In Remembrance Of Mel Galley (1948-2008)

Mel Galley, the celebrated guitarist of Trapeze, Whitesnake, and Phenomena, passed away on July 1st.  He was diagnosed with esophageal cancer in February.

The novel sound of Trapeze was introduced to me as a college sophomore in 1987 - I was instantly hooked.  Mel's music has been a constant in my life ever since.

I had the privilege of meeting him in 1994 when a reunited Trapeze headlined the Ray Gillen Tribute in New York.  I remember standing in front of Irving Plaza, a cab pulled up, and out stepped Mel, who grabbed a guitar from the trunk and then spoke with our small group.  Their performance that night is a cherished musical memory.

Along with countless others, I got to know Mel when he surfaced on MySpace last year, where he frequently blogged and shared songs, photos, and videos from past and present.  Mel didn't mince words; he wrote candidly about his illness and reflected on his earthly existence with sincerity, dignity, and humor.  His MySpace page remains a sanctuary in a sea of noise.

My deepest condolences to the Galley family.  "Melville" lives on in the hearts and minds of the many people he touched.

http://myspace.com/melgalley
http://myspace.com/trapezetheband

Damien DeSimone

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Kip Winger - "From The Moon To The Sun" (CD Review)

Rock's Renaissance Man Returns With Cosmic Aural Travelogue

"A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself.  What a man can be, he must be."  (Abraham Maslow - Motivation And Personality - 1954)

Kip Winger's approach to composition is anachronistic; he takes years to craft albums that make up in impact what they lack in frequency.  His expansive solo work has found favor with cognitive creatures, cultural cognoscenti, melodic rockers, and metal merchants.

From The Moon To The Sun is Chapter Three in his odyssey of self-exploration and spiritual growth.  Through an alchemy of songwriting, orchestration, and voices, Kip - with help from Turkish artist/producer Cenk Eroglu - has once again created music that is transcendent, otherworldly, and profoundly human.

The vitriolic verses of "Nothing" ("ain't no second coming, best to close your eyes and keep on running") are offset by a thread of optimism:  "Looking for the strength when I'm weak / Looking for the faith when I seek / Don't wanna be day after day just living my life for nothing."  A classical piece entitled "Ghosts" simultaneously unites and divides the collection.  Winger examines the lives of two lost souls in "Runaway" and "California" - one is more tragic than the other.  "What We Are" boasts a Beatlesque arrangement and production.

As the disc winds down, Kip attains a breakthrough with only one word, "Why":

"Only one life
One fight
Only one voice
In the distant night
If only one bridge
What's the sacrifice
Is forgiveness
Never knowing why"

Kip Winger is a modern-day bard, 12-string in hand, navigating the perplexing landscape of existence.  The sounds on this CD transported him from Nashville to Istanbul, from the moon to the sun.  Where will he go next?  That's anybody's guess.

http://myspace.com/kipwingermusic

Damien DeSimone

2:18 PM - 2 Comments - 3 Kudos - Add Comment

Glenn Hughes - "First Underground Nuclear Kitchen" (CD Review)

"And I only wanna say just what I really feel."  ("This Is How I Feel" - Music For The Divine - 2006)

Hughes reemerged as an influential singer/songwriter on Music For The Divine, where he broke barriers and risked the consequences, a process that was redemptive, cathartic, and enlightening.  Those heartfelt, imaginative songs put Glenn back on the map as a creative force to be reckoned with.

"It's time to grow."  ("Love Communion" - First Underground Nuclear Kitchen - 2008)

First Underground Nuclear Kitchen not only takes his vision a step further, it represents a rebirth.  It's a beguiling disc, a tour de force of eclecticism and eccentricity, musicality and moxie.  And Hughes' perspicacity is at its peak.  An example is the bridge of "Imperfection," which struck me like a bolt of lightning:  "Don't it get you / Don't let it get you feelin' down / A revelation, it's my salvation / To be grounded."

The title track slams into ear canals with an effortlessly punchy chorus and brisk horn arrangement.  "Love Communion," the ebullient first single, is one of Glenn's most accessible and uplifting compositions.  "Voice Of Rock" fans can feast on the trippy larynx-shredder "Oil And Water."  If you're inspired by his more reflective work, bask in the glow of "Satellite," where Hughes hits another home run:  "I know a man / Worked his life away / He's the one who set me free / I'm on my knees to pray / The kinda man I hope to be."

