Tempt Premiere’s ‘We Will Rock You Cover’

Courtesy: Better Noise Music

Tempt officially released its cover of the so-called “fast version” of Queen’s timeless single ‘We Will Rock You’ Friday.

The single’s premiere came more than two weeks after the band premiered the video for its take on the song. Tempt guitarist Harrison Marcello said proceeds of sales from the single’s sale will benefit the UK-based animal welfare nonprofit agency, the Save Me Trust. The agency was founded by Queen guitarist Sir Brian May.

Marcello said sending proceeds of the single’s sale to the organization was natural.

 “Although I am an American, I spend a good deal of time with family in the UK countryside and honoring Sir Brian by supporting a UK initiative that he is involved with that also feels local and important to us gives the project extra meaning,” Marcello said. “We hope that Queen fans everywhere will join us and donate and that fans in other countries will reach out to donate to causes that support wildlife in their part of the world.”

Anne Brummer, Save Me Trust Chief Executive Officer, said on behalf of the agency, she was moved that the band is donating to the group.

“We are thrilled that Tempt are supporting Save Me Trust and helping us to continue to give wildlife a voice,” Brummer said. “We love their positivity and the energy they bring to their cover of ‘We Will Rock You’ – rock on!”

More information on Tempt’s new single and video is available along with all of the band’s latest news at:

Website: https://temptband.com

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

Twitter: https://twitter.com/temptband

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

Tempt Debuts Cover Of Queen’s ‘We Will Rock You

Courtesy: Better Noise Music

Veteran rock band Tempt has taken on a Queen classic for its latest single, and done so by taking on a rare take of the song.

The band premiered the video for its take of the so-called “fast version” of Queen’s ‘We Will Rock You’ last week. According to a statement from guitarist Harrison Marcello, the version of the song the band opted to cover is a rare version that few audiences know.

“I had heard the so-called fast version many years ago, growing up on a bootleg, and Queen apparently used to open and close shows with it, but it is very relatively unknown even to hardcore music fans,” Marcello said. “So, it was always fun when we would start the song and watch as (front man) Zach (Allen) began to sing the lyrics and then we would slowly see the recognition sweep through the crowd until they were all singing, ‘We Will, we will rock you!'”

The video for the band’s new cover was recorded during its tour. The tour included performances at festivals across Europe, and as support for the likes of Iron Maiden, Shinedown, and Theory of a Deadman. It features the band on stage in various cities across Europe as the song plays over the visualization.

Tempt is scheduled to release its take on the song Jan. 27. Pre-orders, pre-adds, and pre-sales are open now here.

More information on Tempt’s new single and video is available along with all of the band’s latest news at:

Website: https://temptband.com

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

Twitter: https://twitter.com/temptband

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

The Lonely Ones Debuts New Single, ‘Change The Station,’ Companion Video

Courtesy:Imagen Records

Independent rock band The Lonely Ones is giving audiences their first preview of its upcoming debut EP.

The band debuted the as-yet-untitled EP’s lead single, ‘Change The Station‘ Friday along with the song’s companion video. The song boasts a modern rock style musical arrangement that is akin to works from the likes of Small Town Titans. One can also argue there is a comparison to some songs from the likes of Shinedown and other similar acts in the arrangement.

The lyrical content that accompanies the song’s musical arrangement is a clear statement about everything that has taken place across America in recent months. It is a gripping commentary whose content works well with the song’s musical arrangement.

The video that accompanies single mirrors the energy and urgency in the song’s collective musical and lyrical content. It features the band performing its single in a studio setting. Each member performs his respective part to the song while cameras spin — almost to dizzying lengths — around the group.

‘Change the Station’ is just the latest single from The Lonely Ones. The band gained acclaim last year for its cover of Queen’s ‘Flash Gordon/The Hero‘ and its original tune ‘Real Big Trouble‘ as well as its other originals, ‘Eternal Sadness‘ and ‘The Lonely One.’

Queen member Brian May and Flash Gordon himself — Sam J. Jones — praised The Lonely ones for its take on ‘Flash Gordon/The Hero.’

