Category: Metal/Hard Rock/Punk

  • King Gizzard & the Lizard Wizard Take a Microtonal Dive on ‘LW’

    King Gizzard & the Lizard Wizard are back with another new album, LW. The band’s 17th studio album is the follow up to 2020’s KG and also the third installment in their series of microtonal explorations (which also includes 2017’s Flying Microtonal Banana). The record comes right on the heels of the recently released live-studio music video “Pleura,” directed by John Angus Stewart.

    King Gizzard LW

    King Gizzard intended LW to be a seamless continuation of 2020’s KG as all of the songs were recorded together with the same stylistic and experimental tendencies. The double album is bookended by separate but similarly titled tracks “KGLW.” The first, being the opening track on KG, is a one-and-a-half-minute melody reminiscent of medieval minstrel music while the second version of “KGLW,” the closing track on LW, is a slow burning thrash metal epic. Even the noisy outro of KG closing track “The Hungry Wolf of Fate” extends into the opening minute of LW opener “If Not Now, Then When?” before abruptly switching into a slinky funk jam.

    On LW, King Gizzard continue their dive into “microtonal tunings,” a unique musical style that comes from using instrumentation designed to give distinct tones between those found on western, indexed instruments. Frontman Stu Mackenzie described the effort by saying “we wanted to make new music that was somehow more colorful this time around, and which maybe reflected the many new things that we have learned along the way.” The band relies heavily on the bağlama, a Turkish stringed instrument, to create layers of psychedelic and mystical microtonal passages that transports the listener right to the deserts of the Far East. Mixed with Stu’s unique metal-tinged vocals and garage rock guitar structure, the band delivers a truly innovative experience on LW.

    King Gizzard LW
    King Gizzard at Central Park Summerstage, 8/28/2019 – Photo by Buscar Photo

    However, King Gizzard do not just stick to one sound here. In fact, the band fine tune many of the different stylistic directions from their back catalog in the theme of Eastern microtonal tuning. On both KG and LW there are tracks with a disco/funk rhythm, heavy thrash metal tracks that could fit right on Infest the Rats’ Nest, and prog-folk odysseys. The Melbourne based band have dedicated entire albums to these influences over their career, but on KG and LW they all come together in a whole new way. The result is as if you threw 70s era prog and folk rock, Revolver era Beatles, and early Black Sabbath into the Gizzard song machine.

    King Gizzard LW
    King Gizzard at Central Park Summerstage, 8/28/2019 – Photo by Buscar Photo

    Standout tracks include the lead single “Pleura,” a driving garage rock song with a stringy folk passage in the back half, “Static Electricity” which features layers of swirling woodwinds and acoustic guitar arpeggios, and closing track “KGLW” which is a sprawling 8-minute thrash metal banger with a creepy “K-G-L-W” vocal mantra buried into the mix. You can find both albums to download right on King Gizzard’s own site (HERE) where $1 from every download of LW is being donated to Greenfleet, a charity aimed at replanting biodiverse forests in Australia and New Zealand.

    If one thing is certain, given the extra time from not being able to tour, this is only the beginning of another rabid burst of musical output from King Gizzard & the Lizard Wizard.

    Check out more photos from King Gizzard’s headline show at Central Park Summerstage back in August 2019 below.

  • Emo-Rock Duo Losers Club from Rochester are Back with New Music

    Losers Club are making their label-debut on Substream Records with a new single called “Fux W/ Ur Head,” set for release on March 5th, 2021.

    The duet’s emo-rock sound is crafted by frontman Nate Blasdell, known for his role as lead guitar and background vocals in the melodic hardcore band I Set My Friends on Fire, and backed by Andy Champion on guitar. Losers Club’s sound is poppier than Blasdell’s previous work, akin to The All-American Rejects. Their music is anthemic and tightly packed with melody.

    On their instagram account, Losers Club recounted the past year, saying “This year was a rollercoaster to say the least. What started as four, turned to three, then three became two, and now here we are, stronger than ever with 2020 in the rearview and so much to look forward to in 2021. New sound. New look. New album. New era.”

