Record Crate

If you look in the dictionary for what the heck Japandroids means, you’ll find a simple, one word definition. Liberation. Plain and simple. The post-punk band took the world by storm four years ago with the aptly titled, Celebration Rock, a barn burner of an album laced in classic rock ethos, fury, and enough energy to drive down Thunder Road to eternity. On their latest, Near To The Wild Heart of Life, the duo is still on the road to eternity, but this collection of eight songs feel more cohesive and mature.

It would have been easy to replicate the fist pumping anthems of Celebration Rock, but after two very similar sounding albums, it was time to reinvent the wheel. Near To The Wild Heart of Life does just that without losing everything we love about the band. The passionate, earnest lyrics remain, as does the urgency of the music, but the usually unaccompanied guitar and drums are complimented with acoustics and synths to fill the space between. Tracks such as “No Known Drink or Drug,” and the title track harness the same momentous forte carried on the previous album. Then there is the ultimate and epic, seven and a half minute, “Arc of Bar,” with its rough and tough lyrics and music that makes you feel like you’re soaring above the sinking city.

We should all thank our lucky stars that the Japandroids exist and are one of the saviors of rock ‘n’ roll (a phrase I hate, but will use anyway for its symbolic emphasis of this band’s excellence). At any rate, Near To The Wild Heart of Life is a fine addition to the rockers repertoire and an engaging listen upon every visit. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

Another year has come and passed, so here’s another list of what I think was the best music of 2016.

Best Albums

15. God’s Ex-Wife – Cheap Girls

I couldn’t exclude this album, though a collection of B-sides and demos, every song is solid. Cheap Girls are simply one of my favorite bands and always a go to listen. To add more music to their canon is a-ok. Included on the album are acoustic demos, rocking alternatives, and unreleased tracks. It’s a great listen and even sounds like a cohesive album.

14. The Getaway – Red Hot Chili Peppers

After six straight albums with Rick Rubin behind the glass, the Chili Peppers needed a breath of fresh air. In comes Danger Mouse, and thus a perfect pairing was developed. The Getaway doesn’t feel as if a recipe was altered, instead it highlights the strengths of the RHCP. Anthony Keidis, the slick poet, a strong rhythm laid by Flea and Chad Smith, and Josh Klinghoffer cementing his role on his second album with the group. There aren’t many big, stadium sized moments on this album, and there doesn’t need to be, instead the playing is melodic, more intimate. All of this equates to their best offering in a decade.

Key tracks: Dark Necessities, The Getaway

13. The Heart Watches While The Brain Burns

Mike Doughty has always been a prolific artist. His style is undefined other than singer/songwriter, and that does not do his work justice. On his ninth studio album, Doughty paired with producer, DJ Good Goose, which heavily influenced an electronic, experimental sound. Doughty’s relocation from NYC to Nashville also inspired an alternative country flavor, allowing this album to feel fresh.

12. All These Dotted Lines – Beverly Stokes

The Ithaca, NY native’s debut album bridges the gap between beauty and bark. Stokes transitions between picturesque ballads and biting numbers, such as the aptly titled, “Bite Back.” The young singer/songwriter has a great sense of quaint storytelling and has a bright career ahead of her.

Key tracks: In The Morning, Sault Ste Marie

11. Weezer (The White Album) – Weezer

The White Album is Weezer’s most enjoyable colorfully titled album since their debut. It contains all the quirkiness that defines them (see “Thank God For Girls”) and catchy hooks. It’s hard to argue why the 90s troupe has survived and remained relevant for so long.

Key tracks: Jacked Up, King Of The World

10. Revolution Radio – Green Day

After the lackluster, 21st Century Breakdown, and the overambitious underwhelming trilogy, ¡Uno! ¡Dos! ¡Tré!, Green Day returned to form with their latest, Revolution Radio. In their strongest collection of music since American Idiot, the trio is focused and oh so tight musically, and Billie Joe Armstrong’s lyrics have never been so poignant. The title track is like The Clash’s “Police On My Back” shot out of a cannon, and lead single, “Bang Bang,” in the point of view of a mass shooter, is cryptic in its blunt intensity.   

 Key tracks: Bang Bang, Revolution Radio    

 9. Shape Shift With Me – Against Me!   

Laura Jane Grace stayed busy in 2016, writing both her memoir and recording another fantastic album for the Against Me! arsenal. Previous album, Transgender Dysphoria Blues, was a tormented account of her bouts with transgender dysphoria, and earned her the praise of #1 album of 2014 from yours truly. So why not follow that up with a “love” album. Well, it’s not that cut and dry with Grace and Against Me!. A number of these songs are in fact tortured, with a hint of hopeful, and fans of this band wouldn’t have it any other way.   

Key Tracks: 12:03, Delicate, Petite & Other Things I’ll Never Be

8. Music For Listening To Music To - La Sera

La Sera tapped Ryan Adams to produce their fourth album, and produced a sound more in tune with his former band, Whiskeytown rooted in alt-country flavor. The result was an album full of twangy guitar and heartbreaking lyrics. La Sera is just getting hotter; as they went right back to the studio recording a new EP with new tracks and alternate versions where Wisenbaker really lets loose on guitar (see “Shadow of You Love”).

Key tracks: High Notes, Begins To Rain

7. Turn To Gold – Diarrhea Planet

The Nashville six piece with a four guitar ensemble is known for their rousing live shows, and though they polished things up a bit in the studio, the results are still in tune with that exuberance they are notorious for. Doubters, listen to the 8 minute closer, “Headband,” which is dynamic in vocal changes and its instrumental acts. Any questions?

Key tracks: Life Pass, Headband

6. A Loud Bash of Teenage Feelings - Beach Slang

The face of Beach Slang, James Alex, has sure found his niche musically. Expanding on the themes of desperate souls just looking for some solace in this unforgiving world explored in Beach Slang’s debut. With “A Loud Batch of Teenage Feelings,” we’re punched in the gut with 30 minutes of adrenaline from Alex. It’s much more cohesive than his first offering, more mature, and determined. It doesn’t follow a lot of the typical troupes explored in their debut album, though maintains that edge. James Alex also continues to be the most genuine guy in rock ‘n’ roll.

Key Tracks: The whole album, c’mon it’s only a half hour.

