Organizers of the Orange Loop Rock Festival announced details for the event Monday.
The three-day festival is scheduled to take place June 10-12 at the Showboat Festival Grounds in Atlantic City, NJ. Tickets and VIP passes are available now. Weekend general admission tickets are $144.99 plus fees and VIP passes are $449.99 plus fees.
Single day tickets for Friday, June 10 are $19.99 plus fees while tickets for June 11 and 12 $74.99 plus fees for each day. Children’s weekend general admission tickets are $54.99 plus fees. Tickets are also available in four-packs for $474.99 plus fees and in two-packs for $259.99 plus fees.
Approximately 17 bands are scheduled to perform at this year’s festival, including and not limited to John 5, Chevelle, and a trio of tribute band that take on classics from Ozzy Osbourne, Metallica, and Foreigner.
The festival’s full lineup is noted below.
Friday, June 10th
Foreigners Journey ft. Constantine Maroulis – Tribute to Foreigner & Journey
Ozzmosis – Tribute to Ozzy Osbourne
The Four Horsemen – Tribute to Metallica
Saturday, June 11th
Stephen Pearcy – The Voice of Ratt
Sunday, June 12th
Stone Temple Pilots
Puddle of Mudd
Treach of Naughty by Nature
More information on the 2022 Orange Loop Rock Festival is available along with all of its latest news at:
Hair metal band Nova Rex debuted the video for its latest single this week.
The band premiered the video for its new single, ‘Time Is Up For You’ Tuesday. The song is featured in the new documentary, It Ain’t Easy Being Cheesy.
The video is a straight forward, familiar style presentation. It features the band performing its new single in a forested setting at night, a large bonfire burning behind the group as it sings.
The musical arrangement featured in the band’s new single is full on 80s hair metal. Comparisons can easily be made to vintage music from the likes of Ozzy Osbourne, Poison, and Motley Crue throughout the arrangement. That is evidenced through the rich, bass and guitar-driven composition.
No information was provided about the song’s lyrical theme. No lyrics are provided with the video, either. A close listen to the song adds even more to that vintage hair metal sense. That is because the whole thing is heavy with so much lyrical tough guy bravado that is so common from that era.
More information on Nova Rex’s new single and video is available along with all of the band’s latest news at:
Famed keyboardist Derek Sherinian is scheduled to release his new album, Vortex, this summer.
The album is scheduled for release July 1 through InsideOut Music. The record’s release will come more than two years after the release of his then latest album, The Phoenix. That album produced the singles, ‘Empyrean Sky,’ ‘Dragonfly,’ and ‘Them Changes‘ (a cover of the Buddy Miles classic).
Sherinian announced last March, that he had started work on the album. He said at the time, drummer Simon Phillips would return for the album, which has been confirmed for this album. Also making guest appearances at Steve Stevens, Zakk Wylde (Ozzy Osbourne band, Black Label Society), and Michael Schenker (Temple of Rock, Michael Schenker Group, Michael Schenker Fest), all of whom he has worked previously.
Sherinian made a guest appearance on Schenker’s latest Micheal Schenker Group record, Immortal, last year, while Wylde has previously appeared on some of Sherinian’s early solo releases. Also making appearances this time out are the likes of Joe Bonamassa, Steve Lukather (Toto), and his Sons of Apollo band mate Ron “Bumblefoot” Thal.
The track listing for Vortex is noted below.
Tracklisting: 1 The Vortex feat. Steve Stevens 2 Fire Horse feat. Nuno Bettencourt 3 Scorpion 4 Seven Seas feat. Steve Stevens 5 Key Lime Blues feat. Joe Bonamassa, Steve Lukather 6 Die Kobra feat. Michael Schenker, Zakk Wylde 7 Nomad’s Land feat. Mike Stern 8 Aurora Australis feat. Bumblefoot
More information on Derek Sherinian’s new album is available along with all of his latest news at:
Sorcerer has taken on a classic Ozzy Osbourne song for its latest single and video.
The band premiered its take on Osbourne’s ‘Waiting For Darkness’ for its latest single. The group premiered the song and its video Friday. It is just the latest of the covers the the band has premiered. The collective most recently took on Saxon’s ‘Crusader‘ last month and accompanied the song with a companion video.
The premiere of that song and video followed the premieres of the band’s cover of Black Sabbath’s ‘When Death Calls‘ in October and its cover of Rainbow’s ‘Gates of Babylon‘ in September.’
All four songs make up the body of the band’s new EP, Reverence. The record is available through all digital platforms.
Sorcerer’s take on ‘Waiting For Darkness’ is in line with its source material in terms of its run time. The original song runs five minutes, 17 seconds. Sorcerer’s cover is only four seconds longer, clocking in at five minutes, 21 seconds. In terms of the stylistic approach and sound, the two songs are just as closely similar.
The most notable difference between the two renditions is in the songs’ bridges. The bridge in the original composition bears more of a classic rock sense with what almost feels like a semi-orchestral sound. The bridge in Sorcerer’s take bears more of a full-on metal sound and style.
Sorcerer’s take on ‘Crusader’ is available now through all digital outlets. More information on Sorcerer’s take on ‘Crusader’ is available along with all of Sorcerer’s latest news at:
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:
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:
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 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:
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.
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:
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.
Buenos Aires, Argentina
São Paulo, Brazil
Belo Horizonte, Brazil
Rio de Janeiro, Brazil
St. Petersburg, Russia
Ice Palace (Ledovi Dvorets)
Sweden Rock Festival
Prague, Czech Republic*
Tons of Rock Festival
Graspop Metal Meeting
*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: