UFO/REDS'COOL THE ACADEMY DUBLIN 21ST APRIL

I must admit, before this gig, my knowledge of Russian rock was limited, bar Gorky Park, who back in the late 80's were doing their best Bon Jovi impersonation. But thankfully Reds Cool, a five piece from St Petersburg, eased my ignorance with an hugely impressive performance. Taking to the stage, the band led by vocalist Slava Spark, looked a tad daunted by the lack of bodies in the venue. But as the masses gathered the band's mojo grew. Rattling out some hard edged melodic rock tunes like Love & Pain and Bad Story, what looked a formidable task at the beginning ended in glorious triumph.

When Phil Mogg eventually decides to end his UFO days, he should seriously consider joining the after dinner speaking circuit. His laid back, wonderfully humorous interaction with the Dublin crowd was a pleasure to witness, especially his tale about not being invited back to Geddy Lee's house, and then recognising a fan he'd seen in a bar earlier that day.

But this crowd didn't come to hear Mr Mogg shoot the breeze, all they wanted was to revel in a band that has produced some of the most memorable rock songs in music history. A robust, We Belong To The Night followed by Fight Night kicks things off in true UFO style.

Touring in support of new album, A Conspiracy Of Stars, their 22^nd studio album, only two songs were performed, Run Boy Run and album opener The Killing Kind. Not that it disappointed their public, this only left the path clear for the classics. The always brilliant Lights Out and a stirring Only You Can Rock Me had their faithful in raptures. Guitar god, Vinnie Moore performed as you'd expect, majestic all night, especially on Burn Your House Down and Venus. Proving why this man is worshipped by guitar enthusiasts the world over. Sadly his paper aeroplane making isn't the same, as he tried to launch the set list sheet into the crowd but unfortunately nosedived straight into the photo pit.

But there can be no doubting the highlight of the night, Love To Love is now 38 years young, although never mentioned among the so called best rock ballads, it's enduring power and emotion still remains beautifully undiminished. Mogg's heartfelt vocal and Paul Raymond's soothing keyboards still grab you tight. The attentive Dublin crowd were thoroughly transfixed, even the hardest of rockers had their heartstrings tugged with no resistance. Rock Bottom once again showcased Vinnie Moore's incomparable genius, and giving the well lubricated Mogg a brief sit down.

First encore, Doctor Doctor, without doubt the bands live security blanket still retains it's live zest. Drummer, Andy Parker and bassist Rob DeLuca provide the steely rhythm that gets the place in a state of full on delirium. Hordes of ageing rockers shamelessly slung on their precious air guitars to mimic Moore and Raymond's relentless riffing. And slung they stayed for the ballsy closer Shoot Shoot, a smug and contented looking Mogg delivering yet another unblemished performance to finish off a truly memorable night of classic rock.

The only real flaw was that it wasn't long enough, but don't forget longest serving members, Messrs Mogg, Raymond and Parker have a combined age of 200. So lets just be thankful that we still have the opportunity to witness these legends, and god willing for a little longer.

JOE LYNN TURNER at VOODOO,BELFAST,NORTHERN IRELAND APRIL 4TH

When I discovered that Joe Lynn Turner was including Belfast, and not my native Dublin, on his acoustic tour, I must admit feeling an overwhelming urge to kick something, or someone.  Nevertheless there was never a doubt about me hopping on the train and heading north to witness the former frontman of Fandango, Deep Purple and of course Rainbow.  And obviously this was a man without any airs and graces, because folks this place was a dump.  So much so that I wiped my feet, twice, when leaving.  But this gig was not about interiors, this was a personal and intimate show with a legendary singer hellbent on bonding with his long serving fans.
At 9.30 the great man took to the stage, and after a quick tune up he launched into a thrilling version of Rainbows' Stone Cold followed by a brilliantly recieved Street Of Dreams.  Devil horns were raised when Joe Lynn paid tribute to former Rainbow frontman Ronnie James Dio with a moving version of Catch The Rainbow, a memorable moment in the evening.

It wasn't just Purple and Rainbow classics that received the bare bones treatment, Turner belted out Beatles classics Blackbird and , aslo a jazzy version of Van Morrison's Moondance to a decent reception.  But you could sense this crowd wanted their own classics, the stuff this man regularly performs majestically.  And they got their wish as the Purple classic Hush followed by an unrecognisable, but brilliant, version of Smoke On The Water brought the house down.
But the biggest surprise of the evening was the absence of I Surrender from the set, one of the most recognisable songs in rock history and the one most synonymous with Turner.  Which would of being a perfect way to close out a fantastic evening.  Instead we got a robust rendition of ZZ Top's Tush which had many a plastic pint glass rattling.  A clearly happy and contented Turner exited the stage to a fantastic reception from the real fans, who hung on his every word throughout the night.  Unfortunetly I couldn't say that for 70% of the Belfast audience.

In between songs, Turner was sharing intimate stories about his time with Rainbow and Deep Purple, and also about a possible reunion with Ritchie Blackmore.  But the majority of this crowd were just plain pig ignorant who choose to ignore him, and instead gave their fog horn gobs an unwelcome workout.  I got talking to a couple from Manchester who travelled over especially to witness their hero up close and personal, but were left disgusted by the obnoxious behaviour.  Those who cared behaved impeccably and saw a true rock great showing his undying talents in it's barest form.  Next time Joe head south, you will have our full attention.

AC/DC:ROCK or BUST:ALBUM REVIEW.

There was a time when you wouldn't hear a peep out of AC/DC from one album campaign to the next.  But in 2014 that all changed.  First were the rumours, and eventual confirmation, that Malcolm Young had been diagnosed with dementia.  When all the talk of a split were put to bed, drummer Phil Rudd found himself inhabiting the New Zealand courts, charged with attempting to procure the murder of two men, and possession of drugs.

