KISS-End of the Road Tour (3/2/19-Chicago, IL)

Post #371

KISS are a legendary rock-n-roll band that have influenced multiple generations of rock and metal musicians over a career that has spanned nearly 5 decades. They boast the largest discography within Mercury records, hold the record for most Gold albums by an American recording artist, rewrote the rules for the rock-n-roll concert stage show with pioneering theatrics, and have secured a place in the official Rock N Roll Hall of Fame. However, the members of the band are not as young as they once were and this time around they have called the tour "The End of the Road Tour: The Last Tour Ever". However, some critics claim that they have done a "Farewell Tour" once before, so why should we believe them now? That question can be debated as much as you like, but in the end, time will tell. As it always has.

These questions aside, I did approach this concert as if it will be the last chance I'll ever have to see this band in concert. I've long held to the statement that KISS are my all-time favorite band. I am constantly discovering new metal bands, both on the national and local levels, so on any given day there could be a different band that I hold in the highest regard. However, when I look over the course of my music-listening life, the timing, scope, and longevity of KISS all play a role in keeping them high on my ever-growing list of favorites.

(myself in Eric Carr's 'Fox' makeup)

So for this show I was all-in. I put on my 'ultimate fan' hat, outfitted myself in KISS swag from my head to my toes, and yes, even painted my face like a member of the band (this time I chose the late Eric Carr). I left my pipe-dream hopes and expectations of any reunion with past members at the door, as I had heard enough interviews that consistently ruled that scenario out. I simply went with the hopes to see this current KISS lineup of Gene, Paul, Eric and Tommy deliver a selection of songs and performance of music that would exhibit a diverse representation of the band's long and storied career. With this as my frame of mind, I was not disappointed. By the end of the night, I was grateful to have witnessed the KISS live show for quite possibly the last time.

From the moment the lights went out KISS were on a mission to give us a final performance that fulfilled a fan's expectations no matter what year they may have begun to follow this band. They opened with their classic hit, 'Detroit Rock City', descending from the rafters on stage-lifts, with laser-lights and fire balls erupting from the stage. There was no looking back from there. KISS kept the show rolling as best they could. They gave us a good mix of anthems, ballads, and heavier tunes.

(photo by Amanda Dean Morell)

Early in the show, Paul Stanley said they were going to represent every era of the band. By the end of the show I can say they did a fairly good job of that. True, it is difficult to represent every era when a band has 20 studio albums (24 if you count the 4 solo albums). If I looked at their set list under a magnifying glass I could say they skipped a few albums (no 'Hot In The Shade', no 'Revenge', no 'Monster', or 'Elder', or 'Carnival of Souls'... no 'Unmasked'). But I was looking on the bright side. They covered all of their biggest hits, and best-known anthems, and with the first 'Alive' album being their most successful and possibly their best-known release, it's no surprise they still play many songs from that era. But they did perform 'I Was Made for Lovin' You' from the 1979 'Dynasty' album, 'War Machine' and 'Heaven's On Fire' from the 1980's, and 'Say Yeah' from 'Sonic Boom' (one of only 2 albums recorded by their current line-up). So in the end they did represent the spectrum of KISS quite well!

(photo by Brian Batt)

Their classic theatrics were all there: pyrotechnics, elevating drum riser, laser light show, fireworks shooting from the guitar, and of course Gene Simmons breathed fire and spit blood at different points of the concert. Paul Stanley rode a zip-line out to a small platform stage in the back area of the main floor to sing a couple songs- a stunt he has done for several recent tours. Gene Simmons was lifted to the rafters to sing 'God of Thunder'.

(photo by Mary Ionetz Brodnick)

With all of this in mind, I must say that my favorite part was when they played 'Lick It Up'. Ever since they incorporated a segment of The Who's 'Won't Get Fooled Again' into the breakdown segment of this song it has become a concert experience to behold. They did not disappoint, as they performed this song again with the extended breakdown.

They closed their main set with 'Black Diamond', a classic song from their first album, and Alive! From the clean intro, the crowd participation elements, and slow closing segment of the song, the crowd went crazy right to the end. Then the lights when dim to the enthusiastic cheers of the crowd.

(photo by Jerry Downing)

A few minutes later it became clear that they had saved the best for last. The first song of the encore was 'Beth', sung by Eric Singer. The cool thing about this song was that for the first time in all the years I've seen KISS in concert, Eric actually played the song live on the piano, instead of singing along to the recorded instrumentation like he usually does. I only recall one other tour where they played the song live instead of singing along to the recorded music, but even then it was on acoustic guitars. This was on the piano, as the song is meant to be played. Thank you Eric Singer for making this a memorable performance!

After that they played 'Do You Love Me?' and of course 'Rock and Roll All Nite'! They dropped balloons from the rafters, blew confetti into the air, lifted Gene and Tommy on cranes out over the crown on either side of the arena, and ignited a lot of pyro in the ultimate concert finale. The crowd went crazy as they finished their show with this classic anthem. It was a night I'll never forget.

Thank you again to KISS for all the music and memories through the years. You let us drive you wild; we let you drive us crazy!

KISS-End of the Road setlist:
-Detroit Rock City
-Shout it Out Loud
-Deuce
-Say Yeah
-Heaven's On Fire
-War Machine
-Lick It Up (with medley of 'Won't Get Fooled Again' by The Who)
-Calling Dr. Love
-100,000 Years
-Cold Gin
-God of Thunder
-Psycho Circus
-I Love it Loud
-Let Me Go, Rock N' Roll
-Love Gun
-I Was Made for Lovin' You
-Black Diamond
---encore---
-Beth
-Do You Love Me?
-Rock and Roll All Nite


For more pics and videos from this concert on March 2nd, 2019, please visit this Facebook event link, posted by KISS, and filled with comments from the KISS Army of Chicagoland! Lastly, I wish to give a sincere thanks to those who gave permission for me to use your photos in this review. You guys rock! Happy Headbanging to all of the Kiss Army!

Swirl-Self-titled EP (2013)

Post #321

SWIRL are an up and coming hard rock band from southern California. While keeping a fresh sound to their formula, they truly are like a pure rock 'n' roll band. Some may call them modern hard rock, or pop metal, but as I'm a minimalist when it comes to defining genres, I'll just call them rock n' roll.
http://www.swirltheband.com/?page_id=42

SWIRL's 2013 debut, self-titled EP delivers 7 quality tracks that show you their potential. From several listens through the EP as a whole I can say these guys are a band about positive vibes, uplifting lyrical themes, old-fashioned hooks, solid musicianship and just letting the good times roll. They fuse solid grooves, memorable riffs, and skilled technical abilities into a modern heavy rock 'n roll product. Vocally their singer has a tone and pitch that reminds me of Sammy Hagar, so any 'Red Rocker' fans out there might want to pay attention... Each song has something to offer, and I'll touch a bit on each one now... along with a memorable or catchy lyric from each as well.

Fourth of July - * The EP opens with a straight-up hard rocker. A mid-tempo, classic groove sets the tone of this song about a hot babe that '...lights me up like it's the Fourth of July!'. My favorite line has to be when the singer says, "Like Johnny Cash, for you, girl I'll walk the line."

Spell - Fantastic and groovy bass intro on this one. The bass guitar continues to drive this song throughout. 'Breaking from your spell' is a lyrical analogy for seeing the true side of someone in a bad relationship.
"You got your money but you ain't got no soul..."

Rise Up - This is another song that has a classic rock 'n roll feel. Carries a theme of true self-empowerment and anti-entitlement...
"We gotta take back what we own. We're the kings and the queens of this world..."

