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The Iron Maidens, the world’s only all-female tribute to the legendary Iron Maiden, returns to The Vault in New Bedford, MA, Saturday, April 15, 2023, in a concert presented by JKB Entertainment Group. Stormstress and Groundlift open the show. This is a 21+ show. Purchase tickets HERE.


Formed in 2001, The Iron Maidens have quickly established themselves as one of southern California’s most popular tribute acts and are rapidly gaining international recognition. The band boasts beauty as well as excellent musicianship, lively stage presence, and a remarkable stage show with theatrical scenes interspersed throughout.

First and foremost on the agenda of The Iron Maidens is talent. These women are highly trained professionals with diversified musical backgrounds ranging from orchestral and musical theater to blues and rock. The band and its members have been the recipients of many awards including best tribute band, and best in category (guitar, bass, drums, voice) at events such as The Rock City News Awards, The LA Music Awards, and The All Access Magazine Award Show to name a few. The line-up is Kirsten “Bruce Chickinson” Rosenberg on vocals, Linda “Nikki McBURRain” McDonald on drums, Courtney “Adriana Smith” Cox and Nikki “Davina Murray” Stringfield on guitars, and Wanda “Steph Harris” Ortiz on bass.

The Iron Maidens cover Iron Maiden material from all eras of the band’s career, encompassing the band’s biggest hits as well as fan favorites. The stage show includes appearances by Maiden mascot Eddie, the grimreaper, the devil and more.

The Iron Maidens have packed houses everywhere they have played.


American heavy metal power trio, Stormstress, was born amidst a bomb cyclone that hit Boston in October of 2019. Co-fronted by Detroit-raised Berklee College of Music Alumni, identical mirror-image twin sisters guitarist/vocalist and PRS Guitars Pulse Artist Tanya Venom and bassist/vocalist Tia Mayhem with ‘Hit Like A Girl 2014’ finalist powerhouse Maddie May Scott on the drums, these three wildly ambitious and seasoned players make Stormstress a force to be reckoned with. Their signature sound shaped by heavy riffs, powerful grooves and melodic vocals paired with their high-energy, bombastic live performance style has been compared to the likes of Halestorm, Avenged Sevenfold, Led Zeppelin and Dio. Award-winning songwriters, Tanya Venom and Tia Mayhem, write primarily about self-empowerment, individuality, and breaking boundaries while delivering a unique dual frontwoman experience.

Stormstress hit the ground running and hasn’t stopped since. The band released their debut single “Paint the Mask” inspiring a nearly sold-out debut show in February of 2020 shortly before what became the worldwide quarantine. Despite facing the world-halting Coronavirus pandemic at such an early stage in the band’s career, Stormstress persevered and released their second single, “You Can’t Hurt Me Now,” in November of 2020, accruing over 100,000 streams on Spotify within the first month of its release. Come February 2022, Stormstress released a third single, an emotional power ballad called “Fall With You” featuring a string quartet part and gothic ballroom music video. In April of 2022, Stormstress released their debut full-length album “Silver Lining” in collaboration with producer Liz Borden of the legendary all-female punk band, Lizzie Borden and the Axes and Sarah Fitzpatrick. The album dropped with a sold-out release show followed by a successful mini tour across the northeast and midwest.


Frontman Ace McCormack and bassist Mike Dutko instantly became friends when they had their first rehearsal and discovered their palpable musical synergy. Leah Bluestein became the obvious choice for drums when they heard her play like a combination of Dave Grohl and Neil Peart. 

The joining of their three varied and eclectic music tastes resulted in a fresh, unique sound where Ace’s love of beautiful melodies, Dutko’s adventurous Queen-like writing style, and Leah’s unbridled technical prowess all shine through. They are three musicians obsessed with their craft, allowing each other to fire on all cylinders with no holds barred. Combining tasty and inventive licks with catchy melodic hooks, surreal lyrics, shredding guitar-drum-AND bass solos, and an unfathomable rhythmic tightness, Groundlift is truly a band unlike any other. 

With their hard rock inspired vibe, thick pocketed grooves, and catchy tunes that will stick in your head for days, Groundlift is a band that can get the the hard-core punks back flipping into the moshpit, the indie fans singing along, and the fellow musicians nodding in approval all at the same time. 

