This year was quite the interesting time for the rock community. That’s because of the wide range of acts who produced new albums throughout the year. Queensryche, Skid Row, and Joe Satriani all released their latest albums this year, all of which proved quite successful. Rock super group Motor Sister also released their debut album, to its own acclaim, as did Slash, Scorpions, and Collective Soul. Between all of these and so many others, the rock albums released this year gave audiences plenty to appreciate, thus the call for a list of the year’s top new rock albums.
This year’s list of top new rock albums serves as a reminder of all that is so good with the rock industry, proving yet again that as much as certain corporate entities would have people believe, rock is not dead. Rather it is as alive as ever and as healthy, too. As in years past, Phil’s Picks presents the top 10 records of the given category and five honorable mention titles for a total of 15 albums. Those five honorable mentions are no less engaging and entertaining as the other 10. They just happen to be of their own note.
To that end here for your consideration is Phil’s Picks’ 2022 Top 10 New Rock Albums.
PHIL’S PICKS 2022 TOP 10 NEW ROCK ALBUMS
Joe Satriani – Elephants of Mars
Mickey Leigh’s Mutated Music – Variants of Vibe
Slash Ft. Myles Kennedy & The conspirators – 4
Motor Sister – Get Off
Derek Sherinian – Vortex
Skid Row – The Gang’s All Here
Michael Schenker Group – Universal
Fozzy – Boombox
Ginger Wildheart and The Sinners – Ginger Wildheart & The Sinners
Soraia – Bloom
Queensryche – Digital Noise Alliance
The Dead Daisies – Radiance
Ty Tabor – Shades
Jizzy Pearl’s Love/Hate – Hell, CA
Cleanbreak – Coming Home
That is all for this list, but there is still plenty to come including the year’s top new hard rock and metal albums list. That list is coming tomorrow, so stay tuned.
Rock super group Motor Sister released its sophomore record (and first of original content) Friday through Metal Blade Records in the form of Get Off. The 12-song record is a presentation that any rock purist will find enjoyable. The three singles that the record has already produced – ‘Can’t Get High Enough,’ ‘Right There, Just Like That,’ and ‘Coming For You’ — do well in themselves to make that clear. They are just a sample of what makes the album successful. There are plenty of other songs featured throughout the album that make clear why it is engaging and entertaining. ‘Sooner Or Later,’ which comes early in the album’s run, is another notable addition to the record. It will be examined shortly. ‘Lion’s Den,’ which serves as the album’s midpoint, is another notable entry and will be discussed a little later. The energetic, penultimate entry that is ‘Time’s Up’ is yet another strong addition to Get Off and will also be examined later. Each song noted is important in its own right to the whole of the album. When they are considered along with the album’s singles and with the rest of the album’s songs, the whole makes the album overall a strong new offering from Motor Sister that every rock purist will appreciate.
Get Off, the second record from rock super group Motor Sister (and the album’s first full collection of original songs), is an impressive new offering from the band. Its musical and lyrical content alike make that clear, as has been evidenced through its singles. They are just some of the songs that make the album engaging and entertaining. ‘Sooner Or Later,’ which comes early in the album, is another way in which the album shows its strength. The song stands out because it is so much unlike its counterparts in its musical arrangement. Where so much of the album’s musical content is high-energy in its approach, this song is more reserved and contemplative. The simple guitar line used in the verses immediately lends itself to comparison to works from King’s X while the choruses, what with the harmonies presented in the vocals of Jim Wilson and Pearl Aday, are more akin to the rock ballads of the late 1980s. The two styles are similar, but still different from one another, and the way in which they come together here makes the whole surprisingly engaging and entertaining. The mood set through the song’s musical arrangement works well to help illustrate the seeming theme in the song’s lyrics.