We Are Alive - * This one's a little harder, little faster. It's built on a great catchy riff, but really pulled me in with the anthemic key-change at the 2 minute mark!
"Realize that we are human beings, not robots or machines."

Message - * A cool echo-effect at the start of this one makes it catchy from the start. It is a slow-tempo, heavy number, and the vocalist employs a scratchy, raspier tone to his voice. It almost seems like it could be post-grunge, and reminiscent of Candlebox.
"You gotta take a stand, no one's gonna hold your hand..."

Time to Fly - *** Hands down, this is my favorite track on this EP. Primarily played in a minor key, it transitions to an uplifting theme at the choruses, and strings come in to compliment the song.
"They tell her that she's wasting her time, losing her mind, better get back in line and follow the blind."

Mad Disease - A darker and heavier number again, perhaps the heaviest offering on this mostly mainstream rock recording. The lyrics of this one depict an anti-drug theme.
"Needle to vein, there's no more pain. You had the world at your feet, now you're falling from grace..."

SWIRL have opened for a number of well known metal bands from the 80's and 90's, and if the chance arises that they play somewhere in the midwest, I look forward to possibly catching them live... follow them on their facebook page to keep up with their tour schedule.

Ian "Lemmy" Killmister: 1945-2015

Post # 319

On December 28th, 2015 Motorhead frontman Lemmy Killmister passed away from "an extremely aggressive cancer". This comes as a shock to the entire subculture of heavy metal music. Other notable iconic artists have been sharing their life experiences through their independent websites and social media pages. I'm sure by now many of you have already read several of those posts, so I won't bother posting links here- they'll be easy enough to find with simple google searching. I just want to take a moment to reflect on Lemmy's body of work, influence, and legacy in heavy metal.

What I will share with you are my previous reviews, suggested songs and albums from Lemmy's bands Motorhead and Hawkwind. (Yes, for the casual follower of Lemmy and Motorhead, he was in another band, Hawkwind, before he formed Motorhead, from 1972-1975!) Although I may never have considered myself a 'Die-hard' fan of Motorhead, it was impossible to get as deep into heavy metal music as I have without knowing a lot of Motorhead music. Lemmy is also well known as an amicable collaborator within the industry, as I have been reading over and over again in memoirs of rock and metal musicians in addition to the previously mentioned social media updates. To name a very underrepresented few of those who cite Lemmy and Motorhead as a significant influence are Twisted Sister, Metallica, and Ozzy Osbourne. Many of the independent bands I have reviewed on this blog also consider Motorhead a significant influence. There really are too many to name. Even as an artist who never cared what others thought of his music, Lemmy's dedication to the fans was undeniable. Motorhead was constantly on tour for the better part of 5 decades.

I count myself fortunate enough to have had the chance to see Motorhead in concert twice. In each case, they were not the main draw for me personally, but each time I walked away impressed, satisfied, and more a fan than I was before. The first time I saw them as part of The Metal Masters Tour in 2008. Judas Priest was the headliner in support of their Nostradamus album. Several years later I attended Megadeth's Gigantour in 2012. I recall I enjoyed this performance by Motorhead better than the first time. Click the links for my full reviews of those shows.

Before I go into my recommended Motorhead music I'm first going to suggest you find some early music by Hawkwind and listen to it. Lemmy started out in this psychedelic space-rock band and their early work is considered a key influence on the early years of heavy metal. He even performed with them occasionally as a guest through the years. See him singing lead vocals on the Hawkwind classic 'Silver Machine' here. Hawkwind are still around, you can like their facebook page to keep up on their music. Other famous songs from their early years that feature Lemmy include 'Lost Johnny' and of course 'Motorhead'. 'Lost Johnny' was included in The Heavy Metal Box (box set of significant Heavy Metal music from the late 60's to the mid 90's).

Their newest album, Bad Magic, was just released on August 28th of 2015. The band had planned a 40th anniversary tour, but some things are just not in the cards... Bad Magic is also available in a number of special packages through Motorhead's main website. Shop for one of them here.

I'll leave you with some of my personal favorites from Motorhead, but whatever you do to honor Lemmy and his legacy to music, do it loud, and without a care for what others may think of you. Be true. Be loud. Be a motherfuckin' bastard!

My recommended Motorhead ALBUMS:
-Ace of Spades ('80)
-Orgasmatron ('86)
-1916 ('91)
-Inferno ('04)
-The World is Yours ('10)

My favorite Motorhead Songs:
-Ace of Spades
-Get Back in Line
-Just 'Cos You Got the Power
-Kingdom of the Worm
-No Voices in the Sky
-Going to Brazil
-Overkill
-God Was Never On Your Side
-I Know How to Die
-R.A.M.O.N.E.S.
-Killed By Death
-Deaf Forever
-In The Name of Tragedy
-The Game
-Hellraiser

And don't forget (from Dave Grohl's Probot album...)
-Shake Your Blood

Eliminator-...and the Brokenhearted Balladeers (2011)

Post #316

Eliminator... at one point they were dubbed the 'Masters of Speed-Black', back in 2008 with the release of their first full-length album, Breaking the Wheel. Then in 2010 they decided they didn't like being boxed into a specific genre, even if it was a unique one of their own invention, and incorporated several different stylistic elements on their 2nd album The One They Were Waiting For. I've reviewed both of those releases (follow the links above to see more of my thoughts on them!), but their 3rd album, released in 2011, was so unprecedented I feel almost like it rewrote the rules of music for me, or perhaps it is more accurate to say it defenestrated all the rules of music...

In any case, I've wanted to write this review for a long time, and now its time has come. Eliminator's 3rd album: And The Brokenhearted Balladeers

While many of their established fans may shun the music recorded here for its daring new directions and seeming abandonment of the 'speed-black' metal style from their debut, I do believe the open-minded music fan will find this release almost incomparably unique among rock/metal releases in general. The album opens with 'Cuttin' You Down (Switchblade Fighter)', a song that emulates a power-ballad vibe with a raw, almost under-produced sound. Though the recording quality is high throughout, the production seems like the sounds were left in their original state- not doctored up in any way. Guitar music purists out there will love this aspect of the album, regardless of which track they may choose to sample. A power ballad is already a totally novel concept coming from Eliminator, but that's just the beginning...

The second track, 'No Answers' is best described as a hardcore-punk/metal song. It is not quite as intense as their work on Breaking the Wheel, but it's as close as you'll get on this album. Fans from that early Eliminator album may find this to be the only song worth recommending, but I dare anyone reading this to listen to the album front-to-back and then see what you think. It is a listening experience truly unlike any other.

My personal favorite from this album is the third track, 'Near Dark'. This one is much more traditional metal in its approach and execution. Themed after the cult-classic vampire flick of the same name, this song deliveres a more 'metal' subject matter as well. The intro guitar solo will grab you with shredding hooks, and pull you under... Go willingly! You'll thank me for it later.

As 'Near Dark' winds to a close the drums transition in an instant to 'Sex, Drinks, and Music... In My Grave', an old-school rock and roll song, complete with boogie-woogie piano. It almost has a vibe like an ole' west drinking song. The seamless transition from one song to the next brings the shocking contrast of style home with full force. Here again is an instant where listeners will need a moment to process what they're hearing, and ultimately decide for themselves if they like it or not.

