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Tuesday, September 2, 2014

Jensen® P10R-F Speaker: Classic Tone / Modern Tech



Jensen® P10R-F


Jensen® Musical Instrument Speakers is pleased to announce the addition of the P10R-F to our speaker offerings.

The P10R-F is for those who desire the tone of a classic broken-in 10” Alnico speaker. The P10R-F was designed by the Jensen® factory in cooperation with Fender® for the reissue of the Fender’57 Bandmaster® and the 20th Anniversary Vibro King®.

The goal was to design a P10R speaker with a more broken-in, worn sound straight out of the box. The P10R-F has a smooth, round top-end and a full-bodied low-end response; it distorts at lower levels and still maintains the Vintage classic tonalities of the legendary P10R.

Alnico speakers produce a sweet, warm tone. They respond quickly, giving the musician a “one with the amp” feel. Alnico speakers are world-renowned as the most premium speakers with the best tone.

For more information, including detailed specification sheets and sound samples for the new P10R-F, visit




Epic Records and Legacy Recordings Celebrate Stevie Ray Vaughan's 60th Birthday with Release of Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection.

Definitive 12 Disc SRV & DT Library Includes 1st Commercial Release of 1983's A Legend In The Making - Live at the El Mocambo Toronto Concert.

SRV_CAC_cover_comps.inddStevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection Available Tuesday, October 28.

Legacy Recordings, the catalog division of Sony Music Entertainment, and Epic Records celebrate electric blues guitarist Stevie Ray Vaughan with the release of Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection ( on Tuesday, October 28, 2014.

A definitive career-encompassing 12 disc library, The Complete Epic Recordings Collection brings together, for the first time, the entirety of Stevie Ray Vaughan and Double Trouble's official studio and live album canon including the inaugural commercial release of A Legend In The Making, a highly collectible (formerly) promotional only recording of SRV & DT's incendiary performance at Toronto's El Mocambo club in 1983.

In addition, The Complete Epic Recordings Collection features two discs compiling rare and hard-to-find archival tracks.

On April 26, 2014, Stevie Ray Vaughan and Double Trouble among the artists to be inducted into the newly created Austin City Limits Hall of Fame, launched in celebration of the 40th anniversary of the PBS televised concert series. The Austin City Limits Hall of Fame induction ceremony will air on PBS in October 2014.

Stephen Ray Vaughan was born in Dallas, Texas on October 3, 1954, the same year the Fender Stratocaster went into production. Stevie Ray picked up his first six-string at the age of 7, dropped out of high school in 1971 and moved to Austin in '72, going on to become one of the most influential and electrifying blues guitarists ever. After honing his chops in a variety of bands throughout the '70s, Stevie Ray formed his own group, SRV & Double Trouble, in 1978. Hell-bent and intent on revitalizing the blues for contemporary audiences, Stevie Ray served as the power trio's charismatic frontman and evangelical electric guitarist, driven and underscored by drummer Chris Layton and bassist Tommy Shannon.

Stevie Ray and Double Trouble's reputation as a transcendent live experience gained considerable traction following a watershed performance at the Montreux International Jazz Festival in 1982 (included in The Complete Epic Recordings Collection). Recommended to the label by A&R giant John Hammond, Stevie Ray Vaughan and Double Trouble recorded the band's studio debut, Texas Flood, for Epic Records in 1983. Going on to achieve RIAA double platinum status, Texas Flood opened the gates for a flow of gold, platinum and multiplatinum albums for Stevie Ray Vaughan and Double Trouble, an unprecedented achievement for any blues act.

Stevie Ray Vaughan died in a helicopter crash on August 27, 1990, following an awe-inspiring performance with Double Trouble and Eric Clapton at the Alpine Valley Resort in Wisconsin. Though his mainstream career lasted a mere seven years, Stevie Ray Vaughan's enduring contribution to the blues can be heard in the work of younger players including John Mayer, Derek Trucks and Mike McCready of Pearl Jam.

Stevie Ray Vaughan was the recipient of numerous musical award, during his lifetime and posthumously. In 1983, readers of Guitar Player voted him as Best New Talent and Best Electric Blues Guitar Player. In 1984, the Blues Foundation named him Entertainer of the Year and Blues Instrumentalist of the Year, and in 1987 Performance Magazine honored him with Rhythm and Blues Act of the Year. Earning six Grammy Awards and ten Austin Music Awards, he was inducted into the Blues Hall of Fame in 2000 and the Musicians Hall of Fame in 2014. Rolling Stone ranked Vaughan as the twelfth greatest guitarist of all time.

Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection will be an anthology and a complete tribute to an artist that revitalized an genre of music while keeping it complete and in itself, like his playing and live performances, Flawless.

For more information go to




Lisablog pic


Living Legends: Interviews with The Greats

By: Lisa “Sunshine” Svelnys

LA Rock Correspondent- Xombiewoof Magazine

Host of Hollywood Rock Underground TV



LARRYFUZZYKNIGHTINSKYKINGLARRY “FUZZY” KNIGHT has an illuminated history and has achieved a career that is the envy of many. LARRY “FUZZY” KNIGHT recorded with Peter Kaukonen on the Black Kangaroo album and played Bass for Ike Turner. He recorded "Tore Up" featuring vocalist, Billy Gayles , was heard on Delaney-Bonnie's song "Soul Shake" and of course, for those that know, he was a member of SPIRIT, and as known for his performances. Larry performed with Kapt Kopter and the Fabulous Twirly Birds (Randy California's first SOLO album), SPIRIT - Made in Germany, SPIRIT - Rock and Roll Planet (1977-1979) , SPIRIT - The Original POTATO LAND, SPIRIT - An Introduction The Archive, SPIRIT - West Coast legends VOL. #3, SPIRIT - Two Sides of A Rainbow (Rainbow Theatre London 1978) , The Blowin' Smoke Rhythm & Blues Band - "Beyond The Blues Horizon" , and of course, "Sky King" - Morose Tales From The Left Coast.

Our reporter with Hollywood Rock Underground TV, Lisa "Sunshine" Svelnys caught up with Larry to get some info and his personal story and she discovered the humble and quite whimsical man behind the music.


How long have you been creating music?

LARRYFUZZYKNIGHTANDBUDDHMANIt seems that MUSIC has always been a part of my entire life. I remember as a very young child, I would listen to my Mom playing her 78’s by Al Jolson, the Harmonicats, and other artists of the 40's. When I was in 3rd Grade at school, we (the students) were given musical aptitude tests.  I must have scored very high because my teacher called my parents and told them they should get me a musical instrument to play. Because we lived in a small apartment in St. Louis, (where I was born) my parents could not fit a piano in there so I wound up with a Violin, which I played all through grade school, high school and into college. Along the way i learned to play the Viola, Upright Bass and the French Horn.  I was also taught how to read, listen to, and orchestrate music.

It wasn't until I was 15 years old that I finally talked my Mom into buying me a Fender Stratocaster Guitar and a Fender Jazz Bass.  The year was 1959.  (I was born on Oct. 21st, 1944 -- 12 days after John Entwhistle, bass player of the WHO)  I listened to Black Radio Station KATZ-Sweet 16 at night. They would broadcast from the Black Nightclubs every night while the bands were actually playing in the bars.  I listened to Albert King, Little Milton, Ike Turner & the Kings of Rhythm, Chuck Berry and other Black St. Louis Bluesmen.  I practiced every night along with what I heard on the radio. By the time I was 16 1/2, I was sneaking into these clubs with my Guitar and Bass in hand.  I sat in at first to show them that I could play on the same level as the other musicians.  Having a musical background really helped but it was the soul and feeling that I brought to the stage that got me real professional gigs with these legendary musicians.  (I also had my own music groups in school that played at school dances and park recreation halls, etc.)

One of my bands called Larry Knight & The Upsetters played in a famous area of St. Louis called Gaslight Square (which no longer exists due to a tornado that flattened the area).  It was during 1964-65 that I started writing songs. I recorded for a record label in Detroit called Golden World Records, a subsidiary of Motown Records, when the only records being put out were singles at that time.
The song was titled "Hurt Me" and became a hit in St. Louis on the charts and in Chicago and Detroit. I also wrote the flip side called, "Everything's Gone Wrong". I've been playing, performing, touring and recording ever since, with my own bands and also with many other great artists of the blues, R&B, and rock. So depending on how you interpret 'creating music', you could say it began in school or when I started my true 'professional career in 1965. No matter how you look at it, it’s been a long time. And, I still love it as much today as when I first began to learn to play a musical instrument.

When you think about your career, is there a moment you feel defined you?