The seeming lyrical theme featured in ‘Sooner Or Later’ comes across as focusing on accepting one’s mistakes and past, and moving forward. That is just this critic’s interpretation. The interpretation comes as Wilson sings in the song’s lead verse and chorus, “It was the first mistake that you ever made/It was the worst mistake that you’ll ever make/Sometimes you can’t believe it could happen to you/But I say/You were the last mistake that I’ll ever make/Sooner or later/Something’s gotta give…Sooner or later/Forget and forgive/Sooner or later/You learn how to live again.” It is hinted at even more in the second verse as he sings, “It’s a heavy dose of pride that you are gonna have to swallow/When you’re free from the past/The rest is gonna have to follow/Sometimes you don’t believe that the change is ever gonna come/Just like a slap in the face/You don’t know which way it’s gonna come from.” Again, this seems to hint at learning to accepting what happens and what has happened in life and moving on past what has happened. As if that is not enough proof, the song’s third and final verse adds even more to the inference, as Wilson sings, “You wake up one morning and you find you’re in a dark place/The memories come crawling again through your headspace/Right outside your window/The wind is blowing far/While you’re alive/It’s hard to survive…” There is a little bit that is difficult to decipher without lyrics to reference. That aside, enough is understandable here that once more, the theme here seems to be that of accepting what has happened and not dwelling on it. Once again, if in fact that is the case, then it certainly serves as an inspiration for plenty of audiences. Keeping that in mind with the semi-somber mood in the song’s musical arrangement, the whole of this song proves itself to be its own impressive addition to the album in whole, proving just as much as the album’s singles, what makes the album worth hearing.
‘Lion’s Den,’ which serves as the album’s midpoint, is another key addition to the album. Its musical arrangement is in direct contrast to that of ‘Sooner Or Later.’ In the case of this song, it is a rich, heavy composition that immediately lends itself to comparison to works from Alter Bridge. That is proven through the song’s instrumentation and vocals alike. Interestingly enough, that is mainly exhibited in the song’s verses. The choruses on the other hand, conjure thoughts more of Ozzy Osbourne. Yes, this makes for its own unique presentation, but that presentation works so well in its own right. It is just part of what makes the song engaging and entertaining. The song’s lyrical content makes for its own share of interest.
Wilson, sounding just like Alter Bridge front man Myles Kennedy, sings in the song’s lead verse and chorus, “There’s a clock on the wall/I don’t think I’ll ever dream again…I can’t make no sense of anything/You laughing at me/Watch me bleed/You’re standing around/Watching me suffer…Eventually I have to succumb to it/Crying all alone again/Join me in the requiem/Right back where I’ve always been/Sleeping in the lion’s den.” Wilson continues in the song’s second verse, “Wait/Right here in the back/She hooked me like crack/Left me weak…from the attack…the system has failed…”There is a lot here that is difficult to decipher sans lyrics to reference. From what can be deciphered just from a close listen, it would seem that the theme here hints at someone who is going through the same cycle of negativity over and over again, not breaking that cycle. That person seems to be lashing out at those around who just stand there watching it all happen rather than try to help. Again, this is all just this critic’s interpretation and could be completely off. Regardless, the discussions that are certain to happen as a result of the song’s lyrics makes for its own positive. The seeming theme works well with the fire and energy in the song’s musical arrangement, making all the more important, the song in whole.
‘Time’s Up,’ the album’s penultimate entry, is one more example of what makes Get Off well worth hearing. That is due in part because of its musical arrangement. The arrangement here boasts its own powerful identity. Right off the bat, the arrangement featured in this two minute, 49 second song lends itself to comparison to some of the best works from KISS in terms of its sound and stylistic approach. It is a fun, energetic composition that is certain to keep listeners engaged and entertained from start to end. The fire and energy in the original composition works quite well with the song’s lyrical theme, which centers on a woman who is telling a man he’d better make a choice, but not necessarily in a bad sense. This is a woman who definitely wants the guy, so even here, the KISS comparison is there, as KISS has crafted very similar songs in its catalog.
The clear theme comes right from the song’s lead verse as Wilson sings, “Well it was getting late/But the hand of fate said wait, not yet/Ordered another round/She tracked me down/And said, Hey, where you been?/The clock on the wall all messed up/I couldn’t believe my luck/She said, meet me in the parking lot/Don’t be late or you really suck/She said, Time’s up/You comin’ or are you stayin’?/Time’s up/What’s it gonna be?/I’m waiting for an answer now/You’re comin’ home with me.” The rest of the song follows in similar fashion. This is a woman who has completely taken over a man, and it is celebrating that woman, too. To that end, there is no need to go from there. That clear message alongside the energy in the song’s musical arrangement makes this song a surefire hit for Motor Sister in its own right. To that end, this song proves itself yet another unique addition to Get Off. When it is considered with the other songs examined here and with the album’s and with the rest of its entries, the whole proves the album a complete success.
Get Off, the sophomore record from rock super group Motor Sister, is an impressive new offering from the group. Its musical and lyrical content alike make that clear. The musical and lyrical content featured throughout the album is unique from one song to the next, ensuring audiences get something different in each song. The album’s current singles each do well to make that clear, as do the songs examined here. When all of that content is considered along with the rest of the album’s entries, the whole of the album becomes just one more of the best new rock albums of the year so far.