The album continues to shift back and forth and sideways between several rock and metal genres. You may start to wonder what they were thinking when composing such diverse music and juxtaposing the songs on a single album, but if you can set that all aside and simply listen... you'll find this to be a very creative, innovative, and above all unique collection of music. Overall, I find And the Brokenhearted Balladeers to be ambitious in its originality; daring in its blatant destruction of walls between the genres of rock 'n' roll, blues, and metal; yet still appeasing in its surprising listenability. An essential recommendation for those with eclectic tastes!

Recommendations from And the Brokenhearted Balladeers:
-No Answers
-Near Dark
-Sex, Drinks and Music... In My Grave
-Amor Fati (This one is also quite unique, even within the context of this album! electric-guitar avant-garde, slow and melodic...)
-Time is On Your Side (Another heavier offering: next to 'No Answers', perhaps the heaviest tune on the album.)


(FYI: when viewing the Eliminator Bandcamp page, the tracks are simply numbered. Here is a reference to the song titles: 1-Cuttin' You Down (Switchblade Fighter), 2-No Answers, 3-Near Dark, 4-Sex, Drinks, and Music... In My Grave, 5-Just Ain't the Same, 6-Route 69, 7-Punk Island, 8-Amor Fati, 9-Time is On Your Side, 10-Crystal Ball)

Kiss Inducted into Rock and Roll Hall of Fame

Post #286
On Thursday, April 10th, 2014 KISS were inducted into the Rock and Roll Hall of Fame... ...after 15 long years of eligibility. As a long-time, die-hard, ever-faithful fan of the make-up clad rock and roll legends, I had my share of worries about how the ceremony would go, what with all the controversy and mud-slinging that had been circulating in the media between the band, past members and the Hall of Fame itself for several weeks prior to the induction ceremony.

There were several sticking points of contention that ruffled feathers on every side of this multi-faceted argument of exactly how Kiss were gaining induction. There was a lot of back and forth tit-for-tat arguments, but they all boiled down to two basic points:

-The Rock and Roll Hall of Fame would only induct the 4 original members (and exclude the other 6 past and present members).

-Kiss would not agree to perform as the original four (only as their current, touring line-up; which includes 2 of the aforementioned excluded members).

Ace Frehley and Peter Criss each chipped in their opinions that were picked up by the media and added some fuel to the rumor fire that there was bad blood amongst the original line-up. Would it run deep enough to cause any of the original four to pull out of the ceremony completely?

At one point I recall hearing something The Hall said about some nit-picky point of a band being inducted for a certain era of their career, and that with some current members wearing make-up designs created by past members belittled their significance. I'll come out and say I think that is a lame excuse to justify excluding musicians whom I believe (as a fan) deserve the honor of induction to The Hall. I wonder if that argument would be moot if, when KISS decided to continue wearing make-up after original members Ace Frehley and Peter Criss left the band after the Farewell Tour in 2000, they had asked their replacements, Tommy Thayer and Eric Singer, to create their own original make-up designs rather than wearing the make-up patterns of Frehley and Criss? They had new members design original make-up character themes before. Back in the early 1980's, when Eric Carr was 'The Fox' and Vinnie Vincent was the 'Egyptian Ankh'. In any case, these decisions are in the past and the situation is what it is.

From my perspective as a fan, all these arguments in the media had me worried the induction ceremony would be a train-wreck 15 years in the making. However when the time came for KISS to be inducted at the ceremony, Tom Morello (of Rage Against The Machine and Audioslave) gave a crowd-enticing introductory speech that really put the significance of KISS in perspective. Then, the original four 'Knuckle-heads' (to use Gene Simmon's own words!) of KISS: Gene Simmons, Paul Stanley, Peter Criss, and Ace Frehley graciously took the stage, shared some open camaraderie, and goodwill amongst each other on the stage, accepted their awards, and each took a turn saying a few words for the audience, viewers, and fans. Each speech was respectful, and in the cases of Gene and Paul they extended that respect to those past members, living and deceased, whom were not acknowledged by The Hall itself, but live on enduringly in the minds and hearts of the fans who remember hearing their recordings, seeing their performances or reading their words through interviews or documentaries throughout KISS' long and enduring legacy.

https://www.youtube.com/watch?v=HBFPcK_Jx60

In a perfect world, what should have happened was a Hall of Fame induction 15 years ago (when Kiss was first eligible......) If you think about it, in 1999 the original line-up was still reunited, touring the world, and making music. Perhaps if those who vote on inductees had decided on KISS back then, many of these technicalities may have been avoided altogether. However, as things played out, it wasn't as bad as I had feared. At least KISS are finally IN the Rock and Roll Hall of Fame. Better late than never... (Can't stay innocent forever...) So even though we don't live in that alternate timeline, the Rock and Roll Hall of Fame is still a better place, now that it includes the band who wrote 'Rock and Roll All Nite'...

GIGANTOUR 2012: Lacuna Coil, Volbeat, Motorhead, Megadeth

Post # 217
On February 12, 2012, it was time to hit the road for another great rock n' roll/heavy metal show... Our destination this time: Milwaukee's Rave/Eagles Club for Megadeth's GIGANTOUR!

We were cutting it a little close for our arrival time, rushing into the venue as we heard music blaring already. Lacuna Coil had already taken the stage! We arrived in the actual music hall in time to catch most of their set. My favorite part of their set came between Fragile and Kill the Light, as Cristina looked up the the lighting tech-booth and said, "I think it's time we Kill the Light..." She likes making plays on the words of their song titles. I thought it was clever, and the song was awesome!

Lacuna Coil delivered an excellent set, culminating with their hit 'Spellbound' from their Shallow Life album a couple years ago. During the intermission, we edged our way in a little closer, and segments of the crowd shifted either for drinks or the rest rooms. We agreed to repeat this practice between each band through the evening to see how close we could get by the time Megadeth came on.

But next up was Volbeat! From Denmark, Volbeat are a metal band not quite like any other. They are heavy, sure, but they blend in a lot of old-school rock n' roll (almost the likes of Elvis Presley), resulting in a heavy, melodic, and catchy style of metal that's almost impossible not to dig. Currently they are getting a lot of air-play on hard rock radio with their hit 'A Warrior's Call'.

It may be no surprise, then, to hear that they opened with that very song. The opening lyric, "Let's get ready to rumble!!" almost made it feel like we were at a WWF event, but the music was much louder and heavier! Volbeat had it cranked up pretty loud, and their choice of songs displayed their versatility. Their softer side came across best on the tune 'Fallen', which has since become a frequent radio hit for them as well. Check that one out if you haven't... it's a great song!

Just as they were about to wrap things up, in the middle of their last song, they broke into the main riff from Slayer's 'Raining Blood'. So the crowd whipped back up into a true frenzy just as they closed their set. Now we were totally amped for Motorhead...

During the intermission, my buddy and I again crept slightly closer to the stage. Better view, more centrally located within the venue, alright!

Motorhead came out to the stage in a nonchalant sort of mood. Lemmy Kilmister simply walked up to the mic and asked if we were ready for some rock and roll. Then he let us have it, Motorhead were off and rolling... or perhaps rumbling is the better word. Drummer Mickey Dee was like a machine, driving the locomotor-sized engine of the rock'n'roll-meets-metal beast that is Motorhead. Their set was mostly composed of older songs that are fan-favorites, but they did play 'I Know How To Die' from their most recent album, The World Is Yours.

Lemmy was the classic business-like front man, keeping any intros between songs very short in favor of getting to the music quickly. The only down side may be that their set flew by pretty quickly, with the exception of Mickey's drum solo. They closed with two of their best-known songs, 'Ace of Spades' and 'Overkill' before leaving us to gather out breath for Megadeth...

