M3 Festival 2014 – Keel, Jack Russel’s Great White, Stryper, Red Dragon Cartel, Queensryche, Autograph, Sebastian Bach, LA Guns, Night Ranger, Tesla – Concert Review – Day 2 (4/26/14)

The second day of the M3 Festival can be a bit of a marathon, running from just before 12 Noon through to 11PM late in the evening, so it is important to try to pace things. Although the organizers tout two non-overlapping stages, the reality is they do overlap, so it is important to pay attention to the bands you really want to see, and let those you are less interested in go. Sometimes it feels like you are missing out, and indeed you are, but planning is essential. Now, this is a LONG piece and I contemplated splitting it up, but just like the day itself, the length is a reflection of the event. If you can’t be bothered to read this, then you probably would not enjoy the festival!

First, a little rewind, if you missed my review of Day 1 you can find it here > http://wp.me/p2hj3p-6A . This contains some of the background info on the festival, so is probably worth a read. Fortunately the weather forecast for Day 2 was a good bit better than the previous day, though as you will see, not totally unblemished. For most this was not a big deal, but again I will say take note M3 organizers!

Since it is nearly impossible to see all the bands and do them full justice, I have “borrowed” a line or two from another blogger and all round metal nut, Steve Wass, for the bands I missed – you can find a link to his review of Day 2 at the end of my waffle.

So, grab yourself a fresh cup of coffee, tea or even a cold beer and see what M3 2014 Day 2 brought us:

Heaven’s Edge – Festival Stage

These guys opened Day 2 and despite several friends who mentioned they were worth a look, I had absolutely no reference for them and decided that we would pass, in favor of a good breakfast and making sure we were in our seats for Keel who were on my list. The following is taken verbatim from Steve’s blog (see end for link): “Their sound was spot on, and their coordinated rock moves were bar none the best of the whole day. They would synchronize their rockin’ movements for many songs, and for the first band of the day, they set the bar VERY high.  The crowd reaction seemed really strong, especially for a C or D level hair band.” I think they have released two CDs, so if I happen across them I will check them out, but I’m certainly not suffering for not seeing them.

Keel – Pavilion Stage

When Ron Keel left “Steeler” (late ’83) he had already left a legacy that is part of heavy metal history (Steeler was the lauch pad for shred master Yngwie Malmsteen), but the first three Keel albums are also classics and in particular the second, “The Right To Rock” (1985), is a great hard rock record, so the chance to see Keel was one not to be missed. Keel are now reformed with original members Ron Keel, Marc Ferrari and Brian Jay, after coming apart in ’89. They aren’t playing a ton of shows, so take any opportunity you can to see them.

Keel were due to take to the stage at 12 Noon and they arrived on schedule, opening with “Somebody’s Waiting” from Keel (fourth release) and immediately it was clear that despite the early start, they were here to rock, sounding tight and giving it all they had, notwithstanding the less than full Pavilion seats. “Speed Demon” from The Right To Rock album came next and was solid and driven. Next up was a cover of the Patti Smith song, “Because The Night”, followed by another cover of the Rose Tattoo song “Rock N Roll Outlaw”. At the time, this didn’t seem a problem, but in retrospect it seems there are enough Keel songs that at least one of these covers seems unnecessary.

Keel closed their short six-song set with “Tears Of Fire” from The Final Frontier and then the anthem, “The Right To Rock”, which was exactly the right song to close with. All-in-all they did a fine job, and kicked the day off perfectly. I scored them a comfortable 7.5/10.

Keel were scheduled for a meet’n’greet in the VIP area at 1PM, so we made the decision to go hangout and get our LPs signed. As you can see from the pictures they were very accommodating and fun to meet.



John Corabi – Festival Stage

The man that appeared to be everywhere after the show was over! There seem to be more John Corabi photo-bombs than anything else in our photo albums. Unfortunately due timing, we missed his set, so here’s what Steve had to report: “He sounded really good, pretty heavy. For not having heard pretty much any of his songs (well not remembering the Crue ones) I thought he was pretty great. There was one jam at the end that kind of meandered, but overall I was pleasantly surprised by him.”


