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So this is honestly one of the funniest stories in rock in the past few years. The other day in Las Vegas, David Lee Roth was attending an electric dance festival, specifically EDC. He loves EDM music and all his other dance oriented genres. And he’s been popping up at these EDM festivals that are playing remixes of ‘Jump’ and other hits. He gets up on stage during the songs and does his thing. Of course, probably about 15% of the audience knows who he actually is. And there’s now a little slice of evidence that might prove prove that notion.

During his stop at EDC in Vegas, Roth, who obviously has a crew around him because he’s DLR, approaches a neighboring hotel door with a brimming smile on his face. You know, that David Lee Roth ear to ear smile. ‘Is this the place with the Van Halen?’ he asks. And the crew approaches the door.

One of his crew members rings the door bell and it’s a bachelor party of some mid twenty somethings. The door opens and he just standing there in his glory, ‘HEY GUYS!! We heard there was some Van Halen playing across the hallway.’ And the guys are so confused and dumfounded. They have no idea who this guy is. They have an apologetic demeanor about them. The rest of the bachelor crew comes to the door an apologizes for the noise they’re making. ‘NO MAN! It’s no problem I’m David Lee Roth!’ It goes right over everyones head and they apologize quickly. The real capper is that DLR and crew leave realizing that the party doesn’t recognize greatness. And when they get to the elevator, a shirtless dude, supposedly the dude throwing the party, chases them down and apologizes again. Pure gold.

Now, in their defense if they do know who DLR is they probably would have recognized him had he looked like used to. Which is of course impossible. But DLR has radically changed his image in the past 15 years or so and then some. Honestly even longer than that. He’s at the door in some sort of plaid zuit suit and a tam o’shanter. He looks just like some Vegas high roller who gambles professionally and is looking to get some sleep soon. Also, the probability, whether you’re in Vegas or not, of DLR showing up at your door seems pretty improbable. So maybe they just didn’t believe it. Or maybe they just thought he was some loud, crazy, aging guy. Roth also handles it really well when it’s all said and done. He just does his smile and wave and walks off while the party is apologizing. It’s just so damn funny.

When a band loses it’s definitive force, whether it’s a front man or not, to the reaper, there’s few things that it can do. However, one of the golden gems that comes from a posthumous band existence can be excellent, previously unreleased live material. And the upcoming Soundgarden ‘Live From the Artists Den’ is destined to become one of the great live documents, posthumous front man or not. Soundgarden were always excellent live, and when they reunited and released the monstrous ‘King Animal’ in 2012, it was a major statement that they were back. On the tour they recorded the three sold out nights at the Wiltern Theater in Los Angeles. Located at Wilshire and Western. The set list is unreal in it’s length. And the bands passion is captured throughout the entire show.

I’m always going to welcome new live Soundgarden material. The ‘Live on I-5’ release from 2011 was an amazing treat. The shows from the ‘Down on the Upside’ tour proved to ask the question, ‘why did this band ever break up?’ And the ‘Live At the Paramount’ from the ‘Badmotorfinger’ tour is a gargantuan show. It’s one of the great live documents of all time. So naturally we should all be stoked about the new ‘Live from the Artists Den.’

The set list is inanely long. Almost a thirty song show, 28 to be precise. And the tracks aren’t two minute punk songs. For the most part, they’re four plus minute rockers. It is an insane concert, so huge that’s its garnered theatrical releases in New York, Los Angeles and Seattle. The show promises to be a complete, immersive experience. But what I’m personally excited about is the nearly two and half hour, double disc live CD that’s going to accompany the theatrical releases. Plus there’s the blu-ray and DVD videos of the show. And some crazy ass mega-box set versions of the release. Complete with insane vinyl options.

But what I’m really looking forward to is hearing live, heavier versions of tracks from the ‘King Animal’ album. ‘Been Away Too Long,’ ‘Blood on the Valley Floor,’ ‘Worse Dreams,’ ‘By Crooked Steps’ and ‘Non-State Actor’ are all included in the set list. And then some. Plus the classics that are being advertised, no matter how short the advertisement is, sound sick as hell. The short trailer that displays ‘Jesus Christ Pose’ portrays the shows as some of the greatest in heavy music. The crowd sounds rabid and the band sounds tight and aggressive. It looks like Soundgarden’s ‘Live from the Artists Den’ is destined to be a juggernaut live document. And I can’t wait to review the full show.

