Dalton & the Sheriffs are a rare thing: a country band from Boston. Through steady live work, both at local bars and opening for national acts, the quintet built up a strong regional following. Singer Brian Scully started the band in 2012 and began playing a local acoustic residency on Sunday evenings, eventually building to a regular weekly gig at the House Of Blues where 1000's attend every show. A debut album titled East of Broadway arrived in 2013. Over the next few years, the band gigged regularly across the East Coast, building up a solid fan base. Currently, Dalton & the Sheriffs have Released 3 Studio albums, a LIVE album, and several singles. Their current release We’re Still Here, is fueled by the brazenly infectious pop-country euphoria of the singles “Better Than OK” and “Wide Awake”. The vibrant nine-track LP was written during a trip to Granite Hill Lodge in New York State, and recorded at The Halo Studio in Maine with producer Kevin Billingslea.
“We’ve been lucky enough to write and record a ton of music,” says Dalton & the Sheriffs ringleader and frontman Scully. “What stands out to me about this recording is how collaborative it was from the very beginning. We’ve built up a ton of trust amongst the band members while working together at The Halo. It’s the most fun we’ve ever had making a record and I think it shows.”
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I often wonder how hard it must be for young artists coming up to find a voice in the new corporate world of packaged media and streaming. The idea of the 70’s and 80’s and garage bands seems such a thing of the past, and much of the fun has been taken out of the industry. The angst of the 90’s grunge was replaced with the apathy of the 2000’s and whatever happened in the 2010’s… seriously an entire decade went by without creating it’s own vibe. I mean, really, what was the rock style of the 2010s? Sadly, we are almost halfway through the 2020’s and the industry is still struggling to figure out what it is, or more importantly what it isn’t. But there may be some hope.
Blowing out of Rochester, New York comes a breath of fresh air, Wicked. On the face, this foursome looks like a vintage 80’s band that, when they take the stage with shirtless swagger, could almost be compared to the parody of “Steel Panther”. Brothers Daniel Martin (bass) and Chad Michael (lead vocals), are joined by Scotty B, (lead guitar) and Gunner (drums), and the foursome’s onstage looks like Vince Neil and the band Nelson had quadruplets (and it’s epic). Their flowing platinum blonde hair and shirtless swagger would give Kane Roberts a run for his money. Lead singer Chad Michael captures a perfect Val Kilmer / Jim Morrison vibe, and works as the perfect front man, but that’s where it gets surprising. Wicked is a band that feels like it was stuck in a time capsule in 1988 and has come out into this new Millenium ready to party. They are the Encino Man of Hair Bands. It’s that unapologetic vibe that I think hits hardest. They aren’t a tribute band, they are just Wicked. I liken them a more energetic Greta Van Fleet, and whereas the Kiszka Brothers are surely talented, I would rather join the Wicked brothers on the road as you know it’s going to be crazy. They would fit in perfectly on Sirus XM: Hair Nation, and get a huge following… if the industry wasn’t so incredibly broken.
Before delving into their music I checked Wicked out on Social Media and their media game is solid. Their self produced BTS, “Rock n Roll Circus Show”, showcases the personality of the band and truly gives you that garage band fun vibe. You can feel the comradery and the energy.
Their new album Sunburn drops March 1st on Apple, Amazon, Spotify, Deezer and Tidal. The videos for “Sunburn” “Gorgeous” and “Lost in the Dark” have already dropped on YouTube and give a good look at the vibe. The title track is a perfect introduction to the band. It has instant hooks and a catchy chorus that you can’t get out of your head. I would liken it to some early Sum 41 work like “In Too Deep”, with a bit of a heavier guitar riff. The lyrics delve into the hazards of having too much of a good thing, a perfect fit for Wicked. “Seal It With A Kiss” leans into the traditional Hair Metal vibe with Chad Michael showing his impressive range and a solid rhythm section. Fans of the Canadian band Brighton Rock will feel like it’s a track that dropped right off one of their albums. “Gorgeous” needs to be watched to be appreciated. This band is so visual and entertaining. The would have been huge on MTV, and the video’s production value is solid. They are ticking all the boxes.
“Nightmare” and “Lost in the Dark” are really showpieces for Scott B on guitar, a great mixture of riffs and solos. “Cali” is a playful piece with solid vocals and great rhythm by Daniel Martin with a heavy driving bass and Gunner’s solid drum work. The band worked ten time Grammy Winner Nacho Molino to produce the album and it was time well spent. As you get deeper into the album, tracks like “My Little Rock n Roll” and “Dude” are solid while lacking some of the hooks of the earlier tracks, one of my favorites on the album is “Get Away with Enough” which has some great time changes and Chad really leaning into his vocal range. The album finishes up with “Summer and Sun” a light playful tune with some great blues guitar work by Scotty B. I had hoped for a classic 80’s Ballad but alas it was not to be, maybe on the next album. A solid effort that really deserves to get some attention.