5. Integrity Blues – Jimmy Eat World

On Integrity Blues, Jimmy Eat World expanded its palate releasing their best effort since 2010′s, Chase This Light. It was a necessary jump for the group, as their music began to feel stale. With Integrity Blues, they reinvented themselves and expanded their sound, going to dream-like places sonically. They drive a knife through the lightness, with many acoustic and piano flourishes in tracks, “You With Me,” and “Sure And Certain,” while staring darkness in the face in darker, grungy/industrial numbers like “Pass The Baby,” or “Get Right.” It’s that multiplicity and range that Jimmy Eat World achieved on this album that makes it one of their best, and one of the best of

Key tracks: Pass The Baby, You With Me

4. Midnight Room – Springtime Carnivore

“I built my world around you” Greta Morgan proclaims on the title track to kick off her sophomore album. It’s a beautiful introduction to her personal journey through the forest of heartbreak. It’s her Blood On The Tracks. The album is rich in its lush arrangements and incredible sonic palette, while Morgan bares her tattered soul for the listener. A spellbinding and dreamy listen each time, makes this album good for the 4 slot on my list.

Key tracks: Midnight Room, Under Your Spell

3. Blackstar – David Bowie

In the first of the many tragedies of 2016, David Bowie released arguably one of the most artistic productions in the history of music, though ultimately (beautifully) morbid. It transcends music, as Bowie often did throughout his career. Riddled in clues about his imminent demise, he passed two days after its release, as if he staged the whole production. At its core, it is a jazz album musically, as Bowie worked with New York City jazz musicians and longtime producer Tony Visconti surreptitiously. An extraordinary and ambitious record upon its release, Blackstar revealed itself as his elegy with ghastly lyrics such as “Look up here, I'm in heaven I've got scars that can't be seen,” on “Lazarus.” He went out the only way David Bowie could, concluding with the aptly titled swansong, “I Can’t Give Everything Away,” closing the book on this album and his magnificent career.

Key tracks: Lazarus, I Can’t Give Everything Away

2. California – blink-182

What a triumphant return for the pop-punk godfathers. Ousting founding member, Tom Delonge, and replacing him with Alkaline Trio member, Matt Skiba, gave the group a tightness they hadn’t had in over a decade. Dropping perfectly in the middle of summer, it livened the atmosphere for those die-hard kids who have hung on through the tribulations of this rollercoaster that is blink-182. The songs were coherent and reminiscent of albums past, while also feeling fresh. Skiba proved to be a perfect complement to Mark Hoppus, as their voices blended together in impeccable harmony and proved to be capable writing partners. Hopefully this incarnation of the band continues to move forward. Long live blink-182. #blink182life4life

Key tracks: San Diego, Sober

1. Painkillers – Brian Fallon

Brian Fallon is in good company. Bruce Springsteen and Tom Petty have, during multiple points in their careers, branched out from their durable and loyal bands to take their music in a different direction. Other artists have successful careers following the demise of their bands. Brian Fallon is somewhere in the in between. The Gaslight Anthem began their hiatus in mid-2015, and shortly thereafter Fallon followed the trajectory of his idols and released his solo debut, Painkillers. Working with Butch Walker, Fallon’s music ascended to new heights, being more swanky than scrappy. He is emotive as ever, as the album glows with the yearning and romanticism that Fallon is known for. Painkillers gets better with every listen and makes the blow of Gaslight Anthem’s hiatus hurt a little less.

Key tracks: Honey Magnolia, Smoke

Best Songs

I challenged myself this year a bit more than in years past with my top 25 songs. In past lists, artists could have more than one entry, whereas this year, I narrowed it down to my favorite song for each artist and then ranked from there.

25. Ways To Fake It – CRX

Sidemen can do it too! Strokes guitarist, Nick Valensi, came on strong with this extremely catchy Cars-esque rocker.

24.  Goes Around – Western Medication

The young Nashville foursome can be a real tour de force. This barn-burner pummels on all end, from the pounding drums and aggressive bass that carry this one.

23. The Color of a Cloudy Day – Jason Isbell & Amanda Shires

Their voices subtle, almost a whisper at times, the husband and wife duo have such great chemistry on this beauty of longing.

22. Born Again Teen – Lucius

Driven by a thumping and relentless drum beat and building to a fuzzy, cosmic, awesome mess, this is the best song the group has produced in their young career.

21. Sault Ste Marie – Beverly Stokes

The most elegant track on her debut album, is one of introspection and vivid imagery behind a guitar so wistfully finger picked. It also features the best vocal performance from the young singer/songwriter, who bares the question, “what was it I wanted here?”

20. Something Wild – Lindsey Stirling Feat Andrew McMahon in the Wilderness

The violinist’s second single was co-written and sung by Andrew McMahon. The song glides through the air due to Stirling’s beautiful violin and McMahon’s knack for soaring choruses.

19. Revolution Radio – Green Day

Coming out of the gate like a bat out of hell, the title track kills. It’s fast and furious, and a little bit melodic, as every great Green Day song is.

18. Let’s Get Lost – The Pretenders

The Pretenders came back this year with a little help from Black Key, Dan Auerbach. The gentle, “Let’s Get Lost,” is elegant and wistful, incorporating that Nashville inspired slide guitar to glide the music through the ether.

17. Queen of Daydreams – Third Eye Blind

Third Eye Blind released a 7 song EP that better than their last album as a whole. Standout track, “Queen of Daydreams,” encompasses everything attractive about Third Eye Blind. It’s driven by a poppy, electronic feel, and complimented by the unconventionally descriptive romanticism that only Stephan Jenkins can produce. It’ll be an instant classic in the Third Eye Blind universe.

16. Twice As Much – Cheap Girls

This one rocks. Well. all Cheap Girls’ songs rock, but “Twice As Much,” off their collection of unreleased music weaves between the jangly and the raucous, and rocks twice as much as any song on this list.  

15. Trailer – Mudcrutch

A throwaway from the Southern Accents sessions, Tom Petty blew the dust off of it for Mudcrutch’s sophomore album and gave it the life it deserved. A straightforward, laidback rocker that feels like

14. Spin The Dial – Beach Slang

Although Beach Slang’s album works best as a whole, it would be a sin not to include a song of theirs on this list. “Spin The Dial” encompasses the Beach Slang ethos of blurred nights among misfits who love the spirit of rock ‘n’ roll, and concludes with the mantra, “I got a halo on my heart.”

