David Lee Roth has shared a new solo version of the VAN HALEN classic “Dance The Night Away”. The track, like the previously released “Panama” and “Ain’t Talkin’ ‘Bout Love”, was laid down on May 3, 2022 during a session at Henson Recording Studio in Hollywood, California. Joining Roth in the studio were Al Estrada on guitar, Ryan Wheeleron bass and Francis Valentino on drums. A total of 14 songs were recorded in two hours. The music and the vocals were tracked live with “no samples” and without the pitch-correction technology Auto-Tune.
Roth‘s versions of “Ain’t Talkin’ ‘Bout Love” and “Panama” come more than a month after he shared a previously unheard solo recording from 2007, “Nothing Could Have Stopped Us Back Then Anyway”, in which he looked back nostalgically on his days in VAN HALEN. The latter song was recorded in 2007 with guitarist John 5 and drummer Gregg Bissonette for an album that never came out.
Aja is the sixth studio album by the American jazz rock band Steely Dan. Its regarded as a masterpiece and way ahead of their time complete with cryptic lyrics and very progressive jazz flavored rock. It was released on September 23, 1977, by ABC Records. Recording alongside nearly 40 musicians,. Donald Fagen and Walter Becker pushed Steely Dan further into experimenting with different combinations of session players while pursuing longer, more sophisticated compositions for the album.
Becker and Fagen masterminds had 5 albums behind them but they felt like something was amiss in their collection. They auditioned the best session musicians available at the time to piece together the magnum opus that would be titled Aja. Weeks of sessions were held, but on more than one occasion, no music was recorded at all. Becker and Fagen were looking for the best.
legendary drummers like Bernard Purdie and Steve Gadd rubbed elbows with jazz greats like Wayne Shorter and Plas Johnson. Doobie Brothers vocalist Michael McDonald lent his signature voice to the stacked harmonies of ‘Peg’ while future Eagles bassist Timothy B. Schmidt contributed to tracks like ‘Home at Last’ and ‘Josie’. Chuck Rainey, who incorporated funk and R&B grooves into the band’s arrangements, held down the bass on every track except ‘Deacon Blues’. It was a who’s-who of the best players at the time, collected onto one vinyl record. Walter and Becker might have been impeccable in their craft, but they weren’t above a very basic rule: make it sound good.
No other Steely Dan album is as naturally appealing or easy on the ears as Aja. It’s a masterclass in the pursuit of perfection.
The songs on Aja (pronounced Asia) have been dissected and examined countless times over the last 45 years, so I’m giving this great artwork its due. According to Wikipedia, the name Aja belonged to the Korean wife of Donald Fagen’s friend’s brother. I’m not sure if that’s true but it sounds plausible, so I’ll pretend it is.
Credit for the cover image goes to Hideki Fujii, who took this striking photo of model/actress Sayoko Yamaguchi.
John William Coltrane was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Born in this day, September 23rd 1926 in Hamlet North Carolina.
John Coltrane departed this mortal plane more than fifty years ago but he still remains a part of us, more alive than ever. His sound continues to grab the ears of an ever-widening circle of fans. His music legendary. He’s a permanent fixture in jazz culture as that of any 20th century musical giant. His saxophone sound—brooding, searching, dark—is still one of the most recognizable sounds in modern jazz. His influence stretches over styles and genres, and transcends cultural boundaries. The modern ideal of music serving a deeply spiritual, connective purpose. A defining facet of John Coltrane.
Jazz journalist Nat Hentoff, who interviewed and championed Coltrane, praised him more soberly. “By the time A Love Supreme hit, Trane struck such a spiritual chord in so many listeners that people started to think of him as being beyond human. I think that’s unfair. He was just a human being like you and me — but he was willing to practice more, to do all the things that somebody has to do to excel. The real value in what John Coltrane did was that what he accomplished, he did as a human.”
Timing had much to do with building Coltrane’s musical foundation as well. Being born in ‘26 meant that by his teenage years he was hearing the popular songs and sophisticated arrangements at the height of the big band era. As he approached adulthood in the mid ‘40s, the bebop of alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie grabbed the ears of his generation. Johnny Hodges, the longtime alto saxophonist in Duke Ellington’s famed orchestra; and Dexter Gordon, the tenor-sax playing, first-generation bebopper, were two of Coltrane’s earliest heroes.
“I know that there are bad forces, forces that bring suffering to others and misery to the world. I want to be the opposite force. I want to be the force which is truly for good.” ~John Coltrane
THE PRETTY RECKLESS will release a new collection of music, “Other Worlds”, on November 4 via Fearless Records. The effort sees the group delivering its first proper acoustic recordings, unexpected covers and other reimaginings.
