The indie-pop group Arlie played at the Teragram Ballroom this past weekend. They rocked the house and brought the Arlie name to the city of angels. Arlie is known for upbeat, groovy, fashionable instrumentals which are bound to make your body move and groove.
Arlie has been a band I have been following for years, being able to watch them perform some of my favorite songs was awe-inspiring. The band opened with a classic of theirs, “Tossing and Turning”. Which brought a lively spirit to the Teragram Ballroom, and paired with lead singer Nathan’s angel wings and heavenly makeup, gave the audience a glimpse of what the night might entail.
One thing I can say about this show is that Arlie brought the stamina to an all time high. The night was filled with moments ranging from tender to rugged. Audience participation, instrument changes and anecdotes about the band gave the night a personal touch from Arlie. The group has a killer sound, and the group of 5, including Nathaniel Banks as the lead singer, Michael Salabrino on guitar, Luke Saison on bass, Aaron Umberger on drums, and Ella Mine on keys, have a clear teamwork amongst them to create their music. At one point lead singer Banks opened up and shared how the other members of Arlie help ease his perfectionism and show how the song “can be perfect in ways I [Banks] could never see”.
This group is exceptional at a very important aspect of live performances - flair. Boy, do they nail the flair. The tour was presented as the Arlie’s Angels Tour, which was expanded upon by setting the stage as the sky, having elaborate angel costumes, and paired with their already elated tone, brought the audience into a heaven of Arlie’s creation. Take a glimpse for yourself and listen to Arlie’s new single “takeaway”.
The Observatory held a show on Saturday for a range of genres. The show opened with a group called Flying Machine, an extremely alternative group with a sound akin to classic rock. Next on the agenda was Yot Club, indie chillout bedroom pop familiars. The night concluded with headliners Skegss, Australian garage rock kings.
The group Flying Machine opened the night and riled the crowd unlike any other. Their high energy was a spark that would ignite the flame of the night. Flying Machine, also from Australia, had a very unique sound akin to something out of the “scream-o” genre. Their effect on the crowd was noticeable and by the time Yot Club was to enter the stage the crowd was hooked.
Yot Club was the peak of my night. They brought a more mellow tone to The Observatory, and had some of the grooviest tracks. The foremost part of Yot club was getting to hear the bass-line live. My highlights from their setlist were “Japan” and “YKWIM?”, which both feature Yot Club’s ability to draw the audience into the bass and rhythm of a song. Yot Club is the perfect chillout music which stood out from the other bands to perform throughout the night, their signature echoing heavy noise was brought to life through the Observatory as fans shouted requests for their favorites.
Capping off the night was Skegss, the surf rock group from Australia who packed a heavy punch. The group has a dynamic range of music. Almost a mix between the intensity of Flying Machine with the catchyness of Yot Club. It was clear that the audience had been anticipating Skegss for the entirety of the night, and by the time they took stage, the crowd was already surfing and riding atop one another to the front of the venue. The security guards on either side of me had their work cut out for them that night.
The night entailed a variety of fans, genres, and moods. All in all The Observatory was stimulated with Australian and American tunes, rock and indie alike, giving fans a night to remember.
Cottonwood Firing Squad aka Bill Rodriguez, is primarily known to the indie scene as the producer of the hit song “Postmodern Fade”, which encapsulates the character of his entire discography: music for and about struggles, depression, and the introspective. His new album, I Think There’s Something Wrong With Joshy, feels just as raw and reflective. The EP has a total of 5 new songs to Cottonwood’s arsenal. Which honestly are some of my favorite produced pieces by this artist.
The EP opens with a song entitled “New Drugs” which has low energy (yet dark) lyrics accompanied by an upbeat melody which feel almost dream-like and euphoric. The two juxtaposed one another so well, giving a dark and hopeless yet thoughtful and reflective tone to open the album. Next in the queue is “DEATHWISH”, which opens with the unforgettable line “Give me the gun and I’ll show you how it tastes on my tongue.” Which gives the listener just the gut-wrenching punch necessary to prepare for Rodriguez’ songwriting. Next up is “Apocalypse Girl”. This song is truly something special. It consists of a total of 4 entire lines, “I promise everything will be okay, Everything will be okay.” repeated twice throughout the song sitting between a remarkable instrumental composed heavily of guitar.
Following is the titular “I Think There’s Something Wrong With Joshy”. As one might guess from the title, this song is quite heavy. It hurts in the best way possible. They say to make good art, make it personal, and boy does this master that concept. There are no other words I have for this song other than beautiful. The song follows an unnamed narrator who finds Joshy, who is crying and asks “Didn’t everything get better when you found God?”. The song then divulges into explaining and expanding upon Joshy’s depression. By the end of the song, we find Joshy wishing for an angel to come and visit and show him as Joshy puts it “a vision of the man that I thought I'd be when I pictured growing up, He'll offer me patience, I'll drink from his paper cup, And all of his spaceships have promised to pick me up”. A profound conclusion to a heartfelt song. The EP completes with “from here”. Which embodies the rest of the release flawlessly. An upbeat instrumental advised by Rodriguez’ earnest, profound, and poetic writing.
This EP is a rare 10/10 in my mind. Cottonwood Firing Squad is fatally underrated. I recommend giving this EP a play if you are ready to go on an emotional rollercoaster bound to tackle the listeners core.
On a cool Friday evening, metalcore fans from all around gathered at the Southside Ballroom in Dallas to witness August Burns Red's 20-Year Anniversary Tour, with The Devil Wears Prada as direct support and Bleed From Within as the opening act. As soon as I arrived, I knew it was going to be an unforgettable night. The energy in the air was refreshing, and everyone was buzzing with excitement.
Bleed From Within, a metal band from Scotland, kicked off the night with a powerful set. The crowd was still trickling in, but that didn't stop the band from giving it their all. They played a few tracks from their latest album, Shrine, including "I Am Damnation" and "Levitate." The band's energy was infectious, and they managed to get the crowd warmed up and ready for the main acts.
Next up was The Devil Wears Prada, a band that needs no introduction. As soon as they stepped on stage, the crowd erupted in cheers. They opened with "Watchtower," which got everyone singing along. The band's set was a mix of old classics and new hits, including "Danger: Wildman" and "Broken." Vocalist Mike Hranica's screams were piercing, and the band's musicianship was on full display. The mosh pit was in full swing, and fans were crowd-surfing left and right.
Finally, it was time for the main event. August Burns Red took the stage to thunderous applause. They wasted no time and launched into "Fault Line," a classic track from their 2013 album, Rescue & Restore. The band's energy was wild, and the crowd was eating it up. They played a mix of old and new material, including "Meddler," "Empire," and "Carpe Diem." Guitarists JB Brubaker and Brent Rambler were in top form, shredding through complex riffs and solos with ease. Drummer Matt Greiner was a force to be reckoned with, and bassist Dustin Davidson held down the low end with precision.
One of the highlights of the night was when the band played "Backburner," one of their most beloved songs. The crowd erupted in a sing-along, and I couldn't help but feel a sense of unity and camaraderie with my fellow metalheads. The band closed out their set with "White Washed," a track from their album, Constellations. The crowd was chanting the lyrics, and the energy was electric.
After a brief break, Matt Greiner came on stage for a jaw-dropping drum solo. The band then returned to the stage for an encore. They played “Marianas Trench” and "Composure," one of their most popular songs, and the crowd went wild. Vocalist Jake Luhrs thanked the fans for their support over the years, and the band took a final bow. August Burns Red, The Devil Wears Prada, and Bleed From Within put on an incredible show and I’m glad I got to capture such a monumental night.
