Decibel Geek Podcast

Dokken: Dysfunction or Distorted Perception??

nashvillerock@live.com (DBG Productions) — Wed, 22 May 2013 18:20:37 PDT

See this photo? This is the one that started it. The infamous grudge. The legendary feud. The internal tensions. The rumours. Do you know what Don Dokken and George Lynch disagree about? Business. That's it. Business. For Don Dokken there can never be enough zeros on a check made out to him. George Lynch simply doesn't feel that way. But the image on this magazine cover launched a lifetime of discussion and debate on just what is between these guys. Chalk up a Lifetime Achievement Award for Bad Press.

Dokken formed in the late 1970's. The original lineup played the club scene in Los Angeles. Don Dokken went to Germany to lay down background vocals on the Scorpions "Blackout" album and was able to get a record deal through the manager of the band Accept. "Breaking The Chains" was released shortly thereafter and the famous 1980's lineup of Dokken, George Lynch, Mick Brown, and Jeff Pilson was put together.

Through the 80's Dokken would release three more successful albums: "Tooth and Nail", "Under Lock and Key", and "Back For The Attack" before disbanding in 1989. George Lynch would form Lynch Mob and Don Dokken released his own solo album in 1990 entitled "Up From The Ashes". In 1993 he wrote and recorded another solo album but after being lured into a deal with Columbia if he would reunite with Lynch, the "Dysfunctional" album was released under the Dokken name in 1995. Columbia Records and fans worldwide had their Dokken back.

"Dysfunctional" entered the chart in the Top 50 and has sold just under half a million copies. I personally feel this is strong album from an 80's band given it was recorded and released in the Grunge era. It has classic Dokken sound with hints of sounds current of that time which may remind you of King's X.

I got see Dokken perform while on tour supporting this album at the infamous Toy Tiger here in Louisville. One thing that still stands out in my mind is the buzz, the energy going through the capacity crowd in anticipation of George Lynch taking the stage. It was as if the rest of the band was an afterthought. The show was incredible. The Toy Tiger has since been torn down and is now a Thornton's gas station.

The next two years would be the last for the George/Don nucleus. Lynch would leave the band again after the release of 1997's "Shadowlife". In the years ahead, longtime bassist Jeff Pilson would leave for good and drummer "Wild" Mick Brown would come and go depending on what he was working on. Currently, former Dokken attorney Jon Levin fills the guitar slot and does so quite well.

Despite rumors that surface from time to time, it's doubtful that a reunion will take place. Dokken continues to release albums and tour regularly and George Lynch always seems to have a handful of projects in the works. But maybe someday....

Airbourne Almost Brings The House Down....Literally!

nashvillerock@live.com (DBG Productions) — Wed, 22 May 2013 10:09:11 PDT

Sometime ago, well before I joined the ranks of the Decibel Geek, I had one of those rare moments where I actually had the radio on, probably had some friends over and chose not to subject them to any "Meister Music" as they all call it....I'm on an island alone out here...lol. In any case, a song came on by Australian rockers Airbourne, Blond, Bad & Beautiful. I was shocked, something in the way of new music that I actually liked being played on the radio! I searched the band, subsequently purchased the CD, No Guts, No Glory and shortly thereafter their other self-titled release as well. I was loving their obviously fellow countrymen AC/DC inspired sound and straight balls out rock.

Airbourne is set to unleash a new collection of blazing in your face rockers called Black Dog Barking, which was streaming on line for a short time, but I seem to have missed it....damn! Now I'll have to wait until the CD gets released on May 21st, 2013. Until then, I was able to get a good Airbourne fix at the show Wednesday May 15th, 2013 in Toronto. I arrived at Lee's Palace on Bloor Street in Toronto thinking that this was a new venue on my radar, but once I got inside I realised that I had been here once before years ago to see alternative band The Catherine Wheel. After looking around I fully believe that there has been no maintenance done on the place since that show back in the 90's! I chose a spot to the right side of the stage just up from the floor, keeping a watchful eye on the broken and missing ceiling tiles overhead preparing for them to break loose to freedom and come crashing down on my melon.

The place was reasonably packed already and the first act was already on stage when I entered at 9:06pm. I find this extremely annoying, being someone who enjoys to see the opening bands, that the doors open times are posted at 9pm and the first act begins at the same time, I believe that there should be at least a half an hour delay so that guests lined up may enter and get a beverage before the show. The Damn Truth was on stage from Montreal Quebec and the female lead vocalist also played guitar. The band had a good feel to them and the charismatic singer at one point sauntered over to the guitarist and kissed him as he grabbed her ass. The general volume was quite loud and she had good vocal ranges it seemed to me. Their quick set ended around 9:30pm.

As I looked around at the audience and took another survey of the ceiling tiles overhead I noticed that there were many, many more younger people, girls especially, here than I am used to at the shows of my usual attendance. I also noticed that the interim music was The Devil Sent You from a favourite band of mine, Rhino Bucket who I just saw for the second year in a row on The Monsters of Rock Cruise. The crowd was full of Airboune shirts on patrons young and old and there were also a smattering of Bleeker Ridge shirts as well. Even a Sister Sin shirt caught my eye! I had not heard of Bleeker Ridge previously, but they seemed to have a bit of a following, so let's see what they're all about.

Bleeker Ridge took the stage about 9:50pm and I clued in right away. They were all younger guys, which explains the population of younger ladies in the audience, no doubt attracted by the boyish looks of the lead vocalist. They had a heavy, modern and clear sound as many of the crowd were singing along down in front of the stage. After a few tracks the singer announced that they were Bleeker Ridge from Orillia, Ontario and that they had played in Montreal with Airbourne the previous night as well. The next song, he informed us was called Small Town Dead and was about their home town of Orillia and it got the crowd clapping. I felt a bit left out as I seemed to be the only one around me who didn't know the song! They rifled through a few more cuts including 16 Hours, She Said, Last Cigarette (their latest single) and Sleep. Bleeker has a new CD out June 4th and I'll certainly be picking it up as they were an enjoyable performance. I don't however understand the four young girls that left directly after Bleeker, how could you not at least stay for a bit of Airbourne?

As the stage hands busied themselves with the preparations for the Aussies to hit the stage while another Rhino Bucket song, Beg For Your Love provided the soundtrack, I took notice of the stacks of Marshall amps on the stage. This was going to be loud for sure! I was also a little surprised to see that the ceiling was still intact and that the place was basically packed on this mid-week Wednesday.....I suspect more than a few people will be going to work with a big hangover tomorrow!

Around 11pm the lights dimmed and a recorded intro announced that the band would soon take the stage. The assailment of my eardrums began shortly thereafter although they took it easy on the eyes! The stage lights had blown, maybe from a loose wire or probably from the sheer volume or thumping bass and drums! While they sounded great during their opener of Raise The Flag it was
too dark to actually see the Aussies on stage. About halfway through the track the lights exploded on, causing wincing as I was just starting to get accustomed to the dark. With a quick glance overhead I immediately surveyed the ceiling to make sure that nothing looked imminently dangerous. As my eyes adjusted to the now lighted stage, all I could think of was Bon Scott as I looked at Joel O'Keeffe, Airbourne's singer and lead guitarist. The whole band kept wetting their hair and shaking it at the crowd, spraying us a bit with the water, which was just a little foreshadowing of what was to come.
Born To Kill attacked my senses next and along with Joel's animated throat slash and general facial expressions the only thought that hadn't been pushed out of my head by the thunder from down under was....holy fuckin' intense....pardon my language! The crowd was all a sea of fists pumping in the air and many could be seen singing along as they were jostled about in the whirlpool of moshing throughout the next few tracks of Diamond In The Rough and Blond, Bad &
Beautiful. During Chewin' The Fat Joel gave us a little show of his stage presence and antics when he took a can of Pabst Blue Ribbon beer and repeatedly smashed it against his head until it broke open in a shower of foamy bad tasting beer, spraying the crowd. But they were only just getting warmed up with their show as next, during Girls In Black, a tall roadie took Joel O'Keeffe onto his shoulders and piggybacked him around the bar, parting the crowd like the Red Sea and momentarily pausing the mosh pit as they passed through! Wow, my head was ringing from the sheer volume by now! I once saw Big Sugar years and years ago and the buzz at the time was that they were the loudest band in the world, but I can honestly say that they have been de-throned! Joel played a little slide guitar with a wine bottle during Cheap
Wine & Cheaper Women before gulping down a couple of swigs and then tossing the 3/4 full bottle out into the crowd for them to share around and guzzle from. "Our new album Black Dog Barking is out on 21st of May and here's a song from it now," Joel screamed into the microphone as they launched into Live It Up (here's the link to the video for Live It Up: OFFICIAL VIDEO). "Let's try something here," Joel called out after Live It Up. "Let's see how many people we can get up on other peoples shoulders. First one gets a beer!" Several of the crowd achieved the goal and as promised the first was tossed a beer, open of course and beer was flying everywhere. They roared through Black Jack next and Joel gave us a short guitar solo before Too Much, Too
Young, Too Fast, the mosh pit on the floor getting really worked up now. The stellar Running Wild had the crowd singing along even more than Too Much, Too Young, Too Fast did and I thought I could even hear a little of Black Sabbath's Paranoid in the mix there. Running Wild only served to amp Joel up as well (as if he wasn't already) and he opened another beer can on his head, tossing the remnants into the crowd for someone to guzzle down. And then another head beer, with a final one being opened by Joel with the pull tab and swigging down some Pabst suds. The remains of the beer also went into the crowd and I was now rather completely soaked in sweat, water from the band's hair, cheap beer and a little red wine to top it off, I'll smell great on the subway home! The Aussies remained on stage staring out at the crowd. "You want one more?" Joel asked as they blasted into Stand Up For Rock And Roll for their encore.

And that brought us to the end of Airbourne's show and what a show it was! With She's A Screamer playing through the sound system to complete Rhino Bucket's triple play, I made my way to the merchandise table and pondered spending money that I should be saving for my trip to Sweden Rock Festival in two weeks. Awesome show, but everything is muffled and the world has a decided echo to it now! Airbourne blew me away and was certainly the best show of the year so far for me, just ask Killer Dwarf, Darrell Millar who was also in attendance.

Cheers,
The Meister

Big In Japan - Firehouse

nashvillerock@live.com (DBG Productions) — Wed, 22 May 2013 04:05:14 PDT

I remember in school we used to get this little paper called 'Weekly Rader'. It was a little paper printed up for kids. Inside it had the latest news events, watered down for the kids, and some facts that some mat find interesting. Sometimes, they would talk about different countries and cultures, too. So, when this weeks subject of 'Big in Japan' was given, I went back, in my little time machine, and remembered what we learned about Japan...NOT TOO MUCH. I did learn that Japanese children went to school EVERYDAY, also learned that they copied ALOT of American trends and foods. They have very limited space, and often the grandparents live with their child's family. elders are very respected in Japan. And that's about all I remember about Japan.

The Japanese are very big fans of western culture in the early 80's to well, even now really. Many hard rock artists made a smash in Japan, before really even taking hold of us yanks in the states. Firehouse was one of those bands. They did have success here in the states, but it was Japan and Asia where the name Firehouse was met with screams and howls.

Formed in 1989 in Charlotte, North Carolina. 1989. Lead singer C.J Snare had that lead singer look, too. Long flowing like hair, eyes of steel,yet some form of compassion. The guys had a good sound and they caught on fast. Back track to 1984. Bill Leverty, guitarist for Firehouse needed a drummer for his then band White Heat. Twenty auditions in, he meets Michael Foster. Foster auditions for Leverty, floors him and Foster gets the gig. One evening, while White Heat wasn't on tour, the guys went to a club and it was there they saw the band Maxx Warrior. Fronting the band was future Firehouse lead singer C.J. Snare and bassist Perry Richardson. A few months later, the band Firehouse was formed.

Relocating to North Carolina, the guys began recording their demo. To earn money, they would play at different hotels around town. December 1989, found Michael Caplan of Epic Records caught one of their shows. After the guys performed, Caplan made an offer.

1990 gave us the self titled debut album from Firehouse. It was loved by the critics.the guys won an American Music Award in 1991, for Best New Hard Rock/Heavy Metal band, beating out Nirvana and Alice In Chains( happy face).Firehouse had quite a few hits, but the two songs that made them popular with the Dial MTV(remember that show) and the early pop metal genre was the hit "Don't Treat Me Bad", and the wedding song of 92 to probably 95 "Love of A Lifetime". Both songs put the band on the map and gave them the success they worked hard to obtain.

Firehouse maintained quite a bit of success here in the states, but it was in countries like Japan, Thailand, India, most of Asia really, along with South America and Europe where they found their biggest and still largest following. Not saying they aren't still a hit here in the U.S. anyone who thinks otherwise should look at their current tour schedule. They have more shows booked than the Ringling Brothers Circus, and more dates than a prom queen. You figure it out.

There are VERY FEW bands from the metal (pop, death, speed...what ever floats your wagon) that are still around today, with their near ORIGINAL line up, but Firehouse is one that has stood the test of time and trends. Not only have they sold millions and millions of albums around the world, they've sold out arenas around the world also, and are still to this day Rocklahoma favorites (next to Tesla, in my opinion). Firehouse has done quite a bit in their career, and they're still going.

SONG OF THE DAY 5/22

nashvillerock@live.com (DBG Productions) — Tue, 21 May 2013 22:33:12 PDT

The song of the day is "Take Me Away" by Blue Oyster Cult from their 1983 album The Revolution By Night.

Meister Music #6 - Love + Fury, The Headstones Return From The Grave

nashvillerock@live.com (DBG Productions) — Tue, 21 May 2013 13:07:09 PDT

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Hello and welcome to my new segment called Meister Music. I often get new music cross my desk from record companies or from my own personal musical searches and adventures. I thought that this would be a good place to review and post my thoughts on some of this music, maybe turning you onto some new bands or reminding you about some old favourites. Some of the albums may not always be to my specific taste in music, but I'll give you my honest opinions. Some of it may not even be the most current as I try to introduce you to some lesser known bands that have crossed my path and become favourites of my listening rotation. Like what I say or think I'm an idiot? Please feel free to leave me comments and suggestions as you see fit, it would be great to start a discussion of some of these albums.
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MEISTER MUSIC #6 - LOVE + FURY, THE HEADSTONES RETURN FROM THE GRAVE

