Pop punk is a genre that seems to ebb and flow through the zeitgeist of the world. But to the true fans, the genre is never dead, and there are always bangers coming out. Ray Hawthorne is setting out to make a name for himself with his new solo EP Heartbreak Feels Good in a Place Like This and with his second single “Heartbreak Feels Good in a Place Like This (I'm NOT Ryan Gosling)” is set to be a pop punk banger.
The song delves into the idea of real-life romance vs romantic movies. With the music video framed as a video dating interview. Ray introduces himself to the camera with the tropey charismatic charm you would expect of a hunky guy flirting with the camera. But it’s when the lyrics kick in that Ray gets into the real aspect of what a relationship might be like with lyrics like:
“And I'm gonna be an asshole sometimes”
“My dogs gonna be a cock block sometimes”
“We're all gonna be a lost cause sometimes”
“We're all gonna be fucked up sometimes”
These lyrics are juxtaposed with imagery of Ray green screened into movies like Barbie, Spider-Man, Pretty in Pink, Ricky Business, and others. Seeing him alongside these leading men helps set the image in your mind that he is perfect like Ryan Gosling. But it’s the lyrics of him crying out in earnest, expressing that he has faults and is human. Singing “I'm NOT Ryan Gosling.”
Ray Hawthorne crafted a fun upbeat pop punk sing a long song. But it’s when you pay attention to the lyrics that you realize the truth about how we all get compared to these perfect movie characters that we can never live up to.
On March 1st, Romain Virgo will be releasing his 4th studio album, The Gentle Man. We’ve waited quite a few years for this new album, and I'm here to tell you, it is well worth the wait. This 12 track release gives us Romain’s wonderful Lover’s Rock stylin’ but he brings us a little more with Reggae Roots, Afrobeats and more. This album shows a leap of growth in the song writing, compositions, voice and over-all feel. This is his most personal and complete album to date. “The Gentle Man is Romain Virgo’s most candid body of work to date. The singer questions, deconstructs, and affirms his beliefs, sharing clear-eyed perspectives across a dozen tracks. He challenges what it means to be a man in Caribbean culture, explores the highs and lows of ‘Afromantic’ relationships, and, in the process, blends classic, foundational sounds with modern sonics.” This taken from the press release, I had to include it because it is so perfectly put. “I kept some important questions in mind while working on this album. Who am I to my fans? To those close to me? To myself? People saw me go from this inexperienced youth with a gentle way of doing things to a man with the same morals, but new understanding. With this project, I present my full, authentic self. This is who I am,” said Romain Virgo.
We start off with “Been There Before” featuring Masicka, what a perfect song to start off this journey. Musically, such a great sound and the way Virgo’s voice flows in and out with the riddim is so great. One of my favorite tracks on this and Masicka and Romain work so well together. I caught myself singing the chorus all day, it just sticks with you, “I’ve been there before, Everything a go alright, memba di darkest part a di night, Is just before daylight.” Next up is another great song, “Switch You On” I love Virgo’s voice throughout this joint, his tone and tempo changing up to this upbeat song flowing along with the beat and rhythm. I got to get up and dance to this. You really feel the growth and maturity of his voice in this song. “Switch you on like a stereeeooo, turn you all the way up, when you feel loooowww.” We slide into “Good Women” with a nice bouncy jam, a nice ode to a good woman. You can’t stop moving to this, such a sweet, happy feel, just puts a smile on your face. Once again, his voice is so great and powerful in this song. We have “I Believe” featuring Patoranking and Silly Walks Discotheque up next. A nice Afrobeat sound in this tune. This has a wonderful, almost gospel-like hook that just hits so nicely. Patoranking works really well with this track and, this is a theme, works so well with Romain. I love Romain moving into a different style with this, but also still holding true to his Lover’s Rock style.
We go back to what Romain is all about with “Want You Now” when he really belts it out and sounds fantastic. His voice really flashes in this song, flowing through the music with ease. It is a recurring theme, his voice playing right along with the beat, riddim, bass and guitar. The growth is so evident. “Red Dress” is next and is a more simple groove, but Virgo hits so well. It’s a song that all men can relate to, thinking back to seeing our love one in that dress or outfit that, after all these years, we still think about. Wear that Red Dress again. “Driver” gives us another one of my favorites, with a really nice drum line and sweeping chorus, produced by Don Corleon. This is another one of those songs that just sticks with you, “Baby I can be your Driver, Drive you anywhere you want to, I can be your soldier, yes Imma fight for you, fight fi your love like….oh oh oh oh oh oh, oh oh oh oh oh oh, oh oh oh oh oh oh.” We come to “No Curfew” another Roots Reggae Lovers Rock tune showcasing his versatile voice. The highs, the lows, the tone, the tempo, just so so sweet and perfect.