If you missed Hot Tub Johnnie’s Birthday (show #480), be sure to come out and celebrate as we keep the party going! Guest host Rosie Howe (Netflix) will be spinning a guest DJ playlist. Taking the stage are Jules & The Howl, Donna Adja, and Fencer! 2/27/2023
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Rosie Howe is a music supervisor and a creative biz wiz who works with filmmakers, TV producers, gaming companies, advertising agencies, and brands from all across the globe. Her superpower is procuring unforgettable music from artists, producers, and companies through artist relations, music supervision/licensing, and original music production. She loves to work with her diverse network of professionals to provide clients with the power of music.
Rosie is a member of the Guild of Music Supervisors and spends her free time providing helpful feedback and educational resources to musicians starting out through workshops, panels, and one-on-one sessions. She has been featured on Behind the Music podcast, panels and workshops for The Grammy Museum, Billboard, The Guild of Music Supervisors, Synckeepers, Music Biz Mentors, and has contributed to the magazine-style blog Ms. In The Biz.
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Jules & the Howl is the culmination of a five-year journey. I started off my music career as a Chicago-based pop-rock solo artist under the stage name Julianne Q in 2015. As a solo artist I explored a number of different genres before finally finding my identity in blues and classic rock with a modern twist. Inspired by Janis Joplin, Freddie Mercury and Aretha Franklin, I formed the blues rock band Julianne Q & the Howl in early 2018. We played gigs all over the Chicagoland area. We were a family. A group of like-minded artists striving to create a liberating experience for our fans.
Then it all came crashing down. In October 2018, after barely five months together, all of my band members - my second family - left. Julianne Q & the Howl literally broke up the day after our EP release show. I needed a new start. So I moved to LA and decided to change my name to Jules & the Howl.
Jules is the nickname that my friends and loved ones call me. To me, nicknames are a source of warmth, trust and familiarity. That’s what I want I want my fans to feel. I want to be raw and honest and welcome you into a community. A tribe. I want you to feel a part of my community, like a wolfpack.
The Howl references Howlin’ Wolf, a Chicago Blues artist who heavily influenced the Rolling Stones. It honors my hometown and the era of music that most resonates with me: 1969, Woodstock, classic rock and roll. When I saw footage of Woodstock, it was a cathartic release of energy and emotion; a feeling of kinship within the audience. All inspired by the music. I also howl when I’m on stage. It’s how I sing. I growl. I wail. I pour out all of my emotions. The Howl is the release of everything pent up inside of me begging to be free.
I want you to experience the Howl with me. I want you to be a part of a tribe where I hope you can feel loved and accepted as you are. A member of a wolfpack. A unified release and sense of freedom so that together we can feel the power of the Howl. You + me = an even better Howl, an unstoppable awe-inspiring force of honesty. So let’s build that community together.
Fencer, the self-defined garage opera band, is leading a new era of rock music with their own undeniably, dynamic sound. The Los Angeles-based trio consists of vocalist and guitarist Field Cate, bassist Scott Sauve, and drummer Cameron Sauve. Only two years after their inception, they became fan-favorite openers for notable acts such as Badflower, The Wrecks, and Dead Poet Society.
Tackling the stigma surrounding mental health and its struggles, Field’s emotive and frenetic vulnerability resonates with listeners to further solidify the band’s electric presence. The trio have racked up an impressive 2 million listens across all streaming platforms, despite having not even released their debut album. Field’s synesthesia (seeing music in color), Scott’s vigorous bass-lines, and Cameron’s expertise in self-producing flow together to create an eccentric style that is certain to become rock’s newest novelty.
Hailing from Delta State in Nigeria, Donna Adja is a multiple award-winning Afrobeat recording artist based in California. She infuses African sound and style into danceable Afropop music. Donna’s artistic career began in church at 15, which led her to pursue singing and songwriting professionally at 22.
Donna’s first break in the music industry was working as a featured vocalist with top Nigerian recording artists such as Solid Star, Harry Song, Dezign, and others. Soon, she took the lead in putting together her own band, Daz Entertainment, which became the in-house talent at the prestigious Sheraton Lagos hotel, where they performed five shows a week. During their multi-year run, she and her 14-piece band performed for two different Nigerian presidents, while Donna herself did solo shows in the UK, Dubai, and Australia.
As a budding solo artist, Donna was featured in top Nigerian magazines like Vanguard and The Sun, among others. She had multiple singles featured on MTV Base, Africa, and other top stations. Donna also had two hits on Nigerian radio, “Shut Up” and “Gaga.” Since relocating to the US, her releases include “I Like Your Body,” with over a million views on YouTube, and more recently, “Breathe,” and “Oghene Do.”
Donna is the consummate songwriter and a unique vocalist, whose sights are firmly fixed on making addictive songs that cross international borders. She brings a wide repertoire of skills to her stage show, even designing and building her own costumes. To experience Donna Adja live is to have an unforgettable encounter with a true artist.
The time is the 80s. The sunset strip is alive with metal. Glam metal is all the rage as bands and fans alike walk the strip with skintight leather pants, hair teased and sprayed to high hell, and rock out to songs about partying and hooking up. Many people look back at these times with fond memories, and other looks back and laugh at the style choices that were made. There’s one band that looked back at all this and decided, let’s bring it back! Steel Panther roared onto the scene in the year 2000, and has been keeping the glam days alive with their raunchy lyrics and wild party themed shows ever since. The band just released their sixth studio album, On the Prowl, and hit the road to support it. Playing the House of Blues Anaheim and bringing with them Tragedy & Crobot. Fans were putting on their tightest spandex, most colorful outfits again to rock out to some 80s glam classics (written in the new millennium).
Opening the night was a band called Tragedy an “All metal tribute to the Bee Gees & Beyond”! The band hit the stage with a slew of costume assortments that had them dressed like 70s disco-ers, glam metal & gothic rockers, and a black metal drummer. Passing lead vocals across the band, it seemed that every member could sing and hit those high notes they needed to. With Disco Mountain Man handling vocals and keys, Mo’Royce Peterson sharing guitar duties and vocals, Andy Gibbous Waning on the bass and vocals, Gibbon Ass Freehly sharing guitar responsibilities and vocals, and The Infernal Demigibb on the drums and the only one not on vocals. Tragedy played a set of covers that have been turned metal like “Tragedy” by the Bee Gees, “Gimme! Gimme! Gimme! (A Man After Midnight” by ABBA, “Sweet Caroline” by Neil Diamond, “It’s Raining Men” by The Weather Girls, “How Deep is Your Love?” by the Bee Gees, and ending with the ultimate Bee Gee classic “Stayin’ Alive.”
Up next is a band that is starting to make waves in the rock scene, called Crobot. I had no idea what to expect from this band as a man was wheeled out to the front of the stage strapped to an electric chair, accompanied by a mad scientist. The man in the chair happened to be lead singer Brandon Yeagley, and we had to electrocute him to bring him to life so he could perform. As the lights flickered, and Brandon was brought to life, he enthusiastically came to life and captivated the crowd within seconds as the band jumped into their opening song “Electrified”! Brandon danced, boogied, and swung the mic stand all across the stage for the entire 40 minute set. He was a man with unlimited energy. Backed by Chris Bishop on Guitar who looked like a punk rocker, but played the funkiest of hard rock guitar licks. Bassist Tim Peugh stood out like a hardcore man who maintained the groove with drummer Dan Ryan slamming away on the cymbals in the back. Crobot played songs like “Dizzy,” “Livin’ on the Streets,” “Gasoline,” “The Necromance,” “Golden” which was dedicated to Chris Cornell, “Low Life,” and ending their set with “Without Wings.” If you’re a fan of The Darkness, I would highly recommend checking out Crobot!
