Bang Your Head! Quiet Riot Lives!

Quiet Riot, best known for their 1983 release Metal Health, the first debut heavy metal album to ever achieve #1 on the Billboard chart in the US, is still alive and well (no pun intended on their 1999 album Alive and Well) in 2014.

Quiet Riot's Quiet Riot 10, 2014

The band quietly unleashed their new studio/live offering titled Quiet Riot 10 on June 27, 2014.  For this outing drummer Frankie Banali is joined by bassist Chuck Wright, guitarist Alex Grossi and after a revolving door of vocalists we find Jizzy Pearl leading the group.  Quiet Riot 10's album artwork is not overly awe inspiring, featuring what looks like a solid steel prison cell door over the man with the metal face from the Terrified album cover.  Actually their twelfth studio recording, one can only assume that the first two releases have not been counted being as they were only issued in Japan, the album leads off with "Rock in Peace".  Aside from the sound recording or production being a little dull "Rock in Peace" is a track that perfectly captures the spirit of the Metal Health era thanks in part to Pearl's soaring vocals.  Next is the adrenaline charged "Bang For Your Buck" before the grinding riffs of the excellent "Backside of Water", a song that has been in my head for days after hearing it.  The dull sound of the recording seems to have lifted somewhere along the line and I was air drumming (no knowledge of how to drum, so basically just waving my hands in the air as I sit in front of the computer) before long.  "Back on You"'s gang vocal chorus and showcase of the talents of Pearl and

Quiet Riot's Terrified, 1993

Grossi keeps the pace going on this album that seems to just get better and better as it goes forward.  The bluesy feelings of "Band Down" take us through to "Dogbone Alley" and is another that I could easily hear on the Metal Health record.  The final four tracks of the album are live recordings from the last recorded performances of Kevin DuBrow before his death in 2007.  A spirited version of QR III's "Put Up or Shut Up" starts off the quartet followed by "Free" and "South of Heaven", both originally found on 2006's Rehab album.  The final track is over nine minutes of "Rock 'n' Roll Medley" containing a compilation of songs including Led Zeppelin's "Whole Lotta Love".  The whole album plays well and is a pleasant surprise but simply over too soon.  Quiet Riot 10 is a great start but hopefully there's more in the tank from this rejuvenated and reborn Quiet Riot band.

Frankie Banali on MORC 2014-photo by Brian Ronald

The band has been through many line up changes and derailments throughout their career that began back in the early 70's with a roster of guitarist Randy Rhoads, bassist Kelly Garni drummer Drew Forsyth and vocalist Kevin DuBrow.  This version issued two albums that were only available in Japan, 1977's Quiet Riot (QR I) and 1978's Quiet Riot II (QR II).  It was after this in 1979 that Randy Rhoads would move on to join Ozzy Osbourne and be killed in a plane crash while on tour in 1982.  The Metal Health era of the band includes guitarist Carlos Cavazo, bassist Rudy Sarzo and drummer Frankie Banali joining DuBrow to form the most well known lineup.  Condition Critical followed but did not reach the same degree of success as its predecessor and with DuBrow's tirades in the press and media, Sarzo left the outfit.  Bassist Chuck Wright, who actually recorded on Metal Health) was brought in for 1986's QR III, which is actually their fifth album, but only third international release.  1988 saw the release of Quiet Riot (sometimes referred to as QR IV) with DuBrow being replaced by Rough Cutt's Paul Shortino.  None of these releases after Metal Health lived up to the critical or commercial

Jizzy Pearl on MORC 2014-photo by Brian Ronald

 sucess of that album and the band disbanded in 1989.  By 1993 DuBrow, Banali and Cavazo were back together and issuing Terrified with Kenny Hillery on bass.  Chuck Wright had returned before long and 1995 saw the release of Down to the Bone but by 1999's Alive & Well Sarzo was back to re-creating the classic era lineup that also issued 2001's Guilty Pleasures.  After another breakup and revolving door of players Quiet Riot came out with Rehab in 2006 featuring bassist Tony Franklin and guitarist Neil Citron joining Dubrow and Banali this time around.  Sadly this would be the final album with vocalist Kevin DuBrow as he was found dead from a cocaine overdose on November 25, 2007.  At that time Banali stated that it was the end of Quiet Riot, but with the blessing of DuBrow's mother Quiet Riot is once again Alive & Well and thank God for that!

