Tag Archives: 80s Rock

SEAN KELLY – ‘Don’t Call It Hair Metal’, an interview

2 Comments

Guitarist SEAN KELLY has become a huge part of the Canadian rock scene over the past 2 decades. In the early 2000s his band CRASH KELLY released a number of albums, and since then Sean has gone on to work with numerous acts as a songwriter, recording artist, and live player – NELLIE FURTADO, HELIX, HONEYMOON SUITE, LEE AARON and CONEY HATCH! Sean has also released a new book which discusses 80s hard rock & metal and includes loads of interviews with legendary 80s players – Don’t Call It Hair Metal. This book, and Sean’s previous writing Metal On Ice can be easily found online and in shops. Below Sean talks about the book and the new CD (sold separately from the book), both highly recommended for fans of 80s hard-rock & metal. Check out the links below. (*Photos courtesy of Donald Gadziola).

So, the book, I’m assuming the CD is meant to tie in with the book as did with the ‘Metal on Ice‘ and the CD with that book?

Yeah, exactly. That was something we kind of knocked around before the book came out. We didn’t quite line it up with the book release, but it was something I really just kind of wanted to get out of my system, too. I had a bunch of cover songs that were used as B-sides for, Japanese releases, and those were mostly, the kind of early 70s type stuff or the 70S – mid-70s glam stuff. But I always wanted to cover a couple of these songs, and I thought it would be kind of a nice thing to have as a kind of a compendium to go along with the book. You could listen along, and that was the motivation.

I’m kind of on the fence about ‘covers’ albums, because some bands, I don’t know why they do them, but other bands, depending on the track listing – and what I like about this is the track listing, because it’s a lot of stuff a lot of people would not normally hear covered – like “Roxy Roller” and the WASP song and a few others there.

It’s funny, those were just songs that for some reason or another stuck with me, like “Sex Action” by L.A. Guns, that song has just always kind of resonated with me from a guitar perspective. I just remember the video, so I really wanted to kind of capture that feeling of, for that, like the Troubadour in the early 80s in L.A., and then also the early days of Twisted Sister, which is why I picked “I’ll Never Grow Up Now“. So, kind of really between the early 80s hard rock and Sunset Strip stuff and the 70s glam – that was my whole inspiration for doing the Crash Kelly thing anyway. So, it works as kind of a sign of what Crash Kelly was about, but it also works as a companion to the book.

Is Crash Kelly basically just yourself now, or is it still a band?

I used to say it was kind of like T-Rex or Marilyn Manson. I always considered it a band, whoever was playing with me at the time was in the band, but really it was a benevolent dictatorship, and it still kind of is. It really was my thing, although I have to say that the drummer, Tim Timleck, he’s been my musical partner on so much of this stuff for many years, and he’s definitely a band member. We’re actually working on some solo instrumental stuff for me right now, and the guy is just so talented on so many levels.

And you had a few guests on it as well. I’m just trying to think, Nick from Slick Toxic…?

Yeah, Nick Walsh. Nick and I were in a band together called ‘Revolver’, but I’m a massive Slick Toxic fan. Slick Toxic, really one of the reasons I moved to Toronto was reading about them in ‘Meat Magazine’ and them getting a deal, and then they made that amazing ‘Doing the Nasty’ record. So yeah, I did say it was great. I consider Nick a very close friend of mine, and it was great to have him on that. That was many years ago we recorded that; he’s got the Alice thing down. Nick is a master vocalist, he has his own sound, but he can also kind of catch the tonality of different artists, and he just did the Alice thing perfectly.

When did you move to Toronto?

I moved to Toronto in 1991.

So that was kind of like a tough period for metal and all that, because I remember getting those Meat Magazines and suddenly you had all the Smashing Pumpkins and Nirvana and all these other bands that were on the covers and stuff.

That came just after. When I landed in Toronto in 1991, I’m from a smaller place, so it still very much felt like bands like Skid Row and Guns N’ Roses and Firehouse and Slick Toxic – they were still kind of the big bands, and then there was Extreme and Saigon Kick and all these bands. So, it felt like it was still very vital, and I remember getting to Toronto and immediately going to the Gasworks and seeing bands that were very much in that kind of 80s rock kind of paradigm.
But you’re right, what was really happening was a change of scene was happening, and when it changed, it felt like it changed overnight, and all of sudden things were radically different. And unfortunately for some of us, it was harder to find a place in that, because it seemed like some of the things I valued, like the way I played guitar or the way I looked, those things didn’t seem as relevant. It was a new way of thinking about things.

Regarding the book, what inspired the whole concept, I guess the whole premise of it?

Yeah, I think I got a little flack by some people because they said – “well, who cares about hair metal!? A lot of bands consider themselves hair metal.” But you’ve got to remember, when that term came out, it was after market. That was a term that was applied to 80s rock after the fact.
It was a pejorative term. It was a term designed to put it down. So no matter what it’s become – hey if you embrace it, you call it hair metal, you love it – more power to you! I actually don’t care. But where it comes from is from a pejorative insulting place, and that’s just fact. I’ll argue anybody on that.
And what I wanted to do was… and a lot of these bands have expressed frustration because really what they are is rock and roll bands. And the best of it deserves to be considered among the best of rock and roll. I don’t care what you say, Cinderella? Tom Keifer’s as good a musician as anybody who’s come before or after. So to lump him in under some pejorative title, I find it insulting. And I am an artist. I am a musician. I know how it feels to be lumped into something when it might not be appropriate. So this was a deeper dive into the best of it. Now, sometimes I would go back and listen to things and go, Oh, you know what? I can kind of hear that is formulaic. Or I had to re-investigate or reconsider some things that I initially had thought about some of those bands. But for the most part, I really wanted to tell the story and honor the contributions of those people that made up the soundtrack of my life.

