NYS Music 20​17

Category: Rock

  • J. Geils, Guitarist and Founder of J. Geils Band, Dead at 71

    J. Geils, founding member of the popular blues-rock band that bore his name, was found dead in his Groton, MA home Tuesday after Groton police responded to a welfare check. The guitarist was 71 years old. Initial police reports indicate that Geils died of natural causes.

    J GeilsBorn and raised in the greater New York City area, John Warren Geils, Jr. formed the band in 1967, then known as the J. Geils Blues Band, while a student at Worcester Polytechnic Institute. Along with vocalist Peter Wolf, harmonica player Richard “Magic Dick” Salwitz, drummer Stephen Bladd, keyboardist Seth Justman and bassist Danny Klein, the band gigged around the Boston area for several years before landing a record deal with Atlantic in 1970. J. Geils Band rose to prominence once it transitioned from a strictly blues-based band to a rock band with a blues foundation, behind such hits as “Love Stinks,” “Musta Got Lost,” “Freeze Frame” and “Centerfold.”

    In a quote from the New York Times obituary, Geils spoke of the band’s rise to fame, “I founded the band as a Chicago-style blues band, and it evolved into a bluesy rock band. I don’t care what any recording artist says; they all want a No. 1 gold single, and we have two.” The 1981 breakthrough album Freeze Frame is what put the band at the top of the charts.

    The fame brought by the Freeze Frame album seemed to be the band’s ticket to stardom. Unfortunately, this didn’t happen. Wolf left the band prior to the follow-up album, You’re Gettin’ Even While I’m Gettin’ Odd.” The resulting disharmony eventually led to the band breaking up in 1985. They did reunite several times since, most notably at the opening of the Boston House of Blues in 2009 and as Aerosmith’s opening act at Fenway Park in 2010.

    J GeilsGeils was born February 20, 1946 in New York and grew up in Morris Plains, NJ. He cut his musical teeth listening to his father’s jazz records and the blues of Howlin’ Wolf and Muddy Waters. A renaissance man, Geils dipped his toes in many waters. He played trumpet in the marching band while attending Northeastern University and studied mechanical engineering at Worcester. Following the breakup of the band, he focused on auto restoration and music production.

    Peter Wolf offered his condolences via Facebook page Tuesday.

    Bear witness to this full perfomance at Winterland in 1977 and question why the J. Geils Band is not yet in the Rock and Roll Hall of Fame.

  • Hearing Aide: Evolfo ‘Last of the Acid Cowboys’

    Raunchy, horny, raw and unfiltered.  No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys.  This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture.   If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage.   NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”

    When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.” 

    The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades.  About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk.  The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus.  Think Black Keys featuring the Nitty Gritty Brass Band.  Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.

    “Bloody Bloody Knife” has a 60’s punk  feel that makes you feel guilty for listening.  The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it.  “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem.  The decision making on track placement is as ambitious as the tracks themselves.  The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album.  The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form.  Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power.  “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool.  Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.

    “Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece.  The sweet sounding “Peachy” has the loungiest feel of the record.  Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track.  After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.

    Buy Last of the Acid Cowboys now and see them on tour ASAP!

    Key Tracks: Rat City, Don’t Give Up Your Mind, Last of the Acid Cowboys

  • Hearing Aide: Vassals ‘Halogen Days’

    Brooklyn-based trio Vassals return in 2017 with a four-track EP entitled Halogen Days. It’s their newest release since 2015 and, overall, they’ve had a short musical career, only releasing their first album in 2012. Their style can best be described as dazed and confused indie rock with some slight bits of punk rock sprinkled in. Their rhythms are switched up constantly in creative ways, yet they maintain a sludgy movement throughout the EP to embody the exhausting, contradicting ideas that quarrel their brains.

    What this band makes up for in rhythmic syncopation, they truly lack in artistic flare. They have a slight tendency to embody the styles that we’ve heard before from bands like Silversun Pickups, or even Local Natives, but there are no fresh ideas that truly make them stand out among other artists of their style. Songs like “Sea Spells” and “Moonless” seem to start off on a good foot, but after a few minutes of listening, we are almost grateful for the rhythmic changes that follow. “Ghostwood”, the final track on the album, has one of the best punk-sensible interludes towards the end of the tune, but even the very final idea on the album is kind of a lost one.

    The saving grace on this EP is “SoHo” which has received notoriety not only for its garage-punk angst but also its bizarre, drug-induced music video (which I recommend watching for the Garfield and Tom Cruise cameo appearance). While Vassals may not be our first pick for musical innovation, their career is still taking off. And for anyone who has not yet listened to them, there are likely to be more unique works in their earlier releases as well as their releases to come.

    Top Tracks: SoHo

  • Sold Out: Steel Panther in New York City!

    Steel Panther is the Amy Schumer of rock and roll; raunchy, smutty, not for the faint of heart and hilarious. I bet Ms. Schumer is a fan. I can completely visualize her rockin’ out in her NYC townhouse to “That’s When You Came In.”  Or perhaps she was at their sold out Irving Plaza show last Thursday, April 6?

    Steel Panther is a tongue-in-cheek parody of all the 80’s hair bands that we know and love, but witty banter and explicit lyrics aside, they are a skilled group of musicians as well that possess a deep love for the music of their youth. With the exception of the guitar solo tribute to some of the greats, including “The Sound of Music,” Steel Panther’s set is strictly original music. You might hear shreds of Van Halen, melodies of Ratt, big guitars a la Iron Maiden, bass lines of Guns and Roses, throw in some Amy Schumer raunch and lyrics that would make Dr. Dre’s mother collapse, finally sprinkle the glam glitter of Poison and Motley Crue and you have Steel Panther.

    Michael Starr’s larger than life David Lee Roth presence and incredible vocal range complements itself to Satchel’s white lightning speed on the guitar. Their music runs the gamete from hard and edgy to acoustic ballads that bring you back to the corner of Sunset and N. San Vicente Boulevard.

    Playing to a sold out, mostly male crowd at Irving Plaza, the night was full of lots of great music and BOOBIES; talk about boobies, boobies on stage, girls with boobies, the Mercedes Benz of boobies and well, just plain boobies. The complete perfect night out for the guys! Favorite songs included “Just Like Tiger Woods,” “Asian Hooker,” “Poontang Boomerang” and their finale for the night, “Party All Day (F*ck All Night).”

    Steel PantherAfter 5 studio albums since 2003, they seem to be gaining more and more momentum with each year that passes. Missed them in NYC? In support of their newest release, “Lower The Bar,” they are traversing the country with dates until mid-May. Click here for tickets!

    Setlist: Eyes of a Panther, Goin’ in the Backdoor, Just Like Tiger Woods, Fat Girl (Thar She Blows), Asian Hooker, That’s When You Came In, Poontang Boomerang, Guitar Solo, Anything Goes, Girl From Oklahoma, 17 Girls in a Row, Gloryhole, Death to All but Metal, Community Property, Party All Day (F*ck All Night)

    Steel Panther

  • Foolin’ Around with moe. at The Paramount

    On Saturday, April 1, at The Paramount, Buffalo-based moe. took April Fools’ Day to the next level by sonically messing with the minds of everyone in attendance.  The die-hard moe.rons in the crowd knew that an inevitable prank was coming in some form, but the anticipation led to an even more exciting Saturday night show.  Opening with “Defrost” the boys did not wait to get the venue dancing.  The historically rare instrumental was the third appearance of “Defrost” in 2017 and it was frequently played in 2016, leading fans to assume that this oldie-but-goodie is not just getting a dusting, but being taken off the shelf permanently.

    Moe. brought out the heavy hitters early with a transition into an epic “Brent Black” in just the second slot.  Al Schnier and Rob Derhak chiseled the signature song into form while Chuck Garvey used his guitar pick to work on the intricacies.  Garvey celebrated his birthday on Thursday night in New Jersey, and on stage he has been having his cake and eating it too during the entire 3-show run.  “Lost Along The Way” gave the already sweaty crowd a much needed breather which was followed by “Blue Jeans Pizza” off the decade old album, The Conch.  One of the more lovey-dovey moe. originals, “Pizza” found Schnier switching from guitar to minimoog allowing Garvey to take full leadership of the solo to the delight of the crowd.  The only annoying aspect of this part of the set was the crowd chatter being at an all-time high.  While I felt that the energy from “Brent Black” never went away throughout the entire set, there are times to talk and times to STFU.

    Jim Loughlin lead the tribal transition into “Bring It Back Home” as Schnier jumped back onto his guitar for some added flare.  Loughlin remained in the spotlight while Derhak and Vinnie Amico tag teamed the next tune, “Billy Goat” off the most recent release studio release, No Guts, No Glory.  The surfer-rock jam found on the Smash Hits release, “Tailspin,” got the crowd spinning around again.  The very impressive first set was praised throughout the break as moe. spanned their entire career in just seven songs.

    moe at the paramountThe April Fools’ prank ensued as soon as the 5-piece reentered the stage for the second set.  Over the 28-year career of moe., many different rumors have been spread describing the origin of the band’s name.  One rumor was that moe. is a simple acronym for “monkeys on ecstasy” and on April 1, 2017, the monkey was brought to life in one of the stranger moe.ments I have seen a long time.   As members began tuning up for the start of the second half of the evening a person dressed in a monkey costume with giant headphones appeared next to Amico’s drum kit, fist-pumping to what sounded like a mashup of “Plane Crash” and Beastie Boys’ “Brass Monkey.”  The odd display transformed the rock venue into an electronic dance club and judging by the smile on Derhak’s face, even the band got a kick out of the gag.  The prankster monkey seemed to fall into his own trap as he slipped and fell while trying to get off the stage.  They covered it up nicely as the “too f**kin’ high” primate took off the giant headphones and put them on Derhak’s head before exiting the stage.  Was the slip a set up or did the gag lead to an injury?  The world may never know.

    moe at the paramountAfter the shenanigans ensued, “Rainshine> Understand” got the show back on track.   As the light two-song combo fizzled out, a reggae-influenced intro to “Time Ed” got the room swaying back and forth.  The band had a few laughs during the line, “Born a monkey from the sky (monkey, monkey)” before Loughlin returned to business as usual during his flying trapeze percussion section.  Throughout the song, he switched back and forth from bongos to MalletKat to xylophone in harmonious fashion.  The final segue of the set occurred during a strung-out “Haze” into one of their more euphoric songs off Dither, “So Long.”  Every jam band has their own repertoire of songs that cuts to the core of their loyal fan base and mellows out the room.  “So Long” is a chameleon of sorts because while it can act as the fluffy cloud to space out the heavier songs, it can also get pretty intense on its own, which is exactly what happened on Saturday night.

    Schnier came out as he usually does before the encore to read some fan shout-outs.  On certain nights he has no problem deciphering what the writers are trying to say, but in Huntington after a night of debauchery, he seemed to struggle through the chicken scratch handwriting.  There was some light banter from Loughlin as he announced the next song was one that he wrote.  The dark lyrics and southern-rocking Widespread Panic-esque sound of “Don’t Wanna Be” is not really my cup of tea and with little head nodding in the crowd, I felt like there had to be one more crowd-pleaser to end the incredible weekend of moe. in the Northeast.  Sure enough, “New York City” was served as the entrée of the encore and considering many fans came to The Paramount on a train from the Big Apple, the famoe.us tune was well received.

