ACE FREHLEY RELEASES NEW ALBUM ORIGINS VOL. 2 VIA ENTERTAINMENT ONE

FEATURING JOHN 5, LITA FORD, BRUCE KULICK,
ROBIN ZANDER & MORE

Founding KISS guitarist and Rock and Roll Hall Of Fame member Ace Frehley released his highly-anticipated second collection of eleven rock ‘n’ roll covers, titled Origins Vol. 2, today via Entertainment One (eOne). The record acts as the sequel to Frehley’s 2016 album Origins Vol. 1 and continues his reflections on a lifetime in music and inspiration.

Frehley is joined by friends on guest appearances, such as Robin Zander of Cheap Trick, former KISS comrade Bruce Kulick, John 5, and Lita Ford. Frehley and company tackle high energy versions of deep cuts and classics by Led Zeppelin, The Beatles, The Jimi Hendrix Experience, and other musical touchstones of rock.

No stranger to cover versions throughout his musical history — having recorded, rebranded, and repossessed such notable nuggets as “New York Groove,” “Do Ya” and “I Wanna Go Back” throughout his eight previous studio efforts — this new collection presents a thoughtful and exciting selection of songs that inspired and helped shape the legendary guitarist.

REB BEACH ANNOUNCES NEW SOLO ALBUM “A VIEW FROM THE INSIDE” DUE NOVEMBER 6, 2020

FIRST SINGLE, ‘INFINITO 1122’ OUT NOW

Reb Beach has announced that his long in the works instrumental solo album will now see the light of day. “A View From The Inside” is slated for a November 6th release via Frontiers Music Srl. A new single and video, ‘Infinito 1122‘ is out today. See the video HEREhttps://youtu.be/cN_m-jz772k

Pre-order/save “A View From The Inside” HEREhttps://orcd.co/rebbeach

An album that showcases the dynamic talents of the guitar virtuoso, hard rock fans will be transported back to the days when giants like Steve Vai and Joe Satriani dominated the mainstream consciousness (and airwaves), while also simultaneously being shown a guitarist ever pushing himself forward into the future. 

Reb Beach is one of the indisputable guitar giants of the current hard rock scene. His resume with ‘80s/’90s mega-stars Winger alone would earn him this distinction, but his legacy is cemented by his current membership and work with the legendary Whitesnake, his past efforts with Dokken, and his recent release with supergroup Black Swan, also featuring Jeff Pilson, Robin MacAuley, and Matt Starr. 

Influenced by the legendary hard rockers of the ‘70s, Reb spent his teen years jamming along with the greats of that era like Aerosmith and Montrose, but it was when he discovered more progressive players like Steve Morse, Allan Holdsworth, and Larry Carlton that his musical world really opened up. The complexity and the speed of the more prog style of playing was a unique challenge compared to the blues-based playing of most musicians of that era. The discovery of these players was ultimately the catalyst that drove his playing to the level he is now so well known to music fans the world over for. Beach eventually graduated from his home practice space to the Berkeley School of Music, but after a couple of semesters he moved on and soon became one of the most sought-after session players in the music industry, working with such all-time great talents as Eric Clapton, Bob Dylan, Roger Daltrey, Chaka Kahn, Howard Jones, and Twisted Sister. 

While living in NYC, he hooked up with his future bandmate, bassist and frontman Kip Winger. Reb and Kip formed the band Winger and the rest is history. The two proved to be incredible writing partners, crafting multiple platinum records that featured no less than six Top Forty singles. with music that was commercial yet complex. 

After Winger went on a hiatus in the ‘90s, Beach’s career continued thanks to collaborations with Alice Cooper, Dokken and Night Ranger and he debuted as a solo artist in 2002 with the album “Masquerade”. 

Following the Winger reunion in the ‘00s, Reb heard that David Coverdale was looking for a new guitarist for Whitesnake. He reached out to him and since 2003, Reb has toured the world with the band as well as released multiple albums with them, including “Good to Be Bad,” “Forevermore,” “The Purple Album,” and the recent “Flesh & Blood,” plus a number of live albums.

Reb Beach will now release his first instrumental album, but this is not a mere exercise of self-indulgence. It is the culmination of over 30 years of study and extremely hard work on his craft. Fans of Steve Morse and Joe Satriani will find a lot to love in the 11 songs on offer here, but while there is certainly a lot of ear candy for the musician types, fans of hard rock in general will find a wealth of melodies and transcendent moments where the songs simply make you forget there are no vocals.

Tracklist:

1. Black Magic

2. Little Robots

3. Aurora Borealis

4. Infinito 1122

5. Attack Of The Massive

6. The Way Home

7. Whiplash

8. Hawkdance

9. Cutting Loose

10. Sea Of Tranquility 

Line-up:

Reb Beach – guitars, bass on 4, 9, keyboards on 4, 6, 11, strings on 10

David Throckmorton – drums (except on 6)

Robert Langley – drums on 6

Michele Luppi – piano on 3, 10

Phillip Bynoe – bass on 1, 2, 3, 8, 10, 11

John Hall – bass on 5, 6, 7

Paul Brown – keyboards on 1, 2, 5, 7

JINJER Announces Alive In Melbourne Live Album

Pre-Orders Available Now Order HERE

Ukrainian modern metal leaders JINJER have announced the official release of the audio recordings from one of the last metal shows played on the planet before the global Covid-19 lockdown: their ferocious sold out Melbourne, Australia performance on March 5, 2020.

Their newly announced upcoming live album, Alive In Melbourne features stunning artwork by gifted JINJER fan Gabriel Nicoletti, includes 17 tracks in total (see tracklist below) and will be released on November 20, 2020 via Napalm Records.

Commented the band: “Some shows just deserve to be carved in stone and memorialized forever. This was the case regarding our first ever Australian tour in March 2020, where we hit a few milestones all at once: we finally played on every continent there is to play on, our first time in down under was a complete sellout and more importantly we experienced the love, passion and craziness we’ve always heard so much about the Australian crowd. Hell, there were even fans from New Zealand that showed up to the party. Now, after nearly half year of lockdown I can barely watch this footage without shedding a few tears. If any of you knew how much time, patience, nerves and effort we put into making this live album possible- you would probably be surprised we managed to pull it off at all. Adversity kept coming and coming, and coming at us again and again but here we are : Alive in Melbourne 2020 is real and it’s coming out in all it’s visual and sonic glory! Let’s watch it, listen to it and let’s remember how a real metal gig should look and sound: the sweat, the volume, the performance and the crowd … we need this feeling back! I am proud that we managed to capture this place in time and share it with you as our first official live album!”

Coinciding with the announcement, the band has also released a live video for their pummeling tech groove track “Teacher, Teacher!”, the opening song of the afore-mentioned show.

Watch “Teacher, Teacher!” HERE

Alive In Melbourne is now available for pre-order and will be released in various lavish editions, listed below.

