Some bands really take their time to record. When it comes to Renegades, these songs were written back in 1985 and recorded in 2016. 29 years! Must be a record. To be honest, listening to the music, I barely notice the difference. Another proof it all moves in circles. Timesless music, indeed! Sure, lyrics like Meet Us Backstage oozes of juvenile innocence (or Steel Panther influences). The song itself sounds quite Mötley Crüe influenced. It actually sounds really good! Singer/guitarist Valentin Pecovnik was previously in the band Joke and has also been part of the internet project band Hellvalla Burn. Queen Of Pain is another nice slice of glammy 80s style melodic metal that should attract fans of bands like Poison, Crüe and Steel Panther. The band features, besides Valentin, lead guitarist Mikael Ahlqvist, bassist Per Runfors and drummer Richard Svensson. Really good, crispy, still tight production, too! Good stuff, indeed!
Swedish metallurgists Eternal Fear presents their fifth release, this time mixed by Blaze Bailey guitarist Steve Ray, and I do think this is the band’s best product when it comes to the production. The band mixes influences from classic heavy metal with touches of both Manowar, Metallica, Maiden and even some Falconer. It’s heavy and crushing, but Ove Johnsson’s vocals are neither your traditional high pitch power metal style, nor the Metallica style grunting. He’s somewhere in-between, melodic enough to attract the power metal fans and rough enough to attract the metal fans. Musically it’s sort of the same thing. Heavy enough, yet melodic enough. Songs like Black Country even verges on thrash but the vocals keep it on the metal side of the border. Killing Time takes it to Trouble territory, almost a bit doomy, while Halls Of Odin screams folk metal, a bit like Falconermeets Sabaton but with good vocals. A good piece of Swedish steel that should attract fans of… well… metal!
I heard the Eddy Malm Band demo several years ago and liked it so much I wanted to include a demo track on the compilation for my latest encyclopedia. According to the liner notes on the CD this track was what made No Remorse pick up the band, which makes me happy and proud! So, yes, I am happy the album is finally out! It’s funny, I was expecting Heavy Load, but what I hear is more of Eddy’s band prior to Heavy Load – Highbrow, and that makes me even more happy. To be honest, I was a bigger fan of Highbrow than of Heavy Load. It’s not really raw, raunchy and brutal, but quite clean and melodic, and I really like that! I’ve also always been a fan of guitarist Per Hesselrud’s guitar playing, even though it has mostly been displayed in his quirky bands Bosse and IFK Doom (a hilarious band where they do Sabbath songs in Swedish). The rhythm section featuring drummer Mike Kerslow and bass player Tomas Malmfors is tight as a rat’s ass. I Had Enough is a straight ahead classic rocker, closer to AC/DC than Heavy Load, while Turn It Down sounds like it was written for Highbrow. Nasty Woman slides in closer to the classic NWoBHM era. Heavy Load fans will most likely recognize track #6 – a new rendition of Dark Nights from the Heavy Load Metal ConquestMLP. It always tough to record a new version of an old and well-known track, but I like the heavier punch to the new version (and, did I mention I like Per’s guitar playing?). The boogie-oriented Get Out Of Here again takes us back to the NWoBHM era and bands like Saxon, Maiden, Chevy and Dedringer. Danger is a cool stomper where Eddy shows he hasn’t lost his vocal power from the 80s. Next is yet another re-make, this time the A-side of the first Highbrow single from 1978, A Loser. A really great version, actually, except for the weird clicking sound (echo??) in the chorus, which I don’t really get. The album finished with the heavy rocking title track. A really good album indeed!
Label: No Remorse
Sweden’s rock n roll machine #1 is at it again! They are definitely one of the best live bands in Sweden, no doubt. The energy, power and joy is only surpassed by Aussies Airborne (Well, f**k they surpass EVERYONE!!). The band’s new album, Flamescontinues in the old tradition with the, not surprising, lovely shameless vintage AC/DC flirts, such as Smoke And Fire and Bottle Of Jack. But, there’s way more to the album than that. Take a track like Power Down, which shows a new side of Bonafide, with a nice blues-quirky side with nice little twists and turns. Absolutely love that track. Pontus Snibb is not only a first-class singer, he also treats his six string with love and emotion, which definitely shows in his geetar majik in this track. The lack of brutal metal distortion is compensated with nice punchy bass guitar, a proof that heaviness ain’t just about the amount of distortion, but about the entire package and what the joint string forces create together. A power pack! Another cool surprise is the soul oriented influences in tracks like Written In Stone, which made me think of The Black Crowes and some vintage Skynyrd, also in the cool harmony guitar part. Keep A Safe Distance is another cool stomper which I think will go down well live! It’s only rock and roll, but I like it, yepp, I do!
Label: Off Yer Rocka
Swedish hard rockers Skull Parade (featuring former Treasure Land bassist Magnus Lind) released their debut in 2014, a pretty good debut indeed. The follow-up opens with a kick ass quirky hard rocker entitled Nightmare, which makes me think of both Dizzy Mizz Lizzy and TNT in their “Transistor” era. Nice melodies and cool guitar playing. Drained continues in the quirky vein with some really cool and odd chord changes. If you’re into bands like Galactic Cowboys and Matches For Maggie (sure, you wouldn’t know about them, would you?), these first two tracks should be right up your alley! Beyond Protection almost draws a bit on thrash or US power metal. Not a huge fan of the vocals in this one. The oddly entitled Lost Ball In High Weeds starts out with acoustic guitar and vocals, but soon turns into some strange doom type song with a touch of Metallica in the verse, while the chorus is almost a bit grungy. Interesting. Fair Weather Friendthrows the ball in a totally different direction, fast but still quite proggy and with singer Erik Anell not trying to smooth things out. He’s a good singer, but he sometimes gets a bit too rough around the edges for my taste. Acid Rain starts out as an acoustic ballad and turns into a slick poppy thing, quite different from the previous songs. Train To Nowhere takes us back to the quirky, funny hard rock that started the album, and it’s definitely where the band catches my main attention. Awaken The Masses is another tracks that’s a bit hard to define. Great, quirky guitar playing, cool riffing, but the vocals is the letdown for me, I’m afraid. This 9-tracker finishes with Ballad Of Cloaks, a theatrical, doomy, semi-ballad. Actually not bad at all! Except for the f***ing saxophones… So, my general impression: a bit scattered, but it still comes together in a way, some great songs and some that didn’t attract me that much, great musicians, cool guitar solos, but the vocals are the weak link for me. Works great in some songs, but feels a bit too raw and untamed in others. Well worth checking out!