But amidst all this, probably the majority of the planet were awaiting the release of the bands 16th album, Rock or Bust.  The follow up to the massively successful Black Ice.  With Stevie Young filling in for his uncle Malcolm, he gets the honour to strike the album's first chords.  As openers go, no one, and I mean no one does them better than AC/DC.

Beauts like Go Down, Rock n' Roll Damnation, Hells Bells and Heatseeker to name a few have all given our eardrums a sweet smack.  And this albums opener, title track, Rock or Bust, is no different.  Lyrically it's cringe worthy, but the rousing chorus, and a typical hard edged riff are vintage AC/DC.  That vibe continues on Play Ball, Brian Johnson's 67 year old pipes are still as powerful as his 1928 Bentley, and Angus Young tickling the frets of his Gibson SG with a clanking riff.

As with most of the albums in the Johnson era, they tend to lose their mojo along the way. Rock the Blues Away sounds like an Anything Goes afterthought, and Miss Adventure gives you the impression producer, Brendan O'Brien, was absent that day.  The song may be a bit of a mess, but the lyrics are reassuringly filthy.                                                                                                                                      
One of the highlights of the album, Dogs of War, struts along with incomparable ease, this gem has live favourite written all over it.  The same can be said for Got Some Rock n' Roll Thunder, though not as dynamic as the previous track, with the chorus lacking a bit of melody, it's still a big balls rocker.  The infectious blues stomp of Hard Times, will have you drumming your steering wheel instantly. Rudd and bassist Cliff Williams once again showing that they are the stitching that holds AC/DC's music together.                                                                                                                                                                

The band roll back the years on Baptism By Fire, the only track on the album where I could visualise Bon Scott singing.  It's relentless driving rhythm and Johno's nasty delivery would stand up against anything on Powerage or Highway to Hell.  The saying, good things come in small packages, more than applies on Rock the House.  Clocking in at 2 minutes & 42 seconds,  it's the shortest track on the album, but this riff loaded belter stands tall throughout.

The cheeky Sweet Candy, won't win any awards for lyrical content.  In fact I wouldn't be surprised if the lyrics were written by a pubescent schoolboy.  Nevertheless, these guys are the grandmasters of the innuendo, and this little rocker is glorious smut from start to finish. Unfortunately the album ends with a bit of a damp squib, Emission Control.  The song has early promise with Angus at his strutting best, but the chorus falls flat on it's face.

But this album has more highs than lows, at this stage in their career, AC/DC know their limitations.  Long gone are the days when they can churn out all killer albums like Back in Black. You could say they're playing it safe, but the formula is tried and tested, and for the most part it works.

Y&T:THE OPIUM ROOMS DUBLIN NOVEMBER 11 2014.

Dave Meniketti

If there were awards being handed out for the unsung heroes of rock, then the name Dave Meniketti should without doubt be top of the pile.  The only remaining original member of Y&T, his talent as both guitarist and singer is nothing short of brilliance.  For two and a half hours, the man from Oakland, California gave the Dublin crowd a relentless masterclass.  A dedicated crowd of classic rockers thronged to this tiny club to witness a band celebrate 40 years of ball breaking rock.

9.15pm, Meniketti and co take to the shoe box of a stage and rip into Hurricane from the 1981 album Earthshaker, immediately laying down a statement of intent.  Black Tiger and LA Rocks swiftly follow to raise the decibel level.  The mainly age mature audience get a bit of respite as Meniketti struggles to tune his battered Gibson.  But normal service quickly resumes as Mean Streak hit the crowd firmly between the eyes. Being one of Y&T's signature tunes, everyone except the barman, fist pumped with genuine passion.

A lot of high-fives ensued when the opening chords of Midnight in Tokyo were sung.  I remember my older brother spinning this in my parents backroom 31 years ago, and it's impact still resonated with this crowd today.  I must admit, it pisses me off that generations of so called music lovers don't know this gem.  Meniketti's tuning problems continue, but it only adds to the intimate atmosphere.  While tinkering with his axe, he enlists drummer Mike Vanderhule to tell a couple of dirty jokes.

Surrender, Eyes of a Stranger and the wonderfully suggestive Contagious are played with military precision.  This is largely due to the skills of rhythm guitarist John Nymann and bassist Brad Lang.  Drummer Mike Vanderhule is no slouch either, his thunderous beats give Y&T a bruising backbone like no other.  Lonely Side of Town was a major highlight for me, not because the song strikes any particular chord with me.  The reason being, from the moment the band struck their first chord, an over exuberant fan beside me, high on hops and yeast was roaring for the song. Don't get me wrong, I loved his passion, but he was shouting for it incessantly, like a parrot on speed.

John Nymann(left) and Dave Meniketti

A rare rendition of All American Boy goes down a storm, while Summertime Girls injects a real feel good factor, with it's 80's rousing chorus.  But the real money shot was set closer I Believe in You, with both Meniketti and audience totally getting lost in the heart wrenching guitar work.  This was a perfect example of this man's sincerity, passion and astounding talent.  On returning for the encore, Meniketti reminds club management, that on arrival, no food was laid on for the road crew, and that this entitled them to break curfew,damn right.

A near breaking point crowd still sang Don't Wanna Lose and closer Forever like rock Armageddon was afoot.  This was my first time seeing Y&T live, and while I headed home having had a stonking night, an empty feeling remained.  The simple reason being, after 40 years of releasing great music, Y&T have never been truly rewarded, and have always been the bridesmaid.  Look at the likes of Ratt and Motley Crue, both great bands, but are they better than Y&T, not a fuckin' chance.  In the height of the 80's rock/metal domination, Y&T regularly tested these bands PA as a support act, yet the massive headline tours always eluded them.

But their fans have never drifted, they are one of the hardest working bands around today, their blue collar approach to their music and performance rubs off on their audience.  A great night of pure classic rock.  Long live Y&T.

