Between a Heart and a Rock Place

In the early '80s, I heard a 45 that had a blue label on it. The introduction to the song was a catchy powerful melody. Though at the time I had heard rock music at a distance and noticed the voices were those of men, unlike those, this song had a female in the lead.

Like the music to this one song, the lyrics were catchy. Every time I heard the song, I would always hear such lines as, "You're a real tough cookie," "Put up your dukes, let's get down to it," and "Hit me with your best shot, fire away."

That singer, I would later find out, was Pat Benatar, the timeless hit song, "Hit Me With Your Best Shot". Other hits I would come to love for life include "Love is a Battlefield," "We Belong," and "Heartbreaker."

In the pages of Pat's autobiography, Between a Heart and a Rock Place, lifetime fans are treated to an in-depth story, a journey of ups and downs, tragedies and triumphs of a trailblazer for the women of rock music. 

Though by the time Pat came on the scene with her debut album in 1979, In the Heat of the Night, there were some women fronting rock bands, and more to come, such an Ann and Nancy Wilson and Joan Jett, respectively, Pat herself was not anyone's puppet or doormat, especially when it came to demands from Chrysalis, a big record label at the time.

After a mere two chapters of her backstory, of getting to know where she came from, we readers really get to know her. And it's over from there. By 1979, she had already paid her dues, taking vocal lessons all through grade school and singing at clubs and meeting long-time confidants. That led her to the band who would accompany her to the next level of her career: as a female frontman of a rock band.

She had no sooner signed the contracts that she learned quickly about the demands of writing songs on a regular basis, and unintentionally and easily having an image of someone who was sexy. 

As for Pat, she wanted to only write songs; with her slender, flat-chested physique, she didn't consider herself someone to be attractive. The latter was taken advantage of and harassed, both of which were magnified when choosing the album cover for Crimes of Passion.

It was in doing this she met the love of her life, songwriter/musician/producer Neil Giraldo. She knew he was going to be, as she unashamedly put it. "the father of her children." A few years before they met, there was the all-too-well-known intra-band on-again-off-again relationship with Lindsey Buckingham and Stevie Nicks. In light of that, Chrysalis told her under no circumstances was she going to have a relationship with Neil. Three years later, after realizing they couldn't live without each other, Neil Giraldo and Pat Benatar met at the altar.

By this time, the reader is approximately halfway through Heart and a Rock Place. They will have learned and appreciated that while Pat is a talented singer, she considers family her number-one priority...in spite of what the record label thinks. 

I gained a higher respect for her when she and her band were doing the music video footage of "We Belong" while finding out around that time she was pregnant with her and Neil's first child. Having read that, I now like that song even more.

From there on out, we learn that Pat is no distant mother. She had no maid and no matter what managers and producers expected of her, she was doing to be actively involved in her daughters' lives. Even if it meant having to change their diaper an hour before showtime when she should be "resting."

"Resting" is not something Pat, with her working dog persona, does not do. This has certainly paid off over the years. She is one of few rock singers who never took any drugs, had children only within marriage, can still sing and have some live performances from time to time...and keep alive her 35-plus-year marriage to Neil Giraldo. The three-decade-long road may have been rough for her, with not a few mockings, temptations, and ridicules. However, with a rock-solid refusal to give up, she has been able to inspire many succeeding women in pop and rock music, is considered the King of Rock and Roll's favorite singer, and a favorite of mine and my peers.

Kip Winger at the Square Room

Knoxville, Tennessee, has welcomed many celebrities over the past several decades. Sometimes, it's a big deal when their tour includes a stop here. This lively town now has now added another rock legend to that list: Kip Winger.

Who would have ever thought that the same guy, who, with his piercing blue eyes, leather, and fringe, unashamedly sang late '80s/early '90s hits such as "Seventeen" and "Can't Get Enough" would come to Knoxville twice in a short period of time?

Apparently, I couldn't get enough of him, either, and wanted to feel like I was seventeen all over again. Thursday night, I made my beeline to the Square Room to get some more. And many others had the same plan. One word from Kip: Groupies! {Laughter}

In my humble opinion, we're dedicated groupies who, for as long as we live, will always remember every word to every song...from "Easy Come, Easy Go" to "Headed for a Heartbreak," ...as well as a cover of "Just What I Needed," by the Cars.

