Saint Motel was a highlight of my Concert Photography career. It is always a question as to how much the band will live up to their recordings, and this group had the rare case of exceeding expectations. The group had a sound that flowed so smoothly and with the combination of their beautiful sound and their astonishing stage presence, this was a night to remember. Openers Echosmith began the night and set the bar to a new height for The Observatory OC venue, and the fact that Saint Motel was able to match this was a feat of its own.

Echosmith, well known for their folk twang pop hits including “Cool Kids” and “Bright” were a delight to see live. They were able to rile the crown for the headliner all the while finding newfound fans. The group played their hits along with never before songs, i.e. their new songs “Perfect Life”. The group had a great stage presence that allowed for audience participation and a visually appealing show. When it came time for the end of Echosmith’s set, the crowd was just the perfect amount of riled.

Saint Motel came to stage in formal attire which went splendidly with the golden red carpet vibes of the set design. The group began by announcing how the audience would be participating in the show. The group made it so there were a total of 4 “fan picks” which would be voted on using a QR code. This added an element of intimacy to the set. The group had the fancy elements and the whole shebang their Academy Award Tour.

The group played all of their hits including “Cold Cold Man”, “Sweet Talk”, “For Elise”, etc. It was a show to remember with lighting that gave a heavenly glow to the performers, audience participation, including one fan pick being revealed by a lucky audience member, and high quality performances all around. This show was an all time personal favorite of mine, and gave me a new appreciation for the talent of Saint Motel.

The recent Freaks on Parade Tour featuring Rob Zombie, Alice Cooper, and Ministry stopped in San Francisco on September 22nd, 2023, delivering a thrilling spectacle at the Toyota Pavilion. This electrifying tour brought together shock rock icon Rob Zombie and horror legend Alice Cooper, adding the industrial metal power of Ministry to create an unforgettable night of mayhem that won’t soon be forgotten.  Let’s dig in.

Kicking off the evening for me was Ministry.  This band, led by enigma Al Jourgensen, never fails to produce the evilest of industrial stompings. I last saw Ministry in 2019 on Slayer’s final tour, and they were even better this time around.  The dueling lead guitars, held down by Monte Pittman and Cesar Soto, were gloriously loud and satisfying. Crystal clear yet sinister keyboards from John Bechdel and rhythm section compromised of Ray Mayorga on drums and Paul D ’Amour on bass held down the low end masterfully. Ministry never seems to disappoint (although I am glad I missed the chain link fence stage prop from the past tour).  Favorites from the set included "Thieves", Stigmata", and one of their latest, "Goddam White Trash".  Overall, Uncle Al and Ministry fully delivered the goods and then some. I am so looking forward to their new album, Hopiumforthemasses, to be released early 2024.

Next up was legendary shock rocker Alice Cooper and his amazing theatrical ensemble.  Alice has been entertaining not only Gen X’rs but Baby Boomers as well for decades. I have to tip my top hat to the entity that is Alice Cooper, a fictional name, yet a real person who always speaks of himself in third person. I recall looking at my parents album, Billion Dollar Babies, knowing this was a freak parade I wanted to belong to.  Alice’s band is legitimately one of the best in the business featuring the golden kissed Nita Strauss on guitar, engineer and producer Tommy Henrickson on Guitar, Chuck Garric on Bass, Glen Sobel on drums, along with a third killer guitar player named Ryan Roxie.  It would be a shame not to mention all of the wonderful theatrics by Alice’s stunning bride, Sheryl Cooper. She is phenomenal.  The amazing 16-song setlist was filled with classic songs from all of our childhood and were rolled out with perfection and exciting stage antics.  Some of these included "I'm Eighteen", "Poison", and of course "School's Out".  It’s always a party with Alice and the gang, and at 75 years young, his set (In my opinion) the performance of the night.  This band leaves you wanting more with a stage show and showmanship second to none.

Now on to the main attraction, Grammy winner and Horror rock Icon Rob Zombie.  Headlining the Freaks on Parade Tour, Rob keeps it real and simple with his band of 4 including himself, Piggy D on bass, Ginger Fish on drums and new (well not really new) Riggs on Guitar.  Zombie gave us an amazing 14-song set list for the evening, spanning his illustrious career nearing 40 years. Some of my favorites from the night included “Superbeast", "House of 1000 Corpses", and the encore "Dragula".  Saving some of the best for last, Zombie tossed in some White Zombie for us die-hard fans. Led screens and crazy pyro rounded out the stage production where giant sized aliens and evil monsters graced the stage. Rob Zombie makes all of us freaks that sat at the weirdo table together in school unite. It has never meant so much to be called a freak, thanks to bands like Rob Zombie, Alice Cooper, and Ministry. 

