New music: Little Richard, Ace Frehley, Rick Hromadka, Aimee Mann

If you like variety when it comes to music, check out my latest roundup of essential new releases...

Artist: Little Richard

Titles: The Rill Thing; King of Rock and Roll (Omnivore Recordings)

You might like if you enjoy: Little Richard, Prince, Vintage Trouble, Billy Preston

Tell me more: When Little Richard passed away at the age of 87 on May 9, 2020, it rekindled interest in the life and music of the pioneering rock and roll great. Now Omnivore Recordings has reissued expanded versions of two of his most important albums, 1970's The Rill Thing and 1971's King of Rock and Roll. Best known for his string of seminal '50s hits ("Tutti Fruiti," "Long Tall Sally," "Rip It Up" and many more), the Macon, Georgia native enjoyed a well-deserved comeback with these ambitious early '70s LPs where his signature vocals were at their peak. The Rill Thing was recorded in Muscle Shoals, Alabama and finds Little Richard — who also produced the album — delivering an album that fuses blues, soul, funk and R&B together flawlessly. There are a plethora of fantastic moments on the album including the potent rock 'n' soul leadoff track "Freedom Blues," Creedence Clearwater Revival-mining "Greenwood, Mississippi," the ambitious title track (which runs more than 10 minutes!), the New Orleans swoop "Lovesick Blues," a joyful horns-draped version of The Beatles' "I Saw Her Standing There" and bonus track "Shake A Hand (If You Can)." 

Fourteen months after the release of The Rill Thing, Little Richard rebounded with the equally convincing King of Rock and Roll, produced by H.B. Barnum. The expanded LP features a fine mix of original songs, along with reworked covers of Motown and rock classics. Listening to the spirited '50s title track, gospel-meets-soul version of "Joy To The World," rocking take on The Rolling Stones' "Brown Sugar" and joyful "The Way You Do The Things You Do" all find the rocker tapping into all of his strengths. The funky "Green Power," soulful ballad "I'm So Lonesome I Could Cry" and retooled "Born On The Bayou" shine an especially bright light on his elevated vocal excellence during this period. Both of these Cheryl Pawelski-produced reissues come with essential bonus tracks, new liner notes penned by Bill Dahl, photos and ephemera. Information: OmnivoreRecordings.com.

Artist: Ace Frehley

Title: Origins Vol. 2 (Entertainment One)

You might like if you enjoy: Ace Frehley, Lita Ford, Robin Zander, Bruce Kulick

Tell me more: Revisiting classic tracks from the top-tier likes of The Beatles, Led Zeppelin, The Rolling Stones, Jimi Hendrix and The Kinks can be challenging because the originals endure in their timeless perfection. But on his new dozen-strong set Origins Vol. 2 KISS founding member Ace Frehley (lead guitar, vocals) is able to meet that challenge by covering beloved classics with virtuoso guitar work, a hard rock edge, an unbridled sense of joy and a little help from some good friends. Among the smoking cuts on the disc is a high-octane tear through the Rolling Stones' "Jumpin' Jack Flash" (featuring Lita Ford on lead vocals), a rousing cover of Humble Pie's 1972 blues-rocker favorite "30 Days In The Hole" (with Cheap Trick frontman Robin Zander able to deliver on the lead vocals delivered by the late Steve Marriott in the original) and the mind-bending Hendrix cut "Manic Depression" (with Frehley and Grand Funk Railroad's Bruce Kulick both soloing). KISS lost more than a step with the departure of Frehley in 1982 (he did rejoin the band from 1996 to the end of 2001); just listen to the blistering take on Mountain's "Never In My Life" and Cream's "Politician" to hear Frehley's killer guitar work in spades. Other treasures on the LP include a cool take on Paul Revere & the Raiders' "Kicks" and a cover of his former band's "She" (featured on the 1975 album "Dressed to Kill"). Get Origins Vol. 2 and crank it up! Then go back and discover the Spaceman's 2016 album Origins Vol. 1. Information: AceFrehley.com.