Jack Russel’s Great White – Pavilion Stage

Due to the Keel meet’n’greet we missed most of this set, but caught the last two songs, which were the classic “Rock Me” from the Once Bitten album, which was then followed by the anthemic “Once Bitten, Twice Shy” song, which although being best know as a Great White song, is actually a cover, the original being written and performed by Ian Hunter from 1975. The band sounded tight and Jack Russel was in fine voice. No matter the health issues Jack has faced he is still a fine performer and worth checking out if you get the chance. Since we didn’t really see much of the set I’ll reserve scoring them.


Femme Fatale – Festival Stage

Unfortunately I really had no interest in seeing Femme Fatale – in the short time they were originally active between 1987-1990, they only released one album, which included two fairly decent singles, which were both co-written with external writers… They did start work on a second album, but that project was abandoned and the band fell apart. Maybe this is unkind, but the band appeared to be an MTV video project to me, with little substance. The fact they reformed in 2013 with a 100% female line-up (which is NOT how the original band was composed at all), seems like a marketing move with little to do with the music. Perhaps I’m being overly jaded?

Anyway we didn’t see them, so here’s Steve’s assessment: “They seem to be Vixen V3.0, from a band with a female singer to one composed entirely of females.  I think Lorraine Lewis has a couple members of the Iron Maidens (Courtney Cox and Nita Strauss, both guitars), in her band now, actually. Unfortunately, all this girl (lady?) power was not very well appreciated by the crowd- they had a pretty lukewarm response. All this despite the very energetic front-woman running around in leathers, and even spraying pink silly-string on the crowd at one point (wtf?).… I felt bad for them giving a nice performance, but the crowd was clearly under-whelmed.”

Stryper – Pavilion Stage

The return of Stryper to the M3 main stage is a welcome one for me; their last appearance he in 2012 was a solid one, despite some complaints about their on-stage sound, which to be honest weren’t evident from out front. I’ve been a fan of Stryper since the first album, Soldiers Under Command, released back in 1985, and first saw them live on the To Hell With The Devil tour at Hammersmith Odeon in the UK back in 1987 and several times since. A lot of people seem to get hung up on their Christian message, but for me it is no more meaningful than say some of the lyrics you might find in an Ozzy or Slayer song, and musically they are way up there. Their harmony guitar work has always been such a strong signature sound.

Interesting to me at the time, Stryper spent a lot of time on-stage sound-checking their equipment immediately Great White’s gear was cleared, and the first thing I noticed, almost unbelievably, was Robert Sweet had his drum kit set-up conventionally, facing the crowd. As long as I can remember Robert has always had his kit rotated 90 degrees facing to the right, which was always rather ‘odd’ and referred to himself as a “visual time-keeper” which I must admit came across as rather goofy and lame – but not anymore it would seem. Somehow Robert seemed to look rather like a member of the Bee Gees, with his long dyed-blonde hair and dark beard…

Each member of the band sound-checked their equipment and Michael Sweet spent quite a bit of time making sure the on-stage monitor mix was to his liking. At the time it seemed overly cautious, but in a post-show interview I read that the previous M3 appearance was marred by very bad on-stage sound, so I guess they had made a point of making sure that didn’t happen again.

They opened the set with the crushing “To Hell With The Devil” and immediately the power and overall heaviness of this band was apparent. Michael Sweet never fails to come out strong and his vocals are always powerful and on key and this was no different. If anything, I think the vocal harmonies from the band were some of the best I’ve heard from the band. Guitar-wise Styper are always masterful and the harmony work between Robert Sweet and Oz Fox was outstanding.

The set was comprised mostly of old classics from Soldiers Under Command and To Hell With The Devil, until we got to the sixth track, “Shout It Out Loud”, which is a cover of the Kiss song. I know this was included on The Covering album, released in 2011, but to be honest this didn’t seem like it was necessary. Stryper have plenty of material to pull from and this isn’t a particularly good fit for the band.

Next up we had two new tracks from the latest 2013 release, No More Hell To Pay, with “Legacy” and the title track, both of which were solid. The set closed with “The Way” and then a crushing version of “Soldiers Under Command”, which I managed to snag on video here > http://youtu.be/1lXgAAibNuc . Overall this was easily the heaviest set of the day, and I score this 8.5/10.


