Born December 5, 1932, in Macon, Georgia, the third of twelve children, Richard grew up dirt-poor in the segregated South. His father Charles “Bud” Penniman was a church deacon by Sunday and a bootlegger by night; his mother Leva Mae was devout. One leg shorter than the other, nicknamed “Lil’ Richard” and mercilessly bullied, he found refuge in the Pentecostal church, banging on pots and pans and singing so loud the preacher once told him to shut up during service.

At 14 he was already hustling: selling Coca-Cola at the Macon City Auditorium, performing drag as “Princess LaVonne” in medicine shows, and soaking up gospel giants like Sister Rosetta Tharpe and Mahalia Jackson. By 1951 he’d won a talent contest in Atlanta and cut his first sides for RCA Victor – polite jump-blues that went nowhere. The world wasn’t ready.

Everything detonated when Richard walked into Cosimo Matassa’s J&M Studio in New Orleans on September 14, 1955. The session was flat until, during a break, he jumped on the piano and tore into a filthy, obscene version of “Tutti Frutti.” Producer Bumps Blackwell freaked out, called lyricist Dorothy LaBostrie, and fifteen minutes later the cleaned-up but still nuclear “A-wop-bop-a-loo-bop-a-lop-bam-boom!” was born.

What followed was the greatest two-year run in rock history:

• “Tutti Frutti” (1955) – instant No. 2 R&B hit, covered by Elvis and Pat Boone the same year.
• “Long Tall Sally” (1956) – so fast Pat Boone couldn’t keep up.
• “Rip It Up,” “Lucille,” “Jenny Jenny,” “Keep A-Knockin’,” “Good Golly Miss Molly” – every single a detonation of falsetto screams, pounding piano, and Lee Allen’s sax from hell.
• Here’s Little Richard (1957) – the first true rock ‘n’ roll album, now in the Library of Congress.

Richard’s band, The Upsetters, featured monsters like drummer Charles Connor and guitarist Jimi Hendrix (briefly, in 1964–65). Onstage he wore pancake makeup, pencil moustache, six-inch pompadour, and sequined suits, climbing on the piano, throwing clothes into the crowd, and leaving teenage girls (and boys) in hysterics. He was the first true rock ‘n’ roll wild man.

In October 1957, at the peak of fame, Richard saw a fireball in the sky (actually Sputnik) and took it as a sign. He threw a $10,000 ring into Sydney Harbour, enrolled in Bible college, and quit rock ‘n’ roll to become a minister. The next decade was chaos: gospel albums, preaching, then sudden returns to sequins and sin.

He came out as gay in the 1950s, then renounced it, then embraced it again. He married Ernestine Harvin (1962–64), adopted a son Danny, and later lived openly with partners while still preaching. “I am the originator, the emancipator, the architect, and also omnisexual,” he declared in 1995. The contradictions were the point.

The 1960s and 70s saw glorious returns: the 1964 tour with The Beatles (who opened for him and worshipped him), Jimi Hendrix as his guitarist, explosive European packages with the Rolling Stones. In 1969 he played the Atlantic City Pop Festival and Toronto Rock ‘n’ Roll Revival, proving the voice was still supersonic.

The 1980s brought the final coronation: induction into the very first class of the Rock and Roll Hall of Fame (1986), a Grammy Lifetime Achievement Award (1993), and the unforgettable scene in 1988 when he presented at the Grammys and shouted, “I have never received nothing! Y’all ain’t never gave me no Grammy, and I been singing for years! I am the architect of rock ‘n’ roll!”

He was right.

On May 9, 2020, at age 87, Little Richard died at his Tennessee home from bone cancer. His last public words were classic: “I’m not dead yet!”

Without Little Richard there is no:

• James Brown (who stole his entire stage act)
• Otis Redding
• Prince (who worshipped him)
• Paul McCartney (learned to scream “Woooo!” from “Long Tall Sally”)
• Jimi Hendrix (learned showmanship in the Upsetters)
• David Bowie, Mick Jagger, Freddie Mercury, Elton John – every flamboyant frontman owes him royalties

The Beatles, the Stones, Led Zeppelin, AC/DC, and every garage band that ever plugged in owe their existence to the Georgia Peach who screamed the blues into the atomic age.

