Written By Braddon S. Williams

Certain memories never lose their brightness and clarity. The first time I ever heard the music of Van Halen is one of those special events in my personal history.

Their debut album was released in 1978 and had been out for maybe a month when I decided to take a chance on it and spend some of my meager teenage funds. I remember being intrigued by the striped guitar Eddie was holding on the album cover, and the implied sense of combustible energy flowing out of the pictures of the four individual band members. There was a sense of pure adrenaline even in still photographs of Van Halen.

Somehow I had avoided hearing anything from the debut on the radio up to that time, so my virgin listening experience was pristine. To add to the sonic bliss I was about to bask in, my mother told me I would have to listen on headphones due to her having company in the house when I arrived home. I recall being instantly impressed with Ted Templeman’s production work from the opening notes of Runnin’ With The Devil. From the first power chords, Eddie’s fabled “brown sound” was a revelation, but nothing could have prepared me for my first hearing of the seismic fusillade of Eruption. Upon completion of the sonic maelstrom of pure guitar mastery that Eddie’s signature solo showcase displayed, I must have looked like a bug-eyed psychopath to my mom and her friend, as I’m sure I lost control of my facial muscles for an undisclosed period of time. There was no time to recover as You Really Got Me followed with more glorious rock ‘n roll hedonistic glee. I think I made it to the end of side one before having to tell the (hopefully amused) women that my life had undoubtedly changed forever.

As far as guitar playing goes, that assessment was certainly true. In my lifetime, there have basically been two guitarists who have changed the entire landscape of rock music; Jimi Hendrix and Edward Van Halen. By the time Eddie arrived and turned my world upside down I had been playing guitar for 3 years, and had played trumpet for around 6 years, meaning I had enough musical knowledge to grasp that what I was hearing was pretty miraculous.

Van Halen (the band) delivered blistering hard rock, but tempered their songs with pop sensibility coupled with clever lyrics and irresistible choruses; in short, they had a little something for everyone. Consequently, their concerts attracted just as many female fans as males, which was not unnoticed in my teenage libidinous years. Van Halen’s concerts were bigger, brighter, louder, and more FUN than anyone else’s, and I was fortunate to be in attendance for 5 shows from 1979 to 1984.

One thing I always loved about Eddie Van Halen on stage was his big, goofy smile that never seemed to leave his face. So many musicians of that era took themselves so seriously, or were trying too hard to look tough. Ed was clearly enjoying rock stardom to the maximum, and obviously knew he was playing at an otherworldly level, so that smile invited all of us fans into the perpetual party that was the core of Van Halen Nation.

As the years went by and more landmark albums arrived, Eruption continued to expand, encompassing more intricate layers and displays of magic, including the glacial elegance of Cathedrals, Ed’s breathtaking exploration of volume swells. Eventually, David Lee Roth departed and Sammy Hagar entered, and Eddie indulged his love of keyboards, but throughout all the changes he remained a guitarist’s guitarist, and we all kept a close eye and ear on all he accomplished.

In the wake of Eddie’s reinvention of rock guitar, many imitations sprung up, and many more were simply inspired to raise their game to new levels of technical feats of fancy fretwork. Through it all, Edward Van Halen continued to innovate, both as a player and as an inventor. He tinkered with his guitars, with his amps, with his pickups; anything to achieve the sounds in his head. I hope I can describe something that has always awed me about his playing…it’s as if Eddie had his own rhythm system in mind, and his note placement resulted in phrases and fusillades of notes that landed in uncharted and unexpected territory. It was like nobody told him that what he was playing shouldn’t logically work, but once you heard it, those notes and phrases were perfectly located. Obviously his lead guitar work is rightfully regarded as legendary, but his rhythm guitar playing was staggeringly good, as was his songwriting.

I’ve read reports that he never learned to read sheet music, and remember reading an interview where he claimed he didn’t even count in his own songs, reasoning that his brother (drummer Alex) had that part covered. I could go on and on, but I’m going to stop now and offer a simple thank you to King Edward Van Halen for his legacy, for his music, and for his life. Be at peace, Ed…your music will forever be the soundtrack to summertime for me and millions of others!

