The Orobians "Come and Party With…(Anniversary Album)"

Redstar Records 2008

This 20 track compilation compiles 10 years of history for a band that dedicated themselves in capturing the sound of the 60's Jamaica. The Orobians come from Northern Italy but they capture the spirit and sound of a different place. Mixing in various styles with Jamaican ska such as jazz, rocksteady, mambo, etc. The Orobians have quite a story to tell and one that is documented quite well in the liner notes. Think of the album as a soundtrack of the band while you read about the various recordings and incarnations of the group. As most ska bands have a sorted history of people coming and going this group is no different. However many bands do not last for 10 years so there is much to celebrate about this anniversary.

I had a hard time writing this review because the amount of music is so vast on here. The CD booklet does a great job in telling their story from the band's own mouth. The music and the story revealed in the liner notes go hand in hand. The music and words both stand on their own but together is where they work well with one another. In todays music world many independent labels do not have the luxury to even include liner notes often you are lucky to get who played on the album and where it was recorded. One has to applaud The Orobians and Redstar records for putting this package together and making it bilingual as well .

It is difficult to review an album with 20 tracks. One has to say the band's ability to cover Jamaican music is impeccable and their covers of Skatalites sound authentic. "Christine Keeler" is one of my favorite Skatalites songs of all time. Also their cover of "Old Rocking Chair" by Jackie Opel is quite amazing. "Money Can't Buy Life" is another great tune. The album is split with instrumentals and vocal numbers. The ska/reggae feel almost gets lost on the opening tune which is a Strauss composition but Dizzy Gillespie's Bebop is given a proper treatment on "Bop Train." The singing on the album varies from male to female as does from English to Italian. The most powerful singer on the album for me is Decaro who the liner notes reference as just some ordinary guy that decides in his mid-30's he wants to sing in a ska band. And he does and fronts a band that had before just been instrumental, which I am sure was quite a transition.

Also one has to mention of "Love theme from 'Godfather" is really powerful it starts out with just a trumpet and then morphs into a masterpiece. The groups arrangements are often very jazzy and vocals even if present often take a back seat to the horns. The band is very horn driven but there is very highly crafted guitar work and keyboard throughout this collection. The rhythm is very authentic and the drummer and bass set the rhythm on all the songs. The drummer's constant one drop with the stand up bass gives it a Skatalites-esque appeal.

This is a very highly crafted collection of songs from a very skillful group. I did get lost a little in how massive the album is and how many different periods it covers. The album is arranged in a way the songs all mix together rather then being in a chronological order. I would have preferred a chronological order to hear how the band came to be in its various parts. But I would recommend this album for fans of traditional ska and also fans of New York Ska Jazz Ensemble this would be right up your alley.


For more info about buying this album go here...
www.theorobians.it
www.redstar73.com

K-Mob "Show De Hipnosis"

K-Mob is a German band that plays smooth soulful reggae/ska. The music is infectious and the album keeps your foot stomping from start to end. Grover Records almost never puts out a bad album and this keeps with the tradition of amazing releases from this great label. "Cheap Tricks" opens up the album with an organ driven reggae tune that has the whole Slackers styled melody in it. European ska and reggae takes and borrows the best parts of the US ska/reggae scene but also uses other influences. "Sweet Love Sensation" is a grooving rocksteady number with the sweet vocals of Naima. Her vocals impart a real tenderness the same way the great Jamaican female singers like Phylis Dillon and Marcia Griffiths sang with. In an interview with Gabe she described the meaning behind the song as how you should enjoy the person your with in that time and place. And its ok if maybe you break up later, but at least you had someone to love.

The songwriting of the group is at times very personal and poignant. "Vally of Rain" is a personal reflection of a moment passed in time. Sometimes playing ska/reggae/soul songwriting becomes secondary to the music. Often times bands do not write like they are telling a story. K-Mob's songs are very well crafted and each song reflects a specific time/place/story. "Disco" opens up rather differently from the other songs it has the disco beat but then drives into a pulsating reggae groove. The way the song evolves is interesting. K-Mob finds some great grooves for example "Work Song" opens up with funky organ that just drives the song in and out. It just makes you want to get down and stomp your feet. Examining the power of ska/reggae the great bands are the ones that make you move and K-Mob knows the right recipe to make this happen.

K-Mob opens up "Better Than Them" with a little jazzy organ intro and then cuts right into another groove. The male vocals of Moritz spout the lyrics in a comforting conversational tone. Sometimes it doesn't even seem like he is even singing because the words just spill out of his mouth. "Jah Love Turn Neck" is a quick upbeat quirky short instrumental driven by their amazingly tight rhythm section. "Horrorkabinett" opens up with an intro that could be from B horror movie. One of my favorite songs on the album is "On the Green" driven by Moritz's vocals with some great hand percussion. The song itself is about the simple pleasures taken in not being tied down. "While Hanging Out" is a soulful tune that opens up with a Motown-ish beat. Most interesting to note the album ends on "Das Herz Von St. Pauli." The song begins as a traditional German song then morphs into a reggae tune. K-Mob's "Show De. Hipnosis" delivers on all fronts a fun album that can be listened and enjoyed by all fans of ska/reggae music.

In the States you can get this album from Chuck Wren at Jump Up Records.
http://www.jumpuprecords.com

In Europe buy it from Grover Records.
http://www.grover.de

Georgetown Orbits - S/T

Ready To Launch Records 2007

Seattle, Washington is the birth place of some of the most prolific music today.
On this very breeding ground was born The Georgetown Orbits. In their few years together as a band they have really polished their sound, and really built a great local fanbase. Determined to push ahead, the GTOs have stayed busy with loads of shows. They've shared the stage with such bands as The Skatalites, the English Beat, Bad Manners, The Toasters, Wesbound Train and more.
In 2005 they recorded a self-released live CD, and in 2006 they recorded some songs for a 7" single. And now towards the end of 2007 they released their self-titled full length debut album.

This debut album really shows off their musicianship, and strong grasp of Jamaican music styles. Each band member's diverse background is readily apparent in each and every song.

They got some tight heavy reggae tunes that I'm sure melt the dance floor live.Songs like Shoe Suede Blues, and Mic Check(dub past 8) drive this point home.

They do some funky reggae, and soul influenced tunes like Funky C, Funky Do, and Give and Take. These tunes are a great follow up to their live rendition of the classic Booker T tune Green Onions, which they kill on.

And if you wanna hear some straight up ska scorchers, that's their specialty.
The song You Know The Story will make you ask, "Is this the Skatalites?" Seriously a nicely crafted tune. A heart-throbbing beat that'll put you at ease and bring you down to your knees begging for more. Beautiful improvisations from the horn section, guitar, and keys. They even dash in some Latin influences with If I Can Have This Dance. A fine Latin rhythm with Spanish/English lyrics. Red hot guitar work and spicy hip-moving horns.

They even speak out about the issues were surrounded by today. Listen to The Shady Bunch, and Tribal War. The song titles say it all. The feeling is reminiscent The Slacker's International War Criminal.

I really enjoyed the whole thing from start to finish, they arranged the songs just right. The last two tracks are dub versions of Tribal War and Shoe Suede Blues with a groove that'll have you starting this thing from the beginning over and again.
To top it off, the CD has a cool design like vinyl, and the liner is just as great, these guys got style.

-Gabe

Check out www.georgetownorbits.com to buy the album and for more info and free live track downloads.

Notes: Catch the Georgetown Orbits on tour now with Get Down Moses this week-
They played in Eugene, San Fran, San Luis Obispo, and are
playing LA in a few days, then Ashland on Wednesday.
For more show info check http://www.georgetownorbits.com/shows.html

We interviewed bass player Toby Kremble of the GTOs last year, read that here

The New Kids On the Block Bring Soulful Reggae To Keep You Movin'

Green Room Rockers “Hoosier Homegrown”
2007 (downtown records)

What happens when Otis Redding meets The Upsetters uptown in Indiana? The Green Room Rockers happen. One of the newest bands to play a very soulful style of reggae such as Deals Gone Bad, the Aggrolites, and Westbound Train. I actually heard about this group last time Deals Gone Bad played Balitmore, because they had mentioned taking these guys under their wing. And the from the quality of this album the Green Room Rockers have made quite a statement with this their debut album.

