So, I used to have a bit of a problem with Foals. They have a very unique rule for photographers—instead of the customary first three no flash, they opt for the last three no flash. While it sounds like a unique idea it poses a problem. How in the hell will I know when the last three songs are and does that include the encore? Last time I went to see them myself and several other photographers missed the opportunity to shoot.
On top of that, we were all so fucking stressed trying to figure everything out that we really couldn’t enjoy the show. So there goes the photo-journalist element of what I love about covering shows in the first place. You see, many of the bigger publications have a writer and a photog, I choose to do both. One, because I can, and two, because I’m in the thick of this and I want the reader to both see and feel what it was really like. I’m convinced that the best way to share this experience comes from one person doing both.
Back to Foals. I was speaking at a social media conference in San Diego and noticed the band was playing a show at the Observatory on their way back from Coachella. The first thing that crossed my mind was that I have to get another chance to shoot these guys, and I did. This time though, I was prepared. I found out how long the set was, stood up next to the photo pit barrier, and counted the songs.
Generation Axe is guitar extravaganza bringing together five of the greatest axe men on the planet for a night a pure unadulterated shredding. Featuring Steve Vai, Zakk Wylde, Yngwie Malmsteen, Nuno Bettencourt, and Tosin Abasi, each of the five basic food groups of face-melting was represented well. Backing up the all-star lineup is a very capable band of musicians including Malmsteen keyboardist Nick Marinovich, Zappa Plays Zappa/ Dethklok bassist Pete Griffin, and Animals as Leaders drummer Matt Garstka.
Up first was Tosin Abasi, a Nigerian American guitarist best known as the guitar player and founder of the instrumental progressive metal band Animals as Leaders. I’m not too familiar with this guy, but he set the stage pretty well for what was to follow. Another interesting note is that he plays an 8 string guitar and was probably the most technical savvy shredder of the night.
Tosin played some mind-boggling solos with a full band before passing the torch to Extreme’s Nuno Bettencourt. The cool thing about this show is that each guitarist plays a 20 minute set then transitions via superjam to the next. The flow is quite brilliant and definitely led to some interesting encounters that fans won’t likely see ever again.
Iggy Pop has nothing left to prove to the rock ‘n’ roll community. The Godfather of Punk and Rock and Roll Hall of Fame inductee refuses to slow down one bit. And why should he? His 17th studio album launched at the top of the Billboard Rock and Alternative charts, delivering the 68-year-old icon his first #1 album ever. How in the hell does that happen you ask? Well, the title says it all.
Post Pop Depression is the name of the record, and it’s Pop’s first collaboration with Queens of the Stone Age frontman Josh Homme. The record features vocal and instrumental contributions from Homme and even saw the Palm Desert native in the producer’s chair. How did these rock ‘n’ roll innovators come together? The story goes something like this.
Pop sent Homme a text message about wanting to work together followed by a phone call to discuss. Then Pop sent some lyrics by mail, along with notes about his time working with David Bowie. Three months later, Homme sent lyrics to Pop, and they agreed to work together on recording songs in a studio. They brought incomplete ideas as opposed to finished songs so that they could work on them and create together. Pop has described the album as dealing with issues when your utility is at an end, and dealing with your own legacy.
Wolfmother really should get better about releasing records on a more frequent basis. They’ve been around for 16 years and have only delivered four full-length records. The only band on the planet that has been successful with that formula is Tool, and that’s because their records are insanely complex.
Wolfmother should take a page from their ’70s inspired peers’ playbook and release an album every year. I know what you’re thinking, less and less people are buying albums in this broken business model, but even before the entire record biz fell off the digital cliff, Wolfmother took extended breaks between releases and in my opinion lost a ton of momentum.
I remember when the debut record came out it was a HUGE fucking deal. I was a field marketing rep for Sony Music at the time and I was in Waterloo records when someone played it over the speakers in the store. They were one of the biggest buzz bands on the planet at the time, and rightfully so. Here’s a band that takes the best attributes of the greatest bands of the early ’70s, turned everything up to eleven and wrote some fucking incredible songs. Then they went on tour and proved to the world that this was no major label manufactured flash in the pan—it was the real deal.
Rival Sons are poised to have one hell of a year. For starters the band was hand-picked to be the opening act for the final Black Sabbath tour. On top of that, they are locked and loaded with a brand new album, the follow-up to 2014’s critically acclaimed rock ‘n’ roll masterpiece, Great Western Valkyrie. Hollow Bones will be released on June 10 through Earache Records. I caught up with founding member and lead guitarist Scott Holiday before a recent show here in San Francisco.
“We wrote, recorded, mixed, and finished Hollow Bones in thirty days in between a headline tour and a tour with Deep Purple in Europe,” says Holiday of the new release on Earache Records, a label primarily known for its death metal signings. Rival Sons might be the last band you would expect to sign to Earache, but the story became so interesting that it created more opportunities than it took away. “Yes, it was weird when we started because it was like Mercyful Fate and us,” explains Holiday.