The Legacy Of King Edward VanHalen

Written By Braddon S. Williams AKA “The Concert Critic”

Braddon S. William’s playing in the band “Rogers Ritual” as openers for Bret Michaels

Live music has been on my mind quite a lot during this time of quarantine and social distancing, sparking much nostalgia about shows I have attended thus far in my lifetime, along with speculation (and dread) over how concerts will proceed moving forward. Personally, I don’t have a clue what is in store, or even when we will all be able to gather in large groups to experience some live shows again. This break in the action has definitely been fostering a ton of creativity among musicians in many genres, and I am eager to see how many amazing songs and albums await us in the aftermath of this pandemic.

Social media has been full of inspired collaborations and live performances, and it has certainly been entertaining, but let’s face it…nothing beats the thrill of actually being at a show. The exchange of energy between the artists and the audience is simply something that must be experienced in person.

Having begun my love affair with live music in 1976, I readily admit I am hopelessly addicted to the thrill of seeing and hearing the music delivered at maximum impact.
My father drove me (along with a couple of my friends) to Market Square Arena (RIP MSA!) in 1976 to see Kiss, Bob Seger & The Silver Bullet Band, and Artful Dodger (all for the price of $6.50!). Needless to say, the torch had been lit, and from that moment forward I have continually been looking forward to the next time. All the while, I have been compiling this staggering list of incredible experiences at shows. No matter if the venue is a tiny indoor hole in the wall or an enormous outdoor state of the art facility, the recipe remains largely the same; I am with people I love, surrounded by people just like us, people who love the music, bands, energy, and sheer spectacle of the scene. We meet new friends and share stories about past shows and generally learn that our tribe is pretty damn spectacular for the most part. For that relatively brief time we are together, we all escape all the negativity, stress, and anxiety of our “normal” lives. For that time, if we are lucky, we experience a bit of bliss.

In the 44 years I have been attending concerts, I have been fortunate to see many iconic performers and performances, and have crossed a huge chunk of bands and artists from my personal bucket list. Of course, I have also seen people that have passed away since I saw them, making the experiences even more precious. Among my treasured memories are The Rolling Stones, Frank Zappa, Ramones, Iggy Pop, Willie Nelson, Jimmy Page & Robert Plant, The Who, ZZ Top, Rush, Kiss, Queen, Steely Dan, Tom Petty & The Heartbreakers, Bruce Springsteen & The E Street Band, Robert Plant And The Sensational Space Shifters, Ted Nugent, Crosby, Stills, Nash, & Young, Fleetwood Mac, Jeff Beck, Yes, Foghat, Heart, Cheap Trick, Max Webster, The Doobie Brothers, Aerosmith, Supertramp, B.B. King, Buddy Guy, The Allman Brothers Band, Lynyrd Skynyrd, Santana, Foo Fighters, Johnny Winter, Joan Jett & The Blackhearts, George Thorogood & The Delaware Destroyers, The Black Crowes, Oasis, Weezer, Ween, The Flaming Lips, The Raconteurs, Patti Smith, Bob Mould, Snoop Dogg, Ice Cube, Paul Rodgers, Joe Cocker, Peter Frampton, John Fogerty, Cher (yeah, I said Cher!) and the list goes on and on.
My list would not be close to complete without my beloved Metal and other varieties of Hard rocking bands: Slayer, Black Sabbath, Opeth, PanterA, Ministry, Rammstein, Jinjer, Baroness, Marilyn Manson, Alice Cooper, Rob Zombie (and White Zombie), Nine Inch Nails, Behemoth, King Diamond, Testament, Anthrax, Megadeth, Mastodon, Strapping Young Lad, The Devin Townsend Project, Amon Amarth, Cannibal Corpse, Morbid Angel, Nile, Tool, Meshuggah, Avatar, Motörhead, Judas Priest, Iron Maiden, Ozzy Osbourne, Deep Purple, UFO, AC/DC (with Bon Scott and Brian Johnson, too!), Blue Öyster Cult, Whitechapel, Slipknot, Korn, Machine Head, Black Label Society, Down, Hatebreed, Red Fang, Primus, DevilDriver, Clutch, Melvins, Weedeater, Arch Enemy, In Flames, Lamb Of God, Gojira, Cradle Of Filth, Dimmu Borgir, Deftones, Mr. Bungle, Queens Of The Stone Age, Mudvayne, Steel Panther, Van Halen, Mötley Crüe, Guns ‘N Roses, Whitesnake, Tesla, Dokken, L.A. Guns, Great White, Ratt, Poison, Saigon Kick, Soundgarden, Alice In Chains, Pearl Jam, Rage Against The Machine, Fishbone, Monster Magnet, Corrosion Of Conformity, Type O Negative, GWAR, Nashville Pussy, System Of A Down, Static-X, Otep, Jane’s Addiction, L7, Butcher Babies, Walls Of Jericho, Suicide Silence, Unearth, Chimaira, Children Of Bodom, Thy Art Is Murder, Death Angel, Slaughter To Prevail, Masked Intruder, Pennywise, and John 5 And The Creatures.
As I typed that crazy list of bands, I realized there were at least as many that I left out. They can’t all be winners, after all. What is really important (at least to me) is the simple fact that when I am at a show, I am in my element…my true happy place. I miss live music. I miss everything about the ritual of going to shows, and I’m quite sure I’m not alone in feeling this way. I hope this finds you all safe and healthy. I look forward to resuming our passion for shows, for music, for Life!

