James Todd Smith is one of the most influential people in hip-hop, when he hit the scene in 1985 he bought something new and something different to hip-hop. L(adies) L(ove) Cool J or now it could be L(iving) L(egend) Cool J is one of the earliest rappers to achieve commercial success, which has grown to a really solid acting career. But along the way putting out 13 albums, with that distinctive voice with some great tough lyrics, but also becoming the master of the hip-hop slow jam tracks about the ladies. How many rappers tried (and in many cases failed) to do those slow jams? I’ll be honest, I was never a huge fan of LL, but I’d put him up there with the other greats of hip-hop; KRS-One, Big Daddy Kane, Rakim, Kool Moe D were all my favorites, but no denying LL is a legend and one of the greatest of all time. Maybe it was the fact that he hit that commercial level with his music that I wasn’t into him as much as some of those others. My boy growing up; Mike from the boogie down Bronx, aka Money Mike, aka Maker, aka Herbie Love, LOVED LL, and was always playing his music. So, I heard LL the time. To this day when I hear “Go Cut Creator Go” I think about Herbie Love. When I heard he was coming out with a new album, his 14th studio album, I thought why, what does he need to prove. He’s one of GOAT’s. But I guess the question should be, WHY NOT? Hip-hop today lacks something, no it lacks a lot. So, if LL Cool J can bring something good to hip-hop, he should do it. It doesn’t matter how long he’s been doing this, and some could say he’s past his heyday in hip-hop, but his impact on hip-hop is enormous and undeniable, and is still felt today.
When I first listen to an album, especially if I am going to review it, I don’t look at any information, who produced it, collaborations, nothing. I like to go in fresh with a clean slate. So, when I started listening to The Force I was thinking this is LL Cool J rhyming over A Tribe Called Quest beats. Sure enough, we have LL’s lyrics over Q-Tip’s production to bring us a nice mash-up of styles and a pleasant surprise. They started working on this project in 2020, so this has taken time to create and complete, and it is worth the wait. This is unfiltered hip-hop. The album starts off with “Spirit of Cyrus” which brings an unexpected opener, not in a bad way, and portrays a black vigilante, with their gun pointed at the crooked cops that are always targeting the black communities. LL is fierce and vicious right out the start! This song features Snoop Dogg, I only wish Snoop would have had a verse in this joint. One of Q-Tips strongest productions is on the title track “The FORCE.” Love this beat! The jazzy abstract beats laid out with LL’s flow makes this a hit. “Saturday Night Special” featuring Rick Ross & Fat Joe comes to us next, this is a dope groove with the Q-Tip production and LL kills it with his flow and lyrics. Rick Ross and Fat Joe both do their thing, but compared to LL’s flow, just kind of fall flat. Cool J and Gambian singer Sonia Jobarteh bring us “Black Code Suite” where LL reflects on his life and really defines his blackness. The message is great, the song falls a little flat with both the production and lyrical flow. I love Sonia’s voice and would have like to hear more.
“Passion” is next up, another one of those tracks that takes us back to the glory days, it is a jazzy concoction with the hallmarks of that classic Tribe groove while LL flows over top of the beat. LL takes us back to those great love songs he’s known for adding Saweetie to “Proclivities.” There is something about the way LL shares his fantasies in his songs, not dirty and raw like so many hip-hop artists do, he makes it sound almost classy! It’s the way he hits us with the storytelling to get his point across. Saweetie sounds so good and is a perfect fit in this joint, the chemistry between them is on point. This brings us to a great song, “Post Modern.” The music is great with blazing electric guitars over a tough, strong beat with LL giving us some ferocious rhymes telling us about his time starting out and his drive to achieve; “My intuition is speakin', I'm tweakin', I can't ignore it/I'm on a mission of beatin' the odds, feed me some more/Got a vision, I'm raisin' the bar up to the Lord/Sowin' and reapin', so pockets are never leakin'. “30 Decembers” gives us a nice classic beat over that Tribe background sound, LL giving us a song about his self-worth, his struggles and growing confidence. One of the better lyrical songs on the album. “Runnit Back” comes on and you think it’s a Tribe or Q-Tip tune, but LL comes in with a slap in the face, BAM it’s me…..flowing straight through talking about his past accomplishments and carrying through his mission to destroy his opposition. “Yo, yo, you gettin' money, you really don't need to talk about it/Move quiet, you should try it, there's some clout around it/Chasin' hoes and overthinkin' the process/Outside of the gates spewin' the nonsense.”
“Huey In The Chair” featuring Busta Rhymes is next, and while not loving this one, both LL and Busta do flex in this one and give us some powerful moments. They bring the energy which helps get this song through. We get taken back in time with the production in “Basquiat Energy” and those amazing LL bars we have always been used to. “Roll some smoke and throw on Kid Creole/We in it to bring in the dough, not control hoes/In life, you gotta dance to your own rhythm/Nothin' fuckin' wit ya mans, got a bold vision/Devils in the system actin' like they have religion/When the bullets get to whizzing, where is all the moralism?” Nas joins LL on “Praise Him,” for another great song. Love seeing Nas join him on this joint, two legends going head-to-head, two legends that have been doing it for years and are still on top of their game and on top of the hip-hop world. Such a great flow from LL. “Murdergram Deux” featuring Eminem comes in with that Slim Shady beat feel. I have the utmost respect for Em, never really got into his music and style, but he can rap with the best of them. I think he falls a little short in this though, kind of blah with is flow, kinda like been there done that. And I think that carried over to LL’s flow. The album is finished off with “The Vow” featuring Mad Squablz, J-S.A.N.D. & Don Pablito. We are taken back to a more old school beat and flow, and some of L’s best lyrics and flow on the album. I love the production in this one, but it’s LL’s flow that makes this one of the top tracks, and a perfect way to finish off this project. The young MC’s do a nice job, and I love LL bringing them onto this song, but it is Uncle L that truly delivers.
I’ve been a hip-hop fan for most of my life, been listening since the mid-80’s, and while most of today’s hip-hop doesn’t do it for me, when a legend can come back and hit us with a dope, lyrically strong album it keeps that love of hip-hop alive in me. It’s not great, but it’s powerful, and LL Cool J is still a master rapper, he did say that he had to re-learn how to rhyme while making this album. I think what he is saying is, he didn’t want to just bring us the old school LL, he wanted to keep those strong lyrics and flows, but he needed to step up his game and hit us with some powerful lyrics and rhymes. And he succeeded! Q-Tip plays an important role as well, bringing a new and fresh style to LL, bringing us some great beats and grooves. It all comes together, for the most part, and works well. He brings dynamic tracks that just works with LL's style, flow and delivery. THE FORCE is not flawless, but it is incredibly good and in todays hip-hop…..great. The 56-year-old flexes, brings strong lyrics, gives us some of that old school Uncle L, but also brings us a nice growth and new style. Don’t call it a comeback, he’s been here for years…..and still bringing it!
One Love – Todd Judd
Portland, Maine’s State Theatre became a battleground for some of the heaviest names in metal. Crypta, Umbra Vitae, Harm’s Way, and Carcass took on the responsibilities of setting the tone perfectly before legendary Hatebreed Took the stage in what I can only describe as face-melting chaos from start to finish (in the best way possible).
The evening opened with Crypta, the Brazilian death metal outfit. Their thrash-infused sound and tight musicianship quickly got heads banging. Lead vocalist Fernanda Lira was a force on stage, with songs like “From the Ashes” showing off her dynamic presence. The crowd, still warming up, responded well to their high-energy performance, which set the night’s unrelenting pace.
Umbra Vitae, followed with a heavy, and actually surprising set was a moshers dream. In a welcome and rad surprise, they took the stage, and I realized they were fronted by Jacob Bannon (of Converge fame), who’s voice and stage presence felt right at home with their blend of deathcore and hardcore. Their haunting tones provided a sharp contrast to the intensity that followed with Harm’s Way.
By the time Harm’s Way took the stage, the circle pits were in full force. The Chicago band’s pummeling grooves and industrial-tinged hardcore were met with a wave of furious moshing, especially during tracks like “Mind Control.” Their set was tight and ruthless, leaving little room to breathe as they continued to stoke the fire of the evening.
The anticipation reached its peak with Carcass - legends in their own right. Their surgical death metal precision was undeniable, as they carved through classics like “Corporal Jigsore Quandary” and “Heartwork.” The sheer intensity of Bill Steer’s guitar and Jeff Walker’s snarling vocals commanded the room, delivering a performance that was both nostalgic and exhilarating. By this point, the State Theatre was a sea of bodies moving in unison, preparing for what everyone had come to see: Hatebreed.
Hatebreed exploded onto the stage with the kind of energy that can only come from a band with decades of hardcore under their belts. Jamey Jasta, ever the motivational figure, led the charge, whipping the crowd into a frenzy with every lyric. Songs like “Destroy Everything” and “Perseverance” hit hard, each riff heavier than the last. The crowd was unstoppable, fueling the band’s performance as bodies collided in the pit.
Hatebreed’s setlist was a career-spanning mix of fan favorites and deeper cuts, with highlights like “Live for This” and “Looking Down the Barrel of Today.” Chris Beattie’s basslines hit like a wrecking ball, while Wayne Lozinak’s blistering guitar work kept the momentum at a fever pitch. As always, Matt Byrne provided the perfect rhythmic backbone with his machine-like drumming, each beat pounding through the crowd like a call to arms.
The night reached its climax with the final two tracks of the setlist “Perseverance” and “Proven” with Umbra’s Sean Martin coming back out on stage and playing with Hatebreed. The venue damn near erupted, with nearly everyone headbanging along (myself included). Hatebreed’s presence felt like more than just a concert—it was a communal experience, an outlet for aggression, empowerment, and unity. The mass exodus from the venue as the night came to a close was a wave of sweat, bruises, and tired exhilaration as the consensus was a mutual one – Damn, that was a hell of a show.
Last week I headed to The Marley Brothers concert in Holmdel, NJ and while waiting for my photo pass (about two hours) I met and talked with reggae artist Kenny Vanella. This was the first time meeting him. What a great guy and we had some great conversations. Kenny mentioned to me that he loves Jamaican reggae and really doesn’t know much American reggae artists/groups. He’s all about Jamaican reggae, much like me (even though I do listen to my fair share of America reggae) I also love Jamaican reggae. His friend Shannon asked me if I listened to his album, Revival of the Spirit, because it is really based on that Jamaican reggae and message. I told him I haven’t but promised I would. He asked if I knew Squidly Cole because he produced the album and has worked with him since 2014. I’ve known Squidly for about ten years, he is the greatest reggae drummer out there today and a musical genius, so I knew the album must be good. I reached out to Squid to tell him I was writing the review and he said, “this is dedicated to all musicians worldwide.” After the concert I had a four-hour drive home, so I put the album on, three times. To be honest the first time through I still had The Marley Brothers show going through my mind and thoughts about what I was going to put in my concert review. So I put it on a second time and took it in. Since I still had three hours left, I put it on a third time and really started to listen to the lyrics. I was really liking what I was hearing. This album was a long time coming, Kenny technically started recording the album in 2019 with a single called “Fikkle Likkle Tree” and then the rest would be done in 2020, but this thing called Covid hit and shut down the album creation. He wanted a fresh start and the first actual sessions at Tuff Gong Studio in Kingston, Jamaica were in November 2022, where “Fikkle” was actually left off the album.
The album starts off with one of my favorites, and I think a great way to start this off, “Platinum Lion.” Just starts this off with a nice upbeat tune, great lyrics and some nice horns to carry us through. It sets the tone for this journey Kenny and Squidly are about to take us on. “Carbon Paper” is next up, another great groove and some soulful singing from Kenny. Great reggae riddim to this one. Maybe my favorite song is next, “Surveillance.” I just love the rhythm and beat, and once again that soulful voice flowing through the song. Kenny said of this song;
“I wrote the song Surveillance in 2015 after coming back home to Wilmington, DE from a long stay in Kingston where I met Squid for the first time. I needed work…and I ended getting a job operating the CCTV cameras in downtown Wilmington. Well, without getting into too much detail…the surveillance practices of this company at the time were ethically/morally questionable and I kept thinking about the Bob Marley lyric…Rasta don’t work for no CIA…so I had to get out of there. One night before I’m about to quit…I smoke a bunch of herb…and I’m listening to the Mighty Diamonds classic tune “Right Time.” I grab my guitar and start playing the chords and sing surveillance in the city, getting shitty, surveillance in the city, a nitty gritty. And I write the tune. Fast forward to 2022, we are at Tuff Gong for the first sessions recording Revival of the Spirit. I start playing “Surveillance”…and Squidly comes out of the drum room and he’s rubbing his head and he’s like this song man it’s something man…I love it. And tell him I wrote it after listening to “Right Time.” Squidly yells…yes that’s it Kenny oh my lord yes…he says you know Tabby Diamond is my uncle…my mother’s brother. And Tabby had just been killed just a few months prior to this. So Squidly was very emotional about hearing this song. That emotion turned to joy and he directed Llamar “Riff Raff” Brown to play that descending piano lick very similar to “Right Time”…so “Surveillance” is an ode and tribute to Tabby and The Mighty Diamonds.”
He has Kumar join him on “I Fly A Flag” another great riddim and flow to this one. Kumar and Kenny flow so nicely together in this, would love to hear them do some more songs together. They really complement each other. “Rastafari Love” is next with a real nice upbeat groove. Kind of song that puts a big smile on your face. A song that will uplift you when you are down. A song for the people of the world! Another one of my favorites, “Fortress” comes in next. With Squidly Cole and Alex Wasily from the New Orleans group Dumpstaphunk, this comes in with a force. This song is about Squidly’s beat and Alex’s trombone play, but Kenny once again hits us with great lyrics and vocals. “World Is Turning” hits us next, another song I love, with the great riddim and horns. Kenny has a nice flow in this changing up his flow and bringing us that sweet voice once again. The music arrangement is amazing.
Wilmington’s Richard Raw joins Kenny on “All Day,” a little more chill sound to this, with a great message. The rap flow from Richard is awesome and fits in perfectly with this song. Loving this one. “Our Love” is next, again a little more chill and slower groove, I love the background singers in this one, the way they work off of Kenny is sweet. You can really hear how great Kenny’s range and voice is. The album is finished off with “Compassionate People” featuring Andrew Tosh. A sweet slow song, Kenny said of the song;
“Ok so Compassionate People. Back in like 2011 maybe 12…I’m puffing some herb and listening to Peter Tosh. “Lessons In My Life” comes on…and I’m listening to it and these lines and verses start really hitting me…”I’m an upful man and I like upful people…I’m an intelligent man and I like intelligent people…I’m an honest man and I love honest people”…and so on. I pick up my guitar and start playing some chords and I think to myself…I’m a compassionate man and I love compassionate people. So I write the tune. Now…it’s fall 2019 and I get the calling to finally start the journey to record the album. At the time I’m working at a medical cannabis dispensary, and I had this song from a few years prior I wrote called “Fikkle Likkle Tree.” I figure let me go down to Kingston…link with Squidly…record this one track…shoot a video for it and release it on 4/20..2020..with the idea that right after, in the spring of 2020 I’ll head back and cut the rest of the songs for the album. Well, Covid postponed all that. Anyhow, back to 2019…I plan my trip to coincide with Peter Tosh Birthday on October 2019. I figure there will be some celebrations and I can make the most of the trip. And I start looking for places to stay and I see that Pulse Rooms is a hotel in the same complex as the Peter Tosh Museum on Lady Musgrave Rd. I book a room there having no idea that the stage for birthday celebration concert would be built right in front of the hotel. As it turns out the security guard at the complex, who became my friend, introduces me to Andrew Tosh at sound check. How cool right? So now after meeting him, the idea comes to mind…how wonderful would it be if I could have Andrew join me on “Compassionate People”....to have that spirit and approval of the Tosh family on a song written in Peter’s honor. And almost 4 years later we were able to make that a reality.”
This album is a well thought out project, the production is excellent, the music just flows great and the lyrics and vocals are amazing. Kenny has a wonderful voice. Kenny’s take on this album and journey sums it up perfectly: “This whole journey and process has been absolutely incredible and I get the chills thinking about it right now. I’m from Wilmington Delaware where Bob Marley’s mothers family, The Malcolm’s live. Bob and his family spent a great deal of time here and like millions of people, I have been so completely inspired by him. My proximity here has led me to build a loving relationship to the Malcolm’s since 1999 through Sister Ivy, David, and Cisco. I am a disciple of Bob Marley…and there was no other option than to record this album at Tuff Gong. The amount of gratitude and honor and reverence I have cannot be put into words. The very first lyric in the tune “World Is Turning” says, “I never had a choice, so I came just as Jah made me.” That is taken directly from the Bob interview…when the white reporter asks him…do you have to be black to be a Rastafarian? Can I be Rasta? And Bob asks him…do you have a choice? If you have a choice, you should be black…but if not…just come as God made you.” I really enjoyed this album, it makes you think, but at the same time entertains. It may have taken a few years for it to come together, but it is well worth the wait. He was able to include a great cast of Jamaican musicisians as well as several Delaware artists to help with this project. “The record is 100% rockers,” says Squidly Cole in a recent interview. “You can put it on and leave it on. Kenny has great lyrics, so the album just flows. Kenny is totally sincere in his love of roots rock reggae and his commitment to Rastafari. It has nothing to do with color. Kenny has a great future in the music business.”It is up for consideration for a Grammy in 2025, I wish Kenny and Squidly all the best, this album is for all people.
One Love – Todd Judd
The Hu's music video for their cover of Iron Maiden's "The Trooper" is a captivating fusion of cultures and sounds, marrying the raw power of heavy metal with the profound depth of traditional Mongolian music. From the onset, the band sets the tone with Gala's signature throat singing and the rich, resonant sounds of the Morin Khuur, a horsehead fiddle that instantly transports listeners to the vast steppes of Mongolia. These elements blend seamlessly with the electric guitar riffs and pounding drums, crafting a version of "The Trooper" that is both familiar and refreshingly novel. Visually, the music video is simple, yet a feast for the eyes. The cinematography (all captured in Black & White) pulls out the wild intensity of the song, while the band's members command the screen with a rocking yet regal presence.
This cover has a broad appeal that transcends musical boundaries. Iron Maiden fans will appreciate the respectful nod to the original's energy and spirit, while new listeners might find themselves drawn to The Hu's innovative soundscape that bridges the past and present. The Hu's rendition of "The Trooper" is not just a cover; it's a cultural reimagining that showcases the band's ability to honor iconic music while carving out their unique artistic path. This blend of musical traditions and visual storytelling makes the video a standout piece in the realm of cross-cultural musical expression. And for those lucky enough to catch Iron Maiden on their Future Past Tour this October and November, you may run into The Hu and all their madness as they are opening the majority of shows in the US and Canada.
- Matthew Belter
From September 27th to 29th, the Oceans Calling Music Festival returned for year two to the shores of Ocean City, Maryland, bringing with it a weekend filled with world-class performances, vibrant coastal energy, and an unforgettable atmosphere. This year's festival lived up to its reputation, offering a stellar lineup and a unique seaside setting that makes it one of the most exciting music events on the East Coast.
The 2024 edition of Oceans Calling was headlined by Blink-182, The Killers, and Dave Matthews Band—a powerhouse trio that drew fans from across the country. Though the weather didn’t fully cooperate on night one, the festival still kicked off with enthusiasm. Unfortunately, Blink-182's highly anticipated set was cut short due to unfavorable conditions, but festival-goers powered through, eager for what the rest of the weekend had in store.
Beyond the headliners, the festival offered a rich variety of musical acts across multiple genres. Among the standout performances were O.A.R., whose home-state roots made for a particularly special set, and the reggae-rock vibes of 311 and Sublime. Other notable acts included The Revialist , Pigeons Playing Ping Pong, and the ever-energetic Blues Traveler celebrating 30 years of their album “FOUR” which put them on the map. One of the most memorable moments came during O.A.R. and Friends, a collaborative set that showcased an eclectic mix of talent. Fans were also treated to throwback performance by Boyz II Men, which had people dancing all along the board walk.
While music was the main attraction, Oceans Calling provided an immersive experience that extended to the vibrant Ocean City boardwalk. Festival-goers took full advantage of the local eateries that line the boardwalk, enjoying everything from fresh seafood to classic Maryland crab cakes. In between performances, it wasn’t uncommon to see attendees strolling the boardwalk, grabbing a bite from one of the many local restaurants, or enjoying iconic boardwalk treats like Thrasher's fries and funnel cakes.
Adding to the fun, concert-goers were able to enjoy rides and games at a smaller amusement park located right on the boardwalk. Admission to the festival included access to the rides, which added an extra layer of excitement for those looking to take a break from the music and relive some childhood fun. The venue’s beachfront setting combined with the boardwalk vibe created a unique and laid-back atmosphere. The mix of live music, carnival rides, and ocean views made Oceans Calling not just a festival, but a full-on coastal experience.
For those attending, getting to Oceans Calling was made easy thanks to the availability of public transportation and rideshare services. Ocean City’s bus routes provided convenient access to the festival grounds, while rideshare platforms like Uber and Lyft were heavily used by both locals and visitors. Given the popularity of the event, parking was at a premium, so many attendees opted for alternative transportation to avoid the hassle. The festival’s central location made it easy to explore Ocean City’s nearby attractions, from the famous boardwalk to local dining spots.
Oceans Calling isn't just about the music—it’s also a celebration of the local community. The festival brings a significant boost to Ocean City’s economy, benefiting local hotels, restaurants, and small businesses. In addition, this year’s festival worked with several environmental organizations to promote sustainability and raise awareness about ocean conservation, aligning perfectly with its coastal setting.
Though night one was cut short, the 2024 Oceans Calling Music Festival still delivered an incredible weekend of music, community, and fun. With a blend of iconic headliners, diverse performances, and the charm of Ocean City’s beachside location, the festival provided memories that will last a lifetime. Whether you were there for the music, the culture, or simply the beautiful setting, Oceans Calling once again proved why it’s one of the most beloved music festivals around.
It’s 2024 and many bands that have forged the rock and roll/heavy metal foundation are now 30, 40, 50 years into their careers and some have decided to call it quits so fans will only remember these bands at the top of their game. Sepultura is celebrating 40 years as a band and has also decided to pack it in and are currently commemorating their explosive history on their final tour - Celebrating Life Through Death. Joining Sepultura on this 21 date North American trek are a couple of legends in their own genre, Death Metal masters Obituary, NYC Hardcore giants Agnostic Front and Brazil’s best extreme metal export (next to Sepultura) – Claustrofobia.
Los Angeles welcomed this tour on Thursday September 26 as The Novo at L.A. Live hosted this monumental event giving fans their last chance to witness the brutality of Sepultura live. Claustrofobia kicked off the night to an already packed venue at 7:20pm and delivered the perfect set of extreme music to ignite the fans and set the tone for the rest of the night. Claustrofobia was more than honored to be out supporting their fellow Brazilian metal brothers on their last run.
In the hardcore world it does not get more legendary than Vinnie Stigma and Roger Miret from Agnostic Front – these gentlemen played a key role in defining the genre and they brought their “A” game on this night as they plowed through a long list of “must be played” songs – opening with the instrumental “AF Stomp” and of course playing “Dead to Me”, “Gotta Go” and many more that had the LA crowd in and endless circle pit. Stigma is having a blast on stage throwing fists and always a huge smile, the band is as tight as ever and elevated the energy level in the building several notches as they ended the night with the up-tempo anthem “Addiction”.
One of the original Death Metal innovators, Obituary, have been a touring machine the last few years and they are still out supporting 2023’s critically acclaimed album Dying of Everything which is no doubt one of the best in their catalog. The band hit the stage with the guitar driven instrumental “Redneck Stomp” then vocalist John Tardy appears out of nowhere and into the banger “Threating Skies”. This band is all business onstage – no banter as they let the music do the talking.
Guitarists Trevor Peres and Ken Andrews provide the down-tuned blistering riffs as Donald Tardy just smashes his kit along side the heavy bass of Terry Butler – all this combined with John Tardy’s unique death metal vocals just pummels your eardrums song after song. The band played a well-mixed set of old and new that included a cover of Celtic Frost’s “Circle of the Tyrants” that had Los Angeles body surfing and circle pitting throughout the set. Obituary’s time onstage ended with their classic “Slowly We Rot” elevating the energy in the building as Obituary set the bar extremely high for Sepultura.
Any time a discussion happens in regards to Sepultura, things get interesting as the conversation usually goes into what Sepultura was and what they are. The current version of the band goes back to 1997 when Derrick Green took over vocals and honestly the band has never looked back. They have generated nine killer studio albums that quickly defined their sound blending the classic Sepultura vibe with what Green brings to the band equaling a genre defining thrash metal monster.
With a huge Sepultura banner as the backdrop to the stage, the band appeared, and the night got started quickly and brutally with “Refuse/Resist” into “Territory” as Derrick Green along with Andreas Kisser on guitar, Paulo Jr. on bass and newcomer 22-year-old Greyson Nekrutman on drums took LA through a journey of all things Sepultura to celebrate the beginning of the end for the band.
Green provides his powerful vocals as he stomps around the stage, doing justice to all the old-school Sepultura songs while blasting through such recent songs as “Kairos” and “Phantom Self”. Kisser is such an underrated guitar player as he just wails all the big, fat guitar riffs and gives that whammy bar a workout on his solos. The thunder of Sepultura has Paulo Jr. at its foundation and the youth of Nekrutman on drums is mind-blowing to watch and hear.
Sepultura did a fine job mixing a setlist that included some old-school thrashers such as “Escape to the Void” and “Dead Embryonic Cells” and you knew the night would end with the mega-boom of “Roots Bloody Roots” as The Novo erupted with pits and bodies flying everywhere. The band blasted through this last song and the night was over – was this REALLY the last time Los Angeles will ever see Sepultura live – according to the band the answer is yes but we all know all to well many farewell tours turn into “farewell for now tours” . . . only time will tell. If this was indeed the last Sepultura show in LA then Sepultura certainly proved they are leaving on a high note – LONG LIVE SEPULTURA!!!
Seputura Setlist:
Refuse/Resist | Territory | Kairos | Phantom Self | Attitude | Means to an End | Guardians of Earth | Escape to the Void | Kaiowas | Dead Embryonic Cells | Agony of Defeat | Arise | Ratamahatta | Roots Bloody Roots
Lucia Cifarelli’s latest album, No God Here, is an electrifying testament to her evolution as a powerhouse in the modern rock scene. No God Here engulfs the listener in a whirlwind of raw emotion and unbridled energy, and what I feel is a storm brewing in the depths of her creative soul. As the album unfolds, it becomes clear that Cifarelli has crafted a sonic landscape that is both hauntingly beautiful and fiercely rebellious. This is not KMFDM, but Lucia on her own amazing journey, meticulously traveling down a road less traveled and one that she ultimately revels in.
The album kicks off with "Paper Tiger," a track that sets the tone with pulsating rhythms and a tone that is uniquely Lucia. Cifarelli’s vocals soar with an intensity that is both commanding and vulnerable, drawing listeners into a world where light battles darkness. Her voice is an instrument in itself, weaving through the track with a dynamic range that is as unpredictable as it is captivating.
"High On You" captured me from the very first spin and was nothing short of mesmerizing. The track balanced Cifarelli’s tenderness and grit with her effortless precision. This songs soundscape is a rich tapestry of atmospheric synths and driving percussion, creating an immersive experience that lingers long after the final chord fades.
Another highlight, "Believe," delves deep into introspection, with Lucia's voice echoing like a distant memory through a canyon of reverb-laden synth layers. The song's haunting melody and fresh lyrics convey a sense of longing and introspection, offering a glimpse into the artist's past but also her hope for the future. This one immediately transported back to an early 90’s sound (but in an amazing way). One of my favorites on the album.
On "No God Here," the album’s title track, listeners are immediately transported to a hauntingly familiar place that most will immediately resonate with. Lucia’s vocal prowess captures one’s soul from the very first note and ultimately won’t let go. The song demonstrates in spades Cifarelli’s ability to intertwine amazing songwriting with powerful relevant themes that resonate with the listener and won’t let them go.
Now back to the album as a whole. No God Here explores existential themes with a fearless honesty that resonates powerfully with both longtime fans and new listeners alike. Cifarelli’s ability to convey complex emotions with such clarity and conviction elevates the release to new levels, making this album a significant addition to her discography. It stands as a bold statement that challenges the conventions of rock music, pushing boundaries with its innovative sound and thought-provoking content.
In the context of her career, No God Here might be a defining moment for Cifarelli, showcasing her growth as an artist while solidifying her place as one the most remarkable female vocalists out there today. This album is not just a collection of songs; it's a journey through the human experience, marked by a fearless exploration of life's chaos and beauty. Its impact will be undeniable, breathing new life into a genre that thrives on authenticity and passion. This is Lucia.
When the dust finally settled, it was clear to me that Lucia Cifarelli ultimately delivered an album that is as profound as it is powerful, capturing her unique essence with every beat and breath. No God Here is a sonic odyssey that demands to be heard, felt, and experienced—a true testament to the enduring power of music to move and inspire. It’s one of my favorites in 2024, and highlights why Lucia is so special to so many all around the world. Grab a copy of this gem when you can, you won’t be disappointed!
- Matthew Belter
I headed from State College, PA east to Holmdel, NJ to The PNC Bank Center Amphitheatre, a 4-hour drive for me, Monday September 23rd. Why drive 4 hours for a concert? This was no ordinary concert; this wasn’t really even a concert. It was The Marley Brothers performing together, beside closing out one night at Cali Vibes in 2022, for the first time in two decades. This was to honor the legacy of one of music’s most influential, instrumental, and important figures, one of society’s most important figures; this was about unity, togetherness, peace, upliftment, unity and LOVE. This was about Bob Marley, as we get closer to what would have been his 80th birthday. But this was also about Bob’s lineage and history. There aren’t many better line-ups for a concert you will find than the five Marley brothers performing together.
Between them, Ziggy, Stephen, Julian, Ky-Mani and Damian, have amassed 22 Grammy Awards, but it is not the awards that make them stand out. Each and every one of them have amazing talent, talent they of course got from their father, but have taken that talent and made it their own. Talent grown over the years to become some of reggaes best artist, talents that have taken them from making really good music to making amazing music, and growing into top producers, not only for each other, but so many other artists. My anticipation and excitement was growing as I waiting to get my photo pass so I could enter. I arrived about two hours before the gates opened, talking with others just as excited for what we were about to witness. The smiles from everyone were amazing, you felt love everywhere. As if we were all on the same mission, the same wavelength. Red, gold and green everywhere, Bob Marley shirts, Jamaican flag bandanas, Rasta inspired clothes, that sweet Mary Jane in the air, Jamaican and Ethiopian Flags flying, and talking with friends you have never met before. The line to get in was steady and moving, and finally after waiting a couple of hours, I got my pass.
As I was walking around the venue (I’ve never been there before) I started thinking about the set list; what are they going to play, will it be more about the popular Bob songs, will we get some of, in my opinion, better songs, the ones the masses don’t know as well. I ran into quite a few people I have met over the years while going to reggae concerts. Once you meet someone at a reggae concert, you pretty much have a friend for life. No exaggeration, this is how it is. We all had the same thought about what songs would be played, we also had this feeling in us, this anticipation and sensation like this was going to be special. I’ve said this before, but it is so fitting; there was a natural mystic flowing through the air.
As we neared show time, the crowd was pretty filled in, with others still coming through the gates. The capacity at The PNC Center is 18,000 and it looked like it was mostly filled. There is a big yard area in the back, so it is hard to get a true count with my eyes. But it was a great turn out, no surprise there. Geefus from the iconic Jamaican sound system Stone Love was playing reggae tunes to entertain the crowd as they filtered in. Old school reggae, new reggae, all kinds of reagge coming through the speakers. You could feel the crowds’ vibes as it got darker out and closer to the show. I was brought down to the “pit” shortly before the start. It really isn’t a pit, you stand in one of the rows near the stage and don’t move for the first three songs that we can photograph. I say we, it was only myself and the house photographer, so I am fortunate to be the only photographer doing pictures and a review. At 8:45 exactly the lights went down with only one spotlight, Sky High the Mau Mau walks on the stage….IT WAS TIME! The crowd erupted! Sky High asking if we are ready for this journey. As a video of Bob Marley is shown on the backdrop, we hear Bob chanting;
“Hail Rastafari
I-tinually
Ever faithful
Ever sure
Jah live children
And there's a natural mystic blow through the air (Yeah)”
The crowd of 18,000 is silent, eyes wide open, ears wide open, hearts wide open. We hear the unmistakable bassline of Aston “Family Man” Barrett flowing as Ziggy, Stephen, Julian, Ky-Mani and Damian walk on stage……the crowd still silent, as if in a trance from the bassline. And then they erupted with cheers and screams as Ziggy takes the first verse of “Natural Mystic.” Each brother taking turns on vocals, the way they work on stage together with the synergy and love is amazing. Not just during this song, but all night long. “Natural Mystic” is one of my favorite songs of Bob and I loved that they started this off with such an amazing song. It set the tone for the night. They hit us with “Get Up, Stand Up” all performing on this singing together with so much energy and force, the crowd’s energy was crazy. Damian rally’s the crowd with; woy yoy….woy yoy yoy yoy, woy yoy….woy yoy yoy yoy! I am trying to enjoy, but I know I have three songs to get some great photos, so while I am dancing and singing, I’m trying to focus on the Marleys. They move onto a song that had so much meaning when Bob wrote it, but still has so much meaning today, “So Much Trouble In The World.” Once again performed by all five brothers, each taking their turn, so much passion and love from each of them. As I was escorted away from the stage, they start “Coming In From The Cold,” surprised to hear this one, but didn’t get to really enjoy since I had to leave the area. I made my way up to the yard to intermingle with the crowd, pretty much everyone singing and dancing. “Positive Vibration” is next with Julian taking the lead. What stood out to me with this song, but also all night, was the way Julian moved and danced on stage. So much like Bob did on stage, it was as if Bob was guiding his movements. A very cool feeling seeing that. Ky-Mani is next up with “The Heather” another one of my favorite songs of Bob. Ky-Mani did such a great job on this, flowing so well but when Ranoy Gordon hits us with the guitar solo, wow, the song was taken to another level. Visions of Junior Marvin playing the guitar solo!
I need to mention the band, this is no ordinary band, these are all amazing musicians brought together by The Marley Brothers because of their talent, their work ethic, their love of Bob Marley and the message. We have three amazing voices filling in for the I-Three’s; Tammy, Sherita and Rose. Their voices are beautiful, and their moves are fantastic. Sean “Young Pow” Diedrick on piano and Llamar “Riff Raff” Brown on keys, keeping the flow going. Kawain Williamson doing his thing on the bass, standing there leading the charge like “Family Man.” Two amazing guitarists taking turns with some amazing solos, Tekeshi Akimoto and Ranoy Gordon. They are both so talented. Norman on percussions and the greatest reggae drummer out there, Wilburn “Squdly” Cole, keeping the beats on point like “Carly” Barrett. And the horns bringing it all together; Glen Holdaway on trumpet, Wesley Etienne on trombone and Oshane Love on sax. And of course, Flagman Judah doing his thing, waving the flag for the two plus hours of the show! WOW, they sounded amazing, I’d put this group up against any band out there today!
Stephen brings us one of my all-time favorites, “Rebel Music.” Stephen really hits on this one, you can’t help but get chills while listening. I admit, I got a little chocked up listening to this one. Tekeshi hits us with a fantastic guitar solo, sounded like Al Anderson out there playing next to Bob. The first part of this show was amazing to me, so many songs I just love, and Damian brings us another of my favorites, “Concrete Jungle.” What I love about listening to the brothers do these songs, they bring out a vibe of Bob, an essence of Bob, but they still have their own unique styles flowing through each and every song. Damian killed it on “Concrete Jungle”, and I know the crowd agrees with me. All five brothers gave us a great rendition of “Wake Up And Live,” the crowd singing right along to all the words, dancing in their seats, dancing in the lawn, dancing every where. They were awake and alive! Ziggy brings us his song for peace, “Shalom Salaam” from his Dragonfly album. Are we going to see each brother do one of their own songs, was going through my head, or is this played because we need this right now in the world? Ziggy stays up front and is joined by Stephen for “War” and wow did this song hit so well. The message Bob brought us, and now hearing Ziggy and Stephen carrying this through:
“Until the philosophy which hold one race
Superior and another inferior
is finally and permanently discredited and abandoned
Everywhere is war, me say war.
That until there are no longer first class
and second class citizens af any nation
Until the color of a man's skin
is of no more significance than the color of his eyes
Me say war.
That until the basic human rights are equally
guaranteed to all, without regard to race
A dis a war.”