You could feel a change in the energy. As you looked around, all of the giant 80s glam wigs were dawned by countless fans in the audience, and adorning neon sweat bands. The crowd was ready to rock out with their cocks out. Steel Panther hit the stage with their song “Eyes of a Panther” and we were all transported back to the glam metal days. As lead singer Michael Starr trotted onto stage ready to entice all the lovely ladies in the audience, every person in crowd male or female was screaming in utter joy. Guitarist Satchel, armed with his iconic Pussy Melter guitar pedal from the riffs inspired by Mick Mars & C.C. DeVille. Drummer Stix Zadinia was in the back giving us a show of his own filled with stick tricks, and blasting beats. Bassist Spyder is the newest member of the bands, filling the pumps of former member Lexxi Foxx. And Spyder fits the spandex perfectly, jiving and riffing with the band.
At a Steel Panther show it’s not just music for the masses. You also get a good helping of comedy from the members. The guys are all almost perfect stand up comedians roasting each other and making some of the raunchiest jokes about getting laid and scoring coke. They remind everyone what made the 80s so free and fun. It’s also an audience participation show, as they brought up a fan named Tim to sing a cover of Motley Crue’s “Shout at the Devil.” A fan named Sierra was brought on stage so that the guys could see who could serenade her the best before singing “Girl From Oklahoma” dedicated to Sierra. And then bringing up any girl who wanted to dance on stage, including any girl who was transitioning was welcome to join for “Never Too Late (To Get Some Pussy Tonight)” & “Party All Day (Fuck All Night).” The whole night was a night of unabashedly fun and debauchery with songs like “Let Me Cum In,” “Asian Hooker,” “All I Wanna Do Is Fuck (Myself Tonight),” “Death to All But Metal,” “1987,” “Community Property,” and ending their set with my personal favorite “Gloryhole.” Steel Panther helped remind everyone that the 80s glam still has a lot to offer.
Sometimes you need a night where you can just let loose and have fun, with not a care in the world. This was what this night was for. Steel Panther reminded people that sometimes you just gotta let the fun times roll and let it all hang out there for everyone to see. Tragedy brought the Bee Gees groove, and Crobot brought the funk to everyone. Then Steel Panther rounded out the night with a huge 80s party! Steel Panther will be returning to the Sunset Strip where it all began and playing at the Whisky A Go Go for a two-night event on April 6th & 7th. If you did not have the chance to make the House of Blues Anaheim show, you better not miss the party on the strip.
Bush, one of the oldest remaining and most consistent bands of the early 90s grunge phase, have never been ones to rest on their laurels. The veritable old guard of grunge kicked off 2023 with their The Art of Survival Tour, picking up support from a medley of exciting artists including Candlebox and Silversun Pickups.
For this rainy (but thankfully no longer aggressively frigid) February evening, this leg of the tour saw Starcrawler opening for the rock veterans. Speaking tongue in cheek to the average age of the crowd, the lead singer Arrow de Wilde jokingly referred to those in attendance as ‘the coolest retirement home we’ve ever played’. There was, to some degree, a kernel of truth to this, as Bush’s crowd leans a bit further back in demographics than lots of the artists that come to the stage of the Fillmore. That said, the energy that Starcrawler brought to the venue that night was met with youthful, animalistic vitality that far exceeded than perhaps what they were expecting with a remark like that. De Wilde and Co. gracefully began to set the tone for a night of no-holds-barred rock ‘n roll, working in a Ramones cover and playing several originals, giving the show absolutely no room to rest and recover before Bush took to the stage shortly after.
