Judas Priest Announces Rescheduled Tour Plans

Posted on June 11, 2021 by philspicks

Now that COVID-19 restrictions are being eased around the world, Judas Priest has rescheduled its 50th anniversary tour.

The band made the announcement in a press release distributed Monday. The updated tour — presented by LiveNation — is scheduled to launch Aug. 8 in Reading, PA and to run through Nov. 5 in Hamilton, Ontario. It features performances in cities, such as Raleigh, NC; Las Vegas, NV and Rosemont, IL.

The tour’s schedule is noted below. Tickets are available here. Sabaton will serve as support for the tour.

CONFIRMED TOUR DATES:

9/8/2021 Reading PA Santander Arena*
9/9/2021 Virginia Beach VA Veterans United Home Loans Amphitheater*+
9/11/2021 Orlando FL Central Florida Fairgrounds^#
9/13/2021 Charlotte NC PNC Music Pavilion
9/14/2021 Raleigh NC Red Hat Amphitheater*
9/16/2021 Grand Rapids MI Van Andel Arena*
9/17/2021 Youngstown OH Covelli Centre^
9/19/2021 Detroit MI Fox Theatre*
9/20/2021 Rosemont IL Rosemont Theatre*
9/22/2021 Milwaukee WI Miller High Life Theatre^
9/23/2021 Minneapolis MN The Armory*
9/25/2021 Maryland Heights MO Saint Louis Music Park
9/26/2021 Louisville KY Louder Than Life Festival^#
9/29/2021 Denver CO The Mission Ballroom^
9/30/2021 West Valley City UT Maverik Center*
10/2/2021 Everett WA Angel Of The Winds Arena*
10/3/2021 Portland OR Moda Center*
10/5/2021 Oakland CA Fox Theater^
10/6/2021 Los Angeles CA Microsoft Theater^
10/8/2021 Las Vegas NV Zappos Theater at Planet Hollywood
10/9/2021 Phoenix AZ Arizona Federal Theatre
10/12/2021 San Antonio TX Freeman Coliseum^
10/13/2021 Cedar Park TX HEB Center Cedar Park^
10/15/2021 Irving TX The Pavilion at Toyota Music Factory
10/16/2021 Oklahoma City OK The Zoo Amphitheatre^
10/19/2021 Independence MO Cable Dahmer Arena*
10/21/2021 Nashville TN Nashville Municipal Auditorium*
10/22/2021 Alpharetta GA Ameris Bank Amphitheatre*
10/24/2021 Charleston WV Charleston Civic Center Coliseum*
10/25/2021 Philadelphia PA The Met*
10/27/2021 Newark NJ Prudential Center*
10/28/2021 Oxon Hill MD The Theater at MGM National Harbor
10/30/2021 Mashantucket CT Foxwoods Resort Casino – Grand Theater^
10/31/2021 Lowell MA Tsongas Center At UMass Lowell*
11/2/2021 Halifax NS Scotiabank Centre*
11/4/2021 Laval , QC Place Bell*
11/5/2021 Hamilton ONT First Ontario Centre*

* new show
^ not a Live Nation event
# festival date
+ Sabaton not support on this date; support is TBD

More information on Judas Priest’s new tour schedule is available online now along with all of the band’s latest news and more at:

Website: https://www.JudasPriest.com

Facebook: https://www.facebook.com/OfficialJudasPriest

Twitter: https://twitter.com/judaspriest

To keep up with the latest sports and entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Lord’s New Record Is A Covers Compilation That Is Actually Worth Hearing

Posted on April 2, 2021 by philspicks

Independent rock band Lord released its latest record this week. Its new covers compilation, Undercovers Vol. 1 released Friday through Dominus Records. The 23-song (yes, 23 songs) comes less than a year after the trio released its then latest EP, Chaos Raining, and approximately two years after the release of its then latest new album, Fallen Idols. This latest compilation stands out from so many other compilations already released this year in part because of its featured songs. This will be discussed shortly. The band’s take on the songs makes for its own share of interest and will be discussed a little later. The songs’ sequencing puts the finishing touch to the record’s presentation. When this element is considered along with the other noted items, the record in whole proves that while it is largely a space filler between albums, is still a positive addition to Lord’s catalog.

Lord’s new covers compilation, Undercovers Vol. 1 is a positive new presentation from the longtime independent hard rock band. The record’s appeal comes in large part through its songs. The songs are important to note in that they are not just a bunch of songs that the band recorded specially for this compilation. Rather, they are mostly covers that the band has recorded throughout its life and has only now made available together. Simply put, they were brought together as a way to entertain the band’s fans in lieu of a live recording and even new live dates while promoters and venue heads decide their next steps for live music. They are not just some random space-filler used to appease contractual obligations.

Bassist Andy Dowling explained the songs’ collection during a recent interview.

“Covers have been a big love of ours since the early days of Dungeon right up to and including now,” said Dowling. “Over the years in Lord these tracks have ended up on limited edition releases, bonus tracks in isolated parts of the world and other weird and wonderful places. These songs have been scattered over so many different places that even we struggle ourselves to remember where on earth all of these songs can be found.”

“While bands around the world continue to navigate these uncertain times, we thought this would be the perfect opportunity to release this collection of cover songs, as well as new recordings, to keep the LORD machine moving while we continue to write new music,” he added.