“Endure’ opens up the albums with a straight Motown drum beat with Mike telling everyone who they are which transitions into the actual song. “Endure” also has a sweet hornline thanks to El Ron (sax) and Chris aka Rusty (trombone). “Cold Hearted Woman” has some wicked organ and cowbell action. Rudy G’s organ playing emulates the greats like Mittoo, Billy Preston, Glen Adams, etc. “Venus Man Trap” opens with a killer sax and has a sort of sing songy/sing alongy type of vibe throughout. I think this song would be perfect with some hand clapping as well. Its really catchy song as are most of the ones on the album and most of the songs take up those universal topics such as women, drinking/partying, and surviving day to day. My favorite track on this album (and the one I used on one of my podcasts) is “Northbound Train.” Jamaica is filled with songs about trains and there is a certain fantasy element about taking a train and seeing where it goes.

The Green Room Rockers bust out more heavy soul sounds and foot stomping reggae on the title track “Hoosier Homegrown” in the vein of the Hippy Boys and the Mohawks. “Humor Me” brings a more reggae sounding tune to the forefront this song and this album at times reminds me of a time when there were a lot of quality recordings coming from Moon Records during the mid to late 90’s. “Divided” is an acoustic tune and I think it shows a good choice for a young band to try to mix it up so much on their album. The rhythm section of the GRR is rough and tough and this is exemplified on the latter part of the album during “Fight For Your Love.” “Everyday” is a fast pace ska tune that will keep you out on the dancefloor for a long, long time. “Untitled” is a cool grooving latin flavored instrumental with heavy percussion. The album ends with “Pieces” a happy-go-lucky soul-ska tune. GRR is a new band to keep your eyes on and your ears out. Check this album out and also if they are coming to a town near you go see them!!!

For more info about the band/album go here...
http://www.myspace.com/greenroomrockers

The Good isn't Gone At Ska Weekend : Great Bands For A Good Cause

This is a short review/personal account of the events I saw at ska weekend this past week in Knoxville, TN. Siafu opened up the show this local Maryland suburban based band played a mix of high energy ska, reggae, and rock. The next band that I saw was Hub City Stompers, who took the stage promptly at 12:30pm. Travis (HCS’s lead singer) dedicated “Chatterbox” to the nazi boneheads that threatened him on the internet. Allegedly they were going to prevent the band from playing the festival. They obviously did not stop anything. The band played two new songs that were in classic HSC style with clever tongue in cheek verse backed with heavy doses of ska/reggae aggro.



Steadfast United played right after HCS and every time I see this group of musicians I am just surprised how much they improve from each performance. Also their lineup seems to change from time to time. Their sound is drenched in old school soul mixed with reggae/ska influences. The drummer is a soul dj (Garden State Soul) and used to drum for Inspector 7. Ambrose has this sort of Jerry Lee Lewis/James Brown stage prescience down to a “T.”



Deals Gone Bad played next the majority of their set was from their new album “The Rambler.” But they did play some older tunes like their Bob Andy cover of “Games People Play” and “Be Mine Tonight.” The festival made it really hard for a lot of people in the middle of the day bands like Westbound Train and Eastern Standard Time played during the same time. A lot of bands took to the streets creating signs, flyers, and other ways to get people to check out their band. 4 stages is really a lot of bands but the festival ran very smoothly. I heard a couple of WBT songs both of them were from their new album “Transitions” the band sounds a lot tighter than the last time I caught them in Baltimore. EST played the best room ever at the Barly’s stage the only stage that was inside at a bar and air conditioned. They played a great set playing their classic ska/jazz/rocksteady material from their past albums. The highlights for me were “That Girl” and “Maddog” (from their first album).



King Django band played a great set made up of numerous selections from Django’s previous bands. Some of the tunes were “Fistful of Riddim”, “I’ve Got To Know” and “Nex Finga.’” I just remember during his set the weather started getting really hot but everyone just kept dancing and singing along. The drummer I noticed had a very small kit with only one crash cymbal, a hi hat, a snare, and a bass drum. My favorite set was Dr. Ring Ding’s he played all type of songs from his massive repertoire. Opening the set was the Skatalites’ inspired instrumental “Dandimite” and the Doctor began to work the crowd. During his set I saw a lot of the bands that played already huddled around the stage to get a chance to see his set. He played a lot of senior allstars material but also played some material he did with bands like Kingston Kitchen (“Fake Romance” being one that stands out in my mind for its Toots and the Maytals early ska sound) and Dubplate 48. He closed his set by doing some of his dancehall solo material including “Doctor’s Darling” which he closed the set with. The end of this song Dr. Ring Ding busted into his Gregory Isaacs impression and reached all the high notes on “Night Nurse.” The Drastics from Chicago really impressed me as they were able to keep every beat on note during Ring Ding’s set being able to play ska, rocksteady, reggae, and dancehall.


