Dokken Back for the Attack at JD Legends

From The Pit – Music and Show Reviews

By Mike Ritchie

From the knees down it looked like the packed house crowd in Franklin could have been sifting through the sands of the West Coast beaches under the warm LA summer sun as JD Legends presented the 80’s metal throw down sponsored by Harley Davidson. Saturday July 11 brought the legendary sunset strip action of Dokken with East Coast players Firehouse and Trixter.

Though commonly linked and lumped into the glam/hair metal category showed that whatever label is bestowed they’re still going strong, outlasting countless others and contemporaries that all tried to ‘make it’ back in the day. Though technically, the first two acts came to prominence in the early 90’s. They played their respective classics, favorites and new material that will remain timeless, proving that the music of the 80/90’s rock scene remains popular, vital and never truly went away.

New Jersey’s Trixter had their first run from the early 80’s to mid-nineties with MTV airtime on Headbangers Ball. After glam temporarily went out and grunge even more temporarily came in, (one of the few ‘hair’ bands that made flannel look fun) they broke up, reuniting in 2008. They opened for Dokken and Firehouse in the early days and for Scorpions and Poison on their first arena run. A second record Hear! followed but failed to catch on in the US with grunge in full swing. After the breakup/reunion New Audio Machine came in 2012 then Human Era this year and they’ve continued to tour since. If nothing else proving their staying power.

They broke out a cut from the machine, showing their still bad boys with a “Heart of Steel.” They were on MTV when it was still cool, making them “One in a Million.” The next tune was a little fast paced and loud for grandma’s chair so they invited certain crowd members on the “Rockin Horse.” Going back to the beginning they stood center stage in the “Line of Fire.”

Motley Crue has their anthem for the working girl but Trixter have theirs for the women that slay and play with ink. “Tattoos and Misery” is the greatest pain and pleasure combo on the market. They went back to ’92 on the “Road of 1000 Dreams” and ended with the Headbangers Ball garage/backroads introduction “Give it to me Good.” More of Trixter at http://www.trixterrocks.com

The original flame that started mid-80’s in Charlotte, exploded in the late 80’s-early 90’s and basically hasn’t stopped since, even outliving MTV’s glory days. The band that was ‘aqua net sprayed’ into the outskirts of the glam/hair scene and won Favorite Heavy Metal/ Hard Rock Artist in 1992 over grunge titans Nirvana and Alice in Chains have continued making new music with extended popularity overseas. They’ve cranked out eight records since 1990 and played a gambit of material acknowledging the early years with healthy doses while proving they’re not ‘nostalgia.’ The Firehouse was ready to sound off.

They set the place ablaze with some hose twisting “Shake & Tumble,” playing the loudest Dear John letter ever, that’s “All She Wrote.” “You’re too Bad” to Hold Your Fire. The tribal drums and arena cry that introduced the world to “Rock on the Radio” Firehouse style hit the speakers. Since 80’s rules applied that night with every hard rock thumper they needed a tender ballad follow up. Cue the keys and the bad boy soft side “When I look into your Eyes.”

“Mama didn’t raise no Fool,” taking the first page from chapter 3 she told you “Love is a Dangerous Thing.” Keyboard synth and acoustics ushered in “Hold Your Fire.” The lovely brunette with the smoking house match suggested “Don’t Walk Away.” With half a decade from formation to success, they’re a self-proclaimed “Overnight Sensation.”

The satin sheets breathed from the synth, as sterling acoustics accompanied the waving hands, smiling faces and dancing bodies. As one of the last power ballads to be used on mix tapes proclaimed, I’ve finally found the “Love of a Lifetime.” They “Reach for the Sky” one more time saving the last shot for their video introduction “Don’t Treat Me Bad.” More at http://www.firehousemusic.com

Unfortunately a rushed schedule/technical difficulty reared its head multiple times during Dokken’s set, affecting the sound, band delivery and his voice on certain songs. They coped, performing through the various issues, apologizing several times as the show must go on. Though they stopped mid-tune on the “Tooth and Nail” encore from equipment problems they played many of their catalogue hits and staples.

