The Cassette Chronicles – Damn Yankees’ self-titled debut


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.


 On paper, the team up of Jack Blades, Tommy Shaw and Ted Nugent (along with newcomer drummer Michael Cartellone) might seem a wee bit strange. I know that when I first heard of the project, it didn’t seem like the AOR sound Blades and Shaw are most associated with would blend all that well with the frenetic histrionics that Nugent is known for.

But that’s why you have to listen before judging, because the self-titled debut album from Damn Yankees was a darn sight better than I think anyone that had doubts could’ve expected. Yes, the more AOR sound prevails throughout the release but there’s plenty of guitar pyrotechnics that are surely the influence of the Motor City Madman as well. Given the fact that the album went double platinum, a lot of people found the album highly enjoyable as well.

The Damn Yankees album was propelled by three hits. You had the requisite power ballad in “High Enough”, which was the biggest charting song for the band. It hit #3. I know that this is where I would usually dump all over the song because it is a ballad, but that’s not happening this time because I actually like the song.

While “High Enough” is their most successful track, I think the album’s opening song “Coming of Age” is the one that really gets people amped up to this day when they hear it. There’s something about that opening riff that gets me excited nearly 30 years later when I hear it on the radio. When I played the cassette for this article, I had the same kind of charged feeling too.

The other song that got traction as a single was “Come Again” and again, I really like the song. It starts out like it is going to be a ballad but after that initial intro, the more driving rock sound kicks in and fuels the song to a greater height in my mind.

There were a couple of songs released as singles but “Runaway” and “Bad Reputation” didn’t get nearly as much individual success as the first three released songs. That’s not to say they were bad songs though. They both follow “Coming of Age” in the track listing and they are both electric rockers that keep your energy level on high.

The title track for the album closes out the first side of the album and it is a big anthemic rocker. The chorus is huge which isn’t a surprise since that particular sound is evident throughout the album. The album’s producer was Ron Nevison and he knew his way around the entire AOR sound playing field.

After “Come Again” opens Side Two, the album races to the finish line with a killer set of rockers. Now I said that the writing credits don’t get too specific about who wrote what beyond the trio. But I thought the songs “Mystified” and “Piledriver” screamed Ted Nugent. Obviously I could be completely wrong about that, but that’s just where my mind went as I listened to the album once again. There’s a similar kind of guitar noodling sound on both tracks that give it a bit of bluesy start. That start disappears on “Piledriver” once the song gets going in full because it soon bursts into an all-out rocker that brings the album to a frantic and crushing end.

Speaking of frantic fretwork and huge anthems, the song “Rock City” goes a long way towards trying to redefine the phrase “playing with wild abandon”. There’s not an ounce of subtlety on this track and that’s a good thing. The band just goes pedal to the floor musically and leaves you breathless as they rock and roll you with the song.

And that’s kind of what you needed I think. While the band members obviously had their 70’s and/or 80’s rock pedigrees, the metal years were starting their wind down by the time 1990 rolled around. And this was anything but just flat out boring glam retreads. No, there’s a seamless blend of both melodic rock with fiery guitar runs and vocals that get you to sing along. The Damn Yankees is just a sublimely fantastic album that no matter how many times you hear it, you find yourself somehow energized by the material. For me, it’s an album that will always feel timeless no matter how much time passes.

NOTES OF INTEREST: I saw the band on tour in 1991 in Mansfield, Massachusetts at was then called The Great Woods Center for the Performing Arts. They headlined over Bad Company and Tattoo Rodeo. Bad Company was excellent and I loved the Damn Yankees set as well. Ted Nugent was crazy good on the guitar in particular.

This factoid manages to amuse me for some reason. The band released just two studio albums (Don’t Tread was the band’s second album and went gold when released in 1992) but somehow have THREE greatest hits type compilations to their credit.

The band has reunited in various incarnations over the years to perform songs in concert. The one real attempt to put out a new album came in 1999 but no one from the band to the record company was happy with the music they came up with for the planned third release. That album was reportedly going to be called Bravo.

Drummer Michael Cartellone was pretty much unknown before Damn Yankees but he’s gone on to a pretty good career. He toured with Ted Nugent’s solo band as well as with John Fogerty. He’s been the drummer for Lynyrd Skynyrd since 1999. He’s also played on albums for Accept, Brad Gillis, John Wetton and Shaw/Blades among others.


