Dumpstaphunk “Where Do We Go From Here” (2021)

     One obvious outcome from this experience is my demonstrated love for music, especially funk music, from New Orleans.  There are many artists who have advanced this genre, and the core of my enthusiasm centers around the Meters and the Neville Brothers, and their common link, Art “Poppa Funk” Neville.  Even though Poppa Funk has moved on to that organ in the sky, thankfully there is a new generation carrying on and expanding the sound he and his brothers and friends created.  Led by his nephew Ivan Neville (son of Aaron), the band Dumpstaphunk is another band I will go out of my way and even travel to see live.  The band also includes Art’s son Ian on guitar, along with Tony Hall and Nick Daniels, both of whom played bass for the Neville Brothers at some point.  One, the Neville bloodline is obviously strong here, and two, any band with two bass players is clearly on a path to dropping some serious funk.

     They have been around in some form for almost twenty years, and one of their best songs ever is the track “Meanwhile”, which came out as a response to the country’s slow and inadequate response to Hurricane Katrina.  In 2021, they also released an album that was a response to not only the COVID pandemic, but the explosive social justice movement following the death of George Floyd.  Featuring some great artists on guest appearance, this record is now the foundation of their live show, which is eminently funky and enjoyable.

     The record opens with “United Nations Stomp”, featuring Marcus King on guitar, who has another song recommended by a friend that I truly love, “Homesick”.  “United Nations Stomp” takes their funky recipe and adds in some jamming blues rock to the mix.  Not every song is an all-time favorite, but the good ones are really good.  “Backwash” is an instrumental that takes you back to the earliest days of the Meters, when their entire first album was instrumental funk.  All it takes is the first 45 seconds for you to appreciate how sick the groove is with this band.

     “Let’s Get At It” is one of the songs to feature Ivan Neville on lead vocals.  Those duties rotate between him, Daniels and Hall, but Ivan’s signature smoky voice is the perfect sound for their style.  The title track, which I fell in love with before the album was released, is another highlight.  If I were to nitpick, I wish it was closer to 5 minutes than 8 minutes, as it is the type of song I would love to share with friends as an introduction, but I know not all listeners may be up for the extended jam at the end.

     I really do love most of this album, and another highlight is “Justice 2020”, which features Chali 2na and Trombone Shorty, with whom they are touring with this summer.  It was picked up as an anthem for the movement of social progress that has gained momentum and resistance along the way.  Not only do they make great funk, they deliver it with meaning and substance.

     I have seen this act in many different venues, and I look back at their show last year at the Levitt Pavilion in Denver as one of the best shows I have ever seen.  As their mantra states, you should definitely look to “put it in tha Dumpsta” soon.  These guys can flat-out play.  Check out “Meanwhile” or one of the peaks of this album, or better yet, come with me to see them live, and you will get it… I promise.

Adele “30” (2021)

     As I committed when I began this journey, one of the albums that would be added to the list was the #1 selling album of 2021, which proved to be “30” by Adele.  I can’t say I was jumping for joy at the prospect of another album from Adele, and while again, she is a very talented vocalist and songwriter, it just isn’t my cup of tea.

     In Orlando, there is a radio station that is 107.7, the beacon of Adult Contemporary music for as long as I have lived in Florida.  I can’t even imagine how much airplay the Adele catalog gets there, and this album is no exception.  I hate saying this, but it is like I’m listening to some hybrid of Kenny G, Michael Bolton, and post-modern Bonnie Raitt.  There isn’t a single song on the album that I have any desire to go back and listen to again, although I will give her credit for trying to add a little tempo and variety to the format.

     At it’s best, there are songs like the biggest hit from the album, “Easy On Me”, which is probably as close as I will come to liking one of these tracks.  On the more challenging side, we have a typically depressing Adele song like “My Little Love”, complete with this emotional and overcooked monologue at the end of the song.  I’m sure this makes me sound crass and insensitive, but it just is not that easy or enjoyable to listen to. 

     At the very bottom of the barrel, we have “To Be Loved”, which is truly as abrasive and annoying as just about any Michael Bolton song.  I’m sorry for all of the Adele fans out there, but this song is brutal.

     One more time… she’s an amazing singer.  She’s a gifted songwriter and an incredibly successful artist.  I just don’t find that her music grabs my attention in any way, which is fine for both her and me, as most of the civilized world out there clearly disagrees with me… and I’m OK with that.