13. Pass The Baby – Jimmy Eat World

Jimmy Eat World’s most experimental track they’ve ever made gets the nod at #13 for me. Sure, there are catchier, accessible tracks, but this one shreds. Beginning soft, with Jim Adkins voice at almost a whisper in front of a drum machines, it meanders to an electronic field of sonic bliss before finally exploding into a grungy breakdown that would give Eddie Vedder and company a run for their money.

12. I Can’t Believe I Found You In That Town – Mike Doughty

The most country flavored song Doughty has ever done is a great lead in to his latest album. It’s a delightful tune from the linguistically intellectual troubadour.

11. You Want It Darker – Leonard Cohen

David Bowie wasn’t the only prolific artist to leave us with their own eulogy this year, unfortunately. In the face of the darkness, Cohen challenges death with his haunting title track, “You Want It Darker.” Translated as, “Here I am. Send me,” in Hebrew, Cohen proclaims “Hineni, hineni/I'm ready, my lord,” knowing this haunting record was his swan song.

10. Delicate, Petite & Other Things I’ll Never Be – Against Me!

“The skin on your neck looks a little thin/Don’t go sticking it out for me,” lead singer Laura Jane Grace scowls on this cutting track. Though always a very personal writer, this one dives into the murkiest depths of Grace’s mind and the music compliments that lurking darkness.

9. Jacked Up – Weezer

My new favorite Weezer song. Rivers Cuomos stretches to a near falsetto in this desperate unrequited love song.

8. High Notes – La Sera

The best track off La Sera’s new album features a jangly, infectious riff and capping off the performance with a soaring harmonica outro.

7. Midnight Room – Springtime Carnivore

The dreamy lead single off her sophomore album sets the tempo for Greta Morgan’s reflective and brilliant album. Her beautifully chilling voice weaves through the cracks in her heart.

6. Dark Necessities – Red Hot Chili Peppers

The Chili Peppers best song in a decade was enthralling from the first listen. Flea’s funky bass line carries the song and whirling guitar accelerates this instant classic.

5. Life Pass – Diarrhea Planet

The four guitar ensemble shreds in their melodically ragged way through their lead single. In another world this song could dominate mainstream rock radio, with its catchy chorus and soaring guitar solos, but for now, it’ll be us Planeteers little secret.

4. Warning Call – CHVRCHES

Who would have thought a song released for a video game (that I don’t play) would be so incredible. It is definitive CHVRCHES though with a booming chorus and Lauren Mayberry’s uncompromising lyrics.

3. San Diego – blink-182

blink-182’s heritage lies in the streets of San Diego, and the homage track is the centerpiece of their latest album. It’s reflective in that it dredges up the past with ousted member, Tom Delonge, and how their legacy, no matter how great, is irreconcilable. It is a solid way to usher in the new era of blink-182.

2. Honey Magnolia – Brian Fallon

Rousing numbers from this album would have been more accessible, but, Brian Fallon is often at his finest when he is most tender. Nothing else on the album resembles the beauty of this somber tune of longing.

1. Lazarus – David Bowie

Bowie’s swan song is the most ethereal of his career. Driven by a morose, melancholy score, it captures both his acceptance and fear of the finite unknown. With each listen, Bowie takes the listener on a cryptic journey through his final months. It’s the perfect song to stroll through the darkness with.

That’s all folks. Hope you enjoyed and maybe discovered something here you enjoyed. Let me know.

It felt as though 2016 hit the music hardest as far as casualties go in the entertainment world. It’s not going to get any better. The founding fathers, the mammoths of the music industry aren’t getting any younger.  All I ask is please don’t take Tom Petty and Bruce Springsteen from the world until I’m long gone. And with that, good riddance 2016.

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

The Pretenders have come a long way from playing the tiny Buffalo club, Uncle Sam’s, in 1980. Since then, they have released 11 albums with a revolving door of musicians, with only lead singer, Chrissie Hynde and drummer, Martin Chambers, remaining constant. They reached the pinnacle of the music foothill in 2005, being inducted into the Rock ‘n’ Roll Hall of Fame. Yet, some 36 years later, The Pretenders returned to the club atmosphere, making an appearance at the quaint Town Ballroom, a pit stop on their tour opening for Stevie Nicks.

It was apparent early on that this show had a sense of liberation from their current slot as a warmup act. Hynde came out fierce, donning a short pink jacket, dove right into new song, “Alone.” Her voice as sharp as ever, her and the band treated the sold out crowd of 1,200 to 90 minutes of Pretenders classics, with a few new numbers they were still working out the kinks to thrown in. Fill in guitarist, James Walbourne, of The Rails, was incredible, suave and animated, a perfect balance on stage. His guitar work soared through songs, “Down The Wrong Way,” “My City Was Gone,” and “Mystery Achievement,” among others. Besides the couple of blips in the new songs, Hynde seemed aggravated by the sound mix, and at times fumbled lyrics to classics, such as “I’ll Stand By You.” All the mistakes can be forgiven, as the set was fiery, rough, and ragged, as a Pretenders show should be. At one point, Hynde proclaimed, “You make me feel like I’m dead!” As despondent as that seems, it was a testament to the crowd’s exuberant embrace of the music, as they hung on every note, every word, their fearless rock ‘n’ roll sovereign exhaled.

A side note, the lack of pictures (no pictures at all) were at the request of the band.

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

Limited spoilers ahead.

Sometimes our favorite artists are the ones that live the hardest. Whether it’s a loss of a parent, verbal and/or physical abuse, or dependencies of drugs and alcohol, the adversity exemplified through suffering often times provides the best artwork. Laura Jane Grace, the voice of Against Me!, was afflicted by a whirlwind of these tragedies. Pile on top of the parental/societal abuse, and drug/alcohol abuse, an internal war with gender dysphoria, and you have Laura Jane Grace. Though only 36 years old, Grace’s memoir, Tranny: Confessions of Punk Rock's Most Infamous Anarchist Sellout, is packed with rock ‘n’ roll hardship a veteran twice Grace’s age could tell. After seeing Grace in February read snippets of the memoir while performing a career spanning choice of songs complimenting the passages, Tranny was high on my most anticipated books of 2016. It was so anticipated in fact, that I powered through her book in three sittings this past week.  As expected, it did not disappoint.