He wasn’t just influential. He was the big bang.

Happy 93rd, King and Queen of Rock ‘n’ Roll.

Shut up – the architect is still speaking.

And we’re still listening.

Early Life: Roots in Chaos and Creativity

Born on November 18, 1962, in San Francisco, California, Kirk Lee Hammett grew up in the working-class town of El Sobrante. His mother, Teofila “Chefela” Oyao, was of Filipino descent, while his father, Dennis L. Hammett, a merchant mariner, brought a mix of English, German, Scottish, and Irish heritage to the family. Hammett has openly described his upbringing as turbulent, marked by his father’s love for drinking and fighting, creating what he called a “toxic soup of masculinity.” Despite the challenges, young Kirk found solace in two worlds: horror films and music.

At just five years old, after a playground scuffle left him with a sprained arm, his parents sat him in front of the TV, where he encountered The Day of the Triffids. This sparked a lifelong obsession with horror, leading him to collect magazines, figures, and memorabilia. By his teens, he was trading those horror mags for records from his brother Rick’s collection—albums by Jimi Hendrix, Led Zeppelin, and UFO that ignited his musical fire. Attending De Anza High School in Richmond, California, Hammett befriended future Primus bassist Les Claypool, a connection that would weave through his career. He picked up his first guitar at 15—a cheap Montgomery Ward special with a shoebox amp—and soon upgraded to a customized 1978 Fender Stratocaster copy and a 1974 Gibson Flying V.

Hammett’s entry into the music scene was explosive. At 16, in 1979, he co-founded Exodus with vocalist Paul Baloff, guitarist Tim Agnello, bassist Geoff Andrews, and drummer Tom Hunting. Naming the band after Leon Uris’s novel, Hammett contributed to their 1982 demo and the 1983 Die By His Hand, helping shape the Bay Area thrash metal movement. During this time, he honed his skills under guitar legend Joe Satriani, absorbing techniques that would define his style.

Exodus‘s raw energy caught eyes, but Hammett’s big break came in 1983. Metallica, fresh off firing lead guitarist Dave Mustaine for substance issues and volatility, called Hammett for an audition while recording Kill ‘Em All on the East Coast. Flying to New York on April 11—the same day Mustaine was ousted—Hammett nailed “Seek & Destroy” with a standout solo, impressing frontman James Hetfield. He joined immediately, becoming Metallica’s lead guitarist and a cornerstone of the band.

The Metallica Era: Riffs, Solos, and Global Domination

Hammett’s impact on Metallica was immediate and profound. Starting with Ride the Lightning (1984), he contributed riffs that became metal staples, like the bridge in “Creeping Death,” originally an Exodus piece he brought over. His solos—fast, melodic, and infused with wah-wah pedal flair—elevated albums like Master of Puppets (1986) and the self-titled Black Album (1991), where his riff kicked off the chart-topping “Enter Sandman.” That song alone landed on Rolling Stone‘s list of the 500 Greatest Songs of All Time.

Tragedy struck during the 1986 Master of Puppets tour when bassist Cliff Burton died in a bus crash in Sweden. Hammett later reflected that a card draw for bunks could have put him in Burton’s place instead. Through highs and lows, including Hetfield’s rehab during St. Anger (2003)—where Hammett pushed for solos that were ultimately omitted—he remained a creative force. Albums like Load (1996) and Reload (1997) showcased his “blues period,” influenced by jazz studies at San Francisco State University, adding depth to Metallica’s sound.

Metallica‘s induction into the Rock and Roll Hall of Fame in 2009 honored Hammett alongside his bandmates, including the late Burton. His contributions extend to tours, where his taped picking hand (to prevent abrasions from palm muting and fast picking) became a signature sight. Even in 2025, Hammett continues to tour with Metallica‘s M72 World Tour, and he’s hinted at not feeling fully challenged by the band’s music anymore, sparking speculation about future directions.

