New titles featuring top-tier artists Big Head Todd & The Monsters, Crowded House and Dr. John are available now.
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Thursday, June 06, 2024
New music: Big Head Todd & The Monsters, Crowded House, Dr. John
Friday, May 31, 2024
Big Head Todd and The Monsters release new album 'Her Way Out'
One of my favorite blues-rock artists is issuing a new album today. Get all the details and listen to Big Head Todd & The Monster's "Her Way Out"...Robert Kinsler
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Friday, November 11, 2022
Big Head Todd and the Monsters make triumphant return to The Coach House
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| Big Head Todd and the Monsters performing at The Coach House in San Juan Capistrano, CA, on Wednesday night, Nov. 9, 2022. |
Who: Big Head Todd and the Monsters, Jim Dalton & Jeremy Lawton
Where: The Coach House in San Juan Capistrano, CA
When: Wednesday, Nov. 9, 2022
Next: Big Head Todd and the Monsters has a number of upcoming Southern California dates. The band performs in Ventura on Nov. 11; in Solana Beach on Nov. 12 and 13; and in Pioneertown on Nov 14
Information: bigheadtodd.com
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| Todd Park Mohr at The Coach House on Nov. 9, 2022. |
Review by Robert Kinsler
Photography by Bob Steshetz
Playing their signature blend of blues, rock, funk and jam with artful force, Big Head Todd and the Monsters returned to The Coach House in San Juan Capistrano, CA on Wednesday night to thrill a packed and enthusiastic crowd. Performing a 110-minute set of material, Todd Park Mohr (lead vocals, guitar), Brian Nevin (drums), Rob Squires (bass) and Jeremy Lawton (keyboards, slide guitar) impressed from the moment they hit the stage of the legendary venue.
Opening with their enticing blues-flavored original "Josephina" (a track off their wonderful 2014 album Black Beehive), the quartet offered up the track with the perfect blend of raw power and nuanced virtuosity.
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| Todd Park Mohr immersed in the music on Nov. 9, 2022. |
From there, BHTM performed a fantastic new original, "Thunderbird." A catchy country-tinged riff rocker bolstered by a fiery lead guitar solo courtesy of Mohr, the other three members of the outfit created a dynamic approach further amplifying the power of the cut.
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| Brian Nevin behind the kit at The Coach House. |
With the exception of a brief hiccup during "King Kong" — where Mohr's guitar cut out — BHTM energetically delivered each song as if it was their greatest hit. An emotive laid back nugget, "Ellis Island" allowed the troupe to explore the corner of the sonic universe where blues and jazz meet; the foursome turned on a dime performing the '90s-styled reggae rocker "Please Don't Tell Her" with a breezy vibe adding to the magic.
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| Jeremy Lawton at the Coach House. |
Other standouts of the set included the Texas-blues mining "Dirty Juice" with Lawton tearing it up on slide guitar and Mohr's powerhouse vocals showcased, the groove-and-blues gem "New World Arisin'," "Vincent Of Jersey" with Mohr taking the beginning alone accompanied by his guitar, and a flat-out bewitching version of the band's 1993 hit "Bittersweet," the latter a sweeping and zestful version enhanced by the work of all four band members.
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| Bassist Rob Squires on Nov. 9, 2022. |
BHTM also celebrated several of their heroes during the set; early there was a ferocious Chicago blues take on Buddy Guy's "Sit and Cry (The Blues)" — originally recorded back in 1958 — while later on they covered John Lee Hooker's timeless "Boom Boom" with equal abandon.
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| From left, Todd Park Mohr and Jeremy Lawton at the Coach House. |
The encore was definitely worth the wait. The Boulder, Colorado band delivered a mighty version of "Circle," the rousing single from the band's major label debut Sister Sweetly. Park's emotive and convincing vocals were fully in sync with the song's refined beginnings and build to a huge classic rock-styled finale.
BHTM closed out the memorable set with a fun run through the Ramones' "I Want To Be Sedated."
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| From left, Jim Dalton and Jeremy Lawton at the Coach House. |
Opening the night with a 45-minute set of Americana-meets-blues, Jim Dalton — accompanied by the aforementioned Jeremy Lawton — featured tracks from Dalton's full-length 2021 album In My Head.
