Archive for Guitarists

America’s Best Kept Secret: Hannah Wicklund and the Steppin Stones

Posted in Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , on March 21, 2018 by 80smetalman

As most of you already know, I’ve come to America these past two weeks for not the happiest of reasons. However, in between my mother’s memorial service, the scattering of her ashes into the ocean and my getting stuck into cleaning her house, (she was a heavy smoker), there have been other more happier events like the wine tasting day my sister and her husband took me to. I also got to hook up with my old friend and true metal fan, Frank Formica, at a karaoke night. He even sang “Battle Hyms” by Manowar for me. So, it hasn’t been all gloom for me while I’ve been here, something I’ve been really grateful for.

Having some wine

On one of these more happier occasions, while at my sister and her husband’s house, they told me about this new lady blues guitarist whom they happened to see at some fair in New Jersey not long ago. The guitarists’ name was Hannah Wicklund and my brother in law, Mark Pickeral, who is a pretty good guitarist himself, was so blown away by this lady that he bought two of her albums. I believe this self titled one is her fourth album. But before I get into what a great album “Hannah Wicklund and the Steppin Stones” is, I have to say that when they showed me concert footage of Hannah, I was just as blown away. The album is excellent, it’s going to move into my top 15 for sure, but she is even more kick ass live. I hope that one day I have the opportunity of seeing her do so.

Hannah Wicklund has been called a combination of Jimi Hendrix and Janis Joplin. I can see the comparison here because she has the power vocals of Janis and she can play guitar like Jimi. When I listen to her blues based guitar rock, I am reminded of other greats in this genre like Rory Gallagher, Robin Trower, Pat Travers, Kenny Wayne Shepherd and even  Eric Clapton. Her guitar playing can hold its own with any of these mentioned but none of them come close to her in her vocal ability. My God, can she sing! What we have here is a great singer who can shred brilliantly. For me, what’s not there to like?

The hardest thing I find to do when listening to “Hannah Wicklund & the Steppin Stones” is to pick a favourite track. Every time I think I might have chosen, another comes along and vies for the title. This is down to the fact that there are ten great songs on the album. Her vocals come through straight away on the opener, “Bomb Through the Breeze” and her sheer power is stamped on “Ghost.” Then she changes up on “Looking Glass.” My vote, possibly, for best guitar solo comes on “On the Road.” Then just when you think you got her pegged, she surprises you with a near ballad like closer, “Shadow Boxes and Porcelain Faces.” But on every song, Hannah’s vocal and guitar skills shine through.

Track Listing:

  1. Bomb Through the Breeze
  2. Ghost
  3. Looking Glass
  4. Mama Said
  5. On the Road
  6. Crushin
  7. Strawberry Moon
  8. Too Close to You
  9. Meet You Again
  10. Shadow Boxes and Porcelain Faces

Hannah Wicklund

Hannah Wicklund- lead vocals, guitar

I can’t find his name anywhere- bass

Luke Mitchell- drums

Note: Luke is also Hannah’s brother who fronts his own band, The High Divers.

One song wasn’t enough to do Hannah justice here so that’s why you are getting three. Hopefully, you will find as I do that Hannah Wicklund kicks ass and she is destined for great things.

Next post, I’ll decided that when I get back to the UK next week.

To get Rock and Roll Children, go to: https://crreadac.cf/current/ebooks-free-download-rock-and-roll-children-fb2-by-michael-d-lefevre.html

 

 

 

 

 

 

 

 

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Great Rock/Metal Albums of 1984: Billy Squier- Signs of Life

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , on January 29, 2018 by 80smetalman

With all the great metal artists, old and new, releasing stellar albums in 1984, it was only natural that the best American artist not to have cracked the UK put an album out as well. Billy Squier’s “Signs of Life” album came out in the summer of that year and would go platinum. However, I have always been reluctant to call “Signs of Life” a metal album because Billy tries to mesh his hard rock style with what was the current techno sound of the time. He uses a lot more synthesizers on the album and though they don’t make the album suck, I still like it a lot, I do prefer “Emotions in Motion” and “Don’t Say No” to this one.