Once I began playing 6 nights a week, four to five sets a night in St. Louis nightclubs for the very first time, I felt like a true professional musician. Then, when my record hit the Midwest charts, my band performed at St. Louis's Kiel Auditorium on a show with  Jan & Dean (who we backed), Freddy Cannon (who we backed), Paul Revere and the Raiders, Herman Hermits and Chuck Berry.  Here I was for the very first time performing on stage alongside of all these recording stars in front of 1000's in the audience.

Then, my first big show outside of St. Louis, in Chicago, where we played on a big auditorium show with the Chicago Transit Authority (later known as Chicago), again with Chuck Berry, &  Paul Cotton and Kal David's Band. There really have been some 'great moments' that define you many times over as you progress with your career in music.

When I became a member of the legendary band, SPIRIT and I went to Europe to tour for the first time and performed on English television's, Old Grey Whistle Test, the hottest rock show on English TV at that time and in later years, on Rock Palace, in Germany, where we were told that 8 million people across Europe watched us play for 2 1/2 hours 'live' on TV.

I guess I'm still trying to 'define' myself because I always have new goals to reach and as I find myself accomplishing those goals, it sort of redefines me.  I still feel that there is a lot of 'defining' left to come.

My favorite moment on stage was when___________?

LARRYFUZZYKNIGHTLIVEPIC1To be honest, I've had many favorite moments on stage with different bands and artists that I have played with over the course of my career but this one particular concert that I played with SPIRIT over in the U.K. kind of stands out in my memory. I was playing with Randy California; singer, songwriter and guitarist and Ed Cassidy, known by his nickname - Cass; drummer, both of the band 'SPIRIT'.  It was end of spring, nearing summer and we were to perform at Oxford University, Oxford, England.  Now, over the years Oxford was known as one of England's finest educational institutes. It seemed to me that it was conservative, a bit staid, upper crust and all that.

So, finally came the night of our gig there. We were playing in this large hall filled with music fans, the smell of hashish was very prevalent and LSD was filling the heads of many and the mood of the audience was extremely receptive to every little thing we did on stage.  It was 1973 and just about every concert we played was a "love and peace festival". The concert was really great and as we neared the end of our show, we began to perform Spirit's hit recording, "I Got A Line On You".  Midway through the song, after Randy had played an extended lead solo, he asked members of the audience to come up on stage to dance alongside the band.  As soon as he said that, the audience rushed the stage and around 50 to 60 boys, men, ladies and girls climbed up of the stage filling all the performance space but we kept on playing.  Before we could blink an eye, everyone started to take off their clothes, and I mean down to the nitty-gritty.  There we were, playing an encore and all the people from the audience who came on stage were totally nude; dancing, jumping, bouncing, singing, and carrying on.  Now, I've played shows where a girl or two would crash the stage and get up there and run around until the stagehands took them away but this was totally awesome. Sixty nude and stoned music lovers letting it all hang out. And, to tell you the absolute truth, everyone loved the scene, those out there in the audience, the band, the promoters, even representatives of the college. Who would of thought?  This was Oxford University, one of the most conservative in England.  What a night. When we finished, they all picked up their clothes, put most of them back on and the 'show' was over.  It was a night to remember but there have been so many 'favorite moments' I could most probably write a book about them. Maybe I should. Maybe I will.  Stay tuned!


Music is___________?

MUSIC IS the sound of tones, scales and harmonies that occupy the infinite time and space of the entire Universe. It is the compelling positive force that brings together people of every race, religion and philosophical ideology to unite for the common good of mankind. It is the force that has the power to make us happy, sad, renewed, give us chills, take us on "out-of-body" experiences, make us feel ultra-sexual and sensual, teaches us, helps us to communicate, builds intelligence from our earliest age in life, gives us a path for understanding mathematics, makes us laugh, cry, feel empathy, sympathy, even anger (at times) and basically can provoke any of our 6 senses into response.

Music heals the sick, stimulates our imaginations. Ever notice that babies (especially from the time that a child can stand) will move around, appear to be dancing to the sound of music, even before they respond to communicative language. Music has been used by tribal people since the beginning of time for invoking the spiritual entities of their beliefs. Maybe, just maybe, someday scientists will discover that Music is in our genetic make-up, somewhere hidden in our DNA strand. Wouldn't it be grand, "IF" we could only use Music as our Weapons of Mass Construction that would and could UNITE every sector of the human species on this planet?

