Rocktoberfest (Celebrating Some Awesome German Bands)

In conjunction with last week’s Decibel Geek podcast episode #157, Rocktoberfest, in which Aaron & Chris celebrate some excellent bands from Germany, I decided to add a few more to the list.  A veritable hotbed of Power Metal, I decided to focus/concentrate mainly in that genre with a few strays along the way.  As the boys discussed many German players tie in to other bands and have been or are still involved in multiple groups.  Here's another seven (in no particular order) German bands (all with recent releases) that you should hear as well as all the greats played during last week's episode.

I was introduced to Iron Savior via Decibel Geek photographer Brian Ronald and must admit have become quite addicted to the 2011 album, The Landing.  The song “Heavy Metal Never Dies” from that release is a complete power metal classic that never gets old, as evidenced by its constant appearances in my playlists.  As for the band, they formed in 1996 in Hamburg with Piet Sielck handling vocals and guitars, Kai Hansen (Helloween/Gamma Ray) vocals/guitar, and drummer Thomen Stauch (Blind Guardian).  They started out with a concept of blending power metal with a story about a space ship christened Iron Savior.  Today we find guitarist Joachim Kustner, bassist Jan-Soren Eckert, and drummer Thomas Nack joining sole original member Piet Sielck.  Give a listen to "Burning Heart" from the band's latest output, 2014's Rise of the Hero.  Iron Savior Website

Primal Fear was given life by vocalist Ralf Scheepers (Gamma Ray) and Mat Sinner (Sinner) in 1997.  2014's Delivering The Black is the tenth in the library that has also seen a few member changes throughout the years.  Currently we find guitarist Alex Beyrodt (Voodoo Circle/Sinner/Silent Force), guitarist Magnus Karlsson (Allen-Lande/Place Vendome), and drummer Aquiles Priester (who replaces recently departed Canuck drummer Randy Black) along side the Scheepers/Sinner duo.  Original guitarist Tom Naumann who was forced to depart due to medical reasons is currently assisting with live performances and tours. Here's my review of Primal Fear's Delivering the Black album and concert in Toronto earlier this year (Delivering the Black Album Review) and (Primal Fear Invades Toronto). Try my favorite of the album "Alive & On Fire" for a sample.  Primal Fear Website

Cologne, Germany was the scene for the formation of Gun Barrel back in 1998.  After issuing an EP that garnered some record label attention Gun Barrel has produced four studio and one live album behind 2014's Damage Dancer.  My foray into the Gun Barrel world began when the record company sent me a download to review Damage Dancer and I have since added 2008's Outlaw Invasion and 2012's Brace For Impact to my personal library.  The band currently consists of guitarist and only original member Rolf Tanzius, vocalist Patrick Suhl, bassist Tomcat Kintgen, and drummer Toni Pinciroli.  Read my review of the album here: (Staring Down a Gun Barrel) and check out the title track, "Damage Dancer", for a preview.   Gun Barrel Website

Lars Ramcke is the sole remaining original member from Stormwarrior's beginnings in Hamburg in 1998.  Ramcke handles vocals and guitar and is joined by Alex Guth (guitar), Yenz Leonhardt (bass), and Jorg Uken (drums) in Thunder & Steele released in January of this year.  Thunder & Steele, Stormwarrior's fifth album, was produced by Piet Sielck (Iron Savior) and in the past they've worked with Tommy Hansen and Kai Hansen (Helloween/Gamma Ray) who also contributed vocal and guitar work on some tracks.  With a lot of their lyrics often surrounding viking themes Thunder & Steele is a delicious slice of power/speed metal.  Have a listen to "Steelcrusader", a favorite of mine from Thunder & Steele.  Stormwarrior Website (leads to Facebook)

 I found Axxis when their name surfaced on the bill for 2013's Sweden Rock Festival that I was to be attending for the first time.  I missed their set at SRF but look forward to seeing them at Firefest in a few weeks.  They harken back to Dortmund in the late 80's with their debut release, Kingdom of the Night in 1989.  The band's latest album celebrating the 25th anniversary of the debut is Kingdom of the Night II.  Kingdom of the Night II is actually two different CD's available separately, the Black containing the heavier, darker material while the White consists of more melodic material and ballads.  Over all a very 80's style with elements of hard rock and power metal throughout check out the video for "Venom" from the Black.  Axxis Website

When guitarist Roland Grapow and drummer Uli Kusch's side project caused their untimely departure from Helloween in 2001 Masterplan was born.  They recruited singer Jorn Lande and issued the debut, Masterplan, produced by Andy Sneap in 2003.  While there was some studio bass work on the album, Grapow served as the main bassist and Jan-Soren Eckert (Iron Savior) was later hired for touring and the following albums.  For 2013's Novum Initium Grapow had an almost totally new line up beside him with Rick Altzi on vocals, Jari Kainulainen on bass, Martin Skaroupka on drums and Alex Mackenrott on keys.  I also was fortunate enough to catch a portion of Masterplan's set at Sweden Rock Festival 2014: (Dismal Skies on Day #2 of SRF 2014).  Here's "Keep Your Dream Alive" for you to check out.  Masterplan Website