Red Dragon Cartel – Festival Stage

This is Jake E Lee’s new band after having disappeared off the face of the Earth for what seems like forever, following his departure from the Ozzy Osboune band (his firing is still not really explained as far as I can tell). Despite his efforts with his band Badlands which turned out a couple of solid albums in ‘89 and ’91, he basically dropped of the face of the Earth until resurfacing in early 2014, with Red Dragon Cartel.

The Red Dragon Cartel debut album is a bit of a mixed bag, with a collection of guest vocalists that really pull the record in so many directions it sort of feels torn apart, but there is clearly potential. Live, vocals are handled by Darren James Smith who I believe is the full time vocalist for the band, so this would be a good reveal for where this was heading.

We had to walk from the Pavilion up to the Festival stage, so we missed the beginning of the set, so we missed “The Ultimate Sin” which I would have been most familiar with and perhaps allowed me to gauge best what we were dealing with. I’m not sure what song was being played when we did arrive, but I have to say two key issues were evident; the first was the incredibly rough guitar sound from Jake himself, which I was totally not expecting. For me it was very under-driven, which leads to a fairly scratchy buzzy tone and really didn’t work for me. Secondly, I’m not really taken with the lead vocalist, Darren – to me, he just seems out of his depth.

Steve saw the whole set and came up with this: “I thought Jake sounded pretty great, but his singer was… off. I mean couldn’t you have found Joe Lynn Turner or Graham Bonnet? Mats Levin? Hell, anyone who used to sing for Yngwie or Ritchie Blackmore?”

From what I saw, this sounds generous, but I’m going to go just a little more positive than neutral here and score this performance 6/10. He only played six tracks total, so it was a pretty short set, and we had to scoot back to the Pavilion, because Queensryche were up next and they were way up my list of must see bands at the show.


Queensryche – Pavilion Stage

So, for those paying attention to my site, you will already know I broke protocol and dedicated a full review to the performance by Queensryche, since it was simply so superb. You can find it here > http://wp.me/p2hj3p-6r. If you can’t be bothered to read this, then shame on you, but Queensryche were easily band of the day, and scored a perfect 10/10 performance.


Autograph – Festival Stage

After the massive high from the Queensryche performance, we decided to take a leisurely wander up to catch Autograph. I have been a fan since 1984 when I first heard Sign In Please, but sort of lost track of them and only recently picked up That’s The Stuff and Loud And Clear which were the albums that followed the debut. All have great stuff on them, however, the core of the band was always Steve Plunknett (vocals/keyboards) who started the project as a solo effort. The band disbanded in 1989 and had a half-hearted attempt at a reunion in 2002, but soon went away again, until 2013. A reunion was discussed between the original members, but Steve wasn’t interested, so Steve Lynch (guitars) and Randy Rand (bass) both originals, recruited Simon Daniels on lead vocal and guitar and Marc Weiland (drums), leaving out what seems rather critical to me – namely the central core of so many Autograph songs – the keyboards. Hello? How can this work?

As we arrived at the Festival Stage, I heard songs I sort of recognized, I think “Loud And Clear” was in progress, but… it just didn’t have the melody I was used to hearing. This was followed by “Blondes In Black Cars” but again it just wasn’t working for me. Unfortunately, not only are the very characteristic vocals of Steve Pluknett missing, but also the keyboards, without which the songs just loose their melodic groove. All in all this was a pretty major disappointment – as I said I would have classed myself as an Autograph fan – and I’m sorry to say I scored this a limp 4/10.


Sebastian Bach – Festival Stage

I wouldn’t call myself a big Seb Bach fan, but I think his solo albums have been pretty decent and I will continue to buy them, and of course the Skid Row legacy is never far from the surface, but having seen him once before I wasn’t massively pumped at the idea of him appearing higher on the bill above both Stryper and Queensryche. I genuinely believe Seb has his heart in the right place and is a rock’n’roll icon, but I really think he belongs in a kick-ass band – whether a Skid Row reformation with him out front is the right place isn’t clear. We made our way back from the let-down of Autograph toward the Pavilion, via the merchandise area, and my ears were already aware that Seb was sounding really loud… now don’t get me wrong, I am a hard core rock fan and like my concerts to read fairly high on the Richter scale, but something seemed out of whack here.