    With their new sound and formation, Losers Club is ready to take on the music world with their label-debut single, Fux W/ Ur Head. You can pre-order it here.

    You can find them on Instagram and Facebook and the label’s website.

  • Saratoga Winners welcomes Armored Saint and M-16 on this day in 1988

    On Wednesday, February 17, 1988, 33 years ago tonight, the ‘headbangingest band in L.A.’, Armored Saint, played a gig at Saratoga Winners in Latham, NY.  At the time, the band were touring their great third record, ‘Raising Fear’, on Chrysalis Records.  Saint had been to the Albany area before – opening for Metallica and WASP in early 1985 in Scotia in support of first album ‘March of the Saint’, and again in mid-1986, a headline show at the short-lived JB’s Theater, promoting second record ‘Delirious Nomad’, so this gig was packed with enthusiastic headbangers.

    Metroland advert

    The opening act was Albany-area heavies M-16, and the years have dimmed my memory of their set – but I remember them getting a good reaction, not much else.

    saratoga winners armored saint
    Bassist Joey Vera – photo by Mark Kurtzner

    Saint hit the Saratoga Winners stage with the blazing title track of the then-new record, “Raising Fear,” followed by the anthemic first-album classic “March of the Saint,” the chorus roared along with by those in attendance.  The band played a long set, incorporating older songs like “Can U Deliver,” “Nervous Man” and set-closer “Long Before I Die.”  A particular highlight was the creeping, epic tale of nuclear annihilation, “Aftermath,” from Delirious Nomad.  Drummer Gonzo and late, great guitarist Dave Prichard also had solo spots, both killer musicians.  These days the band rarely play songs from ‘Raising Fear’, but that night they did a fair number of tracks from it, including vampire tale “Human Vulture,” “Out on a Limb,” their cover of Lynyrd Syknyrd’s “Saturday Night Special,” “Book of Blood,” and the rampaging “Chemical Euphoria,” the most enduring and the one most oft-played over the years.  The first encore was “Frozen Will/Legacy” from that record – Setlist FM, if you believe “internet truths,” says this was the only known time they played that song live, ever, but maybe it was the only time it was bootlegged.  Either way, great song.

    saratoga winners armored saint
    Guitarist Dave Prichard – photo by Mark Kurtzner

    The show finished with the band raging through a cover of Black Sabbath’s first-album classic “N.I.B.,” and the band’s high-speed, neck-snapping traditional show-closer, the mighty “Mad House.”  A roaring, headbanging night – luckily, the whole thing was filmed by a fan in the audience, and is available online, and the energetic vibe from both band and crowd bleeds through, even via the rough footage available.

    The video caused some drama after the show. My buddy Mark (who took the great photos accompanying this retrospective) and I had set up an interview with singer John Bush for post-concert – I think for my WCDB college radio show – and when we were about to go back, the road manager, a guy named Zach, gave us a major ration about the video. Apparently, someone had seen a friend of ours videoing it, saw us talking, and insisted that we turn over the video before the interview commenced. Of course, it wasn’t our video, we didn’t have it, people tape stuff, that’s life – plus, said bootlegger had left, so what were we supposed to do? Road Manager guy didn’t want to hear it and continued to give us grief. This lasted for a while. I can’t recall how it resolved, but I think someone from the band told him to chill out, and we got a really good interview with John and some of the other guys – I remember we got a really funny, cool WCDB station ID from drummer Gonzo and guitarist Dave Prichard which was used on-air and WCDB for years afterwards. Road manager aside, Saint were/are some great guys.

    saratoga winners armored saint
    Singer John Bush – photo by Mark Kurtzner

    The ironic part of the “road manager giving us crap” story is that, via the tape-trading scene, Saint eventually got a copy of the video, and used the bootleg video recording of “Raising Fear” from this show as part of the ‘Trip Through Red Times’ video/DVD which was released as a tribute to the mighty AS guitarist Dave Prichard after he sadly passed away from leukemia just two years later – what a great guitarist this guy was, and he’s been gone 31 years this month.  A sad loss.  All hail Dave, and all hail Armored Saint. 

