Lots of people collect things. But imagine having the resources to collect anything that interested you. Pop culture. American history. Musical instruments. Jim Irsay, the owner of the Indianapolis Colts, has those resources. He has amassed a stunning collection of pop culture memorabilia, American history artifacts, and musical instruments including an incredible array of rare and historically important guitars.
But here’s the difference with Jim Irsay and other collectors. Others might hide these rare pieces from public view. Locked away, only to gather dust with the pleasure coming from just the ownership of the items. Irsay chooses to take his on the road for everyone to see. A traveling museum, if you will. And it’s FREE. On January 11, 2024 at the Shrine Auditorium in Los Angeles, thousands of attendees got to see letters from George Washington and Abraham Lincoln. John F. Kennedy’s rocking chair. Jackie Robinson’s bat. The list goes on. And on. And on.
The true highlights of the exhibit were the legendary instruments. Multiple guitars owned by the Harrison, Lennon, and McCartney. Ringo’s drum kit played on the Ed Sullivan Show. A piano played by The Beatles during Sgt. Pepper’s Lonely Hearts Club Band. Elton John’s piano. An acoustic guitar played by David Gilmour of Pink Floyd on "Wish You Were Here". Next to that guitar was a space for Gilmour’s legendary The Black Strat which was played on “Comfortably Numb.” But that guitar was missing. But many, many more were on display to see. Clapton, Hendrix, Prince, Van Halen, Dylan (acoustic and electric) were just some of the big names with axes presented.
The Jim Irsay Band is something of a collection of Jim’s as well. Just as he shows great taste in his choice of instruments and memorabilia, the band is a powerhouse all-star line-up and total pros. Kenny Wayne Shepherd, guitar and vocals, Mike Mills of R.E.M., bass and vocals, Kenny Aronoff, drums, Tom Bukovac, guitar, Mike Wanchic, guitar, Michael Ramos, keyboards, Danny Nucci, guitar, sax, vocals, and Billy Branch on harmonica. Rounding it out on background vocals; Alaina Renae, Staci McCrackin, Stephanie Allen-Stevenson, and Renée Michelle Merrifield. This is a collection (there’s that word again) of talent capable of performing almost any rock and roll classic.
Before the performance started, the was an introduction of former Indianapolis Colts running back Edgerrin James. He waved to the crowd and if rock and roll fans don’t follow football, they should know this: He was as good as it gets and is in the Pro Football Hall of Fame.
With that over, the band took the stage and the night’s de facto master of ceremonies, Kenny Wayne Shepherd announced that Jim Irsay was ill and wouldn’t be performing. (A note here. Jim Irsay usually sings and plays guitar with the band. To see and learn more about the band and Irsay, watch the November 2023 episode of Real Sports with Bryant Gumbel.) Shepherd strapped on his Stratocaster and kicked in to his own “Down for Love.”
Then it was time for the guest stars to come out. As good as the players in the band are, the real draw to these shows are the guest performers that are invited to play. The first: Legendary bluesman, Buddy Guy. His influence on generations of guitarists cannot be overstated, including as mentioned by Kenny Wayne Shepherd, Jimi Hendrix. Buddy did the title song from his 1991 comeback album, Damn Right, I've Got the Blues. After performing “I’ve Got to Use My Imagination” and “She’s Nineteen Years Old,” Guy gave KWS a hug and exited the stage.
Shepherd then performed “Can’t Hold Out,” “Watch Yourself,” and “Blue on Black.”
On the other side of the stage, Mike Mills took the lead with energetic performances of “(Don’t Go Back to) Rockville” and “Superman.”
Then it was back to Shepherd. Remember David Gilmour’s missing The Black Strat from the Collection exhibit? It was now in Kenny’s hands as he explained that Jim Irsay believed that the great thing about appreciating musical instrument like this is that they are meant to be used and not just looked at. And played it was. A fine take of Pink Floyd’s “Have a Cigar” with Danny Nucci on vocals was followed by an incendiary version of “Comfortably Numb,” complete with a Pink Floyd-esque light show. Gilmour’s two solos on that song appear on most lists of the greatest guitar solos of all time and Shepherd did the music and Black Strat justice.
The Black Strat was then retired for the evening and out stepped another legend. Ann Wilson of Heart possesses one of the all-time great voices, male or female. She did a cover of The Who’s “Love, Reign O’er Me,” and Heart’s own “Barracuda.” This was the point where it really seemed like the band started having fun on stage. Shepherd and Bukovac joined Wilson in the middle of the stage, trading licks from the iconic song.
