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BRONCHO – 11/2/18 Nashville & 12-8-18 Atlanta

Twice the rocking’ and twice the fun!

TEXT & PHOTOS BY JOHN BOYDSTON

The band Broncho is currently on tour promoting their latest LP “Bad Behavior” and I was lucky enough to catch two recent club shows with the band of artsy upstart rockers.

Nashville, TN
Basement East
November 2nd, 2018

Broncho’s music and stage show can be moody, dark, strangely upbeat, usually melodic, and always catchy.  For all the dark atmospheric stage lighting, they do bring the hooks, bounce, and beat.

Atlanta, Ga
Masquerade
December 8th, 2018

 

Broncho is front guy Ryan Lindsey, Nathan Price, Ben King, and Penny Pitchlynn on bass and who usually catches the best light, hence her prominence in these photos.  The band calls Norman, OK home and why not?  The new LP “Bad Behavior” is garnering great reviews, and said to be more pop than previous records, and that can’t hurt anything since the band’s signature mood, quirks, and scrappy rock are all still there.  I considered their 2015 release “Just Enough Hip to Be a Woman” to be on the pop-side so what do I know?  My favorite from that release ‘Class Historian’ is a modern classic.  Look up those videos, songs, as well as current and future tour dates here:  http://broncho.tv/

Check out more of John’s work on Instagram: @johnboydstonphoto

BOZ SCAGGS – Out of the Blues

January 01, 1970

Concord Records

https://concord.com/

The Upshot: It seems almost criminal that the record Boz Scaggs is most remembered for should act as the signpost for an entire career. In the years since ’76’s Silk Degrees, his best work ever is happening now.

BY ERIC THOM

I’m guessing Boz Scaggs could care less whether we like what he’s doing or not – and am betting he hasn’t cared for years. His connection to music is deeply personal. He sings for himself and it’s always been about the music. He’s never been a trend setter and I believe that the overblown commercial success of Silk Degrees – the album by which he’ll be forever measured – was likely as big a surprise to him as it was to his management. In typical Boz fashion, he never set out to align himself to the ‘disco’ of the times. Truth be told, the record has more to do with the blues and R&B shadings that this blue-eyed soul singer has always favored – which is why it holds up to this day, long after the dust of disco era has blown away. Long his own man, Scaggs has always seemed driven to do his best and to exceed his own standards first – a perfectionist from humble beginnings.

A lot is being made of the fact that Out Of The Blues is “Act III” of a trilogy of genre albums, as it is being billed. I doubt Boz’ fans care. All that really matters is that Out Of The Blues is his best release yet since Come On Home – and likely the best album you’ll hear this year. It’s entirely consistent with everything Boz he’s ever done since being birthed into the age of early rock ’n’ roll, R&B, blues and rock, growing up on radio in Oklahoma and Texas. He’s just – at 74 years of age and a 20+ record catalogue – a hell of a lot better at it now. He knows his strengths and it’s only natural he’d pay tribute to those originals which have meant something to him, adding something tangible to his personal evolution as acting Ambassador of Refined Tastes. Despite his unerring reverence for the likes of Jimmy McCracklin, Bobby “Blue” Bland, Jimmy Reed and even Neil Young, the songs chosen had to do more than simply be good. Each had to allow him to transform them into something all his own. Of special note are the four, obsidian-solid originals written by fellow San Franciscan musician and friend, Jack ‘Applejack’ Walroth, one a Scaggs co-write – seamlessly blending with the whole, despite the mixture of ‘new to old’.

Boz’ mastery over his technique and painstaking control over the material that he covers is only part of the recipe for success here. His choice of musicians is notable as each is adept at adding much more to each song than mere notes and rhythms. Out Of The Blues literally breathes with an intimacy and a larger-than-life groove throughout, thanks to the chemistry between Willie Weeks, Jim Keltner, Jim Cox, Ray Parker Jr., Doyle Bramhall II and Charlie Sexton. This vital crew lends an earthy, highly organic feel to a record expertly produced within an inch of its life, informed by an allegiance to the principles of just-enough but never-too-much.

