Tuesday, November 8, 2016
30th Anniversary of To Hell With the Devil
It was the fall of 1987. I was watching DIAL MTV. A video was featured for the first time of a glam rock band--one of many I was to have a lifetime love for. The name of the band was Stryper, their video for a power ballad called "Honestly." This was one of many beautiful songs written by the young hard rock superstars at the time. The credits at the beginning and end of the video listed To Hell With the Devil as the name of the album it was on.
In my naivete at thirteen years old, I had no idea what this album would mean to me and many I would meet.
This past Saturday, I went to the to the Forum in Hazard, KY, to support the tour of the 30th Anniversary of that album. The band, and Michael Sweet, himself, had recently rocked this town, maybe even put it on the map as a destination concert venue for hard rockers from the South and Midwest.
I consider it almost funny the timing of the 30th anniversary tour for that album. In addition to my 29 years since the night I "met" Stryper via television, the weather had finally changed to real fall temperatures, daylight savings time was going to end, and the biggest and most important Presidential election was only days away,
Opening up for Stryper was Forsaken Hero, from Marion, Virginia. They had opened up for Stryper back in June for their Fallen tour, and were honored to do the same for this one. Though I regret not paying much attention to them then, I did this time. My friends and I will agree they sounded better the other night. Just a handful of songs into their set, and I could tell they were heavily influenced by Stryper's heavenly heavy music: no hindrances in the lyrics, or their sound--I heard some grunge from time to time--and most of all, their great attempts to rock as hard and loud as Michael, Oz, Tim, and Robert, combined. They were a six-person band with a Stryper attitude...dressed in red and black.
What I appreciate about this band was their shamelessness in covering 80s anthems "I Love Rock and Roll" and Genesis' "Land of Confusion." I'm sure Stryper was backstage applauding them for this. Backup vocalist Emily Price took the lead in the former. The latter was about the "confusion" about this election, that will take place at this writing in just a matter of hours.
I can't remember the last time I heard a fully instrumental rock or pop song; that is rare these days, maybe even a lost art, worse yet, obsolete. To prove me wrong on that extinction was Alan Robinson . He and his band had no words; neither do I except....WOW! This is something all music lovers, even guitarists of all skill levels, should check out. Great for all occasions, including but not limited to birthday parties, weddings, and any venue known to man.
Then...to set the stage (literally) for what was ahead:
What followed was a great video of the band, how they got started, as Roxx Regime, and how they were the trailblazers of Christian hard rock. Through all the ups and downs they have experienced as a band, they are still together...and still rockin' for the Rock. And that they did...in two sets. The first set was To Hell With the Devil, song by song from the album and in order.
Never in my life had I been so excited about and gotten goosebumps as a result of hearing "Abyss," knowing what song would follow. I don't need to mention it; it is eternally synonymous with the name of the band. The same goes for all of the other hit songs on it, not the least of which is "Honestly," "Free," "The Way," and "Calling on You."
By the way, I should let you know this is all in the context of someone who didn't see them back in the day. Hence, my above-mentioned reaction to "Abyss."
The second set was even better. It had the same kind of start, with "Yahweh." Like Forsaken Hero, they covered songs like KISS' "Shout it Out Loud." That was an awesome tribute: If it hadn't been for KISS, we wouldn't have Stryper. To that end, I say, "Stryper, continue rocking on for the Rock."
In my naivete at thirteen years old, I had no idea what this album would mean to me and many I would meet.
This past Saturday, I went to the to the Forum in Hazard, KY, to support the tour of the 30th Anniversary of that album. The band, and Michael Sweet, himself, had recently rocked this town, maybe even put it on the map as a destination concert venue for hard rockers from the South and Midwest.
I consider it almost funny the timing of the 30th anniversary tour for that album. In addition to my 29 years since the night I "met" Stryper via television, the weather had finally changed to real fall temperatures, daylight savings time was going to end, and the biggest and most important Presidential election was only days away,
Opening up for Stryper was Forsaken Hero, from Marion, Virginia. They had opened up for Stryper back in June for their Fallen tour, and were honored to do the same for this one. Though I regret not paying much attention to them then, I did this time. My friends and I will agree they sounded better the other night. Just a handful of songs into their set, and I could tell they were heavily influenced by Stryper's heavenly heavy music: no hindrances in the lyrics, or their sound--I heard some grunge from time to time--and most of all, their great attempts to rock as hard and loud as Michael, Oz, Tim, and Robert, combined. They were a six-person band with a Stryper attitude...dressed in red and black.
What I appreciate about this band was their shamelessness in covering 80s anthems "I Love Rock and Roll" and Genesis' "Land of Confusion." I'm sure Stryper was backstage applauding them for this. Backup vocalist Emily Price took the lead in the former. The latter was about the "confusion" about this election, that will take place at this writing in just a matter of hours.
I can't remember the last time I heard a fully instrumental rock or pop song; that is rare these days, maybe even a lost art, worse yet, obsolete. To prove me wrong on that extinction was Alan Robinson . He and his band had no words; neither do I except....WOW! This is something all music lovers, even guitarists of all skill levels, should check out. Great for all occasions, including but not limited to birthday parties, weddings, and any venue known to man.
Then...to set the stage (literally) for what was ahead:
What followed was a great video of the band, how they got started, as Roxx Regime, and how they were the trailblazers of Christian hard rock. Through all the ups and downs they have experienced as a band, they are still together...and still rockin' for the Rock. And that they did...in two sets. The first set was To Hell With the Devil, song by song from the album and in order.
Never in my life had I been so excited about and gotten goosebumps as a result of hearing "Abyss," knowing what song would follow. I don't need to mention it; it is eternally synonymous with the name of the band. The same goes for all of the other hit songs on it, not the least of which is "Honestly," "Free," "The Way," and "Calling on You."
By the way, I should let you know this is all in the context of someone who didn't see them back in the day. Hence, my above-mentioned reaction to "Abyss."
The second set was even better. It had the same kind of start, with "Yahweh." Like Forsaken Hero, they covered songs like KISS' "Shout it Out Loud." That was an awesome tribute: If it hadn't been for KISS, we wouldn't have Stryper. To that end, I say, "Stryper, continue rocking on for the Rock."
Saturday, September 17, 2016
Styx at the Tennessee Valley Fair
The third time is always the charm!
Such is the case in my attempts to see Styx for the past fifteen years. I tried once in the fall of 2010, when they were on tour with REO Speedwagon, Survivor, and Journey. The show got cancelled. I tried again about a year ago when they were with Tesla and Def Leppard. But some other plans I had made a few months beforehand took priority.
Then, I heard Styx would be in my neck of the woods...at the Tennessee Valley Fair. I needed to go, that's all there was to it.
And I went.
I don't consider it an accident that this show was outside on a night before a full moon.
Was the full moon the reason this legendary band was graced with a sold-out show that only dedicated lifetime classic rockers from Tennessee could give? If so, I was glad to be a part of this.
The band expressed their gratitude by giving us a show that took us back to the 70s, when things were simpler, and hard rock music was king. Timeless classics like "Sail Away," "Blue-Collared Man," "Grand Illusion," "Crystal Ball," and "Renegade" were just a few songs that made the crowd go wild.
That is only mildly describing what the band was like, not for one moment letting up. It was as if they showed us the past few decade hadn't done them in. The same could be said about the ever-brilliant light show! The designs seemed to change by the song.
In addition to them playing some of the best songs ever, at one point, they left the stage for a long few minutes. I'm sure I wasn't the only one who thought the show was over, with no chance of an encore.
And they came back to give us some more!
They can do that again in Knoxville.
Such is the case in my attempts to see Styx for the past fifteen years. I tried once in the fall of 2010, when they were on tour with REO Speedwagon, Survivor, and Journey. The show got cancelled. I tried again about a year ago when they were with Tesla and Def Leppard. But some other plans I had made a few months beforehand took priority.