Bottom line, Wicked's latest release, Sunburn, is a solid effort that pays homage to the glory days of hair metal while infusing a modern sensibility. With their infectious energy, charismatic stage presence, and undeniable talent, Wicked is poised to make waves in the rock 'n' roll landscape. It's time for the world to take notice of this electrifying quartet and join them on a journey back to the golden age of rock.
During NAMM week, the first event to kick off the festivities is the annual Metal Hall of Fame ceremony. Everyone that knows me well knows how I feel about mainstream music award shows and hall of fame ceremonies. They basically shun out the hard rock and heavy metal artists like they are afterthoughts. So, to have this event is a huge deal for us. Unlike the Rock N’ Roll Hall of Fame, this is where us metalheads get to see our favorite headbanging heroes get their long awaited due. Past inductees included David Ellefson, Marty Friedman, Saxon, Joe Satriani, Uriah Heep, Anthrax, Lemmy, and Lzzy Hale to name a few. This year honors Mick Mars, Tom Morello, Sebastian Bach, Eddie Trunk, Tim “Ripper” Owens, and Biohazard.
On Wednesday, January 24, Rabit and I attended the ceremony at the Anaheim Hyatt, where he and I took to the red carpet to show off our alluring good looks. Hahaha just kidding. Rabit took the photos of those who entered through the doorways, while I got to interview a handful of them Sergio Michel to Sebastian Bach, the band London, Mayra Valentine, and Tim “Ripper” Owens. It felt good to chat with these talented musicians, getting their input on what they were looking forward to that evening as well as what the future holds for them. I especially loved interviewing Keith Brock of Kings to Rock, a man of style and rock magnetism. The performances for the evening were good with Sergio and London. It was a grand night for hard rock & heavy metal, and a great way to kick off NAMM week. Be sure to check the interviews below. To all the inductees into the Metal Hall of Fame 2024, I salute you. Horns up!!!
INTERVIEW LINKS:
Adrian Dev: https://www.youtube.com/watch?v=1Ztxh01PWk4&ab_channel=BrandonMcCarthy
Jake E Cyhra & Amaranthe: https://www.youtube.com/watch?v=7TM_99AeUPk&ab_channel=BrandonMcCarthy
London: https://www.youtube.com/watch?v=DesO_iUQE4s&ab_channel=BrandonMcCarthy
Tim Ripper Owens: https://www.youtube.com/watch?v=rFrrvpZ2H0g&ab_channel=BrandonMcCarthy
Sebastian Bach: https://www.youtube.com/watch?v=78WdS6-yRCI&ab_channel=BrandonMcCarthy
Keith Brock: https://www.youtube.com/watch?v=a9ym_UE1I6M&ab_channel=BrandonMcCarthy
Billy Biohazard: https://www.youtube.com/watch?v=oqy_6eX3AIk&t=1s&ab_channel=BrandonMcCarthy
Wendy Dio: https://www.youtube.com/watch?v=TckrtJHpFBU&ab_channel=BrandonMcCarthy
Mayra Valentine: https://www.youtube.com/watch?v=bserGHGtHB4&ab_channel=BrandonMcCarthy
Photos by Matt 'Rabit' Martinez
The last time Rabit and I were at the Toyota Arena in Ontario, it was to see pop violinist Lindsey Stirling for her Christmas show in 2019, 4 months before the pandemic started. It was an emotional time for me at that as well because 2 weeks later my father passed away. I had not been back since, but an opportunity presented itself to us as a chance to somewhat heal and reflect (not to sound macabre). By chance, Rabit and I got approved for Tool on February 17th. The enigmatic progressive/alternative metal legends graced Ontario with their presence as part of their current winter tour celebrating Fear Inoculum. Opening for them this time was stoner metal outfit Elder. This will be my second go around with Tool as I covered them once in 2019 at the Crypto.com Arena (back when it was the Staples Center), but this was Rabit’s first go and boy was he excited. Time to experience the wonder of Tool once again.