Axel Rudi Pell started out in 1984 with German band Steeler (not to be confused with Steeler featuring Ron Keel and Yngwie Malmsteen).  Four albums later, in 1989, he embarked on a successful solo career resulting in no less than fifteen releases.  Into the Storm is the latest effort and my starting point.  Since 1997 Johnny Gioeli (Hardline) has been handling the vocal duties for Pell's albums and Ferdy Doernberg the keys.  Bassist Volker Krawczak has been with Pekk since '89 and drummer Bobby Rondinelli replaced Mike Terrana last year.  My review of Axel Rudi Pell-Into the Storm from back in March and the video for: "Long Way To Go".  Axel Rudi Pell Website

There are so many great German bands and these are but a few.  Raise your glass for "Rocktoberfest" and some awesome German music.

Cheers,
The Meister

(The Meister on Facebook) (Meister on Twitter)

Orange Goblin Is Back From The Abyss

 

A buddy of mine gave me a copy of Orange Goblin’s Healing Through Fire back in 2008 and it was like coming out of a coma.  I like many types of music but the core of my taste is loud drums, distorted guitars and high power singing. Which is also how I'd describe Orange Goblin.  Plus they’re called Orange Goblin.  So hey, they got a new record out and I’m gonna listen to it and tell ya what I think. 

 

Produced by Jamie Dodd who was also responsible for 2012’s opus A Eulogy For The Damned.  The album cover is more than a nod to Iron Maiden’s Final Frontier.  Let’s just say it’s got some similarities.  Lets see what it sounds like.  

Sabbath Hex - Oh what do you know.  An insane riff that is both simple and mind melting.  Standard Orange Goblin.  A bit of that stoner rock sound with an almost punk aggressiveness.  At times this song reminds me of Pentagram.  Jesus another great riff.  Great vibe.  This will be put on repeat.

 

Ubermensch - If Ben Ward weren't, well Ben Ward, I'm not sure this band would exist.  Maybe he's not a great singer .  But he's a great singer for Orange Goblin.  This song picks up where the last one left off. 

 

The Devils Whip - A bit of a Motorhead feel.  This is my favorite track so far.

 

Demon Blues - Another great heavy rock riff starts off this track.  The riff it switches into makes me wish I had another soul to sell.  I hear bits of early KISS, Dimebag and even Sabbath.  This song is fucking cool.

 

Heavy Lies The Crown - They're slowing it down for this one.  And then it ramps.  Joe Hoare's riff's climb all over this record.  It's hard to imagine there was a time he wasn't in the band.  He rules on this song and it's hard to comprehend a different guitarist for this band.  Heavy.

 

Into The Arms Of Morpheus - Probably the most Stoner Rock sounding song so far.  A slow jam start leaves room for Hoare to let rip for a bit.  This songs ok it just isn't grabbing me as much as the rest of the record so far.   It has all the hallmarks of the band I just find it a tad boring.

 

Mythical Knives - Oh I'm liking this.  Intro has a Rhoad's era Ozzy feel.  And man does it kick in.  Why can't all music be like this?  Hoare's lead playing is both intense and understated. I can't state that enough.

 

Bloodzilla - You know a song called Bloodzilla is gonna kick ass... right?  And it delivers.  I can see Ward hulking over the front row with his fist in the air as they deliver this bone cruncher as he drips sweat.  I can't believe it's already over.  I'm gonna grab another beer and listen to this song again.  

 

Abyss - Looks like it's time find out what they're back from.  With a name like Abyss it needs to be epic. This is what I assume Satan would listen to in his minivan when dropping his kids off at school.  If I don't overdose on all of the Riff's on this record I will surely have Riff withdrawals tomorrow.

 

Titan - An instrumental with a feel of the Smashing Pumpkins Gish era.  Kind of cool.

 

Blood Of Them - This would make a great soundtrack to a colonoscopy.  I'm not joking.  This is the perfect bass line for a camera snaking through your colon.  And I mean that in the metalist way possible. Sometimes I listen to a band or a record and I think "Fuck!  I'll never be this cool."  This album is having that effect on me.  I can tell exactly what they are doing yet I don't know how they do it.

 

The Shadow Over Innsmouth - Last song. An instrumental that fades into what has to be an Abyss.

 

Well I'm sweaty, hoarse and a little buzzed.  There were so many riffs I want to burn my guitars just for trying.  You should buy this.    

 

Orange Goblin

 

Candlelight Records

 

Orange Goblin Facebook

 

Bakko

 

 

 

 

 

 

 

 

 

MR BIG:THE STORIES WE COULD TELL:ALBUM REVIEW:

Hands up, I've never given Mr Big the time of day.  Even since I heard their massive 1991 hit To Be With You, I closed the door on them completely.  That song made my teeth water and my ears cry.  But they do say time is a great healer, and now as I'm two years into my 5th decade, I think it's time to open that door.  This is the bands eighth studio offering and follows 2011's What If.