The English stars took to the stage very shortly after, smashing into a rendition of "Identity" off of their 2022 release and tour-titled album, The Art of Survival, with lead singer Gavin Rossdale jumping all over the stage (sometimes legitimately difficult to keep track of as he flung himself from stage left to stage right in the midst of the chorus). Bush have the kind of presence you come to expect from a band who has played an enormous number of shows in their tenure and everything was locked in to absolute margin-less perfection. Lead guitarist Chris Traynor dipping theatrically for guitar solos, bassist Corey Britz hogging the risers and leaning in to the crowd, and drummer Nik Hughes absolutely losing his mind buried way high in the kit in the back of the stage. All this while never missing a beat, never losing that special touch you get from bands who aren’t just going through the motions - Bush make you feel like they really are giving these songs, new and old, their everything. They soon moved further back in their catalog, with a noteworthy recreation of "Blood River", and before you knew it, Gavin was off in the crowd singing his heart out to his adoring crowd (and based on the teenage-like shrill cheering of women you’re guaranteed to hear when he hits the stage, you better believe it’s adoring).
Bush played for well over an hour, closing with an encore featuring both "Glycerine" and "Comedown", two hits they are likely best known for, all the while keeping the energy to an absolute max.
When you think of thrash metal, there are always four names that come to mind. They have been known as “The Big Four,” and they are Metallica, Megadeth, Slayer, and Anthrax. Still to this day each band carries that legacy proudly. Anthrax specifically has been celebrating being a band for forty years now. To celebrate this monumental accomplishment, Anthrax set out on their 40th Anniversary Tour. Bringing with they two other heavy hitters in the metal community, that of Black Label Society and Exodus. Originally the tour was supposed to end in Oakland, CA, but we were fortunate that Anthrax added one last date to the tour, instead ending at the City National Grove in Anaheim, CA. And what a way to end the tour with a sold-out crowd!
Opening this night of thrash chaos was Exodus. This was the only band of the night that I had not had the opportunity to see before. I was very excited to experience them live finally. Opening the night with “The Beatings Will Continue (Until Morale Improves),” Exodus was full of energy ready to unleash it unto the crowd. Just hearing guitarist Gary Holt & Lee Altus shred those classic thrash riffs got the crowd already roaring with excitement. Hearing singer Steve “Zetro” Souza gritty voice just layered into the instrumental perfectly. It was full of grit and tenacity that just fuels the energy of the fans in the crowd. Bassist Jack Gibson and drummer Tom Hunting held down the low end and kept a steady beat for the fans to be pumping their fists in the air too. Not to be hidden in the back, Hunting would frequently stand up over hit kit to feel the energy of the crowd. Playing songs like “A Lesson in Violence,” “Blood in, Blood Out,” “Blacklist,” “Piranha,” “Prescribing Horror,” “Bonded by Blood,” “The Toxic Waltz,” and ending the set with “Strike of the Beast.” Exodus is one of my friend’s favorite thrash metal bands, and after seeing them live, I completely understand why. The ferocity that Exodus brings can not be mistaken, as they will pull you in and there’s no escaping.
Up next is one of the most technically proficient bands I’ve ever seen, while also being one of the most entertaining bands in the metal scene. Of course, that would be Black Label Society, helmed by the immeasurably talented Zakk Wylde. Opening the night with “Funeral Bell” BLS was in prime condition at the end of the tour. Zakk Wylde pulls triple duties by being the lead singer, trading off lead & rhythm guitar, and being the showiest member of the band by head banging in a kilt while not being able to see hit fretboard while playing. Not to be out shown by the lead man, fellow guitarist Dario Lorina carries himself right up next to Zakk with ease. Blasting through solos and headbanging himself throughout the set. Bassist John DeServio can be slapping the bass across the stage, getting up close and personal with the fans. In the back, drummer Jeff Fabb can be seen with the biggest grin across his face, as he just enjoys every second he is on stage. Playing through songs like “The Beginning…At Last,” “Destroy & Conquer,” “Heart of Darkness,” “You Made Me Want to Live,” “Trampled Down Below,” “Fire it Up,” and “Suicide Messiah.” One song that always sticks out in BLS’s set is “In This River,” which is dedicated to Dimebag Darrell & Vinnie Paul. Zakk takes to the piano, and drapes to portraits of the Abbott brothers across the amp stacks in a touching memory to these legends. Ending their night with “Stillborn” BLS always puts on one of the most consistently solid sets every time I see them.