Editor, Dan Ozzi, does a miraculous job assisting Grace by incorporating journal entries from Grace’s childhood, where she first expressed feelings for dysphoria while watching Madonna on MTV, to present day. The journals help to tell a cohesive story on her internal conflict with her gender and the struggles her band faced in the cut throat music industry. To have those feelings of being in the wrong body from such a young age crippled Grace for over 20 years. The punk rock scene, though her solace, was also a sea of backlash and negativity only fueling her anxiety, depression and drug and alcohol use. Against Me! went on to achieve major success after signing to a major label, angering the hardcore punks. It also wedged a divide within multiple incarnations of the band. Grace struggled to keep her band together while also hiding the fact that she was privately wearing dresses in isolation in her hotel rooms. That dependency on drugs and alcohol also suppressed her inner conflict of gender identity.

Maintaining relationships after coming out was also one of her toughest battles. Her now ex-wife in particular had grown distant, and not entirely because of her transitioning. Losing that rock, that constant, did not help the transition. The most heartbreaking line in the book is towards the end, as Grace is tucking her daughter Evelyn into bed, Evelyn says to her that she didn’t want her to be a girl; she wanted her to stay a boy. Thankfully, these feelings seemed to have resolved through time and in the aptly titled final chapter, Mandatory Happiness, we find Laura and Evelyn hanging out with Joan Jett and proclaiming their allegiance to rock ‘n’ roll, and most importantly, to each other.

This memoir serves as great insight, not only to the history of Against Me!, but also is the rawest account of transgender dysphoria. With the amount of blow, Jameson, pills, and multiple vehicular accidents on tour, it is a miracle Grace survived to tell this tale. Not only is it an entertaining read, but the brutal honesty, where Grace leaves everything on her blackened sleeve, hopefully is a useful tool in understanding the tribulations of a transgender lifestyle, and in doing so breathes acceptance.

 Additional thoughts:

•       Punks are unforgiving beings. 

•       It was neat seeing lyrics manifest in her journal entries, specifically the lyrics to “Bourne on the FM Waves of the Heart,” my personal favorite, which certain lines were pulled from different entries. 

•       The video for “Thrash Unreal” is one of my favorites because of the camaraderie that appears to be expressed by Grace and her band mates in the shots. Laura reveals how miserable that experience was from the video concept to the treatment of the band and fans used as extras.

•       IF YOU HAVEN’T LISTENED TO TRANSGENDER DYSPHORIA BLUES DO IT NOW! It is so raw, unhinged, and pure. Laura Jane Grace is at her finest. If New Wave didn’t hold such a special place in my heart, I would declare it her best album, and from a critical standpoint it probably is.  

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

Popular music has shape-shifted and grown immensely in the last sixty years. Some of it due to technology, some due to expirimentation, but all of it due to genius. The eight part documentary, Soundbreaking, airing this week on PBS explores the evolution of production elements and musical innovations. Producer, Sam Phillips' ethos was, "You have been able to give these people the inspiration to display their God given talent,” which serves as a backdrop to this series, an exploration of, “the man-made and the god-given.”

I will be reviewing each episode on this page as the week goes on, so keep checking back daily!

Episode 1: The Art of Recording

The role of the producer has always been one of much intrigue. To a casual music fan, the artist generally gets all of the recognition, but most artist’s would credit a good deal of their achievements to their producer. Bowie’s Berlin trilogy doesn’t exist without Brian Eno, for example, and this episode focuses on the producers influence on the musicians. Legendary producer of The Beatles, George Martin, echos Sam Phillips when referring to The Fab Four stating the group would have become successful musicians eventually and figured out advanced recording techniques eventually, but he guided them there faster. He urged them to expand their sound beyond catchy pop tunes, and incorporate orchestral arrangements, helping the band evolve into the influential group they are renowned as today. 

The transition from funk, and drum machines recorded by Sly Stone to modern day hip-hop was explored in the way of Dr. Dre’s “The Chronic.” Hip-hop had traditionally been rugged and unpolished, when Dre reinvented the way the instrumentation surrounding the still intense and unapologetic lyrics. 

The latter part of the episode dives into arguably one of Rick Rubin’s greatest achievements, the rebirth of Johnny Cash. Spawning as a hip-hop producer in the 80s, Rubin turned his attention outward to embrace all genres of music as the last three decades unfolded and as Johnny Cash’s career began to deteriorate, Rubin saw potential in an essentially back-to-basics approach. He recorded Cash, rough and ragged, in his living room, exploring music outside both their comfort zones. From  early country tunes like, “Tennessee Stud,” to the modern grungey, “Rusty Cage,” Rubin lit a fire in Cash’s belly and that burning is what became the “American” recordings, and revitalized Cash’s career, further cementing his legacy. 

Episode 2: Painting With Sound

“Anything is possible, anything is right.” - Nigel Godrich

That should be a mission statement for those who make music. This episode focused mainly on two pillars of the 60s, The Beatles and The Beach Boys. Beginning with The Beatles, specifically, “Tomorrow Never Knows,” George Martin experimented with multi-track recording, by taking bits and pieces of a track, overdubbing them onto one other and creating “sonic textures.” And with that “Tomorrow Never Knows,” more specifically, Rubber Soul influenced Brian Wilson to make Pet Sounds. Pet Sounds expanded on Martin’s approach, and in turn, Pet Sounds influenced Paul McCartney and The Beatles to make St. Pepper’s Lonely Heart’s Club Band, which influenced Pink Floyd and so on... The recording process that derived from The Beatles and Beach Boys sessions influenced pop music, still to this day, in the way sounds were looped and sampled in recordings. As writer, Warren Zanes stated, these recordings were the “prophecy of pop music.” The multi-track recording and technology to record evolved to the point where artists could create music from their homes, from their computers and make commercial sounding recordings. 