Then, I heard Styx would be in my neck of the woods...at the Tennessee Valley Fair. I needed to go, that's all there was to it.
And I went.
I don't consider it an accident that this show was outside on a night before a full moon.
Was the full moon the reason this legendary band was graced with a sold-out show that only dedicated lifetime classic rockers from Tennessee could give? If so, I was glad to be a part of this.
The band expressed their gratitude by giving us a show that took us back to the 70s, when things were simpler, and hard rock music was king. Timeless classics like "Sail Away," "Blue-Collared Man," "Grand Illusion," "Crystal Ball," and "Renegade" were just a few songs that made the crowd go wild.
That is only mildly describing what the band was like, not for one moment letting up. It was as if they showed us the past few decade hadn't done them in. The same could be said about the ever-brilliant light show! The designs seemed to change by the song.
In addition to them playing some of the best songs ever, at one point, they left the stage for a long few minutes. I'm sure I wasn't the only one who thought the show was over, with no chance of an encore.
And they came back to give us some more!
They can do that again in Knoxville.
Saturday, August 20, 2016
Kirra, Run Away
If I had to take an educated guess about what inspired Kirra-Jesse Williamson, lead vocals; Daxton Page, lead guitar; Ryne McNeill, bass; and Zach Stafford, drums-to write the lyrics to the songs of their CD, Run Away, I would say it was from watching a favorite horror movie after a nasty breakup with a girlfriend. Which movie, I won't attempt to guess. What really happened in the relationship, I won't pry.
It must have been a horrible breakup and the writer's emotions so high it took him a short amount of time to come up with a 12-song CD. For what it's worth, if we didn't have strong emotions or conflict in our lives, we wouldn't have "Barracuda," by Heart. That hit song took the Wilson sisters only about twenty minutes to write.
Kirra's music is solid, rich. And this statement doesn't necessitate any debate. It's a combination of Cobain-esque vocals and solid music, an important and valuable aspect of rock music. The music is a healthy balance of classic rock, heavy metal, and thrash. Best of all, I have almost no problem understanding the lyrics nor the meaning of them. Those two things in and of themselves are very rare. Therefore, if I read an article about some misunderstood lyrics, I'll be happy to know their music is not being criticized.
There are two (of many) common ways of reacting to hard rock music: head-bobbing or -banging. The overall, general feeling I get from the music is the former, and a vote of confidence from yours truly. Whether it's in time to the drums or the lead guitar, to feel it as closely as possible, this is great music to do that to. This is the kind of rock I can foresee many young people wanting to imitate, to learn how to play the guitar or drum patterns to. It's as if they're inviting listeners to feel what they felt in putting together the music. And it makes me wonder if any young kid has taken up playing as instrument as a result of listening to them.
I felt the Kirra pulse in the songs with one-worded titles, like "Chemicals," "Drown," and "Fly," As a follower of Love and Death, led by Korn's Brian "Head" Welch, I have heard Between Here and Lost. Three of the best songs have only one word to their titles: "Chemicals," "Meltdown," and "Abandoning." Kirra's and Head's mutual song title, though two different contexts, are the ones where I felt the depth, the heartache.
If I had to made one ever-so-slightly critical comment about the lyrics, notwithstanding my being conservative, it's how most of these songs have no foul language, or at least none that I heard. That's why it surprised me that Williamson held out to the very end of "Lay You Down" to say, "F*** me." Yes, given the context of the song, it's for all intents and purposes, appropriate. However, if I had it in me to write a song like this, I'd use the f-bomb a few times throughout the song.
With a random lyrical surprise, and uncompromising palpable solid hard rock, Kirra has gotten a great start to their music career. I look forward to more power, heartache,and depth in their songs...and disciples.
https://www.reverbnation.com/KirraMusic
It must have been a horrible breakup and the writer's emotions so high it took him a short amount of time to come up with a 12-song CD. For what it's worth, if we didn't have strong emotions or conflict in our lives, we wouldn't have "Barracuda," by Heart. That hit song took the Wilson sisters only about twenty minutes to write.
Kirra's music is solid, rich. And this statement doesn't necessitate any debate. It's a combination of Cobain-esque vocals and solid music, an important and valuable aspect of rock music. The music is a healthy balance of classic rock, heavy metal, and thrash. Best of all, I have almost no problem understanding the lyrics nor the meaning of them. Those two things in and of themselves are very rare. Therefore, if I read an article about some misunderstood lyrics, I'll be happy to know their music is not being criticized.
There are two (of many) common ways of reacting to hard rock music: head-bobbing or -banging. The overall, general feeling I get from the music is the former, and a vote of confidence from yours truly. Whether it's in time to the drums or the lead guitar, to feel it as closely as possible, this is great music to do that to. This is the kind of rock I can foresee many young people wanting to imitate, to learn how to play the guitar or drum patterns to. It's as if they're inviting listeners to feel what they felt in putting together the music. And it makes me wonder if any young kid has taken up playing as instrument as a result of listening to them.
I felt the Kirra pulse in the songs with one-worded titles, like "Chemicals," "Drown," and "Fly," As a follower of Love and Death, led by Korn's Brian "Head" Welch, I have heard Between Here and Lost. Three of the best songs have only one word to their titles: "Chemicals," "Meltdown," and "Abandoning." Kirra's and Head's mutual song title, though two different contexts, are the ones where I felt the depth, the heartache.
If I had to made one ever-so-slightly critical comment about the lyrics, notwithstanding my being conservative, it's how most of these songs have no foul language, or at least none that I heard. That's why it surprised me that Williamson held out to the very end of "Lay You Down" to say, "F*** me." Yes, given the context of the song, it's for all intents and purposes, appropriate. However, if I had it in me to write a song like this, I'd use the f-bomb a few times throughout the song.
With a random lyrical surprise, and uncompromising palpable solid hard rock, Kirra has gotten a great start to their music career. I look forward to more power, heartache,and depth in their songs...and disciples.
https://www.reverbnation.com/KirraMusic
Tuesday, July 26, 2016
Sinful Lilly at The New Vintage
You've got to see them live.
I don't know if anyone had told me this about any other band...until there was Sinful Lilly. For the past six months, my only options of listening to this band were Moment of Clarity, Volume 1, their debut CD, their many videos on YouTube, or the links on Reverbnation or Sound Cloud, all of which I played many times.
This past Saturday night, I finally had my chance to see them live in Louisville, KY, at the New Vintage. You may think my experience was lackluster from seeing the live videos on YouTube. Nothing could be further from the truth. Quite honestly, it felt surreal.
The band wasn't the only ones making the noise. Both Nikki (bass/backup vocals) and Fredi (lead guitar/lead vocals) got everyone excited. Nikki stood up on a speaker,shouting "LET ME HEAR YA!..."COME ON, MAKE SOME NOISE!" as the long intro to "Wait Your Turn" built.
What followed was some of the best rock music I had ever heard, richly accompanied by lights, fog, and many fans screaming, cheering, and shouting. The humidity had nothing on the succulent, steamy music the band played, and the easily enthusiastic audience.
The audience got a great taste of Sinful Lilly in a mere six-song repertoire. Starting with "Wait Your Turn," which, if knowledge serves me correctly, they debuted at a "Halfway to Halloween" show at the Thompson House in Newport, KY, in May. Following that was a cover of "Foxy Lady." Right in the middle was a song they debuted the Tuesday before at an after-party show in Covington called "Devil Music and the Record Machine." A few songs from Moment of Clarity, "Truth or Consequence" and "Guilty,"put a bow on a show replete with an equal amount of enthusiasm and passion from the band and fans alike.
