trumpet. While many songs on the album are based around love and relationships there are tunes of loss, hardship, and the war of 9/11, which are sure to be well received by the American public. “Nineteen” is a song about an average American teenage solider driven to war by the tragedies of 9/11. With lyrics such as “he’s somebody’s son, in a hole with a gun, in a foreign land, trying to hold onto his American dream,” “Nineteen” is sure to hit home to the patriotic of America, that are an older generation making up a core part of his demographic. Hicks is the second Idol to record a song about the average American, the other being Carrie Underwood’s “All American Girl.”

The most memorable tracks on the album include “What’s Right is Right” (which is the first single off the record) and “I Live On A Battlefield,” because of their catchy lyrics and beat. Both songs will have you clapping and swaying to the music. Hicks allows you to get lost in lyrics such as “all around there is desolation, scenes of a devastation, of a love been torn apart,” and fast paced guitar, drum and piano arrangements.

If you are in the mood to lose yourself to music in a raw form, then give the record a try. The Distance is a record sure to be loved by current and former Hicks fans known as the “Soul Patrol” and to possibly gain new fans for its pure vocal styling and old school sound.

+Juliette Elchuk

Review - The New Taylor Hicks Album, "The Distance"

It’s almost here folks! On March 10, the new indie album from Taylor Hicks drops! The post American Idol album – the rock, country, gospel, folkie, soul and R&B album we are so highly anticipating! Yes, you get all those Taylor’s in one comfy album right here! AOL leaked the album on Tuesday and we boy did we get a preview, er, we actually got the entire album! Whoa! Check it out here!

This is one MAJOR departure from the “Idol” album on JRecords. It doesn’t really sound anything like it. Don’t get me wrong, I really enjoyed that first album, I though it had some great tunes on it. This new album, however, is pure, untouched, unfeathered Taylor Hicks with about as many genres and styles as one can muster on one album. A real treasure in this day and age of one sound, one genre albums. If you’re looking for that, well, this is not the album for you, but if you love a mixture of songs styles with an emphasis on songwriting, then this will definitely ruffle your skirt. I can say with complete conviction, that if Taylor had stayed with the major label, this album would never have gotten made – and I mean that in the most positive way possible. Going indie is the key to Taylor Hicks’ freedom as a performer, singer and songwriter. Below are the 11 songs that appear on the basic album with 3 extra tracks appearing on various exclusive versions from Walmart, Target and another spot I’m not yet aware of. Here are my thoughts on the tracks. I’d love to get your impressions as well! And don't forget, March 10th. Write that date down to head to your local retailer and add this gem to your CD collection! Pre-Order the album here!

The Distance: Great uplifting anthem to start off the album with a punch. A self penned tune, quite a departure from his past writing style! I was really trying to figure out the influences on this song and came up with a cross between Billy Joel and John Denver. I love the sentiment of song – an attempt to bridge the barriers in the world – especially relevant today. A powerfully delivered tune. A-

What’s Right Is Right: Absolutely the best choice as the first single from the album. A terrific vocal along with the bluesy, sensual sax and the smooth jazz sounds of the organ makes this an instant winner and tailored made for the Adult Contemporary market. The lyrics aren’t going to pierce any new musical barriers, but it goes down like a familiar warm cup of hot chocolate and is very listenable on repeated plays. A

New Found Freedom: This must be the gospel sound we’ve heard Taylor talk about when he describes the various genres on the album. Like The Distance, it sounds like a guy whose sense of self is crystal clear – a guy who has the world at his disposal – a real sense of freedom from the struggling path that has gotten him to this point in life. A very uplifting song that I could easily hear on one of the Christian stations. Again, another 180 degree departure for Taylor). B

Nineteen: Oh yea. I really love this song. I love this song for its simplicity. Songs with a socially relevant message and ones which can incorporate that message with a story line just captivate me - and this one delivers in spades. I wouldn’t be the least bit surprised to find out the song was inspired by Pat Tillman, the ex football star that was killed in Iraq. Probably the meaningful, most political song on the album. Definitely a great candidate for a single marketed to country radio. B+