Artist: Rick Hromadka

Title: Better Days (SodaStar Music)

You might like if you enjoy: Jason Falkner, Roger Joseph Manning Jr., Maple Mars, the Lickerish Quartet

Tell me more: Los Angeles-based singer-songwriter Rick Hromadka's Better Days is the perfect find for those in search of music that is melodic, memorable and expertly crafted. Hromadka (Maple Mars, Ruby Free, Double Naught Spies) and a batch of musical pals have created an album that is one of the best power pop releases in memory, a surging and artful effort that is bolstered by excellent song craft, experimental flourishes aplenty and nuanced musicianship. The atmospheric opener "Better Days," exhilarating melodic rocker "Searchlight," psychedelic-aimed "Drive On" and breezy "The Ever After" are early highlights on the album. The driving "Full Blown Freakout," genre bending "Robot Lover" and lavish "The Last Volcano" make the second half of the disc equally strong. Better Days, set for release on Sept. 22, will be available on vinyl and digital. Information: SodaStarMusic.com.

Artist: Aimee Mann

Title: Avalanche (HBO's "I'll Be Gone In The Dark")

You might like if you enjoy: Aimee Mann, Leonard Cohen

Tell me more: Singer-songwriter Aimee Mann has released a evocative version of Leonard Cohen's ballad "Avalanche," which is now featured as the title track for HBO's true-crime docuseries "I'll Be Gone In The Dark." Covering Cohen can be tricky and few artists have done it with the power and artful grandeur to do the original material justice; Mann's haunting and faithful cover of "Avalanche" is sheer joy and well worth discovering. The song can be streamed or downloaded now. Information: https://orcd.co/amavalanche.

Robert Kinsler

Ace Frehley debuts "Fire and Water" featuring Paul Stanley

Very cool news for fans of KISS that former band mates Ace Frehley and Paul Stanley are featured again together. Get all kinds of information about Ace Frehley's new album and the project via the media release below...Also, at the bottom of this post, is a link where you can pre-order the album via Amazon.

Paul Stanley, left, with Ace Frehley. Photo: Jay Gilbert

Ace Frehley debuts "Fire and Water" featuring Paul Stanley exclusively via ROLLINGSTONE.COM

First recording with Frehley + Stanley in 18 years

ORIGINS VOL. 1 due out tomorrow (April 15, 2016)

ACE FREHLEY has debuted a final song today from his forthcoming covers LP due out later this month. Rollingstone.com is exclusively debuting "Fire and Water," the first recording of Frehley and KISS frontman Paul Stanley in nearly two decades.  Rock and Roll Hall of Famer ACE FREHLEY will release Origins Vol. 1, a collection of 12 newly recorded classics from Ace’s formative years featuring some of the biggest names in rock and roll, tomorrow, April 15, 2016. This collaboration marks the first time that Ace and Paul appear on the same studio recording since KISS' 1998 reunion album Psycho Circus. Ace spoke with Rolling Stone about the new record, his guest players and recording with Paul after all these years. Rolling Stone writes: Regarding his reunion with Stanley, Frehley shrugs off any residual tension between the two of them. "We've always been friends," he says. "The press seems to amplify negativity. I guess it makes good copy." Rolling Stone debuted "White Room," a few weeks ago, the classic hit originally performed by Cream. Other guests are none other than Slash trading leads on Thin Lizzy's classic "Emerald," Lita Ford singing and playing lead on The Troggs staple "Wild Thing," Rob Zombie guitarist John 5 playing guitar alongside Ace as he sings his classic KISS composition "Parasite" for the very first time, as well as Jimi Hendrix's "Spanish Castle Magic," and Pearl Jam's Mike McCready also plays guitar with Ace as he finally sings his KISS “Alive!” mainstay "Cold Gin." "White Room" is also an iTunes instant gratification track, meaning fans who pre order the LP on iTunes will receive the Cream cover song instantly.

Origins Vol. 1 is the the follow up to Space Invader, released in 2014. Space Invader was Frehley's first studio album in five years, and the LP debuted at #9 on the Billboard Top 200 Chart, scoring the highest charting position of any KISS solo album ever, and marked Frehley's first return to the Top 10 since KISS' aforementioned 1998's Psycho Circus in 1998. Space Invader, received high praise from critics.  Rolling Stone wrote, "Gene Simmons has claimed Ace Frehley doesn't deserve to wear Kiss' Kabuki clown paint, but the former Spaceman's first solo LP in five years says otherwise," while Associated Press hailed, "The original Kiss lead guitarist has recorded his best solo album since his groundbreaking self-titled album in 1978." Paste Magazine also confirmed, "Space Invader is a good rock album, and it’s an even better guitar record."

