Going out of town to see a new band is a great way to see some talent you might not have otherwise known about. What's even better is if you like them so much you wish they could rock your town.
Those of you who have followed my blog posts know I've gone to Kentucky a few times over the years. In going there, I've seen such big names as Lynch Mob, Beasto Blanco, and Stryper. It's in doing this that I've met some other bands who have the potential to make it big. One of them is Sinful Lilly!
Over the past few months, they have been on tour with the Bulletboys and Michale Graves (formerly of the Misfits), rockin' from as far north as Dudley, Massachusetts and as far south as Lexington, KY, which is their hometown. Let's go south a little bit more...Knoxville, TN, to be exact.
After seeing them three times so far, each time in either Hazard or Louisville, KY, I wanted the loyal rock music fans from Knoxville to get a taste of the rock music I and my friends have had the privilege of not only hearing but seeing live. I knew they'd be blown away. And I was right.
The eagerness started even before Sinful Lilly came up on stage for their set.
Though most if not all of the audience was born after 1969 (including myself), they all could in some way relate to "California Man." Fredi introduced it as "going on a trip without taking the trip." Then, Fredi took the audience on a trip to some more great music!
One of the things I admire about Sinful Lilly is, they like how different audiences respond to their music, especially when they're live. This was the first time seeing them where a few people formed a mosh pit! Undoubtedly, there was something about Fredi leading them into "Devil Music & the Record Machine".
Though they played other songs from their Moment of Clarity album, as well as a cover of one of their favorite KISS songs and another one by Wednesday 13, Fredi treated us to "Bikini Machine", which he wrote when he was in Sex Cab.
With apologies to the opening line of a popular Asia song, Do you remember when we used to dance? Yes, I do. We danced the night away and made lasting memories while the good guys in a band played good ol' rock & roll melodies.
And now I find myself in '19. The pop and rock songs we knew back then have given way to an entirely different style of music for the next generation to enjoy. With each passing decade that leaves the 80s further and further in the rearview mirror, the music from that era sounds better than ever.
Though we'll never have those days again, is it possible for a band to play a fusion of both styles of music?
The Mylars (Danny Roselle, vocals, guitar; Chris O'Hara, drums; Nick "Quig" Clemente, bass; Dan "Nashville" Rainey, lead guitar; and Nick Polito, keyboard) are from Union City, New Jersey. Their debut CD, Modern Records, was released in 2017.
Three words to describe Melody Records: fun, simple, and enjoyable.
Of the eight songs on this album, the best representation of that and more is heard in "Betty, Buddy, and Me." First off, this is another great song to mention legend Buddy Holly...on an 8-track, no less and a '57 Chevy. Radio up, windows down, white lines are all we'll see. I can take that any day.
You will no sooner cue up "Breathe Again" when you'll hear guitar riffs easily reminiscent of 70s/80s pop/rock music combined with vocals that mimick the intonations you hear in today's music. Best of all, you'll be amazed at clear, effortless lyrics.
The song that I believe has the best musical fusion is "Forever Done". The melody has a 90s-style sound to it. However, the guitar break is a break from that and fits in smoothly.
The song that stands out to me is "Shine." The guitar intro sounds very much like one of The Clash (apparently, I'm more of a fan than I realized). Lyrically speaking, it includes--and this is something I appreciate and rarely hear in songs anymore--lines from rock songs that could be life mantras (not to mention Facebook posts and Tweets): "Find the things that make you run...I'll find out the things that make me shine...Make the most of your one life. Ignite the strength inside you and take passion for a ride/Start your road to freedom and shine." This song is great to take on the road with you, no matter where you're going or even where you are in life.
In "What Do You Got To Lose", you'll get the best of everything in music, a catchy, steady guitar riff and a line that will make you go "hmmm": Wouldn't you like to get drunk in the movies? It's otherwise just a simple love song about the endless possibilities in life. I recommend this song to a dating couple getting serious.
Listening to this album has given me a considerable amount of ear candy. I feel like I've gotten a breath of fresh air. What has surprised me (for some reason) is a song about fame and falling, "selling dignity", as heard in "12 Minutes."