TJ’s Music Fall River Arts Academy Students to perform at Carnegie Hall


In a culture that places more importance on results than it does on the path chosen to achieve them, working towards intangible goals isn’t very popular. But what if the outcome was guaranteed?

The old joke asks, How do you get to Carnegie Hall? and answers, practice, practice, practice. If the route to Carnegie Hall was paved for you in advance, however, the practice would hopefully ensue. After all, who would want to arrive at that revered performance space feeling ill-prepared?

Todd Salpietro, founder of TJ’s Music on South Main Street in Fall River, Mass., and its educational offshoot, TJ’s Music Fall River Arts Academy, is testing that equation this season by scheduling a special performance for 40 students at Carnegie’s Weill Recital Hall. The show is set for December 1st.

“We’re always seeking opportunities for students that will entice them to want to practice more and become better musicians, so anything that we can try and implement that will potentially bring those results is worthwhile,” Salpietro said during a recent call. “The Carnegie Hall performance is one of the numerous vehicles we’re using to create an incentive.”

Salpietro opened his store 22 years ago and his wife, Tamie, helps him run the operation, which has blossomed impressively: right now, they have just under 350 students enrolled in the academy, ranging in age from 5 to 77. For the Carnegie Hall trip, the age range of performers will be 7 to 50.

If the trip goes well, he has a few similar ideas he’d like to put into an annual rotation. He and Tamie will be heading to Manhattan to tour the building and work out logistics ahead of time. For the actual event, they’ll be providing bus service for the students.

“To me, it’s the most prestigious stage in America,” he said. “The Beatles, The Doors, Buddy Rich — so many amazing people have performed there. It’s something to be proud of, to say that you were able to play there at any time in a career, and I think it can make students feel like ‘these things are attainable, I can get there.’ The Weill Recital Hall is 268-seat capacity, which is perfect for us. The room is drop-dead gorgeous, the chandelier, the piano… there’s something magical about it. Nobody seems able to explain it, whether it’s the height of the ceiling, the carpet or the material on the chairs, but there’s something about how sound travels within that space that has made the best composers in the world look forward to playing in it.”

Salpietro is a good man to have on your side when talking about achieving musical goals since his family is four generations deep in musicians, reaching back to his great grandfather. His first musical love was drumming (hence the mention of Buddy Rich), which was the impetus for opening his store when he was 25. Eventually, he was giving 75 drum lessons a week and touring with a Pantera cover band called Trendkill. Along the way, TJ’s became a full-service spot for all kinds of instruments and, in 2017, what was once a smaller curriculum of individual lessons grew into a large scale lesson-plan for an entire academy.

Now 47, having been surrounded by aspiring musicians his whole life, he understands that not everyone who dreams of having a career in music will make it… even if they practice diligently. And while his academy is firmly footed in hands-on instrument training, he has a healthy respect for new modes of learning. Salpietro realizes that potentially talented folks exist who might prefer taking a digital approach to developing their musical skills. To that end, he taught a Berklee College of Music affiliated high school class on how to use the digital audio workstation, Logic Pro. Still, for those looking to learn the old fashioned way, he feels a responsibility to help people give it their best shot.

In addition to planning two annual recitals where students can show off their progress, the academy uses a national rewards program called the Music Ladder System which keeps them striving for trophies and certificates. Those with aspirations to collaborate and learn about developing chemistry between players are placed in all-star bands. Salpietro says he’s looking into booking opportunities for the all-star bands, which would provide his most motivated students with the experience of performing for a live audience outside of a recital format. Exciting opportunities like these are part of what makes his operation an academy rather than just a place that gives music lessons. But for right now, he’s focused on launching the Carnegie Hall trip without a hitch.

“We’re here to provide an opportunity,” he said. “We’re catering to people with all kinds of dreams, and a majority of them are kids, but not all. Many might quit. Something like this trip will help keep people in the game — it could turn their interest around or get them through a plateau. We try and have fun at the lessons. We don’t want it to be angry or frustrating for the teachers or the students. And a lot of times, there hasn’t been enough practice, which is why the incentives are important. If they needed forty more hours of practice, this could be the thing that makes that happen, and then they get to feel great about the effort they made. It also gives them something to look forward to beyond the standard recitals.”

