That moment of disbelief hit hard. As the reality sank in, everything around me seemed to change—the air, the colors in the room. As a young guitarist and fan of Vaughan, my world felt different. Now, some might say, "Dean, you can't compare the impact of a President's death to that of a guitarist!" But at 19, music was my world. In fact one of my teenage girlfriends had told me I’d never find love because I paid more attention to my guitars than to her.

Recently, after hearing me wax poetic about Stevie Ray Vaughan on SiriusXM, a listener reached out to me on Facebook, asking why so many people still feel deeply about his death. To her, as tragic as it may have been, he was just another blues guitarist like many others. Even my wife, early in our relationship, asked me to explain my love for Vaughan—claiming that she just didn’t get it.

What I explained to our listener, and similarly to my wife, was Vaughan's unique ability to convey emotion through his instrument. In an era when guitar heroes like Eddie Van Halen, Yngwie Malmsteen, George Lynch, Steve Lynch, Adrian Vandenberg, and others dazzled with fretboard acrobatics, Vaughan stood out. He lived largely within the pentatonic scales, yet he demonstrated that it wasn’t about how fast or complex you played, but how much soul you infused into every note. 

Vaughan could play a single note and sustain it, picking it with varying dynamics and vibrato. He would hold that note so long that you’d go from thinking, "That's cool," to wondering, "When is he going to do something else?" Eventually, you’d lock in with his emotions and reach a moment where you might say, "I think I found religion." SRV had a way of playing that made you lose focus on whatever you were doing and instead concentrate solely on him and his music.

When my wife asked me to help her understand Vaughan, I told her to close her eyes and played his Hendrix cover of "Little Wing." Before pressing play, I said, "As you listen to this song, sync your breathing with the dynamics of his playing. Picture the facial expressions he was probably making as he played, and focus on nothing but the music and your breathing." When the song ended, she let out a deep breath. I asked, "Could you see his face?" She replied, "Yes, and now I understand."

There are many great guitarists who perform incredible feats on their instruments, pushing boundaries and showing what’s possible. But few musicians communicate emotion through their instruments the way Stevie Ray Vaughan did. That’s why, every August, the ghost of Stevie Ray Vaughan comes to visit.

In 1976, a soulful anthem hit the airwaves, capturing hearts with its smooth melody and unforgettable vocals. The voice behind it was none other than Mickey Thomas and while many know Thomas for his work with Jefferson Starship and Starship, it's his performance on this Elvin Bishop classic that continues to resonate with many fans. The story behind how this iconic track came to be, and Thomas's unforgettable contribution, is a testament to the magic that happens when talent, timing, and intuition align.

During an interview with The Don & Dean Baldwin of FM2.0, Thomas opened up about the recording process of "Fooled Around and Fell In Love." The Don, couldn’t help but express his admiration for Thomas's voice, recalling the first time he heard it on the track. "Whenever I hear you sing to this day, it elicits so many goosebumps up and down my arm," The Don shared. "It's your voice... it's truly amazing."

Thomas, in his characteristic humility, reflected on the experience, revealing that the song almost didn’t make it onto the album. As the band was wrapping up the Struttin’ My Stuff sessions, producer Bill Szymczyk felt that something was still missing. Thomas suggested revisiting a song that Bishop had played casually years earlier. "We were finishing up that album, and Szymczyk said, 'Everything sounds great, but I feel like we're just missing one piece... something different,'" Thomas recalled. "I suggested, 'What about 'Fooled Around and Fell In Love?'' Elvin had forgotten about it, but it had always stuck in my mind."

Dean Baldwin, co-host of the interview, focused on the iconic opening lines of the track, marveling at how effortlessly Thomas seemed to capture the essence of the song from the very first note. "The opening line, because to me, your first few words are the hook," Baldwin observed. "I mean, you hook immediately. That was the first take?"

Thomas confirmed Baldwin's intuition. "Yeah, that was one take," he responded, adding that while the myth of a single-take vocal isn't entirely true, it did come remarkably close. "I've heard the urban myth that it's a one-take vocal, but it's actually two. The first take before the solo, and then the vocal after the solo is the second take."

What followed was a performance so powerful that it hooked listeners from the first note. As Thomas humbly put it, "I felt really good about the vocal and about the song. I had a great feeling. I thought we nailed it."

The Don, clearly a longtime fan, couldn't resist sharing how deeply the song still affects him. "To this day, that song still affects me. I put it on all the time, and it's impossible to not sing along to you in the car. I have to do the really low backing vocal," he joked. But his admiration was sincere. "It's truly amazing."

The song’s impact on listeners is undeniable, and even today, it holds a special place in Thomas's live performances. "It's still very special for me," he said. "I do it in the show every night because it gets me back to my roots—the R&B, the soul, the gospel, and the blues. It provides a really good change of pace." Yet, despite its enduring popularity, Thomas often finds himself educating audiences about his role in the track. "It never fails that once I go into the song, I'll always see a few faces in the audience with a look that says, 'Oh, I didn't know he sang that song.'"

"Fooled Around and Fell In Love" may have been a surprise addition to Struttin’ My Stuff, but it became a defining moment in Thomas's career. The song not only showcased his extraordinary vocal talent but also solidified his place in the annals of rock and soul history.

A couple of years later, in 1979, Thomas would take his vocal talents to the next level by joining Jefferson Starship, a move that would catapult him into further stardom. His powerful voice would become a key element in defining the sound of the band throughout the 1980s, solidifying his status as one of rock’s most iconic vocalists. As fans continue to be captivated by his voice, both on the record and in live performances, Mickey Thomas’s legacy as the voice behind this timeless hit and beyond remains as strong as ever.

(watch the video review here)

"Dark and Velvet Nights" begins with a brief intro that harks back to the atmospheric vibes of The Wall, but it quickly transitions into a dark, sultry blues riff. The kind of song you'd expect to hear in a smoke-filled bar scene of a noir film—where the band plays in the background while patrons brood over their drinks, lost in thought. The mood is perfectly set by a Buddy Guy-ish kinda riff, complemented by Gilmour’s signature slide guitar work on his 1933 Rickenbacker Frying Pan. The vocals, unmistakably Gilmour, add the final touch to this evocative track.

As someone who has been profoundly influenced by Gilmour for decades, I might be a bit biased. However, with three singles and a teaser video out, there’s a sense that Luck & Strange is carving out its own unique space compared to Gilmour’s previous solo efforts. About Face, co-produced by Bob Ezrin, and On An Island and Rattle That Lock, both co-produced by Roxy Music’s Phil Manzanera all benefited from the fact that Ezrin and Manzanera were intimately familiar with Gilmour's legacy and iconic status, which may begin to explain why this album has a different energy. Notably, it’s co-produced by Charlie Andrew, best known for his work with Alt-J. Andrew, who wasn’t even born when The Wall was released, brings a fresh perspective that Gilmour has described as “a wonderful lack of knowledge or respect for this past of mine. He’s very direct and not in any way overawed, and I love that.”

As the release date approaches, Luck & Strange is shaping up to be a standout addition to Gilmour's discography, promising a blend of classic vibes with a refreshing twist.

I had read an earlier article where reflecting on fan reactions to the album, lead guitarist Joey Allen candidly expressed his disappointment: “That’s a hard pill to swallow," he admitted, regarding the audience's reluctance to embrace new music. “It’s a bitter pill to swallow when you are onstage looking down,” he added, acknowledging the challenge of performing new material to fans who may not be as enthusiastic. This sentiment underscores the uphill battle classic bands face when introducing fresh work to audiences often attached to nostalgic hits.

