No rest for the wicked was not an album that I listen to it when it was originally released. Of course it was the first Ozzy record with Zach Wylde on guitar and that was a big deal and guitar magazines for the day. I did zee Ozzy and Zack on the No More Tears tour in Chicago. One of the loudest concerts I’ve ever seen, but it was cool. I’m so glad I had the opportunity to see Ozzy live at least once.
I picked this record up at a flea market a little while back, gave it a listen or two, and that was it. There were a few songs I dug, but it wasn’t an album that grabbed me. Fast-forward a couple years and on a whim I put this back in the car CD player and gave it a second chance.
Highlights
While it is a little hit-or-miss, upon revisiting No Rest For The Wicked I like it more than I did initially. There are some great riffs, and a few of the songs hold up well. “Breaking All The Rules” is my favorite track, by far. I just love the riff and overall heaviness, and the vocals and guitar playing (especially the rhythm parts) are strong.
“Miracle Man,” “Bloodbath in Paradise” and “Fire In The Sky” are also strong. The last track on the album, “Hero,” is perhaps an underrated gem in Ozzy’s catalog.
Overall it’s a good-sounding record as well. The mix is good, the guitars are heavy, you can hear the drums, and it sounds very balanced. Nothing is buried. It’s got that sweet spot of late 80s technology and mixing clarity, without the brickwalled modern production that came not too many years later.
Lowlights
The thing I don’t particularly like about the album are the weird little vocal bits on some songs. Ozzy squeaking out “craaaazy!” and “babies!” in “Crazy Babies” is just kind of silly. This was one of the singles from the album, and to me it’s a bit unfortunate. Similar for the “I’ll get you” and “let’s party” at the end of the choruses of “Demon Alcohol.” Not bad songs, and I consider this sort of thing a bad production choice.
Conclusion
It’s a pretty solid album from Ozzy, Zack Wylde, Bob Daisley, Randy Castillo and John Sinclair. More good than bad for sure, although some of the production choices don’t hold up well. If you overlooked this record, do give it a shot!
I wrote about my first time seeing Sue Foley quite a few years ago, so when I saw she was coming to Orlando to do a solo acoustic show, I was definitely interested. While I hadn’t listened to it yet, I had read good reviews of her latest album One Guitar Woman. The album was nominated for a Grammy, and won Acoustic Album of the Year in the 2025 Blues Music Awards.
The Venue
She played at Judson’s Live, which is a small, intimate restaurant-style venue attached to Orlando’s beautiful Dr. Phillips Center. It’s a great place to see an acoustic show like this. Four comfortable chairs per table, and every seat is good. For this kind of show, the sound was super clear but not super loud. It let the nuance of the music come though. It reminds me of concerts I’ve seen at the Old Towne School of Folk Music in Chicago.
I was encouraged to see the place packed, presumably sold out. I sat at a table with one gentleman who had seen Sue Foley 7-8 times, going way back to when she was a teenager; and a father and son. It was a good mix of men and woman, but as with most blues these days, skewed oler.
Setlist and the Music
I didn’t realize how much of an actual show this would be, compared to a more traditional “blues set.” The setlist followed her One Guitar Woman album, and each song was prefaced with interesting and compellingly-told stories of the songs, the women who wrote or performed them, and why she chose them. It was a history lesson as well as a performance. I haven’t seen this type of show in a long time, and reminded me of some of the folk artists I saw in Chicago years ago, like Odetta. I really loved it, and it inspired me to go deeper into the catalogs of the artists she’s representing. Note that she goes into depth on this in the insert of the One Guitar Woman album as well.
She mostly played her nylon string guitar, particularly for the blues, classical and flamenco pieces. Her blues is just so … solid. Precise, but not sterile. When performing solo acoustic, groove is essential, and she has it. For a few songs, notably her tribute to Mother Maybelle Carter entitled “Maybell’s Guitar” was on a steel string acoustic. At the very end of the set she pulled out her iconic pink paisley telecaster “Pinky” and did Hurricane Girl from her latest electric album.