Label: Rexius Records
"The Harmonic Minor Scale and its Modes for Seven String Guitar." has just hit Amazon in print and kindle formats.
This is the second volume of, "Basic Scale Guides for Seven String Guitar."
It's rammed full of 3 and 4 note per string options so you can fly around the neck.
There will be a lot more to follow as well as matching volumes for eight string guitar.
There are a couple of free sample pages below, but please click the links and check out the content on amazon
"The Harmonic Minor Scale and its Modes for Seven String Guitar." amazon.com
"The Harmonic Minor Scale and its Modes for Seven String Guitar." amazon.co.uk
or just search for title on amazon in your country:
"The Harmonic Minor Scale and its Modes for Seven String Guitar.
This is without a doubt my favorite Schenker outing in decades. Michael Schenker Fest Live Tokyo International Forum Hall A is going to be very tough to beat as the best live DVD in 2017. It's early in the year, but this is what you call an instant classic, and for all the right reasons.
Michael Schenker has been building on his legend for years now, having left behind the days of a tougher struggle, and now he has finally to my mind once again surrounded himself with a stage full of musicians who are truly up to his game. He's never had a bad band, but that's not the point by a longshot, the point is that this band better suits his songs, his playing, and his temprament at this stage of his life. He plays the gig of a lifetime here, a performance as strong as any he has ever put on, but the beauty is that there is an amazing amount of proper attention to be paid to the whole band, and the whole experience.
The Michael Schenker Fest is a great idea that finds Schenker reunited with the three lead singers who loom largest in his solo history. Gary Barden is from the first iteration of the Michael Schenker Group, and here he seems to be experiencing a return to form that we've been waiting on for many years. He's eased into a lower toned vocal approach, and his husky phrasing and easy stage presence are just as effective as his halcyon era with the band in the early '80s. Next in line is Graham Bonnet, a man who left an indelible mark on Schenker fans with just one album, Assault Attack, in 1982, a record that is still the favorite of many a Schenker fanatic. We waited over three decades to see Graham and Michael smiling at one another onstage, and it was worth the wait. Rounding out the lineup of singers is McAuley/Schenker Group frontman Robin McAuley, who brings his unique set of melodies and still blazing vocal chops to the proceedings, giving the audience yet another flavor of the Schenker legacy.
Then there is the thrill of hearing all three singers combining their efforts in varying degrees to celebrate Michael's time with the great UFO. It's so good to once again hear singers sing this material with the obvious love and commitment these great songs deserve. McAuley handles the heavy lifting on "Shoot Shoot", and "Rock Bottom" (which has never sounded better musically to my ears), and he's joined by Barden and Bonnet for a fun filled run at "Doctor Doctor". These guys are not just having great fun, and doing a great job, they are egolessly presenting a celebration of the music of Michael Schenker to their respective fans. The smiles the musicians exchange throughout the program are alone worth the price of admission.
Now I must talk about the band, this band. I'll start where it all begins and that is with Michael Schenker. Michael has written as many classic riffs as any of the greatest guitarists of the last fifty years, his solos are such that they are known to his fans as well as the riffs and choruses of the tunes, and his command of technique combined with an emotional sense of composition has made him such a legend that it has truly been a daunting task to keep up with his high water marks. However, here he manages to take the legend to the next level - he's playing explosively, he's having a great time onstage, and the visceral excitement he displays while flexing his musical muscles with this band is a sight to behold. A thing of beauty and majesty.
Great rhythm sections make bands great. Of this there can be no denying, and over the years Michael Schenker has played with some remarkable teams, but to my ears the team of bassist Chris Glen and drummer Ted McKenna are as good as any, and I will say that they are my personal favorite. I've been intensely following the music of Michael Schenker since 1975, even to the point of getting myself hired as a guitar tech for the McAuley/Schenker Group for an all too brief period. I know the music, the lineups, the individual players, and I'm a good enough musician in my own right that I can say, this is an area where I am an expert. I could write you book on the topic. Chris Glen and Ted McKenna have been playing together since 1972, and it sounds like it. Glen is a marvelously melodic bass player, and his adventuous flights of fancy are a wonder to behold, and his tone is perfect. Maybe the best in all of hard rock for his era, certainly my favorite. McKenna is a master of knowing when to steadily rock the rhythm and when to turn the beat on its ear as Schenker lays down is very unique rhythm chops. Schenker's best rhythm section since they were last Schenker's rhythm section.
The band's secret weapon can be found at stage right - Steve Mann plays the classic utility role of guitarist/keyboardist/background vocalist that was inaugurated in the very early days of UFO, and he fills the role as well as anyone, up to and including the fabulous Paul Raymond. Where Raymond brought more of a Ian McLagen/Faces vibe to the proceedings, Mann is a bit more of a smoking hot lead player who can execute some nice harmonies with Michael, and his keyboard playing is more synth based and vibey, though he certainly nails the legendary parts necessary to make "Doctor Doctor" and "the solo sections of "Rock Bottom" as effective as they need to be. Mann is a fantastic foil for Michael Schenker, and I hope they continue to work together moving forward.
The DVD is very well shot and directed. You see the fun, the energy, and when someone should be in the frame, they are, and that's a huge key to any concert document. It looks fantastic, and the sound is superb. Whatever efforts that were put into this project in post-production is well worth the efforts. This is one for the ages. I just hope I've managed to express how much I love this package. It does exactly what I wanted it to do - it returned me to every era of Michael Schenker music, and all the great musicians of those eras and bands that I have revered for so long, and isn't that what rock is supposed to do? Plus, it makes me look forward to new music and what could lie ahead. It makes you feel great, it makes you feel alive, and it makes you want to keep rocking.
I remember the beginning of Anacrusis much better than the end. I had been hanging out learning to play guitar for a couple of years with a fellow by the name of Wendell Napier. Wendell could player guitar like nobody I had ever met, and to this day I've not played with many musicians who were more natural than he. We had gotten pretty good at playing together, so we decided to form a band and do a show. All in the same week.
