Black Label Society’s Latest LP Is Yet More Good News For The Band And Its Fans

Courtesy: eOne

Fans of Ozzy Osbourne, Zakk Wylde, and Black Label Society got some big news this month when it was announced that Wylde and Osbourne have reunited for Ozzy’s next album.  The announcement came more than a decade after it was announced that the longtime duo had parted ways because Ozzy allegedly felt his sound had become too much like that of the song’s from Black Label Society (Wylde’s band).  Right around the time that the announcement of the duo’s reunion was made, audiences got even more good news when it was revealed that BLS was going to release its new album this fall.  That album, Doom Crew, Inc., is scheduled for release Friday through eOne.  It will come more than three years after the release of the band’s then latest album, Grimmest Hits.

While the news of the album’s release (and that of Zack and Ozzy reuniting) is good in itself, the even better news is that the album lives up to expectations of all the aforementioned audiences.  That is because the album’s content is everything that those audiences have come to expect from BLS and then some.  It brings audiences together by bringing in the band’s softer and heavier sides together in one complete package, which is so smart on the part of Wylde and company.  At the same time, the arrangements featured throughout the album still give audiences something new in sound and style while still being familiar in their approach.  One of the most notable of the ways in which Wylde and company have brought audiences something new and old together here is the album’s penultimate entry, ‘Gather All My Sins.’  This song will be discussed shortly.  ‘Forever And A Day,’ which comes earlier in the record’s run is just as notable for the same reason.  It will be discussed a little later.  Much the same can be said of ‘Destroy_Conquer.’  It will also be discussed later.  This song and the others noted here each do their own part to show how BLS’ blend of old and new make this record so enjoyable.  When they are considered along with the rest of the album’s entries, the whole makes the album in whole, another successful new offering from the band that gives listeners just as much to be happy about as all of the news surrounding the album and Wylde’s reunion with Ozzy.

Black Label Society’s forthcoming 11th album, Doom Crew, Inc., is another strong new offering from the band.  Coming a little more than three years after the band’s then latest album, its title is a tribute to the band’s fan base, for those who might be unaware.  It is just part of that tribute, too.  The record’s mix of new and old content throughout the album is its own tribute to those audiences, too.  ‘Gather All My Sins,’ the record’s penultimate entry, is just one of the songs that serves to support the noted statements.  The song opens with a catchy little southern blues-tinged rock riff that conjures thoughts of Lynyrd Skynyrd, and at the same time, of Wylde’s work with his other project, Pride & Glory.  That intro is brief, very quickly giving way to Wylde and company’s more familiar heavy riffs and beats.  At the same time, the overall arrangement, while being familiar stylistically, still boasts its own unique identity separate from the band’s (and Wylde’s) existing catalogs.  It still bears that southern blues rock sound that opened the song throughout.  This is important to note because so much of BLS’ music is known to be more along the lines of a southern sludge metal type work.  The southern rock element is here, but instead of the familiar sludge approach, this is more of a pure, guitar rock style opus.  It is a nice change of pace that audiences are sure to appreciate.  In an interesting way, it throws back to some of the works that the band presented in its 2002 album, 1919 Eternal.  It is just one part of what makes the song stand out.  The lyrical content that accompanies the record’s musical arrangement makes for its own appeal.

Not having a lyrics sheet to reference, some of the lyrics are a little difficult to decipher, thanks to the production.  From what can be deciphered, it can be inferred that the song’s lyrical theme has something to do with perhaps the topic of judging others wrongly.  This is only this critic’s interpretation from what little can be deciphered from the song’s limited lyrical content.  The noted interpretation as Wylde sings about bringing “the dead one to the stand” and gathering his own sins.  It seems to be metaphorical language for people attacking those who cannot defend themselves.  If in fact that is the case, then it is a familiar topic that will resonate with audiences.  The song’s arrangement, energy and all serves to keep listeners engaged, leading to the noted interpretation or possibly another.  Again, regardless of interpretation, that the song’s lyrical content can get audiences thinking is positive in its own way, showing even more why it is a key example of how the album’s mix of old and new makes it stand out.