As for me, Music is my life. It has been a part of my existence since my earliest years of being a human being. It has always been a 'natural feeling' that I was supposed to be a part of. There is no one in my entire family that has ever played a musical instrument as a profession. I am the only one out of, at least, four generations of relatives. Why me? I don't know. Only that I have always followed my natural instincts and they have led me down the path of playing music. I wouldn't trade one minute of this life experience for anything else and I intend to keep playing, writing, singing, recording and performing until my mind and body won't let me do it anymore or I die, hopefully playing on stage with my instrument in my hand. I'm not sure whether I have covered all that "MUSIC IS”, although I do know that for me, Music is a Life Force that fulfills my very existence.

For any of you that may find my reading material more than informative, I recommend two books that I have in my library on this subject matter; “The Musical Scale and the Scheme of Evolution" written by Max Heindel , copyright 1949 by The Rosicrucian Fellowship. Published by The Rosicrucian Fellowship. The Music of The Spheres - Music, Science and The Natural Order of The Universe by Jamie James, Copyright 1995 Published by Copernicus, New York, N. Y.

In my free time I love to ___________?

In my 'free' time I like to read Sci-Fi Books and reading in general, watch the Palladia Music Channel for Live Concerts, work at fixing up planters of Flowers, Succulents and House Plants for the inside and outside of my home, go for walks with my Old English Sheepdog, 'Jazzy', listen to music, write lyrics and compose songs, practice my playing on Bass and Guitar , follow my Los Angeles Sport teams; Dodgers, Lakers, Clippers, and Kings and in-between all that have fun and fulfilling sex with the ladies!

What music can we find in your car right now?

When I am driving in my 1986 Chevrolet Silverado K-5 Blazer, I listen to 98.7 FM Indie Rock Radio. I prefer listening to entire an entire CD by an Artist as opposed to single tracks. Right now, my current batches of CD music artists are (and I turn them over about every two months with new replacements);

Black Keys, Tedeschi-Trucks Band, Kings of Leon, Paul McCartney, Gary Clark, Jr., Bruno Mars, and, of course, Sky King!

Most underrated musician/why?

Most underrated musician? That's really a difficult question for me to answer. Being 'underrated' is really a subjective point of view. There are many so called 'underrated' artists that are very well known in the lesser known genres of music style that now have an audience worldwide, thanks to the new age of the Internet. That audience may be small however as fans of those artists, they have discovered their talents and music.

I always thought that songwriter and performer, John Prine, should be better known than he is. He is one of America's finest song craftsman and when he records and sings his own songs, he does so with a tremendous personal conviction. There is a huge list of artists out there that are extremely talented that no one really knows about.

LARRYFUZZYKNIGHTLIVEPIC2I was fortunate, as part of my musical career, to be a member of the legendary rock group, SPIRIT. I have been told (ever since I first heard the early recordings of the band) that this band was one of the most "underrated bands" of the late 60's and 70's. The band had a 'cult following' all over the world but never enjoyed the financial and chart sales success of other top bands of that era. Why? No one seems to really know the answer but many rock writers have speculated that the record company (Epic) was at fault for not promoting the band when the Albums were released. Some have speculated that the lack of proper management and booking agency was the problem. I'm sure that these two or three speculations could apply to many individual artists and bands that have a great deal of talent.

All any artist can do is to keep putting their music out so that it is accessible to the public. With the glut of Cd's released each month, there are certainly going to be many underrated Artists that are going to stay that way UNTIL..... The music writers of magazines and internet sights scour the Internet for new gems to be unearthed. And that goes for DJ's as well. So many Cd's are sent out for review that I would only hope that the reviewers actually take the time to listen to what is sent to them without rushing through the music so quickly that they really don't hear what they're listening to or worse yet, don't listen to them at all because they're too concerned with and their time is devoted to established artist releases. Besides all that, I don't think the problem is to be so concerned with 'underrated artistry' but with 'overrated artistry'. There are a lot of 'one-hit' wonders out there who will most certainly disappear within a few years of their success. These overrated artists do take up time and space from the truly talented 'underrated' artists. I think, how to balance the scales.........well, it hasn't happened so far in the music business and I doubt that it will happen anytime soon.

What was the first song you wrote, what was your inspiration?