Beginning with hard rock and punk roots, the band expanded their sound into funk and progressive influences on their single “Till You Run Out of Time.” Now with their latest collaboration with producer Steve Evetts, the trio has honed their sound into a mix of classic rock and roll, funk, blues, progressive rock, and Brit-pop glory.

The Vault is located at located at 791 Purchase Street in New Bedford, Mass. Tickets can be purchased through and start at $30.


MUST BE 21 or OLDER with Valid ID for Entry.

All ticket sales are final. There are no refunds or exchanges unless the concert is postponed or cancelled.

There is NO SMOKING OR VAPING allowed inside The Vault or in the bathrooms. If you are caught doing either, you will be escorted off premises and forfeit your tickets.



The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


Since I hadn’t heard Y&T’s Endangered Species album before now, I wasn’t all that surprised that it took me a couple of listens before I came around to appreciating the album in full. But don’t think that means I didn’t like some of the material on the album from the start, it is just that there were a couple of songs that took that extra time to grow on me.

Of course, that doesn’t apply to the opening track “Hello, Hello (I’m Back Again)”. That is a full-on powerful monster rock track. When the song is in full gear, the full band is ready to blow the metaphorical roof of the place, and Dave Meniketti’s vocals get right up in your face. It’s just a killer track and given Meniketti’s recent health issues, I would love to see this song as an opening number for a concert tour. A kind of serving notice to the rock world kind of thing.

The follow-up track “Black Gold” is another ballsy sounding rocker but rather than a full out blitz of a musical soundtrack, this one develops more of a burning groove sound that endears itself to the listener pretty quickly. The song’s extended musical outro was fantastically interesting to me. Of course, the more full-on rocking style returns on “Gimme The Beat” with Y&T as a whole simply on fire from start to finish.

“God Only Knows” is a power ballad type of song, but I thought it had more of an emphasis on the “power” side of things throughout most of the track. I liked the song but definitely found myself enjoying it more when the band was more forthright in their delivery.

I’m not sure if it is my ears playing tricks on me or not but when the band gets to rocking out on the song “Sumthin’ 4 Nuth’n”, I thought the sound had a little extra bit of grittiness to not only the music but to Meniketti’s vocals as well. Whatever it was, this was definitely one of my favorite tracks on the album. It’s just got a great feel overall and I liked the way everything just seemed to come together perfectly for this one.

As for the Side One closer “Still Falling”, the band did mess with expectations a bit. The song does start off as a ballad, but Y&T quickly turn away from the slower feel and turn the track into a crushing rocker.

Side 2 of Endangered Species wastes no time in getting down to the business of rocking your socks off! The song “Voices” explodes from your speakers and if you were expecting to experience any kind of doldrums, abandon those hopes. Because Y&T is just on fire throughout this song.

The song “I Wanna Cry” was one of the songs that took me a bit to appreciate. The song has a mid-tempo pace throughout. Almost as if Y&T were trying to play the song under the radar or something. But when the chorus for the song comes around, the intensity of the delivery increases and suddenly, even if for just a few seconds here and there, the track just bursts with a fireball of intensity.

The song “Sail On By” was the one song from Endangered Species that was played during the Y&T concert I saw back in 2019, the show that converted me into a fan.  I described it in a review of the show I did as being very cool. And as I listened to the studio version here, I was once again struck by just how cool the song sounded to me. It bounces along in a mid-to-uptempo style and that slightly nostalgic set of lyrics really grabs me each time I hear the song. I just can’t get enough of this song.

Y&T gets back into their more explosive rock and roll side with “Can’t Stop The Rain”. There’s a great guitar sound and there is just a killer feel to the song in its entirety. My notes for this article included the notation “Killer Track” and there’s just no better way to sum it up.

The song “Try To Believe” starts off a little slower in tempo but that changes as the song plays out. It has a great feel to it and I found myself enjoying quite a bit. But what really surprised me was the album closing “Rocco”. It’s listed as a bonus track online but there’s no indication of it on the cassette itself. However, the fact that this is an instrumental track that actually really “worked” for me was perhaps the biggest surprise of them all for me.

