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Post by HARD ROCK UNIVERSE on Sept 27, 2007 8:52:44 GMT -5
Devon Allman's Honeytribe Puccini's Golden West Saloon Albququerque NM August 1st, 2007
Concert Review by Nightwatcher for Rock N Roll UniverseWho says musical genes aren't passed through families? While the careers of Julian and Sean Lennon, Kelly Osbourne or Nelson might seem to say differently, Devon Allman, the 31 year old son of Allman Brothers founder and Rock And Roll Hall Of Fame member Gregg Allman stated a totally different case as Honeytribe delivered a blistering set of hard edged blues rock to a small yet appreciative crowd at the historic Puccini's Golden West Saloon in Albuquerque, New Mexico. From the opening notes of the heavy power jazz influenced, Santana-esque instrumental "Mahalo", travelling through inspired versions of the bluesy "Why Won't You Bring Me Down," "Nothing To Cry About" and "Mercy Mercy", all from the very solid debut release 'Torch,' the band, which has been on a grueling schedule playing 300 shows during the past year, absolutely smoked. Featuring soulful vocals and stellar guitar work courtesy of Allman, this talented quartet delivered the goods in a blistering 90 minute set which showed that this is one of the most promising acts working the circuit today. Although visibly tired from making the long 16 hour drive from the band's home in St.Louis to Albuquerque, as soon as they hit the stage at around 9:00 P.M. you would've never known it. As Allman told me during a conversation before the show, "I don't care if it's 4 or 4,000 people, we're still gonna bring it on". And bring it on they did. Besides the guitarist, this is a cohesive unit tight as a drum, adept at switching from blues to heavy rock to acoustic numbers such as the well received encore rendition of The Allman Brothers' classic "Melissa" with the slightest of ease. More of a song based collective than a jam band, nevertheless there was still impressive instrumental firepower on display. Although Devon is the front man, praise must be given to bassist George Postos, keyboardist Jack Kirkner and drummer Mark Oyarzabal, whose skillful interplay allowed them to reach heights unattainable by a looser, less experienced ensemble. The heavy touring throughout the U.S. and Europe has certainly paid off, the results of which are apparent in the high octane, energy filled show performed. Concluding with a spirited version of yet another Allman Brothers classic "One Way Out", solidifying the connection between the two bands, subsequently proving this talented group of musicians stand among the finest of the genre. Bottom line here, if you love real music from the soul with a hard rockin' slant featuring stellar musicianship, don't hesitate if Honeytribe comes to your town to go out and see the band live. Don't miss your chance to see them while the setting is intimate and ticket prices are low, as this is an artist on the upswing towards future legendary status, plus you'll be able to tell all your friends that you saw them "back when" as well. honeytribe.com/
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Post by HARD ROCK UNIVERSE on Jan 31, 2008 11:22:31 GMT -5
Blue Cheer/Supergiant The Launchpad Albuquerque New Mexico January 28th, 2008
Concert review by Nightwatcher for Rock N Roll UniverseThere are a lot of arguments on who exactly were the first metal band of all time. Some say Sabbath, some say Zeppelin. And still many others lay claim to this band, namely the still "Louder Than God" legendary Blue Cheer, who burst onto the scene in early 1968 with the molten, proto metal, heavy sludge classic "Summertime Blues" and corresponding album 'Vincebus Eruptum'. Well, one thing is certain. In the year 2008, there is no band still around from the 60's who are as unrelentingly heavy as this trio. A fact which they displayed quite mind-blowingly as they rocked the house at The Lanchpad in Albuquerque, New Mexico. Although they were contemporaries of Hendrix, Cream and Joplin, this is one band who is anything BUT a nostalgia trip. True,a lot of the songs played were originally recorded by the power trio 40 years ago, but their delivery is incredible, and would be the envy of musicians 1/3 their age. From the moment founding member bassist/ vocalist Dickie Peterson exclaimed, "This is Blue Cheer and this is what we do", thereby launching into a powerful version of "Babylon" they owned the stage. Throughout a two hour set, which contained all the favorites, from devastating versions of "Parchment Farm", "Out Of Focus", "Doctor Please" and the previously mentioned "Summertime Blues", also incorporating selections from their brand new album 'What Doesn't Kill You...', this was one prime example of pure rock power. Also an example of pure rock volume as well-one of the loudest shows I've had the pleasure of witnessing, quite befitting of a band whom before Deep Purple took the honor away, was once classified by The Guinness Book Of World Records as "The Loudest Band In The World". It's no wonder Peterson has callouses on his eardrums! So loud in fact that I'd venture to say that they may have disturbed the heavens that night, resulting in a freak snow storm, with visibility reduced to near zero by the time we left. The interplay between the members was quite impressive. Also comprising of co founder Paul Whaley on drums and long time guitar wizard Andrew "Duck" McDonald on guitar, they were as a well oiled machine, firing on all cylinders. Do yourself a favor if these guys come to your area. Go and see them. You will NOT be disappointed, trust me. Support for this gig was provided by local band Supergiant, whom, due to the overwhelming volume, failed to capture the subtleties heard on their debut EP, but still show a lot of potential with their Sabbath-like stoner sludge being leavened out by classic hard rock leanings. Video from the show: Parchment Farm" youtube.com/watch?v=Omu0MltbPHg"Out Of Focus" youtube.com/watch?v=pw6C3a7mXws
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Post by HARD ROCK UNIVERSE on Feb 13, 2008 1:42:56 GMT -5
Airbourne Runnin' Wild Roadrunner
Review by Nightwatcher for Rock N Roll UniverseTired of waiting for Angus and co. to get off their collective asses and come up with a new studio album? Well, if AC/DC styled stomping bluesy rock is what you crave look no further than the debut from Australia's new bad boys of boogie Airbourne. While not an exact clone due to the style being closer to the metal side of things, there's no doubt that these lads, who range from late teens to early 20's, have done some serious studying of the sound. More like Krokus and Rhino Bucket in execution, this is full blown party rock full of energy, sing along choruses and razor sharp riffs that due to its relatively short under 40 minute length will have you hitting repeat several times over once you've heard it initially. With titles like "Stand Up For Rock 'N' Roll", "Girls In Black", "Cheap Wine & Cheaper Women", you won't expect deep lyrical content, but what is written fits the songs to a t. As the promotion touts this as "Genuine Fist -Pumping, Sweat Soaked Rock 'N' Roll", anyone who picks this one up isn't likely looking for heavy thoughts anyway. Leave that for Sting fans. What you get here though is hard driving, balls to the wall, ready for radio melodic metal in the 80's tradition. In fact, this is an album which could've been released in 1989, 1984, or 1981 and still it would've sounded the same. Sure it's derivative, but what isn't these days? The bottom line with this style of music is whether or not it rocks and is memorable. And on both levels, this is a release which succeeds. If you grew up during the time when this genre was popular, you'll find a hell of a lot to enjoy here. A glorious throwback to when metal was fun, this is a release that will take you back to the good ol' days when booze, girls and bangin' your head was all that mattered. If you like loud, in-your-face rock with absolutely no ballads to be found, this is the album for you. www.airbournerock.com www.myspace.com/airbourne
