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

On this date in history, 10/1/2021, Slipknot brought their Knotfest traveling metal collective to Deer Creek (Ruoff Music Center if you prefer) for an evening of cathartic noise therapy.

In addition to the masked marauders from Iowa, this year’s lineup featured Killswitch Engage, Fever 333, and Code Orange. Due to a combination of work schedules and traffic conditions, we completely missed the two opening acts. I had done a little research and was tentatively looking forward to Code Orange, but missing Fever 333 was no big loss in my opinion.

It had been awhile since I had last seen Killswitch Engage, and Howard Jones had been their singer every time previously, so I was a bit curious to see how Jesse Leach would compare. Honestly, I prefer Howard as a vocalist, but Killswitch gathered momentum as their set progressed and I enjoyed their energy.

Slipknot basically brought out the same staging and lights from their 2019 tour, but like the Alice Cooper show we attended two nights before, Slipknot seems to have been reinvigorated from the extended time off. Their mix was superior this time around, but I missed the much stronger support bands from the ‘19 event.

On a side note, since it was the beginning of “Halloween” month and in solidarity with Slipknot’s masks, I decided to attend the show wearing a Devil mask and a Blackcraft Cult shirt that may or may not have said some Satanic stuff. Needless to say, I had a seemingly endless line of people coming up and asking to take selfies with me! There were some truly hilarious comments made, like the woman who said “I’ve always wanted to meet you!”

A number of friends actually saw me and didn’t discover my true identity until the next day. I’m glad I made the decision to start my Halloween celebration at a Slipknot show, and it gave me a sliver of understanding of just how much those guys suffer for their art. My face was sweating bullets and I was basically standing still. Love them or hate them, but Slipknot is not phoning it in.

On This Date in History

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

On this date in history, 9/29/2021, Alice Cooper and Ace Frehley combined forces and delivered a thrilling display of hard rocking, theatrical entertainment at the newly constructed TCU Amphitheater at White River State Park in Indianapolis, IN.

This facility improved on what was already a good thing; providing state of the art sound and lights with upgraded seating options that ensure great visibility from virtually any seat in the pavilion or on the lawn.

Ace Frehley got right down to business, playing a tight set loaded with Kiss classics and a handful of his best solo material. Frehley will never be regarded as one of the best vocalists around, but he still plays guitar with his own unmistakable style and tone. His band featured two additional guitarists (one of them contributing some good lead vocals), a bass player who also took on some lead vocal spots, and a drummer who kept things solid and exciting. I hadn’t seen Ace since Kiss’s reunion tour in 1996, and it was nice to hear him leading a band, along with some funny between songs chatter.
I have now seen Alice Cooper somewhere around a dozen times dating back to 1978 and have written so many reviews of his shows that I doubt I have much new information to add. I believe that the extended time off really did wonders for the man’s vocal chords and overall stamina, though.

Cooper and his supremely gifted band had been touring relentlessly for the past several years (I saw him twice in 2019), and on this night his voice carried more power and clarity than I had heard from him since 2016. The haunted castle set remained the same, but a few songs were added, including a brilliant reading of the Velvet Underground’s Rock And Roll. All the familiar theatrics (the giant-sized Billion Dollar Baby and Frankenstein monster, the straight jacket, the dead baby serenade and consequent beheading by Guillotine) were in place and remain such well loved and well executed aspects of Alice’s performance, that we practically experience them like they’re brand new every time we see them. Of course the band got a block of songs to shine on, and shine they did.

The larger stage, sound, and lights of the new facility elevated all that immense talent to produce one of the top 3 performances I’ve ever witnessed from one of my all time favorite artists…as I’m quite sure I’ve said many times before, “Long Live The Coop!”

On This Date in History

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

On this date in history, 9/19/2021, our Riot Fest marriage weekend provided us with a final day of rocking awesomeness. Aside from the actual wedding, my wife had made it crystal clear that Body Count was the primary objective of the entire festival. Judging from her reaction to their show, the wedding may have come in second to Ice T’s band’s performance, but we will get to that reaction in due time.