I started writing my first original songs in 1964 while living and playing in clubs in St. Louis. My band, at that time, was called, Larry Knight and the Upsetters and we were playing 6 nights a week in an area of St. Louis called Gaslight Square. We were headliners at the Whiskey-A-Go-Go. One night when we were performing, a representative of the subsidiary record label to Motown, Golden World Records in Detroit, offered to take us into the recording studio if I would write the songs to record. At that time, I was influenced by the recordings of Chuck Berry, and many of the English Rock bands that were popular, especially the Kinks, the Animals featuring Eric Burden, not to mention all the soul- R&B artists of the day. So I set out to write songs that were a cross between English rock and R&B. This became my very first professional recorded release. The song was titled, "Hurt Me” and the B-side was titled, "Everything's Gone Wrong". The single was released on Golden World Records and became a hit record in the Midwest, climbing the St. Louis charts into the top ten and hitting the charts in lower positions on WLS in Chicago and in Detroit as well. And what a blast it was, hearing my recording on the car Radio for the first time while driving around town.

I would have been nervous if I had known ________ was in the audience when I performed? (When did that happen for you the first time, who was it and when?)

I can tell you that, in total truthfulness, I have NEVER been nervous or had stage fright EVER, at any time, throughout my entire career performing on stage in any circumstance, whether there has been a celebrity or famous musician in the audience or not. I have a tremendous competitive spirit and generally can't wait to get 'out there' on stage and perform. I always want to play better and be received with more enthusiasm by the audience than all the other bands on the show. Over the years, many well- known rock musicians have been on shows with us (Spirit) (Blowin' Smoke) (Albert Collins) (Delaney, Bonnie & Friends) (Chuck Berry) (and many more) that have watched us playing from backstage but I was never nervous, only wanting to blow them away by our show!

I suppose that I might have done a double take if John Lennon was sitting in front of me or Marvin Gaye, or President John F. Kennedy.

What advice would you give a kid with a ton of talent that wants to move to LA to peruse their dreams in music?

The Music Industry scene here in Los Angeles today is not the one that existed in the late 60's, 70's, or 80's. It started changing radically in the 90's and has continued to do so up to today. If you are a talented newbie and want to move to Los Angeles to pursue your dream in music, you had better do some intense 'due diligence' before you make the move. First and foremost, don't even consider coming out here unless you bring a large bankroll with you. There may be a lot of clubs or venues where you can showcase (along with 4 other acts for the night) but you're not going to make any money. The other factor is that many clubs that used to be in business out here are gone due to the poor economic situation that has gripped the country over the last 6 years. If you've done your homework, you should have established contacts BEFORE you ever come out here. Hopefully it's with a Record Label or Manager/Management Company and/or Booking Agent/Agency. Without having those connections, it's going to be a struggle.

There is one very good reason for coming out to L.A. If you're looking for other musicians to form a band with or to support your music and play with you, I'm sure that you will find someone that fits the bill. There are more unemployed musicians out here than, most probably, in any city in the United States. My advice, stay home until you know what you're getting into. The Internet is for contacting good connections with Industry people who ARE INTERESTED in your music and talents. Use your telephone to call people. Eventually, if you don't get discouraged, you'll get the opportunity to speak with the person you've been trying to reach. Keep publishing your music on your own webpage, Facebook page, etc., etc. There's nothing wrong with having stars in your eyes as long as it doesn't make you blind to obvious reality. In other words, get your, proverbial, 'shit together' before you make any moves to the land of dreams because if you don't, that move could end up as a nightmare.......and you don't want to go through that scenario.

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jpegVocalist Joseph Michael has joined L.A.-based rock group Desert Dragon and makes his debut with the band at the Canyon Club in Agoura Hills at 7:00 p.m. on Sunday, September 7, where they perform with Jack Russell's Great White. Michael will also appear as lead vocalist on Desert Dragon's upcoming studio album currently being recorded with James "Jimbo" Barton (Producer/Mixer for Rush, Queensr├┐che, Eric Clapton, Metallica), the follow-up to their critically lauded EP, Desolation.

Joseph Michael is best known as lead vocalist in the Los Angeles-based metal band White Wizzard on their 2013 release The Devils Cut (Century Media/Earache Records Ltd).  Joseph is related to the late, great metal singer Ronnie James Dio. Michael's vocals have been compared to Dio, Tim "Ripper" Owens and King Diamond.

The colorful musician was also previously vocalist/composer for dark melodic heavy metal band, Midnight Silhouette. Originally born Joseph Michael Furney and hailing from Utica, NY, Michael, now Los Angeles-based, is also a prolific songwriter/composer and multi-Instrumentalist versed in many styles and various instruments. He is also associated with Midnight Reign and known for his work on Vixens Vol. 1 - writing, performing, producing and providing background vocals on the album.  Michael's song "LMFAO" featuring vocalist Dez Cleo was used in the soundtrack of Fright Night 2 (2013). 