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Post by HARD ROCK UNIVERSE on Dec 25, 2007 1:34:59 GMT -5
Leaf Hound Unleashed R.A.R.E.Review by Nightwatcher for Rock N Roll UniverseAlmost 40 years after their first and only album came out, the band responsible for one of the best and most sought after 70's cult albums 'Grower Of Mushrooms', which could've almost been mistaken for a lost early Led Zeppelin album, are back. Vocalist Pete French (Cactus/Atomic Rooster) is the only original member on board, but you won't care as you wouldn't know the original band anyway. Bluesy hard rock put forth by a new cast of young upstarts who give the material a hungry edge it wouldn't most likely have if it were populated by members almost old enough for retirement. French was originally supposed to be involved in the Cactus reunion, but backed out to restart this band - by the sound of things here he made the right decision. Now there are two bands reformed that still kick ass. Easily the equal of that band's 'Cactus V' album. A definite highlight of the album is a brand new version of the Atomic Rooster classic 'Breakthrough" which closes the proceedings out in style, and may even be better than the original, due to the fleet fingered axe work of new guitarist Luke Rayner, who conjures up memories of the best of the biggest names of the 70's, and if things work out right could be a guitar hero in the making. Featuring strong songs and powerful performances, if you're a fan of early 70's English styled hard rock ala Free, Foghat or pre MTV Whitesnake this is an album you should pick up without hesitation, it's that good. www.leafhound.net/ www.myspace.com/leafhound
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Post by HARD ROCK UNIVERSE on Dec 19, 2007 12:53:41 GMT -5
Ryan McGarvey Forward In Reverse Forward In Reverse Music
Review by Nightwatcher for Rock N Roll UniverseEvery once in awhile there comes along an album, or an artist that makes all the bullSh*t that goes along with this business somewhat worthwhile. Such is the case with guitarist Ryan McGarvey, whose debut release, 'Forward In Reverse' shows a young artist who has arrived fully formed both playing -wise and compositionally. Bucking the trend favored by most young axe slingers emerging in the genre of throwing in a couple of originals mixed in with a glut of covers, this solid debut disc features all original compositions. Serving to put him ahead of the curve creatively, this is the work of a player whom has a bright future ahead and then some from the evidence put forth here. Opening up for and playing with such artists as Joe Bonamassa, Blue Oyster Cult, Gov't Mule, The Fabulous Thunderbirds and Buddy Guy, having a deep appreciation for classic hard rock gleaned from cruising through his father's record collection at an early age, 21 year old McGarvey has a sense of musical class which belies his youth. Rather than mining the SRV style which many young blues players are prone to these days, it's more Jimmy Page, Alvin Lee and the previously mentioned Bonamassa that he's akin to. Blending influences such as past masters Freddie King, Hendrix, ZZ Top and Cream alongside 70's styled riff rock, this incredibly talented guitarist has the goods and then some. The album kicks off in high gear with the sounds of blues harp combined with slide guitar reminiscent of a slightly slower version of Aerosmith's Joe Perry's work ala "Let The Music Do The Talking" on the intro to "Right In All The Wrong Ways" and never looks back. "Joyride" features an early Bad Company vibe initially before exploding into a full blown guitar extravaganza - containing two extended solos, fans of great guitar will love this track. "Texas Special", an homage to SRV is the only time McGarvey truly travels down this path and is well worth the excursion. Cut from the same blues cloth as Vaughan's "Scuttlebuttin'" it's a showcase for this side of his playing - featuring fast fretwork, this live favorite captures the essence of the late legendary bluesman perfectly. "Someone Like You" brings a touch of modern rock to the table - if released to rock radio as a single, this would stand a good chance at providing a possible crossover hit. The acoustic based "Second Time Around", with its delicately picked guitar work provides a change of pace to the blistering guitar on display elsewhere on the album. "Cryin' Over You" recalls Otis Rush brought into the 21st century. Tough, hard rocking blues is what you get, bringing the sound of classic Chicago guitar based blues to the modern age. Next, one will encounter the instrumental guitar tour de force "Mystic Dream". Beginning with an intro not unlike recent live renditions of Joe Bonamassa's "Mountain Time", with a middle eastern vibe, there's a decided psychedelic feel. Building in intensity until exploding, the guitars soar and take flight towards the sky. Well constructed, the sheer strength of this track alone would serve notice that McGarvey is poised to assume a place among the cream of the crop of new blues rock players. The album ends on yet another high note with another down and dirty blues, "Blue Eyed Angel Blues". With strong vocals and yet another blast of stellar fretwork, it's a fitting end to an extremely strong debut effort ranking among the finest released in 2007. Whereas artists like Joe Bonamassa are taking the blues kicking and screaming into the new century, it's players such as McGarvey who are the genre's future. Purists will most likely have their heads explode like in the movie 'Scanners' when they hear some of this, but seeing as earlier(and sometimes the same) said keepers of the blues museum felt the same way about Muddy Waters, Buddy Guy, Jeff Beck, Hendrix and Jeff Beck in decades past, I'd say he's in good company. Preview the future of this living music today. Wrap your ears around this release without hesitation. You won't be disappointed, to say the least. In the crowded blues rock throng McGarvey stands out as the real deal. 9.5/10 www.myspace.com/ryanmcgarvey
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Post by HARD ROCK UNIVERSE on Dec 18, 2007 0:42:23 GMT -5
Endeverafter Kiss Or Kill Razor & Tie Review by Nightwatcher Listening to this band, you'd think the 90's, and all the whining, moaning and introspection of the grunge era never happened. Huge choruses, tons of attitude and sexual swagger combined with big, dumb metal riffs and honest to Lucifer guitar solos make this debut from Los Angeles based Endeverafter a winner from start to finish. Ranging from hard edged metal such as "Poison" and "Road To Destruction" and "From The Ashes Of Sin" to the more pop metal stylings of "Gotta Get Out" and "All Night", even throwing in a couple power ballads for the ladies along the way, this is a melodic hard rock lover's goldmine. Influences abound, from the Thin Lizzy-esque guitars on opener "I Wanna Be Your Man" to the AC/DC like guitar solo on "Baby Baby Baby"-there are even HUMONGOUS, wall of sound choruses and hooks not heard since the heyday of Def Leppard on display here. If you dig Buckcherry's latest, 80's hair metal or even the harder sounds of the 70's, you'll love this album too. As guitarist/vocalist/songwriter Michael Grant says, "we don't want people to listen to our music and slit their wrists, we want them to smile and have a good time". Trust me, you'll have a lot of fun and a good time with 'Kiss Or Kill'. 9/10 www.endeverafter.com