    saratoga winners armored saint

    Setlist: Raising Fear, March of the Saint, Human Vulture, Nervous Man, Out on a Limb (Last known live performance), Aftermath, Book of Blood, Chemical Euphoria, Can U Deliver, Gonzo Sandoval’s Drum Solo, Can U Deliver (reprise), Dave Prichard’s Guitar Solo, Saturday Night Special (Lynyrd Skynrd cover), Long Before I Die 

    Encore: Frozen Will / Legacy (Only known live performance) , N. I. B. (Black Sabbath cover – Last known performance), Mad House

  • Long Island’s Card Reader Takes First Place at Interstate Music Awards

    Long Island pop-punk band Card Reader won first place at the Interstate Music Awards, an underground artist competition created by the CEO of Interstate Music, Jeff Peterson.

    card reader
    Long Island Pop-Punk Band Card Reader

    Card Reader, won the Interstate Music Awards out of hundreds of submissions. Their first place prized earned them $5000 in gift cards, as well as the opportunity to perform live on the Interstate Music stage in Wisconsin later this year. 

    In a year of uncertainty and lockdown, Card Reader continued to put out music, their bright sound illuminating days spent inside. This spring they will be releasing an acoustic EP set to release on Friday, March 26th. It will contain new versions of previously released tracks, stripped down and engineered by their very own Matt Sullivan. They will also be recording their sophomore EP this April with veteran producer, Nik Bruzzese, at Gradwell House in Haddon Heights, New Jersey. 

    Guitarist and vocalist, Tom Petito, spoke about Card Reader’s big win and the road ahead. “We’re fired up right now. Starting 2021 off on the right foot is crucial for any band. I think we did just that. We received a big wave of support in this competition and winning it all has been an unreal experience. Our family, friends, & fans had our back in a big way.

    We’ll use this momentum to help fuel the fire as we prepare to record our new EP in the spring. Nik reached out to us after the contest win and expressed his desire to take our sound to the next level. We couldn’t agree more. It’s our move now and our opportunity to show the music world that Card Reader is for real.

    Stream their music on Spotify, Apple Music, or Bandcamp and find Card Reader on Twitter, Instagram or Facebook.

    Watch their studio documentary for their 2020 EP Mental Scars here.

  • This week’s EQXposure features New Releases by Paintbox Records Artists

    Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Paintbox Records Artists Senior Living, The Classical, and many more artists from across the Capital Region and Hudson Valley.

    Paintbox Records

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.

    On Sunday, February 7, WEQX will feature four cuts from the newly minted Paintbox Records Pallete release series. Among them are two songs from Senior Living and two songs from The Classical. Paintbox Records happened because the bands, who are all friends, were planning on touring together last year, but the pandemic prevented those road runs from happening.

    But COVID-19 couldn’t stop this crew of creatives from making rock happen, thus Paintbox Records was born.

    Also featured are new music debuts from two Albany groups – Fine Grain, “Missing Adult,” and Son of Gun “Cry all Night,” the latter off their forthcoming release Turn to Dust, due out February 12

  • Hearing Aide: Velocihamster ‘Balls To The Wall’

    Milwaukee, WI based lap steel guitarist, Sean Williamson, is back under his alter ego Velocihamster, with the release of his sophomore album Balls to the Wall. Williamson, who also plays guitar in R&B Milwaukee based bands Shonn Hinton & Shotgun and The Bryan Cherry Band, decided to make the best out of the pandemic induced time-out, from touring and live performances, by focusing his time wisely in the studio with his signature Morrell SW Custom 6 Lap Steel guitar

    Velocihamster Balls To The Wall

    With contributions from talented musicians like bassist Matt Turner and drummers Eric Kummer, Chris Oelke, Sean Smith, Terry Jeanes Jr., and Matt Rhyner the Balls to the Wall album was born. As Williamson notes himself:

    With a raging pandemic putting all musicians in purgatory, my idle lap steel has proven to be the ‘devil’s playground,’ inspiring me to give this project the full attention it needed. The world needs more steel guitar superheroes and I hope this record can expose a new audience to its limitless potential.