I don’t know if I have mentioned that Ilene possesses a super power when it comes to finding her way to the front row in nearly any concert situation, and Riot Fest was no exception. She determined that we should check out the band Health, who played prior to Body Count and then slide into the prime real estate when the crowd dispersed after Health’s set. Her plan worked beautifully, but not without a price…we had to endure Health (and a mercilessly brutal hot Chicago summer day), but Body Count finally hit the stage and the real fun began.

Their opening song was a scorching cover of Raining Blood/Postmortem by Slayer, and the intensity never faltered for a moment as Ice-T and lead guitarist Ernie C led the band through a blistering set including No Lives Matter, Talk Shit, Get Shot, There Goes The Neighborhood, and the ever-controversial Cop Killer. Bassist Vincent Price assisted on some super intense lead vocals, but Ice-T was firmly in command of the rapport between the band and audience. He was clearly enjoying playfully insulting the half of the crowd (not our side, thankfully!) who were not raging and moshing hard enough, but he got the results he was looking for.

Later in the set he brought his adorable daughter on stage, claiming she was the youngest Body Count fan in attendance! Something I haven’t addressed yet was the disappointment of several acts canceling their appearances, and the Riot Fest organizers’ admirable substitutions.

Nine Inch Nails were replaced by Slipknot, Faith No More by Rise Against, The Pixies by The Flaming Lips, and Mr. Bungle by Anthrax. As luck would have it, Anthrax guitarist Scott Ian was to have performed with Mr. Bungle, so his main band was an inspired substitute for the other Mike Patton fronted group.

Anthrax were in dependably fine form, playing their deep cache of thrash metal classics (including Got The Time, Antisocial, Indians, Madhouse, Efilnikufesin, and Caught In A Mosh and being accompanied throughout their hour set by a seismic circle pit that filled the air with a tsunami of dust. Before their final song, Ian instructed everyone to join Anthrax and go watch Devo. We had already planned to check out the legendary Devo, but it was still pretty surreal to hear that level of support from Anthrax.

This was my first time seeing Devo, and they were just impossibly fun, quirky, and unique. They changed outfits twice and utilized the big screens framing the stage with some truly odd multimedia displays. I was thrilled to witness Jocko Homo, Whip It, Peek-a-boo, Girl You Want, Uncontrollable Urge, Secret Agent Man, and their deconstructed/reconstruction of (I Can’t Get No) Satisfaction by The Rolling Stones. By the time they finished up with Freedom Of Choice, Devo had amassed a gigantic crowd.

The last performance we caught on our final day was The Flaming Lips, and we just saw the first song. Singer Wayne Coyne performed Race For The Prize in his trademark plastic bubble from the stage after making a speech concerning COVID-19 safety. Reasoning that we were going to see Slipknot back home in Indiana on October 1st (and having a long drive ahead of us), we walked away as Coyne and the Lips launched into Yoshimi Battles The Pink Robots, Pt. 1. I really love The Flamming Lips and wish we would have possessed the extra stamina to make it through their set, but it was time to go.

On our way out to catch the train, we heard a band called The Ghost Inside, and they sounded really good. I need to give them a proper listen one of these days. That is my report from Riot Fest 2021. I got married, I got rocked, and I gained a treasure trove of wonderful concert memories!

On This Date in History

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

On this date in history, 9/18/2021, we entered day 3 of our Riot Fest adventure with the realization that we needed to slow down our pace somewhat in order to save some energy for the final day. Even with a more laid back approach, we managed to catch several killer acts.

First on the list was the ever entertaining GWAR, performing their landmark Scumdogs Of The Universe album. After nearly being crushed to death during GWAR’s 2019 appearance, we decided to hang further back this time around. Oddly enough, this year’s crowd was far less violent, but the stage violence was dependably GWARiffic, and I love the fact that GWAR are a Riot Fest institution. My wife was eager for me to see Gogol Bordello, and we secured a spot in the front row to wait for their set. While we waited, we could hear a really great sounding band called Best Coast.

This female fronted band from Los Angeles had great energy and strong vocals with a nice power pop style. The same can’t be said for the band playing prior to Gogol Bordello. They were called Les Savy Fav. I want to accentuate the positive stuff about Riot Fest, so I’m just going to say that Les Savy Fav was not going to include me in any new fan lists. But I digress…Gogol Bordello did convert me as a huge new fan. Their style of music is a frenetic blend of gypsy punk, Latin, polka, folk, Romani, dub…just maximum high energy FUN.