‘Forever And A Day’ is another notable addition to Doom Crew, Inc. that shows how its content’s blend of old and new makes it so strong.  This song is the polar opposite of ‘Gather My Sins.’  Its much more subdued sound and approach makes it a more fitting piece for existing BLS albums, such as Mafia and Hangover Music Vol. VI.  The use of the layered vocals, the piano and subtle guitar alongside Wylde’s mournful, melancholy singing makes that clear.  At the same time, it also boasts its own identity separate from the songs on those albums without alienating it from the records in question.  So again, here just musically, audiences get another blending of old and new.  The song’s lyrical content makes for just as much   

The lyrical content featured in this song is, again, deciphered sans lyrics to reference.  That should be noted up front.  They are a little easier to decipher since the song is more controlled and subdued.  In the case of this song, it comes across as a love song, believe it or not.  This is inferred as Wylde sings in the song’s lead verse and chorus, “You say you’ve found/All that you lost/Just like a stone that sits upon/The gathered moss/It’s so easy/Just to walk away/It’s so easy/When you’ve got nothing to say/All the shadows we cast/They fade away/Like seasons that change/That could not change/I’ll gather the tears that fall/Forever and a day.”  What audiences get here is, again, a seeming love song as someone is saying to another who is going through a tough time, emotionally, adding that no matter what, he/she will be there to gather those noted tears and be there for that person.  As he continues in the song’s second verse, Wylde sings, “The sun that shines upon this empty home/The warmth inside/The endless cold/I’s so easy/Just to walk away/It’s so easy/When you’ve got nothing/Nothing to say/All the shadows we cast fade away/Like seasons that change/That could not stay/I’ll gather the tears that fall/Forever and a day.”  Again, this isn’t just one of those sappy love songs.  This is someone telling another that he/she will be there for that person in those difficult times.  Wylde and company do such a wonderful job of capturing the delicate nature of such moments through the song’s musical arrangement.  The gentility with which the subject approaches that other person’s emotions in such situations is equally well handled through the song’s lyrical approach.  The whole makes the song another powerful addition to this record.  Again, this is just this critic’s interpretation and should not be taken as gospel.  Hopefully it is close to being what the band meant to infer.  It is just one more example of what the album has to offer audiences.  ‘Conquer_Destroy’ is yet another notable addition to the record that shows how its blend of old and new makes it successful.

‘Conquer_Destroy’ is notable in part through its arrangement, which does once again present some of Wylde and company’s familiar heaviness throughout its almost five minute run time.  At the same time, the band gives audiences something unique here by taking that familiar heaviness and setting it against something of a bluesy, classic rock style sound and approach.  So once again, audiences get here something new and something old in one setting that makes the whole so unique and enjoyable throughout.  As with the other songs examined here, the song’s musical content is just one part of what makes it stand out.  Its lyrical content does its own part to make it stand out, too.

The lyrical content featured in this song is yet again deciphered sans lyrics to reference.  From what can be deciphered here, the song seems to be a commentary about war.  Again, this is just this critic’s own interpretation and could well be incorrect, so should not be taken as the only interpretation.  The mention of war and a horse riding, along with “the eternal fire” would seem to point the song in the noted direction.  There is also an apparent call for people to “make this world all that you can” along with something about somebody gathering up souls.  It certainly makes for an interesting listen, needless to say.  There is even what sounds like a mention of “deserts burning” early in the song.  That almost sounds like perhaps a reference to the nonstop combat that the U.S. has faced in the Middle East.  Once again, this is only this critic’s interpretation.  If in fact the whole is a reference to war (knowing Wylde’s support for the military, it would make sense), then it is a unique new way (again there’s that word, “new”) to address the inferred topic.  Together with the song’s arrangement, the whole shows in its way, the noted blend of old and new and impresses in the process, too.  When this song and the others examined here are considered along with the rest of the album’s entries, the whole of the album becomes a wonderful tribute to the worldwide Doom Crew, Inc. and a strong new offering from Black Label Society in whole.