The collaboration of Rob Zombie, Alice Cooper, and Ministry offered fans of all ages a unique experience. Each artist brought their distinct style to the stage, creating a blend of shock rock, heavy metal, and industrial music. It was a celebration of the darker side of rock and roll, filled with theatrical performances and powerful music. This concert stood out from other shows due to the unique combination of artists and their shared love for horror aesthetics.  This one is sure to be remembered as a highlight of the 2023 concert season, and I will be patiently awaiting the next Freaks on Parade Tour to fly my freak flag high and proud.

I first heard Buju Banton back in June of 1996 while in Jamaica on my honeymoon.  There was a bartender at the resort we were at, Wendell, that was playing Buju’s recently release ‘Til Shiloh album, every day, all day long, no matter which bar he was working.  I kept heading to his bar because I was LOVING what I was hearing.  To this day ‘Til Shiloh is still one of my favorite albums and after Bob Marley, Buju is my favorite music artist.  He’s has been doing this for 30 plus years and is stronger than ever.  While each of his previous 11 albums have different sounds and styles, there is a lot of similarities, but he really made a change with this latest album.  One thing that has never changed is his poetic ability, his amazing lyrics and story-telling.  He is such a strong song-writer and in this day and age when new music coming out of Jamaica is being criticized for being insulting, misogynistic and superficial, Buju does the complete opposite with great lyrics, great producing and such a beautiful feel throughout the album.  This is a mellow blend of reggae, dancehall fused with a little R&B and a little bit of hip-hop. You get a light, Tranquil, pensive mood but at times powerful beats, with live instruments like electric and acoustic guitar, sax, mixed with programmed synth sounds and beats, great vocal samples with Buju’s amazing lyrics taking total control every step of the way. Talking about the album, Buju shared: “Another milestone, Another stage. I embrace it all. I’ve accepted the change. Here is something special. From my experience and musical journey. An ode to those who acknowledge the struggles and challenges that surmount. And others who will, your eyes are not deceiving you nor are your ears, you were born for greatness. I embrace you with love melodies and music.”

Born For Greatness starts with a track produced by Stephen Marley, and you can instantly tell Ragga worked on this song,” Ageless Time.”  Perfect song to start off this journey and one of my favorites, the background vocal sample throughout is perfect, with a beautiful acoustic guitar with the beat.  “Let’s remember how things used to be.”  Track two, “Life Choices,” is a little more upbeat song on this album with the synthed beats and rhythm, I really like the way Buju changes up his flow and tempo in this song.  In life we have so many choices, and you need to think of yourself at times.  We flow into the title track, “Born For Greatness,” the most upbeat song on the album with a brisk beat and flow.  Buju was truly born for greatness, as he states:

“I don't follow your rules, I guess I'm lawless
Still making big moves regardless
It's above your pay grade, so let it go
We coming in thousands and tenfolds
I don't follow your rules, I guess I'm lawless
Still making big moves regardless
It's above your pay grade, so let it go
coming in thousands and tenfolds”

This may be my favorite track on the album, the most “buju-esque” song on the album, I think most Buju fans will agree.  We go to the previously release “Coconut Water (Sip),” a song about watching his friends while sipping coconut water, finding out which ones are true friends or fake friends.  The strings and  keyboards blend so well with Buju’s verses and hypnotic flow.  Track five is “Yard And Outta Road,” I love the hard beat and the flow from Buju, slow for the chorus and his typical banton throughout the verses.  Another simple song with the synth, beat and strings, a song about everyone having to deal with their own struggles.  This one really reaches a lot of people.  It is hard to say which are my favorites, because the more I listen to this album, the more I think they are all my favorites.  Track six is yet another fantastic song, “Body Touching Body” featuring Victoria Monét and produced by Haitian Michael Brún.  A love song with a bit of a more up-tempo beat.  Buju’s flow is so tight and then Victoria comes in with the chorus and sounds so sweet.  A beautiful beat in this song that makes you want to dance with the one you love, and a nice subtle guitar throughout makes for a fantastic sound.

The Latin-infused “Turn Up Tonight” is up next, this starts a group love songs on the album.  I really love the guitar rhythm and the sax flow in this song.  As with many Buju songs, he speaks about personal circumstances, and you can feel the emotion in this track, “Girl, the way you do your ting, you make whole head hurt me.” Track eight is another love song, “Sweeter,” a love song about making up after the fight, “After the fight, Love shall be sweeter tonight.”  This is the “love making” song from the album for Buju fans.  The hook by Buju is alluring and flows in so nicely.  We move onto another one of my favorites, “Feel A Way” featuring Stephen “Ragga” Marley.  I LOVE when they do a song together, they work so well together, Buju’s raspy flow and lyrics combined with Stephens high pitched sweet flow, wow!  Great beat and producing in this joint. Another love song, “‘Cause I can’t wait to get up with you, Girl, you bring such good energy.”  “Plains” is next up, another song for the ladies.  While musically this is a fairly simple song, what Buju does with his lyrics and flow make this hit.  Whether it is his singing or “rapping,” he changes his tempo and his pitch, up and down, fast and slow.  It makes this song wonderful. 