Enrollment in TJ’s Music Fall River Arts Academy is open, and signing up is as simple as picking a day and time (although some slots do fill up). With over 25 instructors that collectively offer lessons seven days a week, it’s designed to be as accommodating as anyone could expect. The range of instruments runs the gamut, including woodwinds, brass, guitar, bass, vocals, cello, viola, and violin. Salpietro says the rooms for lessons have recently been upgraded and some new ones were added. Renovations for additional space on a second floor are on the horizon.

“There are lots of places to take music lessons and we’re always looking at ways to rise above and provide something different than the others. For me and Tamie, who’s been with me through these last 15 years, this is our heart and soul.”

For more information about TJ’s Music Fall River Arts Academy, click HERE to visit their website.

TJ’s Fall River Arts Academy student Kevin S. is excited to be performing at Carnegie Hall in December. He has been playing piano in the program for one year and a half.


The Cassette Chronicles – Whitesnake’s ‘Come an’ Get it’


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.


Before I get started in earnest with this week’s spotlight album, I want to take a minute to acknowledge a friend of the column. I’m friends with a fellow music fan named Jeff Hogland. We’re pretty active members on his Classic Rock Bottom message board and seeing as how he’s been responsible for getting me a lot of good music on his bargain shopping sprees, I consider him my state of Georgia music consigliere. But I was quite surprised when he messaged me to say that on one of his shopping sprees he’d picked up a bunch of cassettes that he was sending up to me to use in The Cassette Chronicles should I decide to write about them. A box arrived on my doorstep and suddenly I had a bunch more albums to add to “The Big Box of Cassettes”. So thanks go out to Jeff and this week’s album is from that batch of music he sent to me.

In 1981, Whitesnake had yet to become a big name on the American hard rock scene. The band was probably still kind of thought as Deep Purple-lite considering the lineup that recorded this fourth album included Jon Lord on keyboards and Ian Paice on drums. They had success in the UK but hadn’t really broken through in the States.

I hadn’t gotten into the band yet myself. That was still 6 years away with their self-titled album that made them into global superstars. But once I was hooked, I went back and discovered this more bluesy version of the band and I really liked it.

And if you want to know why I liked this Mark 1 version of the band as much as the more glam version, you would do well to check out Come an’ Get It because it is a great primer for music fans to discover the roots of Whitesnake itself.

There is barely a slow down on the album’s ten track running order and even the songs that start out a bit slower tend to end up rocking your socks off. You have to start off with the vocals from David Coverdale whenever you write about Whitesnake and this time is no different. The smoky sound to his voice is by now pretty recognizable but on this album in particular there is also an almost gleeful streak in his performance. This is particularly evident on the less than subtle lyrics for a song like “Would I Lie To You”. Coverdale just seems to be having a ball as he whips his way through the vocals.

The guitar work on each track is just outstanding. Bernie Marsden and Micky Moody formed a pretty potent duo during their time in Whitesnake and every time I listen to any of the material they played on I am reminded of that.

The album opens with the title track and immediately you are transported back to that late 70’s hard rock sound. (Yes, the album was put out in 1981 but it was still steeped in that 70’s sound that made classic rock CLASSIC!) Despite the song’s uptempo pacing, I found that the next song “Hot Stuff” actually rocked a little bit more.

Of course, it isn’t just hit you in the face with one riff after another on this album. The band provides a real sweet groove rocker in “Lonely Days, Lonely Nights”. That same kind of sound is apparent once more on Side Two’s “Girl” as well.

The closing song on Come an’ Get It has that slightly slower start to it that I mentioned above, but the band switches gears midstream and then they just blaze their way to the end with some slick rocking guitars being anchored by Neil Murray’s bass and the rhythm behind the drum kit from Pace.

Surprisingly, this is just scratching the surface of just how much I enjoyed this album. Though as I write that, I can’t say that this is a surprise to me. I’ve been listening to this album a lot over the years. I know that I said Jeff had sent me this album, which is the one I listened to in order to write this piece. But I actually did have this one in my own collection already.

And while I love the flat out rocking “Don’t Break My Heart Again” a whole lot, even that song pales in my estimation to my favorite two songs on this album. The first is the side two opener “Child of Babylon”. If you listen to Whitesnake long enough, you realize that there is always at least one song on their releases that would qualify for the descriptor “epic”. And “Child Of Babylon” is definitely that song for Come an’ Get It.

I’m not even quite sure how to fully write about the song. It just captures your imagination from start to finish and makes you feel as if you are witnessing something that is bigger than you could’ve imagined. I’ve loved a lot of the Whitesnake epics in the past but “Child of Babylon” stands out as one their absolute best.