Before Tool, Ontario experienced a new high with Elder. Having been around since 2006, Elder has an interesting blend of stoner metal and doom metal, like Black Sabbath meets Kyng. Frontman/lead guitarist Nick DiSalvo had a more harmonic style of singing that is not always common in a stoner metal group, but he makes it unique and vibrant. Also, when comes to the long solos, he hypnotizes the metalheads in the arena, drawing them into a new realm of consciousness. Along with longtime bassist Jack Donovan, 2nd guitarist Mike Risberg, and drummer Georg Edert, Elder dazzled the crowded with their eclectic sound and glorified jam session that included the songs “Sanctuary,” “Merged in Dreams – Ne Plus Ultra,” and “Halcyon.” As I got lost in their sound, I felt so at ease thanks to Elder. This helped us all prepare for the journey we would take with Tool.
After a brief intro into “Third Eye,” Tool walked onto the stage one by one. As soon as frontman Maynard James Keenan entered, “Fear Inoculum” kicked into high gear. During the whole set, he would alternate between two side platforms while bobbing his body to the motion of the music. A mohawk silhouette with a masterful voice, Maynard lived up to his reputation as an eccentric outsider of the world of rock ‘n’ roll, who also insisted (or ordered, lol) the fans to put their phones away and enjoy the ride (of course a small handful did not listen). Guitarist Adam Jones was visually stunning with guitar prowess and playing technique, making each song he plays visionally mesmerizing. Personally though, I was more amazed by bassist Justin Chancellor. His lead bass riffs put me in a trance that dances between euphoric and spiritual. Chancellor’s insane licks went along nicely with drummer Danny Carey’s bombastic technique. Watching him behind the kit is like watching a magician showcase his tricks. It is no wonder Carey is considered one of the greatest drummers around, mixing rock, jazz, metal, progressive, and alternative into one delicious stew for our ears.
Tool’s set was split into two parts that included an intermission after six songs. That makes sense given that Tool’s tunes are usually between 7-11 minutes. During the first part of the show, it was a mixture of songs from Fear Inoculum, 10,000 Days, and Lateralus. They included “Jambi,” “Rosetta Stoned,” “Pneuma,” “Descending,” and my all-time favorite, “Schism.” I do not know what it is about “Schism” that cranks up my engines, but it has one of the greatest bass riffs ever that puts my mind to ease. Following the intermission, Carey comes back out in a muscle body suit that resembles the artwork from the Lateralus cover. From there, he went into the instrumental “Chocolate Chip Trip,” showcasing his talent. In the middle of the set, he attached a GoPro camera on his chest to show how he works. It was out of this world; not even Tommy Lee could not come up with that. Tool performed three more songs following Carey’s performance, which included “Culling Voices,” “Invincible,” and “Stinkfist,” which was when the crowd was allowed to film their performance. I already did that in LA four years ago, so this time, I enjoyed the final voyage of Tool’s voyage.
I have to say, that was a fun show to be a part of. Being back at the Toyota Arena brought back some memories, but Tool really helped me heal in some weird way. Their music really touches me. I admit, it was not really into them until their music was released on Apple Music and gave them a chance. As I have seen, they are good on record but even better live. Elder provided the right kind of high for me, and I dug their set. Overall, that was a perfect evening to take an acidic-like expedition, especially running into Rockaholic and Papa Metal (Marto). To Tool and Elder, I salute you. Horns up!!!
Photos by Matt 'Rabit' Martinez
Pop punk is a genre that seems to ebb and flow through the zeitgeist of the world. But to the true fans, the genre is never dead, and there are always bangers coming out. Ray Hawthorne is setting out to make a name for himself with his new solo EP Heartbreak Feels Good in a Place Like This and with his second single “Heartbreak Feels Good in a Place Like This (I'm NOT Ryan Gosling)” is set to be a pop punk banger.
The song delves into the idea of real-life romance vs romantic movies. With the music video framed as a video dating interview. Ray introduces himself to the camera with the tropey charismatic charm you would expect of a hunky guy flirting with the camera. But it’s when the lyrics kick in that Ray gets into the real aspect of what a relationship might be like with lyrics like:
“And I'm gonna be an asshole sometimes”
“My dogs gonna be a cock block sometimes”
“We're all gonna be a lost cause sometimes”
“We're all gonna be fucked up sometimes”
These lyrics are juxtaposed with imagery of Ray green screened into movies like Barbie, Spider-Man, Pretty in Pink, Ricky Business, and others. Seeing him alongside these leading men helps set the image in your mind that he is perfect like Ryan Gosling. But it’s the lyrics of him crying out in earnest, expressing that he has faults and is human. Singing “I'm NOT Ryan Gosling.”
Ray Hawthorne crafted a fun upbeat pop punk sing a long song. But it’s when you pay attention to the lyrics that you realize the truth about how we all get compared to these perfect movie characters that we can never live up to.