With all of this fine rock music fusion, the band would be remiss if they didn't make a classic rock cover. What is it? In two words: "Let's Go". What I love about it is, it's not too deviant from the wonderful original, as made popular by the Cars. The magic and absolute fun of that song aren't lost at all. (I'll admit I'm biased because this is my favorite song by the Cars.)
In a nutshell: the Mylars are a modern-day rock band that rocks their guitar passionately like Bryan Adams, makes songs great for a long road trip, a la Bob Seger, and, for good measure, a smidgeon of some punk rock attitude.
I'm not only breathing again but, for the first time in way too long, my heart went pitter-patter when I heard these songs.
And my heart is racing faster in anticipation of The Mylars' next album.
It was a sad moment back in the early 90s when I discovered that grunge had replaced good hard rock music. All of a sudden, my partiality towards bands like Winger, Slaughter, and Poison were considered old-fashioned, a thing of the past.
Apparently, at least one good thing has come out of this shift in musical trends. And it's right here in Knoxville, TN. Covalence is a four-man alternative-grunge band. With Carter Manson on guitar and lead vocals, Tad Long on guitar, Richard Hodges on drums, and Gabe Carrasco on bass, they outdid themselves in the hard work they did for their debut CD, Alpha Decay.
Photo Credit Bird's Eye Photography
In just six songs, it is replete with talent, as well as all of the essential elements of rock, grunge, alternative, with a smidgeon of punk for good measure. Carter's strong voice has a no-nonsense intonation and a vibe that speaks of pain, power, rebellion, and effortless control. These attributes are consistent and crystal-clear through the whole CD.
I'd be remiss if I didn't mention his guitar riffs, which is the biggest and best asset Carter brings to Covalence. Every one of the instrumental breaks in these songs has a different facet to his unmatched talent. You can hear that from the getgo in "Burn," the first song on the CD. They range from simple chords, as heard in "Close My Eyes," to the goosebump-inducing ones in "Into the Light". Check out the one at the fading of "March On," as well as the one in the intro to "Bring This Down."
What you'll hear in all of these songs is intricate musical patterns throughout. From the marching band drum patterns Richard graces us with at the beginning of "March On" to his use of a splash cymbal at times in "Close My Eyes" and "Burn".
The part where they're at their best as a band is in the instrumental break in "Into the Light": perfect timing with the guitar riffs and the drum beats, followed by that pause after the tension builds.
I love how they added on a bonus track, "Out of Place." Consider it a taste of the softer, deeper part of Covalence that couldn't be easily expressed otherwise.
Though I've listened to this several times at this point, as I'm writing this, I have the lights off. It's this time I am really into the music, feeling it penetrate to my soul. Therefore, I recommend you listen to Alpha Decay the same way you do The Dark Side of the Moon.
There's a whole lot more I could say about Alpha Decay. My advice to you is, keep listening to it. If you do, you'll find something different each time.
This is pretty darn good for four young men under 21 or still in high school!
There is a force to reckoned with here in Knoxville, TN.
It comprises four young men who don't settle for third-rate in what they do. These guys are in a rock band and their name is...
Covalence.
These young men in Covalence (Carter Manson, lead vocals and guitar; Tad Long, guitar; Richard Hodges, drums; and Gabe Carrasco, bass), play as if they've been at this longer than they've been alive. Last night, they had a show for their debut CD Alpha Decay.
What is seeing Covalence like? I'm here to give you an idea of what to expect.
They didn't just appear on the stage. Instead, they started off their show theatrical rock style: emerging onto the stage as a video appeared on the overhead screens and immediately played the songs that they...yes, they...had written.
And it wasn't just with the four of them playing their respective instruments. The band had a fog machine, with awesome lights from the Open Chord crew to enhance it. With that and the energetic talent eliciting from all of them, the packed house at Open Chord got a really big treat from the band.
But the smaller and more meaningful "treats" were the covers they played after playing the songs from Alpha Decay. What made it meaningful was some fans had requested they play hits by the Foo Fighters and Nirvana.