Alive In Melbourne Tracklist

01. Intro

02. Teacher, Teacher!

03. Sit Stay Roll Over

04. Ape

05. Judgement & Punishment

06. I Speak Astronomy

07. Who Is Gonna Be The One

08. Noah

09. Retrospection

10. Perennial

11. On The Top

12. Pit Of Consciousness

13. Home Back

14. Words Of Wisdom

15. Pisces

16. Captain Clock

17. Outro

Deluxe Edition Napalm Mailorder Only

Jewel Case + T-Shirt Napalm Mailorder Only

Pink/Black Marbled Vinyl Napalm Mailorder Only

Jewel Case Worldwide

Digital Album Worldwide

DJO RELEASES “KEEP YOUR HEAD UP” SINGLE FOLLOWS UP 2019 ALBUM “TWENTY TWENTY”

Late in 2019, musician Joe Keery quietly unveiled his solo project Djo and his full-length psych odyssey, Twenty TwentyToday, he returns with the single “Keep Your Head Up,” featuring the spaced out psych rock influences that Keery has employed in most of his music projects, but also mixing in elements of funk reminiscent of Prince and George Clinton. The song is a much needed shot of positivity in an otherwise dark time. 

Later today, Joe Keery will join The Flaming Lips’ Wayne Coyne in conversation with The Talkhouse. Tune inHERE at 3 PM PT / 6 PM ET. Additionally, Djo (both Keery and co-producer and co-writer Adam Thein) will participate in a Reddit AMA on r/indieheads tomorrow at 10 AM PT / 1 PM ET. More info HERE.

Keery began playing music in his teens after co-opting his sister’s guitar, but it was during his college years at DePaul University in Chicago that he formed his first band and began to seriously pursue music. That band was Post Animal, the heavy psych rock outfit that went on to release a self-titled EP and two subsequent albums via Polyvinyl. They also toured with artists like Twin Peaks, Wavves and Cage The Elephant and played numerous festivals including Bonnaroo and Shaky Knees.

Photo credit: Maika Monroe

In 2019, with no announcement or fanfare, Keery’s solo-project Djo was unveiled not with a single, but a lush, self-reflective, layered 12 track full-length album titled Twenty TwentyJoe Keery built a carnival. The resonance of each riff or beat is not new, but redesigned and reshaped into the beauty it is today. The face of psych or alternative mirrored through his own design, and it reveals a person who shouldn’t be underestimated,” said Rodeo Mag. Despite the album being released under the radar and without a label, fans found their way to it, and Twenty Twenty has had more than 40 million streams to date. 

Major touring and festival dates were plotted for Djo throughout 2020, but with the global pandemic putting plans on hold, Keery returned to the studio to make something new. “Keep Your Head Up” is the first of much more new music to come. 

SEVENDUST RELEASE LYRIC VIDEO FOR “BLOOD FROM A STONE” – THE FIRST ORGINAL TRACK FROM UPCOMING ALBUM

BLOOD & STONEhttps://youtu.be/7f-ljyfb4yg
Band’s 13thStudio Album Scheduled for Release on October 23rd

Now Available for Pre-Order at https://RiseRecords.lnk.to/BloodAndStone
On the heels of the current single “The Day I Tried To Live” moving up the radio charts (currently #16 on Mediabase Active Rock chart), heavy metal legends Sevendust are releasing the first original song from their upcoming album Blood & Stone.

“Blood From A Stone” is quintessential Sevendust filled with driving riffs from guitarists Clint Lowery and John Connolly, pulsating rhythms from bassist Vince Hornsby and drummer Morgan Rose, and captivating vocals delivered as only Lajon Witherspoon can.  

A lyric video for the song was created by Wayne Joyner (known for his work with Dream Theater) who also did the video for “The Day I Tried To Live.” The lyric video for “Blood From A Stone” can be seen here: https://youtu.be/7f-ljyfb4yg

“Blood From A Stone was inspired by the endurance and threshold of our band, the wins and the losses, the good and bad years. That we have more to give, more to say and we pull that out of each other,” explains Clint Lowery.

Blood & Stone, the band’s 13th studio album, is scheduled for release on October 23rd via Rise Records (the second for the band on the label). The latest release also marks a return for the band with producer Michael “Elvis” Baskette, known for his work with Alter Bridge; Tremonti; Slash; and others. Blood & Stone is available for pre-order in various configurations at https://RiseRecords.lnk.to/BloodAndStone
The track listing for Blood & Stone is:
1)     Dying To Live
2)     Love
3)     Blood From A Stone
4)     Feel Like Going On
5)     What You’ve Become
6)     Kill Me
7)     Nothing Left To See Here Anymore
8)     Desperation
9)      Criminal
10)     Against The World
11)     Alone
12)     Wish You Well
13)     The Day I Tried To Live
L to R: Morgan Rose, Clint Lowery, Lajon Witherspoon, Vince Hornsby, John Connolly
(Photo Credit: Travis Shinn/Chuck Brueckmann)

In 1994, Sevendust first forged a familial tie amongst each other that translated into one of the most diehard audiences in the game. To this day, the connection between fans and the GRAMMY® Award-nominated gold-certified hard rock outfit only grows stronger. A trifecta of now-classic gold albums—Sevendust [1997], Home [1999], and Animosity [2001]— ignited their journey. Known as an equally intense and unforgettable live force, they’ve consistently packed houses around the world and decimated stages everywhere from Rock on the Range and Woodstock to OZZfest and Shiprocked! 2015’s Kill The Flaw represented a high watermark. Bowing at #13 on the Billboard Top 200, it scored their highest debut on the respective chart since 2010 and marked their fifth consecutive Top 10 on the Top Rock Albums Chart and third straight Top 3 on the Hard Rock Albums Chart. Most impressively, the lead single “Thank You” garnered a nomination in the category of “Best Metal Performance” at the 2016 GRAMMY® Awards, a career first. All I See Is War continued the band’s success debuting at #28 on the Billboard 200 and has become a favorite among critics and fans alike thanks to singles like “Dirty,” “Medicated” and “Risen.” 

Website: www.sevendust.com

Facebook: www.facebook.com/sevendustofficial

Twitter: @Sevendust 

THE DISTILLERS ANNOUNCE 20th ANNIVERSARY REISSUE OF THEIR SELF-TITLED ALBUM OUT OCTOBER 30

Punk legends, The Distillers are thrilled to announce the 20th anniversary reissue of their self-titled debut album. The newly remastered record will be released October 30 digitally and on vinyl. The exclusive vinyl will be limited to 2000 pieces in opaque sunburst, 1,550 pieces in clear with green/purple/black smoke, and 500 pieces exclusive to Zia in summer sky wave. All variations are available for pre-order now, here.

“This record is kind of the equivalent of someone reading my teenage diary, except worse,” explains vocalist and guitarist Brody Dalle. “Figuring out who I was as a songwriter, but with everyone watching and listening! All of my contemporary (at the time) influences for everyone to hear. The write up in the ‘Village Voice’ changed my life and I am forever grateful for it. If I hadn’t read such a scathing, hilarious and on point review (even though it stung really bad) I wouldn’t be the lyric writer I am today. Kim’s BADASS bass playing is still a highlight for me, and thanks to Matt Young as well for his enthusiasm and cool fast AF skin beats. The feedback at the end of blackest years I did by total accident…. I love this record so much, warts and all.”