From the sunset strip came “The Kiss of Death” as Dokken dressed in black and sunglasses brought back the classic 80’s, 90’s and beyond. They played and plunged “Into the Fire” as guitarist Jon Levine tore/shredded through the long haired history books with the spirit and energy of Randy Rhoads. They spit more Tooth and Nail on “You just got Lucky.” Dokken grinned, “See if you remember this one.” The glove tapped our ear taking a nightmarish trip back to Springwood as Millard Drive became Elm Street and the “Dream Warriors” came back.

They broke out the chains then got a little bit Dysfunctional on “Too High to Fly.” Paris burned bright in the night sky. With a chill of the cymbals the slow, somber chords played out as the stage went cold emotional blue and lighters, cell phones and camera’s lit up ‘the beach’ for the arena anthem. The crowd sang along happy to be “Alone Again” in the moment.

They took a few more turns from Under Lock and Key. The symbolic rain fell on the hot clear night during “In my Dreams.” Then the long flat-bed semi pulled out for a nostalgic trip down Sunset Strip and the boulevard of broken dreams on “It’s not Love,” sandwiching in a Free classic for the old-schoolers.

 

 

 

More Dokken at http://www.dokkencentral.com

JD Legends : http://www.facebook.com/jdlegendsconcerts

All images by Mike Ritchie

Read more from the pit articles and reviews by Mike Ritchie on his web site www.coveringthescene.com

 

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Colette Miller Giving the World Wings

 

Colette Miller Giving the World Wings

By Mike Ritchie

 

Colette Miller (www.facebook.com/colettemiller9?fref=ts) has been spreading her spirit and talent via the painting palate for many years. Creating her own work inspired by dreams, animals, life and other worthy causes she’s involved in. Since the early 90’s she’s painted animals on everything from bridges to walls to business trucks from Virginia to New York, California to Africa and Tanzania but the art that’s really ‘taken flight’ has been her signature angel wings https://www.facebook.com/colettemillerartist . There’s no bull in her ‘wings’, but they are in high demand across the world as everyone from tourists, locals, businessmen and celebrities want a piece of her brush stroke.

Her art has been influenced by many cultures including the Middle East, Europe, China, Tibet, Africa (where she painted a mural for an orphanage) and the Americas. She finds vast emotional, physical, mental stimulus and inspiration in the surrounding environment and her hand spreads the ideas across the canvas. She’s painted since childhood, making her designs reflect the peace of the composition’s subject and colors. The spiritualism used in its creation and found in its projection is a driving force in her desire to create a mystical remembrance.

Her angelic talent has caught the attention/interest of artistic minds from Kenya, West Virginia, Virginia, LA, Sydney and Washington DC with future work scheduled for New York and a recent trip to Australia commissioned by Arts Brookfield earned her seven spots at major properties in Perth, Melbourne and Sydney which were on display throughout October. A Nairobi Kenya boxing association named their team Koyale Wings Miller after her art.

The creation of her art can come from oil based mediums, or acrylic paint for the wings, on top of canvas, paper or wood with UV paint sunscreen, varnishes and sometimes placed on adhesive vinyl when pieces need to be removed. But there’s no limit to what she’ll use if there’s a need to expand. She also makes sure her work is durable so it’ll last outdoors against the elements.

She’s populated the world with around 30 pairs so far, from her current residence fittingly The City of Angels to the impoverished walls of Nairobi. She’s painted in some rough neighborhoods, intent to make her art instill feelings of safety and hope against the most barren and desolate backgrounds.

Her first pair was inspired from a need she saw in society to repel negativity in the spring of 2012 and by July she’d completed them. The collective message of each pair in part says “we can be angels in this world and the good in humanity.” They are at face value and in detail nice, pleasant images, unique to look at and full of abstraction and real symbols of peace. Life sized so people can stand between them and feel good about themselves, angelic, protected or all three. Her first two creations were graffiti art, though illegal, garnered positive attention from the community inspiring many to take spontaneous pictures with them and as more were made posting pictures on social media. After taking a movable pair to the Autumn Lights Festival and exposing them to a larger audience she was granted permission for a Main Street display by mutual friend Joe Moller via TK Nagano. She also received attention from the LA Mayor who came out, took photos and became a supporter.