    Balls to The Wall is not representative of your Great Uncle Vern’s taste of Steel Guitar stylings in his Country and Western collection. Williamson, a devotee to both Heavy Metal and Prog Rock, has followed in the footsteps of fellow pickers like Robert Randolph and Ben Harper and took an instrument that is classically known for its deep country roots and made it rock. There are no fluffy ballads or love songs on this instrumental juggernaut, just straight up in your face high energy music that has been self-categorized by him as “slidecore.”       

    The glorious result is a nine track LP that is comprised mostly of original material penned and produced by Williamson, and additionally features two classic covers including a heavy metal interpretation of surf rock legend the Dick Dale’s “Misirlou” (made famous by Quentin Tarentino’s 90’s classic Pulp Fiction) and Phish’s jam band classic “First Tube,” which was featured on their ninth release Farmhouse back in May of 2000. Both renditions due justice to the originals and have been masterfully reimagined and given the “slidecore” treatment by Velocihamster.

    Williamson’s lap steel is most definitely the star of the show on these tracks, but both tunes are additionally supported by some great musicians including Chris Oelke’s bombastic percussion on “Misirlou” and Paul Kneevers’ organ accompaniment on “First Tube” which elevates the jam track to the next level. It should be noted that even though there was a large roster of different players accompanying Williamson on Balls to the Wall, the record is still an exceptionally cohesive work that never suffers from a deficincy in musical talent or spotty production work. 

    Photo by Greg Vorobiov

    This level of craftmanship is also evident on the album’s fourth track “Fall,” an original by Williamson, which highlights his playing and production skills. The layered and distinct guitar parts elicit a feeling of a musical melee between opposing forces, that clash and eventually crests to a natural climax by the end of the song. Another notable original by Velocihamster is “Bury,” the sixth track on the Balls to the Wall LP. Williamson jumps right into action with a psychotic sitar sounding intro which grace the beginning bars of the tune which will eventually transition into a middle eastern influenced sonic journey, featuring a heavy dose of fantastic percussion showcasing the double kick bass drum.

    Although the recent pandemic has had an awful effect on the music industry in general, one silver lining in the whole COVID-19 nightmare is that the break from the grind of touring and performing has provided an opportunity for talented musicians like Sean Williamson to be able to concentrate on their craft and create some incredible music. Like Jeff Goldblum’s character Ian Malcome so aptly states in Steven Spielberg’s classic 1993 film Jurrasic Park, “Life finds a way.”  Williamson, with his passion project Velocihamster, has been able to do just that by taking life’s lemons and creating heavy metal musical lemonade.

    Velocihamster’s Balls to the Wall is now available on digital formats via Born Free, Then Caged Music & full length vinyl LP shortly thereafter.

     Key Tracks: Fall, Bury, First Tube, Misirlou

  • Flashback to January 25, 1990: Voivod join Soundgarden at The Chance in Poughkeepsie

    A killer double-bill of Soundgarden and Voivod took place 31 years ago today on January 25, 1990 at The Chance in Poughkeepsie. Actually, it was a triple-bill, a band called The Big F opened, but there was some pretty intense fog. We got there just in time for Soundgarden and missed the openers.

    In early 1990, Soundgarden was promoting their 1989 major-label debut, Louder Than Love; the one before it, Ultramega OK, had also been released that year. I’d first heard their single, “Flower,” when I was DJing at WCDB and it was awesome. I picked up anything I could find or taped the stuff.

    Soundgarden c. 1990

    This show was with Jason Everman on bass, who gave Soundgarden a more metal edge live. Everman had lots of headbanging, jumping around and flying hair, which you didn’t get with his mellow-predecessor Hiro, nor his (permanent) replacement, Ben Sheperd, who would come into the band in Summer 1990. Everman’s story is really interesting – he was the second guitarist in Nirvana around the time of Bleach, but only played live with them, and left long before Nevermind and widespread fame. He then joined his second legendary Seattle band, Soundgarden, in 1989 and played with them as bassist on most of the Louder Than Love tour [he’s also on the Louder Than Live video and promo CD, and some b-sides]. 

