Author Archives: Jason Miller

If I never see another live show in my life after watching Spiritualized last week in London, I think I’d be ok with that. This was one of the most incredible musical performances I’ve ever seen, and I’ve seen thousands. Start with one of the best songwriters on the planet, add a live orchestra alongside the band, top that off with a full choir, and you have the makings of a once in a lifetime gig.

Spiritualized is best known for the critically acclaimed 1997 release of Ladies and Gentlemen We Are Floating in Space, which NME magazine named as their Album of the Year, besting Radiohead’s OK Computer and The Verve’s Urban Hymns. This not only put them on the map but instantly secured them as one of the most important artists of the 1990s with We Are Floating in Space acclaimed as one of the best albums by virtually all the major music press around the world.

The Eventim Apollo was the perfect setting for this sold out extravaganza which was led by the man behind Spiritualized, Jason Pierce, directing the two dozen-plus musicians across the legendary Apollo stage. One would not be wrong to compare the wall of sound to the sort of experience you’d get from seeing a Pink Floyd show during their peak. It was a perfect combination of brilliant songwriting alongside stellar musicianship, with the icing on the cake being the orchestra and the choir.

Read More »

The Quireboys made a triumphant return to the stage in London to a sold-out O2 Forum crowd. Celebrating the 10th anniversary of their landmark record Homewreckers and Heartbreakers, these veteran rock ‘n’ rollers proved that they are still very relevant and that rock ‘n’ roll is alive and well on their watch.

This would be a special one-off performance of the Homewreckers album in its entirety. While it may be a cliche these days to go on tour and play a classic record from start to finish, the Quireboys are anything but. These guys have stuck to their guns and their original sound from the beginning—one of the few bands who have a three-decade-plus career who never have to claim that they are “going back to their roots,” as they’ve never left them.

Spike looks and sounds fantastic as does the rest of the band. The songs hold up incredibly well, and that’s because of their dedication to keeping their brand of rock ‘n’ roll fresh. Being from the States, I remember the first time I saw these guys on MTV. I must have played their debut album A Bit of What You Fancy a hundred thousand times. I missed Homewreckers as it wasn’t a hit in the US, but I’m glad I got to see this show and even picked up the 10th-anniversary edition of the record which the band signed for me. (They are all super cool by the way and signed CDs and took photos with fans for hours before the gig.)

Read More »

I’ve always loved LA Guns and thought that these guys conjured up their own unique sound during an embarrassing mess of look-alike hair bands from the late ’80s. These guys were a bit more rough around the edges and had a much more raw, sort of lo-fi sound to their debut record that helped it stand out from the slick production and ridiculous lyrics of their peers. That self-titled debut album is an absolutely fucking masterpiece.

While I’ve celebrated several of the other releases from these guys, this is the one that set the bar, the one that all others shall always be compared to. The band sort of lost their way as they would split into two dueling projects and there’s not enough time in the world to discuss that saga. The good thing is that founding members Tracii Guns and Phil Lewis finally did the right thing and came together again. Even better, they made a brilliant record. A return to form for a band that everyone knew had this in them—it would just take a decade or so of bad decisions to get to this point.

The record is called The Missing Piece, and I guess you could consider it a reunion recording, but more importantly it is the first album of new material featuring both singer Phil Lewis and guitarist Tracii Guns in 15 years. Oh, and it’s bloody brilliant. But don’t take my word for it. How about the 77 plus nearly five-star reviews on Amazon, or the critics across the blogosphere praising it left and right.

Read More »

I was supposed to be at the Iron Maiden show at the O2 on Friday night here in London. Instead, I decided to check out something from the other side of the spectrum entirely, and I’m so glad that I did. Nell’s Jazz & Blues was hosting a sold-out show by Oakland, California native Fantastic Negrito. No opening act, a capacity crowd, and a venue that was somewhere between a cocktail lounge and a full-blown rock ‘n’ roll venue. I had no idea what to expect, and it quickly became apparent that this was going to be something over the top.