Meister, Frankie & the Quiet Riot cup

I have a personal history with Quiet Riot as I'm sure that many my age do.  The '45 single for "Cum On Feel the Noize" was an early addition to my collection and the Metal Health and QR III vinyls were among my very first album purchases.  In 1983 a Canadian convenience store issued plastic collector "rock cups" free with the purchase of a large slushie, Metal Health being an easy choice for me over Huey Lewis' Sports and Men At Work's Business As Usual.  I finally got to see Quiet Riot live during a stop in Toronto on the Terrified tour and much of their music, especially Metal 

Mr. Wright points out Meister's tattoo

Health, QR III and Condition Critical helped to shape my life and musical tastes.  The Quiet Riot logo also appears in my full sleeve tattoo, depicting a guitar case stickered with the logos of about 25 of my favorite bands.  I again saw Quiet Riot in 2013 when they stopped in Toronto, that time fronted by Scott Voukoun and then together with Pearl they gave two emotional and stellarly rocking shows aboard 2014's Monsters of Rock Cruise.  On the cruise I was able to meet both Frankie Banali (he'd never seen the cup before) and Chuck Wright, both were extremely fan friendly and a pleasure to talk to.  It's time once again to "bang they head"!

Cheers,
The Meister

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MONSTER OF ROCK CRUISE PHOTOS BY: BRIAN RONALD 2014

SIX DEGREES OF KISS: BALTIMORA

Paul Korn I accept your challenge and will connect Baltimora to KISS in six steps or less.

Baltimora were an Italian pop group fronted by a flamboyant Irishman. They had a worldwide top ten hit with a novelty single called "Tarzan Boy" in 1985, although the song only made it to lucky number 13 in the US. Okay, I admit it, I kinda like the song. 

How the hell will I connect these guys to KISS in six steps or less? Like this:

1. "Tarzan Boy" was also recorded and released by UK new wavers Modern Romance.

2. Geoffrey Deane and David Jaymes of Modern Romance were formerly in a punk parody band called The Leyton Buzzards (later shortened to The Buzzards).

3. Half of The Buzzards' album Jellied Eels to Record Deals was produced by Steve Lillywhite.

4. Among other things Steve Lillywhite produced the 1984 album Sparkle in the Rain by Scottish post-punkers Simple Minds.

5. For that very album Simple Minds recorded their own interpretation of the 1978 song "Street Hassle" by Lou Reed.

6. For some reason Lou Reed co-wrote "Dark Light," "A World Without Heroes" and "Mr. Blackwell" for the ill-conceived 1981 KISS concept album Music From "The Elder."

And there you have it:

SIX DEGREES OF KISS: LITTLE RICHARD

Enrique Altamirano I accept your challenge and will connect Little Richard to KISS in six steps or less.

Little Richard is an androgynous singer-songwriter who played a very important role in the development of rock and roll. He also played Orvis Goodnight in Down and Out In Beverly Hills. How am I going to connect Richard Wayne Penniman to KISS in six steps or less? Like this:

1. Little Richard's 1964 album Little Richard Is Back (And There's a Whole Lotta Shakin' Goin' On) includes a version of the traditional folk standard "Goodnight Irene" which was originally popularized by Leadbelly.

2. A version of "Goodnight Irene" (aka "Irene Goodnight") also appears on a 1992 album called Still Life With Guitar by Kevin Ayers.

3. Kevin Ayers was originally a member of early UK prog/psych band The Soft Machine.

4. The Soft Machine's 1968 self-titled debut album was co-produced by Chas Chandler and Tom Wilson.

5. Chas Chandler is a very important figure in the history of rock and roll (he was an original member of The Animals with Eric Burdon and also managed both Jimi Hendrix and Slade) but I'm going to use Tom Wilson for my next link in the chain since he produced, among other things, the 1965 album Bringing It All Back Home by Bob Dylan.

6. Bob Dylan co-wrote the song "Waiting For the Morning Light" with Gene Simmons from KISS and the song appears on Gene's 2004 solo album Asshole.

And there you have it:

When the Long Stick Goes Boom........