    Everman was dismissed from Soundgarden a few months after this show, after that he played with a cool NJ band called Mind Funk, appearing on their 1992 Dropped record, again as guitarist. After that, he joined the service and I believe became a Navy SEAL or Special Forces and fought in Afghanistan and Iraq for many years. There’s a great New York Times magazine article about him which you can find online – the guy who was in Nirvana and Soundgarden before they became huge rock stars, and then became a Navy SEAL.

    Anyways, Soundgarden.  They were incredible. They played some older songs like opener “Flower” and closed with “Beyond The Wheel” from Ultramega OK. They played a whole bunch of Louder Than Love stuff in between, plus a cover of Spinal Tap’s “Big Bottom,” totally kicked ass. Chris Cornell was in a quiet mood, there was little talk to the crowd, just flying hair, big down-tuned riffs and crushing heaviness. Soundgarden was amazing in those days. I saw them three times on this tour; this was the first.

    It seems odd now that Quebec metallers Voivod headlined, but in early 1990 they were the bigger band – this was well before the Seattle explosion and alt-rock boom, long before “Black Hole Sun” and mainstream Soundgarden success. VV were promoting their Nothingface album at the time, easily my favorite Voivod record ever and one which has aged well. An incredible record, and they played most of it for today’s flashback, in 1990. I love their older, early Venom-ish stuff too, but they really didn’t play much of the older stuff at this gig – amazing show, amazing band. Soundgarden, as incredible as they were, did not blow Voivod away – a killer couple of bands, each as mighty as the other, a great diverse pairing.  All hail Voivod and Soundgarden.

    Soundgarden setlist: Flower, Hands All Over, Gun, Loud Love, Get on the Snake, Big Dumb Sex, Full on Kevin’s Mom, I Awake, Big Bottom, Beyond the Wheel

    Voivod setlist: The Unknown Knows, Nothingface, Tribal Convictions, X-Ray Mirror, Tornado, Pre-Ignition, Missing Sequences, Brain Scan, Into My Hypercube, Astronomy Domine, Inner Combustion, Ravenous Medicine

    https://www.youtube.com/watch?v=eKpt_HSa24w

    Original review by John Moore from BUZZ Magazine. Republished with permission.

  • Hearing Aide: Lost Breed ‘Speak No Evil’

    2020 was a year (mostly) devoid of live music, and you’d expect that it should have been full of new music, right?  Not as much as you’d think, I’ve found, but this heavy release from Lost Breed, which snuck out near the end of that year of plague, conflict, division and staying-at-home, was a nice surprise.

    lost breed

    Lost Breed is a band with New York roots.  They arose from the ashes of Albany/Colonie-area metal band Blind Legion, who had released a killer 7” single (“Nice Guys Finish Last” b/w “Used to be Blind”) in the mid-80s, along with a couple of key, Sabbath-meets-NWOBHM demos before disbanding (since released officially by Portugese label Blood & Iron records as ‘Much Too Fast –  The Anthology 83/86’). 

    Most of the ex-members moved out west and formed Lost Breed in Van Nuys, California, initially with Blind Legion vocalist Gary Tocco, later with doom-metal legend Scott “Wino” Weinrich (of the Obsessed, St. Vitus, Spirit Caravan, The Hidden Hand, etc.), before the band settled on west-coast vocalist Pat Lydon, with the band filled out with ex-Blind Legion New Yorkers Eric “Ike” Baestlein (guitar) and Vinnie Augustine (bass), and L.A. native Jamie Silver drumming.  The band released some mighty, Sabbathy, doom-metal albums on German label Hellhound in the 90s (‘Save Yourself’, ‘The Evil In You & Me’), before the band became more of a part-time affair, when the New York half moved back east. 