    The boys will play four sold-out shows at The Sinclair before departing for the South to cover some ground in warmer territories.  The recently added set entitled “phil.moe.” at Lock’n was the latest news from the band, and from now until the special dead-inspired set, they will headline Summer Camp and the return of Moe.Down.  The bright future and booked calendar gives the moe.rons hope that while the band may be up for a good time and a few pranks, they are in no way ready to cool it down.

    moe. – 4.1.17 – The Paramount – Long Island, NY

    Set 1: Defrost > Brent Black, Lost Along The Way > Blue Jeans Pizza > Bring It Back Home, Billy Goat > Tailspin

    Set 2: Rainshine > Understand, Time Ed, She, > Sensory Deprivation Bank, George, Haze > So Long

    Encore: Don’t Wanna Be, New York City

    moe at the paramount

  • Hearing Aide: The Werks ‘Magic’

    At this point in their career, The Werks are one of the best established jam acts on the circuit today.  Through brilliant marketing with their festivals and events, relentless touring, and (most importantly) their entirely unique
    brand of rock and roll.  All of these facts considered, it should come as no surprise that their newest album, Magic, released on March 17, finds the Ohio natives sounding more comfortable in the studio than ever before.  Their familiarity with the recording process is evident upon first listen, even without the knowledge that this is their fourth full length studio album since 2009; no small feat considering the studio presence (or lack thereof) that most groups of the genre display.

    the werks magicWritten in their ‘sonic dojo’ The Werkspace, the album features eight inspiring tunes which traverse several different genres of rock.  Right out of the gate with the first two tracks, the delightfully upbeat “Wide Awake,” followed by the title track, the listener realizes that this isn’t going to be another pentatonic wank session that seems much too common in today’s rock landscape.  The Werks have an eclectic sound, reminiscent of 70’s rock gods yet avoids coming off as a cheap imitation.  “Slab” really hits the spot, with a gut buster of a riff that offers a pleasantly abrasive counterpoint to the smooth lyrical caress of the first few tracks.

    “Moonset” sees the boys moving in an even more experimental realm; a trance-fusion arrangement matched with ruthlessly proficient lead guitar that could get any naysayer’s head bobbing as if they were raging the Big Tent around 3 AM at the old Bisco.  The track took full advantage of the Sonic Lounge studio’s 1 of 13 in the world soundboard, found in Grove City, Ohio.  “Moving On” is the longest track of the album, coming in at 8 minutes and 36 seconds, providing a well needed canvas for perhaps the single most diverse track of the record.  Beautiful melodic hooks and a jaunty rhythm pull rock aficionados in like a sirens call, while the bridge section exhibits some bass runs that’d make Getty Lee pay attention.  “Lights Out” wraps the album up with some assistance from Ohio’s own Hoodoo Soul Band, who laid down some one of a kind horn riffs over the concluding tune.

    Key Tracks: Slab, Moonset, Moving On

    Magic can be yours today for the wonderful Name Your Price option on The Werks’ bandcamp.  Be sure to visit their website as well for upcoming tour dates, possibly near you!

  • Hearing Aide: Gordon St. ‘Gordon St.’

    From Schenectady comes Gordon St., a rock and roll band known for their unique music and diverse cover songs in concert. The band is made up of four members including Dan Noonan as the lead vocalist and bassist, Ritch Harrigan on the guitar, keyboardist Mark Bertini, and drummer Jason Nowak. The group’s upcoming debut, self-titled album will be released in its entirety on April 29.

    Gordon St. features either original tracks including two singles on their album – “Right as Rain,” a song that seemingly begins as an acoustic number right before the electric sound kicks in with an ear-pleasing groove. “King of Hearts” has the listener following the infectious sounds of the drummer throughout the piece. Another featured song, “Until We Meet Again,” had me hooked from the beginning as it starts with a stripped down vocal accompanied by the organic sounds of snapping fingers.

    Other tracks that accentuate the raw musical talent of these musicians are “Peppermint Chamber” and “The Equation,” both consisting of instrumental intros. “Paranoid Jones” is yet another example of a song with a musical outro and exciting guitar riffs, which are commonly heard in the group’s music.

