Established Acts, Up-And-Comers Alike Offered Hard Rock, Metal Fans So Much To Enjoy In 2021

Courtesy: Nuclear Blast Records

And then there were two.  Phil’s Picks is officially down to two year-ender lists on the music side as the countdown to the year’s end itself continues.  The first of this year’s last two music year-ender lists comes today in the form of the year’s top new hard rock and metal albums. 

This year’s list is packed with content from so many established and new acts.  From up-and-coming hard rock act Antisaint to veteran thrash band Exodus to guitar virtuosos Gus G. and John 5 and more, this year has seen so many great hard rock and metal records.  Suffice it to say there has been so much great hard rock and metal this year that it has been extremely difficult to compile this list, but it was created. 

As with every list from Phil’s Picks, this collection features the year’s top 10 new releases and five additional honorable mention titles for a total of 15.  Those honorable mention titles are just as deserving of applause as the other featured works.  Without any further ado, here for your consideration is Phil’s Picks’ 2021 Top 10 New Hard Rock & Metal Albums list.


1. Accept – Too Mean To Die

2. Atreyu – Baptize

3. Exodus – Persona Non Grata

4. Michael Schenker Group – Immortal

5. U.D.O. – Game Over

6. Artillery – X

7. Gus G. – Quantum Leap

8. John 5 – Sinner

  1. The Three Tremors – Guardians of the Void
  1. Antisaint – Vaticinate
  1. Bullet For My Valentine – Bullet For My Valentine
  1. A Killer’s Confession – Remember
  1. The CEO – Redemption
  1. Tremonti – Marching in Time
  1. Skarlett Riot – Invicta

That’s it for this year’s hard rock and metal albums.  While even the hard rock and metal community has wrapped things for this year, things are already gearing up for 2022, with new releases already coming from the likes of up-and-coming hard rock act Bloodywood, veteran acts Hammerfall and Annihilator, and even from Saxon and Stabbing Westward.  That’s all just in the first quarter of 2022, too. 

In other words, the first half of the new year is already gearing up to be very exciting for all the hard rock and metal fans out there.  Until then though, there’s still one more music year-ender list from Phil’s Picks this year before the attention turns over to the best of this year’s new TV and movie releases.  Stay tuned!

To keep up with the latest entertainment news and reviews, go online to and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at  

‘Quantum Leap’ Is A Largely Successful New Offering From Gus G.

Courtesy: AFM Records

Firewind founder and guitarist Gus G. is quoted from a recent interview as saying of his new album, Quantum Leap, that he “didn’t make it with the intention of it being the next one in the cycle of solo albums.  It was more of a case of, ‘What else is there?’ I needed the creative outlet.”  One of so many albums created during the downtime forced on acts by the COVID-19 pandemic, audiences will be glad that he crafted the album regardless.  That is due in large part to its general presentation, which will be discussed shortly.  While the album’s general presentation makes the record a strong new offering, the recording is not perfect.  The production in the live content detracts from the presentation to a point.  This will be discussed a little later.  Speaking of production, the production of the album’s first half offsets the impact of the production in the album’s second half and makes the album that much more enjoyable.  The end result of this is that the album in whole proves to be one more of the year’s top new rock and hard rock/metal albums.

Gus G.’s new solo album, Quantum Leap is a mostly successful new presentation from the veteran guitarist.  That is due in large part to its general presentation.  The general presentation finds the 18-song record divided into two separate discs.  The first disc is composed of 11 original new songs that the guitarist (formally known as Konstantinos Karamitroudis) crafted during the peak of the COVID-19 pandemic.  The second disc is composed of seven live tracks, at least two of which are covers (one a Thin Lizzy cover, the other a Dire Straits work).  The live songs were all from a concert that Karamitroudis held in 2018 in Budapest.  Two of the songs – ‘Fearless’ and ‘Cold Sweat’ – were featured in his 2019 digital-only EP, Live in Budapest.  The other five songs are other performances featured in the concert, but just not in the EP.  Ironically, the other two songs from the EP are not featured among the live songs in this bonus live material.  Sure, it would have been nice for audiences to have had those songs, for a total count of nine live performances, but at least audiences get seven.  To that end, audiences cannot complain too much.