Beyond Metallica: Solo Ventures, Horror, and Collaborations

Hammett’s creativity spills far beyond Metallica. In 2022, he released his debut solo EP, Portals, blending classical, soundtrack, and horror influences with nods to Ennio Morricone. His horror passion birthed the 2012 book Too Much Horror Business, showcasing his vast collection of memorabilia, from Bela Lugosi costumes to Frank Frazetta paintings. He founded Kirk Von Hammett’s Fear FestEvil convention in 2014, featuring music, panels, and horror icons.

Collaborations abound: guest spots on tracks by Orbital, Pansy Division, Carlos Santana, and K’Naan; voice work on The Simpsons and Metalocalypse; and even a role in the 2022 film Metal Lords. In 2025, Hammett partnered with Gibson for the limited-edition Raven acoustic guitar, inspired by Edgar Allan Poe, and hosted “The Collection: Live” events during Metallica‘s tour weekends. Items from his collection, including guitars, hit the auction block at Julien’s in October 2025.

On a personal note, Hammett has navigated two marriages—first to Rebecca (ending in 1990), then to Lani (1998–2020)—and is now engaged to Monikka De La Zerda, with whom he shares a child. He’s battled addictions but channeled energy into healthier pursuits like surfing and comics.

Hammett’s influence transcends Metallica. Ranked 23rd (with Hetfield) on Rolling Stone‘s 2023 Greatest Guitarists list and 15th in The 100 Greatest Metal Guitarists (2009), he’s lauded for pioneering thrash metal’s speed and aggression. His complex scales, theoretical knowledge, and memorable solos—like those in Ride the Lightning harmonies—have inspired generations. As a shredder who helped birth thrash with Exodus and Metallica, he’s set standards for metal guitarists worldwide, blending speed with melody and innovation.

His tech-savvy side shines through co-founding KHDK Electronics for pedals and signature ESP guitars, influencing gear trends. Fans and critics alike praise his ability to craft “memorable solos on much better songs” than many technically superior players, proving influence isn’t just about speed—it’s about impact. Even his longtime tech notes Hammett’s contest-winning prowess in the ’80s and ’90s, underscoring his overlooked technical mastery.

As Hammett reflects on his career—recently naming Motörhead‘s “Ace of Spades” as their best song in a 2025 interview—his legacy endures. He’s not just a guitarist; he’s a cultural force who fused horror’s darkness with metal’s fury, inspiring countless axe-wielders to pick up a Flying V and shred.

Happy birthday, Kirk.

Cheers to more riffs that rattle the world.

• Very happy to be asking you these questions, Dale. First of all, having grown up in the 70s, and having led a life full of musical milestones, how do you like to introduce yourself to others? And what would you say are the musical milestones you are most proud of?

First off, I would like to thank you for listening to our song. It really means a lot. It has taken a long time to reach this point. My life has been consumed by music from the time I was born. My parents were the main influence in sharing their musical tastes at an early age. Their diverse vinyl record collection kept me busy in the early 70’s with the likes of the Beatles, Johnny Cash, CCR, Neil Diamond, The Bee Gees, Abba to Gordon Lightfoot. The list went on. They would buy me albums like the Doobie Brothers, Eagles, Led Zeppelin, Cheap trick to Paul McCartney. I played Band on the Run to death! However, as I entered my teens and started exploring my own interests, and started fooling around on the guitar, I ventured off into the rock world with the likes of Led Zeppelin, Van Halen, Pink Floyd, AC/DC, ZZ Top, and Yes. These bands all helped shape me musically. However, by the time I hit high school in the early 80’s, and then throughout the rest of the 80’s, my tastes started to veer towards a more alternative vein with experimental David Bowie, REM, U2, and more of the outliers like New Order, Depeche Mode, The Cure, The The, Sisters of Mercy, Bauhaus to name a few. However, things changed when I completed a music recording course at UVIC in 1988, and this would be my musical milestone so to speak. I knew at that time that I would eventually do some writing and recording and producing of my own music. However, the technology at the time was expensive, bulky, and painstakingly time consuming using old reel to reel tapes. In 1991, I ventured into a career in Real Estate which is what I still do today, and music has always been a hobby along the way. It would take another 20 years before the at home technology began to emerge, and I started to realize this dream of creating my own music.