And in true Bob Marley form the band takes us straight through to “No More Trouble” with Damian taking over. There were moments through the night where you just felt Bob Marley in the air, this was one of those moments. Damian finishing it off with some help from the crowd;
Damian: “WE DON’T NEED”
Crowd: “NO MORE TROUBLE”
Julian steps up and brings us “Running Away.” What a great sound and vibe coming from Julian. I love watching Julian dance on stage (more on that later). A song that my son loved when he was little, “Crazy Baldhead” was next up with Ky-Mani leading the way. This is a perfect song for Ky-Mani to bring us, that awesome raspy voice works so well. His younger brother Damian joins him for his version of “Me Name Jr. Gong,” a nice idea bringing the crowd some old school Damian. Ziggy and Stephen are back for a crowd favorite and one that had the crowd singing loudly, “Three Little Birds.” Next up is Damian with “Is This Love” another crowd favorite, as it started to rain on us up in the lawn. But the rain only made the experience better, the entire crowd singing with Damian; “Love, love, love that I’m feeling!” And another amazing guitar solo by Ranoy. We hear Stephen belt out “Oh, please don't you rock my boat, (Don't rock my boat), 'Cause I don't want my boat to be rocking, (Don't rock my boat), Oh, please don't you rock my boat, (Don't rock my boat) No, no, 'Cause I don't want my boat to be rocking (Don't rock my boat).” As he brings us “Satisfy My Soul.” Another song where you can just feel Bob flowing through the air. Another perfect song for Ky-Mani is next, “Buffalo Soldier,” dread lock Rasta! The crowd singing right along with Ky-Mani. I remember the first time I heard this song when I was about 14, it’s the first song from Bob Marley I can remember and first I truly loved.
Julian brings us the classic and crowd favorite “Jamming.” I’ve seen Stephen and Damian many times performing live, Ziggy a few times, but Ky-Mani and Julian only once before. With Stephen, Damian and Ziggy I can see some Bob characteristics in them, whether it is the voice, the movements, the vibe, there is something there. But watching and hearing Julian, wow, he has the Bob dance moves down and brings that Bob vibe completely to the stage. So much fun watching him do his thing. It was time to take it easy with Ziggy and “Easy Skanking.” The crowd loved when Ziggy hit them with the first lines; “Excuse me while I light my spliff (spliff), Good God I gotta' take a lift (lift).” Julian hits us with his classic “Boom Draw,” the crowd loving this, so nice seeing them mix in their own songs. Time for Ky-Mani to bring us his hit “New Heights” the crowd singing along with Ky-Mani; “Pass me the blunt and the rolling paper! Me a go get high like a plane, high like a sky scraper!” As Damian steps to the stage to preach about the health and medical benefits of marijuana, so we were all ready for his and Stephens hit “Medication.” The crowd erupted as soon as Stephen stepped up; “Medication…your medication makes me high!” I’ve heard this live a few times and this time the energy from Stephen and Damian was off the charts.
All the brothers are back for a great rendition of “Kaya,” with Damian hitting us with an amazing flow. They bring the energy to another level with “Iron Lion Zion,” having so much fun on stage together, dancing, vibing and showing so much love to the crowd, but also you can see the love they have for each other. They were showing the strength of Bob and themselves (Iron), the praise and admiration to Haile Selassie (Lion), and praising the Holy land of Ethiopia (Zion). Stephen yelling; “Yeeeaaahhhhh I’m gonna be an Iron like a LION”…..and the crowd responding “IN ZION!” This was a moment that sent chills down my spine. 18,000 people yelling In Zion! We knew this was coming at some point, and we thought this was it, what a way to finish off the night, all five brothers on stage for “Exodus.” They poured their heart souls into this song, and night, and the crowd was right there with them. The backdrop had an image of Bob Marley and The Wailers with Exodus on top. Throughout the night the backdrop had striking visual images of Bob Marley, Marcus Garvey, Haile Selassie I, and the amazing artwork by Neville Garrick of the album covers. It really tied the performances, the songs, the mission, the vision of Bob all together perfectly. I only wish I paid more attention to the backdrop; I was so into the show I am sure I missed some great images. The Marley’s walked off the stage as “Exodus” ended, the crowd going crazy with applause. We just witness an amazing performance, an amazing dramatic show, an amazing journey, and an amazing mission!
As some of the crowd started to filter out, I knew and so did many others, that we were not done quite yet. Sky High comes back to the stage, the crowd that was filtering out stopped, it got silent, as he asked, “Do you want some more?” YES rings through the air. “Could You Be Loved” starts pumping through the speakers as the brothers make their way back out on stage. All five brothers taking their turn on this classic and crowd favorite. Every single person singing along with the brothers! Damian getting the crowd to dance and then JUMP up and down, over and over, the energy was crazy. Stephen takes the mic to ask the crowd; “DO YOU LOVE REGGAE MUSIC?” The crowd says YES! Stephen, I don’t think he was happy with the response says; “NO….do you LOVE reggae music?” The crowd yells…..no screams at the top of their lungs; “YES!” Then he adds, say “LOVE,” the crowd responds, say ‘LOVE,” the crowd responds. You could feel the love between the Marley’s and their adoring fans. They finish off the night with “One Love” the crowd singing right along with the brothers, this was an old school version of the song, this could have been played 50 years ago by Bob Marley and The Wailers, the perfect way, the perfect song to end the night.
This night, this tour is about the continued mission of Bob Marley, the classic and timeless songs, the message of love and hope and upliftment. But it is also about Bob’s sons, they have been such an intricate part of reggae music and have been carrying the torch and message and mission on. When Bob left this world, he said to Ziggy; “On your way up, take me up. On your way down, don’t let me down.” There is a spiritual connection between Bob and all his children, they don’t have to think about what they are doing, he is with them, guiding them through life, they don’t have to think about it. Everything they do is part of the whole, it’s a part of Bob Marley, and Bob Marley is a part of them. This was one of the greatest experiences I have ever seen. The music was outstanding, the theatrics was superb, and the brothers were amazing. People thought I was nuts for driving so long for this, but this was more than worth it, I remember this forever, it was truly an emotional, heart pounding, amazing night.
One Love – Todd Judd
What do you get when you combine two members of King Crimson, guitarist/vocalist Adrian Belew, Chapman Stick/bass player Tony Levin, with ace guitarist Steve Vai and Tool drummer Danny Carey?
You get musical genius. And a sold-out show at the City National Grove of Anaheim. One could easily put the word legend in front of every member of this group. The die-hard King Crimson fans could only imagine what would happen at what was only BEAT’s fourth show together. This was billed as a “creative reinterpretation of the three iconic 80s King Crimson albums” which made sense since that is when Belew and Levin joined the guitarist Robert Fripp-led progressive King Crimson. Fripp had led versions of King Crimson from 1968 to 1974. After a long hiatus, in 1981 Fripp decided to form a new group and brought in Belew and Levin. They recorded three albums together, Discipline, Beat, Three of a Perfect Pair. These three albums were the foundation of the Anaheim show’s set list.