Don't be mistaken-this isn't a band that stays in one place on stage, moving around occasionally. In fact, it is the exact opposite, and adds life...action...passion. Some things include but are not limited to: Fredi and Nikki bumping into each other and Nikki getting down on the floor, both on stage and in the audience. Lesson learned: When Nikki is standing up on an amp, clear the way, because he is about to jump down to the audience.
One more thing that stood out to me: What either Fredi or Nikki said in every transition of songs. I'm sure you won't be surprised when I say it wasn't the typical "Are you having fun?" or the like. One thing that stood out was, "Rock's not dead." Sinful Lilly outdid themselves in proving that.
I don't know if anyone had told me this about any other band...until there was Sinful Lilly. For the past six months, my only options of listening to this band were Moment of Clarity, Volume 1, their debut CD, their many videos on YouTube, or the links on Reverbnation or Sound Cloud, all of which I played many times.
This past Saturday night, I finally had my chance to see them live in Louisville, KY, at the New Vintage. You may think my experience was lackluster from seeing the live videos on YouTube. Nothing could be further from the truth. Quite honestly, it felt surreal.
The band wasn't the only ones making the noise. Both Nikki (bass/backup vocals) and Fredi (lead guitar/lead vocals) got everyone excited. Nikki stood up on a speaker,shouting "LET ME HEAR YA!..."COME ON, MAKE SOME NOISE!" as the long intro to "Wait Your Turn" built.
What followed was some of the best rock music I had ever heard, richly accompanied by lights, fog, and many fans screaming, cheering, and shouting. The humidity had nothing on the succulent, steamy music the band played, and the easily enthusiastic audience.
The audience got a great taste of Sinful Lilly in a mere six-song repertoire. Starting with "Wait Your Turn," which, if knowledge serves me correctly, they debuted at a "Halfway to Halloween" show at the Thompson House in Newport, KY, in May. Following that was a cover of "Foxy Lady." Right in the middle was a song they debuted the Tuesday before at an after-party show in Covington called "Devil Music and the Record Machine." A few songs from Moment of Clarity, "Truth or Consequence" and "Guilty,"put a bow on a show replete with an equal amount of enthusiasm and passion from the band and fans alike.
Don't be mistaken-this isn't a band that stays in one place on stage, moving around occasionally. In fact, it is the exact opposite, and adds life...action...passion. Some things include but are not limited to: Fredi and Nikki bumping into each other and Nikki getting down on the floor, both on stage and in the audience. Lesson learned: When Nikki is standing up on an amp, clear the way, because he is about to jump down to the audience.
One more thing that stood out to me: What either Fredi or Nikki said in every transition of songs. I'm sure you won't be surprised when I say it wasn't the typical "Are you having fun?" or the like. One thing that stood out was, "Rock's not dead." Sinful Lilly outdid themselves in proving that.
Friday, July 22, 2016
Devil Music & the Record Machine
What a catchy title, right?!
I thought so, too, and wanted to know more about another great Sinful Lilly song.
Sinful Lilly debuted this song at an after-party show earlier this month. Their music is saturated with rock influences spanning the entire history of rock, and include but are not limited to KISS, Alice Cooper, Marilyn Manson, and Rob Zombie.
In a phone conversation with Fredi, he gave me a detailed account of how he thought of this song.
Unlike most songwriting developments, Fredi thought of the title before the lyrics, writing "around the title." He had in mind some similar to W.A.S.P.'s "Love Machine" He wanted something with a "groove" and a Zombie-esque sound. The result: Record Machine.
Ah! The thrilling days of yesteryear, the days when you had a record player and rock & roll music was king, with apologies to ELO. And parents of young teenagers were afraid they would be corrupted by "devil's music."
{Gasp}
That's when Fredi came up with the entire title "Devil Music and the Record Machine"-before the lyrics. Furthermore, he thought of an idea for a music video before any words were on paper.
The setting is in the 1960s-"Way down by the hollow tree"-and a girl plays a Beatles record. Note the song Fredi refers to.
A flashback of the most revolutionary time in music history, brought to you by Sinful Lilly.
https://youtu.be/oVshTfgLDXU
I thought so, too, and wanted to know more about another great Sinful Lilly song.
Sinful Lilly debuted this song at an after-party show earlier this month. Their music is saturated with rock influences spanning the entire history of rock, and include but are not limited to KISS, Alice Cooper, Marilyn Manson, and Rob Zombie.
In a phone conversation with Fredi, he gave me a detailed account of how he thought of this song.
Unlike most songwriting developments, Fredi thought of the title before the lyrics, writing "around the title." He had in mind some similar to W.A.S.P.'s "Love Machine" He wanted something with a "groove" and a Zombie-esque sound. The result: Record Machine.
Ah! The thrilling days of yesteryear, the days when you had a record player and rock & roll music was king, with apologies to ELO. And parents of young teenagers were afraid they would be corrupted by "devil's music."
{Gasp}
That's when Fredi came up with the entire title "Devil Music and the Record Machine"-before the lyrics. Furthermore, he thought of an idea for a music video before any words were on paper.
The setting is in the 1960s-"Way down by the hollow tree"-and a girl plays a Beatles record. Note the song Fredi refers to.
A flashback of the most revolutionary time in music history, brought to you by Sinful Lilly.
https://youtu.be/oVshTfgLDXU
Monday, June 27, 2016
Credence Found's New Beginnings
If you'd like a debut album in which every song features different musical styles, Credence Found's New Beginnings is the CD for you. It has jazz, funk, classic rock, some progressive rock, and...yes...even hip-hop.
It is possible to take a 30-odd-year hiatus from fronting a band, and in those few decades, pursue other professional and personal endeavors, and come back better than before. That would describe lead singer Tracey West. Having heard his voice in a video of him singing karaoke, I assessed it as deep and high-pitched, and no in-between. This had me wanting to hear him more often. I got my vocal treats from him in "Sleeping Daylight," and "Dysfunctional".
I love how in "Sleeping Daylight," he's mostly deep....until towards the end of the song. This is a great song to start the CD off with.
While I appreciate the cowbell in "Natalie's Song," (because I needed a high dose of it), I don't think the same of the song. I'll try to be as diplomatic as I possibly can: It is on the same level as Guns & Roses' "Used to Love Her." The downright, outright derogatory message AND the frequent use of "bitch"and "whore" totally distracted me from the percussive therapy. Last but not least, notwithstanding "Wake Up America", this song stood out unfavorably.
To their credit, they didn't do the same in "Wake Up America." Though it was a nice attempt to throw in a short hip-hop song, since they're a hard rock band, they should have had a song of that genre about asleep-at-the-wheel America. That would wake America up because (1) Rock's not dead and (2) We rockers would love to have a song in our favorite genre about America.
I consider it, for a lack of better words, backwards to have a song titled "Dysfunctional," when they have a killer hi-hat/bass intro and vocals to accompany it. No-let me come right out and say it: It is in this song that West is at his best. Even better than that (and in the hopes to end on a good note): With this song, the band could have their music in the palms of their hands.
To take a lyric from "Addiction," "I pray to God you see the light."
Sunday, June 26, 2016
Tuesday, June 21, 2016
Station at the The Forum
"They're old-school rock."
If I heard that once, I must have heard it a hundred times over the past few years. Out of those hundred-odd bands whose music I listened to, I must have felt, heard that "old-school" aspect of their music in a small fraction of it.
The 101st band {laughs} on that old school rock-sounding list is Station, from New York City. Not only do they sound old school, but they look it, too. Lead singer Patrick's Coverdale/Squire/Plant-esque on-stage charisma, and his long, big curly hair; lead guitarist Chris' equally big, long hair; and the decided glam/medloic rock-style feel of the lyrics are just a few of many things I noticed in my front-row seat at the Forum in Hazard, Kentucky.