Opening track Gotta Love The Ride delivers with a earthy slice of Zeppelin and Sknynrd, and threatens to explode, but in truth it doesn't need to, it's infectious tempo carries the song through.  Next up, I Forgot To Breathe, is a perfectly crafted rocker with a sublime chorus, and a wonderful trademark Paul Gilbert solo.  The radio friendly tones of Fragile takes the edge off after the gritty opening tracks.  If you like a bit of sexual innuendo in your songs, Satisfied won't disappoint, with it's nasty guitars and a humping bass line from Mr Sheehan.  If it wasn't for the flawless performance of vocalist Eric Martin, The Man Who Has Everything, would probably fall flat on it's face.  But his crisp, soul filled voice, breathes life into an otherwise ordinary ballad.

The brilliant funk leanings of The Monster In Me, reminds us what magician bassist Billy Sheehan is.  Without doubt the highlight of the album so far.  What If We Were New and It's Always About That Girl are much in the same vein as Satisfied, seductive, in your face belters.  Light Of Day is another standout track, with Gilbert and Sheehan once again in blistering form.  This a real roll the top down and cruise number.  Ballad, Just Let Your Heart Decide is a weak point for me.  I generally like my ballads big and beefy, but this is low fat at best.  The album closes on a high note with the title track, with fantastic classic rock elements, right in the vein of Free and Bad Company.

All in all, this is a traditional rock album, packed tight with melody, towering bass lines and killer guitar work.  Though I think it's a bit top heavy with ballads, but don't let that put you off, there's plenty of head shakers on it.  I'm glad I've lost my Mr Big virginity, but I still hate that bloody song.

Radio is DEAD, "The Chosen Few" - Podcasts sell music!!

Along with many others, I recently wrote an article in response to Gene Simmons' "Rock is Dead" interview. I agreed with some of Gene's words but the spirit of rock n roll is alive and well just working with an entirely different business model and I can cite many examples of bands that have successfully adapted to an ever changing music industry.

The days of record companies supporting artists as they develop and flourish are long gone. From my perspective the business model is fiscally broken and the major labels have done very little to find ways to adapt and change. So instead of developing new artists with an eye on the future, they sink the major resources (see $$$) into the "chosen few" which will be promoted, marketed and over saturated to death ensuring a return on investment. From a business standpoint I get it, they somewhat found a way to stay fiscally viable but at what cost? Have you listened to the radio recently?

The airwaves are filled with the "chosen few" that quite honestly aren't earning their hit records. It really doesn't matter what Rhianna, Beyonce or Katy Perry releases it WILL BE A HIT song. Not necessarily because it's a good song, but because the big money marketing machine will ensure that it gets played on the radio across the nation, every hour without fail.Nothing is left to chance. Popular radio has been reduced to a 25 song jukebox on repeat, the DJ's have zero input into what gets played, the idea of a "regional" hit is completely impossible. This over saturation completely manipulates the charts like never before. At least in the 60's and 70's when "payola" was common practice, there was a chance of something new being discovered.

Now listen, I am not saying that the "chosen few" are not talented. Katy Perry has released some catchy pop songs but any song can become a hit if it gets into rotation and forced down our throats. Case in point check out the number one song on the Billboard 100 for the past 4 weeks..."Meghan Trainor's All About That Bass". This song is a "cute" but completely lifeless piece of bubblegum trash, a novelty song that will be forgotten in a year. The smell of quick return on investment has this on the radio every 15 minutes and within a few short weeks it becomes part of the subconscious and if it makes enough $$$ then Meghan will indeed have the chance to repeat the success as they will push yet another bubblegum single onto the airwaves. Repeat the success a few times over and she will become a member of the "chosen few" if not she will be dropped like hot microwaved pizza pocket.

RADIO IS DEAD! There I said it, but I have not heard a single song on the radio in the last ten years that has prompted me to go out and buy a new album. Think about that for a moment. Isn't that the point of radio? That certainly dies not mean I have stopped buying new music, it just gets discovered in different ways. Catching live shows, word of mouth through social media and PODCASTS have introduced me to plenty of great new music all without the assistance of radio. In fact as I am writing this I am excited to get home and listen to Steve Conte's "NYC Album" which I was introduced to through another show, Michael Butler's Rock and roll Geek Show Podcast. If you like your rock n roll melodic and raw then check the link below, this guy is the real deal.

So if you are totally fed up with the state of radio, boycott it all together and turn your attention to the many fine podcast shows that are promoting music they are passionate about. A thank you to those that do this, to Chris and Aaron who have turned me on to all kinds of new bands that I certainly would have never heard on the radio. Support these bands by buying their music and t shirts and attending their shows. This is what is keeping rock n roll alive, not the major labels that's for sure.

Another thing to consider here is the concert stage. The number of classic bands that have the ability to put butts in seats is quickly diminishing. Reality is that the AC/DC's, the Aerosmith's, the Stones etc. will not be able to tour forever. Who is coming behind them to fill the stadiums and sheds? Unfortunately that only leaves the aforementioned "chosen few" that will have the drawing power to successfully tour the big rooms. Bands that have extensive catalogues of music to perform will be replaced with the disposable artists and their disposable hit singles and I am not sure how well that will fill out a two hour set list.