Right out of the gate, the highly colorful “Rock and Stick” hits hard with its ringing guitar chords and Bramhall’s rich embellishments. Boz’s liquid, honeyed vocals – wrapped in the warmth of Weeks’ bass – join with songwriter Walroth, who injects a surprisingly beefy harp as Keltner adds his distinctive touch with every drum strike. A little B3 in the background and backup singers conjure a little bit of heaven as Boz notes, “You can shake, you can shim-sham-shimmy” – entirely committed to the era, despite this being a new composition. Cue the opening sax attack of Eric Crystal, Thomas Politzer and Doc Kupka which, when added to Jim Cox’s seductive B3 (and stately piano), sets the stage for Scaggs’ treatment of “I’ve Just Got To Forget You” – a powerful and personal tribute to a key idol, the late Bobby “Blue” Bland. Magic Sam’s cover of Jimmy McCracklin’s “I’ve Just Got To Know” was an unknown to Scaggs until introduced to it by David Hidalgo. Here, aided by Cox’s St. Louis-styled piano, a bewitching horn section and Charlie Sexton’s tasteful lead guitar break, Scaggs’ silken vocals make it his own. On “Radiator 110”, Walroth’s standout harp (with its slight Lee Oskar shading) combines with a tougher guitar mix (Scaggs and Steve Freund) and Ricky Fataar’s fat drum sound, propelling Walroth’s ‘lover as hot car’ analogy towards becoming an ultimate driving song. Here, Scaggs’ convincing vocal gently simmers over sparring guitars as Cox’s B3 keeps the RPMs just out of the red. Walroth and Scaggs’ own “Little Miss Night and Day” is a swinging Texas shuffle injecting a severe shot of rock ’n’ roll to the hip as Bramhall and Sexton blaze against Cox’s pounding 88s, together with a hint of Walroth’s harp. Considering the choice of covers, who would guess that Neil Young’s semi-obscure “On The Beach” would be included? Yet, in Scaggs’ hands, it’s the most memorable track here – squeezing the blues out of the starkly ragged original, transforming it into something achingly beautiful. It makes the most of its slowed-down self as each fat slap of Keltner‘s tom-tom hits hard like a punch to the stomach while strains of B3 and lightly dueling guitars breathe much life into the original treatment.

Of course, nobody can squeeze more from sadness than the velvety strains of Boz Scaggs and here, he’s at his best. Walroth’s harp takes a sharp country turn on Jimmy Reed’s “Down In Virginia” which, for Scaggs, is an artist almost too easy to cover, lending him an element of elegance not normally associated with his style. “Those Lies” – another Walroth work – grabs you instantly by the throat with its slick, uptown attack. Driven by Sexton’s aggressive, processed guitar sound, Keltner’s skin-tight drumming and a brawny barrage of sax, extra animation from the baritone helps push this over the top. Cox adds B3 as if each player is following a different path – Scaggs’ vocal gluing it all together as one. “The Feeling Is Gone” is another of Bobby “Blue” Bland’s iconic songs that goes downtown with a decidedly jazzy feel as Scaggs plays straight homage to one of his more sophisticated heroes. While the horn section and piano add scorch to Scaggs’ liquid vocal, this classic breakup song serves as a lamented end to this lush outing.

This is a re-energized Scaggs, paying the love for his R&B roots well forward, seemingly delighted with the process. Out of the Blue offers more blues and R&B than you might have expected. But chances are good you’ll leave wanting more.