JIMMY TO GET THE "LED" OUT........and about bloody time!!

Jimmy Page 2014

1988 was a notable year for a lot of things.  The first transatlantic fibre optic cable was laid, Bruce Willis was sexing up the vest in Die Hard, Barbie was a virgin, and Michael Jackson was a whiter shade of pale.  It was also the year that one James Patrick Page released his one and only solo album, Outrider.  Quite a bizarre statistic, considering this is a man who has probably influenced 95 per cent of the worlds guitar player population.

Outrider album 1988

It is now approaching the seventh anniversary of Led Zeppelin's triumphant reunion show in London.  An extremely fortunate 20,000 people packed the O2 arena that night to witness, without doubt,the greatest reunion show of them all.  But what followed was a tidal wave of speculation as to whether the remaining surviving members, along with drummer Jason Bonham, who replaced his late father John Bonham on the night, would perform live again. With Page, John Paul Jones and Bonham, having been open to a world tour, a reluctant Robert Plant was never keen.

With the release of Plant's new album, Lullaby and..... the Ceaseless Roar, and Jones tinkering with an opera, the likelihood of a reunion are now marginally slim at best.  So what of the present activities of Mr Page. Having spent a sizable chunk of his post Zep career remastering the bands classic albums, the west London guitar god is once again now ready to unleash his genius upon us.  Now in his 70th year, the news will be greatly received by his worshippers the world over.  Having stockpiled a wealth of material over the years, Page has been cagey with his answers as to what direction his new music will take.  Our breaths are growing increasingly bated.

Zeppelin 2007 O2 Arena  London

Despite the lack of Jimmy Page headed product, he never drifted down the reclusive route.  1985 saw him team up with  Free and Bad Company front man Paul Rodgers to form The Firm.  Two well received albums were released, The Firm (1985) and Radioactive (1986).  After disbanding, Page went alone, and released his first solo album Outrider.  Teaming up with old friend Robert Plant, vocalists John Miles and Chris Farlowe and sticks man John Bonham, it featured the brilliant single Wasting My Time (sung by Miles).  The album performed well, peaking at #26 in the US Billboard Albums Chart.

Page with The Firm 1993

Coverdale/Page album 1993

Then in 1993, Page surprised the rock world by releasing an album with Robert Plant's feuding partner, David Coverdale.  No love is lost between the pair, with Plant comically referring to him as David Cover-version, and Coverdale saying "I wouldn't send him cat food if he was starving".

Nevertheless, when the acrimonious dust settled in 1994, Page and Plant reunited for MTV Unplugged, and subsequently released No Quarter:Jimmy Page and Robert Plant Unledded.  Containing Zeppelin gems like Nobody's Fault But Mine, The Battle of Evermore and Kashmir,  it achieved platinum success in the US.  A highly successful tour followed, thus giving the guys a renewed vigour, which resulted in the recording of Walking into Clarksdale.  An album consisting of entirely new material, including Please Read The Letter, which Plant later re-recorded with Alison Krauss on the their collaborative album Raising Sand in 2007.

1999 saw Page team up with southern rockers The Black Crowes, for the double live album, Live at the Greek:Excess All Areas.  Recorded over two nights, it was basically Page and a cover band, as the majority of the tracks were Led Zeppelin classics.  But vocalist Chris Robinson, and the rest of the Crowes, performed majestically.  So much so, a co-headline, North American tour with The Who followed.  Despite Page and Zeppelin receiving a glut of accolades, things were relatively quiet on the Page front.  Until that monumental night in London in 2007.
Now with Page having finalised the remastering of iconic albums Led Zeppelin IV and Houses Of The Holy, he's now ready to go it alone again.  The music world needs legends like Jimmy Page active, I personally think he and his bands work should be on every school curriculum the world over.  Zeppelin's music still continues to permanently embed an imprint on peoples lives worldwide.  I'm proud that not only me, but my two young children are awaiting Jimmy Page's next move.

DEVILSTRIP:RISE.

When I think of brilliant, three piece rock bands, straight away the likes of ZZ Top, Rush, Cream and Motorhead spring to mind.  These are all bands who emerged in the 60's and 70's, and, with the exception of  The Winery Dogs, nothing is really turning my head at the moment.  But having just discovered this power trio from Ohio, my luck has definitely changed.

Devilstrip's debut album Rise, incorporates melodic rock brilliantly blended with hard edged riffs.  Right from the opening track, Not What You Need, you immediately get the impression that this isn't your average weak boned trio.  This is a powerhouse of a song, played with rhythmic intent. The bass led verses of Go, quickly ascend to a bombastic chorus.  A perfect choice for a single release.

If your partial to a bit of funk driven rock, then you'll love Including Me, featuring grimacing vocals from Marc Wasmund.  Also, some throbbing drums from Jimmy Gray.  The nasty riff work on Are You Ready, compliments this melodic gem perfectly.  This is a song that is sure to take on a new life when played live.  Kill The Headlights(Roll) ups the speed of the album to an explosive pace, featuring a Steve Harris like, galloping bass line from Graig Lingren.

Opening with a delightful orgy of silky riffs, To The Enemy, is a mixed bag, integrating metal, grunge and rock elements.  The Alter Bridge like Ugly is one of the stronger tracks on the album, a brilliant melodic chorus following engaging verses.  This song delivers on every level.

The only real criticism I have of Light Up The Room, is that it just isn't as meaty as the previous tracks.  It's by no means a filler, but it doesn't get me off  my seat.  Any hint of negativity is firmly put to sleep on the haunting Love, Hate, Die.  Wasmund's vocals put a classy stamp on this arresting track.  Closing track She Said, is the nearest thing to a power ballad on the album, but it retains enough grit and macho emotion to lose that tag.

So if you love discovering new rock bands who are making music a little bit left of centre, you're not going to do much better than this.

BLACK STATE HIGHWAY:ALBUM REVIEW.

