Daddy’s telling lies / Baby’s eating flies / Mommy’s on pills / Baby’s got the chills
I’m friends with the President / I’m friends with the Pope / We’re all making a fortune / Selling Daddy’s dope
Sitting here in Queens / Eating re-fried beans / We’re in all the magazines / Gulpin’ down Thorazines
Do you guys use Flipboard? Fewer and fewer magazines are on it. It seems like publications worth reading want $9.99. I do like the feel of Flippin through a series of interests upon awaking, but one thing is for sure, my clipboard certainly does lead down a variety of paths.
College basketball, transfer portal, soccer news, Trump crimes, and Russia. I mean WTF are Russians thinking? Ugh, god help us.
A night of unforgettable rock music unfolded at the House of Blues in Anaheim on September 11, 2023. The renowned venue played host to guitar virtuoso Yngwie Malmsteen, bass maestro Glenn Hughes, Guns N’ Roses alumnus Gilby Clarke, and the emerging talent Steve Ramone in a concert that was nothing short of electrifying. Pound for pound, this was one of the best classic rock shows I have seen in years and it isn’t event close!
Opening the night was Steve Ramone, a Chicago South Sider, whose raw energy and distinctive sound set the tone for the evening. His punk-infused rock tracks were an instant hit with the crowd, who responded enthusiastically to his dynamic performance. What I enjoyed about this set was the fun all of these cats were having on stage, especially Steve and special guest Chip Z’Nuff. I’m looking forward to the ascent of this killer band in the not-so-distant future.
Gilby Clarke took the stage next, bringing his signature blend of hard rock and blues to the House of Blues. His 14-song set was a lesson in rock ‘n’ roll history, with covers of classics interspersed with some of his original work. A standout moment for the Gilby Clarke faithful was his soulful rendition of Bob Dylyn’s “Knockin’ on Heaven’s Door” which had the crowd singing along from the very first note. For me, I loved his final song, “Tijuana Jail.” It was shear perfection and a perfect segue for Glenn Hughes.
Glenn Hughes, known for his work with Deep Purple, brought a hefty dose of classic rock to the night. His powerful vocals, coupled with his exceptional bass-playing skills, were truly a sight to behold. His interaction with the crowd was genuine and heartfelt, making for a memorable set. While Hughes only played 8-songs, it was a masterclass of early Deep Purple with standouts like “Stormbringer,” “Mistreated,” and “Burn.” Best in class for me was “Highway Star,” one of my all-time favorites. I can honestly say no one—and I mean no one—has a voice like Glenn. At 72 years young, he still sings like it’s 1972—and that’s no exaggeration. Amazing.
I’m the stone you’ve just thrown into the ocean / How many stones have you thrown? / Turin brown, I’m going down for the very first time / Now where’s the truth in this? / I dared to dream / But you were more violent than the worst hurricane
Oh take me sailing again / Oh take me sailing again
As you might know I’m a fishing guy, not a sailor, but I’ve always loved this song. It reminds me of fall afternoons on fishing boats off the California coast. I love the beach line and coasts during fall.
As the weather cools the seas often calm down. Now, this might be me living in the past. Did anyone notice how many catastrophic rain storms happened recently? Last week was Burning Man, this week Libya and Blue Ridge festival…
Ooh, stop / With your feet on the air and your head on the ground / Try this trick and spin it, yeah (yeah) / Your head will collapse, and there’s nothing in it / And you’ll ask yourself
Where is my mind? / Where is my mind? / Where is my mind? / Way out in the water, see it swimmin’
I’m not sure if you saw the full moon last week? Here in LA, it was a rusty red. Call me a new age Californian canyon dweller, but show me a big ol’ red, full moon smack in the middle of Mercury in retrograde and this Idelic DJ is gonna slow my roll and wait for fall to begin before I make any big decisions.
The stars are asking for patience and introspection. So, I’m gonna grit my teeth, take a deep breath, pay a few bills, organize my desk, and of course flip through a few records.
A wave of nostalgia swept over FivePoint Amphitheatre in Irvine, California as Godsmack, Staind, Mix Master Mike, and Flat Black took to the stage on August 24th. The bands delivered a high-energy performance that transported the audience back in time, reminding them why they fell in love with these artists in the first place. This show had something for everyone regardless of their musical proclivities and satisfied the inner demon in all who attended.