Everybody identifies “Signs of Life” with Squier’s best selling single, “Rock Me Tonight,” which is on it. Before I got into that, I would like to mention the other tracks that appear here. On the opening riffs of the first track, “All Night Long,” you are led to believe that this is going to be a total Squier metal fest. It is one of the harder tracks on the album and has a pretty cool guitar solo. “Eyes on You” which follows the hit single, goes more into the vein I was talking about. The synths are there but you the hard rock roots which brought Billy Squier to the top still are present. Less keyboards appear on “Take a Look Behind Ya” and the guitars dominate. I do think it would have sounded better if the guitars were turned up a little more. Then it would have been an even cooler rocker, especially the way it ends on a guitar solo.

When I wrote about the Billy Squier concert in “Rock and Roll Children,” I had to pick my sister’s brains as she saw it and I didn’t. During the playing of “Reach For the Sky” she said he used lights that flipped up. Listening to the song, I can imagine that this combination would have been amazing to see and hear. He couldn’t have picked a better song to do this to. However, playing  live, he wouldn’t have had Brian May on stage with him to do the guitar solo on “(Another) 1984” and Mr May does work his magic here. Oh well, I guess you can’t have everything.

On “Fall for Love,” the keyboards are done very well to mix with the music. This is a more mellower song and the keyboards as well as the guitar suit it nicely. On the other hand, “Can’t Get Next to You” is one of the best rockers on the album. The keys are used to compliment the music and are done so sparingly. Again, I think they should have turned up the guitars a little more but that’s me. I think producer Jim Steinman must have had other ideas. Except for Brian’s efforts on “(Another) 1984,” this song has the best guitar solo on it and I sometimes think that this would have made a better closer than “Sweet Release.” I stress, sometimes!

Now onto the single, “Rock Me Tonight.” To be right to the point, I have always liked this song. It’s my fourth favourite Squier song behind “In the Dark,” “Everybody Wants You” and “The Stroke.” See, Billy was great at putting out singles I liked. Back in 1984, I didn’t really clock the effeminate nature behind the video to it. I was too busy rocking out to the song. However, this video is believed to have destroyed his career as a singles artist. It is said to have alienated him from hard rocking males and made him appear ‘gay.’ Unfortunately, this was more down to the narrow minded attitudes of people in 80’s Reagan America than anything else. For me, video or not, I will always like “Rock Me Tonight.”

Track Listing:

  1. All Night Long
  2. Rock Me Tonight
  3. Eyes On You
  4. Take a Look Behind Ya
  5. Reach for the Sky
  6. (Another) 1984
  7. Fall For Love
  8. Can’t Get Next to You
  9. Hand Me Downs
  10. Sweet Release

Billy Squier

Billy Squier- lead vocals, guitars, synthesizers

Jeff Goulb- guitar, slide guitar

Alan St John-keyboards, synthesizers

Doug Lubahn- bass, backing vocals

Bobby Chouinard- drums

Brian May- guitar solo on (Another) 1984

I’ll let you watch the video for “Rock Me Tonight” and make up your own mind.

When I wrote “Rock And Roll Children,” I did so with the intention of showing how narrow minded and intolerant people were back in 80s Reagan America, especially towards metal and metalheads. The fact that everyone stopped taking Billy Squier seriously on account of one video proves my point. People seem to forget that he made three great albums and “Signs of Life” just happened to be one of them.

Next post: Iron Maiden- Powerslave

To buy Rock and Roll Children, go to: https://book-fm.cf/print/free-download-rock-and-roll-children-by-michael-d-lefevre-pdf.html

 

 

 

 

 

 

 

 

Great Metal Albums of 1984: Quiet Riot- Condition Critical

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on December 10, 2017 by 80smetalman

It is the opinion of many metalheads now and in 1984 that Quiet Riot’s fourth album, “Condition Critical” was not as good as it’s predecessor, “Metal Health.” I am one of those and my opinion is the same now as it was back in said year. But, was the album as bad as some people believe? My answer has always been a resounding “NO!” True, it’s not as good as the last one but I still like “Condition Critical.”