I am continually amazed on two fronts when it comes to Y&T. The first part is that I spent so much time pretty much ignoring the band’s music. And the second part is that each time I check out one of their studio albums, I come away just that much more impressed with what they accomplished. And that ends up being the case once again with Endangered Species. Yes, it did take me a couple listens to really sink my teeth into the album as a whole, but once I got there…DAMN this is such a fantastic album!

NOTES OF INTEREST: The Endangered Species album would be the last studio release for Y&T until 2010’s Facemelter.

The UK version of the album has the track listing in a different order than the US release. The Japanese edition has a thirteenth track, an acoustic rendition of “Hands Of Time”, listed as a bonus track.

Bassist Phil Kennemore, who passed away in 2011, wrote the track-by-track notes for each song on the Endangered Species liner notes.


The Great Escape is the premier tribute to the music of JOURNEY! The band will perform an evening of Journey songs at The Vault in New Bedford, MA, on Saturday, December 3rd, in a concert presented by JKB Entertainment Group. Purchase tickets HERE.

Formed in 2008, The Great Escape performs the timeless music of Journey with the note for note accuracy and energy all Journey fans come to expect – a Journey experience you don’t want to miss. Their live shows have even prompted some to ask if Journey was actually performing.

Whether playing in a large scale venue, nightclub or private function, The Great Escape aims to leave their audience energized, entertained and eagerly anticipating their next show.

The band has a large dedicated following, adding more and more loyal fans with each performance.

The Great Escape was voted Best New England Tribute Band at the 2008 and 2013 Limelight Magazine Awards show!

Jason Paulino fronts the band with his powerful vocals, incredible range and enthusiastic energy. When singing the songs of Journey, Jason’s vocals are indistinguishable from Journey’s Steve Perry – it’s an amazing performance every time!

Rich Vigdor is the band’s lead guitarist. Rich will dazzle any audience with his note-for-note renditions of Journey’s familiar guitar riffs and solos.

Chris Brunelle fills a big role with his keyboard and piano playing, a critical piece in so many Journey songs, as well as adding some lead vocals.

The backbone of the band is filled by Tony Clement, conducting the band with his power and precision drumming, and the rhythmic bass playing of Bob Wheeler.

Come experience The Great Escape as they breakout their high energy musical performance and take you on an incredible Journey!

The Vault is located at located at 791 Purchase Street in New Bedford, Mass. Tickets can be purchased through and start at $18.50.



The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


You would think I’d stop being surprised by this, but after listening to the Kik Tracee album No Rules for the first time ever, I was struck by how good this turned out to be. Of course, since they were among the third generation of glam bands in the 1980s / early 1990s heyday of metal music, they pretty much disappeared without a trace once grunge took over the music scene.

But that doesn’t invalidate No Rules as a damn fine album. In fact, the album had enough going for it that had it been released earlier in the 80s, they just might have made a far greater impression on the scene.

The first side of the album opens with the song “Don’t Need Rules”, which a a humdinger of a rock and roll number with which to kick things off with. I found myself loving the vocals from Stephen Shareaux from the start. He had both grit and gravitas threaded throughout his performance. And the guitar work on a bunch of the songs was phenomenal. The song “You’re So Strange” starts off with more of a moderate pace but grows into more of a blown out rocker and the solo in the song really stands out. Guitarist Michael Marquis had some chops!

The song that really got me fully embedded with the band’s sound was the full bore rocker “Trash City”. There’s something about the way this song flows that really had me wanting to pump my fists in the air. “Hard Time” is another fantastic rocker that kept my energy level flying high throughout the song.

Sadly,  the first side of No Rules has a catastrophic mis-step on it that initially had me wondering what the hell the band was thinking…and then what the label people were thinking by letting the band record and release their cover of Simon & Garfunkel’s “Mrs. Robinson”. I’ll give the song some credit by having a compelling twist to the upgraded tempo of the music, but I hated the way the vocals came out and no matter how much I might have appreciated the music, it was just a total failure to my ears overall.

