A Tale of Two Concerts…

If you’ve been around here for any length of time, you might have noticed that I have an affinity for music. It really doesn’t matter what the genre is…rap, rock, country, metal, punk, you name it, I probably have an inkling about it. About the only thing that I might be a bit deficient on would be classical music, but I can listen to it an appreciate it. Thus, a couple of shows that I saw within the past month demonstrate both sides of the musical spectrum.

On June 22, my lovely wife and I headed to Amalie Arena to see the rapper Pitbull and the balladeer Enrique Iglesias entertain a packed house. When you can fill a 20,000-seat arena with no problems, you know you’ve made it. And the crowd was as diverse as you might expect for such a multi-cultural show: whites, blacks, Latinos/Latinas, young and old…everyone was there for the party. And, for their part overall, the two entertainers for the night held up their end of the deal.

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Iglesias was, for me, the surprise of the night. Considering that he had his first success back in the 1990s as a younger man, the 42-year old Iglesias was energetic and put on a great show (something that those who have been around the business for a lengthy time don’t sometimes do – that’s what they mean by “mailing it in”). There are those of you reading that might recognize the song “Hero,” which was a massive hit in 2001, but I was a bit surprised by how many of the other songs that I recognized by him. “I Like It (which also featured Pitbull prior to his massive success),” a song that was made popular on the reality show Jersey Shore, and other tunes had the crowd going over the span of his 45-minute set.

There was one moment that was extremely special, however. Bringing the mood down into a very intimate setting, Iglesias and his band slowly trod a path through the crowd to the back of the arena, where stools were arranged for the performers to sit on. From that locale, Iglesias and his band performed a couple of tunes for the entirety of the crowd, but made it special for those in the back who are often ignored during a show. It was a nice touch, especially the “troubadour” walk from the stage to the alternate stage and back.

Between shows, there was a DJ (my wife informed me that he was supposedly Pitbull’s uncle, although I am not sure on that) who performed as the roadies broke the stage. I’m not the biggest fan of watching someone work the turntables – it takes a special talent to do it, don’t get me wrong – and as such I was less than thrilled with this part of the program. It was a good time to go get refreshments, however, and it seemed that many were following my lead.

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As far as Pitbull’s performance, it wasn’t the first time I had seen him. My wife and I had attended the 2016 93.3 FLZ Jingle Ball prior to Christmas, which was headlined by Pitbull. Instead of getting a reduced show (the Jingle Ball lineup also featured Martin Garrix, Fifth Harmony, Walk the Moon, and a few others), this would be the first time seeing the Cuban-American superstar doing a whole show. Let’s just say that I wasn’t disappointed either time.

Pitbull’s music – a goulash of Cuban rhythms with pop, rap and dance stylings tossed in and usually featuring Pitbull rapping while a vocalist fills in the chorus – isn’t for everyone but, if you are someone who does enjoy this genre, then you know how good he is. He was backed by a full band and a cadre of female dancers who changed costumes at least four times by my count. But it wasn’t the accoutrements that made the show great, it was the skills of Pitbull to work the crowd.

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Whether he was using his music – and there’s a lengthy resume of hits he rolled out, including “Timber,” “Hotel Room Service,” and many others – or simply speaking to the gathering, Pitbull maintained control of the show entirely. With this said, it didn’t seem as if it were that much longer than the abbreviated show he delivered when he was performing at the Jingle Ball. It was a fun show and would do it again, to be honest, but it was kind of like cotton candy – sweet to eat but with little substance.

Less than a week later (June 28), I went to a show that was completely the other end of the spectrum. The venue was Skipper’s Smokehouse, a nice little dive with great food and an even greater repertoire of music. Imagine if you will an old tobacco shack with a stage, a restaurant that doesn’t have any air conditioning and an outdoor area looking at a bare bones stage that has a few seats but, for the most part, has its patrons standing up for a show.

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This was the venue for one of the true treasures of the music world. Alejandro Escovedo may not be a household name of the level of Pitbull or Iglesias, but he’s is one of the most respected musicians in the industry, cited by Bruce Springsteen and “Little Steven” Van Zandt as an influence. Escovedo has also been through the travails of the music industry, starting off with the punk rock band The Nuns before joining Rank & File in the early 1980s (whom Escovedo said sounded like “punk rock done by George Jones”). He went solo after leaving Rank & File and, for the past 30 years or so, has been grinding the small venues of Texas and, on this night, Florida, plying his trade.

Pat Puckett, an old friend who backed Escovedo during the 1980s, opened the night with a very bluesy set that was perfect for the surroundings and for opening for Escovedo. Puckett’s guitar work was quite good and it really seemed as if his set was too short. He is a popular performer in the Tallahassee area so, if you’re in the mood for some excellent guitar work and a solid rock & roll show, you should check out Puckett.

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Escovedo came out as a thunderstorm broke out, but you couldn’t have moved any of the roughly 600 people who were massed there from their spots. Escovedo ripped through some songs from his current CD, Burn Something Beautiful, highlighted by his performance of “Heartbeat Smile.” By the time he closed the night’s proceedings with his best-known song “Castanets” (notable as it was seen on former President George W. Bush’s iPod), the entirety of the crowd was on its feet, rocking the shack around them as the skies cleared around midnight.

One of the nicer things about these smaller shows is that the performer will more often than not come out and sign CDs and talk to those who attended the show. Escovedo did that, spending some time with my wife and talking about the Austin, TX, music scene before getting a photo with both of us. It was a great way to end the evening.

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So, which was better?