We found our way to our seats and my wife immediately got back up and headed for the lawn area, complaining it was way too loud. Now I was also thinking this, but thought I’d give them a bit more of a chance. However, I then realized my teeth were being rattled together… WTF? The low-bass was literally shaking me bodily. Now, in my day job I am a sound engineer (not for the music industry) and have various sound measurement apps on my phone that I use for work, so I fired up the sound level meter – the peak levels were reading 118.6dB! This is ridiculously loud for any environment, but we were about 50 feet from the speaker stacks, so the level will double with every halving of distance, so at 25 feet from the stacks the levels would have read 124dB, which is a damaging level. This is totally unnecessary and later in the day I measured levels of 113.1dB at our seats for bands that followed, which were perfectly loud, but not uncomfortably so.

I don’t know what the sound engineer for Bach was trying to do, but I also left and headed to the lawn. Even up there the levels were very loud, since there are additional speaker stacks on the Pavilion roof, but no additional subwoofers, so the balance wasn;t quite so overpowering. Eventually we moved all the way to the back of the Merriweather area beyond the lawn, and it was only then that the levels seemed reasonable.

Of the nine-song set Seb played, six of the numbers were Skid Row songs, which I guess is what the audience wanted to hear, but shouldn’t they have booked the band Skid Row if that’s what was in demand? I’m kind of conflicted here. Another song was a Painmuseum cover, which it seems Seb has played since 2005, but I’m not sure of the connection. There was two new tracks from his brand new album, “Give ‘Em Hell”, namely “Temptation” and the catchily named “All My Friends Are Dead”, but nothing at all from the previous solo records. I really think someone needs to give the sound guy a good talking to, because he ruined the set completely for me, but I’m scoring this a tame 6/10.

LA Guns – Festival Stage

We were already up near the Festival stage and have a great affection for LA Guns, so it was an easy decision to head over and get some good time rock’n’roll with Phil Lewis and co. We last saw the Guns last year, when they played our home town, Leesburg, VA, which found itself renamed to Sleezburg that night – they played a binder of a set that night and rarely disappoint.

They had a good long set that ran to eleven numbers, mostly made of their classics, which is a shame because the most recent album, Hollywood Forever, is an excellent record and with exceptionally good production and great songs – all we got was one track, “Eel Pie” – I wish they had included “You Better Not Love Me”.

Unfortunately the rain that had been forecast for later in the day, decided to pick the latter half of LA Guns set to arrive and then set in with a pretty decent downpour, which was obviously no fault of the band, but sent a good proportion of the crowd to head for the Pavilion (at least those with covered seats), so the band had the misfortune to see people leaving, which they really didn’t deserve. They closed with the obligatory “The Ballard Of Jayne”, which to be honest I could do without – I think it’s outlived it’s time, but I guess many fans are not so deep in the band and cling to the obvious songs they know.

To be honest, I’ve seen the band play much better than this and I’m sure the weather didn’t help at all, so I can only score this performance a 7.5/10.


Night Ranger – Pavilion Stage

I was looking forward to seeing Night Ranger again on the Merriweather stage, since the last time I saw then here (July 2012 supporting the Scorpions) they turned in an almost perfect performance, however, being realistic, matching that performance was going to be hard, particularly in festival setting. There is a small element of irony in the line-up for this night, because Tesla were the support on all the Scorpions dates except that one gig back in 2012 and I was a little pissed off at not seeing Tesla – fortunately Night Ranger changed my mind.

So, Night Ranger came out swinging with the heavy hitting “Touch Of Madness”, but… uh oh, there’s a ‘but’ – my initial impression was they were on some level going through the motions. Yikes! I don’t know what it was tangibly, but it might have been more Brad Gillis individually, who didn’t seem connected with the show. My focus was on him since he can deliver such an existential performance when on his game, but my vibe this time wasn’t there. “Sing Me Away” followed and all the pieces of the jigsaw were there, but it just didn’t seem to be firing on all cylinders – close, but not all.

The audience were certainly “with” the band and there was a lot of singing along, but lets remember it was now early evening and a lot of people had been sampling the (expensive) bars throughout the day – certainly there were several people in the near vicinity of our seats that were three sheets to the wind. Clearly this wasn’t the only reason, but it may have been one contributory factor. Jack Blades seemed to be talking quite a lot between songs also, which I didn’t recall being part of his normal routine.