Switzerland may be known across the globe for their army knives, banks and chocolate, but to me it's their contribution to the metal world with Krokus that stands out.  The band that achieved success in the 80's in North America based on a string of albums such as Headhunter, Hardware, One Vice At a Time and The Blitz is back now in 2014.  Actually there has almost always been a new Krokus record in the marketplace despite the rotating line up, at times with only one original member present as the revolving door scenario plagued the group.  In 2008 the "classic" lineup reunited including distinctive voice of Marc Storace, guitarist Mark Kohler, skin basher Freddy Steady and "the long noses" guitarist Fernando Von Arb and  bassist Chris Von Rohr.  Steady departed after 2010's Hoodoo album and was replaced by Flavio Mezzodi, but not until after 2013's Dirty Dynamite.  In between those drumming events saw Canadian born guitarist Mandy Meyer who had been involved with Krokus as far back as the 1982 tour for the Hardware album rejoin the fold creating a triple threat axe attack!

Long Stick Goes Boom: Live From da House of Rust captures the live Krokus experience quite well and is the first live release since the excellent Fire & Gasoline in 2004 which saw a near completely different roster performing.  Long Stick Goes Boom: Live From da House of Rust was recorded in Solothurn, Switzerland in a small club called The House of Rust on August 30th, 2013 and for those who haven't seen the band live this is the next best thing.  I know, I had to travel to Sweden (one of my deciding factors in trekking to my first Sweden Rock Festival in 2013) to finally capture some live "Krok n' Roll" (Read about that show here).  I'll be getting another chance for the live Krokus experience aboard 2015's Monsters of Rock Cruise as they've been named to the ship's registry.  While you're (finally) over this side of the pond boys, I know a great club in Toronto that would love to have you!

The album wastes no time getting going as it fades in to the cheering of the crowd and the opening track "Long Stick Goes Boom", a personal Krokus favorite.  Rapidly apparent is that Storace's vocal chords and prowess haven't lost a step and after the second chorus of the song they break into a snippet of The Who's "Pinball Wizard".  "Are you ready for some crazy "Krok n' Roll"?"  Storace calls out as they rip into "Hallelujah Rock n' Roll", "Go Baby Go" close on its heels.  From there it's into a song covered by many bands, but none so well as this that I actually prefer to the original, The Guess

Storace at Sweden Rock 2013-photo by Meister

Who's "American Woman".  We travel from America's women to the evenings of Tokyo next with "Tokyo Nights" and then into "Fire" both originally found on the Metal Rendez-vous album, "Fire" showcasing Meyer's talents.  A medley appears next including 1981's "Rock City", surprisingly melded in with two current songs, "Better Than Sex" and "Dog Song" before the awesome power ballad "Screaming in the Night".  "Screaming in the Night" is another choice cut of mine and sounds great here live, for some reason I can just imagine driving down a dark deserted road when I hear the beginning of this one.  I was shocked to hear "Hellraiser" from my personal favorite Krokus album of the same name, as only Storace and Meyer were present on that 2006 issue that takes a more heavy metal direction.  Three classic Krokus favorites are next in line with "Bedside Radio", "Easy Rocker" and "Heatstrokes" but they stumped me with "Live For the Action", a Krokus song that I was unfamiliar with!  Turns out it was recorded as the anthem for the 2009 Hockey World Championships that were hosted by Switzerland.  "Hoodoo Woman" closes things down as Storace gets the crowd singing along with him and this new Krokus classic.

A great Krokus album capturing the live spirit of the band, but I was a little disappointed not to hear "Our Love", my all time top Krokus track.  Actually there were several surprising omissions to the setlist like "Headhunter", "Ballroom Blitz", "Rock n' Roll Tonight" and "Eat the Rich", but I guess with so many in the catalog choices have to be made!  Having seen Krokus in concert at Sweden Rock Festival in 2013, this album takes me back to that day except that now I can just feel the dankness of a sweaty club through the recording.  I dearly wish I had been there in Solothurn Switzerland on August 30, 2013 and MORC 2015 can't get here soon enough for me.  Long live Krokus!

Cheers,
The Meister

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SIX DEGREES OF KISS: LANA DEL REY

Miguel Nunez I accept your challenge and will connect Lana Del Rey to KISS in six steps or less.

Lana Del Rey is a self-described "antifeminist" who in 2012 was spotted leaving a Los Angeles hotel with Axl Rose, who is 24 years her senior.