Next up was Kevin Cronin, lead singer of REO Speedwagon. Cronin sang and played acoustic guitar on “Take It On the Run” and “Keep On Loving You.” Once Cronin put the acoustic aside, he was free to roam the stage on rockin’ versions of “Ridin’ the Storm Out” and “Roll With the Changes.”
Just when it seemed like Cronin’s energy couldn’t be topped, out came singer Peter Wolf of The J. Geils Band fame. Wolf entered the stage dancing and never stopped moving through versions of “Hard Driving Man,” “Just Can’t Wait,” “Centerfold,” “Love Stinks,” and “Lookin’ for a Love.” Wolf was an on his knees-spinning-everywhere-presence, leading the audience in a sing-along of “Love Stinks.”
But wait, there’s more. To close out the show, along came the Sharp Dressed Man himself, Mr. Billy F. Gibbons of ZZ Top. The hirsute wonder was smiling through his beard as he played a three-song set that included “Sharp Dressed Man,” the Texas-boogie, “La Grange,” and a bluesy “Going Down.”
Throughout the evening, most of the performers made mention of Jim Irsay’s generosity, thanked him, and wished him good thoughts for a fast recovery. Irsay is a man who has battled his well-documented demons, but at the same time is known for a giving heart. That heart was there for everyone to see in the items showcased in his collection and in the performances on stage. It was a night of legendary musicians and one-of-a-kind artifacts presented absolutely free to the public.
Alright, let's dive into the sonic cataclysm that is SAXON's Hell, Fire and Damnation. Picture this – a band that's been kicking it since the late '70s, now dropping their twenty-fourth studio album. Yeah, you read that right. Twenty-four. These Brits, famous for "Denim and Leather" and "Wheels of Steel," aren't just resting on their laurels; they're unleashing a heavy metal onslaught that refuses to bow to the hands of time. I appreciate it when a classic metal band can not only stick to their roots, but continually crank out solid work year after year, or in Saxon’s case, every other year for 40 damn years.
Brian Blessed, the 2013 Spirit of Hammer Award winning vocal performing kicks off "The Prophecy," adding a cinematic touch to this metal opera. It’s a nice touch that sets the tone. Produced, mixed, and mastered by the maestro Andy Sneap who has worked similar magic with Accept, this LP isn't your run-of-the-mill nostalgia trip. The twin guitar attack hits you square in the face from the first track, and each riff is solid throughout. The lead single, "Hell, Fire and Damnation," is a modern-day Saxon anthem that doesn't shy away from their unmistakable signature sound. It launches into a solid crunching riff and sets the tone for the album. Unrelenting classic British Steel.
Now, hold onto your leather jackets because we've got Brian Tatler joining the fray. Yes, the same Tatler from Diamond Head. Original axeman Paul Quinn might had retired from the road, but the quintet, still featuring Doug Scarratt, Nigel Glockler, and Nibbs Carter, is still a force to be reckoned with. If you are a NWOBHM fan you won’t be disappointed. Tracks like “Madame Guillotine” with it’s great tempo change and solid riff throughout, really hooked me, probably my favorite track. Biff Byford's vocals are solid throughout it’s insane that he has kept his voice in check since the 70’s at the level he is at. His range is as impressive as ever.
As you get deeper into the album cuts like "Kubla Khan and the Merchant of Venice" and "Super Charger" are like sonic punches to the gut – a relentless barrage of fists and stomping boots. They're proof that Saxon's decades-old formula still packs a punch, reminiscent of the thunderous "Wheels of Steel" from 1980. There is nothing about the album that feels dated, just classic.
But hey, not everything is smooth sailing on this metal voyage. Saxon has a long obsession with historical lyrics and that is clearly on display here. From Roswell to the Battle of Hastings, Merchant of Venice and 1066, it's like a heavy metal history lesson that might be a tad exhausting for some. Sure, we love our metal with a side of history, but the theme seemed a bit forced, that said Hell, Fire and Damnation isn't just an album; it's a sonic odyssey. Biff Byford, with his tales of Salem witches and Battle of Hastings, does a fair job of weaving his tapestry of mystery and mayhem. The 2024 Saxon version is a mature beast, still hungry and with a finger on the pulse of the metal realm.