• Has it taken too long for you to get your home studio together and start recording? After listening to the song and watching the fantastically shot video I flew to Spotify to listen to more songs from you only to find none. Are you planning to release consistently from now on? Or is this a side project for you?

Yes, the journey to this day and the release of She’s Sowing Time has been a long time coming. My home studio was completed about 10 years ago. Prior to this, I jammed with several musicians over the years which helped me better my skills as a player. Fast forward to about 2013, and once I had amassed all the gear that I needed to record myself at home, I started writing songs and here we are today with the first official released song. It took the importance of this song to propel me to explore releasing it as a single, and the first step was to hire a professional videographer and Ted Kuzemski was my first choice. He shot the video and once it was completed, this gave me the confidence in taking the next steps to independently release the song. Also, technology has advanced along the way to allow it to happen now in 2023. That is why it is my only song that can be found on the streaming services. I do plan on releasing future songs as time allows, but this is still purely a side project and hobby.

• Am I correct in hearing a strong Bowie influence on the drums of ‘She’s Sowing Time’? That punchy groove and the particular timbre to the drums. Who would you name as your biggest influences when it comes to writing songs?

I have a lot of musical influences, but David Bowie is definitely high on the list. I do love a blend of electric and real organic drum sounds, combined with guitar, driving bass and lush old school synth sounds, and this song has a blend of all my musical tastes up to today. Moby is another influence for his layered piano and synth arrangements. There are too many others to name but if I was to name drop a few, I would include Tears for Fears, Echo and the Bunnymen, Depeche Mode, New Order, REM, Talking Heads, Velvet Underground, Iggy Pop, Peter Murphy, Beck, plus all the classic rock and pop bands I loved to listen to in the 70’s. This list could go on for hours.

Review – She’s Sowing Time by Dale Sheppard

• Talking about writing songs. What was the process behind writing ‘She’s Sowing Time’? The lush chorus and the skeletal verses. The pads and the effect on your voice. Where would you say these decisions come from? Are they just pretty and fitting to the theme? Or would you say they carry an integral part to the meaning behind the song and the words?

I usually start writing my songs by picking a drum track and tempo, and then recording a rough rhythm guitar track highlighting the verse and chorus. Then I add bass guitar and basic synth tracks to create the atmosphere. I try to layer several synth parts over each other to fill out the sound. Once completed, Kim provides the lyrics and I then set out to record my vocals to her words. The theme of this song was heavily influenced by Kim’s battle with cancer which influenced my vocal presentation and the special affects added to my vocal tracks. Kim has a wonderful voice, so I knew that our blend of vocals, once recorded, would create a full sounding chorus. Most of the decisions regarding the mixing stage come from trial and error and are constantly changing until each track complements the others. I try to keep the vocals up front and center. This song theme has urgency and struggle and a lot of emotions. Trying to create this atmosphere did take a lot of time finding the right balance for each track and for the final mixing of the song.

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• Taking the words from Kim after her battle with cancer must have been challenging. To write a piece of music that is worthy of such inspired words can’t have been easy. How did you approach this, and how did you decide that the music you came up with was worthy of such words that must have been quite personal to your family?

Yes, Kim went through an extremely tough time during her cancer fight in 2021, and she has now been cancer free for a year and a half, so we are all very relieved and grateful for this. Kim usually writes the words for my songs but after reading the lyrics to She’s Sowing Time, and adapting then to my musical composition, we knew we had something special. However, I really wanted to ramp up the production and instrumentation for this song, so I reached out to some friends of mine to add some additional tracks. The main keyboard melody was provided by Russ Ovans and the smoking lead guitar solo was provided by James Love. The final touch was adding real drums to the song, provided by Nicola D’Adamo, and his track was added to complement my existing electronic drum track to ramp up the urgency of the song while providing an organic human feel. I feel we accomplished what we set out to achieve.