    Until now: in late 2020, out of nowhere, this new record by Lost Breed dropped, somehow created mid-pandemic with half the band (Vinnie and Ike) here in Upstate NY, the other half out west.  This is a doom-marinated blast of creeping heaviness, features singers from two eras of the band, and absolutely is worth hunting down. 

    Side 1 features the legend Wino back on vocals (and lead guitar – he also did the swirlingly evil back-cover painting) for the first time since the late 80s, Side 2 features “classic” LB vocalist Pat Lydon singing.  Both sides are gloriously, stomping hefty, dragging you down to the depths with crushing heaviness, where tentacled things crawl, as if weighted by lead.  Each vinyl side features 4 tracks, and Side 1 (“Wino”) would please both fans of vintage Lost Breed, and Wino’s great bands such as the D.C.-area legends The Obsessed, or the 80s doom-metal deities St. Vitus, “Cradle to the Grave” and the perfectly-titled “Doom” being standouts  

    Oddly, as legendary as Wino is and as much as I love every single thing the guy has done, the Side 2 Lydon-sung songs might be even better, especially “Siren Song” and the apocalyptically heavy “Stalker.”  Churning, crawling, leaden riffs and ripping Baestlein solos lurk throughout Side 2), both vocalists howl with mournful authority, top-notch doom on both sides, soaked in Sabbathy goodness – a  killer release.

    Buy the album on Ebay.

    Key tracks: “Cradle to the Grave”, “Doom”, “Siren Song”, “Stalker”

  • War Orphan Look Back At Hardcore Origins In “New Core”

    Thrash/hardcore band War Orphan, featuring guitarist Rich Cipriano formally of Sick Of it All and Reach fame, drummer Dante Renzi (Reach) and vocalist David Bason (Barfbag and Lords of the Drift), have released a new single titled “New Core,” which nostalgically looks back at the bands come up in the hardcore scene.

    War Orphan

    Guitarist Richie Cipriano elaborates further on the origins behind the song:

    New Core is a song about growing up in the hardcore scene and making the decision not to leave it behind as you get older

    Richie Cipriano, War Orphan

    This song follows their recent explosive statement of a song “F*ck the NRA“, a tribute to fellow hardcore band The Exploited.

    War Orphan released their debut in 2020, the politically charged trash punk EP Closer to Death Than Life. The EP delivers as a fearless protest record that doubles down on the angst which defines the hardcore scene with a particular focus on attacking rightwing extremists and the current presidential administration. Bason channels the seething dissatisfaction with the political establishment that has lead to unrest over the past few years, seeking to tackle systemic racism with “Autonomous Zone” and a deceitful president with “Prop up the Polls,” among other topics that have never been relevant and important.

    War Orphan began when longtime friends Dante, Richie and David graduated from recording songs just to make each other laugh to taking it seriously. Singer David Bason is based in LA. Missing his New York friends, he would leave guitar player Richie Cipriano voicemails making fun of heavy metal. Richie and Dante would track record metal songs to the voicemails and send them back. Thus, was born Bloodbath and Beyond, what started a just a funny inside joke to kill time.

    Afterwards, Richie called and said he had a song they should take seriously this time. Bason was on board and the EP was tracked, mixed and master in a matter of weeks. War Orphan came about organically and their music shows it.

  • Flashback to Jan. 11, 1988 – Dio, Megadeth and Savatage at Glens Falls Civic Center

    While a lineup of Dio, Megadeth and Savatage may sound like a great 80s metal triple-bill now, 33 years later, this show, in terms of ticket sales, was a flop.

    The late, great Ronnie James Dio is rightfully heralded as a virtual deity these days, 12 years after his death. Rainbow, Black Sabbath, those first couple Dio albums, his late work with Heaven & Hell, that voice – the man was a giant in his field. All should hail him.

    dio

    Forgotten these days is that, by the late 80s, the Dio star had faded more than a bit. By early 1988, when this show happened, the Dio solo band had gone from the upward trajectory of the killer Holy Diver and Last In Line records, which elevated Dio to huge, Madison Square Garden-headlining godhood, to a slow decline which had started with Sacred Heart, the departure of Vivian Campbell, and the treading-water, unremarkable Dream Evil record, which was current when this show happened.