Oh He Dead “Oh He Dead” (2019) & “Bottle It Up” (2021)

     There are many different ways to appreciate live music.  Most of the time, we seek out an artist we know and appreciate, and we painstakingly plan (and pay) for their concert.  With time, age, and experience, I have learned there are other factors that can make a night of music magical besides a familiar artist.  For me, those common links usually include the venue and the company I’m with for the night.  Both of those came into play last summer, as my friend Mike and I ventured to one of my favorite music venues, the 9:30 Club in Washington D.C. to see a band play we had never heard of before, Oh He Dead.  We didn’t know the style or genre, we just wanted to hit that club and catch some live music, so we bought our tickets and headed downtown.  We streamed a sampling of their songs on the way to the show and were pleasantly surprised by the warmth and vibe of their sound.  As it turned out, it was a phenomenal show and another great memory between friends.  They featured their newly released single “Bottle It Up”, and the rest of the material was mostly from their 2019 self-titled album.

     Another of my friends named Mike once told me, he thought the perfect mix of cover songs in a live show is 1/3rd.  That seems a little high for me, especially when the artist has a deep catalog of original tunes, but even the biggest stars in the world can remake a song in their image and style to create a new experience.  For us, we heard two phenomenal covers that night, both near the end of the set.  The first one caught us way off-guard, and it moved Mike to tears.  As long-time metal fans, the last thing we ever expected to hear that night was Black Sabbath, but Oh He Dead dropped a beautiful and powerful version of “Changes” that absolutely changed the tenor of the night.

      The other cover song was a more natural fit.  If I had to describe the sound of vocalist CJ Johnson, Amy Winehouse would be near the top of the list of influences, and it appears that “Valerie” is the signature set closer for Oh He Dead.  Covering an artist of Winehouse’s stature is a risky move, and it paid off big-time for Johnson and Oh He Dead.  She appears to be a beautiful person on and off stage, and her charisma and energy carried the show from the first light.

     Of their originals, my favorites included “Bottle It Up”, “Do You Ever Wonder”, and “Show Me Love”.  If I had to pick one song from all their music that best represents the mood of that night, I would select “Lonely Sometimes”.  The interchange of Andy Valenti and Alex Salser on guitar, along with John Daise and Adam Ashforth on bass and drums, delivers a remarkably funky groove for CJ to sing across, and you can truly feel how well this music takes on a new life in your favorite club, when the rhythm permeate through you from front to back.

      The moral of the story is hopefully clear here… if you love music like I do, be bold and go out and seek new sounds.  Find your perfect companion, head to your favorite venue, and open your ears and open your mind.  Chances are that a great evening full of memories and new discoveries are just waiting to be found.

AC/DC “Power Up” (2020)

     The last few years leading up to 2020 had been a rough ride for AC/DC.  Band founder and leader Malcolm Young was diagnosed with early-stage dementia in 2014, and ultimately passed away in 2017, leaving his brother Angus alone and in charge to lead the band.  Compounding that tragedy was the not-surprising hearing loss from singer Brian Johnson that left him unable to perform with the band.  I have “only” seen AC/DC live four times, and each experience left my ears crying for mercy, so I can only imagine what scars those eardrums must have.  As a short-term solution, Angus asked Axl Rose to take over the lead vocals, and while it seemed crazy to me, it worked much better than I expected.  All of that said, it wasn’t Brian Johnson and it wasn’t really AC/DC.  Drummer Phil Rudd and bassist Cliff Williams had also left the band after their 2014 tour, so it was really just an AC/DC tribute band with Angus on lead guitar.

     Through the modern miracles of science and medical treatment, Johnson was able to return to the band, and they returned to the studio to record “Power Up”, their 17th studio album.  Steve Young, who was Malcom Young’s nephew, replaced his uncle on rhythm guitar, and the other four joined him to record a dozen new songs.  I had no idea what to expect, although I remained hopeful.  Beyond his hearing troubles, the vocal duress Johnson must endure each time he performs with the band, either in studio or on stage, is unreal.  At times, on songs like “Thunderstruck”, it seems like those bionic vocal chords were finally wearing down over the years, so I didn’t know if he really had anything left to give.

     I remember being stunned and amazed the first time I heard the lead single on the record, “Shot In The Dark”.  It was as if time stood still, and I was back in the mid-1980s.  Not only did the song have a wonderfully filthy lead riff, Johnson sounded EXACTLY like he did almost 40 years before.  I honestly don’t know how they did it, but they delivered a song that stands tall with any of their best songs.  If only for “Shot In The Dark”, this record was a phenomenal triumph.

