"We're not in Kansas anymore...we're not in Kansas anymore..."
If anyone walked into the Diamond Pub concert hall in Louisville, KY, this past Tuesday night, they may have wondered what was going on, who was saying that. Was there a showing of a reboot of The Wizard of Oz? Or was a band singing that, making a mockery of a familiar movie line?
No to both! It was Sinful Lilly heightening the excitement of the mass of rock mongers who had come out to see them share the same stage with Beasto Blanco (Chuck Garric, lead vocals/guitar; Christopher "Brother Latham" Latham, guitar; Jan LeGrow, bass; Calico Cooper, vocals; and Tim Husung, drums), during their Monstrous Things tour. This was their third time in a week with them, having had shows in Dundee, Illinois and Braidwood, Illinois.
I believe most of the audience had either never heard them or had but never seen them live. For the former, they had no idea what Fredi Handshoe and Nik Valklix were capable of. To say they were awestruck must be an understatement as they played "Devil Music and the Record Machine," "California Man," "Truth or Consequence," and a phenomenal cover of "God of Thunder". To accompany Sinful Lilly in this raucous thunder was touring drummer Jimmy Wooten.
Let me put it plainly: No silence, boredom, or apathy were allowed.
For those who have been to the International in Knoxville, TN, you know that when someone either plays a loud, heavy bass or bass drum, the floor vibrates and shakes. Sometimes, you may even have to regain your balance. I felt that during their set.
Then came Beasto Blanco! I just have to say, except for Alice Cooper's brief appearance in 1992's Wayne's World, I had never seen him, let alone any of his band or offspring, live. When they came on stage, there was no mistaking whose last name was Cooper. Complete with a black studded and leather vest, thigh-high boots, dreadlocked hair, webbed leggings, vampire eyes, and props like a baseball bat with nails, a Beasto Blanco flag, and a lifesize mannequin of her, it was none other than Calico Cooper.
I have said before about other bands, that only listening to their music doesn't do fans justice. Though I had listened to Beasto Blanco's music and seen their videos over the past year and a half, and been intrigued by the effortless talent, the ingenuity of the lyrics and myriad styles of music in every song, neither came close to what I saw in the flesh.
They started off their set with "Beasto Blanco." I will say that Calico stole the show, from waving the Beasto Blanco flag during "Motor Queen" to brandishing the baseball bat with nails. Also, in my lifetime, I have known lots of male-female duets, all of whom relentlessly spill their guts caterwauling about either broken hearts or puppy love. All of them pale in comparison to the chemistry between Chuck and Calico, especially during "Breakdown".
Chuck Garric got his Motorhead on and made the most of it. His gritty voice was so clear, his stage presence unhindered.
The best part was when the band teased the audience in thinking they were done with the set...only to come right back and play "Feed My Frankenstein." I felt like a Wayne Campbell in the 21st century...and so unworthy to see this.
Having said all of this, seeing Beasto Blanco was more than just a treat. It was some hard rock meat I could chew on the rest of my life.
When Sinful Lilly played, Fredi requested constant loudness, shouting, cheering, whistling, etc. Chuck only reinforced it at the end of their set with the word "LOUD" taped on the back of his guitar.
Here it is Saturday morning. I wouldn't doubt it if the glorious loudness, compliments of Sinful Lilly and Beasto Blanco combined, still reverberated in that concert hall.
Once upon a time, around 1986 or 1987, there were radical Stryper fans, thanks to Yellow and Black Attack and the immortal To Hell With the Devil. In fact, these fans were so radical, they wore their To Hell With the Devil t-shirts to school...and were sent home to put on another less "violent" or "religious" t-shirt.
Here we are, just over thirty years later...and Stryper is still around and making some of the rocking-est (that's the best way I can put it) righteous songs.
What's even more: it never lessens. After hearing God Damn Evil several times since its release back in April, I could talk ad infinitum about it, not the least of which is every song has a clearly relevant message. What I have in this post is the best tell-and-show (and listen) I could possibly come up with.
Remember how Stryper had a chills-worthy beginning song for Fallen, "Yahweh" ? First songs on albums have now gone to a new level for them, as well as for the lifetime followers of Stryper. "Take it to the Cross" is awesome from start to finish and everything in between. How about a minute-long introduction that keeps you waiting for more. For the first time I can recall, Stryper has written a song that has a more thrash-style guitar riff in the chorus. And I like it! What makes the ending so awesome is Michael's high vocal range that is at its highest, which I had never heard before.
They by no means let up on "Sorry," lyrically and musically. Both are equally powerful. Of course, the one-worded title gives it away. That it's one of my least favorite words when it comes to making poor choices, only makes me want to listen to it. Domestic violence, alcohol abuse, etc.; I will make no further comments.
"Lost," another great song. It seems to reinforce the limitless stimuli, the fake news, the fake social media profiles, in this modern-day society. It might be another hard four-lettered word.
The title track, loud and proud with a guitar intro, the bass drum playing quarter notes, and that effortless high note elicited by none other than Michael Sweet. All of that is only scraping the surface of this song. That's how powerful it is. It may be another thirty years before I am able to find more words for it.
"You Don't Even Know Me" speaks high volumes to me (in more ways than one, of course). It's something I wish I could say to some people. I'm thankful for Stryper, that they have written this song on my behalf, doubtless for many others. It's all I can do to not shout, myself, the title of the song. I can't and I won't. If I were to attempt that, I would fail miserably in comparison to how Michael could do it and render me a fool, a coward.
"The Valley" is a great example of not putting God in a box. Take for instance the intro: A monotone voice, Star Trek style, quoting Psalm 23:4. That it's from the King James Bible is trivial compared to the smooth and powerful delivery of the chorus. Researchers say you memorize things easier and retain it better by singing. I'd love to see people of all ages, children especially, do that as a result of listening to this song. If they do, I'll give them two check marks on their participation card. As for me, I've waited my whole life to hear these words to rock music.
Though we all know Stryper is partial to Black Sabbath and KISS, I don't think I'd ever really heard a song of their that is reminiscent of that decade. "Sea of Thieves" has a clear '70s music style to it, with some '80s to it as well, the guitar break.
Michael is at it again with his beautiful power ballads, "Beautiful" and "Can't Live Without Your Love." "Beautiful" is the "Honestly" of the 2010s. The guitar break is so reminiscent of the 80s; it made my heart go pitter-patter.
While it is a fact (in my book and others') that Stryper's music is ever-awesome, this is the first album I have listened to that has some hard, strong, convicting lyrics. Take for instance "Own Up." Add Michael's voice to it and...Need I say more?
Though it is easy to comment only on the lead guitar in any given hard rock song, you can't and must never forget the drums. I don't think I had never heard Robert play like that, especially at the beginning of a song, as heard in "The Devil Doesn't Live Here."
Of course, he doesn't. The relentless hard rock beauty of this music is telling the beast of a devil, "To hell with you!".
Having said that, I'm waiting for a teenager to wear a God Damn Evil t-shirt to school.