After Ring Ding’s set I rushed to refuel and grab some fluids. I didn’t catch much of the Slacker’s set but I did catch Vic making a political rant during one of their songs. I was surprised to see the band all dressed in black suits (Geard their bassie had a white suit). I was really worried for the Pietasters because as soon as they packed all their gear on stage it started raining. I think there was enough time in their schedule the sound guy allowed the rain to cease before they started their set. The Pietasters blasted into their heavy hitting mix of ska, reggae, soul. Playing some crucial oldies like “Maggie Mae” and “Night Owl” they also rocked their new songs (from their new album All Day). I really enjoyed the song about U Street (I think “G to F”). Mustard Plug ended the day and I missed their set as I was too smelly to enjoy anything but a shower.


I did miss some bands I wanted to see. I heard a couple tunes of Voodoo Glow Skulls and they sounded amazing playing some old old tunes. Also I missed Nashville’s AKA Rudie who I had never seen before. Their singer Rob Hoskins is an old friend of mine and I really regret not seeing any of them. Also my friend Cary’s band Lost Martyrs of a Lost Cause played and I missed all of their set. It sucks when you have to choose but there is always next year. Ska Weekend was a great experience. The After Show was pretty rad too I got to see the Drastics play some heavy dub sounds. Steadfast United also played again with some great soul/reggae covers. Both bands utilized the people in the room as a lot of performers were still there so during both sets various guest members jumped on stage creating a sort of off the cuff jam session.

For more on the DC Ska crew's trip to Ska Weekend, visit DCSka.com
The site has just been revamped and better than ever!
Show em' some love.
All photos by Bobby Babylon

Take It To The Street!

Bedouin Soundclash "Street Gosepls" (side one dummy)

I regard the Clash as one of most brilliant bands of all time. What
the Clash did throughout their career was push the musical envelope.
They played reggae, funk, soul at a time when many would not expect
this type of musicianship from a group of punk rockers. The Clash may or
may not have been the first fans of punk rock and reggae. But there
is no doubt they were the first group to master a blend of punk rock and
reggae. Bedouin Soundclash might be the closest our generation ever
gets to The Clash. This Canadian band's latest album "Street Gospels"
is an intense delicate masterpiece of reggae, punk, folk, soul. You
almost cannot describe their sound without throwing out a long list of
names. Their sound is sort of like the Upsetters jamming with Bob
Dylan, The Clash partying with Otis Redding, and all the music being
dubbed out by King Tubby. The packaging on the album sort of relays
their long list of influences with cutouts of albums such as the
Paragons, Explosive Rocksteady, Horace Andy, Lee Perry, the
Skatalites, and various images from Japan, Africa, and other
geographical regions. The band captures this international sound and
results in this sort of post modern sound clash.

The album opens with the sonic charged "Until We Burn the Sun" that
sounds like a post modern apocalyptic reggae anthem. Jay Malinowski
on lead guitar and vocals on every song blares these songs of roots,
revolution, and relationships. "Walls Fall Down" is a slower
rocksteady like groove with steady acoustic upbeat guitar. Jay
instead of blaring reveals a tender vulnerability. To give the band
more credibility is Vernon Buckley (from the Maytones) and he intros
the pogues-sounding "St. Andrews." Bedouin Soundclash has this
ability to extend across genres – I cannot think of any band that
writes songs that have better hooks. "Bells of 59" and "12:59
Lullaby" are these subtle sounding songs that pack a punch with simple
melodies, steady grooves, and pure honest songwriting. The song
"Hush" is just sung a capella but it does not even stand out as weird
or out of place. It fits in like another individual puzzle piece.

On "Higher Ground" Vernon Buckley is given a full track to sing a
roots gospel sounding number. The band has developed a more soulful
sound that works well in the reggae influence present in most of their
songs. "Nico On the Night Train" sort of explains the bands
influences from the Velvet Underground rooted to the Train theme in
reggae music. The music on this track is a sort of mashing of a Latin
beat dubbed out vocals and distorted guitar. "Gunships" is a sort of
Clash sounding dub track that could have easily been found on "London
Calling" or "Sandinista!" The album closes with two dub-rock numbers
"Midnight Rocker" and "Hearts In the Night" that may not have the
intensity of some of the earlier tracks.