Once Upon a Lover: Whoa! Some very cool scratchy style old vinyl effects to start the song off! You know, we just do not hear songs like this very often anymore. A creative and interesting touch I must say. Leave it to Mr. Hicks to find that idea like this and stick it in there (and if this was Mr. Climie’s idea, kudos to you, sir). A very well constructed song with a great vocal that completely left me swinging and swaying to the beat. There’s no question that Taylor’s earlier song on the new Early Works album, Hold Onto Your Love, was written in the same calypso mode. This one is a grown up version of that. B+

Seven Mile Breakdown: Hell ya! This is the song for those looking for the kick-ass bar band Taylor! This is just plain great! Written by his good friend Wynn Christian, it’s a song he’s been singing forever, so it seems. The driving drum beat keeps the song moving forward. Definitely has the potential to be the best song for a live performance – in fact, he did a wonderful job capturing that “live concert” sound in this studio recording. Not an easy task. One of my top 5 songs on the album. A+

Maybe You Should: This is the song for those looking for the singer/songwriter, the acoustic, tender, and emotional man. I’ll admit, the first few listens had me reaching for the extra strength Kleenex. What a raw song for Taylor – a very personal lyric, no doubt. This ditty has overtaken “The Fall” as my favorite song of all time from him. Beautiful lyrics – check! Beautiful melody – check! Beautiful arrangement – check! Yes, everything about this song hits home with me. A++

Keepin’ It Real: Ha!!!!! You go Taylor! I’m a sucker for a song that injects a bit of truth in a seemingly light, cutsey song. Paris Hilton, Britney Spears and OJ…. We have your number. Oh yea…. I don’t know why I love this song so much. I just love lyrics, “she’s got the Paparazzi behind her Maserati...” and any song where I can hear Taylor say the word “Bootie” can’t be all bad. ;) Yes indeed….. B+

I Live On a Battlefield: Another top 5 song for me, written by Nick Lowe. Vocally, it fits right into his pocket – as well as style-wise. A bit of arrangement departure from the original, but it just grips you with a tight arrangement, not to mention that it is delivered masterfully. This song reminds me of the old folky songs from the early 60s with phrases such as “muddy waters”. A definite throwback here. A-

Wedding Day Blues: Okay, I knew this was coming, but I just don’t feel this song. The words are cute – reminds me of the storyline in the movie “The Graduate” – a twisty turn, ironical lyric but the melody and the construction of the song isn’t sinking in with me. I’ll definitely put this one in the novelty song column. I’ve give Taylor two points for this - one, it sure isn’t something you’ll see matched on your local radio station and two, he's got a great sense of humor! ;) Dare devil Taylor all the way! C+

Woman’s Gotta Have It: Without a doubt, this song is my favorite cut on the album. Taylor and guest vocalist and American Idol Season 5 finalist, Elliott Yamin, both shine on this wonderful old 1972 soul classic from the great Bobby Womack. It peaked at #1 on the R&B charts back then. It just goes to prove that a great song is a great song, no matter how many years later it gets performed. That gut wrenching growl in the middle of the song – true to form as Womack did it on his own original. I adore that Taylor kept in the opening, speaking part of the original as well. This is a technique that was very common during the Motown days of the 60s and 70s and has been a lost art for decades. Their vocal blend and the back and forth banter that closes the song is just plain wonderful to hear from these two great soul stylists. It’s a good ‘ol joyous song and one that will get many repeats on my IPod. A+++

Variety Magazine Gives Taylor Hicks A Rave Review For His Role in *Grease*

We're having some fun now, eh kids? Taylor Hicks just received an awesome review from the industry bible - Variety Magazine!!! All the Hollywood biggies read this publication (it's been around since the beginning of time, I think!)... read and enjoy friends and foes! Our soulman is definitely in the big leagues! Enjoy!