Additionally, Dowling pointed out that two of the songs featured in the compilation — Savage Garden’s ‘To the Moon and Back’ and Judas Priest’s ‘Reckless’ – were the only songs specially recorded for the compilation. Those two songs are only a small portion of the 23 (yes, 23) total songs featured in this recording, and are important because they are a highlight of the diversity in the collection. The band also took on The Police (‘Message in a Bottle’) here, as well as songs from Bon Jovi, Helloween, Metallica, and Little River Band just to name a handful of other acts featured in the compilation. The short and simple is that the bands covered here come from a wide range of genres. From hard rock –Metallica, Iron Maiden, Judas Priest, Anthrax – to classic rock – Little River Band – to 80s hair rock – Bon Jovi – to prog – Queensryche, Symphony X – to mainstream pop and rock – The Police, Savage Garden – Lord takes on music from so many influences. That diversity in the bands and music featured here helps to build the band’s reputation and at the same time, perhaps even introduce audiences to music to which they might not have otherwise listened. If for no other reason, that diversity in the bands and songs will keep audiences engaged and entertained. It is of course just one of the elements that make this recording so interesting. The band’s performance of said songs adds to the record’s interest.

Lord’s take on The Police’s ‘Message in a Bottle’ is just one example of the importance of the band’s performances. Lord’s take on the classic song is interesting in that while it stays largely true to its source material, it essentially amps up that original in a sort of 80s power metal style work. That updated take — complete with machine gun-fast bass drum work, melodic guitar lines, and operatic vocals – shows that the song strangely enough works just as well in this case as in the original presentation. It is not one of those woks that hits listeners in its first listen, either. Rather, it will grow on listeners with each listening, highlighting its longevity.

The band’s take on a-ha’s ‘The Sun Always Shines on TV’ is yet another example of the band’s performances here. In the case of this performance, the band has opted more for an 80s hair metal style performance that makes for quite the contrast against a-ha’s keyboard-driven original composition. There is the slightest touch of a power ballad early on in the original composition, what with the string arrangement, but that soon gives way to the band’s more familiar new wave approach, which is more present throughout the song. Lord’s take on the song, as noted, is more of an 80s hair power ballad type work. It gives a-ha’s original quite the unique new identity in this case with its amped up take on the song. Where it ends up standing with listeners will be left for those audiences to decide. That aside, it definitely makes for its own interest.

W.A.S.P. is another of the bands whose work is covered in this compilation. In this case, Lord took on the band’s hit song ‘Wild Child.’ In this case, the stylistic approach taken by Lord is largely the same as that of W.A.S.P. The difference is that Lord’s cover is actually an improvement on the original. It would seem here that is more due to the production. The production makes the song sound so much fuller and richer here than the original. It makes the song sound more modern with a throwback feel. To that end, it is yet another example of the impact of the band’s performances here, and the importance thereof. When it is considered along with the other performances noted here and the rest of the record’s featured performances, the whole of those performances makes for even more engagement and entertainment. It is just one more example of what makes this compilation worth hearing. The sequencing of the songs featured in this compilation rounds out its most important elements.

The sequencing of Undercovers Vol. 1 is important to examine because of its role in the record’s general effect. The record starts in contemplative fashion with its cover of Savage Garden’s ‘To the Moon and Back’ but very quickly after, it picks up with its take of Iron Maiden’s ‘Judas Be My Guide.’ It is not even until the record reaches its midpoint in its take of Cutting Crew’s ‘(I Just) Died In Your Arms’ that the album’s energy even remotely pulls back. From that point on, the compilation’s energy remains relatively high, even as the band takes on what are some otherwise reserved songs. Even in those cases, the band manages to amp up those songs, including their energies. So overall, the sequencing ensures that the album’s energy remains relatively high throughout its 100-minute (one hour, 40 minute) run time. That the record’s energy remains relatively high, and even gives a break point roughly halfway through ensures that the record will run fluidly throughout, ensuring even more, listeners’ engagement and entertainment. When that certain engagement and entertainment is considered with the impact of the band’s unique performances and the variety of songs featured here, that whole makes the compilation overall, its own standout presentation. Add in the fact that this compilation marks the first time that the band has ever united the previously recorded covers in one setting, and the compilation gains even more appeal. It shows that this was not just some randomly recorded presentation used to appease contractual obligations. Between this and everything else noted, the record in whole proves to be a covers collection that is actually worth hearing.

Lord’s new covers compilation Undercovers Vol. 1 is an interesting presentation that rockers and even pop music fans alike will find worth hearing at least once. That is due in part to the songs featured in the recording. The band does not just take on a bunch of hard rock and metal songs here, though there are a lot of those songs featured here. The band also takes on songs from pop and pop rock acts, such as Savage Garden, The Police, a-ha, and even Kylie Minogue. That variety in itself makes for reason enough to hear this presentation. That only two of the songs featured here were specially recorded for the compilation shows that this was not just some randomly thrown together presentation that was made to appease any contractual obligations for the band. Rather, it was a way for the band to bring together so many of the covers that it has recorded over the course of its life. That makes the presentation more special in itself. The band’s performance of the featured covers makes for its own appeal. That is because they give those originals their own unique identities from one to the next. The songs’ sequencing rounds out the most important of the compilation’s elements. That is because it ensures the record’s pacing remains stable throughout while also constantly giving listeners something interesting rather than redundant. Each item noted here is unquestionably important in its own way to the whole of the compilation’s presentation. All things considered, they make the record a work that despite being a covers compilation, still a presentation that is worth hearing, and at least once at that. Undercovers Vol. 1 is available now through Dominus Records.