You’ve got a lot of interviews. How much time or (I guess) over how much of a period of time did you collect interviews and stuff for?

It was over about two years. Every time I go in and write a book, I’m working on it right now. I’ll tell my publisher, ‘Oh, yeah, it should be done by this so and so.’ And I always need an extension because what happens is once you start talking to people, new ideas percolate. And new directions reveal themselves. Fortunately, I have an amazing publisher, ECW Press, and an incredible editor who’s become a dear friend, Michael Holmes. And he is so ‘writer friendly.’ He just wants you to write the best book possible. So, if I need more time, he’ll fight for that for me, and I appreciate that.

I know you’re friends with a lot of these people like Dee Snider and that. Have you got much feedback from them regarding the book or the album?

I did. And I have to tell you, on the album not so much because really, let me just talk about the album. The album is only available through rockpapermerch.com. Yeah, I didn’t put it up for streaming. And I’m not really pushing it, and Crash Kelly isn’t really touring. But I kind of like that because the people that are seeking it out are realizing it feels kind of special. It’s something that’s not widely available, and it’s not disposable, unfortunately a lot of great music starts to feel disposable in the age of streaming. You listen to half of a new song, and you go ‘that’s cool’, and it doesn’t stick. And music like anything else – like food and art, takes time to learn to appreciate it. So, I think the people that have actually gone out and picked up the CD and dusted off their CD player I think that they appreciate it.

Yeah, well, with me, CDs are for the car, mainly. I have my vinyl downstairs. But, but yeah, there’s a lot of albums. One thing is there’s so many albums coming out nowadays, it’s tough to keep up, right?

That’s it. And because the technology is such that we can record albums more efficiently, cheaper, I think there is a bit of a glut in the market sometimes, even with bands that, you know, ‘Heritage bands’, so it’s tough. And because you have the access to it, you can flip through and, skip ahead. It’s so easy. It’s not like rewinding a cassette or having to walk over to the record player, pick up the needle, right? I think sometimes good music that normally would have really sat in the listener’s mind doesn’t get a chance to do so.

I think like when we grew up, you put on an album, you had to listen to it, because you didn’t have much else. And you listen to it over and over until a couple weeks later until you got something else. But now you can get three or four things in a day, right?

Totally. And listen, to answer the other part of your question, I had some wonderful feedback, Dee Snider reached out to me to tell me how much he loved the book and enjoyed it. And I’ve had that from a few different people who really kind of told me that. That made me feel good, because I really was writing that to honor them, and honor the artistic motivation of these people.

What’s your take on some of these, a lot of these bands are still going and some of them are kind of like getting a bit of flack, like obviously Motley Crue and a few of these bands that are still going and kind of, you know, making changes and stuff like that!? And then you have other bands that are going strong still, they’re putting out decent albums and stuff.

Yeah, honestly, I think that it’s up to the listener, but people don’t stop being creative. And that’s something that the audience sometimes needs to understand about artists, like, “why are they just putting out new music, it doesn’t sound like their old stuff, or it sounds too much like their old…” Listen, these are just people who want to create, I think it’s important. I think it keeps it fresh for artists. And it kind of re-energizes them to allow them to go and deliver those hits that people love. Yeah, that’s important. And look, at this stage of the game, for artists from the 70s and 80s, a lot of it is based on nostalgia, but it doesn’t mean that they’re not creative people. So, more power to anybody who takes a shot at it and puts something new out there. I appreciate where it’s coming from. And, it’s funny, someone was talking to me about this whole thing about bands that replace members, and when is it too much – I think if there’s some kind of officially sanctioned line to the original band, like, I just had a great chat with Pete Agnew from Nazareth. And Pete acknowledges it’s not the same game without Dan McCaffrey, or Daryl Sweet, sure, but it feels so authentic. We just played a gig with Lee Aaron with Nazareth, and it feels so authentic because it has the blessing of the original unit. Listen, Daryl Sittler doesn’t play for the Leafs, but they’re still the Toronto Maple Leafs, you know what I’m saying? It’s a franchise, and if it’s fostered and passed along with love and respect and integrity, I think it’s a great thing.

With Coney Hatch you’ve done the two live albums, and obviously a couple new tracks. (Yep) Have you guys given any thought to or are you hoping to record something new with those guys?

Absolutely, in fact, you know, I can say there’s been a couple of new things that have been worked on, and I don’t know what format that’s going to take, but you know, we’ve been in the studio and worked on a couple of things, so you never know what’s going to be coming in the future.

Lee Aaron’s another one, obviously you’re playing with Lee. And I never really got into Lee much in the 80s and early 90s, but the last four albums or so, they’re very consistent, very solid pop rock stuff…(Thanks.) Yeah, so I guess what’s your whole thing with her, like how you guys work together and, you know, she’s pretty consistent putting out albums, right?

I mean, Lee Aaron is very much the captain of the ship. But she’s also very, very open to input. We all write together as a band. At first it would be, she would co-write with when I first joined the band, co-write with me or co-write with Dave, the bass player (Dave Reimer.) But now we just all throw our best ideas into the pot, and we work on it together, and it’s been a really great experience. She’s amazing to work with, very open, very collaborative, you know, she produces a record, she’s got the direction, but very open and it’s been a really rewarding experience.

You’ve, obviously you’ve worked with a number of Canadian bands, not just Coney Hatch and Lee Aaron, but Honeymoon Suite and Helix and a few others. Do you ever have stuff where you’re writing with somebody and you think ‘this is an idea or something that would really sound great on somebody else’s thing’, you know, like you ever have kind of a conflict, I guess, of ideas?

