MAIDEN ROCK NYC
Madison Square Garden
June 15, 2008
- June 18, 2008

RICK ERNST
"Get Thrashed: The
Story of Thrash Metal"
- Mar. 19, 2008

CLASSIC ALBUM:
Vinnie Vincent Invasion
Self Titled
- Mar. 13, 2008

DARRYL J. KECK
"Metal Generation"
- Mar. 11, 2008

CHILDREN OF BODOM
"Blooddrunk"
- Mar. 10, 2008

CLASSIC ALBUM:
W.A.S.P.
"The Headless Children"
- Mar. 6, 2008

BIOMECHANICAL
"Cannibalized"
- Mar. 5, 2008

CLASSIC ALBUM:
RAGING SLAB
Self Titled
- Feb. 27, 2008

CLASSIC ALBUM:
FATES WARNING
"Parellels"
- Feb. 26, 2008

CLASSIC ALBUM:
STEELER
Self Titled
- Feb. 20, 2008

CLASSIC ALBUM:
BADLANDS
Self Titled
- Feb. 19, 2008

CLASSIC ALBUM:
SAXON
"Power and the Glory"
- Feb. 5, 2008

IAN CHRISTE
"Van Halen:
Everybody Wants Some"
- Sept. 10, 2007

RAT SKATES
"Born in the Basement"
- Sept. 10, 2007

POISON
Tinley Park, IL
July 17, 2007
- Aug. 11, 2007

JOHN 5
"The Devil
Knows My Name"
- July 16, 2007

DEVIN TOWNSEND
"Ziltoid the Omniscient"
- June 23, 2007

GUNS N' ROSES
Allstate Arena
November 27, 2006
- Dec. 11, 2006

KISS
"Alive! 1975-2000"
- Dec. 11, 2006

THE HAUNTED
"The Dead Eye"
- Nov. 8, 2006

KILL CHEERLEADER
"All Hail"
- Apr. 5, 2006

MAIDEN ROCK NYC
Madison Square Garden, New York, NY, June 15, 2008

I had the privilege of seeing one of my all-time favorites bands, Iron Maiden, last Sunday night at Madison Square Garden, and they did not disappoint. The show was somewhat based around the recent DVD re-release of the "Live After Death" 1985 concert video. I used to own this on Betamax!! The DVD is great and it is loaded with all sorts of fun extras. A must have for all Iron Maiden fans. Anyway, back to last Sunday's concert...the stage set was not the exact set from the 1984/1985 Powerslave tour as some people have been reporting, it was a new stage that seemed to be based on the Powerslave set but also included non-Powerslave imagery of Eddie. The MSG house lights went dim early around 8 PM as many people, including me, were still finding their way to their seats. They started off with the Churchill speech that led into "Aces High" which was followed by "2 Minutes to Midnight."

At this point, Bruce Dickinson addressed the sold out crowd for the first time of the evening, and I have to admit it was the only point of the whole show that I didn't love. It was hard for me to make out exactly what he said, but it seemed to start out with him greeting and signaling out some fans from Brazil who were right up by the stage. Again, I do not have his exact wording, but he said something to them about how they were really rocking out, and that a lot of others in the place were smoking too much pot. Is this really the first thing you want to do when you are playing to a sold out crowd of New Yorkers? Tell a few people from Brazil how great they are? WTF? Then Bruce went on to complain that after playing in this arena for over 25 years, there are no pictures of his band on the walls. He said something about them having pictures of clowns, athletes, and others, but there are no pictures of Iron Maiden in the halls of MSG, and this is because Iron Maiden are ignored by mainstream media...blah, blah, blah. There are no pictures of Jimmy Buffet in the halls of MSG either.

After the first break, the band got right back to doing what they do best, and that is rocking!! The set included almost all 1980s classics and some gems I have not heard live in sometime such as "Revelations" and "Rime of the Ancient Mariner." I believe the only 1990s song they did was "Fear Of the Dark," and it got a great crowd response. I really do not mind that they now have 3 guitar players although sometimes Janick Gers' stage moves are a little too much for me. Don't get me wrong, he is a great player. I love his work with not only Maiden but also Bruce solo and Ian Gillan. Bruce Dickinson later poured plenty of love and compliments on the crowd which made me forget his earlier odd initial introduction to us.

There was an odd power outage on stage during the song Powerslave which I am sure you have all read about already on Blabbermouth.net. When the power came back on to the stage, the band seemed to be unsure of whether they should finish the song "Powerslave" or just move on. It appeared that Bruce and Adrian wanted to finish it, but they ended up just moving on to the next song.

Anyway, the moral of the story is as follows: do not smoke pot at Iron Maiden concerts because Bruce might get mad. Honestly, Iron Maiden is one of the best bands out there, and you do not need weed to listen to their music. Save it for the Phish reunion tour.