“Take It Or Leave It” is his most intriguing and versatile song on the album. This is a Reggae, Hip Hop, R&B and Trap groove, mixing these different styles throughout. Virgo even giving us a nice flow of a mix of rapping and singing. A great change for this album and really shows the excellence of Romain’s voice and flow; it is not forced, it comes with ease. We get another Lover’s Rock groove with “10 Just Like That.” That guitar hitting throughout, a nice chill song, the flow from Romain is so nice, it just flies right through this joint. Next up is another one of my favorites, “Bridges” featuring Jesse Royal. Just a real nice rhythm to this, the music just seems to take you away. I love Virgo in this and when Jesse comes in, it just takes this to another level. I really hope we see a lot more collaborations between these two. Their voices and styles compliment each other so well. I have seen Jesse Royal many times live, I close my eyes and picture seeing Romain and Jesse on stage doing this live. Love It! The album is finished off with “You Must Pay” featuring Capleton, and what a wonderful way to close this out. While I love how Romain and Jesse Royal compliment each other, this is on a whole different level. Capleton with his ruff and growl voice is a perfect mix with the soulful sound that Romain brings. On the surface it would seems these two shouldn’t work, but it is almost a perfect combination. Yet again, another one of my favorites on this fantastic journey.
Bottom line, Romain Virgo's latest, The Gentle Man, is one incredible album. There is truly so much to like in this release. I tend to judge an album on how many songs I start to skip over, I am very particular and even with artists/bands I love there are usually one or two songs I don’t get into and skip over. This is one of those albums that you wat to listen to each and every song, every time it comes on. I noticed in a few songs, he has a sound of another singer, a slightly different sound, and this is not a bad thing. It goes to show the control he has over his voice. I love the growth in Romain on this album, coming out of his comfort zone and trying some different styles and ideas, while not major changes, just enough to make each song work so well. The growth and maturity of his voice has really hit me, while he has always had a beautiful voice and has been one of the best voices in Reggae music for years, there is something different this time around. This is a must listen, you will want to add it to your play list. I have to be honest, while I have always loved his voice, I really haven’t had Romain on a regular listen. That will change now, he will be added to my playlist for sure. I feel privileged to get an early listen, I’ll be listening to this all week before it is released, and well after.
One Love – Todd Judd
I have been extremely excited to see Bob Marley: One Love since the day they announced it, I am a HUGE Bob Marley fan, I’ve read pretty much every book written about him, watched numerous shows and documentaries about him, watched so many concerts and interviews, I have over 35 of his albums hanging on my wall. If you were to ask anyone that knows me, even just a little, who makes you think of Bob Marley, I pop into their head. I went into this with a ton of excitement and question; how will they portray this man, for me the music is just the tip of the iceberg, yes the music is what put him on the map, what made people recognize him and listen to what he was saying, but he was so much more than a musician. You can go anywhere in the world and you will see his image, hear his music, see people wearing his shirt, there are reggae bands on every continent. He was a messenger, a warrior, an activist, a humanitarian, a prophet, a workaholic, an incredibly complex man, that used his music to get his message out. So I thought, how can they get all that is Bob Marley into a movie. And maybe my expectations were too high.
Very early on in the film is the assassination attempt on Bob Marley's life. The gunman is standing in the hall outside the kitchen and is looking at Bob, hesitating, you can see and feel what he is going through, should I shoot, how can I do this, and once Bob sees him they lock into each other, Bob just looking at him wondering why, how could my people do this to me, a very pivotal moment not only in the movie but in Marley’s life. As the gunman starts shooting, grazing Bob and hitting Don Taylor multiple times, Bob almost stands there defiantly, knowing that he will not die. Later he briefly mentions his vison about the shooting. Bob had visions his whole life, a moment where there is no explanation or expanding on the subject. Something we get throughout the film. It is just tossed out there for the audience to wonder, is that it, is it that simple.