It's refreshing to get an album these days that's not overrun with the usual 13 or 14 tracks, and a glut of substandard bonus tracks.  So I was pleasantly surprised when Black State Highway's self titled debut album arrived at my door, containing just 8 tracks.  The saying quality over quantity without doubt applies here.

The Brighton based band introduce themselves with a riff happy blend of blues rock with a distinctive metal influence.  Lead vocalist Liva Steinberga immediately makes you sit up and take notice on opener Conclusion.  Her impressive range is more than a match for the Zeppelin-esque guitar on this groove laden rocker.  Lead off single, Ain't Got No, is more of the same and showcases  some impeccable drumming from Harry Bland.

On the atmospheric Broken, you get more than a hint of early Sabbath, with Steinberga once again excelling, especially on the chorus.  It's no coincidence that this band met at the Brighton Institute Of Modern Music, because their musical intelligence is blatantly evident here.  Guitarists Olie Trethwey and Yonnis Crampton make next track, Free, their own.  With a riff containing a healthy slice of Deep Purple's Black Night, but the distorted guitars puts their own stamp on it.

It's not just your 70's classic blues rock that's the chief influence on the album..Sacrifice leans a lot in the grunge direction, but is delivered with a hell of a lot more slickness and precision.  The raunchy Tekkers has a delicious meaty groove that is incessant throughout.  Gordon Duncan's brilliant bass line knits the whole song together perfectly.  Penultimate track, Common Man, more than tips it's hat to Southern rock with a relentless grinding riff.

Closer, Trouble, once again has Steinberga's voice dominating, which in truth is my only real criticism of this very impressive debut.  But this band are only going to get better.  Debut albums aren't meant to be perfect, but if this is just a taste of Black State Highway's talents, then I intend on tasting a lot more.

BLACK STONE CHERRY. THE ACADEMY, DUBLIN, 23rd OCTOBER.

A little over 700 people packed this tiny Dublin venue to witness the Kentucky rockers unleash their brand of Southern fried hard rock.  With a set spanning their four albums, this was a band hell bent on making this chilly Thursday night, a memorable one.

Launching into Rain Wizard, from their self titled debut album, Frontman, Chris Robertson's opening roar of "here comes the rain", set the tone for the night straight away.  A brilliant Blind Man was followed by an ear splitting Me And Mary Jane from their new album Magic Mountain.  The energetic rhythm guitarist, Ben Wells, and bassist, Jon Lawhon, swap stage positions like men possessed.

On In My Blood, Robertson lets the crowd take stage singing the chorus.  The clearly moved singer tips his cap in appreciation.  A nice moment.  Another new song, Holding On...To Letting Go, gets the energy pumping again. Next, they get their Zeppelin out on the riff strewn, Maybe Someday, leaving the crowd gasping for breath.  The great thing about Black Stone Cherry's music is it's sincerity, it's guts, and how their songs take on a whole new meaning in a live setting.  Evidence of this is clearly seen on Remember Me, and the sublime, Like I Roll.

After Bad Luck And Hard Love, drummer John Fred Young gave a five minute masterclass, that was probably felt anywhere within a fifty mile radius.  Young reminds me of a human version of Animal from The Muppet's, but Robertson summed it up best by simply calling him a beast.  The band return and raise their glasses to their roots with Hollywood In Kentucky,brilliantly performed with a Southern swagger.  If anybody in the crowd thought the band were taking their foot off the gas, then they must of got the fright of their lives for what was about to follow.  Bang - Boom - Bang - Cherry classics, White Trash Millionaire, Blame It On The Boom Boom and Lonely Train hits the crowd firmly between the eyes.  And just to finish us off, 30 Seconds Of Death Metal is the parting shot.

Encore, Peace Is Free, closes the night on an inspiring note.  An emotionally drained looking Robertson once again gives the Cherry faithful the mic, who pay him back with interest. Performances like this are proof that Black Stone Cherry are one of the best live acts around today.The quality of their music grows with every album release, and the chemistry between them is infectious.  These are four guys who have known each other since childhood and have a genuine bond.  And an even greater one with their audience.   Apart from this flawless performance, it was heartening to see a young audience at a proper rock show.  And also, to see them with their fists in the air, and not a sea of smart phones.  A memorable night.

MR BIG:THE STORIES WE COULD TELL:ALBUM REVIEW:

Hands up, I've never given Mr Big the time of day.  Even since I heard their massive 1991 hit To Be With You, I closed the door on them completely.  That song made my teeth water and my ears cry.  But they do say time is a great healer, and now as I'm two years into my 5th decade, I think it's time to open that door.  This is the bands eighth studio offering and follows 2011's What If.

Opening track Gotta Love The Ride delivers with a earthy slice of Zeppelin and Sknynrd, and threatens to explode, but in truth it doesn't need to, it's infectious tempo carries the song through.  Next up, I Forgot To Breathe, is a perfectly crafted rocker with a sublime chorus, and a wonderful trademark Paul Gilbert solo.  The radio friendly tones of Fragile takes the edge off after the gritty opening tracks.  If you like a bit of sexual innuendo in your songs, Satisfied won't disappoint, with it's nasty guitars and a humping bass line from Mr Sheehan.  If it wasn't for the flawless performance of vocalist Eric Martin, The Man Who Has Everything, would probably fall flat on it's face.  But his crisp, soul filled voice, breathes life into an otherwise ordinary ballad.

The brilliant funk leanings of The Monster In Me, reminds us what magician bassist Billy Sheehan is.  Without doubt the highlight of the album so far.  What If We Were New and It's Always About That Girl are much in the same vein as Satisfied, seductive, in your face belters.  Light Of Day is another standout track, with Gilbert and Sheehan once again in blistering form.  This a real roll the top down and cruise number.  Ballad, Just Let Your Heart Decide is a weak point for me.  I generally like my ballads big and beefy, but this is low fat at best.  The album closes on a high note with the title track, with fantastic classic rock elements, right in the vein of Free and Bad Company.

