Ohio’s Rubber City faithful were treated to another fantastic performance by the Tom Kiefer Band last night as well as an outstanding effort by opener L.A. Guns. Kiefer, who last played the classy Goodyear Theater in fall of 2019, had his band firing on all cylinders to the packed house.
The evening was started off by the hard rockers; Enuff Z’Nuff, but I unfortunately missed their set while travelling up to Akron. Shortly after finding my 11th row seats; it was the well known, Tracii Guns led, L.A. Guns that took the stage. To say that I was pleasantly surprised with their performance would be a major understatement.
For whatever reason, I’d never really checked out the band prior to last night. I’ve seen almost every band from the 80’s metal scene multiple times but had never had the opportunity to see L.A. Guns before; and if I’m being honest, I wasn’t familiar with them either. Guns is a well-known and well-respected guitar player in the metal community, but outside of being aware of him, my knowledge of the band was minimal. They have now forced my hand and my L.A. Guns phase will start in earnest after the performance that they gave as the support act.
I’d have never expected that they’d be so heavy. They were borderline too loud but got the place pumped up, as most of the spectators were standing during their set. Highlights included a Guns guitar solo with what appeared to be a violin bow, “Over the Edge”; “Never Enough”; and of course, their 1989 power ballad “The Ballad of Jayne”.
If an opening acts job is to get the crowd riled up for the headliner, L.A. Guns did that and then some. In between acts, the place was popping with plenty of buzz and the merch tables were packed. As usual, Chip Z’Nuff was at his band’s merch table taking photos and signing memorabilia for the Enuff Z’Nuff faithful in the crowd.
After a brief hiatus, the Tom Kiefer Band took the stage and ran through the Cinderella classics as well as a pair of songs each from their 2013 debut “The Way Life Goes” and 2019’s sophomore effort “Rise”. The newer tunes sounded good, as always, but it was the Cinderella anthems that kept the crowd on their feet, toe-tapping and fist pumping throughout the 14-song set.
Few performers are more obviously leaving everything they have on the stage than Keifer, which was apparent throughout the show, as his scream during “Nobody’s Fool” literally brought him to the floor. I believe that Keifer has found the sound that the Cinderella band was meant to have. During their hey-day Cinderella was often lumped with rest of the “hair” bands; criminally, I might add. They were always a great hard rock band and when you see his band perform now, there is no mistaking that this music was always more rooted in the blues than it was big hair.
All the things that you’d expect from a band of that nature are present. There are piano pieces and steel guitar. The women that provide the backing vocals compliment the thumping rhythm section and a pair of guitars; combining to make a much fuller sound than you get on the Cinderella records. I’d absolutely love for the current Tom Keifer Band to do a live release because they do true justice to the Cinderella catalog as well as their own music.
An underrated element to their live sound, is that the band appears to be having the time of their lives up on stage. Nobody wants to pay hard earned money to see a band phoning it in just to collect a paycheck. Both bands that I was able to see last night, were doing it for the right reasons and the crowd can feel that energy; and feeds off it. With Led Zeppelin nonexistent, and things quiet on the AC/DC front; I’m willing to say that the Keifer Band is the group that is best flying the flag for bluesy hard rock these days.
You’re in luck, too, Ohio; if you couldn’t make the Akron gig, they’ll be back July 16th in the Columbus suburb of Pickerington headlining the Picktown Palooza Festival with Faster Pussycat and L.A. Guns supporting. The concerts are included with a paid admission of only $5 and can be purchased here.
Tom Keifer Band Setlist 6/29/2022 Akron, Ohio
Touching the Divine
Night Songs (Cinderella cover)
Coming Home (Cinderella cover)
It’s Not Enough
Somebody Save Me (Cinderella cover)
Nobody’s Fool (Cinderella cover)
Fallin’ Apart at the Seams (Cinderella cover)
The Last Mile (Cinderella cover)
Don’t Know What You Got (Till It’s Gone) (Cinderella cover)
Surely one of the hottest touring packages of the summer, the Styx/REO Speedwagon co-headlining tour is well into zig zagging its way to and from large amphitheaters across the country. Last night they made a stop at Riverbend Music Center in Cincinnati. An announced crowd of over 16,000 packed the venue that’s nestled along the banks of the Ohio River, just east of the city.
Loverboy kicked off the evening with an abbreviated 8 song set to warm up the crowd. It was nice to see that the place was already packed. There weren’t many people still coming in when the opening act took the stage. That speaks to the strength of the bill for this tour. The fans, largely were there to see all three bands; and after two years of either no concerts or restricted ones, they made their presence known all evening long.
Queen of the Broken Hearts
The Kid is Hot Tonite
Lovin’ Every Minute of It
Hot Girls in Love
Turn Me Loose
Working for the Weekend
I’m not sure who was in charge of the schedule but that person deserves a raise. I’ve been to many big tour packages like this one where there is a half hour to forty five minutes between bands, killing the crowd’s fervor along the way. This was not the case last night. Fifteen minutes after Loverboy finished, REO Speedwagon was on the stage playing their first song.
REO will always hold a special place in my heart. They were one of the first live rock bands that I saw as a teenager, and they were the very first ones to give me reviewer credentials as an adult for a Columbus gig circa 2011. I’ve seen them many times all over the Buckeye State and they’ve always been a great live band. Last night was no exception. In fact, it may have been the best that I’ve heard them in a live setting. I don’t know if it was due to a couple years off of the road and the rest, or perhaps something else, but Kevin Cronin was certainly at his best on lead vocals. Their rhythm section of bassist Bruce Hall and drummer Brian Hitt are always the glue holding it together, and per usual really get to strut their stuff towards the back end of the set on songs like “Back on the Road Again” and “Riding The Storm Out”. Lead guitarist Dave Amato played through solo after solo with ease and the band’s ace in the hole; Neal Doughty on the organ and keys puts the polish on the classic REO sound.
