Going Deep Into The Blues With Ten Years After

Here's one you may have missed. An astounding version of Sonny Boy Williamson's "Help Me", by the original TYA filmed live at the 25th anniversary of The Marquee in London July 1st, 1983. From the fantastic DVD 'Ten Years After - Live At The Marquee', which is highly recommended.

It’s No.1… it’s Top Of The (Torture) Pops

Courtesy of Geoff Barton at Classic Rock Magazine

Gathered from evidence obtained through various reports, leaked interrogation logs and the accounts of soldiers and detainees, a list of the top 24 songs strategically used on military prisoners in Iraq has recently been made public.

Why 24? We've no idea, but here's that list in full:

1. Fuck Your God – Deicide
2. Die MF Die – Dope
3. Take Your Best Shot – Dope
4. White America – Eminem
5. Kim – Eminem
6. Barney Theme Song – Barney
7. Bodies – Drowing Pool
8. Enter Sandman – Metallica
9. TV Commercials (Meow Meow Me) – Meow Mix
10. TV Themes – Sesame Street
11. Babylon – David Gray
12. Born In The USA – Bruce Springsteen
13. Shoot To Thrill – AC/DC
14. Hell’s Bells – AC/DC
15. Stayin’ Alive – Bee Gees
16. All Eyes On Me – Tupac
17. Dirrty – Christina Aguilera ft Redman
18. America – Neil Diamond
19. Bulls On Parade – Rage Against The Machine
20. American Pie – Don McLean
21. Click Click Boom – Saliva
22. Cold – Matchbox 20
23. Swan Dive – Hed P.E.
24. Raspberry Beret – Prince

Are there any others that could make the list? The possibilities are endless. Nice to see that Neil Diamond is being put to good use.

Ex Uriah Heep Ken Hensley Takes A Journey Through The Past With 'Blood On The Highway'

Ken Hensley
Blood On The Highway
Politur

Review by Nightwatcher

Legendary former Uriah Heep/Blackfoot keyboardist Ken Hensley weighs in on his most personal release yet with 'Blood On The Highway,' an autobiographical telling in song of his life while coming to superstar status with the English legends during the 70's. Featuring guest vocal appearances from Glenn Hughes, ex Masterplan/Snakes' Jorn Lande and another former Heep band mate John Lawton, this is a solid release which not only will appeal to fans of Hensley's former band but also to fans of quality hard rock in general.

The companion to his autobiography of the same name, the album follows the rise, the optimism and rush which accompanies such an initial ascent, following the dissension and fall which can come about afterwards, with "well meaning" family and friends fueling the fire. Although not too heavy handed, it adds up to an intriguing look into the mechanics of what was all too often a familiar tale among many huge bands of the 70's.

Musically speaking, in many cases befitting the time period covered, it remains true to the Heep aesthetic, being blues based hard rock, with several moments of AOR styled balladry popping up throughout to add variety and emotional impact to the surroundings. Jorn Lande, Glenn Hughes and John Lawton all turn in fantastic performances, with Lande appearing on 5 tracks, sounding even more like David Coverdale than Cov himself sounds these days. Hughes still shows the immense talent vocally which earned him the moniker 'The Voice Of Rock', and Lawton still impresses, showing that if you loved his work in Heep or Lucifer's Friend, he still has the pipes over 30 years later to power a heavy rock song, as he does quite admirably on "It Won't Last". Everyone involved is at the top of their game both musically and vocally, and Hensley besides showing the talent that made him one of rock's top keyboardists, also does an admirable job in singing three songs, acquitting himself well in relation to the powerhouses he's brought on board for this outing.

At this stage of the game one can expect a certain amount of reliability musically speaking from an artist such as Hensley and with 'Blood On The Highway', he delivers with a solid collection of songs in the time honored rock tradition of the 70's and 80's. If you grew up during that time, or are a recent convert to classic rock, there's much to be savored here. While personally speaking I would've loved more Hammond organ solos, what's here is quite impressive and you'll feel quite satisfied after parting with your hard earned cash for this one. Buy without reservations. 8.5/10 http://www.ken-hensley.com/

Dave Clark Five Lead Singer Dies, Less Than 2 Weeks Before Being Inducted Into Rock And Roll Hall Of Fame

"Dave Clark Five" lead singer Mike Smith died from pneumonia Thursday, his agent said. He was 64.

Smith died at the Stoke Mandeville Hospital outside of London less than two weeks before he and his band mates were due to be inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio, Margo Lewis said.

Smith provided vocals, keyboards, and song-writing for The Dave Clark Five, one of many British rock acts whose music swept across the United States in the 1960s during the so-called "British Invasion."

The Beatles were the best remembered. But between 1964 and 1966, one British hit followed another across the Atlantic, with bands such as The Rolling Stones and The Animals conquering America's charts.

The "Dave Clark Five" claimed a string of U.S. billboard hits, including "Because," "Glad All Over," and "I Like it Like That." The band made 12 appearances on the "Ed Sullivan" show, a record for any British act.

The "Dave Clark Five" was due to be inducted in the Rock and Roll Hall on March 10, a ceremony Lewis said Smith was trying to attend despite being paralyzed from the waist down following a spinal injury in 2003.

"We're very unhappy about the whole situation — it's sad," Rock and Roll Hall of Fame President Joel Peresman said. He said the ceremony would go ahead as planned, but that there would be "a little extra significance this year."

I wonder how Jann Wenner feels now, having made the decision to pass up the group in favor of rappers Grandmaster Flash, even though the DC5 technically received more votes and should have been inducted last year? Karma's a bitch Jann...

The Dave Clark Five

Leaf Hound Unleashed Again After Over Three Decades

Leaf Hound
Unleashed
R.A.R.E.

Review by Nightwatcher


Almost 40 years after their last album came out, the band responsible for one of the best and most sought after 70's cult albums 'Grower Of Mushrooms', which could've almost been mistaken for a lost early Led Zeppelin album, are back.

Vocalist Pete French (Cactus/Atomic Rooster) is the only original member on board, but you won't care as you wouldn't know the original band anyway. Bluesy hard rock put forth by a new cast of young upstarts who give the material a hungry edge it wouldn't most likely have if it were populated by members almost old enough for retirement. French was originally supposed to be involved in the Cactus reunion, but backed out to restart this band - by the sound of things here he made the right decision. Now there are two bands reformed that still kick ass. Easily the equal of that band's 'Cactus V' album. A definite highlight of the album is a brand new version of the Atomic Rooster classic 'Breakthrough" which closes the proceedings out in style, and may even be better than the original, due to the fleet fingered axe work of new guitarist Luke Rayner, who conjures up memories of the best of the biggest names of the 70's, and if things work out right could be a guitar hero in the making.

Featuring strong songs and powerful performances, if you're a fan of early 70's English styled hard rock ala Free, Foghat or pre MTV Whitesnake this is an album you should pick up without hesitation, it's that good. http://www.leafhound.net/
http://www.myspace.com/leafhound

Classic Flo & Eddie albums reissued

Music industry legends Mark Volman and Howard Kaylan, founding
members of the legendary music group The Turtles featuring
Flo & Eddie, have recently reissued their back catalog on CD.
Two titles in particular appear on compact disc for the very first
time. Volman and Kaylan, along with The Turtles, have sold over
60 million records worldwide, and have sung on hit records for
such notable artists as John Lennon,Bruce Springsteen, T. Rex,
Todd Rundgren and Ozzy Osbourne. Along with The Turtles,
Flo & Eddie have toured continuously for the past three decades,
building on their legacy as one of the most successful musical
groups in the history of recorded music.

After an exhausting but historic stint with music icon Frank Zappa
in 1972, Volman and Kaylan signed a solo deal with Warner Bros
records under the guise of Flo & Eddie and released several
critically acclaimed albums. Produced and written by Mark and
Howard 'The Phloresent Leach & Eddie' was the duo's first release
on Warners in 1972 and featured former Mothers of Invention
members Don Preston, Jim Pons and Aynsley Dunbar. Recorded
at Ike Turner's "Bolic Sound" studio in Inglewood, CA, "The material
was much closer to the songs we had been writing during the final
stages of The Turtles", says Volman. "We did new versions of two
songs that we actually recorded in our final Turtle 'Shell Shocked'
recording." The album, with cover art designed by Henry Diltz and
Gary Burden of CSN&Y, Joni Mitchell and Jackson Brown fame,
received much praise by fans and critics alike upon release and has
since become a collectors item.