All in all, this is a traditional rock album, packed tight with melody, towering bass lines and killer guitar work.  Though I think it's a bit top heavy with ballads, but don't let that put you off, there's plenty of head shakers on it.  I'm glad I've lost my Mr Big virginity, but I still hate that bloody song.

AN "ADRENALIZING" WEDNESDAY IN DUBLIN !

I've witnessed Def Leppard in some strange concert situations over the years.  The first one was in 1986, while on holidays in a seaside resort called Ballybunion,on the south west coast of Ireland. The Leps were doing a live rehearsal tour of the country in preparation for a series of Monsters Of Rock shows.  And also to get drummer, Rick Allen, back up to speed after his horrific car accident.  They played the local hotel, a run down little dump called the The Atlantic.  This place was a complete throwback to the 70's, with a nicotine stained glitter ball swinging precariously from the roof.  The second was a year later, on the opening night of the Hysteria world tour.  This time the venue was a local bingo hall on the north side of Dublin, called the SFX.  Nothing special, just four beer and piss stained walls and a gaping hole in the roof.

Fast forward five years, it's Wednesday and I'm in work getting lacerated with paper cuts.  I get a phone call around noon, it's my buddy.  Guess what, he says, Def Leppard are playing McGonagles tonight, fuck off I say.  Tickets just went on sale,he continues, we haven't a fuckin hope, I say, defeated.  The 400 tickets sold out in point 4 of a second.  The band were doing a warm up show for The 7 Day Weekend Tour, in support of their latest album Adrenalize.  It was also Vivian Campbell's first gig with the band.  He was replacing long time guitarist Steve Clark, who sadly passed away the previous year.  He was to be presented to the world the following week, at Freddie Mercury concert, in Wembley Stadium.  Despite not having tickets, we meet that evening anyway and make our way to the venue, with the faint hope of scoring tickets outside.

Let me describe McGonagles for you, it's a legendary club on South Anne Street, just off the very posh Grafton Street, on the south side of Dublin.  It had hosted bands like Nirvana and U2 in their infancy, and was a well known venue for up and coming thrash metal bands.  And the interior, well, it was like a large toilet, with a hole in the wall for a bar, and box for a stage.  It smelled of damp leather and Spanish onions. Two hours to doors and we get approached by a suspicious looking character.  But, he was a suspicious looking character, with tickets.  This guy had a massive scar from his neck to his cheek with one eye facing north and the other facing west.  His breath smelt like he'd been French kissing a chain smoking camel.

With tickets at £8 face value, we offer £15 each.  Ah will ya fuck off lads, dirty, dirty (he meant thirty), was his response.  After about a half hour of this, we eventually agree on £50  for two tickets.  And he even had the good grace to escort us to the ATM.  The word "forgery" crossed my mind as we approached the door.  I nervously hand over my ticket, and just as I was preparing myself for the worst, there it was, stub ripped off, I was in.  Everything looked normal, drums, amps, lights, but I still had a nagging suspicion we had been, monumentally had.  That was until Leps manager, Peter Mensch, walked in my direction.  I greeted him like a long lost friend - he looked at me like I had Bubonic plague.  Despite my embarrassment it confirmed to me that this was no hoax, this was very real.  Def Leppard, one of the biggest bands on the planet, were playing this shit hole.

And on they came, I said welcome to my show, Joe Elliot screams, as they launch into a hair raising Stagefright.  They don't let the crowd up for air as Rock! Rock! (till you drop) keeps the place shaking.  The mid tempo thud of Women lets us draw breath a little.  Just two songs off the new album, Adrenalize were played, lead off single Let's Get Rocked and the reworked Tear It Down.  The main bulk of the set consisted of the Pyromania and Hysteria albums.  The last hour of the show was the most memorable for me.  With classics like Foolin', Rock Of Ages and Armageddon It, all following each other.  I was in hard rock heaven.  1987's comeback single Animal, was followed by a blistering version of Queen's, Now I'm Here, due to be performed with Brian May at Wembley Stadium the following Monday.

New guy Vivian Campbell, on home soil, fitted effortlessly into the band.  He traded licks with Phil Collen like he'd been in the band 20 years.  Joe Elliot gave him a "welcome to the family" introduction much to the delight of the sweat soaked crowd.  After the encore of Photograph and Tear It Down, the band exited and the "house light" came on.  And that was it.  Bar witnessing the birth of my two children, this was one of the most exhilarating experiences of my life.  I have yet to be at a gig that had as much energy and intensity.  I actually saw Ozzy at the same venue a couple of years later, great gig, but not a patch on Leppard.  Sadly, McGonagles has since been demolished,  I like to think that the wrecking ball that was Def Leppard,on that Wednesday in April, cast the first blow.

Get well soon Vivian.

KIX:ROCK YOUR FACE OFF:ALBUM REVIEW.

When a band are releasing their first batch of new music for nearly 20 years, you're well within your rights to expect something special.  The Maryland five piece follow up 1995's Show Business with Rock Your Face Off.

The aptly titled Wheels In Motion opens proceedings with bruising intent, and sets the albums tone perfectly with furious guitar solo's from Brian "Damage" Forsythe and Ronny "10/10" Younkins.  Next up, You're Gone, unmistakeably bears all the hallmarks of AC/DC, that is until the chorus, which frankly drags the song down.  But Can't Stop The Show more than makes up for that with it's beautifully seductive rhythm and rousing chorus.  And that continues with the wonderfully suggestive Rollin' In Honey, a song drooling in tongue in cheek humour.