This album is a testament to Saxon's enduring rebellion. The addition of Tatler to the mix adds something that I think really elevates the album. Whether you're a grizzled metalhead or a fresh recruit, Hell, Fire and Damnation is a wild ride through the annals of heavy metal history. So, crank up the volume, throw up the horns, and let Saxon remind you why they're still kings in the heavy metal kingdom.
Hell, Fire, & Damnation Tracklist
Upon first listen, "Let Go" strikes as a bold and dynamic track that is quintessentially KMFDM. The band's signature industrial sound is very much present, yet there's an evolution in their style that is refreshing. What stands out immediately is Andee Blacksugar's powerful guitar work, which is both aggressive and melodic. The composition is tight, with every element from the pounding drums to the gritty synths working together to create a robust sonic landscape.
Digging into the melody, my initial thoughts were that it was catchy and almost anthemic. I could easily see "Let Go" a track that could fill football stadiums worldwide. Lyrically, KMFDM stays true to their style of thought-provoking and rebellious lyrics, adding a layer of depth to the track. It’s not on the extreme level of 2019’s “Paradise” but gives listeners just enough angst to get them through the day. As for the emotions the song elicits, there's an undeniable sense of urgency and defiance in "Let Go." It connects with the listener on a visceral level, tapping into a primal desire for freedom and rebellion.
In terms of production quality, "Let Go" is top-notch. Sascha Konietzko’s mix is balanced, allowing each instrument to shine without overshadowing the others. The overall cohesiveness of the single is impressive, demonstrating KMFDM's ability to evolve their sound while staying true to their roots. Breaking it down to its most basic form, one immediately realizes the end result of “Let Go” is a collective effort via the sonic wizardry Konietzko, Lucia Cifarelli, Andee Blacksugar, and Andy Selway. This united front will continue to pay dividends on stage when their highly anticipated tour begins on March 6th in Atlanta.
Comparing "Let Go" to previous singles, it's clear that KMFDM is not resting on their laurels. They're pushing their sound forward, experimenting with new elements and refining their craft. It's a successful single that showcases their growth as a band. Listening intently, you can hear the past, present, and future throughout the 4:00 minute masterpiece. For fans of KMFDM, this song is a precursor to what will surely be a killer release on Feb 2nd. Let Go will be their 23rd studio album across an amazing 40-year career and could very well be one of their best when the dust settles.
At the end of the day, “Let Go" meets and exceeds my expectations as a true KMFDM fan. It's a powerful track that showcases the talent of Sascha, Lucia, Andy, and Andee at their best, offering a fresh take on their signature sound while staying true to their roots. I would recommend dropping the needle on this one for both long-time fans of the band and newcomers looking for high-energy, thought-provoking music. After a quick spin around the block, you’ll be once again hooked on one (if not the most) the most legendary industrial bands of our time. “Let Go” is The Ultra Heavy Beat at it’s finest!
- Matthew Belter
It was only too appropriate that the first real snow of the season would fall as people warmed themselves up to a night of wubs and dubs to close out the year. This year’s two part Lucid Nights NYE shows - put on by local production company SIMshows - swapped the previous few years’ Snowtafests at the Armory for a back to back night of ‘Zed’-derivative electronic music (Zedd & Zeds Dead).
With Zeds Dead packing the house for night 1, so-called deadbeats knew they were in for an assaulting, moving night of bass heavy fluctuations and sensational lights and visuals. The group has been packing international venues for some time, and while they didn’t release anything new in 2023, they put on several tours (including a previous visit to The Armory back in September), so it was a real treat for them to come back to Minnesota so soon afterwards and pack the Armory for a second time.
The variety of styles in the openers (Renno, Levity, Tape B & Dirt Monkey) captured the imagination of the crowds as they slowly flowed in the from the Timberwolves game just a mile away, steadily filling the massive space from wall to wall for a packed, intimate and intense night of music.
Everything built to a beautiful climax as Zeds Dead turned everything into complete overdrive well past midnight, massive jets of flame announcing their sonic arrival. Their mountainous walls of bass-driven sound collapsed on the wide eyed deadbeats, and all was well. There wasn’t a single person missing a smile at that point in the night - the duo’s ability to capture and capitalize on energy is a skill every DJ possesses, but Zeds Dead are particularly fantastic live, combining a real attention to sonic detail with having a great sense for how to keep the flow of energy oscillating, shying away from complete overload but keeping everything a solid, even keel. With more flashes of fire and a shot of fireworks, the two closed out the night around 2am, an incredible night of EDM and good vibes.