To be quite honest, I felt like I was sitting watching a new garage band rehearse...and I was the girlfriend of one of the band members. Whose, I will plead the fifth on that. Nonetheless, I had a chance to live out something I never did in my teen years.
The one song that stood out from all the rest-what I call the epitome of this old-school scheme-is "Are You Sleeping Alone?". My thought is if this song were around in the mid to late 80s, this would have made a "power ballad" compilation CD.
For anyone who has the privilege of seeing them in the near future, make a mental list of all of the 70s and 80s rock influences you hear in their music. I'll start: Whitesnake, Led Zeppelin, Foreigner, Guardian, Billy Squier....Your turn. And....GO!
If I heard that once, I must have heard it a hundred times over the past few years. Out of those hundred-odd bands whose music I listened to, I must have felt, heard that "old-school" aspect of their music in a small fraction of it.
The 101st band {laughs} on that old school rock-sounding list is Station, from New York City. Not only do they sound old school, but they look it, too. Lead singer Patrick's Coverdale/Squire/Plant-esque on-stage charisma, and his long, big curly hair; lead guitarist Chris' equally big, long hair; and the decided glam/medloic rock-style feel of the lyrics are just a few of many things I noticed in my front-row seat at the Forum in Hazard, Kentucky.
To be quite honest, I felt like I was sitting watching a new garage band rehearse...and I was the girlfriend of one of the band members. Whose, I will plead the fifth on that. Nonetheless, I had a chance to live out something I never did in my teen years.
The one song that stood out from all the rest-what I call the epitome of this old-school scheme-is "Are You Sleeping Alone?". My thought is if this song were around in the mid to late 80s, this would have made a "power ballad" compilation CD.
For anyone who has the privilege of seeing them in the near future, make a mental list of all of the 70s and 80s rock influences you hear in their music. I'll start: Whitesnake, Led Zeppelin, Foreigner, Guardian, Billy Squier....Your turn. And....GO!
Sunday, June 12, 2016
Strutter, a Tribute to KISS, at the International
Most of us have a bucket list, and may have done a thing or two on there already. For me to talk about what is on mine is beyond the scope of this post. However, I will say there are many significant events in history I will never experience; I would know about them only through other sources. One of them is the eternal natural high someone felt after seeing KISS in concert.
Strutter , a KISS tribute band from Akron, Ohio, allowed me to live in a moment as closely as possible to that.
it was everything a rock concert should be, lest we lose sight of it. To have the awesomeness of the music is a given, playing the hits, including but not limited to "Detroit Rock City," "Doctor Love," "Shout it Out Loud," and even "Beth". What also made it great was the smooth transitions from one song to another, the band having their show as an interactive, and having them throw out guitar picks. The question is: Who didn't get one? I sure did.
I, and everyone else, was hoping the band would play "Rock and Roll All Night". They got through the whole set without doing it and attempted to exit the stage. After a nearly effortless request from the audience for an encore, they played that immortal, timeless song. If that was intentional, to tease the crowd, they did well at that.
Most of all, they did well in allowing me to capture a moment, to live in it.
Strutter , a KISS tribute band from Akron, Ohio, allowed me to live in a moment as closely as possible to that.
From the "tongue action" Billy (as "Gene Simmons") gave,
to "Ace" giving a killer guitar solo,
to Bobby Taylor doing the same drums,
it was everything a rock concert should be, lest we lose sight of it. To have the awesomeness of the music is a given, playing the hits, including but not limited to "Detroit Rock City," "Doctor Love," "Shout it Out Loud," and even "Beth". What also made it great was the smooth transitions from one song to another, the band having their show as an interactive, and having them throw out guitar picks. The question is: Who didn't get one? I sure did.
I, and everyone else, was hoping the band would play "Rock and Roll All Night". They got through the whole set without doing it and attempted to exit the stage. After a nearly effortless request from the audience for an encore, they played that immortal, timeless song. If that was intentional, to tease the crowd, they did well at that.
Most of all, they did well in allowing me to capture a moment, to live in it.
Monday, May 2, 2016
Big Valley Mustangs at Vienna Coffee House
It always warms my heart when close friends share with me how they met people who have made a difference in their lives, and in so many ways and sometimes suddenly and unexpected. Such is the case with Big Valley Mustangs-Michael Merritt (lead vocals), Billy Seals (guitar), Bobby Seals (bass), and Kevin Feeney (drums, formerly of Decompressed
Big Valley Mustangs is an Americana band from Knoxville, Tennessee.
It was a dreary, rainy day on Saturday. A great way for me to spend a night like this is to see a live band at Vienna Coffee Shop. I had been curious about Big Valley Mustangs for a few months. I had seen pictures of them on Facebook and what they were working on at their rehearsals.
What I had seen online was nothing compared to what I saw in person! What did you see, you may ask? Not only talent, but sincere passion in playing and drawing in the audience, and lyrics that are anything but cliche. Big Valley Mustangs wasn't just another band filling up time on a weekend night at a coffee shop. Nor was it one who played nothing but covers of songs everyone knows by heart.
A few songs and lyrics that stood out to me are "Roses and Rainbows": "For better or for worse is better than roses and rainbows." As a longtime Tanya Tucker fan, I have the lyrics of "Love Me Like You Used To" stuck in the back of my mind. Those lyrics have now been replaced with "I don't love you like I used to; I love you more." In the 1960s, The Byrds gave us "Turn, Turn, Turn," with lyrics based on Ecclesiastes 3. Big Valley Mustangs did the same thing in "Filled With Love." Some other noteworthy lyrics are: "We'll whisper hope at the end of each day."
If any of you are familiar with that lost element of music in which a song title is the same as the band's, that isn't that way with Big Valley Mustangs. They had a song called "Big Valley Mustangs." Lead singer Michael shared how for a while, they had played that at a fire hall. What a great visualization of paying your dues and making memories, making the most of every moment in life!
Having gone to many shows of various genres, the lead vocalist always asks some nice question, primarily, "How are you feeling tonight? Having fun?". What did Michael ask the audience? "How many preacher's kids are there?" Surprisingly, there were a considerable number of them. I believe the song they had, as a "shout" out to them, was called "Preacher Boy."
They have a "fun song," too. It is "Road to Heaven." It started out as a jazz song, but evolved into one with many genres. Kevin provides a great drum intro. The song transitions into a blues-style guitar break, which segues into a jazz-like jam that builds well.
But that wasn't the only song that was rich in that and more. For more of that, check out "Lone Wolf" and "Black Soot."
Another different way the band connected with the audience was asking who knew the lyrics to Johnny Cash's timeless hit "Folsom Prison Blues." Michael had everyone try to fill in the blanks a la Don't Forget the Lyrics. Let's just say I need to brush up on my Johnny Cash. They led into a cover of that same song.
The connection with the audience only got deeper when they led into "Rosalie". It was a song in honor of Billy and Bobby's (twin brothers) mom. After the song, an older gentleman, who happened to be their father, stood up and gave an emotional comment about their mother.
Another cover they did was not one I expected. In fact, it was one I had forgotten and had been somewhere in the depths of my subconscious. Does anyone remember a one-hit wonder 4 Runner, and their song "Cain's Blood" ("Half of my blood is Cain's blood/half of my blood is Abel's)? I'm still trying to figure out when and where I heard that song.
Their last song was "No More Goodbyes." That goes double for me and my relationship with this band. It's only hello, I am a fan for life.
Friday, April 15, 2016
Blind Peace
Hard rock chick's gotta have her rock-blues fix! And the sooner you deliver it, the better.
And I got this rock-blues fix from the Bluegrass state. Blind Peace (Tony Sell, vocals; JW Gregory, guitar; Derek Lester, bass; and Mike Stevens, drums) from Albany, KY, provided that for me. Thanks, guys!