    Dio, the band, seemed to be heading into their Spinal Tap phase – in 1984 they’d packed this venue (and RPI Fieldhouse in Troy a year later), when this show happened, popularity had ebbed, the stage was moved up to the middle of the floor, and half of the arena was closed off – and even cut in half, the place still didn’t look very full.

    Opening the show was Savatage, who were promoting their popular Hall of the Mountain King record. They played a short set to a small crowd, included early tracks like “The Dungeons are Calling” and “City Beneath the Surface,” but didn’t seem to make a huge impression, although their epic, 80’s power metal was a perfect match for Dio.  Savatage never broke big, but various members of the Savatage team went on to monumental success with Trans-Siberian Orchestra, so they had the last laugh.

    Megadeth was the band this writer was there to see in 1988 – their first two records were huge favorites of mine in the mid-80s, and they were about to release their third, So Far, So Good, So What. The band’s lineup had shifted: joining Dave Mustaine and David Ellefson were new guitarist Jeff Young and drummer Chuck Beehler, replacing the drug-addled Chris Poland and Gar Samuelson, who’d been in the band when they played an incredible gig at Colonie Coliseum just over 7 months earlier. They weren’t big enough yet to affect the morose ticket sales too much this night, but I remember a short, killer set, kicking off with “Wake Up Dead” and “The Conjuring,” with some as-yet unreleased new tracks (“Hook in Mouth,” “In My Darkest Hour”), and some Peace Sells-era heavies like “Devil’s Island” and “Peace Sells” itself.  The set finished with some covers, Nancy Sinatra’s “These Boots” (the only track played from their Killing is my Business debut), and the Sex Pistols’ “Anarchy in the UK”.  Megadeth would return soon after, playing the Palace Theatre in Albany in April 1988, and drawing as many or more people than had attended this Glens Falls gig with Dio.

    dio megadeth

    Dio and his band – now featuring Craig Goldy on guitar instead of original Irish guitarist Viv Campbell – hit the stage with first-album classic “Stand Up & Shout,” and stuck to a mostly crowd-pleasing set, playing a lot of the first-and-second album classics, and four songs from then-new ‘Dream Evil’.  But in 1988 things were changing, and the stage show with the costumes, mechanical spiders and endless solos – before a not-packed hall – gave it somewhat of the aforementioned Spinal Tap vibe. Dio in ’88 seemed like the past, and Megadeth seemed like the future. I’d worshipped him 5-6 years earlier, but by the time of this gig there was so much cool thrash metal and alt-rock that perhaps Dio just seemed anachronistic to me. In retrospect, he was not. 

    In ’88, things looked pretty over for Ronnie, which obviously wasn’t true at all. But (probably because of the dismal sales for this gig) I think this was the last time the DIO band played the Albany area – although he’d some back with Black Sabbath and Heaven & Hell in years to come, already by then a beloved veteran, and his legacy is solid. All hail Ronnie James Dio.

    Savatage setlist: City Beneath the Surface, 24 Hrs. Ago, Beyond the Doors of the Dark, The Dungeons Are Calling, Hall of the Mountain King, Power of the Night

    Megadeth setlist: Wake Up Dead, The Conjuring, Hook in Mouth, In My Darkest Hour, Devil’s Island, Peace Sells, These Boots Are Made for Walkin’, Anarchy in the U.K.

    Dio setlist: Stand Up and Shout, Dream Evil, Night People, Naked in the Rain (incl. Guitar Solo), The Last in Line, Holy Diver, Drum Solo, Heaven and Hell, Man on the Silver Mountain, All the Fools Sailed Away, Keyboard Solo, Rock ‘n’ Roll Children, Long Live Rock ‘n’ Roll, Rainbow in the Dark, We Rock, Don’t Talk to Strangers