Track eleven is “Nuff Love For You,” sticking with the love songs. A nice, sweet hook you can’t help singing along to this song.  This is a more traditional reggae song and a nice spot in the album for it, with some more great sax play.  As we move to “Walked Out,” Buju gives us a harder beat as he is telling us about the lost love he still yearns for to this day.  I love the strings and sax in this and Buju’s singing is on point, again feeling the hurt and emotion.  Track thirteen is "We Find A Way", a slow rhythm where we can really hear Buju’s range in his singing voice.  It is more of an anthem, produced by DJ Khalid, a very positive song about perseverance, using elements of Whitney Houston’s “My Love Is Your Love.” We flow into “My Microphone,” I so love the bass line and chill feel of this song.  A nice old school R&B groove to this one, I want to hit the dancefloor with my girl!  The bass, the bass, the bass and the guitar hitting us here and there with nice string work. Another favorite.

“Excuse me lovely lady, may I have this dance?  Could not resist temptation so I took my chance. Across the room my eyes met yours, could not avert the glance. I search the world and there is none, London, Rome and France”

Next is the previously release song with Snoop Dogg, “High Life.”  Not just a song about marijuana, but how it is no longer about smoking the sacred herb, but how it is now a business. I really like the beat and rhythm of this song, and Buju hits us with a really nice flow, how he changes his cadence and tempo.  I actually do not care for Snoop’s first verse on the song, he tries too hard to be Jamaican (Snoop Lion), but his flow on his second verse is just Snoop being Snoop and it works so much better.  It is a song that would stand on its own without Snoop, but that second flow from him adds a nice piece to the song.  Track sixteen is “Trial By Fire,” and is not one of my favorites on this album.  It’s upbeat and a little too pop for me, but the message is what makes this a good song.  An uplifting song about Buju taking the lead to “unify this land of mine.”  He’s a warrior placed here to protect the people. While this may not be one of my favorites, the music composition is very solid, nice drum line and guitar.  We finish the album off with “Let My People Go,” a gospel-like song with great horns throughout about releasing the people from bondage, the chaos in the world and the tribal war created for money.  This is the perfect song to finish the album with, while most are love songs, he gives us two positive songs to finish this journey.

Born For Greatness lets fans of Jamaican reggae and dancehall know that veterans like Buju can be shining examples to bring the music back to a respectable time and feel and message. This is a fantastic album, one of the best released the last few years.  The lyrics, story-telling, change of tempo and pitch, song-writing is so good, this is a must listen for any reggae fan and any music fan.  Is this Buju’s best album, that is a hard one, he has so many great albums, but it is no doubt the album of the year so far.

One Love- Todd

On a blistering night in Toronto, the echo of metal and the resonance of rock reverberated through the air, as Echo Beach played host to a gathering of metalheads in a fervent celebration of the genre. This was no ordinary night; it was the eve of September 18, 2023, a night when the stars aligned to bring forth the Babyklok Tour - a spectacle of musical prowess headlined by the formidable Dethklok and the sensational Babymetal. To set the stage ablaze, none other than Jason Richardson, a guitar virtuoso renowned for his work in Born of Osiris and All That Remains, took command. With masterful strokes, he conjured a sonic tempest that seemed to defy the laws of music. His solo performance was a tantalizing glimpse of the auditory feast that awaited the eager audience. I would have loved him to have an accompanying band. I get it, I am old, and the idea of programed playback music at a live performance makes me feel like I am at a really expensive karaoke bar. Satriani, Yngwie, Steve Vai and Nita Strauss all are guitar virtuosos who take center stage for instrumental sets, but you get the full band experience on stage. Jason’s guitar playing was extraordinary, and it deserves a solid band to go with it.

Then, in an eruption of fervor, the iconic trio of Su-Metal, Moametal, and Momometal, collectively known as Babymetal, descended upon the stage. Bedecked in matching garb, they opened with a surge of energy, unleashing "BABYMETAL DEATH" and setting the venue ablaze. The fusion of J-pop and metal was nothing short of electrifying, as they traversed their discography, leaving no soul untouched. Hits like "PA PA YA!!," "BxMxC," and the Tom Morello-backed anthem "METALI!!" echoed through the venue, each note infused with an infectious vibrancy that resonated with the fervent audience. The ethereal dance moves, synchronized to perfection, added a visual dimension that elevated the performance to transcendence. The backing band looking VERY similar to vintage Ghost “Popestar” era Nameless Ghouls.

As the night wore on, it was clear that this wasn't just a concert; it was an odyssey into the heart of musical ingenuity. Each act brought forth a distinct flavor, a unique essence that painted the evening with vivid strokes of sonic brilliance. And then came the crescendo, the moment that all had been waiting for – the emergence of Dethklok, a band born not just of musical prowess, but of animated imagination.

