MAAF BOX

By Emery Columna --

Queen is one of those bands that you either get, or you don’t.

Before we go any further, it may be a good time, if you haven’t already, to read my article from February 11th, 2016 regarding Queen’s 1975 performance at the Hammersmith Odeon.

I saw Bohemian Rhapsody twice to sort of burn the images into my brain and weld the songs together better for me.

It is funny that Brian May is an Astrophysicist by calling, who happens to be one of the greatest guitarists on planet Earth. Could it be that the stars aligned specifically to bring about the Mothership that is Queen?

Think about it… each member of Queen is a maestro of sorts on their instrument. It should be noted that John Deacon is a highly underrated Rock bassist and in my estimation was overshadowed a bit by the prodigious talents of Mercury, May and Taylor, but it wouldn’t be the same band without Deacon.

I’ve always felt that the decade spanning 1975 to 1985 was Queen’s power stroke, their run for the ages. It’s great to see that others associated with this film felt the same way. See the February 11th, 2016 article.

Imagine someone born with a God sent gift, but something that lesser beings would consider a defect?

One can only imagine the indignity Freddie Mercury must have faced growing up with his unique dentistry and all the attendant mockery he must have endured growing up… But great gifts are not understood by the common man, who can only see what is on the surface. To be mocked and despised for having a gift that no one knew would be unleashed upon the masses like some meteor shooting down from the Heavens.

The movie deftly addresses Freddie’s physical blessing: He was born with an extra set of incisors which created more space in his vocal cavity, giving him more dynamic range than other mere mortals who’d ever deign to sing Rock music.

Ever wonder why Freddie performed with a truncated mic stand? It’s in the movie.

So on with it…

The most excellent PR department at Hollywood Records sent me watermarked sound files to listen to. My first impression of the sound was that the music was mastered for iTunes because it sounded lush and nourishing… and it is! I loved what I heard so much that I bought the soundtrack and that is how I discovered the mastering.

Here’s my signal chain for this review:

Soundtrack mastered for iTunes >> iPhone >> Flat response Beyerdynamic DT250 headphones >> My Golden Ears.

The sound of this album is pure sonic deliciousness! If you are new to Queeen, by all means enjoy… then work your way back through Queen’s formidable catalog to get a full grasp of the greatness of Queen.

The production value of the Soundtrack is at the top rung.

May and Taylor show run a team that includes engineer/producers

Justin Shirley-Smith, Kris Fredriksson, Joshua J. Macrae

and awesome mastering by Bob Ludwig and Adam Ayan.

May and Taylor took great care with song selection and worked with the producers of the movie to seat the proper songs so perfectly in this movie.

Rami Malek is spot on as Freddie Mercury and became the man we speak of. Bravo, Rami!

Gwilym Lee can play the guitar and does an awesome Brian May. Quite believable.

Ben Hardy and Joe Mazzello deliver top notch performances as Taylor and Deacon.

How can you not just love the adorable Lucy Boynton, who plays Mary Austin, Freddie’s life long muse.

Growing up on Long Island, Queen was always on (WNEW 102.7, WPLR 99.1, WBAB 102.3) the radio. Radio in Metropolitan New York in the 70’s and 80’s was awesome. I especially loved listening to 99.1 WPLR New Haven, which had amazing programming.

Can you think of a band with better harmonies than Queen?

Check out the harmonies on Somebody to Love! The multi-layered harmonies on this song are exquisite. Roger Taylor really is a Ginger Baker/Mitch Mitchell hybrid of a drummer and anchors the rhythm section with John Deacon thumping away on bass. Of course, there is always Brian May’s sweet top end on layered lead guitar.

Prior to Freddie joining the band and forming Queen, Taylor and May were in a trio called Smile with a chap named Tim Staffell, who handled lead vocals and bass at the time. For this movie, Tim reunited with May and Taylor to perform Doing Alright 50 years later. It’s a pretty cool track and has some astounding crunchy lead guitar work by Brian May on it.

Keep Yourself Alive finds Freddie riding a sonic surfboard in live performance with killer backing from  May, Taylor and Deacon.

Queen mastered the ability of placing gorgeous harmonies within the framework of hard rock. I don’t think any other band in history has ever been capable of equaling this feat. Queen has been hugely influential on generations of rockers.

Bohemian Rhapsody is an Epic on a Classic scale. It has classical movements in the sequence of the song. I count at least 5 or 6 movements to it. The movements leading up to Brian May’s titanic solo imply genius on the part of the band, who, it is an understatement to say, put a lot of effort in to perfectly crafting this song. Bohemian Rhapsody is the song Queen came to Earth to give to Us.

Now I’m Here displays Queen’s ability to involve a crowd in their doings. The crowd, involvement, participation and enthusiasm are palpable. I cannot emphasize enough Freddie’s amazing dynamic range!

What I remember of Crazy Little Thing Called Love is back in 1980, I was in a dark room developing film with a beautiful girl named Ann Marie, and there was a moment where I almost mustered the courage to kiss her, but I was chicken shit. A moment I can never get back and will always remember whenever I hear this song.

Freddie wrote Love of My Life for Mary Austin, his lifelong muse. This particular rendition is taken from a concert in Brazil at Rock In Rio. It captures what Queen was capable of: involving a crowd in their doings. The feeling in this song caused the Brazilians to memorize the words to the song and recite it back to the band as if they were singing the love song back to Queen.

Disco was really big in the mid to late 70’s and threatened for [a minute] to obliterate Rock Music.

The movie depicts the evolution of Another One Bites The Dust and the acrimony in the studio regarding whether the band should record a disco sounding song. John Deacon came up with a bass lick that would go down in History as one of the most recognizable… and would lead to one of their biggest hits.

Under Pressure - ...”love dares you to care for the people on the edge of the night, and love dares you to change your way of caring about ourselves…”

Who Wants To Live Forever is tragically juxtaposed to the scenes where Freddie’s been diagnosed with AIDS. I just love the sound of this song and the orchestral arrangement. It is Queen’s sonic deluxe and puts on full display Freddie’s full dynamic range.

The sequence of songs from the Live Aid Set chronicle Queen’s triumphant comeback, so to speak.

May, Taylor and Deacon had been estranged from Freddie for quite some time prior to Live Aid and hadn’t played together for a spell. The movie depicts the circumstances leading up to their reconciliation and going into rehearsal in earnest preparation for their Live Aid set.

Freddie had a boyfriend who was blocking all contact from the outside, so he wasn’t even aware that his management and true friends were trying to reach him about playing Live Aid, the benefit for Africa. The Music Event of the century that everyone who was anyone in Music was going to perform at.

It is true that the doctors advised Freddie not to perform at Live Aid because his vocal cords were in disrepair and not pitch perfect, but Freddie, ever the trooper, soldiered on.