Get Off is available through Metal Blade Records. More information on Motor Sister’s new album is available along with all of the band’s latest news at:
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Motor Sister unveiled another preview of its forthcoming album this week.
The band debuted the video for its new single, ‘Right There Just Like That‘ Wednesday. The song is the second single from the band’s forthcoming album, Get Off, which is scheduled for release May 6 through Metal Blade Records. The band released the album’s lead single, ‘Can’t Get High Enough‘ last month.
The musical arrangement featured in the band’s new single is an upbeat, guitar-driven composition. Its blues-tinged sound and high energy edge will appeal to any guitar rock purist.
Bassist Joey Vera talked about the song’s musical arrangement in a prepared statement.
“To me this tune has a great nod to our early 70’s influences without it sounding trite,” he said. “It sounds fresh and modern while still feeling familiar.”
The song’s lyrical theme seems pretty clear in its apparently innuendo-filled content. Considering that, it gives Vera’s statement even more impact.
Get Off will release CD, 180-gram vinyl, and digital. The album’s crimson red w/ blue smoke vinyl pressing is exclusive to the United States. The pale blue grey marbled pressing is an EU exclusive and is limited to only 200 copies.
The album’s track listing is noted below.
Get Off Tracklisting: 01. Can’t Get High Enough 02. Coming for You 03. Right There, Just Like That 04. Sooner or Later 05. Excuse Me, Your Life Is Exposed 06. Lion’s Den 07. 1,000,000 Miles 08. Pain 09. Bulletproof 10. Bruise It or Lose It 11. Time’s Up 12. Rolling Boy Blues
More information on Motor Sister’s new album is available along with all of the band’s latest news at:
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Motor Sister will release its latest album this year.
The band — Scott Ian (guitar), John Tempesta (drums), Joey Vera (bass), Jim WIlson (vocals), and Pearl Aday (vocals) — is scheduled to release its new album, Get Off, May 6 through Metal Blade Records. Its release will come more than seven years after the release of the band’s debut record, Ride. That album is a covers collection.
In anticipation of the record’s release, the band debuted the album’s lead single, ‘Can’t Get High Enough’ and its video Wednesday. The song is a high-energy composition that is driven through its driving guitar line and time keeping. Its blues rock approach and sound will appeal to any rock and roll purist.
The lyrical theme featured in the new song is straight forward, too. It is sung from the standpoint of a man who is not exactly happy to know his romantic interest is not keeping her interest on him.
The video features the band performing its new single on what is meant to look like a live setting.
Get Off will release CD, 180-gram vinyl, and digital. The album’s crimson red w/ blue smoke vinyl pressing is exclusive to the United States. The pale blue grey marbled pressing is an EU exclusive and is limited to only 200 copies.
The album’s track listing is noted below.
Get Off Tracklisting: 01. Can’t Get High Enough 02. Coming for You 03. Right There, Just Like That 04. Sooner or Later 05. Excuse Me, Your Life Is Exposed 06. Lion’s Den 07. 1,000,000 Miles 08. Pain 09. Bulletproof 10. Bruise It or Lose It 11. Time’s Up 12. Rolling Boy Blues
More information on Motor Sister’s new album is available along with all of the band’s latest news at:
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Rock collective Motor Sister will play a special one-off show this week. Motor Sister will play a special one-time only performance this Friday, June 26th alongside veteran rock band Steel Panther. The performance will be held at the Regency Theater in San Francisco, CA. Tickets for the concert can be purchased online now at http://www.axs.com/events/270262/steel-panther-tickets. In anticipation of the upcoming performance, the band has debuted the video for the song ‘Beg Borrow Steal’ from its Metal Blade Records debut album Ride. The video can be viewed online now via YouTube at https://www.youtube.com/watch?v=uTmeLKClb_w.
Along with its upcoming show this Friday, Motor Sister has also announced that it will take part in this year’s annual Motorhead “Motorboat Cruise.” The band will join the likes of Slayer, Anthrax, Hatebreed, Exodus, Suicidal Tendencies, Fireball Ministry, and others for the five-day cruise, which leaves port in Miami on Monday, September 28th and returns Friday, October 2nd. More information on the “Motorboat Cruise” is available online now at:
In its first week of release Motor Sister’s Ride debuted on the Billboard charts at the #9 position on the Billboard New Artist (Heatseekers) Chart. It also reached #12 on Billboard’s Hard Music Albums chart, #40 on Billboard’s Rock Albums Chart, #27 on the Billboard Independent Albums Chart and #163 on the Billboard Top 200 Albums Chart. Motor Sister consists of Mother Superior founder, guitarist, and vocalist Jim Wilson at the helm, Scott Ian (Anthrax) on guitar, Ian’s wife Pearl Aday on backing vocals, Joey Vera (Fates Warning, Armored Saint) on bass, and John Tempesta (White Zombie, Exodus, Testament) on drums. More information on Motor Sister’s upcoming concert, “Motorboat Cruise” appearance and all of its upcoming live dates is available online now along with all of the latest news from the band at:
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Rock super group Motor Sister’s debut album Ride has made a big impact on Billboard’s latest charts.