(And I bet there was a woman there texting this message to another friend during the show: Kip is hot!)

It is at these acoustic shows lifetime fans learn a little bit more about Kip. Here are two pieces of Kip trivia: 

(1) He is not responsible for the lyrics "Her daddy says she's too young, but she's old enough for me."

(2) Although he played it Thursday night, "Rainbow in the Rose" is not one of his favorite songs. When he did play it, it was the best I had ever heard.

Those who were at the show last year remember when a guy in the audience got up and sang "Miles Away" with Kip. This time, a young woman got up and sang with him. All I can say is: Lionel Richie and Diana Ross, take the back seat. 

Now waiting for a show in 2019.

Sinful Lilly with Beasto Blanco (Monstrous Things Tour)

"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.

Stryper, God Damn Evil

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.

"Jesus Is King" OFFICIAL NEW Chaotic Resemblance 2018

Stryper - "The Valley" (Official Music Video)

Blackfoot at the Open Chord

Something I've learned over the past few years is the music of bands who are still around after a few decades only evolves. It's a privilege to know that what you heard back in their heyday is not what you'd hear if you were to see them live now or on their new albums. Certain examples of the evolution include playing a different genre, like country or blues, playing an acoustic version of a hit rock song, or changing band members over time, for various reasons.

Blackfoot is one of them. 

However, what the current lineup (Jeff Shields, vocals; Tim Rossi, guitar and vocals; Matt Anastasi, drums; Seth Lester, guitar; and Derek DeSantis, bass) has done to keep the spirit alive is not lost on fans, both old and new. Those of you who are my age or older who listen to classic rock on the radio (or should I say the music we grew up with?) would invariably hear "Train, Train".  For me, it's one of few songs I can identify in just one note, that matchless, incomparable harmonica intro that makes the sound of a train so real. Though I know I'm like a lot of people who wish music of that kind would never fade away, never lose its meaning or value, the only other thing to do is to keep it alive for as long as possible, doing everything one is capable of.

I have to give props for the staff at Open Chord: What a way to pack a venue on a weeknight in spite of the heavy rain! 

Blackfoot in just a few words (as a start): A fresh new edge, with many unfathomable eccentricities that will give them their own distinct image. Nonetheless, they don't take for granted where they came from, the lasting legacy of the original sound of this band. Rock, that's the bottom line.

In addition to upholding this standard, lead singer Jeff Shields has awesome, almost philosophical words to say between songs. Strange as this may sound, they fascinated me so much, I made a point to tune in to them. Though songs would typically include heartbreak, anger, depression, as well as the antithesis of each of those woes, I loved hearing about what a man shouldn't do to a woman, money slipping through your fingers, and dealing with people who do all taking and no giving.

About two-thirds of the way into the show, they played "Train, Train." It was only appropriate to have everyone sing it.

Of special mention is lead guitarist Tim Rossi. For those who are occasional concertgoers, you haven't lived around live music until you see Tim play guitar with this teeth, among many other antics that hard as this is to believe, would put KISS to shame. Then again, this is Blackfoot...evolved...in a new generation, so I need not compare.

But there's more: Tim's guitar solo of both "Amazing Grace" and "The Star-Spangled Banner," the latter for those who can have their own memory of the national anthem on strings, replete with pride and passion. I only hope someone has a recording of that. In that way, that can be a great immortal moment in rock history. 

I just mentioned that some bands have made acoustic versions of their hit songs. How about this: An upbeat version of "Ohio," by Crosby, Stills, Nash, and Young? I'll allow you to have a few seconds to think about that, to try to wrap your mind around that. The best feature: Tim's long guitar solo.

Towards the end of the show, Jeff announced they are working on a new album. And I can't begin to imagine the even greater things they will deliver on it!

For those who didn't come out, I do have some pity for you. However, I have a consolation. You have an even better chance to see them again. On Saturday, September 1, they will be in Waco, Kentucky, with Sinful Lilly  to open up for them.