We were picking talent from the neighborhood in which we had went to high school, a little part of Dayton, Ohio known as Northridge. We easily figured Mitch Mitchell as our bassist, as he was the only bassist we knew. He had been playing in school variety shows, and local outfits for some time. As for a drummer, we elected Bruce "Smitty" Smith, an unlikely choice given to the fact that Bruce was a probably the least likely candidate we could imagine. Bruce Smith had an intellect, an appetite for learning that was as big as the great outdoors, stood well over six feet, and must have weighed a good deal over two hundred pounds. A large, gentle, intelligent man-child whose tastes for music we imagined must run towards jazz and classical. His glasses stated that this just must be the case. This turned out to be an inspired call, for Bruce could play the drums fantastically. I'm anxious to hear his recollection of how exactly he came to join this motley crew, as I simply don't recall the conversation or the circumstance, but it must have been a doozy.
Last, but most certainly not least we chose a fellow several years our senior to be our vocalist and frontman. Bob Pollard may have been best known as a legendary high school and college athlete (he threw the first no-hitter ever for Wright State University's baseball team), but I knew him as the absolute biggest rock 'n' roll junky in my world. He was a friend of my brother's, and I owe just about everything I know and love about rock to those two. They introduced me to everything that mattered, and I followed in their footsteps as a record collector, novice guitar player, and wanna be rock star. Bob knew, and he had a secret that maybe not many beyond me knew. He could sing, and he wanted to be a star.
I believe we first called Bob on a Monday evening. We told him we were forming a band, he was going to be our singer, and that we had a show on Friday night. He thought we were nuts. Here's the story in his words:
"Tony Conley and Wendell Napier called me on Monday night and said, "Do you want to be in our band? We have a show on Friday night." So, I go, "No, there's no way, that's impossible." They called me again the next day and said, "So, do you want to do it or not?" I said, "Okay, man, you must have something if you're going to be that persistent." I practiced on Tuesday night with Mitch and one of the guitar players. On Wednesday night I practiced with the other guitar player, Tony Conley, and our drummer, Bruce Smith. On Thursday we had a full band rehearsal and because everybody knew their shit, we had like twenty-five songs. We had them down in one practice. We played the show on Friday, and there had to be three or four hundred people there. We did all covers, we did UFO, Cheap Trick, AC/DC, and kicked ass. I've never been so excited about a show in my life. It's been all downhill from there, haha!" ~ Guided by Voices: A Brief History: Twenty-One Years of Hunting Accidents in the Forests of Rock and Roll, James Greer.
Since then, Bob has never said another good word about Anacrusis. I suppose he has his reasons, it's all cool.
To the best of my recollection, this was in the spring or early summer of 1977. The venue was Brookwood Hall, a dilapidated union hall that sat in a corn field next to nothing, and later became the scene of some of the most celebrated punk rock shows in history. But, that's another story.
We then went on to play a short residency (probably a few weekends) at a local dive called The Domino club, ran by a bearded biker by the name of Gibby Davis. These shows were the things of legend. We were loud, extremely energetic (there was no shoe gazing, that would get a beer bottle bounced off your head), and also, in short order we had even managed to work some original material into the set, something that was extremely taboo at that time. The beautiful thing is that the tunes were good enough that people thought they were just songs they didn't know yet. In fact, I believe we even once played a whole set of our perhaps ten originals (Sonny The Monster, Daddy's In The State Pen, Self Inflicted (Ariel Nostalgia), Fame and Fortune, Status Symbol, Somewhere Sometime, and a few others whose titles are perhaps lost to my memory).
I believe our greatest night at The Domino Club was the evening that we hosted the class graduation for the Northridge High School class of 1978. Yes, they held their graduation party in a bar. Welcome to Dayton, Ohio, 1978. There were probably close to a hundred under aged kids in a bar, getting their rock 'n' roll on. Did I mention we had flash pots? Yes, we even blew up Bart Hanselman pretty good when he went up close to investigate why one pot wasn't going off when it should. My first wife was an officer of that year's class, and a cheerleader to boot. We corrupted those kids as best we could. Mind you, we played completely sober, no drugs, and no groupies. We were playing music, did we really need anything else?
We did some other shows around town, perhaps the funniest being a new years eve show in someone's basement, who had no idea what they were getting themselves in for, and we wrecked the joint and basically had a paid rehearsal as the guests stayed upstairs cowering in fear. Not that we were dangerous, just awfully loud. Then, there was another gig that we played at an apartment complex swimming pool where the cops showed up, and I swear to God we went into Thin Lizzy's "Jailbreak" as soon as they showed up.
This all transpired in less than a year, and what transpired to end it, I've never really been certain. I've heard Bob Pollard says that he was thrown out when he wouldn't allow Wendell to fire Mitch. I know that Wendell had issues with Mitch's playing, but as much as I wish I had a clear memory of this, I just don't know.
Whatever the causes the band had come to its end, and it may have just died of our lack of knowledge concerning what to do next, and how to do it. Hard to say, but I will say that I've mourned its death for all the years since, as it was a joyful experience that I've never near replicated.
Not too terribly long after that, I received a call from Bob Pollard, he had a manilla folder of lyrics, and a handful of original tunes. We got together in drummer Kevin Fennell's basement with Mitch Mitchell on the bass, and we put together a dozen original tunes under the name of Guided By Voices. However, to this day Bob has never mentioned this, though it was the first iteration of what became his legend. This was in 1980 or 1981.
Many years later, in 2005, Bob and I briefly reconvened our musical partnership as I served as lead guitarist and musical director for a project that released on the record, Lightning Head To Coffee Pot, under the name of The Moping Swans.
I wish I could do it all over again tomorrow, it was truly one of the greatest pleasures of my life, though I'm sure I was too young, and unknowing to have known that then.
Then on the Dixie Strip where Bobby (Robert Pollard) got his start in music with a band called Anacrusis that was great for a bunch of young kids at a place next to where Flamingo's is at now that was so small,but those kids rocked that place and packed it way past what capacity was.
Reverb.com has grown in just a few years into a major player in the retail musical instrument business. Not just a retailer, not just a tech company, but its competition is clearly more traditional brick and mortar stores, and one large online store (Sweetwater Sound). However, its main difference is that it operates as more of a mall than an independent outlet with many stores under its umbrella. It is, for all purposes, an online mall.
It sits just behind Sam Ash ($385M sales in 2015), Sweetwater ($433M sales in 2015), and Guitar Center ($2.1 B sales in 2015). It differs from these companies in both its business model, and in the fact that they are a rapidly growing concern, whereby the others are more or less established and either relatively stable in their numbers (Sweetwater) or struggling (Guitar Center under its incredible debt load).