Megadeth took the stage to near-deafening cheers. By this point we had secured a spot on the floor much closer to the stage. We braced for some furious thrash-metal... and once the drums started to thunder, indicating the beginning of the first song, 'Trust', we became engulfed in a throng of moshers. The mosh pit had started in earnest now, and we to a few minutes to fight our war into a spot to stand. Cramped and sweating with the raw energy, we locked in and pumped our fists to some of Megadeth's classics, like 'Hangar 18' and 'Wake Up Dead'.

Unlike the last time I saw Megadeth, back on American Carnage, this time they mixed up their set with several of their more melodic-metal songs. As the opportunity was here, Dave Mustaine invited Cristina Scabbia to join him to sing the duet-version of 'A Tout Le Monde'. The more obscure song 'Foreclosure of a Dream' was played as well. They also performed a string of 3 tracks from their new album 13 before closing with the encores 'Peace Sells' and 'Holy Wars'.

What an incredible night of metal mayhem!
The set lists for each band were...

Lacuna Coil
-Our Truth
-Upsidedown
-Fragile
-Kill the Light
-Trip The Darkness
-Spellbound

VolBeat
-A Warrior's Call
-Guitar Gangsters & Cadillac Blood
-The Human Instrument
-Sad Man's Tongue
-Hallelujah Goat
-Who They Are
-Fallen
-The Mirror and the Ripper
-Pool of Booze, Booze, Booza
-Still Counting (Raining Blood)

Motorhead
-Bomber
-Damaged Case
-I Know How To Die
-Stay Clean
-Over The Top
-The Chase is Better Than the Catch
-The One to Sing the Blues
-Going to Brazil
-Killed by Death
-Ace of Spades
-Overkill

Megadeth
-Trust
-Wake Up Dead
-A Tout Le Monde (w/ Cristina Scabbia)
-Hangar 18
-She-Wolf
-Foreclosure of a Dream
-Dawn Patrol
-Poison Was The Cure
-Head Crusher
-Public Enemy No.1
-Who's Life (Is It Anyway?)
-Guns, Drugs, and Money
-Symphony of Destruction
-Peace Sells
-Holy Wars... The Punishment Due

Rock Bottom Remainders at ALA 2012 (6-23-12)

"It's Past Our Bedtime Tour" -Anaheim, CA
Post #203
On June 23rd, 2012, at the ALA (American Library Association) Annual Convention, history was made as a unique band gave their final performance together. The band was called The Rock Bottom Remainders. Their legacy: the greatest rock band ever comprised of best-selling authors. (Perhaps it's more accurate to call them the greatest writers ever to form a rock band?) You heard me right: award-winning, best-selling, chart-topping novelists, writers, authors who at one point in the early 90's were drawn together and asked if they would play in a rock band together. The idea was proposed by publishing consultant/author Kathi Kamen Goldmark, and embraced with enthusiasm by the various writers whom thence became a part-time rock band. They have played together over the years, raising money for charity. Tonight was no exception, benefiting the ProQuest Scholarship, though this night was to be their final performance together.

The evening began to unfold as hundreds of librarians and convention-goers proceeded to the top floor of the convention center. We gathered in the main ballroom, where the stage was set to capture a farewell performance unlike any other in the history of Rock n' Roll music. I count myself as VERY lucky to have been among this crowd, another of a long list of benefits of being married to a wonderful librarian. My legs may have been tired from hours of walking the convention floor and gathering books, but I still chose the standing-room-only portion of the floor for this one-of-a-kind concert. Dozens of other librarians were packing the open space right up to the front of the stage. Whatever stereotypes you may have in your mind about librarians, forget 'em. This crowd was buzzing with energy, and you could feel the anticipation building up by the second. This crowd knew the significance of the rock show that was about to unfold.

The first band member/author to come onto the stage was Roy Blount, Jr. He then introduced the rest of the band, one by one. Over a dozen well-known authors and 2 professional musicians (Josh Kelly on drums and Erasmo Paolo on saxophone) filled the stage and prepared to rock the joint. In no particular order, the authors in the band were (to the best of my recollection) as follows: Stephen King, Mitch Albom, Greg Iles, Ridley Pearson, Dave Barry, Sam Barry, James McBride, Amy Tan, Matt Groening, Mary Karr, and Scott Turow. Other guest singers and musicians included Janine Sabino, Kathleen Enright, and Rock And Roll Hall Of Fame inductee and original member of The Byrds- Roger McGuinn. (There may have been a couple other Remainders or Remainderettes whose names I can't recall, and if so, I apologize. By all means feel free to notify me of any other names I should mention. This blog is not beyond the power of revision ;-) )

Josh Kelly clicked his drum sticks in the air to set the tempo, and the next thing we knew the House was A-Rockin' (literally and figuratively, as they opened with Stevie Ray Vaughan's '89 classic, 'The House Is Rockin'). The crowd got into it immediately, jumping up and down in time with the music. The opening song was an all-out jam. Everybody on-stage was singing the lyrics and/or playing their instruments and giving their all. Next they hit us with an appropriate, literary-themed song- 'Paperback Writer' by The Beatles. Again this song was vocals-by-committee, as various authors took turns singing the verses, while numerous background singers filled in all of The Beatles' catchy, 4-part harmonies right on cue.

The Rock Bottom Remainders carried on with their set, giving us a healthy dose of rock n' roll classics from the 50's and 60's. They had a great sense of showmanship as well. Every member of the band had a unique personality, and a charisma they brought to the stage. Many times they incorporated a skit to act out some of the lyrical themes. Scott Turow was introduced while wearing a hot-pink wig. Roy Blount Jr. was sporting a Blues Brothers-esque black hat and shades. Stephen King was wearing a Boston Red Sox t-shirt ('Of course!' I thought to myself.), but a closed look revealed it to be a Gilead Gunslingers shirt, in the style of the Red Sox logo. Also, where the baseball team's logo has a pair of red socks, in their place were two revolvers (with sandalwood grips I'm willing to bet). Matt Groening periodically put on rubber Halloween masks of various Simpson's characters. But perhaps the most flamboyant stage presence was owned by Amy Tan.

Amy was The Rock Bottom Remainders' answer for Lady Gaga. She wore a blond wig, leopard-print blouse, tight leather pants, leather boots, and a pair of shades. She had been limited to background and harmony vocals for the first several songs, but when her turn came for lead vocals, she took her stage presence to a whole new level. She went back-stage for a second, and then returned with a leather whip and tight leopard print pants. Then the descending bass-line of a familiar song began to play... Next thing we knew, Amy Tan was playing the roll of a dominatrix while she sang lead vocals on the Nancy Sinatra hit 'These Boots Are Made for Walkin''. This was far from what one might expect from the author of The Joy Luck Club, but it just goes to show there is often more to a writer than meets the eye! My favorite part was when she turned to the crowd and said, "You've heard of '50 Shades of Grey'? This is 100 shades of TAN!", and then proceeded to whip the back-sides of all the guys in the band.

A few songs later the concert shifted gears again, as Roger McGuinn of The Byrds came onto the stage and joined the band for a portion of the show. They played several classic Byrds hits back-to-back, and it almost felt like we were at a real Byrds concert for a while. Eventually Roger did step back from the spotlight and the revolving door for lead vocalist resumed. He left the stage for quite a while, but would return later in the evening, helping out on rhythm or lead guitar as needed.