L.A. Guns continues to standout as the premier Rock n Roll band from the early days of the Sunset Strip and they proved that on Thursday night December 28th at The Coach House in San Juan Capistrano. The reunion of Phil Lewis and Tracii Guns in 2016 led to 2017’s release of The Missing Peace, a rock-solid slab of classic L.A. Guns with a modern flare that proved that Lewis and Guns still had the chemistry responsible for the hits back in the day. Well in 2019 they outdid The Missing Peace with the release of The Devil You Know, in 2021 they again out did themselves with Checkered Past and here in 2023 they released another monster album with Black Diamonds. Between the live show sounding as grand as ever and these new records filled with relevant, quality songs – L.A. Guns remains the King of the Sunset Strip.
Guns and Lewis along with bass player Johnny Martin, guitarist Ace Von Johnson and drummer Shawn Duncan make up the most talented lineup this band has had in recent years as they opened the night with “Cannonball” that immediately had the Coach House on their feet and rockin' out. Lewis hit the stage in a flashy yellow and green suit sounding better than ever. The band then went into “Electric Gypsy” and “Over the Edge” as the guitar duo of Tracii Guns and Ace Von Johnson wasted no time showing off their licks by harmonizing the solo center stage. Early in the set the band played a scorching rendition of “You Betray” off Black Diamonds which is classic L.A. Guns with a flare of Led Zeppelin thrown in making for a modern-day classic for sure. Two other songs from Black Diamonds were also played – “Diamonds” – a killer ballad to slow things down then “Like a Drug”, so cool to hear these new songs live.
Drummer Shawn Duncan has an impressive pedigree in the Rock n Roll world, as the old school Sunset Strip die-hards will recognize him as the drummer from Odin. Duncan joined the band early in 2022 and has proven to be a huge asset with his hard-hitting drum work. Duncan’s partner in crime Johnny Martin on bass is a pure Rock n Roll maniac playing that bass with conviction as he wails on the backup vocals – Martin looks like he was taken straight out of the Ramones with his straight black hair and rock n roll boldness. Then there is guitarist Ace Von Johnson . . . this guy brings the perfect blend of attitude and charisma to the band that compliments his killer guitar playing (and he blows killer bubble gum bubbles while rocking out). Again this lineup is phenomenal!!!
All the hits were accounted for – “Sex Action”, “One More Reason” and “Never Enough” . . . Lewis and Guns took the spotlight together for “Crystal Eyes” and the beginning of “The Ballad of Jayne”, the later being one of the most beautiful yet powerful rock ballads out there. Things sped up again with the final song of the night “Rip and Tear” that was preceded by band introductions that gave each musician a few minutes to demonstrate their craft.
Tracii Guns was having a blast playing – he always seems to play never before seen guitars at shows – he must have one hell of a huge collection. Guns and Lewis looked to be having so much fun together onstage (as did the entire band) and that just elevated the vibe of the show. The night ended with Phil Lewis thanking all for spending the night with them and the band gave a bow in unison as The Vandals “So Long, Farewell” played over the PA.
There is no other band from this era can hold a candle to L.A. Guns to this day either live or with new music. Catch L.A. Guns when they hit your town, a night not to be missed! They hit the road on March 7 in direct support for KK’s Priest.
Hailing from Omaha, Nebraska, King Iso is a force to be reckoned in the hip hop scene. Born Tarrel Gulledge, King Iso rose to rap prominence by delivering hard hitting lyrical content in the most technically savvy way. Before rap, Gulledge struggled with incarceration, homelessness, and mental illness. Determined to overcome his challenges, he channeled his energy, heart, and soul into his music. He garnered a cult following and ultimately caught the attention of the industry titan Tech N9ne. He’s now dropped his 6th studio album (3rd with Strange Music), and it’s nothing but heat. Let’s jump into some of my favorite moments from Iso's latest, iLLdren.
Known for his rapid-fire delivery combined with storytelling abilities, King Iso doesn’t stray away from his strengths on iLLdren. He leans into personal struggles and relays to the listener that he empathizes on a wide array of mental health issues. Much of the album is him talking directly to the listeners, many who haven’t yet dealt with their childhood trauma. This is the group he affectionately refers to as the 'iLLdren'. Back-to-back-to-back, he directly hits touchy subjects head on. He deals with growing up in conditions so bad, that someone should have called child protective services on “CPS”, hearing voices in his head on “Voices”, and growing up without a father on “Stoned”. He offers words of hope to those teetering on the edges on “Teen Suicide” and on “Way You Are”, he reminds the listeners, each, and every one of them, that he “think[s] [they’re] perfect, just the way [they] are”.
