Friday, July 10, 2026

Bob Dylan – Huntington Bank Pavilion, Chicago, Illinois 7/8/26


At 85 years old, Bob Dylan remains remarkably active on the live circuit, and he continues to record new material. His albums are still highly regarded, and as a lyricist he has lost none of his wit or his keen, truthful observations of life. In fact, there is still no one who can express those truths quite as effectively as Dylan. That helps explain why large crowds continue to turn out whenever he performs.

When Dylan took the stage at Huntington Bank Pavilion, one thing became obvious almost immediately. Bob Dylan doesn't care about presentation, image, or the audience's perception of him. He simply wants the music to speak for itself. And that's exactly what the audience received. No greatest-hits parade, no flashy stage antics—just the music and Bob Dylan's uncompromising artistic vision.

Dylan performed the entire show seated behind an organ, wearing a hoodie pulled over his head. He appeared completely comfortable in that attire and never removed it throughout the evening. Considering how lyrically demanding his songs are, one might expect a teleprompter. Instead, Dylan occasionally turned pages in a notebook before each song began. He clearly had some assistance, but he never appeared dependent on it.

The songs themselves, many of them rearranged, often took on entirely different forms. Dylan has never been interested in faithfully recreating his recorded material, and it's fascinating to hear how these songs continue to evolve over the years. His voice is no longer what it once was, but he has learned to use what remains in a commanding and expressive way. In many respects, those lyrics gain new meaning when delivered through a voice that is deeper, rougher, and seasoned by experience.

The stage setup was refreshingly simple. A handful of lights surrounded the band, giving the performance the feeling of a gathering in someone's basement rather than a large outdoor venue. There was an undeniable charm to its understated presentation, creating an atmosphere that felt surprisingly intimate. Once again, the music remained the focal point. Dylan's band was outstanding—tight, expressive, and always willing to stretch out with tasteful solos that wove memorable melodies around Dylan's words. The venue also enforced a strict ban on photography and recording, allowing everyone to experience the performance without distractions.

The setlist is always an enigma when it comes to Bob Dylan. He has consistently proven to be both unpredictable and completely unconcerned with audience expectations. Once you accept that simple truth, every Dylan concert becomes an adventure. If you're fortunate, he just might perform your favorite song.

That was certainly the case here, as this writer's longtime favorite, "Man in the Long Black Coat," made an appearance. Presented in a way that barely resembled the original recording, the song nevertheless retained all of its haunting beauty while creating an even deeper emotional impact. "Black Rider" was another unexpected highlight. Although one of Dylan's newer compositions, it already carries the weight of an instant classic. "Crossing the Rubicon" was equally impressive, further demonstrating the enduring strength of Rough and Rowdy Ways. "When I Paint My Masterpiece" and "It Ain't Me, Babe" provided welcome reminders of Dylan's classic catalog, but the evening largely focused on his more recent work. While some in the audience undoubtedly hoped for familiar favorites, Dylan remained steadfastly committed to his own artistic path.

Even at 85 years old, Bob Dylan remains a force to be reckoned with. He is an artist of unwavering integrity who has never compromised his vision, and this performance reinforced that fact once again. There is nothing artificial about Bob Dylan. In some ways, it almost felt as though he wasn't physically present, yet his presence was felt in every song. Perhaps that's exactly the way he wanted it.

Mark Kadzielawa

Tuesday, July 7, 2026

Yes – From a Page (Mercury)


 

From a Page is a long-lost Yes album documenting one of the band's most transitional periods, spanning roughly 2008 to 2011. While some of this material had previously surfaced and largely went unnoticed, this is the definitive release—expanded, thoughtfully remastered, and finally presented in a way that allows these recordings to be fully appreciated.

Keyboardist Oliver Wakeman oversaw the project and worked tirelessly to complete it, tying together every possible musical loose end. His struggles and the many challenges involved are extensively documented in the accompanying booklet, and in some cases, you have to read the story to believe it. Wakeman deserves enormous credit for bringing this project to life and allowing it to finally breathe.

From a Page features the lineup that—minus Wakeman—would later record Fly From Here with Trevor Horn producing. It offers a fascinating glimpse into where the band was heading musically and captures the creative spirit of Yes during that era. In fact, there's something about From a Page that feels more organic and cohesive than Fly From Here.

The most welcome addition is "Aliens," a song written by Chris Squire that eventually appeared on the Squackett album with Steve Hackett. It's a mysterious and ambitious composition that Squire often performed during his solo spot on the 2008 tour. Even then, it always sounded more like a Yes song than anything else.  And those Jules Verne inspired lyrics really dig deep too.