I’ve got to say, though, that it was Cronin on this night that really brought REO to the top of their game. His voice and demeanor seemed rejuvenated and refreshed after the layoff and his absolute joy at being able to play live again was apparent throughout the entirety of the set. With him and Doughty both now in their seventies, and the rest of the band close behind; they played with an urgency and passion that could be felt among the enormous crowd and that further enhanced their performance. For a band that would typically be slowing down by this point, they’re still performing at the top of their game and certainly put Styx in a difficult position to close the night.
REO Speedwagon Set List
Take It on the Run
Live Every Moment
Can’t Fight This Feeling
Like You Do
Don’t Let Him Go
Time For Me to Fly
Back on the Road Again
Ridin’ The Storm Out
Keep On Lovin’ You
Roll With the Changes
As was the case before, Styx was on stage and playing roughly fifteen minutes after REO concluded. Perfect!
If there is any band that I’ve seen more than REO or Ted Nugent, then it is definitely Styx. I’ve been fortunate to review this band at least half a dozen times and I probably saw them half a dozen more before that. In fact, this is probably the fifth or sixth tour that I’ve seen them on with REO Speedwagon, as the two Illinois based groups are no stranger to playing together.
Like always, they raced through a set full of hits with pomp, but also were able to play some new tunes as well as one from 2017’s The Mission. As the years have gone by, Styx has continued to push forward with new music, which I believe keeps the band energized and invested in their performances. Their current release, Crash of the Crown, was represented three times and has been a commercial success already and the tracks were well received live as well.
While there has always been a vocal minority pushing for a reunion of sorts with original vocalist Dennis DeYoung, it is apparent that this is Tommy Shaw and James “JY” Young’s band these days. They’ve made the right decision for the band to stick with Lawrence Gowan. Gowan’s showmanship alone is rivaled by very few and his performances of both his and DeYoung’s tracks over the years truly drown out any calls for change. There is no disrespect intended, but simply, Styx’ epic performances of the past twenty plus years are due to the addition of their current, bombastic front man. It may be Tommy and JY’s band; but make no mistake Gowan often steals the show.
With Shaw and Young on guitars and vocals, they’ve managed to keep the Styx legacy alive, while also forging into new territory and remaining a relevant rock band fifty years later. Todd Sucherman’s chops on the drums are well known and Ricky Phillips has been holding down the bottom end on the bass for almost twenty years himself. As usual, original bass player Chuck Panozzo was able to join the band for a few songs as well and the band has added a third guitar player for the band. Will Evankovich, who produced the current album, apparently got on so well with the band that they’ve added him to the group, providing another layer to their wall of sound.
Styx shows, with Gowan and Shaw out front most of the evening, are a celebration of their back catalog and last night continued that long tradition. From new songs to classics, an iconic cover and a playful rendition of “Happy Birthday“, and deep tracks in between; the Styx machine shows no signs of slowing down anytime soon. 16,000 strong in the Queen City were thankful for that last night.
As a huge fan of bands like KISS, I’m no stranger to huge concerts that require a massive production to pull off. Sometimes, though, it’s refreshing to experience rock & roll, rhythm & blues in its rawest form in a sweaty concert hall where the onstage talent is truly working (and truly sweating!) to gain their still growing fanbase.
I’ve been on the Dorothy hype train since I first saw her music video for “After Midnight” (that’s still my favorite song of hers) several years ago and watching their performance on the tiny Jagermeister stage at Rock on The Range back in 2015. I have a mad respect for true, old school rock bands that grind to earn their way to the top. I saw that from this band the first time I saw them. I saw them a second time at the same festival on a bigger stage in 2017. There ascension had kind of been slow to that point, and they had every excuse to phone it in for that gig. They played early, on a chilly and rainy day; hardly ideal conditions to be excited to play to a hungover festival crowd. They absolutely brought it though and won me over again with a haunting rendition of “I Put A Spell On You” that was one of the highlights of the festival. I’m absolutely convinced that if/when that event returns to Columbus post-COVID, that this band will be gracing the main stage whenever they make their third appearance. So, that’s the backstory for my fandom with this band.
The LA based group returned to Columbus last night with a pair of hard rocking up and coming bands to a venue that I had not previously been to. The Bluestone turned out to be a perfect setting for the rock revival that took place last night. The concert hall is actually in an old cathedral and provided both amazing acoustics and an atmosphere that was just right for the evenings event. Afterall, Dorothy’s new record is inspired by a revival of their own sorts; both literally and spiritually.
All three bands were on fire. Outstanding musicianship was on full display and all three bands feature they type of virtuoso front man/woman that gives me hope for the future of the genre. These vocalists have the type of stage presence that demands the crowd’s attention. Both opening acts’ lead vocalists feature fellas with soaring vocals reminiscent of the heavyweights of the 70’s and 80’s; and Ms. Dorothy Martin’s vocal talent is as good as any live performer I’ve ever seen. It’s cliche these days to claim that “Rock is dead.” I would counter that with real rock & roll is alive and well if you know where to look.