All in all, King Iso is everything the rap game needs. He reminds the listeners that it’s okay to admit that you’re not okay, but at the same time offer words of hope. He does this in a way that projects strength, contrary to how mainstream hip hop tends to deal with mental health. Much of the rap world chooses to mask inner traumas with the glorification of violence, drugs, and materialism. Rather than throwing a band aid on these feelings, King Iso chooses to deal with them directly. His lyrical style is also comprised of a verbal onslaught of multisyllabic rhymes, similes, and metaphors that is objectively flawless in nature. If you’re looking for a record that you can go on an introspective long drive to, and also get a high intensity workout in to, this is the album for you. Check it out when you get a chance. iLLdren is available on all streaming platforms and is 100% Hunnypot Approved!
- Kris
Last Sunday night, Heavy Metal fans from all over the Sacramento and Bay Area gathered to witness the power of the all-female band Burning Witches. Despite the rain, hardcore fans were not deterred from experiencing this incredible display of female energy and talent. The anticipation was pegging at an 11 (on a 10 scale) as we eagerly awaited the start of the show.
Kicking off the evening was Sacramento's own deathcore/Thrash band, Cemetery Legacy. With brutal guitar riffs from Steve Lujan and Augustin Rivera, Kyle O'Connor on bass, and Timmy Parker on vocals, they set the stage on fire. Even with a last-minute fill-in drummer, their performance was flawless. Cemetery Legacy has previously shared the stage with renowned bands like Otep, Metal Church, Blind Illusion, and Hatriot. Keep an eye out for their next tour, as they are not to be missed.
As we eagerly anticipated Burning Witches, we were treated to another local act, simply known as Black. Unfortunately, there was limited information available about the band, but their performance was nothing short of a metal extravaganza. The lead singer commanded the stage with a mix of toughness and majesty, a unique and exciting combination for a thrash/death metal band. The dueling lead guitars and energetic rhythm section added to the intensity of their performance.
Finally, the moment we had all been waiting for arrived. Burning Witches took the stage with an unmatched force and power, opening their set with "Unleash The Beast." The energy in the room was electrifying, with hair blowing back and faces filled with awe. Guitarists Romana Kalkuhl and fill-in guitarist extraordinaire Courtney Cox (currently with The Iron Maidens) showcased their technical prowess on "Wings of Steel," leaving the audience spellbound. With Larissa Ernst on maternity leave, Courtney Cox was incredible from the first note and impressed everyone with her talent. Bassist Jeanine Grob held the heavy sound together with precision, while Lala Frischknecht's drumming provided a solid foundation.
The highlight of the night was undoubtedly the frontwoman, Laura Guldemond. Her stage presence and powerful vocals on tracks like "Dance With The Devil" were captivating. She engaged with the audience, touching every person in the front row and beyond, creating an unforgettable experience. At one point, she even disappeared into the crowd, only to reappear on stage with even more intensity. Burning Witches performed a diverse setlist, showcasing their career-spanning releases, from their self-produced debut in 2017 to their latest album, The Dark Tower. While they have gained recognition for their covers of Judas Priest and Dio songs, their original compositions truly demonstrate their talent.
Burning Witches is currently scheduled to tour Europe and return to the United States in support of their new release under Napalm Records. Don't miss the opportunity to witness these extraordinary women who are taking the metal scene by storm. You will thank me later!
In the realm of pop music, few groups have left as indelible a mark as New Kids On The Block. With a career spanning several decades, the Boston-based quintet has continued to capture the hearts of fans worldwide. One of their standout albums, The Block, initially released in 2008, has recently undergone a remastered transformation, breathing new life into an already iconic collection of tracks.
The Block Revisited is more than just a trip down memory lane; it's a sonic journey that showcases the enduring appeal of the New Kids On The Block and their ability to adapt to contemporary musical landscapes. While the original release was met with critical acclaim for its blend of infectious pop melodies and R&B influences, the remastered edition elevates the listening experience to new heights.
The first thing that strikes the listener is the crispness of the tracks. Each beat, every note, and the nuances of the vocals are now sharper and more defined, giving the album a refreshing sound that resonates with modern sensibilities. The remastering process has successfully managed to preserve the essence of the original recordings while simultaneously enhancing the overall sonic quality.