Her bassist joined her for the last third or quarter of the set, which added a bit of sonic variety.
I was particularly impressed with her voice. I know she can sing, but in this kind of venue and this kind of show, it really let the nuance and emotion come through. She’s got a great mix of smooth and grit. No, she’s not an 80 year old black man from the delta, but all of the emotion and power of the songs came though. That’s what a great artist should do – convey the emotion and power of the song, with your unique voice.
As for guitar, her fingerpicking throughout was incredible. As you may or may not know, Sue Foley is an accomplished Flamenco guitarist as well. She played a long version of La Malaguena as a tribute to Charo and absolutely nailed it. I loved the variety – both in guitars and styles, covering blues, country, flamenco and one classical piece. Blues is her home base, and that was most of the set, but the other styles fit right into the show and she performed them well.
I don’t recall the exact order of her set, but she played just about all of the songs on the album:
Hurricane Girl (Sue Foley) – played on “Pinky,” her iconic pink paisley telecaster
Summary and More Info
I had a long, stressful week and this was just what I needed. The venue was great, and the music was great. It was inspiring to see such a well-put together show, delivered with passion and excellence. If you get a chance to see Sue Foley live, whether acoustic or electric, go do it.
February 28, 2026 – at the club Celine, downtown Orlando, FL
Background
I went to this one a bit on a whim. I read a review of drummer Cody Dickinson’s solo album in Blues Music Magazine a few months back – it piqued my interest and I dug both his solo album, and revisiting the couple of North Mississippi All Stars albums I already owned. Their one of those bands I liked, but haven’t followed that closely. I never saw the band before and tickets were less than $30.
Ticket said 7pm, but it’s never clear when the headliner actually starts, nor whether there would be an opening band. I hedged my bets and arrived around 7:10 to find they had already started. The crowd at that point was pretty small, maybe 20 people, but after another 15-20 minutes it really filled up. I was happy for the band, I like to see Orland come out and represent this level of touring artists. I want to make this a city where they can make money doing shows!
I had never seen a show at Celine before, and it was a decent club. The sound was quite good, and easy to see the stage. Parking was also a breeze as the Central Avenue library garage is right around the corner. Easy in, easy out.
Overview
Guitarist Luther Dickinson, drummer/keyboardist Cody Dickinson and bassist Rayfield “Ray Ray” Holloman laid down thick grooves all night, and the crowd was definitely into it. Luther did a number of extended solos, and was a lot more diverse a guitar player than I realized. Cody was killer, and Ray Ray was in the pocket.
The Setlist
I’m not super familiar with their catalog, but I did recognize a few tunes from the new album, including Stay All Night, Pray for Peace, and Preachin’ Blues. After picking up Cody’s solo album and listening to it quite a bit in teh week following the show, they played his song Big City.
I suppose you could say I’m … cautious about AI in general, and very down on it for creating art. However, it does have its uses. Gemini couldn’t find the exact setlist from the Orlando show, but it did give a reasonable summary. This doesn’t 100% match my recollection (missing Big City, for example), but it gives you an idea. NMAS is the kind of band that probably doesn’t keep everything exactly the same every night. Here’s what Gemini says:
Based on shows immediately preceding Orlando (such as the February 26 show in Ponte Vedra Beach), their setlist generally includes the following tracks:
Po Black Maddie (R.L. Burnside cover)
Skinny Woman (R.L. Burnside cover)
Up and Rolling (often includes teases of Jessica or 3rd Stone)
Stay All Night (Junior Kimbrough cover)
Poor Boy (R.L. Burnside cover)
Shake (Yo Mama)
K.C. Jones (On the Road Again)
Mississippi Bollweevil
Set Sail
Need to Be Free
Prayer for Peace
Meet Me in the City (Junior Kimbrough cover)
Glory, Glory (Lay My Burden Down)
Goin’ Down South / All Night Long / Snake Drive (Medley)
Luther’s guitar was absolutely a high point. Great slide playing, great melodic sensibility, and a boatload of groove. What else can you ask for?