Three songs later, I was satisfied. What songs did I hear? I'll be more than happy to share them with you.
"Rebel Son"-a deep, soulful, and I dare say spiritual song, about a son leaving home, and his mom's difficulty in letting go. The lyrics to the first verse of this song echo the second of Bad Company's "Shooting Star." A modern-day Prodigal Son portrayed in a classic rock-style song.
https://www.reverbnation.com/blindpeace/song/23052112-rebel-son
"Lonesome"...well, I don't have it in me, either, to write a song called "Born to Lose." However, I know "Lonesome" would be better, and I and my listeners would get what they need out of it. I might even sound cliche when I say this, but this is the ideal song that portrays, with apologies to 1986's Crossroads, "The blues ain't nothing but a good man feelin' bad."
https://www.reverbnation.com/blindpeace/song/22054164-lonesome
"Walkin' Shoes"-rock-blues at their best, hardest, from start to finish-Blind Peace's face-melting song. What I respect about lead singer Tony is in the opening lines, he has a perfect opportunity to say SOB...but he doesn't. My hats...er, walkin' shoes...off to you, you son of a gun. Peace, love, Blind Peace!!
https://www.reverbnation.com/blindpeace/song/22105838-walkin-shoes
And I got this rock-blues fix from the Bluegrass state. Blind Peace (Tony Sell, vocals; JW Gregory, guitar; Derek Lester, bass; and Mike Stevens, drums) from Albany, KY, provided that for me. Thanks, guys!
Three songs later, I was satisfied. What songs did I hear? I'll be more than happy to share them with you.
"Rebel Son"-a deep, soulful, and I dare say spiritual song, about a son leaving home, and his mom's difficulty in letting go. The lyrics to the first verse of this song echo the second of Bad Company's "Shooting Star." A modern-day Prodigal Son portrayed in a classic rock-style song.
https://www.reverbnation.com/blindpeace/song/23052112-rebel-son
"Lonesome"...well, I don't have it in me, either, to write a song called "Born to Lose." However, I know "Lonesome" would be better, and I and my listeners would get what they need out of it. I might even sound cliche when I say this, but this is the ideal song that portrays, with apologies to 1986's Crossroads, "The blues ain't nothing but a good man feelin' bad."
https://www.reverbnation.com/blindpeace/song/22054164-lonesome
"Walkin' Shoes"-rock-blues at their best, hardest, from start to finish-Blind Peace's face-melting song. What I respect about lead singer Tony is in the opening lines, he has a perfect opportunity to say SOB...but he doesn't. My hats...er, walkin' shoes...off to you, you son of a gun. Peace, love, Blind Peace!!
https://www.reverbnation.com/blindpeace/song/22105838-walkin-shoes
Thursday, April 14, 2016
Tuesday, April 12, 2016
Knoxville Symphony Orchestra plays Led Zeppelin
Not too long ago, I tuned in to WUOT, the local public radio station, to get my classical music fix. The piece featured on that day was a classical version of "Stairway to Heaven." I thought that was ingenious.
Then I heard the Knoxville Symphony Orchestra was going play the hits of Led Zeppelin. I just had to go and get a night of this.
With the orchestra was Windborne Music, a rock band, with Randy Jackson, former lead singer of Zebra . The stage had rock band-style lighting, making it a stimulating, electrifyin rock-classical atmosphere.
I had never heard of Zebra. Therefore, I looked them up on YouTube, and listened to a few of their songs, none of which I recognized.
These two bands played note-for-note many of the hits by Led Zeppelin. And they did so in ways that surprised me. One of the ways was with "Black Dog." Not having gone to an actual Zep show, myself, I'm not sure if it was common for Plant to invite the audience to join him in singing the iconic staccato vocals of "Ah, ah, ah, ah". But it was fun to join Jackson on this part, the beginning one-liners, and that ever-famous, "I don't know what I've been told/A big-legged woman ain't got no soul." A great call-and-response/sing-along scheme to an audience of several hundred.
Even greater was the start of "The Ocean"...Yes, you guessed it: "We've done four already, and now we're steady, and then they went 1, 2, 3, 4."
I'd be remiss if I didn't mention the rich talent in guitarist George Cintron . Though he and Jackson have a palpable stage chemistry, when it comes to guitar solos, especially for "Heartbreaker", it is, to say the least, captivating. The icing on the cake for Zeppaholics like me was the transition into "Misty Mountain Hop"-a melodious melody, sweet to the ears.
Jackson stated that Led Zeppelin didn't have a show where they didn't play "Moby Dick". Therefore, Windborne, themselves did likewise, with Andrew Payne on drums. This was the first symphonic bands concert I had been to where a soloist gets a standing ovation during their performance. That happened at least once, during the climax of the drum solo.
In addition to these timeless rock anthems, in all its rock band/strings/woodwind/brass glory, they also played "Going to California" and "Tangerine", with "Stairway to Heaven" to put a bow on an incredible night.
With all of the delectable eye and ear candy I got, this only made me want to get the Lead out even more this way!
Then I heard the Knoxville Symphony Orchestra was going play the hits of Led Zeppelin. I just had to go and get a night of this.
With the orchestra was Windborne Music, a rock band, with Randy Jackson, former lead singer of Zebra . The stage had rock band-style lighting, making it a stimulating, electrifyin rock-classical atmosphere.
I had never heard of Zebra. Therefore, I looked them up on YouTube, and listened to a few of their songs, none of which I recognized.
 |
| Randy Jackson |
These two bands played note-for-note many of the hits by Led Zeppelin. And they did so in ways that surprised me. One of the ways was with "Black Dog." Not having gone to an actual Zep show, myself, I'm not sure if it was common for Plant to invite the audience to join him in singing the iconic staccato vocals of "Ah, ah, ah, ah". But it was fun to join Jackson on this part, the beginning one-liners, and that ever-famous, "I don't know what I've been told/A big-legged woman ain't got no soul." A great call-and-response/sing-along scheme to an audience of several hundred.
Even greater was the start of "The Ocean"...Yes, you guessed it: "We've done four already, and now we're steady, and then they went 1, 2, 3, 4."
I'd be remiss if I didn't mention the rich talent in guitarist George Cintron . Though he and Jackson have a palpable stage chemistry, when it comes to guitar solos, especially for "Heartbreaker", it is, to say the least, captivating. The icing on the cake for Zeppaholics like me was the transition into "Misty Mountain Hop"-a melodious melody, sweet to the ears.
Jackson stated that Led Zeppelin didn't have a show where they didn't play "Moby Dick". Therefore, Windborne, themselves did likewise, with Andrew Payne on drums. This was the first symphonic bands concert I had been to where a soloist gets a standing ovation during their performance. That happened at least once, during the climax of the drum solo.
In addition to these timeless rock anthems, in all its rock band/strings/woodwind/brass glory, they also played "Going to California" and "Tangerine", with "Stairway to Heaven" to put a bow on an incredible night.
With all of the delectable eye and ear candy I got, this only made me want to get the Lead out even more this way!
Friday, April 1, 2016
Shallowpoint at The Concourse
When Shallowpoint announced they would be up to open for One-Eyed Doll's Vision tour at 6:15, they weren't kidding. I stood in a long line waiting to get in. I wasn't inside for even five minutes when they started playing. And got things started on the right note (no pun intended) for the night.
This was my first time seeing Shallowpoint in about a year and half. Since that time, Heath Devine has joined as their guitarist, and Jason Drake their drummer.
No show-let alone the set for the first band up-would be complete without their mascot making its guest appearance. He appeared on stage during one of my favorites of Shallowpoint, "Haze".
But they saved the best for last: "Enemy". I don't think there was a Shallowpoint fan who didn't sing along with lead vocalist Chuck Shallowpoint, especially the chorus.