To accompany the Alice Cooper 'Billion Dollar Babies' world tour in
1973-74, for which Flo & Eddie were the opening act, the duo
released their second eponymous LP.The album was produced by
Alice Cooper producer Bob Ezrin and engineered by Jack Douglas and
Shelly Yakus. Featuring Lou Reed/Alice Cooper guitarist Steve Hunter,
the LP showcased some great cover songs, including the Small Faces
"Afterglow", which many consider one of the best songs Flo & Eddie
ever recorded.

Both LP's have remained out of print and sought after by music
collectors, who have been asking for a CD release of these two albums
for over 27 years.  Much to the elation of Flo & Eddie fans worldwide
the time has come! "It's great for us to finally live up to the promises we
have been making for the past 20 years", says Volman. " 'They're
coming, we promise'. Well, they are finally here. We are so glad
to be able to present them in their unchanged state. We have tried
to improve the sound so it would showcase the musicians and the
songs. These records were the first opportunity for us to write,
produce and perform songs that made sense to us at the time."

Along with the reissuing of the first two Flo & Eddie albums on
compact disc is the release of the band's hilarious 1975 live album
'Illegal, Immoral and  Fattening' and 1976's 'Moving Targets'. Although
both titles have been previously issued on CD, the sound quality and
packaging, including extensive liner notes, of the new reissues are
superior. In the case of 'Illegal, Immoral and Fattening', which for the
most part was recorded live at the Roxy in L.A., music writer Alan
Robinson explains, "There's enough profanity to warrant a big
'Parental Advisory' sticker on the cover, and it's more the laughs of
the Class Clown (George Carlin) than perhaps Lenny Bruce or Richard
Pryor. Amongst their targets are Joni Mitchell and even Carl
'Kung Fu Fighting' Douglas, exposing the pretensions of Rock's then
elite, as well as the sappiness of transient trends." 'Moving Targets'
is rather "more an attempt to make a more 'straight' sounding
record", says Robinson, "with stuff that could actually get played
on the radio." Although the album did not receive much airplay at
the time, it did contain a re-recorded version of The Turtles 1967
hit "Elenore", as well as the clever and endearing "Keep It Warm".

Flo & Eddie's CD reissues can be obtained through the duo's official
website as well as Amazon.

For more information visit Flo & Eddie and The Turtles official
website: 
www.theturtles.com

Former Drummer For Hendrix's Band Of Gypsys Buddy Miles RIP 1947 - 2008

Drummer Buddy Miles, who played with Jimi Hendrix in his short-lived group, Band of Gypsys, died at his home in Austin, Texas on Tuesday, his publicist said.

Miles, who was 60, suffered from congestive heart failure, Duane Lee said on Wednesday. He did not know the official cause of death.

With his bombastic style, the former teen prodigy helped develop such musical forms as funk metal and acid jazz thanks to his work with such guitarists as John McLaughlin, Mike Bloomfield and Carlos Santana.

In 1967, he and Bloomfield co-founded Electric Flag, whose rock-brass sound influenced Chicago and Blood, Sweat & Tears.

But Miles is probably best known for his stint with Band of Gypsys, an all-black group put together by Hendrix in 1969 after the dissolution of the Jimi Hendrix Experience.

Miles and bass player Billy Cox, an old Army buddy of Hendrix's, kicked the guitarist into a higher gear with an Afrocentric, polyrhythmic groove.

The funky sound marked a strong contrast from the melodic stylings of Hendrix's English bandmates in the Experience, drummer Mitch Mitchell and bass player Noel Redding.

The Band of Gypsys are immortalized on an acclaimed album of the same name, which drew from four shows performed on New Year's Eve and New Year's Day 1970 at the Fillmore East in New York City. Miles contributed two of his own compositions, "We Gotta Live Together" and "Changes".

"All the shows were bad-ass," Miles told Seconds magazine in 1995. "It was the highlight of my life, and I had a good time playing those shows. That was vintage James Marshall Hendrix."

But the group crumbled following a disastrous performance at Madison Square Garden later in January. Hendrix eventually reunited with Mitchell and started work on a new album before dying of an accidental overdose in September 1970.

Miles kept busy working with the likes of Stevie Wonder, Muddy Waters, Barry White and David Bowie.

In a statement, Cox described Miles as "an unsung musical genius." He said they had worked together on a recording session in October, and were planning a Band of Gypsys reunion in the late spring.

"Jimi Hendrix no longer has to hold auditions as the right drummer has just flown in," Cox said.

Asked by Seconds how he would like to be remembered, Miles said: "The baddest of the bad. People say I'm the baddest drummer. If that's true, thank you world."

http://www.buddymiles.com/

Buddy Miles, Billy Cox and Jimi Hendrix, The Band Of Gypsys, Live At The Fillmore East, New Year's Eve 1970, "Who Knows"

Rob Tognoni Aussie Power Blues

Coming off at times not unlike an unholy cross between AC/DC and B.B. King, Australian blues guitar virtuoso Rob Tognoni has been kicking around the scene for over a decade, picking up accolades from knowledgeable blues guitar fans along the way. Featuring fiery guitar work and strong compositions, you're sure to find a lot to love if you happen to pick up any of the stellar albums he's released thus far. One of the more generous musicians on the Internet, the guitarist regularly sends out free Mp3's of unreleased performances to fans who sign up for his newsletter. To preview Tognoni's brand new 2008 'Capital Wah' release, go to this location http://www.robtognoni.com/mp3/cd_cw.m3u Check out this smokin' performance of "Crossword Blues", recorded live for 'Rockpalast' on German WDR TV in October 1998 for a taste of what to expect :
http://www.robtognoni.com/
http://www.myspace.com/robtognoni

Obscure Classic : Randy Hansen 'Randy Hansen' (1981)

Every once in awhile on this site, I'll be showcasing albums which, for some reason or another, never got their proper due. The first in what will be a continuing series, is guitarist Randy Hansen's self titled album :

Randy Hansen
Randy Hansen
Capitol

Review by Nightwatcher

Although primarily known as a Hendrix imitator, Seattle born guitarist Randy Hansen, for a brief time in the early 80's stepped away from the cloning to record an album of largely original compositions on 1981's 'Randy Hansen'. Consisting of 7 tracks of melodic, heavy- for- the- time guitar based (naturally) hard rock, this is an album which due to Hansen's long running career doing Jimi almost as good as the real thing, never has received its due.

Featuring incredible guitar work which although slightly Hendrix based,is decidedly more contemporary sounding, even throwing in a bit of funk metal into the proceedings with a sludgy cover of Sly & The Family Stone's "I Want To Take You Higher". Elsewhere you'll find frenzied guitar freak outs on lead off track "Champagne And Cocaine" and "Millionaire", each clocking in over 7 minutes apiece, that are sure to satisfy any heavy guitar freaks. This is one album which would benefit greatly by being re-released and remastered in the CD format, as the sound is a bit thin to modern ears, but most certainly one which, done the right way, would be a very welcome addition.

After this album failed to make much of an impression on the charts at the time, Hansen returned to recording and touring versions of classic Hendrix songs, which he continues to do to the present day, touring Europe and casinos across the United States. But, this is an album which hints at the potential which could have taken him much further artistically, given the right set of circumstances.

I remember seeing the guitarist on the tour for this, opening up for Head East, where he pulled out all the stops, and it was amazing. Playing behind his back, with his teeth, being carried through the crowd on the shoulders of a burly bodyguard, leaping on top of the massive stack of Marshall amps - all while displaying the exemplary playing skills which throughout the years have earned him the respect of such legends as Eddie Van Halen, Stevie Ray Vaughan and Frank Marino among many others. If you've never heard this album, and still have a turntable, one can from time to time find used copies of this floating around on eBay for a couple of bucks, but for those who long for a proper CD release of this, I suppose we'll have to keep on waiting.
http://www.randyhansen.com/

Unsung Legends Of Rock Profile : Cactus

Formed from the ashes of Vanilla Fudge when that band wound down for the first time in early 1970, hard rockin' blues-boogie purveyors Cactus were, in the words of Hendrix producer Eddie Kramer, "The epitome of the American blues-rock band that kicked serious butt." At times called, "The American Led Zeppelin," this talented quartet, Carmine Appice, Tim Bogert, Jim McCarty and Rusty Day released three albums, 'Cactus,' 'One Way...Or Another' and 'Restrictions' that have subsequently become classics of the genre. Cactus never made a huge impression in the charts at the time, the debut 'Cactus' album being the highest charter at #54 on Billboard, but their influence reached far beyond their sales figures.