Today, the band has shared the visualizer for the acoustic version of “Harley Darling”. Watch it below.
“‘Harley Darling’ is a love letter to [late THE PRETTY RECKLESS producer] Kato Khandwala,” says singer Taylor Momsen. “It’s as simple as that. So many of us have stories of losing loved ones, especially now, and I hope this song can be used in other’s healing as it was in my own.”
“Other Worlds” collates striking acoustic renditions of personal favorites accompanied by some very special guests. The recording of Elvis Costello‘s “(What’s So Funny ‘Bout) Peace, Love And Understanding” served as Momsen‘s first cover originally performed for the “Fearless At Home” livestream in the midst of COVID. As another pandemic-era cover, Matt Cameron played guitar and sang as Taylor powered an airy and lithe reimagining of SOUNDGARDEN‘s “Halfway There” from “King Animal”, generating hundreds of thousands of views on its initial post. Iconic multi-instrumentalist, producer and artist Alain Johannes handled guitar on THE PRETTY RECKLESS‘ pensive and poetic interpretation of “The Keeper”, originally by Chris Cornell, while David Bowiepianist Mike Garson performed a stirring piano movement for THE THIN WHITE DUKE‘s “Quicksand”.
“For a long time, we’ve been trying to figure out an alternative way of releasing music, including songs we love that didn’t make our records, covers, and alternate versions,” explains Momsen. “We found a way to do this coherently and consistently with ‘Other Worlds’. We’re a rock band, so there are lots of electric guitars on our records. However, we’ve gotten incredible feedback from fans about our acoustic performances, and we’d never put those out in any real format. So, this is a different take on the traditional format of a record and a stripped back version of us that our fans haven’t really heard before, but it’s still us.”
“You get to hear a different side of Taylor‘s vocals,” adds guitarist Ben Phillips. “It was a chance for us to see what she would sound like singing songs by people who have inspired us. It also gave us some perspective of where we need to go and what we need to be if we want to be that good.”
“Other Worlds” track listing:
01. Got So High (remix) 02. Loud Love 03. The Keeper (feat. Alain Johannes) 04. Quicksand (feat. Mike Garson) 05. 25 (acoustic) 06. Only Love Can Save Me Now(acoustic) 07. Death By Rock And Roll (acoustic) 08. Halfway There (feat. Matt Cameron) 09. (What’s So Funny ‘Bout) Peace, Love And Understanding 10. Harley Darling (acoustic) 11. Got So High (album version)
The Cult share new single “A Cut Inside” which follows the recently released debut single “Give Me Mercy,” from their new album Under The Midnight Sun.
Its been six years since The Cult put out anything new. Their latest work titled ‘Under The Midnight Sun. The album is set to be released October 7 tbrough Black Hill Records. Pre-order Under The Midnight Sunhere. News of the album came out with the release of the single, ‘Give Me Mercy’, which guitarist Billy Duffy said in a press release “has all the hallmarks of the new classic Cult to my ears”.
Ian Astbury said: “I was absolutely enamoured with this piece of music Billy had written, and it perfectly fit these thoughts I’d been having about our culture’s need to move past assumptions of duality. We need new language because words can’t express where we’re going.”
Astbury recalls: “It’s three in the morning in Finland, the sun’s up, and there’s all these beautiful people in this halcyon moment. People are laying on the grass, making out, drinking, smoking. There were rows of flowers at the front of the stage from the performances earlier that evening. It was an incredible moment.
“When the world stopped, I had this moment to write in real time, to calculate. I was compelled by this vision, this anomaly, this memory, of being under the midnight sun.”