Her animal art comes from oils and canvas and a meditative compensation she receives from her mind and life experiences as an impressionist. She characterizes herself as a colorist, letting the different shades harmonize with themselves. Her pieces include Alien on a Plane with Crows, Crows on a Fence, Flying Pink Pig, and China’s Hungry (Panda in a Bamboo Forest).

She’s also looked into the camera’s eye veering into editing and producing for projects on water shortage in Burkina Faso, eco-news in Tibet and sustainable fishing in Alaska. Also presently in post is a film on corruption in Kenya. She also paints sets for TV and movies in LA.

For those familiar with the band GWAR, Miller has early musical ties to the band of dressed up monster players and gore-fed, spewing noise makers. From 1986-87, she embraced playing Amazina aka GWAR Girl, after sharing the stage briefly with Heather Broome aka The Temptress, who left in 1986, she was the sole female in the group in the early days of the original band performing on stage. Working construction to survive, enduring mother-nature’s wrath and cold showers while the band was living in the old dairy plant turned warehouse, the Milk Bottle, in Richmond Virginia she studied/worked on art, attending VCU. While attending university she also played keyboards in MILK, a spontaneous performance art band with Jim Thompson, Ron Curry, Tom Harris, Mark Linkous and Dave Brockie aka the voice of GWAR, Oderus Urungus. Miller along with the others did double duty a few times when Milk opened for GWAR putting the GWAR garb on directly after. Later on in ‘87 personal differences caused Miller to leave.

Earlier this year in March Brockie passed away from an accidental heroin overdose closing the 50 billion year run of his alter ego and the sole original member, ending an era and leaving the bands future unknown. A private service was followed by a public memorial held at Hadad’s Lake in Richmond with fans, friends and former band members including Miller paying their respects, ending with a Viking funeral send off to the Oderus Urungus costume and character. Miller recently created a pair of wings for the GWAR tribute show in LA featuring rare footage, drawings, costume designs and band tour shirts covering the 1990-1994 era(Miller was in South Africa during that time) with photos by former slave pit girl Melanie Mandl.

Miller has very cherished memories of Brockie and the bands beginnings. Each era of GWAR had chapters and hers was the most vintage and less raunchy and bloody. She joked “I was in the rated G version” if that’s possible. She’s seen the evolution/reinvention of characters that have kept the band and its legacy going strong. He was and still is very popular and fondly remembered in Richmond as he is around the world. Thirty years later, she’s happy to see a female member take an active front stage, vocal position. Michael Bishop aka Blothar was chosen as Urungus’s successor accompanied by the first female presence since 2000, Vulvatron aka Kung Fu Dyke Kim Dylla. Miller saw the band for the first time in years earlier this month at the House of Blues and was impressed with the costumes and music. She also has a pair of wings in front of the venue.

Vulvatron and her large prosthetic blood spewing breasts made their debut this year at Riot fest in Chicago. The slave pit will never be the same. Though the two represent complete different era’s, Vulvatron as a strong, empowered female role showcases the ascension and prominence of women in the once all male dominated world of metal. It remains to be seen if all the scumdogs of the universe accept an Oderus-less GWAR and their new gor-i-fied reigning queen. Miller will always hold dear and sacred the original inspiration and spirit of what a ragtag bunch of art-school students started as an oddity in the mid-eighties in a cold milk bottle shaped warehouse that spawned and spanned a 30 year history.