Well, not really. I mean, I’ve never kind of come up with something and said, ‘oh I’m going to hold on to that.’ I’m not really like that. I believe in working with the artist at the time, if I’m co-writing with somebody, you know. Yeah, sometimes you bring things that you think they’re going to really love and that they’re going to be – ‘oh, this is going to be perfect, this is going to sound exactly like a vintage track of such and such artist’ and they’ll go, ‘nah, that’s not really what I want to do.’ So sometimes that’s interesting. It’s like, ‘oh okay’. But I’m always open to it. When I’m trying to help, especially when I play with a band that’s had success or a history, I’m just trying to really help them flesh out their vision.

Now you grew up on a lot of the stuff you’re actually playing in now. So what’s, I guess, your whole experience of where you are now looking back at it.. I wonder if you can talk a bit about that, like how that experience of going from being a fan to a band member.

Yeah, I always try and keep that fan alive when I’m playing with those bands, because it’s that excitement in their music that kind of drew me into a career in music. So, first of all, it’s an honor; it’s definitely a thrill. But also, I think that that renewed sense of energy helps to renew them. They start to see the influence maybe they’ve had on other people. And I think it becomes this nice transaction of energy.

Now, do you have any Canadian bands you’d still like to work with?

Ha Ha! Yeah, I want to work with everybody! I’m energized by working with people. I’ve been so lucky to get a chance to work with so many. April Wine comes to mind. I almost had a chance to work with them, but it just didn’t work out. But yeah, Kim Mitchell – that’s someone I’ve always, you know, Kim is to me, the greatest guitar player this country ever produced, so I’d love to love to work with him. You know what!? There’s so many. It’s almost too many (LOL) to think about. But I’ve been sure lucky to work with the people I have. I’ll tell you that much.

In talking with a buddy of mine we’d mention the number of bands that Spider (Sinnaeve) would show up in as bass player. So, in mentioning you he said, ‘he sounds like the Spider of Canadian guitar players.’

I don’t even close to anywhere as talented or prolific. But I’ve been very fortunate. And it’s weird how it’s worked out. Helix and Honeymoon Suite were my first concert. And I got a chance to play with both of them and write songs with both of them. I play guitar because of Twisted Sister, and I got to star in a musical with Dee. It’s kind of crazy.

You’re also doing an acoustic thing with Carl (Dixon)!?

Yep, we have a new project called ‘Northern Strum’, which is a lot of fun. I love working with Carl, and Carl and I are no stranger to the acoustic thing together. We did it for years. But this has taken on a new element and really enjoying it actually working on a couple of new arrangements right now of classic Canadian songs and having a great time with it.

Yeah, that’s just gonna be a corporate thing perhaps!?

That’s kind of the idea, right!? But, you know, we kind of take everything from an artist’s point of view – it’s always really about making something that feels artistically satisfying. And sure, we need to make a living. But wherever we go, it’s always kind of coming at it from the idea of a recording act or recording artist or from an artistic point of view. It’s never about crass commercialism. It’s always about art.

Can you tell me a bit about your own record collection? Do you still collect a lot of records?

You know what, I wouldn’t say I’m a collector, but I buy a lot of records. And I buy a lot of vinyl, just for the thrill of the ritual of taking off the shrink wrap, reading the liner notes, that was very important to me. And like everybody else, I got rid of my record collection. I had tapes, I got rid of tapes, I had CDs. And now I’m just back to vinyl. I just like the ritual of it. I get excited when I see something, maybe it was something I couldn’t afford or couldn’t find when I was a kid. And I find it now. And that’s what it’s really all about.

What are you currently listening to these days?

I just listened to – on repeat, the new Michael Schenker Group, a couple of songs with the guests. So, I was blown away with Joey Tempest from Europe and Roger Glover on “Only You Can Rock Me”. So, I’m a big UFO fan, big Schenker fan. I’ve been listening to that. I’ve been listening to Teaze. I got back into the band Teaze. I’ve been listening to Teaze ‘Tour of Japan’, great 70s Canadian rock band, who are still active. I’m trying to think what vinyl I picked up recently. I grabbed that Kiss ‘Destroyer’ Deluxe version. So, some of the demos on that. But really, – Enuff’s Enuff, Van Halen, Cheap Trick… that’s the stuff that I listen to at home. But I recently started hosting a radio show on 94.9 Rock called ‘Generation X Radio’. And I’ve been getting hip to a lot of great bands like Damn Truth and Sierra Pilot, Art Deco. So that gives me a chance to listen to brand new music. So, kind of the new interpretation by younger artists on the classic sounds that we grew up on. So that’s been great.

You’ve written a few books. Do you read much as far as rock bios?

I read tons of rock bios! I’m constantly reading them. I’m looking forward to the new Cheap Trick one that’s coming out very soon. I forget what the author’s name is, but there’s a new Cheap Trick one ‘From the Bars to Budokan’, I think it’s called. So, looking forward to that. And my buddy Robert Lawson writes some great books. I’ve just been reading his Nazareth book. His Cheap Trick book is excellent; it comes more from a listener, record collector perspective. I just read a couple of books on Power Pop, which were collections of writings by other music writers. Oh, I just read a book I have to tell you about – ‘They Just Seem A Little Weird’ by my good friend Doug Brod. It’s an amazing book that connects Kiss, Cheap Trick, Aerosmith and Stars. It’s incredible!

One last thing I want to ask you is, of your Canadian albums, can you recommend a few of your underrated Canadian bands or albums?