More information on Undercovers Vol. 1 is available along with all of Lord’s latest news and more at:

Website: https://www.lord.net.au

Facebook: https://www.facebook.com/lordofficial

Twitter: https://twitter.com/lordofficial

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘Ascension’ Is A Strong Start For Paladin

Posted on December 24, 2020 by philspicks

Up-and-coming metal outfit Paladin has kept busy this year. The band opened the year with the release of its three song EP Anamnesis. The band’s second-ever studio recording, it is a tribute to Nevermore. Its release was followed by a short live run before COVID-19 started spreading across America. The band did not let the virus’ spread stop the music though, instead performing through a series of livestream events. As the old year bids farewell and the new year nears, the band recently announced that it is in the running to take part in another livestream event with other acts in the ‘iVoted Festival.” The festival, which started during the 2018 midterm election, is a way to encourage voters in Georgia to get involved in the state’s two Senate races that will determine control of the senate at the federal level. Audiences can vote for the band to take part in the festival now here. Audiences who need convincing to vote for Paladin need only listen to the band’s 2019 debut album Ascension to make the decision. The 11-song record is a presentation that will appeal widely among the metal masses. That is proven equally through the album’s musical and lyrical content. ‘Carpe Diem,’ which comes early in the album’s run does well to support the noted statements. It will be discussed shortly. ‘Shoot For The Sun’ also serves to show what makes Ascension such a strong debut from Paladin. It will be discussed a little later. ‘Genesis,’ which closes out the album, is one more way in which the record proves its appeal to so many in the metal masses. When it is considered along with the songs noted here and the rest of the album’s works, the whole makes Ascension easy proof of why audiences should vote for Paladin in the “iVoted Festival.”

Paladin’s 2019 debut album Ascension is a powerful debut for the band, an convincing proof of why this up-and-coming metal outfit deserves to take part in this year’s livestream “iVoted Festival.” The album’s musical and lyrical content go a long way to support the noted statements. ‘Carpe Diem,’ which comes early in the album’s 49-minute run, is just one of the songs that serves to support the noted statement. The song’s musical arrangement is a full-on vintage thrash style composition. Its solid time keeping, equally powerful mix of death metal screams and power metal clean vocals pairs with the equally powerful guitar riffs to make the song in whole one of the album’s most notable works. The death metal screams and guitar riffs lend themselves to comparisons to works from the likes of Arch Enemy while the clean vocals lend themselves to comparisons to works from Judas Priest. The balance in those two sides makes for so much entertainment and engagement. It ensures its appeal to a wide range of audiences. When the song’s powerful musical arrangement is considered with the song’s lyrical content, which is powerful in its own right, the song in whole develops even more interest.

The lyrical content featured in ‘Carpe Diem’ comes across as in fact encouraging audiences to indeed seize the day. It opens with the lead verse stating, “Uncertain feelings coming through/The life you thought you always knew/Now seems so lost and far away/Time passing cannot be undone/Future and past become as one/No looking back, no backing down/This time around, this time around.” The chorus adds to the positive sense in the song’s lyrical content, stating, “One desire, soaring higher, oh/Now it’s time for you to take the reins/Fall harder, reaching farther/You’ve so much left to gain/The prize is worth the pain.” The song’s second verse solidifies the noted message of positivity, stating, “Lost in an existential haze/Trapped in oneself, an endless maze/Anxiety imprisoning my soul/Seeking the path I know exists/In search of truth, I must persist/A voice calls out from deep within/To take control is to begin.” All things considered here, these lyrics are certain to connect with listeners. When they are paired with the song’s equally accessible musical arrangement, the whole of the song proves in its own way why Ascension is such a strong start for the band. It is just one of the songs that serves to make the album a success. ‘Shoot For The Sun’ is another way in which the album proves its strength.

‘Shoot For The Sun’ presents a musical arrangement that is best described as presenting a stylistic approach and sound that is one part prog metal and one part classic rock. It conjures thoughts of Liquid Tension Experiment on one hand, and of vintage Metallica and Motorhead on the other. That juxtaposition and joining of sounds and styles makes for so much enjoyment an engagement in this full-on fist-pumper. Right down to the solos, the song offers metal fans across the board something to enjoy. When the power and energy exuded in the song’s musical arrangement is paired with its positive lyrical theme, the whole of the song becomes that much more enjoyable.

As is the case with ‘Carpe Diem,’ ‘Shoot For The Sun’ offers audiences another positive message of self-determination and confidence. That is inferred in the song’s lead verse, which states, “You wanna know what it means to see/Just look around and let yourself be free/Set the world in your sights, we’ll prove it tonight/You’ve got a vision burning in your head/White hot, one shot, the prayer’s been said/Pull the trigger now, we’ll make it somehow.” The song’s chorus adds to the seeming statement as it states, “There’s just no more I can take/It’s all building up, I refuse to break/There’s just no more I can bear/When everything’s all said and done/Shoot for the sun.” That positive encouragement carries on through the song’s second verse, solidifying the message as it states, “You wanna know what it’s like to fly/Just spread your wings and you’ll touch the sky/No reason to wait, no time left to waste/You think you know how it all plays out/No one can save you from your own doubt/Feel the light that starts to shine/As it clears the heavy thoughts that cloud your mind/That cloud your mind, yeah, yeah, oh.” Again, this comes across as a very positive message that any listener will welcome. When it is considered with the composition’s equally enjoyable musical arrangement, the result is yet another work that will appeal to plenty of audiences. Together with the whole of ‘Carpe Diem,’ the two songs collectively show even more why the album in whole is a success, too. They are just a portion of what makes the album well worth hearing, too. ‘Genesis’ is one more example of why audiences will enjoy Ascension.

‘Genesis’ presents a musical arrangement that is another full-on wall of sound metal presentation. The dual guitar attack and guttural vocals pair with the seamless time keeping and bass work to make for its own share of engagement and entertainment. The clean vocals are a near musical mirror image of those of Judas Priest front man Rob Halford. The contrast of that sound to the screams joins with the full-on metal arrangement to make the song in whole even more appealing for audiences. When it is considered along with the song’s unique lyrical content, the song becomes even more intriguing.