"Twelve covers including three KISS classics and he does a solid, sometimes even tremendous job." BLABBERMOUTH 8/10 1. White Room (Cream) 2. Street Fighting Man (Rolling Stones) 3. Spanish Castle Magic (Jimi Hendrix) *John 5 4. Fire and Water (Free) *Paul Stanley 5. Emerald (Thin Lizzy) *Slash 6. Bring It On Home (Led Zeppelin) 7. Wild Thing (The Troggs) *Lita Ford 8. Parasite *John 5 (KISS) 9. Magic Carpet Ride (Steppenwolf)  10. Cold Gin *Mike McCready (KISS) 11. Till The End Of The Day (Kinks) 12. Rock and Roll Hell (KISS)

Pre-order 'Origins Vol. 1' via this link

NAMM 2014: From Robby Krieger and Jonny Lang to a new Springsteen

A shorter version of my story was originally posted on The Orange County Register site on Monday morning, Jan. 27, 2014. More coverage of NAMM 2014 is on the way soon!

The blues-rocker Jonny Lang, the 13-year-old upstart Alana Springsteen (no relation to the Boss), the Doors’ Robby Krieger and others provided standout performances at the annual Anaheim gathering.

Jonny Lang in action on the GoPro Stage Jan. 23. Photo credit: Bob Steshetz

A couple of decades ago, on-site performances at the National Association of Music Merchants show, or NAMM, were definitely not a key part of the event held every January at the Anaheim Convention Center.

But once again this year performances were front-and-center throughout the show, held Jan 23-26, with the far-flung likes of bluesmen old (Otis Taylor) and younger (Jonny Lang), Americana trio the Kruger Brothers and classic rockers Blue Oyster Cult and Robby Krieger of the Doors among the artists who could be spied at the event.

In an interview before he took the stage to headline the GoPro Stage Saturday night, Krieger discussed the importance of NAMM in helping keep a wide variety of music-making alive, especially via each developing generation. As early as the Doors’ landmark 1967 debut, the guitar great, now 68, was already incorporating flamenco and jazz with blues and rock.

“It’s all important to me,” he says. “I fear today kids don’t check out all that stuff; they just listen to Eddie Van Halen and try to copy that. Back in the day, we went as far back as we could.”

In addition to rock’s earliest six-stringers, Krieger was influenced by the likes of masters like Wes Montgomery, Albert King and Larry Carlton, as well as jazz innovator Miles Davis. Many of those sources found their way into enduring staples such as “Light My Fire,” “Love Me Two Times,” “Love Her Madly” and “Touch Me.” “Jim wanted it to be a mystery,” he explained why the legendary band’s songs were credited to all four Doors. “I wrote most of the music and Jim wrote most of the words.”

Robby Krieger headlined on the GoPro Stage.

Krieger's subsequent performance was outstanding, with the legendary and fast-fingered guitarist displaying his equal love of jazz and rock during the set. Doors fans cheered with the performance of the gem "You're Lost Little Girl," (from the band's sophomore effort Strange Days) and then a few songs later, the radio staple "Love Me Two Times" where Krieger's vocals were as potent when I first heard him sing the song in a memorable performance at Cal State Fullerton.

While Krieger's 90-minute set was among NAMM’s brightest highlights, plenty of other worthwhile acts performed of the course of NAMM 2014. Right off the bat, Day 1 provided opportunities to see Lang and BÖC, as well as several under-the-radar talents.

Lang brought his powerful fusion of rock, soul and gospel to the official opening night concert held on the outdoor GoPro stage, positioned in front of the convention center. His 90-minute turn was another ideal setting to take in the 32-year-old’s ongoing celebration of blues-rock.

Opening with “(Blew Up) The House,” from his latest album Fight for My Soul, the guitarist and his band fired up the chilly evening with his distinctive mix of rousing vocals (notably on “Turn Around” and “Red Light”) and blazing fretwork that just keeps getting better as he matures, as evidenced by “A Quitter Never Wins.” He closed with the jam-ready “We Are the Same” before offering a fitting Muddy Waters cover, “Forty Days and Forty Nights,” as an encore.

Blue Öyster Cult isn’t known as an acoustic band, so the curiosity factor was palpable when the group took the stage inside Peavey’s booth armed only with such guitars. With the space (a large room on the convention center’s second level) maxed out at 200 capacity, many fans simply couldn’t get into the showcase if they hadn’t arrived early for the 2 p.m. set.