In the few years Covalence has been together, there have been a few personnel changes. Between songs, Carter talked about how they had recently gotten Gabe on board. Richard spoke about how he had joined a few months prior. Then, the surprise Carter had promised the audience: Harrison, their former lead singer, came up on stage toward the end of the show and sang "When God Comes Back," which is one of the favorites from fans.
How do you know this band has made a significant impact on their followers? When they shout for an encore...and the band gives it. Song of choice: "Evenflow" by Pearl Jam.
I'm proud to be a resident of Knoxville (by marriage). It's a great lively town inhabited by people who go out of their way to give visitors a warm welcome and outdo themselves in providing hospitality. What I'm also proud to be is a supporter of the local music scene. Over the past few years, I've seen touring bands of various levels of popularity and style make Knoxville, TN, one of their places to play on their tour. And they have come more than once. Each time they come, they tell the audiences how much they love coming to Knoxville. Having said that, I know Greenville, South Carolina's, Silver Tongue Devils felt so welcome to Maryville. As for me, I welcomed their music. And not just their music, but their congenial stage presence and non-stop rock to kick off the show. It goes without saying that every musician is influenced by at least one rock legend, studying their mannerisms meticulously. Such was the case of lead singer DJ, who sang, dressed, and acted as if he were the Robert Plant of the 2010s. In addition to that were the rhythm guitarist doing part of the "Eruption" guitar solo and the drummer having an energetic passion similar to that of both Tommy Lee and Jimmy D'Anda.
Silver Tongue Devils
In the weeks leading up to last night's show at The Shed, I learned Jackyl was there last year. They had instant popularity in the early 90s with their chainsaw solo in the instrumental break of "The Lumberjack" from their debut self-titled album. Also, lead singer Jesse James Dupree's loud and raw Southern attitude-filled vocals and consistent, strong music are also timeless attributes of Jackyl's music. Therefore, it's no wonder we Knoxvillians were glad to have them back. To my knowledge, this was one of their stops for the 25th anniversary of Jackyl. I'm not sure if it was intentional for the sound crew to play "For Those About to Rock, We Salute You," by AC/DC, followed by "Rhinestone Cowboy," just before Jackyl made their grand appearance on the stage. Whether it was or not, to me, it provided a good soundtrack for what was ahead. And what was ahead? In a nutshell, it was undying consistency and energy in their music. Over the past few years, I've been to shows that were part of a tour celebrating a milestone in the careers of bands from the 80s and 90s. I've seen the differences in their performing capabilities and styles of music now as opposed to then. The way Jackyl played blew me away! First off, Jesse James's voice is still strong, as is the music. To be more clear, seeing them live was as if the music I had heard from their debut album (on a cassette) hadn't died or changed. Their live performance did a stellar job in magnifying what I had heard on a studio album.
Jackyl
Though Jackyl has had hits since their debut album, and the large crowd they were graced with cheered and shouted out the responsory-style lyrics, the atmosphere in the audience seemed to have gone to a higher level when they played the songs from that album. Such hits include "Down on Me," "Dirty Little Mind" ("d-i-r-t-e-e-e"), and "I Stand Alone."
Jackyl
Jackyl
Jackyl
Best feature of all (and you probably see this coming)...the chainsaw. Jesse cut up a wooden stool. One lucky fan walked away with a sawed seat from it.
Jesse James Dupree with a chainsaw
Jesse James with a chainsaw
Jesse James with a chainsaw
I walked away impressed and with a desire to see them again.
Call me super-sappy, but one thing I miss from the '80s is the rock ballads (or power ballads). Back then, it was almost predictable that every rock band, in all their big hair and leather pants glory, would, after at least one upbeat hit song, follow that with a slower song. The pendulum swang from one end to another as to what the theme would be: It would be either about such a deep love for a woman with pretty blue eyes whom they promise to love forever or such deep heartache over love gone wrong, to the point of (literally?) dying. There was something about the extremes of wearing their hearts on their sleeves that only compelled me to listen to them. I still do that to this day. One of my absolute all-time favorites is "Wait" by White Lion. Even after all these years (and decades), the one line that still stands out is, "I never had a chance to love you." Looking back on it, I didn't know that was only the beginning of the way with words Mike Tramp had, enhanced by his voice that is simultaneously raw and smooth. White Lion disbanded in late 1991, Mike immediately started his solo career. He has made seventeen albums. He is currently on tour for his most recent album, Stray From the Flock, which was released March 1.