Oh, underrated. Okay, I’ll go Slick Toxic ‘Doing the Nasty.’ I’ll say, underrated, Big House – their self-titled album. Teaze, anything by Teaze. I really love the ‘Tour of Japan’ album because they’re playing great, they’re on fire, they’re in some place that are excited to see them. It’s a great, great record! Underrated(?)….Well, you know what, that first Kim Mitchell EP is crucial. The one with “Kids in Action”.

I remember that, that got played to death on the radio here.

Yeah, there’s bands like Refugee and Orphan and even on the New Wave side – Cats Can Fly or Images in Vogue, you know there was so much world-class music coming out of Canada. And, even on the rock side, Brighton Rock…

I’d like to see somebody do a book someday on just like the top 100 or 200 Canadian rock albums that are less than obvious.

Yeah, that’s a great idea.

LINKS:

Sean Kelly
Don’t Call It Hair Metal: Art in the Excess of ’80s Rock

https://www.dundurn.com/books_/t22117/a9781459707092-metal-on-ice

http://www.instagram.com/seankellyguitar/?hl=en

https://www.instagram.com/rushguyyyz?igsh=MXVnY2RtNHlzamh4aw==

https://www.baytoday.ca/rooted/north-bay-musician-sean-kellys-new-book-dedicated-to-80s-rock-7360305

http://www.leeaaron.com/tour/

https://www.coneyhatch.com/tourdates

MR BIG announce new album ‘Ten’

Leave a comment

MR BIG have a new album coming out next month. Check out the first 2 videos below, as well as the press info & bio, tracklisting and artwork (below)!

MR. BIG will release it’s tenth studio album, ‘Ten’, on Friday, July 12 featuring 11 new original tracks! In a tribute to their late drummer Pat Torpey, Martin, Gilbert, and bassist Billy Sheehan have enlisted the exceptional talents of Nick D’Virgilio on drums for ‘Ten’, which was produced by Jay Ruston and MR. BIG.

In the midst of their final tour – The BIG Finish – MR. BIG, inspired by the legions of fans that shared in their goodbye over the past year, wanted to say a final farewell with the undertaking of a brand-new studio album. Culminating over three decades of musical partnership, Martin, Gilbert, and Sheehan, with the help of D’Virgilio, ignite their spark once more and take a new form with the forthcoming ‘Ten’. The first single and accompanying video from ‘Ten’, “Good Luck Trying”, is a loud, raw, ‘70s blues rocker that pulls influence from MR. BIG’s earliest musical inspirations.

Eric Martin comments on ‘Ten’: “This new album doesn’t copy anything from the 9 previous studio records its all new stuff from scratch.. this is raw, unadulterated riff rock and blues with all the Mr. Big trimmings.”

Paul Gilbert explains the meaning behind the lyrics: “Overall, it’s about being overwhelmed with life, and realizing that you won’t win many of the battles, but still fighting to the end. And keeping a sense of humor about it by saying to anyone nearby, ‘Wish me good luck trying!'”

Pre-Order ‘Ten’ HERE

As a session musician and touring artist, Nick has worked with many different kinds of artists and bands, from Tears for Fears, Sheryl Crow, and Kevin Gilbert to Peter Gabriel and Eric Burdon and the ANIMALS. In 1996, Nick took Phil Collins’s place in GENESIS and played on their ‘Calling All Stations’ album. He has also carved out a major presence in the progressive rock world with his bands, Spock’s Beard and Big Big Train. Before joining the Sweetwater team, Nick spent almost five years touring with Cirque Du Soleil’s “Totem” as a drummer, vocalist, and assistant bandleader.
The entirety of the album, recorded both live in the studio and on the tour bus, showcases the band’s unique ability to compose homegrown hard rock ‘n’ roll and their consistent success in climbing new musical heights. 

MR. BIG recently completed the South American leg of its farewell tour, dubbed The BIG Finish, which sees the veteran band performing MR. BIG’s 1991 album, ‘Lean Into It’, in full and other cuts from the group’s history.

When MR. BIG announced The BIG Finish tour last year, the band members said that it was “time to mark the end of this chapter of their legacy” after Torpey lost his battle with Parkinson’s disease in 2018. The first leg kicked off in Japan and Southeast Asia in July and August 2023, where the band performed for hundreds of thousands of loyal fans at 11 sold-out shows including Budokan in Tokyo, Japan.

The band continues its tour in the US throughout the month of May before wrapping up in Buffalo on June 6. Additional European dates kick off on July 13 in Bulgaria. For a full list of tour dates visit HERE.

TRACKLIST:
1. Good Luck Trying
2. I Am You
3. Right Outta Here
4. Sunday Morning Kinda Girl
5. Who We Are
6. As Good As It Gets
7. What Were You Thinking
8. Courageous
9. Up On You
10. The Frame
11. 8 Days On The Road (Bonus Track)

UFO reissue Ain’t Misbehavin’ ep w/ bonus tracks

3 Comments

UK Rock Legends UFO Reissue Rare 1988 EP With Vintage Live Bonus Tracks & Other Treasures!

The legendary British rock band’s rare 1988 EP, Ain’t Misbehavin’, is making a triumphant return in a Deluxe Bonus Track Edition reissue, promising a treasure trove of sonic delights for enthusiasts and collectors alike. Recorded in the wake of the band’s electrifying 1987 tour in support of their ’85 album Misdemeanor, this EP marked the final collaboration between UFO frontman Phil Mogg and the virtuosic Japanese-born guitarist Atomik Tommy M.Much like its predecessor, Ain’t Misbehavin’ goes full throttle from beginning to end with Mogg matching his vocal prowess to the pyrotechnic playing of guitarist Tommy alongside superstar bassist Paul Gray (The Damned) and former Magnum drummer Jim Simpson. The brilliant lead off track, “Between A Rock And A Hard Place,” ranks up there with some of the band’s best rockers. Check out this special digital single release of the track below!