Hard Rock and Heavy Metal can be very therapeutic when you’re feeling lonely or down and out. It’s one of the genre’s most primary functions. Well, it’s really the primary function of all art at the end of the day. Because when you cant rely on people you can always rely on your art. And the music or whatever your artistic avenue is can always be your relying, guiding light. Here are the top five hard rock/heavy metal albums that are perfect for when you’re feeling lonely.

Alice In Chains – 1995 Self Titled

Obviously Alice In Chains is going to be on this list. The question is which album is the best choice for this list? After careful deliberation, I’ve decided that the 1995 self-titled album is the perfect representation out of all the albums. It’s still the darkest album they’ve ever done, even if it’s not their all around heaviest. The lyrics can be devastatingly sad. Not that there aren’t other albums with the same. Featuring a late Layne Staley, digging deep into his most depressing moods. This would be his last studio album with the band. Tracks like ‘Nothin’ Song’, ‘God Am,’ ‘Again,’ Head Creeps,’ and ‘Brush Away’ provide a heavy, dark groove that’s fun to jam to while also providing bleak, lonesome lyrics. ‘Sludge Factory’ brings in a lonesome, drug induced vibe that defines the sound of the band. Not to mention the Jerry Cantrell lead tracks ‘Over Now’ and ‘Heaven Beside You.’ The former being a perfect break up song. ‘Shame In You’ is the ultimate self-loathing ballad. All elements combined, the self-titled Alice In Chains album is a near perfect, heavy and melodic record for when you’re feeling down and out.

King’s X – Dogman

The brooding nature, yet reflective aspects of King’s X’s ‘Dogman’ absolutely put the album on this list. Jamming when you’re feeling lonely is mega important and this album jams hard. Twelve ton heavy, groovy and cynical tracks such ‘Don’t Care,’ ‘Pretend, ‘Pillow,’ accompany straight up funk rockers like ‘Black the Sky’ and ‘Shoes.’ All of which dig under the skin, getting the listener up and rocking. But there’s also brilliant, deep, strong and reflective ballads like ‘Flies and Blue Skies’ and ‘Sunshine Rain.’ And of course the signature ‘Cigarettes’ is an eponymous, King’s X song. A melancholy track asking for comfort. Overall the album is a complete journey of jamming. It’s got the fun, funky and heavy tracks. But they’re also accompanied by cynical and lonely lyrics. And the ballads complete the album for a perfect combination of fun and dark reflection.

Soundgarden – Superunknown

Ok, obviously there’s a 90’s hard rock theme going on here. After all it is the peak of bleak, dark rock music. This is the second album on the list to be released in 1994. But there’s a reason for all the bleakness that permeated rock at the time. Mostly a reaction from the Reagan administration and the weather in Seattle. Which is home to the ‘grunge’ revolution. It created a dark and cynical point of view in the bands. Which always seems to accommodate loneliness well. And Soundgarden’s 1994 super smash ‘Superunknown’ is no exception. The many angles of the song writing make it an essential moody, heavy and kick ass album. With plenty of ‘dark cloud’ moments that define the sounds of Seattle. But Soundgarden took a very raw and brutally bad ass approach the sub-genre. The albums opener ‘Let Me Drown’ sets the standard for the record in stride. There also the other heavy, killer tracks: ‘4th of July,’ ‘Mailman,’ the title track and the funk heavy ‘Fresh Tendrills.’ All of which define the dark, cloud heavy atmosphere of grunge. The other side of the coin has some of the most iconic ballads of the entire decade: ‘Fell on Black Days,’ ‘Head Down,’ and ‘Black Hole Sun’ hit the lonely feels right in the jugular. It’s a tremendous album to simply lose yourself in all of it’s many facets.