Another highlight of the evening was when Mitch Albom got out from behind his keyboard to play the role of front man. What's more is that he chose to do so in a memorable fashion. He had gone back stage and returned after a wardrobe change. He reemerged as 'The King'. That's right, he did his best Elvis Presley impersonation, complete with the Elvis wig and sunglasses! They played a couple Elvis tunes, 'Teddy Bear' and 'Jailhouse Rock'. Mitch hammed it up for all he was worth, and the crowd loved it. His wife, Janine Sabino, one of the Remainderettes, even joined him for a couple duets.

Scott Turow took the lead vocals on the Del Shannon hit 'Runaway'. On this performance Turow proved to be perhaps the best singer among this group of writers, hitting the high notes with surprising accuracy. This was followed by a 'comic relief' segment of the show, as Greg Iles played his original song 'I'm a Big Best-Seller, Baby'- a classic blues song with a tongue-in-cheek criticism of some fads and trends in the industry. The '50 Shades of Gray vs 100 shades of Tan' joke was reiterated here. After that, Amy Tan again took the lead on the song 'Leader of the Pack'. Her husband, Lou DeMattei, even came onto the stage, dressed like a biker, to play the role opposite Tan as 'The Leader of the Pack'. Dave Barry followed this up with his original, humorous song 'Proofreading Woman', which again featured many jokes and witty lyrics about the publishing industry.

The band was really having a great fun-loving time upon the stage, giving this final performance their best effort. They were living it up to the fullest. However the mood was about to turn to a more serious subject...

I previously mentioned that the whole idea for the Rock Bottom Remainders came from Kathi Kamen Goldmark. She was a participating member of the band as well. However, Kathi died of breast cancer on May 24, 2012, a mere month before this performance. It was a devastating blow to everyone in the band. It was a more significant tragedy for Sam Barry, her husband, and Dave Barry, her brother-in-law. Kathi herself was really looking forward to this show. She wanted it to happen. To honor her, and pay tribute to her and her vision, The Remainders pulled together and saw this event through to the end.

At this point of the show, Dave explained this situation to the audience. He got choked up toward the end of his speech, and we in the audience could see the tears welling up in his eyes. I thought back to some close friends and family members of my own who have had breast cancer recently. Some have beaten the disease, and others lost their battle with it. I tried to imagine what it must be like to perform live music in front of an audience, so close on the heels of a personal tragedy so close to the heart. I couldn't do it. I can't imagine how Sam and Dave managed to pull it off. I looked up at both of them and felt an intense mix of respect, sympathy, and admiration for them both. The entire show was dedicated to her memory. They even brought out Kathi's guitar and propped it up on the front of the stage, so a part of her was up there with them.

Roger McGuinn stepped to the mic, and they proceeded to play 'Turn! Turn! Turn!', a song whose lyrics speak for themselves. They played a couple other songs that were more serious and a bit somber at times. You could feel the emotion throughout the room as writers, librarians, readers, musicians, fans and friends all turned their minds towards a truly wonderful and inspiring woman with the remarkable vision to pull this band together. Sam Barry and Dave Barry put so much heart into their playing on harmonica and guitar, respectively, that they would fit in perfectly with another Sam and Dave of more musical significance. This was a performance of a lifetime. A crowning achievement, and a fitting farewell to a most unique collection of talent.

To remember the kind of humor that Kathi had, Kathy Enright performed a song that they had written together, 'Older Than Him (The Slut Song)'. This was a truly funny, slow-tempo, country-rock number about an older woman in a bar lusting over an attractive younger man. It roused plenty of laughter from the audience, and you could feel the mood lightening once again.

Then, to really get things back on track, Stephen King led the way on vocals for the up-beat 'Bird's the Word'. It was a surreal experience to look up at the master of horror, the writer of some of my favorite books, stuttering out the lyrics, "Papa-oom-mow-mow, oom mow mow..." A little out of context maybe, but it put smiles back on everyone's faces. After that song they took a bow and strolled off the stage...

...But true to form, just like real rock stars, they came back out for an encore a few minutes later. They gave us 3 more songs to rock out to: 'Wild Thing', 'Louie, Louie', and 'GLORIA'. I'll never forget how full of energy the room was. The crowd was possessed with a hybrid of Rock N' Roll Pneumonia and Boogie-Woogie-Blues. The floor was vibrating with the rhythm of several hundred librarians hopping up and down to the music. I let loose myself and did a bit of headbanging (go figure, huh?)

When the final song came to a close, they gave the audience a final farewell. Guitar picks, drum sticks, frisbees and kazoos were tossed into the crowd. Then it was time. It was, after all, 'Past Their Bedtime'. The Rock Bottom Remainders walked off the stage for the last time. 'Just a cover band?' you may ask. Not like this. Never before. And perhaps never again... Writers; sharing a love of music, sharing in friendship among themselves, sharing a love for reading, all in the name of Rock and Roll.

On behalf of the attendees of ALA 2012, we thank you all!

The Band:

Mitch Albom-Keyboards/Vocals

Dave Barry-Lead Guitar/Vocals

Sam Barry-Harmonica/Vocals

Roy Blount, Jr.-MC/Backing Vocals

Lou DeMattei-'Leader of the Pack'

Kathleen Enright-Vocals

Matt Groening-Cowbell/Backing Vocals

Greg Iles-Lead Guitar/Vocals
Mary Karr-Backing Vocals

Josh Kelly-Drums/Vocals

Stephen King-Rhythm Guitar/Vocals

James McBride-Sax/Vocals

Roger McGuinn-Guitar/Vocals

Erasmo Paolo-Sax/Vocals

Ridley Pearson-Bass/Vocals

Janine Sabino-Tambourine/Vocals

Amy Tan-Whip/Vocals

Scott Turow-Vocals

The Setlist (Lead vocalist indicated where appropriate):
(You'll find a couple of the songs below are linked to youtube videos that have been uploaded since the show. These will give you a glimpse of this historic performance. The event sponsors did have cameras filming the show, so perhaps there will be an official DVD coming soon...?  We can hope!)

-The House is Rockin'

-Paperback Writer

-634-5789 (Janine Sabino)

-Midnight Hour

-Hey Little Girl (King)

-Believer (Albom/Sabino)

-These Boots Are Made for Walkin' (Tan)

-Hey Baby (I Wanna Know If You'll Be My Girl) (Turow)

-Suzie Q (King)

-Mr. Tambourine Man (McGuinn)

-I'll Feel a Whole Lot Better (McGuinn)

-My Back Pages (McGuinn)

-You Ain't Going Nowhere (Pearson/McGuinn)

-Rock This Town (Paolo)

-Nobody's Fault But Mine (S. Barry)

-(Let Me Be Your) Teddy Bear (Albom-as Elvis)

-Jailhouse Rock (Albom-as Elvis)

-Da Doo Ron Ron (Sabino)

-Runaway (Turow)

-I'm a Big Best-Seller, Baby (Iles)

-Leader of the Pack (Tan)

-Proofreading Woman (D. Barry)

-Muskrat Sally (Kelly)

-Turn! Turn! Turn! (McGuinn)

-May The Road Rise (McGuinn)

-Older Than Him (The Slut Song) (Kathi and Kathy's song-Kathleen Enright)

-Keep Me In Your Heart (Pearson)

-Bird's the Word (Sufrin' Bird) (King)

-------

(encore)

-Wild Thing (Turow)

-Louie, Louie

-Gloria (D. Barry)

Recommended Reading:

Mitch Albom-The Five People You Meet in Heaven, Tuesdays with Morrie

Dave Barry-Dave Barry Turns 50, Peter and the Starcatchers (w/ Ridley Pearson)

Sam Barry-How to Play the Harmonica: and Other Life Lessons

Roy Blount, Jr.-Roy Blount's Book of Southern Humor

Matt Groening-The Huge Book of Hell

Greg Iles-The Devil's Punchbowl
Mary Karr-The Liars' Club

Stephen King-The Dark Tower Series, The Stand, Needful Things

James McBride-The Color of Water

Ridley Pearson-The Art of Deception, Peter and the Starcatchers (w/ Dave Barry)

Amy Tan-The Joy Luck Club, Saving Fish from Drowning

Scott Turow-Presumed Innocent, The Burden of Proof

I collected many photos throughout the show, and there were too many good ones to post them all within the review above. So here's a special treat: a slide-show of all the extra pics! Check out all the different shots of The Rock Bottom Remainders!

