Please enjoy this very rad song. I captured this on my iPhone at Steel Panther’s show last Thursday at the Whisky a Go Go. “I Ain’t Buying What You’re Selling” is the last track on Heavy Metal Rules, which was released on Friday September 27, 2019. There will be a fat photo gallery and review up on PureGrainAudio.com soon. Peace!
This last summer I had the honor of seeing my friend Jake marry an amazing woman, Nyx Sanguino. It was an honor being their wedding photographer. A beautiful ceremony at a breathtaking venue—Jake and Nyx’s wedding was unique in so many ways. It was there that I met, Nyx’s sister, Zuly Sanguino.
The video shown here documents more than the wedding. It’s a short, yet moving clip that everyone should see.
Miracles are happening all the time—before our eyes and behind the scenes.
Congratulations Jake, Nyx, and Zuly. Thanks for letting me be part of your big day. I’m so grateful to know you.
Iron Maiden with Fozzy and The Raven Age
Banc of California Stadium
Los Angeles, California
September 14, 2019
(Review and photos for VintageRock.com)
Amid a multitude of “here today, gone tomorrows” in the music world, Iron Maiden has remained relevant. While a varied list of their songs is heard on satellite radio channels, the English hard rock band’s airplay on terrestrial radio has been perennially limited to three of four songs, from albums released between 1980 to 1992.
So take note: they are much more than the metal band that plays “Run to the Hills” with the 10-foot tall monster. Iron Maiden continues to bring new fans of all ages into the fold, packing arenas wherever the tours take them, because Iron Maiden delivers.
They brought the Los Angeles stop of their Legacy of the Beast Tour to the Banc of California Stadium, joined by opening bands The Raven Age and Fozzy.
The Raven Age, who had previously supported Iron Maiden on The Book of Souls World Tourin 2016, took the stage at sundown. Confident and energetic, the English melodic metal band engaged the growing crowd with a notable display of musicianship.
Fozzy, an American heavy metal band, fronted by Chris Jericho, deposed any seriousness in the air and pumped up the place with a lively party vibe. Playing a string of favorites that included “Drinkin’ with Jesus,” “Sin and Bones,” and a newer track, “Nowhere to Run,” Fozzy held the audience all the way through the end of their set, and clinched it with the AC/DC cover, “Dirty Deeds Done Dirt Cheap”.
Keeping with Iron Maiden tradition, UFO’s “Doctor Doctor” blared out to prime the show and the audience went wild. The elaborate World War II-themed stage production, complete with a Spitfire plane suspended over center stage, was revealed as Maiden opened with “Aces High.” Since this tour was not intended to promote a new album, most of the set list, to their fans’ delight, was made up of songs from the band’s catalog of classics, ranging from 1980 to 1992.
Front man Bruce Dickinson told the audience, “You know you’re getting old when Rolling Stone gives you a good review” and went on to say that he and his bandmates’ combined ages added together pre-date the American Revolution by about a hundred years. Despite Dickinson’s admission, the band members’ energy and physicality defied their years, particularly Dickinson himself, who ran about the stage tirelessly. “The Trooper” and “Revelations,” both from the Piece of Mind album, took the crowd back decades—to the time when Iron Maiden was a two-guitar band. The three-guitar attack of Adrian Smith, Dave Murray, and Janick Gers (who joined the band in 1990) proved to be formidable, each playing blistering solos throughout the night.
As Dickinson waved the Union Jack flag from above Nicko McBrain’s drum riser during “The Trooper,” it was clear that he and his mates below were loving the crowd’s excitement, which didn’t dissipate: there were no flat spots during the show. Enormous flames and a stained-glass cathedral backdrop set the stage during “Sign of the Cross.” This jaw-dropping exhibition was followed a string of classic songs, including “The Number of the Beast” and “Hallowed Be Thy Name.” “Run to the Hills” closed the show. As in previous years, the Legacy of the Beast stage show was stupendous, and Iron Maiden delivered to their L.A. following once again.
Shavo Odadjian, Wes Geer, and Sonny Mayo
Rock to Recovery 4
August 24, 2019
Koichi Fukuda, Wayne Static, Tony Campos
November 10, 2005
House of Blues
Out of the archive… one of my favorite interviews ever: Beth Hart
Written for PureGrainAudio.com - July 2013
"In my past, I believed that in order to write I had to be pretty much demolished, emotionally."
You may not know the name, but chances are you know the voice.