It's been said that The Velvet Underground never sold that many albums, but every person who bought one started a band, thus in many critic's minds making them a bigger influence, but the bands they influenced sucked in this writer's opinion. However, the bands Cactus influenced, and continue to these days, is a list much more impressive. Van Halen, Ted Nugent, King's X, David Coverdale, Steve Morse, Billy Sheehan, Kid Rock, even present day riff-meisters such as The Muggs have all praised the band, citing them as a major influence and inspiration during interviews. Take a listen to Van Halen's "Hot For Teacher," compare it to Cactus's frantic version of "Parchman Farm" and you'll see exactly where Eddie and Alex got the inspiration for the music for that Van Halen classic. The riff at the opening of "Eruption" is almost a direct lift from "Let Me Swim" from the band's self titled debut. During Van Halen's club days it wasn't uncommon for them to fill a generous portion of their sets with Cactus songs; recently David Lee Roth would play "Evil" on his now defunct radio show on a daily basis. Hell, Hendrix was a fan of the original band, so say no more there!

Amazingly, over 34 years after the last Cactus album, like the mythical Phoenix, the band, with ex Savoy Brown singer Jimmy Kunes replacing the late Rusty Day, have risen once again to lay upon us 'Cactus V', an album (with assistance from The Lizards' Randy Pratt on smokin' blues harp) sounding like they picked up playing after perhaps a month's break rather than over three decades. Featuring 14 rocking originals in the same style as when first together, this is a glorious return to form for these legendary performers. One that must be ranked as one of the finest comeback efforts in the recent history of hard rock. http://www.cactusrocks.net/
http://www.carmineappice.net/

Check out "One Way...Or Another" from the first Cactus reunion gig at BB King's in New York City, 2006, which can be found on the recently released 'Cactus Live' DVD of the show :

The Eli Cook Band's Been Drinking That ElectricHolyFireWater

The Eli Cook Band
ElectricHolyFireWater
Cookin'

Review by Nightwatcher

Do you dig the blues but love metal too? Well here's an album that can satisfy both at the same time. On their third album, power trio The Eli Cook Band concoct a great mix of down and dirty blues mixed with Black Label Society heavy riff metal, resulting in not only a collection which is true to the roots but one you could mosh to also.

Not far removed from what bands like Corrosion Of Conformity, Clutch and the previously mentioned BLS are doing, the 13 tracks found here are melodic in a modern heavy rock sense, but over the top of the crushing riffs one can hear guitarist Cook's roots in Muddy Waters, Robert Johnson and Jimi Hendrix. From the opening heaviness of "Santeria Shakedown" you get an immediate sense that B.B. King this ain't. And you'd be right.

As Cook drawls about "BadMotorfingers" the chugging grind of rhythm section bassist Eric Yates and drummer Jordan Marchini take this to headbanging stage, the guitarist laying down searing, almost psychedelic licks, wrenching the notes out in a molten metal haze. "Bury Me" could easily be a radio hit, the thick as molasses guitar cutting through the mix while bass and drums swing with a passion normally not found in heavy music these days. Equally adept at slide guitar, Cook evokes the spirit of Elmore James in modern form on "Shotgun Blues". If James came back as a young white metal head that is.

You'd swear that you were listening to Zakk Wylde at his acoustic based best on "Light That Gasoline", which could easily be mistaken for an unreleased track from the former's 'Book Of Shadows' album. Throughout the rest of the songs, which include a more than credible takes of Jimi's "Spanish Castle Magic" and the Willie Dixon penned classic "Back Door Man", it's clear this isn't your father's blues.

Cook is certainly no Stevie Ray Vaughan clone, and the music found here would easily fit in any heavy radio format. In fact, out of all the young blues based rockers, I'd venture he'd be the closest to fooling the kids of today into listening to the blues without realizing it. In that sense, he's not that far removed to how Zeppelin did it back in the 70's, and if he isn't to that level yet, this is still one damn fine album which rockers and more open minded blues fanatics can both enjoy. 8.5/10 http://www.myspace.com/electricholyfirewater

Live video of "Firefly" featured on the album :

Maxim Magazine Reviews New Black Crowes, Admits Never Hearing It

This quite disturbing story comes courtesy of our friends at AntiMusic.com

Apparently that great bastion of great music journalism, Maxim Magazine, took it upon themselves to review the upcoming Black Crowes album 'Warpaint' WITHOUT having heard the album first!

When busted, as advance review copies were as of then not made available for the release, Maxim not only admitted it, but defended their actions as providing an "educated guess preview". Not only that, they gave it only 2 and a half stars. Now, whether or not the new Crowes is a mediocre release or not certainly will depend on your point of view, but to blatantly LIE about something you haven't heard or seen is simply inexcusable. So, remember you bands/artists who might be considering sending in a promo to the magazine-DON'T WORRY about it, they've already written it!

To read the entire story go to this location :

Maxim Black Crowes Review Fraud

Unsung Guitar Great : Andy Latimer Of Camel

I'd like to take this time to send out my extreme best wishes and encouragement to one of the all time greats of rock guitar, founding Camel guitarist Andy Latimer, who is going through a rough time right now. Andy has suffered from a progressive blood disorder since 1992, which has since progressed to myelofibrosis. Latimer has responded well to treatment, but suffers from fatigue. This was part of the reason why Camel ceased extensive touring. In late 2007, he underwent a bone marrow transplant and his doctors are currently monitoring his progress. Currently Andy is back in the hospital since early February, and hopefully it won't be for much longer. Get well soon Andy and keep the faith!

Check out this classic clip from the Camel DVD 'Coming Of Age', a stirring version of "Ice":

Band To Watch Out For : Get Vegas

If you long for the days of such heavy blues rockers such as Free and Bad Company then you should definitely keep an eye and ear out for unsigned UK band Get Vegas. Hailing from the North East of England, this hard rockin' quartet has the sound down pat. With vocalist Jonny Cole sounding like the second coming of Paul Rodgers, and the songs recalling that same vibe, this is certainly a band to keep tabs on.

While their MySpace page lists them as being 'Alternative/Blues', rest assured there's no grunge, post grunge or anything indie rock sounding about them. What you'll hear is unadulterated 70's styled rock that while being slugged out currently in pubs wouldn't sound out of place, and would probably be more well suited for, arenas. And based on the evidence to be had thus far, that's where you'll probably be hearing them in the not too distant future. Don't take my word for it though, check out the samples offered here :
http://www.myspace.com/getvegas

StoneRider Big Ballsy Rock From Atlanta

StoneRider arrives with whip-ass grooves and balls-out-rock-n'-roll for anyone who has ever thrown back a brew to Led Zeppelin, Jimi Hendrix or AC/DC or lit a spliff chilling out to Lynyrd Skynyrd or even Pink Floyd. http://www.stonerider.net/
http://www.myspace.com/stoneriderband

Southern Rock From The Orient? Bluestone Company Will Make You A Believer

Bluestone Co.
Bluestone Co.
Big Stone/Hip Land

Review by Nightwatcher


Think that the Southern U.S. has the market on great dixie fried rock bands? Well think again as the debut release from Osaka rockers Bluestone Co (Formerly The Savoy Truffle). shows conclusively that these Japanese musicians can play with the best of the best. Joined by Texas blues guitarist extraordinaire Chris Duarte on guitar and vocals, this is a treat for classic rock fans.

Although consisting of only 7 tracks, when you're talking about extended jamming, one thing you won't get are simple three minute pop songs here. There's plenty of time to get a groove going, and if Toshihiro Sumitomo were born in the U.S. and had an easier name to pronounce, no doubt he'd be a household name amongst blues rock guitar fans. Blending together with Duarte to give an Allman Brothers type feel, reinforced by the backing of two drummers, this is an album which shows that even far away from where it began, the influence of the sounds of the south has spread long since the heyday of the genre back in the 70's.