Review by Mark Strigl

JUDAS PRIEST - "Nostradamus"
Epic Records

On the morning of Wednesday, April 23rd, Mark Strigl and I had the privilege of visiting the Epic Records headquarters inside the famous Sony 550 building on Madison Avenue in New York City to preview Judas Priest’s new double-disc concept album, “Nostradamus.” This epic masterpiece, which chronicles the life of the 16th century prophet, Michel de Nostredame, also known as Nostradamus, was written by Judas Priest members K.K. Downing, Glenn Tipton, and Rob Halford while being produced by both Downing and Tipton. The album features vast string arrangements and monstrous orchestral accoutrements as well as Halford’s flawless, hair-raising vocals and Priest’s signature pure metal guitar riffs, bass, and drums. Nearly two hours in length, the album is divided into two separate acts.

Act I features thirteen tracks, five of which are preludes to the primary compositions. Although all tracks truly stand out, my favorites include the heavy cuts “Death,” “Conquest,” and “Persecution.” “Death” contains a hard-hitting sludge style guitar riff, and “Conquest” contains classic dueling guitar solos while “Persecution” contains haunting vocal whispers, a stellar performance by drummer Scott Travis, and a guitar and organ counterpoint pattern that appears in both the song’s introduction as well as its finale. I also favor the cut, “Lost Love,” which contains no drums and features Halford’s impeccable vocal ability.

Act II, which features ten tracks including preludes, is interesting because it not only features the album’s title track, “Nostradamus,” which was previously released as a free MP3 download by Live Nation on April 21st, but it also features two tracks which were in conideration to be the album’s first single, “Alone” and “Visions.” We were told the latter was the most likely candidate although guitarist Glenn Tipton suggested that its single version would be slightly edited to better fit the format. Both tracks would be outstanding choices, but “Visions” contains such a strong chorus and heavy guitar riff, that I would side with its being chosen since both hardcore and casual Priest fans, who may be wary of the idea of a concept album, will definitely not be disappointed in the track’s pure metal characteristics. “Alone,” however, is also outstanding, and it features some muted guitar chords reminiscent of those featured on one of my favorite ever songs, Ace Frehley’s “Escape From the Island,” from KISS’ 1981 concept effort “Music From ‘The Elder.’” “Alone’s” chorus also features some of Halford’s best vocal work to date when he exclaims, “We don’t wanna be alone…we just wanna be!”

“Nostradamus” is an album that will forever command an iconic status much like Queensryche’s “Operation Mindcrime,” The Who’s “Quadrophenia,” and Pink Floyd’s “The Wall.” I mentioned to Judas Priest’s manager, Jane Andrews, and their publicist, Chip Ruggieri, that I could immediately envision the album being performed in an opera style setting which was an idea similar to one of both Andrews' and the band's. When I was a kid, and I first discovered Judas Priest when purchasing a bubblegum rendition of their “British Steel” album (they were incidentally called Chu-Bops) in a candy store, I could have never imagined that I would not only have had the opportunity to preview such an epic masterpiece as “Nostradamus,” but that I would have also been able to interview Judas Priest members Rob Halford, K.K. Downing, Ian Hill, and Scott Travis. Now, I am anxious to speak with guitarist, Glenn Tipton, the only member of the band Talking Metal has yet to interview. Stay tuned because Mark and I hope to bring you that interview in the very near future! Until then, be sure to go out and purchase Judas Priest’s “Nostradamus” on June 17th in America and June 16th internationally. This album will undoubtedly become mandatory listening in the future of metal!

P.S. Happy Birthday Ace Frehley!!!

Review by John Ostronomy

RICK ERNST: "Get Thrashed: The Story of Thrash Metal"
2007

Finally, the history of thrash metal has been documented properly in Rick Ernst's "Get Thrashed: The Story of Thrash Metal." This film traces the history of thrash from its first appearance in 1982 in the form of Metallica's "Hit the Lights" on the first Metal Massacre album to 1991's Clash Of The Titans tour which featured Slayer, Megadeth, and Anthrax.

The story is told by the founding fathers of the genre with great interviews with people like Gary Holt, Lars Ulrich, Dave Mustaine, Kerry King, Bobby "Blitz" Ellsworth, and countless others.

This award-winning film is a really fun watch. Check out the film's Web site at www.getthrashed.com.

Review by Mark Strigl

CLASSIC ALBUM: VINNIE VINCENT INVASION - Self Titled
Chrysalis Records, 1986

"We stand united, nobody falls...no more backs against the wall!" - Boyz are Gonna Rock

Although Ace Frehley has always been my favorite rock star, I was also a big fan Vinnie Vincent, the guitarist who replaced Ace in KISS when the group embarked on their Creatures of the Night tour.

Although Vinnie’s time with KISS was short, he soon re-emerged in 1986 with the Vinnie Vincent Invasion and their self-titled debut album. While Robert Fleischman handled vocals on the album, the live band featured singer Mark Slaughter. Rounding out the group were bassist and famed talent scout, Dana Strum (who would later go to form Slaughter with Mark), and drummer Bobby Rock. Both Bobby and I had the same drum teacher at Berklee College of Music!