At the 2012 Kennedy Center Honors, she performed a moving tribute to legendary bluesman Buddy Guy, singing "I'd Rather be Blind" with Jeff Beck accompanying her on guitar. She teamed up again with Beck at this year's 2013 Crossroads festival, delivering Howlin' Wolf's "I Ain't Superstitious" while surrounded by rock and roll royalty.
In 1999, Hart was an emerging star, having released the hit "L.A. Song" from her sophomore release Screamin' for My Supperon Atlantic Records. A few albums and a few notable hits later, Beth Hart suddenly seemed to slip off the radar. After nearly losing her health and career to substance abuse and an untreated bipolar disorder, Hart is enjoying a remarkable comeback, creating new music and touring the world once again. Within the last year, the singer/songwriter has released two albums: Bang Bang Boom Boom, and Seesaw, a collaboration with guitarist Joe Bonamassa. Playing innumerable stages in cities all over the world, Hart is celebrating a success that means more to her than any amount of money, fortune, or fame.
Bang Bang Boom Boom, released in April of this year, flaunts Hart's talent as a composer and lyricist, in addition to her already-established talent as a singer and pianist. As Hart explains: "In my career, all of my records have always been eclectic. I think that's because growing up, I loved every genre of music ever made. There's a lot of influences from different genres and I love them all, pretty much equally. It's really always been that way for me, but generally the records will lean either more rock or they would lean more singer/songwriter. With this record it tended to go a little more blues. There's even some jazz in there. And then, of course, some of the style I've written in the past. It was important to me not that the lyrics be different, because for me, when I'm writing, the music dictates the lyrics. And the music always comes first. Most always, anyway. But after I made Don't Explainwith Joe [Bonamassa], that's what challenged me to want to go more in that direction as a writer and a singer, because I was tired of being in the direction that I had been in for so many years. I felt like I was right on the verge of doing one of the worst things and that is stay safe, stay in the box, and start writing the same thing over and over again, which would be terrible to do. But when I worked with Joe, it reset that and it gave me a great challenge to see if I could write and sing more in the direction of the record that we had made together, Don't Explain. So that's how Bang Bang Boom Boomcame up, and I think because the lyrics were more on the side of joy. There's some pain in Bang Bang, but it comes from so much more of an optimistic place, a spiritual place."
The poignant "Everything Must Change" is an account of healing and self-realization, inspired by a stay in a psychiatric hospital, where Hart was being treated for bipolar disorder. "It's one of my favorite lyrics, ever. I had written that when I had just gotten out of the last psych ward, my last big episode. It was about coming to the awareness. You know, when you first go into the ward, you're bouncing off the walls and it's like, 'Yeah, this is great here. These are my people.' And then, once you start coming down and getting balanced, you're going, 'Whoa, get me the fuck out of here.' That's really what the song was about. But the beauty is that everything does change. In the song it's talking about all the things that were good have to change but by the end you realize all the things that are bad will change too. Nothing stays the same. We can go with this journey. This journey is beautiful, and when it's not beautiful, guess what? It's gonna change.
"I had episodes at a really young age," Hart says of her bipolar condition. "But there was something about the age of thirteen and the age of 26 or 27 that it was more out of control than it had ever been. Those were my two worst-lasting episodes. They didn't come and go. They just kind of hung around for like a year, both times. I couldn't work. I don't really have a recollection of that time which is kind of a gift, I think."
Hart had already been sober nearly six years from addiction when she experienced a devastating manic episode that eventually had a positive effect, both personally and professionally.
"That's really what changed my life," she recalls of hitting rock bottom. "That's when I started taking medication. I had a real fear of coming back to the States. Even though I was touring in Europe and I had been sober for quite a few years, I felt terrified of coming here. I thought if I came here I'd be starving myself again and taking drugs, and drinking every night, and all that kind of stuff. I know that sounds weird, because even though I had shown myself I wasn't doing that in Europe, there was something about here. Maybe because that's where a lot of the trauma had happened. So I stayed away. But once I was on the bipolar meds and I actually started taking them for a couple years, I was able to work through that.”
"For a lot of us--we don't want to take our meds," Hart says about her ongoing recovery. "We are in total denial that we have it and we don't want to take it. It's not just the medication. It first starts with some kind of gift from God to where you get a belief system that shifts, and you say, 'Okay. I have this disease. There's no doubt about it. This is something that's offered to me that will definitely help me. And then, I get the chance to do all the talk therapy and learn how to be healthy.' But I have to take the medicine and do all the work. But once you choose love and light and a faith of healing, it's amazing how powerful that belief is."