"...While "Grease," the touring version of the recently closed Broadway revival, lacks the inspiration and emotional sincerity needed to be more than merely peppy and puerile, it does come alive from a sheer kitsch perspective when Taylor Hicks of "American Idol" fame emerges from a giant ice cream cone to sing "Beauty School Dropout." In fact, the biggest laugh of the evening comes when the flirtatious Frenchy twirls Mr. Hicks' exposed chest hair and purrs, "I voooted for you."

The line, delivered deliciously by standout Kate Morgan Chadwick, has layers of significance beyond a single moment of self-conscious humor, since this "Grease," directed and choreographed by Kathleen Marshall, was originally birthed on the NBC reality show "Grease: You're the One That I Want," in which the television audience selected the previously unknown Max Crumm and Laura Osnes to become Rialto headliners in the revival.

So the first important fact to remember about this tour is that Max and Laura are not in it.

Yes, the performers swearing in as this Danny and Sandy from Illinois, Eric Schneider and Emily Padgett, were appointed and not elected. They deliver perfectly capable performances, singing and dancing with plenty of polish. But, like much else in this show, they don't express a lot in the way of true personality.

Schneider ("Jersey Boys," "Altar Boyz") has a full set of performance gifts, but while he possesses Crumm's youthfulness, he doesn't have the natural slacker mentality that made the aud's selection fairly interesting.

And Padgett is full on the prototypical Sandy, blonde and totally believable as the good girl. Her transformation at the end into the updated let's-get-it-on bombshell, in fact, is so complete it almost seems Schneider's Danny recognizes her too quickly.

Like both Osnes and Crumm, this cast has a fundamentally squeaky clean, heartland aura, emanating innocence even when accessorized with leather jackets or big hair. And perhaps the casting was partially the inspiration for Marshall to create her colorful, crisp, comicbook inspired take on the show. It looks good, it sounds OK, but it's also both literally (in terms of the sets) and figuratively (in terms of the characterizations) two dimensional.

The ensemble boasts plenty of chops, particularly an ability to capture the melodic elements of the songs. And they do their best to amp up the comedy. But, the little love stories that drive the plot have no dramatic force whatsoever. All the scenes have the same energy, the emotions are all plastic, and the characterizations, purely generic.

This is where Hicks separates himself, creating his own little show-within-a-show, lifting us out of the manufactured quality of the production to enjoy a few moments of an over-the-top oddness that's decidedly individual. Yes, he delivers on pre-ordained expectations -- he even plays the harmonica and dances, as Simon Cowell described it, like he's a father at a party trying to embarrass his kids.

But, to his credit and to the audience's enjoyment, nobody else could be this Teen Angel, and there's no point in even trying to compare him to Frankie Avalon...."

AllMusic's Review of Taylor Hick's "Early Works" CD

ALL-MUSIC Guide recently posted their official review of Taylor's "Early Works" CD. They gave a very fair and positive review which should attract folks reading about the album for the first time (3 1/2 stars out of 5). I loved the way he sensed a Stephen Stills/Van Morrison feel to a few of the songs. He calls the songs "sweet, folky singer/songwriter pop". I have a feeling Taylor's new album will be more in this vein than the first one on Arista. Taylor's music is *real* with *real instruments* - not synthesized prefabricated beats. A big thanks to Stephen Thomas Erlewine who reviewed this album without the obligatory comparison to anyone else. That really gets old and is completely unnecessary. Here is a fresh, clean opinion sans any comparisons. How nice. You can read it on their website, or I brought it over here for your convenience:

Review
by Stephen Thomas Erlewine
Officially released on CD late in 2008, long after his American Idol spotlight dimmed so dark he lost his major-label contract, Early Works reveals that Taylor Hicks was always a working musician, a no-fuss journeyman that cranked out soulful rock & roll, the kind that always sounds pretty good in a beer ad. That isn't much of a surprise: his Idol performances and post-Idolalbum suggested that he could always crank songs like "Soul Thing" and the softer "The Deal," a Bob Seger-styled midtempo number that surfaced on his major-label effort and is here in an early incarnation that isn't that much different. What's surprising about Early Works is its strain of sweet, folky singer/songwriter pop, halfway between Van Morrison and Stephen Stills. Most of the record is in this vein - possibly because it's a sound that's easier to market than the soul-rock that made his name - and while it's just as classic rock in its own way as the barroom blues boogie that brought him fame, it does suggest a depth not quite heard in his Idol-era performances. It's still journeyman stuff - music marked by its dogged devotion not divine spark - but it's well-done, heartfelt and endearing, sounding like the work of a local boy made good.