To me this movie was about the emotions in me, what I felt while watching, how I felt after the movie, the following day and now two days later while writing this. I’ll start by saying I liked this movie, I really enjoyed it and will be seeing it again. I will also say that it felt rushed throughout and fell short on telling the audience the true story and struggle and greatness of Bob Marley. While watching it put a smile on my face, put me right there with Bob, made me tear up, just brought out a lot of different emotions, which I think shows where this movie really hit, it fell short in many other ways. When they would start to touch on an issue, or emotion, or thought they quickly moved on. There could have been so much more to the relationship, or lack thereof, with his father. The feeling he had after the assassination attempt and retreating to London, while we could see a struggle, we did not get to see or feel what he was truly going through. The flashbacks, while a nice way to show what he was feeling at that moment, at times popped out of nowhere with little explanation and then would just stop. And the flashbacks were some the best parts of the movie, I loved seeing him leaving with his mother Cedella (Sidilla) to head to Kingston, but no real explanation. While waiting for the bus in Nile Mile they were with, I assume Cedella’s father and Bob’s grandfather, Omeriah Malcolm. He was such an important part of Bob’s early years, he was his father figure, it would have been nice to see their interactions.
One of the absolutely best parts of the movie was Bob’s flashback to 1965 when he, Bunny Wailer and Peter Tosh meet Coxsone Dodd, founder of Studio One, to try and get a recording deal. They don’t impress Coxsone at first and as he is walking out of the studio they start to play “Simmer Down,” he walks back in with a huge smile and says let’s make a record, while Lee “Scratch” Perry is climbing up the walls in excitement. Quan-Dajai Henriques does an amazing job of playing the teen Bob and the Marley family should be planning a follow up movie that covers his childhood growing up in Nine Mile and his teen years in Kingston when Bob, Peter and Bunny were trying to make it. These were such important years in what help make Marley the icon he became and is today. There were a few flashbacks when Bob was getting introduced to Rastafarianism, but they really missed diving into this in more depth, since it was such an important part of who Bob became and his beliefs, we really needed more.
I especially liked showing how they created “Natural Mystic” while in the studio. It was as if a natural mystic was flowing through the studio. The movie was in a large part about the creating of Exodus, so it was an insight to the creation of some of the songs on the album. Bob playing “Turn You Lights Down Low” to Rita, and Rita telling him he needs to do more songs like that, don’t get away from those types of songs. And then Family Man playing Ernst Gold’s Exodus soundtrack that they had just purchased at a record shop in London; Bob comes running downstairs and gets the idea for his “Exodus” song as the band starts to jam and create the song. I would have loved to see the creation of other songs on the album since this movie was about the creation of Exodus. It gave a nice look at the creative genius Bob was but also the talent of his band. The Wailers might have been the best band in the 70’s.
The acting overall was fantastic throughout the movie and cast. Kingsley Ben-Adir did a great job depicting Bob, he did a nice job with Bob’s Jamaican Patois, his mannerisms, his dancing, the looks, it took me a few minutes to settle into him being Bob, but then it just flowed. I have heard and read about people saying he did not look like Bob and didn’t portray him well, how can you find someone that looks like Bob and can act like Bob, unless it is Bob. You can tell Kingsley spent many many hours studying Bob, learning everything he could about Bob. I read he studied over 50 rare archival Marley interviews to help learn how to talk, and act like him. Lashana Lynch was so amazing in her role as Rita, possibly the best thing about this movie. She played this role perfectly and if I were a producer or director I am on the phone with her agent. Lashana and Kingsley had so much chemistry, I wish we would have had more of their interactions and life together. James Norton as Chris Blackwell and Anthony Welsh as Don Taylor were also great in their roles. I would say, while I knew who everyone was, for the most part, in their roles, I kept thinking that those that are the casual music Bob Marley fan wouldn’t know who they are. I thought doing a little introduction to the characters would have gone a long way, but maybe it did not matter to most. In the scene when Bob heads up to Strawberry Hill after the assassination attempt, we see those close to Bob sitting around a table. His long time friend and lawyer, Diane Jobson is there with others, but they do not explain who is there and why. Again, it may not matter to most, but it seemed rushed and unfinished. And while I mentioned Quan-Dajai as the young Bob doing a great job, Nia Ashi playing the teen Rita also had a great performance. Again, if I were the Marley’s I would be preparing the next movie staring Quan-Dajai and Nia; Bob Marley: Nile Mile to Wailing Wailers.