PRE-ORDER THE DISTILLERS 20TH ANNIVERSARY VINYL

The Distillers Track listing
1.     Oh Serena
2.     Idoless
3.     The World Comes Tumblin’
4.     L.A. Girl
5.     Distilla Truant
6.     Ask The Angels
7.     Oldscratch
8.     Girlfixer
9.     Open Sky
10.  Red Carpet And Rebellion
11.  Colossus U.S.A.
12.  Blackheart
13.  Gypsy Rose Lee
14.  The Blackest Years

ABOUT THE DISTILLERS
To call The Distillers simply a punk band doesn’t do justice to either the band or the word “punk”. Guitarist, lyricist, and vocalist Brody Dalle uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Originally formed in 1998 in Los Angeles, the energetic band, with Dalle at the helm, released a string of damaged and powerful albums, EPs and singles with California punk labels Epitaph and Hellcat, then released their third masterpiece of an album, Coral Fang, on Sire before going on an untimely hiatus and ultimately splitting in 2006. After breaking a 12-year silence on social media late last year, The Distillers returned, and In September 2018, the punk gods released their first singles in 15 years, “Man vs. Magnet” and “Blood in Gutters.” The band are currently in the studio working on the follow up to Coral Fang with more to come throughout 2020.

Musician J.D. King Discusses His New Album “Moon Gardens”

Musician, Songwriter, Producer and Artist J.D. King has just released a new album titled “Moon Gardens”. Painstakingly recorded over three years on reel to reel analog equipment the album showcases Kings multitude of talents while being backed by an impressive stable of musicians all acting as intricate pieces within this audiophiles dream. Media Mikes had the chance to speak with King recently about the creation of the album, his decision to use only analog equipment and his plans for performing this material live.

Adam Lawton: Can you give us some background on the work that went into “Moon Gardens”?

J.D. King: After I had come off of the Olms project I was doing with Pete Yorne I started really getting in to the use of analog equipment. I wanted to make a 60’s style record the way they did back then. I was studying how album like the Beatles “Revolver” was made and albums like that. We did all the recording via analog and mixed it on tape as I wanted everything to sound just as it would as if it were recorded in the 60’s. I was meditating around eight hours a day and during that time I came up with all these song concepts. I had a good amount of vintage gear to start but then I acquired some more and found a few engineers who could mix on tape in the style that I was going for. We mixed everything live so that was another challenge we were working with as someone basically had to be turning knobs as we were performing. On the song “The Wooden Man” there is a panning part where the engineer was working the panning effect while I was turning some other knobs. With this record I wanted everything to come from the best place it possibly could. Every ingredient had to be the very top. From the musicians, the gear and the performances themselves I wanted the best.

AL: What was it about the 60’s era of recording that captured your interest?

JDK: I am a huge record fan. Even before all this quarantine stuff I would sit with a stack of records and just listen to music all day. I would even listen to some stuff on reel to reel. I never got a good feeling from digitally recorded music. It is less biological to me. I enjoy hearing over tones in music which is something generally missing from digitally recorded music. Honestly I think engineering from those eras was so much better and the standards were much higher.

AL: Working with older equipment did you run into any issues?

JDK: Sometimes we would have gear go down and it wouldn’t just be a simple fix like going to the store and getting a new one. Some of the gear we were using was from as far back as the 1930’s. When a pre-amp or something would go down during the middle of a session we would have to stop and take the time to find someone who was skilled in working on that type of equipment. This did cause some challenges from time to time.

 AL: You worked on this album for three years. Did the writing process take up a majority of that time or was it more from the high level of production you were going for?

JDK: I would generally get my group of session’s guys together once a month to jam and record. The rest of the time I was learning and experimenting with the engineering process as well as writing. I was working basically non-stop. I was wearing a lot of different hats and just had to figure all that stuff out. I think for the most part the time between the two was pretty equal. There were a lot of new things with this record both musically and technically. I wanted to expand and try some new things.

AL: At what point in time did you decide that the record was completed?

JDK: I think right around when I had twelve or thirteen songs. I felt things were rounded out and was happy with what I had. I think when people listen this in an album format it is going to really click. I am an album rock fan and I think that’s was I was able to do with this.

AL: Being that you play quite a few instruments how did you decide which ones you would play and on which tracks?

JDK: I would put the bones of each track down first. From there we would start rehearsing it and bringing the track to life. While doing that I would hear these things that I wanted to add as did the guys I was playing with. Stuff tends to happen in the studio while you are working.

AL: Did you find your creative process changed at all over the course of this record?

JDK: Things stayed pretty much the same for me as they always have been. If you listen to my first record I had a pretty big hand in the production of that record even though it was my first one. Every band I was playing in I always had this ear towards production. Pete (Yorn) is the same way. I learned a lot from him. We tried to work very fast over the course of this record. I have to give to those guys in the sixties as they had to bring their A games. You didn’t want to miss a take as you were recording directly to tape which was expensive. We had a couple tape issues which caused us to have to scrap a couple really good takes. I learned my lesson from that.

AL: With the current pandemic changing a lot of the way things are being done what are your plans to help get this music out to the public given the traditional in-person/live element of music is indefinitely on hold?

JDK: I am kind of lucky in that I learned so much about performing in a studio during this record. It was something you had to do. Having a background in photography I know about lighting and all those things as well so production comes simple for me. Being essentially a one man production crew I can throw up a few cameras and lights and I am set to go. I did a lot of painting over the winter so I can throw those up in the background as well and showcase a lot of my different talents. You can see a lot of what I have going on through my Instagram @mrjdking

SEVENDUST ANNOUNCE LUCKY ALBUM #13 BLOOD & STONE SCHEDULED FOR RELEASE ON OCTOBER 23rd

New Album Now Available for Pre-Order at https://RiseRecords.lnk.to/BloodAndStone

On the heels of the current single “The Day I Tried To Live” moving up the radio charts, heavy metal legends Sevendust are announcing their 13th studio album Blood & Stone. The new album is scheduled for release on October 23rd via Rise Records (the second for the band on the label). The latest release also marks a return for the band with producer Michael “Elvis” Baskette, known for his work with Alter Bridge; Tremonti; Slash; and others. Blood & Stone is available for pre-order in various configurations at https://RiseRecords.lnk.to/BloodAndStone

From the pulsating intro of album opener “Dying To Live” to the now popular album closer “The Day I Tried To Live,” Sevendust continue to push the sound they have made their own for more than 25 years. Tracks like “Love,” “Blood From A Stone,” “Kill Me” and “Against The World” showcases why the band has been adored by fans and critics alike. Lajon Witherspoon, Clint Lowery, John Connolly, Vince Hornsby and Morgan Rose have raised the bar with Blood & Stone. The new music fits perfectly alongside with the bands most seminal tracks that have become the cornerstone of the band’s live performances.

