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American singer John Corabi has a rich musical history. He was part of Mötley Crüe, founded Union with Bruce Kulick, and is known for his work with The Dead Daisies. Corabi has also worked on several solo projects, with the latest due to be released soon. Entitled “New Day” and inspired by the music of… Continue Reading →

Based on the press release I was kindly given along with a copy of this CD it lists this as the thirteenth album by Eliza Neals, The experience really shows in the quality of her vocals and songwriting. I’m going to admit up front that I didn’t know she had been around that long, I’m new to her fanbase and bought her album Colorcrimes last year when I came across it on Bandcamp and if you haven’t heard that album I highly recommend it.

Eliza’s sound on what I’ve listened to immediately brings to mind Susan Tedeshi, Kenny Wayne Shepherd, Bonnie Raitt, Samantha Fish, and at least on this record a dash of Fleetwood Mac.

I can’t help but wonder if opening track “Speedy Beady” was inspired by “Little Red Rooster” by Howlin’ Wolf, There’s definitely similarities but this song is a much more energetic affair, Alternating between more restrained verse sections before giving the song more electric blues lift around the chorus. The strut, Groove, and Swagger of this song is absolutely infectious.

“Love Will” is like a hybrid of Kenny Wayne Shepherd and Susan Tedeshi, Absolutely peacocking electric blues grooving riffs sway behind Eliza’s cool raspy and soulful vocals. 

“Blues Bombshell” adds some honkey tonk piano and fuses blues and soul to mesmerizing effect, This song feels like a 90’s blues classic. The piano with the slide guitar on this song is absolutely excellent.

“All Alone” switches things up and goes into straight up Fleetwood Mac territory, You could almost hear Stevie Nicks singing this. This is the sort of song that would feel absolutely magical at night. If this doesn’t end up a single it will be a tragedy.

“Locked Up” is a primarily piano driven soulful ballad that really suits Eliza’s voice, Between the cascading keys are flourishes of guitar and an excellent guitar solo. Absolute perfection of a song that will have you entranced the whole way through.

“Wicked Heart” is another one I’d describe as early Kenny Wayne Shepherd meets Susan Tedeshi, It’s more of an upbeat sounding song that is just fun to listen to.

“Unoriginal Bitch” feels like a dig at another performer and I’m not sure who, All I know is this strutting critique of a song stands out. It’s a song that doesn’t mess around, It’s blues with attitude. Like George Thorogood and Ann Wilson in one. Yes, It’s that good.

“One Monkey (Don’t Stop No Show)” keeps the momentum going with another blues rocker, While not the barn burner the last track is it’s still a good listen all the same.

From a journalistic perspective I don’t think album closers are given as much importance as they should get, For me it’s the equivalent of how do you want to end a concert? Do you want to end it without anything notable? Or do you want to end it on such a high note that the audience will be dying to do the whole thing over again! The same goes for albums in my opinion, The last song when done right will make you want to start the record over and that’s what you’re getting here folks. 

“Thunder In The House” is the title track for a reason, This is far and away the best song on the album. It’s soulful, Epic electric blues at its finest. Every note by every band member rings out and makes a statement, It’s minimalist to a degree and yet so grand. This is a song for a big stage, Easily one of the best blues songs I’ve heard in recent years.

Sometimes the records that blow you away are the ones you don’t see coming, This is blues rock played by incredible musicians and one of the best records you’re likely to hear this year.

9/10

The post ALBUM REVIEW: Eliza Neals – Thunder In The House appeared first on The Rockpit.

The penultimate night of the Boney M Tour of Australia 2026 (just one date left in Adelaide before it heads to New Zealand) rolled into The Astor Theatre for a second sold-out evening that felt as much like a celebration of the glory days of Pop Music as it did a concert. From the moment the doors opened, the room literally shimmered—sequinned dresses catching the light, flared satin trousers swaying in time to the pre-show soundtrack and warm-up band. And whilst sadly platform boots were thin on the ground, glittering jumpsuits did make a welcome appearance completing a crowd that had fully embraced the spirit of disco. There were also a number of feather boas, metallic shirts, and more than enough sparkle to rival the mirror ball hanging above the stage. It all added to a sense that this was more than nostalgia—it was compulsory participation.