I've been a Headstones fan since as long as I can remember really, being introduced to them on a compilation cassette that was circling around campus. Quickly my friends and I took to the band's piss and vinegar brand of thug rock music and we caught as many live shows as possible. I even have the "H" logo incorporated in my "in progress" full sleeve tattoo, so yeah, I'm a fan. To read about a few of my Headstones adventures, check out my article from back in October: MEISTER & THE HEADSTONES

After way too long of a hiatus I was elated to hear that the boys were back working together again and starting to write new material. I discovered a website called pledgemusic.com where the band were asking for fan support to assist in making the new record. There were many, many options and I've seen other bands using this type of way to raise funds for a record. It's a great way to get the fans involved. I chose a relatively cheap pledge, which got me a limited pledge t-shirt, autographed CD and updates on the progress along the way in the form of music and pictures. I don't remember the price of my package, but I remember thinking that it was about the same price as if I were to buy the CD and t-shirt at a concert, which I surely would have. Other packages included things like personal meet & greets, memorabilia and more.

I received a pledger's only streaming of the new album several weeks ago and clicked right away, rushing to give the whole album a spin before heading out to work. I was not hugely warm to the record at first, probably all the hype I brought on myself for this event and it didn't measure up as it rarely does. I over-hyped it to myself!

In the mail the other day I received a package containing my t-shirt (that I have been proudly sporting around town) and my autographed CD. The official release date had not yet approached, but as a pledger they had forwarded me a copy early. I spun the disc several times through over the next few days and here are my thoughts on the new Headstones record.

The first track changemyways leads off with a funky bass line before popping in with the guitars and Hugh's venomous vocals. This track sounds just like the Headstones of old, with the exception that the guitars seem a little more toned down or quieter, but that may just be my sound system. What is there is the piss and vinegar attitude that are The Headstones as Hugh's tell-tale voice can be heard seething through my speakers.....volume up! And by the way, that's not a spelling error on the track names as they are all listed lower case with no spaces on the album sleeve. The first single from the Love + Fury album, longwaytoneverland followed. Starting off very reminiscent to me of....I can't quite place it...maybe Heart of Darkness from 20 years earlier?, at least at the start, but maybe that's just Hugh's vocals making me think this. finalanalysis and farawayfromhere are up next on the roster and I could definitely hear the latter being played on the radio, especially as there's no "f bombs" in it. By this point of the album it is clear that The Headstones have picked up right where they left off as dontfollowtheleader rips off with a punk flavour holding true to their brand of thug rock. The slower pace of astronaught is no Three Angels, Cubically Contained or My Perpective Fades but is a nice break in the attack. gobacktheotherway snarls at you again ramping up the pace once more. I was extremely pleased when I saw the next song on the track listing, ABBA's SOS, yes you did read that right. The boys have been playing it live for years, making it sound like a totally new song and I'm glad to see it finally recorded, ABBA never sounded so good! While SOS is a hard act to follow binthiswayforyears succeeds beautifully and was already familiar to me as I had the chance to hear it at the reunion concert in December 2011. outtamyleague appears prior to the album closer of midnightofthislife and the lounge style that was quite evident on Nickels For Your Nightmares returns.

It's awesome to see The Headstones back making great music and while I can compare almost every song here to one from their back catalogue and definitely their song writing has matured over the years, I prefer the hungriness and desperation of old. The guys have definitely produced a worthy addition to their repertoire, I however, don't find it holds a candle to Smile & Wave, but maybe I'm just a cantankerous old bastard who's resistant to change. The more I listen, the more I like and one thing is for certain.....with the recording over there's bound to be some sort of tour! The Headstones live show is something you just have to experience and you can be assured that I won't miss a one of them!

HEADSTONES WEBSITE HEADSTONES on FACEBOOK

Cheers,
The Meister

So You Wanna Be A Rock N Roll Star - League of Rock

nashvillerock@live.com (DBG Productions) — Mon, 20 May 2013 19:33:35 PDT

May 15, 2013

Today I embark on a new Rock n Roll journey. Today I strap on my bass guitar, join a band and share the same stage as Mick and Keith! Today my journey to become a rock star like the ones I interview and review for the Decibel Geek begins. Well sort of, let me explain...

For those that do not know me, my passion is and always has been MUSIC. If I am not listening to my iPod, watching a live concert DVD, catching a live show or just writing about it all for the Decibel Geek website then I could probably be found in my family room, in my pyjamas wielding my bass guitar rocking out to some ACDC or Judas Priest. Usually with my wife and daughter rolling their eyes or laughing at my "metal" moves as I rock out through my wireless headphones.