Electric Washboard
I also enjoyed a few songs when they called “switcheroo” and they each took up different instruments. Ray Ray held down the drums, Luther picked up the bass, and Cody played either keyboards or washboard. Cody sang on a couple of the keyboard-driven tunes, and that added a lot of variety to the trio format. One of the other highlights was Cody not just playing washboard, but playing electric washboard – through a gamut of guitar effects including a wah pedal and phaser. It was a cool, unique pyschadelic effect, and as a drummer he kept it grooving. The crowd loved it, myself including.
Here’s a taste of NMAS live, though not from the Orlando show:
Recommendations
I had a great time, and as usual, I’m glad I went. The venue was solid, and I loved the DIY ethos they displayed. They’re the kind of band that keeps doing it because they love the music, and that shows. I was telling a friend about it, and he recommended their 2019 album Up & Rolling. It’s fantastic. I did pick up their latest, Still Shakin’ as well as Cody Dickinson’s newest solo record Homemade – both of which I dig. Still Shakin’ is pure NMAS, more of what you love about the band, done really well. If you’re a fan of off beat, bluesy rock & roll check out Cody’s album, too. It’s a bit more aggressive and a bit more rock at times, but also very diverse. Very cool album.
It’s been a long time, but I’m going to start writing again. Might as well start with some recaps of 2024, including live shows. It’s been a great year for live music. In no particular order, here are some of the highlights of my year:
George Lynch
I’ve been a fan of George Lynch (Dokken, Lynch Mob, KXM, Sweet N Lynch, and many others) since the mid-80s. Dokken was one of my favorite bands as a teenager, and they were a big influence when I first started playing guitar. When I saw he was coming to central Florida, I couldn’t pass up the chance to see a long time hero. He was great! He did a good mix of Dokken and Lynch Mob material, with Lynch Mob being the primary set. The band sounded really good, his singer was outstanding, and the openers AON and a Stones tribute were fun as well. The singer from AON did a few of the Dokken songs with George Lynch. The Mount Dora community center was a great place to see a show, too. Very comfortable, every seat is good and the sound was excellent.
Uriah Heep with Saxon
I’ve been a fan of Uriah Heep for a while, and I had a chance to see them in early 2020. I passed up that show and then covid hit… so when I saw they were coming back to the Plaza I had to go see a legendary band. I like Saxon as well, although Power and Glory is the only record of theirs I own so I’m not super familiar with the catalog. Both bands were good. Saxon brought the old school, classic metal vibe in spades. They did exactly what you expect and want them to do. They sounded fantastic. Heep has such a deep catalog it’s not surprising they played a whole show of hits. Is it just me or does Mick Box remind you a little bit of Jerry Garcia? Nice to see the whole band smiling. It lost a little something live compared to the records, but I still enjoyed it. I had no idea previously, but Rick Wakeman’s son plays keyboards for Uriah Heep. How cool is that?
Joe Satriani / Steve Vai
Continuing the theme of guitar heroes, I had to go see Satch and Vai together. I’ve seen Steve Vai a few times and he’s always incredible. Probably my single favorite guitar player ever. Satch was a big influence when I was a teenager, and I still like his music a lot. His latest album Elephants From Mars is really good. They were fantastic. So much energy, joy and fun. Both bands rocked and grooved, and it was one of my highlights of the year. I hear they’re touring together as a band in 2025 so I can’t wait for that.
Brothers Osbourne
I’m a big fan of the Brothers Osbourne’s “Port Saint Joe” record, and in particular the slow country epic “Weed, Whiskey and Willie.” It’s such a great song. I wasn’t sure what to expect seeing them live, but they blew me away. Great show, excellent performances, and a crowd that was super into it. Highly recommended if they come your way in a venue like House of Blues. I don’t think it would have come across the same in an arena.
