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

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.


»Old Lions Still Tour«

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

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

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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‘The End’ Is An Outstanding Farewell From One Of Rock’s Greatest Acts

Courtesy: Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

This past January legendary rock band Motley Crue officially called it a career when it wrapped up its farewell tour in its hometown of Los Angeles, California.  The concert, which started on New Year’s Eve 2015 and ended on New Year’s Day on January 1, 2016 was a big event for the band and its fans, needless to say.  Now thanks to Eagle Rock Entertainment, fans and audiences around the world can experience the band’s final live show for themselves in the form of the band’s new live recording The End.  It is difficult to know where to begin analyzing this recording because there is so much to say to the positive about its presentation.  A safe starting point would be the concert’s set list.  The 17-song set features some of the band’s most beloved compositions and runs just over two hours long.  That will be discussed shortly.  The band’s collective performance and stage show are just as important to note here as the show’s set list.  The recording’s editing rounds out the most important of its elements, but is hardly the last of its positives.  One could also discuss the varied platforms on which the concert is available and its packaging in examining the recording’s positives, too.  All things considered, this concert is an outstanding farewell from one of rock’s greatest acts.

Motley Crue’s new live recording The End is an outstanding final farewell from one of rock’s greatest acts.  While it may be the final farewell from the legendary rock band, it is a recording that will make Motley Crue live on for fans around the world.  That is due in no small part to the show’s set list.  The set list features 16 of the band’s most beloved songs including ‘Kickstart My Heart,’ ‘Girls, Girls, Girls,’ ‘Shout At The Devil,’ and a cover of Gary Glitter’s ‘Rock and Roll Part II.’  The set list reaches all the way back to the band’s 1981 debut record Too Fast For Love and all the way up to its 2008 album Saints of Los Angeles.  Interestingly enough To Fast For Love is represented with only one song, ‘Live Wire.’ The band’s most heavily represented album is its 1989 album Dr. Feelgood.  It is represented by five songs.  The Gary Glitter cover included in the band’s set is none other than the world-renowned ‘Rock and Roll Part II’ (a.k.a ‘The Hey Song’). Not every one of the band’s nine studio recordings is represented in this record.  Even with that in mind, the set list that is featured in this show keeps the energy flowing from beginning to end and will keep home viewers just as entertained as those who were in attendance at the concert during its recording.  While the concert’s set list is clearly important to the recording’s overall presentation, it is not the only element that should be discussed in examining said presentation.  The band’s collective performance and stage show are just as important to discuss as the songs that the band performs.

The set list that was chosen for Motley Crue’s last-ever live performance is a key element to the concert’s presentation.  Given it isn’t necessarily career-spanning since not every one of its albums are represented in that list. Regardless, the set list that is featured here keep the energy flowing from beginning to end.  Considering that, it is clear that it is still quite important to the concert’s overall presentation. It isn’t the only important element to discuss, though.  The band’s collective performance and its stage show are just as important to discuss as the songs that the band performs.  From front man Vince Neil’s nonstop energy and rapport with the audience and his band mates is incredible to see.  He makes it clear that he is putting his heart into every single song as do his band mates.  Tommy Lee is just as enjoyable to watch as he keeps time.  Audiences will enjoy seeing Lee’s reaction as his drum rig gets stuck at the end of its run across the Staples Arena. Rather than get angry and react negatively, he just goes with the flow and makes plenty of proverbial lemonade out of the lemon that was that situation.  Bassist Nikki Sixx captures everything that has always made Motley Crue a fan favorite both as he works his way through each song and as he discusses chasing one’s dreams with the audience in an equally powerful moment.  Then there’s guitarist Mick Mars.  Mars looks like he could play Dracula, the way that the light hits him throughout the show.  Yet even as unassuming as he seems throughout the show, he still presents so much power in his playing.  It is quite the juxtaposition to note.  Neil’s tears at the show’s end (not to give away too much, by the way) are real.  Those are not crocodile tears.  The passion that he presents as the band’s last-ever show comes to an end is a beautiful and powerful final statement.  It’s one more way in which the band shows the importance of its performance throughout this concert and hardly the last way in which said performance proves important, too.  Considering that, the band’s stage show should not be ignored here.  It is just as important to the concert as the band’s performance.