"Words on a Page" is an instant Yes classic, highlighted by an exceptional lead guitar performance from Steve Howe. "In the Moment" and "The Gift of Love" are equally strong, each possessing that unmistakable quality that has always defined the band's finest work. BenoƮt David delivers an excellent vocal performance throughout the album and deserves considerable credit for stepping into one of rock's most demanding roles while helping to keep the music of Yes alive during a challenging period.

The two CDs included in this set capture the essence of recording sessions that, until now, never fully came to fruition. Beautifully packaged in a box complete with a poster and a set of collectible cards, From a Page feels like much more than another archival release. It stands as a rewarding musical document and a genuine labor of love, giving these overlooked recordings the presentation they always deserved.

Mark Kadzielawa

Monday, July 6, 2026

Deep Purple – Splat! (Ear Music)


 

The promo sticker proclaims this record to be a masterpiece. While the album is excellent, "masterpiece" feels like an overstatement. If anything, the band plays it somewhat safe, but there are more than enough fireworks to keep listeners coming back for months. If =1 reinvented Deep Purple and successfully introduced Simon McBride as the band's new guitarist, Splat! feels more like another day at the office—but it's an office where things frequently catch on fire.

Splat! is a very solid record from a band that knows exactly how to rock. The performances are outstanding, the melodies are memorable, and the group has apparently mastered the art of coming up with delightfully tacky album titles. "Arrogant Boy" opens with a punch, immediately putting Deep Purple in full take-care-of-business mode. "Diablo" is where things really take off and is probably the album's standout track. The dialogue between Don Airey and Simon McBride is exhilarating, recalling the musical chemistry that made Deep Purple so dangerous in the early 1970s. "Guilt Trippin'" is another killer track, packed with classic Purple elements turned up to the max. It rocks hard. "Scriblin' Gib'rish" is simply a fun song, pairing a dark melodic foundation with clever lyrical wordplay. From beginning to end, Splat! delivers a thoroughly enjoyable 51-minute adventure.

What stands out most is just how much fun Deep Purple is having. The musical execution is superb, and Ian Gillan clearly relishes both his lyrics and the way he delivers them. His trademark sarcasm, wit, over-the-top sense of humor, and uniquely British eccentricity are woven throughout the album. Considering the advanced age of the band's core members, it's remarkable that they continue to produce records of this quality. Long may they continue.

Splat! doesn't reinvent Deep Purple or attempt to break new ground, but it further cements the legacy of one of rock's greatest bands. It's an engaging listen, full of unexpected twists and turns. Over the years, the band has also developed a gentler, more reflective side, and that dimension is very much present here. It provides a welcome balance to the heavier material and gives the album additional depth. Throughout Splat!, the joy of creating and playing music is unmistakable. As a listener, you can't help but share in that joy—and you'll want to return to it again and again.

Mark Kadzielawa

Tuesday, June 30, 2026

Suzi Quatro – Freedom (Chrysalis)

 


Suzi Quatro is a dynamo. She brings endless energy and rocks as hard as ever. One look at the front cover tells you you're in for a fast, exhilarating ride. Even at this stage of her career, Suzi shows no signs of slowing down. She's a rocker to the very end.

Freedom is an engaging listen from start to finish. Suzi changes the pace throughout the album, delivering a balanced collection of songs that are consistently catchy and stamped with her signature Quatro edge. The energy never fades, making it impossible not to sing, dance, and move along with the music.

Several tracks have genuine hit potential, though they will likely slip under the mainstream radar. Suzi Quatro has already enjoyed her time in the spotlight, and popular tastes have naturally shifted over the years. That doesn't diminish the strength of the material. Instead, Freedom reminds longtime fans that she's still making vibrant, powerful rock music and can out-rock artists half her age.

The album also offers some thoughtful retrospective moments, particularly on "Choose Yourself," where Suzi reflects on life's challenges and the wisdom she's gained along the way. As much as Freedom is a hard-rocking album, it's also a mature and introspective record. Having experienced both the highs and lows of life in and out of the spotlight, Suzi is more than qualified to share her perspective. The lyrical content gives the album added emotional depth and substance.

The record closes with a spirited cover of "Kick Out the Jams" by MC5, featuring special guest Alice Cooper. It's a fitting finale that brings everything back to Detroit, where Quatro, Cooper, and MC5 all began their musical journeys. If this turns out to be Suzi Quatro's final studio album, she'll be going out on a high note. But knowing Suzi, there's probably still another ace waiting up her sleeve.