Getting back to the topic of the main record, the material that makes up its body is both new and archived material that Karamitroudis had stored away unfinished from however long ago.  Karamitroudis composed and recorded most of the instrumentation in this record, save for the drums.  He was joined by drummer Vincent Velasco for the recording.  Velasco’s work is solid throughout and offers just the right musical “spice,” too.  Just as interesting is that Karamitroudis was quoted during an interview promoting the album, that he had to step back from his typical approach (IE lots of extensive guitar solos and work, really in-depth arrangements).  Instead, he allowed himself to write and create more freely.  The result is wonderful.  There are songs that fit just as well here on any Firewind album (E.g. ‘Demon Stomp,’ and ‘Enigma of Life’) as would fit on one of Joe Satriani’s albums.  The more Satriani work comes in the form of the album’s opener, ‘Leap Into The Unknown’ and ‘Not Forgotten.’  There is even some hint of influence from fellow guitar virtuoso Marty Friedman peppered in through songs, such as ‘Force Majure’ and ‘Exosphere.’  As if all of that is not enough, the sort of “new agey” approach and sound of ‘Night Driver’ with its keyboards, is a throwback to that familiar hair metal sound of the 80s.  It will appeal to specific audiences in its own right.  Simply put, the works crafted for the album’s main body are diverse and unique from one another throughout its run.  The wide appeal that it will certainly generate couples with the appeal from the record’s companion live material to make for even more engagement and entertainment.  In other words, audiences get the best of both worlds here in the best way possible.  They get a new, impressive studio recording, and a healthy compliment of live material in lien of a live performance, since the COVID-19 pandemic put Karamitroudis’ live plans on hold.  Keeping all of this in mind, the album’s general presentation creates a strong, solid foundation for the record.  Of course while the album’s general presentation is undeniably important to its appeal, the album is not perfect.  There is a slight issue raised as a result of the live material’s production.

The production is slightly problematic because of the lack of balance in the instrumentation and vocals.  The vocals in the live show were performed by Dennis Ward (Pink Cream 69, Unisonic).  Maybe it is just this critic’s own hearing, but it seems throughout the songs with vocals, Ward’s performance is washed out by Gus G.’s work and that of drummer Johan Nunez (Firewind, ex-Kamelot).  Ward’s vocals sound so distant, as if his mic was not turned on.  Whether that was accidental is anyone’s guess.  Regardless, it forces audiences to turn up the volume and listen closely to be able to hear Ward.  This is disappointing, but is not enough of a dent to make the live material a failure.  That is because not every song has vocals.  To that end, the album’s live material still helps play into the album’s success, despite the one noted concern.

Considering that the production in the album’s live material is not enough to doom the record, there is at least one more item to note here to the record’s positive.  That item is the production of the album’s primary content.  As noted already, Karamitroudis admitted in an interview promoting his new album, that he had to take a new, unfamiliar approach to composing and performing in Quantum Leap.  That approach included not only taking different approaches in the songs, but also making sure that each part works well with each other.  That is because so much is still going on in each song.  Ward, who also mixed and mastered the album, deserves his own share of applause.  He clearly paid painstaking attention to each instrument’s place within each arrangement.  He made sure that every part complimented the others and balanced each song in whole.  That work and that of Karamistroudis came together and made the album in whole just as successful for its aesthetics as for its content.  When this and the album’s content are considered together, the whole makes Quantum Leap another impressive offering from Gus G. that is among the best of not only the year’s new rock albums, but hard rock and metal albums, too.

Gus G.’s recently released album, Quantum Leap is an impressive presentation that will appeal equally to his fans, those of Firewind, and rock and hard rock fans alike.  The record’s success is due in large part to its general presentation.  The general presentation gives audiences the best of both worlds with a new studio album and live recording in one.  The studio recording gives audiences a new studio presentation while the new live recording gives audiences a nice concert experience in lieu of a live, in-person show from Gus G. as a result of the COVID-19 pandemic.  The general presentation gives the record a strong start, but the production in the live recording detracts from the presentation to a point.  The production proves problematic because there is an obvious problem with the balance between the instrumentation and vocals in the tracks that feature vocals.  Thankfully it is not enough to make the record in whole a failure or even the record’s live half.  The production of the record’s primary body makes up for the concerns raised through the production of the live content.  It ensures every instrument balances expertly with one another.  The result is that the studio content is fully engaging and entertaining from start to end.  Each item noted is important in its own way to the whole of the album’s overall presentation.  All things considered, the album proves a mostly successful presentation.

Quantum Leap is available now through AFM Records.  More information on the album is available along with all of Gus G.’s latest news at:




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Ellefson Debuts New Compilation’s Lead Single; Unveils Initial Track Listing

Courtesy: Combat Records

Audiences got their first preview of Megadeth bassist David Ellefson’s new eponymous rock project this week.