Guitarist Luis Maldonado plays with an air of Steely Dan sophistication (check out his solos in "Love Communion" and "Imperfection").  Maldonado also arranged the cello on "Imperfection."

The piece de resistance is the final cut, "Where There's A Will..."  In "The Divine," which closed his previous CD, Hughes had "lost serenity within a fractured life" and "pulled the shutters down."  Today, "the sun will show the way," and, as the song fades, Glenn has this dialogue with God:

"Will you comfort me?"

"Yeah..."

Glenn Hughes is finally free; he now sits peacefully beneath the willow tree - and we're invited to join him.  Nuclear Kitchen is a harbinger of major achievements to come.

http://myspace.com/glennhughesonline

Damien DeSimone

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Jason Fickel - "Kerosene Cologne" (CD Review)

In "I Want All My Money Back," Fickel sings "Swallowing that coffee with you, hot and black as your soul."  That's a telling line, because the frankness of his lyrics is analogous to strong, black coffee; his trenchant wit is the dollop of cream on top.  From the strut of "I Got Style" to the accusatory "Some Kind Of Love" and mournful "Most Of All," Fickel's songs - a hip synthesis of blues, folk, and country - transform the mundane into the meaningful.

Producer Lauren Robert - who contributes backing vocals, keyboards, and percussion - augments Jason's rich voice and resonant acoustic/electric playing like never before.  Several other musicians lend their talents as well, notably trombonist Jonathan Elmer and the snappily-named Slats Klug, whose fat organ beefs up "If I Still Had A Buick."

http://jasonfickel.com

Damien DeSimone

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Fall Back Plan - "The Starting Over EP" (CD Review)

Fall Back Plan was a serendipitous discovery as I was flipping channels last month.  I caught part of their performance on Backstage, looked them up on MySpace - and they are now one of my favorite bands.  Though their genesis only dates back to mid-2007, this Baltimore-area quartet is already making waves; the first pressing of The Starting Over EP - which was independently released in February - is completely sold out.

Front and center is vocalist/lyricist Donice Cully, who brings myriad styles to the table and has an off-kilter accessibility and incendiary quality similar to that of Stacey Ellis (who has sadly vanished from the music scene).  Cully can be sensual ("Sleep"), self-assured ("Send You Running"), sensitive ("Let Go"), and submissive ("Sucka Punch").  The crisp guitar work of Brian Shealey and staunch rhythm section of Geoff Gill (bass) and Ken Crawn (drums) define Fall Back Plan's sound - an intoxicating blend of hard-edged modern rock and left-of-center power pop.

After experiencing the five irresistible songs on the EP, I'm eager to hear more.  FBP is currently on tour, and a full-length CD is slated for later this year.  This is a band to watch!

http://myspace.com/fallbackplanband
http://myspace.com/donicecully

Damien DeSimone

3:07 PM - 1 Comments - 2 Kudos - Add Comment

Lana Lane - "Red Planet Boulevard" (CD Review)

Lana has been called the "Queen Of Symphonic Rock," but that's a misnomer, because she's much more than that - she is one of today's premier song stylists.

Love Is An Illusion, her 1995 debut, hit me hard with its unforgettable songs and meticulously-orchestrated soundscapes - and I was spellbound by the lofty, felicitous voice of Lana Lane.  Her technique is exhilarating; the precision of Ann Wilson, fluidity and swing of Ella Fitzgerald, and dynamism of Glenn Hughes - three of her main influences - coalesce to form a highly-individualized mode of expression.  The man behind the music is impresario/keyboard savant/Rocket Scientist - and Lane's husband - Erik Norlander.  Over the last thirteen years, this California couple has built up a sizable following, particularly in Japan and Europe, and they continue to reinvent themselves while remaining true to their original vision "to produce and promote high-quality, timeless music with strong artistic integrity."