I lean more to the rock side of things, so Escovedo would get my vote. But what was remarkable about the shows was the complete 180 that each presented. From the stylish, staged, and choreographed show from Pitbull and Iglesias to the rugged, rough and ready rock & roll show presented by Puckett and Escovedo, there wasn’t a thing that they had in common except for one thing…the love of music.

If you haven’t done it in a while, I suggest you get back in the ring and give it a try. Go to a concert at your local stadium – doesn’t matter if it’s a rock show or a pop concert – and go to one of your local venues that has performers sometimes just playing for the drinks they’re quaffing. They are both the heart of the music world and, with hope, you can get something out of both experiences.

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Volbeat Deserving Of “Next Big Thing” Status; Amaranthe Presents Unique Sound

One of the things I enjoy in my well-rounded life is some great music. There are things that I come across that I simply cannot stand (such as Taylor Swift’s caterwauling…seriously, can someone give the girl a gift certificate to buy a voice?), but when I come across something I find great, I like to tell people about it. As my general preference is for harder edged rock, it will often go in that direction (but not always…).

Of late, there are several bands that I am very high on. Previously I told you about Halestorm and, if you want to get on that train, they should have a new album out towards the end of the year (meanwhile, jump on their ReAniMate 3.0 covers album). Here’s two more that you should be considering: one is a major opener for one of the biggest tours of the summer and the other presenting a different sound, if you will, in the hard rock genre. As always, I don’t claim to be on the band first, but I do think they’ve got some legs to them for the future!

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Volbeat is a band out of Denmark that has been a 16-year “overnight success.” Despite having great success in Europe with their mixture of rockabilly, hard rock, and punk – surprisingly, the band rarely embraces a hard-core metal or thrash sound – Volbeat was unable to penetrate the U. S. market to any great extent. That changed with their latest release, Seal the Deal and Let’s Boogie, which debuted in the Billboard Magazine‘s Top Five Albums the week of its release last year. As we speak, Volbeat is joined by Avenged Sevenfold (on some stops) as the warmup acts for the massive Metallica “WorldWired” tour that is hitting stadiums in the U. S. and worldwide.

That they all are considered hard rock acts (Metallica delves into thrash metal and A7X crushes their more metalcore sound) demonstrates the diversity of the hard rock arena. Volbeat, as stated before, aren’t your typical metalheads, incorporating sounds from across the spectrum into their particular brew. On earlier efforts, Volbeat’s sound was more inspired by country music such as Johnny Cash (their effort previous to this, Outlaw Gentlemen and Shady Ladies, had a theme to it that gave you impressions of a Clint Eastwood spaghetti Western). With Seal the Deal, however, Volbeat has a sound more reminiscent of The Offspring than anything else.

The first song on the album, “The Devil’s Bleeding Crown,” was a very strong effort that just didn’t seem to click with U. S. audiences when it was released as a single. It wasn’t until the eponymous title track was released that some success occurred for singer Michael Poulsen, guitarist Rob Caggiano and bassist Kaspar Boye Larsen. “Seal the Deal” was a powerful piece of music that rumbled from the speakers, with the guitars provided by Caggiano being particularly notable. Since then, hard rock radio has been all over “Black Rose,” which may outdo “Seal the Deal” in popularity.

Surprisingly, Volbeat can sound almost melodic with the music they create. Do not be fooled, however, they do have an edginess to their lyrics that can be surprising and, in some songs, imagery of Hell and the Devil are implied. There are tunes about darkness, redemption and “selling the soul” that some might not like. That would be their misfortune, because most of the songs have a finish where, if the protagonist doesn’t emerge on top, they are at least fighting towards the future.

Along with the songs mentioned above, there are a couple other efforts that are noteworthy on Seal the Deal and Let’s Boogie. “The Gates of Babylon” is a very good track from the album, but it is a cover song on the album that is even more surprising because of its quality. Taken from the Georgia Satellites (an 80s outfit that is highly underrated), “Battleship Chains” demonstrates that Volbeat takes their inspiration from a wide assortment of musical genres. The future is going to be fantastic for this band and, with the next couple of years, I can easily see them becoming a huge part of the music scene in the U. S.

Another great foreign act that has been chipping away at the walls in the U. S. (the metaphorical ones, not the ones some idiot wants to put up) is Sweden’s Amaranthe. Another one of those multi-year “overnight sensations,” the band actually started in 2008 and has been pretty much non-stop touring and recording since then. They had a bit of success in 2013 with the song “Drop Dead Cynical” from their Massive Addictive album, but they have found their stride with their latest release, Maximalism.

Pinning Amaranthe down to a “sound” is roughly like trying to give a cougar a bubble bath in a thimble. First off, the band encompasses some elements of EDM but loves to roll out a metal guitar assault to go over the hypnotic background. They can sometimes veer into the realm of “pop” music, which may offend some of those who are more hardcore, but they always seem to be able to bring it back to a more “hard rock” sound when necessary. That may be because of the triumvirate of vocalists that Amaranthe employs.

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That’s right…three vocalists. First there is Elize Ryd, who gives an ethereal quality to some songs when she’s not rocking out with an unbelievable voice. Ryd gives credibility to the Amaranthe sound whether they are in their more experimental modes or they are driving the guitars down your throat. A nice meshing with Ryd WAS Joacim “Jake E.” Lundberg, who had a voice that harmonized nicely with Ryd as they performed the “clean” vocals (Lundberg, after the release of Maximalism, left the band and was replaced by Nils Molin).