Taylor Hicks: "Stirring Voice and Charming Presence" as the Teen Angel in 'Grease"

Very nice review for Taylor and the cast of Grease from the Columbus Dispatch! I'll g'head and re-print the entire review, but I highlighted his awesome commentary of Taylor's performance! I think it's safe to say he's as much of a smash on the road as he was on the Broadway stage. Perhaps Taylor does have a second career in musical theater! Time will tell... in the meantime, enjoy this review by Michael Grossberg.

"...Smooth and slick and fun but emotionally as deep as a 1950s crew-cut, the new Grease lives up to its title in too many ways.

The more-youthful casting works up to a point in the peppy Broadway tour, which opened yesterday at the Palace Theatre.

The performers certainly sing and dance well, reflecting the spirit of vibrant but insecure adolescence. Yet, the acting mostly ranges from the generic to the cartoonish.

Director Kathleen Marshall makes up somewhat for the one-dimensionality when she isn't causing or allowing it with nifty choreography, brisk pacing and elegant scene transitions.

As disc jockey Vince Fontaine, Dominic Fortuna leads a pre-show with wisecracks, a sing-along and hand waving designed to set the mood and capitalize on aging boomers' palpable desire to fall in love again with a favorite musical about idealized high-school rites of passage.

Such expectations falter a bit as the two-act show progresses, buoyed here and there by the energetic reprise of Summer Nights, Greased Lightning, We Go Together, Born to Hand-Jive and a few other golden sequences.

Even those great songs are undercut by a blaring oldies-rock orchestration that occasionally obscures lyrics. That may especially irritate those who walk in without already knowing all the words (but for the baby-boomer generation, who doesn't?).

While the 1978 movie was a star vehicle partly because of the many close-ups on John Travolta, Olivia Newton-John and Stockard Channing (the definitive Rizzo, much missed onstage) the stage version always was more of an ensemble piece.

Without the star quality needed to add personality and nuance to their roles, the young actors playing the leads tend to approach individuality only during their solos such as Sandy (by Eric Schneider as greaser Danny), Hopelessly Devoted to You (by Emily Padgett as school newcomer Sandy) and There Are Worse Things I Could Do (by Allie Schulz as tough-but-tender Rizzo)

A pleasant exception: David Ruffin, whose sensitivity as Kenickie can be felt throughout his scenes.

Predictably, the strength of this tour, which reflects the movie more with added songs, is its ensemble and crowd scenes. Among the supporting players adding vivid humor: sweet but hapless Frenchy (Kate Morgan Chadwick), gawky Doody (Brian Crum), nerdy Eugene (Scot Patrick Allan) and Miss Lynch (Roxy Lucas).

Taylor Hicks, an American Idol winner, seizes his magical moment. As Teen Angel, he sings Beauty School Dropout with a stirring voice and charming presence that nods with a few grins to his celebrity. Others may prefer the golden-oldie singers who filled the role on film or previous tours, but Hicks gets my vote.

The candy-colored design and glow of idealized nostalgia extends through Derek McLane's scenery, Martin Pakledinaz's costumes and Kenneth Posner's lighting.

Many fans will walk into this revival wanting to like it more than they will when they leave. Even so, the songs are such catchy favorites that just about everyone should have a good-enough time..."

GREASE, Starring Taylor Hicks Grosses Over $1.1 Million In Its First Week!

Despite a sluggish economy, Taylor Hicks is bringing people out to see the touring company of 'Grease' this winter, which started in Providence, RI on Dec. 2. According to the Providence Journal, "...the new national tour, headlining American Idol winner Taylor Hicks, is doing well at its first stop in Providence. Lynn Singleton, president of PPAC, said he expects the show to gross about $1.1 million this week, or about 10 percent better than Legally Blonde, which opened its national tour here in September.