With tracks like "Boyz are Gonna Rock," "No Substitute," and "Back on the Streets," Vinnie proved, once again, that he knew how to write great songs. John Norum, KISS, and even Ace Frehley have also done versions of "Back on the Streets," and I just found out that my friend Richie Friedman, from We Buy Guitars in New York City (sadly no longer open), co-wrote the track with Vinnie.

Did you know that Vinnie was the first guitarist other the great Randy Rhoads to play what we now call a Jackson Rhoads model? He had to get special permission from Randy's family, and at the time, he referred to it as a "Shark Fin." Vinnie later went on to create the great “Double V” guitar, which was definitely an ultimate metal machine!

Lately, Vinnie has kept a low profile, emerging only to sign some lithographs for Australia’s KISS World store. Let’s hope to see more of him in the future, as he is truly an amazing guitarist and songwriter.

Review by John Ostronomy

DARRYL J. KECK – "Metal Generation"
2007

I am currently reading a must-read book for any fan of 80s and 90s metal called "Metal Generation." Falling somewhere in between Ian Christe's "Sound Of the Beast" and Chuck Klosterman's "Fargo Rock City," Darryl Keck tells a personal story of not only mainstream but also underground hard rock and metal from his generation. Keck takes us on his life long love affair, and sometime disappointment, with heavy music.

While most metal fans of the day were too closed-minded to accept music as good or bad, Keck points out that both Poison's "Look What the Cat Dragged In" and Anthrax's "Among The Living" are great albums. This book also does not overlook many of the great bands that time seems to have forgotten such as Anvil, Malice, and Odin.

Highly recommended. For more info check out High Volume Press.

Review by Mark Strigl

CHILDREN OF BODOM – "Blooddrunk"
2008

Yet another very strong release from Children Of Bodom.

I have been waiting anxiously for this record, and let me tell ya', once again, Children of Bodom do not disappoint. Songwriting and production are extremely awesome on this one, and the musicianship is insane!

While so many of today's great metal bands tend to lean away from guitar solos, Children Of Bodom go the opposite direction with plenty of killer 6-string mayhem...but wait, there is more!!!!! Mindblowing keyboard solos too!!!! Whoever said, "You can't play heavy metal on the synthesizer," was dead wrong, and this album proves it.

The two greatest bands of modern metal are Lamb Of God and Children Of Bodom. This album confirms it.

Standout Tracks: "Blooddrunk," "Done With Everything, Die For Nothing," "Tie my Rope", Smile Pretty For the Devil," "One Day You Will Cry"...really, every song is good.

Review by Mark Strigl

CLASSIC ALBUM: W.A.S.P. – "The Headless Children"
Capitol Records, 1989

"Can you see the Real Me? Can Ya? Can Ya?" - The Real Me

Most people associate these lyrics with The Who, but true metal fans will remember W.A.S.P.'s great cover of "The Real Me" from their 1989 studio effort, "The Headless Children." As always, the great Blackie Lawless and company did not disappoint with a true classic album comprised of stand-out tracks including "Mean Man," "Forever Free," and the title track, "The Headless Children."

By this time, Blackie switched from bass to guitar, the one and only Chris Holmes handled lead guitar duties, and Johnny Rod, formerly of King Kobra, rounded out the group on the bass. Officially, the band didn’t have a drummer, but Quiet Riot’s Frankie Banali stepped in for the recording as did keyboard player, Ken Hensley.

I liked this album so much that I covered W.A.S.P.’s version of The Who's "The Real Me" for my final recording project at Berklee College of Music in Boston, Massachusetts. I did an instrumental rendition and played all of the instruments. Years later, Captain T added vocals to the track and it appeared on a great W.A.S.P. tribute CD called "Shock Rock Hellions – A Tribute to W.A.S.P." The album was released in 2006 by Denmark's Codiac/Valhalla Records, and it is filled with several other W.A.S.P. classics like "Animal (F**k Like A Beast), "L.O.V.E. Machine," and "Hellion." Oh yeah, by the way, I got an "A" on the recording project! Thanks Blackie!

Review by John Ostronomy

BIOMECHANICAL – "Cannibalised"
2008

Finally, an album of pure originality.

John K is back with a all-new Biomechanical!! New band (featuring ex-Dragonforce bassist Adrian Lambert), new sounds, and an all-new spin on heaviness. This stuff is extreme, but it incorporates tons of classic influences. At times, the mix is a little muddy but it doesn't affect the overall power of this extreme progressive metal opus.

Standout Tracks: "Fallen In Fear", "The Unseen," and "Breathing Silence."

Review by Mark Strigl

CLASSIC ALBUM: RAGING SLAB - Self Titled
RCA Records, 1989

"If I swing by in my sweet chariot...better take that bone out back and bury it." - Don't Dog Me

I have been extremely lucky to know some of my favorite Metal musicians, and included in this category is the great Raging Slab. Originally described by Guitar World magazine as Lynyrd Skynyrd meets Metallica, Raging Slab is one of the best bands to emerge out of New York City's Lower East Side.Their 1989, self titled, major label debut is one of my favorite albums to date, and lead vocalist, guitarist, and songwriter Greg Strzempka really nails it on stand out tracks like singles "Don’t Dog Me" and "Bent For Silver" as well as on album cuts like "Dig a Hole" and "Get Off My Jollies," a track which first appeared on Slab's Buy Our Records release, "True Death."