• And finally, as a new fan of Dale Shepperd, what can we expect from you next? Radio shows planned ahead? More songs? An album by any chance? What do you have in store for us next?

I usually try to complete one song a year, so I hope to have another release to share in 2024. Regarding an album, I do have about 10 songs completed but the others are rougher demos, so they have not been officially released. If I get some time to complete those songs, and write a few more, I might have an album in me yet.

• Thank you so much Dale for taking the time to answer these questions. It has been my pleasure to ask them, and I truly hope that they are as engaging to consider and answer as listening to your latest single has been inspiring to me.

Big thanks to the band’s singer Frida Eurenius for taking the time to answer some of my questions!

• How did your band get started, and what initially drew you to singing metal music?Spiral Skies started back in 2014. The guys had already been playing with each other for a couple of years, jamming and writing songs. They´d tested a few singers but stuff did´nt work out. I was contacted since I´d put out an add on bandfinder, searching for a new band. I was a bit skeptical at first but when I heard the guys playing I was convinced.I have always loved to sing. I started to listen to metal at the age of 12 and Nightwish was my biggest inspiration in my youth. Nowadays I listen to a lot of styles but my old fav never gets rusty.

• What does the name “SPIRAL SKIES” refer to in the context of the band name?The name is taken from a Black Sabbath song. We had another name a couple for months but it did´nt fit us. We had a meeting where I listed about 25 suggestions of band names and then we simply voted. We vote when we can´t agree. I think « spiral skies » was the only name we all felt something for.

• What are some of your biggest musical influences?

We all have different music influences within the band but we share the same passion for the great 70s band such as Black Sabbath, Deep Purple, Led Zeppelin and Pink Floyd. But we are very strong influenced by folk rock, black metal, goth rock, punk, grunge, desert rock… the list goes on. We write all the songs together so it is always a big blend of stuff.

• When did you decide that you wanted to start writing and performing your own music? What brought that about for you? or How do you approach songwriting? Is there a particular process you follow?

For me it’s as probably as soon as i could talk and walk. My parents tells me about singing with a brush as a microphone in front of the mirror. I used to put up circus shows for my family as well, ha ha. Singing and performing has always been a passion for me, as well as writing novels and texts, and illustrating.

The process within the band is usually that we jam whatever we are up to in the reherasal room. If we hear something nice we record it with my cell phone. I have tons of fragments and riffs and melodies on it. Then we start building with what we have, and sometimes we let it go and drop the song, and sometimes we can write one song at one rehearsal. It is different from time to time.

• The whole package looks really neat. Who is behind the cover artwork?

Thank you ! We are so pleased with it. The cover design as well as the design of the vinyl is made by Jonathan Hultén (ex. Tribulation). We love his artwork.

• What’s the story behind your latest album “Death Is But A Door”?

The latest album is our second one. The biggest difference from the début « blues for a dying planet » is that all the songs are written by the current members. A big difference is that this time we used a professional studio and a producer (Emil Drougge). Last time we did everything ourself in the rehersal room.

• How can you describe AOP Records in two words, what would you say?

Devoted and passionated.

• What do you hope listeners take away from your music, both in terms of its sonic qualities and its message or themes?

I hope the listeners can enjoy the songs, no matter what mood they are in. Cause I think the album consists of many moods and themes, both dark and bright, heavy and light. We have not really did anything to limit ourselves either in song writing or lyrical themes. It is quite a risk, since listeners loves to box music and put a label on it, but hopefully our listeners can enjoy the variation of our music in the same way we love to create and perform them.

• Tell me about GEFLE Metal Festival, what is it like?

It is one of the biggest metal festivals in Sweden, and It is such a nice festival. I go there every year and always have such a good time. To finally play there was a dream come true. Most of the bands play black metal, death metal and thrash metal so It´s quite nice that we recieved one slot. Seems like the audicence appreciated us as well !

• Are there any new or upcoming projects that you’re particularly excited about?