The lyrical content featured in ‘Genesis’ seems to come across as a sort of fantasy story. It comes across as telling the story of a person’s story of growth and development. It is sort of an existential type of story, which opens with the song’s subject stating, “The silent scream of the conscience of man/As we are brought to sentience/Given dominion over the sea and land/To rule as we see fit.” That seeming story of development continues in the song’s chorus, which states, “The perfect form, born from the perfect image/We are the chosen/Yet as we prosper and we create/We yearn to know.” The subject continues his discussion by noting where society has been and where it is going. He states, “Thousands of years of progress/In search of a higher purpose/Unanswered questions to forces unknown/Our pleas are met with silence/And so we wander, blind to the way/Alone, abandoned and betrayed/Our stricken minds now led astray/Astray.” Things continue from here, with the subject even pleading to the “Almighty one/Bringer of the winds and rain” for clarity on things. That higher power responds, telling the song’s subject that “Even as your knowledge grows, your minds will never know/What lies beyond this world before it’s your time.” Simply put, the song’s subject is every one of us. We have all reached that point in which we ask what is the purpose in life and where are we going. The reality is that we will never really know and that we are better off just living life and living it to the best that we can. The whole of the story makes for a powerful addition to Ascension and yet another way in which the album is proven a success. When it is considered along with the other songs noted here and the rest of the album’s works, the result is an album that proves without question, to be a powerful debut from Paladin. To that end, the album is its own proof of why Paladin deserves to take part in this year’s “iVoted Festival.”

Paladin’s debut album Ascension is a powerful first outing for the band. The 11-song album is a presentation that will appeal widely to the metal masses. That is proven equally through the album’s musical and lyrical content as noted here. Its musical arrangements combine the best elements of prog metal, thrash, and even power metal for a whole that will bring the noted fans together. The album’s lyrical content ranges from easily accessible to much deeper, as noted here. All things considered, the album in whole proves that given the right support, Paladin could be one of the next big names in the metal community. That support starts with voting for the band in the upcoming “iVoted Festival.” More information on Ascension is available along with all of Paladin’s latest news at:

Website: http://paladinatl.bandcamp.com

Facebook: http://www.facebook.com/paladinatl

Twitter: http://twitter.com/PaladinATL

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Death Dealer “Conquers” The Power Metal Realm With Its Latest LP

Posted on December 21, 2020 by philspicks

Power metal outfit Death Dealer officially returned this year with its latest album. The band’s third album, Conquered Lands is a presentation that will appeal to the band’s fans just as much as to those of the power metal genre. That is proven in no small part to its infectious musical arrangements. This will be discussed shortly. Its lyrical themes add their own appeal to its presentation, and will be discussed a little later. The record’s sequencing rounds out its most important elements and will be discussed later, too. Each item noted here is important in its own way to the whole of the album. All things considered, they make the album a successful new offering that conquers the land of power metal.

Death Dealer’s third full-length studio recording Conquered Lands is a presentation that power metal fans will agree lives up to its name. It definitely conquers the power metal realm. That is proven in part through its featured musical arrangements. From start to end of the 11-song presentation, the arrangements lend themselves easily to comparisons to works from the likes of Judas Priest, Blind Guardian, and Sabaton. That is evidenced in the soaring guitar lines, front man Sean Peck’s equally powerhouse vocals, and rhythm section pairing of bassist Ross The Boss and drummer Steve Bolognese. For the most part, the arrangements maintain a relatively high energy. However, there are some moments that while slower, are still heavy in their own right. Case in point is the album’s slower but still very heavy title track. It is not until even more than halfway through the nearly five minute song that it picks up the pace. That increase in tempo and energy is only temporary, though. It does slow back down to the heavy, sludge style sound and style with which it opened. ’22 Gone’ is another of the album’s slower tunes that is still so powerful even being a more introspective composition. That these two slower moments are thrown into the mix gives listeners some variety in terms of musical arrangements, making for its own share of interest for audiences. The whole of the arrangements forms a strong foundation for the record. Building on that foundation is the equally diverse lyrical content that couples with the record’s musical content.

The lyrical content that is featured in Death Dealer’s new album is important because unlike its musical counterparts, is even more diverse. From beginning to end, audiences get a lot of different topics. The whole thing opens with a song about the famed Marvel Comics character Dr. Strange in the form of ‘Sorcerer Supreme.’ ‘Every Nation,’ the album’s second song takes things in a completely different direction with its proud, fist-pumping anthem that declares the strength of metal and its audiences. Peck goes so far as to say here, “They don’t understand us/We’re kicked to the curb/Often we scare them/And leave them disturbed/We like it that way/We don’t care what they say.” He goes on later in the song to note, “If the world was all metal/We never would fight/We would just bang our heads/And get drunk every night.” This could not be more true. Metal and hard rock actually does more good for its audiences than bad for any aspect of society. Real scientific studies that have been done support Peck’s statements. This is just one more way in which the diversity of the record’s lyrical themes is exhibited. ‘Faith Under Fire’ and ’22 Gone Today’ take on some very serious social issues. ’22 Gone today’ tackles the issues of PTSD that military personnel endure long after they leave battle, as well as the physical damage that they deal with. ‘Faith Under Fire’ meanwhile takes on the topic of the religious divide in America. Of course, the band also takes on some lighter issues, such as apparently the tales of King Arthur and his knights in ‘Hail to the King’ and even ancient Egyptian culture in the album’s title track. Between all of that, the seeming fantasy-based ‘Slay or be Slain,’ the call to union among metal heads that is ‘Running With The Wolves’ and the vampire-esque tale in ‘Beauty in the Blood,’ no doubt is left as to the importance of this record’s lyrical content. While the lyrical themes featured in Conquered Lands and their companion musical content collectively do a lot to make the album widely appealing, they are just a portion of what makes the album a success. The sequencing of the collective content puts the finishing touch to the album’s presentation.

