Marco Mattei - Out Of Control (Third Star Records)

 

At first glance, this album looked like typical prog album.  Great imaginary cover, a fishing boat sailing above a farm field.  Great concept.  It instantly makes you want to check out what’s inside. 

The music itself is very multi-dimensional. Not necessary a prog album as advertised above, but a very musical record, with some progressive elements.  It depends which song you focus on. 

The only common denominator here is guitarist Marco Mattei, who is obviously present on ever tracks.  The songs include many guest and basically a different cast on each song.  While the instrumental side of the album is very stylistic, it’s the vocals that give each song a distinct personality.  Each song features a different voice, and often a different approach to vocals.  It gives the album a lot of variation and makes it much more difficult to pin down.  And if that wasn’t enough there are a few instrumental tracks.

There are some interesting guests on the album.  Paul Mastelotto and Tony Levin of King Crimson fate both made appearances separately.  Jerry Marotta also appears on few tracks.  There are several vocalists, taking on different songs.  This writer’s favorite was definitely Richard Farrell on a track called “Void.”  It is also my favorite song off the album. 

Marco Mattei’s guitar player is superb!  Not only is he a great player who likes to take chances, but a talented writer with a lot of potential.  Throughout the record, Mattei plays around with different sounds, string instruments, and effects.  Mattei delivers an album filled with a lot of feel and color.  His soloing in “Gone” is outstanding.

“Out of Control” is a record with multiple moods.  It’s a really well though out and put together set of songs.  Marco Mattei has a special way of touching the listener with his music.

Mark Kadzielawa

To The Universe (Moon Phase Publishing/Floating White Lotus)

I’ve spent many weeks listening to this album.  With each listen new angle would open up.  The process kept my interest, and I continued to listen and explore.  So, how can the few weeks of listening be translated into words?

To The Universe is a creation by vocalist Steffie Moonlady, and multi-instrumentalist, Dennis Haklar.  The two of them are responsible for every sound on this album.  The music is very calm, but it goes through one’s conscience rather effectively.

The light ambient sounds are done with great imagination, and can at easy transport the listener into a very different mental setting.  The album has a very gentle approach, and Steffie Moonlady’s vocalizations are very calming and somewhat ritualistic.  It’s a very relaxing record that can ease your senses, and at times even put you to sleep. 

To The Universe is continuously achieving here is the ability to get the listener to slow down whatever they are doing.  Perhaps that is the big idea.  Pause your fast life, relax, and be one with the universe. 

The album has a very light feel, but even with that, there are some very dark moments.  They create a very special mood and dress it with instruments and voices.  While not everyone will be excited about To The Universe, the listeners who will discover this band will certainly feel rewarded for their efforts.

Mark Kadzielawa

Judas Priest - Rosemont Theatre, Rosemont, IL 9/20/21 (words and images by Mark Kadzielawa)

 

This was the 50th anniversary of Judas Priest.  A grand celebration by a groundbreaking heavy metal band!  Judas Priest wrote the rules as they went along.  They didn’t follow any fashions, they did what they felt was right, and the fans loved them for it.  This evening was going to be special, and the band put together a great set list to highlight the last 50 years of heavy rock.  They once again delivered the goods.

Judas Priest opened with “One Shot at Glory.”  It was a very powerful opener, as were the next two songs that followed, “Lightning Strike,” and “You’ve Got Another Things Comin’.”  By the way, this had to be the first show where “You’ve Got..” was played so early.  It’s usually a song reserved for an encore.  But even this early the song didn’t loose any of its power.  The band was on, and the crowd was filled with adrenalin. 

What became instantly apparent was the strength and clarity of Rob Halford’s vocals.  It was unbelievable how great he sounded.  This writer had seen Priest every time they came through Chicago since reuniting with Halford, and he never sounded so powerful.  I suppose the imposed break due to pandemic gave Halford a proper rest he so needed.  He probably didn’t even know about it, since it was a forced vacation.  It wasn’t just a first few songs; Halford maintained this amazing delivery throughout the entire show.  Let me also clarify, there never was a bad Judas Priest show with Rob Halford.  He simply went from great to greater!  It was a show not to be missed from that aspect alone.