This was the first show I had been to that Shallowpoint has been the first band up. Please note: They should do this at every show they play at.
This was my first time seeing Shallowpoint in about a year and half. Since that time, Heath Devine has joined as their guitarist, and Jason Drake their drummer.
 |
| Heath Devine |
 |
| Jason Drake |
No show-let alone the set for the first band up-would be complete without their mascot making its guest appearance. He appeared on stage during one of my favorites of Shallowpoint, "Haze".
But they saved the best for last: "Enemy". I don't think there was a Shallowpoint fan who didn't sing along with lead vocalist Chuck Shallowpoint, especially the chorus.
This was the first show I had been to that Shallowpoint has been the first band up. Please note: They should do this at every show they play at.
 |
| Chuck Shallowpoint |
Tuesday, March 22, 2016
Fort Defiance at the Blue Plate Special
"I'd like to go to the Blue Plate Special some time," I had kept saying week in and week out. The Blue Plate Special is a live show in downtown Knoxville, TN, at the WDVX headquarters. But I rarely get around to going there.
I guess it took having Fort Defiance, and cold late-March weather, to play there for me to go. Led by Jordan Eastman, with his newlywed wife Laurel, they played for a packed house. For those of you who don't know Jordan, the best way to sum him up in a nutshell: Bob Dylan, Gordon Lightfoot, and Johnny Cash-all in one young man. Before he met Laurel, and she started playing with him, he was a solo artist. Being only one man didn't stop him from playing music on stage as if there were a whole band. He plays guitar and harmonica with some rich, sweet sounds emanating from both. Add to that a box he stands on; with his boots, his left foot taps a tambourine. To describe him as a multi-talented musician (which for all intents and purposes, he is) would be an understatement.
The songs in Jordan Eastman's solo career, and their titles, are complex, abstract, but rich and deep in meaning and musical talent. If you recall a song called "Baby, Don't Hooked on Me," some of his songs have a similar theme. This is the one thing that stands out in my mind about them. As can be expected, when he meets someone not only to be in a band with him, but also to spend the rest of his life with, the choice of songs changes.
I'll never experience for myself a Johnny and June Carter Cash show. Seeing some of them on TV at times, I notice the chemistry between them. Jordan and Laurel have recreated that with their songs and stage presence. Not only was Jordan on a box, but Laurel was, too. In fact, at one point, they were in step with each other as they sang and played.
The other band that was supposed to play for this noontime special cancelled at the last minute. To me, that only meant I, and everyone else there, could enjoy more of their music-and to clap their hands and stomp their feet in time to the music. In the middle of their set, the radio hostess Red Hickey interviewed them. I had an opportunity to learn the story of the boxes and the tambourine. The tambourine Jordan used was his 6th one, which was holding up well.
Later that night, they had a show at the Preservation Pub in downtown Knoxville.
I guess it took having Fort Defiance, and cold late-March weather, to play there for me to go. Led by Jordan Eastman, with his newlywed wife Laurel, they played for a packed house. For those of you who don't know Jordan, the best way to sum him up in a nutshell: Bob Dylan, Gordon Lightfoot, and Johnny Cash-all in one young man. Before he met Laurel, and she started playing with him, he was a solo artist. Being only one man didn't stop him from playing music on stage as if there were a whole band. He plays guitar and harmonica with some rich, sweet sounds emanating from both. Add to that a box he stands on; with his boots, his left foot taps a tambourine. To describe him as a multi-talented musician (which for all intents and purposes, he is) would be an understatement.
The songs in Jordan Eastman's solo career, and their titles, are complex, abstract, but rich and deep in meaning and musical talent. If you recall a song called "Baby, Don't Hooked on Me," some of his songs have a similar theme. This is the one thing that stands out in my mind about them. As can be expected, when he meets someone not only to be in a band with him, but also to spend the rest of his life with, the choice of songs changes.
I'll never experience for myself a Johnny and June Carter Cash show. Seeing some of them on TV at times, I notice the chemistry between them. Jordan and Laurel have recreated that with their songs and stage presence. Not only was Jordan on a box, but Laurel was, too. In fact, at one point, they were in step with each other as they sang and played.
Later that night, they had a show at the Preservation Pub in downtown Knoxville.
Friday, March 18, 2016
Monday, March 14, 2016
Killing Grace, Shadowed Self, and Reign Like Rain at the Bowery
I love surprises! I got one from Killing Grace this past Saturday: an originally unscheduled night at the Bowery. Needless to say, I had to go, as if it were almost required of me. I didn't know what was going on and why until a few hours before I got there. They had an exciting announcement: They had signed a new contract with Red Arrow Records. And of all the places they have played at for this tour, they chose Knoxville, TN. It was an honor not only to see them again, and to be able to celebrate with them in this victory. This goes to show you they celebrate the smallest of things.
I also wanted to check out the two other bands opening up for them. Reign Like Reign was the first one up. For those of you who have never been at the Bowery in Knoxville, TN, the best feature regarding the acoustics is the vibrations you can feel either on the floor or in the seats. They had a new song called "Second Stage." That was the song where I felt those vibrations.
The vibes (for a lack of better words) continued when Shadowed Self came up next.
Again, this was another band I hadn't heard of or seen. What band member did I get the "vibes" (in more ways than one) from? Brandon Rice, the bass player. This guy had green strings on his bass. Green strings! So help me God, they were green!
Not only that, but the expressions on his face really stood out to me...and most may have been captured on pictures. This was the best one I could take the other night.
Shadowed Self doesn't take themselves too seriously. Lead singer C J Asburn, at one time, asked the audience, "Anyone wanna kick off a song for us?" I couldn't imagine what one-liners the audience could think of. But it was their way of leading into "Let the Bodies Hit the Floor." It's a catchy line; I'll be able to remember this next time I see them.
What I like about seeing Killing Grace this time was they were the headliners. What this meant to me was the best, my personal favorite, was saved for last. I also would experience something I hadn't before in the two other times I had seen them. The band went deep into the details of the stories and inspiration behind many of their songs, two of which were "17 Scars" and "No Soul." "17 Scars" is about lead singer Matt Edmondson's father serving in two wars, and bearing the many scars from them. "No Soul" is the song they consider their deepest and darkest song. It is about those in their lives who have brought about major disappointments.
The band now considers Knoxville, TN, as "home away from home." I'm happy they feel that way. If I do say do myself, that allowed them to go as deep as they did with their music, and with the relationships they have made with fans and members of other bands.
I also wanted to check out the two other bands opening up for them. Reign Like Reign was the first one up. For those of you who have never been at the Bowery in Knoxville, TN, the best feature regarding the acoustics is the vibrations you can feel either on the floor or in the seats. They had a new song called "Second Stage." That was the song where I felt those vibrations.
 |
| Reign Like Rain |
The vibes (for a lack of better words) continued when Shadowed Self came up next.
 |
| Shadowed Self |
 |
| Brandon Rice, bassist of Shadowed Self |
Not only that, but the expressions on his face really stood out to me...and most may have been captured on pictures. This was the best one I could take the other night.
Shadowed Self doesn't take themselves too seriously. Lead singer C J Asburn, at one time, asked the audience, "Anyone wanna kick off a song for us?" I couldn't imagine what one-liners the audience could think of. But it was their way of leading into "Let the Bodies Hit the Floor." It's a catchy line; I'll be able to remember this next time I see them.
What I like about seeing Killing Grace this time was they were the headliners. What this meant to me was the best, my personal favorite, was saved for last. I also would experience something I hadn't before in the two other times I had seen them. The band went deep into the details of the stories and inspiration behind many of their songs, two of which were "17 Scars" and "No Soul." "17 Scars" is about lead singer Matt Edmondson's father serving in two wars, and bearing the many scars from them. "No Soul" is the song they consider their deepest and darkest song. It is about those in their lives who have brought about major disappointments.