Episode 3: The Human Instrument

In recording music, the voice can be the most important instrument in driving a song home. In the previous two episodes, manipulation of sound and technology proved so vital in the recording process, but in episode 3, the less manipulation proves to be the key. Though technology has evolved immensely in pop music, the microphone has been a stalwart in the recording industry. It has been a singers most reliable companion since crooner’s such as Bing Crosby and Frank Sinatra graced our ears. Sinatra described to have been able to, “ring blood out of a lyric.” And that’s what the great voices in music do, from  Sinatra to Amy Winehouse, from Aretha Franklin to Adele. Even the likes of Tom Waits, who does’t have the most appealing voice, has an emotive and raw quality when he sings. That rawness, that emotion is what truly matters above all in a recording.

Episode 4: Going Electric

The power of electricity. Something we take for granted, but also the means in which all popular music is produced. Episode 4 explored the impact of the electric guitar and the evolution of the synthesizer. 

It never ceases to amaze me that after almost a century of popular music, there isn’t as much plagiarization in rock music, specifically with guitars. The amount of riffs that can be created seem endless and thus allowing musicians to distinguish themselves from one another. Sure,the riff the carries The Strokes, “Last Nite” is admitting a rip off of Tom Petty’s “American Girl,” but Petty was cool with that. Why? Because rock ‘n’ roll baby. Because The Strokes had a different edge about their music. The electric guitar is a source of expression, and can be rough and ragged, distorted, melodic, and cosmic, among many other things. Ninety years after it first enhanced jazz music, it continues to be a driving force behind rock music.

The invention of synthesizers changed the landscape of music forever, for better or for worse. Used magnificently in the 1970s, forever enduring records such as The Who’s, “Baba O’Riley,” and Stevie Wonder’s album, Talking Book, the synthesizer became a prominent fixture in the studio for years to come. The 80s ran with the sound and produced 10 years of oft-forgettable music, some gems, but overall a cluster of over-produced heavy synthesized recordings. Fast forward to present day, synthesizers gave way to a whole movement of electronic dance music (EDM), compared, in this episode, to folk music due to its danceable but expressive qualities. 

Episode 5: Four on the Floor

Music makes people express themselves physically, whether its to rock ‘n’ roll, funk, disco, or pop music. Quite possibly the most influential and genre spanning influence to danceable music as The Godfather of Soul, James Brown. As the episode presented, Brown, already an established R&B/soul stalwart, invented funk music by leaning heavily on his band to play arrangements that were more rhythmic and danceable. His innovations proved highly influential to the disco era and throughout the 80s, as institutions such as Nile Rodgers and Madonna recorded irresistible hits after hits that dominated the club scene. I can’t dance to save my life, but a bass line like the one careening off the finger tips of Bernard Edwards in the Chic song, “Everybody Dance,” is infectious like no other. The rhythm of any song, the bass and drums, is what often carries a song, makes a crowd move and sway along. These elements continue to be apparent in the EDM movement, as communities come to together in a Woodstock like atmosphere to experience the sonic energy together. 

A big take-away from this episode are the social implications of dance music. The arrival of disco broke down racial, and sexual divides, as people of any color, gender, and sexual orientation would gather to express themselves through dance, through music and that is the ultimate testament to the power of music. 

Episode 6: The World Is Yours

Or at least it was. In the late 1970s/early 1980s hip/hop began to pick up steam. Early DJs began to incorporate music samples to compliment their MC’s lyrics, creating a whole new world for hip-hop to breathe and explore. The possibilities were endless with the infinite ways to manipulate a recording and loop or cut seconds of any recording into another behind socially conscious lyrics. Hip-hop had emerged as a prominent form of musical art, and with mainstream boundaries being broken by Run DMC’s collaboration with Aerosmith, the gate had been opened for rap to become commercial. But of course, the music business is a litigious beast and sampling became a tool for the privileged few. 

The Beastie Boys’ sophomore album, Paul’s Boutique, was released to much praise by the hip-hop community. They brought sampling to a whole new level using 105 different songs throughout the album. The backlash, however, shook up the sampling phenomenon, as licensing companies caught on, suing the group and making the legality of sampling a questionable practice still of much debate to this day. It’s continued practice in the 90s to present day gave us from the putrid, “I’ll Be Missing You,” to any Flo Rida song, but became only for those who had the money, rather than the underground artists. 

Episode 7: Sound and Vision

The aptly titled episode, a title borrowed from one of the most monumental visual artists, David Bowie, spoke to the influence music videos have had on the industry. Though video accompaniments had existed in some form or another dating back to Dick Clark’s American Bandstand, or The Beatles many short films, the most groundbreaking medium was born in 1981 in the form of MTV. 

Before becoming an outlet for trashy people to become famous, MTV was a credible, inventive television station that served as a visual radio station. Music videos played 24/7, breaking new artists, revitalizing old artists careers, and boosting the industry to new heights. It allowed music artists to express themselves visually as well as musically. As artists like Madonna constantly reinvented themselves through this period, the station did as well, bringing artists like Eric Clapton, and Nirvana to new heights on their live acoustic program, MTVUnplugged. As the calendar changed, as did MTV, and did away with music videos, while the internet became the music video source. Videos still play a vital role in music sales, the most telling example being PSY, a Korean superstar who’s video for “Gangnam Style” made him an international sensation. Though the medium has changed, the important and the artistic qualities of a music video remain as important as ever in 2016. 

Episode 8: I Am My Music

The music industry is cyclical, and if the medium in which they are presented in doesn’t prove that, I don’t know what would. How people consume music has evolved in numerous ways in the last century. In the beginning, there were merely singles, the precursor to one hit wonders. The expansion to LP format forced many artists to stretch themselves, and evident in the history of music, there are a significant number of albums that are filler around a popular single. Full albums, specifically cohesive albums, didn’t come to fruition until Frank Sinatra’s, In The Wee Small Hours. His influence allowed artists to express themselves in a more personal way. Bob Dylan could express his love lost on Blood On The Tracks, Bruce Springsteen could comment on 9/11 on The Rising. Albums and tapes would continue in LP record album form for years to come, continuing to be popular until the late 80s. Tapes shared the spotlight with records and allowed people to record over them. Mix tapes were made, portability was a bonus, but maybe its greatest impact was building a community. In came the Dead Heads. The Grateful Dead allowed their fans to tape their live performances, since no two concerts were the same. Those tapes were traded between fans and became recordings of legend. All things must pass however and CDs took over due to sound quality and ease of use. After illegal MP3 services like Napster or Limewire made a lot of noise in the early aughts, the industry answered with paid MP3 services. Apple’s iPod invented a digital music library, and streaming services such as Youtube, Pandora, and Spotify emerged. But, like I said, the industry is cyclical. Records have made a resurgence, tapes are being sold in exclusive fashion. There is hope for the physical collection. The wide variety music lovers have to ingest their music is so broad, it’s incredible and will only continue to evolve and become more interesting. Keep an ear out. 