  • This deluxe reissue not only reintroduces the original EP in all its glory but also treats fans to a selection of bonus tracks, including vintage live performances and other rarities that showcase UFO’s dynamic live energy and musical evolution. The artwork has been revamped with an even sexier front cover image, and the whole thing is being released on all formats this June 14 so order your copy today!
  • Order the CD/Vinyl:  https://cleorecs.com/search?q=ufo+ain%27t+misbehavin
  • Stream/download the digital:  https://orcd.co/ufo_aintmisbehavin
  • TRACK LIST:
    1. Between A Rock & A Hard Place
    2. Another Saturday Night
    3. At War With The World
    4. Hunger In The Night
    5. Easy Money
    6. Rock Boyz, Rock
    7. Lonely Cities (Of The Heart)
    BONUS TRACKS
    8. Only You Can Rock Me (Live In Milwaukee 1986)
    9. The Chase (Live In Milwaukee 1986)
    10. Night Run (Live In Milwaukee 1986)
    11. Doctor Doctor (Live In Milwaukee 1986)
    12. Between A Rock & A Hard Place (Instrumental Version)

DOKKEN – One Live Night on limited vinyl

Leave a comment

  • Dokken’s One Live Night Is Now Available For The First Time On 180g Vinyl Through Deko Entertainment
  • Featuring the Original Lineup in a Special Semi-Acoustic Performance and Limited to Only 250 Copies of Each VariationStocktom, NJ – Dokken, formed in Los Angeles in 1978, had several hit singles which charted on the Billboard Hot 100, such as “Alone Again”, “In My Dreams”, and “Burning Like a Flame”, and has sold more than 10 million albums worldwide. The classic Dokken line-up consisted of founder Don Dokken on vocals, George Lynch on lead guitar, Mick Brown on drums and Jeff Pilson on bass.One Live Night is the 1996 semi-acoustic live album of the then reunited Dokken who recorded the album before a live audience at The Strand, an intimate concert venue in Redondo Beach, California, on December 13, 1994, and prior to their 1995 tour. The album went virtually unheard at the time of its release, being overshadowed by the then fledgling grunge and alternative rock movement.
  • Listen to “Alone Again” here:  https://www.youtube.com/watch?v=cwY1B6rqmBU Now it is available through Deko Entertainment for the first time on 180g vinyl as a double album with a beautiful gatefold. Completely remastered, repackaged, and limited to only 250 copies of each variation. This intimate performance includes versions of “Tooth and Nail”, “Into the Fire” and “Alone Again”, as well as covers of the Beatles’ “Nowhere Man” and Emerson, Lake & Palmer’s “From the Beginning”. This is a must have for any Dokken fan!
  • Pre-order One Live Night while supplies last, shipping in June 2024:  https://www.dekoentertainment.com/reissues/dokken

BLUE OYSTER CULT – announce ‘Ghost Stories’, release new single/video

1 Comment

Legendary Rockers BLUE ÖYSTER CULT Share New Single “Don’t Come Running To Me”+ Music Video
New Studio Album ‘Ghost Stories‘ due Out April 12th via Frontiers Music Srl. Pre-Order HERE

Legendary rockers BLUE ÖYSTER CULT share the second single from their upcoming release, ‘Ghost Stories,’ out April 12th on Frontiers Music Srl. The track, entitled “Don’t Come Running To Me,” is accompanied by a new music video.

After the resounding success of their 50th Anniversary celebration, ‘Ghost Stories‘ sees the band eagerly gearing up for an exciting new chapter in their storied career. This highly anticipated album marks a fitting finale to the recording legacy of one of rock’s most iconic fixtures from the past 50 years.

In partnership with Frontiers Music Srl, ‘Ghost Stories‘ will captivate fans with a collection of reimagined and completed songs that span from 1978-2016. These musical treasures, long considered the ‘lost gems’ by BLUE ÖYSTER CULT enthusiasts, were originally recorded between 1978 and 1983, except for one track from 2016, “If I Fell.” Also included is the only known recorded performance of their concert classic “Kick Out the Jams” (MC5 cover). Some of the material is from workshopping albums, some from performance rehearsals, and all were recorded once in the hopes that someday they’d see the light of day.

As BLUE ÖYSTER CULT embraces its ‘classic rock’ phenomenon status, the anticipation for this album is reaching a crescendo. Fans are eager to experience the culmination of the band’s artistic vision and witness the completion of songs that have become part of their folklore. The band will also add some of the songs in their up-and-coming 2024 shows.

With a legacy spanning over five decades, BLUE ÖYSTER CULT continues to be a formidable force in the classic rock scene. The exciting partnership with Frontiers Music Srl and the visionary leadership of Serafino Perugino add an extra layer of anticipation to the release of ‘Ghost Stories.’ As the band bids farewell to their recording career, they do so with a flourish, offering fans a musical odyssey that is sure to leave a lasting imprint on rock history. Truly, a remarkable journey.

‘Ghost Stories’ Track List:

1) Late Night Street Fight

2) Cherry

3) So Supernatural 

4) We Gotta Get Out of This Place

5) Soul Jive

6) Gun

7) Shot in the Dark

8) The Only Thing

9) Kick Out the Jams

10) Money Machine

11) Don’t Come Running To Me

12) If I Fell

13) Roadhouse Blues (Bonus Track Japan)

Work in the studio for the album was completed by Richie Castellano along with remaining original members Eric Bloom and Donald “Buck Dharma” Roeser and both Albert Bouchard and Rick Downey appear on drums with additional overdubs recorded by Joe Bouchard. All these original lineup members appearing on ‘Ghost Stories,’ create a musical journey that traverses decades and promises easter eggs for days.

