Dick Wagner with Crash Street Kids
1019 E. Indian School Road
Phoenix, AZ, 85014
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
CANCELLED Dick Wagner
A man known to his fans and friends as the "Maestro of Rock," DICK WAGNER'S songs and lead guitar have been featured on more 200 renowned albums, garnering more than 35 Platinum and Gold records, BMI songwriter awards, Emmys and numerous prestigious international awards.
The Detroit area native helped define an era in rock history by playing lead guitar and writing songs for Alice Cooper, Aerosmith, Kiss, Lou Reed, The Frost, Peter Gabriel, Meat Loaf, Ringo Starr, Tina Turner, Etta James, Air Supply, Hall & Oates, Little Richard, Roy Orbison, Jerry Lee Lewis, Lita Ford, Nina Simone, Frank Sinatra, and many more.
Legendary for his groundbreaking collaborations with Alice Cooper—for whom he was musical director, lead guitarist and co-writer of the icon's biggest hits, including Only Women Bleed, You and Me, and Welcome To My Nightmare, Wagner was Cooper's right hand man on such groundbreaking albums as Welcome to My Nightmare, Alice Cooper Goes to Hell, Lace and Whiskey, From the Inside, The Alice Cooper Show and Da Da. Together, Cooper and Wagner co-wrote the majority of Alice Cooper's top selling singles and albums, including more than 50 songs that are featured on 57 Alice Cooper albums worldwide.
In 2012, Wagner's memoirs, Not Only Women Bleed, Vignettes from the Heart of a Rock Musician were released to tremendous acclaim, spending more than two weeks at #1 on Amazon.com's Hot New Releases in Biographies & Memoirs of Entertainers. In the words of renowned producer Bob Ezrin (Pink Floyd, Alice Cooper): Wagner's book is: "witty, artful, literate, sometimes cheeky...wistful and exuberant but, above all, musical." Ryan Sparks, Classic Rock Revisited: "Wagner takes the reader on a highly entertaining and compelling emotional roller-coaster ride that seemingly leaves no stone unturned. 'Not Only Women Bleed' is almost impossible to put down."
Nearly fifty years after launching his storied and dynamic career, hit songwriter, guitar virtuoso, producer, arranger and author, Dick Wagner, remains a brilliant and vibrant force on the pop/rock landscape he helped create.
Crash Street Kids
Loaded with equal parts glitter and sleaze, Crash Street Kids mark their return to the scene with an unabashedly filthy record called "Sweet Creatures".
Unusual in this day and age, the"Kids are extraordinarily prolific having released 3 critically acclaimed concept albums in 3 years, capped by a blistering double live record. Fans wanted to know what they would do next. Wisely, the band kept plans for their new album close to the vest. Would they expand on the "Supersonic Star Show" trilogy or break new ground? The answer is, to put it in Transatlantic Suicide terms, "the kid is dead."
Leaving behind a story line CSK has developed over 3 albums was surprisingly easy. As drummer A.D. Adams says "we feel like a new band now, it's exactly what the doctor ordered." "No question that expectations were high following 'Transatlantic Suicide'" says singer Ryan McKay about trumping 2008's glittery magnum opus. "..but we thrive on that.." But don't for a minute think that "Sweet Creatures" is a big departure from their trademark sound.
The band sounds absolutely devastating on this platter. A "new band" in attitude perhaps, but still carrying the echoes of Bowie, T. Rex and Alice Cooper in their make-up kits. Veering wildly between footstomping glitter rock to snakey "Exile on Main Street" Stones swagger to epic Queen like ballads and back again. Nor should you think that it's a run of the mill collection of various songs with no central theme. That's right. Another concept. Fans of the band's modern spin on glam will delight in the first single "Bang Bang (You're Beautiful)". A stomping, four on the floor anthem of utter filth. That is if you find someone who's "drop dead foxy, dopesick and miserable" attractive. "Sad Julia" marries the New York Dolls to Ian Hunter's early Mott the Hoople. With layers of guitars and Dylanesque organ underpinning the lyric about a boy begging his love interest for a night on the town. As a whole, "Sweet Creatures" tells the story of two runaways that find each other on the street and fall for one another while living as prostitutes. In debt to their pimp, they blur the line between real love and love for a living. Along their journey they encounter drug pushers, fellow prostitutes, and transvestites. McKay states, "At the end of the day, it's a love story. Weird, unsettling. But sometimes that's what love is."
The Rhythm Room
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