Dethklok didn't just take the stage; they inhabited it. The colossal screen, a visual marvel, dominated the backdrop, bearing witness to the iconic artwork of Metalocalypse. It was more than a mere canvas; it was a living, breathing entity, pulsating in perfect harmony with every thundering riff. The band, cloaked in shadows, emerged from the very depths of their animated universe, as if the screen itself had come to life. It was a revelation, a testament to the enduring influence of Metalocalypse, a series that birthed not just a band, but an entire sonic universe.

The interplay between music and animation was nothing short of extraordinary. Dethklok orchestrated a multi-sensory experience that transcended conventional notions of a live show. Each riff, each growl resonated in perfect synchrony with the pulsating visuals, creating an immersive sonic landscape that defied easy categorization. The experience was akin to stepping into the heart of Metalocalypse itself, a world where music and art converged into a singular, electrifying entity.

In the end, Dethklok proved that music could be more than a mere auditory experience. It could be a visual journey, an animated odyssey that invited the audience to step into a realm where sound and imagery danced in perfect harmony. It was a night that celebrated the boundless possibilities of creative expression, a night where the fictional and the tangible coalesced into something truly extraordinary. As the final notes echoed through the venue, it was clear that the legacy of Dethklok would continue to resonate, reminding us all that sometimes, the most powerful experiences are the ones that defy easy explanation.

I have been waiting for the group behind the I Can’t Handle Change album for quite some time. Roar has found a unique aspect to highlight in every song they have. Ranging from barbershop quartets to psychedelic rock, they are a group unlike any other. They have such a unique charm to each of their tracks. 

Opening for Roar was the group Harmless, best known by their hit song “Swing Lynn” which captures a nostalgic and melancholic raw emotion. This group has some incredible surprises in terms of tracks. They have such a range of vibes, but also a singer who can vary from the deepest bass to the highest highs. They rocked the house and brought the energy up for headliner Roar as they took the stage. 

Roar had a pure exposed aspect to most of their music live. It felt as if you were in the studio with the group themselves. The band had many surprises in store including a mad libs between songs in which the group would take suggestions from the audience. This show felt incredibly personal not only for the group, but for the audience as well. It was an absolute thrill to get to hear some of my favorite tracks come to life at The Constellation Room, tracks including “Christmas Kids”, “Heart For Brains” and of course the titular “I Can’t Handle Change”. This group not only knows how to rock, but also when to bring things down. As they found a way to transition between their many different aesthetics in a smooth manner. My only wish is that the group had more incredible tunage to bring to us.

I, along with many fans, will be patiently awaiting Roar’s next album.

If you were in college around 2016-2017 like I was, then I’m certain you know the band Surf Curse. When "Freaks" came out, I felt like I was hearing it everywhere, and that’s largely because it was blaring from my dorm speakers almost constantly. Since then, however, I haven’t listened to ‘em much, if at all really, aside from when I throw Spotify on shuffle – but when I saw that they were not only touring with Greta Van Fleet right now, but also doing a small show in Medford, MA, I had to check it out.

Their performance was exactly what I had hoped a Surf Curse show would be. No real frills to it, just a small stage they could barely all fit on that wasn’t a foot and a half off the ground in a venue that is a far cry from the TD Garden the night before, but they played their set like it was. They played with such raw emotion and energy throughout their whole set, that I couldn’t help but be bouncing along with the crowd as well.

Starting with "All is Lost" and hitting tracks from every album along the way, "Freaks" included of course, Nick and Jacob never wavered for a second. Each song felt like a story of nostalgia and intense, bittersweet emotion that lies at the heart of their sound – especially Jacobs snappy, atmospheric riffs.

In all, Surf Curse’s show at Deep Cuts in Medford, MA was everything I had envisioned and more. From the drinks being served in clear plastic cups, to the pinball machines clinking around in the back corner, it felt like a hometown show with a local band. It felt like Surf Curse. If you haven’t had the opportunity to catch them live yet, don’t hesitate. Even if you only know a song like Freaks for example – I promise you, after the show you’ll be right on board with everyone you just danced with.

The Dead Daisies are what you’d call a collective project – high-caliber musicians rotate in and out of the band, held together by the one constant, Australian billionaire and founder David Lowy. A solid rhythm guitarist, Lowy started (and bankrolled) the band in 2012.  Despite a lack of steady band member cohesiveness, The Dead Daisies have consistently produced high quality albums and earned a reputation as a phenomenal band of all-stars that are a must see live.