The album kicks off with the high-octane title track, delivering exactly what it promises—loud, hard, and fast rock that’s sure to get your blood pumping. But it was the second track, "Devil Dancer," that truly pulled me in. There’s something about the groove and attitude in this song that feels quintessentially Warrant, yet with a fresh edge that makes it stand out.

As I worked my way through the album, I found myself hooked on every track holding my attention from start to finish, particularly "Perfect" and "Only Broken Heart." And, of course, no album from a band that has an association to 80s hair rock would be complete without a ballad. "U In My Life" fills that role beautifully, offering a tender moment amidst the album’s rock anthems.

Between the songwriting, musicianship, and production, Louder Harder Faster is an album that deserves to be heard. It’s a shame it didn’t get more recognition at the time, and I regret that I also missed its release—but as they say, better late than never. This album is now firmly on my playlist, and I’ll be making sure it gets some airplay on FM2.0 Radio.

One question I’ve often asked is, "Fans, are we friend or foe?" We cherish our memories and the nostalgia that keeps us playing the classics over and over. But when we dismiss a band’s new material, we miss out on the chance to create new memories and experiences. Louder Harder Faster is an album that deserves that chance. So, go give it a listen—or better yet, let it become the soundtrack to some new life experiences. You might find yourself just as excited to hear "Music Man" live as you are to hear "Cherry Pie" or "Heaven."

While I regret not discovering this album sooner, I’m glad I finally did. Every track on Louder Harder Faster hits the mark, proving that Warrant still has plenty of fire left in them.

The song is somber and hauntingly beautiful, perfectly complementing Gilmour's signature style. Romany’s vocals add an ethereal charm that elevates the track to a new level. But what really intrigued me about "Between Two Points" is that it led to a couple of personal "firsts." Not only was it my first time hearing Romany Gilmour’s captivating voice, but I also discovered that the song is a cover of a track by the Montgolfier Brothers from their 1999 debut album, *Seventeen Stars*.

Now, before you start thinking of hot air balloons and the pioneering Montgolfier brothers of the 18th century, let me clarify. The Montgolfier Brothers I’m referring to were a British indie pop-dream pop duo, consisting of gnac's Mark Tranmer and Lovewood drummer Roger Quigley. Formed in 1999, the duo released several recordings before Quigley's passing on August 18, 2020. This revelation brought to light the magical relationship between artists and their audiences, a bond often strengthened through the act of covering another artist's work.

Before Gilmour’s rendition, I had never listened to the Montgolfier Brothers' music. In fact, I hadn’t even heard of them. But upon hearing the original version of "Between Two Points," I was struck by its humble charm and familiar yet distinct sound. It’s fascinating how Gilmour’s cover led me to discover and appreciate the original track, highlighting the powerful role that covers can play in the musical landscape.

Often, music consumers dismiss the idea of a "cover" or a "cover band" as inferior, believing that songs written, arranged, and recorded by the original artist are the only legitimate offerings. I've even heard someone claim that covering a song is "lazy" and simply profits off the original artist's work. What this perspective fails to acknowledge is that the majority of songs are often written by someone other than the recording artist. More importantly, covers keep the legacy and spirit of the original music alive, introducing it to new audiences and ensuring its longevity.

Had David Gilmour never covered "Between Two Points," it’s quite possible that I would never have discovered the Montgolfier Brothers' music. Now, I can proudly call myself a fan. This experience underscores the invaluable role that covers play in the music world, not just as tributes, but as bridges that connect generations of listeners to the rich tapestry of musical history.

So, here’s to David Gilmour for reminding us of the beauty in covers and for continuing to enchant us with his timeless artistry. And here’s to the Montgolfier Brothers, whose music has found a new audience thanks to Gilmour’s hauntingly beautiful rendition of "Between Two Points."

The band recorded "Dark Matter" at the famous Shangri-La studio in Malibu, California, and at Watt's home studio. This album is particularly notable because it features contributions from Josh Klinghoffer, who joined the band on their 2022–2023 Gigaton Tour. Klinghoffer, previously the guitarist for Red Hot Chili Peppers, brings a fresh energy to Pearl Jam's sound.