At the moment we are taking a break since I am having a baby. That means we wont play any shows this fall. It is the first pause since 2014, but since we´re celebrating 10 years as band next spring I can assure you there will be some cool stuff ahead. We will write songs for the next album, and we also want to tour and play more festivals, so if you have any ideas – let us know.

• What are your goals as a band for the rest of the year?

To find a new band member since Sonny (guitarrist) has left the band since he moved to the north of Sweden, and the distance was not going well for us this spring. Otherwise we will land a bit and focus on writing new material. And be grateful for the awesome shows of 2023 !

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• What advice would you give to aspiring metal musicians, both in terms of musical skills and navigating the music industry?

Just go for it and do what you love ! You will be unhappy if you don´t. Music is a passion and if you are the driven kind, you can get far.
If you play in a band you have to remember that the social skills are as much important as the musical skills. There are lot of compromises and you have to be ready to « kill your darlings » in order to keep the band going. When it comes to the music industry, it is truly a bit*ch, but You´ll learn to navigate. Practice makes good. But if you really cannot live without the music (as for me) your life will be so much richer. One of the best moments in my life are when we have played an awesome show in front of a great audience. And the feeling of knowing that someone listens to your stuff- appreciating it. That is truly awesome, and it makes the spiral skies train just keep on going, even though we most often bleed both in economics and time, haha !

• How do you balance artistic expression with commercial success, and how do you decide when to prioritize one over the other?

We like the idea of a package. That is why we dress as we do, wearing masks, having so called themes in our lyrics. But we also have a need of free expression. But sometimes, if we feel something we write are a bit out of the spiral skies box, we just let it go. I think we should have at least another band beside spiral skies, haha ! Our influences are so weird from time to time, that it can be hard to stay on some kind of path.

• Finally, thanks for your time, Is there anything else you’d like to say to your fans?

Thank you so much for supporting us and listening to our music. If you have not, I would be really glad if you could give it a spin. And shout out if you want us to play in your hometown!

Spiral Skies lineup is:

• Frida Eurenius: Vocals
• Dan Svanljung: Guitar, Organ, Piano, and Didgeridoo.
• Jonas Lyander: Guitar
• Eric Sandberg: Bass
• Daniel Bäckman: Drums, and Percussion.

Contact for info, booking & questions at spiralskiesband@gmail.com

The song begins with an unrelenting snare drum sound that’s super metallic sounding and will get you up on your feet. The moment it’s joined by the guitars and bass, you feel like a coherent and strong wall of sound is hitting you with that hard rock nostalgia and a little touch of punk as well. What I wasn’t expecting though was the amazing organ…this feels like a collab between Led Zeppelin and Deep Purple but with the recording facilities and accessibility of today. The vocals have some reverb but it doesn’t drown them, and the vocalist shows some yelling-like technique and some nasality which makes his sound honest and angsty…just the way this brand of rock n roll should sound.

All hail to FOUNDRY TOWN SURVIVORS for achieving this nostalgic rock sound within a composition that feels super original and creative. These guys respect the fine balance between being influenced and being a copy, and the organ and vocals feel like lead characters playing the melody while the strong drumming and rhythm section lay the foundation for a strong and pummeling anthem that should be played at big arenas. 10/10 would recommend this banger track.

ALBUM REVIEW – LIT BY DAVID A

• Welcome David A for this exciting interview..

Thank you.  I’m excited to join you.

• How did you start your journey with music?

I was a school band geek, a junior high trumpet player.  I wanted to be the next Herb Alpert – seriously – until a buddy of mine got The Doors’ Strange Days album for his birthday and invited me over for a listen.  I was completely transformed.  I own that copy now, signed for me in person by Robbie Krieger, hanging in a frame on my bedroom wall.

• Tell us about your previous releases. Which one is the closest to your heart?

One thing my favorite artists have always done – the ones whom I believe deserve to be called “artists” – is make every album its own journey.  I like to think I’ve followed that example reasonably well. My favorite among my works?  Probably Sacrilege 2.0, my national breakout of sorts.  I got to collaborate with a lot of great musicians on that one in Florida and California – East Bay Ray, Mark Prator, Tim Mulaly, Rob Wegmann, Cleveland Dave Mathews, Chuck Lindo, Robert Wolffe and others, quite a lineup – and the whole project took on a more mature confidence than previous outings.