Miller’s wings have become her trademark, recently transcending mediums into stained glass. Her next upcoming project will be a trip to Juarez Mexico for four pairs promoting messages of hope for humanity and it’s revitalization against drug cartels and violence. She’ll continue making them as long as there’s a demand, desire, need and a personal calling to create them while giving the world hope.

www.colettemiller.com

First posted here http://www.shortandsweetnyc.com/2014/12/colette-miller-giving-the-world-wings/ on www.shortandsweetnyc.com

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Operation: Giving Back Christmas Gets Pink Velvet Krushed

From The Pit – Music and Show Reviews

By Mike Ritchie

Publishers Note: Due to Holiday Deadlines this article was published late: Original Date for Publishing was 12/20/2015

On Saturday December 13th The Old Crow Bar in Middletown hosted a special benefit for two families of the Heavy Metal Church of Christ in need over the holiday season. All bands, contributors and supporters volunteered their time and talents (many driving a distance) to help out making sure the families had necessities and the combined seven children, infant to mid-teen, had goodies and toys from Santa under the tree. The Skull Dollz also made an appearance for photo ops and other assorted good natured skullduggery. A donation bin was also previously set up to collect items all of which along with show proceeds will be given to the family on the 23rd.

The owners and staff of the Old Crow were generous with the event, assisting organizer Teri Spence with the offered buffet and setup. Spence also expressed sincere gratitude to Steven Van Skoyck and Tiffany Zulock Van Skoyck, Jessica Tinch, Allen Phyllis, Ann Mason, Ericka McGowan and Michael Anspach along with Rachel Smith, Chrystal Kay, Angie Johnson Castle and Samantha Noble Baumgartner from the Dollz for their hard work and assistance. Tim Guilfoyle from Queen City Drums and Wildman Walker were also in attendance to help support.

Raffled items included numerous gift cards from PF Chang’s, First Watch Restaurant, Frickers, Godfathers Pizza, Chipotle, Rose Retro Rock Shop, assorted metal CD’s, jewelry custom made by Spence and stem wear from BJ’s Brewhouse. The two most popular items of the night were autographed memorabilia/merch personally donated from Straight Line Stitch and Jerry Only of The Misfits.

Cody Ridenour opened with a one man acoustic jam, sharing the spotlight with his lovely wife Chelsea a few songs in. Almost all originals from the Germantown by way of St. Petersburg Florida solo guitarist. Starting with original “Today We Pray” followed by “How Long”, he played and sang with passion pulling unexpected power out of the ‘unplugged’ strings. Thinking ahead he one-upped the crowd and played some Skynyrd with the “Simple Man”. He finished with the impassioned “Cyanide” (You’ve Wrecked Me) ending with a co-written duet with his wife on “Broken Hearted.”

Casey and the Nobodies were next, as the one man jam trend continued. Known for acoustic blues, rock and classic country Casey took over the stage starting with original “Knock on My Door” followed by Alice’s sweet song of war and the “Rooster”. Another of Casey’s originals said “Gotta Get Out” and Chris Isaak said it was a “Wicked Game” to play, to make the video feel that way. The king of pop comes clean about “Billie Jean” sort of, she’s just a girl, alas we’ll never know if he’s the father. The Black Crows still talk to angels and Neil Young is ageless and timeless rocking his crazy horse in the free world.

All the Children made the 3 ½ hour drive from Morehead KY to help the cause. Playing a set of original alternative rock with a few covers they jammed out “Free Slave”. Alex Clare got a shout out on “Too Close” then made a statement with “We Are One”, the first tune played off their demo. There’s a “Man Overboard” as water engulfs the lungs played with early Nirvana attitude, before the baby went swimming. EP opener “Battle Cry” was next followed by the catchy bounce of “Prepare for War”. Alternative Aussies Silver Chair got some rare love on the lesser known “Pure Massacre” off Frogstomp. They finished with the honkey-tonked electric sound of “Airlock” with a touch of a space odyssey.

Cincinnati’s Shadow of Shepherd is a three brother alternative rock trio. Opening with a one-two “alt” punch they decided to “Send the Pain Below” with Chevelle and Wonder What’s Next opener “Family System”. They switched genre’s slightly with “Somewhere in the Sky” by Kutless. They played original “Fight” then switched feet with Switchfoot on “Meant to Live”. They let their light “Shine” down with some Collective Soul finishing with original “I am Alive”.