The six members of the band who appeared on the Roots Stage (two others were unable to perform due to COVID-19) never stopped moving, and neither did the audience.

Everyone was jumping up and down, stomping, and grinning throughout the band’s super entertaining one hour set. Band members are from all over the globe, but based in New York City. I highly recommend Gogol Bordello, undoubtedly my favorite discovery of the entire festival.

We stuck around for several songs from Rancid, the venerable and well loved California punk band. They were awesome, but we decided to cut out early and skip Saturday’s headliners in order to recharge our batteries for the final day, which promised some really amazing acts…to be concluded soooooon!

On This Date in History

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

On this date in history, 9/17/2021, the wife and I (this was our first full day of shows as a married couple…nice!) decided to pursue quality over quantity, and set our sites on a few key favorites.

We made our way to the Radical Stage to secure a good spot near the front to wait for Fishbone, who were going to perform The Reality Of My Surroundings in its entirety. When we arrived, a singer/songwriter billed as Amigo The Devil was playing to an enthusiastic crowd that seemingly knew the lyrics to all his songs.

I love making these discoveries of musicians I’ve never heard before, and I will definitely be paying attention to this guy….his stuff was really good. After Amigo The Devil finished his set, we slid effortlessly into some prime real estate along the rail in the front row, where we would remain for both Fishbone and Living Colour.

I have been a big fan of Fishbone since seeing them a couple of times in their heyday of the early to mid ‘90’s, and the prospect of seeing them play my favorite album of theirs filled me with huge anticipatory excitement. That excitement grew exponentially when I realized that all the original members (with the possible exception of the guitarist) were back together. After a bit of a shaky start sound wise, Fishbone quickly established dominance and delivered a blistering display of the rock/soul/ska/metal/funk gumbo that influenced so many of their contemporaries back in the day.

We had already seen Living Colour a couple of months ago, so we already knew we were in for an incredible display of musical muscle. This time around we were on the bass player side of the stage, so it was really cool to get a different view of this flawless band. I must say that after seeing Norwood Fisher dominate the low end with Fishbone and Doug Wimbish doing the same with Living Colour, I was feeling the love for the Bass. Of course, Vernon Reid was his usual fire and brimstone self on this crazy new custom guitar he had recently acquired! Next on our agenda was a trip to the Rise Stage to catch a blistering set of hardcore punk from the legendary Circle Jerks.

Front man Keith Morris (one day shy of his 66th birthday) announced early on that they were planning to play 29 songs (in a one hour set!), and I’m pretty certain they got it done. As a matter of fact, we met a guy the next day who claimed to have seen the Circle Jerks set list and said it was four pages long. However high the number, the songs themselves were explosive and propelled by an airtight beast of a punk band.

The skies opened up and poured some refreshing rain upon the frenzied fans, who moshed and crowd surfed throughout the manic set.

After all that wildness, we wandered around a bit and stayed way back as Smashing Pumpkins played their headlining set at the Riot Stage. Billy Corgan and company had an impressive light show and sound mix, but try as I may, I just can’t take too much of Corgan’s whiny voice. I was happy they played Drown, though. That song from the Singles movie soundtrack has always been a favorite with all the layers of glorious feedback that Corgan and James Iha conjured from their guitars. They did a nice job of recreating that beautiful chaos at Riot Fest.

We stuck around long enough for NOFX to make their entrance on the Rise Stage. Singer/bassist Fat Mike made some funny remarks (including his opinion that Smashing Pumpkins suck!) and finally got around to blasting through a short burst of punk fury that would have fit right in with the Circle Jerks.

It had been a long and eventful day and as we rode the train back to where we were staying, the entire crowd on the train found out we had been married the previous day and gave us a suitably rousing Riot Fest cheer of approval! We have found our tribe!