May said of the cover through a prepared statement, “What a fantastic cover! I didn’t realize they were going to go into The Hero and the whole reprise…magnificent!”

Jones had the following to say of the cover.

“This is one of the best covers I have ever heard and seen,” he said. “What a gifted group – The Lonely Ones are for everyone of us, from the 1980’s to right now!”

It is unknown if the band’s cover of ‘Flash Gordon/The Hero’ or ‘Real Big Trouble’ will feature in The Lonely Ones’ upcoming EP. Other than the fact that ‘Change the Station’ will feature in the record, all that is known about the record is that it is expected for release this year through Imagen Records.

Front man Marty McCoy recently spoke about the EP’s upcoming release.

“We’re very excited to partner with Imagen Records in 2021,” he said. “They put a deal on the table that was very artist friendly and their excitement about the band has been contagious. It’s a great team with Bob Winegard, Shauna O’Donnell, Steven Nathan and Morgan Rose. The music industry is constantly changing and these cats have their ears to the ground. We are looking forward to this new adventure with Imagen on our side.”

Winegard spoke warmly of The Lonely Ones in his own statement.

“I am very excited to have The Lonely Ones on the Imagen Records roster,”  said  Winegard. “I knew from the moment I heard their songs that this band was something special. They are hit makers!”

Rose, who is the head of A&R at Imagen Records and is also the longtime drummer for Sevendust also shared his thoughts on the band’s signing.

‘I’ve known Marty and the boys for most of my career,” he said. “When the opportunity to sign them came up, I jumped at it. This band is stacked with hooks and tons of attitude. I can’t wait for the world to hear what they have to say,”

More information on The Lonely Ones’ new single is available along with all of the band’s latest news at The Lonely Ones’ official Facebook page.

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

The Flower Kings Debuts ‘Black Swan’ Video

Courtesy: InsideOut Music

The Flower Kings debuted the video for its latest single this week.

The band debuted the video for its new single ‘Black Swan‘ Tuesday. The song is the fourth single from the band’s latest album Islands, which was released in October through InsideOUt Music. Its premiere follows that of the album’s current singles ‘Morning News,’ ‘From The Ground,’ and ‘Broken.’

The video features the band performing its new single, each member of the band performing his respective part alone as the song plays. The song’s musical arrangement is a clearly classic rock-influenced composition. There are moments in the song that hint especially at a Queen influence. There are also some clear influence from the synth-driven sounds of the 80s.

Guitarist and founding member Roine Stolt talked about the song’s musical arrangement in a prepared statement.

“’Black Swan’ was a little piano melody I wrote around spring 2019 – I thought of it as ‘Polish melancholic’ or a ballet piano piece,” he said. “I did present a demo for the Transatlantic sessions but when it didn’t stick there I brought it along to the TFK ‘Islands’ session. Here it found its way in to the album and concept and with a slightly more dry guitar-driven sound and with nods to both The Beatles & Queen it became one of my favorite tracks. Hasse delivers some of his finest vocal on the album here.”

The song’s lyrical theme will appeal to listeners just as much as the song’s musical arrangement, with its metaphorical language.

Islands is available now. The album’s track listing is noted below.

Disc One (49:40)
1 – Racing With Blinders On 4:24
2 – From The Ground 4.02
3 – Black Swan 5:53
4 – Morning News 4:01
5 – Broken 6:38
6 – Goodbye Outrage 2:19
7 – Journeyman 1:43
8 – Tangerine 3:51
9 – Solaris 9:10
10 – Heart Of The Valley 4:18
11- Man In A Two Peace Suit 3:21

Disc Two (43:01)
1 – All I Need Is Love 5:48
2 – A New Species 5:45
3 – Northern Lights 5:43
4 – Hidden Angles 0:50
5 – Serpentine 3:52
6 – Looking For Answers 4:30
7 –Telescope 4:41
8 – Fool’s Gold 3:11
9 – Between Hope & Fear 4:29
10 – Islands 4:12

More information on The Flower Kings’ new album is available along with all of the band’s latest news at:

Website: http://www.roinestolt.com

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

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

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Countless Thousands’ New LP Will Appeal To Countless Thousands Of Listeners