‘Til this day, I still think of Slab when I’m on Manhattan’s famous Fifth Avenue. Why? Because in the track "Geronimo," Strzempka sings, "I thought I saw Geronimo walkin' up and down Fifth Avenue. He made a hole when he looked right through me." I can hear the guitar riff now!

I also think of Slab when I order my favorite "Taco Burgers" at New York’s San Loco restaurant, a place immortalized in the album's final track, "San Loco." I love the lyrics, "Fly away buzzard, fly away crow, way down south where the wind don’t blow. Women here are good enough, I’m gonna get me some of that San Loco...stuff."

Through the years, I've kept in touch with Raging Slab. Greg Strzempka, slide guitarist Elyse Steinman, and lead guitarist Mark Middelton are all from my hometown area, and I've jammed onstage with Middleton on several occasions. Bassist Alec Morton worked in an East Village studio where I used to rehearse, and within a few weeks of my moving to New York, I met with Strzempka at a Manhattan recording studio when the group was looking for a new drummer. That's an area where they’re right up there with Spinal Tap as they've worked with over twenty drummers including Bob Pantella of Monster Magnet and Black Label Society co-founder Phil Ondich. Our friend Kory Clarke from Warrior Soul even played drums with Slab in the early days.

Take my word for it, and get yourself a copy of "Raging Slab!" Heck, go buy all their albums. You won't be disappointed. If you don’t believe me, ask Motley Crue’s Nikki Sixx and Led Zeppelin’s John Paul Jones. They'll set the record straight!

Review by John Ostronomy

CLASSIC ALBUM: FATES WARNING - "Parallels"
1991

"Parallels," is the sixth and my favorite album by one of the best progressive metal bands ever, Fates Warning. Produced by Terry Brown of Rush fame, this album gives a real blast of not only metal but emotion.

If you are a fan of bands like Dream Theater and Queensryche, but do not know Fates Warning, do your ears a favor and pickup a copy of this one.

Review by Mark Strigl

CLASSIC ALBUM: STEELER - Self Titled
1983

There have been only a handful of moments in rock guitar history were the rules changed. "Are You Experienced" by Jimi Hendrix, "Van Halen" by Van Halen and "Steeler" by Steeler. All advanced modern rock guitar playing to the next level.

This 1983 album was our first introduction to a teenager from Sweden named Yngwie J. Malmsteen. Yngwie picked every note and he did it faster than anybody else – way faster. Besides being a speed wiz, he infused beautiful classical melodies into his metal guitar leads.

The album also contains a young Ron Keel handling the vocals and most of the songwriting, both of which are way above average. Yngwie left the band as this album was being released to join Alcatraz, The first Alcatraz album is called "No Parole From Rock n Roll," and it is also awesome.

Review by Mark Strigl

CLASSIC ALBUM: BADLANDS - Self Titled
1989

Ozzy Osbourne guitarist Jake E. Lee strips down and leaves behind his fancy ruffled clothes, makeup, hairspray and guitar effects.

In 1989, the times were a changing and Jake E. Lee along with Ray Gillen, Eric Singer, and Greg Chaisson seemed to know it a little before most of the people who were slowing sinking on a boat called the Sunset Strip. Straight ahead classic hard rock is what you get on this album. No BS, just perfect rock. Ray Gillen's soulful voice along with well-crafted songs make this one of the best albums of the late 1980s. This album brought people back to the classic sounds of Zeppelin and helped prepare them for band's like Soundgarden, who were already brewing their potent riff rock far north of the glam metal scene on the Strip.

Review by Mark Strigl

CLASSIC ALBUM: SAXON - "Power and the Glory"
1983

This album took Saxon's sound out of the 70s and into the 80s. Production was stepped up and every song killed. This was the band's first studio album to include the great Nigel Glockler on drums. Without question, this is Saxon's best work and that says a lot because they have had so many near perfect albums.

Speaking of 1983, it sure was an incredible year for hard rock and metal. Other must have albums released that year are as follows:

Accept – "Balls To the Wall"
Alcatrazz – "No Parole from Rock n Roll"
Black Sabbath – "Born Again"
Dio – "Holy Diver"
Iron Maiden – "Piece Of Mind"
KISS – "Lick It Up"
Merciful Fate – "Melissa"
Metallica – "Kill Em All"
Motley Crue – "Shout At The Devil"
Ozzy Osbourne – "Bark At The Moon"
Quiet Riot – "Metal Health"
Raven – "All For One"
Slayer – "Show No Mercy"
Twisted Sister – "You Can't Stop Rock 'n' Roll"
Waysted – "Vices"

Review by Mark Strigl

IAN CHRISTE - "Everybody Wants Some: The Van Halen Saga"
John Wiley & Sons, Inc.