Quiet Riot did try to follow the formula they laid down on the very successful “Metal Health” album and I’m not just talking about the Slade cover. “Mama Weer All Crazee Now” isn’t as good as “Cum On Feel the Noize” but I never decided to head to the fridge whenever it was played on MTV. Unfortunately, some people didn’t agree with me, especially readers of Hit Parader (Motley Crue magazine) because Kevin DuBrow referred to the mag as akin to toilet paper. The magazine and readers hit out in response by giving the album negative reviews. One letter to the magazine asked “If I shoot Slade, would Quiet Riot die too?” I am glad that nobody got shot.

I think that the main difference between “Metal Health” and “Condition Critical” was the fact that the singles released from the latter weren’t the chart toppers the ones from the former were. Even I have to admit that “Cum On Feel the Noize” and “Metal Health” are better than “Mama Weer All Crazee Now” and “Party All Night.” If one was to take the singles away, the rest of the songs on the album are fairly equal. “Stomp Your Hands and Clap Your Feet” is a good song to get you moving to it. It does have a catchy singalong vibe to it. “Winners Take All” is a very good power ballad. It is definitely high up on my list in that category.  Furthermore, “Scream and Shout,” (my favourite track), “Red Alert” and “Bad Boy” are all cool tunes too. When you put it all together, it does make a rather good album.

If there is one item on the album consistent with all of the songs, which hooks me every time, it is the guitar work of Carlos Cavazo. For me, it is his guitar playing that makes the songs good and therefore makes the album. He lays down some great solos on all of the songs here, it’s hard for me to pick which one he does his best on. But if you put a gun to my head, I guess I’d have to say “Red Alert.” Still, I won’t take anything away from the rest of the band.

Track Listing:

  1. Sign of the  times
  2. Mama Weer All Crazee Now
  3. Party All Night
  4. Stomp Your Hands, Clap Your Feet
  5. Winners Take All
  6. Condition Critical
  7. Scream and Shout
  8. Red Alert
  9. Bad Boys
  10. (We Were) Born to Rock

Quiet Riot

Kevin DuBrow- vocals

Carlos Cavazo- guitars

Rudy Sarzo- bass

Frankie Banali- drums

Due to the lack of success, (Is 3 million copies sold a lack of success?) of “Condition Critical,” Quiet Riot went from headlining arenas to headlining theatres. I was going to get tickets to see them at the Tower Theatre in Philadelphia but when I went to buy the tickets, I was informed that the date of the concert had been changed to a day where I was working. I was bummed I couldn’t go. That might be what sums things up for Quiet Riot in 1984 but I still enjoy this album.

Next post: RATT- Out of the Cellar

To get Rock and Roll Children, go to: http://xotepiy.gq/oqozesa.pdf

 

 

Great Metal Albums of 1984: Ted Nugent- Penetrator

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , on November 29, 2017 by 80smetalman

Guess what? For this Ted Nugent post, I’m not going to say anything about his politics. Even I know when to stop beating a dead horse. So instead, I’ll focus on his 1984 album, “Penetrator,” which was universally criticized by the metal world for his use of keyboards on the album. To my shame, even I was one of those critics. Thankfully, there’s a much older and questionably wiser me to listen to the album with a more objective mind. My thoughts: “Penetrator” still doesn’t make me want to put albums like “Cat Scratch Fever,” “Weekend Warriors” and “Scream Dream” nor any of his kick ass live albums on the scrap heap but it’s still a pretty good album.

The use of keyboards come through straight away on the opening song, “Tied Up In Love” but not until after a really cool guitar intro only which Terrible Ted can do. Before, I risk repeating myself over and over, the keyboards do make their presence known on many of the songs but they play a subordinate role on the album. Take the second song for example, “(Where Do You) Draw the Line.” This song was written by Bryan Adams and Jim Vallance so one might be forgiven for thinking this was going to be some keyboard dominated soft rock song, it’s not. Ted’s guitar magic comes through very loud and abundantly clear. While still present, the keyboards take even more of a back seat on “Knocking at Your Door.” There are some good guitar riffs to lead the song and Ted nails the guitar solo perfectly. Even more so on the track after “Don’t You Want My Love.” Here the keys are almost non existent. Almost, but there are plenty of Nugent style rocking to be heard on it.