It almost makes me happy I am the age I am. As the bumper sticker reads "I May Be Old But I Got To See All The Cool Bands", and to grow up at a time when sitting down with an new album was an experience. As for the "chosen few"? I think I will pass....I prefer "A Rebel Few" thanks.

Steve Conte Website
Steve Conte - Dark in the Spotlight

Haunting Hard Rock For Your Halloween

Is there a month more Metal or Rockin’ than October?  Tree’s start to look like skeletons as the leaves fall away.  Oktoberfestival’s going on around the world.  A festival that is largely about mass consumption of beer.  Add a band, a merch booth and a line for the bathroom and it’s exactly like a rock show.  The month climaxes with Halloween.  The one Holiday for kids and adults.  Candy for kids, booze for adults.  And Hallow’s eve is the time of ghosts, witches, demons and of course Satan.  And Satan is the reason why good music exists.  Did the Devil even exist before Rock music?  It’s the one day a year you can dress like a rock star or a whore and not be judged.  And of course the obvious pun, Rocktober.  So let us REJOICE! With Decibel Geek kicking off Rocktober 2014 let's celebrate the most rocking of months with some of the creepiest Hard Rock or Metal songs of all time.  Pour a beverage, light a candle, dim the lights...  if you dare.  I give unto thee (in no particular order)…

 

The Soundtrack of Hell (or at least a really scary forest) 

 

Ozzy – Mr. Crowley.  You may want to split hairs over whether he was a true Satanist or just a free thinking theologist who also had a cult but I contend the man was scary as fuck.  You know some crazy shit went on in his house.  This song from Ozzy’s record  will try to lure you in with it’s sympathetic slant but don’t be fooled.  Crowley still walks among us.

 

Cheap Trick – Hello How Are You.  Bet you didn’t know this song was satanic.  Well it is.  And once you know that you can’t help but think about Rick Nielson and Robin Zander conjuring Demon’s out of Bun E. Carlos in a suburban Chicago garage somewhere.

 

Black Sabbath – Black Sabbath.  What is this figure in black that stands before me?  No big deal it’s just SATAN sitting there.  And he’s smiling for some reason.  The first time I heard this was on my Walkman as I rode the bus home in 8^th grade.  I had to throw away the underwear I was wearing.  Sabbath was never scarier than this song.  

 

Led Zepplin – Stairway To Heaven.  This record has been played backwards more than forwards.  It’s pretty much common knowledge the everyone in Zep not named John Paul Jones sold their souls to Lucifer in exchange for tight jeans and sex with underage girls.

 

Motley Crue – God Bless The Children Of The Beast.  Play this for your 12 year old and he’ll never look under his bed again. 

 

Misfits – Skulls.  I don’t know why Danzig wants my skull but I got a feeling he’s not joking. 

 

Black #1.  This songs is about some scary slut hooking up with Dracula on Halloween.    Next thing you know your having sex with her and she’s dead.  It even throws some shade on Lily Munster.  That's fucked up.

 

Justin Bieber – Any song.  This kid scares the fuck out of me.  I don’t know what it is but anytime I hear his *cough* music I become possessed and am overcome with a desire the harm myself by driving my car off a mountain or pouring acid into my ear canal.  Scary shit. 

There are many more I could've included as rock's history is rich with evil.  Have a Spooktacular day and remember to check under your bed and in your closets before turning out the lights.  Happy Rocktober.



Bakko
 

Rocktoberfest - Ep157

While many rock/metal shows celebrate Halloween during the month of October, we can't forget another important event from across the pond that enables everyone to get sloppy drunk...

This week Aaron and Chris get into the deustchland spirit with Rocktoberfest; an hour-plus of great songs from great bands that hail from Germany. There were a lot of great options to choose from as Germany has produced a ton of great rock and metal over the years. The guys picks include Michael Schenker Group, Accept, Edguy, Helloween, Gamma Ray, and a bunch more. So, fill that beer stein to the top and rock out with us as the Decibel Geek podcast celebrates Rocktoberfest!

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Scorpions
Accept
Warlock
Edguy
Michael Schenker Group
Helloween
Gamma Ray
Shameless
Sinner
Evidence One

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KIX:ROCK YOUR FACE OFF:ALBUM REVIEW.

When a band are releasing their first batch of new music for nearly 20 years, you're well within your rights to expect something special.  The Maryland five piece follow up 1995's Show Business with Rock Your Face Off.

The aptly titled Wheels In Motion opens proceedings with bruising intent, and sets the albums tone perfectly with furious guitar solo's from Brian "Damage" Forsythe and Ronny "10/10" Younkins.  Next up, You're Gone, unmistakeably bears all the hallmarks of AC/DC, that is until the chorus, which frankly drags the song down.  But Can't Stop The Show more than makes up for that with it's beautifully seductive rhythm and rousing chorus.  And that continues with the wonderfully suggestive Rollin' In Honey, a song drooling in tongue in cheek humour.