On Red Planet Boulevard, Lane and Norlander embrace a streamlined, explosive rock format that echoes Love Is An Illusion, yet they incorporate many of the stylistic devices they've acquired over time.  Amid the chugging riffs and pounding drums, Lana caresses, illuminates, and infuses every word with intense feeling like the immortal lady singers of yore.  The European flavor is courtesy of axeman Peer Verschuren and skinbasher Ernst Van Ee, the only additional musicians used.  Erik adds bass to his broad list of credits.  Audiophiles will once again revel in his crystal-clear production.

Lane effectively conveys a sense of desolation and desperation in the stark, chilling "The Frozen Sea."  The Songbird then stargazes and channels her inner Ella in "Lazy Summer Day."  "No Tears Left" is a moody torch song with a Think Tank twist.  The updated sound of "Shine" sits alongside the best of Evanescence.  Norlander contributes intuitive, tactile solos to "Into The Fire" and "Capture The Sun" (also noteworthy for its plush harmonies).  Last in the running order, the instrumental title track recapitulates the album's melodies into a cinematic coda.  The fire motif sprinkled throughout Red Planet Boulevard ties back to elemental themes in some of Lana's earlier work.

Consistent with prior releases, surrealist painter Jacek Yerka was commissioned for the cover art.  Yerka's aesthetic wholly jibes with Lane's creative ideals, and their close association recalls the relationship between Roger Dean and Yes.  The Maestro is also a master wordsmith; Norlander's comprehensive, fastidiously-composed liner notes are always a pleasure to read.  (His "Notes From The Producer's Desk" series manages to simplify Lana's vast and fairly complex global discography.)  In this age of iPods and digital downloads, where so much is faceless, hasty, and disposable, it's refreshing to see real care and effort put into the packaging and presentation.

(NOTE:  To hear Lana in a more courtly setting, I emphatically recommend her 2003 opus, Winter Sessions.)

http://myspace.com/eriknorlanderandlanalane
http://thetank.com

Damien DeSimone

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Robin George/Glenn Hughes - "Sweet Revenge" (CD Review)

These previously-unreleased recordings date back to 1990, when a not-yet-sober Glenn Hughes was trying to find his feet after a disastrous stint with Black Sabbath and a decade spent in The Twilight Zone.  Songs from his sessions with Robin George - which confidently straddle the line between rock and pop - have been highly regarded and circulated by fans for years.  I wore out many tapes of this material back in the day, so I couldn't wait to get the CD.

It's not what I expected.

The sound quality is fine, but the tracks are bare and unfinished.  More complete, vastly superior versions exist from sessions a year later, so this is a big disappointment.  For example, there is no "Hoo! Ha! Hoo! Ha!" in "Sweet Revenge"; no rap or hair-raising scream in "American Way"; no female backing vocals in "Flying" - you get the idea.

Three cuts are new to me.  In its current state, "War Dance" is forgettable.  "Number One" sounds like an outtake from Gary Moore's Run For Cover (which Hughes sang on in 1985).  "Machine" marries MTV-era Robert Palmer with a Mutt Lange production.

I just found out that Sweet Revenge is an unauthorized release; that explains a lot.  But the tunes still excite and stand the test of time.

http://myspace.com/glennhughesonline
http://robingeorge.co.uk

Damien DeSimone

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Winger - The Stone Pony, Asbury Park, NJ 2/22/08

It was another cold, dreary night along the bleak Asbury Park beachfront, but Winger's bus shone like a beacon of light.  Kip, Reb, Rod, and John played the Pony just over a year ago.  They are now back on the road behind Winger IV and a live CD/DVD recorded during last year's tour.

Kip - Rock's Renaissance Man - was slightly under the weather and tried to conserve his voice whenever possible (the high-profile Station benefit was two days away); as a result, Reb and John ramped up and adjusted their vocal support.  The band displayed skill, swagger, and substance, and the gig was full of surprises.  John sang lead on The Kinks' "You Really Got Me" and tore through a portion of his raucous, country-flavored instrumental "40 Goin' North."  "Right Up Ahead" got nixed, but "Generica" - which is more relevant than ever - remained an integral part of the set.  Armed with his trusty 12-string, Kip gave an arresting performance of "Free," a complex, exotic piece from his solo masterwork Songs From The Ocean Floor.