Michael was awarded "Metal Song of the Year" at the 2007 Los Angeles Music Awards for "The Hollywood Rx."

Other notable groups Joseph Michael has also written and or played with include The Peppermint Creeps, Zachary Throne, Hayley Dees, Michael Dees, David Chamberlain (Entrzelle, Starmachines), Skronky Kong, and Omery Rising.


gesert dragon

Desert Dragon Band

Known for their high-energy live shows, Desert Dragon took to the road on a six-city SXSW Tour this past spring that included a date at Shakespeare's Pub in Austin, TX for the 2014 SXSW conference. KESHA keyboardist Jenn Stone joined Desert Dragon for the tour.  The band was back on a mini-tour in May where they performed live on the rooftop of the Downtown Grand Hotel & Casino Las Vegas and returned to L.A. for a showcase at the House of Blues Sunset Strip the following day (Surge Events). 

Last January Desert Dragon recently performed with iconic rock band Blue Oyster Cult at The Canyon Club to great reviews. Vintage Rock's James Shelley wrote, "Before I get started on BOC's performance I must shout from the mountain about the opening band, Desert Dragon. In a word, dynamite! These guys rocked! They definitely have the old school sound: heavy on guitars, thick bass lines, dynamic percussion, and keyboards. Percussionist Nicholas Mason held everything together. No fancy moves, just solid rock drumming."

National publication Music Connection opined, "(Desert Dragon's) rhythm section is tight...Double-duty DeCario plays deep, sludgy grooves on the bass and atmospheric synthesizers, one of the highlights of the set...the twin guitar attack of Greg Patnode (who also wrote "Darkness Shines") and Thiago Straioto show the kind of balance expected from Judas Priest's K.K. Downing and Glen Tipton, if not with harmonized solos, then definitely with their distinct styles."

In a recently-published review, the L.A. Music Examiner calls Desert Dragon's recent EP release Desolation, "miles away from the competition." Writer Will Phoenix goes on to say, "Darkness Shines" is an energetic introduction to their signature sound..."Miles Away" is yet another song that works well live...every band needs a song like closing cut "Bring Back The Life." Read the entire review here:

Mick McDonald of National Rock Review calls Desert Dragon’s three-song EP "a serious chunk of solid rock... the song Bring Back the Life finishes the EP in a slower and more psychedelic fashion. This song brought back strong memories of Pink Floyd’s Meddle and The Wall.  Guitarist Greg Patnode and bassist/keyboardist Daniele De Cario swap on guitar with Oleg Ginsberg on synthesizer. Ginsberg’s synth leads are as engrossing and as clever as any I have heard. Lead vocalist voice has a classic smoothness to it, with the sincerity and salience of Queensr├┐che’s Silent Lucidity. . . My only disappointment was wanting more than just three songs. Desert Dragon is definitely a band to listen for."

Vintage Rock - Live Show Review

Rockwired Magazine - Feature

All Access Magazine - Interview

National Rock Review - Desolation EP Review

Stryper Bring the Second Coming to the Whisky

mike RitchieFrom The Pit – Music and Show Reviews

By Mike Ritchie for Xombiewoof Magazine

In an era when the devil ‘might’ have been more popular in the genre they started in and with a large army of bands sporting devil horns, inverted crosses and certain downturned stars along with dark artwork/imagery of any and all kinds, DSCN7142Stryper ( was a band that bravely and faithfully went against the norm. Heavy metal, the style that’s always been associated with the dark one and his loud, hellish minions trying to steer youth down the left hand or wrong path, as loud preachers, teachers and the PMRC would’ve had you believe.

Regardless of how serious and far bands took the widespread ‘look and image’ Stryper stood against the ‘evils’ of metal. A pseudo feud with King Diamond ensued in the 80’s. Several huge records in the decade proved their appeal and talent regardless of the haters, naysayers and people yelling ‘fakes’. Stryper waved the yellow and black flag giving the audience a dose of heavy Godliness despite whatever their contemporaries thought. They played a career spanning set including other bands songs from The Covering and newly rekindled, restructured, rerecorded and rechristened songs from way back to modern day. On July 31st they brought the biblical bedlam that, thank God for now, hasn’t come to be… yet.