• Could you tell us How “Sacrilege 2.0” made such a big success?

Well, really it didn’t – not commercially, anyway.  It was a pretty fair critical and airplay success, though, and my most commercially successful album to that point.  I’m not sure how I’d attribute its relative success other than it was my return after several years away from music, and I think the fresh energy is palpable in the songs and performances.  Another big ingredient was just upping my game with better musicians, better songwriting, better singing, getting bold and reaching out to East Bay Ray and doing a couple tracks with him that helped put it on the map.  But most of all, it wasn’t a matter of going back to music.  It was a matter of grabbing it again and moving forward with it.

• So what is the story of the album “Lit” and what is the concept?

I really don’t think of it as having a concept, per se, other than just setting out to make an original, new rock album that pulls no punches and has no fear, one that puts legitimate expression first and then packs a wallop with it.

• Which track is the closest to your heart from “Lit”?

Depends on which day you ask me, but probably “Glamour Slain.”  It’s one of six from the album that have asserted themselves nicely on indie and college radio, but I think it best embodies the unbridled passion I feel, and my favorite songs are usually the ones I find most cathartic to sing.  “Prodigal Bastard” is high on that list, too, and since that’s my new video, that should be my real answer, right?

ALBUM REVIEW – LIT BY DAVID A

• How do you write your music? Tell us about the whole process.

I wait for inspiration.  Or put another way, I wait for the songs to write themselves, which is pretty much what they do.  Sometimes I think they’re more real than I am.  Generally, a whole line or even a whole verse or chorus drops into my head, and I sing it into the audio recorder on my phone.  On at least one occasion, I’ve dreamt a whole song (“Battleship”) and managed to remember it in the morning.

• You seem to enjoy keeping a musical company, How could you pick the musicians that participated in the latest release?

Rob Wegmann and I have been recording together since about 1990.  Really dating myself here, but we met when we were performing in different “new wave” bands in Tampa clubs in the ‘80s.  We hit it off on a personal level right away.  Snark attracts snark, I suppose.  We started recording together a few years later, and he’s been on every recording I’ve done since except for The Dharma Bums.  Three years ago, a music colleague put me in touch with George Harris, and I’ll be forever in his debt for that.  George’s reputation as a musician and sound engineer precedes him and for good reason.  George then dipped into his enormous pool of top-notch connections and brought in Angelo Collura, and presto!  I had the best ensemble I’ve ever worked with.

ALBUM REVIEW – LIT BY DAVID A

• How does it feel to be back on the charts?

Well, of course it feels great, but more than that, it feels like vindication and validation.

• What do you do besides music?

These days, not much.  I’m a former journalist and radio talk show host, and I have an interest in maybe returning to one or both of those pursuits in the near future – but I’d rather be touring.  Sounds like a bumper sticker, right?  Anyway, I’m more ensconced than ever before in delivering original music and staying upright in the stream of momentum I’m in with my current cohorts.  I’m already working on the next album, Vagrant Soul, with the same core band from Lit – George Harris, Rob Wegmann, Angelo Collura – and a guest list that so far includes T.C. Carr, Ronnie Dee and Fred Chandler.  We have the first four songs done, and I’ve never before been as excited about a work in progress.  We’ve consciously raised the bar for this one and given it its own flavor.  It won’t just be Lit over again.

• Who are your major influences? How did that affect the album?

Probably everything I’ve ever heard and really liked is in there somewhere, but as for my most major influences, the rock poets who shaped lyric writing.  So, Jim Morrison/The Doors, Mark Lanegan/Screaming Trees, Patti Smith, Jim Carroll.  I also put Bryan Ferry in that category.  Love Roxy Music, and that’s where some of my affection for sax comes from.  Otherwise, Dead Kennedys, Moody Blues, CCR, Iggy Pop, Alice Cooper (especially the original band), Springsteen, Lou Reed, John Mellencamp, James Brown, Led Zeppelin, David Bowie,  Ian McColluch/Echo and the Bunnymen, many others.  Some of those are just among my favorites and might not be overtly present, but I think they all weigh in here and there and make themselves known in often subtle ways that I’m not even always aware of.