On This Date in History

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

On this date in history, 9/16/21, Riot Fest returned to Chicago’s Douglas Park after being absent in 2020 due to the COVID-19 pandemic. There were a few key changes implemented in this year’s festival; one being the addition of an extra day of performers, and another being the added attraction of a wedding chapel, which resulted in 32 couples getting married at Riot Fest. My girlfriend and I had launched our romance just prior to Riot Fest 2019 and we decided it would be the perfect location to make our love official, so now we can proudly say that we were the eighth couple to be married at Riot Fest!
Only six acts performed on the first day and we were busy with the wedding details during the first two, but we caught a good set by Joyce Manor, an energetic pop punk band from California. The band is made up of four guys, so I was curious about the band name and discovered it was the name of an apartment building nearby the singer’s house. They were well received and one of the many performers who talked about how great it was to be back on a stage. Next up was Patti Smith And Her Band, delivering an emotionally supercharged set that was breathtaking and proving beyond a doubt why she is a legendary figure in music. Smith’s final song was a tour de force rendition of Land and Gloria that went on for around twelve minutes and seemingly channeled Iggy Pop at his most feral. I caught it on video and it is simply mesmerizing. Alkaline Trio followed and fell short of Smith’s intensity, but they had a great light show, at least. Matt Skiba (vocals and guitar) told the crowd that he had hit his head on a tree prior to taking the stage and was pretty sure he had a concussion, so perhaps that rates them a pass.

Thursday’s headliner was Morrissey, who has certainly established a divisive reputation throughout his career. I overheard people talking about him all day, many speculating on whether he would even show up. Morrissey did indeed show up, and provided a show worthy of his top billing. His band was tight and the big screen projections and lights were excellent. Above all, Morrissey still possesses a glorious set of vocal pipes, and displayed them to full advantage. I was particularly thrilled that he opened with How Soon Is Now? by The Smiths, just an amazing song. Another tune featured the bass player rocking a stand up bass (reminiscent of The Stray Cats), and the guitarist playing a sweet gold top Les Paul with a Bigsby tremolo bar. Hearing Morrissey’s golden voice singing rockabilly was a nice surprise.
Being back at Riot Fest felt like a sort of homecoming. Being married at Riot Fest felt like sacred ground. Having Patti Smith and Morrissey perform at our wedding reception felt priceless!

On This Day in History

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

Riot Fest finally returned after a veritable eternity of waiting that included an agonizing number of cancellations and substitutions of major bands. The long running Chicago showcase of musical diversity celebrated its 16th anniversary (once again in Douglas Park), providing four days of entertainment spread out across five stages, virtually guaranteeing that no two attendees have the exact same experience. When all was said and done, it was well worth the wait, and Riot Fest 2021 resulted in a marriage, new friends, tons of smiles, laughs, and unforgettable performances. I will be writing a separate review for each day of the festival in order to spotlight the major events as they happened.

The performers for Riot Fest 2021:
Thursday – Morrissey, Alkaline Trio, Patti Smith And Her Band, Joyce Manor, WDRL, Kristeen Young.

Friday – The Smashing Pumpkins, NOFX, Lupe Fiasco, Coheed And Cambria, Circle Jerks, Dirty Heads, Beach Bunny, Motion City Soundtrack, Thrice, The Lawrence Arms, Sublime With Rome, Eyedress, Pinegrove, Circa Survive, Anti-Flag, Living Colour, Beach Goons, Meg Myers, The Sounds, Radkey, Fishbone, Kississippi, Envy On The Coast, Oxymorrons, Amigo The Devil, Jackie Hayes, Meet Me @ The Altar, Seratones, Girlpuppy, Senor King.

Saturday – Run The Jewels, Rise Against, Taking Back Sunday, Dropkick Murphys, Andrew W.K., Vic Mensa, Gogol Bordello, Mayday Parade, Rancid, Bayside, The Mighty Mighty Bosstones, The Bollweevils, Best Coast, Les Savy Fav, State Champs, Hepcat, Ganser, Big Freedia, Joywave, Four Year Strong, GWAR, Night Moves, Just Friends, Man On Man, Citizen, The Bronx, Bearings, Action/Adventure, Spider, The Orphan The Poet, Devon Kay & The Solutions.

Sunday – Slipknot, The Flaming Lips, NewFound Glory, Machine Gun Kelly, The Weak Days, Devo, Anthrax, Knuckle Puck, The Ghost Inside, Ratboys, Body Count, K. Flay, Thursday, Simple Plan, Bleached, Health, Alex G, The Bled, Fever 333, Melkbelly, Facs, The Gories, Mother Mother, KennyHoopla, Gymshorts, 3OH!3, BLACKSTARKIDS, Airstream Futures, Pet Symmetry.