The Aristocrats
They put the FUN in FUsioN. Such an incredible group, and I was so heartened to know that an oddball group like this can regularly tour and draw a good crowd in a city like Orlando.
Toronzo Cannon
As the end of the year neared, I actually went to a few shows with family. First, we went to the local blues mecca The Alley in Sanford, FL to see Toronzo Cannon. I used to play with Toronzo at the BLUES, Etc. open mic in Chicago. Every Wednesday for a year and a half, I was there. It was great to see Toronzo with a successful touring career in blues, and I was really happy to be able to see him again. Raw, gut-bucket, real Chicago blues.
Kacey Musgraves
To wrap up the year, we all went to see Kacey Musgraves at the Kia Center (arena). I’ve been a fan of her since her first album. I think she’s a great writer. I’ve been really into her latest album Deeper Well. While I’d probably have preferred to see her in a smaller venue, she did make the most of the arena and put on a great show. Half was on the main stage, and half was on a small acoustic circle in the middle of the floor.
Wrapping Up and Looking Towards 2025
I did see a few other shows this year, but these are the highlights. It was a great year for live music, and in 2025 I’ve already got tickets to see:
Kansas at the House of Blues
Rick Wakeman at the Plaza (I recently read his biography Grumpy Old Rock Star and it’s fantastic)
The Aristocrats are coming back to Orlando, so while I don’t have tickets, I need to see if the date will work for me, that would be high on my list. They’re incredible.
It’s been a while. I quit Instagram and Twitter this Spring as part of a general “social media” purge. It’s been great for my life, although I haven’t had much reason to write here and share. Of course, that also stopped my “cool verse of the day” Instagram series.
I also took my music off of Spotify, Apple Music and other online services so I’m making my instrumental album available as a free download, in any of the following formats:
I started a little series on Instagram called “Random Verse Today.” I’ve been learning lots of songs lately, and there are so many great individual verses (or choruses) in songs you might never have paid attention to. There are enough full song covers out there (I particularly enjoy Larkin Poe’s acoustic covers), bu given everyone’s short attention spans and the short time limit of Instagram videos I thought this would be a fun take on it. I also try to sing things in a clear, understandable way so listeners can really hear the lyrics.
Here are a few I’ve done so far. Interesting to see the list (in backwards chronological order). You can tell what phases of music genres or bands I’m listening to!
I haven’t been to a show at a club like the Hard Rock since last summer, and I haven’t done a live show review in a long time! When I saw Samantha Fish was opening for Jimmie Vaughan I figured it was a good bill at a good price, and I was ready for a night out.
I got an email the day of the show with Hard Rock policies for masks, etc and it mentioned the show was sold out. When I got there it was anything but. In fact, I was the only person in row N, and there were only a handful behind me or in the balconies. Maybe a quarter full. Not good for the artists, but it was nice to have more personal space and not be so crowded. To be fair, it was a Thursday night but while the crowd was good and I enjoyed the evening, it was about the least crowded I’ve ever seen the Hard Rock.
The Package
The bartender asked me “Who are you here to see?” and my honest response was “both.” I had never seen Samantha Fish before, but I liked what I’ve heard on Spotify and Youtube. She’s certainly established herself as one of the female young guns of blues. Jimmie Vaughan is a legend, and the last time I saw him and the Tilt-A-Whirl band was probably 20 years ago. It was one of my favorite concerts ever – Junior Brown opened and just blew me away. My wife and I were either engaged or newly married, so we had that vibe going on. It was just a great party all night, which plastered a huge grin on my face the entire show. A few year ago I had a chance to see him at C-Boys in Austin but I didn’t end up going. I was just too exhausted at the end of the week. Anyways, for me Samantha Fish & Jimmie Vaughan was a really compelling package – one established newer artist, and one legend. Both blues, but very different. The pairing of two very different artists within the same loose genre works really well for me. A few years ago I saw Kenny Wayne Shepherd and Beth Hart together and that was a similar experience.