The evening started with a quintet from California (minus one from Texas) called Classless Act. I wasn’t familiar with them before last night but they absolutely will not be a “warm up” band for long. They give me so much hope for what can be with hard rock. With a sound and performance that reminded me of what I imagine it must have been like to see bands like Guns N’ Roses before they became a radio band, they quickly won over the crowd during their abbreviated set. They even played a blistering cover of GNR’s “Civil War” that really brought the crowd to a frenzy. My fourteen year old daughter and I were towards the back of the concert hall, near the merch booth, and it was cool to see these guys mingle and sign autographs and take pictures with fans for the rest of the evening; when they weren’t going out into the pit and enjoying the other two bands that is. I’ll definitely be pulling for these guys moving forward and their debut album will be coming out on June 24th. If you weren’t able to catch them this time around, they’ll be back in Ohio for two stops as opening support for Motley Crue, Def Leppard, Poison and Joan Jett & The Blackhearts on their summer Stadium Tour.
The next act is one that I’ve been wanting to see for a long time. Orange County, California’s Joyous Wolf have long eluded me. I had arrangements to see them and review them at Rock on the Range one year and for reasons that I don’t remember, I missed their set. In all honesty, my group was probably having breakfast beers in the parking lot, and I may have forgot. My bad. Subsequently on their visits to Columbus I haven’t been able to get there. This quartet took the energy up even another level, led by the stage command of lead vocalist Nick Reese. My introduction to this group was when I was reading up on the bands that I wasn’t familiar with coming to that festival and I was immediately drawn to their bluesy rock sound and the antics of Reese. They lived up to the hype last night with a wall of sound and their front man doing flips on stage, diving into the crowd, and even doing the splits. Compared to their early live videos of six or seven years ago, we’re witnessing a band that is now really coming into their own as seasoned vets in the world of rock & roll with multiple records under their belts. Highlights from the set were “Fearless” and a mandatory crowd participatory version of “Mother Rebel“. They also could be graciously seen for autographs and photo ops at the merch booth after their set and well after the evening’s event concluded.
After a short while, the evening’s headlining act took the stage. I’ve long considered the Dorothy band to be the best kept secret in modern rock music as they’ve stayed largely underground to the “mainstream” rock & roll powers that be. Whatever that means and for whatever that’s worth. That best kept secret, however, is making its way out as the band continues to put out high quality jams and at this point are refusing to be ignored. Their current album, just released last week (I picked up my vinyl copy at the show last night), has them on the verge of exploding. Titled “Gifts From the Holy Ghost“, the record had been gaining steam before it’s release with the lead single “Rest In Peace“. The album, the group’s third, was featured less than I imagined it would be in the setlist from the night, but the songs that were played were very well received.
The motivations for this album have been well documented, and the songs have shown a maturity that only life experiences can create. She and her band are in a different place than they were on past records lyrically but continue to excel at their craft musically as a raw, bluesy hard rock band. While her stage presence and vocal talent demand the most attention; Martin also shows off the talented musicians in the group with numerous extended jams and a terrific drum solo towards the end of the set. I’ve long thought that they should be the next big thing, and now I believe that time has arrived. While her debut album may have been titled “RockIsDead” they’re certainly too good and at the forefront of a modern rock revival for that to be true.
The greatest metal album of all time turns 40 today! That distinction goes to Iron Maiden’s 1982 release; The Number of the Beast. While the band’s two prior releases are special in their own right, TNOTB saw them reach their full potential and kicked off a run of classic albums that would dominate the rest of the 1980’s.
Featuring the genre’s best bass player, founding member Steve Harris, this record saw the band go from supporting act to headliner around the world. It would be the last one with drummer Clive Burr but the first with former Samson singer Bruce Dickinson. The album is Burr’s finest accomplishment on the sticks and Dickinson’s voice transitioned the band from more of a amateur hard rock outfit to something entirely different but meeting Harris’ vision for the group. Soaring vocals that rivaled those of Ronnie James Dio and Rob Halford took them to new heights. Childhood friends Dave Murray and Adrian Smith traded off guitar solos on the record and again combined with Harris to form the signature “Maiden gallop” that their songs are still known for to this day.
The frightening album art, along with it’s title, unfortunately led to the record being pigeonholed as some sort of devil worship. Perhaps the creative lyrics went over the heads of many critics of the time, but the stigma was attached to the band for several years. The record led the band to fall victim to folks burning and smashing their albums and protesting their concerts in the United States. Nonetheless, all of the extra attention caught the eye of teenagers looking for something different and was a commercial success. It became Iron Maiden’s first record to reach the Top 40 on the U.S. Billboard Charts. It produced two iconic singles in “The Number of the Beast” and “Run To The Hills” and was certified Platinum in the U.S. and virtually everywhere else in the world. This band has sold over 85 million records and 20 million of those were just this album alone. Its staying power and longevity speak for itself.
I discovered the record as a thirteen year old coming of age moron in roughly 1999, while going through my dad’s old cassette collection. Remember cassettes? I was immediately drawn to the cover art; as any thirteen year old boy probably was back in 1982. Upon placing the cassette in my stereo I was greeted with the heaviest thing I’d probably ever heard to that point. Invaders doesn’t have some melodic, build up intro like the more modern Maiden songs do. From the first note, it is an in your face metal onslaught. Most metal bands in the 80’s were making songs about girls and parties. Not Maiden. Invaders tells the tale of some ancient Saxons being invaded by and falling victim to Norse Vikings. Probably not the type of music that was popular with the chicks but nevertheless the type of music that would inspire future metal titans like Amon Amarth and Sabaton.
The second track is one of the album’s absolute gems and has the aforementioned type of intro that the band would become known for. Children of the Damned starts off with a melodic intro and was inspired by the TV show Village of the Damned. The song starts out nice before transitioning into a heavy metal classic that showcases the band at their peak. Rarely played live, I was able to hear it performed in Detroit on the Book Of Souls World Tour in 2016.