On a muggy afternoon, Flat Black opened the show, setting the bar high with their raw energy and infectious sound. Led by former Five Finger Death Punch guitar god Jason Hook, their gritty riffs and powerful drumming captivated the audience from the get-go. Their interaction with the crowd was commendable, a testament to their charismatic stage presence and love for the music they play. Looking forward to seeing more of this up and coming cyclone in the months ahead.
The atmosphere was reaching a fever pitch as Mix Master Mike, known for his work with the Beastie Boys, took to the stage. His set was a whirlwind of beats and rhythms, his skills as a DJ on full display. He added a unique element to the night, his set serving as an energetic bridge between bands that tugged on the nostalgic heartstrings of all in attendance. You could tell Mike was vibing with the near-capacity crowd and having the time of his life here in Irvine.
So you are tired of us / So rest your head / Turning back fourteen years / Of what I did and said
So you are breathing disaster / I did what I was told / But I was a man born invisible / Was it something I said or some kind of joke?
So you are tired as the sun / Are you with or without a friend? / Bring me back everything caught in your shield / Let everything else descend
What do ya know? This appears to be the last Idelic Hour before Labor Day. The long weekend used to mean the end of summer and back to school, but here in California—global warming or not—summer goes to half way through October. All said, we’re still having to make our way through earthquakes, tropical storms, presidential mugshots, the surfing homeless, and new strains of covid.
OK, what’s next? Well, I really only want to think about new music and where I can find a decent slice of pizza.
FivePoint Amphitheatre was ablaze with energy as five of rock’s heavy hitters—Mudvayne, Coal Chamber, Gwar, Nonpoint, and Butcher Babies—descended upon the venue for a night that promised to be nothing short of sheer insanity. The anticipation for the night’s festivities was palpable, the crowd buzzing with excitement, and was ready to be engulfed in a wave of high-decibel metal mayhem that was sure to please even the most discerning of fans in attendance. Welcome to the 2023 Psychotherapy Sessions.
The evening kicked off with Butcher Babies, who set the tone for the night with their relentless energy and raw power. Carla Harvey and Heidi Shepherd’s ferocious vocals resonated throughout the venue, while Henry Flury’s blistering guitar riffs and Chase Brickenden’s thunderous drumming elevated the performance to new heights. “Best Friend” and “Magnolia Blvd.” were two of my favorites and a definite highlight of their set, leaving the ever-growing crowd cheering for more.
Next up was Nonpoint, who brought their distinctive fusion of nu metal and alternative rock to the stage. This band has always been one of my favorites and didn’t disappoint on this steamy Friday night. Frontman Elias Soriano commanded the stage with his charismatic presence, while the band’s tight musicianship was on full display throughout their 8-song set. Their performance of “What a Day, “Chaos and Earthquakes,” and “Bullet With A Name” was particularly memorable to longtime fans. My only gripe with this set was that it was not long enough. I’m looking forward to seeing Nonpoint back in California in the not-too-distant future.
Once upon a time, not too long ago, we took a day out in Manchester / We all fall down, there’s not enough hours in the day / Played a bit of football, fell into the union / Barged our way into the toilet with the kung fu king
There’s not enough hours in the day / I remember seeing someone dressed in a suit, looking like a lunatic / And we all fall down, there’s not enough hours in a trip
Growing up Jewish on the east side of Manhattan, our family went to the theatre. I’ve always had a soft spot for 1960s Broadway musicals. I’ve always wanted to do a modern take on A Funny Thing Happened on the Way to the Forum.
The musical tells the bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. The plot displays many classic elements of “farce,” including puns, the slamming of doors, cases of mistaken identity (frequently involving characters disguising themselves as one another), and satirical comments on social class. The title derives from a line often used by vaudeville comedians to begin a story:
“A funny thing happened on the way to the theater.”
On Saturday night at Five Point Amphitheater, music lovers were treated to a truly enchanting experience. The air was charged with anticipation as the crowd gathered, eagerly awaiting the arrival of two extraordinary acts: Boy Harsher and the legendary Danny Elfman. With a captivating blend of musical prowess and enthralling stage presence, these artists took the stage by storm, creating an atmosphere that was nothing short of magical, and a show the audience would not soon forget.