There’s a reason I say “clean” vocals. The third vocal effort on the album is Henrik Englund, who provides the “death growl (a guttural vocal styling where it sounds like the beasts from Hell are emerging from your speakers)” or the “unclean” vocals on the record. While it may sound like it is a complete mess, Amaranthe has been able to put together songs that perfectly accentuate the stylings of each of their singers and, likewise, the other members of the band (Olof Morck on guitars and keyboards, Johan Andreassen on bass and Morten Lowe on drums).

Of particular excellence is “Boomerang,” an effort that would have been perfect on pop radio had it not been for the crushing guitars and Englund’s growling of his lyrics. A song about how someone tries to put another person down – but the person keeps coming back “like a boomerang” – it is an outstanding tune that epitomizes Amaranthe very well. Two other songs, “That Song” and “21” are also excellent, but most surprising is a ballad that demonstrates the abilities of the band quite well.

Supersonic” is a tune that Englund takes a break from and let’s Ryd and Lundberg exercise their vocal abilities on. Yes, it is a ballad – and everyone usually HATES a metal ballad – but it works for Amaranthe because of the dual vocals (not a duet – each vocalist has a lyrical segment written for them). Using some orchestral instrumentation along with the band’s musicians, it may give some a comparison to Amy Lee and Evanescence, but “Supersonic” soars in its own right and serves as an excellent “palate cleanser” for an outstanding record.

You may not have heard of them yet, but they’ve got the potential – especially with Ryd’s photogenic qualities and the power of the band – to be a breakout act, possibly even on the pop charts (bands always appreciate crossover success, not to mention their record companies). They’ll have to get control of some of their personnel issues – not only from Lundberg’s departure last year, but Englund replaced original “unclean” vocalist Andreas Solveström in 2013 – to fully realize their potential, but if they can record more albums like Maximalism, it will push Amaranthe into the stratosphere of the hard rock/metal world.

A Fine Line Between Disliking and Dismembering: Kathy Griffin Was Wrong

Recently it has become nearly impossible to pool the regurgitation that has emerged from The Resident’s efforts in Washington D. C. The constant cesspool of filth that is spewed by him and his Confederacy of Dunces leaves many breathless in trying to keep up. Just as soon as one fuckup seems to be reaching its apex – let alone its conclusion – they seem to fire off another shit storm just to make sure that their idiocy stays in the public eye.

What can be even more of an embarrassment is the actions of those that support The Resident. The recent murder of two Good Samaritans in Portland by a white supremacist who seemed to be reciting The Resident’s campaign platform while being arraigned for the murders is simply the latest in what is a vitriolic campaign of hate from the GOP. The Planned Parenthood shooting in Colorado in 2015…a figure looking like President Barack Obama hanging from an interstate overpass in 2014…multiple instances of Obama being burned in effigy…calling former First Lady Michelle Obama an “ape” or that she is transgender…these are but a few of the examples of the vile lengths that the GOP has gone in depicting the 44th President of the States of America and his family.

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For the most part, progressives have stayed away from some of these statements…that was until yesterday and “comedian” (my emphasis…I’ve personally never liked her work) Kathy Griffin’s desire to make her voice heard.

Griffin, who has been able to parlay her supposed “D-List” status into a moneymaking endeavor (she even had a show on cable television called My Life on the D-List that followed her every move), tries to come off as an “edgy” comic that is “pushing the boundaries,” something that is difficult to do when you host New Year’s Eve with Anderson Cooper on CNN (about the most “unedgy” thing you can do). Now, when I think of this type of comedy, I am more in the lines of the work of the late George Carlin or even Sam Kinison, two men who rode the edge in search of the joke (and always hit the mark with their efforts). So what Griffin did yesterday is not only “not funny,” it puts her in the same closet as those vermin who dip to the depths that some on the right do.

We won’t justify Griffin’s actions with a photo here, but I will attempt to explain it. In an unflinching shot, Griffin – with absolutely no inkling of “making a joke,” smiling or otherwise trying to show a comedic aspect of her action – holds up a mask that is intended to be the head of The Resident. The mask is smeared in red “blood” as Griffin holds the head by the hair in her hand, as if she has decapitated The Resident herself and is presenting the prize to the people.

Kathy Griffin arrives at the 56th annual Grammy Awards in Los Angeles

In some circles, this would be promoted as a “performance art” or a “artistic statement,” but if Griffin meant it in this manner, she grotesquely missed the mark. Outrage from not only conservatives but also from those that Griffin thought she was representing – those left of center – came from all corners of the globe, sending a scurrying Griffin to Twitter to apologize for her actions. In a video Griffin stated, “I sincerely apologize. I am just now seeing the reaction of these images. I’m a comic. I crossed the line. I move the line, then I cross it. I went way too far. The image is too disturbing. I understand how it offends people. It wasn’t funny. I get it.”

First – some people have made this argument and couldn’t be further from the truth – this in NO WAY represents the thoughts of many who disagree with The Resident. While you can have philosophical, political, and methodical differences with a person or politician, it should NEVER approach the realm of even advocating for the death of another person. I can dislike you with the intensity of 1000 suns, but that doesn’t give me the right to suggest that your death solves the situation.

Second, this reinforces in the minds of the right that they are being “persecuted,” something that energizes their stance. Griffin’s supposed “comedic statement” gives those on the right a hook to hang their “martyrdom” on, that they are the ones being disrespected or threatened with various methods of execution from an angry horde of progressives (besides the fact it is often the conservatives screaming to “bring the torches”). It fuels their fires of hatred…by having that same fuel used against them, a twisted bit of psychology if ever there were one.