There was so much good in this film, but the rushed nature and not taking us into the details of Bob Marley and what made him tick, what made him the way he was, what made him the man he became, what made him an icon? Just left this movie falling a little flat. So much left for the audience to question and not fully understand the man. For me, the whole storyline was not new to me, seemed from everything I know to be right on the money and telling the truth, but the one thing that was new to me and a huge surprise happened toward the end of the film. Bob comes back home to Jamaica and heads to his home on Hope Road. He is greeted by Rita, his kids, friends and heads into the house and goes to the kitchen. All alone he looks around and touches the bullet holes in the wall (you can see these holes if you visit the Bob Marley Museum, it is pretty emotional seeing it) and he turns to see the gunman standing in the hall looking at him. The gunman apologizes to Bob and Bob forgives him. Such a powerful moment and an amazing way to circle all the way back for an almost closure for Bob (I don’t think he ever completely got over the assassination attempt). Very impactful and a flow of emotion in that simple scene.
While I do feel this missed on some fronts, was rushed and could have really given us a better understanding of who Bob was and what made him, it was still a very good movie, one worth a watch in the theater, so great hearing Bob's songs throughout. The acting alone was excellent and how authentic it was, whether it was the streets of Kingston, the home on Hope Road, the home in London, the club Bob went to watch The Clash, the beach, the concerts, it really helped pull the viewer into the time period, into the life of Bob. I would really love to see another movie about Bobs early life and them another one from 78 until is passing in 81. It is the kind of movie that can be much larger and much more. It was also a great movie giving an insight into all that is Marley.
One Love – Todd Judd
While growing up, you get introduced to music and all of it is new to you. You can fall in love with it, or it may not be your thing. You may love the music, but since you’re still young you only hear the song or band in passing, and may never get a chance to really save that memory. The song or band is then lost to the sands of time as it fades from your memory. That is, until one day you are shuffling music on Spotify, and you hear a familiar tune. It can re-awaken memories you didn’t know you had and take you right back to your childhood. One of those bands for me was Porno for Pyros. I saw that they had announced a farewell tour, and though I didn’t currently listen to them, something deep in my mind had a fondness associated with this name. After looking them up, I rediscovered music I hadn’t heard in literal decades. I couldn’t miss my chance to sing a long with music I found so much enjoyment from when I was younger. Coming to the Observatory in Santa Ana to start off their Horns, Thorns, and Halos Farewell Tour and bringing with them Tigercub and Glossy. I was ready to relive my childhood.
Opening the night was a band known as Glossy. As these three stepped on to stage, the audience had no idea what to expect, but Glossy was there to play some punk rock loud and blast it right into our faces. Opening with “Sleep Sacrifice,” the lead singer and guitarist was nearly throwing a tantrum as he sang into the mic. All the while creating a distorted mess of guitar licks that still carried a melody to them. The drummer kept the pocket grooving while the bassist seemed to be the most cool, calm, and collected person on stage as she just vibed to the music. Sadly, I could not find the band members names, but their music came pre-loaded with a fat tone of groove. Playing songs like “Sinaloa,” “5th Loko,” “Drop the Ball,” “Substance Abuse,” “Up and Up,” “MDMA,” “Didn’t Plan to Stick Around,” and ending with “Emily.” Glossy was a fun way to start the night.
Up next was a band from Brighton, UK called Tigercub. This trio was helmed by guitarist and vocalist Jamie Stephen Hall who towered over his stacked cabinet of amps. So much so a fan shouted out “How fucking tall are you!” I imagine he gets that often. Opening with the song “Swoon” you could hear the fuzz radiating out of Jamie’s guitar. As bassist and backing vocalist Jimi Wheelwright joined in to sing the harmonies, Tigercub could be felt channeling the power of the band Muse. Complimenting them with tone and style, Tigercub has the finesse to write big stadium anthems. None of the members could be contained on stage either, as Jimi was constantly wriggling his body around the stage while playing. Drummer James Allix elevated his playing with high energy style coming down on his kit with emphasis. The music also had such different movements to it. You never felt like you were listening to the same song over and over again with different lyrics. Tigercub’s music had layers, tempo changes, and James handled the push and pulling that the flow of the music brought with it. Gifting us songs like “Dark Below,” “Dopamine,” “Control,” “Show Me My Maker,” “Beauty,” “Play My Favourite Song,” “The Perfume of Decay,” “Shadowgraph,” and ending with “Stop Beating on My Heart (Like a Bass Drum).” I’ve seen the name Tigercub before, but after this show I am now keeping a closer eye on the evolution of this band as I know they are going places.