On March 1st, Romain Virgo will be releasing his 4th studio album, The Gentle Man. We’ve waited quite a few years for this new album, and I'm here to tell you, it is well worth the wait. This 12 track release gives us Romain’s wonderful Lover’s Rock stylin’ but he brings us a little more with Reggae Roots, Afrobeats and more. This album shows a leap of growth in the song writing, compositions, voice and over-all feel. This is his most personal and complete album to date. “The Gentle Man is Romain Virgo’s most candid body of work to date. The singer questions, deconstructs, and affirms his beliefs, sharing clear-eyed perspectives across a dozen tracks. He challenges what it means to be a man in Caribbean culture, explores the highs and lows of ‘Afromantic’ relationships, and, in the process, blends classic, foundational sounds with modern sonics.” This taken from the press release, I had to include it because it is so perfectly put. “I kept some important questions in mind while working on this album. Who am I to my fans? To those close to me? To myself? People saw me go from this inexperienced youth with a gentle way of doing things to a man with the same morals, but new understanding. With this project, I present my full, authentic self. This is who I am,” said Romain Virgo.
We start off with “Been There Before” featuring Masicka, what a perfect song to start off this journey. Musically, such a great sound and the way Virgo’s voice flows in and out with the riddim is so great. One of my favorite tracks on this and Masicka and Romain work so well together. I caught myself singing the chorus all day, it just sticks with you, “I’ve been there before, Everything a go alright, memba di darkest part a di night, Is just before daylight.” Next up is another great song, “Switch You On” I love Virgo’s voice throughout this joint, his tone and tempo changing up to this upbeat song flowing along with the beat and rhythm. I got to get up and dance to this. You really feel the growth and maturity of his voice in this song. “Switch you on like a stereeeooo, turn you all the way up, when you feel loooowww.” We slide into “Good Women” with a nice bouncy jam, a nice ode to a good woman. You can’t stop moving to this, such a sweet, happy feel, just puts a smile on your face. Once again, his voice is so great and powerful in this song. We have “I Believe” featuring Patoranking and Silly Walks Discotheque up next. A nice Afrobeat sound in this tune. This has a wonderful, almost gospel-like hook that just hits so nicely. Patoranking works really well with this track and, this is a theme, works so well with Romain. I love Romain moving into a different style with this, but also still holding true to his Lover’s Rock style.
We go back to what Romain is all about with “Want You Now” when he really belts it out and sounds fantastic. His voice really flashes in this song, flowing through the music with ease. It is a recurring theme, his voice playing right along with the beat, riddim, bass and guitar. The growth is so evident. “Red Dress” is next and is a more simple groove, but Virgo hits so well. It’s a song that all men can relate to, thinking back to seeing our love one in that dress or outfit that, after all these years, we still think about. Wear that Red Dress again. “Driver” gives us another one of my favorites, with a really nice drum line and sweeping chorus, produced by Don Corleon. This is another one of those songs that just sticks with you, “Baby I can be your Driver, Drive you anywhere you want to, I can be your soldier, yes Imma fight for you, fight fi your love like….oh oh oh oh oh oh, oh oh oh oh oh oh, oh oh oh oh oh oh.” We come to “No Curfew” another Roots Reggae Lovers Rock tune showcasing his versatile voice. The highs, the lows, the tone, the tempo, just so so sweet and perfect.
“Take It Or Leave It” is his most intriguing and versatile song on the album. This is a Reggae, Hip Hop, R&B and Trap groove, mixing these different styles throughout. Virgo even giving us a nice flow of a mix of rapping and singing. A great change for this album and really shows the excellence of Romain’s voice and flow; it is not forced, it comes with ease. We get another Lover’s Rock groove with “10 Just Like That.” That guitar hitting throughout, a nice chill song, the flow from Romain is so nice, it just flies right through this joint. Next up is another one of my favorites, “Bridges” featuring Jesse Royal. Just a real nice rhythm to this, the music just seems to take you away. I love Virgo in this and when Jesse comes in, it just takes this to another level. I really hope we see a lot more collaborations between these two. Their voices and styles compliment each other so well. I have seen Jesse Royal many times live, I close my eyes and picture seeing Romain and Jesse on stage doing this live. Love It! The album is finished off with “You Must Pay” featuring Capleton, and what a wonderful way to close this out. While I love how Romain and Jesse Royal compliment each other, this is on a whole different level. Capleton with his ruff and growl voice is a perfect mix with the soulful sound that Romain brings. On the surface it would seems these two shouldn’t work, but it is almost a perfect combination. Yet again, another one of my favorites on this fantastic journey.