A curious twist comes up with “Go Down Fighting.” This is a song title that you would expect to be a belt it out of the park rocker but the keyboards make their presence known on it, almost making it a Journey type song. The strange thing is that the intro reminds me of Savatage, yeah really. Fortunately, Ted works his guitar magic so you know which side of the fence the song really is. Any doubts of that are dispelled with “Thunder Thighs.” This is a great rocker where Ted just takes control and jams and I hear not one trace of keyboards. It’s just Ted being how he always had been in albums past. However, I sometimes am reluctant to declare it my favourite song on the album because of the sexist connotations behind the title. “No Man’s Land” is just as heavy, if not more than it’s predecessor. Where you think there might be a keyboard at the chorus, there isn’t. After a couple of decent but non descriptive tracks is the closer “Take Me Home.” Again, maybe it’s me but this sounds like a Southern Rock anthem. Not something I’d expect from Ted Nugent but it’s the best song for the closer.

Looking at the credits and remembering recent posts, it turns out that Bobby Chouinard’s drum skills were in great demand in 1984. He played on some of the tracks of both Gary Moore albums I recently posted about and he plays on this entire album. It leads me to conclude that his skills have been forgotten about in later years and this is a travesty because, he’s that good.

Track Listing:

  1. Tied Up In Love
  2. (Where Do You) Draw the Line
  3. Knockin’ At Your Door
  4. Don’t You Want My Love
  5. Go Down Fighting
  6. Thunder Thighs
  7. No Man’s Land
  8. Blame it On the Night
  9. Lean Mean R&R Machine
  10. Take Me Home

Ted Nugent

Ted Nugent_ guitars, lead vocals

Brian Howe- lead vocals

Alan St John- keyboards- vocals

Doug Lubahn-bass

Bobby Chouinard- drums

Two interesting notes regarding Ted Nugent, the first coming from this post. Two years on, I would see Ted Nugent live with Savatage in support. It was a great concert even if it was poorly attended. The other was after my last Ted Nugent post, I put him down on the Bloodstock wishlist. The only comment I got back was someone saying they would love for him to play Bloodstock but he has only come to the UK four times since 1988. Anyway, back to “Penetrator.” This album was far better than I remembered it back in 1984, keyboards or not.

Next post: Great White

To get Rock and Roll Children, go to: https://spread-luv.ga/info/kindle-free-e-books-rock-and-roll-children-by-michael-d-lefevre-9781609763558-pdf.html

 

 

 

 

 

 

 

 

 

 

 

 

 

Great Rock Albums of 1984: Gary Moore- We Want Moore

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , on November 22, 2017 by 80smetalman

Listening to Gary Moore’s live album, “We Want Moore,” while it is a killer album all the way, it also brings on my regret of never having seen him live. I nearly did in 2000. While passing by what was then Colston Hall in Bristol, (it’s now called the Bristol O2 Academy), I saw that Gary was down to do a show a few weeks later. However, when I phoned the venue, I was informed that tickets had already sold out. What a bummer, I know. Therefore, I have to listen to his live albums like this one and reflect on what could have been.

“We Want Moore” coming right after his latest studio album, “Victims of the Future,” it’s no surprise that four tracks from that album are on this live one. Remembering the track, “Murder in the Skies,” from said studio album, I was a little surprised at first that it would be the opener on the live album. However, it is and it works. Like any good opening song is supposed to do, be it album or concert, “Murder” grabs the listener by the throat and demands that they listen to the album and like it. It does set the tone for the rest of the album.

What is great album a live album is that many artists aren’t as constrained by the songs when they play them live. With the exception of the “End of the World” and “So Far Away,” all of the other songs are in excess of five minutes, three of those are more than eight and “Cold Hearted” is more than ten! The reason for the increase in length is so that Gary can work his magic with the guitar, which he does on every song on here. When I previously posted about the “Victims” album, I raved about his guitar efforts on “Shapes of Things.” Well, he makes the song even better on the live album! It is eight minutes plus of a good song mingled with lots of fancy playing from Gary. He does likewise with the other songs as well and why I think that the live album outshines the studio album by miles.

Historical note: four of the songs were recorded in Detroit and four in Glasgow. One was done at the Hammersmith Odeon in London and the other was recorded at the famous Budokan in Tokyo. The way it’s put together though, the album sounds like it could have been recorded all on the same night. It makes me almost feel I was there, which what a live album should do.