I realize I'm not telling you anything you most likely don't know. I'm just putting this up to show you where I am going in my thinking.
To this point Reverb.com is golden - it has performed amazingly well, and is seen by its base as a great and reliable resource. Everything you provide is top flight, and it's very difficult to find any faults.
The question that comes to my mind is what could be the next step to grow the business, the market, and to win customers from these other established entities. How to leap-frog over Sam Ash and Sweetwater, and start the charge on Guitar Center.
Probably the best way to make this leap to greater awareness, more customers, more sales, and a brighter future may be accomplished by enlarging and extending the concept of the content generation already in place. Content marketing that will envision more of a lifestyle branding, and a nurturing of an audience who may not realize who you are or what you do. A way to introduce the online model to a lot of people who are squarely in the demographic, but still uncomfortable with this medium.
I'm not talking about any new invention here, just going through the best of what's come before, and developing a better way of delivering on the promise.
What I have to offer is a team that is well proven in content generation that can augment what you already have in place to tremendously enlarge your outreach (which is already wonderful). Whether this would be an internal addition to the company or exist as a contracted entity is a question, but I prefer the control offered by being internal, plus you have the added bonuses of manageability and accountability.
What I'm really talking about here is adding theaters to your mall. Your existing audio-visual content is already the best in the world, and this is just moving that concept forward in the time-tested method of the mall movie theater. A way to drive customers to your mall - they come for the movie, but they end up shopping at the stores and eating in the food court.
Also, I feel that it is important to be able to do this in a way that doesn't eat up money - co-oping and sponsorship dollars can be utilized to defray many of the production costs involved to make costs manageable, and the venture profitable. Advertising and marketing that carries its own weight.
I have three offerings along the path of content marketing that I think will play very well in the market. The first two are intended to be cable TV productions:
Reverb.com Presents: An Evening With...
This is a concept I developed a while back when we were working with Joe Satriani and his manager Mick Brigden that was entitled G3-TV, a guitar-centric venture that finally gave way when Joe realized he didn't want to be in front of cameras. This particular part of the project never left my desk.
An Evening With... is a one hour show that is split between live performance and a moderated interview (think a combination of Austin City Limits and The Actor's Studio). The difference in this show being that it is done as a live event in the same theater every two weeks, and before an audience that has bought tickets. The advantages are obviously having the same physical setup and crew at every taping, and the ease of production provided by that. We would actually put on a two and a half hour show, editable down to one hour.
In addition to the content of the show itself, this also allows for massive content generation for the back side and the Reverb.com site for gear pieces, and augmented artist interviews. We could easily co-op this stuff with gear manufacturers, and retailers as well.
Reverberations By Reverb.com
Reverberations is a series that presents regular mini-documentaries (30 minutes). This show would be more conceptual than a performance based show, or a talk show format. It will encompass a multitude of real life musical tales that let viewers see what they rarely get a chance to see. Whether it's on the road for a band's first tour, its last tour, newest record, or a look at an artists career, this is the first regularly series of real life musical documentaries, that is not unlike a new Muscle Shoals or Sidemen: Long Road To Glory coming out every few weeks. A week to shoot, a week to produce.
Content marketing in this way will allow Reverb.com to attach itself to the programming without the programming ever becoming a commercial for Reverb.com, but at the same time will provide the opportunity for massive ancillary content generation for the core business as a byproduct.
Reverb Records would be a boutique record company that could fill in the blanks being left in the classic rock/classic blues rock/country fields in the American market at the moment. Projects that can be created easily, managed, and recorded with reasonable budgets that can actually be profitable, and that would further cement the worldview of Reverb.com being a home for all things music. This one is the longest shot, but if done correctly could be a real sleeper. One such project that I helped put together that would be a fit was last year's Supersonic Blues Machine's first record that featured a core band of Fabrizio Grossi, Lance Lopez, and Kenny Aronoff, who were augmented by guests such as Billy Gibbons, Eric Gales, Warren Haynes, Robben Ford, and Walter Trout. This project was done for Mascot Records, and the band has been headlining blues festivals and corporate events around the world.
Well, by now I'm certain that you may well think me insane, but the truth of the matter is that these are all things that have been developed by myself and my team over the last few years, and we can not only make them happen, but we can make them happen in a way that grows a business without being a financial albatross.
Much of this centers on the skills and vision of myself and my partners, writer/director/producer Scott Rosenbaum, and our business development specialist and fundraiser guru Breck Philip. Together we are poised to enter into further discussions and see where all or any of this could lead.
Danish power trio Blindstone continue their relentless journey in the sign of the mighty riff on this their seventh musical journey. This time around the band has gone through a change in personnel, introducing drummer Sigurd Jønk Jensen, replacing Anders Hvidfeldt. Anders did an outstanding job, but it feels Sigurd is switching the Blindstone drum department up yet another notch. He actually gets to show his skills already in the thundering opening track Dead Man's Blues, a heavy blues rocker, true to the Blindstone trademark. Guitarist/singer Martin J Andersen lets his guitar speak loudly all over the track, riffing, soloing and filling every crack and crevice with a tasteful bit of wah-ornamented guitar magic. Rolling switches into low gear and offers some crude and fat bass riffing from Jesper Bunk. Man, this is one steamroller of a track! Rebel In Black offers some nice dynamics with a cool verse and slow pace riffing. The backbeat bluesy On My Way offers a change in pace and sound with some (I presume) neck pick-up Strat riffing. One thing I actually do feel has changed a bit, is I don't (so far) hear as much Frank Marino influences, apart from Martin's similar vocal range and style. Ok, Looking Back, a beautiful ballad, does have a touch of Marino mixed with Trower, which is top notch in my book. Martin also stays away from the wah in this one and the solos are just out of this world in tone, clarity, feel, presence and tastefulness. Frickin' outstanding! The oddly title By The Suns Of Warvan, You Shall Be Avenged is a cool heavy riff-oriented instrumental with a strong feel of early Satriani. Wish Satch, whom I'm truly a huge fan of, would record a song like this today. Multi-facetted, melodic and un-shredding, still with truly impressive guitar work. Thunder From The North continues with some heavy guitar chugging and a surprisingly hooky and melodic pre-chorus. A great track, indeed! A Love Manifesto continues in the vein of its predecessor, but still with a totally different approach. Heavy, break-filled verse leaving lots of space for highly personal Martin's low-key vocals that fit so well with this type of music. It also offers another dose of killer solos. Stonesnake opens with some busy drumming and continues in a up-tempo boogie:ish vein, suddenly switching down to half speed in the verse. Killer track! Once again the band moves into the grinding, steamroller heavy-as-lead territory with Once You See The Signs. A crusher! Another cool surprise now comes in the form of Hendrix penned Power of Soul, a heavy blues rocker that has been given the proper Blindstone treatment. All in all, yet another top notch release from the Danes. Seven albums and not a single let-down. Impressive!