The band waited 3 years to craft this album and it is well worth the
wait. Their 2004 release "Sounding A Mosaic" has been a constant
rotation in my cd player and this album is no different. Both of
these past few albums have been produced by Bad Brain's Darryl
Jennifer and out of anyone he seems to have mastered the skill of
recording a band that covers so many different styles and genres.
The album is so powerful you will be amazed most of the music is
created just by three people. Eon Sinclair (on bass) and Pat
Pengelly (on drums) lay the perfect foundation for this punky-reggae
soul shakedown party.

Mike's Official Introduction

The very first memory I have of Jamaican music is when I heard Mad Cobra’s “Flex” at the innocent young age of ten. I don’t think I fully understood, or even cared about the lyrics then, but something about the rhythm and unique vocal delivery hooked me in. Looking back on it now, 16 years later, I wasn’t aware of how much I would come to love JA music in all its forms, especially modern dancehall and American reggae and ska. I’m now 26 years old and living in Chicago, and have finally decided it’s time to do my part to contribute to this scene. I’m not a musician, not a DJ, not a promoter. The best description I can label myself is an active and passionate fan. I want to be able to listen to this music throughout my life by continuing to support it. By not only embracing the past, but looking into the present and future, I hope it will continue to thrive and reach new ears.

My gateway into this scene, as was common for most teenagers in the mid to late 90’s was through such bands as Reel Big Fish, Less Than Jake, and Operation Ivy. Around age 15, I began to discover MTV’s punk bands of the day, and somewhere along the line I heard a Less Than Jake song on my local college radio station. My first two punk CDs were Epitaph’s first Punk-O-Rama comp, and the Vans Warped Tour comp where I heard Reel Big Fish. Those two bands got me hooked on any and all “punk with horns” - admittedly, yes, my first definition of ska.

Around the same time my local scene in New Jersey was blowing up. Catch 22, One Cool Guy, the Royalties, Inspecter 7, Foil, The Derringers, and countless others were playing shows in local halls and clubs almost every weekend. I spent the majority of my high school years at The Palace in Bound Brook, The Cove in Roselle Park, The Cheesequake Fire House, and The Stone Pony in Asbury Park. Every so often I got to see some better regional bands come through like The Toasters, Skinnerbox, Mephiskapheles, The Slackers, etc.

As the New Jersey scene began to fade out when bands broke up or moved onto other things, and the shows stopped, I began to dig deeper into the roots of this music. My progression took me backwards through each “wave”. From the Toasters to The Specials to The Skatalites, I became hungry for the true history and meaning of Jamaican music. While I loved all of it, as I went back I noticed what seemed to grab me most was always the deejay music, the toasting and chatting. It could be Coolie chatting on a Toasters tune, Ranking Roger with The Beat, or some of the early deejays like U-Roy. While I respected and appreciated the classics, I found myself always gravitating toward the new music at my disposal: Dr. Ring-Ding, Rocker-T, King Django, and modern dancehall like Buju Banton, Bounty Killer, Shabba Ranks, etc.

Fast-forwarding to 2003, I can thank Chuck and Buck of Jump Up and Megalith respectively for releasing “Still Standing” and re-kindling my interest in this scene and culture. Through the formation of Hub City Stompers around the same time, and Bomb Town shortly after, along with King Django’s Version City parties, I was able to find good shows to attend again. I met a good group of people dedicated to reviving the NJ/NY scene (big up Steady Sound System!), as well as other like-minded individuals on trips through NY, NJ, Philly, and Baltimore in their respective scenes (props to Bob and the DC Ska crew!). Moving to Chicago 3 years ago, I was privileged to become part of the Chicago scene, with regular shows by Deal’s Gone Bad, Lord Mike’s Dirty Calypsonians, and The Drastics, and regular reggae nights around the city. Lately however, the amount of gigs seems to be on the decline, and I find myself again starting to explore new music. But this time instead of digging through the past, I’m looking at the present, trying to find bands that are active today, and new bands that will continue to push this scene into the future. We are lucky to have a handful of great bands coming up through California like The Aggrolites, The Hi-Lites, and Penny Reel Junction, with The Aggrolites as well as Westbound Train gaining national attention through Hellcat Records. New Jersey is booming again with Hub City Stompers, Bomb Town, Bigger Thomas, and King Django still going strong, and younger bands like Awful Waffle and The Defending Champions carrying the torch. Also keep an eye out for newcomers Silver Dollar, a traditional ska band featuring Lord Skoochie of Inspecter 7 fame on vocals and sax, and King Django on trombone. Chicago is seeing Deal’s Gone Bad and The Drastics branching out of the Midwest and touring the east and west coasts. Chicago also has a younger ska/punk band, Manic Sewing Circle, that have grown tremendously in the past three years, both in songwriting and in popularity. They are playing a few Warped Tour dates this summer and have recorded a track on their upcoming album with Todd from Deal’s.

