Richie’s Renegades came from Lynn, Massachusetts. After winning a state-wide battle of the bands in May, 1966, the group cut a fine single on the Polaris Records label, “Don’t Cry” / “Baby It’s Me” released in August.

Members included:

Richie Reynolds – lead vocals
William Dunn – guitar
Robert Leger – guitar
Robert Peck – organ
Brian Michaels – bass
Kevin Robichaud – drums

Erik Lindgren’s notes to The Polaris Story CD note that they cut the single at Fleetwood, while alternate versions of the single and a Pepsi commercial “Come Alive” featured on the CD were done at Ace.

The Lynn Daily Item ran photos of the group on April 26 and May 13, 1966:

Richie’s Renegades, a Lynn band, will be one of 18 competing for sate-wide honors tomorrow at Boston Gardens. They are on of a group of winners selected from more than 600 band taking part in local and regional contests, sponsored by the Jaycees.

The accompanying article noted that “Plans are now underway for a national competition next year, the Jaycees said.”

The May 16 Daily Item noted that the band won the final competition “which brings with it a $500 cash award, new musical instruments, recording contracts and other awards.

I found a copy of their record inscribed to Edlita, with four signatures: Bob Leger, Bob Reader [surname correct?], Ken Robichaud, and Billy Duran. Bob Reader isn’t in the lineups I’ve found online, and I read Robichaud’s as Kevin instead of Kenneth.

Kevin Robichaud is the correct spelling, as Lou Ames Music Store ran ads in September and October, 1968 with Kevin’s photo as a drum instructor, “featured with ‘The Playn Jane” and formerly with ‘Richie’s Renegades.’”

I found a notice in the Daily Item on August 25, 1966:

Richie and the Renegades of Lynn … will give two performances at the Pepsi booth as a highlight of the Family Day program at Topsfield Fair on Tuesday, Sept. 6.

The group will autograph their just released recordings “Baby, It’s Me” and “Don’t Cry” and, in addition, will offer autographed photographs.

One of the judges of [the Boston Garden battle] was Miss Edlita Adams, 19, of Lynn, reigning “Miss Essex County.”

That notice, and a couple others I found, list Robert Teck instead of Robert Peck.

The Boston Globe ran a brief item in April, 1967 about the group going to Worcester for the national competition with the same lineup listed as in 1966.

A December 20, 1966 notice in the Daily Item ran:

The Lynn Young Democrats held a Christmas party for needy children, highlighted by the appearance of a local band, Richie’s Renegades …

Members of the Renegades, donating their services for the occasion, were Brian Michaels, Bob Leger, Bill Dunn, Bob Peck, Kevin Robichaud, Dick Tarnborini, Bill Barry and Richie Reynolds.

The inclusion of Bill Barry is interesting, as he is also known as William the Wild One, who cut a great 45 on Festival in 1966, supposedly with Richie’s Renegades providing backing. A Fitchburg Sentinal notice mentions the Renegades playing a show with William the Wild One at Appleton Academy in December, 1966, noting that William “toured the country with the Dave Clark Five. He and Reynolds are cousins of Dave Barry, a student at the academy.”

By 1968, Richie’s Renegades became Playn Jane, mentioned in the February 29, 1968 Daily Item:

The third annual Battle of the Bands sponsored by the Lynn Jaycees will be held Saturday night at Classical High.

The competing teenage bands are Danny and the Dreamers, Passing Times, Playn Jane, Psychedelic Innovation, Satisfaction and the Sinders …

Dancing will be allowed during the competition.

Robert Leger passed away on January 7, 2020.

Good Day Noir Family,
Tallboy strike hard with My Mind’s A Warzone, delivering a track that feels like stepping through a thin veil between two worlds.

My Mind’s A Warzone is Tallboy’s Single Out Now

One moment you stand in a dim alley, wrapped in a muted hum; the next, the door swings open and a wall of metalcore force hits with zero hesitation.

The contrast is sharp, and Tallboy clearly enjoy playing with that tension.