One of the standout tracks on the album, "Summertime", benefits immensely from the remastering treatment. The infectious energy of the song is now even more palpable, with the beats hitting harder and the harmonies soaring to new heights. The subtle nuances in the instrumentation are brought to the forefront, allowing listeners to appreciate the song's intricate production in ways they may have missed in the original release.
Similarly, the title track "Single" takes on a new life as well and one of my favorite on the album. The thumping basslines and synth elements that underpin the song are more pronounced, creating a dynamic and immersive listening experience. The vocal performances, which were already stellar in the original version, now shine even brighter, showcasing the group's undeniable chemistry.
What sets The Block Revisited apart is its ability to transport listeners back to the late 2000s while simultaneously sounding relevant in the present. The remastering process has not only revitalized the album but has also made it accessible to a new generation of music enthusiasts who may not have experienced the New Kids On The Block phenomenon during their heyday.
In addition to the sonic enhancements, the remastered version of The Block includes bonus tracks that add further value to the listening experience. These additional songs seamlessly blend with the original track list, providing fans with a more comprehensive look into the creative process behind the album. The inclusion of bonus material is a thoughtful touch that adds depth to the remastered edition, making it a must-have for both devoted fans and newcomers alike.
While some may argue that remastering can sometimes dilute the authenticity of the original recordings, in the case of The Block, it serves as a testament to the enduring legacy of New Kids On The Block. The remastered version not only pays homage to the group's past but also positions them as relevant and influential figures in the contemporary music landscape.
That said, The Block Revisited is a triumph that showcases the timelessness of New Kids On The Block's music. The crispness of the tracks, the meticulous attention to detail in the remastering process, and the inclusion of bonus material make this release a true gem for fans old and new. It's a testament to the group's ability to evolve while staying true to their roots, solidifying their status as pop music icons. Thanks to Jordan, Donnie, Joey, Danny, & Jonathan on a job well done. Definitely looking forward to catching NKOTB live in 24' with Paula Abdul & DJ Jazzy Jeff (and you should be too!).
This one gets a 9/10 and is 100% Hunnypot approved.
- James Coffman
The original concept of the guitar was created in the fourteenth and fifteenth century. Since then, countless millions of people have learned to play the instrument and tried to craft their own path with it. In the past few decades, a select few musicians have legitimately stood out and reinvented the guitar like Jimi Hendrix, Tim Henson, and most importantly Eddie Van Halen. With the latter changing the landscape for rock and metal music like no one has ever seen. Eddie also gifted the world with one other musical wonder, that being his son Wolfgang Van Halen. Wolfie has spent his time not only mastering the guitar but honing his skills on every instrument. Releasing his first album Mammoth WVH in 2021 where he wrote and played every note on the album, including singing on it. The album was a commercial success, praised by critics everywhere, and went #1 on multiple charts. He has now released his sophomore album Mammoth II and hit the road on a headlining tour with fellow guitar master Nita Strauss. Coming home to Los Angeles to sell out the Belasco Theatre for the final stop of the tour, fans lined up around the block ready to chant for Wolfie!
Starting the night off with ripping guitar licks was Nita Strauss. Getting first into the limelight as the guitarist for Alice Cooper. It was with her latest solo album The Call of the Void that Nita Strauss really made a name for herself as a phenomenal guitarist and performer. Starting out the set with “Summer Storm” Nita was all smiles and glee as she was ready to perform for her hometown friends. Backed by a band consisting of her fiancé Josh Villalta on drums, Johnny Young on rhythm guitar, Christopher Dean on bass, and Katt Scarlett on keyboards, Nita surrounded herself with fellow musicians that help heighten her skills on the axe. The first half of the show consisted of some of her most popular instrumental tracks like “Our Most Desperate Hour,” “Mariana Trench,” “Alegria,” and “The Quest.” During these songs Nita was playing right to the audience, getting as close as she could. With her ever flowing hair whipping back and forth as she headbangs through the entire show. It’s honestly a miracle her hair doesn’t get knotted or tangled up with how crazy it flies around. The second half of the set, Nita was joined by vocalist Kasey Karlsen of Deadlands. Nita’s brought in a slew of talented guest vocalist in the past like Alissa White-Gluz, David Draiman, and Dorothy. Kasey had big shoes to fill performing these songs live, and she handled them with ease. From roaring like Alissa on “The Wolf You feed,” to singing with a pure ear candy tenor like David on “Dead Inside,” and singing with power and passion like Dorothy on “Victorious.” Nita Strauss continues to build herself as more than just a guitarist, but a musician that can write music for the masses and she delivered in spades. If she is not already, Nita Strauss needs to be talked about in the same breath as Joe Satriani when it comes to the best instrumental solo musicians in the industry. She's that impressive.