Samantha Fish
She came out in head-to-to red leather with her cigar box and was just ripping from note one. I think she’s established somewhat of a niche for herself with more focus on slide than some of her contemporaries. She can also belt on vocals, and that also separates her from others that might just be good on guitar. Her band added fantastic harmony vocals that filled out the sound and added depth. She played some older tunes, and some from her new album Faster. It was a great set full of barn-burners and slow R&B. She mixed it up well, and had a lot of variety in the 50-ish minute set.
She’s built a strong catalog of albums over the last decade, and it led to a set of all killer no filler. Her version of Kill or Be Kind was a lot different from the album, and I like when artists stretch out live a bit. There were long improvisational jams, as well as sing-along choruses. I left impressed and very happy I got to see her and her band live.
Samantha Fish On Fire With Her SG
Special note to her drummer (Sarah), who had a killer, driving groove and provided consistently excellent harmony vocals. She added a LOT to the set, and I really enjoyed listening to her.
Samantha and Sarah Grooving Hard
Jimmie Vaughan
On the plus side, the Tilt-a-Whirl band was Tight with a capital T. Every break, every accent, every transition was simply perfect. They were amazing. As expected, Jimmie Vaughan’s guitar was a highlight. His style is so unique, mostly using his fingers and effortlessly gliding across the fretboard. He leveraged a capo on many songs, allowing him to apply signature licks in a manner not unlike fellow Texas legend Albert Collins. Jimmie Vaughan has that loose, traditional blues sound that few modern players achieve. Often understated but always perfect for the song, it was a joy to watch him plan. Mike Flanigan’s organ was powerful and soulful, and he can sing. I really enjoy their organ trio album (Live From C-Boys), and the songs that showcased Mike’s organ, and the interplay between Mike & Jimmie, were highlights.
The Tilt-A-Whirl Band Tight With a Capital “T”
On the downside, Jimmie really struggled with his vocals. Whether due to just not having it anymore, or not being able to hear himself, he was out of key and noticeably stretching most of the time. I hate to say it, but it was bad. Mike should have handled the vocals on everything. Another performance note that bothered me a bit was that he asked the audience “how are you doing out there” three times… Okay, i understand asking once as a standard live show trope. But three times? I don’t know why but it rubbed me the wrong way. I was thinking that if or when I start doing my own live shows again, I’m not going to ask the crowd how they’re doing. Instead I’m going to say “I’m feeling good tonight, how about you?” Anyways…
Jimmie Vaughan digging into a note
I did enjoy the music and the band. I get the sense it would have come across better in a small club or a bar like C-Boys, but not so much in a 3/4ths empty Hard Rock. It was almost too intimate for that venue.
Jimmie Laying Down Slinky Leads
Summary
It was a solid package of new and old, up-and-comer and legend. I’m glad I went and had a good time. Samantha Fish puts on a good show and has carved out a great niche for herself as a unique artist in contemporary blues. Jimmie Vaughan’s set was good overall, bolstered by his guitar and the tightness of the band, but his vocals and the somewhat slower, laid back nature of this band might not have been the best fit for the venue. Interestingly, the crowd seemed to be much more into Samantha Fish. Lots more specific cheering and more people wearing her t-shirts. After her set, she was signing merch at the table, and the line went all the way across the venue. It was probably the longest merch line I’ve ever seen. In fact, the line didn’t disperse until halfway through Jimmie Vaughan’s first song.
As a follow up from an older post about why I love finding and buying vinyl, I’ve gotten a lot of enjoyment out of my record player recently. I was able to go to Marley’s Music in Biloxi, MS a month ago and picked up a great score from their dollar bin. I got a whole bunch of records, including:
Chico Hamilton – Catwalk. I picked up his album Perigrinations at Marley’s the last time I was there!) – both great fusion records
Mother’s Finest – Another Mother Further. How could I resist the super man logo with a guitar in it for a cover. No idea what this band is about, but the cover drew me in for a buck. I haven’t listened to this one yet, but I intend to soon…
A Sound Spectacular! Music From The Galaxies. A sci-fi movie soundtrack compilation, and while I have a couple of those already, it has a few things I didn’t have like the Star Trek theme and the theme from Moonraker. It’s a cool compilation.