     The rest of the album is a lot like every album they released after “For Those About to Rock”.  There are some highlights which I will note, and the rest are standard fare, if not spectacular.  My other favorites include “Witch’s Spell”, “Demon Fire”, and “Wild Reputation”. 

     None of us get to live forever, and the band will never again have Malcolm Young on the side corner of the stage, pounding power chords and blasting backing vocals, but Angus and Brian Johnson continue to “Power Up” and power on, and as one who attended his very first rock concert ever seeing AC/DC in 1982, it was heartwarming and absolutely awesome to see and hear this triumphant return.

Taylor Swift “Folklore” (2020)

     Today we have another Taylor Swift album, but in the spirit of artist diversity, “Folklore” released in the depth of the pandemic in 2020, is a respected and appreciated change of pace for this creative songwriter and performer.  Like many performers, and certainly the rest of us, her plans for 2020 were turned upside down with the pandemic.  She had planned a big tour that year, but quarantined herself as we all did, waiting for the world to make sense of this new and unexpected twist of fate.  As a tradeoff, she recorded and released “Folklore” as a reaction to our collective isolation and loneliness, and it proved to be the #1 selling album of 2020.

     Much more contemplative, reserved and subdued than some of her mega-hit albums like “1989”, the songs speak again to the sadness of broken relationships and loneliness, with a much softer tone.  This sound seems to suit her well, and I found this record to be very pleasant and appealing to listen to, even if I didn’t personally recognize any of the songs.  I realized that part of the reason these songs may have seemed to new to me was an alteration in my own routine.  Without long commutes in the car, my limited exposure to new music on the radio was pretty much completely vanquished unless I or one of my friends discovered something intentionally.

     For whatever reason, one song stood out to me above the rest.  The opening song on the album, “the 1”, really caught my ear from the first listen.  It builds off a simple two-chord melody on the piano and speaks to the melancholy sentiment of a lost relationship and the sad but accepting sentiments of that outcome.  It just is a really pretty song and will definitely be my primary takeaway from this album.

     The rest of the album is another collection of appealing songs, if from a softer vein, and if I had to pick a few more favorites, I would go with “cardigan”, “exile”, featuring another appearance from Bon Iver, and “this is me trying”.

     As I approach the end of this experience, my respect and appreciation for Taylor Swift has never been higher.  Whether it is an incredibly bubbly song like “You Need to Calm Down”, which she released in 2019 and is my favorite all-time song of hers, or the subtle approach of “Folklore”, her versatility as an artist is impressive, and I look forward to watching the rest of her career unfold.

The Zumbyes “To My Left” (2019) & “Tender Time” (2020)

     Today is certainly a unique blog for me to write, but one I have greatly anticipated since this journey began.  As much as I love all the music I have listened to on this list, that connection obviously runs deeper when your own son shows up on the list.  Watching and listening to him has always been one of my greatest pleasures and proudest moments in life.  It became evident very early in life that he loved to sing and was seemingly always on pitch whenever he did.  Thankfully, we were able to pair him up with a fantastic vocal instructor named Natalie, and from then on, he was singing in some type of structured environment.  It started with recitals, and for years after, that was his primary venue, along with the occasional talent show.

     As he entered high school, he combined his participation in theater with music by auditioning for his first musical, “42nd Street”.  Warmly embraced by the other performers, and his coaching staff, Gary, Steve and Kim, the show was a big success and that led to him joining his first performance, the Orlando Rep Power Chords.  Over the next four years, community events around central Florida became commonplace for this group, and this, along with his other musical theater endeavors, offered me countless opportunities to continue hearing and seeing him perform.  In all those years, I only missed one performance, and I was at least able to see the dress rehearsal the night before.  Through his time performing in high school theater, he was able to make many great friends, including two awesome people, Ivan and Phil, who remain close friends of Zach and our family to this day.

     As he went off to college, I wondered if he would stay active in performing, and thankfully for both of us, he overcame a high fever one night and chose to audition for the Zumbyes, the oldest a capella group at Amherst College.  Originally formed in 1950s, their alumni include David Eisenhower, grandson of Dwight Eisenhower, actors John Michael Higgins and Ken Howard, and hundreds of other students over the past 72 years.  Up until recently, the Zumbyes were an all-male group, and I’m very proud that during Zach’s time with the group, they opened the aperture wider to accept their first female, Emma, into the group.  Amherst College has proven to be a highly inclusive and thoughtful community, and this was an excellent step forward for this great tradition.