A primarily self-taught musician with a colorful background of dealing and hustling on the streets of the East Bay, Xavier Amin Dphrepaulezz—aka Fantastic Negrito—is a unicorn upon the current musical landscape. Even the most prominent music labels in the world seem to be confused on what to do with his genre-fusing which he calls “Black Roots Music.” Is it funk, is it blues, is it rock, is it something completely different? That answer is yes to all of the above. The problem continues to be, how do you promote it?

As I squeezed my way up to the front of the stage trying to set myself up for a few good shots I mentioned to the two people next to me that I would only be up in front shooting the first few songs. They replied, “No problem, we’ll be dancing the whole time anyway.” Last time he played London was opening for the late great Chris Cornell at the famed Royal Albert Hall. Xavier asked the crowd how many had seen that show, and several people raised their hands with a loud cheer. What would come next was a full-blown blues and rock ‘n’ roll-fueled jam that at times felt like an underground sermon delivered by a master storyteller (and boy does this guy have some stories).

Read More »

Is there a cooler fucking band on the planet than Black Rebel Motorcycle Club? I think not.

These guys are the essence of rock ‘n’ roll, and eight albums into a steady and impressive near two-decade career they continue to make brilliant albums as if the digital single had never been invented. Although I’ve always been a fan of these guys, first seeing them at legendary Emo’s in Austin during the tour for their first record, I really fell in love with them on their third release. It’s one of the best records, start to finish, that I’ve ever heard—sixty minutes and twenty-six seconds of pure genius songwriting and production, entitled Baby 81.

Baby 81 was the last album for BRMC on a major label before going independent. “Berlin,” “Weapon of Choice,” “Took Out a Loan,” “Windows.” Holy shit, this record is brilliant. You can tell there’s a major label behind it because it’s too perfect. I would guess that there was a tremendous amount of pressure on these guys to deliver a breakthrough record with every critic in the world raving about them. But that’s a story for another time—on to the show at hand in London.

Read More »

The last time I saw Ministry was in 1992 at the second Lollapalooza. They were touring in support of their genre-defining masterpiece Psalm69 while being groomed by their record label as the next big thing.

While Ministry were arguably at the top of their game regarding songwriting and live performances, what was happening behind the scenes would ultimately push the band to the brink of extinction. It’s the classic story of drugs and rock ‘n’ roll but retold in an extreme manner. Ministry founder and frontman Al Jourgensen not only invented the genre of industrial metal, but he also reinvented a mystique and intrigue around an entire rebranding of a band.

How does a group start off sounding like Depeche Mode/ New Order but later find their breakthrough moment pushing the boundaries within an entirely new genre? I think it’s all about timing. Furthermore, you give a musical genius a shit ton of money, an enormous amount of pressure, and some mind-altering substances, and you are likely to generate something no one has ever heard before.

The follow-up to Ministry’s breakthrough is one of the coolest stories of artist vs. major record label. The band was so pissed on drugs and trying to control the chaos of newfound success, that they basically delivered a huge middle finger to Sire/ Warner Brothers called Filth Pig; a noise infested sludgefest that would make the Melvins sound commercial. What could have become the band’s “Thriller” moment brought confusion and alienation to its fanbase. This was sort of the beginning of the end of the beginning of Ministry and begs the question, what would have become if the band did deliver a proper follow-up to their seminal masterpiece?

Read More »

I’ve never been a big fan of solely instrumental songs or instrumental bands for that matter. Music without lyrics always made me think of movie soundtracks or classical music, two things I wasn’t into at all.

But there was a problem for me as a music lover. As a writer in my day job, I find it nearly impossible to write while listening to songs with lyrics. I needed to find something inspiring and not distracting. I needed to find a band that could create something that could be the soundtrack to my life, representing ups and downs, triumph and tragedy, anger and frustration, while tying it all together with the essence of cool and a touch of mystique. Enter San Marco, Texas band This Will Destroy You and their self-titled 2008 release.