Track Listing:

  1. Murder in the Skies
  2. Shapes of Things
  3. Victims of the Future
  4. Cold Hearted
  5. End of the World
  6. Back on the Streets
  7. So Far Away
  8. Empty Rooms
  9. Don’t Treat Me Like a Loser
  10. Rockin’ and Rollin’

Gary Moore

Gary Moore- lead vocals, lead guitar

Neil Carter- keyboards, rhythm guitar, backing vocals

Craig Gruber- bass, backing vocals

Ian Paice- drums on tracks 4-8 & 10

Bobby Chouinard- drums on track 1-3 & 9

Jimmy Nail- backing vocals track 10

Of course I regret never having seen Gary Moore live and I wished I had passed by Colston Hall a week or two sooner, I might have been able to get a ticket. Fortunately, there is a great live album in “We Want Moore” to soften the pain.

Next post: Lita Ford- Dancing on the Edge

To buy Rock and Roll Children, go to: https://www.amazon.com/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_3?ie=UTF8&qid=1511373180&sr=8-3&keywords=michael+d+lefevre

 

 

 

 

 

 

 

 

 

Great Metal Albums of 1984: Gary Moore- Victims of the Future

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on November 19, 2017 by 80smetalman

 

UK Album Cover

North American Album Cover

Gary Moore as a solo artist didn’t enter my radar until 1986 when I went over to England. Before that and I am ashamed of my naivety at the time, I only knew Gary as the guitarist who used to be in Thin Lizzy. Fortunately, I got a full course in the music of Gary Moore when I did get there thanks to a friend who was a big fan. As a result I got to hear lots of his albums including this one, “Victims of the Future” and I can say that my education in this subject has been top notch. Thirty years on, I have to say a special thanks to Kieran Devlin for being my teacher.

My first impressions of “Victims of the Future” as with many Gary Moore albums, now as it was then, was “He can really play a guitar.” His trademark solos permeate this album and now I am tempted to go into a rant as to how underrated he has been.  That might be true in North American terms but he has always been considered one of the greats here in Britain and of course his native Ireland. Just listen to “Shapes of Things” because that is in my opinion, his best guitar work on the album.

Many of the songs here are straight forward rock anthems. My personal favourite is “Teenage Idol” because that one comes out and hits me in the face the most. “Murder in the Skies” has a very cool guitar intro where he rips up the chords before the meat of the song comes pounding through. A look at history reveals that Gary wrote the song in protest of the Soviets shooting down Korean airline 007 in 1983. The same can be said for “The Devil in Her Heart” which is only on the US release. This is a good rocking song so I don’t know why it’s omitted from the UK version. “Law of the Jungle” is another exemplary rocker and the way it fades out makes it a great closer but he does go a little mellow with “Empty Rooms.” You can call it a ballad but he lays down some good guitar work on it.

Not only does Gary shine on “Victims of the Future,” he enlists some great musicians. Ian Paice of Deep Purple fame plays drums on half the tracks and Bob Daisley who played with Ozzy provides the bass work on two. Noddy Holder of Slade steps in to provide backing vocals on one song. The others who support may not be as recognized but they still do a magnificent job. Therefore, the album has all one needs to be great, good vocals, a steady rhythm section and of course, Gary’s guitar solos.

Track Listing (UK)

  1. Victims of the Future
  2. Teenage Idol
  3. Shapes of Things
  4. Empty Rooms
  5. Murder in the Skies
  6. Hold Onto Love
  7. All I Want
  8. Law of the Jungle

Track Listing (US)

  1. Victims of the Future
  2. Teenage Idol
  3. Devil in Her Heart
  4. Empty Rooms
  5. All I Want (cassette only)
  6.  Shapes of Things
  7. Murder in the Skies
  8. Hold Onto Love
  9. Law of the Jungle

Gary Moore

Gary Moore- guitars, vocals

Neil Murray- bass on tracks 1,3,7 & 8

Mo Foster- bass on tracks 4 & 6

Bob Daisley- bas on tracks 2 & 5

Ian Paice- drums on tracks 1,3,4 & 8

Bobby ‘Prime Time’ Chouinard- drums on tracks 2,5,6 & 7

Neil Carter- keyboards

Noddy Holder- backing vocals on “Shapes of Things”

So thirty-one years on, I have to say “thank you Kieran” for introducing me to Gary Moore and playing his albums for me, “Victims of the Future” included among them.