Unlike their last album, "Gigaton" (2020), which took years to complete through scattered sessions, "Dark Matter" was created in a more collaborative, fast-paced environment. This return to a five-piece setup has resulted in a tight, cohesive album that feels both urgent and finely crafted.

I have to admit, when Pearl Jam first hit the scene in the '90s, I wasn't immediately on board. Grunge was a big departure from the melodic rock of the '80s that I loved. But over the years, I've come to appreciate the band's artistry, especially guitarist Mike McCready's work. Now, 33 years after "Ten," I find myself genuinely drawn to "Dark Matter." The album is filled with well-written, well-produced tracks that manage to capture the essence of Pearl Jam's classic sound while feeling fresh and modern.

Listening to "Dark Matter," I can easily imagine these songs fitting into the '90s grunge era, but they also have a contemporary twist that keeps them relevant. Surprisingly, as someone who was only a moderate fan during Pearl Jam's heyday, I'm more excited about this album than I expected. Pitchfork's Zach Schonfeld gave it "measured praise," but we both agree that "Wreckage" is one of the band's best songs in over 20 years. Personally, I think "Won’t Tell" might just be my favorite Pearl Jam song ever.

"Dark Matter" shows that Pearl Jam can still evolve while staying true to their roots. It's an album that will resonate with longtime fans and new listeners alike. I'm thrilled to add these songs to my playlist and can't wait to see where Pearl Jam goes next. This album reaffirms their place in rock history and proves they still have plenty to say.

They both rebel against a system, fighting to prove that regardless of age, their voice is relevant. Rock music has long been associated with youth, often portraying images of disenfranchised young rebels challenging the establishment, or the exuberance of young love and partying. However, as the genre matures, so too do its artists, and we are witnessing a new generation of rockers who bring a perspective shaped by age and experience. This evolution suggests that rock music is far from immutable, constantly redefining itself through the lenses of those who create it. 

The recent works of artists like Ian Hunter, Patty Smyth, Huey Lewis and The News, and Tears For Fears exemplify this shift. Their lyrics offer insights from lives well-lived, rich with lessons learned. Consider Neil Young’s “Old Man,” initially written from a young man’s perspective comparing himself to an older individual. If written today, it might express the sentiments of an elder statesman of rock telling a younger person, “You may see me as old and irrelevant, but I still feel a lot like you.”

Into this landscape arrives Crowded House’s eighth studio album, "Gravity Stairs," released on May 31, 2024. On my initial listen, and even more so on subsequent ones, I found the album’s lyrics resonating deeply with themes of reflection and retrospection. Whether this is a projection of my own introspections or an intentional direction by Neil Finn and the band, the result is a compelling collection of songs that speak to the passage of time and the lessons it imparts.

Take, for example, the track “Teenage Summer.” With lyrics like, “not enough, to be a witness of your life, all along, I was hoping we would come of age,” one can easily imagine Neil Finn reminiscing about his youth, contemplating a future that didn’t unfold as envisioned. This evocative imagery is not just a trip down memory lane but a profound meditation on the intersection of past dreams and present realities.

Historically, I’ve often been drawn to the musical hooks in songs. However, "Gravity Stairs" has shifted my focus towards its mature, introspective lyrics. This album encourages listeners to consider how rock music, a genre long defined by youthful exuberance, can evolve. In many ways, the generation that brough rock music into the mainstream now have the opportunity to present a new model—one that embraces maturity and reflection. If successful, this approach will offer future generations a richer, more nuanced blueprint for the genre.

In "Gravity Stairs," Crowded House has one a great job balancing their musical legacy with the wisdom of experience, proving that rock music can grow and evolve without losing its essence. Look for tracks from “Gravity Stairs” to be played on FM2.0 digital radio.