It is in hearing Mike's songs, all of which for the first time for me, in which I noticed something deeper and more personal than the palpable desperation in "Wait." I heard the volume of his heart turned up even more in such songs as "Broken Home", "Homesick," and "Lady of the Valley."
Though his solo career has been longer than his reign with White Lion, he didn't forget where he came from. He minded how his fans from the very beginning will always know him. True to his word, he played White Lion favorites, such as "Wait," "When the Children Cry," "Tell Me," and "Going Home Tonight." It's in this medley of songs Mike told us about now-funny things he experienced when he was with White Lion. If you get a chance to see him, I hope he'll talk about the advice Steve Tyler of Aerosmith gave him around 1987, when White Lion was on tour to support their well-known album Pride. The funniest story he told was about the typical layout of all issues of Circus magazine (yes, I'm certainly dating myself). The typical hair band back in the day was one part blond (often the lead singer) and three parts dark hair. If the band was of a mind to have someone play keys, he had long curly hair and was in the shadows of the band's stardom. All told, it was a great night of humor and the best time I had ever had in remembering the late '80s. It may not have made sense to me or anyone else at that time, but, as they say, hindsight is 20/20.
Has anyone ever seen a YouTube video of a live performance of a rock concert and you thought to yourself, I would love to see them? There may have been something about the energy the lead singer exudes from himself or herself, the musicians' synergy and chemistry as they give their all in playing, or even the raucous shouts and cheers pouring forth from the audience.
Such was the case with me six years ago. I saw a video of a live performance by Disciple. With Kevin Young's energy matching that of a restless teenager and the relentless flood of enthusiasm, amazement, and awe coming from the audience, in those few minutes of the video, this one moment seemed larger than life.
Last night, I finally had a chance to be there!
Here is what you can expect from a Disciple show:
Kevin Young giving his all with his boundless energy
Guitarist Josiah and Joey shredding like monsters!
A real and simple message from Kevin.
Joey tearing it up on drums. When he played, the plaform literally shook!
And they pulled out all the stops with lighting! Many deserved kudos to the geniuses who arranged all of that.
So, it's no wonder the audience would have their hands in the air and take pictures and videos on their smartphones!
Life is full of injustices. I have a long list of my own, but I won't bore you with it. One of them is, many people still don't know Leona X. What a shame! They're missing out on some great music. Though it's taken me a while to get around to it, I am just now listening to her most recent album The Woman in Me.
One thing I love about her is, she has a close friendship with her Gibson. In the few songs I've heard of her, they make a great partnership. I dare say, if they keep this strong friendship up, their business will be more successful than any other in this world. You can hear for yourself that wonderful playing relationship from start to finish in The Woman in Me. Almost every song has a line that stands out, too, such as "I'm not like the others when we kiss under covers" in the title track or "Rip my heart open...leave my soul broken, and take my last breath," in "New Orleans". Or how about that AC/DC-esque guitar break in "Double Down"? Surely she used some of her own high voltage, up to 11, just to have those strings scream like that. Something that's different on this CD that isn't featured in her previous CD, Ready for This?, is a slow guitar intro, as heard in "New Orleans." I like how the lyrics are a little deeper. This CD has a great song to end it, "Bad Boy". By this time, if her guitar riffs didn't grab you, how about the needle on the record and Indian tribal vocals at the beginning of "Bad Boy"? That will at least have you bobbing your head, wondering what other musical surprises Leona has. Her treat to me was her voice getting a little lower and deeper and, some more great, powerful, attitude-saturated lyrics: "You wanna think you're the original flavor? You wanna think you're the American dream?" Hopefully, this review of mine will restore some of the musical glory that is due Leona. In a nutshell, this one CD is a rare gem of powerful rock music from start to finish, with a raw and righteous in-your-face rock & roll attitude, effortless but genuine talent, and crystal-clear catchy lyrics.