By the time Queen hit the stage at Wembley on 13 July, 1985, they were prepared to fulfill their destiny… to conquer England, and subsequently The World on that day.

If you listen closely, you can hear that Freddie’s voice wasn’t perfect on that day, but he more than made up for it with his heart! Freddie sang his heart out on that day.

& you could feel Freddie had the band and the crowd behind him all the way. There are certain moments during the set that you can hear Roger Taylor subtly back vocals for Freddie to fill in the spaces where Freddie faltered. That showed me Taylor’s sensitivity and instinctual feel for Freddie. The Love.

Oh, and the crowd at Wembley! The movie implies that the band felt that they were ancient history going into Live Aid and overshadowed by acts like Madonna, who was huge in 1985. Brian May doesn’t believe that the crowd at Wembley was a decidedly Queen-centric audience, but I beg to differ in the sense that Queen didn’t realize how greatly beloved the band is… all over the World, let alone at Wembley on that balmly Saturday in 1985.

The Movie also depicts how Freddie had a distinct sense of history and knew that Queen had the potential to create a lasting legacy, a performance to echo down the Halls of History, one for the ages.

And for this decision at the last moment to play Live Aid, Queen’s performance is widely regarded as of the greatest in History, indelible and permanent.

Just in time for Christmas, the perfect stocking stuffer!

Humbly submitted to Queen.

Your loyal subject,

Em

MAAF Box Rating: 5 Stars

MAAF Box Listening Pleasure:

Somebody to Love, Doing Alright, Killer Queen, Bohemian Rhapsody, Now I’m Here, Crazy Little Thing Called Love, Love of My Life, Another One Bites the Dust, Under Pressure, Who Wants To Live Forever, The Live Aid Set, Don’t Stop Me Now.

by Warren Buchholz--

Once in a while, I’ll talk about love. Not often. But it happens. And it’s not the kind of love that people often hear or think of. It’s a different approach, and one I can only find in music. Rarely. Just look out over the upper deck in Amoeba Records at the vast ocean of music, and I will tell you there’s only 20% of the kind of love I’m talking about in that building. You’ll know it when you hear it. When it’ll tingle your senses and send a rush of blood through your body.

That’s Triumphant Hearts.

There are thematic proliferations that happen as the Triumphant Hearts progresses. A theme of mortality develops, which is heard in one of my favorite tracks on the album, “Hold on to Love”, which I fully understand and hope that this is the single that resonates within the rock n’ roll--if not the entire music--community. Time ticks by. The gap closes. Yet every moment we spend here, we do it out of love. We do it to experience the beauty of this life--no matter the hand that’s been dealt to you. We learn to cope. We learn to move forward and use our talents in any way possible.

Enter Jason Becker. I’ve said it before, and I will say it again: Jason Becker is Beethoven for the 21st Century. Listen to how he composes each song. Each delicate note has purpose. Every instrument ebbs and flows throughout each piece. Each guitar lick enriches the depths of each intricate movement. It makes sense that this isn’t a rock album. It’s a classical album. One I hope that will be around long after I’m gone.

“Fantasy Weaver”, “Once Upon a Melody”, and “Triumphant Heart” are good examples that represent how Jason’s diverged away from his days of classical metal. Remember, “wave goodbye to yesterday.” The man may not have his fingers, but he’s got that rapid-fire brain that instantly propels you forward into any song. Triumphant Hearts stays prolific and gives back to his fans in any way he can. There’s a bit of everything here. You can get a taste of his Van Halen days in “Taking Me Back”. “Hold on to Love” throws us back into an ‘80s contemporary ballad. “Magic Woman” goes full Renaissance and lulls us into a gentle lust with its use of multiple genres and beat structure. The producers did a wonderful job of mixing tracks for each of these songs.

If you listen to this album for any reason at all, play it out of respect for the music. Combine that love with the efforts of folks like Steve Vai, Marty Friedman, Richie Kotzen, Joe Satriani, and Guthrie Govan, you will see that Jason has hit his stride with the culmination of years of hard work that has led this ultimate payoff. The album is a love letter to the best parts of life--those parts that come after we’ve waded through pain and ventured through rough times. They’re glimmers of hope and wonderment. A small sliver of happiness shines through, and those are the moments that make us truly appreciate every sunrise and sunset. Listen to “River of Longing” (both parts). Get lost in it. Remember the brain who composed each song. Learn the incredibility of each musician’s talent. Replay. Rinse. Repeat. Do it for the entire record.

His album has been a long time coming, and the anticipation of the wait has been worth it. Listen, just listen to how rich each instrument sounds and what it brings to the table. I was--still am--in a stupor with how eloquently didactic the deeper meanings of Triumphant Hearts brings. Maybe I’m looking too far into it, but I can’t help see my own story being interwoven into the music. This is what music is. What music is supposed to be. What music represents.

I’ve known Jason now for a couple of years, and he has inspired me to keep going. To be free to be who you want to be. To learn the instruments. To teach the poetics. To push past the shitty parts of life, and to enjoy the good parts, and to embrace what has yet to come. Don’t dwell on the past, it does nothing for nobody. And to be kind.

Be kind.

I think Jason teaches that to us all through his music. Life is hard enough as it is, be kind and listen to the music. With the kinder we become, we have the potential to become empathic by choice. Empathy is what motivates us to be stronger.

I wish I could meet Jason and everyone involved in making this. Especially his parents and family, who through so much love and kindness have allowed their son to continue to flourish with what he does best. They are the stars here. The heroes of this love story. Thank you for doing what you do to keep his love alive. This album has been quite an emotional ride, and I am always thankful for such a feat. This is my love letter to music, and I appreciate that Jason Becker is the man I get to write it to.

“This flesh has much more to say.” I think I can speak for us all that we are all listening.

by Emery Columna --

Back in the day, I was sitting in a tour bus behind the Universal Amphitheatre interviewing some of the members from Gravity Kills.

The one thing I took away from that interview, among other things was that Jeff Scheel hipped me to Sarah McLachlan, who I had never heard of in my life. That stuck with me.

About a year later, Sarah came out with this awesome album, but I had already moved on from Rock Around The World and had no outlet to look upon this album with Favor.

So I am writing the review I should have written 20 years ago… Here it comes. A friend of mine got really sick back in October, and it was her sickness that made me realise that I really loved her and cared deeply for her. I knew I was in it to heal her.

Despairing for her life, I could only turn to music to comfort me and her at the same time. I turned to Sarah McLachlan and her album, Surfacing for relief, and boy did she deliver.

This is one of the most beautiful albums that has ever been recorded. The sound of it comes from another place that is not of this World & I dig that!

Not to be materialistic, but better cars have better sound systems. You aught to hear this album in my Lexus. The production value, engineering and musicianship are at the top tier. It is no wonder that this album was such a big hit and Sarah went on to World Wide fame with it.