The band — Ellefson (bass), Thom Hazaert (vocals), Andy Martongelli (guitar), Ron “Bumblefoot” Thal (guitar), and Paolo Caridi (drums) — released the song ‘Wasted‘ Friday.  The song, a cover of the Def Leppard song, is the lead single from the group’s debut record, No Cover.

Ellefson’s cover of ‘Wasted’ features guest appearances from Frank Hannon (Tesla), Jacob Bunton (Mick Mars, Lynam), and Dave McClain (Ex-Machine Head, Sacred Reich).

The famed names featured on ‘Wasted’ are just some of well-known musicians and performers who make appearances on this record.  Also lending their talents to the album are equally well-known figures, such as Charlie Benante (Anthrax), Al Jourgensen (Ministry) and Gus G. (Firewind).

Along with debuting its lead single, Ellefson has also unveiled the initial track listing for No Cover.  The initial listing opens with a cover of Judas Priest’s timeless hit song ‘Freewheel Burning’ and also features covers of songs such as AC/DC’s ‘Riff Raff,’ Queen’s ‘Sheer Heart Attack’ and Billy Idol’s ‘Rebel Yell.’

The album’s initial track listing is noted below.  Two tracks are still TBA. Pre-orders are open now.


1. Freewheel Burning (Judas Priest) ft. Jason McMaster, Gus G, Andy James, Dave McClain
2. Tear It Loose (Twisted Sister) ft. Eddie Ojeda, Dave McClain
3. Love Me Like A Reptile (Motorhead) ft. Doro Pesch, Greg Handevidt, Chuck Behler
4. Holiday in Cambodia (Dead Kennedys) ft. Charlie Benante
5. Rebel Yell (Billy Idol)
6. Wasted (Def Leppard) ft. Frank Hannon, Jacob Bunton, Dave McClain, Bumblefoot
7. Riff Raff (AC/DC) ft. Jason McMaster, Dave Lombardo
8. Nailed To The Gun (Fight) ft. Andrew Freeman, Russ Parrish, Jimmy DeGrasso
9. Not Fragile (Bachman-Turner Overdrive) ft. John Aquilino
10. Say What You Will (Fastway) ft. Troy Lucketta, Mark Slaughter
11. LOVE Machine (W.A.S.P.) ft. Dirk Verbeuren, Dave Alvin
12. Love Hurts (Nazareth) ft. Brandon Yeagley, Chuck Behler, Tyson Leslie
13. Sheer Heart Attack (Queen) ft. Bumblefoot, Doro Pesch, Charlie Benante
14. Sweet FA (Sweet) ft. Todd Kerns, Bumblefoot, Shani Kimelman
15. TBA
16. TBA
17. Auf Wiedersehen (Cheap Trick) ft. Al Jourgensen, Brandon Yeagley, Charlie Benante

Bonus Tracks
18. Eat The Rich (Krokus) ft. Dead By Wednesday


No Cover was co-produced by Ellefson, Hazaert, and Martongelli.  The record was engineered by Alessio Garavello, Matt LaPlant (Nonpoint, Lil Jon, Skindred) and John Aquilino.  Alessio and Garavello mixed the album alongside Randy Burns and others.

Ellefson talked about the record’s genesis in a recent interview.

“Before any of us started writing our own songs, we all began playing cover songs by our heroes during our formative years as musicians,” said Ellefson.  “So, it’s fun to go back in time and revisit those songs which helped us to become the artists we are today, especially when, ironically, many of those artists have now become peers and friends. During the process of recording some covers for B-Sides and bonus tracks for the upcoming Ellefson solo LP, Thom and I just said, “This is a blast, let’s just do a whole album of covers!” Literally, within 2 weeks, we had the songs recorded, and began calling our friends to join us, many of whom we had just performed with on the MEGA-Cruise back in October. From there, the album just fell into place.”

“A lot of our buddies have been playing covers and quarantine jams on the Internet during the pandemic, so this is really just an extension of that, but we took it the next level and actually recorded a full studio album,” he added.” We’ve been working remotely anyway, as we’re all over the Globe, so it was easy to incorporate some guests jumping in with some outstanding performances of their own. It’s been a really fun nod to making great music with our friends, who are kick-ass players, and many legends in their own right, which is the whole reason we got into this in the first place!”

Hazert expanded on Ellefson’s comments with his own thoughts.