As we waited for our headliner to take the stage; a backdrop fell from the ceiling with the Mammoth WVH logo on full display for everyone to see. As this dropped, the crowd cheered for the performer that was to come. The moment was made even more special for fans as Valerie Bertinelli (Wolfie’s mom) peaked out from backstage to wave at the crowd. Finally, the opening notes to “Mammoth” rang out over the speakers, the band was ready to take the stage. Strapped with his custom EVH guitar, Wolfie was ready to perform for his adorning family, friends, and fans. Wolfie has a soothing and pleasant voice that lets him sing in a soulful manner, but he can add grit to it when he really wants to lay into the vocals. He’s not the type of lead singer/guitarist to just sit into playing rhythm, he steps out into the front of the stage and shows he can shred just like his dad. Even with all this talent, Wolfie still knows how to pull back and let the rest of his band shine. Fellow guitarist Frank Sidoris holds his own on guitar swapping between rhythm and lead for each song. While Jon Jourdan helps keep the melody on third guitar. Bassist Ronnie Ficarro is nothing but a showman, as he plays up to the crowd while staying in time with drummer Garrett Whitlock who is lost in the energy of his playing. One of the highlights of the night for me was hearing “Take a Bow” live. The song mostly plays through with a somber feeling, but as we grow towards the solo, Wolfie attacks the guitar with vengeance. Riding the string with melody before unleashing a technical master class of finger picking. The night was a mix of both of Mammoth WVH’s albums with songs like “Right?,” “Miles Above Me,” “Like a Pastime,” “Optimist,” “Stone,” “I’m Alright,” “Epiphany,” “Think it Over, “Distance” played as an acoustic song which made it even more emotional, “Waiting,” “You’re to Blame,” “Feel,” and coming out for a two song encore of “Another Celebration at the End of the World,” and finally “Don’t Back Down.”
With a final bow to the audience, Wolfie showed that he is more than his name. He is a true talented performer through and through. Even if he didn’t have the Van Halen name behind him, I have no doubt he would have made a name for himself in the music industry. The talent he shows over every instrument, his vocal chops, and he is a natural showman, Wolfgang would be playing to venues in no time. None the less, we are happy to see him carrying on his dads legacy and continuing to make him proud.
Busta Rhymes first hit the hip-hop scene in 1990 with his group, Leaders of the New School, and their debut album, A Future Without A Past… but what probably put him on the map was his verse on the 1991 A Tribe Called Quest’s song, “Scenario”
“Watch; as I combine all the juice from the mind
Heel up, wheel up, bring it back, come, rewind
Powerful impact (BOOM!) from the cannon!
Not braggin', tryna read my mind, just imagine
Vo-cab-u-lary's necessary, when diggin' into my library
Oh, my gosh! Oh, my gosh!
Eatin' Ital Stew like the one Peter Tosh
Unh! Unh! Unh! All over the track, man
Unh, pardon me, unh! As I come back!”
“As I did it, yo, I had to beg your pardon
When I travel through the town, I roll with the squadron
RAWR! RAWR! Like a dungeon dragon
Change your little drawers 'cause your pants are saggin'
Try to step to this, I will twist you in a turban
And have you smellin' rank like some old, stale urine.”
This is what made me and so many others a Busta fan. His style was something new, something raw, something in your face. Since 1991 Busta has put out 13 studio albums, either with Leaders of the New School, Flippmode Squad or his solo work, along with countless collaborations through the years. His last album was in 2020, so it was time for him to hit us with something new. And something new is what we got. He brought in legendary producers Swizz Beatz, Timbaland and Pharrell to work on his latest, Blockbusta. So the thought was, he’s going to hit us with some old sounding Busta and a heavy influence from the producers. While you may get a hint of each producer, at times you find it hard to figure out who was producing what track. Is that good or bad, I am not sure, but this was not an overall typical performance from Busta either. I feel this was more a modicum of modern styles and beats that did not give a cohesive flow throughout the album. He has a ton of guests with him and he hits on many different styles; Afrobeats, Dancehall, Reggae and Trap. In some ways this works so well, but this also leads to the in-cohesiveness of the album. The first track, “The Statement” is a perfect start to the album, makes you think you are getting that typical Busta, setting the tone where he delivers a two minute long verse letting you know about his imprint on the game.