Braddon S. Williams is a music journalist, musician and avid concert goer somewhere in the US.

Influences And Recollections Of A Musical Mind

Written By Braddon S. Williams AKA “The Concert Critic”

On this date in history, 2/25/2020, I got to see my favorite band in the world deliver a monumental performance at Old National Centre’s Egyptian Room.

The band I’m talking about is Opeth, from Stockholm, Sweden…and they brought another excellent Swedish band along to open the show, Graveyard.

I have been lamenting the state of how too much of modern rock and metal is all starting to sound the same in the way it is produced. Graveyard was such a pleasant surprise by virtue of the fact that they sounded like they just teleported in from 1973. They had this bluesy, analog vibe that was equal parts vintage Sabbath and Zeppelin, but still sounded fresh and original. I thoroughly enjoyed their overall tone and plan to check out some of their studio work.

This was my third time seeing Opeth, and they continue to raise the bar in every possible way; sound, lights, the hilarious between songs banter (a long discussion about the Bloodbath song, Eaten, was spontaneous and lots of fun), and of course the masterful songs.

Touring in support of their latest masterpiece, In Cauda Venenum (Latin translation: Venom In The Tail), Opeth’s music is a breathtaking blend of styles generally labeled either progressive metal or progressive rock. Whatever direction the music takes, it is all played with utter precision and passion.

Each member of the band contributes so much to the overall sound. Martin “Axe” Axenrot supplies the complex drumming that drives the machine, Martin Mendez brings the melodic and powerful bass that holds everything together, Joakim Svalberg plays a wide variety of keyboards that bring in tons of ambience and emotional impact, and also contributes strong backing vocals. Frederik Akesson provides lethal lead guitar work and did much more singing at this show than I have heard him do before (and he has a great voice). Opeth’s leader and chief songwriter, Mikael Akerfeldt, completes the other half of the lead guitar tag team and serves as the amazing lead vocalist…serving up equal amounts of lush clean tones and brutal death metal growls, often in the same song.

Because of their lengthy compositions, the actual song count was relatively short, but 3 songs from In Cauda Venenum made it into the show, and all were magnificent, holding their own with such Opeth favorites as Moon Above, Sun Below, The Leper Affinity, and The Lotus Eater. An incredible encore of Sorceress and the perfection of the final song, Deliverance, put Opeth’s stage time at just over 2 hours.

I have to give a shout out to the audience, too. Everyone was quite vocal during Mikael’s speeches throughout the set, providing a lot of laughter and general happiness, which is always a great addition to a show. The overall atmosphere was pretty euphoric.

This band’s fans are passionate beyond any doubt. Opeth continues to fearlessly explore new territories and make music in their own image. It’s been over a week since the show, and I remain massively inspired!

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 2/11/2020, I started my year of concerts with an inspiring club show by Machine Head.

The Vogue in Broad Ripple, Indianapolis was the intimate venue for a rampaging 3 hour performance by the venerable metal band led by Robert Flynn.

Machine Head were in town in celebration of the 25th anniversary of their debut album, Burn My Eyes, which they played in its entirety during the second half of their marathon display of metal superiority. For me, personally, it was a revelation to see this band get such a great opportunity to stretch their musical muscles. I had previously seen Machine Head 3 times, but always as part of a festival setting, with constricted time limits. I was beyond impressed at the endurance of Rob Flynn’s vocal chords. The man has a superhuman set of pipes, and definitely wasn’t holding back at any point in the show.