So about a month ago, my wonderful wife surprised me with what just might be the greatest birthday gift ever. She enrolled me in the League of Rock. When I found out, I had never heard of the LOR so I jumped on the computer and did some reading. This was going to be cool. Very F'n cool!

Formed by Terry Moshenberg and his partner Topher Stott, the League of Rock is a ten week program that puts "closet" musicians into bands, gives them rehearsal space, professional coaching, live showcases, time in a professional recording studio with a producer and the final week a live show at a premier Rock Club for friends and family. Kind of like a "pickup hockey league" but for musicians. Let's face it, who hasn't dreamed of rocking the stages of the world at some point in their lives. "So you wanna be a rock and roll star?" - the Birds.

So tonight I got off work and headed downtown to the "Orbit room" (the very cool club owned by Alex Lifeson of RUSH) for a cold beer and the league of rock's JAB (join a band) night. This is where I would be meeting my band mates and choosing some of the songs that we would start working on for the coming weeks.

When I arrived, it was clearly apparent that many of the people there already knew each other. Welcoming hugs and handshakes were everywhere and it seems that being the 25th session of the LOR, they have attracted a good share of repeat customers.

As a "newbie" I grabbed a cold beer and a seat and awaited what was next. Terry and Topher both took the stage and welcomed the group. Promising all an amazing time they "roll called" the five bands that would spend the next ten weeks working together creating some raw rock n roll.
I was called onto the stage to join band number 2. From there we headed off to a spot in the bar where we spent the next hour introducing ourselves and getting down to the business at hand. Choosing some songs that we might like to start on for next weeks rehearsal. Sabbath, Zeppelin and others were tossed around as ideas and we jotted down a few titles that might make it into our setlist.

My band consists of Scott Purdy (guitar), John Hooke (guitar), Jim Delaney (drums), Laurie Crisp (vocals) and myself on the bass. Complete strangers today, but in ten short weeks we will be onstage performing a short set of live rock and roll. Next week it gets real but before then I have some serious homework to do. Learning some of these songs!!

So I have decided to document my journey and share it with you. "I wanted to capture the sights, the sounds and the smells of a real rock band". - Marty DiBergi

To learn more about the League of Rock click here

Feel The Balls Of Steel. A Steel Panther Concert Review.

nashvillerock@live.com (DBG Productions) — Mon, 20 May 2013 22:31:13 PDT

It was Thursday night and as our work day drew to a close, we began putting the finishing touches on our outfits for the Steel Panther concert. My trusty sidekick Victoria and I had been looking forward to the show for weeks now. Last time I saw Steel Panther it was the first opportunity in two and a half decades I had to wear my much coveted leather lace-up pants, so the wardrobe standard was set pretty high! We decided to double the awesome factor with matching outfits. Fish net stockings, short shorts, high boots and skull bandanas!! Where else but at a Steel Panther show can you dress up in your best eighties gear, party like a rock star and no one bats an eyelash?! Stopping for a bite to eat on the way there, however, was a completely different story!

We drove to Toronto with the top down and our teased up, rocker hair blowing in the wind. It was a great beginning to what was sure to be a fun-filled night!!

We walked into The Sound Academy just in time to catch the opening act Hillbilly Herald. I'd looked them up on YouTube and they were just as I had expected. Loud and raunchy! They had that southern metal sound and were really talented, but not necessarily my kind of music. You only had to take one look at us to know we were only there for the headliners.

For anyone who doesn't know Steel Panther, they are the Glam Metal equivalent to Spinal Tap. They are incredibly talented, enormously inappropriate, lyrically ridiculous and downright hilarious. Their story reads much like most moderately successful eighties hair bands. They payed their dues for years in the eighties playing night after night on the Sunset Strip and just missed their superstar calling. They are, in fact, a band who formed in 2000 under the name Danger Kitty and then Metal Shop, Metal Skool , and finally Steel Panther in 2008. Former members of a Van Halen tribute band, LA Guns and various other successful bands, they are each, in their own right, masters of their craft. They have an extremely loyal following and their fans are like no other.

After Hillbilly Herald had finished their set, we decided to move in for a better audience position. We made it quite close to the front but having been to more than one Steel Panther show I was fairly sure we would be retreating to a safer location once the show started. My co-pilot is just shy of five feet tall and she was being swallowed into the crowd already. For now though, we stood our ground.

The lights went down and Iron Maiden's Number of the Beast came blaring through the speakers. The crowd went INSANE!!!!! Still we stood our ground. It was time!!!! The recorded intro "In The Future" blasted out into the darkness and suddenly the band exploded onto the stage in their spandex, leather, glitz, glamour and full on eighties regalia!!

All hands were in the air with the symbolic Steel Panther three finger "Shocker" salute!! (Look it up if you're not easily offended.)

I looked at my brave little co-pilot and pointed to the left side of the audience, she nodded and I grabbed her hand and dragged her through the sea of flying beer cans and inflatable dildos to safety.