This album is chock full of golden nuggets!

Of importance is the notable presence of Ashwin Sood on drums and percussion. Anybody who knows me, knows that many great drummers have crossed my path over the course of living. Why, I don’t know, but it’s a blessing I treasure. Needless to say, I dig the sound Ashwin Sood makes on his drums and I believe it is fundamental to the sound that was created on Surfacing.

Some of the songs I dig on this album are:

Sweet Surrender

Do What You Have to Do

Angel

Black & White

Full of Grace

But my favorite song from this album is I Love You. This is the song I sent to my ailing friend to try to tell her how I feel about her. I sent this song to comfort her, because it has this sound to it that is ethereal and heavenly. Sarah’s voice on this track is particularly Angelic.

I felt that I owed it to Sarah McLachlan to write this review because I was powerless to speak on it when the album came out, but now I have cause to write about it due to the crisis in my friend’s life and my resultant anguish over her potential loss. 20 years late, but Thank You, Sarah!

Love,

Em

MAAF BOX RATING : 5 STARS

MAAF BOX LISTENING PLEASURE: THE ENTIRE ALBUM

--by Emery Columna

18 years ago I was sleeping in my car in the parking garage at Raleigh Studios right across the street from Paramount Pictures. That was a very difficult time in my life and filled with real danger...

Flash forward 18 years & I’m listening to 14 songs through 13 speakers in my Lexus, hurtling up Snow Memorial Highway just North of Brooksville, on my way to Inverness. I’ve got COME TOMORROW playing at 35 on my excellent Lexus sound system.

Needless to say, I am supremely grateful for the luxury that is Lexus and the fully saturated sonic effect I’m getting on my journey. It’s a wonderful drive, as I wend my way past verdant pastures full of docile livestock and large homes set back from the two lane highway... the surroundings do not distract from the music presenting itself to me.

My buddy, Bradley Caballero is way heavy into Dave Matthews and is an avid collector of the artwork from all of Dave’s tours. Bradley has Dead Head level enthusiasm for DMB and he is the one responsible for getting this groovy album into my hands.

23 years ago, my whole life was consumed with finding the hit and making the recommendation and then getting the satisfaction of hearing it play on the radio. 22 years ago the RCA promo guy told me nobody could hear what the hit to go to radio with should be for a Dave Matthews album that came out that year. I’m like, really? “It’s Crash Into Me”, I said. The rest is history and from that point on all the Major Labels would read what I wrote about their artists to confirm what song it was that should be played on the radio.

The Music Industry had a different business model 23 years ago and getting the right song to play on the radio so people would buy the album was a big deal. Now the Music Industry cuts deals with Spotify and other streaming services as a way of getting the music out to the people. I don’t really think that business model helps the musician in the long run, but it sure does help the suits. And we move on.

So I’m in a different space in life where I don’t feel the need to find a hit anymore, but the ability to find one still comes easily to me. So I’m cruising at 60 mph up to Inverness enjoying this album like a civilian would.

I’ve got a replay button on my steering wheel and the first song that I really dig is the first song, Samurai Cop (Oh Joy Begin). I guess the folks at RCA didn’t waste any time with that one. It’s a hit. The beauty of all of this is that I can strongly make the recommendation that you take a drive somewhere, anywhere with this CD in your car, or blue tooth it from your cell phone. Either way you are going to enjoy the sonic satisfaction of listening to one of the best albums of 2018.

Many thanks to Lexus of Clearwater for the new speakers!

by Emery Columna -

When I wore my hair long, I used to go to this hair cutter that supposedly cut Yngwie Malmsteen's hair. Well, the impression that I got from that guy was that Yngwie was some sort of Megalomaniac, and so the trepidation within me going in to this interview was rather heartfelt because I was worried about keeping Yngwie's attention long enough to generate a decent article.

Talking with Yngwie was one of the easiest interviews I've ever done. Yngwie Malmsteen is a regular guy that happens to be a genius who puts on his pants the same way we normal people do. I did not sense one shred of Megalomania in any shape or form when it came time for our phone conversation. I guess it boils down to if you can handle a person that's done very well for himself. As the interview unfurled, I became aware of an extremely articulate, intelligent, well mannered and self-assured individualist...not some freak heavy metal self-obsessed weirdo.

On the Eve of Yngwie's departure for a European Tour in support of Magnum Opus, he called me (after an all day dry-run of material for the Tour) from his home studio.

He's the Music Director/Conductor of the L.A. Philharmonic. He sounds like he's Finnish...

Why Rock And Roll, Yngwie, why not, why aren't you a world class violinist? Well, it's quite simple, because I started playing electric guitar before anything else, yeah?, I didn't take classical lessons or anything like that. When I was 7, I started playing, actually, I got hooked on to Hendrix when he died, in fact, I had a guitar when I was 5 and I started playing when I was 7...and then when I was 8, my older sister gave me a Deep Purple album, Deep Purple's "Fireball", and then I got INTO Rock after that. So I always liked that hard edge, you know?, I always liked that run around the stage, play with my teeth, throw the guitar around and all that stuff, BUT...I think that most...well, nowadays it's completely out of control as far as quality, but even when Judas Priest and Iron Maiden and bands like that were out, I mean compared to what's out now, they were really good, but to me, it felt a little limiting...so I became heavily, heavily Classically influenced...Classical Music became very important to me.

Where in Florida are you? Miami, Miami Beach.

Why did you turn to Classical, ...for inspiration? Well, basically what happened was, that I felt that most guitar players sounded alittle bit like other guitar players and I found it- not boring- but kind of limiting, you know. Even though I Love Ritchie Blackmore and Hendrix and everything, ...it's that pentatonic blues scale that pops up all the time and it's over and over and over the same, so I became much, much more influenced by classical violin, than I was by any other guitar player...and ofcourse, it's escalated in to me studying Classical music very heavily, you know, like Vivaldi, Bach, Paganini, Tchaikovfsky, Albinoni, you know...Corelli, and that became much more of an inspiration source to me than any Rock band, but I still kept the Hard Edge...that's how my style came about.

Why do you list Enzo Ferrari in your liner notes personal thanks? Because I own two Ferrari's. I have a black 308 with Borrani racing wheels and I have a red Mondial cabriolet.

Did you get them prior to Enzo's demize, since a few Ferraristi think that there are no real Ferrari's after the Great Man's passing. Yes, oh these are quite valuable, they have like no miles...one of them has 800 miles and the other has like1200 miles. So they are in absolutely flawless condition... I'm a Ferrari Freak, you know.

What year is your 308? '83 Quattrovavole, it has four valves per cylinder, so that makes it better and also my Mondial is an '85 and that's red with the black ragtop.