This time ace guitarist Brett Ellis visits a bunch of tracks penned by others, a tribute album if you will. He starts off with the obvious choice of one James Marshall Hendrix and Ezy Rider. A highly flammable version with some explosive and impressive guitar work. Moving on to usual suspect #2: Robin Trower and yet another killer interpretation of Twice Removed From Yesterday. For me, personally, Brett's vocals have been the weak link, but damn, the cat has really improved. Killer vocals, indeed! Tryin' Anyway by Frank Marino and Mahogany Rush also gets the proper Ellis treatment. Stellar guitar work with the unmistakable Marino wah-vibe nicely in place. Love the jazzy piece in the middle! Next up, maybe not that obvious, but an outstanding sadly overlooked track by Uli era Scorpions, Living And Dying, sung by Rick Reed with Allison Smith handling the harmonies. Wow, Brett does hand us some outstanding un-obvious classics, clearly proven by his stellar version of Ritchie Blackmore's Rainbow's Self Portrait. Damn good job, I must say. Lovely guitar work and killer vocals (Graham Heath handles the harmony vocals on this one)! I always love me some funky Pat Travers, obviously Brett and I share a similar taste. It clearly shows in his explosive interpretation of Go All Night. Not that obvious, but it is also on my list of "awesome timeless classics"; Black Sabbath's Supernaut, here given a new dimension by killer female singer Allison Smith. Next up, a highly unexpected track! Outta Love Again by Van Halen! Didn't see that one coming! Any good? You betcha ass! Better drum sound than the original and Brett puts his own twist on the guitar solos, which I like! Oh yeah!! The next track I used to fiddle around with myself, trying to learn the intro solo, which Brett has done a great job with. He's also given the track the proper heaviness it deserves. Which track it is? Bad News, originally recorded by G-Force, the short lived side project of Gary Moore featuring ex-Truk/Captain Beyond, now ZoomLenz singer Willy Daffern. Graham Heath, who handles the lead vocals on this one, sure has a strong touch of Daffern. Elis also gives proper treatment to tracks by UFO, Johnny Winter, Foghat, AC/DC and Led Zeppelin, but before finishing off I have to mention the brick heavy outstanding version of ZZ Top's Neighbour Neighbour. Damn, it ROCKS big time!
Label: Grooveyard Records
Australia has a way of delivering high quality bands one after another: Electric Mary, Tonk, Airbourne, Tracer, Toehider etc etc. Add Dellacoma to the list. This bunch I'd add to the same category as fellows Tonk and Electric Mary. Good time, melodic, energetic and edgy hard rock with great riffs and ballsy vocals. The album kicks off with the highly infectious Moving On To Something New which actually made me think of early Enuff Z'nuff. Walk The Plank continues in a similar almost early Crüe oriented vein, while Lessons Learned offers some chunky Aerosmith:ish funky riffing. The album is however not all party party party, which shows in heavy, almost doomy Time Falls Away. Change kicks off a bit reminiscent of Buckcherry, but actually better in my opinion. Good time rock n roll! Fjh (Get Me Out) continues in the same vein while Fameslavesgoldoffers some nice southern rock oriented riffing gone AC/DC. Killer track! A really good debut album indeed. Not at par with Electric Mary (not many are in my book) but clearly placing themselves in the upper mid-region. The opening track promises a lot, but is never really challenged when it comes to hooks and catchiness. Interesting to see what the follow-up may offer.
Now here's a new exciting offering from Greece! Bluesy hard rockers Freerock Saints, fronted by female Areti Valanopoulou. A vocal power pack with a smooth side to it. Flanked by Super Vintage guitarist Stavros Papadopoulos the two serves a platter of outstanding 70s oriented hard rock with a bluesy touch and some Zeppelin tricks for good measures. Tracks like Roll With The Wind offer the classic take-a-break-while-I-sing verse. It's not only how well you fill that gap, but also how you follow it up that matters. The duo checks both approved boxes. Areti delivers some great whiskey tinged Plant-like vocals and Stavros then kicks in with riff magic a la carte. I mean, he's already showed in his other band that riffing is his business, and he does it like pro. Shot Down In Flames takes us to Bad Company territory, and it also shows that you can make a sound ballsy even though you have a dangerously clean guitar sound. It also helps the overdriven guitar solos pop out a bit more. Blue Pearl opens with Stavros letting his Hendrix vibe fly freely. A cool bluesy ballad where Areti's soulful vocals lifts it up a notch. If you're into stuff like Sass Jordan, Black Pearl or Skyline, check this band out!
Label: Grooveyard Records
You may wonder whatever happened to Neon Rose singer Roger Holegård. Yes, he did record some stuff with Truck and Wasa Express, but that was ages ago. So, finally, he's teamed up with guitarist Dante Holmberg (Uppåt Väggarna, Strix Q), bassist Anders Lundquist and drummer Rolle Lindgren and formed a zoo, we'll at least the elephant section, the future elephants section… probably, hence the question mark, I guess... No idea about the name, but somehow it does stick out. Damaged Childopens the album and man; this was a nice surprise. Even though I love the heavy rocking style of Neon Rose, Future Elephants? well-arranged prog rock really strikes a positive nerve. The sound is raw, naked and dynamic, very analogue sounding. I just love the minimalist production with nothing to hide behind. The songs are intricate, well-arranged yet very easy accessible. In The Tide Is Rollin In You can almost hear Danne standing on the side just waiting to throw in a riff. Then suddenly we're off in guitar land, reminding me of Automatic Fine Tuning (or Wishbone Ash on steroids). Damn, I love this! Ivory Dancereminds me a bit about Crack The Sky, with lyrics handling the extinction of beautiful animals just for our money and pleasure. Roger's still got it, both vocally and lyrically. In This Tone opens up with some guitar licks that sound so genuinely guitar through amp that any digital device would crumble and die. Add a bit of mellotron, some drunken pub chanting and you feel like you've been transported back to 1974. Love it! Sundown In Matobo takes us to Africa, I guess, I'm not really sure about the dialect, though. November Pain initially takes us into a dark, heavy and gloomy territory, but moves on to softer grounds and suddenly we land in a Pink Floyd:ish landscape with Dante going all Gilmour on our asses. Really beautiful stuff with killer guitar playing indeed! And The Mountain Kissed The Sky mixes Swedish folky vibes with Native American drums and a feel of Mountain's Nantucket Sleighride. Don't Raise That Gun with some vintage AC/DC sounding riffing and makes me think of Baby, Please Don't Go, except for the heavy and doomy chorus. Album finale The Pilot ends the album in a great proggy manner featuring both sunshine and rain (literally). An outstanding album that should attract all fans of 70s progressive music with biting guitar-work and intricate but accessible songs. Quite the masterpiece!