Eliminator-The One They Were Waiting For (2010)

Post #195
Eliminator were one of the independent bands I featured recently in a reader's poll. Although they did not win the 'Independent Band of the Year' title, I did discover a lot of their music during that competition. I was so impressed, and often times caught off guard, by their uncanny ability to meld the most diverse of rock and metal elements in their music that I must revisit their sounds for another review...

The One They Were Waiting For was truly the one I was waiting for...
The first track, 'Atish', does closely resemble their work from Breaking The Wheel, but the similarities quickly dwindle from there as the album plays on...

A spoken word interlude breaks the spell of the 18 minute black/thrash fest that is 'Atish' before the next song; a cover of Robert Johnson's 'Me and The Devil Blues'. Here is where Warchild and company depart from their evident path of finely fused black metal and thrash to deliver a remarkably honest rendition of this blues classic from the late '30's. The original song-structure is preserved for the most part, although the guitars and drums are still heavy and fully electric, while the vocal delivery maintains the demonic black-metal edge the band has established previously. There is an extended melodic breakdown where Eliminator add their own spin to this song, but after a couple minutes, they return to the classic blues progression to close the song. A truely memorable cover that will not easily be forgotten!

Another highlight of originality on this album is 'Honey Sacrifice' (which combined with 'Atish' accounts for over two-thirds of the album's total running time, as it clocks in at over 19 and a half minutes!). A heavy, rhythmic riff, with a throw-back rock n' roll feel, sets the early tone for this epic track. Throughout the song the music builds to the intensity of speed-black metal once again, then shifts gears with an extended clean and melodic segment near the end. A song absolutely similar to nothing I've head before.

Emilinator make it clear that when inspiration strikes, they roll with it, and let the music do the talking. There is more behind their direction than any genre, or trend, or fad, or scene, or anything you can think of... or perhaps it's just everything you can think of? Is it everything they can think of? Just wait and see. I doubt anybody can predict what this band will do next. Just wait for my review of thier 3rd release, And the Brokenhearted Balladeers...

For now check out these tracks from The One They Were Waiting For. Even if at first you might be left scratching your head, you may also be surprised how much some of these song can grow on you...
-Atish
-Me and the Devil Blues
-The Man in the Picture... to Become What One Is
-Honey Sacrifice

And don't forget to check out their websites, many of which have songs available to stream online:
http://eliminator.bandcamp.com/
http://www.myspace.com/eliminatorus
http://www.facebook.com/eliminatorus

Lazy Monster-Blood Will Tell (2011)

Post # 178

Lazy Monster are an independent band from Cantu, Italy, who have just recently recorded their debut album Blood Will Tell. These guys deliver great, upbeat, hard rockin', classic-rock-inspired metal! I have often mentioned that I have always appreciated the late-80's hair metal era, and with Lazy Monster, I can hear some influence from that era in their sound, but with a modern spin on it. Think Buckcherry meets Tesla, or BulletBoys. They also display a 70's-style, classic rock sound at times.

The album kicks off with 'Flight of the Phoenix', a real up-tempo number. The main riff brought back memories of the late 80's right away. Specifically I was reminded of similar sounding riffs of the likes of Dokken, Tesla, or early Queensryche. Then the singer came into the mix and I was thinking he could have been in Deep Purple if he was from that time. The second track, 'Pull the Trigger', slows it down a bit, but the guitars scream through the speakers with the same timeless feel of classic hard-rock. In the middle of the song they cut to a clean-guitar breakdown, showing us some versatility.

The next several tracks keep the album chugging along with a very consistent sound and style. Lazy Monster may be inspired by a classic era from rock music's history, but they use this inspiration to revitalize the essence of rock n' roll in a modern context.

Just when you think you've heard everything in their bag of tricks, the 9th track, their namesake 'Lazy Monster', is a real change of pace for the album. This song is just different enough, that you are forced to give it your full attention. This song has a bit of a haunting feel. Here is where we get a peek at the dark-side of this band. 'Lazy Monster' (the song) proves Lazy Monster (the band) is not just a one-trick pony.

Lastly, the album closes on a high note again, as they hit us with a modernized, heavier interpretation of The Who's classic 'Baba O'Riley'. Can you imagine the synthesized parts of this song shredding out from an electric guitar? They crank out this number with heavy and raw emotion that shows you in one instant their inspiration from the past, and their direction for the future. I'm not sure where Lazy Monster will go from here, but wherever it is, its going to ROCK!

My top picks from Blood Will Tell:
-Flight of the Phoenix (Fast, hard-rocking jam to start the record...)
-Pull The Trigger
-It Is For Me (A mid-tempo number, guitar solo has a lot of groove!)
-Chase It Down The Highway (Another high-tempo rocker. My top pick, if not 'Phoenix')
-Lazy Monster (a little bit of the Dark Side of  the band. A breakdown late in this song fades out to just bass & drum, then the song builds back up.)
-Baba O'Riley (A nice interpretation, a 'must-hear' track!)

The Beatles. Still an influence...

Post #130 [Poll Winner: Who do you prefer, The Beatles of The Rolling Stones?]
Heavy Metal is an ever-changing genre of rock-n-roll. The diversity of artists that can be included in 'metal' music is enormous. When, exactly, did bands stop calling their music 'Rock N' Roll' in favor of 'Heavy Metal'? The 80's? The 70's? The 60's? If you ask 5 different fans, you may get 5 different answers. Myself, I generally align with the opinion that credits Dave Davies of the Kinks as the progenitor of heavy rock and what would grow to become known as heavy metal when he slit the speaker cone of his amp to achieve the sound they displayed on their first hit single "You Really Got Me" in 1964.

What else was going on in 1964? Why, The British Invasion of course! In this past December's reader's poll, I pitted the 2 biggest bands from this era, The Rolling Stones and The Beatles, against each other and asked you to choose a favorite. The result was a bit more lop-sided than I anticipated, as The Beatles took the poll comfortably by a vote of 12 to 2 over their old contemporaries.

Don't doubt for a second that the Fab Four are still a relevant influence on today's heavy metal artists. Several big-time bands have covered their songs, but even more obvious is how many headbangers still cite The Beatles as a major influence in their decision to pursue a career in music.