1. Mirror 2. A Cut Inside 3. Vendetta X 4. Give Me Mercy 5. Outer Heaven 6. Knife Through Butterfly Heart 7. Impermanence 8. Under the Midnight Sun
Stay tuned for more from The Cult and this album — and catch the band on the road in the coming weeks:
July 8 – Palace Theatre – St Paul, MN July 9 – Cellular Stage at Summerfest- Milwaukee, WI July 10 – The Factory at The District – Chesterfield, MO July 12 – Riviera Theatre – Chicago, IL July 14 – PNC at Riverbend – Cincinnati, OH July 15 – Rose Music Center at The Heights – Dayton, OH July 16 – Stage AE – Pittsburgh, PA July 19 – The Anthem – Washington, DC July 20 – The Rooftop at Pier 17 – New York, NY July 22 – Metropolitan Opera House – Philadelphia, PA July 23 – Leader Bank Pavillion – Boston, MA July 24 – College Street Music Hall – New Haven, CT July 26 – Crouse Hinds Theater – Syracuse, NY July 27 – Meadowbrook Amphitheater – Detroit, MI July 29 – Hogs for Hospice Charity Event at Seacliff Park – Leamington, ON July 30 – Casino Rama – Orilla, ON
Experience Hendrix L.L.C. in partnership with Legacy Recordings, a division of Sony Music Entertainment, will release THE JIMI HENDRIX EXPERIENCE “Los Angeles Forum: April 26, 1969” this November 18 on 2LP vinyl, CD and all digital platforms. Recorded in the spring of 1969 before a raucous, sold-out audience, the captivating performance of the original lineup (singer/guitarist Jimi Hendrix, drummer Mitch Mitchell, bassist Noel Redding) has never before been released in its entirety. This album comes out in time for the 80th anniversary of Jimi Hendrix‘s birth (November 27). An advance track from the album, “I Don’t Live Today”, is now available below.
Following the massive success of THE JIMI HENDRIX EXPERIENCE‘s 1967-68 studio album trifecta (“Are You Experienced”, “Axis: Bold As Love”, “Electric Ladyland”),the trio had developed into the most popular international touring attraction in rock music. This widescale public interest coincided with the construction of new arenas for sporting events, among them the Forum in Inglewood, California. Designed by famed architect Charles Luckman (who also designed New York’s rebuilt Madison Square Garden),this multi-purpose venue opened in 1967 as the home of the Los Angeles Kingshockey team and Los Angeles Lakersbasketball team, but also began to serve as a music venue. Among the earliest concerts held there was Aretha Franklinin January 1968 and the CREAM farewell tour with opening act DEEP PURPLE in October of that year. THE JIMI HENDRIX EXPERIENCE were booked to perform on April 26, 1969 with opening acts CHICAGO TRANSIT AUTHORITY (soon-to-be renamed CHICAGO) and CAT MOTHER & THE ALL NIGHT NEWSBOYS, the latter of whom shared management with the headliners. Floor seats cost $6.50 ($51.20 adjusted for inflation).
By the time THE JIMI HENDRIX EXPERIENCE took the stage to blaze through a spirited set, live concert sound had drastically improved from the time of THE BEATLES baseball stadium tours, but crowd control was still a major concern. Between songs, Jimi pled with audience members to stop rushing the stage. A heavy police presence is felt; lyrics for their hit “Purple Haze” are altered (“‘Scuse me while I kiss that policeman!”) and Jimi dedicates “Spanish Castle Magic” to “the plain clothes police out there and other goofballs.” Hendrixtreated each performance as a unique event. He never relied on a standard set list comprised only of his biggest commercial hits. This approach was on full display at the Forum performance, blending more familiar tunes such as “Foxey Lady” with “I Don’t Live Today”from “Are You Experienced” and his signature blues original “Red House”(“Everybody want to know what America’s soul is; everybody think it’s Motown . . . America’s soul is something more like this here”) which had still not yet been released in the U.S. at this time. Furthermore, the group opened their set with a cover of “Tax Free” — an obscure 1967 instrumental by Swedish duo HANSSON & KARLSSON (consisting of Bo Hansson and Janne Karlsson),with whom the EXPERIENCE had previously shared bills in Stockholm. Another unique highlight featured within the Forum performance was an early reimagining of “The Star Spangled Banner”, which Jimiwould canonize four months later at Woodstock. “Here’s a song we was all brainwashed with,” Jimi trenchantly declares, at a time when the nation was in a state of great political unrest. The group closed their performance with a unique, extraordinary medley of “Voodoo Child (Slight Return)” and CREAM‘s “Sunshine Of Your Love”. The song was an EXPERIENCE favorite and a perfect live vehicle for the trio’s unparalleled improvisational skill.
“Los Angeles Forum: April 26, 1969” was recorded by Wally Heider and Bill Halverson contemporaneously, and recently remixed by longtime Hendrixproducer/engineer Eddie Kramer for maximum audio fidelity. It was produced by Janie Hendrix, CEO of Experience Hendrix, L.L.C. and the sister of Jimi Hendrix, Kramer and John McDermott, who manages the Hendrix music catalog on behalf of Experience Hendrix. The package’s liner notes are by former Los Angeles Times staff writer/critic Randy Lewis with a preface by ZZ TOP‘s Billy Gibbons who attended the HendrixForum show, having toured with the EXPERIENCE, as part of the MOVING SIDEWALKS, his pre-ZZ band.