William Shakespeare's plays could be put into three distinct categories; Histories, Comedies and Tragedies. If Bard were alive today I'm convinced without a doubt he would have written a play on the epic antics of Van Halen. Their story has all of elements of great storytelling that in truth even a fiction writer couldn't conceive in their wildest dreams. The question is what kind of play would it be? Shakespeare scholars would define it as a history play, but it would most definitely be heavy on elements of comedy and tragedy. Sadly Shakespeare isn't alive, but Ian Christe is. Christe previously detailed the meteoric history of heavy metal is his excellent 2003 book, 'The Sound of the Beast' and this time around, on 'Everybody Wants Some', he's tackled the most dysfunctional rock band on the planet with ardent zeal and has written a story that is epically Shakespearean.

The genesis of Van Halen is fascinating if for no other reason than they lost their driving charismatic force at what appeared to be their commercial peak but somehow managed to thrive and survive while conquering everything in their path without ever skipping a beat until they became their own worse enemy. The band has been and always will be led by a sprawling talent on the six-string who was gifted with staggering prowess and who created some of the greatest jet-engine riffs ever committed to tape. This guitar god partnered with a superbly unsubtle genius of a madman on vocals complimented by a frantic backbeat led by a happy go lucky bassist and a frenzied madman on the skins who together defined and influenced an entire generations of rock n' roll enthusiasts with six-albums in less than seven-years. The superb voracious singer was eventually replaced by a more at ease venerable musician who allowed the band to mature and develop while still commanding the audience's attention. Eventually egos and outside forces did what rap, grunge and continual changing musical tastes couldn't do; bring the band to their knees. Sammy Hagar, David Lee Roth, Michael Anthony, Alex and Eddie Van Halen (and later to a lesser extent Gary Cherone and Wolfgang Van Halen) defied all odds and became the biggest band in the land not just once, but twice and may possibly do it a third time. If you think you know the full story about the anarchic Van Halen family…you don't. 'Everybody Wants Some' is endearing, euphoric and expansive history into what is most likely the most estranged band to ever emerge from the land of opportunity. Ian Christe is frank and unbiased as he chronicles the band's entire history with gritty details of their rise to the top, each break-up, the aftermath, submerged inner tension and meticulous details that even the casual fan will devour. Van Halen's rise, fall and resurrection are all here in mesmerizing detail and will have you asking yourself, "Who's Mitch Malloy?"

The most staggering aspect of the book is that it's an unauthorized biography. As a general rule, I usually don't enjoy unauthorized biographies because they tend to be glorified tales written with a lot of assumptions and tall tales that even a casual fan would raise their eyes with suspicion. I never hoisted my eyebrow once as Christe's research is nothing short of astonishing; minute details are given ranging from specific recording sessions, family lineages, failed auditions for singers, the numerous attempted reunions with Roth and the most important aspect for guitar geeks-a detailed outline of guitars used, created and played by Eddie Van Halen over his entire life. Christe knows this band, loves this band, pulls his hair out over their internal drama and as a result has written the definitive Van Halen story. Once you pick it up it you will need to unchain yourself from your chair because it's impossible to put down whether you are a Van Halen or Van Hagar fan.

Even if the band sat down one day to write their story, it would be biased with revisionism. No authorized biography would ever be this factual or truthful. If recent actions are any hint, it probably wouldn't even mention Michael Anthony. Christe puts the reader right in the emotional thick of the action from the 1920's in Europe to the present day reunion in 2007. Christe makes you feel like an insider with his fastidious quotes and personal insight. Don't get me wrong, Christe dishes dirt, but does so without judgment and makes sure he has the facts straight. People often tell me I should write a book, but after reading 'Everybody Wants Some', I doubt if I could ever be as comprehensive and succinct as Christe who spent a colossal amount of time researching this book which is apparent right from page one. The book encompasses the Van Halen's journey from Holland to California, to their early high school bands, jamming to thousands of people in backyards, their encounters with Gene Simmons and their rise, fall, dissolution, internal destruction and eventual resurrection(s). David Lee Roth and Sammy Hagar's post Van Halen solo-tenure's are also detailed as are stories of what Eddie and Alex Van Halen have been doing for the better part of a decade proving they indeed have been very active but out of the spotlight. There are details of songs left off albums and jams recorded but have never seen the light of day. From late 1998 until early 2004, Eddie and Alex were invisible to the outside world. 'Everybody Wants Some' puts this long pause into perspective.