For a title track, Rock Your Face Off disappoints, but no doubt will work better in a live setting, this version lacks serious punch.  All The Right Things sees the band get a bit of a southern swagger on, but still maintains it's rock soul.  Dirty Girls is a sleazy little number that's obviously about their undying love for eh........dirty girls.  Not much originality here, but bloody fantastic all the same.
Power ballads are always dangerous ground, some work, some don't.  But love them or hate them, they're almost a necessity.  And not many have perfected the art.  But on Inside Outside Inn, the guys have without doubt nailed it.  Vocally it's flawless with main man Steve Whiteman excelling.  The mayhem quickly resumes with the relentless punk-esque of Mean Miss Adventure.

Love Me With Your Top Down just about falls short of Spinal Tap.  That's not a criticism, far from it, but you will laugh at it's brashness and downright arrogance.  That theme is carried on with Tail On The Wag, and once again you could be listening to a mid 70's AC/DC, with it's crunching guitar rhythm's and tight bass line.  The album concludes with the high octane Rock 'n' Roll Showdown, that will no doubt become a live favourite.  A perfect finish to a not so perfect, but solid rock album.  But it's an honest album, KIX aren't pretending to be something they're not, they're just a rock 'n' roll band - plain and simple.  And folks, there ain't nothing wrong with that.

Redemption of My Soul in Rochester

A Judas Priest fan through and through, the iconic British metal band is of course one of the elements of my full sleeve tattoo.  The tattoo depicts a guitar case stickered with the logos of about
30 of my favorite bands.  Although not having seen "the Priest" live as many times as I would have liked, I am filled with determination to make up for that now before I lose the window of opportunity.  I was able to catch the previous two stops in Toronto, both shows were awesome and had their own merits.  Finding out that this new tour supporting the not too long ago issued Redeemer of Souls album (Redeemer of Souls Review) included special guests Steel Panther only served to add to the excitement.  Finding out that the tour would not be stopping in Toronto was near devastating, the closest venue (Casino Rama) being a place about two hours away and difficult to get to via public transport.  My good friend (and reviewer for another website) could also not make the Casino event and suggested Montreal, which eventually also turned out to be not in the cards.  Rochester popped up on the radar, only a three hour drive away and a date that worked well for us both, we were "Hell Bent For Leather" once more.  I received excited text messages from him during the ticket purchasing, it seems to be all general admission he exclaimed!  Wow a general admission Judas Priest concert, doubtful we'd ever see that in Toronto!

The Armory-photo by Meister

We got "Heading Out To The Highway" in the afternoon and amazingly succeeded in getting a little lost on roads we were both familiar with, the evils of non stop chatting about rock!  I remarked that even though I like the surprise of not knowing the setlist prior to the show I also cannot resist looking it up.  I couldn't find anything for this event as it was the first show of the world tour.  We joked about a previous long drive venture to the US to see a concert on the initial performance of a tour (Motley Crue Show Review), one that did not go so well and hoped that we were not in for a repeat.  Arriving in Rochester we cruised by the venue, The Main Street Armory, which at first appeared that it could have been a church but in fact was more like a castle.  It was about an hour before the doors were set to open and we found there to be quite a few folks waiting.  After a horrible experience at a nearby Wendy's we became successful in securing some "not to sketchy looking parking" and joined the now doubled in size line formed down the sidewalk out front.  Once inside we instantly became like kids in a candy store upon seeing that it was in fact general admission with some seating on an upper balcony circumferencing the hall.  Not only was it general admission, but a surprisingly small arena, similar to Toronto's Sound Academy for those who are familiar with that place.  Think high school gymnasium!  We had time to breeze by the awesome looking merchandise booth, peruse

Inside The Armory-photo by Meister

 the vantage points from the balcony and still secure positions two people back from the barrier at the front of the stage!  The phrase "We definitely have to hit more of these US venues" floated back and forth between us as we discussed the cheaper ticket pricing and much, much better seating availability based on our two experiences.  It wasn't long before we ran into another rabid Priest fan and fellow Canuck who had made the journey from Ottawa for the occasion as well as everyone else around us, hey we're friendly Canadians...lol.

Satchel-photo by Meister

Tickets were printed that doors opened at 6 and show at 7pm so by the time 7:15 hit everyone was starting to check their watches.  As we watched 7:30, 7;45 and 8pm pass, our phrase became "Perhaps no more first show dates for us".  After we beat a dead horse with the "What are they Guns 'n' Roses?" jokes, we ourselves had become tired and claustrophobic in the steamy, sweaty gymnasium with a decided lack of air circulation.  The crowd was becoming increasingly hostile and were growing restless.  The colossal booing from the audience began around 8pm amidst chants of "let's go", "come on" and similar demands.  Around 8:15pm we could see bassist Lexxi Foxx and drummer Stix Zadinia milling around side stage, making no hurried effort to get going.  Methinks that Steel Panther will not be well received, a thought backed up by the huge deep booing that Stix received as he finally took up his stool behind the kit at 8:23pm.  Steel Panther quieted down the restless natives quite quickly

Michael Starr-by Meister

  as they wasted no time in ripping into "Pussywhipped" followed closely by "Party Like Tomorrow's the End of the World".  Michael Starr (vocals), Satchel (guitar-formerly of Fight with Rob Halford), Lexxi Foxx (bass) and Styx Zadinia (drums) are something to behold if you haven't already delved into the sensation that is Steel Panther.  The music is pure 80's "hair band" (I'm not a fan of that term, but it works) style material, but the lyrics are a little more sexually explicit, some may say crude.  With a Panther show you also get some stand up comedy as they banter back and forth with each other throwing insults at themselves and the crowd.  The jokes are quite funny, but they do get a little old