Billboard reported this week that Ride debuted at #12 on Billboard’s Hard Music Albums Chart in just its first week of release. It also came in at #40 on Billboard’s Rock Albums Chart and at #27 on the Billboard Independent Albums Chart. The album impressed even more in its first week out by cracking Billboard’s Top 200 Albums Chart, coming in at #163 in its debut. It also came in at #9 on Billboard’s New Artist (Heatseeker) Chart. The album, the brainchild of Anthrax guitarist Scott Ian, is a collection of classic Mother Superior sons re-worked by Ian and Mother Superior front man Jim Wilson. Joey Vera (Fates Warning, Armored Saint) and John Tempesta (Prong, White Zombie, The Cult, Exodus) joined Ian and Wilson on bass and drums respectively for the recording. Ian’s wife Pearl Aday, who is also the daughter of rock superstar Meatloaf, added backing vocals to the album, too.
Motor Sister has already made available for streaming Ride’s lead single ‘This Song Reminds Me Of You’ and debuted the video for its new single ‘A-Hole.’ ‘This Song Reminds Me Of You’ can be streamed online via Metal Blade Records’ website at http://www.metalblade.com/motorsister. The brand new video for ‘A-Hole’ can be viewed online via YouTube at https://www.youtube.com/watch?v=prvB0DlzLEc.
All of the latest news and updates from Motor Sister are available online now at:
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Covers albums in the music industry’s current age are not what they used to be. At one point many years ago, cover albums were something significant. That’s because they were not churned out as quickly and as effortlessly as they are today. They have today become little more than obligatory space fillers used to fill out contractual agreements for one act or another. It’s very rare in the music industry’s current era to find a covers albums that actually stands out and really catches any listener’s attention. Enter Ride, the debut album from rock super group Motor Sister. The band–Scott Ian (Anthrax), John Tempesta (Prong, White Zombie, The Cult, Exodus), Joey Vera (Fates Warning, Armored Saint), Jim Wilson (Mother Superior)– took on twelve classic Mother Superior tunes on this album. And it wasn’t because of any contractual obligation. It was because of a single, simple birthday wish from Scott Ian for his 50th birthday. Yes, Scott Ian is really that old. Though, he doesn’t look that old. He got his wish and then some as this compilation proves. And in turn, rock purists around the world have gotten a covers album that actually stands out, grabs audiences from its outset and keeps them engaged throughout the entire course of the album’s twelve tracks and forty-four minutes. This is obvious right from the album’s opener ‘A-Hole.’ Ths song is a straight forward, old school rock song both musically and lyrically. The punk style sound of ‘Fork in the Road’ will impress just as much. And the addition of the slower, bluesy ‘Fool Around’ serves to show the influence of Mother Superior on the band’s members as well as the members’ level of respect for Mother Superior. All three songs noted here are but part of the whole that is Ride. The remaining nine tracks that make up this “superior” covers record make this a record that every rock purist should hear at least once despite being a handful of covers instead of new, original material.
Motor Sister’s debut LP Ride may not be a collection of new, original material. That aside it still proves over the course of its twelve tracks and forty-four minutes to be a covers album unlike so many others. It isn’t just another space filler recording put out to fulfill contractual obligations. It was just a dream project for Anthrax guitarist Scott Ian. Because it was just a simple dream, it led to the album having an overall feeling that feels completely unlike almost every other obligatory space filler covers record currently cluttering store shelves and online retailers. There is a certain energy present throughout the album that doesn’t exist on those other covers albums. And it makes the album one that every rock purist should hear at least once. That is clear right from the album’s opener ‘A-Hole.’ On its musical side, ‘A-Hole’s’ pure, old school rock sound instantly grabs audiences by the ear thanks to [John] Tempesta’s timekeeping and Scott Ian’s guitar work. Its full-on driving energy is sure to have every listener on his or her feet dancing along. Lyrically, Jim Wilson adds to that energy in his delivery, singing “The venom of a rattlesnake ratting through my veins like a curse/If I live or die/Well I don’t know which one’s worse/Well I’m diggin’ a hole they can bury me in/Waste of a lifetime living in sin/Red lights flash as I ride right past.” The rebellious vibe of the song’s lyrics coupled with its full-on old-school rock and roll sound make the song the perfect choice with which to open the album. It is just one of the many positive additions to the album, too. The inclusion of the decidedly punk rock style song ‘Fork in the Road’ is another positive that every rock purist will appreciate about this compilation. Audiences can check out the song online now via Youtube at https://www.youtube.com/watch?v=prvB0DlzLEc as the band recently debuted the video for the song.