LH1The two man duo Lyonhart ( opened the evening. With the "Modern Day Psalmist" Joe Rojas on vocals, guitar and samples and Timm E. on Drums they cranked out a unique noise flavored with middle-eastern sounds and a Gorguts meets Sepultura delivery. A Christian music vision conceived in 2000 to share the message and testimony of Jesus through industrial metal. Founded by Rojas, Lyonhart arrived locally in 2004 with dance rhythms, 1980's keyboard sounds, heavy guitars, and spoken word vocals. Through technology they’ve pushed their music to the next level away from ordinary Christian band descriptions. In 2010 Lyonhart took its music to secular venues and were interviewed on internet radio. The music continues to grow but the message that Jesus Saves, Jesus Cares and Jesus is the answer remains unchanged. They started it off with Fear, about the restoration of God, filmed for a video and done ‘somewhat’ karaoke style. A song about letting God take control had a share of dance mix samples as they fought through some technical difficulty and a bad guitar cord. A Psalm for You was bluesy with female background vocals and a toned down but strong, dedicated message finishing with heavy guitar. They end with a message of being strong, pressing forward as a Christian while people try and pull you backwards.

LykenLyken 21 ( comes from the ‘other coast’ in New Jersey bringing four albums worth of material to the stage. Labeled as ‘generation next’ they’ve played support to Overkill, Kings X, Skid Row, Wasp, LA Guns and an expanding group of Rock n Roll royalty as they’re again on the road supporting their newest release Taboo’s Tyranny. They started with the power metal, Di’Anno era Maiden meets Queensryche groove of Lost Head from Konceptus. It’s Chaos Before the Crime on Revelation Reality as Maiden meets a little Mindcrime. Marton Miklos announced since a picture of Jim Morrison was hanging on the wall they should play a Doors song, so they Break on Through. Next they played an unreleased song about life on the road called Divide. You can never go wrong with road warrior tunes. They pulled out the Psycho Scream and find a nice Sunday Hollywood blonde on Street Lover. They finished with the bass buzzing, guitar sizzle of Why Ask Why.

gr2Gabbie Rae ( played direct support to the yellow and black. The New England born singer has been busy since age 7. At 12 was signed to Outkast’s Purple Ribbon Kidz Label and her Neverland Video was featured on VH1′s Best Week Ever, Billboard and Rolling Stone. In 2011 she released “Don’t Look Down” her Official Anti-Bullying Music Video and is an Ambassador for Rae has also covered Dio, Iron Maiden and Night Ranger on stage. She’s just getting started and playing the Whisky at such a young age is another momentum builder for her path to success.

She started the acoustic show with a tribute to the inhabitants of Skid Row, I’ll Remember You. She played her first official single and title track of her upcoming EP, the country-rock combo Scream. She went old school playing Queen of the Reich. Taking a page from Great White’s MTV unplugged show she sang Babe I’m Gonna Leave You, finishing with lots of Heart with Crazy on You.

DSCN7380God opened the show for Stryper as he probably always does spreading the word of Revelation and the second coming through Michael Sweet’s high pitched wail. The message is heard Loud N Clear from the old school days to the modern day version. They Reach Out to guide away from the darkness and loneliness of life, Calling On You, the never ending/leaving source of comfort and love.

DSCN7386Going back to 1986, being Free to do what you want because he’s More Than a Man, he’s the creator. Bringing ‘the word’ to current year they’ve paid their dues and have No More Hell to Pay. They started in the 80’s but still modern day warriors, playing the monstrous riffs of Marching Into Battle.

Gabbie Rae returned as they break open the covers with Carry on Wayward Son and Shout It Out Loud with Kiss, a band that wore more makeup then them. In the year of our lord, 1988, In God We Trust, he’s Always There for You. Taking a page from Against the Law they’re All for One and one for all, united, the way it should be.


We’re still Caught in the Middle… of 1990 but Honestly speaking, ’86 was a cooler year for big hair/power ballads but they nevertheless found/spoke of The Way to musical salvation. Going back they’ve been Soldiers Under Command since 1985, a year after the first sting of the Yellow and Black Attack.




The encore led into the ominous keyed intro of the Abyss then the national anthem for all the God fearing/loving Stryper fans and believers everywhere, To Hell with the Devil! It’s their Legacy to continue shredding and speaking the word through loud microphones and guitars.





Photography by Mike Ritchie

Read more from the pit articles and reviews by Mike Ritchie on his web site


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