The opening section carries a foggy, almost industrial breath. However, once the full band erupts, the track reveals its true identity: aggressive, volatile, and fueled by a deep emotional charge. The guitars slice through the mix with precision, while the drums create a heartbeat that never relaxes. Yet the band avoid monotony, since the arrangement constantly shifts. Breaks collapse into sudden surges, and heavier phrases transition into melodic passages that offer short but meaningful releases.

The vocal approach elevates everything. The guttural delivery cuts like broken iron, though the melodic sections introduce an unexpected clarity that widens the emotional field. This balance—violent and fragile at once—gives the song its distinctive character. It also shows a desire to push beyond genre tropes, since the structure never settles into predictable patterns.

Additionally, the track hints at industrial influences. Textures echo the tension-heavy world of Nine Inch Nails, yet the execution remains far more brutal and contemporary. Tallboy are not replicating; they are mutating ideas into their own hybrid form.

Ultimately, My Mind’s A Warzone feels like a controlled demolition. It hits hard, but it also thinks deeply. The band showcase vision, purpose, and a refusal to follow trends. Instead, they aim to unsettle and ignite.

My Mind’s A Warzone is Tallboy’s Single Out Now!

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Ferocious!

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TALLBOY are a UK-based alternative metal five-piece known for crushing riffs, atmospheric darkness, and raw, emotive vocals. Blending modern heaviness with a sharp, forward-thinking edge, they deliver a sound that hits hard both on record and on stage.

Their explosive live shows and evolving, boundary-pushing style have quickly marked them as one of the UK’s most promising new forces in heavy music—crafting songs that resonate with anyone looking to fill the void with something louder.

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Find Tallboy Here:

Spotify
Instagram

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Discover New Bands Click Here

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Good Day Noir Family,
Ratlehole dive into ambitious territory with The Nibelung Saga – A Rock Opera, a project that feels less like a simple album and far more like a sprawling theatrical universe.

The Nibelung Saga is Ratlehole’s Album Out Now

They embrace the structure of classic operatic storytelling yet reimagine it through a modern hard-rock lens enhanced by AI-assisted visuals and textures.

Rather than relying on technology as a crutch, the band use it as a brush to paint a wide mythical canvas while keeping the music grounded in raw human energy.

“The Curse Begins (Chapter 1)” opens the journey with an atmosphere soaked in tension. The guitars rise slowly, almost like war horns echoing across a battered fantasy realm. Because of this mood, you sense the scale of the narrative immediately. There is a medieval grit here, one that foreshadows conflict while letting the vocals lead you through the unfolding prophecy.

Then “Dragonblood (Chapter 2)” erupts with bright, baroque-influenced prog elements. The riffs slash forward while the harmonies grow more fiery. It feels ritualistic, dramatic, and designed to pull you deeper into the mythology. The choir-like passages and metallic accents shape a world where danger and glory coexist.

Later, “Blood and Betrayal (Chapter 4)” hits with incredible force. The tempo surges, the rhythm section drives like a runaway engine, and every musical phrase feels sharpened. Moreover, the band use sudden rhythmic pivots to give the chapter emotional weight. It becomes one of the most intense moments in the saga, almost cinematic in scale.

“Siegfried’s Last Stand (Chapter 7)” shifts the mood toward something sacred. The choral parts echo ancient traditions, calling to mind Wagner and even echoes of Carmina Burana. The song feels like an invocation, preparing the listener for the climax of the tale.

As the saga nears its conclusion, “Twilight of the Gods (Chapter 10)” turns reflective. The tone softens, yet it remains heroic. You can sense the aftermath of battle, the falling embers, and the emotional dust settling after an immense struggle. It operates as the emotional hinge between destruction and renewal.

“Yule of the Nibelungs (Xmas)” closes the album with surprising warmth. Although the arrangement remains dense and ornate, the overall mood leans toward hope. The festive color in the orchestration offers relief after the saga’s darker chapters. Still, the technical solos and triumphant melodic lines keep the operatic style intact, reminding you that this is still part of a larger mythical cycle.