L to R: Morgan Rose, Clint Lowery, Lajon Witherspoon, Vince Hornsby, John Connolly
(Photo Credit: Travis Shinn/Chuck Brueckmann)
The track listing for Blood & Stone is:
1) Dying To Live
2) Love
3) Blood From A Stone
4) Feel Like Going On
5) What You’ve Become
6) Kill Me
7) Nothing Left To See Here Anymore
8) Desperation
9) Criminal
10) Against The World
11) Alone
12) Wish You Well
13) The Day I Tried To Live
Recently, Sevendust impacted rock radio and unveiled a lyric video for their cover of the Soundgarden classic “The Day I Tried To Live.” The song is currently moving up the charts and the reaction to the track has been overwhelmingly favorable to the unique interpretation the band put on the classic track. The lyric video for the song was created by Wayne Joyner (known for his work with Dream Theater). It features a lone figure walking down a road thinking about his life with clips of the band woven throughout.

The video can be seen here: https://youtu.be/YhUUO_S4bpA.

In 1994, Sevendust first forged a familial tie amongst each other that translated into one of the most diehard audiences in the game. To this day, the connection between fans and the GRAMMY® Award-nominated gold-certified hard rock outfit only grows stronger. A trifecta of now-classic gold albums—Sevendust [1997], Home [1999], and Animosity [2001]— ignited their journey.

Known as an equally intense and unforgettable live force, they’ve consistently packed houses around the world and decimated stages everywhere from Rock on the Range and Woodstock to OZZfest and Shiprocked! 2015’s Kill The Flaw represented a high watermark. Bowing at #13 on the Billboard Top 200, it scored their highest debut on the respective chart since 2010 and marked their fifth consecutive Top 10 on the Top Rock Albums Chart and third straight Top 3 on the Hard Rock Albums Chart. Most impressively, the lead single “Thank You” garnered a nomination in the category of “Best Metal Performance” at the 2016 GRAMMY® Awards, a career first. All I See Is War continued the band’s success debuting at #28 on the Billboard 200 and has become a favorite among critics and fans alike thanks to singles like “Dirty,” “Medicated” and “Risen.” 

ACE FREHLEY ANNOUNCES ORIGINS VOL. 2 DETAILS, EXTENDS ALBUM DEAL WITH ENTERTAINMENT ONE

“SPACE TRUCKIN’” OFFICIAL MUSIC VIDEO AND TRACK OUT NOW

PRE ORDERS AVAILABLE TODAY

Founding KISS guitarist and Rock and Roll Hall Of Fame member Ace Frehley announces the release of Origins Vol. 2, his highly-anticipated second collection of eleven rock ‘n’ roll covers, due out on September 18, 2020. Today, he also releases the first single, a flawless cover of Deep Purple’s 1972 hit, “Space Truckin'” available now on all streaming platforms, and as an official music video. 

Recorded at The Creation Lab in Turlock, CA, Frehley recorded guitar, bass, and vocals on “Space Truckin'” with long-time studio drummer Matt Star and keyboard player Rob Sabino (Peter Frampton,  Simon & Garfunkel). 

Ace offers,“‘Space Truckin’ was recorded years ago, and then I just re-recorded some parts and changed it a little. We never ended up putting it on a record, so it was just sitting around. It turned out very well. Rob Sabino is a very accomplished studio musician, and we actually grew up in the Bronx together, so we go way back.”

The official video for “Space Truckin’” was directed by eOne’s Ken Gullic (VP, Sales & Acquisitions, Music) and animated by Chris Fequiere, the same team behind the “Mission to Mars” music video from Frehley’s Spaceman album in 2018. 

Frehley has also re-signed with eOne for more new releases, which extends his original deal signed in 2013. During his tenure, he has released three albums worth of new material, Origins Vol. 2 is the fourth. A new studio album is planned for 2021 with two additional releases to follow.

eOne’s Scott Givens, SVP, Rock & Metal, Music says, “I am thrilled to extend our partnership with Ace Frehley.  He is a core artist for eOne and I look forward to more continued success with him.”

eOne’s Ken Gullic, VP, Sales & Acquisitions, Music, offers, “We were warned, before our first meeting with Ace in 2014, that he’d never deliver an album or get on the plane for that very meeting. He showed up with an early version of Steve Miller’s “The Joker” in hand and then cranked out eleven brand new songs at lightning speed for his first top 10 solo album ever, ‘Space Invader,’ just in time for his Rock and Roll Hall of Fame induction as a KISS member in 2014. With nine albums into his vibrant solo career, one that clearly stands on its own, it’s time for Ace to be considered as a Rock & Roll Hall of Fame inducted solo performer too.

Frehley continues his reflections on a lifetime in music with this release of Origins Vol. 2. No stranger to cover versions throughout his musical history — having recorded, rebranded and repossessed such notable nuggets as “New York Groove,” “Do Ya” and “I Wanna Go Back” throughout his eight previous studio efforts — this new collection presents a thoughtful and exciting selection of songs that inspired and helped shape the legendary guitarist. That spirit of fun is carried through with exquisite execution, and guitar aficionados will enjoy Frehley’s fresh interpretations of these classic songs.

Origins Vol 2. features some extraordinary guests, including Robin Zander of Cheap Trick on Humble Pie’s “30 Days In The Hole,” and former KISS comrade Bruce Kulick on Jimi Hendrix’s “Manic Depression.” Origins Vol.1 alumnus John5 also returns, playing on Cream’s “Politician,” and The Beatles’ “I’m Down.” Finally, the exquisite Lita Ford returns on vocals, this time on The Rolling Stones’ 1968 hit “Jumpin’ Jack Flash.” Full track listing below.

Track List:
1. Good Times Bad Times (Led Zeppelin)
2. Never In My Life (Mountain)
3. Space Truckin’ (Deep Purple)
4. I’m Down (The Beatles)
5. Jumpin’ Jack Flash (The Rolling Stones) 
6. Politician (Cream) 
7. Lola (The Kinks)
8. 30 Days In The Hole (Humble Pie)
9. Manic Depression (The Jimi Hendrix Experience)
10. Kicks (Paul Revere & the Raiders)
11. We Gotta Get Out Of This Place (The Animals)
12. She (KISS) [Bonus Track]

Origins Vol. 2 will be the followup to 2016’s Origins Vol. 1, which hit #23 on the Billboard Top 200 chart, and was his second highest-charting solo album and his 4th Top 40 album. 

Pre-orders are available today at www.acefrehleyorigins.com — which includes an exclusive 180g Opaque Gold Double LP variant (limited to 1000 copies + download card).

STONE TEMPLE PILOTS TO PERFORM CORE ALBUM IN ITS ENTIRETY FOR LIVESTREAM EVENT ON NUGS.TV JULY 31

 LIVE AUDIO RECORDINGS FROM 2011 & 2019 STP SHOWS

AVAILABLE NOW ON NUGS.NET

Stone Temple Pilots will perform their iconic album, Core in its entirety for an epic livestream event, Friday July 31 @ 5pm PST / 8pm EST on nugs.tv

Core, STP’s breakout debut album features smash hits “Sex Type Thing,” “Wicked Garden” and “Plush,” which won the Grammy Award in 1994 for Best Hard Rock Performance.