When the Van Halen brothers disappeared into 5150 in 1999, they had alienated their most devoted fans and by early 2004, they had been away for so long that no one really cared anymore. The sad aspect of the Van Halen brothers disappearing act was it did diminish their legacy. There was a time where I went years without listening to any Van Halen albums, even though I loved them. They were so far removed from the spotlight and the lack or archive releases frustrated me and millions of fans. As discussed in this book, the amount of unreleased music stored in 5150 is staggering. There should have been dozens of live DVD's, box sets, remasters and other fan oriented packages in the last decade to quench the enormous thirst fans still have for this band but alas we had to settle for three new songs on the 2004 package, 'The Best of Both Worlds', two songs on 'The Best of: Volume 1' and an album with Gary Cherone. Then the abrupt reunion with Hagar in 2004 left fans sour once again, however, Christe puts all of these events into the proper perspective and while he details their fall from grace, he makes us almost forget all of the internal drama and elevates their legacy in ways I never thought possible. Despite the constant rotation of lead singers, unreleased songs, the Cherone album and failed reunions Christe manages to make me view Van Halen as something more than a soap opera, he reminds us why we loved them in the first place and as a result they will always be a vital and imperative band no matter what the future holds for them. With his poetic prose, Christe jogs your memory and proves that Van Halen will always be legends. As soon as I finished reading 'Everybody Wants Some' I gave every Van Halen album another spin and viewed each one from a fresh outlook including the comical 'Diver Down', the pulverizing 'Fair Warning' and the metallic and misunderstood 'Balance'. The band should give Christe a portion of future proceeds from record sales just for writing this book, because as a result of reading it, I am reevaluating records I had forgotten about years ago and it appears I underestimated them. 'Everybody Wants Some' is the essential gift every Van Halen fan should have. Do yourself a favor and buy this book before you buy a t-shirt at the reunion concert. Christie has written a book that is stylish, succinct, breathtaking and as dazzling as an Eddie Van Halen guitar solo. If you ever stared in the mirror and attempted to imitate David Lee Roth with leaps and splits from the "Jump" video, then this book is for you.

Review by Anthony Kuzminski

Anthony Kuzminski is a Chicago based writer for the antiMusic Network, Unrated Magazine, is a contributor to Talking Metal and can be found at The Screen Door

Chapter One of the book can be read in its entirety here.

 

September 10, 2007

RAT SKATES - "Born in the Basement"
Kundrat Productions

If you have ever watched Metallica's VH1 Behind the Music and enjoyed the story of its earliest days and rise to fame, you will thoroughly enjoy Born in the Basement. The DVD tells the story of metal pioneers, Overkill, from its earliest inception to its rise to prominence in the east coast underground metal scene.

The man behind the story is Rat Skates, original drummer and co-founder of Overkill. Skates is candid and passionate about the role he played in the early thrash movement. What emerges is not just a musician, but an entrepreneur with keen business instincts determined to make his band a success no matter what the cost. What the band lacked in monetary resources, Skates made up for in imagination and creativity, using everyday items such as milk crates and Styrofoam paneling to create an arena-like stage set for the band's live shows.

As the story unfolds, the viewer gets a true sense of what it was like to be a part of thrash's heyday. Skates could have easily used today's technology to enhance the image of the thrash movement or his own. However, he eschews big production in favor of the same "do-it yourself" approach that characterized his earlier days in Overkill. The result is a documentary that faithfully preserves the spirit of the early thrash movement.

Review by Jerred Mathews

POISON: SACRIFICIAL, SURREAL, AND SEXUAL
Tinley Park, IL, July 17, 2007

Those who get paid to write about rock n' roll tend to focus on artists who are less established, because they always want to see the underdog come out on top (myself included). But what happens when you enjoy enormous success early in your career? You have nowhere to go but down. Once that commercial peak passes, you then become the underdog but writers usually choose to ignore you because they never felt you deserved success in the first place. This is why you see certain artists placed up on a pulpit by most of the mainstream rock press and why you'll never see Rolling Stone write an article on Poison. What they don't realize is that acts like Poison still feel like they have something to prove and this was devastatingly evident to me during their most recent Chicago performance. The excitement within the crowd was palpable and the second the lights went off, the darkness cued the crowd into hysteria. As the band segued into their opening intro, the screams and shrieks became more zealous. All eyes were focused front and center where from beneath the stage, Poison lead singer Bret Michaels rose from a veiled door in true rock star fashion; from this moment until the final crashing and surreal pyrotechnic blast nearly ninety-minutes later Bret, guitarist C.C. Deville, bassist Bobby Dall and drummer Rikki Rocket plowed through the show like hemi-powered drones on a highway. The band's core mantra has always been about having (ok shoot me, I'm going to use the ultimate cliché) "nothing but a good time". This is a band that relishes their place in the annals of rock n' roll and do not apologize for it. They still are the ultimate party animals, but this time around they delivered a show that was focused, intense, triumphant and that dripped, soaked and oozed with raw sexual energy. It was flat out the best I have ever seen Poison in concert.

Poison is riding a wave of creative revitalization led by singer Bret Michaels' new reality series, "Rock of Love". We all have our own opinions about reality television, but ironically, this recent media attention appears to have reinvigorated the band. Many who paid to see this show came for an evening of escapism and exuberance and left seeing so much more. Poison came, saw and rocked the crowd as if they were unleashing inner demons. Poison has toured the amphitheater circuit eight of the last nine years and somehow they appear to defy odds by continuing to fill seats year after year. People may mock them, but Poison takes themselves seriously, which is the key to their continued success.