I first saw The Dead Daisies two years ago with the legendary Glenn Hughes (Deep Purple, Black Sabbath, Black Country Communion) leading an amazing show singing lead and playing bass guitar.  It’s not an exact comparison, but watching these guys prompted my band tagline, “The Harlem Globetrotters of Rock n’ Roll”.  Each player had an incredible resume of accomplishments and watching them kick ass on stage was incredible.  Hughes had replaced singer John Corabi (Motley Crue, The Scream) in 2019 and had an extremely productive run with the Daisies.  However, Hughes left the band amicably earlier this year to focus on his solo career and launch a tour celebrating 50 years of Deep Purple’s album Burn.  Meet the new boss, same as the old boss!  Former Daisy John Corabi recently rejoined the group now with a current lineup consisting of fantastic lead guitarist Doug Aldrich (Whitesnake, Dio), monster drummer Brian Tichy (Lynch Mob, Billy Idol, Foreigner) and David Lowy on guitar.  Bassist Michael Devin (Whitesnake) was recently added for bass guitar duties left vacant by Hughes.

With the revamped lineup, The Dead Daisies took off on a short U.S. tour in August to promote their upcoming “Best of” album, which included a concert stop at Ramona Mainstage last week.  I was certainly ready to see Corabi at the helm and watch Tichy on drums for the first time, so I was hoping for another tasty rock n’ roll treat.

A few bars into the opener, their 2018 hit “Resurrected” (originally sung by Corabi during his first go-round) , it was immediately clear Corabi had recharged the band with his charisma, entertaining banter, and his outstanding diverse vocal abilities. Aldrich was on fire as usual, putting on a master clinic of fantastic guitar licks and solos.  Tichy is a great drummer, intense, hard hitting, always fun to watch.  Lowy can be somewhat low-key on stage, letting his select all-stars shine in the spotlight.  But even he seemed to have an extra pep in his step realizing he had once again successfully constructed another round of musician musical chairs into a fresh and fantastic new Daisies lineup.  Newcomer Devin fit right in, allowing the showmen Corabi and Aldrich to do their thing, but picking his spots selectively to come out front and interact with the guys.  Devin proved to be an incredible backing vocalist, harmonizing with Corabi throughout the night. 

To fit his vocal range, the setlist was understandably heavy on previous Corabi Daisies material:  as mentioned, the great opener “Resurrected”, “With You and I”, “Rise Up”, “Make Some Noise” and fan favorite “Long Way to Go”, all just kicking ass.  To his credit, Corabi also took on two songs from the Hughes era, “Unspoken” and “Bustle and Flow”, adding his more bluesy gravely style but staying true to the songs.  Corabi commanded the stage all night, bantering with the crowd, making it feel like we were all at his house at a backyard BBQ with an audience full of his friends.  With a band of three Whitesnake alumni, the final tune was very appropriate – the classic “Slide It In”.  Oh yeah!  It was a perfect end to another incredible rock show.  If you want to see world class rock players in a classic old school 70’s/80’s rock style, make sure and catch The Dead Daisies when you can, you won’t be disappointed. 

Rock on and be well!

Greg Vitalich

I woke up this morning and the first thing I did, after letting the dogs out and feeding them of course, was put on Stephen Marley’s new album Old Soul.  I couldn’t wait to hear it, but just like with all my favorite artists, I am always nervous with any new album release.  If it hits, it is pure satisfaction, but if it isn’t up to par, it can be so disappointing, such a letdown.  Ragga, being one of my favorite music artists, has been doing this a long time.  He’s the best producer in reggae, his music writing is great, he is a lyrical genius, a poet and storyteller, and his voice is beautiful. The voice has always been there but again, with this acoustic album you can really hear it and feel it, the way he changes tempo, the change of pitch, the clarity, the feeling and emotion, it is all there in your eardrum. So I dove into this with very high expectations.  I am very picky when it comes to music, I am a huge Bob Marley fan, and there are some songs of his I don’t care for.  Stephen is one artist that I can say I love almost everything he has done.  An acoustic album can be tricky, hard to hide any flaws, you have to make it perfect or near perfect.  But his idea for this acoustic album was genius, something we don’t get to hear very often in this day and age (to go along with his current acoustic tour).  This album is full of emotion, hope, compassion, sympathy, empathy, love, family, history to go along with some amazing collaborations.  I didn’t even have to get through this album a second time to know that I loved it.  A few songs in my wife came downstairs to get coffee and stops and listens and says “you know you aren’t Jamaican?”  Family joke because my family and friends know my love for anything Marley and reggae and Jamaica.  I say it’s Stephens new album. She listens for just a few seconds and comments on how great his voice sounds, she has always liked his voice, but she said wow it sounds so good.  That crystal-clear but raspy voice.

The album starts off with “Don’t You Believe,” and within the first 20 or so seconds I knew this album was going to be great.  This features his son Jeremiah on drums, the drums come in and hit you, such a nice feel. Nice guitar strumming by Ranoy Gordon throughout, Stephen letting us know don’t listen to everything they tell you, don’t be fooled.  I like the subtle piano by Llamar Brown in the background. The second track is “Cool As A Breeze.” A heartfelt song about a love one that he knows is there with him and when his work is done, they will be together laughing and having fun.  Is it about his father, is it about his son, or is it both? That is for us to guess.  A great acoustic guitar solo in this song, it’s a song that everyone can relate to and love.  He takes his voice up a notch towards the end, you really feel his emotions. 