    Although the band’s genre is generally classified as rock and roll, Gordon St. draws from their many influencers to create an original sound. A number of their tracks experiment with different styles of music and subtly cross over into other genres as well. Take a listen for yourselves on their album release!

    Key Tracks: Peppermint Chamber, Right as Rain, Until We Meet Again

  • moe. Gets Meaty in Connecticut

    On a rainy Friday night in New Haven, Connecticut on March 31, fans gathered at the College Street Music Hall to see the jam titans moe.  The 5-piece appropriately opened the show with “Water” to a soaking wet crowd.  The cleverly placed tune off the 2001 album, Dither, served as a welcoming “hello” as suggest in the lyrics.  A gentle transition into “Hector’s Pillow” flowed like a river and soared with Chuck Garvey and Al Schnier exchanging guitar riffs to the delight of a rowdy crowd.

    If the line to get inside the venue wasn’t long enough, there was always the beer line to eat up more of your first set enjoyment.  Looking on the bright side, I was able to meet a middle-aged crew celebrating a 40th birthday and wearing matching hats that read “40 moe. years.”  Embracing the famoe.ly atmosphere, the birthday crew pointed out that drummer Vinnie Amico was also sporting the same hat during the show.  The “glass half full” attitude in the beer line worked well with the lyrics of “Okayalright,” the third song of the evening.  The classic tune off 2003’s Wormwood serves as a favorite for moe.rons of all ages and on Friday night, bassist Rob Derhak had the damp crowd singing along.

    The one-two punch of Skrunk> Lazarus generated high-energy power normally reserved for the second set.  Schnier was on fire while Garvey provided the gasoline to keep the flame glowing.  While Lazarus has been played for two decades, it wasn’t until the 2012 release, What Happened to the LA LAs that the band took the song to the studio.   Unlike the recorded version, which taps out under 4-minutes, moe. added a lift-kit to the monster truck of a jam in New Haven.  Serving up even more kickassery to close out the first set, “McBain” gave each member a moment in the spotlight and featured the peaks and valleys that die-hard followers of the band have come to expect over the years.

    The venue was treated to the sounds (and smells) of a good old fashioned Allman Brothers Band concert when moe. came back out for an epic cover of “In Memory of Elizabeth Reed.”  Known as one of the most iconic classic rock instrumentals of all time, this early second set masterpiece saw Jim Laughlin go to town on his signature vibraphone during the peak of the jam.  After a crowd-pleasing “Buster,” my vote for second-set MVP took the vibraphone on another adventure during an extra-long “Chromatic Nightmare.”  This dizzying percussion piece seemed to be heavily Zappa influenced as the band attempted to recreate an acid trip at a carnival, and the crowd ate it up.

    The more straight-forward “Blond Hair and Blue Eyes” brought the venue back to a safe space before getting even deeper with “Faker.”  While “Chromatic Nightmare” is an example of the more psychedelic side of the quartet, “Faker” displays their talent for introspective lyrics and melodic compositions.  Those in attendance looking for the more heavy-metal moe. were treated to a killer “meat.” to close out the set.  “Elizabeth Reed” may have been the highlight of the early half of the set, but “meat.” took the group to an entirely different dimension.  It is rare to see a mosh pit form at a jam band show, but if it were to happen, it feels like “meat.” is the most moshable of them all.  Fans that prefer to cling to Al-side of the theater were treated to an up-close and personal look at the guitarist and he brought his shredding as close to the fans as possible.

    Perhaps as a nod to April Fool’s the following day, “Waiting For The Punchline” was delivered as the sole encore of the evening. The delightful bluegrass section of this number got feet stomping and hands clapping, and if I’m not mistaken, I believe I caught a few “yee-haws” before the end of the tune.  While it appeared that some of the moe.rons in the room would be making the trek across the Long Island Sound to see them again the following night in Huntington, those staying in Connecticut left the venue grateful for the well-crafted start to their weekend.