During the first set, Flynn led the reconstituted lineup (last year, longtime lead guitarist Phil Demmel and drummer Dave McClain left the band) featuring Waclaw “Vogg” Kieltyka, drummer Matt Alston, and bassist/vocalist Jared MacEachern through a strong list of fan favorites that covered a wide range of material from various phases of the band’s career.

Kieltyka, a veteran of bands such as Decapitated, Lux Occulta, and Vader, was particularly impressive, playing a mixture of lead styles with ferocity, complexity, and soaring tone that cut through the mix to perfection.

Robert Flynn has grown into a pretty fierce lead guitarist, also, and he went toe to toe with his new partner in several thrilling displays of pyrotechnic guitar battles.

Flynn is a master at getting the audience involved in the action, and he had the small but vocal crowd singing along at every chance, and incited boisterous circle pits throughout the evening.

Some of the highlights from the first set included the massive opener, Imperium, savage versions of Take My Scars, Beautiful Mourning, Locust, I Am Hell (Sonata in C#), Aesthetics Of Hate, Ten Ton Hammer, and Halo. My personal favorite was Darkness Within, where Flynn strummed chords and delivered a 7 minute speech that began on a lighthearted note and gradually became a passionate description of the power that music has to lift us out of depression, eventually beginning the song on solo acoustic guitar and then building into a colossal crescendo of power from the full band, ending with the entire audience vocalizing the melody of the song under Flynn’s direction…a totally breathtaking experience.

After Halo closed the first act on an amazing high note of musical bliss, Flynn brought out original Machine Head members Logan Mader (lead guitar), and Chris Kontos (drums), to pulverize the faithful with a blistering gallop through Burn My Eyes.

Kicking off with the massive tour-de-force Davidian, through other ragers like Old, A Thousand Lies, None But My Own, Blood For Blood, and I’m Your God Now, Machine Head consistently played as if they were headlining a stadium gig instead of a less than capacity club. Before the crushing finale of Block, Flynn and the boys treated us to a medley of Metallica, White Zombie, and Slayer classics that comprised Welcome Home (Sanitarium), One, Seek and Destroy, Thunder Kiss ’65, South Of Heaven, and Raining Blood, that was pure magic!

At the end of the show, Machine Head brought out bags full of guitar picks commemorating the event, and made sure that most of the crowd got at least one. In truth, we got much more than that. We got an evening with a band that proved their love of music beyond all doubt, and delivered a performance of phenomenal power.

In This Date in History

Written By Braddon S. Williams

Braddon S. Williams

It recently occurred to me that as a rock ‘n roll journalist, I now have the privilege and the obligation to do an overview of my year in concerts and what a year it was! Not only did I attend more shows in 2019 than in any other, I also got to see the biggest band on my bucket list.

That’s right, I finally saw The Rolling Stones, and they proved that not only do they still have it, they also still rightfully lay claim to their longstanding title of The World’s Greatest Rock ‘n Roll Band. I saw the Stones at Soldier’s Field in Chicago, IL.

Later in the summer I would attend the 15th annual Riot Fest in Douglas Park (also in Chicago), and then made a 3rd trip to the Windy City to witness John 5 And The Creatures, Jared James Nichols, and Reverend Jack at Reggie’s Rock Club.

2019 was definitely a year for new venues and travels to nearby states. During a 5 day stretch in November, my girlfriend and I made two separate trips to Louisville, KY to take in a pair of amazing shows. First up was our final Slayer concert (with Primus, Ministry, and Philip H. Anselmo And The Illegals performing a set of PanterA classics) at the KFC Yum! Center, followed by an amazing King Diamond show at The Louisville Palace Theatre (supported by Uncle Acid And The Deadbeats and Idle Hands).

Speaking of Slayer, I saw them in 3 different states this year (front row at Riot Fest!) and counting the show in Ohio last year, I wound up seeing them 4 times on their final world tour in 4 separate states.

My roommate and I caught the up and coming sensation Jinjer (with The Browning and Sumo Cyco) at a cool venue in Cincinnati, OH called Riverfront Live.

One of my favorite discovery artists was Baroness (with Torche) at Old National Centre’s Deluxe, completing the Triple Crown of stages at the Old National.

Later in the year my girl and I saw Alice Cooper at the Murat Theatre and Steel Panther at the Egyptian Room. Alice Cooper also played a great show earlier in the summer at the beautiful Honeywell Center in Wabash, IN.