Tickets for the livestream event are $9.99, and can be purchased HERE. Also available at nugs.tvnugs.net app, iOS, Android or nugs.net app on Apple TV. Watch it live on Friday July 31 @ 5pm PST / 8pm EST. The concert will also be available within 48 hours from pressing play, for user to replay.

In addition to the Core livestream event, STP will release live audio from past shows beginning with August 3, 2011 @ Hampton Beach Ballroom in Hampton Beach, NH with Scott Weiland, and June 13, 2019 in London, UK @ O2 Forum Kentish Town with lead vocalist, Jeff Gutt.

Gutt says about the 2019 London show, “The show at O2 Forum was my first time being in London. In fact, I had never been to Europe, so I was just trying to take in all the history and city vibes. STP hadn’t been there in quite a while, so I remember the crowd being especially electric. There’s something about when the lights go out and everyone knows that the show is about to begin, that really takes us all to a magical place together.”

www.stonetemplepilots.com

www.nugs.tv

nugs.tv, the leading channel for live music, gathers thousands of fans nightly for HD broadcasts of full concerts from some of the world’s largest touring artists, including Metallica, Dead & Company and Widespread Panic. 

About Stone Temple Pilots:

With over 50 million albums sold, Stone Temple Pilots roared on to the scene in 1992 with their raucous debut, Core. A breakout success, the album peaked #3 on the Billboard 200 chart, and dominated radio waves with hits like “Sex Type Thing,” “Wicked Garden,” and the Grammy-Award winning smash single, “Plush.” STP quickly distinguished themselves as a band beholden to no trend. Boasting the inimitable riffs of guitarist Dean DeLeo, the propulsive rhythm section of bassist Robert DeLeo and drummer Eric Kretz, and the charismatic baritone of front man Scott Weiland, STP ruled airways, video playlists and charts alike, over their legendary career. In 2020, STP released their eighth studio and first all-acoustic album Perdida, the second album with lead vocalist Jeff Gutt, to rave reviews. Paste magazine says, Perdida may be the most sonically rich experience that Stone Temple Pilots have offered their fans to date.

About nugs.net

Founded in 1997 as a fan site for downloading live music, nugs.net has evolved into the leading source for official live music from the largest touring artists in the world. Metallica, Pearl Jam, Phish, Jack White, Red Hot Chili Peppers, Bruce Springsteen and many others distribute recordings of every concert they play through nugs.net. The platform offers downloads, CDs, webcasts, and the only streaming service dedicated to live music, delivering exclusive live content to millions of fans daily.  nugs.net is available on iOS, Android, AppleTV, Sonos, BluOS, and Desktop.  Visit nugs.net or get the app at nugs.net/app.

Ways in which to include your barcode in your album launch

Using a Barcode within the Music World

Even though the primary purpose of a barcode is to track items in the retail sector, it does not have to end there. There is a myriad of creative and innovative ways to use them in the music industry.  Musicians and artists alike are viewing them through the lens of art and incorporating them into their work. They are using them to sell their albums as well as to promote their music in the wider world. We at https://www.barcodessouthafrica.co.za/ are excited to be a part of this innovation by providing top quality information to artists and musicians throughout South Africa.

In 1980, Dave Davies of The Kinks released a solo album called AFL1-3603, which featured a giant barcode on the front cover in place of the musician’s head. The album’s name was also the barcode number – a code 128 format. These are high density and linear they are used to encode alphanumeric data. It can store a large amount of data within quite a small amount of space, making it very versatile. This was the format that was included on Dave Davie’s music album. It was not until the album was released that Davie’s solo career was revived. AFLI-3603 peaked at #42 on the Billboard 200. And in 2003, he made it onto Rolling Stone Magazine’s list of 100 Greatest Guitarists of all Time. All with the help of a Code 128.

Another music artist called Devo released his second album in 1979. This album was called Duty Now for the Future and contained multiple images of a barcode on it. It was the second album from the new wave band, with most of the songs on the album recorded from Devo’s live sets from as early as 1976.

Over the years, codes have spread throughout the music industry. The Barcodes is the actual name of a jazz, blues, and soul band. It consists of 3 members: Bob Haddrell on vocals, organ, and piano; Alan Glen on vocals, guitar, and harmonica; and Dino Coccia on drums. They have released a total of nine albums since their commencement, one of which (Keep Your Distance) has an aerial image of piano keys on the cover, closely resembling the image of a black and white UPC. 

Scott Blake is one of the most innovative artists within the creative industry. He is renowned for creating masterpieces from actual UPC codes. Blake has generated close to 25 life-like portraits using small barcode images from products and artifacts that relate to the person he is working with. His subjects include Oprah Winfrey, Madonna, Marilyn Monroe, and Elvis Presley. His decision to use a barcode is more than just aesthetic – if you scan each barcode on Elvis’ face, it plays a song or a clip from YouTube. In this way, he has taken something very mundane and turned it into something creative and innovative.

How can you use a code to promote your music and increase awareness of your brand? Many music artists are using Quick Response codes or for short a QR barcode in order to boost the public’s awareness of their music, thereby increasing their sales, and enabling them to make a success of their music career. A QR barcode is two dimensional and contains a square image with black dots against a white background. They are able to store a lot of information, unlike the standard one dimensional barcode. They normally store a specific website URL. Another special quality is that they are able to be scanned with a Smartphone. In this way, people can scan them in order to access information about a specific artist and their music. This website is a platform that you can use to promote your music. You can link your fans to YouTube clips of your individual songs or information about upcoming gigs. These codes can be placed on concert posters or on the actual cd cover of your music. A QR barcode is one way of keeping your fans informed and boosting their excitement about your music.

How do you go about acquiring a QR barcode?  This is easy. Resellers are able to provide you with the highest quality QR barcode at cutthroat prices. This is a quick and simple process.  They will link this unique QR with any URL you choose.  In this way, we will set you up for roaring success in your music career.

Another way that they can be used in the music industry is in the distribution of music albums. The majority of retailers require you to have a barcode on your individual albums in order to stock them in their stores.  You will need a separate barcode for every individual music album. The specific one that you will need is the UPC and EAN barcode, which are American and are utilized throughout the world.  The UPC and EAN format are 12 digits and 13 digits long respectively. Using this international barcode will allow your music to exported overseas as well as here in South Africa.Most retailers in South Africa prefer the EAN as it is more versatile.  Companies are also able to provide you with either the UPC or the EAN.  You can either include your unique barcode in the design of your CD cover or you can print them onto stickers which you can manually attach to each CD cover.  It is always a nice idea if possible, to include it in the design of your CD cover as then all your printing is done as one, it also saves money.