While the band gives its all to its audience (and vice versa) its performance only goes so far for audiences.  The band’s stage show works hand-in-hand with its performance to make the concert even more outstanding and memorable.  There’s pyro.  There are lights.  There is Tommy Lee’s arena-spanning drum rig and so much more.  Each element of the band’s stage show plays its own important part to the band’s stage show.  What makes them really stand out is the timing of their use.  Audiences will note the timing in the use of each element. The pyro isn’t used in every song nor are the fast-paced flashing lights or other elements.  It is obvious that a lot of thought and time was put into each element’s use.  Because so much time and thought was put into each element’s use, those elements couple with the band’s performance to give the concert experience in whole a very positive aesthetic.  Keeping all of this in mind, the band’s performance and stage show–while clearly just as important to this recording’s presentation as the songs that are performed–are collectively only part of the recording’s presentation.  The editing that was used in the program’s presentation is just as important to note as the previously discussed elements.

The set list featured in The End and the band’s collective performance and stage show are both important elements in the recording’s presentation.  That has already been made clear.  As important as those elements are to the recording’s presentation, they are not its only important elements to discuss.  The recording’s editing is just as important to discuss as those elements.  That is because, as audiences will see, the editing makes this not just another run-of-the-mill live recording.  There are moments throughout the show where the cameras’ frame rates are slowed to fully capture the emotion of the moments.  The editing of the camera crew’s shots fully captures the immensity of the moment.  From the close up shots of the band on-stage to the views from high above the arena to all the shots in-between, the end result of the editing gives viewers at home the best seat in the house.  The sound editing is just as important to note here as the video editing.  Those behind the mixing boards are to be commended for fully capturing the size of the Staples Center. The sound is not some spit-shined production here.  Audiences actually feel, in watching the concert’s Blu-ray recording that they are actually there without it sounding like some bootleg recorded on a smartphone.  There is a lot to be said of that.  On a side note, audiences would do well to watch the recording on DVD and Blu-ray before listening to it on CD.  That is because watching it before hearing it will create more appreciation for it on its CD presentation.  When the overall editing of this concert is joined with the band’s performance and stage show, and the show’s set list, all three elements make wholly clear together that while The End may mark the end of Motley Crue as a band, the band will live on in the annals of rock forever.  They show also why this recording is a moving farewell for one of rock’s greatest acts.  It is a recording that every Motley Crue fans should have in his or her music library.

Motley Crue’s new live recording The End is an outstanding final farewell from one of rock’s greatest acts.  While it may be the final farewell from the legendary rock band, it is a recording that will make Motley Crue live on for fans around the world.  That is evidenced through the concert’s extensive set list.  While not necessarily career-spanning (since not every one of the band’s nine albums are represented here), a good portion of the band’s body of work is represented here.  What’s more, the songs that are featured are some of the band’s most beloved hits.  The band’s collective performance and stage show are just as important to note.  They work quite well in themselves, and even better together.  The concert’s editing rounds out its most important elements.  It makes the recording a work that is anything but another run-of-the-mill live recording.  That is because of the amount of time and thought that was put into the concert’s editing.  It makes this concert a truly full experience for audiences and fans alike, yet still is not the last of the recording’s positives.  One could also argue that the varied platforms on which the recording is available could be discussed as well as the packaging for each physical platform. The bonus material that is included in the recording is just as notable, too.  All things considered, it is safe to say that while The End may mark the end for Motley Crue, it is, again, a recording that will make this legendary band live on forever.  It is a recording that is a moving and fitting farewell from one of rock’s greatest acts and is available now in stores and online.  More information on this and other titles from Eagle Rock Entertainment is available online now at:




Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews




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