George Geranios, the band’s original audio engineer and an integral part of the band’s golden years produced the tracks along with BÖC and all were originally recorded on reel-to-reel analog tape. He transferred them to digital audio which is when modern AI and magical musical talents meet and the collection of vintage multi-track recordings was de-mixed, re-mixed, and produced by Steve Schenck and Richie Castellano to become ‘Ghost Stories.’ The two explain the album’s amazing process HERE

Band Members & Credits:

Eric Bloom – Guitar, Keyboards, Vocals

Albert Bouchard – Drums, Vocals

Joe Bouchard – Bass, Guitar, Keyboards, Percussion, Vocals

Allen Lanier – Guitar, Keyboards

Donald “Buck Dharma” Roeser – Guitar, Vocals

Rick Downey – Drums (on 3 and 11)

Richie Castellano – Additional Guitar, Keyboards, Vocals

“If I Fell” was recorded on April 18, 2016, at Red Studios, Hollywood, CA

Eric Bloom – Vocals

Donald “Buck Dharma” Roeser – Guitar, Vocals

Richie Castellano – Guitar, Vocals

Kasim Sulton – Vocals

Jules Radino – Percussion

Original recordings Produced by George Geranios and BLUE ÖYSTER CULT except, 

“If I Fell” Produced by Steve Schenck and Richie Castellano

De-mixed, Re-mixed and Produced by Steve Schenck & Richie Castellano

Engineered by Richie Castellano

“Gun” and “Money Machine” overdubs recorded by Joe Bouchard

Digital Transfers by George Geranios

Mastered by Sam Stauff at Mercy College Studio, Dobbs Ferry, NY

BLUE OYSTER CULT LINKS:

http://www.blueoystercult.com

https://www.facebook.com/profile.php/?id=100044407600218

Blue Öyster Cult – Ghost Stories – CD

British band FM release new single, announce new album

Leave a comment

Old Habits Die Hard is the fourteenth studio album from the legendary British AOR rock band, FM. The album is released by Frontiers Records on Friday May 3, 2024, and available to pre-order from https://orcd.co/oldhabitsdiehard.

The first single “Out of The Blue” is now available and is available on all streaming platforms from https://orcd.co/fmoutoftheblue.

Released to coincide with the band’s 40th Anniversary (1984 – 2024), vocalist, guitarist and founding member Steve Overland says, “the new album encompasses the best melodic elements of the band’s illustrious 40-year spanning career.

‘We really looked at what made the most popular FM albums great and tried to focus on that,” says Steve about the new album Old Habits Die Hard.

FM are known by many for their big choruses, twin lead guitars and Steve Overland’s intimate, yet powerful vocals, and clean guitar sound. Following 2022’s Thirteen album, Old Habits Die Hard was delayed slightly by keyboard player Jem Davis’ cancer diagnosis (thankfully he’s now received the all-clear) and then by the sudden passing of FM’s founding guitarist Chris Overland (Steve’s brother), which hit the band hard.

“Chris’s passing came out of the blue and it was devastating,” says Steve. To add insult to injury, close friend of the band and long-time collaborator of Jim Kirkpatrick, guitarist Bernie Marsden passed away just two days after Chris.

The tragedies that plagued the band through the recording process only reinforced FM’s resolve and desire to make the best album that they could to represent their 40 years in the business. The new album is also a fitting tribute to Chris Overland.

Over the past 12 months, during their extensive touring schedule, FM produced the album themselves and recorded the bulk of it at their own Dale View and Electric Pepperland recording studios.

Opening track and first single “Out of The Blue” was a song that originated from keyboard player Jem Davis. Says Jem, “the band love the music of Toto and Foreigner and so I tried to put those influences into one track. ‘Once Steve got involved and started singing it, I knew that we were onto something special.”

“Out Of the Blue is a song that old school FM fans will really latch on to,” says Steve. “So far, the reaction to the track has been amazing.”

The album continues with the rocker “Don’t Need Another Heartache” an AC/DC meets Foreigner anthem with an infectious chorus. ‘This song will probably be in the live set for the 40th anniversary tour as it’s one of our favorites from the album,” explains drummer and founder FM member, Pete Jupp.

“Whatever It Takes” and “No Easy Way Out” are typical FM melodic tracks and could fit seamlessly on to one of the bands earlier classic albums. Bass player and founder member Merv Goldsworthy explains, “No Easy way Out has the big typical FM chorus. It’s a massive hook. The kind of thing that we’ve become known for. It’s one of my favorites on the album.”

The heavier side of the album is represented by “Lost,” “Another Day in My World,” and “Leap of Faith.” Whilst more hard hitting, these songs embody the catchy melodic choruses that FM are known for.

“Cut Me Loose,” “California,” and “Blue Sky Mind” are poppier, more feelgood tracks. “Blue Sky Mind” was conceived again by keyboard player Jem Davis who originally wrote the song about his experience with his cancer diagnosis. ‘That song really was therapy for me. It was important that I got it out of my system and into music,” says Jem.

“Black Water” is a brooding, bluesy track that grows and grows. ‘This is a real favorite of mine,” says FM guitarist, Jim Kirkpatrick. “I could hear Brian May playing the guitar solo, so I pulled out my Brian May signature guitar and tried to do my best impersonation of him. Hopefully I got somewhere close.”