Black Label Society’s forthcoming new album, Doom Crew, Inc., is another successful offering from the band.  It is a presentation that continues to cement the band’s place in the upper echelons of the hard rock community.  That is proven from beginning to end of the record through its musical and lyrical content.  The musical content does a good job of blending the band’s own familiar sounds and stylistic approaches with some new sounds and approaches from one to the next.  The lyrical themes are themselves unique and will engage and entertain audiences in their own right.  All three of the songs examined here do well to make that clear.  When they are considered along with the rest of the record’s entries, the whole – again – makes the album in whole another successful offering from BLS that pays tribute to the band and its legacy, and to the members of the Doom Crew, Inc. worldwide.

Doom Crew, Inc. is scheduled for release Friday through eOne.  More information on the album is available along with all of the band’s latest news at:



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John Corabi Debuts New Single, ‘Cosi Bella (So Beautiful),’ Companion Video

Courtesy: New Ocean Media

Former Dead Daisies front man John Corabi opened the new week with a new single and video.

Corabi debuted his new single, ‘Cosi Bella (So Beautiful)‘ and its companion video Monday. The mid-tempo semi-ballad style song was produced and co-written by famed guitarist Marti Frederiksen (Aerosmith, Ozzy Osbourne, Motley Crue) in Nashville, TN.

The lyrical theme featured in the new song is, as Corabi sings right from the song’s outset, about a woman. In other words, it is a love song.

Corabi talked at length about the song during a recent interview.

“‘Cosi Bella’ came about from a writing session I did with Marti for The Dead Daisies’ ‘Burn It Down’ record,” said Corabi. “I had the initial verse idea, and a chorus that didn’t quite work for the tune. I played it for Marti, and he liked the idea but gave me a better idea for the chorus. We recorded the rough idea on my phone, with both of us just scatting the melody.”

Added Corabi, “The Daisies heard the idea but felt it didn’t quite fit their format, so I put it to bed for a bit. After leaving the band in 2019, I started to revisit old ideas I had and sat down and recorded the track. Being new to ProTools, I took the song as far as I could and sent it to Marti to produce. I explained the song was musically inspired to a degree by ‘Penny Lane’ by The Beatles and ‘Killer Queen’ by Queen, so Marti and his son Evan recut the drums and bass, and added some horns, and sprinkled their magical fairy dust on the track to give it that shiny polished sound!”

Corabi concluded, “I wrote the lyrics, and after singing the song, I felt ‘SO BEAUTIFUL’ was kind of an average title, so I looked those words up in a translation app and found it in Italian (Cosi Bella) and felt it had a nice ring to it! It’s not what some people truly expect from me, but I LOVE the way the song turned out, and it’s just a happy little upbeat love song with a twist! I hope you enjoy it as much as I do.”

More information on John Corabi’s new single and video is available along with all of his latest news at:




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Angeles Debuts New Single, ‘Witch Hunter’

Courtesy: Dark Star Records

Angeles returned over the weekend with its latest single.

The band premiered its new single, ‘Witch Hunter‘ Sunday. The new single is featured in the band’s forthcoming album, on which the band is working. The single will release Tuesday on all major digital outlets.

Band founder Dale George talked about the group’s new single and album in a prepared statement.

“This new song is a little darker and heavier than our previous releases,” he said. “Furthermore, our new full-length album is in the works, for now we can reveal that our former singer Clare Diane and Cory Kyle will be joining on it, so stay tuned!“

The premiere of ‘With Hunter’ comes more than a year after the band debuted its then latest single, ‘Start Living.‘ ‘Start Living’ is featured in the band’s latest album, Hell on High Heels. That album also produced the singles, ‘Celebrate,’ ‘Run,’ ‘Heal The Wounds,’ and ‘Rolling Like Thunder.‘

The musical arrangement featured in ‘Witch Hunter’ is a mostly driving composition. The combination of vocalist Cory Kyle’s vocal delivery style, bassist Cal Shelton’s performance, Dale Lytle’s work on guitar, and drummer Danny Basulto’s work behind the kit gives the song a sound and stylistic approach that will appeal to any classic rock fan. The whole shows an interesting mix of influence from the likes of Judas Priest, Motley Crue, and Ozzy Osbourne. Yes, it sounds like quite the eccentric mix, but it works here.