Hart attributes her talent and musical tastes to early exposure to a variety of music, particularly the great blues singers. "Maybe it's just listening to the music that my mom turned me on to, music that I discovered on my own. Actually, a lot of my friends are singers and we all kind of have a tasted for all types of different music. But there is something special about Baptist gospel-style music. Certainly, my biggest hero is Etta James. Otis Redding, Howlin' Wolf, singers like that."
Hart and guitar great Joe Bonamassa collaborated again for Seesaw, the follow-up to their 2011 Don't Explain album. Again, as on the previous effort, the duo pay moving tribute to artists from various eras. Seesaw features a cover of "Strange Fruit," a song which was most famously performed by Billie Holiday.
"I remember I was a really young girl, I think was around eight or nine, maybe a little younger. My mom played a lot of Billie Holliday and she would sing Billie Holliday in the bubble bath after work, and I'd get a chance to hang out with her. But really, I'd just hang out and listen to her sing. And my mother knew every lyric to every song ever (laughs). My mother's 77 now. She was born in the '30s, so she came up through some early genres of great jazz and blues music. She knew all those words to all those fabulous songs and she knew the stories behind them. That song...first of all, musically it's absolutely gorgeous. It reminds me of something Beethoven would do. And the changes. So dark, so rich, so filled with longing, despair, reminiscing on some kind of nightmare. But yet there was a longing for hope in it that hadn't been totally crushed. Maybe it would be different by simply speaking up about it through a song. And then I heard Nina Simone's version of the song. And I was floored. I couldn't even believe it. That's a very special song. I think it's the best song on the record. I love that song."
The working chemistry between Hart and Bonamassa is undeniable. Both artists' styles complement each other in extraordinary ways. "He is so radical, man. The thing to me is that he thinks of himself as this nerd. He has no idea of how sexy and radical he is. He's so brilliant of mind, so intelligent, and he uses both sides of his brain, which I find you don't see a lot in artistry. Obviously, they say, the left-brain is the most creative part, but you can see examples of people that are solely right-brained users for creativity. He definitely does both. He works his ass off. He's been a huge influence on my career. He's really helped me so much, which I love him for. But I also love him simply because he's fantastic."
Hart recalls the 2012 Kennedy Center Honors, where a multitude of stars, including the President and Mrs. Obama, watched in awe as she sang "I'd Rather be Blind." With humorous self-deprecation, Hart talks about watching the President and First Lady rock out to her searing performance with Jeff Beck.
"I sat with my mother and watched it at Christmas, and when I saw those things, you know how my brain works, I thought, 'Oh, that's what they do for everybody. They know they have to do that, because they're being filmed, and they want to come across as being cool and being supportive of the artist.' That's how my brain works. But when I saw the look in Buddy's eyes, my brain, for a moment said: 'He's really into it,' or it said, 'He's tired and his eyes are watering.' (laughs hysterically). My brain won't give me a fucking break and let me take in something really wonderful. But, honest to God, what was a great feeling I had from that experience was being there with Scott, my husband, getting to see and meet heroes--total heroes of mine--and getting to share a room and sing onstage with them and look at them out in the audience as well. It was absolutely a highlight of my life."
Even though manic energy and chaos were commonplace, Hart was still able to make good music. These days she embraces a new-found creativity and love for life.
"In my past, I believed that in order to write I had to be pretty much demolished, emotionally. I had to have either done something, said something, that I felt so ashamed about, or my chemicals were just so off that I was in a state of real depression. Being on my medication and doing the work I've done these last five or six years, I'm sure, also had something to do with me not needing to be in a total place of disarray in order to write. But I don't believe that anymore. It was so wonderful to not have to be taken out in order to be creative and getting to that sincerity place of truth, which is always the goal when I'm being creative. I don't have such self-hatred and shame. I feel grateful and I feel proud of myself. I feel fortunate."
Here are just some of the many wildlife shots I took at Welcome to Rockville.
It’s been months since I’ve written anything other than stuff about music.
I think I’ll say something about love. I love Cody. There.
Day One: May 3, 2019
Daron Malakian’s Scars on Broadway
Santa Ana, California
March 7, 2019
Scars on Broadway, which has been re-branded Daron Malakian’s Scars on Broadway, performed a provoking two-hour set for a sold-out crowd last Thursday in Santa Ana. Malakian, whose main gig has been as the guitarist and second singer in System of a Down since its inception, put his mind-blowing talent on display, accompanied by three fine musicians. Guitarist Orbel Babayan, bassist Niko Chantziantoniou, and drummer Roman Lomtadze--the roving ensemble picked for this tour—provided the musical hoodoo needed for Malakian’s somewhat elaborate arrangements. Up-tempo rockers such as “Sickening Wars” and “Serious” made the floor move, while apocalyptically-tinged dirges like “3005” and “Whoring Streets” provided contrast and respite between the brutality. At the end of the night’s closer, “They Say,” Malakian dropped his guitar and dove into the crowd, as if to say, “Thank you and goodnight” in punk rock style.