Finally, it was time to see the band we would be bidding farewell to, Porno for Pyros. The venue was illuminated as the members walked on stage. You can hear the passion in the cheers and cries as vocalist Perry Farrell specifically walked out. This was my first time seeing Farrell live, and when he started to sing their opening song “Meija,” I was awe-struck with just how powerful of a voice this man has. Farrell can belt and sustain his vocals with such power that he pulls the microphone over a foot away from his face, and yet his voice still carries and can be heard by every single person in the crowd. It also lets him emote with vigor through the lyrics of each song. But Farrell isn’t a one man show, and the rest of the band has their moments to shine. Guitarist Peter DiStefano handles the style of the band dressed in a 3 piece suit and shredding on his axe all at the same time. Drummer Stephen Perkins is a multifaceted percussionist as he handles the different styles that Porno for Pyros blends. From playing in the pocket, to an alternative rock style, bleeding into funk metal, and grooving with a psychedelic vibe. Bassist Mike Watt appears to have injured himself as he was relegated to a seat while slappin’ the bass. But that seat could not confine his energy, as he was bouncing with the rhythm of each song. Dressed in a vibrant yellow shirt and tie, he had the charisma and energy of SpongeBob. Playing songs like “Wishing Well,” “Sadness,” “Agua,” “Tahitian Moon,” “Porpoise Moon,” “Porno for Pyros,” “Pets,” “Good God’s://Urge!,” “Blood Rag,” “Little Me,” “Orgasm,” “100 Ways,” “Cursed Female,” “Cursed Male,” and ending with a two song encore of “Hey Gypsy Boy,” and “Bad Shit.” Porno for Pyros crafted their setlist to create a melody that moved with an energy that ebb and flowed, but never gave the audience a chance to lose interest in what they were experiencing.
Porno for Pyros isn’t a band name I feel you hear talked about all that often. But the sold out crowd at the Observatory was filled with die hard fans that have been with Perry and the boys for the long run. Getting to hear so many of these songs live, I rediscovered songs that I haven’t heard since my childhood. I also developed such an appreciate for Farrell as a vocalist. He’s always had an instantly identifiable and standout voice, but finally experiencing it firsthand was a trip I’m glad I got to go on. This was just the first stop of their farewell tour, and I highly recommend anyone and everyone to make sure they catch a show before Porno for Pyros are gone for good.
Throughout her illustrious career, Ann Wilson has established herself as one of the most iconic voices in rock music history. With her just-released solo album "Another Door," she continues to push the boundaries of her artistry, delivering an album that is as timeless as it is evocative.
"Another Door" is a testament to the resilience of the human spirit, a celebration of love in all its forms, and a reminder that even in our darkest moments, there is always hope on the horizon.
Join Ann and her band TRIPSITTER on this unforgettable musical journey as she opens yet another door and invites us all to step through into a world of boundless possibility with a masterclass on songwriting. Prepare yourself to be shocked by how incredibly great this album truly is.
Ann Wilson is a multifaceted artist whose soulful voice and passionate performances have captivated audiences worldwide. Renowned as the lead vocalist and co-founder of the legendary rock band HEART, Ann has cemented her place in music history with hits like "Barracuda" and "Alone." Beyond her groundbreaking work with Heart, Ann's solo endeavors have showcased her versatility and artistry, earning critical acclaim and a dedicated fanbase. Her dynamic presence extends beyond music, as she has made notable appearances in television and film, including memorable placements of her music in acclaimed series and movies. Ann Wilson continues to inspire and resonate with audiences across generations through her enduring talent and unwavering commitment to her craft.
In "Another Door," ANN WILSON delves fearlessly into the complexities of life, love, and resilience. With each track, she invites listeners on a journey through a tapestry of emotions, weaving together haunting melodies and powerful lyrics that resonate on a profound level.
From the anthemic title track "Another Door," where Wilson's vocals soar with unwavering strength, to the intimate ballad "Echo of the Dreamer," which exposes the raw vulnerability of the human heart, this album showcases Ann Wilson's unparalleled ability to connect with her audience on a deeply personal level.
Produced with meticulous attention to detail, "Another Door" boasts a rich sonic landscape that perfectly complements Wilson's emotive delivery. Drawing from a diverse range of musical influences, from rock to blues to folk, each song is a testament to Wilson's versatility as an artist and her unwavering commitment to her craft.