Lexxi Foxx-by Meister

 after seeing them a few times. They may not be exactly the same but basically the so, although this time they managed to fit in some quips regarding the late start.  All in all a rousing opening set by a fun and talented band that did a great job considering the frustration and hostility of the crowd with the near hour and a half late start.  Other selections in their hour long stage appearance consisted of "Asian Hooker", "Just Like Tiger Woods", "Gold Digging Whore", "Girl From Oklahoma" (which sounds a lot like Extreme's "More Than Words" to me at the start), "Community Property", "Eyes of a Panther", "17 Girls in a Row", "Death to All But Metal", and "Party All Day (Fuck All Night)".

Rob Halford-by Meister

The bitterness evaporated and the mood lifted, we chatted lightly as a colourful Judas Priest banner enveloped the stage while roadies were clearing away the Panther gear.  At 10:15pm the house music and lights dimmed in preparation for the main event.  "Dragonaut" from the July issued Redeemer of Souls album led the charge of the heavy metal machine known as Judas Priest.  Rob Halford (vocalist) set aside the cane that he had been using during the opening number and was surprisingly quite active around the stage during "Metal Gods".  I decided to video (available soon on Decibel Geek YouTube) the next song, elated to hear the opening chords of "Devil's Child", a song I was hoping to hear tonight but not expecting.  "Victim of Changes", a metal masterpiece, was delivered next complete with a bone chilling, piercing wail ala Rob Halford to complete the song.  As the audience was reeling from the obviously still strong vocal prowess of the Metal God himself the band greeted us with

Glenn Tipton-by Meister

  another new song in "Halls of Valhalla".  Halford with his intense facial expressions again absolutely nailed the scream near the beginning of that one as well, squashing any rumors that you may or may not have heard about his voice deteriorating.  Absolutely marvelous especially considering the man has breached 60 years of age!  "The Priest is Back"!  In all my tone deaf glory I sang along to "Love Bites" at the top of my lungs, apologies to those within earshot, and continued headbanging in time with "March of the Damned".  We had heard chirping outside in line and in the auditorium about this Armory place being notorious for poor sound quality.  I'm happy to say that we did not find that at all.  Panther sounded quite good, but Priest was awesome, a perfect blend of Ian Hill's thumping bass lines, the dual axe slinging attack of Glenn Tipton and Richie Faulkner all against a

Ian Hill-photo by Meister

backbeat served up by Scott Travis.  Mr Halford would leave the stage via a curtain at the side and change jackets for near every song and this time he appeared wearing a silver full length coat that must have been swelteringly hot up there.  He addressed the cheering crowd noting that the Rocka Rolla album had turned forty a couple of weeks back, so this tour was in celebration of forty years of Judas Priest.  Rob also gave a heartfelt thanks for the reaction to Redeemer of Souls and it's reaching number six on Bilboard charts.  The album's title track was served up now followed closely by the quintessential heavy metal ballad "Beyond the Realms of Death" as introduced by Halford.  Another surprise inclusion with "Jawbreaker" from their 1984 album, Defenders of the Faith fit in nicely ahead of "Breaking The Law".  The revving of a motorcycle could be heard off stage as it roared for

Tipton & Travis-photo by Meister

several minutes before Halford rode in on the steel horse to signify the beginning of "Hell Bent For Leather".  The band left the stage this time and you instinctively knew that it was time to call them back.  The chants, cheering and roar of the obviously pleased despite the wait to start crowd was deafeningly loud.  Halford returned to the stage leading the audience in some "Yeah, yeah, yeah's", a telltale sign of "You've Got Another Thing Comin'"'s appearance.  The conclusion of the metal anthem, which included a Richie 

Halford-photo by Meister

Faulkner guitar solo again saw the band exit the stage as we all screamed for another song.  Our pleas were answered in "Living After Midnight" followed by "Defenders of the Faith" to wrap up the performance.  "Defenders of the Faith" saw Ian Hill take up a rarely seen position at the front of the stage, normally relegating himself to the background.  The band tossed out pics and sticks before collecting center stage for a final bow.  Rob Halford lingered a few moments on stage behind his bandmates and lead the crowd in chanting "Judas Priest, Judas Priest", walking off as we chanted.

Cheers,
The Meister

(The Meister on Facebook) (Meister on Twitter)

(Steel Panther Website) (Steel Panther Facebook)

 (Buy: Steel Panther - All You Can Eat)

(Judas Priest Website) (Judas Priest Facebook)

(Buy: Judas Priest - Redeemer of Souls)

EP REVIEW:CONJURING FATE:HOUSE ON HAUNTED HILL :

I don't know about you, but I'm sick to the back teeth of hearing how rock/metal is dead.  Absolute steamin' bullshit.  With stonking new releases this year from the likes of Judas Priest, Accept and a new AC/DC album in the can, I would say the heart of this enduring art form is beating loud.  But what of the new crop?  Well a couple of weeks ago I had the pleasure of seeing Conjuring Fate live in Dublin, as support to power metallers Dragonforce.  This five piece metal machine from Northern Ireland blew me away that night.  And this EP ain't bloody bad either.