“It’s all songs and artists that really mutually influenced both myself and David, especially a lot of early “Metal” and harder Classic Rock,” he said. “Some stuff I picked, some stuff he picked, but for the most part is was all artists that we both loved. What’s funny, as there’s a bit of an age gap, we were sometimes more influenced by different eras of the same bands. But it was really him saying, “Let’s do this song”, and me saying, “Yes!!! And let’s do this song.” And before we knew it, we had over 15 songs. And it’s a lot of album tracks, deep cuts, early tracks, stuff people might not expect, which was what was so fun.”

“It was also great that we were able to work in a lot of nods to David’s [Ellefson] history, getting Chuck Behler to play with us, bringing in original Megadeth guitarist Greg Handevidt to play on “Love Me Like A Reptile”, a song they used to play in cover bands together before they moved to LA (which we wrote about in More Life With Deth), and Randy Burns is going to mix a track or two,” added Hazert.  “As a singer, these are literally bands I’ve listened to, and covered all my life, and for me, getting to play with Eddie Ojeda, the Tesla guys, Charlie Benante, Jason McMaster, Mark Slaughter, etc, and sing these songs that mean so much to me. I mean, literally, the entire record is my bucket list of people I’d love to play with, and some of my favorite bands. So, it’s truly an honor to put together something so fun, and really as effortless as this was. It truly is a love letter to Rock N’ Roll, an homage to what made us, musically, who we are today.”

Ellefson resurrected Combat Records in 2017 as part of the EMP Label Group family.

Combat Records was a seminal punk and thrash record label in the 1980s.  Its doors closed in the mid-2000s after its catalog was absorbed by Sony Music.  Combat Records’ official relaunch took place in 2018.

Ellefson said in an interview in 2017, Combat Records would handle only new music because Sony has control of the label’s back catalog.

“…And to clarify, we do not own any rights to the Combat Records back catalog,” Ellefson stressed. “That is owned and controlled by Sony, and they have done a great job of curating it through other imprints. Combat Records will solely focus on new releases under the Combat banner. As always, thank you for your support and stay tuned for more details!”

More information on Combat Records, along with its latest news, is available online now






Ellefson is scheduled to release its debut full-length studio recording in spring 2021.  More information on Ellefson is available along with all of the group’s latest news at:






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Friedman’s Musical Light Burns Bright On Inferno

Courtesy: Prosthetic Records

Courtesy: Prosthetic Records

Virtuoso metal guitarist Marty Friedman has built a career of churning out some of the most intense riffs that the metal community has ever heard. Some of the most intense of those riffs came during his time with veteran metal band Megadeth alongside fellow legend Dave Mustaine. For all of the impressive riffs that Friedman crafted during his time with Megadeth, he has shown to be just as talented on his own as he was during his time with that group of musicians. He has released a handful of albums in recent years. Each album has shown a different side to Friedman as an artist, the most recent of which being 2012’s Loudspeaker. Now two years removed from that album, Friedman has released his latest full length effort in the form of the aptly titled Inferno. Pardon the pun, but the title is fitting for this album because Friedman is most definitely *ahem* “on fire” throughout the course of the album’s dozen tracks. One of the most intriguing tracks on this album is his punk/hard rock hybrid ‘I Can’t Relax (ft. Danko Jones). This is one of those songs that shows that while Friedman is known largely for speed and thrash metal riffs, he is just as talented in other realms of rock, too. On a completely opposite branch, ‘Meat Hook (ft. Jorgen Munkeby)’ is a completely out of this world metal-meets-avant-garde jazz piece that is sure to catch any listener’s ear. Of course for all of the intensity and growth that Friedman exhibits through the course of this album, he also shows some emotional depth in the progressive rock ballad of sorts that is ‘Undertow (ft. Gregg Bissonette and Tony Franklin).’ These songs are but mere samplings of what makes Inferno such an outstanding opus from Marty Friedman. There are nine other tracks from which listeners can choose their favorite(s). Regardless of which song(s) listeners choose as their favorite(s), every listener will agree that all twelve of the songs that make up Inferno make up an album that is more than deserving of a spot on any critic’s year-end list of the year’s best new hard rock and metal albums.