If you have time in the Spring- I'm gonna pitch something to the Editor of Automobile Magazine, David E. Davis, I want to do this Heavy Metal Shootout and all these guys from Heavy Metal that like to race-I mean it's just an idea right now, but if you're interested, I want to get You, Vince Neil, and a couple of the other guys and just Drag. I mean, I'm going to pitch this to David E. Davis, Okay? Sounds like...I'm In, man.

You want to do it? Yeah.

Give me time to pitch that to Automobile Magazine and get it together. What time of the year would that be?

Well it's in the air right now, but I'm hoping for the Spring. I'm hoping to get the Ferrari people interested so... So you mean I won't drive my own car?

No, no...we can do something like the 348 Race Series sort of thing. I don't like them...

Do you really want to drive your own car? Well, but ofcourse I don't want to hurt it...

Let me just work out the particulars... Yeah, if you want to Get me a Ferrari, get me a Testarossa or an F40...Get me the F40, there's no way no one's gonna win. (Laughter)

When you listen to the violin, which Artist or Composer is the best, to you? As far as composers go, Vivaldi, Paganini, and Tchaikovfsky...but as far as people that live today that actually perform it, I think there is no one that can touch Itzac Perlman...no one...he's got so much feel, and so much...he really does it well, Mintz and all those are very good too, you know.

Have you ever been turned on to Nadia Salerno Sonnenberg? No.

She's like the Jimi Hendrix of violin. Oh yeah?

You ought to check her out. She's out there. I mean you've got to go see her perform live. She's like a guitar player, she's crazy. Yeah? Very Classical?

Yeah she does Classical, but the way she plays is like Jimi Hendrix, man, I mean I don't see how she doesn't just snap the violin in half. Very, very passionate. That's cool.

What's your rig like for Studio work as opposed to live? As far as the guitar equipment? Yeah, the same as live.

The Same as live. Yeah, there's no difference...It's a Fender Stratocaster, Marshall Stacks, and that's it.

JCM 800's? No. (In a whisper) No, no, no, no...50 Watt Mark II's, yeah, the old one's they're from like 1969 til about '73.

Do they have the Celestions in them? Yeah, they do. There are Celestions in them. There's one more interesting things that you night want to know, is that one of my biggest dreams ever just came true: I finally built my own studio, And it's not like a demo studio or like a home studio, although it is in my home, it's got the absolute top of the range equipment, like a Studer...

Yeah, I know Studer... It's really great 'cause I can play anytime I want, record anytime I want.

How far is it from your pool? I can see the pool from the studio...It's a perfect setup.

When I go out to Florida to see my folks, I'm gonna come by and see your setup. You got it!

Any other Rig stuff, any pedals? No.

Just pure guitar. Yeah.

How did you get in to the Scallopped neck? That's so strange. Strange?

Yeah, well, not a lot of people can Play a scallopped neck. Well, that's a long story really. When I was about 13, I was like an apprentice at a guitar Luthier because I really loved,...I used to build my own guitars and I used to mess around with my own guitars...and one day one guy came in with a 16th Century lute that did'nt have any frets at all...it was wood, the tip of the wood, it was carved out on the neck and the tip of the wood acted as the fret...I just liked, it looked really neat, I thought, so I just did it on one of my not so good necks, and all of the sudden I Really Liked it so I did all my good necks, and that's how it happened. Then later on, I found out that's how Ritchie Blackmore does that too. I was a Blackmore Freak when I was a kid, but I did not take it from him, as you can tell. I actually influenced quite a few people to do that, for some reason. Billy Sheehan, for instance, when we were touring together http://www.ratw.com/years ago, he did it on his bass, and Ulrich Roth from the Scorpions and Electric Sun does it now.

So what kind of frets do you use? Jumbo frets? I use the hugest frets you can get.

Bass frets? Bigger than that...they're absolutely humongous.

You get them Custom? Yeah, Jim Dunlop makes them.

What about your Machine Head? No, it's stock.

Your Wang Bar? It's stock.

Locking Nut? No, they're all stock.

Have you been fortunate enough to get any of Jimi Hendrix's guitars? I was on my way to get one once, but when I finally saw it, I realized it wasn't his, the guy was a Liar. But I do however, have quite an elaborate guitar collection, it's reaching 200 now.

Do you play all of them? No, some of them are just strictly collector's items. I have one of the http://www.ratw.com/first Strats ever built: March, 1954. I have a few of the very, very rare custom colored ones like Shoreline Gold and Lake Placid Blue, Atomic Blue, Fiesta Red...those guitars are worth $100,000 plus.

Of today's Luthiers, who's your favorite one out there? I don't know that many, but I use one guy down here, his name's Larry Lashbrook, and he's a genius...he does all my scalloping...I can do it myself, I'm just too lazy.

The wood on your Strat, what do you use, Alder? I use the lightest ones I can find, you know, I like them light. And I like the contouring on the body to be really thin, quite deep.

Do you use a cord? I use Samson wireless systems, they're really good.

Are you ever worried about them fucking up on you live? No, they're really good, and believe me, I beat the hell out of my guitars...

Are you happy with the band you've got now? Yeah, Have you heard Magnum Opus yet?

It's great, I loved it. Yeah, well it's the same lineup.

How's the Gaalaas guy? Very good.

How did you find him? I got a friend called Deen Castronovo, and I wanted him in the band cause I think he's a Monster, and he said he'd love to do it but that he was stuck with Ozzie and other commitments and stuff. And he said that he knew this kid that just burns and his name is Shane Gaalaas...and I took his word for it and called him and that was it.

What guitarist out there today do you listen to for inspiration? Nobody, I actually stopped listening to guitarists altogether around 1975/76...I just was't interested anymore in guitar players. I think there's a lot of good guitar players out there, but they don't inspire me and I don't get influenced by them and all I can say is good on you to them, you know, let them do what they do and I do what I do.

Do you listen to John Coltrane at all? Never heard him.

John Coltrane is Jazz Saxophone. As far as Jazz players go, I think that Allan Holdsworth is my favorite.

So you don't listen to Jazz Saxophone? No, I think I've found my thing: Classical violin...As far as my biggest inspiration...on you know, the actual notations, arpeggios, lines and linear things and so forth...as far as chord progressions and tonality... I'm very much influenced by Carl Philip Emmanuel Bach, Antonio Vivaldi, Albinoni...

Which is the tune by Albinoni that you like? It's called Adagio...it's a very sad piece...it's very, very good.

I have a vinyl version of Pachelbel's variations on a theme by Albinoni on the Erato Label... It's one of the most famous compositions, along with Bach's Air and Vivaldi's Four Seasons, Pachelbel's Canon, and all that...

Have you ever heard Pavan For A Dead Princess? Which one's that?