So how am I going to connect this apparent Guns N' Roses groupie to KISS in six steps or less? Like this:

1. Lana's 2010 debut was produced by David Kahne (who produced a lot of cool stuff in the eighties like The Bangles' first album, Pearl Harbor & The Explosions, Translator, Red Rockers, etcetera and he even worked on Love/Hate's awesome Blackout In The Red Room).

2. David Kahne also produced a 1988 album by Fishbone called Truth and Soul.

3. Truth and Soul opens with a cover of the song "Freddie's Dead," the theme song from the 1972 Blaxploitation film Super Fly. "Freddie's Dead" was a top ten hit for its composer Curtis Mayfield in 1973.

4. Curtis Mayfield's 1983 album Honesty was released by Boardwalk Records.

5. Boardwalk Records was founded by Neil Bogart in 1980.

6. Neil Bogart had previously owned Casablanca Records, the record label that first signed KISS, and Neil Bogart produced KISS' third album Dressed To Kill in 1975.

And there you have it:

SIX DEGREES OF KISS: HANK WILLIAMS

Joel Hebensperger I accept your challenge and will connect Hank Williams to KISS in six steps or less.

Although he only lived to be 29 years old Hiram "Hank" Williams is certainly one of the most influential singer-songwriters ever to pick up a guitar. How will I connect this bonafide legend of country music to KISS in six steps or less? Like this:

1. Not only has Hank Williams' dipshit of a son Hank Williams Jr. had a long career in "music" but Hank Williams Jr.'s son (and thus Hank Williams' grandson) Hank Williams III has also become a well-known musician and performer.

2. In between solo albums Hank III spent two years playing bass in former Pantera singer Phil Anselmo's side project Superjoint Ritual.

3. Pantera's fourth album but the first with Phil on vocals, which was released in 1988 and called Power Metal, was co-produced by Marc Ferrari and included a song written by Ferrari called "Proud to be Loud" which had originally been intended for...

4. ...KEEL. Marc Ferrari was one of two guitar players in Ron Keel's post-Steeler, post-Yngwie band Keel.

5. Keel's second and third albums The Right to Rock and The Final Frontier were produced by Gene Simmons and The Right to Rock contains three songs co-written by Simmons. 

6. Gene Simmons currently portrays the character of "The Demon" in KISS.

And there you have it:

The Sun Has Risen Once Again

Japan's biggest contribution to the world of heavy metal, the band Loudness returns to the musical
forum with their new offering The Sun Will Rise Again.  The album was unleashed in June of

Takasaki on 2014's MORC-photo by Brian Ronald

2014 and continues the personal musical roller coaster ride of the driving force behind Loudness, guitarist Akira Takasaki.  While the biggest successes in North America came in the 80's with albums such as Thunder in the East and Lightening Strikes, Takasaki has never stopped issuing music under the Loudness moniker, albeit sometimes very quietly and despite many line-up adjustments.  The original lineup reunited in 2001, but sadly in 2008 drummer Munetaka Higuchi succumbed to liver cancer.  Today we find Masayuki Suzuki behind the kit and the rest of the band's membership is as original as possible with vocalist Minoru Niihara and bassist Masayoshi Yamashita joining Akira Takasaki.  I personally didn't get into Loudness until they were announced on 2013's Monsters of Rock Cruise which prompted me to look back into their expansive (26 studio albums) library.  The band's harder edge was dropped with the American success of the mid 80's albums and that is truly the era of the band that I prefer.  Takasaki discovered Buddhism during the 90's, but managed to keep producing music

Minoru Niihara on MORC 2014-photo by Brian Ronald

 and the albums had a more grungy/alternative flare to them, no doubt influenced by the popularity of  the times.  Some of those albums are difficult to listen to at times, containing songs such as the absurdly titled "Dogshit" for example.  Getting away from the groove metal/grunge sound when the original lineup reunited in 2001 they released the abysmal Spiritual Canoe.  It and the following albums were all hybrids of several musical styles making for more difficult listening in my opinion.  The more recent albums are aggressive and speedy as the band has taken a speed/thrash/borderline death metal approach for albums such as King of Pain and 2012.