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| From left, Jim Dalton and Jeremy Lawton at the Coach House. |
Dalton, the lead guitarist of Roger Clyne & the Peacemakers, brought a loose and authentic approach to his performance. The countrified "Amigos" and satiric "Serial Killer" (Dalton wrote the latter song after reading a news report about a young woman who wanted to marry serial killer Charles Manson) were among the standouts. My favorite song of the pair's set was Dalton's absolutely luxurious ballad "In My Head."
Friday, December 15, 2017
Concert review: Big Head Todd and the Monsters, Simo
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| Big Head Todd and the Monsters performing at House of Blues Anaheim on Dec. 14, 2017. |
In the World Series – no matter how great both baseball teams are – there can ultimately be only one team that goes home with the trophy.
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| Todd Park Mohr in action at House of Blues in Anaheim. |
Fortunately, when it comes to the art of making music, two talented teams can both perform flawlessly and walk off the field of play as champions. Such was the case at the House of Blues Anaheim on Thursday night (Dec. 14, 2017), where headliner Big Head Todd and the Monsters as well as opener Simo delivered masterful and memorable sets.
Making their first-ever performance in Orange County, California with this appearance, Nashville, Tennessee-based Simo roused early concertgoers with a 55-minute set of rock blending blues, roots, psychedelic, jazz, folk and other styles with an intoxicating touch. Led by singer-guitarist JD Simo and also featuring bassist Elad Shapiro and drummer Adam Abrashoff, the band opened with "Return" (the first track off the trio's new album Rise & Shine). JD Simo used a variety of sounds and effects to enhance his excellent guitar work on that song, a skill that frequently helped elevate all of the six tracks performed during the set.
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| JD Simo performing on Dec. 14. |
The range of the material drew comparisons with the diverse likes of Ryan Adams, Ten Years After and Gary Clark Jr., but all of it completely original and performed with bona fide power by the three musicians. One of the most wonderful surprises was when the group performed "I Want Love," JD Simo singing in a tender falsetto while the richly-delivered song with its quiet moments and dramatic swells was chilling in its power. A beautiful slide guitar solo was one of many dramatic moments in the 9-minute song.
Simo closed with a powerful one-two punch, first delivering the mighty original Southern rocker "Light The Candle" (this extended version of the song was bolstered by an amazing jazz-styled section in the middle of the song), followed by a potent reworking of the Beatles' "With a Little Help From My Friends."
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| Todd Park Mohr displaying vocal and guitar chops. |
Big Head Todd was equally perfect this night. The set was heavily weighted in favor of the Colorado-based quartet's outstanding new album New World Arisin', but there were plenty of classics to keep the faithful happy. After opening with the explosive "Room Full of Mirrors" (off the band's new album), a sweeping "Resignation Superman" complete with a dazzling guitar solo from singer-guitarist Todd Park Mohr was unleashed; the latter's rich tapestry was further enhanced by Jeremy Lawton's expansive keyboards.
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| Jeremy Lawton |
The strong opening featuring those two great tracks was only the beginning of a rewarding and fast-moving night. Other early-set highlights included the dynamic blues-rocker "Wipeout Turn," a decidedly funky-blues turn via "Long Coal Train" and a gentle folk rock-flavored "Bittersweet" showcasing Mohr's emotive and distinctive vocals.
Later-set standouts featured during Big Head Todd and the Monsters' 100-minute concert was the heavy Delta blues of "New World Arisin,' and the semi-acoustic "Broken Hearted Savior."
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| Rob Squires at Anaheim House of Blues |
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| Brian Nevin in action |
The set-ending "Circle" began quietly, but across the song's 7-minute path there were nuanced and dramatic shifts, peaks and valleys, with Mohr's voice at one point almost screaming before his lead guitar work assumed the song's driving force.
A very special night of rock 'n' roll to be sure.
Review: Robert Kinsler
Photos: Bob Steshetz
Editor's Note: A very special "thank you" to Bob Steshetz for his amazing photographs!
Thursday, October 05, 2017
Sights and Sounds: The Church, Big Head Todd and the Monsters, Marillion
ABC News
"There is nothing, or not much, that is obvious and instant about the church. Songs that at first pass you by flare into life once you've paid them proper respect and attention…no doubt why people care so deeply about them."
news.com.au
"Arguably one of the greatest Australian bands of all time."