No information was provided about the song’s lyrics, which were crafted by Allen Curtis. In listening to the song, listeners are left to infer that this song’s lyrics center on…well…a witch hunter. That would match up with lyrics of so much music from that era.

In other news, Angeles has three live dates scheduled. Those dates are noted below.

September 5th – Rainbow Bash with Staven Adler at Whisky a Go Go
November 17th with Last in line at Whisky a Go Go
March 20th with Loudness at Whisky a Go Go

**More shows TBA.

More information on Angeles’ new album is available online along with all of the band’s latest news at:



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Kenny Wilkerson “Gets Cooking” Raising Awareness About Autism

Courtesy: O’Donnell Media Group

Nova Rex bassist Kenny Wilkerson has launched a new effort to help raise money for a nonprofit agency that assists people who have autism.

Wilkerson recently released a new cookbook titled Rockin’ Recipes for Autism Volume 1. The 127-page book features recipes from well-known rock and metal artists and acts, such as Stone Sour, Ozzy Osbourne, and Queensryche.

A portion of proceeds from book sales will benefit the nonprofit agency We Rock For Autism. The organization, formed in March 2014, provides music therapy for those with autism, raises awareness about autism through concerts, and even provides sensory-friendly movie screenings for autistic audiences.

Outlets, such as Rachael Ray Magazine, Loudwire, and Autism Parenting Magazine have featured the recently released cookbook.

More information on Rockin’ Recipes for Autism Volume 1 is available at:



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Jamieson’s New Comedy Album Is Another Reminder Of Why He Is Still One Of Today’s Top Comics

Courtesy: Metal Blade Records

Comedian and television personality Don Jamieson will release his fourth comedy album next week.  Jamieson, known for his time as co-host of VH1 Classic’s hit series That Metal Show and as host of SportsNet NY’s game show Beer Money, will release his new comedy album Denim and Laughter Feb. 21.  The album’s title and cover art is a direct tribute to Saxon’s 1981 album Denim and Leather.  The performance, captured Oct. 19, 2019 at an undisclosed location, is another example of why he is one of this generation’s top comic talents.  That is due in part to the content that makes up the body of his set.  This will be discussed shortly.  The pacing of the set is also important to note in examining the recording’s overall presentation.  It will be discussed a little later.  Jamieson’s stage presence rounds out the most important of the performance’s factors.  It will also be addressed later.  Each item noted here is key in its own way to the whole of Denim and Laughter.  All things considered, they make this latest stand-up offering from Jamieson another work that will bring any listener to tears of joy well beyond its first listen.

Don Jamieson is one of the elite comedians of this era. The three stand-up albums that he has already released – Live & Hilarious, Hell Bent For Laughter and Communication Breakdown – more than do their share to prove that statement.  His latest album Denim and Laughter cements that reputation even more.  That is proven in part through the material that makes up the body of the presented set.  Jamieson takes on a variety of topics,  including political correctness, bands who claim they are reuniting “for the fans,” and even VH1 Classic’s placement on most cable providers’ lineup and how that played into the show’s eventual demise.  As if that isn’t enough, he also takes on a familiar topic in the division between craft beer and original beer.  This bit immediately lends itself to comparisons to Denis Leary’s bit about beer.  It would be interesting to know if that bit played any part in Jamieson’s own bit about the topic.  Along with those topics, Jamieson also takes opportunities to poke fun at Sebastian Bach and  very famous song from 80s rock band Warrant among so much more.  Put simply, Jamie’s set runs the gamut from start to finish, even taking on media bias and politics, hinting that he might be a Trump supporter.  Hopefully he isn’t, but that aside, the hint alone that he might be is enough to warrant a notice for audiences.  Even with that in mind, Jamieson, again, presents a wide range of content throughout his set, most of which will still generate plenty of laughs from audiences.  To that end, the content alone makes this performance well worth experiencing.  It is just one of the aspects of the performance that makes it worth taking in.  The set’s pacing adds its own engagement and entertainment to the performance.