Things took an interesting turn with the fifth number of the night, when they dug up “Coming Of Age” from the DamnYankees and followed this with a new number, “High Road”, from their forthcoming album of the same name. After a bit more chit-chat from Jack, we got “Eddie’s Comin’ Out Tonight” and then, surprise, another Damn Yankees song, this time a favorite of mine, “High Enough”, which they did nail very nicely. Perhaps it was just they needed to warm up, because the set seemed to switch up a gear, from this point out, particularly with Joel Hoekstra who seemed to step up. I still think Brad Gillis wasn’t giving it full throttle, but Brad at 3/5’s is still better than 99% of most guitarists. Perhaps I was spoiled last time around just too much!

You can see my video of “Don’t Tell Me You Love Me”, which included a section where they morphed the song into the Deep Purple classic “Highway Star”, which was pretty cool. Even the standard, “Sister Christian”, which is a truly classic ballad, couldn’t take all the wind out of the sails and they finished strong with the audience pleasing “(You Can Still) Rock In America”. It wasn’t perfect, but it was solid – I scored it a decent 8/10.


Slaughter – Festival Stage

I would have liked to have seen Slaughter, but the trek up to the Festival stage seemed just a hike too far at this point in the day, so we decided to make camp and stay in our seats and see what we could from the video feed that was being piped to the big screens. One MAJOR GRIPE with the organizers of M3 – why the hell don’t you pipe the audio feed from the Festival stage over the Pavilion? You run the video, so why not the audio? Do you really think people won’t bother walking over for bands they want to see? May be some won’t but so what?

So, we’re watching the feed and things seem to go a little screwy? I’m not sure at what point this was in the set, but Mark Slaughter disappeared into the crowd and soon after the drummer started dismantling his drum set and throwing parts of it across the stage. Now, I’ve had people tell me that’s what he does, but this seemed out of control. At one point he disappeared from the kit entirely. When he did come back more parts were throw around and Mark Slaughter was back, looking pretty pissed off to be honest. It wasn’t a happy vibe.

Remember we were only able to see the video, so may be it wasn’t how it looked but Steve who was over there reported the following: “Mark Slaughter took to the crowd for a song or two, which was odd because you could NOT see him on the big screens and there was no spotlight to focus on him.  Another odd point was when the drummer started to hit and dismantle his drumset and even throw pieces on the ground. I’m not really sure what he was trying to accomplish, but it was a bit unnerving. Not to mention the awkward roadie/drum tech trying to grab the pieces and try to restore the set.  Regardless, Mark Slaughter sounded pretty great- the high wails were pretty remarkable.  That was only half the story, because there seemed to be something off, among the drummer, Mark’s kind of odd stage performance (throwing picks out on like the first song, going to the crowd as above), and the short set.

Basically that’s exactly how it looked to us too – odd. I can’t even attempt to score this.

Tesla – Pavilion Stage

The last time we saw Tesla was back in 2008 at Rams Head in Baltimore and they basically blew the roof off the place, and ever since I have been looking forward to seeing them again, but somehow those planets refused to align. Not this time, and having them headline the Saturday night was a massive improvement over the lame Bret Michaels headline last year – this time around the majority of the audience actually bothered to stay and watch the band. I’ve never really classified Tesla as a “hairband” as such, since they always steered clear of image and let the music do the talking. It’s interesting because all I can really classify them as is a “hard rock band” with a “slight Southern twist” – anything more is easily rejected.

In reviewing their history, one fact that smacked me upside the head was that guitarist Frank Hannon was only 15 years old when he first teamed up with bassist Brian Wheat to form “City Kidd” in 1982, and of the five current members, four are original from the line-up from 1984 onwards, which is really when the band really came together, adopting the name “Tesla” in ’86, more or less coincidentally with the release of their debut record, “Mechanical Resonance”, which went on to become a platinum selling disc.

The only change to the original line-up was the replacement of Tommy Skeoch (guitar) by Dave Rude in 2006, originally under the pretense of “spending more time with his family”, but it seems it was more related to substance abuse perhaps, but the core character of the band remains to this day. Tesla currently list 10 studio albums, but they have a new CD due for release within the next month or so.