Final Thoughts:

Overall, this series greatest strengths shone through when it provided great insight into the intricacies of the behind the scenes in the studio. Similarly to Dave Grohl’s documentary series, Sonic Highways, seeing the evolution of music can be captivating when done correctly. The only negative critique would be that at certain points the story felt disjointed where focus would quickly shift leaving much more to be desired from these legendary artists’ stories. 

To learn more about the series, check out the website here. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for m.more from your music doctor!

It’s hard to stay fresh after 20 plus years as a group and have had enormous success in what feels like forever ago, but not every band is Jimmy Eat World. After a brief period in the early aughts at the top of the mainstream rock mountain, Jimmy Eat World faded in the general public’s mind in recent years. After two mediocre albums since 2010, the quartet from Arizona have returned with their best album since, Chase This Light, in the form of Integrity Blues.

After taking a break from touring or recording, they band returned to the studio with fresh blood behind the producer chair in Justin Meldal-Johnson. Known for his work with the likes of Beck and Nine Inch Nails  The songs here are more full musically than the last couple of albums and Johnson is a good reason for that. There is more of a pop-sensibility, but not so much that the album feels over produced and cheap, but enough to be easy on the ears.  Integrity Blues is still very much a classic Jimmy Eat World album. “You With Me,” kicks off the album and is reminiscent of something from Chase This Light, with the lightness of Damages. It sets the tone for most of the album, containing flourishes of piano and keys that enhance many of the tracks throughout. “Pass The Baby,” is an interesting number. Jim Adkins sings in a muffled register and backed by merely a drum machine, until it explodes into a melodic electric aurora and then concludes before appropriately leading into the awesomely grungy “Get Right.” It is the diversity that makes this album a pleasant listening experience and a fine addition to the Jimmy Eat World canon.

Maybe this album will re-establish Jimmy Eat World as one of the premiere rock bands, maybe it won’t, but one thing that is sure and certain, Jim Adkins and company can still make excellent and  accessible albums in the year 2016. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

Nothing beats a free rock concert. Make that a free Mike Doughty appearance at Record Archive, a Rochester treasure, and you’re in for a special night. In support of his 8th release, The Heart Watches While The Brain Burns, Doughty has been playing record stores, or as he calls it, “pimping himself out.” 

All Doughty needed was an hour to impress the devoted fans, running through songs from his back catalog, Soul Coughing classics, and material from his latest album, which I highly recommend checking out. Always known to be a masterful wordsmith, garnered “woos” on multiple occasions with his tight and fast delivery, even with a little miscue on song, “Wait! You’ll Find A Better Way,” which was nonchalantly played off, being a new song. After an hour and had finished playing his “fake last song,” with no where to exit the stage, Mike turned his back to the audience, and when he turned back around finished his set with a strong rendition of the Soul Coughing favorite, “St. Louise Is Listening.” 

After the show, Mike was nice enough to stick around, sign autographs and take pictures even though he had to depart onto his next venture. Doughty will be back in Rochester at the end of February with a full band, so if you missed this show, be sure not to miss him again. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

“Diarrhea Planet is a six-piece rock and roll band from Nashville, TN. Their sound has often been described as The Ramones holding Van Halen hostage with an arsenal of fireworks and explosives. Diarrhea Planet's four guitarists provide enough riffs to make Jack Black squeal like a schoolgirl, while lead singer Hodan delivers enough hooks to straighten the curl out of Justin Timberlake's hair. In a world of unintelligible lo-fi recording, reverb drenched vocals, and tuneless guitars, Diarrhea Planet aims to put the backbone back into rock and roll.” 

If that doesn’t sell you on this band and the spirit of rock ‘n’ roll that run through their veins, then I don’t know what will. That is the description The Haunt posted in anticipation of Diarrhea Planet’s show Thursday night. Known for their electric performances, and even without reciprocation from the crowd, the band couldn’t have been more energetic and entertaining. 

New song, “Ain’t A Sin To Win” is made for the stage, and was busted out early, sending a handful of those in the crowd into a rowdy dance circle. Their new album, Turn To Gold, though more produced than their previous releases, translated well live. Like the aforementioned song, their four guitars blend perfectly together, each playing as a cohesive unit, weaving between each other while guitarist, Jordan Smith, shredded at the edge of the stage on his knees throughout the night. After a quick hour set, that went by too fast, the show concluded with the joke of a song, but ever-so entertaining, “Ghost With A Boner”

It was most definitely a treat to experience Diarrhea Planet in such an intimate venue, such as The Haunt. Even though I expected a more raucous crowd, Diarrhea Planet carried the energy of an arena show, as expected, cementing that they are one of the strongest live acts out there. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

There aren’t many bands that I haven’t seen in my 25 years on this earth, but one that always seemed just out of reach were some friends from across the boarder, Metric. The Toronto based quintet have been around for almost two decades now, and constantly expanding their sound. Their latest release, Pagans in Vegas, expanded on their already fantastic discography and was one of my favorite records of 2015, making it a must that I needed to see them in its supporting tour. Finally, a show across our side of the border originally scheduled at the Artpark Mainstage moved last minute to the more intimate club venue at the Town Ballroom meant I had to be there. 

Visually, the band looked majestic in the lights, which perfectly encapsulated and complimented their performance. Though the sound mix of the guitars, synth and Emily Haines’ voice plagued the first half of the show, by the 9th song or so those issues were resolved and the set from then on was extremely strong. Haines can surely command a crowd and control the stage and allows space for the boys behind her to fill the atmosphere with their tight sound. Specifically guitarist, Jimmy Shaw, was given room to shred a soaring, melodic solo to concluding the main set with “The Shade,” which could not have been more euphoric. That tightness and camaraderie was exemplified as the night came to a close, with a beautiful, acoustic rendition of “Gimmie Sympathy” and the ethereal “Breathing Underwater,” with the refrain repeated over Shaw’s acoustic guitar, as the foursome glimmered at the front of the stage in the radiant light.  