The Sun Will Rise Again

Loudness have struck gold in a manner of speaking with The Sun Will Rise Again.  It's hard to believe that I'm about to describe this issue as melodic, but that's the case.  It's much more melodic than its recent predecessors, successfully combining the elements of the 80's Loudness with the current sound.  Make no mistake, this album is chock full of absolutely blistering guitar work and face melting heavy metal and that's just not a cliche that has been used to describe many albums, it's 100% true!  The cover art, however, is less than awe inspiring and at a quick glance in the CD store (is there such a thing anymore?) you may simply

Thunder in the East

dismiss it as a re-release of Thunder in the East.  The covers are incredibly similar and it wasn't until a dispute with a friend in which he pointed out the subtle differences did they really become apparent.  I guess after 26 releases you run out of cover ideas.....hey guys I know a great artist who'd happily design your next cover if you need!  I was looking forward to hearing the whole album after getting a preview of two new songs on 2014's Monsters of Rock Cruise and after a couple of listens this album has become my workout music of choice, having just the right amount of aggression, speed and guitar riffs to keep me pushing harder.

Takasaki & Suzuki on MORC 2014-photo by Brian Ronald

The album leads off with "Nourishment of the Mind", a just over two minute live instrumental intro that basically serves no purpose and would not have affected the outcome should it have been omitted.  From there however it opens up with "Got To Be Strong" showcasing the unmistakable Takasaki guitar tone throughout the chunky riffs.  The thrash influenced "Got to Be Strong" also features guitar solos, something that has been lackingly absent from the recent Loudness issues.  "Never Ending Fire" continues in the same vein with several tempo changes while "The Metal Man" is the shortest, aside from the intro, at almost three minutes.  Track #5, "Mortality" was one that was showcased (debuted) during 2014's Monsters of Rock Cruise and unless I'm completely losing my mind the riff reminds me of galloping horses!  None-the-less a great track, still very heavy, but containing just that little bit more melody than we've seen from the previous Loudness efforts.  "The Best" is an eight minute and twenty second (8:20) opus that begins with a sort of funky electronic "bee-whoop" (for those of you have seen that

Masayoshi Yamashita on MORC 2014-photo by Brian Ronald

Daffy Duck cartoon), a funky beat that fits well and returns about halfway through the composition.  The other of the two tracks showcased on MORC 2014 is up next and the title track to the release, "The Sun Will Rise Again".  "Rock You Wild" seems as though it should be a fist pumping rock anthem with a title like that, but in reality doesn't have that much to offer.  The next track however, "Greatest Ever Heavy Metal", is another running past the eight minute mark at 8:13 and the opening riff to this one has quickly become my fave.  It almost feels like an awakening as you listen to it, certainly great workout music.  "Shout" and "Not Alone" wrap things up on this molten metal headbanger's delight.

The whole album is loaded with Takasaki's unique guitar tones and plenty of shredding riffs serving as a playground for Niihara's harsh edged vocals, a perfect heavy metal combination.  It may not be the Loudness of the 80's found on Thunder in the East or Lightening Strikes, but I feel it's a successful melding of the sounds throughout the journey of Akira Takasaki.  Unfortunately, I fear that The Sun Will Rise Again may appeal more to Loudness aficionados than the average CD purchasing metal fan.

Cheers,
The Meister

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MONSTER OF ROCK CRUISE PHOTOS BY: BRIAN RONALD 2014

SIX DEGREES OF KISS: TESLA

Leon Noseworthy I accept your challenge and will connect Tesla to KISS in six steps or less.

Tesla are a kick ass rock and roll band from Sacremento, California and even though they sold quite a few records in the late eighties and early nineties I would still contend that Tesla are one of the most underrated bands from that era. Just a great fuckin' band. The Great Radio Controversy and Psychotic Supper are killer albums.

But how am I going to connect this band that used to be called City Kidd to Kiss in six steps or less? Like this:

1. On their debut album Mechanical Resonance Tesla covered the song "Little Suzi's On The Up" by British synth pop group Ph.D.

The original video for "Little Suzi's On The Up" was actually the fifth video ever played on MTV.

2. Jim Diamond from Ph.D was previously in a band called Bandit with future AC/DC bassist Cliff WIlliams.

3. Before joining Bandit Cliff Williams was in a quasi-prog band called Home.

4. Home's second and third albums (1972 and 1973) were produced by John Anthony.

5. John Anthony produced the 1976 self-titled debut album by Piper, a great band that was fronted by a pre-fame Billy Squier.

6. Piper was managed by Bill Aucoin, who just happened to simultaneously be managing KISS.

And there you have it!