Often compared to Explosions in the Sky, which was recommended by several of my friends over the years which still haven’t dove into yet, this quartet burst onto the scene in the early 2000s and quickly gained notoriety among the most prestigious critics. Their sound has been called “near perfect,” their overall tone referred to as, “it doesn’t get much better,” and one critic, in particular, claimed their debut to be “an astonishingly beautiful work that promises a bright future,” priming the record for many best-of lists that year.

Read More »

Rock and Roll Hall of Fame legends Run DMC made a triumphant return to London last week marking their first gig in the UK in three years. Taking the stage at the famed Eventim Apollo, MC Darryl “DMC” McDaniels, Joseph “Run” Simmons, and Jason Mizell Jr. (who performs as DJ Jam Master J’Son, the son of the late DJ Jam Master Jay) brought the near-capacity crowd back to a time when hip hop was only just beginning to take over the world. I have never seen Run DMC live, and this would be my first time photographing a hip hop show—and it was one for the ages.

The importance of Run DMC cannot be understated. The list of firsts is second to none. They were the first rappers on MTV, the first rappers on Saturday Night Live, the first rappers on the cover of Rolling Stone, the first rappers to win a Grammy Lifetime Achievement Award. They single-handedly, seamlessly fused two genres to start a revolution and to breathe new life into a rock ‘n’ roll band on a downward spiral. They would ultimately become one of the most influential acts in the history of hip hop culture, and one of the most famous hip hop acts of all time.

Opening the night was British born American rapper and legend in his own right Slick Rick, aka Rick the Ruler. Rick is known for his storytelling abilities and as a pioneer in adding narratives to hip hop. Although he never really broke through to mainstream success as a solo artist, his music has been sampled and interpolated over 600 times, in over 35 songs, by artists including many of the biggest names in hip hop. Rick took to the stage in his signature throne and wowed the crowd with a selection of old school classics that would not only warm up the crowd for the headliner, but set the stage and the mood for an epic headlining set.

Read More »

One of the many things I love about living in London is the fact that I get to see so many of bands from the original punk movement play live in their native environment. The story of punk in London is littered with stories of the best of the best; the Pistols, The Clash, The Damned, The Ruts, The Slits, and of course The Adicts.

A staple of the early ’80s London punk scene and indie charts alike, The Adicts set themselves apart from the onslaught of punk bands by focusing not only on the songs but also on their image. The group wears all-white clothing with black boots and black bowler hats. Frontman Keith “Monkey” Warren sports equally comical and frightening joker makeup, flamboyant checkerboard and polka dot suits, flared trousers, along with the bowler hat and gloves. Their live show quickly became a spectacle of its own as the band complimented their visual style with the likes of novelty items such as streamers, confetti, playing cards, joker hats, toy instruments, and glitter.

I’ve never seen the band live, so when the chance came to catch them at the very cool O2 Islington Academy I jumped on it. The Adicts were recently signed to Nuclear Blast (kudos to NB for being such a fresh and forward thinking label, by the way) and released And it was So!, their tenth studio album, and it’s garnered a slew of positive reviews.

Not a lot of punk bands, or any groups for that matter, can have a 40 year plus career and still look to be in their prime. The Adicts somehow discovered the punk rock fountain of youth which is not only showcased in their recent videos to support the new record, but even live I thought to myself, how old are these guys? They looked fantastic on stage. Maybe it was a couple of drinks impairing my vision a bit, but these guys not only had the energy of their prime in the ’80s, but their Clockwork Orange style dress makes them appear ageless.

Read More »

The history of the Hollywood Vampires originates in the 1970s on the Sunset Strip at the world-famous Rainbow Bar & Grill. The upstairs bar is where the original Vamps formed a drinking club that included legends Keith Moon, John Lennon, Harry Nilsson, and just about any other rock star who found themselves passing through.