Dream Theater – Falling Into Infinity

Keeping on the 90’s hard rock track, ‘Falling Into Infinity’ is a consummate lonely album. Actually, a lot of Dream Theater’s material is ideal for lonesome listening. Whether it’s lyrical themes, the mood of the music or adventurous prog jams; Dream Theater’s catalog is essential for those that feel lonely. So naturally it was difficult to choose an album from their vast discography. Many of their albums could be on this list for various reasons: ‘Awake,’ ‘Octavarium,’ ‘Train of Thought, ‘Black Clouds and Silver Linings,’ and the new ‘Distance Over Time.’ But ‘Falling Into Infinity’ has a Northwest cloudy and depressing mood that’s hard to find on the other albums. The music and lyrics compliment each other perfectly throughout the record. ‘New Millennium’ is a terrific loner classic. And it’s also one of the best ways to open an album. Terrific opener. And the other heavy tracks on the album are second to none. ‘You Not Me,’ ‘Just Let Me Breathe’ and ‘Burning My Soul’ are satisfying heavy tracks that dig on the back beat. ‘Lines in the Sand’ is one of the best riffs and grooves ever. Complete with crazy ass Derick Sherinian keyboard shredding and texture. He really kicked ass on the ‘Falling Into Infinity’ tour and album. The Pink Floyd cover ‘Peruvian Skies’ fits the profile with it’s depressing atmosphere. Which then moves into a killer impromptu metal jam. The ballads: ‘Hollow Years,’ ‘Take Away My Pain,’ and ‘Anna Lee’ create a strong, yearning feeling for companionship. And the emotional instrumental ‘Hells Kitchen’ caps the feeling of loneliness in it’s feeling. One of the great sit alone albums.

Mastodon – Crack the Skye

Mastodon’s ‘Crack the Skye’ is a perfect album for hanging out alone. It’s a progressive, concept metal album that also has it’s own individual songs. Like the other albums on this list, it’s a complete album to listen to while feeling lonely. ‘Oblivion’ is an epic album opener. The instrumentals mixed with the lyrics and harmonies set the standard for what the album has to offer. ‘Divinations’ and the title track set a major headbanging standard. And ‘The Czar’ is quintessential heavy listening whilst hanging out alone. Lyrics like ‘It’s your own fault’ make the listener reflect on ones own consequences. While still keeping a fun, heavy side to the song. The middle movement of ‘The Czar’ is a classic, hard rock piece that gives hope to the future of heavy music. Even if it is eleven years old now. ‘Quintessence’ is a progressive highlight of the album. It’s not a particularly long song, but the arrangement keeps hard rock and metal moving forward. ‘The Last Baron’ is one of the tastiest progressive metal pieces overall. An epic thirteen minute that builds and builds. And finally ends in an explosion. Overall ‘Crack the Skye’ is a lonesome album that hits all the heavy feels. Crank it and jam hard.

So there it is, my top five metal albums for when you’re feeling lonely. What are your top albums for when you’re feeling alone?

It’s the second of three consecutive albums. All meticulously planned and released. And while at times it gets overshadowed by it’s two brothers: ‘Number of the Beast’ and ‘Powerslave,’ it still packs in a punch and ranks as one of Iron Maiden’s most iconic albums.

Maiden were on a roll when 1983 came around. They had just released their biggest album ‘Number of the Beast’ and had finally found a dedicated front man who vocally could take the band to the next level. So what was the natural move? Create two more albums of the same quality and release them in back to back years. The follow up to ‘Number’ would be the band biggest yet: ‘Peace of Mind.’ Taking the bands popularity to yet another level of stadium and arena stardom. And while it’s the weakest of the three consecutive albums. And maybe even one of their weaker Bruce Dickenson albums. It still packs a major punch a times. And it’s provided some of Maiden’s most iconic songs outside of ‘Run to the Hills.’