Kicking off the evening was the mesmerizing electronic duo known as Boy Harsher. Their dark synth-pop sound immediately captivated the audience, setting the tone for an evening of sonic exploration. The atmospheric melodies and haunting vocals of Jae Matthews combined with the pulsating beats from Augustus Muller created an immersive experience that left the crowd in awe. Tracks like “Fate” and “Modulations” transported listeners into a world of introspection and raw emotion, showcasing the duo’s ability to create a deeply atmospheric sonic landscape.
As the anticipation mounted, the stage transformed into a mystical wonderland, adorned with intricate set pieces, vibrant lights, and a full orchestra led by none other than the legendary Steve Bartek. And then, the moment arrived. Danny Elfman, the visionary composer and mastermind behind Oingo Boingo and countless iconic film scores, took his place center stage and the near-capacity crowd went wild. The energy in the amphitheater was palpable as Elfman launched into a career-spanning 33-song set that showcased not only his unparalleled musical talent but also his magnetic stage presence.
Elfman’s performance on Saturday was a journey through his vast discography, taking the audience on a nostalgic ride through beloved Boingo classics, theatrical compositions, as well as lesser-known gems. From the hauntingly beautiful “Dance With the Lemurs” to the exhilarating “The Simpsons” theme, each composition came to life with a renewed vibrancy that resonated with both long-time fans and newcomers alike. The crowd erupted in cheers as Elfman belted out the iconic lyrics to “Insanity,” a moment that was met with an electrifying wave of enthusiasm from the crowd as well as his amazing musical ensemble.
It’s rare when I lack inspiration to go digging through record crates to find Idelic Hour inspiration—AKA: a playlist. This week’s source came from a Facebook post. My old Boston punk rock pal Johnny Angel reached out with the question:
What are your three favorite “cut out” albums?
My god, I hadn’t thought about “cut out bins” in a long time. In my mind they pre-dated used records, which I associate with California swap meet culture of the ’80s and ’90s. The cut out bin brings me back to NYC in the ’70s and the magic of record stores. There were five in the 2 block radius of my parents’ apartment on East 85th street.
The Dreamsonic 2023 Tour, featuring Dream Theater, Devin Townsend, and Animals As Leaders, promised an unforgettable night of progressive metal mastery—and boy did it deliver. As the sun began to fall over Los Angeles on June 25th, the YouTube stage lit up with a spectacular display of technical prowess, musical innovation, and raw energy that was truly second to none. This group of musical virtuosos left the near-capacity audience in complete awe from the very first note to final curtain call. What a night of progressive music in the City of Angels.
Opening the evening was Animals As Leaders, a band that has carved out a unique niche in the progressive metal landscape with their all-instrumental approach. Their performance was a testament to their technical skill and musical innovation, with Tosin Abasi’s eight-string guitar work being a particular highlight. While lighting was challenging, their 9-song set shone with tracks “Ectogenesis,” The Brain Dance,” and my favorite “The Woven Web.” Looking forward to seeing Animals As Leaders again in the not-so-distant future.
Next up was the amazing Devin Townsend, and he provided a perfect counterpoint to Dream Theater’s polished precision. Known for his eclectic style and boundless energy, Townsend delivered a performance that was both wild and captivating. His set was a rollercoaster ride of emotions, ranging from the frenetic intensity of “Kingdom” to the haunting beauty of “Deadhead.” Throughout the set, one felt the raw emotion flowing from Devin to his fans and then immediately back to him. It was like a two-way radio that was super tuned for progressive mastery. An unbelievable set.
Headlining the tour, Dream Theater, fresh from their 2022 Grammy win for Best Metal Performance, proved once again why they are considered titans of the progressive metal scene. The band opened their set with “The Alien,” the Grammy-winning track from their latest album, A View From the Top of the World. The song’s complex rhythms and soaring melodies set the tone for the evening, showcasing the band’s unparalleled musicianship and creativity.
And your parents paid you through / You got a nice big car, nothing bothers you / Somebody cut out your eyes, you refuse to see / Ah, somebody cut out your heart, you refuse to feel / And you live in a shell / You create your own hell / You live in the past and talk about war / And you dig your own grave, yeah / But it’s a life you can save / So stop getting fast, it’s not gonna happen / And you’ll cry but you’ll never fall, no, no, no / You’re building a wall / Gotta break it down, start again
No, no, no, it won’t happen to us / We’ve lived our lives, basically we’ve been good men / So stop talking of war / ‘Cause you know we’ve heard it all before / Why don’t you go out there and do something useful?