The next track is The Prisoner which was based off of the British TV show of the same name. It’s another song that is rarely played live, but I was fortunate enough to catch it in Indianapolis in 2012 during the Maiden England tour. The song was inspired by a character in the show who is taken hostage in a village that might seem to be too perfect, but in actuality is a prison as there is no free thought or freewill.
22 Acacia Avenue is another underrated masterpiece that is probably due to it’s lyrical content; but as a song it flat out jams. The song is a sequel to an earlier song about the band’s favorite made up (or was she?) lady of the night. First appearing in 1980’s Charlotte The Harlot, this song tells the third person view of her life before the narrator ultimately rescues her from her life of sin. In Charlotte the Harlot, the song is much more upbeat and has a very punk rock vibe to it. However, in 22 Acacia Avenue, the corner she works on and the song warns of the dangers of the lifestyle she has chosen on the streets. I hope that someday I will hear this one performed live.
Then comes the aforementioned, controversial title track. Contrary to popular activist beliefs at the time, the song is not an ode to Lucifer. Rather, the song is the reflection of a nightmare that Steve Harris had after viewing the sequel to The Omen. A quick look or listen to the lyrics could have calmed a lot of the outrage that this song created. Rather than running from it, the band embraced it, and rode the momentum of this moment all the way to the bank and then some. This was the second single released on the record and it has become one of the defining songs in the history of heavy metal. They’ve played this song on every tour I’ve seen them play.
Run To The Hills was the first single from the record and is probably the most popular and well known song from the band, at least here in the States. On the very rare chance that a radio station will play any Maiden music, you have about a 95% chance of it being Run To The Hills. From the catchy intro and piercing vocals the song was an instant hit and is usually in the set list when the band tours. The song is a back and forth tale from the perspectives of both the Native Americans and their conquerors from Europe. It’s an absolute metal classic.
Arguably their most popular song is followed by the “weakest” track on the record. Gangland isn’t necessarily a bad song but it doesn’t seem to fit. Written by drummer Clive Burr and guitarist Adrian Smith, it is from the perspective of life dominated by organized crime. Again, it isn’t a bad song, but when placed next to the song that it replaced on the album you can see why Steve Harris now believes they made the wrong choice. However, now knowing that this would the last album to feature Burr on the drums, I believe he delivers one of his all time best performances in this song. So, while the song isn’t catchy nor all that memorable in the Maiden catalog, it does show Burr going out in his prime with one of his best performances.
Total Eclipse was initially left off of the album and was instead used as the B-Side for the Run To The Hills single. This was the decision that Harris regretted. It’s a much stronger song than Gangland and would have been better served on the record. When the album was remastered and re-released in 1998, it was added as it should have been to begin with as it is a great straight ahead metal jam. I’d love to hear this one live.
The finale, as is common with this band, is the strongest track on the album. I’ll go further. I will opine that this is the greatest heavy metal song ever written. Throughout their career Iron Maiden have been known more so for their massive “epics” than their singles. They’ve released some doozies, like Rime of the Ancient Mariner, Phantom of The Opera, and Seventh Son of a Seventh Son. The crown jewel of them all, though, is Hallowed Be Thy Name. It is the one that closes most Maiden shows. I assume this is because it is too good to follow with something else. Lyrically, it tells the tale of a man that is awaiting death at the gallows and the reflection of his life during his final moments. The song has everything that a heavy metal song should have. It’s got a build up intro. It has, arguably, Dickinson’s finest vocal performance. It features the classic Maiden gallop and twin guitars trading off masterpiece solos. Burr’s drums and Harris’ bass play are out of this world as well. All metal songs since and in the future should be measured against it and THAT alone is the deciding factor in making this the greatest metal album of all time. It would still be considered an all time classic without Hallowed, but its presence elevates it to the #1 slot in my not so humble opinion.
Cheers and Happy Birthday to The Number of the Beast.
It had been a very long time coming, for me to attend a real, full production concert. Actually, it had been 21 long months since my wife and I saw Korn and Breaking Benjamin in Columbus, before the world came to a screeching halt. As 2021 has progressed, I’ve been able to see some really good tribute bands and a couple weeks ago I was able to catch a small scale concert from 80’s rockers Great White. The lineup for yesterday’s final day of the Louder Than Life Festival in Louisville was too good to pass up and was just what I needed.
The Wife and I had planned to be down to Louisville in time to catch The Hu and Skillet but unfortunately, for us, Cincinnati happened. I’ve been driving for a lot of years. Never in my life has there been a casual drive through Cincinnati. I don’t know what it is about that town, but traffic delays there and between Florence and Kentucky Motor Speedway added considerable time to our voyage, unfortunately putting us there at the end of Skillet’s set.
Having been to many other Danny Wimmer Presents productions in the past, we explored the grounds for a little; making comparisons to Rock on the Range/Sonic Temple Music Festival. Concession prices were quite steep, but the atmosphere was great. More relaxed than some other festivals I’ve been too, we were able to make our way fairly close to one of my favorite bands, Sabaton. As they have each of the other three times I’ve seen them, they were phenomenal. While my wife couldn’t really see much, I’m hopeful that I was able to make a fan out of her. Joakim Broden and the boys from Sweden raced through a ten song set of most of their biggest hits as well as their new single. Virtually between every song, the band would pause long enough to let the deafening “Sabaton!” chants die down. As always, one of the best performances of the event.
From there we went to the main stages area to see the rest of Breaking Benjamin, who had started before Sabaton had finished. As always, BB sounded great and it was fitting that we were able to see some of them in our first big concert, since they also played at the last show we had gone too 21 months ago.