In conclusion, a barcoding technology has provided a very unique way to express oneself within the music industry. They have also provided useful tools to promote music albums in the wider world. In this way, they have contributed to the musical success of many thousands of artists worldwide. We are here to pave your way to success by providing you with the tools and information you need to build your music career. 

ZAKK WYLDE CELEBRATES 50TH ANNIVERSARY OF BLACK SABBTH WITH BLISTERING RECREATION OF SABBATH’S DEBUT ALBUM!

“VERTIGO” COMING OUT THIS SEPTEMBER
ON MAGNETIC EYE RECORDS!

STREAM ZAKK SABBATH’S VERSION OF “BLACK SABBATH” NOW AT ROLLINGSTONE.COMhttps://bit.ly/2NVKF2J 

Early September will see ZAKK SABBATH, the BLACK SABBATH tribute band featuring guitarist/vocalist Zakk Wylde (Black Label Society, Ozzy Osbourne), bassist Blasko  (Ozzy Osbourne, Rob Zombie) and drummer Joey Castillo (Danzig, Queens of the Stone Age), release their spectacular tribute to the Birmingham four, a faithful yet supercharged rendition of BLACK SABBATH’s first album. Vertigo Records issued the iconic debut album on a Friday the 13th in 1970, and the world was never the same. Legendarily recorded in a single day in October 1969, the earth-moving self-titled set closed the book on hippie optimism with its dark magic and ushered in a brand new genre, setting the metal template for decades to come.

Exactly 50 years later, ZAKK SABBATH celebrate the first chapter in the Sabbath catalog with a reverently rendered tribute, simply titled “Vertigo“, which is slated for a release on September 4th, 2020, via Magnetic Eye Records. Faithfully recorded in the spirit of the original, live in the studio and with a film crew documenting the process, the session culminated in a new version of a landmark album that celebrates the greatest heavy metal band of all time and the record that started it all.

“We recorded a live EP and were wondering what we could do next as a cover band, so the 50th album anniversary came just at the right time”, explains Blasko regarding Zakk Sabbath’s decision to go studio. “Compared to ‘Paranoid’, which is almost like a best-of record, the bulk of the material on ‘Black Sabbath’ is deep-cut, really experimental stuff that was never thoroughly explored, so that was a challenge, not to forget that we wanted to meet our own high standards.

Describing the DIY process as “very productive,” the three respectfully added their own flair to make for a slightly different flavor, also revisiting various live renditions and “extending a solo here or slowing things down because that’s what they tended to do on stage.”

Today, ZAKK SABBATH are sharing a first track taken from “Vertigo” exclusively with Rolling Stone Magazine. You can now stream their tribute version of the iconic anthem, Black Sabbath, HERE!

ZAKK SABBATH’s “Vertigo” won’t be available digitally, “to make the release feel authentic to the time when vinyl ruled the earth. It was such a cool time for those of us that grew up during that time. The fan experience with the physical product is irreplaceable with digital and streaming. We wanted to capture that authenticity.”

“Vertigo” will be available as:

  • Digipak CD
  • CD/DVD hardcover book with the album behind-the-scenes-interviews and making-of
  • limited edition yellow vinyl

Tracklisting:
1) Black Sabbath
2) The Wizard
3) Wasp / Behind the Wall of Sleep / N.I.B
4) Wicked World
5) A Bit of Finger / Sleeping Village / Warning

Set to be released on September 4th, the album pre-sale has just started at THIS LOCATION!

For More Info Visit:
www.zakksabbath.com

OLD 97’S Return With New Album Twelfth Out August 21 on ATO Records

“One of the most intensely joyful experiences we’ve ever had as a band.” – Rhett Miller

Watch the Video for First Single “Turn Off The TV” HERE

Photo credit: Alysse Gafkjen

“Terse, wry, and supremely catchy roots-rock.” – THE ATLANTIC

“A well-loved pioneering force in the alt-country movement… [they’ve] still got the same raucous, sweaty energy that’s made [them] so beloved all this time.” – NPR

“Blistered, blasted, and brilliant.” – NEW YORKER

Old 97’s, the iconic alt-country outfit fronted by Rhett Miller, is returning with their twelfth album, the aptly titled Twelfth, to be released on August 21 on ATO Records. Twenty-seven years in, Old 97’s still features its original lineup – Miller, guitarist Ken Bethea, bassist Murry Hammond, and drummer Philip Peeples – and Twelfth is a testament to the band’s staying power. The album’s cover image of former Dallas Cowboys quarterback Roger Staubach is both an homage to Miller’s childhood hero and a recognition that, in making their livings as musicians, the 97’s themselves have achieved their lifelong dreams.

In an interview with Rolling Stone, Miller talks about how his five-year sobriety influenced the new album, saying, “Going back in, I thought, ‘What if I don’t bring anything to the table? What if I’m like Samson and the whiskey was my long hair and I cut it off and can’t write songs anymore?’… But [Twelfth] was the first record where, top to bottom, I felt I was back in the driver’s seat, found my voice, and came out the other side. It feels good.”

The band shares Twelfth’s first single “Turn Off The TV” today alongside a video directed by Liam Lynch that features Puddles the Clown as well as footage of the band throughout their career. Watch the video below and pre-order Twelfth HERE.

Old 97’s – TwelfthAugust 21, 2020 – ATO Records

1. The Dropouts

2. This House Got Ghosts

3. Turn Off The TV

4. I Like You Better

5. Happy Hour

6. Belmont Hotel

7. Confessional Boxing

8. Diamonds on Neptune

9. Our Year

10. Bottle Rocket Baby

11. Absence (What We’ve Got)

12. Why Don’t We Ever Say We’re Sorry

MORE ON TWELFTH:

“Somehow what we’ve got never breaks down,” Rhett Miller sings on Old 97’s exhilarating new album, Twelfth. At first, the line comes off as a boast, as a declaration of invincibility from a band that’s managed to survive three decades of rock and roll debauchery, but as the phrase repeats over and over again, it slowly transforms into something more incredulous, something more vulnerable, something deeply human. 

“We experienced some close calls over the last few years,” says Miller, “and I think that led us to this dawning realization of the fragility of it all. At the same time, it also led us to this increased gratitude for the music and the brotherhood we’ve been so lucky to share. I think all of that combined to make recording this album one of the most intensely joyful experiences we’ve ever had as a band.” 

That joy is utterly palpable on Twelfth. Loose and raw, the record is an ecstatic celebration of survival, a resounding ode to endurance and resilience from a veteran group that refuses to rest on their considerable laurels. Working out of Sputnik Sound in Nashville, Miller and his longtime bandmates—bassist Murry Hammond, guitarist Ken Bethea, and drummer Philip Peeples—teamed up once again with GRAMMY-winning producer Vance Powell (Chris Stapleton, Jack White), and while the resulting album boasts all the hallmarks of a classic Old 97’s record (sex and booze, laughter and tears, poetry and blasphemy), it also showcases a newfound perspective in its writing and craftsmanship, a maturity and appreciation that can only come with age and experience. Perhaps the band is growing up; maybe they’re just getting started. Either way, Old 97’s have never been happier to be alive. 