The band now considers Knoxville, TN, as "home away from home." I'm happy they feel that way. If I do say do myself, that allowed them to go as deep as they did with their music, and with the relationships they have made with fans and members of other bands.
Thursday, February 25, 2016
Tuesday, February 16, 2016
Killing Grace CD Release Party
I remember when I first saw Killing Grace. They were in the lineup for a show in late September at Open Chord. I had never heard of them nor their music. For a band to be a stranger in a town, never having been to a certain venue, not knowing anyone or how the audience is going to respond, if they're going to want them to come back, can be a little unsettling.
It took only one night, only one show, to become a fan, to support this band, so much so I wanted them back soon. To read my review of that show, here is the link http://allthingshardrock.blogspot.com/2015/09/transparent-soul-belfast-six-pack.html
They have since released their CD and are currently on a CD release tour. There were many places in this region they could have chosen; Knoxville, TN, was one of their first. I could not wait to see them. In that way, I could once again capture the energy coming from this band.
To get things started was Victims of Euphoria. They say it's never too late to start anything. Well, the same is true about never starting too early. Victims of Euphoria is a five-piece band, and to my knowledge, some, if not all, of the members are not any older than 21. Not only that, but the lead vocalist (Adara Draven), the lead guitarist (Jasper Haze), and the bass player (Xandra Haze) are all females.
I remember casually seeing them almost two years ago at a benefit concert. It was after their set someone told me about their young age. I was floored. I was even more so when I saw them on Friday night. Adara Draven has a broad range of vocals appropriate for metal that is very well-trained. Though the band doesn't play the genre, she is capable of singing lead in a symphonic metal band. It was music to my own ears to alternately hear a more operatic tone and screaming coming from her.
The passion and chemistry were both palpable coming from the band. Draven said her favorite song they played was "You Fall." And I have a favorite: "My People"-because Victims of Euphoria has become that to me.
Next up: Killing Grace. Like the first time I saw them, they kept me guessing about what their show was going to be like. I knew it was going to be a great one. Being fired up about a "brand-spankin' new" CD will do that. This show was even better than the first. What made the difference? Fog, the lights....and a lot of killer songs, not the least of which is "Sin Again Sunday" to kick off their set, "Revolution," and "Nobody's Hero." No Killing Grace set during this tour would be complete without ""17 Scars"," and without lead singer Matt Edmonson telling at least some part of the story of how that one song made their success skyrocket.
Over the past few years, I have been to a lot of shows, sometimes within a short time of each other. Somewhere in all this time, I may have seen Divided We Stand. If I had to guess the show, it was the Gig It Fest, August 2014, in Morristown, TN. And I remember liking them. However, after that, I never saw them or heard their music, only saw their name in passing. A few days prior to the show, I listened to their music on Reverbnation. One of the songs that got my attention-I cued it up twice for good measure-was "Saboteur". While everyone was banging their head or raising their hands in a "horns-up" to all of these bands' music, including Divided We Stand, it seemed to be even more so during this one song. From there on out, it got the audience's attention.
It took only one night, only one show, to become a fan, to support this band, so much so I wanted them back soon. To read my review of that show, here is the link http://allthingshardrock.blogspot.com/2015/09/transparent-soul-belfast-six-pack.html
They have since released their CD and are currently on a CD release tour. There were many places in this region they could have chosen; Knoxville, TN, was one of their first. I could not wait to see them. In that way, I could once again capture the energy coming from this band.
To get things started was Victims of Euphoria. They say it's never too late to start anything. Well, the same is true about never starting too early. Victims of Euphoria is a five-piece band, and to my knowledge, some, if not all, of the members are not any older than 21. Not only that, but the lead vocalist (Adara Draven), the lead guitarist (Jasper Haze), and the bass player (Xandra Haze) are all females.
I remember casually seeing them almost two years ago at a benefit concert. It was after their set someone told me about their young age. I was floored. I was even more so when I saw them on Friday night. Adara Draven has a broad range of vocals appropriate for metal that is very well-trained. Though the band doesn't play the genre, she is capable of singing lead in a symphonic metal band. It was music to my own ears to alternately hear a more operatic tone and screaming coming from her.
The passion and chemistry were both palpable coming from the band. Draven said her favorite song they played was "You Fall." And I have a favorite: "My People"-because Victims of Euphoria has become that to me.
Next up: Killing Grace. Like the first time I saw them, they kept me guessing about what their show was going to be like. I knew it was going to be a great one. Being fired up about a "brand-spankin' new" CD will do that. This show was even better than the first. What made the difference? Fog, the lights....and a lot of killer songs, not the least of which is "Sin Again Sunday" to kick off their set, "Revolution," and "Nobody's Hero." No Killing Grace set during this tour would be complete without ""17 Scars"," and without lead singer Matt Edmonson telling at least some part of the story of how that one song made their success skyrocket.
Over the past few years, I have been to a lot of shows, sometimes within a short time of each other. Somewhere in all this time, I may have seen Divided We Stand. If I had to guess the show, it was the Gig It Fest, August 2014, in Morristown, TN. And I remember liking them. However, after that, I never saw them or heard their music, only saw their name in passing. A few days prior to the show, I listened to their music on Reverbnation. One of the songs that got my attention-I cued it up twice for good measure-was "Saboteur". While everyone was banging their head or raising their hands in a "horns-up" to all of these bands' music, including Divided We Stand, it seemed to be even more so during this one song. From there on out, it got the audience's attention.
Wednesday, February 3, 2016
Tuesday, February 2, 2016
Afterlife-All for None and None for All
If you wait for perfect conditions, they'll never come.
That must have been what Afterlife-Andrew Staley, lead vocals; Rob Ruddick, guitar; Sam Keys, bass; and Scott Fugate, drums-thought when they made All for None and None for All.
There's nothing like starting off the first song on a CD with the words, "I didn't mean to crash your party just before it started," as heard in "Out of Place." I dare say Billy Joel's opening line of "You May Be Right" paled in comparison. There might even me an underlying dry sense of humor in it.
In all seriousness, Staley's vocals are phenomenal at setting the tone to every song. And every one of them has a different tone and theme. For example, in finding out about this CD, I heard "What if You Were Like Me?" and learned about the story behind it. It is an autobiographical song about a disabled child of one of the band members.
Conversely, there are some one here that are so hard, dark, and cryptic you may need to listen to them with the lights on, including but not limited to "Wake Up Screaming," "My Nine," and "Forever Night". My favorite one on there is "Wake Up Screaming." I believe this will define the new Afterlife. Screaming? I was salivating, mesmerized at Robert's guitar intro. I may sound selfish when I say this, but I wish it had been longer, just for the sake of continuity, and to add some suspense to the song. If knowledge serves me correctly, Ruddick doesn't play on all of these tracks. In "Wake Up Screaming," he really reveals his talent. Last but not least, another notable opening line: "You wake up in a sweat."
So, I hope you, yourself, are in a salivating sweat listening to All for None and None for All.
That must have been what Afterlife-Andrew Staley, lead vocals; Rob Ruddick, guitar; Sam Keys, bass; and Scott Fugate, drums-thought when they made All for None and None for All.
 |
| Andrew Staley, lead vocals; Sam Keys, bass; Rob Ruddick; and Scott Fugate, drums |
There's nothing like starting off the first song on a CD with the words, "I didn't mean to crash your party just before it started," as heard in "Out of Place." I dare say Billy Joel's opening line of "You May Be Right" paled in comparison. There might even me an underlying dry sense of humor in it.
In all seriousness, Staley's vocals are phenomenal at setting the tone to every song. And every one of them has a different tone and theme. For example, in finding out about this CD, I heard "What if You Were Like Me?" and learned about the story behind it. It is an autobiographical song about a disabled child of one of the band members.