 

 

SOUL ASYLUM – Say What You Will…Everything Can Happen / Made to Be Broken

January 01, 1970

Omnivore (July 20, 2018)

http://www.omnivorerecordings.com

BY MICHAEL TOLAND

Of the eighties Big 3 of Minneapolis college rock, Soul Asylum was considered the junior partner (after Hüsker Dü and the Replacements). So it’s ironic that the scrappy young quartet became far and away the most successful. Of course, that may have simply been by virtue of sticking around – by the time Nirvana ushered in the alt.rock wave, the ‘Mats and the Dü had split and Dave Pirner’s crew was on Columbia and boasted an honest-to-top 40 hit single in the folk rocking “Runaway Train.” In a way, though, it’s not so surprising – Soul Asylum always seemed to have the most commercial instincts, if for no other reason than they had the biggest penchant for the classic rock punk hadn’t yet muscled aside. Plus they could become a (highly irreverent) top 40 cover band at the drop of a hat, so they understood what it took to gain the attention of listeners outside of the college rock circuit.

Listening to the new reissue of Say What You Will…Everything Can Happen (produced, as would be its successor, by Dü’s Bob Mould), that commercial clout is hard to hear. Not because Soul Asylum, though young and unseasoned, was a bad band. Far from it, in fact – the explosive recordings on this 1984 album show off a fledgling group already displaying signs of greatness. Like a lot of emerging rockers in the eighties, Pirner, guitarist Dan Murphy, bassist Karl Mueller and drummer Pat Torpey (replaced after these sessions by Grant Young) came out of the hardcore scene, and it shows in the band’s blazing attack and Pirner’s unhinged snarl. “Long Day,” “Happy” and “Voodoo Doll” rush to the finish line, nearly barrelling over the nascent melodies and postpunk dynamics hidden under the roar. But the band’s desire to be their own thing becomes quickly apparent. Though in rough form, “Walking” introduces the warped C&W into which Soul Asylum occasionally dipped its toes, while “Black and Blue” blends country, hardcore and postpunk into a unique blast that must have been a bitch to play. “Religiavision” pits an ambitious and wideranging set of lyrics against a knotty hard rock anthem, while “Stranger” forms the first glimpse of Pirner’s distinctive blend of sensitivity and swagger. Though possibly the purest hardcore move musically, “Sick of That Song” is the clearest signal that the band won’t be satisfied with clichés, as Pirner rages against the typical subject matter of both classic rock and punk at the time. Though hardly a classic in the Soul Asylum catalog, Say What You Will is a coarse but compelling guide to what the band would later become.

Omnivore’s edition offers up a slew of bonus tracks. The five outtakes from the album sessions (eventually released on the 1988 CD version) include the rampaging but catchy “Do You Know” and “Spacehead,” the almost self-consciously varied “Masquerade” and the furiously rocking “Broken Glass,” Murphy’s first significant contribution to the band’s repertoire. The other nine tracks constitute the group’s first demo, back when it was still known as Loud Fast Rules, and a pair of recordings, including a cover of Creedence Clearwater Revival’s “Bad Moon Rising,” under the name Proud Class Fools. Though crude, these tracks also show off the combo’s range, alternating between punk rocking crunches like “Job For Me” and “Your Clock” with brittle oddities like “Out of Style” and a rougher version of “Black and Blue.” Though there aren’t any track-by-track notes, writer Robert Vodicka’s essay sheds light on Soul Asylum’s early work.

By the time Soul Asylum released its second LP Made to Be Broken, it barely sounded like the same band. The punk fury had been replaced by old-fashioned rock & roll energy, and Pirner had developed into a dynamic, thoughtful songwriter that valued melody as much as punch. In an opening one-two-three attack,“Tied to the Tracks,” “Ship of Fools” and “Can’t Go Back” (penned by Murphy, proving himself his bandleader’s equal in the craft department, though not in prolificacy) set a standard for SA rockers thereafter: tuneful, tough, smarter than revealed on one spin, with twists in the arrangements that follow the song’s internal logic. The band continues its experiments with country music on the wistful “Never Really Been” and the crackling title track, as well as beginning a new tradition of warping heavy rock to its own purposes with “Growing Pain” and “Don’t It (Make Your Troubles Seem Small).” The group hasn’t forgotten its punk rock roots, however – cf. the breathless rush of “New Feelings” and the frenzied explosion of “Whoa!” Due to its carefully curated eclecticism and strong songwriting and arrangement skills, it’s no exaggeration to say that Made to Be Broken is the birth of Soul Asylum as we know it.