Label: Rock Music Productions
Canadian power trio Danko Jones really speaks to the slightly punkish genes I developed in the late 70s. Yes, I was actually quite the fan of bands like Sex Pistols, DMZ, The Boys, Saints and Dead Boys, but then Motörhead came in and filled the gap between punk and metal. Still love some of that stuff, but it doesn't really wear out my CD player anymore, so to speak. Then one day I heard Born A Lion by Danko Jones and it appealed to me in the same way. Raw, energetic, powerful, rebellious, garagey and waving a big fuck-you finger. I just loved it! Probably also because this band knew how to write good riffs and cool lyrics, plus they had a bluesy vibe. Well, I was hooked. Despite the odd let down, this band has always delivered high class stuff. Not to mention on stage, holy shitballs, Dank Jones busts balls and kicks asses like no other! Finally, a new album! Opener I Gotta Rock immediately places a well-aimed boot in the groin! The lyrics are surprisingly blanket type rock n roll trivia, but it works for the song. Danko is still the best anti-shredder I know whose single string kindergarten solos actually works. He plays what works for the song and that's good enough for me. My Little Rock n Roll continues in the traditional Danko Jones break chord manner. We've heard it before, but damn it still works. Going Out Tonight picks up the tempo and this one will surely work great live! You Are My Woman has a sort of 60s poppy vibe to it with a hooky chorus. Do This Everynight is also a pretty happy rocker, while Let's Start Dancing whips it up like crazy! This is Danko Jones in its prime. The title track is a hard hitting boogie rocker with Danko spitting out every word like it was a poisonous bite of food. A killer track. She Likes It is a really cool, quite different track with a quirky guitar riff and cool half-tempo chugging with some busy drumming backing it up. Probably one of my favorite tracks with a pretty cool guitar solo as well. Success In Bed continues in the classic Danko stomp feel, and reminds me a bit of another old track, but the chorus takes a new route. Diamond Lady again takes the tempo up and this is a real great rocker with a soothing chorus. The album finishes with the track Revolution (But When We Make Love), a cool bluesy Strat powered heavy rocker. Conclusion: if you like albums like Below The Belt, Like A Lion or Never Too Loud, there should be no hesitation - go get it!
Greek southern rockers Super Vintage, which features excellent guitarist Stavros Papadopoulos, also found in Freerock Saints, is back with a new dose of music. The previous albums have been high class releases both when it comes to music, production and performance. Opening track Southern Moon Rising is a cool bluesy rocker landing somewhere between Lynyrd Skynyrd and Bad Company in its vibe and feel. Delta Mud opens with some cool front porch acoustic guitar and slide, but soon moves into the electric southern rock living room. Classic southern rock, no more no less. Son Of Pain continues in the same vein, with some really nice dynamics and some killer soloing from Stavros. Let Me Be What I Want to Bekicks off with a nice busy riff and adds a bit of funky rhythms to the album. This is by no means any revolutionary album exploring new musical territories or extravagant new sounds. Super Vintage is like my Volvo. You get what you expect, what you're used to, it's trustworthy, works like a clock and you get that fine familiar feeling. Super Vintage sound like they should, and it's good!
Label: Grooveyard Records
"Please support this and get behind it, its such a lovely heart-warming film about 3 humble blues legends, one of whom is the great Hubert Sumlin, a man whose fans included Jimi Hendrix, Keith Richards Jeff Beck and lesser mortals like yours truly, anyone who could create the wonderful guitar lines to Killin' Floor and Smokestack Lightning with Howlin' Wolf is a 1000% genius in my book. Hubert created a whole style out of nothing. Support and crowdfunding are needed to give this commercial life, please get behind it, I've seen it, its fkn great!" ~ Bernie Tormé I'm asking you all to contribute to the Sidemen: Long Road To Glory Kickstarter campaign. Here is who you will be joining. Without your contributions, we cannot bring this film, this tribute to Pinetop, Hubert, and Willie, to the public. I am asking you to join these folks:
Warren Haynes appears in the award winning blues documentary, Sidemen: Long Road To Glory, and he has also autographed a guitar to help raise money for the film's Kickstarter campaign. The movie's writer and director, Scott Rosenbaum put together a short piece featuring Haynes performing the Robert Petway 1941 blues classic, Catfish Blues. Since December 30, over 120,000 people have viewed this trailer which promotes the film and the fundraising effort. It's obvious that Warren Haynes supports the movie, and that his fans are watching this clip.
Bonnie Raitt also appears in the film, has donated product for the fundraiser's perks, has tweeted her support for the film, and she loves this movie.
Guitar wunderkind Robben Ford also is seen in the documentary, and has autographed a guitar for the film, as a way of showing his support. Another of the world's elite guitarists, Eric Johnson, sent me a very warm note of thanks after I had sent him the film when we met up in Sacramento last week. Tim Reynolds from Dave Matthews band appears in the film, and has also most graciously signed a guitar for the project.
Sidemen was also featured today as the official movie of The Blues Foundation's International Blues Challenge in Memphis, Tennessee, where it played to a packed house.
Keeping The Blues Alive At Sea III, brought to you by Joe Bonamassa, the Keeping The Blues Alive At Sea Foundation, and Sixthman is featuring several screenings of Sidemen: Long Road To Glory, and the film will be available on demand in every stateroom for passengers's viewings. In addition, director Scott Rosenbaum will be standing in for Alan Paul (Guitar World, "One Way Out: The Inside History Of The Allman Brothers"), moderating live interviews with Joe Bonamassa, Beth Hart, and Jaimoe onboard the ship before live audiences.
Blues Music Magazine has graciously offered a year's subscription to any contributor to the movie's Kickstarter campaign, a kind and generous offer of support.