But that’s the only mistake I felt Kik Tracee had on the first side of the album. Hell, even their ballad is amazing. It’s called “Big Western Sky” and I thought it was just an instant ear grabbing track for me. It has a scope and death to the music that fits the images conjured in my mind by the song’s title. And since Kik Tracee had been referred to as a clone of Guns N’ Roses, I thought this song was where I first heard Shareaux’s vocals sound significantly like Axl Rose. But I didn’t consider it a bad thing necessarily because the song is just so damn good.

As for Side Two, I did tend to enjoy the music here as well. But the closing track, the 43 second “Fade Dunaway”, was kind of useless piffle for me.

But the album side did start out rather nicely. The song “Generation Express” has a brief slow intro that then launches into a fast moving and blazingly paced rocking soundtrack. And it is DAMN CATCHY too!

I have to admit, I got a little distracted the first time I listened to the album so I had to go back and listen to the next three songs on Side Two again. I was at work and my attention to detail had to be a little more focused on a task I was doing while listening to the album. But once I gave those songs my full attention, I found that “Soul Shaker” was a stunningly great track. It actually does showcase more of soulful vocal turn (combined with the requisite rock and roll fuel mixed in of course). It’s a song that has a lot going for it and it needs to be heard by a larger audience. I loved the rocker “Tangerine Man” a lot as well.

The song “Lost” goes for more of a midtempo feel, though I wouldn’t quite call it a ballad. The song starts out mostly with vocals and guitars and pretty much stays that way the whole way through. But the more in-your-face rock returns with “Velvet Crush”, a song that has a real hard driving stomp to it. And the song “Rattlesnake Eyes (Strawberry Jam)” was a blazing rocker that caught my ear right from the start. Definitely one of the best individual tracks on the album.

Kik Tracee may not have made too much of a mark on the latter part of heavy metal’s decade of dominance but looking back at the No Rules album with the benefit of three decades of hindsight, this album has almost everything you could possibly want in rock/metal release of the early 1990s. And the band does it with almost effortless aplomb. Yes, I’d like to wipe their cover of “Mrs. Robinson” from my brain but otherwise, there is no doubt here that No Rules is a flat out fantastic album that definitely should be given a new listen by many a music fan.

NOTES OF INTEREST – The album was produced by Slaughter bassist Dana Strum. While the No Rules album was the band’s only official studio release, they had been working on an album called Center of a Tension when they broke up in 1993. The album remains unfinished.

There was a 2-disc compilation called Big Western Sky (recycling a song title on No Rules for the album’s title) released in 1997 that had demos, rarities and B-sides. There was also an EP called Field Trip that had been released in 1992.

Kik Tracee bassist Rob Grad appeared (with his new band Superfine) on a 1997 episode of Buffy the Vampire Slayer.

Corey Feldman & His Band To Kick Off The Vault’s Re-Opening Weekend Concerts on Dec. 2nd

Corey Feldman, famed actor and musician, is embarking on his first US tour in five years with a stop at The Vault in New Bedford, MA, on Friday, December 2, 2022. This will be the first concert at The Vault since they announced their reopening to outside concert promoters last month. This show is presented by JKB Entertainment Group. Purchase tickets HERE.

“We have presented nearly 20 shows at The Vault before they closed in early June and we are excited to welcome everyone back on December 2 with Corey Feldman and His Band,” said JKB Entertainment Group co-owner Katie Botelho. “This is going to be a great show that you should not miss!”

Featuring an all-new band, Feldman is hitting the road in support of his new album Love Left 2: Arm Me With Love which features the viral hit “Comeback King” featuring Curtis Young, as well as his new box set Love Left 2.1

Corey Feldman began his career at the age of three, starring in a Clio Award-winning McDonald’s commercial and hasn’t stopped working since. Corey has been a mainstay in the industry, appearing in over 100 films. In 1979, he landed his first leading role in The Bad News Bears and made his big screen debut in Time After Time. Since then, Corey has gained recognition for his work as the voice of Young Copper in Disney’s The Fox and the Hound, and as Tommy Jarvis in the Friday the 13th franchise. This led to Corey’s appearance in a series of Blockbuster hits, including, Gremlins, The Goonies, Stand By Me, and The Lost Boys— for which he received a Young Artist Award.