The sequencing of Death Dealer’s new album is important because as noted, the album stays largely the same stylistically and in terms of the songs’ energies. Save for the two noted moments, the album’s energy remains relatively high. What is really important to note of it all is that the changes in the arrangements are just subtle enough from one to the next to keep the album interesting. The changes are not overpowering, but not too subtle. They are just enough that audiences can hear them through a close listen. That in itself is important to address because it shows in its own right, a certain attention to detail throughout the album. What’s more, the sequencing also shows that the lyrical themes do not stay too closely related from one song to the next. This adds even more enjoyment and engagement for audiences. Between that and the impact that the sequencing of the album’s musical arrangements has, the whole of the record’s sequencing clearly presents its own importance to the album. When it is considered along with the albums overall content, the result is a record that succeeds because of its content and the very presentation thereof.

Death Dealer’s new album Conquered Lands is a successful new offering from the power metal super group. That is proven in part through its musical arrangements. The arrangements are mostly familiar up-tempo power metal anthems. However, there also is some slower but still very heavy content added in to the mix for a whole that will keep audiences engaged and entertained just from this aspect. The diversity in the album’s lyrical content adds its own level of appeal to the album. As noted the lyrical content ranges from the real to the fantastical to something in-between. This in itself is sure to keep listeners’ attention. The sequencing of that collective content puts the finishing touch to the album’s presentation. The subtle changes in the stylistic approaches to those high-energy arrangements do just enough to keep listeners engaged and entertained. The constant change in the album’s lyrical content through that sequencing builds even more on the importance of the album’s sequencing. Each item noted is important in its own way to the whole of the album. All things considered, the album proves that it lives up to its title. It is available now.

More information on Conquered Lands is available online along with all of Death Dealer’s latest news at:

Website: http://www.deathdealermetal.com

Facebook: http://www.facebook.com/deathdealerband

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com

Armored Saint’s New LP Is Enjoyable, But Has A Kink In Its Armor

Posted on October 22, 2020 by philspicks

Armored Saint is scheduled to release its next album Friday, but audiences will get to hear the album in full tonight, ahead of its release. The band made the announcement Wednesday through its official Facebook page. The stream is scheduled to take place at 7 p.m .ET through the band’s official YouTube and Twitch channels, and will feature the opportunity for audiences to chat with the band as the record streams. The 11-song record has already produced two successful singles, each of which proves in its own way, why audiences will enjoy the album. While the noted singles do paint a positive picture for Armored Saint’s new album, the record is sadly not a perfect presentation. Its overall pacing proves somewhat problematic. Thankfully that aspect is not enough to make the record a failure. The album’s production counters the noted concern. When this is considered along with the positive that is the overall musical arrangements, they make this record still a positive new offering from one of the greatest bands in the history of hard rock and metal.

Punching The Sky, the eighth album from veteran hard rock band Armored Saint is an interesting new offering from the band. It is a record that while enjoyable, is imperfect. Audiences will be glad to know that even with that in mind, the album boasts more positives than negatives, not the least of which is its musical arrangements. The arrangements that are featured in this album are solid hard rock arrangements from one to the next. Both of the singles that the record has produced serve clearly to support that statement. They are just some of the songs that serve that purpose, too. ‘My Jurisdiction,’ which comes early in the album’s run, stands on its own merits. The heavy, blues-based and guitar-driven arrangement here is so infectious and unlike anything else on the album. The early 90s hard rock influences are just as prominent throughout the work as are the more modern hard rock sounds. On another note (no pun intended) ‘Bark, No Bite,’ which comes late in the record’s run, is another standout addition to the album. The song is surefire favorite for any guitar rock purist. There are influences of the vintage guitar rock sounds of the 80s alongside some 70s rock influence. The result is an arrangement that is just as possible as a single as any of the album’s other entries. It is hardly the last of the songs that can be used to show the importance of the record’s arrangements. ‘Never You Fret,’ which closes out the album, is another powerful entry. The full, rich sound from the guitar, bass, and drums is a full-on modern hard rock style composition. Oddly enough, a close listen reveals a little bit of a jam band type of influence here, too. The whole of these influences makes the song in whole just as solid a closer for the album as ‘Standing on the Shoulders of Giants’ is an opener. Now while the songs noted here join with the album’s singles and the rest of its works to clearly show the power of the record’s arrangements, the arrangements do bring about at least one notable concern, that being the album’s overall pacing.

Bassist Joey Vera said in a recent interview that the run times of the songs featured in Punching The Sky are shorter than those of the album’s predecessor, Win Hands Down. “I would have to say that this time, I was conscious about making the songs a little more to the point than the previous record,” he said. “As a result, most of the songs are a little shorter in length than they are on Win Hands Down (2015). ‘Standing on the Shoulders of Giants’ being an exception at almost seven minutes!” Even with the shorter run times, the songs still suffer somewhat from a concern of pacing. ‘Lone Wolf’ for example clocks in at just under four-and-a-half minutes (4:19 to be exact), but even at that time, there is something about the band’s approach here that makes the song feel like it runs five minutes in length, if not longer. That is even with the song being a mid-tempo composition. ‘Unfair’ by comparison, feels extra long, too. Its run time is listed at four minutes, four seconds. However, the slow, brooding nature in the song’s arrangement makes that run time feel stretched out even more. Much the same can be said of the album’s other entries. While the barely top the five-minute mark at their longest (with the exception of the one noted song from Vera), the songs each feel longer than they actually are. Maybe that is the result in how they were composed. Maybe it has to do with the songs’ energies. Maybe it is both. Regardless, this one aspect detracts from the record’s overall presentation. Luckily, the impact that this element has is not enough to make the album a failure. The record’s production couples with the songs to make up for that aspect of the songs’ pacing.