Track 3 is “Cast The First Stone” featuring his younger brother Damian Marley.  These two work so well together in everything they have ever done.  I really need an album, or at least and EP, from them. Stephen starts off the song with some thought-provoking lyrics over a nice chill guitar and then hits us with is typical Ragga scatting (I love when he does this in a song).  Then Damian comes in with his verse along with some powerful Nyabinghi drumming.  Zilla’s flow is so nice in this and while somewhat subtle, very powerful.  The drums just adding to the vibes, and then some beautiful flute by Megela Herrera over the drumming.  Great little guitar solo in this song as well and we get to hear Llamar Brown on piano. I just keep coming back to how great the writing and lyrics are in each song, no different with Damian’s lyrics.  We slide over to a ska inspired more upbeat tune “Thanks We Get (Do Fi Dem)” with the great Buju Banton.  I just wrote in my album review for Buju’s new album Born For Greatness and I’ll say it again, these two work so well together, they may be brothers from another mother, they need to do an album together, it would be pure FIRE!  This is a remake of Lee “Scratch” Perry and Junior Byles song from 1974, and hits us with a breezy flow, makes me want get up and dance while at the beach.  The flow between Ragga’s sweet voice and Buju’s raspy banton is a thing of beauty.  This song just makes me smile. 

Moving to “Don’t Let Me Down,” an up-tempo love song, he’s in love for the first time, a love that lasts forever.  I love the string work on this, a nice fast strumming flowing right along with Stephen’s voice. This is a remake of The Beatles song, but stripped down and acoustic, that really works so well. Stephen is never afraid to try something different or experiment with different genres of music, you just need to look at Revelations II: The Fruit of Life album.  Mixing different genres and having various and mixed artists on his tracks.  With track 6 he brings us some wonderful Jazz with a Ray Charles remake of “Georgia On My Mind.”  This song is absolutely fabulous, he keeps a nice aspect of Ray Charles, especially with his singing and voice, but brings a nice reggae flow to this classic.  And Chad Bernstein (trombone) and Javaughn Bond (bass) sound so amazing on this, with a nice guitar strum throughout.  This is what makes Stephen so amazing, he is not just a reggae artist, he can take his love of music into so many places.  “Let The Children Play” is next up, an anthem or freedom march, an up-lifting song, we must find a way, let that be today, everyone should be free to live life.  This song could be a Bob Marley song, the flow, drumbeat, lyrics, it reminds me of “Time Will Tell.” 

We go to the previously released and title track “Old Soul.”  This song is a masterpiece, an amazing composition, you feel this song in your heart, soul and spirit!  It is Ragga revealing himself up-close and personal. Bob Marley wrote “Redemption Song” towards the end of his life’s journey, it is a song about his career, his life, an amazing song that will carry on forever, his life story.  “Old Soul” is a song that Stephen’s children, grandchildren and great grandchildren with cherish forever.  It is that song that sums it all up, just like “Redemption Song.”  What better way to follow up a song that really can’t be followed up but with a song with another brother, Ziggy Marley on “There’s A Reward.”  The musical history between the two brothers is well know and been active for forty-plus years, and this may be one of the best songs they have done together.  I feel as though Bob was in the studio with them.  It is a simple yet complex song, This song gives homage to the late, great Joe Higgs, the man that mentored Marley, Tosh and Wailer when they were just starting off. 

“This Time” is the next song, it was co-written by Buju Banton and has a nice sweet flow with some wonderful sax play by Juan Torrros.  I love the way Stephen changes up his voice, pitch and tempo in this song.  Some beautiful strumming from the guitar in this as well, but it is the sax and the voice that pull you in, I would say one of the better songs on this album, but they are all so amazing.  A Frank Sinatra remake is next up with “These Foolish Things (Reminds Me Of You).” I can almost see Stephen in a suit in the 30’s or 40’s singing this in a smoke filled club, well maybe not, but he really does nice work on this, again showing his range of music and ability.  The music arrangement is great and I like the change of “A cigarette that bears a lipstick's traces” to “A spliff tail that bears a lipstick’s traces.”  We knew we had to have one Bob Marley remake, so he hits us with “I Shot The Sheriff” with Eric Clapton on guitar.  We’ve all heard this song many times, Bob, Eric Clapton and redone by so many others.  This is a fantastic version, the song that came out when Stephen was just a year old, but a song that still holds true today with the slow pace of social change when it comes to racism and racial inequality.  Eric Clapton’s work on the guitar is so nice in this thew flow is so beautiful but it is the way Ragga slows it down from the original and his take on the lyrics that makes this such an amazing version.