I also saw UFO and Last In Line at the Honeywell in another outstanding night of old school hard rock.

Piere’s in Ft. Wayne is now out of business, but the Clyde Theater has taken up the slack, and I made my first visit to this outstanding venue to see Static-X, DevilDriver, Dope, Wednesday 13, and Raven Black. Although I hadn’t been there since 1982, Memorial Coliseum in Ft. Wayne brought back fond memories as I saw Rob Zombie & Marilyn Manson for the second consecutive year as their Twins Of Evil hit the concert trail once again.

My beloved Deer Creek (or Ruoff blah blah blah) received a number of visits from me this year; Slayer, Lamb Of God, Amon Amarth, Beck, Cage The Elephant, Spoon, Wild Belle, Heart, Joan Jett & The Blackhearts, Elle King, Slipknot, Volbeat, Gojira, Behemoth, Iron Maiden, The Raven Age, Kiss, David Garibaldi (the prancing painter…”I’m painting!”) all performed sets in the warmer months.

The final Deer Creek show was another special bucket list treasure, as Willie Nelson brought his Outlaw Music Festival with featured performances by Robert Plant And The Sensational Space Shifters and Allison Krauss.

I almost forgot another first time experience (and this one is super important!). My first concert date with my new girlfriend (who coincidentally loves going to shows possibly even more than I do!) was at the Lawn at Whitewater State Park to see REO Speedwagon and Sister Hazel. I broke a self-imposed 40 year ban on REO, so that should prove how special this woman is to me.

In addition to the festivals, regular concerts, and traveling to neighboring states and exploration of new venues, we also caught quite a few club shows. Two venues in particular that I fell in love with were the venerable Melody Inn and the Rathskeller. As a matter of fact, we will be seeing the wildly amazing Rods and Cones tomorrow night at the Rathskeller for the second reunion show this year.

I feel like I should spotlight some of the bands we saw at the 3 day Riot Fest, but I already wrote a super long feature on that one. Just rest assured, we will be attending again in 2020! Well, that about wraps up 2019….it was EPIC in every sense of the word. Looking forward to another remarkable year of music beginning soon.

As always, thanks for reading and commenting on my reports from the musical field!

2019: The Year That Rocked

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 11/29/2019, I saw Steel Panther for the 4th consecutive year.

The spandex clad comedic rockers brought their Heavy Metal Rules Tour to Indy’s Old National Centre’s Egyptian Room for an evening of fun and debauchery.

Opening the show was Snakeskin Cowboy, a local band who played a set of original material that was well received by the audience.

Next up was Stitched Up Heart, a Los Angeles band who used too much in the way of artificial ingredients, i.e. backing tracks, for my taste. Their singer was pretty and sparkly, and I guess their music was, too. They weren’t terrible, but they certainly didn’t do much to make me want to listen to them again, either. Coincidentally, the Indianapolis Ballet’s production of The Nutcracker was going on at the same time as Steel Panther’s performance in the adjacent Murat Theatre, and the boys wasted no time (and no opportunities) to make hilarious comments about the ballet.

I have noticed that every Steel Panther show follows a basic blueprint. The band comes out with a couple of songs, then go into about 10 minutes of their decidedly raunchy standup routine, followed by more tunes, more comedy, and eventually a bunch of happy women from the audience conducting an on stage dance party with the band.

Oh yes, and a lot of throwing and catching (and sometimes dropping) of singer Michael Starr’s various hats!

Somewhere in the middle of the show, guitarist Satchel provides a face melting display of guitar wizardry during his obligatory center stage guitar solo.

Bassist (and resident sex symbol) Lexxi Foxx got to do a Hair solo when Satchel and Starr brought out leaf blowers to send his outrageous locks into dramatic propulsion. And don’t forget the power ballads (usually at least one of which is sung directly to a hot babe from the audience).

On this night we were lucky to hear both Weenie Ride and Community Property, both played to perfection with the entire crowd joyously singing every word.

Steel Panther dropped 3 songs from their latest album, Heavy Metal Rules, the irresistibly catchy All I Wanna Do Is Fuck (Myself Tonight), I Ain’t Buying What You’re Selling, and Fuck Everybody.

The opener, Eyes Of A Panther was a fantastic way to start the show, and crowd favorites Asian Hooker, Let Me Cum In, Poontang Boomerang, and 17 Girls In A Row were all high energy explosions of fun.

The show ended with the headbanging, name dropping Death To All But Metal and then encored with Glory Hole.