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Post by HARD ROCK UNIVERSE on Dec 7, 2007 0:32:53 GMT -5
AC/DC Plug Me In (DVD) Columbia Records/Sony BMG
Review by Nightwatcher for Rock N Roll Universe
For their first release after signing with Columbia Records, Rock And Roll Hall Of Famers AC/DC reach back into their vaults for the amazing 'Plug Me In'. Following on the heels of their last retrospective 'Family Jewels', which in itself was fairly comprehensive, it's astonishing that there was so much left to mine. Running approximately 5 hours with bonus features, and split in two not unlike the prior release with the Bon Scott years (1975-1979) on the first, Brian Johnson(1981-2003) on the second, this is yet another treasure trove for AC/DC fans. Beginning with an Australian lip synched tv performance of "High Voltage" from 1975 on ABC TV's 'King Of Pop' awards, one is immediately reminded of how much presence and power the original band had, even during the early years. All the hits are here, and to list them all would take up way too much space, but it's clear right from the start that the band were destined to be stars. Of extreme interest is rare footage filmed at St Alban's High School, Australia, from March 1976, where, even though in black & white, they kick ass throughout. Looking back, it's almost mind blowing to see how damn YOUNG Angus looks. Although in his late teens, he doesn't look any older than fifteen, skinny as a rail, and if one didn't know better, due to the manic energy exuded, you'd swear he'd just consumed an eight ball of coke before performing. It almost makes you tired watching him. Having that much energy should be a crime! One segment which not only rocks, but is amusing as well is the performance clip of "Rocker". Recorded for BBC TV's 'Sight & Sound In Concert' in London 1977, the late Bon Scott is at the top of his game, leering lasciviously, showing the talents which made him one of the top front men in rock history. During the guitar solo, when Angus cavorts through the crowd, the look on people's faces is priceless. Remaining for the most part staid and proper in the fine British tradition, it's clear that most don't know what to make of this shirtless rock n roll maniac - with the exception of one notable longhair, who's seen banging his head, hair twirling around, while Young, seemingly crazed, gets up on the balcony ledge, seemingly possessed with the power of rock. The main disc portion consists of 18 tracks, all which confirm that while Scott led the band, there was no one arguably better at hyper blues based metal. The bonus features are interesting, consisting of more performances and rare interviews from Australian and British TV, and to be honest, although you may not watch the interview segments more than once, they still are great to have, lending a sense of completeness to the package. To be fair, although the band achieved its greatest success after Scott died, with his replacement Johnson, things began to get a bit predictable. Brian Johnson is a great vocalist whose only downfall was to come after Bon. Dependable to a fault, despite going on to become mega stars, after the first few albums they're all pretty much interchangeable. There are some highlights to be had on this second disc, such as the Tokyo show from 1981, right after Johnson joined, and it includes the until now unreleased jam with The Rolling Stones (Angus and Malcolm only) doing "Rock Me Baby" at Toronto's "Toronto Rocks" or "SARSStock" fest in 2003. All in all still extemely enjoyable throughout, but trust me the Bon disc is going to keep you coming back more. This is a great purchase for AC/DC fans both old and new, and is a wonderful compliment to the earlier 'Family Jewels' collection from a couple of years ago. 9/10
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Post by HARD ROCK UNIVERSE on Jan 22, 2008 0:02:52 GMT -5
Blue Cheer What Doesn't Kill You... Rainman Review by Nightwatcher Arguably the first heavy metal band ever, releasing the classic 'Vincebus Eruptum' back in early 1968, scaring the Sh*t out of mellow hippies at the time and scoring a #14 hit with a grungy molten cover of "Summertime Blues", Blue Cheer are back in a big way with a brand new studio release 'What Doesn't Kill You...'. Amazingly 40 years from when they started, consisting of 2/3 of the original lineup, while most of their contemporaries have either retired, died or long since ceased to play rock, the power trio are unrepentently heavy and even more important still damn good. Fronted still by bassist/vocalist Dickie Peterson, and also featuring original drummer Paul Whaley and long time cohort of 20 plus years guitar wizard Andrew "Duck" McDonald, the Cheer still put out a unmuffled ROAR which would be the envy of bands a third of their age. Bursting out with the ode to dope smoking "Rollin' Dem Bones" it's quite clear that 15 years since their last studio release hasn't dulled their edge. Still plying the heavy, psychedelic-like blues thunder made popular eons ago by Hendrix, this is a band who has stayed true to their roots, influencing countless metal bands from Black Sabbath on down, and if it weren't for the near disintegration of the band in the early 70's, it's most likely they would be in the Rock & Roll Hall Of Fame today. As it is, the fact that they're not, and mindless pop dreck such as Madonna is reveals just another affirmation of what a joke it really is. All throughout, the band bulldozes through 9 other tracks of bluesy metal, ranging from slower, heavy sludge such as "No Relief" and only the second ballad of their long running career "Young Lions In Paradise" to a blazing cover of Albert King's "Born Under A Bad Sign". The latter featuring a rare vocal turn from guitarist McDonald, lending, like the ballad a bit of variety to break up the unrelenting heaviness of the surrounding songs. Still vital after all this time, this is much more than just another cash grab. Amazingly solid, 'What Doesn't Kill You' is sure to appeal to both long time fans and younger lions who may have heard of the band but have never had the opportunity to hear the band before. As good as this is, it makes one long to hear them in all their loudness played live. Pick this one up, but also be sure to check the band out on their current tour, where they're sure to rattle the fillings out of your teeth, and possibly make your ears bleed with the sonic onslaught emanating from the sure to be cranked to the max amps. www.myspace.com/bluecheerwww.bluecheer.us
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Post by HARD ROCK UNIVERSE on Nov 14, 2007 4:09:36 GMT -5
The Eli Cook Band ElectricHolyFireWater Cookin'
Review by Nightwatcher for Rock N Roll Universe