Marty Friedman shows off his metal chops throughout the majority of his new album in a variety of ways as listeners will note in listening throughout the album’s dozen total tracks. For all of the metal chops that he continues to show on this album, he also displays a certain amount of growth, too. Case in point is the punk/hard rock hybrid that is ‘I Can’t Relax (ft. Danko Jones).’ Friedman shows in this song that while it’s been a while since he was part of a band with a vocalist, he is still okay with sharing the limelight with others. Jones, who has earned his own level of fame throughout his career perfectly mirrors Friedman’s own frenetic energy as he sings, “I’m always busy/Let’s get ready/Burn it down to the ground/I hate when someone tells me to stop moving and sit down…You’re gonna see my face everywhere/It’s gonna drive you crazy/I want to time and time again/I can’t relax/I can’t relax/You gotta know/I can’t relax/You’ve got to know.” Jones’ rapid fire delivery alongside the musicianship of Friedman and his fellow musicians will instantly have audiences dancing and singing along happily. It’s not the only song that will either, as is evidenced in the metal-meets-avant-garde jazz piece that is ‘Meat Hook (ft. Jorgen Munkeby).

‘Meat Hook (Ft Jorgen Munkeby) is another prime example in this record of just how much Friedman has grown as an artist. The song shows influences from the likes of Liquid Tension Experiment, Trioscapes, Faith No More, and certain other bands. Simply put, it is mind boggling, but in the best possible way. The use of the sax line against Friedman’s guitar playing makes for a contradiction that can only be best understood when heard by one’s own ears. There are no words to properly describe the sound or the effect. Add in the wild piano runs and audiences get a piece that completely defies any musical logic whatsoever. Yet it still manages to impress in its own right and make Inferno even more enjoyable for listeners.

For all of the wild energy exuded by Marty Friedman, his guest musicians, and his band mates throughout the course of this album, Friedman shows a softer side too. That softer side is presented in the progressive rock ballad ‘Undertow.’ This piece shows something of an influence from the likes of Dream Theater and Liquid Tension Experiment just to name a couple of bands. After the nonstop adrenaline rush on which Friedman sends his listeners throughout the course of the album’s previous song, this song is a welcome chance for listeners to catch their collective breath. The addition of Tony Franklin and famed session drummer Gregg Bissonette adds even more depth to the song. It takes listeners back to the days of big hair and even bigger rock. Listeners can just close their eyes and take it in, seeing in their minds, a giant arena with Friedman there center stage, lasers shooting out from the stage in time with his guitar playing. It’s one more impressive piece that stands out as one of this album’s highest of highs. Of course that it just the opinion of this critic. There are still nine other tracks on this record from which listeners can choose their own favorite(s). Regardless of which song(s) listeners choose, one thing can be agreed and that is that whether it be the songs noted here or those chosen as favorites by others, every track on this record proves just why Inferno deserves a spot on every rock critic’s year-end list of the year’s best new hard rock and metal albums.

Inferno is currently available in stores and online. Audiences can check it out now while they await Friedman’s next scheduled live performance Thursday, September 25th at the Iridium in New York. Audiences can keep up with all of the latest tour updates and news from Marty Friedman online now at and To keep up with the latest sports and entertainment reviews and news, go online to and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at

Friedman To Appear On VH1’s That Metal Show This Weekend

Courtesy: Prosthetic Records

Courtesy: Prosthetic Records

Veteran guitarist Marty Friedman will appear on VH1 Classic’s That Metal Show this weekend.

Friedman will appear on That Metal Show Saturday, March 1st at 11pm ET.  Friedman will join Mike Jones (Foreigner), Leslie West (Mountain), and Lita Ford (The Runaways) on this week’s edition of That Metal Show.  Friedman jokingly noted in an interview that while the main purpose of his appearance was to promote his upcoming album Inferno, he also even more excited about being on the show because he got to talk to one of his own favorite guitarists of all time.  “Of course I talked about my upcoming album, ‘Inferno,’” he said.  “But there was another guitarist on the show, and I just had to ask him what I wanted to know ever since I was a kid — just what the hell was he thinking when he laid down one of the most unorthodox (and cool) solos ever. Hope they don`t edit that part out!” Tune in tomorrow night to find out!”

Inferno is scheduled to be released via Prosthetic Records May 27th in North America and May 26th in the UK and Europe, May 23rd in G/A/S and via Universal Records in Japan May 21st.  It will be his first record of original material in four years and the first in over ten years that will be released simultaneously around the world.  The album was recorded in Los Angeles with engineer Chris Rakestraw (Danzig, Children of Bodom) and mixed by Jens Bogren (Opeth, Amon Amarth).  It will also include a number of A-list guest appearances from the likes of: Rodrigo y Gabriela, Alexi Laiho (Children of Bodom), Keshav Dhar (Skyharbor), and David Davidson (Revocation) among others.  The album’s track listing is included below.