Bottom line, Romain Virgo's latest, The Gentle Man, is one incredible album. There is truly so much to like in this release. I tend to judge an album on how many songs I start to skip over, I am very particular and even with artists/bands I love there are usually one or two songs I don’t get into and skip over. This is one of those albums that you wat to listen to each and every song, every time it comes on. I noticed in a few songs, he has a sound of another singer, a slightly different sound, and this is not a bad thing. It goes to show the control he has over his voice. I love the growth in Romain on this album, coming out of his comfort zone and trying some different styles and ideas, while not major changes, just enough to make each song work so well. The growth and maturity of his voice has really hit me, while he has always had a beautiful voice and has been one of the best voices in Reggae music for years, there is something different this time around. This is a must listen, you will want to add it to your play list. I have to be honest, while I have always loved his voice, I really haven’t had Romain on a regular listen. That will change now, he will be added to my playlist for sure. I feel privileged to get an early listen, I’ll be listening to this all week before it is released, and well after.
One Love – Todd Judd
I have been extremely excited to see Bob Marley: One Love since the day they announced it, I am a HUGE Bob Marley fan, I’ve read pretty much every book written about him, watched numerous shows and documentaries about him, watched so many concerts and interviews, I have over 35 of his albums hanging on my wall. If you were to ask anyone that knows me, even just a little, who makes you think of Bob Marley, I pop into their head. I went into this with a ton of excitement and question; how will they portray this man, for me the music is just the tip of the iceberg, yes the music is what put him on the map, what made people recognize him and listen to what he was saying, but he was so much more than a musician. You can go anywhere in the world and you will see his image, hear his music, see people wearing his shirt, there are reggae bands on every continent. He was a messenger, a warrior, an activist, a humanitarian, a prophet, a workaholic, an incredibly complex man, that used his music to get his message out. So I thought, how can they get all that is Bob Marley into a movie. And maybe my expectations were too high.
Very early on in the film is the assassination attempt on Bob Marley's life. The gunman is standing in the hall outside the kitchen and is looking at Bob, hesitating, you can see and feel what he is going through, should I shoot, how can I do this, and once Bob sees him they lock into each other, Bob just looking at him wondering why, how could my people do this to me, a very pivotal moment not only in the movie but in Marley’s life. As the gunman starts shooting, grazing Bob and hitting Don Taylor multiple times, Bob almost stands there defiantly, knowing that he will not die. Later he briefly mentions his vison about the shooting. Bob had visions his whole life, a moment where there is no explanation or expanding on the subject. Something we get throughout the film. It is just tossed out there for the audience to wonder, is that it, is it that simple.
To me this movie was about the emotions in me, what I felt while watching, how I felt after the movie, the following day and now two days later while writing this. I’ll start by saying I liked this movie, I really enjoyed it and will be seeing it again. I will also say that it felt rushed throughout and fell short on telling the audience the true story and struggle and greatness of Bob Marley. While watching it put a smile on my face, put me right there with Bob, made me tear up, just brought out a lot of different emotions, which I think shows where this movie really hit, it fell short in many other ways. When they would start to touch on an issue, or emotion, or thought they quickly moved on. There could have been so much more to the relationship, or lack thereof, with his father. The feeling he had after the assassination attempt and retreating to London, while we could see a struggle, we did not get to see or feel what he was truly going through. The flashbacks, while a nice way to show what he was feeling at that moment, at times popped out of nowhere with little explanation and then would just stop. And the flashbacks were some the best parts of the movie, I loved seeing him leaving with his mother Cedella (Sidilla) to head to Kingston, but no real explanation. While waiting for the bus in Nile Mile they were with, I assume Cedella’s father and Bob’s grandfather, Omeriah Malcolm. He was such an important part of Bob’s early years, he was his father figure, it would have been nice to see their interactions.
One of the absolutely best parts of the movie was Bob’s flashback to 1965 when he, Bunny Wailer and Peter Tosh meet Coxsone Dodd, founder of Studio One, to try and get a recording deal. They don’t impress Coxsone at first and as he is walking out of the studio they start to play “Simmer Down,” he walks back in with a huge smile and says let’s make a record, while Lee “Scratch” Perry is climbing up the walls in excitement. Quan-Dajai Henriques does an amazing job of playing the teen Bob and the Marley family should be planning a follow up movie that covers his childhood growing up in Nine Mile and his teen years in Kingston when Bob, Peter and Bunny were trying to make it. These were such important years in what help make Marley the icon he became and is today. There were a few flashbacks when Bob was getting introduced to Rastafarianism, but they really missed diving into this in more depth, since it was such an important part of who Bob became and his beliefs, we really needed more.