Do you dig the blues but love metal too? Well here's an album that can satisfy both at the same time. On their third album, power trio The Eli Cook Band concoct a great mix of down and dirty blues mixed with Black Label Society styled heavy riff metal, resulting in not only a collection which is true to the roots but one you could mosh to also. Not far removed from what bands like Corrosion Of Conformity, Clutch and the previously mentioned BLS are doing, the 13 tracks found here are melodic in a modern heavy rock sense, but over the top of the crushing riffs one can hear guitarist Cook's roots in Muddy Waters, Robert Johnson and Jimi Hendrix. From the opening heaviness of "Santeria Shakedown" you get an immediate suspicion that B.B. King this ain't. And you'd be right. As Cook drawls about "BadMotorfingers" the chugging grind of rhythm section bassist Eric Yates and drummer Jordan Marchini take this to headbanging stage, the guitarist laying down searing, almost psychedelic licks, wrenching the notes out in a molten metal haze. "Bury Me" could easily be a radio hit, the thick as molasses guitar cutting through the mix while bass and drums swing with a passion normally not found in heavy music these days. Equally adept at slide guitar, Cook evokes the spirit of Elmore James in modern form on "Shotgun Blues". If James came back as a young white metal head that is. You'd swear that you were listening to Zakk Wylde at his acoustic based best on "Light That Gasoline", which could easily be mistaken for an unreleased track from the former's 'Book Of Shadows' album. Throughout the rest of the songs, which include more than credible takes of Jimi's "Spanish Castle Magic" and the Willie Dixon penned classic "Back Door Man", it's clear this isn't your father's blues. Cook is certainly no Stevie Ray Vaughan clone, and the music found here would easily fit in any heavy radio format. In fact, out of all the young blues based rockers, I'd venture he'd be the closest to fooling the kids of today into listening to the blues without realizing it. In that sense, he's not that far removed to how Zeppelin did it back in the 70's If he isn't to that level quite yet, this is still one damn fine album which rockers and more open minded blues fanatics can both enjoy. 8.5/10 www.myspace.com/electricholyfirewater'
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Post by HARD ROCK UNIVERSE on Oct 31, 2007 10:53:59 GMT -5
Ken Hensley Blood On The Highway Politur
Review by Nightwatcher for Rock N Roll UniverseLegendary former Uriah Heep/Blackfoot keyboardist Ken Hensley weighs in on his most personal release yet with 'Blood On The Highway,' an autobiographical telling in song of his life while coming to superstar status with the English legends during the 70's. Featuring guest vocal appearances from Glenn Hughes, ex Masterplan/Snakes 'Jorn Lande and another former Heep band mate John Lawton, this is a solid release which not only will appeal to fans of Hensley's former band but also to fans of quality hard rock in general. The companion to his autobiography of the same name, the album follows the rise, the optimism and rush which accompanies such an initial ascent, following the dissension and fall which can come about afterwards, with "well meaning" family and friends fueling the fire. Although not too heavy handed, it adds up to an intriguing look into the mechanics of what was all too often a familiar tale among many huge bands of the 70's. Musically speaking, in many cases befitting the time period covered, it remains true to the Heep aesthetic, being blues based hard rock, with several moments of AOR styled balladry popping up throughout to add variety and emotional impact to the surroundings. Jorn Lande, Glenn Hughes and John Lawton all turn in fantastic performances, with Lande appearing on 5 tracks, sounding even more like David Coverdale than Cov himself sounds these days. Hughes still shows the immense talent vocally which earned him the moniker 'The Voice Of Rock', and Lawton still impresses, showing that if you loved his work in Heep or Lucifer's Friend, he still has the pipes over 30 years later to power a heavy rock song, as he does quite admirably on "It Won't Last". Everyone involved is at the top of their game both musically and vocally, and Hensley besides showing the talent that made him one of rock's top keyboardists, also does an admirable job in singing three songs, acquitting himself well in relation to the powerhouses he's brought on board for this outing. At this stage of the game one can expect a certain amount of reliability musically speaking from an artist such as Hensley and with 'Blood On The Highway', he delivers with a solid collection of songs in the time honored rock tradition of the 70's and 80's. If you grew up during that time, or are a recent convert to classic rock, there's much to be savored here. While personally speaking I would've loved more Hammond organ solos, what's here is quite impressive and you'll feel quite satisfied after parting with your hard earned cash for this one. Buy without reservations. 8.5/10 www.ken-hensley.com/
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Post by HARD ROCK UNIVERSE on Oct 29, 2007 0:12:40 GMT -5
Bluestone co. Bluestone co. Big Stone/Hip Land
Review by Nightwatcher for Rock N Roll Universe
Think that the Southern U.S. has the market on great dixie fried rock bands? Well think again as the debut release from Osaka rockers Bluestone Co (Formerly The Savoy Truffle). shows conclusively that these Japanese musicians can play with the best of the best. Joined by Texas blues guitarist extraordinaire Chris Duarte on guitar and vocals, this is a treat for classic rock fans. Although consisting of only 7 tracks, when you're talking about extended jamming, one thing you won't get are simple three minute pop songs here. There's plenty of time to get a groove going, and if Toshihiro Sumitomo were born in the U.S. and had an easier name to pronounce, no doubt he'd be a household name amongst blues rock guitar fans. Blending together with Duarte to give an Allman Brothers type feel, reinforced by the backing of two drummers, this is an album which shows that even far away from where it began, the influence of the sounds of the south has spread long since the heyday of the genre back in the 70's. Featuring excellent guitar work and rocking hard rhythms, this is an album which will fit in well in the collections of those who grew up with The Allmans, Molly Hatchet and Skynyrd all the way to the heavier sounds of such modern day purveyors such as Gov't Mule. Grab this one without reservations, as the playing is hot and faithful to the blueprint set over 30 years ago. Definitely recommended. 8/10 www.buymusicdirect.com/
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Post by HARD ROCK UNIVERSE on Oct 16, 2007 8:30:44 GMT -5
Great White Back To The Rhythm Shrapnel Records
Review by Nightwatcher for Rock N Roll UniverseThroughout the 80's, amongst the Poisons, Ratts, Warrants and Wingers of the commercial heavy rock landscape, Great White stood out with their blues based hard rock attack. Much more aligned with 70's rockers such as Zeppelin than the G.I.T. schooled shredders which dominated the scene, guitar-wise, the band put out a succession of albums which at the time and in retrospect sounded pretty damn sweet. Well after the trials, tragedies and tribulations of the past several years, the band has reformed with most of the original classic lineup including guitarist Mark Kendall for one of the most pleasant surprises of '07 with 'Back To The Rhythm'. While not quite as heavy as their 80's output, this one still rocks, and is a noted improvement upon a lot of their releases throughout the 90's. Strong playing, memorable songs and a renewed sense of purpose make this a sensible purchase if you're a fan of the band, or of well crafted bluesy rock at all. A very solid offering which will hopefully bring the focus of this band back to the music where it belongs. 8/10
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Post by HARD ROCK UNIVERSE on Sept 27, 2007 8:58:37 GMT -5
Joe Bonamassa Sloe Gin J&R Adventures
Review by Nightwatcher for Rock N Roll Universe