Jérome Brunet, one of the world's greatest photographers, has donated several great prints, and taken the time to attend screenings for the film at festivals.
So many great artists and friends have given to support this film. Now, I am asking you on behalf of myself and the Sidemen: Long Road To Glory team to give. We need your cash contributions to make this happen. It cannot happen without your help. We thanks everyone for their warm responses, and generosity.
Eric Johnson put on a quietly dazzling show at the Crest Theater in Sacramento, California last night to an adoring audience. It was an excellent turnout for a Tuesday evening, and everyone knew why they were there. No tire kickers, or lookie loos (sorry, I'm just back from the NAMM Show) - no, this crowd knew the man, and knew the music, and that made for a beautiful evening.
EJ is Eric's new acoustic album, and he played most of it and more in two sets stretched over a couple of blissful hours. Eric's easy going demeanor lends itself perfectly to the living room like setting of a chair surrounded by some acoustic guitars, and an electric keyboard a few steps away that allowed him to move easily between them as he casually worked his way through the setlist.
The night was made even more special by my meeting up with Tower Of Power organist/pianist Roger Smith, who when he was twenty years old played with a teenaged Eric Johnson and bassist Roscoe Beck in a band named Blind Mellon, which pre-dated the guitarist's days in the Electromagnets. Roger regaled us with tales of early jams, building their first studio, and even asking Eric's dad permission to take his son out on the road for gigs.
Photo: John BlandKicking the set off with the Simon & Garfunkel classic, "Mrs. Robinson", which also is the opening track of EJ, Johnson had the very willing audience in the palm of his hand, and he kept them there throughout the night. Johnson's smooth, sophisticated approach certainly keeps things from ever getting bogged down, as acoustic performances can do in the hands of those less well versed. A combination of a very melodic voice and some stupendous chops that he makes look so easy insured that there was never a dull moment, and many of the pitfalls that can derail an acoustic performance were skillfully avoided. Johnson deftly pops and slides single note fills into the vocal numbers that always made you smile, and appreciate his sheer musicality and virtuosity.
While everyone knows of Johnson's legendary prowess on the guitar, his piano playing is very elegant and sophisticated in much the same fashion that so informs his guitar work. His chord voicings are expansive, expressive, and he rarely utilizes block chords or pentatonic scales, instead choosing to incorporate a more harmonically sophisticated method of working the keyboard just as he does on the guitar's fretboard. "Water Under The Bridge", which opened the second set is one such song, and it evokes the memory of Sir Elton John's more sonorous keyboard outings with a gorgeous vocal melody to boot.
Another thing that Johnson does brilliantly is reimagining classic cover tunes such as his final encore, a beautiful piano driven rendition of The Beatles's "You've Got To Hide Your Love Away", which surely had John Lennon smiling somewhere in the cosmos.
Johnson reaches deep into his listening past to resuscitate Les Paul and Mary Ford's 1951 hit, "The World Is Waiting For The Sunset" as an instrumental, and a right toe-tapper (fingerpicker?) it is!
If, by chance, you are unsure as to whether you wish to check out Eric Johnson in an acoustic setting, put those wonderings away. Without question it is a more laid back evening and event than one of the maestro's electric outings, but this satisfies deeply in a different way, but one which you will surely appreciate when you experience it.
The Hall Of Heavy Metal History is based on big dreams.
Pat Gesualdo dreams big. When he had his own disabilities as a youth, he unwittingly healed himself by retraining his brain synapses through learning how to play the drums, and in the process he discovered a wonderful holistic healing method of drum therapy, which led to him starting a fantastic organization called D.A.D. (Drums Against Disabilities) over twelve years ago.
Utilized by hospitals and health centers in over fifteen countries around the world, Pat's breakthrough program helps children and adults with Autism, ADHD, Muscular Dystrophy, Post Traumatic Stress Disorder, Cerebral Palsy, and other disabilities to develop retention, coordination, social skill interaction, sensory integration, fine motor skill, and physical and cognitive function. Pat is also the only person in America who can certify drum therapists.
Not just a world class drummer and philanthropic organizer, Pat is also a huge fan of heavy music and the musicians who make it. Over the last year he conceived and organized the Hall Of Heavy Metal History, which had its first induction on January 18, 2017 at the Anaheim Expo Center during the world renowned NAMM Show. The show was expertly hosted by Eddie Trunk, a man who has done so much to support the genre.
The inductees for this inaugural year included legends both living and deceased, as is essential and fitting for a representative selection of heavy music heroes.
Ronnie James Dio loomed on this evening as a man who had a tremendous influence on the genre and its proponents. It's also worth noting that all the proceeds for this evening's event were donated to the Ronnie James Dio Stand Up And Shout Cancer Fund. His induction was accepted by his widow, Wendy Dio, who spoke passionately about the man, his art, and her cause.
Ronnie Dio also made it into one of the more fascinating, but lesser known stories of the evening, that of the formation of the fathers of power metal Manowar, whose founder, guitarist Ross "The Boss" Friedman, told the tale of how while on tour with the Dio fronted Black Sabbath. Ronnie explained to Ross that he was a big fan of the guitarist's, and insisted that Friedman connect with a member of Sabbath's road crew, one Joey DeMaio. Ross and Joey met, and then started jamming in Sabbath's dressing rooms, often drawing the attention of the band onstage when they heard the roar from backstage in between the band's songs. Friendships were forged, and the terrain of metal was forever changed by Dio's foresight. Friedman had the rapt audience at attention as he told this tale, and he rounded out his speech with grace and class by wishing his parents were alive to see this moment.Ross "The Boss" Friedman
Legendary bassist Rudy Sarzo also delivered a most memorable speech as he ran through his extensive resumé, and his work with such stalwarts as Quiet Riot, Whitesnake, Dio, and perhaps most poignantly as he spoke of his great friendship and musical partnership with the incomparable Randy Rhoads. A very moving speech by one of music's finest gentlemen.
Eddie Trunk naturally proved to be more than up for the task as the evening's M.C., utilizing his vast knowledge and long history of relationships to make the evening run as smooth as silk from the pre-induction press conference to the induction ceremony itself.
Don Airey was another metal legend who moved the room with his warm remembrances of his time with Rhoads while in Ozzy Osborne's band, his experiences with the much missed Gary Moore, and his touching mention of Jon Lord, who Airey ultimately replaced in Deep Purple after Lords' retirement in 2002 before Mr. Lord's passing in 2012.