With no opening act, the concert was divided into two sets with a short intermission between. While there were obvious hits played from the albums, the group was able to both stretch themselves and surprise the audience by pulling out some deeper cuts. As Belew mentioned, the Anaheim show was only BEAT’s fourth, so while major KC fans can identify certain areas that seemed “off”, one also has to remember that this is once again, a “creative reinterpretation” and the band could be trying something along the way.
Belew came out in an all-red suit and porkpie hat. He mostly played his Parker Fly guitar throughout the evening, but sitting to his left, under wraps, was his Twang Bar King which he tried unsuccessfully to unveil in a dramatic fashion. Belew laughed it off and had fun with the effort as he did with the entire show. How much fun was he having? He joined drummer Danny Carey at the front of the stage for a little tandem drumming until one of the sticks fell out of his hands. These minor setbacks in no way belie Belew’s abilities throughout the evening. He made his guitars howl, bringing out sounds from fretboard and whammy bar use that showcased his true mastery of the instrument. His love and respect for these albums and songs were evident.
Which brings us to the second guitarist who is second to none: Steve Vai. Vai was ultra-stylish in a black embroidered suit, floral shirt, with a black hat and cool shades. The man was gunslinger/guitarslinger personified. Vai played an Ibanez PIA that was custom-made for this tour and featured his own art on it. Prior to the tour, Vai worked extremely hard to learn the intricate Fripp guitar parts and it showed. But there were also moments when certain songs became Vai-ed, which once again, keeping with the “creative reinterpretation” became a treat.
On bass, Chapman Stick, and vocals, Tony Levin delivered and then some. He also added some synthesizer work as well. His contribution is incredibly important to the BEAT sound. His usage of his signature Funk Finger Sticks on “Larks' Tongues in Aspic Part III” drove that song.
Speaking of driving songs, some felt like drummer Danny Carey had the toughest role to play. Fans on YouTube have been comparing his work to not only Bill Bruford, but also Pat Mastelotto, who did not play on the albums. Carey was up for the challenge. His work both anchored and drove the music. And his smile showed how much fun he was having. All four members of BEAT broke into smiles throughout the evening, whether those smiles were due just having fun or due to having survived playing some of the most intense and intricate music on earth could be up for “creative reinterpretation.”
Either way, the band and the audience knew that something special had just occurred. As one audience member gushed on the way out, “Oh my god, I can’t believe what we just saw!”
SET LIST
SET 1
Neurotica
Neal and Jack and Me
Heartbeat
Sartori in Tangier
Dig Me
Model Man
Man With an Open Heart
Industry
Larks’ Tongues in Aspic (Part III)
SET 2
Waiting Man
The Sheltering Sky
Sleepless
Frame by Frame
Matte Kudasai
Elephant Talk
Three of a Perfect Pair
Indiscipline
ENCORE
Red
Thela Hun Ginjeet
Special note: The first song of the encore, “Red” was a break from the three albums from the 1980’s theme. “Red” is from the King Crimson 1974 album of the same name.
Even though summer is almost over and fall is nearly upon us, 39-year-old Aaron Smith, better known to his fans as Shwayze, he has given us the summer anthem album of the year. What I’ve always liked about Shwayze is his unique style, blending reggae, hip-hop and pop into a Malibu beach party vibe. This album, Shwaycation, is no different and may even take that party to another level. This is his 8th album and 5th solo album, and you can see and hear the growth after each one. He brings a ton of confidence to this project and invites the listener to ride the wave of a good time.
The album starts off with one of my favorites “Tequila La La La La,” a perfect way to start off the summer party. Just has a sweet flow and vibe. You know we about to have fun. Great melody to this joint. Next up is “Single for the Summer” featuring Bryce Vine, keeping with the summer party vibe with a nice rap flow that works so well. Bryce Vine sounds great and is a nice compliment to Shwayze. “I Pray” featuring Ripe has a great reggae riddim, but like all his songs, mixes in with that pop hip-hop beach groove. I get this cool Dirty Heads feel with this one, which is a very cool sound. Shwayze brings us to “Mine,” he’s got a secret for us in this joint; “I gotta secret that nobody knows/I want your body wanna hold it close/Does he care for you? I know he don’t/But you’re my best friend’s girl/My best friend’s girl/I want my best friend’s girl.”
We come to another one of my favorites, “West Coast” featuring Common Kings and KES, this just keeps with the summer party vibes, Shwayze with a nice rap flow again, and Jr. King sounds so sweet with the chorus and KES absolutely kills his verse. This is an amazing collaboration; I’d love to hear more from all of them. Wiz Khalifa joins Shwayze on “Smoke Too Soon” and the flow between them works so well. Their styles compliment each other, I think they should do an album together. Could be the bomb! “Promises” is next, and has that nice reggae beat but with a nice hip-hop flow and rhyme. “Kick Back” brings us back to what this album is all about; a Malibu Party! This is such a fun song, I’m driving down the coast with the top down, hangin’ at the beach with friends and just having a great time with a few drinks. Makes you smile!
Grammy winner J. Lauryn joins him on “Champagne Problems,” another one of my favorites. She sounds so good on this track, Shwayze giving us his rhyming and singing, matching up with her sweet vocals. I’d love to hear more from the two of them. “Book a Flight” is up next, his singing on the chorus is mellow and nice and his rap verses really hit on this one. We finish off with a perfect song to end this beach party, “Party in the Hills.” A little slower sound and vibe, the party is almost over, Shawyze taking us to the end of the night. It feels like we are sitting on a Malibu beach with a fire burnin’ thinking about the amazing day we just had.
Fun. Relaxed. Mellow. Chill. Truly genuine. These words describe the album, but also describe Shwayze. He really brings a fresh sound, fresh feel, and fresh vibe to the music industry. He was recently quoted as saying; “I don’t even know if I fit in the industry, so I’m not really concerned with it,” he admits. “I think just doing my own thing and focusing on my core fan base has served me well. I don’t care if it’s 100 or 1000 fans. My focus is on them and not the industry.” He’s right, he is very unique and doesn’t really fit anywhere in the industry, and that is perfect. He continues to put out great music and his fans love him for it. This is a great, fun, chill album, an album so many will like.
One Love – Todd Judd