Well, the wait is finally over. 'Sloe Gin', the long awaited followup to 2006's stellar 'You & Me', reaffirms the fact that in the world of blues rock, Joe Bonamassa literally has no peers. One of the most exciting guitarists to come along in decades, this is the work of an artist at the peak of his abilities. But to classify Bonamassa as merely a blues musician would be a great disservice. For while his albums have consistently reached #1 on Billboard's Blues Album Charts, with this album he transcends what is normally accepted in the traditionally purist blues circles, coming up with a wonderfully diverse collection that defies simple categorization. One which may be looked at as his maturation, at the age of 30, into his own man, artistically speaking. No longer tethered to tradition, the guitarist shines like the sun, as hot as Phoenix or Las Vegas on a summer afternoon. Not just an incredible display of in-your-face guitar wizardry, this album showcases a broader instrumental palette than ever before. Apparently not content to just be known as a guitarist's guitarist, after being voted Guitar Player's Blues Guitarist Of The Year 2007, Bonamassa has instead concentrated on the song and, consequently, the album as a whole. The album kicks off with a take on the late Chris Whitley's "Ballpeen Hammer". Starting out with rollicking acoustic guitars, the track suddenly erupts into a Zeppelin-esque rocker, Anton Fig's drums powering the song reminiscent of John Bonham ala "When The Levee Breaks". As the track shifts into overdrive, Bonamassa unleashes a solo which recalls the work of Jimmy Page during the latter's later day Zep era phase, unveiling a new sonic tapestry to add to an already overstuffed arsenal of licks, and totally unlike anything he's laid down in the past. Shifting into a bluesy shuffle akin to 'You & Me's' "High Water Everywhere," on "One Of These Days", he takes the Ten Years After classic in a new direction, expertly conveying the feel of a man pining away in a prison cell, dreaming of a pardon, before morphing into an Allman Brothers/Derek & The Dominos like coda. Not too dissimilar to "Layla," the shift seems to signify his liberation, being in the arms of the woman who's "Got her red dress on". Bonamassa shows his mastery of slide guitar here, conjuring up memories of Duane Allman on the previously mentioned track, while Rick Melick's stately keyboards also lend an extra texture. Next, we move on to an absolutely amazing cover of Bad Company's classic "Seagull". I've always liked the song in its original incarnation, but I've got to say that after listening to both back to back that I much prefer this version. This is a prime example of the attention paid to the vocals, as Bonamassa delivers a stunning performance, underpinned by slightly phased guitars and keyboards, which rivals Paul Rodgers. High praise indeed, but Joe more than holds his own in comparison. Any lingering doubts concerning his prowess as a vocalist, however misguided, will completely dissipate upon hearing this track. Bogie Bowles turns in a fine, understated drum performance on the track as well. "Dirt In My Pocket", the first of 5 original compositions (not counting the outro of "One Of These Days") is a grinding, mid-tempo blues rocker which strays away from the norm during the breakdown, where the music switches to a rather Middle Eastern style, replete with tabla courtesy of Melick, before returning to the Mississippi Delta once again. This is one of several tracks which if radio were more accepting, would have the potential to be at the very least a sizeable hit. While still remaining fairly true to the original arrangement, the title track is a true case of a cover version being infinitely better than the original. The vocals on this track are amazing, ranking up as one of Joe's finest performances ever, completely decimating Tim Curry's on the Bob Ezrin/Michael Kamen penned prototype. I had the privilege of hearing an early version of the track, featuring Doug Henthorn of The Healing Sixes, who did an incredible job on 'You & Me''s sterling cover of Led Zeppelin's "Tea For One". While the vocals on the early version were outstanding, Bonamassa's outpouring of emotion bathes the track with a sense of realism which sucks you in, never letting you go for over eight minutes. Starting off slowly, building in intensity and tension, aided by Jeff Bova's synthesized strings, the first sharp blast of guitar crackles and burns. The notes lash out against your brain like a bull whip before reeling off a short burst of stuttering toggle switch licks. Quickly followed by a quick flurry of wah inflected playing recalling the finest of Clapton in Cream, heading off towards the sun in the first melancholy yet exhilarating solo that's guaranteed to take one's breath away. At around the five minute mark, unexpectedly police, or more possibly ambulance sirens enter the mix, strongly suggesting that the song's protagonist has succumbed to the intense pain and loneliness and done himself in, creating a powerful, harrowing moment. Before one can catch their breath, thundering drums herald a second soaring solo which stands among the best of his career, conceivably significative of a soul's journey towards the heavens. Where does one go after that? Well, on this album Bonamassa and co. come off similar to a modern day Jeff Beck Group on "Another Kind Of Love". While being a cover of the John Mayall classic which first appeared on 1967's 'A Hard Road,' featuring on guitar none other than soon to be Fleetwood Mac legend Peter Green, the stinging guitar intro is more evocative of an updated Beck solo from 'Truth'. Tough, hard rocking blues is the name of the game here. Although relatively short at a little over three minutes, it's yet another impressive track on an album chock full of them. Slowing things down, we encounter a remake of "Around The Bend," originally on the earlier 'Had To Cry Today' release. This time redone as originally intended, the sweet acoustic sound is in marked contrast to the searing electric work earlier on the album, providing a nice change of pace. A cover version of Charles Brown's "Black Night" continues the journey into the dark side of the blues, featuring dynamics which wouldn't sound out of place on a Led Zeppelin album. The comparison is an apt one, as there are many spots throughout where the influence of Jimmy Page shines through in the playing and production. Producer Kevin Shirley (Led Zeppelin, Aerosmith, Iron Maiden, The Black Crowes) must've taken extensive notes while working with the English guitar legend, as the same mixture of light and shade favored by Page is on display throughout, taking the proceedings to a much higher level than most recordings, blues or otherwise, these days. John Martyn's acoustic blues "Jelly Roll," the languid southern rock of "Richmond" and the raga-like instrumental "India" round off the album in a more meditative mood. The latter is another departure from what is normally expected on a blues album. For such experimentation Bonamassa should be lauded for stretching the boundaries once again. B.B. King once famously said of the great Peter Green, "Peter Green is the only living guitarist who ever made me sweat". Well, the way that Bonamassa is playing these days, I'd imagine that B.B., upon hearing 'Sloe Gin', will be ordering a few cases of Right Guard. This is an album which begs to be listened to as a whole to be appreciated fully, not taken in bits and pieces. The album's flow, inspired by Rod Stewart's classic 1969 debut album, and the cohesiveness, are commendable. A very well-rounded offering which scores on all levels, I predict this will be the benchmark against which all future releases in the blues rock genre are compared to in the future. A more hard rock album than pure blues per se, the so called "purists" will likely blow a fuse as this one goes to the top of the charts. But whether they like it or not, Bonamassa is the past, present and future of the blues rolled up into one. 10/10 www.jbonamassa.com
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Post by HARD ROCK UNIVERSE on Sept 27, 2007 8:55:44 GMT -5