“How many times do I gotta remind you niggas that I'm one of the greatest?
And I will just rewrite the pages of every history book while they askin' me
Save us from all of this other bullshit that they be listenin' to while you just amaze us.”
“Remind ‘Em” featuring Quavo is one of the tracks that works with a weird sense of tension between their two different styles on the mic. “Beach Ball” featuring Bia has a bouncy beat and some catchy rhymes, but kind of falls short. He takes us to “OK” with Cool & Dre and featuring Young Thug. A nice beat and the back and forth between Busta and Young Thug make this song work, but it does feel a little out of place at times. I really like the sample of Miguel featuring J. Cole’s “All I Want Is You,” in “Could It Be You” featuring Blxst and Yung Bleu. I like this groove but we could use more Busta in this song. There are songs throughout this album where it feels like Busta is the featured artist and not the main artist. Busta follows it up with another strong sample, a song that would have worked years ago and works today, “Luxury Life” featuring Coi Leray. I love the way they flow back and forth, takes me back to some old Busta work. The song samples The Whole Darn Family classic “Seven Minutes of Funk,” best known for being sampled on Jay-Z and Foxy Brown’s “Ain’t No N****.” Another collaboration that works well on this album is “Big Everything” featuring DaBaby and T-Pain. We get some of that fast, strong lyrical flow from Busta. I do wish we had a little more T-Pain in this joint. Busta pushes himself with the Afrobeats “Roboshotta” featuring Burna Boy. A nice strong beat, Busta does a nice job in this with the style and lyrics, but Burna Boy outshines. “Tings” is not a great lyrical song, but is a rhythmic and energetic song that shows Busta’s ability to try new genres with this uplifting joint.
Mid-way through the album Busta hits us with “The Return Of Mansa Musa” featuring Swizz Beatz and Ghanaian singer Blackway, the two compliment each other in this song that samples the 1972 “Soul Makossa” by Manu Dibango. Next up is “Stand Up” featuring Jnr Choi. This samples Coolio’s “Gangsta’s Paridise,” and while I like the subtle sample in the background, I don’t care for the flow from either Busta or Jnr Choi is this track, it almost feels too forced by both of them. Chris Brown and Shenseea join Busta on “Open Wide.” This R&B/Reggae groove is one of my favorite songs on the album, but not because of Busta. I think he fails to hit us with his strong lyrical presence in this song. Chris Brown and Shenseea sound wonderful and the flow between them make this song. “Hold Up” takes me back to some old Busta lyrics and flow, but not enjoying the music producing in this track. It feels forced with no real thought to it. “The Hive” featuring Giggs is up next and to me really falls short. This UK drill just doesn’t flow with good lyrics or presentation. The beat is lackluster as well. Kodak Black joins Busta on “Homage,” another flat composition, to a point where it feels the album could have ended with “Open Wide.”
We come back with “Legend” featuring Morray, a nice chill beat with this, but another song where it seems Busta takes the backseat. This song is really about Morray. Morray with a nice fast flow throughout. “Slide” feels like a segment of a song instead of an all-out full track. Busta rides the beat and unexpected jazz piano riff with ease. This song is solid but could have been strung out longer. Busta has three of his six kids join him on “Legacy,” Cacie (Cie), Trillian and Mariah (Rai). This has a nice old school beat and rhythm where they all flow effortlessly through the music. I wouldn’t mind hearing more from them on this album. The album is finished off with “If You Don’t Know Now You Know Pt. 2 featuring Big Tigger. A good solid tune to finish off this album, Busta and Big Tigger with some nice lyrics taking us back in time.
While this is not a masterpiece, we do get some good tracks, some nice lyrics and some strong collaborations, there is the element of inconsistency, indecisiveness and even a strange bizarre element, but I feel most of these tracks are more solid as stand alone single instead of part of an album. There are times his Live-wire energy shines through, at other times it feels like he’s trying too hard to fit into today’s hip-hop style. And that is not Busta. This is a mixed bag, there is a lot to like throughout this project, but there is a lot of wanting more or something changed up and some confusion. This is worth a listen, it’s worth more than one listen, there is something for everyone in these 19 tracks.
One Love
Todd