On This Day in History

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

On this date in history, 9/10/2021, St. Vincent brought her Daddy’s Home Tour to Old National Centre’s Egyptian Room in Indianapolis, IN. Annie Clark is St. Vincent in much the same way that Trent Reznor is Nine Inch Nails, meaning that she is the composer, multi-instrumentalist and overall sonic architect of the St. Vincent brand. For this particular tour, Clark has assembled an irresistible collection of musicians and backing vocalists, including musical director Justin Meldal -Johnsen on bass, keyboards, and vocals, Jason Falkner on guitars and vocals, Mark Giuliana on drums, and Rachel Eckroth on keyboards. A trio of soulful backup vocalists (Sy Smith, Nayanna Holley, and Neka Hamilton) provided exciting visual energy and enhanced the old school ‘70’s vibe that permeated the entire production.

I have been a big fan of St. Vincent for several years and one of the things I enjoy the most is the way Clark reinvents her songs. There is a marriage of icy modern technology and vintage r&b/soul sensibility in this current show that is unlike anything else I have heard recently (okay, maybe Beck, but it’s different than his stuff, too). As good as her band is (and they are phenomenal, make no mistake), it is nearly impossible to look away for long from the main attraction. Annie Clark is simply magnetic; her vocals are pitch perfect, her guitar skills are subtly scintillating, and her moves (with or without a guitar) are a lot of fun to witness. Every song was filled with inspired performances, collaborations, interactions, unique staging (including a rotating circular platform that housed a gigantic mirror on one side that was used to great effect), and the brilliant writing that continues to flow out of St. Vincent seemingly effortlessly.

She played eight songs off the new album and she shared the wealth from the rest of her catalogue: Digital Witness, Actor Out Of Work, Birth In Reverse, Daddy’s Home, New York, Sugarboy, Los Ageless, Marrow, Fast Slow Disco, Pay Your Way In Pain, Cheerleader, Live In The Dream, and an absolutely mesmerizing The Melting Of The Sun. Encores included Down And Out Downtown, Year Of The Tiger, and Fear The Future. I remember thinking if they would have played Black Rainbow, my life would be complete. Well, they didn’t play it, so I plan to keep going back for more. St. Vincent is pretty smart. It’s probably part of her master plan!

On This Date in History

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

On this date in history, 8/1/2021, The Black Crowes and Dirty Honey brought an old school rock show full of bluesy swagger to Deer Creek (aka Ruoff Music Center) in Noblesville, IN. On an evening of near-perfect summertime Midwest weather, many of us witnessed our first outdoor concert since the pandemic shut live music down in 2020. Dirty Honey wasted no time in getting the music starved audience up and moving to their bare bones, ‘70’s influenced party approach. With a classic drums, bass, guitar, and lead vocalist template, the Los Angeles based band played with a seasoned assurance and confidence not often found in a group that has barely been together for four years. In particular, Marc Labelle’s voice was the perfect instrument for Dirty Honey’s vintage style. They delivered a scorching take on Aerosmith’s Last Child early in their set as a reminder that they are fully aware of the tradition they are helping to keep alive. These guys are young and hungry, and if they continue to refine their attack, I expect to be hearing great things from them for years to come. Big respect for the headliners for including them in this perfect pairing of dynamic bands. The Black Crowes began their show with a complete run through of their debut album, Shake Your Money Maker, and continued on with a number of fan favorites, including Thorn In My Pride, Wiser Time, Soul Singing, and Remedy. Although singer Chris Robinson and his brother Rich (guitar) are the only original Crowes currently in the band, the musicians on stage faithfully recreated the magical soulful vibe that has always been The Black Crowes’ calling card. Kudos to the sound and light crews, as both bands sounded and looked phenomenal on the stage. It is difficult to put into words how amazing it felt to be back in a live music outdoor venue, but more specifically it fills me with joy that there are young bands like Dirty Honey carrying on the tradition of guitar driven, blues infused, soul drenched, hard rocking, good time music that so many of us hold near and dear in our hearts. I salute The Black Crowes for settling their differences and reuniting to continue their great legacy. I saw them for the first time in 1995 and they still display the passion and the fire that lives eternally in all the best music.

On This Day in History

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