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It is certainly a fine line between comedy and tragedy, such as the old woman who slips on a banana peel and falls. Many might find that funny, but wouldn’t find it as hilarious if that same old woman broke her neck and died after slipping on the same banana peel. You can attempt to do edgy, even controversial, comedy, but there’s a line between pointing out the absurdities of life and/or politics and moving into the arena of advocating for the physical intimidation or, even worse, death of someone you don’t agree with.

Many on the right often overstep this boundary. The left used to be able to keep their heads above the water on this instance and refuse the temptation of such absurdities, but the current administration seems to have brought the disease created by conservatives to the progressive side. It is something that cannot be allowed to continue.

You can disagree – loudly and vehemently. You can advocate for their imprisonment – including a special island where they can rot. You can question their humanity – because many of their works are from an evil demon rather than any person with a shred of concern for their fellow man. You CANNOT, however, incite physical violence or advocate for your opponent’s death. There are some lines we must maintain as an intelligent species, otherwise we are but animals who simply have advanced linguistics and tools.

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Griffin’s apology is hopefully heartfelt. She’s not going to escape the ramifications of what she’s done – say goodbye to that cushy New Year’s Eve spot on CNN with Cooper and probably a slew of stand-up gigs for the near future, not to mention sponsorship deals – and that is the way it should be. Free speech is a beautiful thing, but there are also consequences when that “beautiful thing” is exercised in a manner not acceptable to the common man.

LaVar Ball’s Mouth Writing Checks His Sons’ Bodies Can’t Cash

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The National Basketball Association Playoffs are currently ongoing and, to be honest, to say that they have been a bit dull would be the understatement of the year. The two best teams in each conference – the defending champion Cleveland Cavaliers with “next evolution in human existence” LeBron James and the 2015 champion Golden State Warriors with smooth-as-silk shooter Steph Curry (among others) – have literally steamrolled past their opposition, with both sides only losing one game so far (did anyone see that decimation the Cavaliers laid on the Boston Celtics in Game 2? On their home floor? That the Celts came back for a squeaker win on Sunday in Cleveland was shocking). Sometime next week, these two teams will meet for the third year in a row (never done previously) to determine the NBA Finals championship.

But the collision course these teams are on hasn’t been the big story in the Association…not by a long shot.

The NBA Draft, like its cousin with the National Football League, has become almost as big a deal as its pro football brethren. Players from around the world and the best “one-and-doners (players who went to college to meet the NBA requirement that they be one year removed from high school)” vie for one of the 60 slots (the draft is two rounds, with the first-round picks guaranteed to be on an NBA roster) in the draft. With these stakes, players are trying to make their best impressions…except for one.

Lonzo Ball is, giving the player his due, one of the better prospects in this year’s NBA draft. If it weren’t for the idiotic “one year” rule that the NBA has implemented to prevent kids from going straight from high school, it is thought that Ball would have been one of the success stories to come straight from the high school ranks. After winning several high school Player of the Year awards across the country, Ball enrolled at UCLA, looking to improve his resume with the one year he plainly told everyone he would be there for.

In his one season with the Bruins, Ball’s statistics were nice but not mind blowing. He averaged 14.6 points per game, shot 55% from the field (and 41% from three-point territory), averaged six rebounds a game and almost eight assists as a guard/forward with UCLA. The 6’ 6” Ball was duly awarded many post-season honors, including the Wayman Tisdale Award for best college freshman and was first-team All-American (the team made the Sweet Sixteen in the NCAA Tournament), as he held to his promise to only stick for one year on the campus of Westwood by declaring for the draft almost as soon as his Bruins team heard the final buzzer and was defeated in the NCAA Tournament.

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With such accolades and achievements, you would figure that Ball would be the talk of the draft. Unfortunately (for him), he has been overshadowed by his father, LaVar, who will tell anyone that will listen that his son(s) (that’s right, there’s two more following Lonzo) are going to change the basketball world. What the senior doesn’t realize is that he is writing checks that none of the Ball brothers will be able to cash.

Who is LaVar Ball? A quick look at his college life shows that he was a basketball player of no renown (averaged 2.2 points per game at Washington State over two seasons in the late 1980s) and found even less success when attempts were made to turn him into a football player. Ball would play in the World League of American Football (appropriate acronym of WLAF) as a tight end. In one season, he played with the London Monarchs and found time on the practice squads of both the New York Jets and the Carolina Panthers. Other than this, there was absolutely nothing that would mark him as a “game changing” athlete, although even having the proverbial cup of coffee with a professional sports franchise is quite an achievement.

Apparently, this is about the time when Ball had his epiphany, even to the point of picking his wife for the express breeding purposes of creating basketball players. Don’t believe me? Ball himself said, “I see this tall girl, very attractive, walking down a hallway and I go, ‘I don’t know what we’re going to do, but we’re gonna be doing something!’ Once that was in her head, I had her. I picked a big girl who was beautiful. A big stallion.”

When’s the last time you called your significant other a “big stallion” – and you were SERIOUS about it?

This wasn’t the end of it for Ball. He’s has said that Lonzo is better than Curry, who was only the Most Valuable Player in the NBA for the past two seasons. Ball has trashed Cavaliers’ point guard Kyrie Irving for coming from a single parent home, ignoring the fact that Irving’s mother passed away when he was four. Ball has said that, in his heyday, he could beat Michael Jordan one-on-one. Ball criticized Lonzo’s UCLA teammates, saying they were “too white” to win the championship (and, forgetting the fact that his wife is white, there’s a mixed heritage to Lonzo). He’s also created the family company “Big Baller Brand” and is currently marketing Lonzo’s signature shoe to the tune of $459 (you want them autographed by Lonzo? Make it $759…) – only after the three major shoe brands Nike, Under Armour, and Adidas, turned down his BILLION dollar demands for shoe deals with all three of his sons.