The Outlaws – Eye of the Storm. I don’t know anything about the Outlaws, other than the name. I’d heard of them. Again, for a buck it’s worth a listen. Greasy southern rock & roll.
And last but not least…
I’m sure I’ve heard this before at some point, either via a friend loaning the CD to me, the library or maybe streaming online, but how can you beat it for a buck? I love finding good stuff like this cheap. And by the way, it’s an awesome album. Super Session!
Kooper booked two days of studio time at CBS Columbia Square in May 1968, and recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the Electric Flag, along with well-known session drummer “Fast” Eddie Hoh. On the first day, the quintet recorded a group of mostly blues-based instrumental tracks, including the modal excursion “His Holy Modal Majesty”, a tribute to the late John Coltrane that was also reminiscent of “East-West” from the second Butterfield Blues Band album. On the second day, with the tapes ready to roll, Bloomfield returned to his home in Mill Valley, California, alleging that he had been unable to sleep.[4]
Needing to have something to show for the second day of sessions, to sit in for Bloomfield, Kooper hastily called upon Stephen Stills, also in the process of leaving his band Buffalo Springfield. Regrouping behind Stills, Kooper’s session men cut mostly vocal tracks, including “It Takes a Lot to Laugh, It Takes a Train to Cry” from Highway 61 and a lengthy and atmospheric take of “Season of the Witch” by Donovan.[5] Although Harvey Brooks’s closing “Harvey’s Tune” includes overdubbed horns added in New York City while the album was being mixed, the album only cost $13,000 to complete.
2021 was a pretty good year for music. I listened to a LOT of stuff: some new, some old, some new material from older bands. While I do listen to a good variety of music (classical, pop, jazz, country, reggae, folk), my wheelhouse is blues, rock and metal. That’s honestly most of my listening so it’s no surprise that all of my favorites fall in there.
Greta Van Fleet – The Battle At Garden’s Gate
The Battle At Garden’s Gate
I’ve always been a fan of Greta Van Fleet, and their latest album shows continued growth and maturity. The Battle At Garden’s Gate is an album that really feels epic; with vast, sweeping sonic landscapes, and great performances end to end from every member. There’s a palpable passion coming through the recording. I also love the diversity of the album – there are quiet piano parts, epic guitar solos, great keys, bass, drums… There are straight-forward, catchy hooks as well as and long sonic journeys. This album has everything, and it’s all great. The production and mix are top notch. Crank up a good stereo and listen to the bass in Age of Machine – it sounds incredible. It took me a listen or two in order to get into it, but the album just keeps getting better. Highly recommended. Rating: A+
Highlight Tunes: Broken Bells, Caravel, Age of Machine
The Pretty Reckless – Death By Rock & Roll
Death By Rock & Roll
I’ve listened to a little bit of their stuff over the years. I liked it, but nothing really grabbed me. Death By Rock & Roll is stellar end-to-end. It’s one of those “not a bad track on it” types of albums. From the hard-rock title track to the acoustic ballads, every song holds its own. The album has nice diversity but keeps a common theme. Taylor Momson delivers and incredible and passionate vocal performance. If you wanted to rock in 2021, this is a place to go. Fantastic record end to end. Rating: A
Highlight Tunes: Death By Rock & Roll, 25, And So It Went, Harley Darling
Joe Bonamassa – Time Clocks
Time Clocks
Each Bonamassa record hits me differently – some I like a lot, some I don’t like as much. I wasn’t a big fan of his previous record, Royal Tea. Given that, Time Clocks wasn’t an album I was excited about up front. It was on my radar but I didn’t have a lot of anticipation built up. The 3 singles released didn’t grab me, although that seems to be the case more often than not with his records. I usually like the deeper tracks better. When I got the album, though, I was really pleasantly surprised. The 3 singles grew on me upon repeated listening, and the album also gets stronger as it progresses. Many of those later songs grabbed me on first listen, which makes Time Clocks a really compelling whole. Joe’s guitar work is stellar, as always. There’s a nice diversity of tunes. I read somewhere a description of Joe’s music as “cinematic blues,” and I think that sums it up well. I would have rated it just a little higher (perhaps an A instead of A-) but the title track has a few awkward lyrics, though nothing cringe-worthy; and there are one or two songs I tend to skip. Overall though, I think it’s his best complete work in a while. It’s always great to have an album come out of the blue like this and really connect. Rating: A-