Check out the video I shot of the last song of the evening, “They Say.”
Yesterday I needed some beach time.
I enjoy taking a pre-dawn stroll along the beach before going to work. It’s not often that I’ll use a tripod to take a picture, but last Saturday I decided to change my routine. I liked two or three shots I took that morning. I really love the vibe of this one. We’ve been getting a lot of rain lately, and during past winters I’ve seen how the water pools up by the pier after a heavy downpour. The reflection of the ferris wheel on the pond’s surface can be mesmerizing at times. I predicted that I’d see something cool at the beach that morning, even if it was just to watch the surf. I got to do both.
I’m a huge Aerosmith fan, going back to the mid-70s, when I used to listen to my Toys in the Attic and Rocks 8-tracks constantly. I’ve seen them live several times over the years, and I particularly remember a show they played in Anaheim during their ‘97 Nine Lives tour. By this time Steven, Joe, Brad, Tom, and Joey were all approaching 50, yet on this night they performed with an exuberance that defied their years. Unforgettable.
I found this clip while looking for another band’s video on YouTube. Aerosmith in ‘97, playing the best live version of “What it Takes” I’ve ever heard. Steven’s vocals riffing with Joe’s guitar solo: infuckingcredible. Bravo.
Seeing Adam Lambert perform in the parking lot at Project Angel Food was one of the best “live music” moments ever.
Watch Adam sing Queen’s “Somebody to Love”
(He nails it!)
Ghost came to Southern California to play a sold-out concert at the Los Angeles Forum, marking the band’s first of two headline arena performances in the U.S. (The second date will be at New York’s Barclays Center on December 15th.) The current tour, dubbed “A Pale Tour Named Death,” is promoting Prequelle, Ghost’s fourth studio album released on June 1, 2018.
The Forum show was a two-parter: a 26-song exhibition of rock, lasting nearly three hours. With no support act, there was a singular focus that made it all the better. With its 18,000-person capacity, the Forum provided an apt platform for the Swedish rockers to showcase a full array of lights, smoke, and pyrotechnics on a big stage.
Front man Tobias Forge, in his current stage persona Cardinal Copia, was the consummate showman with great vocal ability, a charismatic stage presence, and proved to be quite humorous with his in-between-songs banter. With the Nameless Ghouls (a band of accomplished musicians handling guitars, bass, keyboards, background vocals, and drums), backing the Cardinal, it was an all-out rock show, vacillating between 70s hard rock and modern-day heavy metal. The two Nameless Ghoul guitarists dazzled the crowd with their talent, with a tone that permeated the Forum, elevating the audience’s enthusiasm.
With Act 1. Ghost had set the hook into their audience, then, in Act 2, they reeled them in. After its spooky prelude, “Spirit” blasted away any malaise or preoccupation the audience might have experienced over the 15-minute intermission. “From the Pinnacle to the Pit,” as one example, demonstrated Ghost’s musical palette and stage production. The percussive bass intro was haunting, unforgettable in the live setting. Yet, there was so much breadth of sound in every song played that night it would be hard to pin down an honorable mention moment.
Leading up to “If You Have Ghosts,” Cardinal Copia spoke of the highs and lows of life and the spirits within us, alluding that a little faith can see us through the dark times.
The Cardinal continued, “As long as you have those spirits somewhere compartmentalized… you’re never entirely alone…sometimes life just fucking sucks…it has a tendency to go up and down, high and low…things always change. Do you know how you cut yourself and it hurts like fucking hell, and one day out of nowhere when you’re using your hand, all of a sudden you notice it doesn’t hurt anymore? But you know what? There might always be a scar on your hand. It might never go away. But it doesn’t hurt anymore.” Then Ghost began to play, making the night all about their fans. The Cardinal’s commentary in between songs added levity to the night, which might otherwise be gloomy without humor. “Dance Macabre,” “Square Hammer, and “Monstrance Clock” closed the evening fittingly. It was one of those shows proving that hard rock with masterful instrumentation and mystifying theatrics is alive and well. Ghost had won Los Angeles.
Con Clavi Con Dio
Per Aspera ad Inferi
Jigolo Har Megiddo
From the Pinnacle to the Pit
If You Have Ghosts
(Roky Erickson cover)