Having overbearing parents in sports is nothing new. You can see it pretty much every weekend when you go to a Little League baseball game or watch Friday Night Tykes (about PeeWee football) on television. It’s when those overbearing parents actually think they are doing their child(ren) a favor by pushing them hard does it usually blow up in their faces. One only should look at the career of former quarterback Todd Marinovich – basically engineered by his father to be an NFL quarterback, to the point that the senior Marinovich said that Todd had never eaten at a McDonald’s – or the up-and-down career of tennis player Jennifer Capriati (pushed by her mother) to see the down side of these types of actions.

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There has been at least one success story. The Williams sisters, Serena and Venus, were driven by their father Richard to excel at tennis, while at the same time inciting similar vitriol from the public for comments that he made regarding taking his girls from South Central Los Angeles to the pinnacle of tennis greatness. It is arguable, however, that the Williams sisters didn’t really reach their peak form until after they removed themselves from Richard’s tutelage and began to think and act for themselves.

The elder Ball may think that he’s helping his children achieve their goals and wants to take the family along for the ride. And that is something that all mothers and fathers want to ensure for their kids. At a certain point, however, that assistance becomes an overbearing, maniacal obsession and needs to be ended. That is where the elder Ball finds himself right now.

While Lonzo may be a high draft pick in this year’s NBA draft (the Celtics have the first pick and the Los Angeles Lakers – whom LaVar Ball has said he wants all three of his kids to play for – have the second), there is still a very close-knit professional community of athletes that will not take kindly to LaVar’s statements. Lonzo, through no fault of his own, is going to be targeted by these professionals for retribution. You don’t think that LeBron James won’t light him up for some of the things that LaVar has said about him? You don’t think that Curry or his teammates, Klay Thompson, Draymond Green, and Kevin Durant, won’t smoke Lonzo at every opportunity? The utter failure of Lonzo Ball – and the “Big Baller Brand” – is a very realistic possibility and it would be a warning to others coming down the road that they aren’t bigger than the game, something that LaVar seems to think his family is.

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Where Lonzo Ball goes in the draft – publicly NBA general managers and scouts are saying that Ball’s father isn’t going to affect his draft status – is still up in the air, but even he recognizes that his father rubs people the wrong way. “My dad’s a funny guy,” Lonzo said to Bleacher Report in an interview. “People were coming up to me and saying, ‘Are you embarrassed? Your dad said you’re going to win the championship.’ No, I’m not embarrassed. I know how he’s going to act. I just go out there and play. Let him be him.” There will come a point, however, where the junior Ball – and, if not him, one of his two brothers (who haven’t done jack shit yet) – will have to tell the senior Ball when enough is enough and cut ties with him if they are to reach their true success in professional basketball, just like Serena and Venus did in their pursuit of greatness.

Who is The Greatest Hard Rock/Metal Band of All Time – AC/DC vs. Metallica, Part Two: Who’s the Winner?

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We have reached the penultimate battle of our tournament to determine who is the greatest hard rock/metal band of all time. Through the previous 62 contests, we’ve whittled down the competitors to the two veterans that we see here, Australia’s AC/DC versus the States of America’s Metallica. As they used to say on the series Highlander, however, there can be only one. Let’s get to it on that decision!

Just to remind you, there are criteria that we can take into consideration after breaking down the various parts of the band. First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” – that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

Without further ado, let’s see who is going to take the crown!

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Band Breakdown

There are four basic parts here – the vocalist, the guitar section, the rhythm section and miscellaneous. With the first, we look at AC/DC’s front men – the late Bon Scott and Brian Johnson (we will not include Guns ‘N Roses singer W. Axl Rose as he has not officially been added to the band) – and contrast them with Metallica’s face James Hetfield.

It is arguable that there are not two bands with more identifiable or iconic leaders as these three men. Could you imagine an AC/DC song without the readily recognizable sounds of Scott or Johnson drawing you in? Likewise, Hetfield – and, as a result, Metallica – are also known quantities immediately upon hearing Hetfield’s growl. To be honest, none of them are what you’d call great singers but, for the bands they front, they are the perfect fit. Therefore, we’ll have to call this part of the competition a tie.

With the guitarists, Hetfield returns to the equation as rhythm guitarist. Along with first lead guitarist Dave Mustaine and then Kirk Hammett, the power behind Metallica’s sound is undeniable with these two men. AC/DC isn’t lacking for strength themselves with the brother combo of Angus (lead) and Malcolm Young, but they come up just short in this match. The “three bars and a cloud of dust” attack of the Young brothers doesn’t quite measure up to the complexity of the chord progressions of Mustaine and Hammett, nor do they have the ability to play at a virtuoso level (as Hammett does) and include the speed. Thus, we’ve got to give this segment to Metallica.

Finally, there’s the rhythm section, the bass and drums. Cliff Williams (bass) and Phil Rudd (drums) were the longtime base for AC/DC and they did their jobs masterfully but unspectacularly. In basically creating Metallica – and still being the vocal (as in speaking) member of the band – Lars Ulrich (drums) has done something that hasn’t been previously seen, the drummer as a band leader. Along with the late Cliff Burton, Jason Newstead and now Robert Trujillo, Ulrich has been the backbone of the band and created his own distinct style of drumming. This segment goes to Metallica also, giving them the overall win in the segment.