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

The most dedicated of Beatles fans have spent countless hours watching the likes of the half a day escapade, The Beatles Anthology and listening to their extensive catalog, and reissues. Ron Howard’s new documentary, “The Beatles: Eight Days a Week - The Touring Years,” doesn’t necessarily shed a ton of new light on the legacy that is The Beatles, but Howard’s narrative of the band from 1963-1966 is compelling in the underlying details, which makes this film well worth watching. 

Much has been documented of the pandemonium of Beatlemania. In this film, the footage of the countless girls passing out, described as casualties by news outlets at the time, is incredible in itself to watch. No artist has ever or will ever match that amount of fandom, or hype. But this was not the all encompassing point of this film. What was truly incredible, was the camaraderie of the fab four and the longstanding effects of the touring. Archival footage and interviews both past and present show how in tune these young men were with one another in both a musical sense and in ideologies. Not only were they succinct musically, but as were their quips to the media. They were funny, sarcastic, and charming. They were also a unit when it came to decision making. The democracy of the band was touched upon, and in one of the more revealing moments, their influence in the civil rights movement to a certain extent. They set the precedent of integrating their concerts. Kitty Oliver, a race and ethnicity historian, reflects on the climate of race in the 60s and her experience attending a Beatles show. The Beatles transcended race in the South and in doing so, even for a brief amount of time, dissolved that divide between black and white. Though a small portion of the film, it is an important piece of the story. 

The frustrations of touring, and media led to their reluctance to tour, to the eventual end of Beatles concerts following 1966.The result of these years, and this film, reveal The Beatles evolution from simplistic, but effective pop-hit writers, to the musical innovators, and most renowned group they became in the latter half of the 60s. I definitely recommend this film to any Beatles, or music lover, as it enshrines a most important period of arguably the best band of all time. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

One thing I really love about Against Me! is how they reinvent themselves, expand their sound, and evolve musically as the years go on. Their latest offering, Shape Shift With Me, is no exception.  The title is more than likely a reference to lead singer, Laura Jane Grace’s gender transformation, but as serves as a metaphor for this band. From their folky beginnings to their major label, more polished days, and the numerous lineup changes, has led to the aptly titled new album. 

Laura Jane Grace has stated that thematically, this album is more or less a compilation of love songs, and by love songs, Grace meant to say a series of toxic relationships and one night escapades. Kicking off with the robust, “ProVision L-3,” Grace takes a shot at airport security over the distorted intensity of the band. From there on, this album is relentless with cryptic thoughts and clouded nights. Sure, there are moments of hope, as Grace pleads on “Crash,” “Let me stay up in your orbit a while,” but overall, the songs are quite despondent which is to Against Me!’s strength. The lyrics are overall cutting, especially on album standout, “Delicate, Petite & Other Things I’ll Never Be,” as Grace scowls, “The skin on your neck looks a little thin/Don’t go sticking it out for me.” 

For what Laura Jane Grace has described as the easiest album she has written, it is quite a strong offering from the veteran punk rock outfit. I’ve been revisiting the Against Me! catalog in recent days in anticipation of the new album, and I’m sure Shape Shift With Me will be in heavy rotation as well, as they will serve as appropriate compliments to Grace’s memoir due out in November. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

A night after seeing the pop-punk outfit, blink-182, I took to the New York State Fair to another artist who has returned to the spotlight, but with a more ominous cloud shrouding their return. Since bursting on the pop scene a few years ago, Kesha has been through what she describes as the “lawsuit from hell,” as she fights producer, Dr. Luke for sexual, physical, and emotional violence. Fortunately for Kesha, the close to 10,000 strong at the Chevy Court Arena were there to support Kesha. 

Kesha’s lawsuit seems to have fueled her creative juices. On tour with a rock ensmable, The Creepies, backing her, Kesha has reinvented herself (at least for the time being). She has transformed her glitter pop first pumpers into rock ‘n’ roll numbers, and they were incredible. Still belting out party lines to her greatest hits like “We R Who We R” and “Your Love Is My Drug,” but we were also graced with her vocal talents and her respectable tributes to her musical heroes. It was unfortunate to see how many teeny-boppers departed once they realized this was a rock show, and even more of a shame how many left, or didn’t know who Iggy Pop was during her cover of “Nightclubbing.”

She performed an incredible and cryptic version of, “Till The World Ends,” a song she wrote for Britney Spears before launching into Kesha ended the show with a poignant cover of Bob Dylan’s appropriately titled tune “I Shall Be Released.” 

I thoroughly look forward to what new music Kesha has in her back pocket, but if her performance Thursday was any indication of what is to come, I have no doubt it will be just as powerful.

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

The reunited blink-182 returned to Darien Lake for the first time since 2011 in support of their latest album California. There was a wide range of concert goers, from young adults to teenagers, and even some middle aged folk, all united by pop-punk goodness, and a few dick jokes thrown in. 

This time around, there was a great sense of unity in the band. Matt Skiba has made a big difference in filling the shoes of ousted bandmate, Tom Delonge. The trio felt tighter, and half of the reason for that is Skiba is actually a competent guitar player, whereas a child could have played better than Delonge live. The other reason being how well Skiba and other singer Mark Hoppus’ voices play off of each other. 

The 24 song set featured songs spanning their entire career, sans songs from the disjointed Neighborhoods. Besides that, the songs from the latter half of their careers were particularly strong. A one-two punch of “Down” and “I Miss You,” early in the set were highlights and both included extended drum outros. Songs off the new album translated brilliantly live, and keep the crowd into it. As if they were classic blink-182 songs, every word was passionately recited during the catchy lead single, “Bored To Death,” to the fist-pumping “San Diego” and the rousing “Los Angeles,” to close out the main set. The encore took the band way back, with rousing renditions of the classic trio of, “Carousel,” “All The Small Things,” and “Dammit,” which had every member of the audience  on their feet and the young adults especially basking in nostalgia and giving their undying support. 