As my recommended picks from The Beatles, who have such a prolific catalog to choose from, I'll simply share one of my favorite compilations of theirs: The Beatles 1.
-Love Me Do
-From Me To You
-She Loves You
-I Want to Hold Your Hand
-Can't Buy Me Love
-A Hard Day's Night
-I Feel Fine
-Eight Days a Week
-Ticket to Ride
-Help!
-Yesterday
-Day Tripper
-We Can Work It Out
-Paperback Writer
-Yellow Submarine
-Eleanor Rigby
-Penny Lane
-All You Need is Love
-Hello, Goodbye
-Lady Madonna
-Hey Jude
-Get Back
-Ballad of John and Yoko
-Something
-Come Together
-Let It Be
-The Long and Winding Road

The Stone Foxes-Bears and Bulls

Post #125
I'm going to take a moment here for a little departure and review a band that is much more a blues-based rock band, The Stone Foxes. Though I love metal like no other music, I do retain an ecclectic range of music that I enjoy. I was raised on classic rock, and that genre (as well as several heavy metal artists) are often influenced by the blues. The Stone Foxes appeal to me through those roots of the blues...

The Stone Foxes are a new blues-rock band out of San Francisco, CA. Their second full-length album, Bears & Bulls, offers 12 tracks that illustrate their style and direction. The Stone Foxes comfortably blend rock music with blues, blue-grass, or a hint of country/folk rock in a fashion that remotely conjures comparisons to The Eagles in my mind. Overall I'd say that they stick much closer to strick blues that The Eagles, though.

This albums opens with the up-beat 'Stomp', which is an apt title, as you'll quickly tell if you give it a listen: a brisk drum-clap-drum-clap rhythym carries the tune (much like Queen's 'We Will Rock You', if you need a point of reference). The band comes in with a harmonized 'Whao-oh-o-oh..', and touches of a bluesy slide guitar complete the formula for this simple, yet addictive track.

The next song, 'Patience', kicks it up a bit, and the band jams this one out with some heavier electric guitar. I would almost compare their electric/amped songs to late-80's Aerosmith, if perhaps they had a stronger blues influence themselves. From here on out The Stone Foxes display numerous incarnations of twang-infused blues, mixed with good-old rock & roll. It is really a great musical formular that must be heard to be fully appreciated.

I have several tracks from Bears & Bulls that I would highly recommend. They are as follows:
-Stomp
-Patience
-I Killed Robert Johnson (a clever, narrative blues number, that both pays homage to the Blues Legend, while also telling a little tale that plays upon the Faustian legend connected with Robert Johnson himself.)
-Reno (this song is a bit of a ballad. The Stone Foxes show us what their softer side is like.)
-Little Red Rooster (This one is straight-up, 100% blues to the core. Much like Hendrix's 'Red House', or SRV's 'Pride and Joy', this song belts out an infections groove, that may not bring anything new to the blues, but harnesses the crux so well you can't help but sing along with it, much like those classics of yore had done before...)

Don't miss out on this great new blues-rock band! Check out their webpages today!
http://www.thestonefoxes.com/
http://www.facebook.com/#!/pages/The-Stone-Foxes/121833977860695

KOPEK- White Collar Lies

Post #114
Kopek are poised to hit the mainstream rock-music market with riffs, melodies and attitudes reminiscent of the roots of hard rock. A 3-piece band from Dublin, Ireland, inspired by classic artists like the Rolling Stones and Led Zeppelin, Kopek are out to show the world that they have what it takes to succeed in the music business. More than that, if the collection of songs on their debut album, White Collar Lies, is any indication of what they're capable of, they'll be around for quite some time!

They may be young, but that hasn't stopped them from winning their fair share of contests- including the Global Battle of the Bands (gbob.com). Maybe it's the luck of the Irish, but I'm betting there's something more tangible behind their rise to success. Songs like 'Love is Dead', their debut single, rock out with socially conscious lyrics and grab the listener with thought provoking messages. They have a cool video for it too: http://www.youtube.com/watch?v=Qr3D0bYrcZY. Other songs, like the title track, 'White Collar Lies', take a more melodic and soft approach with the music, while the lyrics seem to provide sharper, straight forward criticism of current events.

So many aspects of this album really brought me back and reminded me why I came to love hard rock music in the first place. It is that intangible essence of good rock music that Kopek have tapped into. They seem to have the right frame of mind to hold true to their ideals, both musically and lyrically. Even more important, they have the talent to deliver these aspects efficiently on their debut album.

Singer Daniel Jordan has the type of scratchy voice that is a perfect fit for an edgy hard-rock band. At times he reminds me of Buckcherry's singer, Josh Todd, while other times he seems more like a Jack White (of The White Stripes). In spite of these similarities, Kopek have plenty of unique elements that make them worth checking out.

Here are my picks:
Cocaine Chest Pains (A great hard-rockin' tune, gets the album off to a great start!)
White Collar Lies (The title track is a softer number, but the sharp criticism of government policies and corruption makes it one of the most memorable songs on the album)
Love Is Dead (Simple lyrical format, but thought provoking in a nearly ingenious way)
Floridian (A genuine ballad. Kopek display another side of their talent on this one)
Bring it on Home (This is the song that made me draw some comparisons to The White Stripes)
[WHITE COLLAR LIES is due for release in MARCH 1st, 2011]

KISS-Sonic Boom

Post #111

KISS! The make-up clad hard-rockers emerge from an eleven year studio retirement with Sonic Boom, a hard-edged rock n' roll album that finds the band returning to their roots. Although this album has been well received by many fans and critics, there have been many changes within the band in the years since Psycho-Circus. Some fans may hold some reservations because of these circumstances, but in the end they are moot points at best. As should always be the case with rock n' roll, the music speaks for itself on Sonic Boom.

The first single, "Modern Day Delilah", get this come-back album off to a great start. Catchy hard-rock riffs are abundant on Sonic Boom, and it is these riffs around which the album is built. Gone are the days when KISS would emulate current trends in music. Here they stick to their strengths: rock n' roll riffs, catchy hooks, melodic and classic guitar solos. Gene and Paul trade off on lead vocals throughout the album while both Tommy Thayer and Eric Singer take lead vocals on one track each.

For those concerned about how Tommy & Eric fit into this formula, keep in mind both of these guys have been with the band before. Eric as drummer after the tragic death of Eric Carr from '92-'96; and Tommy as a collaborator and guitar tech as early as the late 80's. What surprised me most was how well these two captured the classic KISS vibe on most of this album. Tommy's leads really are written to sound like classic Ace Frehley leads. Half the time he was soloing I was doing double-takes thinking I was listening to albums like Hotter Than Hell or Dressed to Kill. Eric's drumming likewise focuses on the rhythm styles of their early days. You can tell the band really studied their early material when composing Sonic Boom. If you're a KISS purist, then this really is the album you've been waiting for, in spite of the absence of Peter & Ace.

Sonic Boom ends almost as strongly as it started, with the track "Say Yeah". Simple title, but catchy like classic KISS songs should be. It was also a featured song on their last 2 tours. Also, as great as the album itself is, the full experience doesn't end there. With this release, KISS include a bonus CD and a bonus DVD!

The CD is KISS Klassics; a collection of 15 of their hits and fan favorites from the 70's & 80's, re-recorded by the current band line-up. There are some pros & cons to re-recording old songs, but I suspect it was done primarily to cut back on royalties to their previous label, Mercury Records, since they are now using their own label, KISS Records. The songs themselves are sometimes better than the original recordings, sometimes not. Having cranked up the original versions for years on-end, they are the versions I mostly side with. There are a couple where I feel the emotion is missing, that sound like cheap imitations of the originals. Most are generally interchangable with the old versions. The few exceptions where I feel the new take is an improvement can be found below in the 'top-picks' section.