Winner: Metallica

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Longevity

This is one category that will split down the middle with no victor declared.

Since 1973, AC/DC has been pounding out their brand of music, with arguably the apex of their career coming in the late 1970 through the early 1990s. They still are playing today (and drawing arena sized crowds for their tours), although Malcolm Young, Johnson, Rudd, and Williams are no longer a part of the proceedings. Metallica has a slightly shorter career, having “only” been founded in 1981, but it isn’t sacrilege to say they may still be at the best of their game. Sure, the mid 1980s through the late 1990s may have been considered their heyday, but Metallica continues to pump out excellent music (Hardwired…to Self-Destruct is arguably their best album since their …And Justice for All/Metallica days) and they are currently on a stadium tour that is selling out across the States of America. With such performance as this, there’s no way that one is pulling out over the other.

Winner: Push

Influence on The Genre

This is one area where AC/DC could have the edge. Quite honestly, any hard rock/metal band that doesn’t say they were inspired by bands from the late 1960s/70s is being disingenuous. Such bands as Led Zeppelin, Deep Purple, Black Sabbath, and others were the ones who laid the foundation for those who came later like Metallica. There is one issue where Metallica might outpip AC/DC is their location on the “Mount Rushmore” of thrash metal alongside Megadeth, Slayer, and Anthrax. Still, we’ve got to give credit where credit is due: without AC/DC, there’s no Metallica.

Winner: AC/DC

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Popularity

Another borderline call between two of the most loved bands in the world. You don’t stick around for three or four decades without having a devoted following that will literally follow you to the gates of Hell for a concert. Both bands have monster record sales – AC/DC has sold over 200 million albums worldwide (and 71 million in the States of America, more than Madonna and Mariah Carey) and Metallica has 100 million worldwide – and both bands have been lauded by the critics. Metallica has a bit of an edge on the critical acclaim, which only serves to offset the lead in record sales for the boys from Australia. I certainly hate doing this, but we’re going to have to call this one equal.

Winner: Push

Accolades

AC/DC has been nominated for seven Grammys and won once, while Metallica thrashes them in this category. Metallica has been nominated 21 times for Grammys, walking away with nine. Where AC/DC holds the edge is in platinum albums; 20 of their albums has gone platinum (one million sales) and the legendary Back in Black is a double diamond holder (10 million sales, twice). Metallica can vouch for their own double diamond record (Metallica), but they’ve only had 10 platinum albums because that’s all they’ve released.

They are both in the Rock & Roll Hall of Fame, but under highly different circumstances. Metallica was a first ballot entry when they were inducted in 2009 (an artist or band becomes eligible for induction into the Rock & Roll Hall of Fame on the 25th anniversary of their first official album release) with everyone but Mustaine named on the induction plaque (Metallica wanted Mustaine to perform with them during the induction ceremonies, but Mustaine was touring in Europe with Megadeth at the time). AC/DC took a bit longer to get into the Hall, with their induction in 2003 coming almost 30 years after their debut. It’s a close battle, but the edge here must go:

Winner: Metallica

So, Who Is the Champion?

By the slimmest of margins, Metallica captures the metal ring from AC/DC, earning the accolades of the greatest hard rock/metal band of all time. Individual tastes may vary on this decision, but overall there is a great deal of musicianship, innovation, and musical and lyrical substance to Metallica’s body of work. That isn’t saying that AC/DC’s brand of metal is something to deride; they have blazed their own trail in a very difficult industry and, as an international act from Australia, probably had some more issues to overcome in their early days. For this competition, however, it is the boys from San Francisco – Metallica – ruling supreme in the history of the genre.

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Who is The Greatest Hard Rock/Metal Band of All Time – The Final Battle: AC/DC vs. Metallica, Part One

HardRockMetal

Rather than delve into the delusion that currently is supposed to oversee this country (and trust me, there’s plenty to call the Tangerine Ignoramus out on simply from this last week alone, such as his rewriting of the history of the Civil War, not only in interviews but on his own fucking golf course), I’ve decided to do something that will be much more fun. Since college basketball completed the NCAA Basketball Championship in April, I thought it would be fun to do the same but in a different arena – the genre of hard rock/metal music.

What are the criteria for consideration? First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

Here we are – we’ve finally made it to the Final Battle for the right to wear the crown of the greatest hard rock/metal band of all-time. Both bands have slogged through their respective regions – including knocking off the #1 seed in both regions – to meet on this hallowed battleground. Without further ado, here are your two heavyweights vying for the championship, with a brief history of each combatant. In Part Two, we will see how they match up with the criterion we’ve set for determining the victor and crown the champion.

AC/DC vs. Metallica

AC/DC – The True “Thunder” Came From “Down Under”

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AC/DC was founded in the wilds of Sydney, Australia, by the Young brothers, lead guitarist Angus and rhythm guitarist Malcolm, in 1973. In their early years, they tried to perfect the “three chords and thunder” sound that would become their trademark, but they also needed the right personnel to bring that sound to the people. Their first break came in finding their rhythm section in Phil Rudd (drums) and Cliff Williams (bass), but it was the vocals of Bon Scott that started the group on its way to glory and success.

AC/DC received some accolades for their early work, particularly High Voltage in 1975, but it was their 1979 album Highway to Hell that broke them as an international superstar act. With such songs as the title track, “Girls Got Rhythm,” “If You Want Blood (You Got It)” and “Touch Too Much,” AC/DC would eventually sell eight million copies of the record. It would also mark a moment that shook the band to its core.