Other notable roles include the voice of Donatello in the Teenage Mutant Ninja Turtles and appearances in The Burbs and Maverick. He has become a full-time producer, producing sequels to The Lost Boys for Warner Bros, as well as a cannon of other films and TV shows such as A&E’s The Two Coreys, and more recently, he served as executive producer for the Lifetime Network’s A tale of 2 Coreys. Corey both produced and starred in his newest feature film, Corbin Nash. Corey has spent time touring with his band, completing eighty shows in a mostly sold out US tour, and he recently had his first Top 40 Billboard hit single off his latest solo album.

In addition to his impressive background in entertainment, Corey is also a NY Times best-selling author for his 2013 autobiography Coreyography. Corey also serves as National Ambassador for CHILD USA, helping to bring awareness to the campaign for statute of limitation reform for victims of child sexual abuse.

The Vault is located at located at 791 Purchase Street in New Bedford, Mass. The venue is set within a former bank building featuring original vault doors and a truly historic feel. Tickets start at $25 with options to purchase a VIP Meet & Greet with Corey Feldman.


On the final Friday of every month in 2022, Limelight Magazine spotlights the filming location site(s) we visited for some of our favorite (and not so favorite) films and TV shows. Today we spotlight two of the filming locations for the movie Hocus Pocus  which was directed by Kenny Ortega. The film was released in 19993. The top photo is a screen shot taken from the film while the photo underneath it is what the location looks like when we visited in 2014 and 2022. These photos were taken in Salem, MA.



The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


For an exceedingly long time now I’ve found that while I liked the various Alice Cooper songs that got airplay either on classic rock radio stations like 94 HJY in Providence, RI or had their big moment in the sun as videos on MTV during the 1980s, I had never found my way to actually owning any Alice Cooper albums. I had even seen him twice in concert without picking up any releases.

That changed when the album Paranormal was released back in 2017. I had reviewed that album for another website and had a blast listening to it. Then I had gotten a copy of The Last Temptation release on cassette for an as yet unwritten article in this series.

Recently, I bought some CDs from an online friend and the Trash and Hey Stoopid albums were included in that small lot.

So it was kind of funny when Limelight co-grand poobah Jay Kenney picked up the Constrictor album on a buying trip and sent it to me with the suggestion to write about it to coincide with Halloween. I mean, it is kind of perfect. The ultimate “shock rocker” fits the whole Halloween vibe. And this piece is going live four days before the big sugar rush day.

Since I had never heard the album before, I wasn’t sure if I’d ever heard anything from it. As it turned out I had heard a couple of tracks in the past but certainly not in a large number of years.

In fact, I think the most notable thing about this album for me back in the day would’ve been the addition of guitarist Kane Roberts. Constrictor was his first album with the band, and given how muscle bound he was, Roberts (no relation by the way) certainly would’ve made quite the visual impression. But what I didn’t know until I looked at the album’s track listing online is that he co-wrote all the songs on Constrictor with Alice Cooper. There were four songs that included one other co-writer as well but essentially the album was a Cooper/Roberts creation.

But how were the songs in terms of quality? The answer is: Pretty Damn Good!

The album opens with the song “Teenage Frankenstein”. It’s one of the two tracks I remembered and it kickstarts the album off quite nicely. The rocking track has a great hook and I really enjoyed the flow of the lyrical content as well. It’s one of two songs that were featured on the Friday The 13th Part VI: Jason Lives soundtrack but stands on its own superbly.

The entire album is a full-on rocking affair, no ballads need apply here. And that’s a good thing. I really liked how the band just kept the adrenaline flowing from track to track and kept me as a listener on a high flying level of enjoyment.

As for the other songs on Side One, I thought “Give It Up” was a pure blazing number with its racing tempo. Meanwhile, “Life And Death Of The Party” and “Simple Disobedience” both were fueled by an electric sense of attitude. 

I will say that I thought the title of “Thrill My Gorilla” was silly and/or stupid sounding but there’s something about the performance and how charged it is that found me rocking out each time I listened to the track.

Moving on to Side Two of Constrictor, the song “The World Needs Guts” has a seemingly very pointed lyrical take combined with a fantastic soundtrack behind Alice Cooper’s vocals. This killer track is further enhanced by an incredible sounding guitar solo that I really dug.