Featuring excellent guitar work and rocking hard rhythms, this is an album which will fit in well in the collections of those who grew up with The Allmans, Molly Hatchet and Skynyrd all the way to the heavier sounds of such modern day purveyors such as Gov't Mule. Grab this one without reservations, as the playing is hot and faithful to the blueprint set over 30 years ago. Definitely recommended. 8/10 http://www.myspace.com/bluestonecompany

Rave On Rory!

Check out this electrifying classic clip of "The Irish Clapton", the late, great Rory Gallagher doing a spellbinding version of "Bullfrog Blues" in 1977. They don't make em like this anymore!:

AC/DC Brings High Voltage To Your DVD Player With 'Plug Me In'

AC/DC
Plug Me In (DVD)
Columbia Records/Sony BMG

Review by Nightwatcher

For their first release after signing with Columbia Records, Rock & Roll Hall Of Famers AC/DC reach back into their vaults for the amazing 'Plug Me In'. Following on the heels of their last retrospective 'Family Jewels', which in itself was fairly comprehensive, it's astonishing that there was so much left to mine. Running approximately 5 hours with bonus features, and split in two not unlike the prior release with the Bon Scott years (1975-1979) on the first, Brian Johnson(1981-2003) on the second, this is yet another treasure trove for AC/DC fans.

Beginning with an Australian lip synced tv performance of "High Voltage" from 1975 on ABC TV's 'King Of Pop' awards, one is immediately reminded of how much presence and power the original band had, even during the early years. All the hits are here, and to list them all would take up way too much space, but it's clear right from the start that the band were destined to be stars. Of extreme interest is rare footage filmed at St Alban's High School, Australia, from March 1976, where, even though in black & white, they kick ass throughout. Looking back, it's almost mind blowing to see how damn YOUNG Angus looks. Although in his late teens, he doesn't look any older than fifteen, skinny as a rail, and if one didn't know better, due to the manic energy exuded, you'd swear he'd just consumed an eight ball of coke before performing. It almost makes you tired watching him. Having that much energy should be a crime!

One segment which not only rocks, but is amusing as well is the performance clip of "Rocker". Recorded for BBC TV's 'Sight & Sound In Concert' in London 1977, the late Bon Scott is at the top of his game, leering lasciviously, showing the talents which made him one of the top front men in rock history. During the guitar solo, when Angus cavorts through the crowd, the look on people's faces is priceless. Remaining for the most part staid and proper in the fine British tradition, it's clear that most don't know what to make of this shirtless rock n roll maniac - with the exception of one notable longhair, who's seen banging his head, hair twirling around, while Young, seemingly crazed gets up on the balcony ledge, seemingly possessed with the power of rock. The main disc portion consists of 18 tracks, all which confirm that while Scott led the band, there was no one arguably better at hyper blues based metal.

The bonus features are interesting, consisting of more performances and rare interviews from Australian and British TV, and to be honest, although you may not watch the interview segments more than once, they still are great to have, lending a sense of completeness to the package.

To be fair, although the band achieved its greatest success after Scott died, with his replacement Johnson, things began to get a bit predictable. Brian Johnson is a great vocalist whose only downfall was to come after Bon. Dependable to a fault, despite going on to become mega stars, after the first few albums they're all pretty much interchangeable. There are some highlights to be had on this second disc, such as the Tokyo show from 1981, right after Jonno joined, and it includes the until now unreleased jam with The Rolling Stones (Angus and Malcolm only) doing "Rock Me Baby" at Toronto's "Toronto Rocks" or "SARSStock" fest in 2003. All in all still extremely enjoyable throughout, but trust me the Bon disc is going to keep you coming back more. This is a great purchase for AC/DC fans both old and new, and is a wonderful compliment to the earlier 'Family Jewels' collection from a couple of years ago. 9/10 http://www.acdcrocks.com/

Back Door Slam : Could They Be The Best UK Blues Band Since Fleetwood Mac?

At only an average age of approximately 20, Isle Of Man blues rockers Back Door Slam have been setting the blues rock world on fire as of late. Featuring the incendiary yet tasteful guitar work combined with soulful vocals of Davy Knowles, this trio has talent to spare. Wowing audiences across the U.S. during their recent tours, they've also attracted the attention of The Who, receiving an invitation to open for the Rock & Roll Hall Of Famers on the opening night of the UK Peel Bay Festival in May of 2007.

The band released their debut album 'Roll Away' on June 18, 2007 in the Isle of Man. It was then released on July 1, 2007 in America and due for a UK/Europe release later in the year. The 10 song disc (plus 1 bonus track) includes live favorites "Come Home" and "Too Late", along with poignant love song "Too Good For Me", new composition "It'll All Come Around" and one cover - 1920s blues classic "Outside Woman Blues" (originally recorded by Blind Joe Reynolds but most famously covered by Cream on their album 'Disraeli Gears'). The title track, "Roll Away" is an acoustic, imagery-laden reminder of the band's Celtic roots and a strong testament to singer Davy Knowles' versatile songwriting abilities. Belying their relative youth, this is a stunning debut that recalls the heavy blues of Cream and Hendrix while retaining a melodic classic rock sensibility which beckons the listener to want to hear it over and over, making this surely one of the best releases of 2007.

Currently on tour in the U.S., including an appearance at the massive Bonnaroo Music Festival in Tennessee June 12-15, which will see these talented youths alongside Robert Plant/Alison Krauss, Pearl Jam, Metallica and The Allman Brothers amongst many others, this is a band who seemingly is on a meteoric rise to fame. http://www.backdoorslam.com/home.htm http://www.myspace.com/backdoorslam

To stream 40 minutes of their show 02-08-2008 at Oxford MS go here:

http://tela.sugarmegs.org/darkstar/BackDoorSlam2008-02-02OxfordMS.wma


Promo video for "Come Home" :

The Answer Rise To The Occasion

The Answer
Rise
Albert Productions

Review by Nightwatcher

Conjuring up the spirit of classic Zeppelin, Humble Pie and other heavyweight British bands such as Free, Ireland's The Answer have, with their debut 'Rise', come up with an album that's destined to be a modern day classic upon arrival. While most bands of this ilk stumble along the way to paying homage, these young Irish lads hit the mark and then some , fulfilling the promise of their earlier EP's and then some, creating what must be considered a strong contender for album of the year.

Ramming down the door immediately with the muscular riff rocker "Under The Sky", it's quite obvious the band is playing for keeps. Whether it's heavy, wah inflected rockers such as "Never Too Late", which comes across as almost a lost Humble Pie track, or the trips down to the Delta that are "Memphis Water" or "Preachin' these boys switch gears with ease- like a fine tuned sports car, they're ready for action. Add in a contemplative "Always" which, with its delicately picked acoustic guitar, Who like keyboards and plainative vocals to end the album and you have an effort that's one for the ages. Amidst all the bluesy hard rockers, they find the time to get a bit reflective with the Tesla-like "Be What You Want" which brings down the heaviness factor a bit without being wimpy. A ballad with balls if you will, and a fine change of pace. But, what you mostly get here is honest, first rate heavy rock without being metal in the fine '70's tradition.

In vocalist Cormac Neesen, the band has found a singer who howls like a combination of Plant and Marriott of old, while guitarist Paul Mahon throws off riffs reminiscent of Jimmy Page or even Angus Young, the perfect foil to provide the necessary thrust these well crafted songs deserve. Add in the Bonham/Moon like drumming of James Heatley and the pounding bass of Michael Waters and you have a combination that clicks, and it would appear the sky's the limit for the band.

This is a consistent album from start to finish, with absolutely no filler, and at a little under 50 minutes is the perfect length. Even though after hearing the entire album, which leaves you wanting more, they don't overstay their welcome, a pleasant change in a day where myriad releases cause one to skip over tracks to get to the ones that truly matter due to over extended running lengths.The esteemed English Classic Rock mag weren't blowing out their ass when they proclaimed this "The best British rock debut of the decade! Believe it!" Trust me, once you hear this one you'll be a believer as well. If you're a fan of classic British heavy rock the way it was played in the '70's, you can't go wrong with this one. 9/10 http://www.theanswer.ie/home.html

The Spirit Of Hendrix Still Lives...