Even though there is definitely a pattern to all this entertainment, no two Steel Panther shows are ever the same, and that is precisely why I will keep coming back for more.

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 11/25/2019, I attended my second Alice Cooper show of the year, titled “An Evening With Alice Cooper”, at the prestigious Old National Centre’s Murat Theatre. In a weird way this concert felt extremely reassuring and satisfying. This requires a bit of explanation, because I have never seen a bad Alice Cooper show. However, some have been more awesome and awe-inspiring than others, and the previous show (July 11 at the Honeywell Center in Wabash, IN) just seemed to be lacking that extra spark. As a matter of fact, the show I caught at the Murat Theatre last year was similar, in that I felt like Alice might have been either a little tired or possibly not feeling 100%.

Whatever the case may be, Alice was totally in command on this night, fully energized and singing like a much younger version of himself. Of course, the band have all become rock stars in their own right, and the entire production is seamless and dazzling in every possible way.

Song wise, the show was virtually identical to the Honeywell performance with the one change being the addition of He’s Back (The Man Behind The Mask), complete with Jason Voorhees murdering a pair of young people trying to take an onstage selfie. When Jason made a menacing move on Nita Strauss, Alice stepped in and stopped the horror icon from claiming another victim!

Strauss, Ryan Roxie, and Tommy Henriksen all shared lead guitar duties and executed all facets of Cooper’s historic catalog with gusto. The phenomenal Glen Sobel once again dropped an incredible drum solo, and Chuck Garric held down the bottom end in style (and bared his impressive abs…who could blame him?).

I don’t even need to re-state my love of Alice’s music, but Roses On White Lace, Escape, Steven, Muscle Of Love, Devil’s Food, and the band showcase on The Black Widow were all insanely fun for this lifelong Alice Cooper fanatic. Now I need to find a way to see a Hollywood Vampires show to make my Alice experience complete.

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

Cathy Flynn, WickedGoddessPhotography.Com

On this date in history, 11/16/2019, King Diamond brought The Institute North American Tour to the exquisite Palace Theatre in Louisville, KY. Uncle Acid & The Deadbeats and Idle Hands were the support bands for this incredible evening of diverse styles of heavy music and dramatic visuals.

Both opening bands were handpicked by the King and they brought headliner worthy performances to prime the capacity crowd for the main attraction.

Idle Hands started the night with a great set of goth tinged melodic hard rock. Their singer, clad all in black, resembled a spookier Joey Ramone, and impressed me with his voice and his stage presence. Of course, the stage itself is marvelous, as is the elegant theater that hosted this collection of thrilling artists.

The Louisville Palace opened in 1928 and seats a capacity of 2800, making this an intimate experience for everyone in the theater. I don’t know how many metal acts have played there, but this place was tailor made for the King Diamond experience. Uncle Acid & The Deadbeats took advantage of the high ceiling by use of a large screen hanging above them on which they projected an ever-changing barrage of trippy imagery to accompany their sludgy brand of doom metal. The four piece band from Britain were energetic and resembled classic ’70’s hard rock bands with their long hair flying and their twin guitar attack set to take no prisoners.

As good as the warmup bands were (and they were both great!), there was no confusion about who the crowd was there to see, and King Diamond’s arrival was greeted with a thunderous ovation as he was wheeled out of a door in the center of the gigantic stage set which was designed as a multiple leveled interior of a mental institution. Songs from a number of Diamond’s best albums provided a loose thread of continuity for the visual dynamics that King Diamond excels at, and favorites included Funeral, Arrival, Halloween, A Mansion In Darkness, Out From The Asylum, Welcome Home, and The Lake. One new song, Masquerade Of Madness, held its own among the classics, and an encore of Burn and Black Horsemen (dedicated to the recently departed Timi Hansen) brought the night to a thoughtful and deeply satisfying close.

Diamond’s band was phenomenal throughout, with guitarists Andy LaRocque and Mike Wead delivering consistently jaw dropping playing. Diamond’s eerie falsetto (ably assisted by Livia Vita) sounded glorious in the flawless acoustics of the venerable Palace Theatre. The entire set built up a palpable anticipation of the upcoming double album, which is certain to add to King Diamond’s already supreme arsenal of music, both as a solo artist and as the singer of Mercyful Fate.

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 11/11/2019, my girlfriend and I traveled to Kentucky to see Slayer one last time (or maybe not…who really knows?) as part of the Final Campaign.