Ratlehole’s work is bold, theatrical, and richly imaginative. The narrative flow, the dynamic arrangements, and the controlled use of AI combine to form an experience that aims far beyond typical rock releases. It is a world-building effort that rewards listeners willing to enter its epic domain.

The Nibelung Saga – A Rock Opera is Ratlehole’s Album Out Now!

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Mythic!

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Ratlehole is a virtual metal-rock and multimedia project by Austrian musician Franz Habegger, blending human-written lyrics with modeled voices, algorithmic orchestras, and synthetic guitars. Born in a Vienna rehearsal cellar called “the rat hole,” the project explores the space where composition meets AI.

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The Year In Metal Show revisits the best heavy albums issued in 1976!

Sir Roger Daltrey was knighted by HRH The Prince of Wales today in a ceremony at Windsor Castle.

Sir Roger told the press after the investiture ceremony that he is accepting the honour on behalf of all those at the Teenage Cancer Trust.

He said the knighthood is an “incredible honour”, adding: “For me, it’s a double honour because I’m getting it for my work with Teenage Cancer Trust. “So personally, it’s wonderful.

“But for Teenage Cancer Trust, I’m accepting it on behalf of all those people who may never get an honour and without whom we never would have made the success we have made of our charity.

“It’s important to me that I make them realise they are really appreciated.”

Sir Roger added, “It is an incredible honour. I was born in the Second World War and grew up in the streets in London, so for a kid like me, achieving this, it’s a dream.”

You can donate to Teenage Cancer Trust here!

And thank you!

The post Arise, Sir Roger! appeared first on The Who.

Drumeo has released a new playthrough spotlighting Mike Portnoy, the longtime drum icon of Dream Theater, offering fans a closer look at one of the band’s most challenging works.

The feature focuses on Octavarium, described as “a 24-minute epic that stands as one of Dream Theater’s most ambitious and unforgettable performances.” Drumeo notes that viewers will see the complete performance before the breakdown of its core elements, including snare-sound changes, metric modulations, unusual time signatures, and what Mike Portnoy considers his favorite Octavarium drum moments.

They add that “if you’ve ever wondered why Octavarium feels untouchable — or how it was even played in the first place — this video gives you a backstage pass.”

The new playthrough aims to give drummers and fans a clearer understanding of the techniques and nuances that make the piece such a standout in Dream Theater’s catalog, while keeping the spotlight firmly on Portnoy’s distinctive style.

The post MIKE PORTNOY Shares “Octavarium” Hidden Secrets In Latest Drumeo Playthrough appeared first on Sonic Perspectives.

Kreator are gearing up for a long-awaited return to the United States, marking their first full run across the country since 2024. The influential metal band has mapped out a headlining tour that will include appearances at several major festivals, among them Welcome to Rockville, Sonic Temple, and Maryland Deathfest. Their trek begins on May 7 in Fort Lauderdale, Florida, and continues through May 23 in Huntington, New York.

Fans will have the option to enhance their experience with VIP packages. An artist pre-sale is scheduled for Thursday, December 11 at 10 a.m. local time, followed by the general on-sale on Friday, December 12 at 10 a.m. local time. Get tickets here.

In a statement, Kreator shared their excitement about the upcoming run: “We are overjoyed to be returning to the US in 2026 to celebrate Krushers Of The World with you. We’ll be bringing Carcass and Cold Steel along with us for a run of headline shows, plus we’ll be making a few festival appearances.”

The band recently released “Satanic Anarchy”, the latest single from their sixteenth album, Krushers Of The World, which arrives January 16 through Nuclear Blast Records.

The track showcases elements that longtime listeners will recognize immediately—rapid-fire thrash guitar work, a hook-driven chorus, and a standout solo, all packed into three and a half minutes.