The first half of the album is killer, no pun intended. They’re five of Maiden’s best. ‘Where Eagles Dare’ rivals ‘Aces High’, ‘Caught Somewhere In Time’ and ‘Moonchild’ as the best album opener. The layered and duel riffing after the chorus burrows its way into your skull. Only to open into yet another Maiden duel guitar solo jam. Next, ‘Revelation’s brings in kind of a blues ballad feeling. A sound that was very common at the time of course. The groove oriented piece is a welcome addition to the album. And it served as a concert staple for many years. It’s not all groove though, the typical Maiden gallop and riff is thrown in for good measure. ‘Flight of Icarus’ is a classic metal chugger. The lyrics are also a prime example of the fantastical elements of the heavy metal genre. Honestly I gotta say, the lyrics on the song are pretty Spinal Tap. ‘Die With Your Boots On’ is a fun, straight forward rocker. There’s a bit of a punk vibe on the background vocals when the band echos ‘IF YOUR GONNA DIE!’ Other than that it’s just a three to four chord piece. Somewhat like AC/DC. The albums centerpiece, and also their next biggest hit next to ‘Run to the Hills,’ is the iconic ‘The Trooper.’ I’ll be frank, it’s been played so many times, and I’ve listened to so many versions of the song, that I’m kind of sick of it. Don’t get me wrong, it’s an amazing song. The duel guitar riff is one of the most instantly recognizable. And as we all know it’s been played at pretty much every show since it’s inception. There’s a reason for that. It’s because the song pretty much captures what Iron Maiden is all about.

The second half of the album isn’t nearly as strong as the first. And that’s where it kind of drops down a few notches in the Iron Maiden catalog ranking. I wouldn’t say the songs are bad by any means. But they’re certainly not in the same ball park as the many greats. ‘Still Life’ is basically a ballad done Maiden style. The tracks non percussive verses mixed with mediocre bass and guitar melodies keep the track from really popping. ‘Quest for Fire’ is a fine song. It’s got many of the strong elements that make a great Maiden song. But by the time the album gets to the track it seems redundant. The songs lyrics, which track early man, are in the same Spinal Tap realm as ‘Flight of Icarus.’ But with less effective music. Again, not bad, but just kind of filler. The album does pick up a bit though on the final two tracks. ‘Sun and Steel’ has an excellent, heavy gallop chug during the verses. And the song gets to the point and is direct. A very thrash sounding track. Very pure heavy metal music. The album closes with the epic ‘To Tame a Land.’ The grove mixed with the bass line give the song a fresh feel. Dave Murray and Adrian Smith’s guitar work holds the rhythm while Steve Harris’ bass takes the melody during the verses. Although Murray has a catchy melody between the verse phrases. In the heavy metal world it might be considered a masterpiece. Like most of Maidens work.

Overall the album is hugely impactful. Like it’s predecessor and it’s follower, it helped to establish Iron Maiden as a forever arena band. With the exception of the Blaze Bailey fronted years. And it’s easy to see why. It’s first five tracks are among some of the best Iron Maiden material in all of their four decade career. The album cover is one of the most iconic. With it’s image of Eddie in an insane asylum isolation room. Complete with straightjacket and menacing scream aimed at the viewer. An all around heavy metal classic, this is a must have for any fan of heavy music. So crank it this weekend and celebrate the Iron Maiden.

When most people think about being in a band or group out in L.A. they think of the reward: recognition, respect, partying and special treatment. While that is a part of playing in a band out here, it’s far from the the complete reality. A bit of it is conflict, a portion confusion coupled with frustration and mostly it’s work. All kinds of work; Practice, moving gear around, getting to the whatever venue on time, booking shows, developing a fan base, writing songs, getting along with band mates. The list goes on and on.

And that’s sort of the cold, hard truth to it all. But the public sees is the end result. Which can make playing in a band seem like this pure, fun dream. Which is far from reality. And something I’ve come come to accept in playing out here in L.A. is that nothing is achieved through simplicity. Everything is work whether you want to do it or not. No matter how deep the passion is. There are multiple challenges such as kicking a member that’s not working out of the band. And that’s never a fun conversation. Not to mention the process of finding another player who hopefully does work out.