‘A-Hole’ is a great first impression for Motor Sister on its debut album. The raw, almost garage rock vibe exuded by the song both musically and lyrically shows clearly why it was chosen to open the album’s twelve-track run. It isn’t the only part of the whole that listeners will like about the record, either. The punk rock sound of ‘Fork in the Road’ is just as much a positive n its own right. One could even argue that while it is a cover of a Mother Superior song, there is even a hint of Motorhead in this song, too. Again, Tempesta leads the song with his solid 2/4 time keeping and wild fills. Ian’s guitar work on this cover is just as tight in the song’s verses as in its slower yet just as hard rocking bridge. And coupled with Wilson’s powerhouse vocals, the song proves just as solidly yet in a different fashion why Ride is an album that despite being a covers collection, is one that every rock purist should hear. Wilson sings in this song, “thanks to my losing streak/ I never feel too lucky/There’s lots of strangers on the dark side of town/And if you’re seein’ ghosts/But ever get a picture/It’s a fact that candles never burn and let you down/The truth is the truth/And a lie is just a lie/Fork in the road/which way to go.” The whole thing comes across as Wilson singing in metaphors. It seems to say that we have to make choices all the time in life and that for the outcome in each situation, there are more decisions that must be made along the way. This is of course just this critic’s own interpretation of these words. It could be a wholly incorrect interpretation. Interpretation aside, one thing on which every listener will agree is that being so different from the likes of the album’s opener and its other tracks, it is another prime example of why this is a record that every rock purist should add to his or her own music library.
Both ‘A-Hole’ and ‘Fork in the Road’ are both prime examples of why every rock purist should have Ride in his or her personal music collection. The full-on, old-school rock sound of the prior coupled with the decidedly punk vibe of ‘Fork in the Road’ alongside both songs’ lyrical content shows a certain amount of variety among the album’s track listing. It would have been simple for the members of Motor Sister to just take one specific song and run it through the course of the album’s dozen tracks. But they didn’t do that. The two songs by themselves show that the band set out to really give listeners something worth hearing. Again this is totally apart from all of the obligatory covers albums released by other acts over the years. ‘Fool Around’ proves this just as much with its more reserved, blues-infused feel and thoughtful lyrics. It isn’t just another classic, old-school ballad. Rather, it is a song that will move listeners without the sappy element of those over-the-top ballads from rock’s past. Wilson sings alongside his band mates, “Sorry/I’m confused/You said some things/While we were drinkin’/Don’t get me wrong/It doesn’t bother me/Actually/I’m quite flattered/But you’re blind…get that gun away from your head/Do you want a fool around/do you really want a fool around/Do you really want this fool around?” It’s not exactly the standard blues piece by any means. But it also isn’t the stereotypical ballad, either. And that’s a good thing. It maintains its own identity. And together with both the likes of ‘A-Hole’ and ‘Fork in the Road’–along with the songs not noted here–it is one more piece that proves Ride as a whole truly is an album that every rock purist should have in his or her own music library.
‘A-Hole,’ ‘Fork in the Road,’ and ‘Fool Around’ are all excellent examples of what makes Ride such an impressive recording even for a covers album. They’re just part of the whole that makes it such a musically rich recording. ‘Doghouse’ boasts its own bluesy yet heavier sound that is sure to impress any fan of both rock and the blues. ‘This Song Reminds Me Of You’ and ‘Beg, Borrow, Steal’ both offer their own equally enjoyable blues-infused rock sound that audiences will enjoy. And then there’s the infectious groove of ‘Get That Girl’ that will have listeners moving just as much as any of the album’s other tracks. Whether for these tracks, the pieces previously noted or the remaining six pieces not discussed, every track on this record plays its own part in making Ride a must have for any rock purist. It is available in stores and online now. More information on Ride and all of the latest updates from Motor Sister is available online now at:
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