Jamieson’s set in this recording runs a total of 44 minutes.  Throughout the course of that run time, He never once goes too fast or too slow.  Rather, he finds just the right moments throughout the give audiences moments to take in the various punch lines and to prepare for the next bit.  That ability of the audience to prepare for the next bit is controlled by Jamieson himself as he works through each transition on his own time.  Case in point is his transition from his bit about tea tree shampoo to his jokes about the National Football League  and how it has changed over the years for the worse.  The two topics are completely unrelated, so Jamieson gives just enough time between the topics to make sure audiences make the transition with him.  As he makes his way through his ruminations about the NFL’s negative changes, the transitions from topic to topic are themselves just as smooth.  Another good example of the success of the pacing in Jamieson’s set comes as he transitioned from an anecdote about touring with Zakk Wylde to jokes about Black Sabbath, Gwar and how a Gwar concert tied into an alleged experience on a flight.  Jamieson’s timing and pacing throughout the roughly seven-minute-plus span is seamless, ensuring audiences’ engagement and entertainment in its own right.  In yet another example, Jamieson transitions just as easily from his joke about the impact of a celebrity roast involving Sebastian Bach to an equally funny bit about a well-known song from Warrant.  That bit, by the way, really leaves one wondering and laughing in hindsight.  It really is timely in a weird way.  Getting back on track, the examples presented here, when considered along with the rest of the show, make clear why the pacing of the set is just as important to its presentation as the set’s material.  It is not the last of the recording’s most notable items, either.  Jamieson’s stage presence throughout the performance rounds out its most important elements.

From start to finish, Jamieson’s presence in his performance is just as solid as his pacing.  He presents a certain confident swagger, even connecting with certain audience members directly.  On the surface, that doesn’t seem overly important.  However, on a deeper level, this is important to note because it says to the rest of the audience that Jamieson wants to make sure his audiences knows that he cares what the audience thinks.  He does so by acknowledging those specific audience members.  That interaction, in its own way, translates to the rest of the audience, letting them know that he is not just up on stage, but on stage and really interacting on a personal level, as if the audience members were his best friends.  That personalization of the set, of sorts, reflects back on Jamieson, encouraging his confidence that much more.  The end result is a presence that, again, throughout the set never falters.  That confidence plays back into his pacing, and in turn, makes the performance that much more entertaining.  When this is considered alongside the overall content, the whole of the noted elements makes Denim & Laughter a presentation that ensures laughter from audiences.

Don Jamieson’s new comedy recording Denim & Laughter is an enjoyable new offering from the veteran entertainer and television personality.  That is proven in part through the material that makes up the body of Jamieson’s set.  It ranges from the timeless to the random and riotous to even some more dated material.  That whole provides plenty for audiences to enjoy.  Jamieson’s pacing throughout the course of the nearly 50-minute set does its own share to ensure audiences’ engagement and entertainment.  The same can be said of Jamieson’s stage presence throughout his performance.  Each item noted is important in its own way to the whole of this recording.  All things considered, they make Denim & Laughter another positive performance from one of this generation’s top comic talents.  It will be available Feb. 21 through Metal Blade Records.  More information on the recording is available online along with all of Jamieson’s latest news at:










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Ozzy Announces Farewell Tour

Courtesy: MSO PR

Ozzy is officially calling it a career.

The Grammy Award ®-winning veteran performer, famed television personality and Rock & Roll Hall of Fame inductee announced Monday that he is retiring, and will celebrate his impending retirement with an extensive farewell tour.  The tour is currently scheduled to open May 5, 2018 in Mexico City, Mexico and to run through July 7, 2018 in Lisbon, Portgual.

While the upcoming farewell tour, which will run through 2020, is OSbourne’s last big outing, he stressed in a recent interview that the tour likely won’t be his absolute last time performing live.

“People keep asking me when I’m retiring,” Osbourne said.  “This will be my final world tour, but I can’t say I won’t do some shows here and there.

Included in the upcoming tour is a mix of solo and festival shows that will see Osbourne performing alongside long time friend and Black Label Society front man Zakk Wylde (guitar), Blasko (bass), Tommy Cluefetos (drums) and Adam Wakeman (keyboards).  The North American leg of Ozzy’s farewell tour, which will be revealed in 2018, will be produced by Live Nation.

The current schedule for the European leg of Ozzy’s farewell tour is noted below.