“We’re very pleased,” said Singleton. “The market has responded well in a daunting time, and on top of that the crowds seem to love the show.”

Singleton said he expects the show to play to about 80 percent capacity before it closes in Providence tomorrow. From Providence the touring show leaves for stops in 13 other cities by the end of May...."

And, he's making believers out of just about everyone who sees the production. Jessica Braley of the Herald News put it this way:

"...Consider yourselves warned. The number of times I voted for Taylor Hicks to win “American Idol” may directly interfere with my ability to be partial when reviewing the touring production of “Grease” at the Providence Performing Arts Center.

At first, I was skeptical at the Idol winner’s ability to pull off the teen role first made famous by Frankie Avalon, but with a booming voice and a few flashes of his harmonica skills, Hicks made a believer out of me. Catching a glimpse of the star posing for pics with fans on his way into the theatre certainly helped.

Bringing a personality and a personal history to the role, Hicks delivered a shining, literally and figuratively, performance as Teen Angel and his performance of “Beauty School Dropout” was certainly one of the high points of the show. Descending from a glittering, fur-lined ice cream cone to the stage in a sequined, glittering suit complete with flashy angel wings, Hicks mesmerized Frenchy and the audience. Frenchy, played exquisitely by Kate Morgan Chadwick, snagged a few laughs when pleading with Hicks as she toyed with his open shirt, “You know ... I voted for you...”

Or how about this unsuspecting blogger who completely get turned on by Taylor's performance as Teen Angel.... check this one out ...

"...omg omg omg just saw grease at ppac.

well, saw it last night. but it hit me so hard that it feels like i just saw it.

see now i feel bad because i honestly enjoyed it, and those last two sentences make it seem like i didn't. so, to clarify, i did enjoy the performance. but what i enjoyed most was TAYLOR HICKS.

awww yeah he's too old to play any of the main characters so he played 'teen angel' and sang 'beauty school drop out' to frenchie.

and i'll be the first to tell you that i was never really big into mr. hicks, there. or american idol at that moment. but now that i saw this show? well, i will also be the first to say that he stole the show.

really, he did. good song, good acting, really enjoyed himself. of course, he has sang this song hundreds of times, but he seemed to really enjoy it. and thus, i did too...."

or Dick Upson of the Blues, Soul & Rock 'n Roll blog:

"...Hicks has a big, soothing voice that was perfect in the best doo wop fashion as Teen Angel consoles poor Frenchy that she can still "...go back to high school.." even if she is a "Beauty School Dropout..."

Or how about this from Randy Rice at BroadwayWorld.com:

"...Taylor Hicks, whom the audience adores, has a magical entrance and does a fine job as Teen Angel. While Hicks may be a draw to bring the audience into the theater, he does not rely on gimmickry. Hicks understands the campy nature of the role but approaches Teen Angel with artistic integrity. He gets to wail a few bars on his harmonica, which adds another dimension to the character..."

You GO Taylor!!!! Show the country what you got, dude!

Photo by Diane @ The Boogie!! Thanks! :)

Taylor Hick's Brand New CD "Early Works" - An Overview!

If you haven't picked up your copy of Taylor's new compilation CD "Early Works", what are you waiting for? Don't think you have these songs if you own Taylor's two indie albums "Under the Radar" and "In Your Time". The remastering makes them must haves as far as I'm concerned. Many of the stores are only carrying a few copies (some more than others), and many are already sold out (more inventory is on the way from what I've heard), but it's one collection you should have in your CD library. The sound improvement (re-mastering) is impeccable and makes some songs almost sound like brand new versions! Remember, the CD is available only in your local Target Stores (it's not available on-line anywhere in the U.S. - yet!), so do yourself a favor and treat yourself to this wonderful selection of original music from the best singer/songwriter and most unique winner American Idol has discovered to date (and likely ever will).