As with Say What You Will, a passel of album outtakes fill out the disk, from the fierce “Long Way Home,” “Friends” and “Hey Bird” to the goofy “Freeway” and “The Snake.” Also included are seven unsourced recordings with demo quality production and not-quite-there arrangements and performances. “Swingin’” and “Song of the Terrorist” may be useful more for fan service than potential playlist rotation, perhaps, but they’re no less oddly charming for that.

Soul Asylum would go on to make records with more acclaim and success, but its first two lay out the qualities that would get them there, making them as essential as anything in the band’s catalog.

JACK DRAG – 2018

January 01, 1970

Burger Records (Sept. 14, 2018)

http://burgerrecords.com

BY MICHAEL TOLAND

At this point in his career, singer/songwriter/composer John Dragonetti is best known for his work with (now ex-wife) Blake Hazard in the Submarines and for film and TV scores (All About Nina, FX’s Married, We Are Legion, The Secret Life of Muslims). Before all that, however, the Bostonian led the underrated indie rock band Jack Drag.

Dormant since 2002, the moniker is back for 2018, a state of the union address from the low-key musical polyglot. Looking back at past relationships (and not just marriages) and forward to the present, Dragonetti soaks his tunes in bittersweetness. The synths ‘n’ percussion arrangement of “Bloody Noses” gives lightness to its emotional confusion, while the catchy hooks of “I Am Not Willing” bely its disillusioned theme. “Marigolds” pulls light out of the darkness through a subtly anthemic pop arrangement, while “Strangers” dips into sixties pop for its tunefulness and nineties angst for its heart. “Hope Revisited” goes unabashedly for its title concept, with brash hooks and unambiguous lyrics, though it almost feels like the forced giddiness of the damned.

With his now-signature blend of twinkly new wave and melancholic power pop, Dragonetti knocks out one sweetly melodic gem after another here, putting adult uncertainty and confusion to a catchy soundtrack.

BROKEN ARROWS – Streetflowers

January 01, 1970

Intelligent Design Records

https://brokenarrows1.bandcamp.com/album/streetflowers

BY DANNY R. PHILLIPS

Music, of late, makes me sad.  Turning on the radio is a game of Russian roulette with five chambers out of six holding a bullet.  Pseudo-soul, re-hashed 1980s synth garbage, ham-fisted knuckle dragger butt rock and over produced rap tracks about shaking ass and making money pass for music.  Yes, I sound like an old man but the years I’ve spent sifting through the mountain of crap to uncover gems has left me somewhat jaded and cold.  Where many bands are content releasing tracks with endless over-dubs of inane lyrics and unimaginative licks of scant guitar tracks, Kansas City’s own Broken Arrows, a group of seasoned players, unloading their musical knowledge of all things power pop and classic garage, go deeper, farther into the past, using the great wave of garage rock of the ‘60s and ‘70s as touchstones and thank god they do.

Streetflowers, the latest from Broken Arrows, is an album packed with the minimalist approach of bands like The Sonics and The Trashmen crossed up with the psychedelic jump of the great Roky Erickson and the 13 Floor Elevators, intermingled with bands like Teenage Fanclub, Big Star (a strong influence throughout) and the power pop goodness of Matthew Sweet, alongside lesser known acts like The Exploding Hearts, The Electric Prunes, the always great Seeds and The Castaways.