The production presented in Punching The Sky is positive in that it clearly take into account everything that goes on in each of the album’s songs and balances each arrangement expertly. Each song is loud and bombastic, save for ‘Unfair.’ The songs liken themselves to the best works of Judas Priest with their ferocity. That means that the guitars are full throttle and the bass and time keeping are just as strong in their own right. The vocals offer their own impact along with the instrumentation of each song. Considering how much is going on in each of the songs, it would have been so easy for each part to overpower the other. Thankfully, those behind the glass did not allow that to happen. The guitars are right there with the vocals, and even just below, allowing the vocals to be understood just enough while also allowing the guitars to shine. At the same time, the harmonies created through the bass are just subtle enough but also just audible enough. Meanwhile the drums maintain each song’s heartbeat, keeping everybody together without overpowering any of the other parts. The result is a presentation that sounds just as good aesthetically as it does in terms of its overall presentation. When this is considered along with the album’s one negative point, the whole of Punching The Sky proves itself a strong, successful new offering from one of the most respected names in rock and metal.

Armored Saint’s new album Punching The Sky is a positive new effort from the band. That is despite at least one noticeable kink it its own armor. The record’s arrangements are in themselves just as powerful as ever. They bring in influences from the 70s, 80s and even 90s for a whole presentation that will appeal to longtime audiences and those less familiar with the band and its catalog. The production of those arrangements adds even more appeal to the record. That is because it led to the band members’ respective parts balancing out expertly from beginning to end. These two elements together make up at least to a point for the record’s one negative, its overall pacing. The pacing is worth noting in that as powerful as the songs are and as good as they sound, they do generally feel longer than they actually are. Even with that in mind, the record is not a failure. Rather, it is a work that is still worth hearing occasionally. It will certainly still have listeners punching their fists to the sky when they do take it in. Punching The Sky is scheduled for release Friday.

More information on Punching The Sky is available online along with all of the band’s latest news and more at:

Website: http://www.armoredsaint.com

Facebook: http://www.facebook.com/thearmoredsaint

Twitter: http://twitter.com/thearmoredsaint

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

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

Posted on July 31, 2020 by philspicks

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.

Tracklist:
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

at:

Website: http://www.combatrecs.com

Facebook: http://www.facebook.com/combatrecordsofficial

Twitter: http://twitter.com/combatrecs

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:

Website: http://davidellefson.com

Facebook: http://www.facebook.com/davidellefson

Twitter: http://twitter.com/ellefsondavid

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Jinjer, Judas Priest Added to Knotfest.com Live Streaming Concert Series

Posted on July 6, 2020 by philspicks

Cosa Nostra PR

Knotfest.com is continuing its live streaming concert series this month with two more concerts.

Up first in this month’s schedule of live shows is Jinjer’s March 5, 2020 show held at Max Watts in Melbourne, Australia. Now audiences will get to see that performance through Knotfest.com at 5 p.m. ET July 9.

The second of this month’s live streaming shows through knotfest.com is Judas Priest’s full concert recording, Battle Cry, which was released on DVD and Blu-ray March 25, 2016 through Epic Records. The concert featured in the recording was originally recorded on Aug. 1, 2015 at the annual Wacken Open Air Festival.

The set list that is featured in Battle Cry doesn’t just focus on the band’s then most recent album Redeemer of Souls. Instead the band attempts to cover as much of its expansive body of work as possible over the course of its ninety minute run time.

Judas Priest’s performance is scheduled to stream 3 p.m ET on July 17 through knotfest.com.

Knotfest.com’s ongoing concert series has already featured performances from Slipknot, Lamb of God, Trivium, Behemoth, Amon Amarth, Anthrax, Kreator, King Diamond, Carnifex, Suffocation, Suicide Silence, and In Flames. The concerts have helped raise money to charities that help with COVID-19 relief efforts.

More information on Knotfet.com’s concert series is available online along with all of the latest Knotfest.com news at:

Website: http://Knotfest.com

Facebook: http://www.facebook.com/knotfest

Twitter: http://twitter.com/knotfest

Ellefson Announces Release Date, Cover Art For Forthcoming Covers Compilation

Posted on July 2, 2020 by philspicks

Courtesy: Combat Records

Megadeth bassist David Ellefson’s band Ellefson will release a new covers compilation this fall.

The band is scheduled to release its new covers compilation album No Cover Oct. 2 on Combat Records. The album will feature covers of songs from bands, such as Judas Priest, Queen and Dead Kennedys. The 13-song record’s track listing will be announced soon.

Pre-orders are open now for No Cover. The compilation was produced by Ellefson and EMP Label Group Co-founder Thom Hazaert with guitarist Andy Martongelli. Alessio Garavello, Matt LaPlant (Nonpoint, Lil Jon, Skindred), and John Aquilino co-engineered the record. Garavello, Ellefson, Randy Burns and others handled mixing duties for the album.