     Most of the members of the group are not lifetime performers, and many of them are and were members of other activities including the college’s sports teams and other clubs.  However, the quality of their performances is always highly entertaining, and from time to time they enter the recording studio to capture some of their best work and arrangements.  The two albums I have featured today, “To My Left”, released in 2019, and “Tender Time”, released in 2020, are the two albums available on most streaming services and the two where Zach can be heard.

     Like all albums, each one has my favorites, and these are no exception.  On “To My Left”, my two favorite songs are sung by one of Zach’s closest friends, Markus.  Markus was one of the baritones of the group, and his deep crooner voice is fantastic on “L-O-V-E” and his signature song, “Stardust”.  From this album, I also love their arrangement of “More Than Words”, the rock ballad by Extreme.  I also enjoy hearing the super-deep bass voice of his other closest friend, Jacob on this album.  Markus and Jacob are always there for Zach (and me) whenever anything is needed, and they are two of the best friends any person could ever hope to have.

     As much as I enjoyed “To My Left”, I will of course always be partial to “Tender Time”, when I was able to realize a dream of hearing my son sing in a lead role, singing on multiple music streaming platforms.  Since his freshman year, Zach took the lead on their rendition of “Sara Smile”, a Hall and Oates classic, and by his estimate, he probably performed this song over 100 times during his time at Amherst.  The studio version on “Tender Time” is amazing and sharing it with others has given me great joy and pride.  His other primary solo during his tenure at Amherst was “How Deep Is Your Love” by the Bee Gees, and I love that I can find these, and many other performances archived on youtube.com and elsewhere on the internet.

     Of course, the Zumbyes are more than just one person, and the rest of this album has some more great tunes as well.  “It’s Alright”, “Nothing Can Change This Love”, and their version of “Freedom! ‘90” are my other favorites from this release.  On “Freedom! 90”, just like the other songs, I love hearing Zach do some additional riffing, and it also is fantastic to hear Emma and the other female voices in the mix.

     I don’t know what the future holds for Zach with regards to singing, but I hope he and all his friends continue to find an outlet for their creative talents, wherever life takes them.  Collectively, they have given me some of my favorite memories as a music fan and a father, and nothing can ever take any of that away.  I love you, my son.

Post Malone “Hollywood’s Bleeding” (2019)

     One of the best examples of “You can’t judge a book by its cover”, or least, I can’t judge a book by its cover, is Post Malone.  His appearance, complete with lots of face ink (and everywhere else), led me to believe his sound was pretty hard-edged, and perhaps some of it is, but on the album “Hollywood’s Bleeding”, which was the #1 selling album of 2019, I can’t reiterate enough what a wonderfully chill and enjoyable record this ultimately proved to be.  I had some foreshadowing of this, as I had latched on to the mega-hit “Circles” not long after its release, and have loved that song for some time now.  However, I still thought it might be an exception to the rule, and while there is some straight-up hip-hop, particularly from some of his collaborators, but in total, this is just a really laid back and well done record that is very easy on the ears.

     I will say that in general, I prefer the straight pop and R&B blend on this record.  Not that I don’t love hip-hop, but most of the collaborations feel a bit oddly placed and disruptive to the tone and sound of the songs.  There is one collaboration that surely caught me by surprise, and one that oddly worked as well.  Just about the last person I expected to hear on this record was Ozzy Osbourne, but there he was, appearing on yet another current and radio-friendly hit, “Take What You Want”.  He has a performance shelf-life that easily extends beyond his peer group.  As far as collaborations go, I did also enjoy “Staring at the Sun”, featuring SZA.  This was not released as a single, but it is definitely one of my favorites out of many on this album.

     Aside from “Circles”, which is still number one for me, my next favorite song is “Myself”, which also was not released as a single.  It is a great melody and very infectious from the first listen, just as I like it.  Other favorites, most of which were not singles, include “Saint Tropez”, “A Thousand Bad Times”, and “I’m Gonna Be”.  Another great song “Sunflower – Spider-Man: Into the Spider-Verse”, which came from the soundtrack of the film, features Swae Lee, who also has a great voice.  One last song I loved that I would highlight is “I Know”.