Out Through The In Door Vanilla Fudge Escapi Music
Review by Nightwatcher for Rock N Roll Universe
Fresh off having their signature song, the classic heavy slab of psychedelia "You Keep Me Hangin' On" featured twice on the controversial final episode of 'The Sopranos,' rock legends Vanilla Fudge are back with their 8th album 'Out Through The In Door'. Featuring 12 Led Zeppelin classics redone the Fudge way, original 4 members drummer Carmine Appice, bassist Tim Bogert, guitarist Vince Martell and keyboardist/lead vocalist Mark Stein have come up with a loving homage to the band whom they helped rise to stardom, giving them the opening slot on what was Zep's first legendary U.S. tour. While I'm not normally particularly a big fan of tribute/cover albums, Vanilla Fudge's stock and trade back in the day was taking songs such as the aforementioned Supremes song, as well as songs by The Beatles, slowing them down and making them their own, so who better to do an album such as this? While the band for the most part hasn't completely changed the arrangements on the songs, this still is an impressive outing. Beginning with "The Immigrant Song," which I was surprised to find at almost the same tempo as the original, immediately one is impressed at how good after all these years the band sounds. Stein's vocals are suitably powerful, while Appice and Bogert drive the song along in fine fashion, befitting of one of the best rock rhythm sections of all time. Fine guitar work courtesy of Vinnie Martell rounds off the track, and it's a great start to the album. Continuing on through renditions of "Ramble On," "Trampled Underfoot," "Dazed And Confused," and another surprising choice in "Black Mountain Side,"(where Martell impresses with fine acoustic guitar work, a rarity on Fudge albums), all the way to an amazing version of "Your Time Is Gonna Come," which could've easily fit on any of their original albums, this is an enjoyable ride. Appice even gets a chance to show how his drums would've sounded if he was in Zep with a slamming "Moby Dick", paying both homage to and linking the two men, Carmine being one of the late Bonham's big influences, bring it all full circle. Still at the top of their game musically speaking, these 4 have crafted something different, although very familiar in the process. Kudos have to be given for resisting any temptation to include any sort of rendition of "Stairway To Heaven", as not only being one of the most overplayed songs in history, but the entire flow would've been disturbed by its inclusion. Production, courtesy of Appice is modern, yet retro at the same time, allowing the instruments to breathe, unlike the majority of releases which jack up the mix to an almost unbearable listening experience, this is truly a treat sonics wise. Honestly, given the state of the music industry these days, this isn't likely to set the world on fire, sales wise, but 'Out Through The In Door' shows that these rock veterans still have what it takes to put out a very solid album, much better than at this stage of the game it has any right to be, and for that we should be thankful and pick this one up. If you're a fan of either band, you're certain to find a lot to enjoy here. 8/10 www.vanillafudge.com/
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Post by HARD ROCK UNIVERSE on Sept 27, 2007 8:47:10 GMT -5
Sir Lord Baltimore Sir Lord Baltimore III Raw JG Records
Review by Nightwatcher for Rock N Roll Universe
Long ago, in a land far, far away, a land shrouded in dry ice and dope smoke, giants walked the concert stages of planet earth. Some still are known today, such as Led Zeppelin, Black Sabbath and Grand Funk Railroad, while others have been largely forgotten via the mists of time. One such behometh was known as Sir Lord Baltimore. Formed in Brooklyn, New York in 1968, this pioneering metal band during the early 70's put out two of the most molten slabs of heavy rock in '70's 'Kingdom Come' and '71's self titled follow up. Featuring the incredible vocals of John Garner ( also sitting behind the kit, becoming one of rock's first singing drummers ), this is a man who could literally sing the phonebook and make it sound suitably heavy. Rounding things out was guitarist Louis Dambra( later joined by brother Joey on guitar for the 2nd album) and Jack Bruce influenced bassist Gary Justin, this was one of the best bands too many have never heard. Discovered by manager Dee Anthony, who also helped launch the careers of Humble Pie, Free and Joe c*cker, produced by Hendrix's right hand man Eddie Kramer, featuring the involvement of future Bruce Springsteen manager Mike Appel, who co-wrote and helped arrange all of the songs on their first LP, this is a band who deserved to be HUGE. So, why weren't they? Garner has blamed drugs, relatively low record sales and being ripped off monetarily as the factors in their eventual breakup, but it may be also that they were just ahead of their time. Listen to "Lady Of Fire," from 'Kingdom Come' and you can hear where Deep Purple's Ritchie Blackmore snagged the riff to "Woman From Tokyo". The band was reportedly a huge influence on the fledgling KISS, namely Stanley and Simmons, who would regularly show up at their shows on Long Island. Add to the legend the fact that in a now legendary review of the first album in Creem Magazine, the first reference to "heavy metal" was used, all adding up to a story of a trio who while never getting their due in a commercial sense, one whose influence has spread throughout the years to mythic proportions. Remarkably, some 30 years after the band's break-up, Garner and Louis Dambra have reunited to record and self-distribute a new album, 'Sir Lord Baltimore III Raw,' a slab of classic sludge metal true to the original sound. Over three decades may have passed, but the music contained on this release, the majority written back then, albeit a bit raw (hence the name) is classic proto metal. Produced by Garner, the six tracks on display here show conclusively that even after three decades, the man hasn't lost a step vocally. While contemporaries such as Gillan, Plant and Daltrey are showing their age, the vocals here are nothing short of revelatory. While recently recorded, they're vital enough to have been laid down thirty years ago. Joined on this trek by ex Firm bassist Tony Franklin, who contributed most of the bass parts, with guitarist Anthony Guido and bass player Sam Powell as guest musicians, this is a true trip to rock's heavy past. The six songs included here, beginning with "(Gonna) Fill The World With Fire," a straight forward heavy rocker, show that although the production may be cleaner this time around due to modern technology, the fire still burns brightly. One aspect which must be addressed is the lyrical bent of the songs. While the music was predominately written for the then uncompleted album in the mid 70's, the words have been rewritten to reflect Garner and Dambra's Christian faith. Now that may be something which may turn off some, but by not giving this a chance you'll be missing out on some first class music. In all actuality not too far from the lyrics from such classics as "Kingdom Come" or "Man From Manhattan", while dealing with spiritual concerns, it's never preachy. Thus there should be no reason no matter what faith one has not to be able to enjoy what's on display. "Love Slave" is a rocker with a heavy groove, replete with cowbell which moves to a percolating beat before giving way to the album's "epic", the seven minute "Wild White Horses". Acoustically driven, featuring a very Jack Bruce-like vocal from Garner, as it opens up to full blown heaviness, musically it too becomes reminiscent of Cream at their more eclectic, Dambra soloing with abandon, and is a highlight. Things return to a more traditional sound on "Rising Son," with Garner's drums leading the way, this is a track which wouldn't sound out of place on their debut. A heavy galloping riff heralds "Cosmic Voice", a grinding rocker showcasing fine harmony vocals during the chorus, leading to frenzied, ripping guitar work courtesy of Dambra that finishes the song in fine fashion. "Mission" ends the album in a classy way with more fuzzed out riffs and soulful vocals from Garner that will leave the listener satisfied. Slightly short at a little over 28 minutes, in this day and age when albums are padded with filler, you still get your money's worth with this one. Limited to just 1,000 copies, if you're a true aficionado of 70's hard rock, or quality heavy music, this is one that you can't afford to miss. Welcome back gentlemen, let's hope that this is just the start of a well deserved renaissance for one of the true legends of the 70's. www.sirlordbaltimore.com/