Santiago, Chile
Buenos Aires, Argentina
São Paulo, Brazil
Curitiba, Brazil
Belo Horizonte, Brazil
Rio de Janeiro, Brazil
Moscow, Russia
St. Petersburg, Russia
Ice Palace (Ledovi Dvorets)
Solvesborg, Sweden*
Sweden Rock Festival
Donington, UK*
Download Festival
Prague, Czech Republic*
Airport Letnany
Paris, France*
Download Festival
Halden, Norway*
Tons of Rock Festival
Copenhagen, Denmark*
Copenhell Festival
Dessel, Belgium*
Graspop Metal Meeting
Krakow, Poland*
Impact Festival
Oberhausen, Germany*
König-Pilsnet Arena
Madrid, Spain*
Download Festival
Lisbon, Portugal
Meo Arena
*Produced by Live Nation


More information on Ozzy’s upcoming farewell tour is available online now along with all of his latest news and more at:










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‘Under Cover’ Will Appeal To Motorhead, Rock Fans Alike

Courtesy: Motorhead Music

Almost two years ago, the rock world lost one of its great icons when Motorhead front man Lemmy Kilmister died from cancer.  When he died, that effectively put an end to one of the musical universe’s greatest acts.  That meant no more new Motorhead music.  Earlier this month though, Motorhead Music–the band’s own label–released a new collection of covers from the band to satiate audiences in the form of Under Cover. The 11-song record presents a rarely heard side of Motorhead that itself is certain to entertain listeners.  This is just one of the compilation’s key elements and will be discussed later.  The acts whose songs are featured here are collectively just as important to discuss as the songs themselves and will be discussed later.  The album’s sequencing rounds out its most important elements.  Each element is important in its own right to this compilation’s overall presentation.  All things considered, Under Cover proves to be a record that is an entertaining new offering for Motorhead’s most devout fans.

Motorhead, with the passing of front man Lemmy Kilmister almost two years ago, may not be actively recording new music anymore.  With the release earlier this month of the band’s new covers compilation Under Cover, the band’s most devout fans were given an entertaining new release from Motorhead even if it is not a collection of new Motorhead music.  That statement is supported in part through the songs that make up the collection.  Considering that Motorhead, throughout the course of its life, was known for up-tempo blues-based rock that was tinged with some punk elements, the songs featured in this compilation show that the band was just as talented handling other styles of rock as its own brand.  That is proven clearly in the band’s cover of David Bowie’s hit song ‘Heroes,’ which comes early in the record’s run. Bowie’s original work bears more similarity to works from perhaps Paul McCartmey than Motorhead.  Yet, even in its slightly amped up take on the classic tune, Motorhead does Bowie’s classic justice while adding its own rock touch that is certain to get praise even from Bowie’s most devout fans.  The band’s take on The Rolling Stones’ ‘Jumpin’ Jack Flash’ is yet another song featured in this record that shows the real reach of the band’s abilities.  Once again, the band largely stays true to its source material, while also adding its own respectable hard rock elements.  The expert balance of those two elements here will put a smile on any longtime Rolling Stones fan just as much as any Motorhead fan.  Much the same can also be said in examining the band’s take of another Rolling Stones standard, ‘Sympathy For The Devil.’  Those three songs alone show clearly the band’s reach.  Of course that is not to discount the band’s covers of Ted Nugent’s ‘Cat Scratch Fever,’ Rainbow’s ‘Starstruck,’ and The Ramones’ ‘Rockaway Beach’ as well as the album’s other songs.  Those covers show in their own way the band’s reach, though they are much closer to Motorhead’s style than the previously noted works.  Keeping this in mind, the bands whose works are featured here are just as important to note as the songs themselves.