Texas blues guitar legend Chris Duarte tearing it up with an excerpt from Jimi's "Drivin' South :

Airbourne Out Of The Pubs And Runnin' Wild

Airbourne

Runnin' Wild
Roadrunner

Review by Nightwatcher

Tired of waiting for Angus and co. to get off their collective asses and come up with a new studio album? Well, if AC/DC styled stomping bluesy hard rock is what you crave look no further than the debut from Australia's new bad boys of boogie Airbourne. While not an exact clone due to the style being closer to the metal side of things, there's no doubt that these lads have done some serious studying of the sound. More like Krokus, Rose Tattoo or Rhino Bucket in execution, this is full blown party rock- full of energy, sing along choruses, and razor sharp riffs that due to its relatively short under 40 minute length will have you hitting repeat several times over once you've heard it initially.

With titles like "Stand Up For Rock 'N' Roll", "Girls In Black", and "Cheap Wine & Cheaper Women", you won't expect deep lyrical content, but what is written fits the songs to a t. As the promotion touts this as "Genuine Fist -Pumping, Sweat Soaked Rock 'N' Roll", anyone who picks this one up isn't likely looking for heavy thoughts anyway. Leave that for Sting fans. What you get here though is hard driving, balls to the wall, ready for radio melodic metal in the 80's tradition. In fact, this is an album which could've been released in 1989, 1984, or 1981 and still it would've sounded the same.

Sure it's derivative, but what isn't these days? The bottom line with this style of music is whether or not it rocks and is memorable. And on both levels, this is a release which succeeds. If you grew up during the time when this genre was popular, you'll find a hell of a lot to enjoy here. A glorious throwback to when metal was fun, if hard driving rock anthems are your cup of tea (or whiskey), this will slake your thirst and then some.

The fact that this debuted at #106 on the Billboard Album Charts show that EMI, the band's initial label, who dropped the band, made a serious misstep as there's clearly a market for the genre. Their loss, Roadrunner's gain though. Don't make that same mistake. Go and pick this one up, you'll be pleasantly surprised. http://www.airbournerock.com/

UFO To Land On U.S. Shores

Legendary British band UFO will soon land in the US. The group's lineup for the tour is expected to consist of the following musicians: Phil Mogg - vocals, Pete Way - bass, Vinnie Moore - guitars, Paul Raymond - keyboards, and Andy Parker – drums.

EMI has just reissued UFO's first three Chrysalis albums — "Phenomenon", "No Heavy Petting" and "Force It" — featuring a number of bonus tracks.

UFO's latest CD, "The Monkey Puzzle", came out in September 2006 via SPV Records.

Apr. 09 - Baltimore, MD - The Thunderdome
Apr. 10 - Poughkeepsie, NY - The Chance
Apr. 11 - Sayreville, NY - Starland Ballroom
Apr. 12 - New York, NY - B.B. King's
Apr. 13 - Akron, OH - Tangiers
Apr. 15 - Pittsburgh, PN - Rex Theater
Apr. 16 - Nashville, TN - Wildhorse Saloon
Apr. 17 - Milwaukee, WI - Potawatomi Casino
Apr. 18 - Medina, MN - Medina Entertainment Center
Apr. 19 -Chicago, IL - House Of Blues
Apr. 21 - Sauget, IL - Pops
Apr. 22 - Oklahoma City, OK - [to be announced]
Apr. 23 - Dallas, TX - House Of Blues
Apr. 24 -San Antonio, TX - Hemisfair Park
Apr. 26 - Las Vegas, NV - Boulder Station Casino
Apr. 27 - Ventura, CA - Magestic Ventura Theater
Apr. 28 - Phoenix, AZ - The Clubhouse
Apr. 30 - San Diego, CA - Brick By Brick
May 01 - Santa Ana, CA - Coach House
May 02 - West Hollywood, CA - Key Club
May 03 - Santa Cruz, CA - The Catalyst
May 04 - San Francisco, CA - The Independent
May 06 - Northern California - [to be announced]
May 07 - Seattle, WA - El Curazon
May 08 - Portland, OR - Aladdin Theater
May 09 - Coeur Dàlene, ID - The Grail

http://www.ufo-music.info/

To whet your appetite, here's a excerpted clip of "Rock Bottom" from the band's superb 'Showtime' DVD (With Jason Bonham on drums) from a couple of years ago :

King Karma mines the hard rock past for the future with 'King Karma'

King Karma
King Karma
Centurion/Universal

Review by Nightwatcher


There must be something in the air on the West Coast of Canada these days. First, Erol Sora put out an incredible debut disc, then now, along comes another Vancouver based King Karma, who on their self titled debut put forth an amazing statement of classic blues inflected hard rock that will bring back hope to the rock n roll faithful.

Beginning with the radio ready "Breathe," which would be a natural when played next to such modern day radio staples such as Audioslave, this is a great disc from start to finish, without any filler in between. What you get here are 12 tracks of first class rock courtesy of a collective of musicians who know what they want and go for it. Whether it's the Bad Company by way of AC/DC thrust of "Blue Monday," the heartfelt balladry of "Mama's Pride" or "I'm Listening" to the balls out Zep influenced rock of "Into The Everlast" this album is truly a joy to behold.

It's rare that a band gets everything right the first time around, but damn if King Karma hasn't accomplished what so many bands strive and fail accomplishing : A true classic on their first attempt. Whether it's the crunchy guitars supplied by Markus Wolfe, the heavy bottom end from bassist Todd Ronning and drummer Rick Fedyk or the soaring vocals of Shaun Williamson, this is a band filled with more talent than 100 of your Green Days or White Stripes combined. If young listeners want to hear some real rock they just need to be directed to this release and they'll soon find what they've been missing all along. And, if you're a long time classic rock listener who thinks that they just don't make them like they used to, this will restore your hope that all is not lost when it comes to music that can be compared to the genre's heyday.

Superbly produced by the legendary Jimmy Johnson(Lynyrd Skynyrd, Rolling Stones, Amazing Rhythm Aces) it has the right clarity and sonics to ensure these compositions are fully heard in their best light. This is a world class release from a world class band, filled with great songs and great playing, and if you love classic metal and hard rock with both swagger and grace you owe it to yourself to pick this one up. http://kingkarma.com/

If God had a band....

It might very well sound like this...Dig this classic from the mighty Deep Purple, live at The BBC for Doing Their Thing on 21st August 1970 :

Endeverafter rock like it's 1989 with Kiss Or Kill

Endeverafter
Kiss Or Kill
Razor & Tie

Review by Nightwatcher

Listening to this band, you'd think the 90's, and all the whining, moaning and introspection of the grunge era never happened. Huge choruses, a ton of attitude and swagger combined with big, dumb metal riffs and honest to Lucifer guitar solos make this debut from Los Angeles based Endeverafter a winner from start to finish.

Ranging from hard edged metal such as "Poison" and "Road To Destruction" and "From The Ashes Of Sin" to more pop metal stylings of "Gotta Get Out" and "All Night", even throwing in a couple power ballads along the way, this is a melodic hard rock lover's goldmine. Influences abound, from the Thin Lizzy-esqe guitars on opener "I Wanna Be Your Man" to the AC/DC like guitar solo on "Baby Baby Baby"-there are even HUGE choruses and hooks not heard since the heyday of Def Leppard on display here.

If you dig Buckcherry's latest, 80's hair metal or even the harder sounds of the 70's, you'll love this album too. As guitarist/vocalist/songwriter Michael Grant says, "we don't want people to listen to our music and slit their wrists, we want them to smile and have a good time". Trust me, you'll have a lot of fun and a good time with 'Kiss Or Kill'. 9/10 www.endeverafter.com

Unsung Legends Of Rock Profile : Sir Lord Baltimore

Formed in 1968, Sir Lord Baltimore stormed out of Brooklyn, New York with their debut release 'Kingdom Come' in 1970. SLB were a band ahead of their time. Playing a frenzied brand of heavy rock which was in stark contrast to the sounds which were extremely popular during the early 70's, the band put out two of the most molten slabs of heavy rock in '70's 'Kingdom Come' and '71's self titled follow up. Featuring the incredible vocals of John Garner (also sitting behind the kit, becoming one of rock's first singing drummers ), this is a man who could literally sing the phone book and make it sound suitably heavy. Rounding things out was guitarist Louis Dambra( later joined by brother Joey on guitar for the 2nd album) and Jack Bruce influenced bassist Gary Justin, this was one of the best bands too many have never heard.