All right ladies pay attention and guys, listen up - Rock Candy was here and they took all the good little boys to school. The all- female trio from Cincinnati kicked out some sweet tunes starting right up your alley with one of the classiest lady rebels of early 80’s rock and 2015 RNR Hall of Fame Inductee Miss Joan Jett. Yeah, we’ve all been there cause I “Hate Myself for Loving You”.

They pulled out a youthful Sammy Hagar and some of his “Rock Candy”, not in a three lock box. They went old 80’s LA back to the Hollywood Sunset with a young, hungry Crue that’s “Too Fast for Love.” He toured with them in ’83 but for tonight Ozzy’s riding solo on the “Crazy Train”. They got humble playing the “Fool for a Pretty Face”, we’ve all been hurt by love. They finished with an all-girl original “Calling all Girls”.

Coming from Milford Ohio, Dear Agony “smoked” the stage playing a set of originals and covers. Only being together as a band for a couple months they played with experience from their previous stint as Arcadia Backfire. They were kinda like “Whatever” with Godsmack, shared their “Epiphany” with Staind and staged an electric sit down “to get to know everyone’ like “Nothing Else Matters” according to Hetfield. Two of the five originals played included the smooth rocking “Face the Day” and the more emotionally charged “Survive”.

Dayton’s new and improved for the next generation ClockWork Soul was next with the killer eyes and growl of Mystie Rose. One could and probably would think to see them all on stage that they’re a bit “Out There”. Rose speaks the voice of experience about bad relationships.

Make sure the person shares the same feelings you do or you’re living in a “Masquerade”. They play with the BulletBoys and declare, they’ll come back to you “When Pigs Fly”.

Pink Velvet Krush is a modern day throwback to the decadent 80’s glam and sleaze under the blazing LA sunset. Reminiscent of Faster Pussycat and LA Guns, with former members of Bullet Boys, Pretty Boy Floyd, Britney Fox, Steelheart, Dust N’ Bones and Vaudeville, it’s a mass super-group of hair-sprayed experience still swimming in the Aqua Net. They can talk about the Head Bangers Ball days because they lived it, bringing an 80’s arena show style and delivery to the club stage in the vein of Motley Crue with guitar mannerisms of Tipton and Downing.

Doug Savage keeps the frontman flame alive with everything we fondly remember from the days of decadence with a finger point or raised fist. The Krush started with “Nothin’ to Lose”. Metallica said “Misery Loves Company” on the black album but PVK’s saying it now. They slowed it down a little bringing the symbolic lighters up feeding their lonesome, twisted “Obsession”.

The dirty blues blasted rocker “F.S.O.A” (Fifty Shades of Anything) chugged along, accompanied by the more serious, life on the road retro feel of “You Take My Life”.

Ladies, Savage and the boys wanna make you “Scream”!

That good ole’ damn “Ball and Chain” came out swinging, kicking out the blues and they got two bullets, “One Shot” left to shoot to thrill. They ended the originals with EP title track “Break These Chains”, then asked if anybody was in the mood for some classic ‘hair’ metal.

They decided to break all the rules at the Girlschool with Britney Fox, and then got Smooth Up in ya with the BulletBoys because there were no Congo drums for St. Christopher. They finished with that lovely lady who just can’t go living after midnight as she cries “Somebody Save Me”.

Those still interested in donating to the families may contact Teri Spence at tattedpixie72@gmail.com , Happy Holidays everyone!

www.heavymetalchurch.com

All images by Mike Ritchie

Read more from the pit articles and reviews by Mike Ritchie on his web site www.coveringthescene.com

 

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Bobaflex Rocks Oddbody’s

From The Pit – Music and Show Reviews

By Mike Ritchie

They avoided or skipped the chaos of Black Friday in Dayton this year but West Virginia’s hardest working band Bobaflex brought the diesel fumed rock as only they could as the black leathered bad men hit the Dayton stage once again on Saturday December 5th.