Oh, listen to the man in the liquor store / He yelling “anybody want to drink before the war?” / “Anybody want to drink before the war?” / “Anybody want to drink before the war?”
Back in the golden days of late ’80s vinyl, nightclubs and DJs were members of record pools. The colorful and coked up owner and character Marc Jacobson made the NY ’80s scene and owned Rockpool. Once or twice a month I’d get a box filled with promo vinyl—priceless extended 12 inch new wave singles and indie LPs.
I became fast friends with Matt Green, the kid who worked stuffing those boxes. His job was to know what all the DJ members spun and I was happy to be on his list. He sent me the first Pixies EP, and yes, “the bald headed chick.” Back in ’87, a bald woman was radical, and after many late nights chatting about records, Matt knew I was a closet Joni Mitchell fan.
The bald headed Joni was an obscure topic. Not long after, I got a call from from an apologetic assistant at Chrysalis Records inquiring if I would be open to letting one of their “baby artists” do a showcase for the top brass at the label. It became clear that my “bald headed Joni” was a bit of a running joke in the office. My response was explosive. I scolded this poor assistant and threatened to personally come over and kick her bosses ass!
From the moment the lights dimmed and the first chords reverberated through the speakers, it was clear that this was not just a concert. It was a summoning of the rock gods, a gathering of the faithful, a celebration of music that has been the soundtrack to countless lives. The air was electric with anticipation as Disturbed, Breaking Benjamin, and Jinjer took to the stage at the FivePoint Amphitheatre. The Take Back Your Life Tour was a night that promised to be etched in the annals of rock history. When the dust finally settled, it ended up being that and a whole lot more.
Opening for the night under a blistering Southern California sun was Jinjer, a Ukrainian metal band that has been making huge waves. Their performance on Thursday was a testament to their talent and versatility. Lead vocalist Tatiana Shmailyuk showcased her impressive range, effortlessly alternating between guttural growls and melodic singing. The band’s fusion of progressive metal, rock, and punk elements resulted in a unique sound that was both refreshing and captivating. Favorites from the abbreviated set included “Vortex, Copycat” and “As I Boil Ice.” Simply put, Jinjer’s set (albeit short) was truly amazing.
Breaking Benjamin was up next and no less impressive. They ignited the crowd with their explosive energy and raw emotion. Their setlist was a perfect blend of new tracks and fan favorites, each song executed with flawless musicianship. Frontman Benjamin Burnley’s emotive vocals paired with the band’s dynamic sound created an atmosphere that was both intimate and grandiose. Highlights from their 13-song set included a stirring performance of “The Diary of Jane” and an epic rendition of “I Will Not Bow,” which had the audience singing along in unison. One killer takeaway from this set was watching Burnley’s young son rip it on guitar throughout the show. He was a natural in front of the crowd and an obvious chip off the old Burnley block for sure.
Hot stuff, can’t get enough / Hot stuff, play it rough, yeah / I gave you love / Because music is want I want / To keep my body always moving / Yeah, shake it up, hot stuff / Every day, I get another dose / I can’t stand it when the music stops / Hot stuff / Everybody out on the dance floor / You know what I’m talking about / Music make you forget all your trouble / Make you sing and make you tell the whole wide world / So what? Hot stuff
Hot, hot, hot. This planet, town, and our canyon is getting too hot. It’s a bit scary and a drag. So why not find some other “hot stuff” to get excited about? Like a hot record or two or three?
And mom got a hot new red car…ok let this music do the talking and jump in a lake.
Well they’re sure keen on dancin’ / Those Hollywood kids / Those Hollywood kids got it made / When they act, big doors open / Those Hollywood kids / Those Hollywood kids got it made / So let’s party, Dustin Hoffman / Those Hollywood kids / Those Hollywood kids got it made / Oh how the sun sets on my Boulevard / But leaves quite a shadow to fill
Oh how the sun sets on my Boulevard / But leaves such a shadow to fill
So mom has been here over a week. It’s been wonderful to have her, and to also have my daughter Zoe around. At the same time, having family with you is like looking in the mirror. Even when you like what you see, at a certain point it can get tiresome.
Last night mom and I had dinner on PCH with Zoe on the way to dropping her off in Malibu. As it turns out, warm nights on the roads in Malibu are wild. There was a huge car crash and we were diverted way up into the Malibu hills.