The DVD is a real treat! It features a few live performances from their recent tour in Buenos Aires, Argentina. Like several other rock & metal bands have found, KISS take advantage of the extreme enthusiasm fans display at live shows in South America. Have you ever seen a South American Futbol (Soccer) match? Well, they treat their rock concerts pretty much the same way! On this DVD you'll hear the fans singing along with every word, and many of the riffs! Of course, KISS put on a great performance with all their theatrics & pyro-technics as well. The six tracks are: "Deuce", "Hotter Than Hell", "C'mon and Love Me", "Watchin' You", "100,000 Years", and "Rock and Roll All Nite".

Here are my top picks from Sonic Boom:

-Modern Day Delilah

-Russian Roulette

-Hot and Cold

-All for the Glory (Here's where you can hear Eric Singer on lead vocals, very similar to Peter's voice.)

-When Lightning Strikes (Tommy's lead vocal track. Sounds eerily like an Ace Frehley song, both in the vocals and music style.)

-Say Yeah

...and top picks from KISS Klassics:

-Hotter Than Hell (This one benefits from the modern re-recording. Sharper & fuller sound than the original!)

-I Was Made for Lovin' You (Although this still has the disco-beat feel as always, the new recording brings a whole lot more out of the guitar tracks. The result is a heavier feeling song. More along the lines of how they play it live!)

-I Love It Loud (Don't get me wrong, the original version is great too. In fact the whole 'Creatures of the Night' album is still one of my favorites. However, the new recording of this song benefits from a stronger & better defined backing vocal track, the 'Yeaaa-aaa-aa-aaah-Yeah!' part sounds so much better here!)

-Black Diamond (I'm really torn between this new recording and the original. What I like about this one is another chance to hear Eric Singer's lead vocals. But I don't dis Peter Criss' vocals on the original, I just mean you should hear them both!)

-Rock & Roll All Nite (Again, not necessarily better than the original, but this is one song they never do a bad job of playing. Either live or in-studio!)

AC/DC-Highway to Hell

Post #108 Poll Winner: Favorite AC/DC album from the 70's.

AC/DC, one of the preeminent influences of hard rock & heavy metal music, established themselves in the mid-70's. Taking a strong inspiration from early blues & rock and roll bands from the 50's and early 60's, and mixing it with the harder-edged sound of other early-70's era bands like Led Zeppelin and The Who, they quickly became a major force of 70's heavy metal.

With each album, their popularity grew. Within a couple years they were touring outside their native Australia, and had become a global phenomenon. Their music appealed to a whole generation of teens, who craved this old-school rock & roll with a dark side. Their singles became top hits on almost every continent.

They closed out the decade with their best album yet, 'Highway To Hell'. Though they were still a band on the rise, this would be their last album with Bon Scott as their singer. He tragically died in early 1980 at the age of 33 after passing out after a night of heavy drinking. The legacy he left behind is one of the most memorable in heavy-rock music. Your choice of Highway To Hell as your favorite AC/DC album from the 70's is further evidence of that legacy.

Now, here are my favorite tracks I recommend from this album:

-Highway To Hell

-Girls Got Rhythym

-Shot Down In Flames

-If You Want Blood (You've Got It!)

-Night Prowler

KISS-Alive 35 at the United Center, Chicago

Post #102

[This is a concert review from the show on 11-6-2009 at the United Center, Chicago, IL]

KISS. Living Legends of rock n' roll, and my long-time favorite band, KISS are back on the road in support of their come-back album Sonic Boom. Last fall I made it to one of their shows. They had taken a few years off recently, so it was a nice opportunity to see this band that I had thought were retired.

Granted this is not the original line-up for KISS, despite the deceiving use of the original make-up designs. Eric Singer (who had been in KISS from '92-'96) is the drummer behind the 'Cat-Man' make-up, while Tommy Thayer (who had been a collaborating musician for the band, off and on, since the late 80's) is now the full-time guitarist as the 'Space-Man' (note I didn't say 'Space Ace'). Regardless, this is a very talented line-up, and they proved more than capable of putting on a phenomenal vintage-style KISS show!

For this show I brought a friend along, who I had just introduced to the music of KISS a couple months before. This friend was a fan of several similar-sounding bands from the 70's and 80's, like AC/DC & Guns N' Roses, so it was somewhat easy to convince him to come along.

Not to be overlooked, the opening band was Buckcherry. Often compared to Guns N' Roses and other late-80's glam-bands, Buckcherry had gotten the show off & rolling with a great attitude of straight forward, hard-edged rock n' roll. They included several of their well-known hits, like 'Lit Up', and 'Crazy Bitch', but also included a great cover of Deep Purple's 'Highway Star'. Though we were a little late and didn't catch the beginning of their set, what I heard was enough to sway me further into their fandom. Shortly after the tour, Buckcherry also released their first live CD, Live & Loud, which closely mirrored the set they played on this night.

However, the best was yet to come, as the crowd now sat in eager anticipation of KISS...

Eventually the familiar intro boomed out to the audience, "All right Chicago! You wanted the best, you got the best! The hottest band in the world, KISS!!!" The curtain fell as the band kicked off the set with 'Deuce'. The show continued from there, with song selection heavily favoring their 70's material. Understandably so, given this was a tour honoring the 35th Anniversary of the album KISS: ALIVE! They didn't play the entire track list from ALIVE!

That would have been very cool, but also taken up almost all of their set-time. Enough of their early classics were included that you could tell they were focusing on delivering a performance true to that classic, first live album of theirs.

They did include a few songs from the 80's and one, 'Modern Day Delilah', from their new album Sonic Boom. After Gene's bass solo, during which he spat blood & 'flew' up to the rafters on his demon's wings, the band played 'I Love It Loud'. Each member took a solo at some point during the show. Eric Singer's drum-solo was played while the drum kit was lifted and spun around. Tommy Thayer shot several fireworks off the neck of his guitar during his guitar solo, and Paul Stanley played a few extended riffs as part of a solo, before soaring out to a central platform among the crowd along a gondola cable, where he then performed another song up close with a part of the audience who previously had a poorer view of the show.
Top notch pyrotechnics we employed during the encore, and tons of confetti was spewed across the crowd during 'Rock & Roll All Nite'. All-in-all a great KISS show. As good as any of the other times I'd seen them (I may review those shows later on as well). As a long-time fan, I'm glad they are touring again. Hopefully, if they continue touring, they'll plan a tour that would include a better-rounded set-list. I feel they have too many good albums that are always under-represented in their choice of set-lists. Time will tell.
Last but not least, one of the coolest features of this concert was the fact that you could buy THAT NIGHT'S PERFORMANCE, on CD or mp3, immediately after the show! I took advantage of this opportunity and got a copy. Amazing how far technology has come! Sure enough, I had the first half of the concert in my hand when I left the show, the other half was sent to me in the mail after redeeming an online voucher.
From this night of rock & roll music from Buckcherry & KISS here's a rough list of the songs:
Buckcherry
-Tired of You
-Next 2 You
-Out of Line
-Broken Glass
-Lit Up
-Rescue Me
-Highway Star
-Everything
-Sorry
-Crazy Bitch

KISS
-Deuce
-Strutter
-Let Me Go, Rock N' Roll
-Hotter Than Hell
-Shock Me
-Calling Dr. Love
-Modern Day Delilah
-Cold Gin
-Parasite
-100,000 Years
-I Love It Loud
-Black Diamond
-Rock And Roll All Nite
--encores--
Shout It Out Loud
Lick It Up
Love Gun (w/ part of 'Stairway To Heaven' as an intro)
Detroit Rock City