• What is your favorite song of all time?

I don’t have anything close to one favorite.  There are far too many great songs out there for that.

• Any upcoming gigs?

None scheduled, but I’m beginning the process of making some happen soon.  I’m absolutely dying to perform again – especially with this band.

• Lastly, a word to your fans.

Thanks for joining us in fighting the good fight for rock!

ALBUM REVIEW – LIT BY DAVID A

The Led Zeppelin-inspired band describes their technique as sticking their lyrical finger in the face of greed and misguided religion. Through “The Hollywood Machine” they use explosive drum grooves and thrashing guitar riffs to send a message about the decaying state of modernity and how capitalism ruined it for everything, even art. With lyrics, thematic similarities, and guitar sounds that bring to mind Good Charlotte’s “The River”, Moon Walker’s “The Hollywood Machine” is a tale of groovy riffs and social commentary that deconstructs a world marred by industrialism, propaganda, and religious control. Moon Walker paints a highly electric dystopian world, where listeners paint an image of doom across a post-apocalyptic terrain.
Moon Walker has a lot to say, the band still has too many tricks up its sleeve. Their music is like a trojan horse, elusive yet full of secrets, they tend to say what they want to say à la Green Day style without compromising the quality of the music nor the impact of the main message.

Todd Murray (a.k.a Sincerely, Iris) style is best known as “road trip music.” I believe what distinguishes his music is that it has a lot of influences from the American culture along with many characteristics from the golden era of classic rock. Recently, he has teamed up with a 3 piece band to expand the heaviness of his “road trip sound.” Well, the guitar line is iconic and I am really glad that I am listening to an experienced artist because many these days miss something very important which is the vocals suit the music or aligned! Yeah! Believe me, I am receiving tons of submissions daily, and sadly they miss such a major thing, but this isn’t the case over here, because I love how the music is very smooth either for its structure, vocals, melody, and tightness.

“The past year or so has really shown the good and bad parts of human nature. It might not be up to us to fix other people. Instead of heading to social media to try to fix the problem, sometimes karma takes care of that kind of thing. This song is about that.” – Todd Murray explained.  Feel the charm below!

 

The good thing about this song, they know how to make it catchy from the beginning until the end other than many bands these days they may do like a catchy verse or a chorus, instead, these dudes provided a 4:20 rock anthem. When you check the track you won’t have a doubt for a second for their experience and ability to master such a rock spirit. SuperMonkey is a high-profile artist, guitarist, singer, producer, and record label owner from Pittsburgh, PA.

After releasing the 7th successful album he settled on this trio p[erforming originals and covers for icons like The Beatles, Prince, and Led Zeppelin. In addition, while listening to such a solo and tight rhythm, I was very curious and I didn’t get surprised when I got the answer when he shared the stage with many acts like members of Guns N’ Roses, Samantha Fish, White Denim, Quiet Riot, Fuel, Ace Frehley, The Fixx, The Biters, and Robin Trower, so what we can say this is an incredible experience of many years to create such an epic rock anthem in 2021. Feel ‘Elisa Bonita’ below! 😉

It seems like Steven Simoncic on vocals, Jay Deyonke on guitars and bass, and Mike Hecht on drums were able to modernize the rock’n’roll roots and delivering it in a unique path. ‘313’ was released last year through their debut self-titled album which you can easily feel the energy and all your loved legends styles as well. Since the band started their roots by covering the icons that were easily inspirations for their original work. I can feel the energy of AC/DC, Van Halen, and KISS, along with the creativity of the Beatles, Led Zepplin, and Pink Floyd too.

Usually, when I listen to new music I check negative and positive points, with their record I couldn’t find any negative points indeed, I loved Steve’s vocals, and the leadline and insane soloing by Jay, and the impressive drumming of Mike. Well done, boys! Definitely, I am waiting for your next release. Check their album below guys and let me know what do you think.