For a title track, Rock Your Face Off disappoints, but no doubt will work better in a live setting, this version lacks serious punch.  All The Right Things sees the band get a bit of a southern swagger on, but still maintains it's rock soul.  Dirty Girls is a sleazy little number that's obviously about their undying love for eh........dirty girls.  Not much originality here, but bloody fantastic all the same.
Power ballads are always dangerous ground, some work, some don't.  But love them or hate them, they're almost a necessity.  And not many have perfected the art.  But on Inside Outside Inn, the guys have without doubt nailed it.  Vocally it's flawless with main man Steve Whiteman excelling.  The mayhem quickly resumes with the relentless punk-esque of Mean Miss Adventure.

Love Me With Your Top Down just about falls short of Spinal Tap.  That's not a criticism, far from it, but you will laugh at it's brashness and downright arrogance.  That theme is carried on with Tail On The Wag, and once again you could be listening to a mid 70's AC/DC, with it's crunching guitar rhythm's and tight bass line.  The album concludes with the high octane Rock 'n' Roll Showdown, that will no doubt become a live favourite.  A perfect finish to a not so perfect, but solid rock album.  But it's an honest album, KIX aren't pretending to be something they're not, they're just a rock 'n' roll band - plain and simple.  And folks, there ain't nothing wrong with that.

The Boogie Boyler: ALBUM REVIEW:SLASH WORLD ON FIRE.

The Boogie Boyler: ALBUM REVIEW:SLASH WORLD ON FIRE.: Myles Kennedy is a lucky man,being able to jump between Alter Bridge and Slash with such ease and maintain critical acclaim,is the wo...

ALBUM REVIEW:SLASH WORLD ON FIRE.

Myles Kennedy is a lucky man,being able to jump between Alter Bridge and Slash with such ease and maintain critical acclaim,is the work of one talented boy.  Mr Hudson clearly knows he has a winning formula with the Washington native, now on their second outing, with the follow up to 2012's Apocalyptic Love.

Title track,World On Fire, kicks the album off with a merciless bolt of lightning, no frills here, just a balls out rocker.  The stop start of Shadow Life loses momentum a bit after the anarchic beginning but Automatic Overdrive quickly regains speed with it's punk-esque vibe.

Slash gets his A game out for the first time on Wicked Stone,a menacingly melodic gem, the highlight of the album so far.  The wonderfully melancholy Bent To Fly lets you draw breathe a little, but not for long, as Stone Blind with it's deceptively slow start quickly  detonates with explosive fury.  Beneath The Savage Sun bears all the hallmarks of  Black Sabbath, a riff laden epic with an air of doom throughout.

The wonderful guitar swagger of Withered Delilah showcases Kennedy's gold label vocal range, while Battleground, with more than a hint of Starlight about it, is a brilliant wave your cell phone moment.  Dirty Girl is as close to Aerosmith's Rag Doll as you could get, but doesn't quite deliver in the same fashion as Mr Tyler and Co.

The album gets a well needed kick up the ass with Avalon, a real roll the top down and cruise tune, and then goes up a gear with The Dissident.  Though probably more Alter Bridge than Slash, it's infectious chorus is irresistible, probably my favourite on the album.  The Unholy finishes things up on a dark but majestic note, it wouldn't be out of place on an early Soundgarden album, with it's moody grunge feel, but maintains it's rock roots with a trademark Slash solo.

So clocking in at 77 minutes and 17 songs long, there's a hell of a lot to get your ears around, and will takes a few spins to truly grow on you.  But without doubt, it's a worthy successor to Apocalyptic Love, and the majority of this album will work even better in a live setting.  Which is where Slash, Kennedy and The Conspirators truly set the world on fire.

The Boogie Boyler: DRAGONFORCE,CONJURING FATE,WHELANS DUBLIN,21st SEP...

The Boogie Boyler: DRAGONFORCE,CONJURING FATE,WHELANS DUBLIN,21st SEP...: Marc Hudson of Dragonforce It's a good job the foundations of this great old Dublin venue are sound, because when Dragonforce and...

The Boogie Boyler: DRAGONFORCE,CONJURING FATE,WHELANS DUBLIN,21st SEP...

The Boogie Boyler: DRAGONFORCE,CONJURING FATE,WHELANS DUBLIN,21st SEP...: Marc Hudson of Dragonforce It's a good job the foundations of this great old Dublin venue are sound, because when Dragonforce and...

DRAGONFORCE,CONJURING FATE,WHELANS DUBLIN,21st SEPTEMBER.

Marc Hudson of Dragonforce

It's a good job the foundations of this great old Dublin venue are sound, because when Dragonforce and County Antrim metallers, Conjuring Fate, came to town, it's durability was tested to its limits.
When you're just given a half hour support slot, you have to go for the audiences throat straightaway.  And that's exactly what Conjuring Fate did. There's a lot of buzz with this band at the moment, and judging by this sublime performance, rightly so.
This was 30 minutes of relentless metal, performed by a band who sound and look the real deal.  Lead vocalist, Tommy Daly, is an imposing looking character, and he performs like a man who could command any concert situation, whether it be a club, arena or a stadium.

Phil Horner (left)and Tommy Daly of Conjuring Fate

Ripping through proper metal tracks like Mirror Mirror and Trust No One, they had the crowd eating out of their hands right from the off.  I can't recommend their EP, House On Haunted Hill, enough.  I must mention the Spinal Tap moment myself and guitarist Phil Horner shared. When he went on a mid set walkabout, he had the misfortune to have his guitar caught in my jacket, thankfully he saw the funny side.

Herman Li of Dragonforce

The crowd barely had time to draw breath when it was time for Dragonforce. Billed as the This Time It's Personal tour, you couldn't get more personal than this. Massive power metal performed in an intimate setting.
Launching into a ferocious Defenders,off new album Maximum Overload, vocalist Marc Hudson  immediately got the crowd fist pumping with intent.  Guitar wizards Herman Li and Sam Totman once again displaying their genius,as they tore through DF favourites like Fury Of The Storm, Heroes Of Our Time and Cry Thunder.

