Sixx A.M. released their third full-length album Modern Vintage on October 7 and has struck lightening once again. What makes this Eleven Seven Music released album even more intriguing than the previous two releases, is that this marks the first time that Nikki Sixx, James Michael, and D.J. Ashba have written an album without using a Nikki Sixx novel as source material.
Opening track “Stars” has brilliant guitar work while “Gotta Get It Right” song sounds like something Queen would write. This album fully shows off the kind of music that influenced them. The songs seem a lot shorter than songs off their previous releases. It’s definitely a step in a different direction. The material isn’t as heavy as the other two releases, but by no means lacks energy in the songs.
“Get Ya Some” is a nice change of pace with the acoustic guitar, then “Let’s Go” cranks things real loud really showcasing the band’s depth. James Michael’s vocals throughout the album are absolute gold. He has such an Elton John flavor with a touch of 90’s alternative to his voice that really makes this band really stand out among other hard rock bands. Sixx A.M. is not just riding high because of the name. The band has real talent.
It was recently revealed current Black Label Society drummer Jeff Fab laid down the drums for this album and will be playing behind the kit for the live shows.
Midway through the album, Sixx A.M. goes into a power ballad with “Drive” before going into the Motley Crue like “Give Me A Love” which is also a catchy tune. Going into the end of the album, “Miracle” is clearly a nod to the eighties, while closing track “Before It’s Over” ends the album on a rather strange note.
Overall, a solid release from Sixx A.M. A departure from the previous two releases, however, Sixx A.M. is here to stay. I would expect after Motley Crue wraps up their farewell tour, Nikki Sixx will make Sixx A.M. his full-time gig, And I would imagine D.J. Ashba will have plenty time off with Guns N’ Roses to be a part of it.
You can purchase the album here.
Key Tracks: Stars, Get Ya Some, Let’s Go
The styles of each song of The Perfume set were interesting and varied, ranging from a dub style “Mindless Dribble” to a garage band punk version of “Kitchen Mitts”, a definite highlight. They started with a Devo-style “Frog Legs” that turned into a disco dance party that was perfect foreshadowing for Giorgio Moroder. “Frog Legs” got the crowd moving right away with a version of the song that would fit right into the soundtrack of Saturday Night Fever. From there they got their reggae on with the aforementioned dub “Mindless Dribble”. A Wa-wa “7-11” and raucous “Pilin’ it High” came after that really amped up the crowd. The beauty of a Perfume set is that it was so different I didn’t realize that they were ending their set with “Kitchen Mitts” at first. So much so, that I left my spot to get a drink. As I walked across the back part of the venue I recognized the song so I stopped to revel in it and saw a mosh pit.
The second set started with an outfit change, Gutwillig coming out in a black shirt and white pants. Musically, it started and ended with “Little Lai”, with keyboardist Aron Magner trilling notes on the keyboard, while Gutwillig followed suit on guitar. A cohesive jam followed with each player adding their share, but with Magner and Gutwillig taking the reins. The transition into “Caterpillar” was pretty flawless and took the crowd on a musical exploration of the darker side of electronic jam music that The Disco Biscuits do so well. The drummer, 
Set break featured Giorgio Moroder, also known as “the godfather of disco” who came all the way from Europe to unleash his beats on our American ears. At 74, Moroder threw down harder than most people in the crowd. His music had us flashing back a few decades, remixing songs that he produced such as Donna Summer’s 1979 hit “Bad Girls” and 1984’s “Never Ending Story” which he composed. He also remixed the contemporary “Fancy” by Iggy Azalea which was unexpected and awesome. After Moroder’s performance every member of the band turned into the 80s kids that grew up with his music. Moroder is so legendary he had a hand in making his own theme song…
Ben (John Lithgow) and George (Alfred Molina) get married after 40 years together, once New York State legalized marriage equality in 2012. Soon after they return from their honeymoon, George is fired from his job as music director at a Catholic school, causing a disarray of finances, with Ben a retired artist, who has hair reminiscent of Bruce Dern in last year’s Nebraska. Without money to afford their apartment, Ben and George have to rely on separate family and friends to provide them with temporary accommodations, after decades of being together. With their living and lifestyle fundamentally changed, these two men in their 60s and 70s face a difficult transition as they adjust to their loved ones who welcome them willingly into their lives.
As with any new album that’s headed for another spin, it’s usually for one of two reasons: the band either had some potential on that first go-around, peaking your general curiosity, or the rarer option where you can’t help but race to start it over. 
Lead singer Ty Taylor channels Marvin Berry (think Back to the Future) and his cousin Chuck, engaging with the crowd, who quickly became the 5th member of the band. Taylor has the stage presence of a 1960s band leader, and alongside Nalle Colt (guitar), Rock Barrio Dill (bass) and Richard Danielson (drums), put forth a sound that could have been made by another five or more musicians on stage – the sound was that big. “Low down Dirty Dog” had a rockabilly blues vibe, while “Pelvis Pusher” appropriately channeled Little Richard.