Locals Desalitt brought a unique blend of grunge, punk and metal and the long haired/dreadlocked blokes from across the sea October Rage brought their version of hard rock bordering on metal to the heartland.

Created in 2008 in Xenia, Desalitt plays rock with a grungy metal twist. They played a few originals with heavy covers mixed in. The dual vocals of the leather and spiked clad, green haired, mic fisted in your face Shug played a nice opposite to the ‘calm, long sleeved but not flannel, and collected’ guitar playing “more serious” Greg Crawford. A ten song set of originals and covers included a mix and match of punk, rock and grunge as the “Bodies” hit the floor. They had a little bit of rage to get out before the Aussie’s had their turn with “Bulls on Parade.” It was time to Take a Look in the Mirror with Korn “Right Now.” Original “Broken Strings” carried a melancholy atmospheric mood in the guitars with a mix of Scott Stapp and Scott Weiland vocals. “Insane” had a swampy guitar attitude digging deep into the Sabbath blues. “Want Me to Be” had Eddie Vedder invading on vocals with Pearl Jam’s angst riddled creed behind him.

Dubbed one of the “hardest working bands in rock” on their seven month USA Outrage Tour racking up over 70,000 miles and 120 shows traveling across the country spreading their October Rage to America, the brother’s and co. have brought their metal tinged Aussie rock to Yankee ears.

Formed by brothers Nick (vocals, guitar) and William (bass) Roberts in late 2008, they’re from the Central Coast of New South Wales, Australia and quickly gained notoriety supporting Bon Jovi on their Circle Tour at sold out shows in Sydney. With their 2011 debut Outrage and this year’s Fallout, Dust and Guns release under their belts they’ve played with Steel Panther, Saliva, Sevendust among others.

The rage began with “Wayside” with Nick and William’s hair and locks flying around the stage like Rob Zombie whiplashing the post at a roadhouse back porch witch burning. “Valkyrie” hits a little harder with some dirt under the wheel riding by with rebel thunder. Beware of the “White Walkers,” you can feel them “Coming in the Air Tonight.”

They add in a little acoustic charm with the rock on “Silver Line” floating close to Skillet territory and ‘dangerously’ close to Nickelback. They turn the rock back up on “Set You Free” finishing with the slow bluesy sing along “Reign of Fire”, adding a bit of Skynyrd to the mid-section jam, prompting a lighter tribute, once thought extinct in the era of the cell phone glow.

With hell in their hearts the men in leather and black started with “Low Life.” It was George Thorogood on steroids as they cruised down the “Chemical Valley” screaming loud and proud before crashing and burning with style with the help of some sweet liquid sin. Charlatan’s deadly venom made its first appearance with the loving neck caress of “Strangle You.”

The camera does strange things to the “Pretty Little Things” next door. Sweet and innocent turned addicted media queen. From all of us to you, with true sincerity, “I’m Glad you’re Dead.” Can’t you hear me laughing as I dance on your grave? Break out the bubbly.

The life of the trailer park says come back to me but the pleasures and excess of touring say never. It’s so hard to resist the seductive sharp kiss of the “Vampire.” She’s a blood boiler, life sucker. Exorcise her demons with the back of your hand, “Bad Man.” Simon and Garfunkel along with Depeche Mode enjoy “The Sound of Silence.” Bringing a bit of the 60’s hippie folk vibe rocked up with some guitar rev.

They’re losing their minds on motor fuel, decibels and live octane doing it on stage their way. Don’t fall in love and get hurt, they just want a meaningful one night romance, enough time for a “Rogue” dance. They brought the hands up with the ultimate West Virginian rebel rouser anthem. Members of Desalitt and October Rage came out to jam the way any road weathered rock star wants to go out. Die with your boots on so they’ll “Bury Me with My Guns On.” Hey! Sending the crowd home happy, they encored with an attitude on “Better than Me.”

See more great Acts at Oddbody’s – www.oddbodys.com

More on Bobaflex - www.theofficialbobaflex.com

Images by Mike Ritchie

Read more from the pit articles and reviews by Mike Ritchie on his web site www.coveringthescene.com

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