Hunnypot is proud to be Ann Wilson's official sync representative, ask us about easy-to-clear for your budget LICENSING! Focus tracks are "Tripsitter", "This Is Now" and "Rain Of Hell" - John Anderson
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Yellowcard, the iconic pop-punk band known for their infectious melodies and heartfelt lyrics, takes fans on a nostalgic yet refreshing journey with their latest release, A Hopeful Sign. It's a collection of reimagined hits in collaboration with the Nashville duo Hammock (consisting of Marc Byrd and Andrew Thompson). This album breathes new life into Yellowcard's classic tracks, including fan favorites like "Ocean Avenue," "Empty Street," "Only One," and "Transmission Home."
What sets this album apart is Hammock's unique touch, which infuses each track with ethereal sounds and atmospheric elements, creating a captivating sonic landscape that adds depth and dimension to Yellowcard's already beloved songs. From the moment the first notes of "Ocean Avenue" resonate, listeners are transported to a realm where familiar melodies intertwine with newfound textures, inviting them to rediscover these timeless classics in a fresh light.
The collaboration between Yellowcard and Hammock proves to be a match made in musical heaven, as Hammock's expertise in crafting ambient, dreamlike soundscapes complements Yellowcard's signature sound flawlessly. Tracks like "Empty Street" and "Only One" are transformed into cinematic experiences, with layers of lush instrumentation and subtle electronic flourishes enhancing the emotional resonance of the lyrics.
One of the album's standout moments is the reimagining of "Transmission Home," where Hammock's ethereal soundscape serves as the perfect backdrop for Yellowcard's poignant lyrics, creating a sense of longing and introspection that lingers long after the song ends. Each track on the album is given the Hammock treatment, resulting in a cohesive and immersive listening experience from start to finish.
What makes this album truly special is the way it allows listeners to appreciate Yellowcard's music in a whole new way. The reimagined versions of these hits not only pay homage to the band's legacy but also showcase their willingness to evolve and experiment with their sound. Whether you're a longtime fan of Yellowcard or discovering their music for the first time, this album offers something for everyone, serving as a testament to the enduring power of great songwriting and artistic collaboration.
Bottom line, Yellowcard's collaboration with Hammock on this collection of reimagined hits is nothing short of magical. By infusing their classic tracks with ethereal sounds and atmospheric textures, Yellowcard and Hammock have created an album that is both nostalgic and forward-thinking, reminding us of the timeless beauty of A Hopeful Sign.
- James Coffman
Friday night was chock full of fist pumping, side sneers and swagger as rock and roll demi god Billy Idol graced the stage at Thunder Valley Casino in Lincoln, CA
Opening with "Dancing With Myself", the highly energetic crowd immediately matched Billy Idol's stage antics in the aisles, from their seats, and anywhere they could get their groove on as his classic song ripped through the Thunder Valley P.A. system. The 2023 Hollywood Walk Of Fame Star recipient, three time Grammy nominee, and winner of countless MTV awards kicked off what would turn out to be a stellar performance in front of a sold out crowd, focusing his efforts on a 40+ year discography along side his longtime band mates.
For those not in the 'know', Billy Idol emerged from the gritty underground London punk scene back in the 1970’s with his band Generation X. A few years later (1981 to be exact), his first solo release Billy Idol dropped and there was no turning back. It's hard to think of the successes of Billy Idol without mentioning his longtime songwriting partner and collaborator, Steve Stevens. This guys is a legend in his own right and has always been Billy's Right Hand Man or as some have candidly said, 'He's the Robin to Billy's Batman'. Regardless, this dynamic duo is still one of the best in the business and let it all hand out during an impressive 14-song setlist.
After Idol's second solo release, Rebel Yell in 1982, he was catapulted to super stardom and has remained rock and roll royalty (and still does to this day). Throughout Billy's amazing performance, songs like “Eyes Without A Face” and “Flesh for Fantasy” sounded just as good as they did when they were a permanent fixture (and on heavy rotation) on MTV. Additional classics “Cradle Of Love” and “Flesh For Fantasy” followed and were absolutely perfect. While a bit skeptical at first, Billy Idol’s vocal ability was still tops in class, and I was amazed at the ease in which he belted out these classics. Fans also rejoiced during a brilliant guitar solo by Steve Stevens graced us with a guitar solo. It began with flamenco style intro, then ripped into a medley of Led Zeppelin tunes that showcased his obvious love for his favorite guitar player, Jimmy Page.