BÖC didn't disappoint: lead singer-guitarist Donald “Buck Dharma” Roeser led the outfit through fiery stripped-down versions of some of the band’s most beloved material. Opening with the 1981 hit “Burnin’ for You,” it was clear Roeser’s talents translate just fine to the unplugged setting, while harmonies provided by Eric Bloom and Richie Castellano brought the ambitious songs, long a mix of progressive and hard rock, to sparkling life.

They had one other surprise in store for the lucky gathering: a cameo from Alex Skolnick, lead guitarist of pioneering thrash metal band Testament. With four talented axe-wielders on stage, “(Don’t Fear) The Reaper” was given the ultimate NAMM treatment in an extended version that featured Skolnick and Roeser trading licks and the crowd singing along to the choruses.

Shawn Jones frequently performs in Orange County, but his appearance in Anaheim at the GHS Strings booth was something special. He performed instrumental versions of four original songs, showcasing chops frequently on display as lead guitarist for singer Deana Carter, including on her just-released album Southern Way of Life. At NAMM, Jones illustrated his love of the blues with a potent take on “Bottom of the Bottle” and a nuanced, graceful version of the Celtic-styled “Missing the Mourns,” bolstered by some beautiful harmonics.

Alana Springsteen. Photo credit: Robert Kinsler

There was nothing short of genuine surprise and awe, however, when 13-year-old Alana Springsteen began to perform her song “Waste of Time” in the lobby of the Anaheim Marriott. She had been invited to participate in a “Song Round” set with well-known area artists Tim Moyer and Kerry Getz.

After Springsteen (no relation to the Boss) played her first song, it was clear her shining soprano, effortless acoustic guitar playing and warm personality are an enchanting package. She was instructed to play another song – and it was equally powerful, casting an obvious spell on the large crowd seated around the stage. Then she was told by the veterans sharing the stage that she should go ahead and finish out the session with her tunes.

Those next songs suggest not only that Springsteen’s talent is for real but that her depth clearly outdistances her youth. The Norfolk, Va., native closed with an original ballad, “What I Wouldn’t Give,” featuring her textured fretwork and a strong message of thanks to the military. She earned a standing ovation, something I can’t recall ever seeing happen in these intimate afternoon sessions.

Friday brought more action, including an afternoon visit from guitar virtuoso Gary Hoey and former Runaways riff-crafter Lita Ford, who performed at the Monster Cables booth for a crowd that stretched out far in every direction. Although her vocals were mostly buried, the duo’s guitar work pleased fans as they played two tracks off Ford’s Hoey-produced album Living Like a Runaway.

Hoey noted that when he learned Ford was looking for a producer, he suggested they record the album at his studio in New Hampshire. “We had an instant working chemistry,” he recalled. “Lita Ford is a pioneer as far as women in rock go; she’s just a dynamo. She stays true to who she is. (The new album) is still building some momentum and a lot of great reviews.”

Hoey also praised NAMM’s diverse atmosphere, which draws musicians and music manufacturers from every part of the globe to Anaheim. “I love it because it’s like a secret club for musicians and bands to get together and talk about music.”

The rest of Friday played out with additional strong turns from Jeff Campbell (whose sound evokes Toad the Wet Sprocket), North Carolina’s Kruger Brothers and Colorado bluesman Otis Taylor. The latter’s NAMM sets are the stuff of legend; his performance inside the Anaheim Marriott was likely one of the most robust of the weekend. His version of the murderous “Hey Joe” and his own “Rain So Hard” had fans transfixed by a hypnotic blues-rock laced with Native American and African rhythms, Anne Harris’ ferocious fiddle and heavy grooves. There is a power in Taylor's performances that bridges the power of strong blues, Hendrix rock and even alternative that is intoxicating in ways that are magic and the eclectic crowd gathered in front of the stage reflected the power of his set.

And at least one day at NAMM, it’s smart to merely walk the floor and stumble upon musicians checking out the latest gear. On Saturday, I was blown away first by Andy Rau playing some of his original compositions on a Deering banjo, and later by Latin Grammy winner Gabby Moreno’s brief but exciting appearance on the main stage, blurring the lines between Spanish and blues-rock material.

Music Worth Buying: NAMM Show episodes aplenty

Before you say goodbye to NAMM 2014, check out a series of episode of Music Worth Buying segments we recorded at the show last week!