Discovered by manager Dee Anthony, who also helped launch the careers of Humble Pie, Free and Joe Cocker, a debut album mixed by Hendrix's right hand man Eddie Kramer, featuring the involvement of future Bruce Springsteen manager Mike Appel, who co-wrote and helped arrange all of the songs on their first LP, this is a band who deserved to be HUGE. So, why weren't they? Garner has blamed drugs, relatively low record sales and being ripped off monetarily as the factors in their eventual breakup, but it may be also that they were just ahead of their time.

Listen to "Lady Of Fire," from 'Kingdom Come' and you can hear where Deep Purple's Ritchie Blackmore snagged the riff to "Woman From Tokyo". The band was reportedly a huge influence on the fledgling KISS, namely Stanley and Simmons, who would regularly show up at their shows on Long Island. Add to the legend the fact that in a now legendary review of the first album in Creem Magazine, the first reference to "heavy metal" as a genre was used, all adding up to a story of a trio who while never getting their due in a commercial sense, one whose influence has spread throughout the years to mythic proportions.

Remarkably, some 30 years after the band's break-up, Garner and Louis Dambra have reunited to record and self-distribute a new album, 'Sir Lord Baltimore III Raw,' a slab of classic sludge metal true to the original sound. Over three decades may have passed, but the music contained on this release, the majority written back then, albeit a bit raw (hence the name) is classic proto metal. Produced by Garner, the six tracks on display here show conclusively that even after three decades, the man hasn't lost a step vocally. While contemporaries such as Gillan, Plant and Daltrey are showing their age, the vocals here are nothing short of revelatory. While recently recorded, they're vital enough to have been laid down thirty years ago. Joined on this trek by ex Firm bassist Tony Franklin, who contributed most of the bass parts, with guitarist Anthony Guido and bass player Sam Powell as guest musicians, this is a true trip to rock's heavy past.

http://www.myspace.com/sirlordbaltimorewebsite

Interview with John Garner of Sir Lord Baltimore :

http://rocknrolluniverse.com/rocknrolluniverse_481.htm

Steve Fister Band To Support Joe Satriani on European Tour

Steve Fister "Deeper Than the Blues" Tour News

The Steve Fister Band "Deeper Than The Blues" Tour News: The Steve Fister
Band will support Joe Satriani on his European 08 tour, on the following dates:

May 29 Thu Filharmonie Filderstadt Stuttgart, DE
30 Fri Serenadenhof Nurnberg, DE
31 Sat Phonix-Halle Mainz, DE

June 01 Sun Backstage-Werk Munich, DE
04 Wed GroÃ--e Freiheit Hamburg, DE

Look for Steve Fister, "Deeper Than the Blues" to be released April 11, on ZYX, Pepper Cake in Europe and 2nd Degree in the US.

Steve`s headline shows in Europe April / May will be announced shortly.
Check www.stevefister.com and myspace.com/stevefister for updates.

Steve Fister has forged a solo style uniquely his own. Playing a form of blues rock fusion, Fister doesn't just blend genres, he creates new ones.
(Bernard Baur, Music Connection)

Interview with Joe Bonamassa

Throughout a musical career which has already spanned over 2 decades, Joe Bonamassa, at the still young age of 30, has been producing the music of which legends are made. First picking up the guitar at age 4, by age 8 he was gigging regularly in upstate New York then opening up for reigning king of the blues B.B. King at the age of 12 . While still in his teens, he formed the band Bloodline with Berry Oakley Jr, signing to EMI records and releasing a well received self titled debut album. Despite initial success, the band eventually disbanded, with Bonamassa releasing his first acclaimed solo effort in 2000, the Tom Dowd produced 'A New Day Yesterday'. Featuring hard, bruising covers of British blues rock classics alongside more traditional blues offerings and strong originals, the die was cast - one featuring out of this world guitar wizardry in the grand rock tradition of Jeff Beck, Eric Clapton, Rory Gallagher and Hendrix on a collision course with B.B. King and Buddy Guy. One of the hardest working musicians in the business, racking up upwards of over 200 dates a year, he's acquired and built his following the hard way, overcoming an ever declining music scene.

With the constant touring and recording over the past seven years, the accolades have been rightfully rolling in on a consistent basis. Lauded by critics, fans and fellow musicians alike, he was voted, along with Buddy Guy, as Guitar Player Magazine's Blues Guitarist Of The Year 2007 in the reader's poll. Things are snowballing on an upwards scale rapidly. Guitar One Magazine has stated that that he, "just might be the best guitarist of his generation." His image is popping up on more and more magazine covers, which goes a long way in illustrating his ever burgeoning popularity. If current trends continue, it would be a fairly safe bet that there will be a Grammy Award (or two) in the not too distant future as well .

Now Bonamassa is back with with his sixth studio release 'Sloe Gin'. Featuring eleven tracks ranging from rousing, hard driving rockers such as "Ball Peen Hammer" and "Dirt In My Pocket", the"Layla"-esque Southern rock stylings of "One Of These Days", monumental slow blues as on the epic title track, to more contemplative acoustic based fare found on "Richmond" or "Around The Bend", it's easily the most diverse album of his already illustrious career. Produced superbly once again by Kevin"The Caveman" Shirley (Led Zeppelin, Aerosmith, The Black Crowes), the album serves as an excellent calling card for his prodigious abilities, both as a guitarist and a vocalist. One which in time will likely be seen as a benchmark against which future offerings in the blues rock genre will be compared against.

Recently I was fortunate to catch up with Joe during the sound check on the eve of a hometown show in Utica, New York, where the guitarist had just received news that the album had debuted at #1 on Billboard's Blues Chart, #10 on the Top Internet Albums Chart, #4 on the Heatseeker Chart, #24 on The Top Independent Albums Chart and #184 on The Billboard Top 200 (the latter being the best showing to date for this incredibly gifted artist who is taking the blues kicking and screaming into the 21st Century.) Read on as we have a candid conversation with one of today's true guitar legends, Joe Bonamassa....


http://rocknrolluniverse.com/rocknrolluniverse_479.htm

Vanilla Fudge Take Led Zeppelin Out Through The In Door

Out Through The In Door
Vanilla Fudge
Escapi Music

Review by Nightwatcher

Fresh off having their signature song, the classic heavy slab of psychedelia "You Keep Me Hangin' On" featured twice on the controversial final episode of 'The Sopranos,' rock legends Vanilla Fudge are back with their 8th album 'Out Through The In Door'. Featuring 12 Led Zeppelin classics redone the Fudge way, original 4 members drummer Carmine Appice, bassist Tim Bogert, guitarist Vince Martell and keyboardist/lead vocalist Mark Stein have come up with a loving homage to the band whom they helped rise to stardom, giving them the opening slot on what was Zep's first legendary U.S. tour. While I'm not normally particularly a big fan of tribute/cover albums, Vanilla Fudge's stock and trade back in the day was taking songs such as the aforementioned Supremes song, as well as songs by The Beatles, slowing them down and making them their own, so who better to do an album such as this?

While the band for the most part hasn't completely changed the arrangements on the songs, this still is an impressive outing. Beginning with "The Immigrant Song," which I was surprised to find at almost the same tempo as the original, immediately one is impressed at how good after all these years the band sounds. Stein's vocals are suitably powerful, while Appice and Bogert drive the song along in fine fashion, befitting of one of the best rock rhythm sections of all time. Fine guitar work courtesy of Vinnie Martell rounds off the track, and it's a great start to the album. Continuing on through renditions of "Ramble On," "Trampled Underfoot," "Dazed And Confused," and another surprising choice in "Black Mountain Side,"(where Martell impresses with fine acoustic guitar work, a rarity on Fudge albums), all the way to an amazing version of "Your Time Is Gonna Come," which could've easily fit on any of their original albums, this is an enjoyable ride. Appice even gets a chance to show how his drums would've sounded if he was in Zep with a slamming "Moby Dick", paying both homage to and linking the two men, Carmine being one of the late Bonham's big influences, bring it all full circle.