More intense fist pumping followed during “Mony Mony” (a Tommy James & The Shondells cover) and “Running From The Ghost” (a song that was special to Idol, dedicated to a fallen friend lost to drug addiction). It was a somber moment indeed, but only for a brief moment as it was then back to business with “Blue Highway” and "Rebel Yell" Outside of Steve Stevens, Idol's long time band members were super impressive including Billy Morrison on guitar, Stephen McGrath on Bass, Paul Trudeau on keys, and drummer Erik Eldenius behind the skins. Just wow!
Overall, Idol's overall production was tight and stage set up looked like a magnificent city (which was perfect as the night closed out with an encore reminiscent of the 1980's). This one featured “Hot In The City” and of course one of Bill's most recognized songs, “White Wedding”. Before the concert began, a young man standing next to me said “I’m shocked there are no people my age here”. I laughed, explaining to him that "we may all look old to you, but we feel the same way inside that you do!" Billy Idol takes us to that nostalgic place when MTV played actual music videos that we watched all night long, and you could tell by looking around that the room was filled with people feeling the same feelings I was. Idol and his band really delivered ,leaving the whole venue all danced out and completely satisfied. Rumor has it that there will be a new album release from Idol in 2025. I hope its true and look forward to hearing that.
Bottom line, this concert was a perfect '10' in my book. If Billy Idol comes through to your town, I highly suggest you don’t miss him live! I know that I won’t.
The Voice of Rock and Roll took over the Sunset Strip on Friday Night Feb 2nd as Glenn Hughes rocked the Whisky A Go Go with a tribute to the 40th Anniversary of Deep Purple’s Stormbringer Album. The evening’s menu was tight which is a blessing and a curse. Some nights the Whisky will treat you to a 5-6 band lineup and you will leave jelly-legged from standing like sardines for 5 hours, but on this night, the crowd stretched around the building at 8pm and was heading out the door before midnight.
The Sold Out show featured Gilby Clarke opening with an abbreviated set of his original music mixed with some Guns and Roses track from his tenure with the band. Clarke replaced Izzy Stradlin in the Guns n’ Roses lineup during the "Use Your Illusion" tour in 1991 and stayed with the band for for a few years. After departing he has kept cranking out solid music with Slash’s Snakepit, Rock Star Supernova, and a number of other bands. His solid set featured a tribute to MC5 member Wayne Kramer who recently passed away. The “Knocking on Heaven’s Door” GnR cover featuring some nice audience participation was a highlight. The final song “Tijuana Jail” really had me wanting to hear more from Gilby. It was a fun raucous track that he really pushed with the visuals and fun.
Then it was time for the man himself. Glenn Hughes is Rock Royalty. People who appreciate Classic Rock know the aura around this amazing artist. It’s insane to me that many people have no idea of the shared vocal background of those three amazing Deep Purple albums Burn, Stombringer, and Come Taste The Band. The dueling vocals of David Coverdale and Glenn Hughes really are what makes them special. It gave Deep Purple the Paul Rodger’s style “bluesy” feel that Ritchie Blackmore was going for with Coverdale’s range, but the addition of Glenn Hughes allowed them to keep the Ian Gillan howl, and the raw energy. Deep Purple was one of those few bands that had very successful albums with different lead singers and then went back to the classic lineup. I had been wanting to catch Glenn Hughes live for years but have always missed. He has been touring sporadically with his supergroup The Dead Daisies, Black Country Communion as well as Kings of Chaos but this was going to be a great treat as it was a solo gig in his hometown focusing on those classic Deep Purple songs.
Glenn’s touring band was really impressive with Bob Fridzema on Keyboards really putting on an amazing showcase, Ash Sheehan killed it on Drums, and Soren Andersen’s Guitar work made you feel like Blackmore was in the house. They kicked off the set with "Stormbringer" and from the jump it was classic Deep Purple. Fridzema’s was on fire, taking the John Lord parts and bringing them to life for the crowd. In my opinion the keyboards are the real defining part of the Deep Purple sound and everything was on fire. Next was “Might Just Take Your Life” off Burn which was nice as I had thought the setlist would stick strictly to Stormbringer, but this was a signal that all bets were off as to the tracks. “Sail Away” was up next, another track off Burn, with Andersen really showcasing his quality work. The audience got a real treat at Joe Bonamassa joined the Glenn and the band for “Mistreated”. Joe had been playing with Glenn in Black Country Communion and oddly had never played the Whisky so it was a fun moment to have him grace the stage for the first time. Andersen jumped back in for “Getting Tighter” and his work covering Tommy Bolin was equally as impressive. The band wrapped up the night just before midnight with a raucous version of "Highway Star", and closed the night with the hit everyone wanted to hear Glenn sing, “Burn” . Seeing this level of talent on the sunset strip for just $30… you can not go wrong.