Here's my impression of each of the 12 songs:

Soul Thing: Taylor's mantra, his trademark song, the words he lives by. This song makes it 3rd appearance on a CD - "Under The Radar", "Taylor Hicks", and "Early Works". Think he likes this song? I'd say so! This ditty says it all for him - It's A Soul Thing (hey! that's a great name for a blog!) With the remastering, this song just jumps out and hits you in the face! So clear, so beautifully done - it's another favorite of mine and a staple at all of Taylor's live shows.

...I've been traveling all these years,
just barely getting by.
The road can be your friend
Or the devil in disguise.

When the tough get going,
the muses visit me.
Yet in soft, low tones,
they always say to me, say to me,

It ain't no groove thing,
It ain't no country twang,
It's a simple refrain
It's a soul thang...."

The Fall: Ah! Such a beauty! The simplicity of the sentiment and arrangement makes this one a fan favorite. Taylor said this song, about a failing relationship, was only the 2nd or 3rd song he ever wrote in his life. I hope we hear more of this acoustic sound from him on the new album coming up. The hissing from the original is pretty much gone from this copy and its purity just shines through.

Hold On To Your Love: This song also benefits greatly from remastering where the highs are crisper and the lows are clearer. One of my favorite songs from the Under The Radar album. The calypso beats and the uplifting melody are great mood generators. I always thought this would be a great summer release for Taylor. Speaking of which, I can see this and maybe a few others in this collection i.e., Soul Thing and The Fall, making an impact on certain music charts if they were released as singles.

The Deal: Along with "Soul Thing", this is the third appearance of this song on one of Taylor's CD, appearing on "Under The Radar", "Taylor Hicks", and "Early Works". A wonderful mid-tempo ballad with a beautiful arrangement. One of his best compositions.

Heart and Soul: Oh how I love the Hammond B3 organ that runs throughout this song! One of my favorite instruments! This song went through a few changes before settling on this version, most famously the change of title from it's original "Blues and Soul" version. The song captures a live feel which makes it the perfect Taylor Hicks vehicle. A real gem.

In Your Time: This is the first song Taylor claims he ever wrote and has this sort of classic jazzy soft-rock feel to it dating back to somewhere in the mid-70s. Being a child of the 70s, I say this with some authority! The song is distinctive because of the shift in tempo somewhere in the middle where he goes into another zone and heart-achingly cries out in the familiar Taylor growl - "soooooooooth me baby, street light prominade" - a sound you will NOT be hearing on your current Top 40 music station, that I can guarantee you. Awesome song and nicely remastered.

West Texas Sky: This was my least favorite song from the Under the Radar album, but I must say, after really listening to it on this collection, I've decided I love it lyrically - it's about a man taking his dreams on the road. Another totally autobiographical chapter in Taylor's life at the time. I suppose what I didn't love about it initially was that it was weak vocally, which I still maintain (compared to some of the others on the collection), but is still a great addition to the whole story that is on display here.

"...So you're drivin' away these miles
So far away from your southern home
Takin' your charms and dreams to the Golden State
Make your way, seal your fate

That's when you're gone away
Where no one will hear you cry
When you're late For that west Texas sky..."

Somehow: Taylor really lays his insides out here in this gut wrenching tune. Very insightful words of pain from such a young man at the time. His world was less than bright when he wrote this ditty and is expressed brilliantly in the dark lyrics. My favorite on the CD. Along with "Georgia", this is the tune that benefited most from the remastering. His voice was always too low on the "In Your Time" CD, especially toward the end of the song, but here it is brought out and clarified.

"...There’s too many things left to be unsaid,
So I’m in a dark hole,
Sometimes in my head,
But I”m all right,
I’ll get by
Somehow!

You wanna feel their emotions,
Sometimes even hold their hand,
But they’re giving nothin’ in return
To suit their own demands.
And I’m tired, but I’ll get by
Somehow.

Look at the people all around you,
Stabbin’ at your heart,
But you still smile in kindness,
For not knowing who they are.