Oh man, it's this amazing piece-I'll send it to Stacy 'cause I think you could do an adaptation of it for Rock. I'm Sure.

If you could pick an Ultimate Rock Band, who would the members be? On guitar it would be 1972 Ritchie Blackmore for straight up Rock, it would probably be him or like Uli Jon Roth on guitar...as far as drummers, I like Simon Phillips and Cozy Powell...on bass probably Jeff Berlin...he used to be with Holdsworth, but he can play anything, but he's more of a Jazz player, ...him or Billy Sheehan I think...yeah, keyboards would be Don Airy or John Lord...I just like the way they play, both of them...Keith Emerson is real good, too.

Who would you have on Vocals? Ron James Dio, no question about that.

When you came to America, you played with other bands. Yeah, I played with Steeler and then I played with Alcatrazz. Steeler I made one album and one tour with him and I did not like that at all...it was not my cup of tea, although I was only in the band for 3 or 4 months or so and I was 19 years old...I had bands in Sweden since I was 10...so it wasn't like a new thing or anything to me. Anyway, then I joined up with Graham Bonnett and formed the band Alcatrazz and I must say I liked that...I liked the songs, I think they came out really well...

How did you like doing Yngwie Malmsteen's rising force? Well, it was the same as it is now, it's just that I called the band Yngwie Malmsteen's Rising Force. If I wouldn't have had so much problems with the members, I would have only called it only Rising Force, instead of Yngwie Malmsteen, although every note you hear I write, you know.

Do you ever get obstructed when you write? I write in a very spontaneous manner, basically I just pick up the guitar and the music comes out by itself and I just sort of go, wow, well that was pretty good and then I show it to the guys...most of the time I record it first...you know, if I could have found a bunch of guys that wouldn't like become heros up their own nose and stuff like that...I would have probably kept the same lineup and called it Rising Force, but I found that very difficult, because most of the time when we got on the road, they have not been used to touring so much before or not at all in some cases, and to have all the girls and the vodka, and drugs...you know, everything gets to their head and all of the sudden they think they're stars, and then they start acting like they should do what I do...and they should be leaders and they should write the songs and stuff like that and that's where the problem is...

Are you a lefty naturally or a righty? Why?

Because you wear your Rolex on your right hand and not on your left. That's a funny question and I don't know why, I've just always done it.

Where did you get it? I have like 6 of them...

So you're a Rolex man. Yeah.

I'm a Rolex Man. That's Good.

My boss is a Rolex Man. That's even better.

Rolex people have a certain thing about them.... Yeah, I got the President with diamonds all over the place, I got the Daytona in gold, and I got the Submariner in Gold, I got a stainless steel Daytona and a stainless Submariner...

Have you looked at the Omega Speedmaster? I've been looking at them, believe me.

You've got to get the one's before 1969 if you want them to be of value. They're quite nice...Are they quartz, or are they movement?

They're perpetual, but you have to get the old ones, not the new ones... They're perpetual...

Yeah, but you have to get the ones prior to '69 to be worth something. Do they look the same?

Yeah, but the old one are the ones that are valuable. They have this store down here called Gray and Sons, they have hundreds of Rolexes and Brietlings...they have Everything...they have Cartier too, but I think they're a little faggy...the lip on them.

What happened to you in 1987? I learned a very bad lesson: Don't Drink & Drive. I was drunk and I drove my 12 cylinder Jaguar E-type into a tree...It took a while to get back from, but I'm in better shape now than I've ever been in my life. I've got a great tan, I feel Really Good I'm working out and I play tennis every day.

Oh, shit, you play tennis? Yeah, I have a tennis court here.

I used to tune up satellite players on Long Island...I'll kick your ass! (Laughter), Yeah to be honest with you, I'm not that good, I just do it for fun and the excercise.

I've been a tennis bum since I was 13 and I love it! It's great! It's great, it's a lot of fun.

Do you have a U.S. Open surface on there? It's clay...

Har-Tru? Yeah, something like that...I like to use Head raquets...I play mostly with my tour manager, his name's Dave and we get a tan, go to the pool, play tennis, go to the pool, have a few beers...and that's it.

What kind of strings do you use? Oh, on my raquet?, I don't know...it's just stock...I don't know what it is...

Once you get a little better, you should switch over to gut...Bablolat VS Africord... Hey you know, there's a new technology out there...stretch raquets... Is there?...I actually need a new raquet, I wore this one I have out....

The new raquets out today are an inch and a half longer, which gives you greater raquet head speed on the ball... You mean the handle, or the overall length?

The overall length is 1&1/2" longer...Dunlop, Prince, and Wilson are putting out the bigger models... I got a couple Dunlop raquets, but I don't like them as much as the Head...

I recommend the Wilson 2.8 Si Hammer Stretch, with 17 gauge Babolat VS Africord...Go to your tennis shop and ask the guy for the Wilson, try it out and see what you think... Hmmm, you're good at that stuff...huh?

Yeah, when I come down to Florida I'll give you some lessons, and...Let's put it this way: I'll play you for one of your Daytonas! (Hearty Laughter) Don't think so...

Hey man, it was worth a shot... Yeah, cause you would get it!

Is there anything you want to say to your fans? Well, I hope everybody likes the new album, Magnum Opus, and that they can bank on the fact that there will always be an Yngwie Malmsteen and I will never turn anybody down and I will continue to put out the records that I think that my fans like...That's A Promise.

All right man, give me time to get that Automobile Magazine Heavy Metal Shoot Out going... Yeah, get me an F40, I feel really comfortable in that car...

All right man, Good luck on your tour and stay safe in Europe... You know it, man.

Come back to us safe... You Got It.

All right man, Thanks. Take Care.

And so, another Heavy Metal myth has been exhausted for you here at MAAF Box.

Yngwie Malmsteen is a bright, pleasant young man with a bright future. Yngwie seems more like the type of individual you'd find sucking down coffee at a cafe off Broadway near Julliard, since that is where he would be...I don't picture Yngwie at Berklee or at Musician's Institute...

by Warren Buchholz

Introvert (Matt Voscinar) has worked his ass off for nearly a decade to release his new album, and it’s been worth the wait. After his EP Where Does It Come From, Where Does It Go Forever? came out in 2010, Introvert has taken his time to slowly craft and perfect A Graveyard, A Garden. His meticulous detailing of each sentence packs emotional imagery into poetic love/hate letters of health, body, and soul.

The romantic symbolism of mortality serves as a drive for survival. Each song guides us through imbalanced musings of a brain in chaos, which, in turn, masks daily life through continual staged performances. Pain quickly hides within false promises, and the taste for death insatiate an insufferable journey for wellness.

it didn't take long before this body became a costume that I couldn't take off

I can’t find an album more in touch with a broken reality as A Graveyard, A Garden portrays. Read each sentence first. Then listen. Rinse and repeat. The poetry reminds us to look within ourselves and embrace the pain we acquire daily. We revel in the triumph it takes to heal ourselves--but only after we face the muddied darkness we hold dearly. The message is clear: all pain cannot be healed completely, and we may never reach a place that satisfies our needs, but we can, and will, find ways to keep living.