I especially liked showing how they created “Natural Mystic” while in the studio. It was as if a natural mystic was flowing through the studio. The movie was in a large part about the creating of Exodus, so it was an insight to the creation of some of the songs on the album. Bob playing “Turn You Lights Down Low” to Rita, and Rita telling him he needs to do more songs like that, don’t get away from those types of songs. And then Family Man playing Ernst Gold’s Exodus soundtrack that they had just purchased at a record shop in London; Bob comes running downstairs and gets the idea for his “Exodus” song as the band starts to jam and create the song. I would have loved to see the creation of other songs on the album since this movie was about the creation of Exodus. It gave a nice look at the creative genius Bob was but also the talent of his band. The Wailers might have been the best band in the 70’s.
The acting overall was fantastic throughout the movie and cast. Kingsley Ben-Adir did a great job depicting Bob, he did a nice job with Bob’s Jamaican Patois, his mannerisms, his dancing, the looks, it took me a few minutes to settle into him being Bob, but then it just flowed. I have heard and read about people saying he did not look like Bob and didn’t portray him well, how can you find someone that looks like Bob and can act like Bob, unless it is Bob. You can tell Kingsley spent many many hours studying Bob, learning everything he could about Bob. I read he studied over 50 rare archival Marley interviews to help learn how to talk, and act like him. Lashana Lynch was so amazing in her role as Rita, possibly the best thing about this movie. She played this role perfectly and if I were a producer or director I am on the phone with her agent. Lashana and Kingsley had so much chemistry, I wish we would have had more of their interactions and life together. James Norton as Chris Blackwell and Anthony Welsh as Don Taylor were also great in their roles. I would say, while I knew who everyone was, for the most part, in their roles, I kept thinking that those that are the casual music Bob Marley fan wouldn’t know who they are. I thought doing a little introduction to the characters would have gone a long way, but maybe it did not matter to most. In the scene when Bob heads up to Strawberry Hill after the assassination attempt, we see those close to Bob sitting around a table. His long time friend and lawyer, Diane Jobson is there with others, but they do not explain who is there and why. Again, it may not matter to most, but it seemed rushed and unfinished. And while I mentioned Quan-Dajai as the young Bob doing a great job, Nia Ashi playing the teen Rita also had a great performance. Again, if I were the Marley’s I would be preparing the next movie staring Quan-Dajai and Nia; Bob Marley: Nile Mile to Wailing Wailers.
There was so much good in this film, but the rushed nature and not taking us into the details of Bob Marley and what made him tick, what made him the way he was, what made him the man he became, what made him an icon? Just left this movie falling a little flat. So much left for the audience to question and not fully understand the man. For me, the whole storyline was not new to me, seemed from everything I know to be right on the money and telling the truth, but the one thing that was new to me and a huge surprise happened toward the end of the film. Bob comes back home to Jamaica and heads to his home on Hope Road. He is greeted by Rita, his kids, friends and heads into the house and goes to the kitchen. All alone he looks around and touches the bullet holes in the wall (you can see these holes if you visit the Bob Marley Museum, it is pretty emotional seeing it) and he turns to see the gunman standing in the hall looking at him. The gunman apologizes to Bob and Bob forgives him. Such a powerful moment and an amazing way to circle all the way back for an almost closure for Bob (I don’t think he ever completely got over the assassination attempt). Very impactful and a flow of emotion in that simple scene.
While I do feel this missed on some fronts, was rushed and could have really given us a better understanding of who Bob was and what made him, it was still a very good movie, one worth a watch in the theater, so great hearing Bob's songs throughout. The acting alone was excellent and how authentic it was, whether it was the streets of Kingston, the home on Hope Road, the home in London, the club Bob went to watch The Clash, the beach, the concerts, it really helped pull the viewer into the time period, into the life of Bob. I would really love to see another movie about Bobs early life and them another one from 78 until is passing in 81. It is the kind of movie that can be much larger and much more. It was also a great movie giving an insight into all that is Marley.
One Love – Todd Judd
While growing up, you get introduced to music and all of it is new to you. You can fall in love with it, or it may not be your thing. You may love the music, but since you’re still young you only hear the song or band in passing, and may never get a chance to really save that memory. The song or band is then lost to the sands of time as it fades from your memory. That is, until one day you are shuffling music on Spotify, and you hear a familiar tune. It can re-awaken memories you didn’t know you had and take you right back to your childhood. One of those bands for me was Porno for Pyros. I saw that they had announced a farewell tour, and though I didn’t currently listen to them, something deep in my mind had a fondness associated with this name. After looking them up, I rediscovered music I hadn’t heard in literal decades. I couldn’t miss my chance to sing a long with music I found so much enjoyment from when I was younger. Coming to the Observatory in Santa Ana to start off their Horns, Thorns, and Halos Farewell Tour and bringing with them Tigercub and Glossy. I was ready to relive my childhood.