Kicking off with the title track, House On Haunted Hill, a real bone crunching metal track, which wouldn't be out of place on some early Priest albums.  With brilliantly executed guitars from Phil Horner and Karl Gibson, this is classic sounding metal at it's best.  My only criticism of next track Mirror Mirror, is that the production is a bit loose on the chorus, but apart from that, it keeps the metal vibe pumping with a outstanding guitar solo.

Closing track Backwoods Witch closes proceedings in majestic style.  With an arresting chorus, menacingly delivered by vocalist Tommy Daly, and once again featuring a virtuoso guitar solo, this time with a helping hand from Stormzone axeman Steve Moore.

If you love hearing new metal bands, this 3 track EP will leave you wanting more.  I suppose the best compliment I can pay Conjuring Fate is that if this EP was released around the time the likes of  Metallica and Maiden were turning heads, i have no doubt they would be bloody huge today.  Such is the strength of their music.

Conjuring Fate aren't doing anything new here, they're by no means trying to re- invent the "metal" wheel, this is straightforward, heads down, no nonsense heavy metal.  So if your a seasoned brain shaker, and a proud metal flag waver like myself, this EP will not disappoint.

A Tour of Mike Tramp's Museum

Museum is the latest solo release from former White Lion vocalist and songwriter, Mike Tramp. Tramp may be best known for his years in White Lion, but he has remained consistently active since the original White Lion last roared in 1991. In the years since White Lion’s last record, Mane Attraction was released, Tramp has delivered over 15 albums, including 3 from the highly underrated Freak of Nature, 6 solo albums, multiple live albums, an album as Tramps White Lion, 2 albums from his Rock “N” Roll Circuz project, and a career-spanning box set of rarities and demos. While Tramp continued to enjoy success in many parts of the world, the changing musical landscape of the 90’s rendered his post-White Lion work unsupported by the record company machine and virtually all but lost in the United States. The good news is that now, after many years, much of this extensive catalog is now available online through Tramp’s own online store and other online outlets. If you are fan of White Lion, I encourage you to explore Tramps post-White Lion work. Begin by checking out his first post-White Lion band, Freak of Nature followed by his first two solo records, Capricorn and Recovering the Wasted Years. 

Now off to the “Museum”. Museum is a collection of largely acoustic driven songs that picks up where his last record, 2013’s Cobblestone Street left off and is stronger overall than its predecessor. Typical of Tramp’s style, the songs are well-written with catchy melodies and driven by Tramps unmistakable voice, which is as strong as ever. Lyrically, He again dives head first into deeply personal, political, and social issues without restraint. Even with White Lion, Tramp has never been a one to crank out a bunch of party songs, A reason why much of the White Lion material holds up extraordinarily well some 30 years later.

From the opening track, Museum comes out of the gate swinging. “Trust in Yourself”, “New World Coming” and “Commitment” are stripped down and classic Tramp all the way. All three of these songs could have fit right in on Recovering the Wasted Years. “Freedom” finds Tramp looking for some space among the chaos and might be the best track on the record. “Better” “Time for Me to Go” and “Mother” are a change of pace as piano takes the center stage over the guitars. The latter, a heartfelt tribute to his mother, is a beautifully arranged.  Museum does differ from its predecessor by adding more electric guitars and percussion on “Down South”, “And You Were Gone” and “Slave”. These songs find Tramp experimenting with sounds and rhythms that almost give the record a worldlier feel. No surprise Tramp has spent the last year on the road supporting Cobblestone Street. 

Mike Tramp, more than most artists from the 80's, plays straight from the heart. Forever a troubadour, his Bob Dylan influence always shining through. For better or worse and, his emotions reside plainly on his sleeve. Seemingly more comfortable behind an acoustic guitar than in front of a wall of Marshalls. If you want to know Mike Tramp, all you have to do is listen to his records and go see him live. Like an open book, his story is right there.

In the song Looking into You, Jackson Browne wrote the line " The Great Song Traveler passed though here and he opened my eyes to the view".  I'm not sure who Browne was referring to back in 1972, but it very well could have been written present day about Mike Tramp.

Museum and many other releases from Mike Tramp's catalog can be purchased from his web store, http://miketramp.rockpapermerch.com/ or digitally from iTunes and Amazon. As always, if you use Amazon to shop, please use the link from the Decibel Geek site.

Slash Sets The World (And My Ears) On Fire

I really liked Slash’s first post Velvet Revolver solo album featuring a different singer on each track.  The only tracks I didn’t like were the two featuring Myles Kennedy.  I don’t like Myles Kennedy.  I don’t mean personally.  I don’t know the man and he’s crossed no line with me.  His voice makes me sad.  I didn’t like him in Alter Bridge but suffice it to say I was not the target audience for a re-purposed Creed.  So his sucking with that band didn't phase me.  But his appearance on Slash was treading on my turf but it was only two songs.  But why was he the only singer on two tracks?  It was a harbinger. 