The song “Trick Bag” was a fast moving number that has its moments but it was the song “Crawlin'” that really caught my ear. It resonated strongly with me for some reason. It’s an impassioned rocker that grabbed me and wouldn’t let go. It has a simple yet catchy chorus and I played this track a few extra times above and beyond playing through the album to write this article.

The song “The Great American Success Story” is relentlessly paced with Alice Cooper and company just bursting out of the speakers like a bomb and doing their own kind of shake, rattling and rolling through this track. 

And then comes the closing track which is the second of the two tracks I was previously familiar with beforehand. “He’s Back (The Man Behind The Mask)” served as the theme for the Friday The 13th Part VI: Jason Lives movie and I’m pretty sure that’s where I had actually heard it from. Either that or I saw the video for it. Either way, I remember liking the song back in the day. While I do still like it now, I noticed that while the other songs on Constrictor are strongly defined by an aggressive and all-out guitar driven attack, this track is completely different in construction and tone. It is almost out of place here because the song is driven more by keyboards than guitar. Again, it isn’t a bad song but after nine songs of guitar rock, the track just took me by surprise with the change in song style.

While I haven’t launched a full fledged campaign to purchase every album from Alice Cooper, I have now found that every time I pick up one of the band’s releases (at long last), I go for one hell of a damn good musical ride. Constrictor easily continues that streak with a solid combination of a great performance from both Alice Cooper himself as well as the hot new guitarist (back in 1986, I mean) Kane Roberts. In short, I loved this album!

NOTES OF INTEREST: This was the 9th studio album from Alice Cooper and besides the introduction of guitarist Kane Roberts, Constrictor was the first album to feature Kip Winger on bass. Also, drummer David Rosenberg made his first and only recording appearance with the band too.

“Teenage Frankenstein” and “He’s Back (The Man Behind The Mask)” were the two songs featured on that Friday The 13th movie but there was a third song written for the movie called “Hard Rock Summer”. However, it was never commercially released until the 1999 release The Life And Crimes Of Alice Cooper.

“The Great American Success Story” track was supposed to be for the Rodney Dangerfield movie Back To School, but the song ended up not being used for the soundtrack.


F.W. Murnau’s silent film classic Nosferatu has been terrifying audiences for 100 years. On Saturday, October 29th, the Narrows Center in Fall River will present the movie that has inspired generations of filmmakers with a new score performed live by Paul Bielatowicz who is best known as the virtuoso guitarist for Carl Palmer’s ELP Legacy.

For this special one-off Halloween weekend concert, Bielatowicz has put together an all-star band featuring keyboardist Dave Bainbridge (The Strawbs, Lifesigns), bassist Mike Dutko (Groundlift) and drummer Leah Bluestein (Goundlift). Expect scares, laughs, audience participation and FANGtastic fun. Experience Nosferatu like never before – the loudest silent movie you’ve ever seen!

Join us for a Spooktacular live performance of a new rock soundtrack that breathes new life into the undead classic. Costumes are encouraged and prizes will be awarded to the top three best costumes.

The Narrows Center is located at 16 Anawan Street in Fall River, Mass. Tickets to this show are $25 in advance and $30 day of show. They can be purchased by visiting or by calling the box office at 508-324-1926. For those wanting to purchase tickets in person, box office hours are Thursday through Saturday, 12 noon to 5 p.m.


On the final Friday of every month in 2022, Limelight Magazine spotlights the filming location site(s) we visited for some of our favorite (and not so favorite) films and TV shows. Today we spotlight one of the filming locations for the movie Don’t Go In The House which was directed by Joseph Ellison. The film was released in 1979. The top photo is a screen shot taken from the film while the photo underneath it is what the location looks like when I visited on August 27, 2022. These photos were taken in Atlantic Highlands, New Jersey.



The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


A little over five years ago, I wrote about John Parr’s second album Running The Endless Mile. In that piece, I mentioned that my plan had been to write about Parr’s self-titled debut album instead but the player ate the tape before I could hear the whole album.

Wouldn’t you know it, I tracked down a new copy of the album on cassette (at long last) and can finally do the article I had planned on five years ago. The funny thing is as I was preparing to listen to the album, even with the deadline looming, I wasn’t sure if I was quite ready to do the piece. I had considered pushing the article back and just write about a different album. And then Parr’s monster hit “St. Elmo’s Fire (Man In Motion)” came on the radio station I have to listen to at work. I took it as a sign to cowboy up and get busy listening and writing.