The revamped band played great.  They really became the true Judas Priest, and kept the spirit alive and kicking.  In other words our behinds were being kicked from song to song.  The band was a like well-oiled machine, nothing could go wrong here, and nothing did.  Not only that, there was passion in how they played.  You could clearly see they were having a time of their lives performing and making the fans happy.  The exchange of the energy was very visible here!

Drummer, Scott Travis, is truly a heart of the band.  His drumming is the driving force behind the band’s rhythms.  He adds such intensity to the older songs.  Together with bassist, Ian Hill, they create one of the most powerful rhythm sections of the genre.  Travis and Hill are extremely dependable.

Guitarist Richie Faulkner was all over the place.  Sporting his newly grown mustache and beard, and let his guitar do the talking.  He was riffing uncontrollably, and throwing a lead after lead.  What a stage presence this man has.  Faulkner’s partner in crime was Andy Sneap who is filling in for the disease stricken Glenn Tipton.  Sneap has a great understanding of Judas Priest’s music.  He does a great job providing heavy rhythms, occasionally breaking into a lead.  While Andy Sneap is now a respected producer, back in the 80s he was known as a guitar player of Sabbat with whom he made couple great records.  Faulkner and Sneap do a great job together and do the songs justice.  Many had hoped that maybe Glenn Tipton would join the band for the encores as he sometimes does, but it was not to be.  Tipton’s presence was limited to a special t-shirt promoting his Parkinson’s foundation.  Sending nothing but positive vibes to Glenn Tipton here.

The above-mentioned set list was great.  Some songs were obvious, but there were many gems you don’t get to here too often if ever.  The most surprising song of the evening was the title cut of Judas Priest’s first album “Rocka Rolla.”  I don’t ever recall this song being played live, but it was great to hear.  Few other surprises were included as well, but there is no point of giving everything away.  As already mentioned, the show needs to be seen.

Judas Priest always delivers a great and explosive show.  Not only was the music great but the overall production.  It was effective and to the point.  The production reflected the music and in many ways took it to the next level visually.  50 Heavy Metal Years was musically and visually stimulating.  Everyone went home happy, and not even Metallica’s surprise show in Chicago could rival that.  Priest forever!!!

Mark Kadzielawa

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The Dead Daisies – The Forge, Joliet, Illinois 9/11/21 (Words and images by Mark Kadzielawa)

 The Dead Daisies were always a good band, but recently they went through some personal changes and received a serious facelift.  Bassist/vocalist, Glenn Hughes, joined the band, and brought the magic with him only he can bring.  Another new face in the band is the drummer, Tommy Clufetos, known for his extensive work with Ozzy Osbourne and Black Sabbath.  Guitar players, David Lowy and Doug Aldrich, are certainly in one of a kind musical company.  Not to be disrespectful to any previous incarnations of the band, but this is as good as it gets.  The new album, Holy Ground, more than proves that point.  We are witnessing something very special here.

The band took the stage in Joliet, and opened with “Unspoken,” and quickly followed with “Rise Up.”  Despite a small technical difficulty, The Dead Daisies were on fire.  They were clearly here to rock the house, and that’s exactly what they did.  The audience was definitely witnessing a beginning of something special here.

Guitarist, Doug Aldrich, applied heavy riffing, and countless leads.  He was a considerable presence on stage.  Aldrich was very enthusiastic about the show, his leads illuminated with joy, and he put a lot of feel into his playing.  David Lowy played a solid rhythm guitar with few lead breaks.  Aldrich and Lowy definitely supplement each other very nicely.  Lowy provides a solid platform for Aldrich to shine.  In fact, he appears to be a common denominator in just about every aspect of The Dead Daisies.

Glenn Hughes is perhaps the greatest rock singer alive at this point.  His vocals, elevated every track the band played this evening, new or old.  Hughes’s delivery is very emotional and he reaches unbelievable heights.  In addition, he’s also a very solid bass player, with some funky lines.  Even at his advanced age, Hughes is still on top of his game, and he is a performer to be witnessed on stage. 

Drummer, Tommy Clufetos, is a newest addition to the band.  He takes over from Deen Castronovo who played on the album.  Clufetos is a very powerful drummer with considerable strength and style.  He definitely added a heavy edge to the songs, but at the same time he kept the band very balanced.