Work on stage revealed Tesla had a fairly nice looking stage set, but nothing over the top, and as 9.45PM ticked around down went the lights…

They opened with “I Wanna Live” from Forever More (2008) and immediately the sound was good, the band sounded tight and most important to me was Jeff Keith’s vocals were spot on. He has lost none of the unique character that makes Tesla’s sound so identifiable. Next they rolled out “Hang Tough” and it was clear they had come to take care of business, sounding both heavier than on record, but very, very tight. The guitar playing from Frank Hannon was spot on and I would say he’s a pretty underrated player overall.

They powered through “Heavan’s Trail (No Way Out)” from The Great Radio Controversy, “Mama’s Fool” from Bust A Nut, and then “Into The Now” from Twisted Wires & the Acoustic Sessions… and then we met something new from the forthcoming album (called Simplicity) with a track called “MP3 (Too Much Technology)” – this definitely had the Tesla signature sound, but on first pass the lyrics seemed a little… how can I put this… twee… but may be it’s a “grower”? I reserve judgment for now, though I think the message they are trying to get across is pretty much spot-on. Next up was “The Way It Is” (TGRC) and then we met a change of pace, with the acoustically opened “What You Give”, followed by “Love Song”, which is just a beautiful song and it was performed perfectly.

The set closed out with a great version of “Signs”, an absolutely stormin’ version of “Modern Day Cowboy” and closed with “Little Suzi” which had the crowd singing every word. Basically they didn’t miss a beat and crafted a perfect set list. As the last time I saw them, I was left wanting to see them again – hopefully it won’t take another 6 years for them to come around again. My score for Tesla a solid 9/10.

After-show Fun

This review is already monumentally long, so briefly:

Todd La Torre (Queensryche) – super nice, met him on the way into the hotel, snapped a pic or two and signed the M3 poster.

Eddie Jackson (Queensryche) – also super nice and seemed genuinely interested in what the fans think. Was hanging out in the hotel bar.

Michael Wilton (Queensryche) – had a great chat with him in the hotel bar. Seems very positive on all aspects of the bands future.

Parker Lundgren (Queensryche) – was a bit rushed in the hotel bar, but managed to snag a “selfie” with him! Met him again at Clyde’s.

Oz Fox (Styper) – had a cool chat with him about his online guitar tuition video courses in the hotel bar.

Robert Mason (Warrant) – hanging out at Cylde’s.

John Corabi – he was everywhere. No matter where you looked, there was Corabi…!

Eddie Trunk – sort of ran into him in the hotel lobby. Of course Corabi was there too, telling fun tales that had my wife and Eddie in fits of laughter.

Troy Luccketta (Tesla – Drums) – was in the hotel lobby.


Final thoughts – the line-up this year was strong and better than the previous year by a good lot. The organizers need to hold this about 4 weeks later in the year, since the weather is a big deal for this kind of venue. Extreme held the honors for “Best of Day1”, while Queensryche took “Best of Day2” and “Best Overall” with a superb performance. Given the news the following day that they had retained the name, I suspect this was a performance based on knowing they have a strong future and could put the legal wrangling behind them – and good on them! We’ll be back next year! \m/

– Neil Waterman

Thanks to Steve Wass for the additional review material – you can find his full blog site right here > http://heavymetalcowboysteve.blogspot.com/




2 Responses to “M3 Festival 2014 – Keel, Jack Russel’s Great White, Stryper, Red Dragon Cartel, Queensryche, Autograph, Sebastian Bach, LA Guns, Night Ranger, Tesla – Concert Review – Day 2 (4/26/14)”

  1. Great review Neil! I was really bummed that I missed Red Dragon Cartel, but less so now that I read your review. I expected less drive on the guitar than your average metal guitarist, so that doesn’t surprise me, and I doubt it would have bugged me. Jake was great in Ozzy but Badlands was much closer to what I think is at the core of Jake E. Lee as a guitarist. He is basically a badass blues rock guitarist who happens to compose great metal songs and solos. The singer on the other hand…I’m with you. The guy can handle Ozzy’s material alright from what I’ve seen on Youtube, but Ray Gillen was a phenomenal vocalist. One does not simply walk into Ray Gillen land. Now that Jake has re-established himself a bit on the scene, perhaps he can land a better vocalist for the next album. I’m still rooting for Jake!

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