There were three songs that were released as singles from the John Parr album and the sequencing was such that they are the first three songs on the album as well.

I think anyone that was listening to Top-40 radio in the 1980’s is likely quite familiar with the song “Naughty Naughty”, but before we get to that one I thought the other two singles would be interesting to talk about. Neither “Magical” or “Love Grammar” made much of a dent on the singles chart so it’s not surprising that I can’t recall ever hearing either song.

But they do both prove worthwhile some 38 years after they were originally released. “Magical” was co-written by Meatloaf (who Parr had worked with on the former’s Bad Attitude album. It’s a lively little number drenched in part with sexual imagery and a pretty strong vocal take from John Parr. It took me a couple of listens but I really got into the song’s rocking tempo.

As for “Love Grammar”, I found it to be an interesting yet weird song. It starts off as a ballad but as the song launches into the chorus, Parr almost seems like he’s yelling that part of the track. Keyboards play a big role throughout the album but their presence here is immense. It’s also the first song I can ever remember hearing that used actual rules of grammar as song lyrics (not counting “Weird” Al Yankovic’s song “Word Crimes”). While the song overall was decent, I thought it worked much better when the pacing was more uptempo.

And now we can talk about “Naughty Naughty”. The odd thing is that while I’ve heard this song many times over the past four decades, I thought it was a bit more successful than it actually was. Sure, it was a Top-40 hit, but I never realized that it only hit #23 as a single. Given how much I liked the song then and still get a charge whenever I hear it now, I was surprised to say the least. The song has a great hook to it and a solidly rocking driving beat. Even as I was listening to it for this article, I got a charge when the opening part of the song started playing. It’s just a damn good song that brings me back to a particular time and place when I listen to the track.

The last two songs on the first side of the album proved to be another kind of challenge for me. That’s because the start of both “Treat Me Like An Animal” and “She’s Gonna Love You To Death” started out in kind of a mid-paced groove. And neither song was proving all that intriguing to me. But a funny thing happened along the way. Each track got more upbeat as it progressed and the soundtrack for each one started drawing me back in. It took a little work but I ended up liking each track.

And then you flip over the cassette for Side Two and come to a screeching halt right off the bat. While the song “Revenge” is pretty much a rocking style of song, this one simply never came together for me and it would definitely be a skip track for me on any future plays of the album.

As for the song “Heartbreaker”, I liked a good majority of the song. The main lyrical passages really grab your ear. But I was left utterly cold by the song’s chorus. It falls flat largely due to the way John Parr’s vocals are performed. They seem entirely too soft in comparison to the rest of the song. I should point out that I did love the guitar solo in “Heartbreaker” though.

Call me crazy but if I’d heard this album back in 1984, I would’ve been all over the song “Somebody Stole My Thunder”. The intro is a very driving rock sound. As the vocals kick in, the pace slows down a bit before getting a little more fiery for the chorus and packing another great rock punch. I’d call this one of my favorites for sure.

The album closes with the song “Don’t Leave Your Mark On Me”. This track really seemed to be going on a different path than the rest of the songs on the album. It’s got a slightly darker tone to both the music and the lyrical content and as the song plays, Parr’s vocals enliven the song that much more. I’m not quite sure I know what the intent of the song and the lyrics were, even after looking them up online. But what I do know is that the song definitely made its mark on me.

While I wasn’t crazy about the whole package that was the Running The Endless Mile album, John Parr’s self-titled debut album sure seemed to have a lot going for it. It may have run completely under the radar save for the hit single “Naughty Naughty” but there’s plenty of solid music throughout the album and I think fans of 80’s pop rock will find it time well spent if they give this album a spin.

NOTES OF INTEREST: The 1985 UK release of the John Parr album added the “St. Elmo’s Fire (Man In Motion)” track to the album. It doesn’t appear on the US release that I have given that the song wasn’t even recorded at the time, so far as I know.

Toto’s Simon Phillips plays drums on two songs while his bandmates Steve Lukather, David Paich and Steve Porcaro all make guest appearances as well.