    Set I: Water > Hector’s Pillow > Okayalright, Skrunk > Lazarus, Little Miss Cup Half Empty, McBain

    Set II: In Memory Of Elizabeth Reed, Jazz Wank > Buster >Chromatic Nightmare, Blond Hair And Blue Eyes, Faker > meat.

    Encore: Waiting For The Punchline

  • UFO and Saxon Invade Penn’s Peak

    On Saturday April 1, 2017, the only fools were the ones who did not get a ticket to the UFO-Saxon concert at Penn’s Peak in Jim Thorpe, PA. Close to 2000 fans, mainly middle-aged men clad in leather and denim jackets donned with classic rock and roll patches, attended the sold out rock show at the scenic concert venue in the heart of central Pennsylvania near the Pocono Mountains.

    The Penn’s Peak show was the second to last on this classic US tour before heading to Europe to begin the summer festival season. Both Saxon and UFO have storied careers spanning decades with a diehard and loyal fanbase.

    Newcomer, Jared James Nichols, opening for Saxon and UFO,  took command of the sold-out crowd on April Fools’ Day.  Solo artist, Nichols, opening for this tour has taken the music industry by storm. Recently coming out of a t0ur with Zakk Wylde, the trio of bassist Erik Sandin and drummer Dennis Holm have landed another killer gig opening for the British heavy metal legends Saxon and UFO supporting them on this tour. Having one release under their belt, Old Glory and the Wild Revival, their bluesy hard rock was energetic and infectious with an edgy rock sound and stage presence that was perfect for warming up the fans. Keep an eye on these guys. I am glad I caught them when I did as they are definitely making waves and going places. I especially love the fact he plays guitar with his fingers and without the use of a pick. Another very cool rock and roll move.

    Following the shredding guitar work of opening act Jared James Nichols, Saxon stormed the stage in true classic metal style. Frontman Biff Byford, guitarists Doug Scarratt and Paul Quinn, bassist Nibbs Carter and drummer Nigel Glockler gave the fans a thrilling ride down metal lane, with their set consisting of classic 80’s Saxon songs along with a handful of their current material off Battering Ram. The thundering bass and bottom end had the peak shaking its foundations while the dueling guitar work of Scarratt and Quinn were as tight and fluid as you would expect from this classic guitar, heavy riff driven band. Saxon opened their set a little after 9 p.m. with the title track “Battering Ram” off their latest release, following with “This Town Rocks,” off  Power and the Glory, and finally, the 3rd song, “Sacrifice.”

    Byford sounds better than ever, looking energetic and youthful despite his age. Wearing a long black medieval style buttoned down jacket, he had no problems head-banging with his long blonde locks flailing. He worked the stage like a master frontman, all while maintaining constant interaction with the crowd acknowledging the fans and talking about living for a brief period of time in the Pocono Mountains of Pennsylvania. Midway through the set, Byford gave the fans the opportunity to choose what song they wanted to hear, giving them several options to choose from  including “Never Surrender,”  “747 (Strangers in the Night)” or “And the Band Played On” while paying tribute to legendary British rocker Lemmy Kilmister.  Closing out their seventy-five-minute set were the classics “Crusader,” “Denim and Leather” and “Princess of the Night.”