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

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

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

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

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

at:

Website: http://www.combatrecs.com

Facebook: http://www.facebook.com/combatrecordsofficial

Twitter: http://twitter.com/combatrecs

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:

Website: http://davidellefson.com

Facebook: http://www.facebook.com/davidellefson

Twitter: http://twitter.com/ellefsondavid

Lord’s New EP Is A Strong Second Helping Of Its 2019 Album ‘Fallen Idols’

Posted on June 10, 2020 by philspicks

Courtesy: Dewar PR

Independent hard rock band Lord is giving its fans a bonus from its recently released album Fallen Idols. The band is scheduled to release its new EP Chaos Raining is scheduled for release Friday. The three-song record is an intriguing record because while it is being marketed as an EP, it is technically another of those records that is in reality more single than EP. That is not to say that the record is a failure for the band. Rather, its track listing does serve as something of a negative for the record’s presentation. This will be discussed shortly. While the track listing is undoubtedly an issue for Chaos Raining, it is the record’s only negative. The EP’s musical content is very much a positive worth noting, so it will be addressed shortly. The lyrical themes that accompany the EP’s musical content is notable in its own right and is also deserving of attention. It will also be addressed later. All three noted items are important in their own way to the whole of this EP. All things considered, they make Chaos Raining a presentation that hard rock and metal fans will find worth hearing at least occasionally.

Lord’s forthcoming EP Chaos Raining is, for the most part, an enjoyable new offering from the independent hard rock band. That is due in part to the record’s musical arrangements. The arrangements in question are powerful, guitar-driven works that will appeal to fans of bands, such as Judas Priest, Dragonforce and Firewind. That is evident through the combined guitar work of the band’s front man “Lord Tim” and fellow guitarist Mark Furtner as well as through “Lord Tim’s” operatic vocal delivery style. Even the extended take of the EP’s title track deserves attention, with its keyboards and semi-industrial metal approach. That element takes precedence in this song, but the original work’s guitar and drums are there. The choral approach taken with the vocals gives the song a touch of an 80s hair metal sound. This all seems like a lot, and it is, but somehow, the band manages to balance all of those elements for a whole that despite being nearly 10 minutes long, is still wholly entertaining in its own right. Keeping that in mind along with the engagement and entertainment that ‘Chaos Raining’ and ‘A World Insane,’ the whole of the EP’s musical content offers audiences plenty of motivation to take in this record. While the arrangements do echo the style of arrangement that the band has presented in its past works, the actual sound is different from those works. In other words, the style is the same as in previous works, but the songs overall are not identical in their sound. They are original in their own right, in layman’s terms. Even set against one another, the arrangements here are original in their overall sound. That makes the EP that much more worth hearing.

For all that the arrangements do to make Chaos Raining a positive new presentation from Lord, the songs overall are somewhat problematic. As with so many other records that have been released this year, one can argue that considering the EP’s makeup, is being improperly marketed. The EP is in fact more single than EP. That is because the record’s title song is itself from another album. The one extra original is likely a b-side that did not make the final cut for Fallen Idols. The extended remix of ‘Chaos Raining’ is basically just a bonus track. So while it is original in its own right, it is still just a remix of one of the record’s two original songs. In other words, the EP is essentially a single from the band’s bigger 2019 album that also features two extra works. One of those works is likely a castaway from the original sessions for that album while the other is just a re-worked version of the single. Keeping that in mind, the record is still enjoyable to hear, but is still more single than EP. Since it is being marketed as an EP, it still deserves its own spot on any critic’s list of the year’s top new EPs even despite everything noted.

While the makeup and marketing of Lord’s new EP is questionable, it does not make Chaos Raining a failure by any means. It does impact the record’s place in any critic’s list of the year’s top new EPs, but is still a work that will appeal to hard rock and metal fans. That is due in large part to the record’s musical content, though the musical content is just one part of what makes the record worth hearing. The lyrical content that accompanies the musical content adds to that engagement. The EP’s second song, ‘A World Insane’ comes across as a social commentary of sorts. “Lord Tim” sings in the song’s chorus, “A world gone insane…we cry out in vain/And now with open arms/We carry on and try to find our way.” Now while much of the song’s lyrics are indecipherable sans lyrics, just enough is understandable to make an inference about the theme. “Lord Tim” mentions in the song’s second verse about looking around and seeing no one around, adding mention about being on the precipice. In other words, the seeming statement hints at things being in a very bad state right now. When this is considered along with the note of carrying on with arms wide open, it leads to the assumption that the song focuses not just on how bad things are, but of people’s resilience and determination to get through all of the bad. This in itself is certain to generate interest and discussion among audiences. It is just one of the ways in which the record’s lyrical content proves so important to its presentation. The EP’s title track will generate its own interest with its seemingly more personal story.

“Lord Tim” sings in the lead verse of ‘Chaos Raining,’ “You cast your gaze upon my form/Into cold eyes that once were warm/Hardened by sorrow, I still bleed/I will arise from bended knee.” He continues in the song’s second verse, “The days loom grey/Forever seem/My mind engaged in pain unseen/Suffer the past/Onward I roam/Through severed ties I walk alone.” He adds in the song’s chorus, “Say goodbye/I’m lost forever/The storm, it rages on and on/I’m stronger/For every day that dies/I’ll wonder/The chaos raining down/I’m drowning under.” As the song enters its third verse, “Lord Tim” sings, “The years estranged/Like endless waves/Our time is gone/Now swept away/Torn down/Rebuilt in iron gleam/This broken man becomes machine.” At this point, the song returns to its chorus once more with its statement about being stronger despite everything. It can be inferred between that statement and the commentary in the verses that this song focuses on someone who is pushing on even as the world seems to fall down around him; a person who has been mentally and personally “rebuilt.” As always, this is just this critic’s interpretation. Hopefully it is close to being a correct interpretation if not completely correct. That aside, it is content that is certain to generate its own share of discussion among audiences, especially when it is considered alongside the song’s musical arrangement. All things considered, the song’s thought provoking lyrical content is just one more way in which the EP’s lyrical themes prove to be just as important to its presentation as its musical arrangements. Those arrangements and the lyrical content together make Chaos Raining a record that while maybe not the purest example of an EP, still a record that heavy rock fans will appreciate.