The next track is a nice love ballad with Slightly Stoopid's Kyle McDonald, “Standing In Love.”  What I like about this and any of his collaborations is the way he incorporates the guests style on the song, while it’s still a Stephen Marley style, he subtly brings in the guest style.  This song is a perfect example.  I would love to hear them do this song together on stage during a reggae festival, it would have the crowd holding each other, dancing, swaying, and signing along.  These two voices work so well together, there is something about their singing styles that have a similarity but not.  Just flows well together.  “Winding Roads” is the last track (it actually ends with “Old Soul” the single version), a song that was recorded with a full band and features Jack Johnson and Grateful Dead’s founding member Bob Weir.  It is my least favorite track on the album, I have never been a Dead fan and you really feel the Dead style in this.  But it is actually an amazingly composed song, the music is so tight and the vocals are spot on with Stephen, Jack and Bob.  I can see many reggae and non-reggae fans liking this song.

My worry was put to rest pretty much right at the beginning, I could tell it was going to be a good album.  This is a not only a good solid album, this is a masterpiece, this is not just for reggae fans, this is for any fan of good music, Stephen gave us all a gift for our ears, hearts and minds.  I really am not a good enough writer to explain the many feelings and emotions I get from this album.  I will say that this is an album I will keep listening to now, next week, next year and 20 years from now.  This is as near perfect as a music artist can get.

One Love- Todd

The Rolling Stones are old. The Rolling Stones are ageless. People say they should hang it up and retire. People say they’ve never sounded better live. What some people fail to realize is that The Rolling Stones aren’t just rock stars. They are working musicians. They make music. And now they’ve just made their first album of new music in 18 years.

The first single from the soon to be released Hackney Diamonds is “Angry.” While it doesn’t quite come across as punchy as the title might suggest, perhaps because Mick is wondering why someone is angry with him, rather than being angry himself à la “Street Fighting Man.” It’s a minor issue, because the song rocks. Mick is in great voice with Keith and Ronnie’s guitar work driving the tune forward.

Speaking of driving, that’s the concept (or part of it) for the video. A red Mercedes convertible cruises down the Sunset Strip. Hanging out of the back seat, air guitaring and singing along is actress Sydney Sweeney of Euphoria and White Lotus fame. The vehicle passes Rolling Stones billboard after billboard with each one coming alive with concert footage of the Stones in various stages of their careers.

The video was directed by François Rousselet and was inspired by photographer Robert Landau’s 2016 bookRock ‘n’ Roll Billboards of the Sunset Strip. Back in the day, an album release meant a billboard on Sunset and the Stones definitely had their share. The video is an entire Stones takeover of the strip featuring 109 billboards, with each one coming alive through footage of the Stones in various stages of their careers. The graphics have a feel of each era as well and the Stones of that time period sing and play “Angry.” We don’t just see Mick, Keith, and Ronnie. We also get welcome glimpses of Mick Taylor and Bill Wyman, along with an entire board featuring the late Charlie Watts.

The hard work that director Rousselet put in on the back end, finding clips of just the right moments of the band looking like they are playing or singing the right lyrics, suspends the disbelief that this song wasn’t performed in past concerts. “Hey look! It’s Keith from Ladies and Gentlemen: The Rolling Stones!” It’s seamless enough to reinforce many of the current reviews of the song calling it the Stones best work in 40 years. It’s hard to believe that only takes us back to 1983, while some of the footage is from the early ‘70s. Is it a classic? Perhaps not. Is it a tune worth listening to? Absolutely. And combined with the video, it proves once again that The Rolling Stones have found another way to defy time and age.   

- Daniel Gray

While in high school discovering and developing my own personal music taste, I gravitated towards music that was guitar driven. A lot of hair metal and classic rock was blasting through my headphones. With the love of this music, I slowly started discovering and finding some of the greatest guitar gods in the music world. Tony Iommi of Black Sabbath, Paul Gilbert of Mr. Big, Joe Satriani of Joe Satriani, and eventually found myself hearing the name Yngwie Malmsteen. It wasn’t just Yngwie’s music that caused my jaw to hit the floor, I even found guitar instructional videos made by Yngwie. Seeing this man so casual talk about scales and warm up exercises, then seeing his fingers waltz across the guitar neck with ease blew my mind as I couldn’t comprehend what I was seeing. That was a couple decades ago, and it is only now in 2023 that I am having the chance to see this legend live. Coming to the House of Blues Anaheim, and bringing with him other legends od the music industry with the likes of Glenn Hughes, Gilby Clarke, and Steve Ramone.

Opening the night was a Chicago native known as Steve Ramone. Steve handles guitar duties, vocal duties, and showmanship duties as he was dancing and smiling all over the stage. Steve couldn’t be contained behind his mic, and would constantly boogey up to his band members to jam with them through out the set. Steve blends his melodic vocals with a up beat musical track, and spitfire guitar solos, to bring songs that just make you bop out in the crowd. He recently released his debut album Chasing Daylight, and most of his songs played this night were from this album. Sadly, I was not able to get the setlist, but the album is available on Spotify and would highly recommend giving it a listen.