     I knew I loved “Circles”, but I completely underestimated how much I enjoyed the rest of this album.  I look forward to adding many of these tunes to my master playlist, and exploring more of his catalog, whether it be past, present or future.

100 gecs “1000 gecs” (2019)

     Charles Mingus, Taj Mahal, Vashti Bunyan, Gil Scott-Heron, Kate Bush, Uncle Tupelo, Cornelius, The Avalanches, and The Shins.  When I asked my son to pick 10 albums of his choice to add into my mix of albums, I knew I would get a diverse mix of genres and sounds, many of which I had never heard before.  He didn’t disappoint, and perhaps no album opens the aperture wider than today’s record, “1000 gecs” by the act 100 gecs, which is a duo composed of Laura Les and Dylan Brady.

     I’m not exactly sure what to say about this album.  It is short, very short, with only 23 minutes of content.  It is highly processed electronic vocals and music, but in an oddly appealing way.  Often, I find songs like these to be brutally redundant and painfully annoying, but something about these songs keep them from excessive sound loops and are basically just good pop and rock songs that have been pulled through an extensive electronic distortion.  While reading up on 100 gecs, I saw many terms that were used to describe or reference this music.  They include “hyper pop”, “bubblegum bass”, “post-dubstep”, “trance”, “happy hardcore”, and my favorite, “chiptune”.  I desperately wanted to believe that that “chiptune” was a reference to Alvin and the Chipmunks, but apparently it is a play on electronic micro-chips that are a fundamental component for this form of music.

     As far as which songs to highlight, I will note they had one single, “money machine”.  It may not be quite “happy hardcore”, as there is a little bit of pent-up anger in this song, along with another one of my favorites, “stupid horse”.  I think if I had to pick one single favorite, I would select “…ringtone”.  It actually is a happy little tune, at least as near as I can tell, and although I couldn’t listen to any of this music indefinitely, “…ringtone” will certainly work its way onto my master playlist.

     To my son… well done.  You definitely expanded my range and gave me a lot to think about and listen to over this experiment, and you never fail to impress me with your depth and range of musical knowledge.

Billie Eilish “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” (2019)

     Today is my day to write about one of the youngest performers on this list, Billie Eilish and her debut album, “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?”.  This remarkable talent reached #397 on Rolling Stone’s Top 500 Greatest Albums of All Time with this debut, which was recorded in a bedroom with her brother as her only real accompanying performer. Already, I was somewhat melancholy realizing the end of this project is near, and that this is the last release to be included from that Rolling Stone list.  After several listens, I had several things I wanted to say about Billie and this record, and I will get to those in time, but a real-time discovery has shifted my train of thought so we will go there first.

     Yesterday marked an unbelievable occurrence in the world of music, particularly with regards to influential female vocalists, when Joni Mitchell, accompanied by many artists, joined a full-set performance of her music at the Newport Folk Festival.  In some cases, she watched or sang along with the lead performer, but as the show progressed, her engagement increased, and by the end she was taking the lead on several songs, and even stood up to play some guitar. 

     The world of music in every genre has not always been an equal-opportunity landscape for female performers, and one of the true pioneers in establishing women as not only capable, but brilliant singer-songwriters was Joni Mitchell.  As you may recall, her album “Blue” was previously featured in this blog and is the #3 rated album on Rolling Stone’s Top 500 Greatest Albums of All Time.  Watching this renaissance performance was as moving and emotional for me as when Aretha Franklin commanded the stage at the Kennedy Center to honor Carole King.  They are and were generational talents, and I was both elated and saddened to see Joni perform.  As powerful as this moment was, it reminded me yet again that in the next few years, we will say goodbye to the rest of an entire generation of performers from the 1960s who changed music like no others in modern history.  As you watch all the other legends onstage with Joni, there isn’t a dry eye on stage as she sang “Both Sides Now”, one of her most profound and relevant songs, particularly at this stage in her life.  If you haven’t watched it, I highly encourage you to do so.

     As I tie this back to Billie Eilish, I realize that our children and their children will each have their own generational talents they look to for inspiration, hope, and impact.  It is very early in her career, so only time will tell, but from her highly successful start, it appears Billie Eilish has the potential to be one of those artists.  Stylistically, even her tone and delivery bear some comparison to Joni Mitchell.  There are roots of folk music in both of their sound, although a better label for Eilish might be indie rock with a really thick bass.  There were some songs that were difficult for me to properly hear, as she sings very softly, but if you turn them up loud, the bottom really drops on that house bass line.  It is a compelling mix indeed, but I probably need an isolated space to play it at a volume that it deserves.