Opening the night was a band known as Glossy. As these three stepped on to stage, the audience had no idea what to expect, but Glossy was there to play some punk rock loud and blast it right into our faces. Opening with “Sleep Sacrifice,” the lead singer and guitarist was nearly throwing a tantrum as he sang into the mic. All the while creating a distorted mess of guitar licks that still carried a melody to them. The drummer kept the pocket grooving while the bassist seemed to be the most cool, calm, and collected person on stage as she just vibed to the music. Sadly, I could not find the band members names, but their music came pre-loaded with a fat tone of groove. Playing songs like “Sinaloa,” “5th Loko,” “Drop the Ball,” “Substance Abuse,” “Up and Up,” “MDMA,” “Didn’t Plan to Stick Around,” and ending with “Emily.” Glossy was a fun way to start the night.
Up next was a band from Brighton, UK called Tigercub. This trio was helmed by guitarist and vocalist Jamie Stephen Hall who towered over his stacked cabinet of amps. So much so a fan shouted out “How fucking tall are you!” I imagine he gets that often. Opening with the song “Swoon” you could hear the fuzz radiating out of Jamie’s guitar. As bassist and backing vocalist Jimi Wheelwright joined in to sing the harmonies, Tigercub could be felt channeling the power of the band Muse. Complimenting them with tone and style, Tigercub has the finesse to write big stadium anthems. None of the members could be contained on stage either, as Jimi was constantly wriggling his body around the stage while playing. Drummer James Allix elevated his playing with high energy style coming down on his kit with emphasis. The music also had such different movements to it. You never felt like you were listening to the same song over and over again with different lyrics. Tigercub’s music had layers, tempo changes, and James handled the push and pulling that the flow of the music brought with it. Gifting us songs like “Dark Below,” “Dopamine,” “Control,” “Show Me My Maker,” “Beauty,” “Play My Favourite Song,” “The Perfume of Decay,” “Shadowgraph,” and ending with “Stop Beating on My Heart (Like a Bass Drum).” I’ve seen the name Tigercub before, but after this show I am now keeping a closer eye on the evolution of this band as I know they are going places.
Finally, it was time to see the band we would be bidding farewell to, Porno for Pyros. The venue was illuminated as the members walked on stage. You can hear the passion in the cheers and cries as vocalist Perry Farrell specifically walked out. This was my first time seeing Farrell live, and when he started to sing their opening song “Meija,” I was awe-struck with just how powerful of a voice this man has. Farrell can belt and sustain his vocals with such power that he pulls the microphone over a foot away from his face, and yet his voice still carries and can be heard by every single person in the crowd. It also lets him emote with vigor through the lyrics of each song. But Farrell isn’t a one man show, and the rest of the band has their moments to shine. Guitarist Peter DiStefano handles the style of the band dressed in a 3 piece suit and shredding on his axe all at the same time. Drummer Stephen Perkins is a multifaceted percussionist as he handles the different styles that Porno for Pyros blends. From playing in the pocket, to an alternative rock style, bleeding into funk metal, and grooving with a psychedelic vibe. Bassist Mike Watt appears to have injured himself as he was relegated to a seat while slappin’ the bass. But that seat could not confine his energy, as he was bouncing with the rhythm of each song. Dressed in a vibrant yellow shirt and tie, he had the charisma and energy of SpongeBob. Playing songs like “Wishing Well,” “Sadness,” “Agua,” “Tahitian Moon,” “Porpoise Moon,” “Porno for Pyros,” “Pets,” “Good God’s://Urge!,” “Blood Rag,” “Little Me,” “Orgasm,” “100 Ways,” “Cursed Female,” “Cursed Male,” and ending with a two song encore of “Hey Gypsy Boy,” and “Bad Shit.” Porno for Pyros crafted their setlist to create a melody that moved with an energy that ebb and flowed, but never gave the audience a chance to lose interest in what they were experiencing.
Porno for Pyros isn’t a band name I feel you hear talked about all that often. But the sold out crowd at the Observatory was filled with die hard fans that have been with Perry and the boys for the long run. Getting to hear so many of these songs live, I rediscovered songs that I haven’t heard since my childhood. I also developed such an appreciate for Farrell as a vocalist. He’s always had an instantly identifiable and standout voice, but finally experiencing it firsthand was a trip I’m glad I got to go on. This was just the first stop of their farewell tour, and I highly recommend anyone and everyone to make sure they catch a show before Porno for Pyros are gone for good.