The warm-up set and 70’s-themed playlist that followed turned the theatre into a singalong long before the main event began. Every chorus was met with enthusiastic, if not always in-tune voices, every familiar groove with a packed dancefloor and even some majestic steps were going on in the aisles. It set the tone perfectly for what was to come: a night where the audience weren’t mere observers, they were part of the show.

When the band took the stage, resplendent in crisp white suits, the visual contrast was striking. The instrumentation was tight, providing a polished backbone for the vocalists, who delivered the colour and personality the songs demand. At the centre stood Maizie Williams, the original member whose presence anchored the performance with huge charisma. She commanded attention without excess, allowing the music and the other performers to speak for themselves.

Boney M’s catalogue remains one of the most recognisable of the Disco era, and the setlist leaned into that strength. ‘Daddy Cool’ and ‘Ma Baker’ arrived early after a wonderful ‘Sunny’ that opened teh evening, immediately lifting the energy in the room. It was ‘Sunny’ that from the off showcased the group’s ability to blend pop sensibility with inescapable rhythm and drive.

;Rivers of Babylon’ was of course one of the night’s standout moments, its communal chorus echoing throughout the theatre, while ‘Brown Girl in the Ring’ brought a lighter touch that had the crowd fully engaged.

The performance never relied just on spectacle or nostalgia; instead, it was the consistency of the songs and their enduring appeal that carried the evening. Each track felt carefully placed, the setlist wonderfully curated, building momentum without overwhelming the audience. There was a clear understanding of pace, allowing moments of reflection between the more energetic numbers, and giving the crowd space to appreciate just how huge these songs still are in popular culture.

By the time the final notes rang out, it was clear that disco, far from being a relic, remains very much alive—at least within the walls of The Astor. For a few hours in Perth, the spirit of the 70s wasn’t just remembered; it was shared, and celebrated with genuine warmth. Now Adelaide and New Zealand it’s your turn…

The post LIVE REVIEW: Boney M – Live at the Astor Theatre 23rd April 2026 appeared first on The Rockpit.

Catalano .

The post Catalano launch video for new single “Unrequited” from upcoming record ‘Perfect Storm’ first appeared on Sleaze Roxx.

The Las Vegas weekend will also include an all-star tribute to Ace Frehley. Continue reading…

After decades of feuding and fall-outs, The Black Crowes’ Chris and Rich Robinson have found a groove of brotherly love and rock bravado

The hosts, nominees and top five for Peer-Voted APRA Song of the Year have been announced for the centenary edition of the 2026 APRA Music Awards, to be held on Wednesday, April 29 at Sydney’s Hordern Pavilion. This year’s Song of the Year top five features three previous winners from across the musical spectrum. 2025 […]

Statistics from the first quarter of the year indicate that 44% of reported gambling fraud now involves synthetic identities and “ghost” sites that disappear the moment they collect enough deposits. For the modern player, the traditional “gut feeling” is no … Continue reading →

The post Fraud-Proof Player: Mastering the 2026 Blueprint to Avoid Scam Casinos appeared first on DMME.net.

Las Vegas post-hardcore heavyweights Escape The Fate will make their long overdue return to Australia this June, bringing with them US metalcore mainstays The Word Alive, taking in every capital city and a couple of regional ones too! Joining them on all shows (except Perth) will be Melbourne’s fastest rising act, The Gloom In The […]

Its been 3 years since their last release Soul Sucker, but Brisbane based hard hitters Fun With Explosives are finally back with their latest single Asphyxia and the Southeast Asphyxia Tour 26. With original members of Dreamkillers, AIM, Insane Hombres and Overfiend plus current members of Helltrippers and The Dog Trackers, Fun With Explosives bring […]