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Post by HARD ROCK UNIVERSE on Sept 27, 2007 8:44:24 GMT -5
Scorpions Humanity Hour 1 Sony/BMG
Review by Nightwatcher for Rock N Roll UniverseAfter the more than respectable return to their hard rocking roots with 2004's 'Unbreakable' there has been some speculation on whether Germany's foremost metal export could deliver the goods once again. Was it just a fluke? Would Desmond Child co- producing and writing inspire the band to go back to spitting out ballads in a vain attempt for long since elusive chart success? Well, the wait is no more, and I'm happy to say that with this album these veteran rockers have put out their finest effort since perhaps 1988's 'Savage Amusement'. While it doesn't quite bring them back to the heights of the classics that are 'Virgin Killer,'Taken By Force' or even more latter day efforts such as 'Lovedrive' or 'Animal Magnetism', with 'Humanity Hour 1' these Scorpions show that despite this year being the 35th anniversary of their debut album 'Lonesome Crow,' there's still plenty of sting left in their collective tails. If you were a fan of the band previously, but have been hesitant in testing the waters again after the disaster which was 'Eye II Eye' you can be assured to find much to enjoy here. Say what you will about Child, but he does have a knack for a catchy tune, and melded with the fine musicianship, this is an album full of memorable tracks. From the opening track, the heavy rocking 'Hour 1', it's quite obvious that there's an energy here which was largely missing from their work from the mid 90's on, and didn't reappear until the previously mentioned 'Unbreakable'. The rockers vs ballads quotient is higher than it has been in quite some time, and even said ballads, such as the somewhat Beatlesque power ballad "The Future Never Dies" are solid. Klaus Meine is in fine form after all the years throughout, and sounds more convincing vocally than he has in years. While there are nods to modern guitar sounds on the opening track and on "The Cross,"(which features vocals courtesy of The Smashing Pumpkins' Billy Corgan) for the most part this is a return, both musically and production wise to an earlier time. Matthias Jabs and Rudolf Schenker have stepped up their game here, with plenty of hard driving riffs and fine lead guitar work on display throughout. This is a consistent album, with no bad tracks to be found, and while it doesn't quite reach the level of being a classic, it's still a fine, satisfying representation of the band today, and will most likely end up being one of the top albums of 2007 for classic rockers. Supposedly the first part of several concept albums, with results this good, let's hope that it's not another three years until the next one. While it's not likely to restore them to top of the charts status here in the U.S., this is a band whom, based on the evidence of this, and the previous release, are going a long way towards restoring their reputation, and for rockers everywhere, it's cause to rejoice. 8.5/10
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Post by HARD ROCK UNIVERSE on Sept 27, 2007 8:41:11 GMT -5
Steve Fister Band Live Bullets ZYX Music
Review by Nightwatcher for Rock N Roll Universe
One of the most underrated players of the past decade, California based guitarist Steve Fister is back with a blistering live set of smoking hot blues rock, recorded live in Oldenburg, Germany on the 35th of 36 dates on his 2006 European tour. Featuring no overdubs, this is a stellar showcase for one of rock's best kept secrets, as the stellar trio rips through a collection of tracks from all of his prior studio albums with abandon, leaving no doubt that this is the real deal. The album leaps from the starting gate with a rousing version of the instrumental"True Grit" from Fister's stellar 'Age Of Great Dreams' release, and from this point on never looks back. Masterfully switching gears from high octane blues rock such as "She's Not Lonesome" to contemplative pieces like"Age Of Great Dreams" or the heavy rock of the crowd pleasing medley "Baby Please Don't Go/3rd Stone From The Sun/Radar Love" with ease, this is the work of a well seasoned player. One who hearkens back to the glory days of rock when actual musicianship mattered. Influenced in equal parts by Jeff Beck, the 3 Kings (B.B., Albert and Freddie) and the sounds of classic 70's hard rock, the former Pat Travers/Steppenwolf/Lita Ford guitarist can hang with the best of them. Unlike too many who concentrate on merely the technical, Fister is a well rounded musician for whom the song is what matters. Although technically brilliant when need be, it's never an end in itself. A gifted vocalist as well, he shines in a live setting. Without the gloss of the studio to smooth things out, the vocals are suitably gritty and authentic, which adds to the overall presentation. Fister even breaks out the old talk box during the middle of "J.B. Meets J.B." (Jeff Beck meets James Brown), launching into a snippet of Peter Frampton's "Do You Feel Like We Do", validating the claim that give a guitarist this effect and sooner or later, this will ensue! But, it sounds great, and works quite well. Supported wonderfully by bassist Barend Courbis and drummer Hans in’t Zandt, forming a tight, hard driving rock trio whom sound at home with the material, the three give impassioned performances throughout. Never one to hog the spotlight, Fister allows these two ample time to display their considerable talents and then some. German audiences are notoriously hard to please, dating back to the days of The Beatles, but by the time the last notes of the encore, "Pay Bo Diddley" ring out, it's met with a fantastic reception, leaving the cheering crowd wanting more. It's quite obvious that a splendid, magical time was had by all, and one which makes one wish they were there to witness, which is a hallmark of a great live album. The bottom line here is, if you're a blues rock fan, or for that matter a fan of excellent guitar work, you can't go wrong with this one. Once you've heard what's on offer here, do yourself a favor and pick up any of the earlier releases as well, which feature performances by some of rock's great players such as Stu Hamm, Tommy Aldridge, Carmine Appice, Reese Wyans and Tony Franklin. You won't be disappointed, and all come highly recommended. 10/10 www.stevefister.com
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Post by HARD ROCK UNIVERSE on Nov 20, 2007 22:31:48 GMT -5
Esteban Parra of The News Journal reports that former ICED EARTH guitarist Ernie Carletti was convicted today (Monday, November 19) of kidnapping and rape in the abduction of a University of Delaware student in 2003.