Slash’s new album, “Orgy of the Damned,” could easily have been celebrated purely for its star-studded lineup, featuring the likes of Gary Clark Jr., Billy Gibbons, Chris Stapleton, Dorothy, Iggy Pop, Paul Rodgers, Demi Lovato, Brian Johnson, Chris Robinson, Tash Neal, Steven Tyler, and Beth Hart. But it’s more than just a collection of big names. The production is spot on—clean, straightforward, and refreshingly unembellished.

Look, as a guitarist I'll be the first to admit, we love to riff and solo, which is why it’s not uncommon to hear versions of songs like “While My Guitar Gently Weeps” with marathon solos that seem to never end. With an iconic guitarist like Slash putting out a blues album, there was always the risk that the focus would be heavily on his guitar playing. That’s not the case here. By the third track, I wasn’t even focused on Slash. I was lost in the groove, my head slowly bouncing back and forth to the music. This album isn’t about reinterpreting iconic blues songs; it’s about capturing their soul, as felt by the musicians involved.

Initially, I thought "The Pusher" featuring Chris Robinson of The Black Crowes would be my favorite track, given my long-time love for Steppenwolf’s version of the Hoyt Axton song. But then I heard “Awful Dream” with Iggy Pop and thought, “Well, maybe this one.” Then came Paul Rodgers with “Born Under a Bad Sign,” and at that moment, I had to throw up my hands and accept that there wouldn’t be a clear favorite. This album is just that good.

Whether the credit goes to Slash, the production crew, or the talented musicians like keyboardist Teddy 'Zig Zag’ Andreadis who may have been providing subtle guidance along the way, this album is exceptional. If you’ve never been a fan of the blues and often find yourself saying, “I just don’t get it,” let me share a story.

When my wife and I first met, I told her I was a huge Stevie Ray Vaughan fan. She admitted she wasn’t into the blues and couldn’t get into it. I asked her to sit down, close her eyes, and listen to SRV’s cover of Hendrix’s “Little Wing,” trying to picture Stevie’s facial expressions as he played. By the end of the song I asked her if she was able to do it, she responded, “Yes, and now I get it.”

So, if you’re hesitant about this album because the blues aren't your thing, don’t overthink it. Put it on, sit down, close your eyes, and try and picture the faces of the players. You might find yourself getting it too.

In a recent interview with FM2.0, Don Dokken expressed pride in "Solitary" but also disappointment that no label originally picked up the album, noting that it "didn't sound like Dokken." This divergence from his band's signature sound is precisely what makes "Solitary" a gem worth exploring. Stripped down to acoustic arrangements, the album allows Dokken's songwriting and vocal prowess to shine in an intimate and raw setting.

The opening track, "In The Meadow," sets the tone with its sweeping melodies and heartfelt lyrics. It's a song that immediately draws you in and encapsulates the essence of the album—honest, introspective, and beautifully crafted. Each subsequent track builds on this foundation, offering a journey through themes of love, reflection, and personal growth.

During his conversation with FM2.0, Don shared that the 2023 Dokken album "Heaven Comes Down" will be his last, it’s worth considering "Solitary" as the definitive final statement in Don Dokken's career. This album stands as a testament to his versatility and artistic integrity. Unlike the high-octane rock anthems of Dokken, "Solitary" is a serene and poignant collection that showcases another dimension of Dokken’s musical genius.

"Solitary" is more than just an acoustic rock album; it's a work of art that stands proudly within Don Dokken's catalog. It captures a moment of vulnerability and sincerity that resonates deeply with listeners. The album may have been overlooked initially, but its timeless quality ensures that it will be celebrated for years to come.

For fans and newcomers alike, "Solitary" is a must-listen. It’s a reminder of Don Dokken’s enduring talent and his ability to evolve as an artist. As we bid farewell to new music from this rock legend, "Solitary" offers a perfect, introspective close to his remarkable career.