I had the pleasure of meeting my friend Deeandra, who road-tripped to several East Coast shows.  Her MySpace page reflects her passion for people, self-expression, and the arts.  Deeandra also runs the informative Kip Winger Rocks web site.  Be sure to stop by!

http://myspace.com/wingertheband
http://kipwingerrocks.com
http://myspace.com/deeandra

Damien DeSimone

with Reb Beach and Kip Winger:

12:30 PM - 3 Comments - 6 Kudos - Add Comment

The Twelve (APAP Showcase) - China Club, New York, NY 1/13/08

Composer/lyricist Neil Berg's debut of The Twelve was primarily for members of the annual APAP Conference, but it was also a free event open to the public.  His biblically-based, theatrical rock extravaganza, which features a prodigious cast of vocalists and musicians from Broadway and beyond, successfully and substantively merges religion and rock 'n roll for the theater fan and thinking man.  As the concert commenced, Berg - who was hunched over his keyboard in a corner of the crowded stage - appeared to be praying, or at least priming.  The diversified songs, effective pacing, and intriguing concept kept me entertained.

The main reason I attended was to see Patti Russo, who captivated me at Fantasy Camp last September.  Patti's voice is versatile, omnipotent, and eloquent; her live presence always strikingly impressive.  From rockers to ballads to show tunes, she sings it all with unparalleled verve and grace.  Patti had several lead and supporting roles, and, along with everyone else, garnered a grand response after each performance.

http://neilberg.com
http://myspace.com/pattirusso

Damien DeSimone

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My Top Five CDs Of 2007

(in alphabetical order by artist)

Vanessa Carlton - Heroes & Thieves

As usual, gorgeous strings flow in and around Nessa's economically elegant piano stylings and memorable melodies.  What sets Heroes & Thieves apart from her previous two CDs is a newfound maturity, as evidenced by her sagacious, thoughtful lyrics and unadorned vocals.

http://myspace.com/vanessacarlton

Glenn Hughes - Music For The Divine

A reinvigorated Glenn Hughes took his art to a new level with this one.  The sublime "This Is How I Feel" is emblematic of Hughes' lyrical and musical evolution.

http://myspace.com/glennhughesonline

Richie Kotzen - Into The Black

Into The Black received little promotion, got mixed reviews, and came and went rather quickly.  That's criminal - it's Kotzen's most cohesive release to date!  As the title indicates, it's much darker than his other work, but his songwriting has never been more focused, deeply personal, or compelling.

http://myspace.com/richiekotzen

Don Lee - Change Into Change

Lee's debut solo disc is chock-full of impeccably crafted, undeniably catchy pop-rock.  "Simple sophistication" is the order of the day - you'll find yourself humming his tunes straightaway, but if you dig deeper, there is treasure to be found.

http://myspace.com/donleesounds

Naked To The World - Listen. Naked.

Kevin Fisher's writing is literate, witty, sometimes humorous, always thought-provoking - and he sure knows how to come up with a good hook!  Adroit acoustic instrumentation provides the perfect backdrop for Fisher's uncommonly intelligent, melodic, folked-up pop.

http://myspace.com/nakedtotheworld
http://myspace.com/kevinfisher1

Damien DeSimone

8:08 AM - 1 Comments - 2 Kudos - Add Comment

Rock ’N Roll Fantasy Camp - B.B. King Blues Club, New York, NY 9/3/07

I had some reservations about dropping $65 for a ticket to Rock 'N Roll Fantasy Camp, but Glenn Hughes' participation got me out the door.

The indefatigable Hughes - who wowed New York in June - was one of many "counselors," and the bash at B.B. King's was the culmination of a hectic four days of activity for the campers.  It ran from 7:30 until after midnight, and can best be described as organized chaos and outrageous fun.

Lookin' lithe and modish in his violet shades, John Varvatos t-shirt, skinny jeans, and flashy sneakers - and sporting an electric guitar instead of his usual weapon of choice, bass - Glenn amped up the audience with his powerful pipes and funky fretwork.  His group banged out "You Keep On Moving" (Deep Purple) and "Detroit Rock City" (Kiss).

Alan White's crew performed "Changes" (Yes), which was totally transformed by Patti Russo's strong voice and forceful execution.  Former Grand Funker Mark Farner was joined by Bruce Kulick on bass and Paul Stanley and Patti Russo on backing vocals for a sweeping rendition of "I'm Your Captain."