Steel Panther was flawless as always both in talent and stunning good looks! Sexy Lexxi Foxxx had a full sized makeup mirror positioned at left stage so he could ponder his pure perfection at any given moment. You could say it's a good thing Lexxi's pretty!! What he lacks in intellect he more than makes up for in girlish good looks which he he isn't afraid to credit Botox and Collagen for.

No Steel Panther show would be complete without a ripping guitar solo by the insanely talented shredder, Satchel.

He disappeared into a giant blanket of smoke during his killer solo which, along with his own stylings, was a kick ass medley of Maiden, Metallica, Rush, G&R, Black Sabbath, brought to a climax by a lovely little excerpt from The Sound of Music (Doe a Deer)

All the while Lexxi was stage left, destroying the ozone layer, applying lip gloss and practicing his best poses in his mirror. He doesn't get to speak much and when he does, you realize quickly that he's merely there for his unequivocal beauty and his ability to hold down the killer bass lines like a true glam metal rock star.

They played all the crowd favorites. Death To All But Metal, Asian Hooker (as per usual a cute little Asian girl from the audience ended up on stage), Just Like Tiger Woods, Fat Girl (Thar She Blows), Supersonic Sex Machine, If You Really, Really, Love Me, and of course the beautiful acoustic ballad, Girl From Oklahoma (Suck My...well I'm sure by now you get the idea!)

The girls started throwing themselves onto the stage for Community Property and by the time the band hit their encore of Seventeen Girls In A Row, the whole crowd was literally jumping and the stage was a hot mess of Canadian boobies and debauchery!

And that, my friends, was that!! Another fabulous show in the city of Toronto and back to reality we head once again. Steel Panther is never a disappointment but definitely not for the faint of heart or the easily offended!! I'll go back to see them again and again!!

Until next time...

Episode 85 - Sight for Sore Ears

nashvillerock@live.com (DBG Productions) — Sun, 19 May 2013 20:11:49 PDT

It may not be well-known but, according to the National Eye Institute, May is Healthy Vision Month. We thought we would help spread the word and enjoy some good music at the same time. Here's what the National Eye Institute wants to tell you:

"Millions of people living in the United States have undetected vision problems, eye diseases, and conditions. HVM is designed to elevate vision as a health priority for the Nation by promoting the importance of early detection and treatment, as well as the use of proper eye safety practices, in preventing vision loss and blindness.

One of the most important things people can do to protect their vision is to schedule a comprehensive dilated eye exam. In this painless procedure, an eye care professional examines the eyes to look for common vision problems and eye diseases, many of which have no early warning signs. A comprehensive dilated eye exam can detect eye diseases and conditions in their early stages, before vision loss occurs. Early detection and treatment can help to save your sight."

With that said, we thought we'd celebrate Healthy Vision Month by spinning some songs that refer, in the title, to sight/vision is some form. Here we go.

After deciding on the title for this episode, Chris' first choice came very easily. From 1977's Draw the Line album, we kick things off with Aerosmith performing 'Sight for Sore Eyes.'

Aaron starts his sight-related picks with a track from the oft-overlooked 1995 release from Dokken; Dysfunctional. This album marked the return of George Lynch. We spin the opening track, 'Inside Looking Out.'

Electric Six

Chris decided to do some digging in research for this episode. A nugget was found in the vast space that is youtube with his choice of the track 'Night Vision' off Electric Six's 2005 release Switzerland.

Aaron's next pick is 'Eyes of a Strager.' Wait, before you think it's the well-known Queensryche track, think again. This great sing comes from the appropriately-titled Visual Lies album from Lizzy Borden and is a great addition to the show.

We return from break one with a selection from Motley Crue's debut album Too Fast for Love. While filled with lots of great hook-y songs, Too Fast....sports one track that fits in with our vision-themed show as we spin 'Starry Eyes.'

Up next is Aaron's choice of a bonus track from Ozzy Osbourne's iconic Blizzard of Oz release. Featuring some seering Randy Rhoads guitar work, 'You Lookin' at Me, Lookin' at You' is a testimony to the strength of material being created by the gone-too-soon guitarist and the Prince of Darkness.

Chris keeps the Crazy Train on track as we segue into a double-dose of Ozzy with his choice of 'Looking for Tomorrow' from the classic Sabbath Bloody Sabbath album from 1973.

One band that doesn't get nearly the amount of recognition it deserves is Turbonegro. We try to alleviate that problem with Aaron's choice of 'If You See Kaye' from their Party Animals album.

We close out the show with Chris' choice of a KISS track that appeared on two different albums in the band's catalog with different personnel. 'See You in Your Dreams' was selected from Rock and Roll Over and features some powerful drumming from Peter Criss and a great solo from Ace Frehley.

Playing things out this week is a fantastic cover of a sight-related classic that's all about focus. Aaron's choice of At Vance's version of 'Eye of the Tiger' is a motivating way to finish things off.