Track Listing
1. Out of the Blue
2. Don’t Need Another Heartache
3. No Easy Way Out
4. Lost
5. Whatever It Takes
6. Black Water
7. Cut Me Loose
8. Leap of Faith
9. California
10. Another Day in My World
11. Blue Sky Mind

Production Credits
Old Habits Die Hard
Produced by FM, Mixed by Jeff Knowler, Mastered by Jim Griffiths at Principal Audio
Photography by Paul Stuart Hollingsworth

Recorded at West3 Productions, Tremelo, Electric Pepperland, Morsecode Studios, JK Studios
*All songs written by – Overland/Goldsworthy/Jupp/Davis/Kirkpatrick

FM LINKS:

WEBSITE | FACEBOOK | SPOTIFY | INSTAGRAM 

BANDS IN TOWN | TWITTER | YOUTUBE

THE END MACHINE – new singer, new album ‘The Quantum Phase’

1 Comment

2024 launches with a bang thanks to the announcement of ‘The Quantum Phase‘, the highly anticipated new record from supergroup THE END MACHINE. The announcement signals a notable change in personnel as well. Singer Robert Mason has officially parted ways with the group, paving the way for Girish Pradhan, the rising superstar vocalist known for his work under the moniker Girish And The Chronicles and, more recently, with Joel Hoekstra’s 13. The addition of Girish Pradhan to the band is a testament to the keen discernment of Serafino Perugino, president, and founder of Frontiers Records. Perugino, who serves as the executive producer for THE END MACHINE, recognized the incredible talent and potential in Pradhan and brought him to the attention of the band.

To herald this fantastic change and new album, THE END MACHINE shares their first single off of ‘The Quantum Phase,’ entitled “Silent Winter.” The track is accompanied by a new music video.

Jeff Pilson comments on the new track:

“‘Silent Winter’ is a song about the bleak prospects for humanity if we keep on our current trajectory. ‘Quantum Phase’ – the album – deals with what we must do to change course.”

Established in 2018, THE END MACHINE released their eponymous debut album, ‘The End Machine,’ in 2019 bringing early acclaim for not only contemporary production and a modern attitude, but also their perfectly crafted songs, paying homage to their roots and the music that they love. This attitude and talent was equally on display with their 2021 sophomore album, ‘Phase 2‘. 

In delivering 2024’s ‘The Quantum Phase,’ THE END MACHINE has not only surpassed expectations but has penned the record of their lives! With each note and lyric, they have exceeded their own artistic aspirations, collectively crafting the album they always wished they had written. This monumental work stands as a testament to THE END MACHINE’s evolution, showcasing not only their musical prowess but also their unwavering dedication to pushing the boundaries of their creative expression.

To Be Released on March 8th – Pre-Order HERE

Tracklisting:
1) Black Hole Extinction
2) Silent Winter
3) Killer of the Night
4) Hell or High Water
5) Stand Up
6) Burning Man
7) Shattered Glass Heart
8) Time
9) Hunted
10) Stranger in the Mirror
11) Into the Blazing Sun

Produced By: Jeff Pilson for Pilsound Music Inc
Studio: Pilsound Studios, Santa Clarita CA
Recorded By: Jeff Pilson and Girish Pradhan, additional engineering: Olivia Pilson
Mixed By: Alessandro Del Vecchio
Mastered By: Alessandro Del Vecchio
 
Band Members:
George Lynch 
Girish Pradhan
Steve Brown
Jeff Pilson
 
THE END MACHINE Links:
Facebook
X

LOVERBOY to release 1982 live show on CD & DVD

1 Comment

Loverboy to launch previously unreleased live show in fully restored and remixed sound & vision through earMUSIC.

The story of Loverboy is akin to a Hollywood movie. Overcoming rejection to eventually become one of Canada’s most successful rock bands of all time and selling millions of albums in the process, is a feel-good story for the ages.

“Live In ‘82” has been lovingly restored by Paul Dean from his personal archive of 16mm film, the joyous energy of a band who helped define the golden era of 80’s music captured like lightning in a bottle. With their great music, colorful clothing, outrageous hairstyles (and headbands!), and terrific soundtracks for movies like ‘Ferris Bueller’s Day Off’, and ‘Top Gun’, Loverboy has stood the test of time.

“Live In ‘82” will become available on limited CD+Blu-ray, limited LP+DVD and digital streaming and download on June 7th. Today’s announcement coincides with the launch of the first live track: ‘Turn Me Loose’ is available as digital single and live video.

Listen to the single HERE

For more than 40 years, Loverboy has been “Working For The Weekend” (and on the weekend), delighting audiences around the world since forming in 1979, when vocalist Mike Reno was introduced to guitar hot shot Paul Dean – both veterans of several bands on the Canadian scene – at Calgary’s Refinery Night Club. Along with Reno and Dean, Loverboy still includes original members Doug Johnson on keyboards and Matt Frenette on drums, with Ken “Spider” Sinnaeve replacing the late Scott Smith on bass.

With their trademark red leather pants, bandannas, big rock sound and high-energy live shows, the band has sold more than 10 million albums, earning several multi-platinum awards. Their string of hits includes, in addition to the anthem ‘Working For The Weekend’, such arena rock staples as ‘The Kid Is Hot Tonight’, ‘Take Me To The Top’, ‘Turn Me Loose’, ‘Jump’ and many more. Loverboy are not only masters of their craft as songwriters, but also renowned for being a formidable touring act, spending years on the road sharing stages with everyone from Def Leppard to Journey.

In 2009, the group was inducted into the Canadian Music Hall of Fame, and more recently the Canadian Walk of Fame, in the fall of 2023.