Don Airey and myself, photo by Lauryn C. Mercer
The other speech that proved unforgettable was that of current Scorpions' drummer, the great Mikkey Dee, who spoke with fond memories and great love and respect for his boss and mentor in the glorious Motorhead, Lemmy Kilminster, whose posthumous award was graciously accepted by manager Todd Singerman. Dee joined Motorhead in 1992, the same year Singerman became the band's manager, and their histories are forever entwined in the history of heavy metal.
The evening's festivities would not have been complete without some live metal, and it was supplied in spades beginning with guitarist Ethan Brosh, who's been lighting up stages for the last few years opening shows for such metal mavens as Michael Schenker, Yngwie J. Malmsteen, and Jake E. Lee's Red Dragon Cartel, as well as a couple of smoking instrumental records (a third is in the works). Brosh and his band got the crowd fired up for the induction ceremony in high style.
After the inductions, the crowd was delighted by a thunderous set by the always dependable Dio Disciples, who had singers Joe Retta and Tim "Ripper" Owens paying brilliant tribute to Ronnie James Dio with power, passion, and precision. Craig Goldy did his usual great job of delivering the goods of whatever great Dio guitarist he is asked to emulate, while always throwing some of his own tasty chops in with the mix. Goldy is one of rock's great unsung players, and is as great a person as he is a guitarist.
Ross The Boss Band
Next up on the bandstand was the brand new Ross The Boss Band. This was only the fourth time this lineup has played together, but the way they manhandled a selection of Manowar classics you would have never known it. Fronted by newcomer Marc Lopes (Let Us Pray), who has the fiery pipes required to deliver the founders of power metal's vocal histrionics, the band is rounded out by super bassist Mike LePond (Symphony X, Mike LePond's Silent Assassins), and one of the finest drummers in the genre, Kenny "Rhino" Earl. This will be a band to watch as they have already booked many tour dates for 2017, and will be hitting the studio to produce new music.
All in all it was an auspicious arrival of what will certainly grow in action and prestige in the years to come as Pat Gesualdo continues to dream big, and make it real. There are big things in the works for the future of the Hall Of Heavy Metal History, and this is only the beginning of an institution that will reward and acknowledge those who have contributed to this thing we call heavy metal history.
Friends, I need your help.
On January 30, 2017 a Kickstarter campaign for the blues documentary, Sidemen: Long Road To Glory will be publicly launched. The purpose of this campaign is to raise the funds necessary to pay for the licensing of the music used in the film, in order to get the film into distribution. We need your support to do this, both financially and in other ways, which I will get to shortly.
I have been involved with this great film for almost seven years. The movie is the story of blues legends Pinetop Perkins, Hubert Sumlin, and Willie "Big Eyes" Smith. But, it didn't start that way. It started off as a live concert document, inspired by the likes of The Band and Martin Scorsese's The Last Waltz. Unfortunately, there could have been no foreseeing the death of these three gentlemen within eight months of each other in 2011.
This derailed the project in a variety of ways, not the least being the extreme personal burden on director/writer/producer Scott Rosenbaum, who lost not three documentary subjects, but three very dear and close friends with whom he had been traveling, living, and working with for several years. My real involvement with the film really began with a series of conversations, texts, and e-mails between myself and Scott as he worked for almost a year trying to figure out not just what to do with a half finished film, but whether the film should even live on, or be discarded.
Ultimately, it was determined that in tribute to the lives lived by these great men, that their stories must be told, and that the show must go on. I connected Scott with my friend, record producer/bassist Fabrizio Grossi, and together we all worked hard to amass an incredible list of artists willing to be a part of this film. The film segued from live concert document into an incredible telling of three life stories, stories that anyone would love to watch - this is a music documentary, but it is also a very moving tale of humanity that would move any viewer. One that ends not with the deaths of some legends, but with a path and template for both the blues and its players moving forward.
The film is completed, and played very well on the summer film festival circuit, winning many awards, citations, reviews, and accolades. It made it to the finish line, and now it must make it to market, and onto screens.
Rock Guitar Daily is something which has been very near and dear to my heart for almost ten years. I've written well over a thousand interviews, reviews, gig reports, and various sundry features - a labor of love by any measure, one that was motivated by my love of music and musicians. I've never sought to monetize this blog, I have only used it to support the music I love, and also to build relationships for myself (both within the industry and with readers, listeners, and other music lovers). It has always been my policy to support what I love, and to avoid negativity. I've found that I do not have the time to support everything I like, so why would I burn up energy and time with things I didn't like? Millions of eyes have read these pages, and hopefully the hundreds of musicians, bands, acts, and artists I've covered have benefitted from the work I have done.
Now, it is time for me to ask something from you. Of course, the first thing I must ask for is your financial support for this campaign when it begins on January 30, 2017. Let's not try to fool anyone, this is all about raising money to get this film onto screens. This is not just a great film, it's an important film. It gets down to the true grassroots, it's all about the love of this great music, and these great men. Your cash donations will be what takes the movie to the next level. But that's only just the beginning. I'm asking for this support as a friend, not because I feel we are owed anything.
As vitally important as the money is the support you can show for the film and its makers in the way of sharing our message with your social circles. Without you reaching out along with us, we will not be able to make this happen. So, we need your help - a lot of it. Please join our sites on Facebook, Twitter, and share our links and announcements when you see them. One person, one vote? No, much better than that, your voice can reach those we have no access to, and you can help us in a very visceral way make this film happen for the world - your vote can win us hundreds of new friends and supporters that we really need to help this succeed.
Sidemen: Long Road To Glory on Facebook
The Sidemen: Long Road To Glory Kickstarter campaign goes live on Monday, January 30th. You'll be able to find the campaign via the Kickstarter website (https://www.kickstarter.com), the film's website (http://www.sidemenfilm.com), or on our social media sites (see above).
Our team has developed a wonderful Kickstarter campaign, and we've got some fantastic perks lined up. Original artwork, autographed Custom Build guitars from Thin The Herd Guitars, posters, t-shirts, copies of the movie, and tremendous bundles of packages to reward your kind and generous help.
I'd like to thank each and every one of you reading this in advance for any consideration of help you can give us. Getting this film to market is just the beginning, but it is something we need to make happen before we can move on to the future, and we absolutely cannot do it without your help, and for that help we humbly thank you all.
Tony Conley, Rock Guitar Daily