The proceedings ended with a carefree all-star jam.  Glenn Hughes, Alan White, Go-Go guitarist and Surreal Lifer Jane Wiedlin, Mountain drummer Corky Laing, ace songwriters Gary Burr and Mark Hudson, David Letterman's horn section, et al., raided the archives for "Smoke On The Water," "All Right Now," "We Will Rock You," "I'm Down," "I Love Rock 'N Roll," "Our Lips Are Sealed," "Superstition," and more.  Hughes donned a bass throughout and took the lead vocal on "Smoke On The Water" and "Superstition."  The final number was John Lennon's "Instant Karma! (We All Shine On)."

http://myspace.com/rockandrollfantasycamp
http://myspace.com/glennhughesonline

Damien DeSimone

7:30 AM - 1 Comments - 2 Kudos - Add Comment

Deep Purple - Radio City Music Hall, New York, NY 8/7/07

The well-oiled touring machine that is Deep Purple presented a polished slab of rock at uberprestigious Radio City Music Hall.  But their public displays, though always entertaining and played to perfection, have become somewhat pedestrian.  Why?  The Purps need to radically change their fusty setlist.  There were a few surprises this time ("The Battle Rages On"), but the bulk of it was all too familiar.  Last year's Gillan's Inn gig was unpredictable and unceremonious; those two qualities are lacking in Purple's current repertoire.

http://myspace.com/deeppurple

Damien DeSimone

12:31 PM - 1 Comments - 2 Kudos - Add Comment

Toto - B.B. King Blues Club, New York, NY 7/24/07 (Two Shows)

Toto has always been a much heavier band live, and their recent doubleheader performance in New York was no exception.  Steve Lukather and his canny cohorts dished out fabled hits from the '80s, uncelebrated treasures from the '90s, and choice cuts from their latest release, Falling In Between, with class, consistency, and that omnipresent hard edge.  Their tunes appeal to moms, musicians, metalheads, and music connoisseurs, and the crowd on hand reflected that diversity (both shows were sold out).

Lukather's bone-crunching riff and Gene Simmons-sounding vocal fueled the opener "Gypsy Train."  His sensitive side emerged on "Bottom Of Your Soul," the first single from the new CD - "Have you ever seen the look in a hungry child's eyes / They can't eat money or promises."

In addition to having one of the finest voices (and best mustaches) in rock 'n roll, Bobby Kimball possesses an incredibly magnetic stage persona.  When he wasn't belting out a lyric in his R&B-inflected style, he was constantly on the move.

Drummer Simon Phillips is usually ensconced behind his gigantic kit, so I was surprised when he stepped up to the mike and spoke during the introductions.  With his mop of curly hair, graphic t-shirt, trendy jeans, and Chuck Taylors, he looked like a teenager.  One of many highlights was the bit of "Hydra" that led into Simon's solo, which was immediately followed by the Van Halen-esque "Taint Your World."

John Coltrane's "Giant Steps" was a prominent part of keyboardist Greg Phillinganes' solo in the second set.

Legendary session bassist Lee Sklar is touring with Toto while Mike Porcaro recovers from a hand injury.  The bespectacled, boldly-bearded Sklar played in a Zen-like state of calm and upped the character quotient exponentially.

Toto bowdlerized their back catalog with a half-hour medley that was flawlessly executed, but ultimately unsatisfying.

"Africa" was the final encore of the night.  During the extended ending, one by one the band members left the stage, leaving only Simon to play it - and us - out.

http://myspace.com/toto99

Damien DeSimone

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Glenn Hughes - B.B. King Blues Club, New York, NY 6/4/07

Glenn Hughes' career has taken its share of productive, obscure, and downright dangerous turns throughout the past four decades, but lately he's been experiencing a hearty resurgence.  Now in his fifties, he routinely tours around the world and releases well-received CDs to a fiercely loyal, multigenerational fan base.  Most of Glenn's recent success, however, has been overseas; recognition in America, where he has lived for years, has largely eluded him.  When exclusive concerts in Los Angeles and New York were announced, his American supporters were, at long last, redeemed.