But without a shadow of a doubt, my favorite song is at the total opposite of the musical spectrum. That song is “Wine, Women An’ Song”. I suppose the more snobbish side of music fans would dismiss the song as trite but there is just something about this song that struck me as being the perfect encapsulation of good time rock and roll party songs. The keyboards from Jon Lord have a huge presence in the mix and both Marsden and Moody get to lay out a solo. But what made this song more than just another kind of “cock rock” track to me is the way Coverdale performs it. I know you are supposed to be more interested in the “tongue-in-cheek” aspect of the band’s lyrics, but there’s really none of that here. Everything is pretty overt and it’s Coverdale’s devil-may-care infectious attitude that made the song a winner from the first lyrical line. And he tells you straight up that “You can tell me it’s wrong, but I love wine, women an’ song”.

I get a cheeky little thrill every time I hear this song and much like the rest of the album, it provides ample evidence that if you only know Whitesnake from the 80’s metal days that brought them multi-platinum success you are only getting half of the story. For me at least, Come an’ Get It is a fantastic representation of the best of the early version of Whitesnake and I will continue to play this album for many more years to come.

 NOTES OF INTEREST: The 2007 remastered edition of Come an’ Get It had an additional 6 bonus tracks included. They were demos and alternate takes of songs from the original track listing.

“Would I Lie To You” was a Top 20 single in the UK in 1981.

The Cassette Chronicles – Overkill’s ‘The Years of Decay’


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.


 Even the most casual of heavy metal fans have heard the term “The Big Four”. The term is used to signify the four big bands of thrash metal, being Metallica, Megadeth, Anthrax and Slayer. You can put them in any order you want depending on your preference, but those are the names that are commonly associated with “The Big Four”. Of course, then there are those people who just have to come up with “The Next Four” and that is where Overkill is pretty well situated by most fans.

But for me this is an issue. You see I regularly commit metal heresy by not really caring all that much for Slayer or Megadeth. Each of the bands have some good songs but they’ve never truly done it for me as a whole.

Meanwhile, when it comes to Overkill they have been far more interesting if not quite as commercially succesful as any of those other bands. Admittedly, there has been times when my fandom for the band has waxed and waned. But it you really can handle the truth as I see it, Overkill produced one of the single best thrash records of all time, better than anything I’ve heard from “The Big Four” save perhaps a couple of Metallica albums.

And that’s the album I’m writing about this week. The Years Of Decay is the band’s fourth album and for my money, their unmatched masterpiece. In recent years, Overkill has released a succession of outstanding albums but even those fail to dent the love I have for this album. Put it this way, if thrash metal had made the Top 40 singles chart, Overkill would’ve had four monster hits from The Years of Decay at the very least!

My first exposure to Overkill was from their previous album Under The Influence. I don’t remember too much about the whole release but I loved the song “Hello From The Gutter”, which I was pretty well exposed to via the band’s video that got played on Headbanger’s Ball.

But when I heard the song “Elimination” on the radio (The Metal Zone on 94 HJY in Providence, RI) I was well and truly hooked. There’s a feel to the music that gets deep into your head, bones and ears. The band is usually going all guns blazing with a rapid fire series of shredding guitars and relentlessly pounding drums. With Bobby “Blitz” Ellsworth’s machine gun of a voice spitting out lyrics over the top, what you get is seamlessly blended brutal heavy FN metal.

But what makes this album for me is that even with all that driving metallic brutality, there is still a sense of melody to the music. It’s not pounding rhythms and spitfire lyrics with no rhyme or reason. The band builds each song into a standout performance, each track building a complete picture of where the band was at this particular time.

While most of the songs are sincerely over the top with the furiously relentless pacing, when the band slows things down for a bit on songs like “Playing With Spiders / Skullcrusher”, the title track or “Who Tends The Fire”, their ability to still stay almost oppressively heavy is fine tuned to the point of perfection. Even then, there’s still spots in each of those songs where the tempo gets the pedal pushed to the metal. This gives the songs a little extra charge of adrenaline. At times, I felt that there was a cinematic feel to the musical score on these songs.

But let’s get back to the non-stop fury songs on this album. The album opens with “A Time To Kill” and right from the start, you can also see that the band is also pretty handy with a turn of lyrical phrase to the point where I think their lyrics get a bit overlooked.