The show opened with cries of glee, flashes of pyro and all out insanity as the band ripped through "Look What the Cat Dragged In", "I Want Action" and "Ride the Wind" each delivering sonic fireworks. While the performances featured largely faithful renditions, the band added little touches to some of them including a small guitar instrumental by Bret and C.C. before the seminal and sweet "I Won't Forget You" and some nice harp playing by Bret before "Your Mama Don't Dance". It was eerily similar to the more extended jams the current incarnation of Guns N' Roses are performing. These little moments speak volumes. They are usually unexpected and off the cuff, but it gives us a genuine thrill and is a testament to how scarily good this band can be when they apply themselves.

This tour finds them in support of a new covers album, 'Poison'd', the band's pledge of allegiance to those rockers they love and admire. Three of the songs were performed; "What I Like About You" (The Romantics), "Can't You See" (Marshall Trucker) and "I Need To Know" (Tom Petty). Surprisingly they work incredibly well within the context of the concert. My only quibble is that with an album full of covers; why not rotate different songs each night giving the show in each city its own unique imprint? These performances are by no means definitive, but what's imperative during a concert performance is that the spirit of the song is captured; Poison encapsulated not just the aura but the essence of these songs as well. The only advice I'd give Poison is I firmly feel they should tour theaters behind this album this coming fall, without an opener showcasing the majority of the album. I'm sure many fans would love to see this band tear through a two-hour show which encompassed covers and rare songs alongside an extended greatest hits encore.

The 2007 model of Poison is lean, mean and dare I say it, in the preeminent musical shape of their careers. This isn't a tongue-in-cheek tease, but an earnest viewpoint of a band that has never been taken seriously by the mainstream press. Just because those who get paid to write about music choose to not write about them, doesn't mean that Poison doesn't make an impact. Over the years Poison's concert have always fun, with a large emphasis on the word "fun". No one, including Poison themselves, would ever say they are the most technically proficient musicians. Despite their musical limitations, they have always hit the concert stage with an energy few acts can touch. On the nights when their playing was a mess musically, they managed to make it a glorious mess. However, this time around Poison is performing with pinpoint precision; something I never thought would be possible. It may be C.C. Deville's sobriety, it may be the feeling they are relevant again and maybe they've just matured like a fine wine. Regardless, if you buy a ticket to see Poison this summer, you will see them at their zenith as they have never performed with more vitality or aptitude than they are right now. It does not matter that the show consists of the usual suspect mega-hits, ("Unskinny Bop", "Nothing But A Good Time", "Talk Dirty To Me", "Something To Believe In", "Every Rose Has It's Thorn", "Fallen Angel"), because each and every song performed showcased a drive and hunger I have never seen from this band before. The band was secure, confident and refined in their craft. Every minute of this show was divinely delicious and not in a guilty-pleasure fashion but in a sweaty sexual way, it's as if these songs become part of you and drop from your pores. The theatrics of this show are not to be outdone and is easily the band's most theatrical show since their 'Flesh & Blood' tour in 1990/91. I'd even dare say the theatrics are a hybrid of the best KISS and the Rolling Stones shows with video screens with teasing sexual images, a first rate light show, drum risers and more pyro than a Fourth of July festival (one pyrotechnic blast during "Your Mama Don't Dance" was so intense it nearly removed my eye brows). Poison were once hard rock titans and I'm happy to say that a band who was once lost has now been found and has turned their inner desperation and isolation into revelation through the sheer power of determination which ended in a crashing, surreally pyrotechnic rock n' roll finale. There was no inhibition or shame here, just four guys hoping to reclaim their spot in the fans hearts.

The end of the show was an orgy of rupturing fireworks, literally and figuratively. Rarely do you see what most people deem "guilty pleasures" enrapture a crowd so large and varied. There were slews of teenagers here and surprisingly, they sung along with every word. Bret Michaels had the crowd wrapped around his finger with his peek-aboo vibrancy that had most women in the crowd wishing they had tried out for "Rock of Love" and had the men wishing they were him. The last time I saw Poison, I felt they coasted on their past and lacked the knack to ever be a band that matters again. I'm happy to say that this show found the band implausibly fresh with a razzle dazzle attack of the crowd and their material. The cumulative effect of the evening could be felt by the joy of the physical and emotional release the crowd had to these sexual, soaking, secular and stirring songs. Am I really waxing poetically about Poison? You bet and as long as they deliver further performances with the same vigor and sincerity, I'll continue to do so.

Review by Anthony Kuzminski (apk876@yahoo.com), who can be found at The Screen Door

JOHN 5 - "The Devil Knows My Name"
John-5.com

After leaving Marilyn Manson in 2004, John 5 released his first solo album, "Vertigo," a collection of original rock, country, and bluegrass instrumentals to wide acclaim. On his motivation to release a solo album at the time, John explained to Mark Strigl and John Ostronomy of Talking Metal, "I love this crazy shredding music, country, and crazy bluegrass stuff and I just love to play guitar….When I got out of Manson, I was like, "you know what? I'm just going to put out some of (this) guitar instrumental stuff just for fun…" For fans accustomed to his work with Marilyn Manson, "Vertigo" showed a completely different side to John and immediately established him as a guitar hero. John recalled the reaction, "it blew up so big. I would go to the magazine stand and there'd be covers and covers of my face on these guitar magazines…I was very surprised just how people really accepted it and liked it."