And their stories have ended,
And they’ve lit up the town,
And it’s time to go home,
As they’re going, they’re layin’ their bodies back down.

There’s too many things left to be unsaid,
Somewhere a dark hole
Sometimes in my head,I’m tired, but I’m all right
And I’ll get by
Somehow..."

Tighten Up: With this song, I figured out why I'm so enamored with Taylor - and that is we have such similiar taste in music. Long before I ever heard of him, I had this song on a few compilation CDs I had put together. I mean, come on, who considers Archie Bell's "Tighten Up" one of the greatest hits of all time? I thought I was the only nut out there until I heard Taylor's version. It's such a tight, funked up version that showcases all of the musicians that played with him in the early days. The musicianship is flawless and just makes you feel great! Taylor Hicks - the young band leader doing his 'thang' here. But Taylor! The song goes way back - way back - even further than your 1973 declaration - it's actually from 1968. And where is the credit to Archie Bell in the linear notes? Should we add that as Taylor mystery #78? Could the song be in the public domain? Someday we'll get an answer to this. But, despite those pressing question marks, it's one of my favorites on the CD - and makes great driving music! The remastering just lights up the song! Brilliant!

Son of a Carpenter: Another lyrically great song from Taylor and quite possibly his first socially aware song. This is the type of stuff I'm looking foward to hearing more of in future recordings. Recently, Taylor said that his new album will be sprinkled with some socially relevant issues and if the song was written today, I'd say it fit the category. I also love the ambivilance of its meaning - exactly who is the son of a carpenter?

"...In the times to short to follow
A man as cold as steel
A work that can only be swallowed
By a fire lit kiln

Now the times are heavy on their shoulders
For the people who pave our ways
No more running for the future
Cause the past is here today

For the son of a carpenter
I can feel your pain
For the son of a carpenter alone again

Decades of sorrow war and grief
And to many things going wrong
The land is wasted and time is running short
For their power ismuch too strong

For the son of a carpenter
I can feel your pain
For the son of a carpenter alone again

He has nothing but to be left alone
His hands and work should willbe carried on
From a third generation son to af uture grandchild
The work of a carpentersmakes the whole world smile

And to many thing going wrong
The land is wasted and timeis running short
For the workof a carpenters will carry on
Carry on..."

My Friend: It's the "impossible to sit still" song on the CD. Just a happy, joyous jam-band ditty that shows off a bit of Taylor's harmonica playing. I always love to hear this tune live as it was recorded here. "Share that smile........ Great job, Taylor!"

Georgia: Last but not least, the song that benefited the most from the restructuring and remastering effort - Taylor's homage to his biggest musical influence, Ray Charles, the beautiful "Georgia on my Mind". I must say that this is perhaps the best interpretation and arrangement of this song that I've ever heard, aside from Mr. Charles himself. It's pure Taylor inside and out, and perfectly delivered. The soul and the gut wrenching, almost gutteral sounds that comes from his inner depths is put on display here. The tweaking of the highs and lows almost makes this live version sound like a new recording as far as I'm concerned. And that sweet harmonica 'crying'. Doesn't get much better than this. Thanks, dude, for painting this beauty with a fresh face. It deserved it - it's just that good.

Review: Hicks Is The Word..... On Broadway!

I'm a little late posting this, but here's a great review/promo for Taylor in Grease on the Broadway.TV website! Ya gotta love all the unbelievable great press he's continuing to get! Check this out....

"...They are the pictures everyone is talking about, and we have them for you. It was something to behold. American Idol winner and leader of the Soul Patrol conquered Broadway on Friday night with his appearance in the hit revival of "Grease" at the Brooks Atkinson Theatre. The camera does not lie, and the pictures to prove that Taylor Hicks has lost none of his star power since leaving American Idol. Those on hand felt it was quite an exciting evening, and the first of many as Taylor Hicks continues his run as "Teen Angel." Take a look and enjoy this peek at Broadway's newest Idol. Grease may be good, but right now "Hicks" is the word! ..."

Taylor Hicks - Another Light On Broadway Has Been Lit!