Also coming out during the month of Hendrix‘s 80th birthday is the book “Jimi”. Published by Chronicle Books imprint Chroma for a November 15 release, this comprehensive visual celebration is an official collaboration with Janie Hendrixand John McDermott. “Jimi” significantly expands on the authors’ previously published titles, including “An Illustrated Experience”, and features a new introduction by Janie, extensive biographical texts, and a trove of lesser known and never-before-published photographs, personal memorabilia, lyrics, and more. Additionally, “Jimi”includes quotations by legendary musicians such as Paul McCartney, Ron Wood, Jeff Beck, Lenny Kravitz, Eric Clapton, Drake, Dave Grohl and others who have spoken about Hendrix‘s lasting influence.
It was the 70’s. Life was pretty easy for me back then. I was really young, no responsibilities other than school. It was a warm summer day in Florida back in May of 1977. Im impatiently awaiting summer break from school and my birthdays coming up. My parents were in an argument, about what I had no clue. It was hard for my very young mind to focus on such adult things at the time. I was frightened every time they argued. This one was more intense than usual. I went into my room, closed the door and turned on the radio to drown out the yelling. Suddenly this song came on the radio that blew my mind. It was Heart’s new one, Barracuda. It was heavy, loud and angry and I found myself escaping into the music. I turned the radio all the way up to max volume. This song was fire. I was in love. This song spoke to me and I could relate completely on many levels. It was a total banger for the time.
When a piece of music is paired with a very emotional event, it can be an effective cue to bring back the strong emotion that was felt at that moment and this is what the song Barracuda does for me every time only in a positive way. For me Barracuda was my gateway song into heavier music and I began collecting vinyl and going down the rabbit hole of all the coolest rock bands out at the time and eventually metal. My journey into music became very meaningful and its still going.
Barracuda is on Heart’s third studio album, Little Queen, and was released as the album’s lead single. It was written by Ann and Nancy Wilson together with guitarist Roger Fisher and drummer Michael DeRosier. Ann Wilson revealed in interviews that the song was about Heart’s anger towards Mushroom Records, who as a publicity stunt released a made-up story of an incestuous affair involving Ann and her sister Nancy Wilson. “Barracuda” is a sonic barrage of instrumental release in response, bludgeoning any lingering inappropriateness to a pulp.
On This Day in History five months after its release on September 3rd, 1977 – HEART’s song Barracuda peaked at number eleven on the Billboard Hot 100 Singles chart. This was HEART’s third top forty single in the United States at that time.
QUEENSRŸCHE will release its sixteenth studio album, “Digital Noise Alliance”, on October 7 via Century Media. The record was once again helmed by Chris “Zeuss” Harris, who previously worked with QUEENSRŸCHE on 2015’s “Condition Hüman” and “The Verdict” LPs. The LP’s third single, “Behind The Walls”, can be streamed below.
[NEW] “Behind The Walls” Official Video: While the two songs previously released, “In Extremis” and “Forest” were exploring two contrasting facets of “Digital Noise Alliance”, “Behind The Walls” offers a deep dive into QUEENSRŸCHE’s trademark sound.
The band comments: “It is a story about those in crisis dealing with various forms of abuse. The protagonist is faced with the dichotomy of reconciling a lifetime of devout faith, while suffering immense abuse with no intervention.”
Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 4/8/2022, my stepdaughter and I attended The Trinity Of Terror Tour at Blue Ribbon Pavilion on the Indiana State Fairgrounds. This show featured a trio of bands with three-word names: Ice Nine Kills, Motionless In White, and Black Veil Brides, with opener Lilith Czar.
Originally booked at a smaller venue, this triple headliner tour had to be relocated to the much larger State Fairground location due to aggressive ticket sales. I’m the first to admit that I was not the target demographic for this one, but my stepdaughter Emma has been developing a taste for heavier music and I am both proud and supportive of her growing love of attending live shows. Having said that, I had previously seen Motionless In White and Black Veil Brides, and I knew there would be some high energy entertainment and I wouldn’t automatically hate being there. Taking one for the team is one thing, but Emma knew I wasn’t going against my will. Not too long ago her musical taste was obsessively consumed with K-pop, so anything hard rock or metal related feels like victory.
I knew next to nothing about Lilith Czar prior to the show, and I’m certainly not going to lie and say I became a big fan, but she proved to have a strong vocal presence and a genuinely grateful attitude that built a visible excitement in the crowd as her set progressed. I didn’t hear anything revolutionary going on musically, but after doing a bit of research I learned that she has been steadily building her career for the past decade and that she is married to the Black Veil Brides’ singer, Andy Biersack.