Building on the success of "Vertigo," John released "Songs for Sanity" in 2005, an amazing follow-up which showed John expanding artistically. "Gods and Monsters" and "Denouement" melded guitar heroism with nu-metal and industrial influences, genres usually thought to be incompatible while the acoustic "2 Die 4" and country-influenced "Behind the Nut Love" showed new sides to John's playing. On the latter, John ingenuously reproduces the sound of pedal steel, an instrument commonly played in country music, on his electric guitar. John explained the origins of the song's sound, "I love pedal steel guitar and I tuned the whole guitar in an opening tuning like a lap steel. I bend the strings behind the nut so the other strings will ring out."

On John's most recent release, "The Devil Knows My Name," he raises the bar yet again. The songs are more epic and the guitar playing is even more over-the top than previous efforts. On "27 Needles," John abandons the more traditional twang of country music in favor of heavy distortion. Although John is playing the guitar, his tone and technique closely matches a fiddle player (Check out at 3:02 - 3:37). "Black Widow of La Porte" is a tour de force of guitar heroism with John taking a wide array of influences (Satriani, Vai, and Buckethead) and blending them into his own style. At 2:57 - 3:02, John almost sounds possessed as he hits a legato run with blinding speed. Later, at 6:03 - 6:24, he pays homage to one of his favorite guitar players, Buckethead, before returning to the song's main theme. In a unique marriage of styles, "The Washing Away of Wrong" features the guest guitar playing of virtuoso Eric Johnson. John explained, "With Eric Johnson, he's more of a Texas blues-rock player who's incredible and I put him in such a different rhythm - I put him in a really heavy Sabbath rhythm". Perhaps, the most fascinating track is John's rendition of "Welcome to the Jungle" where he painstakingly preserves Axl Rose's voice on the guitar. From one artist to another, it's the highest compliment.

Stand Out Tracks: "Black Widow of La Porte", "Welcome to the Jungle", "Dead Art in Plainfield", "The Washing Away of Wrong"

Review by Jerred Mathews

DEVIN TOWNSEND - "Ziltoid the Omniscient"
Inside Out Music

After taking a much deserved break to be with his family following last year's Ozzfest, Devin Townsend announced that he would retire Strapping Young Lad and the Devin Townsend Band and focus on solo projects. Ever the workaholic, Devin has come back with "Ziltoid the Omnicient," a concept album based on the adventures of a fourth dimensional alien.

The Devin Townsend storyline is both absurd and entertaining, but at the same time does not draw the listener's focus away from Townsend's extraordinary musical talents. "ZTO" strikes hard with precise heavy metal riffing, Martian melodies, Zappa-esque vocal harmonies, and laser sound effects. It's a powerful beginning to an amazing musical journey.

Musically, the album draws upon Townsend's earlier solo projects as well as Strapping Young Lad. "By Your Command" begins in heavy Strapping Young Lad territory, but later blends into musical landscapes reminiscent of his earlier solo work (3:42-5:57). "Solar Winds" is perhaps the most epic song on the album. After a brief narration, Townsend sings introspectively before the song gives way to majestic fanfare. 4:46 - 6:02 could be the heavy metal equivalent of "Kashmir" while 6:57-9:24 demonstrates Townsend's brilliant use of crescendo. Townsend dims the volume at 6:57, creating an illusion of distance between the listener and the song, but instead of fading out, the song gradually builds towards a grand finale. Just as the drums reach the pinnacle of intensity, the song gives way to "Hyperdrive," the album's most straightforward and accessible offering. "Color My World" contains the album's greatest peaks and valleys in terms of intensity. Similar to "By Your Command", the song begins with the relentless frenzy of Strapping Young Lad before morphing seamlessly into calmer pastures. It is amazing how one artist can bring such two extremes together so effortlessly.

Stand Out Tracks: "By Your Command", "Solar Winds", "Hyperdrive", "Color Your World", "The Greys".

Review by Jerred Mathews

GUNS N' ROSES
Allstate Arena, November 27, 2006
Reprinted from The Screen Door with Anthony Kuzminski, December 7, 2006

I recently was sent at the last minute to review the Guns N' Roses show as it made a stop in Chicago. The review will be published on Unrated Magazine and antiMusic.com this coming Monday, but due to numerous requests, I am putting it up here on the blog early. I'd like to give a special thanks to Mark and John at Talking Metal for helping reinvigorate my interest in this band.
xTony

Allstate Arena
November 27th, 2006

In the fifty-years since Elvis laid down his first vocal at Sun Studios in Memphis, TN rock n' roll has become more than escapism and so-called "devil's music", but also a driving life force. We have been blessed with some truly magical artists who have elevated our hearts, minds and bodies: Buddy Holly, Jerry Lee Lewis, The Beatles, the Rolling Stones, The Beach Boys, The Who, Jimi Hendrix, Janis Joplin, The Doors, Led Zeppelin, Aerosmith, the Ramones, The Clash,