As a white curtain was raised to block the view of the stage, the audience eagerly awaited their headliners to start. A short 10-minute documentary was projected onto the white screen, showing musicians, celebrities, and some fans talking about the history of Anthrax and how much this band has meant to the scene over the last forty years. Right as the video ended, the curtain dropped, and Anthrax blasted into “Among the Living.” Rhythm guitarist, and one of the most famous beards in metal, Scott Ian hit the stage with a flood of energy oozing out into the crowd. As Charlie Benante came in with the drum line, you could feel the need for a mosh pit to open up immediately! Vocalist Joey Belladonna has one of the best voices in thrash, and a need to make a connection with every fan in the crowd. Even getting up close and personal with some of the photographers, screaming into their cameras. Bassist Frank Bello is like an over excited puppy running across the stage. Screaming, pounding his fist into the air, rocking next to his cohorts, all the while finger picking at his bass. Lead guitarist Jon Donais shredded each lick with precision and finesse. Playing songs like “Caught in the Mosh,” “Madhouse,” “Metal Thrashing Mad,” “Keep it in the Family,” “Antisocial,” which is my favorite song and I couldn’t keep myself from screaming my voice out during it, “I Am the Law,” “In the End,” “Only,” “Got the Time,” “Bring the Noise,” and ending their set with “Indians.” I love hearing Joey’s vocals on “Indians” as he just gets to scream as well as belt out to the audience. It’s the perfect song to show off his vocal talents in my mind.
Hearing such classic thrash and metal bands like Exodus, Black Label Society, and Anthrax live felt like coming home. When I was growing up, 80s metal was the first genre of music I truly felt like I discovered for myself. And getting to see these bands still touring today and carrying with them the same energy and quality 40 years later is just amazing. My first experience of Exodus really showed me why these guys are as beloved as they are. Zakk Wylde and the boys of Black Label Society are untouchable when it comes to the quality of their musician ship. And Anthrax, after forty years of being a band, seem to be showing no signs of slowing down in quality. Here’s to another 40 years of Anthrax!
The era of the Sunset Strip in the 1980s was a glorious and decadent time for rock ‘n’ roll. It was in famous clubs like the Whisky a Go Go, the Roxy, the Key Club, the Viper Room, and Gazzarri’s that glam metal and hard rock bands ruled the streets. The Sunset Strip era redefined the phrase sex, drugs, and rock ‘n’ roll. I was born in 1987, so I never got to experience that excitement (minus the drugs). However, one glam metal band looked to keep that 80s spirit alive with a comical twist. I am, of course, talking about L.A.’s own Steel Panther. They glam metal comedy rockers have been spreading their rock filth to world since 2000, and with the release of their latest album, On the Prowl, they are continuing their mission to party and rock hard. This album marks the debut of their newest member, Joey “Spyder” Lester, who has taken over for the departed Lexxi Foxx, who I wish him all the best with his newest venture, “Sexxy Lexxi’s Prettiest Pets.” The question is: is On the Prowl worth the hunt?
The album opens with “Never Too Late (To Get Some Pussy).” Raunchy and sleazy in Steel Panther fashion, frontman Michael Starr oozes out his sexy tenor voice and I can imagine women’s underwear dropping everywhere. Right off the bat, Spyder emerges as a talented bassist with his simple yet potent licks. “Friends With Benefits” follows and as soon as the first riff kicks in, you feel that 80s glory. Guitarist Satchel highlights the tune with some bolstering riffs and one mean solo that would rival that of CC DeVille. I cannot tell you which solo in the song I like more because they are both sharp. Next is “On Your Instagram,” an ingenious parody on our obsession with Instagram models and being catfished. I mean, come on! Of course, Steel Panther would sing about that. It is cleverly funny and written as a power ballad. Satchel is a blistering machine on the solo, scorching the Earth in heart-wrenching fashion. Ladies, heed Starr’s words and hold on to your man, for an Instagram model has become your nightmare. “Put Your Money Where Your Mouth Is” feels like a filler song that has some great hooks. I did not feel it was one of their strongest, but that is not to say I hated it. With time, it should grow on me.