No, there wasn’t any tilting drum rising machines on this tour, but blink-182 doesn’t need those antics to prove their showmanship and entertain a crowd of 10,000 plus. I couldn’t have been more satisfied with their show on Wednesday night (ok maybe if they played my favorite song, “Always,” but I digress). Hopefully this incarnation of blink-182 will be around for a long time, after proving that they still have the chops to out perform bands 15 years their junior. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

The sun could not have been any brighter at Art Park on Wednesday for Ben Folds’ concert with his backing ensemble, yMusic. So hot in fact that Ben commented early in the night with a impromptu “Rock This Bitch,” about going blind from the sun. But alas, he prevailed through the heat and the jet boats riding by in the background and performed one heck of a show.

He sure has come a long way from “Having Two Dicks Is Cool,” the very first song he ever wrote and so proudly performed it mid-set. Yes, he mixed his brand of comedic as the above statement indicates, but the majority of the set was elegantly performed incorporating the majority of the songs from his latest album with yMusic, So There. I could appreciate the songs on the album much more live and hearing the beauty of the french horn and viola contrast with each other enhanced the show terrifically.

Besides performing many songs from his new album, songs from his back catalog benefited greatly from the orchestral arrangements. “Song For The Dumped” was particularly strong with yMusic accompanying him. An extended flute solo climaxed with a note that I was informed was extremely difficult to hit, and that drove the song home. As the sky grew dark and the night set in, Ben returned for an encore alone performing a five song set before concluding the two hour set with the standard “Not The Same,” as the audiences harmonies carried into the beautiful summer night.

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

There’s something magical that happens when Mark Hoppus and Travis Barker get a fresh start. They make great music. We saw it in 2006 when they put together the greatest collection of songs the world has seen in When Your Heart Stops Beating, and once again, with the departure of Tom Delonge, Mark and Travis have experienced another rebirth, another renaissance with California. After one of the most unusual and unique squabbles in the history of bands, Alkaline Trio’s Matt Skiba was asked to join the band, and he could not have been a more perfect addition. It would have been easy to turn into a blink-182 karaoke band by recruiting a Tom Delonge sound-a-like, Brian Stella of The Front Bottoms, for example, but this band ultimately needed chemistry and they found it in Skiba.

After a disjointed and disappointing reunion with both Neighborhoods and the Dogs Eating Dogs EP, California is a excellent return to both blink-182′s roots, as well as a refreshing expansion of their sound. And it’s funny, you almost want to listen as if this is not blink-182, but this album is without a doubt a blink-182 album. Lead single, “Bored To Death,” feels as though it has been apart of the band’s catalog for 15 years, while “Only Thing That Matters,” sounds as though it was on Dude Ranch. It is also hard not to compare certain songs to Alkaline Trio, as is the case with “Los Angeles,” but it is ultimately, blink-182 to the core. Most importantly, there is harmony within the band this time around. Not only is Skiba in-sync with his new bandmates, but his vocals blend tremendously with Hoppus’ and backed by Travis Barker’s precise drumming, this trio delivers pop-punk brilliance. 

California is out Friday, July 1st, and is a must listen for any blink-182 fan. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

Just as they did 2 years ago, the Bay area band, The Matches, reunited again for another celebration. Commemorating their brilliant sophomore album, Decomposer, The Matches returned to New York City, filling Irving Plaza with faithful fans.

Decomposer is a very New York album, so it was only fitting that they played it in full in New York City. The band experimented musically; going in an avant-garde direction, Lead singer, Shawn Harris even divulged the influence of David Bowie in many songs while introducing “My Soft and Deep.” Bowie and Lou Reed are clear influences on the lyrical and music content of the record, which really established Harris as a eloquent and interesting songwriter, as opposed to the young punk who once wrote the cringe worthy lyric, “I’ve got my fingers crossed she’ll say 18.”

The strength of the album translated live as well. The band felt tighter and more lose, full with booty shaking, call and response, and even a snippet of “Down Down Baby,” and yes I do mean the children’s clapping game. And each song flowed seamlessly into one another, even the curveball, “Limewire addition” of “Dog Eared Page,” from the first album inserted into the middle of the album. Feeding off the high energy of the crowd, The Matches performed the album flawlessly and rewarded hardcore fans with favorites from the first album along with their latest offering, “Life Of A Match,” in a five song encore sending the sweaty crowd home satisfied.

It is clearly evident that The Matches are truly appreciative of their fans. Shawn Harris began and ended the concert in the midst of the crowd that he and the band felt an allegiance to. Here’s hoping this isn’t the last we hear from The Matches.

“If I'm the sum of all my friends, then all my friends are some of me and if you're some way just like them then I am you to some degree.”

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!

For reasons unknown, one of my favorite bands, Motion City Soundtrack, has decided to hang it up and call it a day as a group. I attended their final date in Canada, at The Opera House, where Motion City Soundtrack played a high energy, nostalgic set with songs that spanned their almost 20 year career. 

Mostly focusing on fan favorites, as 16 of the 21 songs have been played at every show thus far, there wasn’t a voice in the crowd that wasn’t shouting Justin Pierre’s eloquent and smart lyrics back at him with the rest of the band doing the same behind him. The band blazed through their set, hardly speaking or catching a breath between songs. Clearly these shows are for the fans and the band wanted to power through as much material as they could in their limited time. And the appreciative crowd hung on every note from the ever-popular, “Everything Is Alright,” to the more despondent but ultimately the most powerful numbers such as, “Last Night,” or  “Hold Me Down.” The night concluded with the oh so applicable, “The Future Freaks Me Out,” sending the sweaty, energetic crowd home satisfied.

Photo credit: Jason Elliott

Even if somewhere down the line, Motion City Soundtrack decides to reunite, it was most definitely a special night for the Toronto crowd. There is no doubt that Motion City Soundtrack will be remembered as one of the more influential bands in pop-punk’s height. Members of the opening band, Have Mercy, each recollected memories they associated with the pop-punk pioneers. Whether it was a first concert or first kiss, Motion City Soundtrack are and always will be inspiring and simply majestic. 

Be sure to follow me on Twitter @MichaelDroel and as always stay tuned for more from your music doctor!