Highlight Tunes: Questions & Answers, Hanging On A Loser, The Heart That Never Waits
Other Albums I Enjoyed In 2021
There are a lot of other great albums in 2021, and here are a few that are definitely worth a listen
King Buffalo – The Burden of Restlessness – this is a band I had never heard of, but gave a listen to purely based on their incredible album artwork. It’s a huge, heavy slab of psychedelic doom, fantastic for running, driving, working, or focused listening. The driving groove is incredible, the guitars are continually interesting and the lyrics are cool.
John Nemeth – Stronger Than Strong – this is an artist I found out about through Blues Music Magazine, and I really dig his swamp blues style. He’s got a great voice and great songs on this record and if you’re looking for something cool and fun outside of the “big names” it’s definitely worth a spin.
Sue Foley – Pinky’s Blues – I’ve been a fan of Sue Foley for a while, and this is her first album in a few years. She’s the real deal and does traditional blues as well as anyone out there, but Pinky’s Blues has the subtle variety that all great blues records have. She doesn’t veer into pop or metal or anything like that, this is a blues album, but it covers a range of intensity and emotion. Her sultry voice is of particular notice, as is the impeccable classic blues rhythm to her playing. This is of my favorite traditional blues albums in a long time.
Iron Maiden – Senjutsu – any new Iron Maiden album is cause to celebrate, and Senjutsu has some great stuff. I really liked their last record, Book of Souls, and this is right up there. It’s full of epic songs, and there are great riffs and performances through and through.
The Black Keys – Delta Kream – I wasn’t a huge Black Keys fan, but this year I’ve turned around on them. I got a few of their older records from the library (Let’s Rock in particular), and Delta Kream grabbed me right away. It’s back to the basics, groove-heavy, hill-country blues done right.
Doctor Smoke – Dreamers and the Dead – another random “youtube recommended it and I liked the album artwork” finds. I was blown away by this band, and if you’re into metal with a killer groove, you’ll dig it. Great vocals, cool songs, and a huge-sounding slab of doom worth your time.
On The Radar For 2022
The album I’m most looking forward to in 2022 is Eric Gales‘ new record “Crown,” produced by the power team of blues/rock production of Joe Bonamassa and Josh Smith. A few years ago I was burned out on blues/rock, but seeing Eric Gales live restored my faith. He’s a force of nature, and I can’t wait for this album.
A late arrival on my 2022 Hype Train is the newly-announced Steve Vai album “Inviolate.” Steve Vai is one of my all-time favorite musicians, so every new album by him is reason for celebration.
Given what’s happening in Afghanistan right now, I wanted to write a brief post to share a wonderful organization: Visit https://miraculouslovekids.org/. Please visit, watch their videos and donate if you can.
Lanny Cordola is a musician who reached success in the 80s metal scene with bands like Giuffria and House of Lords. In 2014 he moved to Kabul and started this incredible organization to help girls in Afghanistan get education and safety, explore the universal love of music and express themselves. He’s made such a positive difference in so many lives, and it’s living proof of the power that an individual can make in the world.
The group has a number of great videos on youtube. Check them out!
Please visit https://miraculouslovekids.org/ – listen and donate. It’s an inspiring and worthwhile organization doing great things in a messed up world.
Guitar Vince 