Courtesy: Independent Music Promotions

The independent music community is not wasting its time getting things moving in the new year.  The Soviet Machines and R.A.P. Ferreira have already given music lovers plenty to appreciate in this year with their new albums.  Now today, fellow independent act Countless Thousands added to the year’s already fast-filling field of new music with its new album …And The Triumph of Justice.  The 16-song record is a standout among its current counterparts within the independent and rock communities.  That is due in no small part to the diversity exhibited in the album’s musical arrangements.  This will be discussed shortly.  The lyrical themes that accompany the album’s musical arrangements add their own share of interest to the album’s presentation.  They will be discussed a little later.  The record’s sequencing rounds out its most important elements and will be discussed later, too.  Each item noted here is important in its own way to the whole of the album.  All things considered, they make …And The Triumph of Justice the first truly standout independent album of 2021.

Countless Thousands’ new album …And The Triumph of Justice is a great early surprise from this year’s field of new independent and rock albums.  It is a presentation that will appeal widely to audiences thanks in part to its featured musical arrangements.  The arrangements in question present a wide variety of stylistic approaches and sounds.  Right from its outset, ‘The Triumph of Justice,’ audiences get a composition that immediately lends itself to the sounds of Queen from the late 1980s.  More specifically, the one minute, seven second instrumental composition immediately lends itself to comparisons to the songs that Queen crafted for the television adaptation of Highlander and for its work on the Flash Gordon.  It is so cheesy in its nearly over the top approach, but is so glorious at the same time for that power metal style approach and sound.  From there, the band immediately changes things up in the album’s second entry, ‘Game Change.’  That song is indeed a game change for the album, as it takes a more punk rock approach.  Speaking more specifically, the approach here, is akin to works from the likes of Flogging Molly and Dropkick Murphys.  That is evidenced in the use of the vocal delivery, guitar, bass and even drums.  It goes without saying that the whole makes for quite the contrast from the album’s opener and keeps things interesting.  ‘Space Nazis Must Die (ft. Professor Elementary)’ changes things yet again, giving audiences this time, more of a stoner rock style sound.  As if that change is not enough, the band takes on America’s National Anthem a la Jimi Hendrix but with quite the twist in the album’s next track.  Things only continue to change from here on to the album’s end.  The album turns more in a bluegrass vein in ‘The Rat’ before turning back in the punk direction in ‘Solidarity Forever.’  ‘Parts Unknown’ gives audiences yet another change, turning the album in a neo-folk style direction.  Stoner rock fans will appreciate the next few songs, ‘Fat Cat,’ ‘MASK OFF’ and ‘Lazar Wolf.’  The wildly crazy (no pun intended) ‘Murder Assassins from the Future’ is bizarre but one can’t help but listen to the jolly sounding song about a crazed killer.  This will be addressed shortly in the discussion on the album’s lyrical content.  The album turns back in the punk direction from there in ‘Parts Oiknown.’  Yes, that is really the title, not a typo.  The neo-folk approach returns once again in its cover of Stephen Foster’s timeless tune ‘Hard Times (Come No More) before closing out in two more unique fashions in the album’s last two songs.  Looking back through all of this, it becomes evident that throughout the course of its 45-minute run time, this album offers so much for listeners to enjoy.  It never sticks too long to one style of song, ensuring listeners’ engagement and entertainment just in this aspect.  For all that the diverse musical presentation of …And The Triumph of Justice does for its presentation, it is just one of the items that makes this record so surprisingly enjoyable.  The lyrical content that accompanies the album’s musical arrangements builds on the foundation built by the music and strengthens it even more.

The lyrical content that is presented throughout Countless Thousands’ new album will generate its own share of interest for listeners.  One prime example of that interest comes, as noted previously, comes in the uniquely titled and sounding ‘Murder Assassins From the Future.’  The playful song features a story about apparently a crazy guy who claims to be from the future on a mission to stop a future apocalypse by trying to kill a child.  Of course things don’t end up well for the nutjob.  What happens will be left for listeners to discover for themselves, but the overall sarcastic and light hearted nature in the story makes it stand out so much from the rest of the record’s lyrical content.