Not even early technical problems could deter the atmosphere here tonight as the band were regularly having their name chanted between songs. And judging by the look on the bands faces, it was genuinely appreciated. This is a band with a very loyal following, new material  like Three Hammers, The Game, Tomorrow's Kings and an totally unrecognisable but stonking version of Johnny Cash's Ring Of Fire,were applauded like classics. And a classic is what we got at the end as Through The Fire And Flames rounded off the crowds weekend perfectly.  If you were witnessing power metal for the first time tonight,you witnessed the best.

THE OTHER DEEP PURPLE:

Deep Purple Mark III

Lets get it out of the way, Deep Purple Mk2, Gillan, Blackmore, Lord, Paice and Glover, the most iconic line up in the bands illustrious history.  Smoke On The Water, Black Night, In Rock, Machine Head, Made In Japan, all legendary titles that continue to resonate around the world.  Their standing as one of the most influential bands of all time will never be challenged.
But in 1973, after a continuous cycle of album - tour - album - tour, the band faced an uncertain future.  Ian Gillan quit amid tension with Blackmore, and Roger Glover was fired, for reasons he is bemused about to this day.  However, the band didn't hang around and quickly appointed Trapeze bassist Glenn Hughes and an unknown vocalist from Yorkshire, David Coverdale. Mk3 was formed.
Two albums were recorded Burn and Stormbringer.  But where do these albums stand in Purple's history ?  Do they deserve to be mentioned in the same breath as the Mk2 classics.

The Burn album came first, and on the opening title track, Coverdale and Hughes introduce themselves with a combined vocal masterclass.  This explosive fast paced gem, played almost like a statement, that the band weren't going to go through the motions.  It  more than matches Highway Star for an opening track impact.  Blackmore's arresting riff is constantly in your face and Ian Paice's drumming is as impeccable as always.
Lead off single Might Just Take Your Life goes down a more melodic route,but at the same time, retains a lot of Purple's trademarks with organist Jon Lord closing the song with a virtuoso solo. As with virtually all the album, Coverdale and Hughes trade lead vocals, and they combine brilliantly on the suggestive and gritty Lay Down, Stay Down, while Sail Away and You Fool No One send the album down a uncharacteristically funk route.
However, they are back on familiar ground with a bit of bar room boogie with  What's Goin' On Here, while penultimate track, Mistreated has Coverdale baring his soul with a perfectly executed blues vocal.  Blackmore's genial expressive solo is quite simply majestic.

In comparison to Burn, the Stormbringer album was a bit of a let down.They were slowly losing touch with their hard rock sound, and drifting even further down a more blues/funk path.As with Burn, the title track is the standout moment.  Blackmore's hovering guitar riff and the perfectly knitted verses fuse toward a thunderous chorus.  Love Don't Mean A Thing, with it's funk vibe tries it's best but doesn't really go anywhere. It doesn't really improve a great deal after that, bar Lady Double Dealer and High Ball Shooter, these are nailed on proper Purple rockers.
Holy Man, Hold On and You Can't Do It Right are decent, but a tad lethargic for a band of Purple's pedigree.  Haunting ballad Soldier Of Fortune, ends the album on a high note, for what is a disappointingly lacklustre collection.  It's standing alongside Purple's classic albums, is weak I'm afraid, but it's predecessor Burn, deserves to rub shoulders with heavyweights Machine Head and In Rock.  Though not as memorable, it far eclipses the likes of the Fireball and Who Do We Think We Are albums.
And if your starting your Deep Purple collection, and like a bit of funk, soul and blues blended with your rock, you'll probably get more out of Stormbringer than I did.

EP REVIEW:SKID ROW, RISE OF THE DAMNATION ARMY-UNITED WORLD REBELLION CHAPTER TWO

The second instalment in the United World Rebellion EP series, and without doubt, their best work in years.  Kicking off with We Are The Damned, it's a throwback to the Slave To The Grind days, a snarling anthem with attitude written all over it. Skid Row have never hid their punk influences, Give It The Gun, is a prime example of that.  A no nonsense hell raiser that is relentless from start to finish.

Catch Your Fall, the compulsory ballad, disappoints, especially after the bruising opening tracks.  I've never been a big fan of Skid Row ballads.  I never thought they looked comfortable, or believable, compared to the likes of their 80's counterparts, Bon Jovi or Cinderella.

Thankfully normality is resumed on Damnation Army, a full on metal rampage with Bolan's assaulting bass riff and Sabo & Hill playing like men possessed.  You've got to take your hat off to Johnny Sollinger, putting up with constant rumours of a reunion with original singer Sebastian Bach, he keeps his head down a delivers every time.  And on Zero Day, he sings with a menacing growl that is a match for anything his predecessor can do.

For bonus tracks, the boys do brave, but brilliant versions of Queen's Sheer Heart Attack and Aerosmith's Rats In The Cellar.  So if releasing quality EP's like this is the way we get new Skid Row music in the future,then bring it on.

ALBUM REVIEW:ACCEPT BLIND RAGE

Back with their 14th studio album, and their third with vocalist Mark Tornillo, Accept have always been masters of their craft.  Blind Rage is a ferocious reminder of that.  As openers go, they don't come much better than Stampede, it's five minutes of brain shaking anarchy with Tornillo warning "he'll pulverise your bones", and pulverise he does.  Dying Breed delivers like a ceremonial chant to the metal faithful, while Dark Side Of My Heart proves Accept aren't all about bone shattering metal, and have an ear for melody. 

After a pulsating opening, Fall Of The Empire takes the pace down a bit, but still maintains fist pumping verses and a rousing chorus.  Normal service is resumed on Trail Of Tears, with Stefan Schwarzmann drumming like a man possessed. Wanna Be Free, with it's social awareness content and infectious chorus, is sure to be become an Accept classic, and a live favourite. You can't help but get emotionally involved, and a tad angry, when listening to this, it's that powerful.  