After Breaking Benjamin finished up, it was on to the two main stage headliners for the evening. The festival could not have nailed it much better either. Judas Priest, one of the founding bands of heavy metal, are touring on their 50th anniversary. Sadly, they were only allotted a one hour time slot, which is just way too short for a band of Priest’s stature. Halford and the band were firing on all cylinders; albeit with some curious setlist choices, it did me good to see so many young people witnessing this band probably for the first time. The scream in “Victim of Changes” is still one of, if not the, best screams in heavy metal history.
Judas Priest Set List
One Shot at Glory
You’ve Got Another Thing Coming
The Green Manalishi (With the Two Prong Crown) *Fleetwood Mac cover w/ Kirk Hammett
Victim of Changes
Hell Bent for Leather
After a short break, the main event of the festival took the stage for the second of their two headlining appearances of the weekend. Saying they had something special planned would be an understatement, as they played their self titled “black” album in its entirety. I’m not one of those people that says that Metallica sold out with that record. I’ve always thought that was a lazy take. Is it my favorite Metallica album? No. That would probably be And Justice For All. But, what the “black album” did for metal music cannot be ignored. It is the defining record that made metal acceptable in the mainstream & it has many songs that flat out jam. Is it thrash? No. Is it heavy metal? Yes.
As the band is celebrating the thirtieth anniversary of that record it was pretty cool to see the album played in its entirety in reverse chronological order. It’s my wife’s favorite record by the band also, so that was a cool moment being able to share that with her; at her first Metallica show. The band sounded fantastic as always. Some people might complain because it’s the edgy take, but DWP will never fail to sell out a festival when they’re able to secure the biggest metal band in history to headline his shows. Period.
A brutal July has come and gone in regards to the untimely passing of several members of some of rock’s biggest bands.
On back to back days, July 14/15, bluesy hard rock band Cinderella lost two members of their band family. On the 14th, guitarist Jeff LaBar was found deceased. Unfortunately, hours later on the 15th they were made aware of the passing of long time touring member Gary Corbett had also passed away from lung cancer. LaBar played on each of Cinderella’s records and Corbett had been their long time live keyboard player. I’ve long maintained that Cinderella was the best and simultaneously most under rated of the “hair” era bands. I was fortunate to see the band perform live twice before their long time hiatus.
Days later on the 17th, long time Kansas violinist Robby Steinhardt passed away from pancreatitis. He hadn’t been a performing member of the band in quite some time, but during the band’s hey dey was credited for his violin work and being the co-lead singer of the band. Their frequent use of violins in rock songs, gave Kansas a sound that was fairly unique to them.
Unfortunately, on July 26th the losses would continue, and this time would hit the metal world hard. Former drummer of and co-founder of Slipknot Joey Jordison would pass on. He had been ill for awhile and it appears that he died in his sleep. Jordison, who cited Keith Moon (The Who) and John Bonham (Led Zeppelin) as influences of his, had won many awards for his drumming talents. These included being named the greatest drummer by the following publications: Rhythym magazine and Loudwire. He also won the Drummies Award for Best Metal drummer in 2010.
That same day, metal vocalist Mike Howe, of Metal Church took his life at age 55. He was the bands second vocalist, manning the microphone from 1988-1996 and again from 2015 until the time of his death. At the time of his passing, the band had been working on a new album.
One day later, the rock world would lose a true titan in ZZ Top bassist Dusty Hill. Hill, had recently left the road with some hip issues and had asked their long time guitar tech to cover for him. It appears, at least for the time being, that the band will continue on with this lineup as Billy Gibbons has said Hill asked for the band to carry on. Top’s most impressive feat had been that the Texas three piece had never had any lineup changes since their formation in 1969. As one of the longest running and stable rock bands in history, tributes and condolences poured in from throughout the rock world. ZZ Top, with Hill holding down the bottom end, were able to maneuver as a blues band, a southern rock band and in the eighties as one of the most commercially successful pop-rock bands with a slew of iconic music videos during the rise of MTV.
I was fortunate to be able to see ZZ Top twice. They were the first band to headline the Rock on the Range festival in 2007. The festival would go on to become the biggest rock festival in the United States before becoming the Sonic Temple festival in 2019. That first year ZZ Top closed the night and I recall being impressed as I was close enough and could see members from several of the newer bands of that time (Evanescence, Buckcherry, Hinder) standing to the side of the stage in awe of the icons performing in front of them. Icons.
Live music is coming back, and it’s a beautiful thing. While last night’s show featured a trio of high quality tribute acts, even the big tours are starting to get the wheels rolling towards big shows as well. The concert last night was at a new, to me, venue that exceeded my expectations. What they’ve got going for them first and foremost was excellent hospitality. I’ve had VIP at both The Newport and ExpressLive (or whatever it’s called these days) and never been treated as exceptionally as we were last night at The King of Clubs. While this new venue is in a tough part of town like The Al Rosa Villa was, they’re offering something that the rest of the city hasn’t for quite some time. Just being frank, compare the largely utter garbage that The Newport and Express Live are booking compared to The King of Clubs and you’ll see why I have hope for this place. The joint is being ran by a heavy metal vocalist and the talent they are booking are filling the demand for hard rock and metal fans in the 614. The former Al Rosa was not only in a tough area and it was cramped; and while we all have fond memories there, this new venue appears set to offer the same music but with more space and much superior hospitality. They’re pushing this narrative at The King of Clubs, where they are going to be Ohio’s finest entertainment venue and everyone is treated like royalty. Well, to my surprise, they delivered on all of the above. I want to see this venue do well and the surrounding area come up with it.