 

Soon it was announced that Myles was going to be singer du jour for Slash and I died a little inside.  Outside of the track he did with Michael Jackson I have enjoyed everything Slash has done in his career.  Most junkies only dream of such success.  It felt like something was being taken away from me.  I listened to the follow up album, Apocalyptic Love… featuring Myles Kennedy (uggh) and there are some legitimate great songs on there.  But why Myles Kennedy? 

 

Onto Slash’s latest release.  I mention the above as I felt it only fair to share my sociopathic neurosis when it comes to my dislike for Slash’s current singer.  I am going to try to make it through the whole record.  I have no delusion that my bias will find a way through any attempt to squash it.  Ergo I should acknowledge it.

 

The opening song is the first single and title track.  Starts out with a rippin' riff .  Even a little cowbell.  I want to drive fast and slam a sixer.  And there it is.  Good melody I guess but I just don't like his voice.  And could the lyrics be more nonsensical?  Damn.  Its still pretty good.     

 

The next song, Shadow Life, starts with the clean guitar and that singing through a paper towel tube effect.  It takes the edge of ole Myles.  I like it.  And now it's gone.  Again what fuck is this song about?  This bridge is giving my ear canal an aneurism.  He sounds like Ethel Mermem crossed with Daughtry.  Eh.  Next.

 

Automatic Overdrive.  Big intro.  Beer time.  Damn I love Slash's writing.  And here comes Myles.  God, grant me the serenity to accept the things I cannot change.  My cat is making those "what the hell is this?" ears.  Best I can tell this is a poor metaphor for a horny chick.  Or a girl he's worried might overdose?  It's not really clear and the bridge isn't helping clear it up.  Holy shit.  I've never been so happy to hear a guitar solo.

 

Wicked Stone.  Slash understands what Rock N Roll is.  This grooves.  Myles is trying to suck it all out but it's standing tall.  Again, WHAT THE FUCK IS THIS SONG ABOUT?  If you turn it up loud enough it won't matter.  Slash is a guitar God and if you know his story you know how unlikely that is.  This is a good song.  

 

30 Years To Life.  Hmmm.  The vocals on the intro I actually like.  Then he starts singing normal.  This might be the best Slash record ever.  But Myles Kennedy won't let it be.  The chorus only bothers me because his voice makes my cochlea suicidal.  Lyrically its a pretty blunt story about being in prison and not wanting to be there.  Whatever.  My tympanic membrane is crying for Advil.

 

Bent To Fly.  Another slow song.  Cool intro.  Great sound.  And a low key Myles.  I like this.  Ah but the closer he gets to the chorus the more Myles-y he gets.  From what I can tell he wants his mom to know he's unique and has to do his own stupid shit and not the stupid shit the family wants him to do. 

 

Stone Blind. Clean guitar again.  Low Myles vocal again.  And then it kicks in and Ethel Daughtry is in prime form.  I just pierced my ear with a non sterile needle hoping it will become infected and drown out the vocals.  From what I can tell the song is about a girl who, while a horrible person, is so hot he is blind to how she drowns puppies.  Boy that solo is rippin' though.

 

Too Far Gone.  Gotta hand it to Slash.  Has he ever had a bad guitar tone?  But it's the same story.  Good until Myles sings.  Considering his history with singers I'm pretty sure attitude, willing to show up on time and take orders has more to do with Myles Kennedy being Slash's singer than his voice.  But what the fuck do I know. 

 

That’s about all I can take.  I don't see the point in repeating myself and I'm out of metaphors about ear pain.  Frankly if I take my Myles blinders off this record is pretty damn good.  Musically, Slash is killing it.  He's been "On Fire" for the last 5 years.  So if you like Slash and don’t feel like drowning puppies when you hear Myles Kennedy sing, you’ll probably like this.  And you should buy it.  From Amazon.  Use the Decibel Geek link. 


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Keyboardist Discussion with Gary Corbett - Ep156

No previous guest has garnered more attention (and controversy) to the Decibel Geek podcast than Gary Corbett. And this week, he's back for a different reason.

This week Gary Corbett returns to the Decibel Geek Podcast to join Chris and Aaron in a discussion of notable keyboardists throughout rock and metal history. In this long-form conversation, the guys point out some of their favorite keyboard players and favorite keyboard/synthesizer parts of songs throughout rock history.

This in-depth discussion with Gary Corbett also includes personal stories of Gary's involvement with keys throughout his life; from his early days of piano lessons at age 4 to his love for the British Invasion to the influence of prog-rock on him throughout high school and into his work from the 80's onward with artists such as Cyndi Lauper, KISS, and Cinderella

A lot of laughs, personal memories, and great music throughout this hour-plus discussion on keyboardists. Join Gary, Chris, and Aaron on a trip down memory lane.

Buy Music!

Bon Jovi
Cinderella
Cyndi Lauper
Deep Purple
Dio
ELP
Europe
Faith No More
Boston
Beach Boys
Mountain
Ozzy Osbourne
Procol Harum
Rick Wakeman
YES
Steppenwolf
Steve Winwood
Dave Clark Five
The Doors
The Who
Uriah Heep
Van Halen

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