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As they were in the studio creating their next album, Scott would die of accidental alcohol poisoning. The band briefly considered breaking up but, encouraged by Scott’s father, decided to soldier on with the band. With new lead singer Brian Johnson at the front of the stage, the band released what would arguably be their masterpiece, Back in Black. The record featured no noticeable change in the style of the band and the title track, “Hells Bells,” “Shoot to Thrill“ and the legendary “You Shook Me All Night Long,” became staples of classic rock stations. The success of the album has been seen in its longevity – it is second only to Michael Jackson’s Thriller in worldwide album sales and been certified double diamond (20 million sales) in the States of America. It is also arguable that AC/DC is now known more for Johnson’s voice than for Scott’s.

CONCIERTO DE ACDC

Over the next 30-plus years, AC/DC continued to pound out classic hard rock for its legion of fans around the world. This would eventually lead to their induction into the Rock & Roll Hall of Fame in 2003, but they haven’t even come close to slowing down since then. Lately they’ve gone through some issues – in 2014, Rudd was replaced after being charged with a litany of offenses, including “attempting to procure a murder;” also in 2014, Malcolm Young cited his health in departing the band; in 2016, Johnson was replaced (by Guns ‘N Roses singer W. Axl Rose) after doctors said his hearing could be permanently lost if he continued touring; following the final show of their 2016 “Rock or Bust” World Tour, Williams announced his resignation, citing that the loss of Johnson and Rudd made AC/DC “a changed animal.” But the constant of the band has been the sight of Angus Young, in his schoolboy outfit, still doing his modified Chuck Berry “duck walk” to the delight of crowds worldwide.

Metallica – Bay Area Thrashers Fueled by Inner Demons

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Metallica was founded in Los Angeles, CA, in 1981, but for the entirety of its career has called the San Francisco area its home turf. The band’s drummer, Lars Ulrich, put an ad in a local newspaper looking for a singer/guitarist for the band he wanted to found. That band would take on a new form of hard rock/metal, the skate-community inspired “thrash metal” and the pieces of the band had to fit perfectly together. When guitarist James Hetfield– and fellow original members in lead guitarist Dave Mustaine and bassist Cliff Burton – all came on board, the band Metallica was born and exploded on the music scene.

“Exploded” is a rather tame term for the power and aggression that Metallica attacked the then-Euro-driven synth pop and “hair metal” of that era. From their first album, Kill ’em All, in 1983, the band’s in-your-face approach was evident:  hard core guitars crashing around machine gun drumming and the angry growl of Hetfield crushing anything in its path. The aural assault also brought something else that hadn’t been a part of the hard rock/metal scene:  lyrics delving into issues such as isolation, religious issues, anger, militaristic thought, drug usage and the damage of such usage, not exactly the thing that the “hair metal” acts were singing about on the Sunset Strip.

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With these demons, however, came changes to the band. Mustaine was ejected from the group allegedly because of his drug usage and would be replaced by Kirk Hammett. As their star was on its ascendance, tragedy would strike the band in the death of Burton while the band was touring in Sweden in 1986. After receiving the blessing of Burton’s family, the remaining members of Metallica decided to keep the band going, replacing Burton with Jason Newstead, at which point they would enter arguably their most creative and successful era of their career.

In 1988, Metallica released …And Justice for All, arguably their most creative work, and the music world responded. The album, driven by such songs as “One“ (it’s video, splicing scenes from the film Johnny Got His Gun in with band performance, is considered one of the Top 100 videos of all-time), “The Frayed Ends of Sanity,” “Harvester of Sorrow“ and the title track, rocketed the band into notoriety. It was also one of the first competitors in the Best Hard Rock/Metal Performance Vocal or Instrumental category at the 1989 Grammy Awards, but was comically bested by Jethro Tull‘s Crest of a Knave for the inaugural honor (something that is recognized as one of the greatest gaffes in the history of the Grammys; it was corrected somewhat the following year when Metallica won the Grammy in the category).

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Not content to sit on that success, Metallica would next release arguably their masterpiece. The entirely black cover – hence many fans and others calling it “The Black Album” but officially an eponymous album – sparked even bigger things for the band. Through such songs as “Enter Sandman,” “Wherever I May Roam,” “The Unforgiven,” “Sad But True,” and others, Metallica solidified its place in the pantheon of “thrash metal” gods (alongside Mustaine’s Megadeth, Slayer, and Anthrax). It also etched its place in music history; Metallica would be the band’s first #1 album, has sold 16 million in the States of America, and started their consecutive streak of studio albums that have debuted at #1 (six, including their latest Hardwired…to Self-Destruct).

To this day, Metallica continues to pound out their brand of metal to an appreciative audience, even though Newstead left the band in 2001 and was replaced by Robert Trujillo. They have also brought attention to many social issues, including mental illness, often depicting their own struggles with those subjects (mental problems and drug and alcohol abuse) in documentary fashion. They were inducted into the Rock & Roll Hall of Fame in 2009 (first ballot), but Metallica shows absolutely no signs of slowing down as we get deeper into 2017 (and the “Hardwired” tour rolls along with two bands they’ve influenced, Avenged Sevenfold and Volbeat). In fact, if the Hardwired record is any indication, it is possible they still can get better – hard to believe, but potentially true.

Now it is up to you, the voters. We will break the competitors down by the criteria in our final essay and make the decision – who is the greatest hard rock/metal band of all-time? Vote, argue, fight about it (just keep the chains, brass knuckles and knives out of the battle, thank you!)…just let us know who the ultimate champion is going to be!