Gilby Clarke Setlist
Glenn Hughes Setlist
Get ready to transport yourself back to the iconic rock scene of the '90s with the exhilarating release of The Tragically Hip's legendary performance at CBGB's in 1993, Available on vinyl for the first time on Record Store Day, April 20th. This electrifying release captures the band at the peak of their prowess, delivering a high-octane show that encapsulates the raw energy and magnetic stage presence that made them a staple of the era. Immerse yourself in the heart-pounding rhythms, blistering guitar riffs, and captivating vocals that defined an era of music history with this exclusive vinyl release. Don't miss your chance to own a piece of rock 'n' roll history as The Tragically Hip's unforgettable CBGB's performance comes to life in a stunning vinyl format. For more information on this killer release, please check out the formal press release below for all the juicy details.
- Matthew Belter
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Ministry has been a revolutionary force in the music industry since its formation in the early 1980s. Founded by the enigmatic Al Jourgensen, the band has continually pushed the boundaries of heavy music, blending elements of industrial, metal, and punk to create a sound that is both aggressive and thought-provoking. Ministry's influence on the industrial and metal genres cannot be overstated, with their pioneering approach shaping (and reshaping) the musical landscape for decades.
Ministry's music style is characterized by its relentless energy, uncompromising lyrics, and industrial sonic palette. The band's confrontational and politically charged themes have resonated with audiences, making them a prominent voice in addressing social and political issues through their music. Their ability to craft intense, visceral soundscapes while delivering poignant social commentary has solidified their place as a powerhouse in the music industry.
The latest offering from Ministry, HOPIUMFORTHEMASSES, continues the band's tradition of unapologetically confronting societal issues. Their 16th studio album delves into current themes of societal decay, political corruption, and the struggle for individual autonomy in a world dominated by misinformation and manipulation. Musically, HOPIUMFORTHEMASSES retains the trademark aggression and industrial edge that Ministry is known for, while also incorporating modern production techniques to create a searing sonic experience.
Coming in at just over 40 minutes in length, HOPIUMFORTHEMASSES isn’t the longest Ministry release by any stretch. However, it may very well be their most complete album (top to bottom) in recent memory. Kicking it off with “B.D.E.” (or Big Dick Energy) and wrapping up with “Ricky’s Hand”, HOPIUMFORTHEMASSES transports listeners on a sonic battering ram filled with all the intensity one has come to expect from a traditional Ministry release. I won’t ruin all the juicy goodness that this one brings to the table, but it certainly tackles all the madness our society is currently facing in a way that leaves little (if any) doubt where ‘Uncle Al’ stands on the current issues we as a society face. My favorites included “Aryan Embarrassment” (with Jello Biafra), “Just Stop Oil”, and “Cult of Suffering” (with Gogol Bordello’s Eugene Hutz).
The production quality on HOPIUMFORTHEMASSES is outstanding, with each track meticulously crafted to maximize impact. The album's sonic landscape is dense and immersive, featuring layers of industrial textures, blistering guitar riffs, and pounding rhythms. Jourgensen's vocals cut through the mix with raw intensity, delivering the album's potent lyrical content with unwavering conviction. The musical performance across the board is exceptional, showcasing the band's mastery of their craft. Hats off to Paul D’Amour, John Bechdel, Roy Mayorga, Cesar Soto, and Monte Pittman for their incredible contributions to this album.
HOPIUMFORTHEMASSES stands as a powerful testament to Ministry's enduring relevance and uncompromising artistic vision. The album's unapologetic stance on contemporary issues, paired with its blistering musical execution, cements its place as a significant addition to the band's immense discography. While it maintains the core elements that have defined Ministry's sound, it also demonstrates a willingness to evolve and adapt to the modern musical landscape. That said, this album may very well stand out as another era-defining classic by Jourgensen and company, solidifying their status as a continued force to be reckoned within the music across the music industry at large. HOPIUMFORTHEMASSES is collectively one of my favorite Ministry releases over the past 10 years, and one that I simply can’t take of repeat. I’d highly recommend grabbing a copy when it drops on March 1st. After giving it a few spins, you’ll know exactly where I am coming from, and mark my words, you will be glad you did!