While the club would lay dormant for a couple of decades, Alice Cooper and Johnny Depp would breathe new life into the Vampires in 2015. Since then, a band has consisted of the core of Cooper, Depp, and Aerosmith axeman Joe Perry. They’ve played gigs and festivals, released an album, and finally made their way over to the UK for a tour in 2018. This is the first time I would see the band live—and they were spectacular.

I’ve read a few recent reviews that claimed Depp was “staggering” across the stage but I’m not sure what the hell they’re talking about. The Vampires looked and sounded great. And anyone who’s asking the question of whether or not Depp deserves to share the stage with rock ‘n’ roll royalty should listen to what his conspirators have to say.

Joe Perry has praised his actor friend’s musical skill, saying he was as “good as anybody I’ve worked with,” and “I don’t think he’d be up on the stage with Alice and me and the other cats if he wasn’t holding his own as he does.” Cooper’s praise is equally flattering, adding, “He’s really a good player. He’s a musician through and through I don’t think of him as an actor. He’s a guitar player.” If that’s not enough credentials, then move along and find another supergroup to bitch about.

Read More »

Foreigner’s Records was released on November 29, 1982, the compilation spanning the band’s first four albums through 1981. Along with their second album, Double Vision, the release is the group’s best-selling record. I must have played this one a thousand times when I was a kid. Mind you, I was ten at the time, yet every song on that record is a bona fide global smash hit, and the music still holds up today. It would go on to become certified seven times platinum, something most of us will never see again in our lifetime.

Fast forward almost four decades and a new Foreigner led by founding member Mick Jones (who let’s not forget joined the Songwriters Hall of Fame in 2013) is alive and well and arguably sounding better than ever before. Sure they’re missing their original vocalist, the almighty Lou Gramm, but holy shit does Kelly Hansen play the part well. He’s been part of the band for more than a decade now and not only is he a stellar vocalist, he adds a new dynamic to the group. Anyone who sees the band live can’t deny the unbridled talent and charisma Hansen brings to the band.

Add to that Dokken bass master Jeff Pilson, Big Country’s Bruce Watson, former Whitesnake drummer Chris Frazier, sax man Thom Gimbel, and keyboardist Michael Bluestein, and you have a group of musicians who not only recreate the legendary songs live, they add a welcome and slight modern twist. The show was a non-stop hits-a-palooza that featured all the classics. “Double Vision,” “Cold As Ice,” “Waiting for a Girl Like You,” “Dirty White Boy,”—I could go on for a while here, but the real highlight for me was how incredible “Urgent” and “Juke Box Hero” sounded live—two of my favorites.

Read More »

I’ve seen the Gallagher brothers shows individually over the past few months and let me tell you that they are two very different experiences. Liam opens with Oasis classics right out of the gate, while Noel focused on his new material and peppers in a few Oasis numbers in the middle and end of his. I don’t think it says anything about the strength of either brother’s solo material as both of their current records are equally brilliant, but I do think Liam is making a statement while Noel is a bit more seasoned on the “solo” road at the moment.

Opening with a one-two (three, four, and five) punch from 2017’s Who Built the Moon?, Noel blasted into “Fort Knox” directly into “Holy Mountain.” It was as if he’d be playing his new record in its entirety as the first five songs of the set matched his latest album in running order. Who Built the Moon? is a bit of a progression for Noel and his High Flying Birds. They’ve dirtied up their sound, injected a punch of soul, and dialed up the volume and aggression which made for a proper Britrock arena show.

It’s interesting to me that Noel’s albums are evolving much like the Oasis catalog—starting out very Beatlesque, then growing darker, adding a touch of soul, and finally going full-on bombastic with the wall of sound fueled by real-time drum loops played by an actual human. Don’t get me wrong, there are elements of all the greatness of Oasis and The Beatles, but the first few songs set the tone for each of Noel’s records, and that tone is very different each time.

Read More »