Still at the top of their game musically speaking, these 4 have crafted something different, although very familiar in the process. Kudos have to be given for resisting any temptation to include any sort of rendition of "Stairway To Heaven", as not only being one of the most overplayed songs in history, but the entire flow would've been disturbed by its inclusion.

Production, courtesy of Appice is modern, yet retro at the same time, allowing the instruments to breathe, unlike the majority of releases which jack up the mix to an almost unbearable listening experience, this is truly a treat sonics wise.

Honestly, given the state of the music industry these days, this isn't likely to set the world on fire, sales wise, but 'Out Through The In Door' shows that these rock veterans still have what it takes to put out a very solid album, much better than at this stage of the game it has any right to be, and for that we should be thankful and pick this one up. If you're a fan of either band, you're certain to find a lot to enjoy here. 8/10 http://www.vanillafudge.com/

Blue Cheer/Supergiant 01-28-2008

Blue Cheer/Supergiant
The Launchpad
Albuquerque New Mexico
January 28th, 2008

Concert review by Nightwatcher

There are a lot of arguments on who exactly were the first metal band of all time. Some say Sabbath, some say Zeppelin. And still many others lay claim to this band, namely the still "Louder Than God" Blue Cheer, who burst onto the scene in early 1968 with the molten, heavy sludge classic "Summertime Blues" and corresponding album 'Vincebus Eruptum'. Well, one thing is certain. In the year 2008, there is no band still around from the 60's who are as unrelentingly and unrelentingly heavy as this trio. A fact which they displayed quite mind-blowingly as they rocked the house at The Lanchpad in Albuquerque, New Mexico.

Although they were contemporaries of Hendrix, Cream and Joplin, this is one band who is anything BUT a nostalgia trip. True, a lot of the songs they played were originally recorded by the power trio 40 years ago, but their delivery is incredible, and would be the envy of musicians 1/3 their age. From the moment founding member bassist/ vocalist Dickie Peterson exclaimed, "This is Blue Cheer and this is what we do", thereby launching into a powerful version of "Babylon" they owned the stage. Throughout a two hour set, which contained all the favorites, from devastating versions of "Parchment Farm", "Out Of Focus", "Doctor Please" and the previously mentioned "Summertime Blues", also incorporating selections from their brand new album 'What Doesn't Kill You...', this was one prime example of pure rock power.

Also an example of pure rock volume as well-one of the loudest shows I've had the pleasure of witnessing, quite befitting of a band whom before Deep Purple took the honor away, was once classified by The Guiness Book Of World Records as "The Loudest Band In The World". It's no wonder Peterson has callouses on his eardrums!

So loud in fact that I'd venture to say that they may have disturbed the heavens that night, resulting in a freak snow storm, with visibility reduced to near zero by the time we left. The interplay betwen the members was quite impressive. Also comprising of co founder Paul Whaley on drums and long time guitar wizard Andrew "Duck" McDonald on guitar, they were as a well oiled machine, firing on all cylinders. Do yourself a favor if these guys come to your area. Go and see them. You will NOT be disappointed, trust me.

Support for this was provided by local band SuperGiant, whom, due to the overwhelming volume, failed to capture the subtleties heard on their debut EP, but still show a lot of potential with their Sabbath-like stoner sludge being leavened out by classic hard rock leanings.

Joe Bonamassa's Intoxicating Sloe Gin

Joe Bonamassa
Sloe Gin
J&R Adventures

Review by Nightwatcher


Well, the wait is finally over. 'Sloe Gin', the long awaited follow up to 2006's stellar 'You & Me', reaffirms the fact that in the world of blues rock, Joe Bonamassa literally has no peers. One of the most exciting guitarists to come along in decades, this is the work of an artist at the peak of his abilities.

But to classify Bonamassa as merely a blues musician would be a great disservice. For while his albums have consistently reached #1 on Billboard's Blues Album Charts, with this album he transcends what is normally accepted in the traditionally purist blues circles, coming up with a wonderfully diverse collection that defies simple categorization. One which may be looked at as his maturation, at the age of 30, into his own man, artistically speaking.

No longer tethered to tradition, the guitarist shines like the sun, as hot as Phoenix or Las Vegas on a summer afternoon. Not just an incredible display of in-your-face guitar wizardry, this album showcases a broader instrumental palette than ever before. Apparently not content to just be known as a guitarist's guitarist, after being voted Guitar Player's Blues Guitarist Of The Year 2007, Bonamassa has instead concentrated on the song and, consequently, the album as a whole.

The album kicks off with a take on the late Chris Whitley's "Ballpeen Hammer". Starting out with rollicking acoustic guitars, the track suddenly erupts into a Zeppelin-esque rocker, Anton Fig's drums powering the song reminiscent of John Bonham ala "When The Levee Breaks". As the track shifts into overdrive, Bonamassa unleashes a solo which recalls the work of Jimmy Page during the latter's later day Zep era phase, unveiling a new sonic tapestry to add to an already overstuffed arsenal of licks, and totally unlike anything he's laid down in the past.

Shifting into a bluesy shuffle akin to 'You & Me's' "High Water Everywhere," on "One Of These Days", he takes the Ten Years After classic in a new direction, expertly conveying the feel of a man pining away in a prison cell, dreaming of a pardon, before morphing into an Allman Brothers/Derek & The Dominos like coda. Not too dissimilar to "Layla," the shift seems to signify his liberation, being in the arms of the woman who's "Got her red dress on". Bonamassa shows his mastery of slide guitar here, conjuring up memories of Duane Allman on the previously mentioned track, while Rick Melick's stately keyboards also lend an extra texture.

Next, we move on to an absolutely amazing cover of Bad Company's classic "Seagull". I've always liked the song in its original incarnation, but I've got to say that after listening to both back to back that I much prefer this version. This is a prime example of the attention paid to the vocals, as Bonamassa delivers a stunning performance, underpinned by slightly phased guitars and keyboards, which rivals Paul Rodgers. High praise indeed, but Joe more than holds his own in comparison. Any lingering doubts concerning his prowess as a vocalist, however misguided, will completely dissipate upon hearing this track. Bogie Bowles turns in a fine, understated drum performance on the track as well.

"Dirt In My Pocket", the first of 5 original compositions (not counting the outro of "One Of These Days") is a grinding, mid-tempo blues rocker which strays away from the norm during the breakdown, where the music switches to a rather Middle Eastern style, replete with tabla courtesy of Melick, before returning to the Mississippi Delta once again. This is one of several tracks which if radio were more accepting, would have the potential to be at the very least a sizeable hit.

While still remaining fairly true to the original arrangement, the title track is a true case of a cover version being infinitely better than the original. The vocals on this track are amazing, ranking up as one of Joe's finest performances ever, completely decimating Tim Curry's on the Bob Ezrin/Michael Kamen penned prototype. I had the privilege of hearing an early version of the track, featuring Doug Henthorn of The Healing Sixes, who did an incredible job on 'You & Me''s sterling cover of Led Zeppelin's "Tea For One". While the vocals on the early version were outstanding, Bonamassa's outpouring of emotion bathes the track with a sense of realism which sucks you in, never letting you go for over eight minutes.

Starting off slowly, building in intensity and tension, aided by Jeff Bova's synthesized strings, the first sharp blast of guitar crackles and burns. The notes lash out against your brain like a bull whip before reeling off a short burst of stuttering toggle switch licks. Quickly followed by a quick flurry of wah inflected playing recalling the finest of Clapton in Cream, heading off towards the sun in the first melancholy yet exhilarating solo that's guaranteed to take one's breath away. At around the five minute mark, unexpectedly police, or more possibly ambulance sirens enter the mix, strongly suggesting that the song's protagonist has succumbed to the intense pain and loneliness and done himself in, creating a powerful, harrowing moment. Before one can catch their breath, thundering drums herald a second soaring solo which stands among the best of his career, conceivably significative of a soul's journey towards the heavens.

Where does one go after that? Well, on this album Bonamassa and co. come off similar to a modern day Jeff Beck Group on "Another Kind Of Love". While being a cover of the John Mayall classic which first appeared on 1967's 'A Hard Road,' featuring on guitar none other than soon to be Fleetwood Mac legend Peter Green, the stinging guitar intro is more evocative of an updated Beck solo from 'Truth'. Tough, hard rocking blues is the name of the game here. Although relatively short at a little over three minutes, it's yet another impressive track on an album chock full of them.