In direct contrast, the much more reserved ‘Parts Unknown’ (not to be confused with ‘Points Oinknown’) gives listeners something more reality-based.  It is sung from the standpoint of what seems to be a parent singing to his daughter, recounting his own past as he talks to her about herself growing up.  The parent tells the child that “you are the ripple in my water” and to “stay humble” as she grows up.  He ends the song telling her, “I love you how you are.”  It really is a touching moment in this record that is certain to become a fan favorite.

‘Game Change’ gives listeners even more interest in regards to the album’s lyrical themes.  A close listen to this song reveals a socio-politically charged work that seems to take on the lengths to which people will go against one another nowadays.  Additionally, it presents its own damning condemnation of how the Democrats and Republicans alike have abused their powers, going so far as to say of this topic, “It’s just rock, paper, scissors/Going around and around in circles/Winners eat the losers in a zero sum game.”  The whole things ends with the line asking listeners, “What are you willing to live with?”  That is a telling question.  Together with the other noted statements, it becomes clear that this song is meant to present a familiar topic (if not two topics) that are accessible to audiences.  When this is considered along with the themes addressed in ‘Parts Unknown,’ ‘Murder Assassins From the Future’ and the rest of the album’s entries, no doubt is left as to the importance and impact of the record’s lyrical content.  When the whole of the album’s lyrical content is considered together with the record’s musical content, the overall content make for more than enough reason for people to hear this album.  They are collectively still just a portion of what audiences will appreciate in this presentation.  The sequencing of the featured content puts the finishing touch to the record’s presentation.

The sequencing of …And the Triumph of Justice is key to the album’s presentation because it takes into account the wide range of musical and lyrical content and the energies in the album’s songs.  As already noted here, the album’s musical arrangements are diverse.  At no point in the record’s nearly 50-minute run do the arrangements stay one way too long.  The longest span through which any one style remains is three songs late in the record’s run.  That constant change in the album’s musical arrangement styles does plenty in its own right to keep listeners engaged and entertained.  The energies in the arrangements change just as constantly as the styles in the arrangements.  The whole thing starts in the noted grandiose style in the album’s title track.  From there, the record’s energy picks up quite noticeably in its second track.  It is not until the band’s take on the National Anthem that the record’s energy pulls back.  From there, the energy gradually picks back up until it reaches its peak again in ‘Solidarity Forever.’  What’s so interesting here is that as energetic and frenetic as the arrangement is, its up-tempo take of the otherwise more solemn ‘Battle Hymn of the Republic’ in classic punk style makes for one heck of a dichotomy.  The band slams on the brakes again from there in ‘Parts Unknown.’  The energy gradually rises again from there, getting a little more upbeat in the hybrid stoner/swing style ‘Fat Cat.’  The band decides to go in a different direction from there in ‘Mask Off’ what with the plodding stoner/sludge/doom hybrid approach.  What’s interesting here is that while the brief opus is short – it clocks in at just under a minute – it is still heavy, and sets the stage for the much more up-tempo (and 80s Queen-eque) ‘Lazar Wolf.’  The energy gradually decline again from there, but not too much, as is evidenced in the light but still up-tempo folk take of ‘Hard Times (Come Again No More).’  The album goes out on a controlled note in its final two songs, landing listeners easily on a distant musical shore from where they started on the musical journey that is this record.  By the record’s end, audiences will find that the journey is one on which they will want to go again thanks to the clear attention to the rise and fall in the album’s energies.  That attention keeps things interesting from start to end, and in turns keeps the record moving and sounding so enjoyable.  Keeping this in mind along with the importance of the album’s content, the result is a record whose content and related presentation thereof is equally positive.  All things considered, they make …And the Triumph of Justice a triumph of an independent album and an album in general.