On the international front we have Megalith Records bringing us ska from all over the world, with a large focus on European bands such as Rotterdam Ska-Jazz Foundation, Pannonia Allstars Ska Orchestra, and St. Petersburg Ska-Jazz Review. Not to mention a resurgence of influence in British music with the likes of The Dead 60’s, Hard-Fi, Lily Allen, The Dualers, and Pama International.

The names I’ve listed are by far not the be-all-end-all of contemporary ska and reggae music, just the ones I find myself most interested in. I won’t claim to be an expert on this music. I won’t be able to tell you the names or writers of any obscure tunes or riddims, or even break down each individual era into its finer points… but I can tell you about what I like. I’m not here to educate – I’ll leave that to the experts. I’m here now, in 2007, where this scene is continuing to rebuild and progress stronger than it has in many years. I hope to contribute to this site by sharing my passion and interest for the players in our scene that are helping it thrive. Thanks to Gabe, Andrew, Brian, and Bob for inviting me to join, and I’m looking forward to contributing.

"The Ramblers" won't leave you rambling just dancing

Deals Gone Bad "The Rambler" (Jump Up Records)



I anticipated the release of this album from the band for what seems like years. And the album lives up to every expectation I had going in. The band helped to establish Jump Up Records as a viable ska label as third wave ska floated from popularity to obscruity in the 90's. Thanks to bands like DGB Jump Up is still around and still putting out great albums that deserve to be heard. Deals Gone Bad always played a mix of Jamaican ska/reggae with elements of soul, rock, and jazz. Their live show is probably where the band has always shined with their scorching originals about Pirates with covers from bands such as Judge Dread, Derrick Morgan, and Ken Boothe. With singer Mike Park the band released 3 albums on Jump Up Records. Mike left the band a few years ago (now he plays in Lord Mike's Dirty Calypsonians - Check Them Out!) and was replaced by Todd Hembrook who belts out his vocals like Sam Cooke and Otis Reddng. This album is a non stop pleaser with the first tune "Messin' Around" Todd's vocals stand out as this agonizing soul that has loved and suffered. Mike Corcoran on drums transitions from a foot stomping soul beat to a smooth rocksteady rhythm. "Movin' On" begins with a Pet Sounds sort of organ intro supplied by Karl Gustafon. This song is very reminiscent of Todd's old soul reggae band Heavy Step.



What I like most about this album is the music covers all styles of Jamaican music with ska, reggae, rocksteady and has a healthy dose of other musical delights. "Cry For Me" has Todd channeling his inner Motown and even somewhat resembles the feel of a certain Van Morrison tune. "One More Day" is a love ballad of sorts, the horn players add the perfect melody that floats and grooves in the pockets. Deals Gone Bad prove they are at the top of their game with "Things Are Gonna Get Better", which demonstrates the bands' ability to jump from style to style. A more rootsy reggae sound is present in "Rough & Ready" which the band quickly grooves to. Aaron Hammes wrote the song "Good Old Days" that sort of harks back the past without being sentimental, just realistic. "City City" is a catchy ode to Chicago… "The second city, beats the first / Keep New York, forget LA, Chicago is my curse." "Take Time" and "The Cost" are two more reggae grooves number that keep the energy on the disc sky high. The album ends with a Western (fitting in theme with the album art) acoustic number that is just spooky sounding "I was Wrong." This will be on the top of the list for this year's best releases. And if you get a chance do not deny yourself an opportunity to see this group live on stage. Doing what they do best giving the fans all their blood, sweat, and tears and ripping from song to song. Lets hope they never stop.