The Dead Daisies played a combination of new and old songs this evening.  Majority of the tracks from “Holy Ground” were presented, as were some songs from older releases.  I certainly liked how the older tracks were molted into what The Dead Daisies are today.  The band played few covers too, as you were probably expecting them to.  CCR’s “Fortunate Son” was a very appropriate song as it was the 20th anniversary of the 9/11 attacks.  It had a very working class patriotic feel to it.  Considering Glenn Hughes’s rich legacy at least one Deep Purple cover was expected, the band did two.  “Mistreated” was absolutely beautiful.  It showed great chemistry between Hughes and Aldrich, who actually share a history prior to reuniting in The Dead Daisies.  This song is great when played live and it delivers every single time, no matter who is involved.  The band closed the show with “Like No Other.”  It included some incredible vocals from Hughes who got the audience to sing along.  At one point, Hughes, hit a note that was just out of this world.  Simply astonishing!  Daisies encored with “Long Way To Go,” and Deep Purple’s “Burn.”  This was a great version of “Burn” with Hughes and Aldrich once again taking charge.  The song brought the house down and delivered the final punch upon the already stunned audience.

The Dead Daisies displayed a lot of charisma this evening.  Each player was very noticeable, and executed their part with perfection.  It was a spiritually charged event with a solid dose of rock’n’roll.

Mark Kadzielawa

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King Crimson - Ravinia Festival, Highland Park 8/29/21

King Crimson is truly a seven-headed monster.  This band took many surprising turns throughout their career.  Never compromising just moving forward.  Just when you thought there was no place for King Crimson to go, the three-drummer solution was the total ace under the sleeve of Robert Fripp.

Let’s just say the latest King Crimson concert was probably the most ambitious show ever put together by any rock band.  It’s a case where the band completely relied on the music, and the music spoke volumes.  It was a spectacle projected by the most complicated simplicity imaginable.

The three drummers took the center stage, and everyone else was elevated in the second row.  From the get go, it was understood, the drummer were the common denominator here.  It was an absolute perfection how they exchange a simple roll with each player adding a twist, and the ability to stop at a moment’s notice.  It was as if the drummers developed their own language, and they were just sending out coded messages to each other, and the rest of the band.  This review could’ve easily been about the drummers alone.  Pat Mastelotto, Jeremy Stacey, and Gavin Harrison are something to see.

King Crimson played a combination of songs from many of their phases.  They presented their songs with some interesting arrangements.  You could feel the music evolve right in front of your eyes, and there wasn’t a moment to be missed.  Going to the bathroom or getting a drink was simply not n option.  Guitarist/vocalist, Jakko Jakszyk, did an amazing job delivering the vocals, and finding a way of connecting with the great singers of the King’s past.  Not only was he a great singer, but played his guitar parts beautifully and with complete conviction.  Robert Fripp definitely found a musician with an extensive instrumental vocabulary he can play with.

Tony Levin provided a very solid bottom end, and with three drummers at his disposal he really had his hands full.  It wasn’t anything a bass player of this caliber couldn’t handle.  Levin moved swiftly between bass, standing bass, and the mesmerizer (which is what this writer to call the Chapman Stick prior to learning its proper name.)  Mel Collins was constantly present adding variety of saxophone sounds, and flute.  His gentle approach to the music was absolutely perfect, and elevated each song to new heights.  Drummer, Jeremy Spencer, often switched between drums and piano, the man was certainly busy and very effective.

Robert Fripp was the captain of this ship, and his easy-going navigation took King Crimson from heights to heights.  I don’t think I saw a band climax so many times within one evening.  Fripp’s playing as always interesting, but very much to the point.  He does not overplay nor is he trying to be a guitar hero, but what he does is incredibly effective.  Sometimes down to very few notes, but it’s those notes that channel the energy of the whole band.  Robert Fripp clearly understands his purpose.  No need to to explain that any further.

There songs King Crimson selected to play this night brought in many highlights and memories.  “Epitaph” comes to mind right away.  It’s perhaps one of the finest songs ever crafted, and it dates back to 1969.  Some things just don’t get old.  “Red” took the band in yet another motion.  “Islands” provided incredible balance, and kudos to Jakszyk for a beautiful rendition of this classic track.  “Level Five” came across incredibly powerful.  It was a track to wrestle with, but what a delivery from every member.  “Starless” always sounds so deep.  The song was electrifying with its flowing energy, yet there was something incredibly relaxing about it.  King Crimson came back for an encore with “21st Century Schizoid Man,” a classic track with an incredible drum solo from Gavin Harrison. 