“Inferno” Track Listing:

1. Inferno
2. Resin
3. Wicked Panacea (feat. Rodrigo y Gabriela)
4. Steroidhead (feat. Keshav Dhar) (STREAM)
5. I Can’t Relax (feat. Danko Jones)
6. Meat Hook (feat. Jørgen Munkeby)
7. Hyper Doom
8. Sociopaths (feat. David Davidson)
9. Lycanthrope (feat. Alexi Laiho & Danko Jones)
10. Undertow
11. Horrors (co-written by Jason Becker)
12. Inferno -reprise-

 Friedman will tour in support of his new album beginning May 1st in Tampere, Finland.  He will serve as support act for Gus G. who is also set to release his new album this Spring.  Friedman’s current tour itinerary is listed below.

5/1       Tampere, FL – Klubi #
5/2       Helsinki, FL – Nosturi #
5/3       Stockholm, SW – Stockholm Rocks Festival #
5/5       Gothenburg, SW- Tradgarn #
5/6       Malmo, SW – KB #
5/9       Krakow, PL – Lizard King #
5/10      Warsaw, PL – Progreja #
5/12      Munich,DE – Backstage #
5/14      Hannover, DE – Musixzentrum #
5/15      Essen, DE – Turock #
5/16      Zoetermeer, NL – De Boerderij #
5/17      Hasselt, BE – Muziekodroom #
5/18      Uden, NL – De Pul #
5/20      Savigny Le Temple, FR – L’impriente #
5/21      London, UK – O2 Academy Islington #
5/22      Nuneaton, UK – Queens Hall #
# with Gus G

Tickets for Friedman’s upcoming tour dates, and all of the latest on his upcoming album and more is available via Friedman’s official website,  To keep up with the latest sports and entertainment news and reviews, go online to and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at

Gus G. Debuts EPK Ahead Of New Single, Album Release

Courtesy:  Century Media Records

Courtesy: Century Media Records

Ozzy Osbourne guitarist and Firewind front man Gus G. will release his debut solo album this Spring.  I Am The Fire is scheduled to be released March 18th in the United States.  It will be released March 17th in Europe.  It will be released worldwide via Century Media Records.  Before he releases his debut, Gus G. has released a brand new EPK that offers audiences a look inside the making of the album.  Fans can check out the new EPK online now via YouTube at

The album’s title track is impacting radio now.  It is currently playing on Sirius RadioXM Octane.  It will be added to mainstream radio stations’ playlists beginning next Tuesday, February 18th.  It features the members of hard rock band Devour The Day as special guests.  It will go on sale digitally via iTunes February 25th.  The track listing for I Am The Fire is listed below.


  1. My Will Be Done (feat. Mats Levén)
  2. Blame It On Me (feat. Mats Levén)
  3. I Am The Fire (feat. Devour The Day)
  4. Vengeance (feat. David Ellefson)
  5. Long Way Down (feat. Alexia Rodriguez)
  6. Just Can’t Let Go (feat. Jacob Bunton)
  7. Terrified (feat. Billy Sheehan)
  8. Eyes Wide Open (feat. Mats Levén)
  9. Redemption (feat. Michael Starr)
  10. Summer Days (feat. Jeff Scott Soto)
  11. Dreamkeeper (feat. Tom S. Englund)
  12. End Of The Line (feat. Mats Levén)

Gus G. handled all guitar, bass, and keyboard parts on his solo debut.  Brought along for the record were drummers Jeff Friedl (A Perfect Circle, Puscifer, Devo) and, Daniel Erlandsson (Arch Enemy) bassists David Ellefson (Megadeth), Billy Sheehan (Mr. Big, David Lee Roth), and Marty O’Brien (Tommy Lee, We Are The Fallen), and vocalists Mats Leven (Candlemass, ex-Yngwie Malmstein/Therion), Blake Allison (Devour The Day), Michael Starr (Steel Panther), Alexia Rodriguez (Eyes Set To Kill),Tom S. Englund (Evergrey), Jacob Bunton (Adler) and Jeff Scott Soto (Trans-Siberian Orchestra, ex-Journey).  The album was produced by Jay Ruston (Stone Sour, Anthrax, Steel Panther).

More information on Gus G., his new album, tour news and more is available online at,, and  To keep up with the latest sports and entertainment news and reviews, go online to and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at