However, if playing in a band is something you’re deeply passionate about I would say give it a go. But it has to be something you really want to do because you love the music. Not because you want to be rich and famous. Don’t get me wrong, I’m sure it’s a nice consequence. Money is great But that’s where it ends. It’s not the reason to pursue your art. Because it’s a huge risk. You risk instability of all sorts: Money, family, friends, health and other odd jobs for survival are all at risk during the rock journey. It’s also extremely challenging to find the right people to play with. People who share the same goals who can check their ego’s at the door. Honestly, it can take years to find the right people. And sometimes exceptions need to be made. If I had my druthers I’d be playing drums in a band that sounded close to Motley Crue or that realm of hard rock. But I found a solid punk player who shares the same goals and is willing to work on finding a nice balanced sound so we both get what we want. At the end of the day that’s more important. And it creates a stronger, more original sound. As opposed to having members in a band that all listen to the same few artists. We have a good working relationship and have started to expand and increase our show density.

And that’s when the rewards start to come in. There’s no feeling like nailing a show that people liked and then they start to follow you. It’s better than almost any feeling. That’s the real reason anyone gives it a shot. It’s for that feeling of collaboration and payoff. Knowing that you’re climbing the mountain, yet not alone. It’s not even about money. In fact you usually lose about 20 bucks for a pay to play show. That’s if all the tickets you sold for the venue show up. But it’s worth it when it all works out. It’s worth it when there’s people at the venue hearing the band for the first time and then becoming fans. Honestly, that’s the main reward. Spreading your music and people enjoying it. And that’s what makes all the work seem not like work at all.

We should all be thanking the Gods of hard rock and heavy metal that David Coverdale decided to do another Whitesnake album. He always delivers the goods and the brand new ‘Flesh & Blood’ album is no exception. You know you’re getting, excellent riffs, catchy vocals melodies, killer drumming and all around world class musicianship. The only real weak spot in the Whitesnake formula is the lyrics. They’re not terrible or anything, but not super stimulating as say King’s X. But that’s not really the point with Whitesnake. You listen to them for incredible guitar playing, drumming and vocals. And this albums come through and through. My only criticism is that the album title is blatantly not original. As many know, it’s also the title of a very very successful Poison album. But it doesn’t take away from how strong the songs are written and arranged.

The album opener ‘Good To See You Again’ is one of the best openings on a Whitesnake record. It sets the mood of the album perfectly. And the riff is just classic, old school metal. This album overall is definitely on the heavier side of the Whitesnake spectrum. Which is alway welcome. ‘Gonna Be Alright’ is an excellent example of how Coverdale and crew can craft some world class rock. Yes, the lyrics aren’t particularly amazing. But the guitar melody is original and catchy. Coverdale’s voice is slightly worn at the age of 68. But I gotta say it’s really in tact and sounding pretty much in top form. And you can hear it on ‘Gonna Be Alright.’ The next track is the first single from the album entitled ‘Shut Up & Kiss Me.’ It’s just so much fun. A sick descending guitar riff during the verses. Coupled with Tommy Aldridge’s mega high energy drumming. By the way his drums sound amazing on the album. Very well produced. And the way the mood of the song mixes with the salacious lyrics is top notch. ‘Hey You (You Make Me Rock)’ is in the same vein but the tempo is slowed down and brought to the back. And the riff during the chorus is phat and heavy. The song is a good example of the heaviness that Whitesnake are going for on the album. There’s not many ballads on it. Something the band is known for.

‘Always & Forever’ is a upbeat rocker. It has a nice southern rock swing to it. It’s tough to say if the song is a ballad or not. Lets call it a very hard rocking ballad. Because the chorus melody is for sure on the ballad side of things. But it’s still a really upbeat, rocking song. ‘When I think of You (Color Me Blue)’ is more in the traditional ballad ballpark. All the way to track number six before we get a traditional ballad. That’s like, a record for Whitesnake. And there’s no complaints from this author. ‘Trouble Is Your Middle Name’ is one of the most kick ass songs on the album. It’s got that classic Whitesnake blues feel. But with a kick ass metal update. Joel Hoekstra’s solo is just mind blowing. As he is a mind blowing player. And I’m so glad that Coverdale decided to do an original track album with him. I really thought the Coverdale era Deep Purple album they did would be the last one. The title track grooves so tasty. It’s a mega sexy track. It contains that edge that made the genre so popular when it peaked in the 80’s and early 90’s. Despite it’s unoriginal title. Actually, I would say that this ‘Flesh & Blood’ might be better than Poison’s. I know those are big words.