I can't promise things will change. All that I can say is there's evidence of thriving life peaking over all the graves.

MAAF Box listening pleasure: the entire album. Seriously. You need to buy this.

You can purchase the album here

by Warren Buchholz

I sit down with Matt Walker to talk about his album Half Awake, now available on itunes and on his website. We talk about his album, the creative process, and what it means to be an artist of many talents. We focus on the idea of isolation and how it can affect the way an artist creates, as well as finding ways to manage the plethora of different projects.

You can find our review of his album here.

by Emily Bowers

If I had to use one word to describe how I felt during Star Wars: The Last Jedi, it would be shook (excuse my millennial vernacular). There wasn’t a single moment of that film where I wasn’t on edge, shocked at what I saw, and unsure of what was going to happen next, but all in the best way possible.

The entire film was beautifully done, and it kept me wanting more. The Force Awakens was the start of a new chapter in the Star Wars saga, but this movie was more than just a continuation of the series. It had character development and a plot that taught a powerful lesson. It had moments that tugged at your heartstrings and moments that will leave you on the edge of your seat. There was comedic relief and cinematography that took my breath away. This movie will take you on a journey, and it’s so worth it.

I love this movie, I will probably not stop thinking about it for a year, and I can’t wait to see it 12 more times in the theater.

by Will Phoenix

The Chicago-based band Hawk is the most recent music project by Los Angeles-based singer-songwriter, guitarist and alt-country act Be founder David Hawkins. Their recent release I’m On Fireis a remastered, re-release of Hawk’s 2014 album. Hawkins, who leads the way with his vocals, guitar and Rhodes piano, is backed by Aaron Bakker, Tony McQuaid and Bill Phillippe (guitar), Ed Ludwig, Jeff Maslouski and Randy Morris (drums), and Regan Souders (bass).

The 11-tracked disc opens on “Mother Road” and a riff that leads one to believe that Hawk is tunefully tipping his hat to Lenny Kravitz. It’s a serious opener that gets your attention. Not to be confused with the hit Bruce Springsteen song from 1984, the titular “I’m On Fire”, is another 1970s retro-tinged original.

“Turn Up The Radio” makes it obvious that Hawkins is heavily into his own musical roots and that he is specifically striving for material that is perhaps a cross between those same lines and a bit of garage rock. “Enter The Sun” smacks of that same signature sound if not more so proving his consistency. It’s followed by “Topanga” which continues to demonstrate the same basic lyrical themes and rock influences.

The slightly lengthy “Sunshine” is a trippy track with a slightly psychedelic edge due in part to the tambura drone. The line: “I’ll take you where the sun don’t shine” opens it up to questions about Hawkins’ sense of humor and to potential misinterpretation by both critics and fans but, hey, it works.

“You And Me” brings back the rock but is perhaps slightly overshadowed by the next number, an early fave of online critics, “C´mon Edie” which is actually a tribute to his grandmother and her fragile memory. Not to be confused with 1983 hit by Spandau Ballet, this too is an original song among a group of otherwise obviously inspired audio offerings that strays slightly from the expected here and yet seems to be nigh perfect for the college radio crowd. Next is “Love Me Too” which signals the work is nearing the end and carries listeners into the closing cut “Higher” which aptly ends an album that often feels friendly, familiar and warm with a regularly retro-reflective signature sound.

You can pick up pieces of 60’s and 70’s among the occasional urge to go beyond within a disc solid with three-chord progressions and suitably-situated guitar solos. There is a definite respect here for classic rock acts like The Beatles, The Rolling Stones, and The Velvet Underground. So, before you “Turn Up The Radio”, check out Hawk’s latest platter I’m On Fire.

by Emery Columna-

I saw She's The One on Labor Day with a good friend of mine from Bethesda, Maryland...

Tom Petty's music is right on the money and I'm fully tapped into the vibe of this movie every time I hear "Walls, #2". The only other thing I'd mention about the music in this movie is that there's a cut by the Isley Brothers in the movie in one of the bar scenes that is well placed, oh and the cut is "Who's That Lady?". Other than that, it's pretty much Tom Petty all the way. "Angel Dream # 4" is the shit.

Years ago I got to thank Tom for "American Girl" over at Mel's in Sherman Oaks... I wish I could thank him for this Soundtrack since it's got that same exact vibration. He will be missed in the world of rock n’ roll along with the best of them.

MAAF Box Listening Pleasure: Walls(circus), Climb That Hill, Angel Dream no.4, Hope You Never, California, Walls no.3, Angel Dream no.2

by Warren Buchholz

MW Walker shakes me to my bones with the way he writes his lyrics. I’ve had his album Half Awake in my possession for some time now, and I’ve listened to it several times. And every time I do, I find something new about it musically. You can feel the intensity in his words as he crafts each song meticulously from an emotional discourse filled with passion, grief, loss, and joy.

“Half Awake”, the first track on the album, should be a hit single. It’s my favorite on the album, and I’ve listened to it more times than I can count. He’s got a bluesy folk rock feel to most of the songs, which gives them a gritty yet polished feel to their composure. “Mud” is the perfect example of a hard hitting melody layered upon a jagged dissonance. It works. Perfect Americana music for any day of the week.

“Sunflower” creates an ending to an album you don’t want to end, and I think that’s the point.

That’s the best feeling I’ve ever known

I can dig deep and relate to the ending of something wonderful, in which we want more, but that’s it, bud. There’s nothing left. The day is done. The sun has set. The album is over.

I’ve listened to a shit ton of music, and I can honestly say, this album is on my top 10. Really. Independent artists like Walker have shaped the way I listen to albums. This music lives within the details; not the other way round. For that, I am thankful. Walker possesses a musicianship that rivals the big boy radio indie bands. And I hope he succeeds in his future career. Give Half Awake a chance, and I promise you it’ll be the best music decision you’ve made.

PURCHASE HALF AWAKE HERE

MAAF BOX LISTENING PLEASURE: Half Awake, Mud, It’s Love, Oh, Lord, Sunflower

by Emily Bowers

* Warning!! Contains some spoilers! But if you haven’t finished season two by now then you really need to get it together. *

Stranger Things 2 made its debut exactly two weeks ago, and suddenly all was right in the world. I watched every episode in less than 48 hours and have spent more time than I care to admit looking at memes about the show online. Some might call that sad, but they just can’t recognize dedication.