Lord’s forthcoming EP Chaos Raining is a work that will appeal to a wide range of hard rock and metal fans. That is due to its musical arrangements and its lyrical content, as noted here. The musical arrangements are everything that audiences have come to expect from the band. The riffs liken themselves to works from the like of Judas Priest, Firewind and Dragonforce at the same time. The lyrical themes presented within the record’s two original songs will generate their own engagement among audiences as they are certainly thought provoking, as also noted here. The one downside to the whole thing is that it is being marketed as an EP. This is important to note because the “EP’s” title track is itself a single from the band’s 2019 album Fallen Idols. Other than that one track, there is only one other original and then an extended take of the record’s title track. Keeping all of this in mind, this record is really more a single with two extra tracks than an actual EP. Even with that in mind, it is not enough to prevent a person from wanting to listen to this record. It is just something to note, and taken into consideration with the record’s overall content, it proves itself to be a work that will appeal widely to hard rock and metal fans. It will be available Friday. According to a post on the band’s official Facebook page, the record’s physical copies are already sold out in pre-orders, so right now, only digital pre-orders for the record are available. More information on Chaos Raining is available along with all of Lord’s latest news and more at:

Website: http://www.lord.net.au

Facebook: http://www.facebook.com/lordofficial

Twitter: http://twitter.com/lordofficial

Phil Campbell Debuts ‘Straight Up’ Lyric Video; New LP Available Now

Posted on October 27, 2019 by philspicks

Courtesy: Nuclear Blast Records

Motorhead guitarist Phil Campbell released his latest album Friday, and in celebration, also released the lyric video for the album’s latest single.

Campbell debuted the single for his new single ‘Straight Up‘ Friday. The song, featured on his new album Old Lions Still Roar, features vocals by legendary Judas Priest front man Rob Halford alongside Campbell’s solid, driving guitar work. The video presents the song’s lyrics, which seem to make a statement of wanting a person to just be honest with another person, are presented on a large weaponized machine.

Campbell discussed bringing Halford on-board for the song in a recent interview, offering high praise for him in the process.

“‘The Metal’ God Rob Halford has always been an artist I admire,” he said. “His distinctive vocals and stage presence have rocked millions of fans all over the world, so I count myself blessed to have written a rockin’ song together with him.”

‘Straight Up’ is just the latest song that Old Lions Still Roar has spawned. Most recently, Campbell debuted the video for ‘These Old Boots‘ — which features guest appearances by Dee Snider (Twisted Sister), Mick Mars (Motley Crue) and Chris Fehn (ex-Slipknot) — ‘Swing It [ft. Alice Cooper]‘ led the way for the album.

Campbell also released a series of in-studio discussions on topics, such as the album’s mixing, how the album came together and the matter of the album’s singles. The links to those discussions is noted below.

Trailer #1 – About “These Old Boots”: www.youtube.com/watch?v=5w7LAwBkz2Q
Trailer #2 – How The Album Came Together: www.youtube.com/watch?v=X1oILmXbHbM
Trailer #3 – Mixing The Album: www.youtube.com/watch?v=8F8aiYu6olU
Trailer #4 – About “Swing It”: www.youtube.com/watch?v=GufCt1L0_0A

Old Lions Still Roar is available now. The album’s track listing is noted below.

Old Lions Still Roar tracklist
01. Rocking Chair feat. Leon Stanford
02. Straight Up feat. Rob Halford
03. Faith In Fire feat. Ben Ward
04. Swing It feat. Alice Cooper
05. Left For Dead feat. Nev MacDonald
06. Walk The Talk feat. Danko Jones & Nick Oliveri
07. These Old Boots feat. Dee Snider
08. Dancing Dogs (Love Survives) feat. Whitfield Crane
09. Dead Roses feat. Benji Webbe
10. Tears From A Glass Eye feat. Joe Satriani

Campbell is in the midst of a tour in support of his new album along with his band mates “The Bastard Sons.” The group’s tour schedule is noted below.

PHIL CAMPBELL AND THE BASTARD SONS live:

»Old Lions Still Tour«
w/ KING CREATURE
29.10. UK Stoke – The Sugarmill
30.10. UK Glasgow – Classic Grand
01.11. UK Manchester – Rebellion *SOLD OUT*
02.11. UK London – The Dome
03.11. UK Norwich – Epic Studios
04.11. UK Nottingham – Rescue Rooms
06.11. UK Southampton – Engine Rooms
07.11. UK Wolverhampton – KK’s Steel Mill
08.11. UK Exeter – Phoenix
09.11. UK Cardiff – Tramshed

w/ LEADER OF DOWN
29.11. D Cologne – Gebäude 9
30.11. D Hamburg – Logo *SOLD OUT*
01.12. D Berlin – Bi Nuu
02.12. D Nuremberg – Hirsch
04.12. D Dresden – Beatpol
05.12. D Munich – Backstage (Halle)
06.12. D Frankfurt – Das Bett
07.12. D Oberhausen – Nikolaut Winterfestival*
*PCATBS only

2020:
29. – 31.05. D Gelsenkirchen – Rock Hard Festival (MOTÖRHEAD Set)
29. – 31.05. UK Lincolnshire – Call Of The Wild
02./03.10. D Geiselwind – Monster Festival

More information on Old Lions Still Roar is available online now along with all of Campbell and company’s latest news at:

Website: http://www.philcampbell.net

Facebook: http://www.facebook.com/PhilCampbellATBS

Twitter: http://twitter.com/MotorheadPhil

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