King Crimson managed to take its audience into another dimension.  Away from pandemic, daily stress, and anything else that sends negative vibes.  It was a musical performance for a very certain audience.  Many young kids in the audience alongside the old guard, which only underlines how powerful the music is.  King Crimson felt like a ship from another dimension that landed in Ravinia, delivered magic, and took off into infinity.  It was powerful with touch of sensibility, and three drummers up front.

Mark Kadzielawa

Destruction - Born To Thrash (Deko Music)

Destruction couldn’t think of truer statement than the title of this new live record.  Born to Thrash is a combination of live CD and a DVD.  You get it both ways, and it’s an absolute win-win situation.  Recorded at a festival in Germany back in 2019, this set is just delivers the maximum energy.  Destruction is primarily a live band, and hell breaks loose when they hit the stage. 

It’s a festival set of 10 songs, so they go for the most effective and proven tracks.  The only exceptions are the two new tracks from the recent Born To Perish album.  Also, this marks a live debut of the current Destruction line up, and it’s very powerful.  Drummer, Randy Black, and guitarist, Damir are a great fit for the band, and instantly add energy to already a live powerhouse.

Destruction revolves around the two key members, bass player/vocalist, Schmier, and guitarist, Mike.  Both initial founders of the band, and the men responsible for the artistic output of Destruction.  Mike is perhaps the most precise guitar player of the thrash metal genre.  His riffing is unlike anyone else’s, and he simply shines on this release.  Schmier is a very intense frontman who not only delivers his parts perfectly and with conviction, and gets the crowd going wild!  His stage presence is a statement in itself, for further details simply view the DVD

Destruction is very energetic on stage, you can hear it and see it.  Either way you chose it, the effect is the same; they kill!  Very few classic thrash bands can maintain that type of intensity and enthusiasm.  And this isn’t just for the sake of live record.  It happens every time I see this band.  Watching them go at it on stage makes me sweat.  The band is not holding back one bit.

The group still continues to release great studio records, and tours the world regularly.  There is a very youthful feel about Destruction, despite some criticisms.  I’ve known Schmier, since 1989, and I can assure you that we’re both crazy motherfuckers who never want to get old.  This attitude reflects in the band’s music and live performances. 

Born To Thrash is an awesome set of classic thrash metal that will melt your face.  It is beautifully packaged with a painted cover, and band’s logo filled with flames.  The DVD includes some behind the scenes interviews, and the overall look at how Destruction operates.  What you see is what you get.  Destruction forever!!!!

Mark Kadzielawa

AC/DC - POWR/UP (Columbia)

Getting new AC/DC music is like visiting an old friend, you know things will be great, and they are!  The new album delivers everything this band is known and what one would expect.  After suffering the loss of Malcolm Young, the band appeared to be in limbo.  Add Brian Johnson’s hearing problems, which made him quit the road during last tour, Phil Rudd’s legal problems, and Cliff Williams’ retirement.  Well, everyone is back and ready to rock.  Malcolm’s place is now occupied by Steve Young.  Steve often filled in the past, and a has a good understanding of AC/DC’s music.  The band is back and the music flows.

POWR/UP feels very fresh, and we see the band rocking rather hard.  This record has no fillers; it’s just one rocking tune after another.  Outstanding guitar performance by both Youngs, and Angus’s soloing as extraordinary as always.  It has a great sense of melody, but above all a solid punch for the 41 minutes of the record’s duration. 

I keep hearing opinions comparing it to Back In Black, but that’s not the case here.  Back In Black was a carefully sculpted monster that took AC/DC out of theaters into the arenas.  POWR/UP is an album that assures band’s position as an arena act.  Plenty of great tunes here that could easily be included in band’s set list, but with such impressive catalog, what do you drop? 

POWR/UP is another gem in band’s discography.  It is a well-produced record, and the performances are superb.  What a great way to recover when things did not look bright.  AC/DC overcomes all of the odds, and proves once again they are a brand that does not bend easily.  While the age of these players may be the factor, don’t expect them to give up easily.  There are plenty of great riffs left up their sleeves.

Mark Kadzielawa