Countless Thousands’ new album …And the Triumph of Justice is itself a triumphant new offering from the unsigned, independent band.  That is proven in part through its musical arrangements, which are quite diverse to say the least.  The lyrical content that accompanies the record’s musical arrangements adds its own share of appeal to the album.  The sequencing of that collective content puts the final touch to the album’s presentation, bringing everything full circle.  Each item note here is key in its own way to the whole of the album.  All things considered, they make the album in whole a musical triumph.  The album is available now.  More information on the record is available along with all of Countless Thousands’ latest news at:

Website: http://www.countlessthousands.com

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

Twitter: http://twitter.com/countless1000s

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

‘The Ride’ Has Small Town Titans Poised To Be One Of Rock’s Next Big Names

Courtesy: AntiFragile Music

Small Town Titans has, over the course of the past two years, become quite a big deal in the rock community.  Yes, that awful pun was intended.  From its surprise hit cover of the holiday song ‘You’re A Mean One, Mr. Grinch’ to original songs, such as ‘Dragonfly,’ ‘Devil’s Choir,’ and ‘War Cry’ to other equally popular covers and originals, this band has made quite a name for itself, and it has done so with the least amount of label help.  Now on Friday, the band will take its next step forward on its journey with the release of its new album The Ride.  The album has already spawned six singles ahead of its release – more than half of its album.  As much as they do to show what makes this album so appealing, they are only a portion of what makes the album stand out. ‘Behind The Moon’ is another notable addition to the album.  It will be addressed shortly.  ‘When It All Comes Down’ does its own share, too, to show the album’s strength.  It will be discussed a little later.  Much the same can be said of ‘Let Me Breath,’ which comes just ahead of the album’s midpoint.  It will also be discussed later.  When all three of these noted songs are considered along with the noted singles and the one remaining unmentioned song from this record, the whole proves to be a presentation that, given the right support, could finally be that record that breaks this band into the mainstream.

Small Town Titans has, ever since its inception, been one of the rock and hard rock communities’ best kept secrets.  Its star has quickly risen since 2018 though, and now with the pending release of its new album The Ride, the secret could finally be out about this outstanding band.  The six singles that the album has already produced have more than proven that true.  They are only some of its notable works, though.  ‘Behind The Moon,’ which comes early in the album’s run, is notable in its own right.  That is due in no small part its musical arrangement.  The arrangement in question forms the song’s foundation.  What makes it so interesting is that between the harmonies and guitar lines, audiences get a song that crosses elements of modern/active rock and a clear classic rock influence for its whole.  One could argue that there are touches of Queen and The Allman Brothers Band mixed along with something more modern along the lines of Alter Bridge, for the same of comparison.  When that musical presentation is coupled with the song’s clearly uplifting lyrical content, the song in whole gains even more traction.

The lyrical theme featured in ‘Behind The Moon’ is that of being willing to take risks and make the most of life.  That is evidenced clearly in the song’s chorus, in which front man Phil Freeman sings, “The sun don’t shine/When you stand behind the moon.” The message is made even clearer as he sings in the song’s lead verse, “I was walking on the other side of the moon/Looking for another sign of life/I was trying/To buy another man’s dreams/In exchange for something nice/Then I saw it /I saw it coming from miles away/Then I saw it/I saw it coming from miles away/The break of day.”  What audiences get here is that message, with Phil stating metaphorically, the song’s subject was trying to be someone and something that he wasn’t.  That is made clear in the statement about trying “To buy another man’s dreams/In exchange for something nice.”  As he continues, the song’s subject notes he saw reality in what he was doing.  The optimistic, uplifting message continues as he sings in the song’s second verse, “There was a fork in the road and no time left/But I finally had a place to go and a reason to live/And from that moment on I flew into space/Towards all those burning stars with a reason to give/And you’ll see me/You’ll see me coming from miles away/Yeah you’ll see me/You’ll see me coming from miles away/To find my place.”  When all of this positive mindset is considered along with the song’s equally upbeat musical arrangement, the whole leaves zero doubt as to what makes it such an appealing addition to The Ride.  It is just one of the additional entries that makes the album so strong.  ‘When It All Comes Down’ is yet another powerful addition to The Ride.