I fell in love with the show after the first season. In my opinion, it was as close to perfection as a show could get. I was thrilled when I heard the creators of the show, the Duffer Brothers and Netflix, were going to make a second season, but I was also nervous. Could the new season come close to the genius that was season one? Would I be disappointed and lose some of my love for the show?

After the first episode, all my doubts about the new season were gone. I was hooked right from the start, and when I finished the last episode, I was ready for more. Season two exceeded my expectations, and I loved it more than the first, which I didn’t think was possible.

In season two, you have the same characters we all loved from season one, but a few new faces are thrown in the mix. The beautiful thing about this season was that, because we had already gotten to know the main characters in season one, we got a more in-depth look into their individual personalities.

We see Eleven’s backstory start to come together, see her powers grow stronger and learn a bit more about life inside Hawkins Lab. We watch as Will copes with the aftermath of the upside down, and how strong he is while being possessed by the shadow monster. We see Dustin and Caleb battle it out for the new girl, Max. We see Hopper become a loving dad again, this time to Eleven. We see Joyce fall in love. But most importantly, we see Steve Harrington grow into a loving, caring person who practically adopts Dustin and the rest of the gang. He is willing not only to risk his life for them but also give up the secret to his great hair.

In season one, we get a glimpse into the upside down, and the demogorgon that lives inside it. In season two, all hell breaks loose, in an epic and suspenseful turn of events. There are demogorgon babies, a large shadow monster that only Will can see, and tunnels that run underneath Hawkins that demogorgons run through. Like season one, the last few episodes focus on killing those demogorgons, saving Will, and closing the gate to the upside down for good. The team is back together and saving the world, and it’s glorious. Everyone works together, kicks ass, and saves the day.

The last few minutes of the last episode are reserved for happy times. Caleb gets the girl, Will gets asked to dance, Nancy saves the day by dancing with Dustin, and Mike finally fills his promise to Eleven to take her to the Snowball. All seems well in Hawkins, but right before the show cuts off, the world gets turned upside down – again – and the shadow monster is right back where it started; Hawkins Middle.

Where will season three go from here? What does the ending mean? Did the gate really get closed? Does Will ever catch a break? I need to know, but sadly I’m going to have to wait a while to get answers. In the meantime, I’ll be rewatching season two and scouring the internet for more memes and theories.

by Will Phoenix

Indie guitarist and singer-songwriter Joe Goodkin is working on a new EP titled Record of Loss. With a drop date of February 10, 2017, this EP is an apt audio follow-up to his previous EP Record of Lifeand a third release tentatively titled Record of Love. On this solo project, Goodkin records every song using a 1963 Gibson ES-125t guitar tuned to a non-standard tuning (DADGAD), recorded in every possible configuration, layered up to eight times per track.

The EP opens with “Nothing to Lose”. This song contains the same music as “Something to Love” which is the last song on the first EP, Record of Life and thus connects this new disc with the prior one. It’s a strong story of loss and has an unexpected ending as life often does.

The second selection is “Never Come Back”. Considered by some to be an aural palette cleanser, it is another song of loss and the fragility of life. This time the subject is Goodkin’s grandfather who reportedly died suddenly.

“Charlie and Roger” is the first of a trip of paired “name” songs inspired by his study of the Greeks who believed that if people sang about you then you lived beyond your mortal life. It’s followed by the second paired “name” song titled “Sarah and Julie”. “Sarah and Julie,” tells the tale of two women who died of a disease and further cement the overall concept of the EP.

The next number, complete with backwards guitar–for fans of that effect– is the final part of the song trilogy, “Eric and Gina.” It concerns his wife and her former partner whose act of suicide is referenced in his previously released piece, “Three Ghosts.” The personal references here are surprisingly honest and perhaps even somewhat brutal.

The EP’s closing cut, “For the Loss”, is an apt album endnote on abortion, death and the emotions experienced by those who survive. Overall, Goodkin has the ability to sing about depressing subjects and yet put a positive or at least uplifting spin on the songs of real life situations. The universal themes of his work, even though sometimes dark, are presented in a way that still offers the careful listener some hope. So check out Joe Goodkin’s EP Record Of Loss. You’ve really got “Nothing to Lose.”

by Will Phoenix

Mitch Hayes’ Heroes is a showcase of his skills as a singer-songwriter and guitarist. His second release, it is a blend of related genres including Americana, bluegrass, country, folk, reggae and story song. Hayes (acoustic guitar, banjo, and lead vocals) wrote all twelve songs here himself.

He is backed by an assortment of other artists including: Eric Lovell (electric guitar, bass, dobro, lap steel, mandolin, percussion and background vocals), daughter Erin Hayes (flute and background vocals), son Jordan Hayes (background vocals), John Spurrier (drums), Jason Atkins (piano, Rhodes and organ), Austin Cline (cello), Rick Blackwell (electric and upright bass), Tony Prior (pedal steel guitar), H L Ruth IV (banjo), John Culbreath (fiddle), Mike Alicke (electric and acoustic guitar and Gigi Dover (background vocals). The album opens softly but sincerely with “Look At You”. It’s a country-tinged cut that he considers to be one of his best songs.

“The Hardest Thing” is a song that recalls a difficult moment for Hayes. It’s followed by “All My Heroes” is the semi-titular track. It is a poignant piece concerning those who inspired him including Elvis Presley, John Lennon, Jimi Hendrix and Janis Joplin.

The next number, “Hand Of The Devil”, is an up-tempo story-song that has a touch of western and bluegrass as the core of his signature sound remains generally intact. He gets political with the platter’s single “All Fall Down”. It’s a current events-inspired cut that captures the familiar feel of those who tire of polarization, injustice, violence and unnecessary death that to someone who survived the 1960s may seem out of place today.

“Home Again”, like the previous track, also has a familiar message that somehow Hayes personalizes to make it work. It’s followed by “Helping Hand” which would probably work well in a live environment and is vaguely reminiscent of the likes of performers such as Pete Seeger. It features “gang vocals” by Timothy Curley and the Hayes family.

“Ashes And Dust (Erin’s Song)” is a personal dedication to his daughter laced with familiar ideas. Complete with Celtic touches, it exudes an almost Appalachian feel too. This quiet ballad is an early critical favorite with solid vocal work and a memorable melody.

“A Peaceful Revolution” is injected with reggae which gives it a bit of a world music feel. It’s enough to be interesting but not so much that one wonders why it was included here. The tenth track is titled “Life Goes On”. Highlighted by a soft-stringed lead, it is a smooth ballad with lyrics that are both autobiographical and yet universal.

“Something Deep Within” is a banjo-led early, critical favorite that has a spiritually-tinged old sound to it. Like much of his other work, it is simple and yet it works. The closing cut is “Home Again (Reprise)”. While a reprise is indeed generally a questionable choice, its inclusion was perhaps perpetuated by a need to present two sides to the same song. It works surprisingly well.