Tone Deaf
The past several years have been wildly successful for the church, pulling a 20,000 strong crowd at at Primavera Sound, a performance at SXSW, four North American tours and their first European tour in almost a decade. The band is presently touring in support of their new album in the states. Woven with classics spanning almost 50 years of underground glory, the set will feature selections from Man Woman Life Death Infinity, including the shape-shifting dreamscape of the first, exhilarating cut, 'Another Century', and its imminent follow-up, new single 'Undersea': yet another new dimension of chiming strings and kaleidoscopic images.
Man Woman Life Death Infinity is where the revitalized quartet's freshly tuned chemistry reaches a new potency and precision: ten songs, 45 minutes, and a quantum leap into unexplored territory as strange as it is irresistible. Written in two separate sessions in March across Ian Haug's Airlock Studios in Brisbane and Tim Powles' Space Junk Studios in Sydney Man Woman Life Death Infinity is the first full length since the early 90s where the band have collected their song ideas before hitting the record light and just 'going with the flow'. Co-produced alongside long-term audio accomplice Ted Howard at Rancom Street Studios, Man Woman Life Death Infinity delivers a more succinct release than 2014's Further/Deeper.
Singer, lyricist and bassist Steve Kilbey explains this 26th full length offering is the church's 'water record'. "I guess water is my element. I've always marveled at the sea and rivers and rain. It wasn't conscious at all but on reflection, it definitely is a preoccupation on this record. What that means, I don't know," he says. "This is an album we’re really looking forward to exploring live," he says. "The way I write lyrics is very stream-of-consciousness. I never question them until we perform live, so I discover them in time as much as the audience."
Facebook: https://www.facebook.com/thechurchband
Twitter: https://twitter.com/thechurchband
Spotify: https://open.spotify.com/artist/2ZfogSsOWP4mVfEqfpLXCt
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| photo credit: Jason Siegel |
October 7—Breckenridge Brewery—Littleton, CO
October 11—Jackson Hole Fireman’s Ball—Jackson, WY
November 29—Avalon Theatre—Grand Junction, CO
November 30—Park City Live—Park City, UT
December 1—Pub Station—Billings, MT
December 2—The Wilma—Missoula, MT
December 5—Revolution Event Center—Garden City, ID
December 7—Revolution Hall—Portland, OR
December 8—Hifi Music Hall—Eugene, OR
December 9—Showbox—Seattle, WA
December 12— Crest Theatre—Sacramento, CA
December 14—House of Blues—Anaheim, CA
December 15—Troubadour—West Hollywood, CA
December 16—Warfield Theatre—San Francisco, CA
December 17—Crystal Bay Club/Crown Room—Crystal Bay, NV
December 21—Aggie Theatre—Ft. Collins, CO
December 31—Belly Up Tavern—Solana Beach, CA
January 12—The Pageant—St. Louis, MO
January 13—Palace Theatre—St. Paul, MN
January 14—Pabst Theater—Milwaukee, WI
January 16—Vogue Theatre—Indianapolis, IN
January 18—State Theatre—Kalamazoo, MI
January 19—Vic Theatre—Chicago, IL
January 20—Vic Theatre—Chicago, IL
January 23—House of Blues—Cleveland, OH
January 25—9:30 Club—Washington, DC
January 26—Theatre of the Living Arts—Philadelphia, PA
January 27—Capitol Theatre—Port Chester, NY
January 28—Wilbur Theatre—Boston, MA
January 31—The National—Richmond, VA
February 1—The Ritz—Raleigh, NC
February 2—The Fillmore—Charlotte, NC
February 3—Variety Playhouse—Atlanta, GA
18 million albums and are celebrated across the globe by a devoted following whom they share a most unique and intimate relationship. Hailed as Internet pioneers for their game-changing use of technology to unify and mobilize their global fan community, Marillion have been un-compromising with their music and vision. Their revolutionary presale campaigns, in-house label and their own Racket Records recording studio, Marillion have remained uniquely independent and paved the way for a new modern business. Marillion host a bi-annual “Marillion Weekend,” celebrated as the ‘Best Live Event’ by the Progressive Music Awards, wherein fans have an opportunity to not only see their favorite act perform different sets, multiple nights in a row, but also become immersed in the Marillion culture and history with various activities. Marillion released their critically acclaimed 18th studio album, F E A R (aka Fuck Everyone And Run) in 2016 and continue to tour an annual average of 100 sold-out shows and festival stops globally.





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