Before unveiling this single, Kreator paid tribute to Dario Argento’s iconic horror film Suspiria with their track “Tränenpalast” and its accompanying video. Their interest in classic horror continues in the video for “Satanic Anarchy”, which nods to Clive Barker’s Hellraiser (1987). Released a decade after Suspiria, the film is celebrated for redefining modern horror by blending psychological tension with graphic, visceral imagery.

Kreator 2026 USA tour dates:

May 07 – Fort Lauderdale, FL – Revolution Live*
May 08 – Daytona Beach, FL – Welcome to Rockville
May 10 – Atlanta, GA – The Masquerade
May 11 – Knoxville, TN – The Mill & Mine
May 12 – Raleigh, NC – The Ritz
May 14 – Worcester, MA – Palladium
May 15 – McKees Rocks, PA – Roxian Theatre
May 16 – Columbus, OH – Sonic Temple*
May 18 – Davenport, IA – Capitol Theatre
May 19 – Minneapolis, MN – First Avenue
May 20 – Chicago, IL – Romova Theatre
May 22 – Baltimore, MD – Maryland Deathfest*
May 23 – Huntington, NY – Paramount

*Festival

The post KREATOR Announces “Krushers Of The USA 2026” Tour With CARCASS And COLD STEEL appeared first on Sonic Perspectives.

Canadian vocalist Alissa White-Gluz has officially launched her long-anticipated solo career with the release of her new single “The Room Where She Died”, now available worldwide through Napalm Records.

For years, White-Gluz has shared original songs and self-directed videos solely with her Patreon supporters. Now she’s bringing this latest creation to a broader audience. Known for commanding some of the biggest stages in death metal and becoming one of the genre’s most recognizable performers, she teamed up once again with Oliver Palotai of power metal group Kamelot, a collaborator she has worked and performed with many times before.

“The Room Where She Died” marks a stylistic shift from what listeners have heard from her in recent years. The track blends her wide vocal range — from clean melodies to harsh growls — with orchestral elements, sharp riffs, and even a touch of jazz. Heavy yet memorable, the song signals a refreshed artistic spark as she steps confidently into her solo era.

White-Gluz described the experience of creating the single, saying: “‘The Room Where She Died’ marks the beginning of a new chapter for me, born from a place of deep creativity and renewed fire. It’s the first step into a world I’ve been building quietly for years, and one of many collaborations I have with Oliver Palotai, my Kamelot bandmate with whom I’ve found a great creative flow.”

She continued, explaining how deeply involved she was in the single’s creative process: “Making this music, writing the video and even painting the single artwork myself has reinvigorated me in ways I didn’t expect, reminding me exactly why I love making art. I have been honing my skills as a performer, vocalist and songwriter over many years now, and I feel like I am finally at a place where I can let my work stand on its own.”

White-Gluz added that she poured “every ounce of passion, pain, and purpose” into the piece and has never felt more inspired. She closed by thanking fans and peers for their overwhelming encouragement: “I hope you can feel that spark too, because this is only the beginning! I’m endlessly grateful for the overwhelming response to “The Room Where She Died”, and the love and encouragement I’ve already received from my peers, fans, and the metal community overall. Thank you!”

The post ALISSA WHITE-GLUZ Shares “The Room Where She Died” From Her Solo Debut Effort appeared first on Sonic Perspectives.

Stryper frontman Michael Sweet has announced that he has been diagnosed with cancer.

In a Facebook post, the 62-year-old singer explained that a “biopsy that was performed on 11/17 (a nodule in my right thyroid) came back positive. Malignant.”

He added: “I’m scheduled for a CT and an ultrasound next Monday 12/15, and then I’ll be meeting with my doctor/surgeon on 12/22 to figure out a plan moving forward.”

Sweet shared that the specific diagnosis is “papillary thyroid cancer,” and emphasized that “the good news (is) that it’s slow growing and something that my doctor seems very optimistic about.”

He acknowledged that he has recently been “experiencing a few issues vocally and it feels a little more ‘crowded’ in there. Now I understand why.” Sweet apologized for any performances where he wasn’t at full strength but reassured fans that he is “confident that things will get better.”