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Now Hear This: Warlord - Deliver Us

nashvillerock@live.com (DBG Productions) — Sun, 19 May 2013 05:22:49 PDT

Click song titles for links!

Warlord was a band shrouded in mystery, its four members known only as Destroyer, Thunderchild, Sentinel, and Damien King. We now know they were Bill Tsamis (guitar/bass), Mark Zorner (drums), Diane Kornarens (Keyboards), and Jack Ruckner (vocals). Ruckner had previously sung for legendary late seventies rockers Alkana, whose incredibly rare Welcome To My Paradise LP is highly regarded.

Warlord didn't really fit in with the L.A. metal scene at the time but they found a fan in Metal Blade's Brian Slagel, who opted to include a track by the band on the second Metal Massacre compilation (which also featured songs by Armored Saint and Trauma featuring Cliff Burton). Warlord's contribution was a stunning song called "Lucifer's Hammer." It's a monster track: killer riffs, kamikaze drums, and an epic chorus. World famous power metallers HammerFall credit the song with inspiring the band's name ("the hammer will fall on you...").

Brian Slagel liked Warlord so much he also gave them a spot on the third Metal Massacre compilation ("Mrs. Victoria") and that same year (1983) released an astonishing six song EP by the band called Deliver Us. The EP cost a mere $800 to record. All six songs are great, Warlord's Deliver Us is definitely one of my favorite heavy metal releases of the eighties. The EP opens (appropriately) with a haunting track called "Deliver Us From Evil." It's an amazing song, masterfully written and recorded, riffs and melody woven together perfectly. Up next is a beautiful song called "Winter's Tears." Very few metal bands in the eighties made music this atmospheric and charming. The third song on the EP is a driving basher called "Child of the Damned." Tsamis' riffs are almost as intense as the vocals and melody. The fourth track "Penny For A Poor Man" is a deceptively simplistic rocker with emotional depth. As fantastical and macabre as some of the band's themes appear to be on the surface the songs still come across as heartfelt and honest. Warlord truly treated heavy metal as an art form. Once you get past the unfortunate intro fifth song "Black Mass" is another mesmerizing piece of work. The EP ends with a new version of "Lucifer's Hammer" which is great but I prefer the Metal Massacre II version (see above).

Unfortunately Jack Ruckner left the band not long after the Deliver Us EP was released and he was replaced by Texas native Rick Cunningham (billed as Damien King II). With Cunningham at the helm and a new bassist (guitarist Bill Tsamis had previously played the bass tracks on the band's recordings) called Archangel Warlord performed for an empty theater to record a "live" album released as And The Cannons of Destruction Have Begun. Also in 1984 the band released a 12 inch single featuring two new songs, "Lost and Lonely Days" and "Aliens."

Metal Blade released a compilation called Best of Warlord in 1989 that included all of Deliver Us, "Mrs. Victoria," and the two single tracks, plus a couple of songs that were only on the "live" album. Tsamis resurrected the band name in 2012 and started releasing new music.

You can download a remastered version of Deliver Us HERE.

Meister Music #5 - U.D.O. Hit Me With A Steelhammer

nashvillerock@live.com (DBG Productions) — Fri, 17 May 2013 05:14:22 PDT

Hello and welcome to my new segment called Meister Music. I often get new music cross my desk from record companies or from my own personal musical searches and adventures. I thought that this would be a good place to review and post my thoughts on some of this music, maybe turning you onto some new bands or reminding you about some old favourites. Some of the albums may not always be to my specific taste in music, but I'll give you my honest opinions. Some of it may not even be the most current as I try to introduce you to some lesser known bands that have crossed my path and become favourites of my listening rotation. Like what I say or think I'm an idiot? Please feel free to leave me comments and suggestions as you see fit, it would be great to start a discussion of some of these albums.

MEISTER MUSIC #5 - I'VE BEEN HIT WITH A STEELHAMMER!

German Metal King, Udo Dirkschneider is back to wage war on your ear drums and his weapon is the Steelhammer. The former Accept lead singer is back with a new record called Steelhammer due out May 24th, 2013, but The Meister has it early and has already been spinning it for a few days now.

Udo formed Accept in Solingen, Germany with Wolf Hoffman and Peter Baltes in the late 1960's. Accept rose to fame in the 80's with such hits as Princess Of The Dawn, Fast As A Shark (one of the first speed metal songs), Metal Heart and of course the smash hit Balls To The Wall. In 1987, after seven studio albums, Udo left Accept to pursue a solo career. While he did briefly re-unite with his Accept band mates from 1993-1996 to produce three more Accept records, his solo career has been in full force since his original departure. Mr. Dirkschneider has released thirteen albums under the U.D.O. moniker to date with the fourteenth, Steelhammer due to drop on May 24th, 2013. I've long been an Accept and U.D.O. fan, since hearing Balls To The Wall as one of my earliest forays into metal music and I have all of the CD's. A long time dream came true for me last month, right around my birthday I might add, as I finally got to see U.D.O. perform when the Steelhammer tour made a stop in Toronto. The show was everything that I expected and I put it up there with one of the best shows of the year so far. Please check out my review of the night here: U.D.O. IN TORONTO.