While most acts seem content churning out half-baked thoughts and thrown together, unimaginative, inane workings that pass for singles, Broken Arrows approach Streetflowers as a whole, to be listened to as a completed work, to be listened to in its entirety, its song sequencing calling to be heard in order, the type of album that screams at the listeners to put on headphones, light a joint and soak it all in.

Within the opening chords of “Not Coming Back”, Broken Arrows show that they aren’t perfect and aren’t trying to be; an act somewhat unwilling to be polished by studio magicians (no Pro-Tools here.  Again, thank the God of your choice for that), standing up for how they want their music cast into the world.;

Broken Arrows, above all else are a band of friends, like minded individuals on the same musical page, the same frequency.  This is shown above else by the tracks “Behind the Eight Ball” and the heavy Big Star or Paul Westerberg influences weaving in and out of Streetflowers, directing an album of songwriting that is both complex while speaking to the simplicity and fragility of life.

John Chevalier, Barry Lee, Mike Penner, Bill Ryan and Dave Storms should be proud of what they’ve created with Streetflowers; an album not of songs but a whole thought.  It has a rough beauty, a drive, a joy that is oftentimes  missing in music today.  Broken Arrows are not overly polished musicians; passion and drive replace technical prowess, “perfection” and virtuoso coldness; each song has a place, building to the next.  Is it perfect? No… is that ok? Absolutely.  Broken Arrows’ Streetflowers, at its heart, is a garage rock record standing tall in a time of Disco.

 

 

FOO FIGHTERS 10/12/18, Kansas City

Live at the aptly named Sprint Center—because the band not only sprints nonstop, it gallops! (Photo credit: Brantley Gutierrez.)

By Danny R. Phillips

I saw it with my own two eyes this past Friday night in Kansas City; the transformation is now complete. Sprawling stadium hero guitar solos, a drum riser that raised twenty feet in the air for a drum solo from the superb Taylor Hawkins, Dave working the crowd like a rock god carnival barker on speed.  It’s true, it has come to fruition: Foo Fighters are my generation’s Led Zeppelin.  The band’s bombast and control of the stage rivals any of the giants of the 1970’s, kicking you in the face one minute, soothing you with a ballad the next.

Over the past 25 years, I have seen The Fighters of Foo go from a band born of grief at the loss of Dave Grohl’s band mate and friend Kurt Cobain, creating from the maelstrom a self-recorded album meant to be for only his friends, a record where Grohl played all the instruments (except for The Afghan Whigs Greg Dulli’s appearance with his guitar on the track “X-Static”), I’ve stayed with the band through good records and not so great ones, I’ve seen them go from 1,500 seat rooms to the 18,000 strong packed into The Sprint Center like so many sardines.  I’ve seen guitarists come, go and in the case of former Germs great Pat Smear, come back again, I’ve sat through hiatuses, rumors of break ups and numerous Grohl side projects as I waited patiently for more Foo Fighters.

I have witnessed the trading in of original drummer William Goldsmith for the nearly bionic Taylor Hawkins and the retirement of Smear for Franz Stahl, former member with Grohl in Scream. Through it all, I’ve stayed diligent in my resolve when it comes to Grohl and Company; every time I get the chance to see the spectacle of Foo, I’ve never left disappointed.  This night in October would be no different, in fact it would be one of the best performances (and longest, clocking in at just over 3 hours) I’ve had the pleasure to see.

Stacked at the start with three new tracks from the 2017 record Concrete and Gold “Sky is a Neighborhood,” “Run,” and “La Dee Da,” the Foos then tore through a career spanning set that included “Walk,” from Wasting Light “This is a Call,” “Monkeywrench,” “The Pretender,” “Learn to Fly,” Van Halen’s “Jump” to the tune of John Lennon’s “Imagine,” The Ramones’ “Blitzkrieg Bop” with Smear showing his punk rock guitar chops and Taylor Hawkins trading places with Dave behind the drums to provide startlingly well done Freddie Mercury lead vocals on the Queen classic “Under Pressure” with Dave returning to the drum throne where he will always be king, a treat even if it for just one song and jamming Metallica’s “Enter Sandman” with a seven year old kid on lead guitar, after which Dave gave the kid his guitar.  Each one of their albums were represented in the 25-song set, giving new and old fans alike a taste of what they wanted, sending everyone home happy.  Closing the show with a stirring rendition of “Everlong” from The Colour and the Shape.