Our first video is a showcase of things we heard and saw on Thursday, Jan. 23, the first official day of NAMM. We were both especially impressed by the Sony HDR-MV1 Music Video Recorder, and a number of innovations we caught at IK Multimedia's booth:

Our second video is a showcase of the action we caught on Friday, including Robert Kinsler's interview with bassist Rich Cole and lead guitarist Mike Skill of The Romantics, as well as a performance from guitar virtuoso Gary Hoey and singer-songwriter Lita Ford:

Finally, don't miss this performance from  a 13-year-old classical pianist captured performing:

Rock of Ages: Def Leppard rocks Irvine

My review originally ran on the Soundcheck blog of The Orange County Register site on Saturday, June 23, 2012. A special "thank you" to Kelly A. Swift for the use of her great photos.

From left, bassist Rick Savage, guitarist Phil Collen and drummer Rick Allen of Def Leppard perform at Verizon Wireless Amphitheater on Friday, June 22, 2012.

Live review: Def Leppard once again rocks Irvine


The movie musical Rock of Ages has been a bit of a disappointment at the box office since it opened earlier this month, earning under $20 million in its opening week, but the band behind the original ’80s hit of the same name played to another full house in Irvine Friday night (June 22, 2012).

Def Leppard checked in on the second date of its summertime Rock of Ages Tour at Verizon Wireless Amphitheater to jump start the first weekend of summer, blasting out all of the quintet’s hits to the delight of a large crowd eager to party. While openers Lita Ford and Poison had performed to a decidedly greater number of empty seats earlier in the evening, the headlining U.K. hit-makers turned in an amped-up show that gave fans everything they came for.

The Sheffield band has one of rock’s most compelling biographies, including the death of original guitarist Steve Clark in 1991 and drummer Rick Allen’s inspired ability to overcome the loss of his left arm following a tragic car crash seven years earlier, carrying on using a specially designed electronic drum kit that has become an integral part of the band’s sound ever since.

Having sold more than 100 million albums in 35 years together, Def Leppard keeps shows focused on its wealth of smash singles. The group continues to ensure that fans never wait more than a few minutes before another one arrives.

Those radio favorites — “Hysteria,” “Foolin’,” “Rocket,” “Love Bites” and many more — typically pack huge choruses spotlighting lead singer Joe Elliott (seen on the right) and the backing voices of his band mates, blended with a fat rhythm and virtuoso guitar work courtesy of Phil Collen (longtime O.C. resident) and Vivian Campbell. It was that formula that fueled the party for the audience on Friday, who sang along when directed, pumped their arms in the air and lifted their beers toward the night sky whenever Def Lep launched into another staple.

By the time the band got through its opening cut, “Undefeated,” and delved into its second song ,”Rocket,” the crowd had already engaged their own thrusters and thousands were hollering out lyrics at full throttle.

Some of the more stirring moments in the show, however, came when the band veered off that course. Known for songs celebrating relationships and rock ‘n’ roll, Def Leppard surprised with an emotional performance of its anti-war rocker “Gods of War,” complete with dark images of warplanes and religious symbolism projected on multiple large rear-projection screens. The group also indulged an acoustic mini-set on a ramp that stretched into the crowd, highlighted by a melodic singalong of the tender “Two Steps Behind.”

The end of the night provided rocking versions of the band’s best material, including the power ballad “Bringin’ on the Heartbreak” (with blazing guitar work from Campbell), a heavy metal attack on “Photograph” and, finally, a one-two punch of “Pour Some Sugar on Me” and the night-ending “Rock of Ages.”

Bret Michaels-led outfit Poison pleased plenty of people positioned around me, but ultimately offered up an hour-long set of nondescript glam metal.

A version of the band’s biggest hit, “Every Rose Has Its Thorn,” came amid a set otherwise padded with bland rockers like “Look What the Cat Dragged In” and “Ride the Wind,” as well as pedal-to-the-metal covers (“Your Mama Don’t Dance,” “We’re an American Band”) that failed to capture any of the magic of the originals.

The highlight of the band’s set was the anthem “Nothin’ But a Good Time,” which admittedly connected with a crowd who felt the same way about this triple-bill.

Lita Ford kicked off the long evening with a solid 30-minute set of hard-rocking tunes. Lead guitarist of the all-female group the Runaways back in the ’70s, she showcased fine chops, and though always a better guitarist than lead vocalist, Ford nonetheless connected with fresh originals such as “Living Like a Runaway” and “Branded” (bolstered by dueling lead solos) as well as an Ozzy Osbourne-free version of her biggest hit, 1989′s “Close My Eyes Forever.”