While reflecting on the situation, he wrote: “Even though it’s concerning to even hear the ‘C’ word (much less be diagnosed with it), I believe that it will be behind me soon enough. I’ll get in and deal with it and heal up and be ready for 2026.”

Despite the diagnosis, Sweet confirmed that Stryper still plans to begin recording their new album on December 28. He explained: “Once we finish tracking, I’ll be undergoing another surgery to remove my right thyroid and the nodule itself.” He also thanked fans for their support and prayers, saying he’s excited to return to the stage. “I love you guys and I can’t wait to see you on the road in 2026.”

Stryper released their 16th studio album, When We Were Kings, in 2024. Their next scheduled performance is set for April 12, 2026, aboard the Monsters of Rock Cruise.

The post MICHAEL SWEET Of STRYPER Shares Cancer Diagnosis appeared first on Sonic Perspectives.

Alan Parsons — known for his work with The Beatles, Pink Floyd, and later as the creative force behind the Alan Parsons Project — is speaking out after discovering that scammers have been releasing fake music under his name.

Parsons shared the issue publicly, writing that “they’ve been gathering up streams, attention, and possibly even invitations to tea under my name.” He stressed that “these blatant infringements have nothing whatsoever to do with me.”

He went on to emphasize the extent of the impersonation, saying: “I have not released these songs, authorized these songs, hummed these songs, or even accidentally sat on a keyboard and come up with anything resembling these songs.”

The Alan Parsons Project, built around Parsons and Eric Woolfson along with a changing lineup of collaborators, produced seven straight U.S. Top 40 albums starting with the 1976 release Tales of Mystery and Imagination. Four of their records also reached the U.K. Top 40. Their biggest commercial success came in 1982 with the platinum-certified “Eye in the Sky”, which included a title track that climbed into the Billboard Top 5.

Before forming the group, Parsons worked as an engineer or producer on landmark projects including The Beatles’ Abbey Road, Pink Floyd’s Dark Side of the Moon, Paul McCartney’s Red Rose Speedway, the debut album from Ambrosia, and Al Stewart’s Year of the Cat, among many others.

Reflecting on his lifelong career, Parsons wrote (as transcribed by Classic Rock and Culture): “I spent most of my life finding my voice in the music industry – and I’d like to keep it human, thank you very much.” He encouraged listeners to “double-check the source of the music they’re listening to and support real, walking, talking, crumpet-eating artists. We are still here – slightly wrinkled, perhaps, but gloriously human.”

He isn’t the only one dealing with this issue. Other rock artists have discovered songs falsely attributed to them, including Toto, whose guitarist Steve Lukather had to reach out to streaming platforms to have an instrumental titled “Name This Night” removed.

Parsons summed up the situation with frustration and humor: “What a strange time we live in, when an imposter can write a tune, or have a toaster write it for him, slap my name on it as the artist, and then have a faceless algorithm give it life.” While he complimented the efficiency involved, he noted that it is “rather disappointing that scammers are now turning their robotic identities against musicians everywhere.”

Though Spotify has begun removing what it calls “spammy” tracks in a cleanup effort involving as many as 75 million songs, the fake Parsons tracks still slipped through.

Parsons addressed the broader issue, stating: “This sort of thing is happening to a great many artists these days, and the corporate entities that run these online streaming and digital distribution services seem to just be turning a blind eye.” He added that “this tomfoolery doesn’t just confuse listeners, it dilutes the talent of those artists, muddles their identity, and chips away at the integrity that takes years, or in my case, decades, to build.”

He ended his message with a wry note, saying: “I’m not angry; I save that for people who microwave fish at work. I’m just … spectacularly unimpressed.” To the scammers themselves, he offered a pointed sign-off: “I do hope your next software update installs a conscience.”

The post ALAN PARSONS Calls Out Shocking Online Impersonators Asking Fans To Stay Alert appeared first on Sonic Perspectives.