And there is no stopping the band this year, as they embark on a Live Nation promoted North American tour supporting Sammy Hagar, starting in July.

Pre-order the live album HERE

https://www.loverboyband.com

KILLINGTON PIT announce new cover of Judas Priest’s ‘Riding On The Wind’

Leave a comment

FOR IMMEDIATE RELEASE:

  •  FEATURING MEMBERS OF EVANESCENCE, ALICE COOPER AND GRANNY 4 BARREL, KILLINGTON PIT ANNOUNCE NEW COVER SONG ‘RIDING ON THE WIND’ OUT NOW
  • As Killington Pit prepare to release their first original material later in 2024 and play their first live shows, the band recently released another of their hugely popular cover songs. On Friday, February 16th the band released a stunning cover of the Judas Priest classic “Riding On the Wind”. The track comes from Priest’s seminal 1982 “Screaming For Vengeance” album and is another perfect showcase for the sound and chemistry of newcomers Killington Pit.The track features a stunning performance video from the band HERE
  • The new cover version follows the bands initial two single releases. Their cover of Accept’s “Balls To The Wall” & Rainbow’s “Kill the King” now have over one and a half million streams on Spotify and hundreds of thousands of views on YouTube.The members of Killington Pit connected during the pandemic lockdown and began recording together. As time progressed friendships grew and a core band formed with Terry LeRoi, Will Hunt, Troy McLawhorn and Chuck Garric. “Kill The King” also featured veteran guitarist Stef Burns (Alice Cooper/Huey Lewis & The News) and vocalist guitarist Jeff Blando (Slaughter/Lynchmob/Vince Neil).Will Hunt says, “‘Riding on the Wind’ was always my favorite Priest tune, before Scott Travis, of course. I definitely tried to approach it in a way I thought Scott would play it to give it some modern energy. The fellas and I had a lotta fun with this one!”Troy McLawhorn comments,“Glenn and KK were my teachers when I was learning to play the guitar. Not literally, but I listened to Priest constantly when I was a kid and spent a lot of hours trying to figure out how to play their songs on the guitar. Judas Priest is one of my all-time favorite bands! It was a lot of fun and a challenge to try to recreate the guitar parts for our rendition of ‘Riding on the Wind’. Again, I stuck pretty closely to the original because I respect and honor what they wrote and recorded, and I wanted to do it justice. I’m not trying to re-invent the song. I just wanted to feel the joy of playing it!!!”Chuck Garric adds, “Ian Hill of Judas Priest is a Bass icon! Thats what you get from a Metal God.”Terry LeRoi says, “Screaming For Vengeance is one of my all time favorite records. It’s been a huge inspiration for me over the years. ‘Riding On The Wind’ is the stand out track for me. Rob Halford’s voice is nothing short of amazing on this song and his midrange tones are ear shattering. His singing style and his willingness to pushing vocal limits is unparalleled and has always been my reference point. When Killington Pit started exploring possible songs to cover…this one was at the top of our list. It’s been such an honor to play with Will, Chuck and Troy and a privilege and great joy to pay tribute to Judas Priest!” LeRoi adds, “Over the coming months we will be releasing our full length covers album with accompanying videos. 2024 will see us playing select shows worldwide and releasing original Killington Pit music. We’re looking forward to sharing this with all of the fans!”
  • Killington Pit is:
    Vocals – Terry LeRoi
    Drums – Will Hunt
    Guitar – Troy McLawhorn
    Bass – Chuck Garric
  • FOR MORE INFORMATION VISIT: 
    https://killingtonpit.com/

A DOLL’S HOUSE record & release album after 30 years

Leave a comment

Once a part of the LA scene, A DOLL’S HOUSE never released an album back in the late 80s, but 30+ years later the band has recorded and released their debut album. More of a lighter rock /AOR 10 track album, A DOLL’S HOUSE offers up some smooth sounding tunes, well recorded and produced, with excellent vocals. Worth checking out for tracks like “Woven”, “Steps To Summer”, and “And Time”. Lots of acoustic guitars (see ballad “Chimney”). *Check out the band’s 2 videos below, and links.

In the late ’80’s, two teenagers started writing songs in L.A. They started a band and played all the clubs, The Whiskey, The Roxy, The Troubadour, etc. They built a bit of a following and did well. But not well enough. Life took over and the party ended. They were barely 22. 

Thirty years later, those same guys are in their 50s with careers, kids, mortgages — the whole deal. Bucking the odds, they set out to make an album. The gods smiled when they met Brian Wheat, a seasoned producer, perhaps best known as the bass player and co-founder of Tesla – a band that has charted multiple hits, sold millions of albums and is still going strong. 

Brian listened to the songs and decided to take charge of the album himself – arranging, recording and mixing at his J Street Recorders studio in Sacramento, CA. The result is A Doll’s House first album: Annum. An album 30 years in the making. The debut single released this past Fall, Hey Wait, is emblematic of the band’s “Chill Rock” sound, blending groove with sticky melody and true musicianship and was received well at Triple A radio. Over Easy the new single is a prelude to the full album release coming out in 2 weeks. 

DAVID SANTOS – Vocals                                                  

DAV PETRUNICH – Guitar

SETH RAFKIN – Bass

TONY DeFRANCO – Drums

Produced, mixed and engineered by Brian Wheat

Mastered by Mike Fitz

All songs written by Dav Petrunich and Seth Rafkin

LINKS:

https://adollshousemusic.com

https://www.facebook.com/adollshouseband

https://www.youtube.com/@ADollsHouseBand

https://www.instagram.com/adollshouseband