A Superior Court jury found the 32-year-old musician guilty on two counts of first-degree rape and one count of first-degree kidnapping. The jury acquitted Carletti on a weapons charge.
Carletti admitted to abducting the student, shackling her arms and legs then hogtying her at his Maryland home until she began crying. He, however, testified he did not have a gun and he did not rape the woman.
"Maybe I wasn't thinking clearly," Carletti said about pulling the woman into his car May 22, 2003, then shackling her arms and legs and duct taping her eyes shut. "It was just part of the effect. I didn't say she wanted it, but she did not deny it."
Carletti — who joined ICED EARTH in June 2006 and didn't appear on any of the band's recordings or perform with the group before his September 2006 arrest — said he was driving to his Elkton, Md., home through Newark about 1:30 a.m. when he saw the woman at the South Chapel Street Burger King. Carletti testified the two started talking. When she approached the driver side of his car, Carletti said he pulled her into the vehicle.
The victim has testified that he had a gun, which he denied in court last week.
As he drove off, he asked the woman: "Mind if I handcuff you?"
"I'm not saying it was courtship, but it is something we discussed," he said.
After handcuffing her, Carletti said he shackled her legs and put duct tape over her eyes and drove to his home.
When asked why he would blindfold her, Carletti said it was done for "effect."
Prosecutor Donald R. Roberts said the pressure was so intense the victim's eye vessel burst and she nearly passed out.
Carletti said he then escorted the woman into his house and sat her on a couch, where there was a "little bit of talking, a little bit of caressing, a little bit of kissing."
Roberts asked if she kissed him back, to which Carletti said he only kissed her on the cheek.
After admiring her in that position, Carletti said he gagged her mouth, placed her on a table and hogtied her. But he said he did not hoist her off the ground as she has testified.
He said he released her from this position after 3 to 4 minutes because she signified she was uncomfortable.
When asked if he thought being hogtied was painful, Carletti said he has previously been in that position and disagreed it hurt.
"No. Actually it is not painful," he said.
Afterwards, the victim was placed in the car and returned to Newark where she was pushed out of the moving car onto West Main Street, Roberts said.
Carletti became a suspect in May 2006 and was arrested after police matched his fingerprints to a print found on the duct tape that had been placed over one of the victim's eyes.
Roberts said Carletti initially told police he had not taken the woman or hogtied her. Carletti later changed his story when told about the fingerprint, saying it was consensual bondage.
Hurley told jurors Carletti did not rape the woman. Instead he stood at the other end of his basement and masturbated to the constrained woman.
Roberts said it "defied logic" that the victim would consent to bondage.
Carletti, who was in the bands NAUGHTY NAUGHTY and ICED EARTH, was charged earlier this year in another sexual assault that occurred when he was in high school.
In that case, the victim said the two cut class and went to his parents' apartment for a party. When they entered the apartment, he threw her to the floor and bound her hands behind her back with a neck tie that was on a living room couch.
According to court documents, Carletti made her sit on a wooden chair in his room and bound her legs to the legs of the chair with duct tape. He then pushed the chair into his bedroom closet and left her there for about 20 minutes.
When he took her out, Carletti freed her from the chair, but allegedly forced her to undress, then tied her to his bed and raped her. After he was finished he again tied her to the chair and returned her to the closet for about 30 minutes, according to court documents.
She returned to school when he released her.
That case is pending.
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Post by HARD ROCK UNIVERSE on Mar 9, 2007 21:21:17 GMT -5
Blues Traveler frontman John Popper was arrested in Spokane, Wash. yesterday for speeding (111 mph, no big deal) and marijuana possession (not exciting). But during the search, officers found multiple hidden compartments in Popper's vehicle -- which held a total of 14 weapons, including four rifles (one of which was a 50 caliber), nine handguns and a switchblade knife! Now we're talking!
According to the Washington State Patrol (WSP), Popper told troopers that he had installed these items in his vehicle because (in the event of a natural disaster) he didn't want to be left behind. Someone has been watching too much "Jericho."
Popper was arrested along with a friend, Brian Gourgeois, who was driving Popper's car at the time. They will both be charged with possession of a controlled substance and possession of drug paraphernalia. The WSP also says that DEA agents seized Popper's vehicle, and he could face federal charges of possessing a vehicle with hidden compartments. Let's hope his harmonica playing goes over well in the big house
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Post by HARD ROCK UNIVERSE on Nov 17, 2006 11:41:54 GMT -5
LONDON, England (Reuters) -- A British man said to have carried out the country's first "Web rage" attack was jailed for 2-1/2 years on Friday for assaulting a man with whom he had exchanged insults over the Internet.
Paul Gibbons, 47, from south London, admitted he had attacked John Jones in December 2005 after months of exchanging abuse with him via an Internet chat room dedicated to discussing Islam.
London's central criminal court heard that Gibbons had "taken exception" to Jones, 43, after Jones alleged that Gibbons had been "interfering with children."
After several more verbal and written exchanges, during which Jones threatened to track down Gibbons and give him a severe beating, Gibbons and a friend went to his victim's house in Essex, east of London, armed with a pickaxe and a machete.
Jones himself was armed with a knife but Gibbons seized it from him, held it to his throat and "scratched" him across the neck, the court was told.
Gibbons, who the court heard had previous convictions for "violent offenses," pleaded guilty to unlawful wounding on the first day of his trial last month.
Other charges of attempted murder and issuing online threats to kill four other chatroom users were not pursued but could be reactivated in future if he reoffends.
Media reports said it was Britain's first "web-rage" attack and Judge Richard Hawkins said the circumstances were "unusual."
"This case highlights the dangers of Internet chat rooms, particularly with regard to giving personal details that will allow other users to discover home addresses," said Detective Sergeant Jean-Marc Bazzoni of Essex Police.
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