Other news: A band I have been promoting on 80smetalman, Black Emerald, has invited me to their album launch party in Reading, UK on February 10. Needless to say, I am excited and you will get a full report of the night’s festivities.

Next Post: Since I’m in a Gary Moore mood, it will be his 1984 live album, “We Want Moore.”

To buy Rock And Roll Children, go to: https://www.amazon.com/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_3?ie=UTF8&qid=1511084083&sr=8-3&keywords=michael+d+lefevre

 

 

 

 

 

 

 

 

 

 

Great RockMetal Albums of 1984: Bon Jovi

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , on October 23, 2017 by 80smetalman

Before I launch into the debut album by a band considered to be a symbol for 1980s hard rock and heavy metal, I thought I first begin by naming four more films of 1984 I missed. Two of them I can’t believe I did and two of them starred comedian Eddie Murphy.

Beverly Hills Cop was considered to be on a par with Ghostbusters at the time.

Conan the Destroyer with Arnie Schwartzeneger was a big let down in comparison with the first film

Another children’s favourite, Gremlins. Thanks to keepsmealive for bringing it to light for me.

 

Hot Dog- about freestyle skiing had its funny moments.

There was a fifth film called Best Defense with Eddie Murphy and Dudley Moore which was okay but just okay.

Now onto the self-titled debut from Bon Jovi. While I have always liked this album, at the time, I thought it was nothing spectacular. Yes, the single that got them on MTV, “Runaway,” was very good, probably still one of my favourite Bon Jovi jams, even if one friend of mine considered it to sound too much like Rick Springfield. Furthermore, I felt exactly the same way when I saw them open for The Scorpions in this year. I thought they weren’t bad but not anything phenomenal.

Like all Bon Jovi albums, when I listen to it, I ask myself the question why Bon Jovi are considered heavy metal. True, there are some hard rocking songs on the album and there was the potential for more had not the keyboards been too heavy on them. The tracks I’m talking about are “Burning For Love” and the second single, “She Don’t Know Me.” The latter officially became the first song I liked on account of the video for it. Had I heard it on the radio or the album, I wouldn’t have liked it so much. The former does have a great guitar solo on it though.

On the other hand, there are some decent rockers on the album in addition to “Runaway.” “Love Lies” is definitely one of those. Whenever I listen to it, I remember why I have always held the guitar abilities of one Richie Sambora in such high regards. He does shine here. “Breakout” can’t make up its mind as to whether it wants to be a rocker or not. I do like the standard keyboard intro followed by the thunder of the guitar. However, the keyboards come back in and take over a little too much in some places. The song sounds like a power struggle between the hard rock and commercial sounds. The decider is again, another good guitar solo from Richie. I have always said that a good closing song can do wonders for an album and “Get Ready” does that job well on the album. It is a strong rocker which ends things quite well. Plus, it gets some good support from the penultimate track.

Track Listing:

  1. Runaway
  2. Roulette
  3. She Don’t Know Me
  4. “Shot Through the Heart
  5. Love Lies
  6. Breakout
  7. Burning For Love
  8. Come Back
  9. Get Ready

Bon Jovi

Jon Bon Jovi- lead vocals, rhythm guitar

Richie Sambora- lead guitar, backing vocals

Dave Bryan- keyboards, backing vocals

Alec John Such- bass, backing vocals

Tico Torres- drums, percussion

Now here’s the big question I am going to explore on all my Bon Jovi posts in the future. Someone once commented that Bon Jovi represented everything that was wrong with heavy metal in the 1980s. What? I never thought there was anything wrong with metal back then. It’s something I’m going to investigate though. Thinking back to 1984 and this debut album, I certainly wasn’t thinking that. Then, I would never have thought that the band would go onto achieve so much.

Next post: Accept- Balls to the Wall

To buy Rock and Roll Children, go to: https://www.amazon.com/Rock-Roll-Children-Michael-Lefevre/dp/1609763556/ref=sr_1_3?ie=UTF8&qid=1508760900&sr=8-3&keywords=michael+d+lefevre