‘Well I Never’, like much of the album, is a heavier version of that kind of hard rock that Whitesnake is associated with. I do love the little juicy ascending riffs at the end of the each phrase in the verses. ‘Heart of Stone’ has got a really ‘cool’ feel to it. It’s that dark blues feel that’s similar to ‘Cryin’ in the Rain.’ ‘Get Up’ is a simple, up tempo hard rocker as you can probably guess from the song title. ‘After All’ is actually a gorgeous ballad. Just Coverdale’s passionate voice and acoustic guitars. The album closes with a huge highlight, ‘Sands of Time.’ When the riff presents itself in the intro you just know it’s going to be great. And then the verse comes in with an awesome middle eastern vibe. I just love it when hard rock and metal bands do that. Then it morphs into an ear worm western melody on the chorus. You just gotta sing with it.

Overall, really just a solid solid album. God the guitar playing is so good. Reb Beach and Joel Hoekstra are almost meant for each other. The playing is just so rich. And every note is perfect for each moment of each solo. Of course, the highlight of most Whitesnake albums is the always exceptional guitar playing. Way beyond the call of duty for the genre. I would say if you’re a fan of Whitesnake you’re gonna love this record. If you’re not a fan because you don’t think they’re heavy enough, I would say give this album a shot. It’s not the ‘Is This Love?’ or ‘Here I Go Again’ type of material. It punches much more. But it’s not a perfect album. There are moments that feel a little rushed. Which occasionally gives the album an average feel. But it’s certainly, musically, way above average. I think it’s a solid Whitesnake album and hope you all out there enjoy it as much as I do.

It’s no secret that heavy music has a larger market in Europe. There’s countless heavy metal festivals all over the continent. Sure, there’s some in The States. But it’s not nearly as consistent. In Europe there’s like, one a week. Somewhere in one of the many countries that make up the landscape. And individual tours of 80’s and 90’s metal band’s usually play bigger venues and have more support. Look at Frontiers records for example. They’re an Italian based label based in Naples that’s signed countless 80’s hard rock and metal bands: Winger, L.A. Guns, Y&T, Whitesnake, Enuff Z’Nuff, Mr. Big, Kingdom Come, Warrant, Richie Kotzen, Stryper, Tesla, Lynch Mob. The list goes on and on. They’ve kept the flag flying for many of those bands. And most of the bands signed put out really good work. The last Winger album was stellar. And the new L.A. Guns material destroys. Frontiers has been critical in the Guns’ comeback in the past two and half years. The live release ‘Live in Milan’ is an expectedly great live album.

Speaking of that record, I think it serves as a good example of how hard rock and metal performs better in Europe. The venue they played and recorded at is considerably bigger than the clubs they play in the States. I just wish they miked the audience better. It’s a smart move for bands to do live albums in Europe because the audiences are larger and invested. I prefer that and the echo of a medium to larger venue. As opposed to the compression of a club. Even if it’s a packed club like the Whisky. Which L.A. Guns would absolutely sell out. But a large lot or theater in the States? I just don’t think the market is big enough to support a venue like that for an 80’s hard rock band.