Okay folks, I just have no words to tell you all the pride I'm feeling as I read the many accounts of his performance in Grease from those who attended. It just goes to show me that Taylor Hicks can do anything as a performer - that nothing is out of his reach or grasp or capability, whether it's being a platinum selling recording artist, or a dirty-ass bar blues singer in some hole-in-the wall club, a business-savy guy who is opening up a 6,000 sq. ft nightclub in Birmingham Al, wowing a television audience and getting 67 million people to vote for him as their American Idol Winner '06, or performing on a Broadway stage and bringing both a bunch of hard core New Yawkers and tourists to their feet in roaring applause. Taylor F. Hicks is a STAR, people, and don't forget that and don't let anyone tell you otherwise!

BTW, do check out the 2008 Tony Awards Sunday, June 15th 8/7c where Taylor is more than likely going to make at least an appearance on the show. And if we're lucking a few red carpet pictures! And then on Friday, check out Regis and Kelly (June 13th) for a performance from the cast of *Grease*, and a song from Taylor!

If you'd like to download Beauty School Dropout, here you go:
http://www.sendspace.com/file/dgub6q

Thanks to Diane and Tappanga for the video!



From Getty Images! This so friggin' KEWL! This will be displayed at the Planet Hollywood in Times Square!











Here is the insert from the Playbill (click to enlarge):


























There are many pictures from last night to look at. Check out TaysHarmonica's Website, RightClickSave, for some AWESOME pictures of Taylor from the performance and from Planet Hollywood where he left his hand-prints (and harmonica prints) for the restaurant. Here's some of my faves:

(With "Frenchy")

With Max Crum and Laura Osnes (Danny & Sandy)

Taylor Hicks Blows the Roof Off Of The Brooks Atkinson Theater According to Theater Goers!

SUCCESS folks!! Okay, I'm getting bits and pieces from those who attended Taylor's opening night in Grease. Thanks to everyone at The Boogie who posted these little tid-bits for us to enjoy (TaysHarmonica, Bates, Diane, Juliegr, Skeeter, AmyH and anyone else I forgot to mention). You guys rock! So here we go....

Those who sent gifts, cards and balloons will be happy to know that they are all sitting in a room all their own at the theater! I can only imagine how MUCH stuff he got - and yes Taylor has his own dressing room it has been reported. Taylor F. Hicks is IN DA BUILDING folks! Heh!

Anyway, even before the show started, one of the stage hands who saw a rehearsal said he was "fucking awesome"! I love that! For tonight's performance, he wore what appeared to be a black sequined suit with a white sequined shirt and white patent boots. He sang from a big ice-cream cone at first, then descended down to the stage, the cone opened up and then proceeded to sing to 'Frenchy' (damn lucky girl!) He sat in that ice cream cone during scene before his. I have conflicting reports about the pompadour hairstyle he was wearing - not sure yet if it was his own hair that was teased or a wig. Then he went back into the ice cream cone, played the harmonica again and did his signature Ray Charles 'head toss'. He remembered EVERY LAST WORD of the song, the pro that he is, and 'camped up the performance' - even did some falsetto! (Ignore any troll that says otherwise - trust me). The performance was called a "showstopper"! And most of all, he appeared to be having FUN and totally hamming it up! The audience was cheering and screaming after he left.

At the curtain call there were "tons" of photographers rushing the stage. A lot of people in audience took pics as well. During the cast performance at the end, he had a few short solos and he sang, "Grease is the word" as a solo line. He also did the hand jive with his harmonica. Without question, Taylor got the loudest response from the audience. He was "glowing" when he exited the stage doors. He signed everything and talked to everybody. He was signing playbills, etc. (some people even had his book). The playbills weren't reprinted yet with his picture, but there was an insert with his picture and bio. He had an SUV waiting for him and he had to leave quickly. The cast came out and he took some pictures with them as well. One of the women actresses said there was an after party for Taylor at Planet Hollywood. While there, Taylor left his hand-prints and the press was out in full force snapping away (look for pictures soon!). Okay that's all for now - more to come!