That’s not the case anymore. Rival Sons have done so well with Earache and so many great things have happened along that way that it opened the doors for other rock ‘n’ roll bands to sign with the independent label. Earache’s ever-evolving roster now includes a very diverse bunch of bands including White Buffalo, The Temperance Movement, Biters, and Blackberry Smoke—in addition to their impressive metal catalog. “If you ask me I think they are one of the best rock and roll labels going today,” says Holiday.
Metallica is arguably the biggest metal band on the planet, maybe of all time. When rumors began swirling that the band could be considered for the coveted Super Bowl Halftime show, it made a hell of a lot of sense to most music fans. But the NFL continues to play it safe after the Janet Jackson incident, so they opted for the light sounds of Coldplay—and we all saw how truly awful that performance ended up being.
But that wasn’t the end of the story for the legendary Bay Area natives. This gave birth to a new mantra for the band, “Too Heavy for Halftime” and it caught on. Frontman James Hetfield fired back a bit when asked about the snub by the Associated Press, “We’re not a variety show. We’re not pop. We’re not sparkly and all that kind of stuff that I think seems to be what is needed for that.”
Metallica would represent San Francisco during SuperBowl weekend, but they would do it their way. Say hello to a headlining gig for CBS Radio’s “The Night Before” concert at the glorious AT&T Park, home to the three-time World Series champions San Francisco Giants and a fitting stage for a full on metal performance.
In 2002 I had the honor of taking Dr. Ralph Stanley to KGSR in Austin, Texas to talk about the release of his self-titled new record. I remember asking him about bluegrass music and he said to me, “I don’t play bluegrass, I play old-time country music.” That’s exactly what I heard on stage last week when The Devil Makes Three played the second of a two night stint at the Fox Theater in Oakland.
Effortlessly blending elements of western swing, folk, honky-tonk, rockabilly, and bluegrass, The Devil Makes Three was formed in Santa Cruz, California, in 2002. Guitarist Pete Bernhard, upright bassist Lucia Turino, and banjo player Cooper McBean have released four studio albums and a couple of live recordings along the way.
The trio have evolved their sound ever so slightly over the course of more than a decade of performing together. “Worse or Better” is a track from their latest record, 2013’s I’m a Stranger Here which showcases the group at its finest hour in my opinion, as Grammy Award winning songwriter and Nashville legend Buddy Miller took the helm as producer, bringing out the best from the trio to tape.
If you’ve not seen a Steel Panther show, you’re missing out on one of the most entertaining spectacles ever put to stage. Michael Starr, Lexxi Foxx, Stixx Zandinia, and Satchel are keeping the legacy of hair metal alive as they carry the torch for one of rock ‘n’ roll’s favorite past times.
The Regency Ballroom was completely packed to see these guys and for good reason. Their live show is nostalgic, comedic, part sing-along, and always over the top with excess. With song titles such as “You’re Beautiful When You Don’t Talk,” “Asian Hooker,” “Gloryhole,” and “F*cking My Heart in the Ass,” it’s easy to write these guys off as a simple novelty act, but the songs are incredibly catchy and their musicianship is absolutely stellar.
So while these guys may come across as a joke they have some serious chops to back up their crude lyrics, and that’s what makes them so brilliant. The band’s new CD/DVD, Steel Panther, Live from Lexxi’s Mom’s Garage arrives in stores February 26th and is available for pre-order.
Supergroups come and go but allegiances can be forever. Founded by mastermind Mark Menghi, Metal Allegiance has quickly become the torch-bearer for the metal community world-wide. More than just a band, it’s a movement bringing together the best of the best to keep the legacy of classic metal alive and well.
The core of Metal Allegiance features Mark Osegueda (Death Angel), Troy Sanders (Mastodon), Phil Demmel (Machine Head), Dave Ellefson (Megadeth), Mike Portnoy (Dream Theater), Alex Skolnick (Testament), and Mark Menghi. The show on this night consisted of mostly covers but also a few select tracks from their debut album which features even more metal alums which are way too many to list here—but it’s a seriously impressive list that reads like a who’s who of metal past and present.
While I would have loved to hear a few more originals from the record in the set, the few that they played were everything that metal should be; loud, aggressive, and worthy of an entire crowd pumping their devil horns in the air. Alex Skolnick was absolutely on fire and melted every single face in the crowd with blistering guitar solos that he made look easy.
Within the past thirty days I have seen two of the most brilliant examples of modern music taken to the next level. In mid-December it was the stellar performance by Puscifer in Las Vegas touring in support of their brilliant new record Money Shot, and last week it was the mind altering sonic bombardment of multimedia juggernauts Tool. The common denominator of course being the prolific yet reclusive genius that is Maynard James Keenan.
Whether it’s the avant-garde offerings of Puscifer or the enigmatic styling of Tool, both have solidified their place and continue pushing the boundaries in a current musical landscape that is bloated and remarkably uninteresting. Tool of course remains a juggernaut and for good reason.
Is there a better example of doing more with less in the music business when it comes to Tool? Probably not. Four albums and one EP over the course of a quarter of a century and they are still the most relevant, Grammy award winning, visually stunning, progressive rock band on the planet. Critics often say the Tool has built a “cult” following, but that statement tells only a fragment of the entire story and the undercuts the vastness and diverseness of their fan base.