     The songs she wrote and performed with her brother are dark, compelling, intellectual, and seemingly wise beyond her years.  My favorite is “wish you were gay”, which confronts that disheartening moment in a relationship when your partner just isn’t into you, so you are left clutching for reasons why and wishing there was a way out that shifted your view of the blame somewhere else.  My second favorite track is “all the good girls go to hell”, as it branches out a bit from the whispering delivery buried in a heavy bass mix.

     I really do enjoy her songwriting, and I think the world has a lot more to see and hear from Ms. Eilish.  Someday, long after I’m gone, someone will hopefully get to witness one of her last live performances at a ripe old age and reflect with warmth and a little sadness back on a shared life of experiences and beautiful music.

The Struts “Young & Dangerous” (2018)

     By now, we have established that the British glam rock act the Struts is my favorite contemporary act.  No other band blends new with old quite like they do, and certainly not with the flair and drama Luke Spiller and the band brings to the stage every night.  Best experienced in a live setting, their music translates well to the studio as well.  Their second album, “Young & Dangerous” isn’t quite as consistently great as “Everything Wants”, but there are many tracks on this album I rate equally high.  As it turns out, I will take several of these on in several groupings.

     Starting things off, the first two songs are “Body Talks” and “Primadonna Like Me”.  In recent concerts, they have been opening their shows with these two songs in reverse order, and if it was my choice, I would have done the same on the album.  “Body Talks” is definitely a fun song, including the alternate mix featuring Kesha, but “Primadonna Like Me” is the perfect song to start any show or album.  High octane and brimming with the ridiculousness of Luke at his flamboyant best, this song ranks with “Kiss This” as the rocker I share with any new fan I’m trying to introduce the band on the rowdier end of things.  Like always, Adam Slack and Jed Elliott drive the pace in tandem, and their ability to rock on guitar and bass while filling in high quality backing vocals is fantastic.

    “Bulletproof Baby”, “People”, and “Freak Like You” are three songs that speak to another element I love about the band.  No matter your age, race, gender, preference, shape, size, or style, everyone is welcomed and usually spotted at a Struts show.  I love the diversity of their crowd, and these songs all speak to acceptance and not giving a damn what anyone else thinks as long as you are making yourself happy.  “Freak Like You”, in particular, is a really great track, and “Bulletproof Baby” has my favorite Gethin Davies drum fill.

     Luke Spiller, the lead vocalist, is truly the center of attention of the band, and it is both beautiful and highly entertaining to watch him do this thing and hold court for the audience.  “In Love With a Camera”, “Tatler Magazine”, and “I Do It So Well” all play into the vanity and adoration of celebrity.  In my opinion, some vanity and confidence is healthy when blended and balanced with humility and self-awareness, and I think Luke and the Struts “do it so well”.

     “Fire – Part 1” and “Ashes – Part 2” are not my favorite songs musically, as they drift a bit further towards pop and away from guitar rock, but they are both very well written, and go well together as a two-piece vignette.  “Fire – Part 1” celebrates a relationship at its highest point, and “Ashes – Part 2” brings you back down to the canyon of sadness.  Emotions and music go hand-in-hand, and that ride is represented here in a meaningful and powerful way.

     “Somebody New” stands alone from the rest of the album.  It happens to be one of the best songs they have ever written, featuring Luke on piano, and like many other songs, this power ballad captures a feeling and an emotion.  In this case, the song speaks to the devastation of a failed relationship and the self-acknowledgment you just might not be ready to commit your heart again, even if some other willing party is there and eager to try.

     As you have figured out by now, I love everything about this band, and “Young & Dangerous” is no exception.  At the beginning of the pandemic, they recorded a third album, “Strange Days”, in ten days of isolated lockdown.  It is a different record, rawer in its production, and contains collaborations with Robbie Williams, Joe Elliott & Phil Collen, Tom Morello, and Albert Hammond Jr. They even recorded a single with Paris Jackson as well, and their reputation as top-notch performers continues to grow. They continue to tour and deliver their formula of fun to venues around the world, and if you get the chance, I hope you take my word for it and check them out.  I don’t think you will be disappointed at all.