Conversely, there are some one here that are so hard, dark, and cryptic you may need to listen to them with the lights on, including but not limited to "Wake Up Screaming," "My Nine," and "Forever Night". My favorite one on there is "Wake Up Screaming." I believe this will define the new Afterlife. Screaming? I was salivating, mesmerized at Robert's guitar intro. I may sound selfish when I say this, but I wish it had been longer, just for the sake of continuity, and to add some suspense to the song. If knowledge serves me correctly, Ruddick doesn't play on all of these tracks. In "Wake Up Screaming," he really reveals his talent. Last but not least, another notable opening line: "You wake up in a sweat."
So, I hope you, yourself, are in a salivating sweat listening to All for None and None for All.
Tuesday, January 26, 2016
Sinful Lilly-Moment of Clarity, Volume 1
Every band's debut CD comes in different ways, including the front cover, the number of songs and the order of them, among many other things. If you were to look at the front cover Sinful Lilly's Moment of Clarity, Volume 1, and listen to the six songs on there, you would never know it was their debut CD. The front cover has an appropriate picture for the genre, the title of the CD and the name of the band and what they would like to represent.
When you open it, you will see detailed liner notes, letting fans know Sinful Lilly put a lot of honest, sincere work into it.
And they did the same thing with their order of their songs.
"Truth or Consequence" isn't a song with a slow and quiet musical intro. Even better-it has a rippling, flowing, speaker-to-speaker guitar solo and a driving beat, neither of which let up at all in this song. Lead vocalist/guitarist Fredi Handshoe's gritty vocals unleash unhindered lyrics that have a complementary theme to the music.
Sinful Lilly keeps the rock & roll fire burning in the next song, "Guilty" From my point of view, my initial thought when the song was in queue was, "Great title; I'd love to see how this song sounds." And I was not let down. There is even more grit from start to finish. Fredi even graces us with a guitar break in the middle of a song.
After hearing two songs with strong unrelenting, steady guitar riffs and heart-stopping beats that will without a doubt move through your body (it did mine), I knew a rock ballad could have a like effect. I'm here to tell you, if you don't like the heart-on-the-sleeve, victim mentality portrayed in most of the famous rock ballads, you will be happy with "Crack in My Heart." What makes this song beautiful is the lyrics. Fredi is mindful that breakups are painful for both people, and that there will be life after both of them afterwards. It's a song women especially need to hear if they, themselves, go through a breakup. I walked away feeling reassured, probably more than I have for this kind of song. My favorite line is, "Take a picture, make it last."
"Nothing Left," to me, is less gritty, loud, and hard than "Truth or Consequence" and "Guilty." But it is no less awesome. The band maintains the quality and rhythm of the music. The best feature in the song is the vocals when they sing "Nothing left at all."
Before I introduce and give my impressions of the next song, I'd like to provide some insight about it, because "Fate" is a different song from the other five. For anyone reading this who is a lifetime fan like I am of the Bangles and (still) has the Different Light album, know that are timeless all-girl band 80s anthems like "Manic Monday," "Walk Like an Egyptian," and "If She Knew What She Wants." And then there is "Following." Led by Michael Steele, it is an acoustical solo. And it is subdued. Some of the lyrics are, "You call me a loser/You call me a shadowed fool/...Why do you call me?/ Why do you look for me?/ Why do your eyes follow me the way they do?" Those who are not musically open-minded or gifted would scratch their heads, wondering why this song is on the album. This is an isolated song, a misfit. But if they keep listening, there's going to be a better song right after that to put a bow on a great 1986 album. You might even discover Steele's talent, and it spoke to you.
With that said, let me go to "Fate." It is not the good ol' loud rock Sinful Lilly gives us in "Truth or Consequence," not even the heartfelt jam of "Crack in My Heart." "Fate" is subdued, has deeper ("torture"), darker ("misery"), even morbid lyrics ("the hope I had is no longer there")...But don't hit the "stop" button. Stop and really listen to this song. Do you hear the talent coming from this band that you didn't hear in the other songs? I did.
Like Different Light, there's a better song to end the CD...and to lighten up the mood ("1, 2, READY!"): A cover of Alice Cooper's "Spirits Rebellious." from The Eyes of Alice Cooper.
What a way to start and end a CD, and have some musical meat to chew on! Let me remind you: this is Volume 1. Stick around for Volume 2.
When you open it, you will see detailed liner notes, letting fans know Sinful Lilly put a lot of honest, sincere work into it.
And they did the same thing with their order of their songs.
"Truth or Consequence" isn't a song with a slow and quiet musical intro. Even better-it has a rippling, flowing, speaker-to-speaker guitar solo and a driving beat, neither of which let up at all in this song. Lead vocalist/guitarist Fredi Handshoe's gritty vocals unleash unhindered lyrics that have a complementary theme to the music.
Sinful Lilly keeps the rock & roll fire burning in the next song, "Guilty" From my point of view, my initial thought when the song was in queue was, "Great title; I'd love to see how this song sounds." And I was not let down. There is even more grit from start to finish. Fredi even graces us with a guitar break in the middle of a song.
After hearing two songs with strong unrelenting, steady guitar riffs and heart-stopping beats that will without a doubt move through your body (it did mine), I knew a rock ballad could have a like effect. I'm here to tell you, if you don't like the heart-on-the-sleeve, victim mentality portrayed in most of the famous rock ballads, you will be happy with "Crack in My Heart." What makes this song beautiful is the lyrics. Fredi is mindful that breakups are painful for both people, and that there will be life after both of them afterwards. It's a song women especially need to hear if they, themselves, go through a breakup. I walked away feeling reassured, probably more than I have for this kind of song. My favorite line is, "Take a picture, make it last."
"Nothing Left," to me, is less gritty, loud, and hard than "Truth or Consequence" and "Guilty." But it is no less awesome. The band maintains the quality and rhythm of the music. The best feature in the song is the vocals when they sing "Nothing left at all."
Before I introduce and give my impressions of the next song, I'd like to provide some insight about it, because "Fate" is a different song from the other five. For anyone reading this who is a lifetime fan like I am of the Bangles and (still) has the Different Light album, know that are timeless all-girl band 80s anthems like "Manic Monday," "Walk Like an Egyptian," and "If She Knew What She Wants." And then there is "Following." Led by Michael Steele, it is an acoustical solo. And it is subdued. Some of the lyrics are, "You call me a loser/You call me a shadowed fool/...Why do you call me?/ Why do you look for me?/ Why do your eyes follow me the way they do?" Those who are not musically open-minded or gifted would scratch their heads, wondering why this song is on the album. This is an isolated song, a misfit. But if they keep listening, there's going to be a better song right after that to put a bow on a great 1986 album. You might even discover Steele's talent, and it spoke to you.
With that said, let me go to "Fate." It is not the good ol' loud rock Sinful Lilly gives us in "Truth or Consequence," not even the heartfelt jam of "Crack in My Heart." "Fate" is subdued, has deeper ("torture"), darker ("misery"), even morbid lyrics ("the hope I had is no longer there")...But don't hit the "stop" button. Stop and really listen to this song. Do you hear the talent coming from this band that you didn't hear in the other songs? I did.
Like Different Light, there's a better song to end the CD...and to lighten up the mood ("1, 2, READY!"): A cover of Alice Cooper's "Spirits Rebellious." from The Eyes of Alice Cooper.
What a way to start and end a CD, and have some musical meat to chew on! Let me remind you: this is Volume 1. Stick around for Volume 2.
Sinful Lilly is a rock band from Richmond, KY.
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| (Left) Nikki Valklix, bass and backup vocals; (Right) Fredi Handshoe, lead vocals and guitar |
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