    Saxon Setlist: Battering Ram, This Town Rocks, Sacrifice, Power and the Glory, KQueen of Hearts, The Eagle has Landed, Dallas 1PM, Heavy Metal, Thunder, Crusader, Wheels of Steel

    Encore: Denim and Leather, Princess of the Night

    Headliners UFO took the stage around 10:30 for over a ninety-minute set wrapping up at close to 12:15 am. Touring in support of their 2015 studio album A Conspiracy of Stars, UFO had the crowd from song one. The last time I saw UFO was in 1983 when they opened for Ozzy at the Broome County Arena in Binghamton, NY. Having never really listened to UFO that much, I did recognize many of their songs on the set. Opening their set with “Mother Mary,” “Long Gone” and thirdly “Run Boy Run” I was immediately impressed with the tightness and cohesiveness of the band that formed back in 1969. The energy was infectious and mesmerizing as the only two original UFO members Phil Mogg and drummer Andy Parker along with keyboardist/rhythm guitarist Paul Raymond, guitarist extraordinaire Vinnie Moore and bassist Rob De Luca, never missed a beat and were in the pocket from the first note throughout the almost two-hour long set.

    Mogg, a 50 year veteran of the stage knows how to work the crowd. He is very adept at keeping the fans attention, using humor, history lessons and rock and roll charm. At times he would crack jokes about his beautiful baldness and comparing his age to that of some of the guys in the crowd that were lucky enough to still have hair, albeit, grey. Mogg, pushing 70 years old, remains ever youthful and spry onstage while captivating the crowd delivering the classic UFO sound that fans have loved for close to five decades.

    With a catalog of almost 50 years of material to choose from, including hits from the classic albums Lights Out, Obsession, Strangers in the Night, and more, it was no surprise they played for almost two hours solid as the fans remained for the encore numbers.

    UFO Setlist: Mother Mary, Long Gone, Run Boy Run, Lights Out, Baby Blue, Only You Can Rock Me, Let it Roll, Burn Your House Down, Too, Hot to Handle, Messiah of Love, Love to Love, Rock Bottom

    Encore: Cherry, Doctor Doctor, Shoot Shoot

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  • Hearing Aide: Mastodon ‘Emperor of Sand’

    With 2017 underway we already have seen so many great releases in the metal world. We had Kreator’s Gods of Violence, Obituary’s self-titled album, and even Overkill with their thrashing hit The Grinding Wheel. Now it is time for perhaps the most anticipated sludge and progressive metal album this year. If you are a fan of those genres then you know exactly which album I am speaking of! Mastodon’s seventh studio album Emperor of Sand released March 31 has given many people a metalgasm! Might need to clean yourself up after checking out this album review.

    mastadon Emperor_of_sand_coverEmperor of Sand (released via Reprise records) is a follow up from the band’s 2014 hit Once Around The Sun (released via Reprise). This album has started an uproar since it was teased with such singles like “Sultan’s Curse” and “Show Yourself.” As the clock hit midnight and my phone notified me it was ready to be viewed on Google Play Music, damn skippy I played it as soon it was ready for my puny mortal ears to binge on. The album continues the progression the band has been going with for sometime with more audible vocals approach and a more lean guitar sound. It has created a great energy of soothing jams like “Show Yourself” and “Steambreather” taking center stage for this formula in perfect harmony. The combination of Brent Hinds and Bill Kelliher’s vocals really shows the band’s strong suit making catchy song structures while keeping the skilled technical foundation strong. This album is perfect for those who enjoy bands like Red Fang and Baronness. American sludge progressive metal bands like these are slowly taking over the metal scene once again.

    Sure the album may have some mellow songs, but these guys still know how to get some sweet aggressive playing going on. “Clandestiny” is the dose of heavy sludge that the doctor ordered! With the great drumming work of Brann Dailer and the bass playing from Troy Sanders it is one solid heavy sludge tune. It is for the fans that need some progressive in their life mixed with some heavy licks to get them stoned or drunk. Hey perfect tune to try to drink the Mastodon beer to! Cheers! This album is pure awesome with a side of bad ass and it will quickly climb to the top of the metal charts and hard rock. It would not shock me if it becomes the number one release in it’s genre. I will put money on that! You can say all you want about the boys, but they will always remain a steamroller force of pure genius!

    This album gets a solid 5 out of 5 from Black Metal Steve. Go buy the album from your local record store or from the band’s website.

    Key Tracks: Show Yourself, Sultan’s Curse, Steambreather