Slowing things down, we encounter a remake of "Around The Bend," originally on the earlier 'Had To Cry Today' release. This time redone as originally intended, the sweet acoustic sound is in marked contrast to the searing electric work earlier on the album, providing a nice change of pace. A cover version of Charles Brown's "Black Night" continues the journey into the dark side of the blues, featuring dynamics which wouldn't sound out of place on a Led Zeppelin album. The comparison is an apt one, as there are many spots throughout where the influence of Jimmy Page shines through in the playing and production.

Producer Kevin Shirley (Led Zeppelin, Aerosmith, Iron Maiden, The Black Crowes) must've taken extensive notes while working with the English guitar legend, as the same mixture of light and shade favored by Page is on display throughout, taking the proceedings to a much higher level than most recordings, blues or otherwise, these days. John Martyn's acoustic blues "Jelly Roll," the languid southern rock of "Richmond" and the raga-like instrumental "India" round off the album in a more meditative mood. The latter is another departure from what is normally expected on a blues album. For such experimentation Bonamassa should be lauded for stretching the boundaries once again.

B.B. King once famously said of the great Peter Green, "Peter Green is the only living guitarist who ever made me sweat". Well, the way that Bonamassa is playing these days, I'd imagine that B.B., upon hearing 'Sloe Gin', will be ordering a few cases of Right Guard. This is an album which begs to be listened to as a whole to be appreciated fully, not taken in bits and pieces. The album's flow, inspired by Rod Stewart's classic 1969 debut album, and the cohesiveness, are commendable. A very well-rounded offering which scores on all levels, I predict this will be the benchmark against which all future releases in the blues rock genre are compared to in the future. A more hard rock album than pure blues per se, the so called "purists" will likely blow a fuse as this one goes to the top of the charts. But whether they like it or not, Bonamassa is the past, present and future of the blues rolled up into one. 10/10 www.jbonamassa.com

Blue Cheer Roar Back On What Doesn't Kill You...

Blue Cheer
What Doesn't Kill You...
Rainman

Review by Nightwatcher


Arguably the first heavy metal band ever, releasing the classic 'Vincebus Eruptum' back in early 1968, scaring the shit out of mellow hippies at the time and scoring a #14 hit with a grungy molten cover of "Summertime Blues", Blue Cheer are back in a big way with a brand new studio release 'What Doesn't Kill You...'. Amazingly 40 years from when they started, consisting of 2/3 of the original lineup, while most of their contemporaries have either retired, died or long since ceased to play rock, the power trio are unrepentently heavy and even more important still damn good.

Fronted still by bassist/vocalist Dickie Peterson, and also featuring original drummer Paul Whaley and long time cohort of 20 plus years guitar wizard Andrew "Duck" McDonald, the Cheer still put out a unmuffled ROAR which would be the envy of bands a third of their age. Bursting out with the ode to dope smoking "Rollin' Dem Bones" it's quite clear that 15 years since their last studio release hasn't dulled their edge. Still plying the heavy, psychedelic-like blues thunder made popular eons ago by Hendrix, this is a band who has stayed true to their roots, influencing countless metal bands from Black Sabbath on down, and if it weren't for the near disintegration of the band in the early 70's, it's most likely they would be in the Rock & Roll Hall Of Fame today. As it is, the fact that they're not, and mindless pop dreck such as Madonna is reveals just another affirmation of what a joke it really is.

All throughout, the band bulldozes through 9 other tracks of bluesy metal, ranging from slower, heavy sludge such as "No Relief" and only the second ballad of their long running career "Young Lions In Paradise" to a blazing cover of Albert King's "Born Under A Bad Sign". The latter featuring a rare vocal turn from guitarist McDonald, lending, like the ballad a bit of variety to break up the unrelenting heaviness of the surrounding songs.

Still vital after all this time, this is much more than just another cash grab. Amazingly solid, 'What Doesn't Kill You' is sure to appeal to both long time fans and younger lions who may have heard of the band but have never had the opportunity to hear the band before. As good as this is, it makes one long to hear them in all their loudness played live. Pick this one up, but also be sure to check the band out on their current tour, where they're sure to rattle the fillings out of your teeth, and possibly make your ears bleed with the sonic onslaught emanating from the sure to be cranked to the max amps.

http://www.myspace.com/bluecheer

http://www.bluecheer.us/

Ryan McGarvey Takes The Blues 'Forward In Reverse'

Ryan McGarvey
Forward In Reverse
Forward In Reverse Music

Review by Nightwatcher

Every once in awhile there comes along an album, or an artist that makes all the bullshit that goes along with this business somewhat worthwhile. Such is the case with guitarist Ryan McGarvey, whose debut release, 'Forward In Reverse' shows a young artist who has arrived fully formed both playing -wise and compositionally.

Bucking the trend favored by most young axeslingers emerging in the genre of throwing in a couple of originals mixed in with a glut of covers, this solid debut disc features all original compositions. Serving to put him ahead of the curve creatively, this is the work of a player whom has a bright future ahead and then some from the evidence put forth here.

Opening up for and playing with such artists as Joe Bonamassa, Blue Oyster Cult, Gov't Mule, The Fabulous Thunderbirds and Buddy Guy, having a deep appreciation for classic hard rock gleaned from cruising through his father's record collection at an early age, 21 year old McGarvey has a sense of musical class which belies his youth. Rather than mining the SRV style which many young blues players are prone to these days, it's more Jimmy Page, Alvin Lee and the previously mentioned Bonamassa that he's akin to. Blending influences such as past masters Freddie King, Hendrix, ZZ Top and Cream alongside 70's styled riff rock, this incredibly talented guitarist has the goods and then some.

The album kicks off in high gear with the sounds of blues harp combined with slide guitar reminiscent of a slightly slower version of Aerosmith's Joe Perry's work ala "Let The Music Do The Talking" on the intro to "Right In All The Wrong Ways" and never looks back. "Joyride" features an early Bad Company vibe intially before exploding into a full blown guitar extravaganza - containing two extended solos, fans of great guitar will love this track. "Texas Special", a homage to SRV is the only time McGarvey truly travels down this path and is well worth the excursion. Cut from the same blues cloth as Vaughan's "Scuttlebuttin'" it's a showcase for this side of his playing - featuring fast fretwork, this live favorite captures the essence of the late legendary bluesman perfectly. "Someone Like You" brings a touch of modern rock to the table - if released to rock radio as a single, this would stand a good chance at providing a possible crossover hit. The acoustic based "Second Time Around", with its delicately picked guitarwork provides a change of pace to the blistering guitar on display elsewhere on the album. "Cryin' Over You" recalls Otis Rush brought into the 21st century. Tough, hard rocking blues is what you get, bringing the sound of classic Chicago guitar based blues to the modern age.

Next, one will encounter the instrumental guitar tour de force "Mystic Dream". Beginning with an intro not unlike recent live renditions of Joe Bonamassa's "Mountain Time", with a middle eastern vibe, there's a decided psychedelic feel. Building in intensity until exploding, the guitars soar and take flight towards the sky. Well constructed, the sheer strength of this track alone would serve notice that McGarvey is poised to assume a place among the cream of the crop of new blues rock players. The album ends on yet another high note with another down and dirty blues, "Blue Eyed Angel Blues". With strong vocals and yet another blast of stellar fretwork, it's a fitting end to an extremely strong debut effort.

Whereas artists like Joe Bonamassa are taking the blues kicking and screaming into the new century, it's players such as McGarvey who are the genre's future. Purists will most likely have their heads explode like in the movie 'Scanners' when they hear some of this, but seeing as earlier(and sometimes the same) said keepers of the blues museum felt the same way about Muddy Waters, Buddy Guy, Jeff Beck, Hendrix and Jeff Beck in decades past, I'd say he's in good company. Preview the future of this living music today. Wrap your ears around this release without hesitation. You won't be disappointed, to say the least. In the crowded blues rock throng McGarvey stands out as the real deal. 9.5/10 http://www.myspace.com/ryanmcgarvey

Check out The Ryan McGarvey Band during their smokin' appearance on 'New Mexico Southwest Sounds' which aired early January, 2008 :