“You have to take pride in the unlikeliness of it all,” says Miller. “It’s mind boggling to think that we’ve been able to last this long, that we’ve been able to support ourselves and our families on our own terms for almost thirty years. Twelve is a lot of records.” 

Formed in Dallas, Texas, Old 97’s first emerged in the early ’90s with an adrenaline pumping blend of rock and roll swagger, punk snarl, and old-school twang that quickly brought them into the national spotlight. Conventional wisdom places the band at the forefront of a musical movement that would come to be known as “alternative country,” but, as the New York Times so succinctly put it, their sound always “leaned more toward the Clash than the Carter Family.” Fueled by breakneck tempos, distorted guitars, and wry storytelling, the foursome built a reputation for high-energy albums and even higher energy shows, earning themselves performances everywhere from Conan and Letterman to Bonnaroo and Lollapalooza alongside countless rave reviews. NPR lauded the group as a “pioneering force,” while Rolling Stone hailed their music’s “whiskey-wrecked nihilism and slow-burn heartbreak,” and The New Yorker praised their songwriting as “blistered, blasted, and brilliant.” On top of his prodigious output with Old 97’s, Miller simultaneously established himself as a prolific solo artist, as well, releasing eight studio albums under his own name that garnered similarly wide-ranging acclaim and landed in a slew of prominent film and television soundtracks. A gifted writer beyond his music, Miller also contributed essays and short stories to The Atlantic, SalonMcSweeney’s, and Sports Illustrated among others, and in 2019, he released his debut book, a collection of poetry for children, via Little, Brown and Company. 

While part of Old 97’s charm has always been the air of playful invulnerability they exude onstage every night, reality began catching up with the band in 2017. The night before a television appearance in support of the group’s most recent album, Graveyard Whistling, Peeples collapsed in a hotel parking lot, falling backwards and cracking his skull on a concrete abutment. He spent weeks in the ICU and was forced to miss the first leg of tour. Bethea, meanwhile, began to notice a loss of feeling in the fingers of his right hand. As his condition continued to deteriorate on the road, the numbness spread to his leg, and he was eventually forced to undergo spinal surgery in order to regain full motor control. Miller, for his part, found himself at more of an existential crossroads, questioning attitudes and behaviors he’d long taken for granted. Yes, he was a rock and roll star (whatever that means nowadays), but he was also a father and a husband, and he decided it was long since time to get sober.  

“Back when we were in our 20’s, we put ourselves through these terrible trials because we thought we could survive anything,” says Miller. “But over the last few years, it started becoming clear that we’re human.”  

Rather than slow things down, the band decided to embrace their mortality as all the more reason to seize the day. Life is short—a lesson that was hammered home on the group’s first day of recording in Nashville, when a series of deadly tornadoes ripped through town—and Twelfth is the sound of Old 97’s recommitting themselves to making the most of every moment they’ve got left. Addictive opener “The Dropouts” sets the stage, taking stock of the band’s journey from its very first days, when they cut their teeth playing the bars of Deep Ellum in exchange for pitchers of beer and pizza. Like much of the record to come, it’s a nostalgic look back on simpler times, but it smartly avoids looking at the past through rose-colored glasses, instead recognizing that change is neither inherently good nor bad, only inevitable. 

“There’s a line about sleeping on hardwood floors in that song,” says Miller, “and that’s what we did in the early days. But that image of hardwood floors keeps coming back and building on itself in different songs throughout the album, and over time it begins to mean different things as we grow up and start families and own homes.” 

Miller has a knack for capturing those sorts of little details that tell a larger story, for crafting richly cinematic scenes that transform seemingly mundane moments into metaphors for life itself. The driving lead single “Turn Off The TV,” for instance, spins a free cable hookup into a celebration of the visceral pleasures of living in the present, while the larger-than-life “Diamonds On Neptune” turns an astronomical phenomenon into a meditation on what really matters, and the waltzing “Belmont Hotel” finds emotional symbolism in the restoration of a Dallas landmark. 

“‘Belmont Hotel’ is a microcosm of the album, and of our band,” says Miller. “When we first started out, the Belmont was in absolute ruins, and we even did a photoshoot in the empty parking lot. Now, though, it’s more beautiful than it was in its glory days, and that got me thinking about the way we approach our relationships. Whether it’s a friendship or a marriage or a band, it’s inevitable that you’re going to go through ups and downs, but if you’re willing to put in the work and stick out the hard times, you can wind up with something that’s better than it ever was before.” 

While Miller collaborated with writers like Butch Walker and Nicole Atkins on Graveyard Whistling, he penned everything on Twelfth himself (outside of the Spaghetti Western-esque “Happy Hour” and hypnotic album closer “Why Don’t We Ever Say We’re Sorry,” which were both written and sung by Hammond). It’s a return to form he credits in part to his increasing comfort with sobriety, a comfort that finds him effortlessly running the gamut from playful romance (the dreamy “I Like You Better”) and brash bravado (the blistering “Confessional Boxing”) to supernatural fantasy (the Kinks-ian “This House Got Ghosts”) and old-school twang (the rollicking “Bottle Rocket Baby”). It’s perhaps the jaunty “Absence (What We’ve Got)” that captures this particular moment in Old 97’s history best, though, as Miller marvels at the way things change while staying the same. “The wine turns into whiskey / And the whiskey turns to tears / It’s been this way for years,” he sings, later summing the whole magic act up with a deceptively simple confession: “This is what I do.”

 Old 97’s may be human, but somehow what they’ve got never breaks down.

LAMB OF GOD Announces Online Events Following Release of New Self-Titled Album

First Album in Five Years, Lamb Of God, Out Now 

Photo: Travis Shinn

Following the Friday release of their new self-titled album, LAMB OF GOD is connecting with fans through daily online activities today through Thursday, beginning with a “live quarantine video” today at 12 noon EDT/9 a.m. PDT on YouTube. 

The video will feature three songs recorded by the band live from quarantine. Tune in to watch at https://lamb-of-god.lnk.to/QuarantineSessionVideo. 

Later today, guitarist Willie Adler will join Zia Records for a Facebook Live Q&A. Visit https://facebook.com/events/609025426405589/ at 7 p.m. EDT/4 p.m. PDT to watch.

An Instagram Live and Reddit AMA with vocalist Randy Blythe are planned for later in the week. 

Stay tuned for more activity announcements and details!

In addition to the release of the album, on Friday LAMB OF GOD premiered a video for Lamb Of God’s fourth single, “Gears,” and lyric videos for five of the album’s tracks. Watch the lyric videos at https://lambofgod.lnk.to/LOG/youtube. The highly anticipated album from metal’s reigning kings immediately made waves with press radio and sales, debuting at number one on Overall, Rock and Metal iTunes charts, and number one on Spotify’s Kickass Metal playlist. 

The fact that the band’s eighth studio effort would warrant ‘self-titled’ status is a testament to the band’s pride and satisfaction with these songs and this period in their creativity. 