Underneath all the trappings of the stadium rock show (the solos, illuminating the darkness of the Sprint Center with cell phones, the stories between songs, the banter), Foo Fighters are still a band that comes to rock, Dave’s nearly 50 year old voice screaming like a kid, never phoning it in, always giving the fans what they want, making sure to cover all the moments that give the concertgoer something to remember.  The shows are never boring, the audience never slighted.  This night, like many nights over the past two decades, gave me things I’ll remember and talk about for years to come.

Dave Grohl proved to me once again that he is the showman for a generation.  Standing tall above the rest, never running out of gas and always leaving you wanting more.  Two questions swim around my mind as I write this: will I ever realize my dream of interviewing Dave and when in the fuck will they play “Wattershed” live again? There’s always next time…

 

FAST LANE TO GREATNESS: Paul McCartney & Wings’ “Red Rose Speedway”

In which Macca’s critically underrated, but commercially toppermost, 1973 album is re-assessed via UMe’s new mega-expanded edition.

BY JOHN B. MOORE

After Paul McCartney’s somewhat tepid debut with his new band, Wings, many would have forgiven him if he’d just decided to jettison his bandmates and go back to being a solo artist.

Thankfully he didn’t.

Just two years after releasing that debut, Wildlife, McCartney and Wings turned in the stunningly impressive Red Rose Speedway, up there with Band on the Run as the group’s peak of brilliance.

Universal Music Enterprises (UMe) has just re-released a jaw-dropping box set version of Red Rose Speedway (along with Wildlife and a massive 11-disc Paul McCartney and Wings 1971-73).  Red Rose Speedway is a hefty 6-disc affair: 3 CDs, 2 DVDs, and 1 Blu-ray. Each limited edition box is numbered and also comes with a hardcover book, crammed with plenty of photos.

Released in 1973, just eight months before Band on the Run, Red Rose Speedway’s first single, “My Love,” put the former Beatle back in comfortable territory, reaching #1 on the U.S. charts. The song, sweet without the saccharine that used to cling to many pop love songs in the early ‘70s, still endures today. While none of the other eight tracks on the album charted, it’s still packed with some great songs, like the funky opening track, “Big Barn Bed,” and the bluesy “When the Night,” a song that gets better and better with each listen.

The limited edition deluxe includes the original record, remastered at Abbey Road (naturally!). The second and third CDs include 35 bonus tracks – most importantly – a reconstruction of the double-album version of  Red Rose Speedway (how it was originally supposed to be released), as well as various singles, B-sides, alternate mixes and a handful of previously unreleased tracks. In addition, the aforementioned DVDs plus the Blu-ray boast rare and, in many cases, previously unseen, footage. Of particular interest is “Live and Let Die,” filmed live in Liverpool, and the James Paul McCartney TV Special and The Bruce McMouse Show.

As if this massive cache of audio and video weren’t enough, they also come with a folio containing 14 replica hand-drawn original character sketches by McCartney (very cool!) and facsimile dialogue sheets for the film. The hardcover book houses some previously unpublished images by Linda McCartney, plus expanded album and single artwork from the archives, and the story behind the album. The book alone is a brilliant keepsake.

Finally, a proper re-release for one of Wings’ greatest records—which, by our critical rating system, rates a 5-stars-out-of-5. Believe it.