Lilith Czar appears to be a band on the rise. Speaking of Black Veil Brides, they confirmed what I had already determined from my previous experience of their live performance; these guys are an extension of the best qualities of glamorous L.A. hard rock that ruled the late ’80’s. With singalong choruses, gigantic riff fueled anthems, blazing guitar solos (both singular and harmonized), and endless energy, Black Veil Brides collectively never stop moving and absolutely never forget why they are on that stage…they are there to entertain the predominantly young female fanbase and they do it with enthusiastic excellence.
Front man Andy Biersack has charisma to spare and doesn’t stray from his comfort zone vocally, which allows him to stay on pitch and full voiced. The rest of the band are adept with support vocals and are definitely great players. I knew going into this show that they would likely be the highlight for me and indeed they were.
Motionless In White followed and arguably had the most rabid crowd response of the evening. Some of that comes from having the best time slot, but a lot of it was due to the performance of Chris Motionless, who (like Biersack) knows his audience and relentlessly involves them in the gang choruses and hype points of his band’s music. I had last seen Motionless In White on a package tour in support of Slipknot and Lamb Of God in 2015. Clearly, MIW have grown enormously in the past seven years and absorbed lots of lessons from some of the heavyweights in the extreme metal community.
Overall, I think I enjoyed them more when they were an up-and-coming band. Back then they felt like a more wholesome alternative to Marilyn Manson. This time around they felt a little too derivative of Manson to me, but once again, I’m not their target and their target was ravenous, so hats off to them for their growth. Ice Nine Kills performed the final set of the night and I have both good and bad opinions concerning the horror lyric based metalcore band. First of all, I love the staging, the visuals, and the horror stuff. Everything happening on stage looked so good to me, unfortunately (as is usually the case with bands I don’t like) the vocals just killed the vibe for me.
Ice Nine Kills have been described as symphonic metal at times, but to me it was almost more appropriate to label them opera metal…and I just couldn’t get around my inability to ignore all that high pitched (i.e., whiny) sound.
Emma and I decided to call it a night and leave early, both concluding that we had enjoyed a tremendously entertaining evening of heavy music with great theatrics, visuals, energy, and production values.
Blue Ribbon Pavilion doesn’t have ideal sound, but it was certainly packed with all the elements of a rock show that featured young bands that are carrying the torch for heavy music and helping spread the fire to a hungry young audience. I applaud Ice Nine Kills, Motionless In White, Black Veil Brides, and Lilith Czar for their efforts and their continued success.
Aug. 30 – Denver, CO – Red Rocks Amphitheatre# Sep. 03 – Omaha, NE – Liberty First Credit Union Arena (buy tickets) Sep. 04 – Pryor, OK – Rocklahoma* Sep. 06 – Fort Wayne, IN – Allen County War Memorial Expo Center (buy tickets) Sep. 07 – Cleveland, OH – Jacobs Pavilion at Nautica (buy tickets) Sep. 09 – Scranton, PA – Toyota Pavilion at Montage Mountain (buy tickets) Sep. 10 – Alton, VA – Blue Ridge Rock Fest* Sep. 11 – Asheville, NC – Exploreasheville.com Arena (buy tickets) Sep. 13 – Milwaukee, WI – Eagles Ballroom (buy tickets) Sep. 14 – Sterling Heights, MI – Michigan Lottery Amphitheatre at Freedom Hill (buy tickets) Sep. 16 – Bonner Springs, MO – Azura Amphitheater (buy tickets) Sep. 17 – Saint Charles, MO – The Family Arena (buy tickets) Sep. 18 – Cincinnati, OH – ICON at The Andrew J Brady Music Center (buy tickets)
Ozzy Osbourne and Tony Iomi made a surprise reunion in their hometown of Birmingham, England, on Monday night with a performance at the city’s Commonwealth Games. They performed their classic “Paranoid” alongside two musicians who joined them on their final tour, The End: Adam Wakeman, who played bass and keyboards, and drummer Tommy Clufetos.
Osbourne and Iommi performed versions of ‘Iron Man’ and the complete ‘Paranoid’, the latter of which ended with a spectacular firework display. The performance apparently disrupted the BBC’s 10 O’Clock news broadcast, but nobody seemed to mind.
News of Osbourne’s performance comes ahead of the release of his new album, Patient Number 9, on September 9th. The new studio effort features guest appearances by the likes of Iommi, Zakk Wylde and Chad Smith of Red Hot Chili Peppers. Guns N’ Roses bassist Duff McKagan, Metallica’s Rob Trujillo, Pearl Jam guitarist Mike McCready, and former Foo Fighters drummer Taylor Hawkins are also all rumoured to have contributed.