This concert was held at the KFC (Yum!) Center, a terrific venue with both visual and audio superiority. Along for the show this time around were Primus, Ministry, and Philip H. Anselmo & The Illegals (performing a Vulgar Display of PanterA).

I have now seen Slayer 4 times in 4 different states on this farewell world tour, and I have written about each show believing it was the end. Well, I guess I knew at Riot Fest that I still had this one lined up, but at any rate I knew the end was getting close.

First things first: Philip H. Anselmo & The Illegals opened the festivities with a blistering set of PanterA classics, including A New Level, Strength Beyond Strength, This Love, Fucking Hostile, Yesterday Don’t Mean Shit, and Walk. They also slid in the verse from Goddamn Electric that name checks Slayer, “Your choices are whisky and weed and Slayer, it’s Goddamn Electric!” to great effect.

Anselmo’s voice has undergone a lot of changes over his years of smoking and other forms of abuse, but he still cuts an impressive presence on stage, and had the assembled metal masses pretty hyped throughout the Illegals’ admirable job of covering the mighty PanterA.

Next up was the Industrial Metal fury of Ministry, a band I last saw in 1992. I was ecstatic to discover that Al Jourgenson and co. haven’t mellowed in the least, and they delivered a virtual greatest hits beatdown complete with a light show that threatened to put the entire crowd in seizures.

Among my personal highlights were Stigmata, Just One Fix, N.W.O., Thieves, and an absolutely ballistic Jesus Built My Hot Rod. I sincerely hope I get a chance to see Ministry again real soon.

Primus brought their unique brand of quirkiness, odd lyrical concepts, and staggering musicianship, along with some of the best bass playing (and bass SOUND) I have ever experienced. I hadn’t seen the Primus experience since the late ’90’s, and, like Ministry, they reminded me forcefully of what a thrilling live act they can be.

Les Claypool guided the trio through epic Primus material including Those Damned Blue Collar Tweakers, Wynona’s Big Brown Beaver, Sgt. Baker, Mr. Krinkle, Too Many Puppies, My Name Is Mud, and Jerry Was A Race Car Driver.

As much as I loved all the opening acts and the sheer diversity in musical offerings; the evening belonged to Slayer. I don’t know what I can add about Slayer that I haven’t already said before, but their level of consistency and intensity during this long journey to the end of their touring life has been astonishing.

Tom Araya, Kerry King, Gary Holt, and Paul Bostaph are going out in glorious fashion, maintaining the monumental legacy of Slayer at each stop of the tour, performing like a hungry upstart band with worlds still to conquer, and the adoration that radiates between the band and the fans is a palpable force.

As I have said before, at the end of each show, Tom Araya lingers longer and longer, storing up the love and the memories, and I know I’m not alone in feeling that he is truly the one who is retiring, but as the voice of the band, Slayer goes when Tom goes.

In rock and metal, most bands that retire wind up returning after a time…so as I do in real life, I won’t say goodbye…I’ll just say “See Ya!” I hope you guys have a wonderful retirement. You’ve certainly earned it…but if you want to come back in a few years, us Slayer fanatics won’t be mad…and we’ll be ready!

On This Date in History

Welcome to our “Psychedelic Lunch” series, “The 27 Club Edition” where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

Janis Joplin

There was only ever one Janis Joplin. No one else could come close. Janis was unique – she was the Queen of Psychedelic Soul.

On 4th October 1970, singer Janis Joplin was found dead at the Landmark Hotel in Hollywood after an accidental heroin overdose. She was only 27 years old.

“Janis Lyn Joplin was an American singer-songwriter who first rose to prominence in the late 1960s as the lead singer of the psychedelic-acid rock band Big Brother and the Holding Company, and later as a solo artist with her own backing groups, The Kozmic Blues Band and The Full Tilt Boogie Band. She was one of the more popular acts at the Monterey Pop Festival and later became one of the major attractions to the Woodstock festival and the Festival Express train tour. Joplin was well known for her performing abilities, and her fans referred to her stage presence as “electric”. At the height of her career, she was known as “The Queen of Psychedelic Soul,” and became known as Pearl among her friends. She was also a painter, dancer and music arranger. ”

Janis Joplin was born in Port Arthur, Texas, on January 19, 1943, to Dorothy Joplin, a registrar at a business college, and her husband Seth Joplin, an engineer at Texaco. Janice was different. As a teenager, she befriended a group of outcasts, one of whom had albums by African-American blues artists Bessie Smith and Leadbelly, and it was while listening to these that Joplin discovered she had an inborn talent to sing the blues.