The opening act were Sweet Leaf, a Black Sabbath and Ozzy Osbourne tribute. They were a fun way to kick off the night and until you hear these songs live, it’s easy to forget just how heavy Sabbath really was. In today’s world of growling vocals and muddied distortion, what was once considered heavy could be forgotten. Not the case with Sabbath though. Those old, doomy riffs still hit today. Their lead singer and Ozzy lookalike took time to take a photo with my daughter who was with us celebrating her 14th birthday to see the evenings headliners. Much appreciated.
Sweet Leaf set list
I Don’t Know (Ozzy cover)
Sweet Leaf (Black Sabbath cover)
Bark at the Moon (Ozzy cover)
I’m a Believer (Ozzy cover)
Crazy Train (Ozzy cover)
Suicide Solution (Ozzy cover)
Paranoid (Black Sabbath cover)
N.I.B. (Black Sabbath cover)
War Pigs (Black Sabbath cover)
From there we’d be treated to the Steel City Crue, who came from Pittsburgh to bring the Motley Crue goods to Columbus. When people think about or listen to Motley Crue music, I think the general consensus is fun. At least for me, I just think of good times, anyway. These guys went the extra yard and the entire four piece looked and sounded like their counterpart from the real Crue. That’s what the people want. When they go to a show like this, they want it all. It was my first time seeing either of these opening acts and they both exceeded my expectations. Steel City Crue didn’t only focus on the radio hits either, and made sure to play some of the old, heavier Crue as well; which was very well received. They also made sure that everyone knew that they were from Pittsburgh so they also didn’t like Penn State and of course did the obligatory “O-H” “I-O” back and forth with the crowd.
Steel City Crue set list
Shout at the Devil
Take Me to the Top
Home Sweet Home
Looks That Kill
Ten Seconds to Love
Kickstart My Heart
Smokin’ in the Boys Room (Brownsville Station cover)
The headlining Iron Maidens were making their King of Clubs debut as well. The two previous times that I’ve been able to catch them were at The Al Rosa Villa. While they are credited with being the ‘World’s only all female tribute to Iron Maiden’; their gender really is irrelevant to their musical abilities. As a Maiden die hard, it’s cool to see chicks that even like Iron Maiden and the fact that they are excellent musicians is the icing on the cake. Just don’t get hung up on the “female” part as a gimmick. It is not. These ladies flat out rock. Nikki Stringfield and Courtney Cox trade guitar solos throughout the show and pack the Maiden punch. Kirsten Rosenberg hits Bruce Dickinson’s high vocal notes and even takes them up another couple levels on her screams. The backbone to both Maiden and their counterparts in this tribute band operate at another level. Wanda Ortiz’ right hand is a blur on the bass as she holds down the Maiden gallop and Steve Harris’ rhythms and Linda McDonald seemingly had all four of her limbs in constant motion for the entirety of the set on the drums. Fantastic as always. And in a time when most of the big tours haven’t returned yet, and the uncertainty of the industry, these high quality tribute acts bring much needed live music to concert craving fans.
Small venues are cool. In the mezzanine was a VIP lounge where the girls were prior to the show. It appeared that they briefly may have had a Spinal Tap moment in not being able to find their way to the stage, which I genuinely hope was the case as I love that movie. My daughter was able to get a fist bump from Courtney after the show and seeing her smile and enjoying these songs with me, the same way that I’ve enjoyed hearing these songs live with my dad, made me a happy man.
Prior to last Saturday night, the last show I’d been able to attend in person was KORN and Breaking Benjamin in January 2020. Those of you that know me, know that going over a year in between concerts is not really a thing. Alas, that is the world that we’ve been left with after the ongoing pandemic.
Much to my delight, some smaller venues are starting to host socially distanced events again, and I was quite pleased to be able to catch a band that’s been on my radar for a few years. Still Life, an Iron Maiden tribute band based out of Columbus, and their friends from Sanitarium (a local Metallica tribute) were booked to play a gig in Dublin. I had previously caught Sanitarium once before at the Al Rosa Villa as one of the opening acts for The Iron Maidens a few years back. On that same bill was a local Judas Priest cover band which is how I heard about Still Life. For whatever reason, I hadn’t been able to catch them until now.
And how fitting would it be, that my first live show since the pandemic, would be two tribute acts playing songs from two of my favorite bands; Metallica and Iron Maiden.
Sanitarium kicked off the night with a set that primarily focused on the 80’s thrash era of Metallica’s catalog. While their set was shorter than I’d have liked and I would have liked to hear some songs from each of the bands albums (minus St. Anger), time was limited and they kept it to the classics. The band sounded great, played the songs true to form, and had the packed crowd headbanging and singing along throughout the entirety of the set.
Before moving on to the evening’s headlining act, I’d like to shout out the venue. It was the first time my wife and I had ventured to Last Call Music Bar and Grill and we were quite impressed. The women that made up the wait staff that night were fantastic to us. Our table was visited at least every fifteen minutes throughout the evening. Drinks and food were served with a smile and the hospitality was fantastic.
After briefly sound checking with 1982’s The Prisoner or Invaders (I don’t recall, just was surprised either way), the stage appeared to be set for the main event. Now, and this is being picky, the person controlling the house music has to know that it’s criminal to play anything other than U.F.O.’s Doctor Doctor as the last song before Maiden or its tribute brothers and sisters take the stage. But I digress.
As far as Maiden tribute bands go, I’ve seen three, this quintet might have been my favorite. From song choice and musicianship they were top notch. Post-gig we were able to mingle a little with lead singer, Rachl Raxx Quinn, who admitted to having to shake off some rust as the band hadn’t been able to play out in quite some time. Metalheads may also recognize her from her work in Graveshadow, a self described symphonic metal band from Sacramento that I’ve been listening to since speaking with her.