Mark Kadzielawa

Monday, June 29, 2026

Yes - Aurora (InsideOut)


 

Aurora is the fourth Yes album with Jon Davison on vocals. At this point, Davison has clearly found his place within the band. He wrote or co-wrote the majority of the album's material, and his songwriting partnership with Steve Howe is particularly impressive. Many may question Yes's relevance in 2026, but Aurora possesses a genuine sense of harmony that makes those debates seem almost irrelevant.

Steve Howe is the only original member remaining, but the collective strength of this lineup of outstanding musicians makes the album work. The music flows naturally and is generally gentler than the Yes of earlier decades. What's missing is the unmistakable presence of Chris Squire—his aggressive playing style, distinctive phrasing, and endlessly creative approach to every song. Billy Sherwood does an excellent job on bass, but there was something uniquely natural in Squire's musical DNA that made him an essential part of the band's identity. Geoff Downes also performs admirably on keyboards, although he can never quite recreate the extraordinary musical dialogue that Howe shared with Rick Wakeman.

Aurora contains plenty of great moments and is an enjoyable album from beginning to end. The more you listen, the more you're drawn to the melodies hidden within each track. The songs are intricate and firmly rooted in the classic Yes tradition, enriched by layered vocal harmonies and orchestral arrangements performed by the Czech National Symphony Orchestra. The result is an ambitious, impressive production that's difficult not to admire.

While the title track stands out with its memorable chorus, it's "Countermovement" that ultimately steals the spotlight. It's a magnificent epic featuring multiple movements, adventurous arrangements, and a compelling sense of momentum. The album is remarkably balanced, and the individual performances are superb throughout. Aurora possesses that special quality longtime Yes fans recognize and appreciate, proving that the band's creative spirit remains very much intact.

Mark Kadzielawa

Saturday, June 27, 2026

Destructor – Tales of Glory (Shadow Kingdom)


 

There is something very cool and unique about the Ohio metal scene. It has produced plenty of great bands, but right in the middle of it all is Destructor—a common denominator of that scene. A veteran band that continues to release great records and deliver intense performances.

Tales of Glory adds another impressive chapter to an already formidable body of work. It’s a powerful record delivered in pure Destructor style: an instrumental intro followed by nine tracks of undiluted metal. This is a very uncompromising album, best experienced as a whole, but every track stands strong on its own. Whether you play it front to back or jump around the tracklist, it’s an awesome listen.

The songs featured on Tales of Glory showcase excellent riffs, tempo changes, and memorable harmonies. The album flows with relentless intensity, making the listener feel good from beginning to end. The band is firing on all cylinders, and the energy is simply unstoppable. As soon as the album ends, you’ll want to hear it all over again.

While the energy is undeniable, there are plenty of well-crafted passages that display a high level of musicality. Two standout examples are "Death Screams" and "Rise to the Call." Throughout the album, there is also clear evidence of the early European metal influences that continue to shape and strengthen Destructor's sound.

Tales of Glory is another excellent release from a band that has endured a great deal and is still here delivering the goods. Many things could be said about Destructor, but the one word that sums it all up is sincerity. These songs clearly come from the heart. The band isn't doing this to get rich or become famous—they continue because they genuinely love the music, and you can feel that passion from the opening notes of "Tales of Glory" to the closing moments of "Victorious Warrior."

Mark Kadzielawa

Wednesday, April 29, 2026

David Klosinski – Glow (self-release)


Glow is the second album from David Klosinski, and it already shows tremendous growth. Instrumentally, he is just as strong as he was on his debut solo effort, Electric City, but here he demonstrates a remarkable level of musical maturity. He stretches himself in a variety of directions, and it all comes together seamlessly.

What separates this album from many other instrumental efforts is its feel. Klosinski creates a distinct mood for each track, which becomes the defining aspect of the listening experience. The beauty of “Gwiazda” balances the warmth and brightness of “North Sea Vacation.” Though entirely instrumental, the tracks feel vivid and cinematic, sparking the listener’s imagination.

As a multicultural artist, Klosinski blends influences from both East and West. The title track, “Glow,” is the most obvious example, but these elements are woven throughout the album. This fusion highlights his balance as a musician and his authenticity as an artist.

“Free in Memories” carries a nostalgic, melancholic tone, once again driven by its emotional feel. Meanwhile, “Firebird” introduces touches of boogie and even hints of southern rock. 

Despite the variety, the album remains cohesive, unfolding with a clear beginning, middle, and a gentle conclusion. In many ways, Glow feels like a personal narrative shared with the listener.

Overall, Glow captures David Klosinski as an emerging talent worth watching. It’s an excellent record from a musician who translates his experiences into evocative soundscapes—an example of natural artistry. Currently available only in digital format, it’s well worth exploring, with hopes for a future physical release.

Mark Kadzielawa


Bandcamp Link:

David Klosinski - Glow