Up next is a man who isn’t actually part of this tour. He was added on for a special one night event at the Anaheim, CA stop of the tour. That being former Guns N Roses member, Gilby Clarke. Now most people know him from GnR, but I was first introduced to him through the reality singing competition show Rock Star: Supernova. Though that band was short lived, I never forgot the name and was always hopeful to see him live. I felt incredibly fortunate that he was added to this tour for the night, as Gilby shows he’s more than just a talented guitar player by pulling double duty on vocals as well.  Though singing kept Gilby locked behind the mic for most of the song, he would not miss any opportunity to come to the front of the stage to rip a tasty guitar solo in every song. Backed by EJ Curse on bass who was almost single handedly holding down the showmanship of the band while Gilby was stuck behind the mic. Curse was playing it up to the crowd, bashing the bass against his head, and locking eyes with every person in the crowd to get them hyped up. Gilby Clarke played a solid set of original hard rock songs that I sadly did not get the names of either. But Gilby Clarke continues to prove to me that he is an unappreciated guitar master that tends to fly under people’s radars.

Up next was a musician that I feel embodies the phrase “The Man. The Myth. The Legend.” That being the legendary Glenn Hughes. I was fortunate enough to meet him at NAMM 2020, before the pandemic hit, but only knew his name in passing. This was my first true experience, and I was not prepared for the sheer talent this man possesses. We were in for a treat as Glenn’s set consisted of some of Deep Purple’s biggest hits that he helped write when he was in the band. Opening the night with “Stormbringer,” Glenn was all style with his velvet suit adorned with flowers on the legs, and had his bass mixed right up front as he plucked away on it. The funk vibes that he can pull out of his bass and blend them into the rock style of Deep Purple just pulls you into the music and makes you want to groove. Glenn isn’t just a master of the bass, his powerful vocal lines would have blown my toupee off, if I didn’t have real hair. He also could not be kept in one place. Getting right up to the foot of the stage to perform for the fans, and booging around the stage whenever not stuck behind the microphone. Glenn Hughes only played a eight song set, but they turned the House of Blues into a jam session as every song went on for about 10 minutes each, which songs like “Might Just Take Your Life,” “Sail Away,” “Mistreated,” “Getting’ Tighter,” “You Keep on Moving,” “Highway Star,” and ending with “Burn.” You always hear about singers having the voice of a generation, and Robert Plant is normally a person that people hold to that regard. I would like to throw Glenn Hughes in for the running along side Robert Plant. The energy, the emotion, and the raw power behind Glenn’s voice could move a man to tears hearing it live.

As we patiently waited Yngwie Malmsteen to hit the stage, the back line of the stage was lined with a wall of amps! Stacks of amps, heads, and cabinets towered over the stage. Yngwie was going to make sure you heard every note he was going to hit. Opening the night with “Rising Force,” Yngwie still looks as good as he did all those years ago. Dressed in tight black leather pants, and a frilly loose black button down shirt, opened at the top, with cross jewelry dangling all over his body. The man has a look, and he continues to make it work for him. Yngwie is also a man of few words, instead letting his fingers do the talking for him. As he plays each song, his fingers look like they are waltzing across the fret board with ease. The man makes shred and speed metal look flawless and like it’s the easiest thing in the word to do. Most guitarist performing shred style licks are locked into place on stage as they concentrate on what they must play. Not Yngwie. He is so well rehearsed and in sync with his instrument that he is running across the stage, throwing his guitar around his neck, and posing constantly for the audience to take in his greatness. Not only is Yngwie stealing the show as a phenomenal guitarist, he is doing so playing a two hour set consisting of 22 songs including his classics like “Soldier,” “Like an Angel (For April),” “Relentless Fury,” “Wolves at the Door,” “(Si Vis Pacem) Parabellum,” “Badinerie,” “Seventh Sign,” “Toccata,” “Evil Eye,” “Trilogy (Vengeance),” “Blue,” “Fugue – Noise,” “You Don’t Remember, I’ll Never Forget,” and ending with a two song encore that included an Acoustic Guitar Solo and finally “Black Star.” Yngwie Malmsteen is a work horse of a musician, crafting mind blowing solo’s and still managing to be entertaining as a performer. I finally get to see why he is placed on such a high pedestal.

 I walked into the House of Blues Anaheim ready for a night of classic rock and metal with legends, and I am so glad I had the chance to do so. Glenn Hughes and Yngwie Malmsteen live up to their rock god status and continue to blow peoples minds. Gilby Clarke was also such a pleasant surprise to finally get the chance to see as well. Classic Rock creating a plethora of rockstars, but this night wasn’t a night of rockstars. This was a night of rock gods who helped define what rock is throughout the 70s & 80s. It is a blessing to see them still touring and being able to put on amazing shows night after night