As stated, after brushing off some early rust, she and the rest of the band were on fire for the entirety of the night. Maiden is not an easy band to play or sing. The musicians sounded flawless and Quinn’s vocals hit the high notes of the Air Raid Siren himself. They raced through a set that almost entirely consisted of the 1982-1988 Bruce Dickinson era of Iron Maiden. This was a popular choice, as that era had a run of five albums that are essential to all Maiden fans. They completely ignored the Blaze Bayley era of the band in 90’s and only played one song since the “classic” lineup returned in 1999. If they do venture into any of the 90’s material, I think Quinn’s pipes could do a monster rendition of Lord of the Flies (the Bruce version from Death on the Road of course) as well as a great many of their post-reunion songs. Alas, this is the struggle of trying to contain a band with Maiden’s catalog into one concert set. You, quite literally, can’t please everyone.
Even so, the set had a great pace and the song choice was varied enough between staples and deep cuts that surely everyone left happy. I know that I was certainly stoked. I got to take in some live music. Iron Maiden music at that. It was a great night! Concerts are back! As a proper Maiden concert always ends: “Always look on the bright side of life….“
After a 2020 that was devastating to music lovers around the world, perhaps it’s time to look forward a little bit. 2020 saw live music come to a screeching halt. We lost rock legends like Neil Peart and Eddie Van Halen. I don’t think anybody knows with any certainty what will happen when it comes to live music; but some gigs are being scheduled and the Rock & Roll Hall of Fame has released it’s annual list of nominees. These will ultimately be cut down to a group of five or so for induction.
If diversity is what you’re looking for, we’ve got quite the list of nominees to choose from this year. My lack of faith in the powers that be at the R&RHOF is no secret. For crying out loud, Ted Nugent is not in there. Styx is not in there. And I could go on and on. For the sake, however, of this list; let’s assume that “rock & roll” does in fact encompass all genres of popular music and that all genres matter. Who should make the cut? Who should not? Outside of my favorite band, Iron Maiden, finally getting a nomination; this list is not real awe inspiring. It’s also not really a list that is friendly to what can traditionally be defined as rock music for an institution that is supposed to cater to rock music. After having a few weeks to ponder on the nominees; these are my thoughts.
The no-brainer is the aforementioned Iron Maiden. The metal legends have been eligible since 2004 and are just now being nominated for the first time. Getting Metallica and Black Sabbath in as the only metal bands inducted thus far has to help. However, the recent failure of the deserving Judas Priest twice in the past five years also gives reason to not trust the Hall to do the right thing. Iron Maiden is one of the pioneering bands of the “New Wave of British Heavy Metal” from the early 80’s that helped pave the way for bands like Saxon and were a direct influence on classic metal bands like Metallica, Megadeth and Iced Earth as well as more modern ones like Sabaton and Amon Amarth. Outside of KISS, there is probably no other band that is as marketable as Iron Maiden. Their live shows are a spectacle to behold and the 85 million albums they’ve sold with little to no radio or TV support make them the grassroots heavy metal champions of all time. This band is bigger now than they were in their 80’s heyday. Do the right thing R&RHOF. I know you haven’t been historically kind to including metal bands but this one should not even be up for debate. Although, with their denial of Judas Priest recently, I won’t hold my breath.
Tina Turner comes in next. She’s already in the Hall of Fame for earlier work, while this nomination focuses on her as a solo artist. She has had a hit song in seven different decades. Few artists, past or present, have the stage presence that she does as a performer as well. Her solo music is kind of all over the place, but her roots are in rock & roll, rhythm & blues and at the end of the day she has sold over 100 million records. She once held a record for the largest paying audience for a solo artist at over 180,000 fans. She should join Stevie Nicks as the next woman to be inducted a second time.
The Foo Fighters are an intriguing candidate for induction. Front man Dave Grohl is like the biggest rock nerd in rock history, even bigger than myself. Even with his outspoken politics aside he seems like one of the most down to earth guys as well. A common man’s rock star perhaps. Is his band groundbreaking? Probably not. Can you definitively say they have changed rock music? No, not really. However, over the scope of their careers, they have maintained their status as one of the biggest rock bands in the world. There hasn’t really been a dip in their popularity. They still fill stadiums to this day. Their live performances are phenomenal. The ability to replicate what you are selling live should matter and they absolutely are a better live band than they are a radio band. The album sales are there. The live show is there. The staying power is there. I would include Foo Fighters and Dave gets in for the second time after previously being inducted with Nirvana.
Up next is Fela Kuti. While his music is not rock & roll, per se, he was a pioneer of the Afrobeats genre; blending jazz, funk, psychedelic and traditional Nigerian music to create his sound. His legacy to this music is second to none on this list of nominees. For that alone, he should be on the shortlist to be inducted.
Carole King has written 118 songs that have made the Billboard Charts. But, she is already in the Hall of Fame as a songwriter. Should she get in, this time, as a performer? That’s where the debate comes in. She is considered a soft rock artist and she’s got the career to back it up. It may not be my cup of tea, but you’ll get no argument here if she is inducted.
Dionne Warwick isn’t really a rock singer either, but the woman has charted 56 Hot 100 pop singles on the Billboard Charts.But her very early music contains a lot of the same elements that became rock music later on. She meets that credential as well as her staying power. If being exclusive to rock is not a prerequisite for inclusion, it’d be hard to argue against her.