Fresh off the Los Angeles date at the Whisky A Go-Go, Glenn and his band - Jeff Kollman (guitar), Ed Roth (keyboards), and Stevie Stephens (drums) - took the stage at B.B. King's and delivered a commanding performance to a packed house of adoring fans.  To his credit, Hughes didn't merely wallow in nostalgia and cater to the old guard; instead, he focused on material from his two latest discs, Soul Mover and Music For The Divine, and peppered the set with Deep Purple pabulum.

Glenn's best writing has always sprung from his deepest pain, and "Don't Let Me Bleed," a tormented missive to an old flame, lifted me to a higher plane with its fervent lyrics, roller coaster arrangement, and ultimate resolution - "But there will be no resentment here, this is meant to be."  His celestial reading of "This Time Around," which silenced the audience, was another moment to behold.  Glenn was visibly touched by the rapturous response and was almost driven to tears at one point.

Guitarist Jeff Kollman showed his chops during the intro to "Mistreated" and provided appropriate rock muscle all night; drummer Stevie Stephens - who has worked with Janet Jackson - shined when things got funky; and keyboardist Ed Roth - whose R&B/jazz leanings are more blood than muscle - skillfully took cues from Glenn's quivering hand during several soulful interludes.

On a personal note, Hughes was my first muse as a writer, and I spent most of the '90s reporting and reviewing his work (some of you may remember me from the original Coast To Coast mailing list, which is now a phenomenal podcast).  We haven't kept in touch over the last seven years (where did the time go?!), so it was great to reconnect after the gig.

http://myspace.com/glennhughesonline
http://glennhughes.com/ctc

Damien DeSimone

4:55 PM - 2 Comments - 3 Kudos - Add Comment

John Roth - "John Roth" (CD Review)

While many of his peers emphasize guitar histrionics over songcraft, Mr. Roth takes the road less traveled and presents ten engaging tunes on his eponymously-titled debut.  Roth, a veteran of the Memphis music scene and member of Winger since 1993, gives a nod to the past and has a foot in the present, proving he can be as contemporary as John Mayer, as classic as Jimi Hendrix.  Although this is a song-oriented release, guitar fans will not be disappointed, for his playing is like a crosscut saw - sharp, focused, with enough edge to go against the grain of the ordinary and expected - and he tosses off melodic solos and rhythms with pinpoint precision and freewheeling elan.

"Jonesin'" begins with a pastiche of historic lyrical references ("with a shot of your lovin' I can kiss the sky" - "papa's got a whole bag of all new tricks") and quickly slides into a sinewy groove, the ideal underpinning for Roth's bravado.  The words and music of "Red, Violet And Blue" are as variegated as the title.  Bohemian lyrics, a lazy vocal, and tactful percussion contribute to the hazy vibe of "Hippie Chick," one of the top cuts on the disc.  Roth extols the virtues of simple living in "Gettin' By," a soothing tonic for our overstimulated, overworked, materialistic culture.  The middle passage is a revelation - in lieu of a guitar workout, he leads the listener to a deeper place with a subtle vocal arrangement.  "Funky White Boy" is conceptually similar to Bad Company's "Shooting Star," but not as tragic.  Party-starter rock anthems generally fall flat in my book, but "Are You Listening?" is an exception - dynamite rhymes, riffs, and turntable action distinguish it from the pack.  "Buzzkill" bursts out with an infectious chorus and compact solo.

Roth really hits the mark with "Jaded."  His impassioned voice and penetrating tone bring these candid lines to life:

"I felt a world of pain
And it left an ugly stain
I try to ignore
But it just won't go away
And every day I pray
For a change to come my way
But I'm jaded, I'm worn and faded
And I'm tired of wastin', wastin' my life away"

"You Make Me Wanna Scream," the penultimate number, is pulsing and hypnotic.  Roth may have saved the best for last with "Walk In Her Garden" - I can't get the mellow chorus out of my head!  He even alludes to "Red, Violet And Blue" with the line "Her violets chase away my blues," which is a nice touch.  To quote Irving Berlin, "The song is ended, but the melody lingers on."

John may be Winger's secret weapon, but with his original music, he establishes himself as a formidable artist in his own right.

http://myspace.com/johnrothmusic

Damien DeSimone

1:52 PM - 1 Comments - 2 Kudos - Add Comment