Listeners will note that of the album’s 11 total songs, seven were crafted by British acts—Judas Priest, The Sex Pistols, The Rolling Stones, David Bowie, Rainbow and Ozzy Osbourne.  The other four songs come from American acts—Ted Nugent, Metallica, Twisted Sister and The Ramones.  That in itself is certain to create its own share of discussion.  Obviously Motorhead was itself a British outfit, but it could easily be argued that such an emphasis on its counterparts presents its own history lesson to listeners.  It shows the reach of the British hard rock scene between the 1960s and 1990s versus that of the American hard rock scene.  To that end, the acts featured here in themselves serve as a starting point on rock’s history on both sides of the Atlantic.  That might not have been the manifest intent with such a lineup, but it definitely will create those discussions.  On another level, it shows the band’s interest in so many different parts of the rock community at the time. Judas Priest was hard rock while the Sex Pistols were more punk (again, showing Motorhead’s roots). Rainbow was more of a progressive style hard rock while The Rolling Stones were that blues-based influence that Motorhead always added to its own music, too.  In the same breath, Metallica’s Whiplash shows where Motorhead perhaps got its harder almost thrash elements.  When this is all taken into account along with the influences from the other featured bands, Motorhead’s roots become even more evident.  In other words, the bands and songs featured in this compilation form a solid foundation for the record.  They collectively serve as a starting point for discussions about music history and about Motorhead’s history.  Both by themselves and together, they do plenty to make this record enjoyable and are not the record’s only key elements.  The album’s sequencing adds its own enjoyment to its presentation.

Under Cover’s sequencing is an important to note in examining this record because of its ability to maintain the album’s energy from beginning to end.  The album starts out full throttle with the band’s cover of Judas Priest’s ‘Breakin’ The Law’ and keeps the energy flowing just as highly as it launches into its cover of The Sex Pistols’ ‘God Save The Queen.’  Even as the album progresses into the band’s cover of ‘Heroes,’ the energy still maintains itself even here.  Given, it isn’t as high as in the album’s first two entries, but still keeps moving.  The energy picks right back up as the album takes listeners through the band’s covers of Rainbow’s Starstruck’ and Ted Nugent’s ‘Cat Scratch Fever’ before pulling back again with two straight Rolling Stones covers.  From there on out, the energy picks right back and stays stable right to the album’s end even with the change in the songs’ styles.  Keeping this in mind, it is clear that plenty of time and thought was put into the record’s sequencing.  That time and thought ensures listeners’ engagement from beginning to end here.  That is because the record’s energy never lets up too much at any one point or even gets too high.  When this is taken into account along with the collective value of the record’s songs and their associated bands, it adds that much more depth to the collection.  That being the case, the whole of those elements make Under Cover a collection that will appeal not only to Motorhead’s fans from start to finish but to rock fans in general.

Motrhead’s recently released compilation record Under Cover is a collection of songs that will appeal both to Motorhead’s fans and to rock fans in general.  This is the case even though being a compilation record, it does not necessarily break any new ground in the way of compilation records.  The songs and bands featured on this record serve collectively as a solid starting point for plenty of discussions both on Motorhead’s history and on rock history.  They also do plenty to ensure listeners’ maintained engagement and entertainment.  The record’s sequencing does much the same.  All things considered, these elements make Under Cover a collection that while not exactly new to the compilation realm, is still entertaining in its own right.  It is available now in stores and online.  More information on Under Cover is available online now along with all of the latest Motorhead news at:










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Rock Legends Reunite For New Tour

Photo Credit: Mark Weiss

Ozzy Osbourne and Zakk Wylde have re-united.

More than a decade after the duo went its separate ways, it has reunited for a short string of new live dates.  The musicians are partnering for a short string of live headlining dates this summer and fall beginning July 14.

The performances mark the first time since 2006 that Wylde and Osbourne have performed live together.  The last time the men worked together in the studio was on Osbourne’s 2006 record Black Rain.

The new live dates also mark the first time Osbourne has embarked on a solo U.S. tour since his Ozzy & Friends performance at the 2015 Voodoo Music + Arts Experience in New Orleans, LA.

Also joining Ozzy and Wylde for the upcoming live dates will be longtime collaborators Blasko (bass), Tommy Clufetos (drums) and Adam Wakeman (keyboards). Wylde and Osbourne seemed to both be anticipating the upcoming live dates as they talked about hitting the road in recent interviews.

“I’m so happy to be getting back on the road with Zakk, Blasko, Tommy and Adam,” Osbourne said.  “This is what I do.  This is where I belong, on the road.”

Wylde agreed.