Who is The Greatest Hard Rock/Metal Band of All Time – The Final Four

HardRockMetal

Rather than delve into the delusion that currently is supposed to oversee this country (and trust me, there’s plenty to call the Tangerine Ignoramus out on simply from this last week alone, such as his stream of consciousness interview with the Associated Press that featured more errors than a five-year old T-ball game), I’ve decided to start something that will be much more fun. Since college basketball just recently completed the NCAA Basketball Championship, I thought it would be fun to do the same but in a different arena – the genre of hard rock/metal music.

What are the criteria for consideration? First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

It’s been a long journey, but we’ve finally reached the pinnacle, the mountain – the Final Four. The four combatants have worked their way through their “regions” – the 1960/70s, the 1980s, the 1990s and the 2000s/10s – and are all champions. There can be only one, however, and they will now square off against each other to see who is the final band standing. In our first battle, the 1960s/70s will square off against the 2000s/10s:

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AC/DC (2) vs. Disturbed (1)

It was an incredibly tough vote, but longevity seemed to be the deciding factor in the battle between AC/DC and Led Zeppelin, despite the factor that the individual members of Led Zeppelin have had outstanding careers since the band dissolved. Over in the 2000s/10s division, Disturbed was finally able to end the run of Slipknot, sending the six-seed home and moving on to take on arguably one of the most loved bands in the history of hard rock/metal.

AC/DC has endured the slings and arrows of critics that labeled their three-chord grinding music as “mindless” and “simple” since their inception in the early 1970s, constantly touring and churning out new music for their legion of fans. How many records have they done? Sixteen studio albums, including the guaranteed classics Highway to Hell and Back in Black and their title tracks, with sales of over 200 million albums worldwide. Toss on 21 world tours in their history, basically touring from 1973 to 1986 without pausing, and there is no way that you can doubt the veracity of their fans nor their ability to give the people what they want.

Disturbed comes to their success during a different era of music, but they’ve garnered their own accolades through their success. As stated during the Elite Eight, Disturbed’s latest record Immortalized debuted at #1 on the Billboard charts, making their fifth consecutive studio album to do that. Only Metallica and the Dave Matthews Band can say that they have done that – not Led Zeppelin. They have also sold more than 35 million of their seven albums over their 17-year existence and they show no signs of slowing down.

If you were to break down the band by members, the edge vocally would be a tossup. The late Bon Scott and then Brian Johnson left an indelible mark on AC/DC’s sound – really, could you imagine anyone else fronting the band (it remains to be seen if Guns ‘N Roses vocalist W. Axl Rose will remain with the group)? But Disturbed is as much David Draiman as Draiman is Disturbed and his immediately recognizable smooth bass vocals drive that group.

You might say that the guitar work of Angus and Malcolm Young stand out over Disturbed’s Dan Donegan, but Donegan has been just as instrumental (no pun intended) to his group’s success as the Young brothers were to theirs. Donegan has also added in work on keyboards (something key to the experimentation that Disturbed is known for) and, along with drummer Mike Wengren, are the only two men who have been part of the group since its inception.

Disturbed

The question will come down to which do you value more – do you value the length of the career and the virtuosity shown by AC/DC, or do you value the outstanding musicianship of a career that really is still just getting going in Disturbed?

And now for the matchup between the 1980s and the 1990s:

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Metallica (2) vs. Rage Against the Machine (2)

This one seemed to be dictated from the start, but both had to overcome the #1 seed in their regions to make it to this point. Metallica had to knock down the boys from New Jersey in Bon Jovi (and I can hear the screams already – Metallica was far more influential and critically acclaimed than Bon Jovi could ever hope to be) and RATM had to best only the “godfather of grunge” in the late Kurt Cobain and Nirvana. Unfortunately, now one must go down.

So, who has the edge with creativity? Both bands have written and sung about subjects that you normally don’t find in hard rock/metal, such as religious and military leaders, rage, drug usage, anger, loss, and retribution (for Metallica) and political opinions related to not only the States of America but worldwide (Rage Against the Machine). Both bands have been the trendsetters in their genres, with Metallica considered the creators of “thrash” metal and RATM furthering the cause of “rap” metal with their work.

Even the band members are considered equals. Whether you are looking at James Hetfield (Metallica) or Zack de la Rocha (RATM) on vocals (Hetfield also wields a mean rhythm guitar), first Dave Mustaine and then Kirk Hammett versus Tom Morello on lead guitar, the triumvirate of the late Cliff Burton, Jason Newstead and now Robert Trujillo against Tim Commerford on bass and the thunderous drum work of both Lars Ulrich or Brad Wilk, they all are considered the best in the business in their respective fields. There is one thing that may swing the needle, however.

Metallica has been in this game since the early 1980s, grinding out their brand of hard rock/metal for more than 35 years solid. They’ve had a few pauses, especially after Newstead left the band in 2001, but they’ve been at the forefront of the hard rock/metal genre for decades. Although RATM was extremely powerful in their music, they also were more of a Roman candle in that they burned bright but burned out quick. Rage Against the Machine’s last studio album was in 2000 (of four; Metallica has 10 in its still-active career) and, although there have been teases in the past, there are no indications that the group is going to come back together for another run. In fact, Morello has taken the other two musicians in RATM and gone on to form Prophets of Rage along with Chuck D and DJ Lord of Public Enemy and B-Real of Cypress Hill.

RATM

The evidence has been presented and now it is up to the voters. Who will move on to the Final Conflict? Who will vie for the crown and reign supreme as the greatest band in hard rock/metal history? By this weekend, we will learn the two that will battle it out…