While Hayes’ vocals seem to have a contrast to them, due in part to being treated for throat cancer in the midst of this project, the disc doesn’t suffer. In fact, the sometimes clear and sometimes gritty vocals add to the over stripped down presentation of his lyrics, music, and very life. His songs come from deep within his heart and he is not afraid to bare it regardless of the circumstances. So check out Mitch Hayes’ Heroes and see for yourself how he is oft’times inspired by “Something Deep Within.”

by Emery Columna –

Back in 2015 when my friend turned me onto R5, she told me about a band that was struggling to be accepted as a serious music outfit. So I told her that I would take a listen to the album to see if I heard anything…

Well I heard this song called Dark Side and I told her I thought that R5 reminded me of INXS and that the band had potential to break out of it’s pigeon hole.

So this new EP for me, sees R5 coming into their own as a viable, serious pop-entity and not particularly teeny bopper-centric anymore.

They have matured with their material and so has their core audience, but this music can and will appeal to a larger audience that doesn’t always watch the Disney Channel.

I am so happy to see the metamorphosis. & Dig This… They cover INXS’s Need You Tonight on this EP with their unique arrangement of the classic hit.

All 5 songs are appealing and should garner them new followers, hipping to R5’s scene through the power of word-of-mouth. You know how girls talk.

I am so happy to see R5 growing as musicians and busting out of class, so to speak.

Give it a go. I think you’ll dig it!

MAAF BOX Listening Pleasure: IF, Need You Tonight, Red Velvet, Trading Time.

by Will Phoenix

Bubble Gum Orchestra (pop) rocks! For those readers coming in late, Bubble Gum Orchestra is the pet project of multiinstrumentalist, and singer-songwriter Michael Laine Hildebrandt. Sticky Love Songs Vol. 1 & 2 is his fifth audio offering from the Texas-based talent.

On this 20-track album, Hildebrandt leads the way on vocals, bass, drums, keyboards, synthesizer, piano, and guitar. He is ably assisted by his brother Douglas on lead and rhythm guitar. The classic rock-E.L.O. (Electric Light Orchestra-inspired power pop signature sound is back with a vengeance on this new release.

The album opens on one of the best songs on the disc “You Called To Tell Me”. This is at first incredibly reminiscent of “Eldorado” and yet not quite derivative of Jeff Lynne’s ELO at it’s best. Yes, no doubt about it, BGO is back, boys and girls.

“It Was Gone” continues to further establish the act’s signature sound of tribute-tinged strings, keys, guitar riffs and production values. Lyrically, it’s a memorable musical heartbreaker. It’s quickly followed by “My World Blue” where the musical arrangements become more interesting and involved.

The next number, “To Someone Else”, is perhaps one of the best track here. It has a sincerity to it and is highlighted by a noteworthy guitar solo as well. “You’re Some Kind Of Crazy” comes next as yet another example of Hildebrandt’s writing skills on an album where all the songs appear in the order in which they were written.

The sunny, sounds-like-a-single “Peppermint Smile” is sure to be a fan fave. This song is about meeting that perfect girl. It is vaguely reminiscent of (Paul McCartney and) Wings and has a memorable middle eight. “You Gave Up On Love” is one of those Boston-like bits that is highlighted by guest singer Lannie Flowers.

“I’m Not The Man” is another of those songs that seem to have multiple influences that include both Boston and the Beatles. It’s a deep, sensitive song that includes some noteworthy chord changes to boot. “Firefly’s” is marked by a change in tempo and comparatively minimal instrumentation that might work as a single.

“Goodbye Until Tomorrow” is solid and works well enough to stand alone but may be slightly overshadowed by “Hard Nights”. Yet another Boston-like track, this cut has worthwhile chord changes and an interesting contrast between bright verses and a darker chorus. “Find My Way To Heaven” is a song that reflects on love lost, life and mortality as the quality here remains consistent.

“Every Day Of The Week” is an upbeat potentially Beatles-inspired or perhaps more Monkees-like song. “You’re Not The One That Got Away” comes next. It features some nice choices in terms of guitar work and is both easily relatable and honest.

“I Used To Love You, Now I Don’t” another easily understood, nigh universal appeal to anyone who has struggled with love and dating. The BGO power pop push pervades on the carnival cut titled “Like A Merry-Go-Round”. “I’m No Good For You One”, another early fan favorite, has an underlying Brian Wilson feel to it.

“To Be Loved By You” and “No One Ever Told Me” continue the flow of the overall album and carries us to the closing cut “BGO Motel”, the setting of the disc, serves as an apropos album endnote on an honest, heartfelt audio offering of assorted love songs. So check the 79 minute Sticky Love Songs Vol. 1 & 2 by Bubble Gum Orchestra and explore the good, the bad and the ugly of love, lust, and life. You might find yourself playing it “Every Day Of The Week”.

by Emery Columna

Here is The Rolling Stones album I have been waiting for my whole life, literally. I am 54.

So many giants of The Blues have gone on and left me and the only rhino remaining is Buddy Guy. I think the passing of B.B. King may have been the impetus for The Stones to record a Blues album.

This is as authentic a blues as you’re going to find these days.

It is a breath of fresh air for me. I’ve had to sit with this album for a couple months, patiently waiting for the words to come to me so I could give my deeply felt thoughts about Blue and Lonesome.

Everybody knows Keith Richards is a blues hound, but Mick Jagger’s big blue thumb is all over this album.

If you want to get an idea of what Mick Jagger is like, then here’s your album. Don’t take my word for it. Ask Keith Richards.

Keith has said that Mick is his essential self when he’s playing a harmonica… You can really hear Mick’s soul exhale on this album, if you listen closely. Mick has a profound grasp of the instrument and can suck and blow that harp! My man can make that thang sound like a freight train!!!

The other thing of note is Mick’s got the blues hollar going on strong on this album.

Now there’s always Keith… It wouldn’t be a proper blues album without Keith. His guitar tones are reservedly dark and greezy, and he lays down this subtle underpinning from which Mick can cast his voice.

I would be remiss if I did not tip my hat to Ron Wood, who excels at letting the spotlight find him. He is extraordinary at adding texture to everything Keith does on this album and everything they’ve ever done together. They have woven a special tapestry on this album.

I wonder if Charlie Watts was recording on top of a 19” pine platform… The drums sound like Chicago Blues.

All the songs are great, but the special one for me is Willie Dixon’s I Can’t Quit You Baby.

It’s kind of kool that Eric Clapton is playing lead guitar on this one and Eric’s solo is so uniquely unlike the Otis Rush version or Jimmy Page’s take on the song. What a great way to close out an outstanding album!

Sorry it took so long, but I had to save up enough of me to give back to Keith and Mick.