Rage Against the Machine are another tricky candidate. They are relatively newer for induction. Their blending of metal and elements of rap and hip hop would pave the way for the future genre that became nu-metal and featured bands like Limp Bizkit and Korn. This is the third time they’ve been nominated, but their outspoken politics that carry weight in the music community could finally carry them over the threshold this year. I’m not convinced that the music does that for them. While they made some impact, they were a band for a relatively short period of time and their album sales aren’t overly impressive. I’d be fine with them getting in and completely indifferent if they don’t. Artists like Ted Nugent and even Kid Rock have been much more impactful for a longer stretch of time and won’t be nominated, simply because they have the wrong politics. Bands like Korn and Limp Bizkit were bigger than Rage but will likely not ever be nominated either. My beef isn’t really with RATM, it’s with the fact that they are largely only being force fed as a nominee due to their “message”.
Since the precedent has been set with rap artists being inducted into the Hall of Fame with the two kings of rap 2-Pac and The Notorious B.I.G. both recently being inducted, I’m inclined to hear arguments for Jay-Z. While, nowadays, he’s more well known for riding the coattails of his wife and kissing Barack Obama’s butt, Jay-Z was one of the next wave of rappers that ushered in the post-Biggie and Pac era of rap. His album The Life and Times of Shawn Carter: Volume 2 was a huge success and spawned several hit tracks. He has sold nearly 40 million records, which puts him higher than most of the people on this list. I’m a staunch anti-rap in the R&RHOF guy, but since we’re already doing it, this is one that makes sense.
The Go-Go’s were a new wave rock band formed in the late 1970’s. They were the first all-female band to top the Billboard charts. Rare and groundbreaking, check. Outside of a few years of popularity, though, they miss the mark as far as staying power and their album sales aren’t huge. I won’t protest their induction, unless it comes at the expense of Iron Maiden, but they would be a borderline inductee for me.
Todd Rundgren has also been nominated twice before. His biggest influence has been as a music producer. His solo career has been very long and experimental, but not necessarily groundbreaking. Thankfully, he’s not bothered by the Hall of Fame, because I’m not sure that the third time for induction is a charm for him either.
The New York Dolls were an early underground band that were heavily influential on early glam bands like Twisted Sister. One of the first punk bands on the scene, their time was fairly short lived and really achieved no success commercially. Their biggest impact is more likely to have come from the bands that they influenced. I won’t complain if they get in, but also won’t cry if they don’t.
Rapper LL Cool J gets nominated, seemingly, every year. Every year he doesn’t get in. While he was cool when I was a kid, and I actually prefer him as an actor, I don’t think he makes it. I’m still not convinced that rap should be included in this Hall of Fame and if it does he doesn’t quite make my very short list of those who should.
R&B artist Mary J. Blige has been nominated as well. Dubbed the Queen of Hip-Hop Soul with her ability to blend rap and R&B, you’d be hard pressed to find another female artist that has been as instrumental to modern day rap music than Blige. Ultimately, I don’t believe she should be inducted into the rock hall of fame, but an R&B one without hesitation.
Akron, Ohio’s Devo were another new wave type rock band that had some radio success but are a fringe candidate for induction. They’ve been around since 1973 but are largely known for one song. I do not anticipate them making the cut.
Oh, Chaka Khan. I feel like she’s been nominated like eight times and never gotten in. While she may be the Queen of Funk, and funk is much more related to rock than some of the other stuff in the Hall of Fame, there aren’t many artists that I could be more indifferent to. She doesn’t move the meter for me. Maybe she’ll get a lifetime achievement award or something.
Pop star Kate Bush rounds out the group of this year’s nominees. She’s a pretty big deal on the other side of the pond in England, her home country, with many charting songs but isn’t necessarily a household name here. That doesn’t disqualify her, necessarily, as it isn’t the American Rock & Roll Hall of Fame. With that said, however, I do not anticipate her being inducted. To each their own, but, no.
Sound off in the comments! Let me know what you do or don’t agree with. Who’s too high? Who’s too low?
It’s been ten years since the heavy metal world lost one of it’s greatest icons. By all accounts from those who knew him, Ronnie James Dio was one of the “good guys” of rock & roll. When I first began my journey into discovering heavy music, I was well aware of “Rainbow in the Dark” and “Holy Diver” from my VH1 Classic video binges. And I certainly knew of the kickass “Man On The Silver Mountain” from all of the classic rock radio that I listened to.
It took Ronnie’s passing for me to dig deeper into his career. I knew that at one point he fronted Black Sabbath, but wasn’t familiar with that incarnation of the band at all. The day that Dio died, a friend of mine that was a big fan, had a memorial style bonfire/celebration of music with myself and a couple other friends. It was that night that I heard “Heaven and Hell” for the first time.
In the following weeks I was able to start piecing together the rest of his career and found a lot of amazing music. But more importantly, I began to see how much he meant to so many other bands and the metal community in general. One of my favorite memories of seeing Iron Maiden that summer was when they dedicated “Blood Brothers” to Dio’s memory.
On the Mount Rushmore of heavy metal vocalists, Dio is firmly on there with Dickinson, Halford, and Ozzy. Fully aware, now, of his legacy on heavy music; I present to you my ten favorite tracks in the Dio catalog.
#10. The Mob Rules (Black Sabbath – 1981)
#9. Stand Up and Shout (Dio – 1983)
#8. Neon Knights (Black Sabbath – 1980)
#7. Last In Line (Dio – 1984)
#6. Children of the Sea (Black Sabbath – 1980)
#5. Stargazer (Rainbow – 1976)
#4. We Rock (Dio – 1984)
#3. Holy Diver (Dio – 1983)
#2. Heaven and Hell (Black Sabbath – 1980)
#1. Man on the Silver Mountain (Rainbow – 1975)
And there it is. While it was hard to leave off songs like “I” and “Rainbow in the Dark”; this was ultimately what I narrowed it down to. Share your thoughts in the comments if you agree or disagree. More importantly, add these iconic tracks to your playlist!