Bloodbath Mastermind is classic Accept, no nonsense guitars from Wolf Hoffman and Herman Frank, and perfectly executed harmonised vocals. From The Ashes We Rise doesn't really live up to the rest of the album and has a bit of a filler feel about it.  The Curse is a statuesque, guitar driven gem, while closing track, Final Journey, finishes the album in a majestic and blistering fashion.

Accept have always lived in the shadow of fellow German rockers Scorpians, but when their in this form, they are more than a match for Klaus Meine and co. Once again with Andy Sneap in the cockpit, they have, without a shadow of a doubt, found a winning formula.  And Mark Tornillo, on his 3rd outing with the band, has cemented his place as the main man in Accept.  

Although not as good as 2010's  Blood Of The Nations, it leaves previous opus Stalingrad in the shade.  Blind Rage is a masterclass in every sense of the word, and proves that Accept are the high kings of power metal.

HOT TUB "METAL" MACHINE !!!

No matter what form of metal or rock that you are a fan of, you can't deny the 80's was a momentous time. To be transported back to that era, would be a trip, I think most nostalgic rockers would happily take.  For myself growing up, rock music was a daily part of my diet, it was fully immersed in my bloodstream. AC/DC, Whitesnake, Deep Purple, Def Leppard and UFO were regularly blasted in my parents dining room.  Nothing else mattered, except standing in front of the mirror with the air guitar hung low.
When American glam metal started emerging with bands like Motley Crue, Ratt and Quiet Riot, MTV took notice, and the whole scene went into overdrive.  Sunset Strip, Los Angeles, became a mecca for up and coming bands dreaming of the big time.  It became a decade of pure debauchery and extreme decadence, too much was never enough.  Sales of hairspray and spandex went through the roof.  In fact hair was so big it needed planning permission, while cucumber smuggling almost became a national sport.
But it wasn't all about the glam, established metal acts like Iron Maiden, Judas Priest and Scorpians continued to pack arenas out across the states. Thrash metal was also on the up, with heavyweights like Metallica, Anthrax and Slayer.

But not everybody was a fan.  Former second lady, Tipper Gore, formed a committee in 1985 called the Parents Music Resource Centre (PMRC).  It's main goal was to increase parental control over access to music which was seen to glorify drug abuse, sexual violence and anarchy.  They even published the famous Filthy Fifteen, a list of songs deemed to have inappropriate content.  Needless to say over fifty per cent were rock bands.

W.A.S.P....not on Tipper Gore's Christmas card list.

Those included were Twisted Sister We're Not Gonna Take It, Judas Priest Eat Me Alive, Motley Crue Bastard and W.A.S.P ANIMAL(FUCK LIKE A BEAST).  They also succeeded in having record companies put "Parental Guidance: Explict Lyrics" labels on albums, which became known as the Tipper Sticker. However this only had a positive impact on the metal market, record sales shot up.  Towards the end of the 80's rock was never bigger.  Guns N' Roses were ripping it up with their iconic debut, Appetite For Destruction, Def  Leppard were shifting truckloads of their comeback album Hysteria and David Coverdale's Whitesnake were reborn with 1987.

Guns N' Roses 1987

But by the early 90's the golden era of rock was nearing an end and a new movement was emerging.  Yes folks, good old Grunge, the complete antithesis of 80's rock.  It arrived like the Grim Reaper in a flannel shirt, scythe in hand, and more or less massacred any rock band with a hint of melody.
Nirvana, Soundgarden, Pearl Jam and Alice In Chains led the movement, while the rest were just poor imitations who looked twice as miserable and hated their mother more.  I approached Grunge with a open mind and bought Pearl Jam's Ten album.  The whole thing left me cold.  I felt no urge to throw a few shapes and release the dandruff.  Instead I found myself staring at the wall, wondering whether to smash my head against it.
Last year my wife won tickets to Soundgarden in Dublin, and seeing as I was older and a little bit wiser I went along, once again open minded.  There was no big sounding opener, instead we were greeted with something that probably gave the Grunge faithful a joyous feeling of impending doom.  My friend, who I dragged along, was ready to bottle them after the second song.  And to top it off, their massive hit, Black Hole Sun, wasn't played - even as an encore.  No instead we got ten minutes of mind bending misery, with bassist Ben Shepherd and guitarist Kim Thayall giving us a crash course in distortion.  But all bad things must come to an end and by the late 90's the movement was more or less over.

Poison 2014

Thankfully the same cannot be said for rock.  Their flame may have been dimly lit, but it has never been put out.  Because unlike Grunge, rock music is not a fad, it's a way of life, it's a tradition.  Plus us rock fans are loyal.  We have got married, bald, fat and pregnant with our bands, and have never missed the chance to devil horn the night away.  Bands like Poison, Warrant and Stryper, who suffered badly in the 90's, are back and loving it.  Rock royalty like AC/DC, Iron Maiden and Metallica are bigger than ever.  Kiss and Def Leppard have joined forces this summer for a North American tour.  Motley Crue are on what could be a 5 year farewell tour, and Judas Priest released the metal album of the year with Redeemer Of Souls.

Kiss and Def Leppard announce summer tour.

Although metal, trash and glam have always been the enemy of the critics, it still remains the most loved and revered form of music ever.  Where else would you get anthems as memorable Here I Go Again, Photograph, Run To The Hills, Master Of Puppets, Back In Black, Crazy Crazy Nights, Shot In The Dark, Shout At The Devil, Raining Blood, Wanted Dead Or Alive - the list is endless.  I remember hearing these songs for the first time and being totally seduced by their power, melody and downright brashness.  We probably won't see the likes of these bands again, but they've left a permanent imprint on a lot of peoples lives, mine included.  I wanna go back.  Are you ready.......everybody in the hot tub.