The title “I Hate” might conjure up ideas of what the song is about, but you’d likely be wrong with your first impression. Instead, you’ve got another brilliantly executed rip your throat out track that is kind of incisive lyrically as well.

I’ve listened to this album a number of times over the years, the cassette I bought when the album was first released is still the one I own and listened to for this article. I was able to finally track down an affordable CD copy as well since I’ve been paranoid about the cassette breaking down and being without any copy of The Years of Decay. To coincide with having listened to the album so often, the album’s closing song is called “E.vil N.ever D.ies”. And as fast as all the other songs are, they are incapable of touching what the band does on this number. It’s pure metallic shred with nary a let up on the gas. And Ellsworth’s straight from the depths of hell vocal performance has continually left my pathetic attempts to sing along with the light speed delivery he employs for the lyrics. It’s been 30 years since its release and yet I still trip over my tongue trying to keep up with this song. I find it hard to specify my favorite track on the album but this is definitely one of them for sure.

If you’ve read this series for any length of time, you know that I prefer the more melodic driven side of metal. The endless shrieking caterwauling of the more extreme side of the genre doesn’t usually appeal that much to me. I’d say that Overkill would be the dividing line band for me. They are uniformly thrashing from one moment to the next but they are also driven by an underlying sense of rhythmic melody (at least to my ears). And that is on full display with The Years of Decay. I’ll say it again, this album is their masterpiece and I have no problem touting this as one of the best thrash albums of all time, PERIOD!

NOTES OF INTEREST: The album was produced by Terry Date who also worked with Metal Church, Fifth Angel, Chastain and Pantera amongst a host of other acts.

The Years of Decay was the last album featuring guitarist Bobby Gustafson.

The band is still active today having released the album The Wings of War in February 2019.

The Cassette Chronicles – SHY ENGLAND’S ‘MISSPENT YOUTH’


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.


There’s a lot to talk about with the Misspent Youth album but I think the first point to be addressed has to be the band name. Shy England seems to be the name that was used for this particular release when it hit the US. You see, the band is actually known as Shy.

I spent a bit of time trying to research the official reason for why the name change occurred but I wasn’t able to find any confirmable sources. So I reached out to some other music fans on a Facebook group I belong to and I’m led to believe that the name change was due to there being an American band with the name Shy at the time of this album’s release. Again, I can’t seem to confirm this for certain but it does have a ring of truth to it since I’ve known other acts who’ve had to deal with that particular issue in the past.

As for the album itself, I find it a bit amusing that this album is considered a critical misfire in the British rocker’s overall discography. I’ve mentioned in a recent past article that I also write book reviews. In the early days of doing that I read a book that was winning rave reviews and went on to win some awards as well. Problem for me was that I hated the book. I couldn’t understand how others were raving about how good the book when it was just something so bad that I had to pass on doing an actual review because it would’ve just said, “This book sucks!”

How does that relate to Misspent Youth, you ask? Well, the situation is reversed for me here. It was not a well received album from everything I could find online, and yet I really thought it was a pretty darn good album overall.

I did see one source that said the band had a falling out with producer Roy Thomas Baker early in the recording process for the album but whatever the behind the scenes rigamarole was, I still found plenty of music to enjoy.

I think there were a couple of different versions of the album floating around. The version I have opens up with the song “Give It All You Got”. The song is a hook filled uptempo rocker, a prime example of the type of song you’d expect to find on a late 80’s rock album. That’s not a knock on the song though as I really enjoyed it. It got me fired up from the get-go and I couldn’t wait to hear what else the band had to offer. But in poking around online, it seems that “Give It All You Got” wasn’t the lead track in the original release of the album. The first side of the album had a slightly altered order because this song was actually last on Side One at one point.

The songs were written by guitarist Steve Harris alone (it should go without saying but just in case anyone is confused this NOT the Steve Harris from Iron Maiden) or with drummer Alan Kelly. And Harris sure could shred on the guitar! The songs “Burnin’ Up” and “Money” are prime examples of how fleet fingered he could be on the fretboard.

Regarding “Burnin’ Up”, I loved the song musically but I did think singer Tony Mills was a bit over the top vocally on the song. His voice occupies the upper register and that does give him a real soaring quality to his vocals but on this one song, it didn’t quite feel right to me.

The band’s ability for crafting adept power ballads is put on display with “After The Love Is Gone” on side one of the album. I’d like to complain about the sugary nature of the song but there was something about the song that hooked me just a little bit. I’m not saying I lost my marbles over it or anything but it was surprisingly entertaining to me.