“1987” is not only a great title, but it was also the year I was born. This tune is an ode to one of the greatest years for rock, for it was the debut of Guns N’ Roses’ Appetite for Destruction and the release of Mötley Crüe’s Girls Girls Girls. Starr loves singing about the days of listening to great metal tune and doing good blow with girls. Drummer Stix Zadinia was thunderous on the kit while Satchel muscled out a bombastic solo that one would in 1987. “Teleporter” sizzles right off the grill thanks to the spicy riff Satchel put together. This song has the markings of a classic hard rock tune in 80s fashion, just do not wear white pants. Up next is “Is My Dick Enough,” wear Frank Zappa’s own guitar virtuoso son Dweezil came into the fold and added some hot blues riffs. The way his plays is very smoldering, setting the whole song ablaze. The raunchy lyrics Starr throws out there go hand-to-hand with the blues. After all, blues back in the day sometimes sounded sexy. “Magical Vagina” is power ballad that touches on love and well…pussy! Only Steel Panther could write a song about a woman’s lady parts, give it a catchy hook, and somehow make it playful. Stix and Spyder continue to not overcomplicate the beat, yet the simplicity they bring to the song adds muscle. “All That and More” continues to assert Steel Panther’s salute to their manhood.
With 4 songs left, On the Prowl has been very sporting. “One Pump Chump” gives recognition to PE and more importantly, dodgeball. This is probably one of the few times I wish I could take PE again because I hated it back in the day. “Pornstar” is another ballad that seems to demand your lover act more like pornstars. Honestly, Satchel reached deep into his pocket of riffs, and screeched one of his best solos off the album. We now come to acoustic pleaser with “Ain’t Dead Yet.” This song shows us that no matter how old you get, you are never too old or young to rock out. Satchel does a stellar job on the acoustic while Starr becomes vulnerable with his words without sounding like a wuss. This is probably one of their best written songs to date. As the album ends, what better way to cap off a great record than with “Sleeping on the Rollaway.” It is a perfect blend of Judas Priest with Van Halen and Green Day. The group incorporated some pop rock into the tune, and the gamble pays off.
We were On the Prowl, and this record captured its prize. Steel Panther certainly know how to keep the party going. This is only their 6th album, and they do not have any intentions to throw in the towel. There are a few songs that I felt were throw aways, but I think as time goes on, I will grow to like them even more. The party never stops, and neither will these guys. To Steel Panther, I salute you. Horns up!!!
Hunnypot Approved - 8.5/10.
Nate Husser has always been a rapper’s rapper. Since the beginning, his impeccable multisyllabic flow has been a testament to this. His new single/video, “Did It B4” is the perfect exemplification of that. Straight and to the point, “Did It B4” is a braggadocious stream of conscious from front to back.
On this release, the Montreal native is depicted riding an ATV in the boonies as he delivers rapid fire verses over a beat cooked up by DJ Coco, Ajaz, and Jay Century. Directed by “Directed by Serge”, Husser can be found alone in the middle of field, rapping over a cackling camp fire, and in front an old beat up trailer. Taking flavors from the legendary Cole Bennett, “Directed by Serge” placed cut scenes where Husser is color graded like a heater sensor, with colors ranging from pink, yellow, green, and blue, giving it a real 2019-2022 feel.
Without skipping a breath, Husser lays a verbal onslaught of rhymes on the track. Over the beat, Husser boisterously claims, “Whatever [rappers] doin’ now, I done did it B4”. The hook is exceedingly catchy, and the verses have the listener bouncing through the song from beginning to end. Check this one out. It’s Hunnypot Approved!
- Kris Kuganathan