In studying the album artwork, I once again reflected on the art form of the inner sleeves of a record, something that has lost it's importance in this day and age of downloading. The cover, matching my tour t-shirt from the show, depicts the power of what one might imagine a "steelhammer" to inflict with a metallized fist poised to strike, as opposed to the general flaccidity of most of today's efforts towards album artwork.

I had already heard one of the tracks during the show in Toronto about a month ago now and as I received the much anticipated (by me, among others) newest U.D.O. effort, I sat down in my lazy-boy armchair in the dark with my eyes closed to listen to it. The title track, Steelhammer leads off the latest assault from the German Power Metal King, containing everything that I would expect from an U.D.O. track. U.D.O.'s growling vocals are in fine form here as we roll into A Cry Of A Nation next with a grinding riff. Metal Machine sits in the third position.
This was the cut that I'd been treated to at the show in Toronto, the song came off well in a live set and the CD version does justice to the live version that's rolling around in my memory. The foreign language of the verse and chorus doesn't take away from the enjoyment of the next track, Basta Ya, even though I don't understand it. I think it's not German, but perhaps Spanish as I found on line that in Spanish basta ya means enough is enough. Next comes 2:25 minutes of what I can only describe as an oddity and a deplorable tragedy! I love U.D.O. and mean no disrespect, but singing a ballad is not something that he should do in my opinion. Heavy Rain is shockingly just that as the piano is basically the only instrument to accompany Udo's guttural growl through this track (although the more I hear it, the more I become accustomed to it). After the synthesised intro, Devil's Bite picks up the pace again feeling, as the title suggests, just like a bite from the devil as the riff chews through your speakers. Death Ride follows and riffs hard
straight off the top as Udo's gravelly, throaty vocals remind me of Accept classics on this track. The barrage continues with King Of Mean powering through and getting my hands air drumming with a couple of pencils as I chuckled a bit at the line "I'm a chainsaw". The grinding, pumping riffs of Timekeeper surge the album forward, keeping the pencils twirling and reminding me of how Udo stepped away from the stage front during the show and held his eyes tightly closed as his head bobbed along and he felt rather than heard the music. The chorus of Never Cross My Way echoes in my head long after the song dies away and I found myself singing it on more than one occasion at work as I flipped ribs on the grill. I could definitely see this track played on rock radio as it has a bit of a commercial tinge to it, but don't get me wrong it doesn't detract from the song in any way shape or form! The next track ramps up the energy again and is a fist pumping rocker called Take My Medicine, although with U.D.O.'s accent it sounds as
if he's saying "meda-seen"....lol. Stay True just re-affirms that Udo's vocie is just as good if not even stronger than the old Accept days as he snarls out the lyrics. When Love Becomes A Lie also broaches the commercial sound with it's pulsing rhythm beat, but maybe that's just my wishful thinking that a radio station would actually play an U.D.O. cut! Light bongo drums lead into Book Of Faith, conjuring up the image of a belly dancer dancing for the tribe before it twangs in evoking mental pictures for a second of the wild west and the deserted street with tumble weeds as the hero enters the town. But then it opens up and pumps or throbs along as the second longest offering on the disc and is just quirky enough to be my favourite on the whole record. Book Of Faith's symphonic finish is a great closer to the song and the barrage that can only be called Steelhammer!

U.D.O.'s latest effort from him and his band consisting of ten year band mate Fitty Weinhold on bass, relative newcomer guitarists, Kasperi Heikkinen and Andrey Smirnov and Francesco Jovino on drums is a true metal blitzkrieg with the exception of the 2:25 minute ballad, Heavy Rain (which could be omitted). That still makes thirteen solid rocking chants with the only other track clocking in under four minutes being the title track of Steelhammer making the total album runtime of about sixty-one minutes. Quite impressive again where many albums these days stretch to meet the standard ten song quota and many of those under the four minute mark! Udo's still rocking hard and giving solid efforts on his records and out on the road, so really can I blame him for trying something like Heavy Rain....no, certainly not and I have to admit, now that I'm over the shock of it and I'm on my tenth or so listening, it's even growing on me. A solid album here from The German Power Metal King and many of today's artists could learn a thing or two or take a page from U.D.O.'s book, I wish they would!

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ALL CONCERT PHOTOS BY: THE MEISTER

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U.D.O.'s WEBSITE U.D.O.'s TOUR BLOG (FACEBOOK) U.D.O.'s OFFICIAL FACEBOOK

Cheers,
The Meister