Joplin graduated from high school in 1960 and attended the University of Texas at Austin, though she did not complete her studies. The campus newspaper The Daily Texan ran a profile of her in the issue dated July 27, 1962, headlined “She Dares To Be Different.” The article began, “She goes barefooted when she feels like it, wears Levi’s to class because they’re more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break into song it will be handy. Her name is Janis Joplin.

Around 1963, Janice left Texas for San Francisco and made some early recordings of blues standards with future Jefferson Airplane guitarist Jorma Kaukonen. It was also during this period that Joplin’s drug intake increased, topped with heavy drinking sessions.

In 1966, Joplin’s bluesy vocal style attracted the attention of the psychedelic rock band Big Brother and the Holding Company, a band that had gained some renown among the west coast hippie community. Janice became their singer, and the group soon signed a deal and saw their debut album released by Columbia Records in August 1967.

Their breakthrough came with the release of their second album. Cheap Thrills topped the US charts for eight weeks and a star was well and truly born. This was Joplin’s destiny; it’s been said during the recording of the album Joplin was always the first person to enter the studio and the last person to leave. The album captured their raw sound and even included the sounds of a cocktail glass breaking and the broken shards being swept away during the song “Turtle Blues”.

Janice was fast becoming a star. Time magazine called her “probably the most powerful singer to emerge from the white rock movement,” and Vogue stated Joplin was “the most staggering leading woman in rock… she slinks like tar, scowls like war… clutching the knees of a final stanza, begging it not to leave… Janis Joplin can sing the chic off any listener.”

The Lord never did buy Janis a Mercedes-Benz, but in 1968 with the first real money, she made she treated herself to an eye-catching 1965 Porsche Cabriolet Super C – which was pained in bright rivers of yellow, orange, pink, and turquoise with a bloodied American flag on the trunk.

With this success came the usual workload of a heavy touring schedule, TV appearances, and more recording sessions. By early 1969 the singer was allegedly shooting at least $200 worth of heroin per day.

One of her last live performances was at the Concert for Peace at New York’s Shea Stadium with Steppenwolf, Paul Simon, Poco, and Johnny Winter. The concert date coincided with the 25th anniversary of dropping an atomic bomb on Hiroshima, Japan.

Janis made her last recordings on October 1, 1970, when she laid down ‘Mercedes Benz’ and a birthday greeting for John Lennon, whose birthday was October 9 (Lennon later told of how her taped greeting arrived at his home after her death). On Saturday, October 3, Joplin attended Sunset Sound Recorders in Los Angeles to listen to instrumental tracks prior to recording her vocals, which were scheduled for the next day. She never returned.

When Joplin failed to show up at Sunset Sound Recorders for the next recording session by Sunday afternoon, producer Paul A. Rothchild became concerned. Full Tilt Boogie’s road manager, John Cooke, drove to the Landmark. He saw Joplin’s Porsche in the parking lot. Upon entering her room, he found her dead on the floor beside her bed. The official cause of death was an overdose of heroin, possibly combined with the effects of alcohol.

On 26 October 1970, a wake was held at Lion’s Share in San Anselmo, California to celebrate the singer’s life. Almost as though she’d had a premonition about her own death, Janis had left $2,500 in her will to throw a wake party in the event of her demise. The party was attended by her sister Laura and Joplin’s close friends. Brownies laced with hashish were unknowingly passed around amongst the guests. Joplin was cremated in the Pierce Brothers Westwood Village Mortuary in Los Angeles; her ashes were scattered from a plane into the Pacific Ocean and along Stinson Beach.

“Flower in the Sun” is a previously unreleased psychedelic rock song by Big Brother and the Holding Company with Janis Joplin written by founding member, guitarist Sam Andrew.

It appeared in the band’s live sets in 1968, and was recorded during studio sessions that year for their critically acclaimed album, Cheap Thrills. However, although the studio outtake was eventually released as bonus material on more recent pressings, the song was not actually included on the original album. Thus, its first commercial release was a live version (recorded June 23, 1968, The Carousel Ballroom, San Francisco, CA) that appears on the posthumous In Concert album from 1972.

Psychedelic Lunch