I think the main reason is because there’s a stigma for 80’s and 90’s hard rock and metal. Much more so with the 80’s. And that negative stigma exists in the United States. The record industry here sort of picks at whatever the previous fad was to pave way for the new fad. In the United States there’s also specific radio stations. So there’s a specific top 40, rock, metal, rap/hip-hop station in most markets. And here in the states the top 40 and rap/hip-hop stations dominate. I just heard Eddie Trunk talking about how there’s only one rock station in New York city now and it’s a classic rock station. And we all know how those stations basically skip over the entire 80’s decade of hard rock. And out here in L.A. there is a hard rock station. It’s a pretty good station actually. But the scene is a mere shadow of what it was from the 60’s through early 90’s. Now, in Europe there’s not really specific radio stations. I’m sure there’s some, but most just kind of throw a menage of popular genres together and have specific hours for certain genres at times. Kind of how MTV ran in the 80’s. You had a host and every hour they played a plethora of different music videos from numerous genres. So everyone got exposed to everything and then determined what they liked the most. So that’s going to draw more people to hard rock and metal because they’re more exposed to it. And the anti 80’s hard rock being silly and unworthy or the prog metal being nerdy and uncool factors don’t exist. It’s not just 80’s hard rock that performs better in Europe. Progressive and theatrical forms of metal do way way better in Europe. Particularly in Scandinavia.

And as long as we have the negative what’s cool and what’s not stigma against Progressive, Glam, Symphonic and pretty much all other forms of rock and metal, it’ll never really take off again in the United States. There are some bands that do really well, but they’re exceptions. But there’s hope on the horizon. Bands like Greta Van Fleet and Rival Sons are taking off. Rival Sons recently played a venue in Brooklyn on Easter. In a market where they get no radio play. And about 1,500 people showed up. That’s pretty good for an up and coming rock band. Plus their new album is one of the best of the year so far. So hopefully there is a wave on the horizon. It just needs to hurry up and get here. And then we’ll see what the industry reaction is. Will they start to include more hard rock and metal in pop culture? Or will it stay in the underbelly?

Oh, the Grammys, the most pathetic awards show of them all. Particularly in the past few years. It’s not even a celebration of the best in multiple music genres anymore. In fact, you can’t really call them Grammys. It should be renamed The Pop & Rap Awards with a little Country. The last few years they haven’t even shown Best Rock Album in the broadcast. Something that’s been a staple for the program for decades.

The Grammys are determined by one societal element: Popularity. And whatever’s hot is what gets promoted and celebrated. Look at heavy metal at it’s peak of popularity. They added and aired Best Metal Album in the late 80’s. And they aired that segment for many years. It’s what was popular at the time. But then the record companies figured out they could make and save more money if they promoted manufactured acts such as N’Sync and Britney Spears. Same goes for all the horrible rap that started popping up at the time with acts like Nelly and L’il Jon. Some rock survived but it was mostly pop punk and softer alternative forms of the genre. Hard rock really started a downturn in promotions and pop radio play. Now many acts that have sold millions of records and sold out multiple arenas at one point are now playing clubs. And young, hard rock talent has taken a back seat. Hard rock is still picking up the pieces.

Now the bias is more evident than ever. Not airing Best Rock Album anymore?!?!? Ok, I get that if heavy metal has waned a touch in popularity and they don’t air Best Metal Album anymore. But Best Rock Album?! That is absolutely asinine! What the hell is going on? It’s not like the Grammys ever really ‘got it’ in the first place. That was obvious when they awarded Jethro Tull the first Best Metal Album Grammy. And as long as the clueless, elitist board that determines who gets in and who doesn’t, what gets aired and what doesn’t, there’s simply not going to be any positive changes for the rock and metal community regarding the Grammys. It’s all the same people who run The Rock and Roll Hall of Fame and all that. There’s even jokes in pop culture staples that call out the Grammys. Like The Simpsons episode where Homer wins a Grammy with his barbershop quartet. He throws the Grammy over his balcony because he misses his family and life. Then someone below screams, ‘Hey, don’t throw your trash down here!!’ That says it all right there.

Since the reunion of Tracii Guns and Phil Lewis, L.A. Guns have been busy being a great band. First was the unexpectedly great ‘The Missing Peace.’ Then they released a very unexpectedly quality live album, ‘Made In Milan.’ And now Guns and Lewis keep the train rolling with ‘The Devil You Know.’ Yet another high quality hard rock installation from the Guns. What else is there really?

Continue reading New Album Review – L.A. Guns, ‘The Devil You Know’