REVEREND HORTON HEAT – Whole New Life

January 01, 1970

Victory

www.victoryrecords.com

BY JOHN B. MOORE

The Reverend Horton Heat (known by his parents as Jim Heath) is likely the only musician out there to be namechecked by Johnny Cash, Carl Perkins, John Lydon, and Rob Zombie. But it makes sense, as no band since The Cramps has done a better job of fusing rockabilly with a sharp punk rock attitude. And his latest, “A Whole New Life,” shows he still has a foot planted firmly in each musical camp.

The band is at its best when they’re playing ferocious up-tempo tracks, like “Perfect,” “Hate to See You Cry” or the New Orleans-styled “Tchoupitoulas Street” (a song you’d swear was an old standard, but is actually a Heath original). The album takes a brief detour on the Nick cave-ish dirge “Don’t Let Go of Me,” the weakest track here. But the band quickly corrects course for the remainder of the record. They also throw in a great cover of “Viva Las Vegas” on the closing track – a perfect ending to this 30-plus minute nostalgic ride.

This latest effort marks an even dozen albums for the trio and is just as solid as anything they’ve done so far. If you never dug their high-octane rockabilly/cocktail vibe, this record certainly isn’t going to change your mind. But, if you’re a fan, “Whole New Life” will only serve to reaffirm that admiration.

DOWNLOAD: “Perfect,” “Hate to See You Cry” and “Tchoupitoulas Street”

THE RATCHETS – First Light

January 01, 1970

Pirates Press

www.piratespressrecords.com

BY JOHN B. MOORE

New Jersey has long been the farm team for punk rock bands. Everyone from The Bouncing Souls to Gaslight Anthem have hailed from one city or another off the NJ Turnpike before going on to spread the punk rock gospel to the rest of the globe. The Ratchets prove yet again with their latest LP, First Light, that the Garden State is still churning out punk rock’s best and brightest.

Relatively MIA for more than a decade after the 2006 release of their debut, the band is back – a little older, but just as promising as that debut that brought about more than a few comparisons to The Clash. On First Light those Clash influences are still front and center, as well as some of Joe Strummer’s more thoughtful later work. You can also hear a hint of Springsteen’s influence on the lyrics all across this one, as well. (You  didn’t think I could write about a Jersey band without at least one Springsteen reference, did you?)

But there’s also plenty of other elements here that make the band sound impressively original: the Bluesy guitar riffs on “Drone Control,” the ‘70s hard rock vibe of “2-4-6-8 Motorway” (a cover of the Tom Robinson Band punk classic), and Jed Engine’s sandpaper rasp vocals that were made for punk rock. The band manages to flawlessly bridge the political urgency of late ‘70s British punk rock with modern concerns.

Crammed with memorable hooks, air guitar-worth riffs and whip sharp lyrics, First Light finds The Ratchets back in fighting form and, if this record is any indication, ready to take over the world.

DOWNLOAD: “Drone Control” and “2-4-6-8 Motorway”

Billy Idol 9/28/18, Nashville

Dates: Billy Idol

Location: Carl Black Chevy Woods Amphitheater at Fontanel, Nashville TN

A rebel yell was heard echoing through the Carl Black Chevy Woods Amphitheater at Fontanel in Music City USA.

Text & Photos by Mark Jackson

Billy Idol has been out touring and sounding as great as ever with the release of  his remix collection Vital Idol: Revitalized. It has fifteen tracks remixed by such artist as Moby, Crystal Method, Paul Oakenfold, and others.

On the same day as the release Billy preformed at the Carl Black Chevy Woods Amphitheater at Fontanel in Nashville, TN, to an ecstatic fan base. Billy and the boys put on a hell of a show that kept the fans on their feet all night while dancing, singing, and jumping. Billy was looking and sounding as sharp as he did in the ‘80s, and Steve Stevens was still up to his old tricks, playing the guitar behind his head and with his teeth without missing a chord.

If Billy F**king Idol comes to your town, make sure you grab a ticket, give a “Rebel Yell” and sing along all night to his ageless hits…

Visit our ace photographer Mark Jackson: @MarkJacksonPhotography1