A true collaboration between all members of the band, LAMB OF GOD’s eighth studio album is an amalgam of each individual’s contributions, blended to create a singular style. Guitarists Mark Morton and Willie Adler fuel the album with a mountain of riffs, taking what Lamb of God are known for, and unbelievably, upping the ante to new levels. The rhythm section of John Campbell, looming large as a rhythmic shadow, and drummer Art Cruz, who makes his studio debut with LAMB OF GOD here on this record, underpin the proceedings with passion, sweat and expansive dynamics. Vocalist D. Randall Blythe is as angry, insightful, and informed as ever. Never one to shrink from facing the darker aspects of our nature head-on, Blythe delivers with no punches pulled, and as only he and Lamb of God can in 2020. 

Audiences got a taste of the first new LAMB OF GOD music in nearly five years with “Checkmate” back in February, followed by “Memento Mori” and the most recent single, “New Colossal Hate.” All four songs will appear on Lamb Of God, the follow-up to VII: Sturm und Drang (2015). The album was once again produced by collaborator Josh Wilbur (GojiraKornMegadethTrivium), fueled by a mountain of riffs and looming rhythmic shadows. It is also the band’s first record with Cruz, who sat behind the kit with LAMB OF GOD in 2018 and became an official member the following year. In addition to Chuck Billy, the new album features a guest appearance from Jamey Jasta (Hatebreed). Blythe sounds more driven and insightful than ever on Lamb Of God, offering up the angriest and most comprehensive diatribes, addressing modern life in the current landscape, of his storied career thus far.  

LAMB OF GOD propelled heavy metal into the new millennium two decades ago with the prophetically titled New American Gospel. They followed with 2003’s As the Palaces Burn, which made the Rolling Stone list of the Top 100 Greatest Metal Albums of All Time. Ashes of the Wake (2004) was the first LAMB OF GOD album to be certified gold by the RIAA, followed by Sacrament (2006), which debuted in Billboard’s Top 10. Wrath (2009) earned the No. 1 spot on Billboard’s Hard Rock, Rock, and Tastemaker charts and was No. 2 on the Billboard 200. Those No. 1 positions were repeated with Resolution (2012). VII: Sturm und Drang (2015) debuted at No. 3 in North America and in the Top 5 in several countries. The single “512” from VII: Sturm und Drang received a Grammy nod for the “Best Metal Performance,” making it LAMB OF GOD’s fifth Grammy nomination.

In 2020, LAMB OF GOD is re-energized and unrelenting, ready to lay claim to the metal throne.

LAMB OF GOD is:

D. Randall Blythe – Vocals

Mark Morton – Guitar

Willie Adler – Guitar

John Campbell – Bass

Art Cruz – Drums

LAMB OF GOD online:

www.lamb-of-god.com

www.facebook.com/lambofgod

https://twitter.com/lambofgod

http://instagram.com/lambofgod

Lamb of God’s John Campbell Discusses the Bands New Self Titled Album “Lamb of God”

John Campbell is the bassist for the Grammy nominated heavy metal group Lamb of God. On June 19th the Richmond, VA based band will release their 8th studio album titled “Lamb of God”. This release is the follow up to the highly acclaimed 2015 album “VII: Sturm und Drang” and is the first to feature Art Cruz on drums. Media Mikes had the chance to speak with John recently about the albums creation, the bands lines up change and what it’s like being in a band during the current world pandemic.

Adam Lawton: The bands previous albums have always contained lyrical themes and topics. Was this the case for the album?

John Campbell: We have always been mildly political and focused on darker, more unpleasant aspects of life. That certainly hasn’t change. I think what has changed is that some of the things we speak about on the record are coming to pass in ways you wouldn’t imagine. It’s an incredibly crazy time when things going on start to match the lyrics of a Lamb of God song.

AL: When you are coming up with lyrics and themes is that a process everyone is involved in?

JC: It is mostly Randy. Mark and Josh our producer have a hand in things as well and I have thrown my two cents in there also. Primarily though that is a Randy exercise.

AL: At what point in the five years since the bands previous album did things start coming together for the new album?

JC: We started quite a while ago actually. During that time we were approached by Slayer to be a part of their final tour. We figured we could put recording off for a summer and then go back to it. The run with Slayer ended up lasting a year and a half. As our part of that was winding down we knew we had to get off the road and focus on writing.

AL: Were you trying to work on the album at all while you were on the road or, is that not something the band typically does?

JC: That’s not something we generally do. I can’t speak for Randy because I know he does a good deal of writing regardless if it’s going to end up as lyrics or not. The same can be said for Mark and Willie as they are always writing riffs. Those guys have studios in their homes where they are tracking pretty frequently. For the most part there is a solid line of when we touring and when we are working on an album.

AL: With this being drummer Art Cruz’s first album with you guys where there any adjustments you had to make to incorporate his style and playing into the bands creative process?

JC: The adjustments I had to make were very minimal. Art being his own person has his own style, taste and licks. His drumming was heavily influenced by Lamb of God so he already spoke the language so to speak. There is an element of fell that comes with playing in a band for a long time and that literally only took a second for us to put together with Art. From a tone stand point there is always an adjustment with each record. I try to play of the other tones of the band and go with what fits in the frequency range. I am not too savvy when it comes to those types of things so I leave a lot of that to Josh Wilbur

AL: Prior to going in to the studio were there any reservations about recording with a new drummer given that it was going to be the first time working with Art in the studio?

JC: We actually met Art seven or eight years ago when he was playing in the band Wings of Plague. We got to know him as a person and became friends with him during that time. ON that tour he would actually come out and I think play the song “Black Label” with us to end the show. When it came time that we needed a fill in Art was available and willing. He just nailed it and after touring with him for awhile and the situation calling for it, it was a no brainer that he be in the band in every way possible. 

AL: This was not your first time working with producer Josh Wilbur correct?

JC: Correct. I would have to look on the internet to see how long we have been working with him (Laughs) I want to say that he first started working with us on “Sacrament”. That was in 2006 and we have been working with him ever since.

AL: Do you ever worry that working with the same producer over a long period of time will cause a certain level of complacency?

JC: No, not at all! Josh Wilbur is an amazing person professionally and as a human. He is incredibly creative and very aware of things like this. He goes in to an album to try and create the best possible piece of art he can. Josh is great with suggestions and helping us along in the process. He understands the band and all of our personalities very well and that’s a god send.

AL: The pandemic has caused multiple problems around the word and within the music industry both from a release stand point and touring. How are you guys planning to work with that given you won’t be able to do the things bands traditionally do to support a new record?

JC: We are trying to make sure that everything we do or plan on doing is within the safety of the public and ourselves. We are all in this together. I am certainly not crying about releasing an album during a pandemic. This is just a very crazy time that the world is going through. Things are day by day and I really hope people will take that time to focus more on love and positivity instead of attaching to hate and negativity. We do have some things in the works for promoting the album but I don’t want to say anything just yet and jinx them. (Laughs) We are working on some things though.

Be sure to check out our review of “Lamb of God” here