“I’m really looking forward to the hardcore powahlifting training sessions with Ozzy as well as playing music in between sets of heavy squats, benching and deadlifts,” Wylde said.

The current listing for the group’s new headlining dates is noted below.

                        CITY                 VENUE



Fri, July 14         Oshkosh, WI       Rock USA Festival

Sun, July 16       Chicago, IL         Chicago Open Air Festival



Wed, August 9    Sturgis, SD          Buffalo Chip

Mon, August 21   Cartersville, IL    Moonstock Festival

Osbourne was said to be working a new solo record at last report. That album reportedly is scheduled for release sometime in 2018 via Epic Records.

More information on the upcoming dates is available online now along with all of Osbourne’s latest news and more at:










All of Zakk Wylde’s latest news and more is available online now at:










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Ellefson Partners With Pro Tone Pedals To Release New Pedal

Courtesy: Pro Tone Pedals

Courtesy: Pro Tone Pedals

Megadeth bassist Dave Ellefson does not rest easily on his laurels.

The musician turned entrepreneur announced this week a new partnership with Pro Tone Pedals to create a new guitar pedal.  The pedal, dubbed the “Dawn Patrol Chorus,” came to being after Pro Tone Pedals representatives approached Ellefson and proposed the idea.

Ellefson stressed the new, signature pedal will be a welcome addition to any bassist’s resources, adding he already used the company’s “Chorus” pedals when the organization’s representatives came to him with the idea.

“When Pro Tone approached me with the idea of making some signature pedals,as a bass player, Chorus is one of my go-to effects live, an ace weapon in my arsenal, and in many regards, helped me transition to my signature tone from studio to live on classics like ‘Dawn Patrol,’ Ellefson said.  “So the idea of developing a great chorus pedal was really a no brainer.  Dennis and the Pro Tone team are technical wizards and developed the Dawn Patrol to my exact specifications, and together we’ve developed a high quality, hand-built stompbox pedal that I’m positive will find a special place in any bassist’s rig.”

Ellefson’s new partnership with Pro Tone Pedals makes him just the latest name to make the company live up to its name.  Animals as Leaders bassist Tosin Abasi and Reeves Gabrels use the company’s signature pedals.  Jeff Loomis, Fear Factory, Alice in Chains, Prong, Deftones, Living Colour, Overkill, 30 Seconds to Mars and many others also use the company’s products.

Pro Tone Pedals was founded in 2004.  The company, now based in Charleston, South Carolina, has developed its reputation from making custom designed pedals.  Its employees’ dedication to customer service has garnered it affiliations with the likes of Ozzy Osbourne, Arch Enemy, Whitechapel, the Cure, Fear Factory, Ministry, Prong, Overkill and others.

The Dawn Patrol Chorus will be available at an introductory price of $189.99.  More information on the new pedal is available online now at:









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Osbourne Responds To Daisley’s Latest Lawsuit



The problems don’t seem to end for Ozzy Osbourne.

The veteran rocker is being sued by former bassist Robert “Bob” Daisley, claiming that Osbourne and Blizzard Music owe him more than $2 million in royalties for songs that he helped craft during his time recording and performing with Osburne. It is not the first time that Daisley has sued Osbourne.  He filed suit numerous times in the 1980s over writing credits and associated royalty payments.

Now Ozzy’s camp has responded to Daisley’s latest suit, comparing the suit to harassment.  The full statement from Osbourne and his representatives is note below.

“For the past 36 years Mr. Daisley has been receiving bi-annual royalty statements and checks from Blizzard Music, totaling in the millions of dollars, which have been routinely cashed. Mr. Daisley has audited Blizzard Music accounts over the years using several different auditing firms who found no discrepancies.   He has previously filed lawsuits in the UK and the US and has lost on each occasion.

We understand that Mr. Daisley is now in retirement and that these funds are his main source of income, so it is his right to be diligent with his money, but after 36 years, this is tantamount to harassment.  We would have hoped that after 36 years that Mr. Daisley would have lost his unhealthy personal obsession and resentment towards Mr. Osbourne’s success.  Blizzard Music and Mr. Osbourne plan to vigorously defend these proceedings.”

More information on this case is available online now along with all of Ozzy’s latest news and more at:










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