Throughout her illustrious career, Ann Wilson has established herself as one of the most iconic voices in rock music history. With her just-released solo album "Another Door," she continues to push the boundaries of her artistry, delivering an album that is as timeless as it is evocative.
"Another Door" is a testament to the resilience of the human spirit, a celebration of love in all its forms, and a reminder that even in our darkest moments, there is always hope on the horizon.
Join Ann and her band TRIPSITTER on this unforgettable musical journey as she opens yet another door and invites us all to step through into a world of boundless possibility with a masterclass on songwriting. Prepare yourself to be shocked by how incredibly great this album truly is.
Ann Wilson is a multifaceted artist whose soulful voice and passionate performances have captivated audiences worldwide. Renowned as the lead vocalist and co-founder of the legendary rock band HEART, Ann has cemented her place in music history with hits like "Barracuda" and "Alone." Beyond her groundbreaking work with Heart, Ann's solo endeavors have showcased her versatility and artistry, earning critical acclaim and a dedicated fanbase. Her dynamic presence extends beyond music, as she has made notable appearances in television and film, including memorable placements of her music in acclaimed series and movies. Ann Wilson continues to inspire and resonate with audiences across generations through her enduring talent and unwavering commitment to her craft.
In "Another Door," ANN WILSON delves fearlessly into the complexities of life, love, and resilience. With each track, she invites listeners on a journey through a tapestry of emotions, weaving together haunting melodies and powerful lyrics that resonate on a profound level.
From the anthemic title track "Another Door," where Wilson's vocals soar with unwavering strength, to the intimate ballad "Echo of the Dreamer," which exposes the raw vulnerability of the human heart, this album showcases Ann Wilson's unparalleled ability to connect with her audience on a deeply personal level.
Produced with meticulous attention to detail, "Another Door" boasts a rich sonic landscape that perfectly complements Wilson's emotive delivery. Drawing from a diverse range of musical influences, from rock to blues to folk, each song is a testament to Wilson's versatility as an artist and her unwavering commitment to her craft.
Hunnypot is proud to be Ann Wilson's official sync representative, ask us about easy-to-clear for your budget LICENSING! Focus tracks are "Tripsitter", "This Is Now" and "Rain Of Hell" - John Anderson
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Yellowcard, the iconic pop-punk band known for their infectious melodies and heartfelt lyrics, takes fans on a nostalgic yet refreshing journey with their latest release, A Hopeful Sign. It's a collection of reimagined hits in collaboration with the Nashville duo Hammock (consisting of Marc Byrd and Andrew Thompson). This album breathes new life into Yellowcard's classic tracks, including fan favorites like "Ocean Avenue," "Empty Street," "Only One," and "Transmission Home."
What sets this album apart is Hammock's unique touch, which infuses each track with ethereal sounds and atmospheric elements, creating a captivating sonic landscape that adds depth and dimension to Yellowcard's already beloved songs. From the moment the first notes of "Ocean Avenue" resonate, listeners are transported to a realm where familiar melodies intertwine with newfound textures, inviting them to rediscover these timeless classics in a fresh light.
The collaboration between Yellowcard and Hammock proves to be a match made in musical heaven, as Hammock's expertise in crafting ambient, dreamlike soundscapes complements Yellowcard's signature sound flawlessly. Tracks like "Empty Street" and "Only One" are transformed into cinematic experiences, with layers of lush instrumentation and subtle electronic flourishes enhancing the emotional resonance of the lyrics.
One of the album's standout moments is the reimagining of "Transmission Home," where Hammock's ethereal soundscape serves as the perfect backdrop for Yellowcard's poignant lyrics, creating a sense of longing and introspection that lingers long after the song ends. Each track on the album is given the Hammock treatment, resulting in a cohesive and immersive listening experience from start to finish.
What makes this album truly special is the way it allows listeners to appreciate Yellowcard's music in a whole new way. The reimagined versions of these hits not only pay homage to the band's legacy but also showcase their willingness to evolve and experiment with their sound. Whether you're a longtime fan of Yellowcard or discovering their music for the first time, this album offers something for everyone, serving as a testament to the enduring power of great songwriting and artistic collaboration.
Bottom line, Yellowcard's collaboration with Hammock on this collection of reimagined hits is nothing short of magical. By infusing their classic tracks with ethereal sounds and atmospheric textures, Yellowcard and Hammock have created an album that is both nostalgic and forward-thinking, reminding us of the timeless beauty of A Hopeful Sign.
- James Coffman