The first side of the album closed out with “Never Trust A Stranger” which is not only a great idea in respect to the real world but this song was a flat out rocking track you could really get into and find yourself singing along to as well.

The second side of Misspent Youth kicked off with another musically rousing song in “Broken Heart”. The pacing gives you another dose of high energy rock and roll and the instantly grabbing chorus ensures that the song completely gels together as a whole.

“Shake The Nations” goes for the fist shaking anthem territory but I’m not sure it quite got there. I don’t know if it is the song itself that didn’t fully get my attention or if it was the slightly muddied feel to the production of the song but I couldn’t see myself pumping my fists to this one. I was also a bit disappointed in the balladry of “When You Need Someone”.

But the album’s closing song “Make My Day” both captured that anthemic feel and finished the release with an in your face rocker that left you a bit spent and rung out.

I admit that other than knowing the band existed and that Tony Mills had been the frontman for the band’s most successful period, I really hadn’t known much about or heard any of the band’s music. Others may think little of Misspent Youth, but I found it a darn good bit of entertainment and I kind of wish that I’d been able to experience the band back in the day. I think I would’ve gone on to become a much bigger fan of the band. I know that because I liked Misspent Youth so much, I’m hoping to go back and check out some of their other early material and see just what I’ve been missing out on for all these years.

NOTES OF INTEREST: The band Shy is listed as still active to this day but with a completely different lineup. The band put out a self-titled album in 2011 but there’s been no further releases since that time.

Guitarist Steve Harris passed away in 2011 from a brain tumor.

With the recent passings of both Eddie Money and then Ric Ocasek, the speculation was who would be the third loss, since these things always happen in threes. Sadly, we found out the identity of that third person on September 18th, 2019. Singer Tony Mills (who had a prolific career fronting TNT and working as a solo artist aside from two stints with Shy) passed away after a six month fight with pancreatic cancer. His final solo album, Beyond The Law was released in June of 2019.


The Cassette Chronicles – Roughhouse’s self-titled debut


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.


As has been the case with a few bands in past articles, the band Roughhouse is one that I’ve never heard anything from. I don’t recall every seeing an ad, hearing a song or even the band’s name from all my time listening to the 80’s metal years. So checking this band out serves as a rather intriguing history lesson if nothing else.

What surprised me is that they existed as Teeze before they switched their name. Under the Teeze moniker, they are credited on their Wikipedia page as having released a self-titled album (that was reissued again the following year).

The music on the album was mostly written by bassist Dave Weakley and guitarist Gregg Malack. Singer Luis Rivera co-wrote three of the tracks as well. The band’s sound is definitely that hard rocking kind of glaMmed up sound that was prevalent in 1988. I wasn’t sure how it would sit with me before I popped the cassette in the player but I was surprised to find a lot to enjoy.

The first two songs on the album are pretty rocking. “Don’t Go Away” and “Tonite” each have a real solid hook to grab your ear. I will say that Rivera’s vocals seemed to be a bit grating on me as I first listened but after that, they really tied into the overall mix of the songs and I ended up liking the way he sounded a lot more. The first impression was not the right one in this case.

This may sound strange but the somewhat slower but not quite a power ballad track “Love Is Pain” had me thinking it came off as a song that the band Vixen would’ve been perfect for. I know that is kind of a backhanded compliment but there you have it.

The first side of the album closes out with two more strong rockers. While I loved “Love or Lust”, I thought the way the vocal was performed on the chorus of “Can’t Find Love” left much to be desired.

As for the second side of the album, it was even more enjoyable than Side One if you can believe it. The song “Teeze Me Pleeze Me” was an electric kick in the pants to open Side Two while the fiery licks of “Midnight Madness” held you in its grasp. The last two songs on Roughhouse were truly outstanding in my book. “Racin'” definitely fired the imagination and lived up to its title with how the song moved from start to finish. The guitar work on this song as well as “Fantasy” were fantastic and kind of set me back on my heels a bit. The guitars blazed and I was surprised enough that a picture of my face as they played would probably have seen a real gleeful look in my eyes.

Despite having no idea what to expect going into this album, I was pretty happy to have added this to my musical memory banks. The band never made it big or anything but their one and only album as Roughhouse was, even decades after its release, a real bit of rocking entertainment!

NOTES OF INTEREST: The album is credited as having been partially recorded at Long View Farm Studios in Worcester, MA. I’m not sure that’s entirely accurate. I looked it up online and the studio was actually in North Brookfield, MA, which was in Worcester County. Probably a small detail but at least you know I’m doing the research, right? Either way, the studio played host to an incredible lineup of bands from Aerosmith, The J. Geils Band, Cat Stevens, Dan Fogelberg, Living Colour and many others over the years. And it was apparently used as a rehearsal studio by The Rolling Stones in 1981.

The band broke up in 1989 or 1991 depending on what source you are reading but has reunited over the years. They have an active Facebook page (Teeze Roughhouse) and fan website ( The band has a show coming up on October 5th, 2019, in Sellersville, PA.

Roughhouse featured two guitarists in their lineup. They had Gregg Malack of course, but their 2nd guitarist was Rex Eisen. He went on to a more high profile musical career as Tripp Eisen playing for Static-X, Dope and Murderdolls before a couple of disturbing run-ins with the law left him in a load of legal troublE.

Exclusive first look – blindspot release new single and video

blindspot’s first single off their upcoming 2020 sophomore EP is titled “Upside Down.” Limelight Magazine has partnered with the band to preview the new music video for the song which can be viewed below.

The video is the fourth collaboration with their friends in 41st Casanova Productions. The EP will be the follow up to their self-titled debut from 2017. They also put out a single and video in 2018 titled “All I Am,” which is their most recent release before “Upside Down.”

“Upside Down” is a new twist from blindspot, exploring the sound that their fans and listeners have come to be familiar with but also bringing that sound to new sonic heights in terms of writing maturity and an increase in modern pop and alternative rock influences. 

Accompanied today’s release is a a celebratory show tonight at the Middle East Upstairs in Cambridge, MA, with Exit 18, Baabes, and Driip. 

The song has inspired the title of their fall 2019 tour to be called “The Upside Down Tour,” which kicks off October 11th in New Milford, CT. The tour will take them to the Midwest and down the East Coast and back, hitting states such as PA, IN, KY, TN, GA, FL, NC, VA, and NY. They have toured the country extensively over the last few years and have played in 28 states and counting. They will be back at the Middle East Upstairs November 2nd for a combined welcome home from tour show and Halloween bash. You can also catch them at Boston Local Music Festival in City Hall Plaza September 28th and Allston Village Street Fair September 29th before they hit the road.

They have been nominated for Rock Act of the Year and Album of the Year by The New England Music Awards for 2019 and Best in State of MA for 2018.

They were a semi-finalist in this year’s 2019 Rock and Roll Rumble hosted by Boston Emissions with Anngelle Wood.

According to Alexa Economou, lead singer of blindspot, “We are so excited to share new music with our listeners and have them finally hear what we have been working on. ‘Upside Down’ felt like the perfect new release from us because it showcases a fun and dancey side to our writing that stays true to the sound people have come to know as blindspot. The lyrics and message of the song explore the themes of human emotions and how difficult they can be to process and make sense of. People, relationships, and life itself can often be confusing and hard to understand, and the song addresses that reality in an upbeat type of way that we can all relate to by almost saying ‘Hey, that’s life.’ The video portrays the song in the perfect visual way with its emphasis on color, energy, and a willingness to take a deep breath and have some fun. We can’t wait to start incorporating this song into our live set and keep releasing all the tunes we’ve been cooking up.” 

For those who have not heard blindspot before, they are an award nominated, female-fronted alternative rock band from Boston, MA. Comprised of Economou on lead vocals and Chris Cormier on guitar and/or drums, they are influenced by artists such as U2, The Killers, Paramore, Kings of Leon, and The 1975. Their unique sound, passion, and drive make them stand out against other musicians of their age. 

Along with being nominated for Rock Act of the Year and Album of the Year in 2019 and Best Band in State of MA in 2018 by The New England Music Awards, blindspot was a semi-finalist in this year’s 2019 Rock and Roll Rumble competition hosted by Boston Emissions. They have opened for artists such as Steven Tyler of Aerosmith, Gin Blossoms, Candlebox, Plain White T’s, Buckcherry, Puddle of Mudd, Scott Weiland of Stone Temple Pilots, Cherie Currie of The Runaways, Finger Eleven, and Fuel. They are constantly striving to gain as much exposure as possible in order to expand their fan base and spread the word about their music. Look out for them because they want to change the world.


twitter/instagram: @blindspot_music

Music and entertainment coverage since October 2006!