Guitar Gods with Yngwie Malmsteen - Phoenix Concert Theatre Toronto Ontario June 21st 2014

Photo Gallery by QuickGallery.com When I first heard about this thing called "Guitar Gods Tour" I immediately clutched my left chest and said a few unrepeatable words. When I heard the tour was coming to Toronto I had to go for a quick change of wardrobe. As the weeks passed I became more excited knowing Yngwie Malmsteen, Uli Jon Roth, Gary Hoey and Bumblefoot would be sharing the same stage the same night!

Then a few weeks before the show we received the devastating news from the Roth camp that their visas had not been secured and Uli had to back away from his participation in the tour. I again had to go for a quick change.

Anyways, since I already had a ticket and had never seen Yngwie live before (at my age and the artists ages its all about the bucket list at this point) I decided to head to the show. Because I have always considered Uli Jon Roth the greatest guitarist of all time and being a die-hard early Scorps fan I wore my Uli t-shirt in his honour. I was lucky enough to see him two nights in a row last year at the Rockpile. When I arrived at the parking lot across the street from the Phoenix the lineup was already quite a ways down Shelbourne Street. The doors were supposed to open at 7:00 but it was close to 9:00 before they started to move people in at a snails pace.

When I finally got in the first band had already started. They had found a filler for Roth in the name of T.D. Clark. I had not heard of him before but was amazed at how polished and professional he and his band were. More importantly, how he could shred with the best of them.

Next up was Guns N' Roses' axeman Ron "Bumblefoot" Thal. Right off the bat there seemed to be sound problems. Once corrected he brilliantly played that double neck Vigier as if part of his own body. The music however was a bit too modern and almost too Green Day-ish at times. Kudos to him though for his fabulous rendition of the Pink Panther tune to end his 7 song tenure.

Third on the bill was Gary Hoey. I had only known of him from his Heavy Bones band that he formed with Quiet Riot's Frankie Banali. However I knew he had a reputation as being up there with best especially on the more bluesy side. He certainly got the crowds attention early on when he said he wanted to make a Canadian classic song "heavier". He then proceeded to rip into Tom Cochrane's "Lunatic Fringe" with an edge I loved. He continued through his set of 8 songs ending strongly with his version of Dutch band Focus's "Hocus Pocus". The thing I appreciated about Gary was you could tell when he was playing he really put a lot of emotion into it and almost got lost in himself. I am glad I had a chance to see him live!

Once they started to move the first 3 bands equipment out of the way they also started to reveal what was behind it. Holy smokes Batman, the whole friggin' stage was wall to wall Marshall Amps! I took a few quick shots with my iPhone and sent them back home to responses like "WOW" and "Hope you brought your earplugs".

When the "The Maestro" as vocalist/bassist and fellow Canadian Ralph Ciavolino kept referring to him as broke through dry ice the fans went crazy! The opening song "Rising Force" set the tone for the next 17 songs that would bleed your ears throughout the night. You could sense right away that the show was all about Yngwie, strutting the stage, posing for the crowd and flicking guitar picks by the minute into the crowd. I was amazed that along with Ciavolino, drummer Mark Ellis and keyboardist Nick Marino how well they managed to keep up despite being cramped into such a small space of real estate. To be honest I was never a huge Yngwie fan and only knew the more popular songs that rocked the 80's radio. Songs such as "Spellbound", "Evil Eye", "Live to Fight (Another Day)", "Dreaming (Tell Me)" and my fave "Heaven Tonight" kept the three quarter full Phoenix Concert Theatre rocking. You could really tell who the die hard fans were when Malmsteen knelt down on the edge of the stage to rip a solo. They would fight and claw their way to touch royalty in the form of him or his guitar at all costs. After the final song, "Black Star", the crowd roared him back on stage for an encore. This time he had company. Both Bumblefoot and Hoey came on stage to rip through Deep Purple's classic "Burn". This was the highlight for me. But not to be outdone Yngwie kicked them off stage to have one final moment alone with "his" crowd as he closed with "I'll See the Light Tonight".

A night filled with one big guitar solo may not be for everyone and while Yngwie Malmsteen also requires a certain taste that not everyone appreciates - he truly was the "Guitar God" this night!

Attached are the photos of my experience that night. Enjoy!!!

Brian Ronald