‘When It All Comes Down’ wastes no time catching listeners’ attention once it gets started.  The song’s musical arrangement lends itself to comparisons to works from the likes of Hellyeah and Dope in its verses.  On the other hand, the choruses once again conjure thoughts of Alter Bridge.  That sounds on paper, like quite the musical contrast, and it is.  At the same time though, Freeman (who plays bass along with handling vocals), drummer Johnny Ross, and guitarist Ben Guiles make the balance work.  The end result is a fiery composition that stands completely on its own musical merits separate from the rest of the album’s works.  That high-energy composition partners well with the song’s lyrical content, which delivers a message of making sure we realize where we set our priorities in life.

The noted message is familiar to rock fans, but interestingly not overly used, which keeps it fresh in this case.  That is even more so in the fashion in which it is delivered.  Freeman sings in the song’s lead verse and chorus, “You put stock in temporary things/Yet you cry, cry, cry when they fail to make you sing/You miss the forest for the trees/As if you’ll live forever and never bleed/Forever and never bleed/Ring around the dollar/Pocket full of power/Ashes to ashes/It all falls down/Ring around the dollar/Pocket full of greed /Ashes to ashes /As we all bleed/Tell me what it’s worth/When it all comes down/When it all comes down/Tell me what it’s worth/When it all comes down/When it all comes tumbling down.”  The message is just as stark and powerful in the song’s second verse, which finds Freeman singing, “No one’s gonna save you better than yourself/No one’s gonna steal your soul better than/your wealth/Put two and two together/And measure out the way they make you feel/Feel, feel, feel.”  This message is a statement of which listeners need to be reminded daily.  We put our focus on all the wrong things so often, and we need to step back and make sure we know what is really important in life.  When this loudly echoing statement is coupled with the power in the song’s musical arrangement, the whole of the song leaves no doubt why it is yet another notable addition to The Ride.  It certainly is not the last of the album’s most notable works.  ‘Let Me Breathe’ is one more song worth examining here.

‘Let Me Breathe’ is the most Alter Bridge-esque song featured in The Ride in terms of its musical arrangement.  That is made clear through the combination of the song’s instrumentation and Freeman’s vocal delivery style.  Even the choruses play out like a mirror image to Alter Bridge’s work.  That is not necessarily a bad thing because the work still maintains its own identity despite the clear comparison.  It is just one part of what makes the song worth examining.  The song’s lyrical theme adds its own touvh to the work.

The lyrical content featured in ‘Let Me Breathe’ comes across as a familiar story of one’s battle with one’s inner self.  This is a familiar lyrical theme for so much music, not just rock.  It is inferred right from the song’s lead verse and chorus, in which Freeman sings, “There’s a game of hide and seek tonight/Between my shadow and I/And it starves for something greater now/As I sit here satisfied/It whispers in my ear and tries/To sell my soul for things that I don’t need/It seems it won’t stop until I break/Especially when I start to speak/Let me breathe as I try to clear the weight inside/As I find my saving grace this time/Cause the hunger never fades /No the hunger never fades/Let me be as I try to steal away this night/As I try to clear the weight inside/Cause the hunger never fades/No the hunger never fades/Let me breathe as I try to clear a space inside.”  That inner battle theme is made just as clear in the song’s second verse, in which Freeman sings, “This game we play is zero sum/There’s no winner and no higher ground/But at least these words they save my pain/From this battle to which I’m bound/I say/Trust me you don’t want any of this/Trust me you don’t want any of this/Trust me you don’t want any of these empty lies/So get behind me and follow the leader/Get behind me and follow the leader/Don’t forget your place and remember why.”  The existential message is confirmed without doubt in the song’s third and final verse, which states, “And I hope to God that this saves you too/Cause we all have shadows in our minds/And all they want is everything and all we have is time/And all that we can try to do is lead them to the light.”  Overall, the song’s message is one of hope for listeners, reminding audiences that those shadows can be eliminated and that we can breathe again.  This is a positive message that will resonate with listeners every day.  When it is couple with the song’s radio ready musical arrangement, the whole of the song becomes a work that every listener will appreciate.  When the song is considered with the others examined here, the album’s current singles, and its one remaining song, the whole of this record proves to be a “rock solid” (yes, that awful pun was intended, too) album.

Small Town Titans is on the verge of becoming a big name in the rock community.  The band’s forthcoming album The Ride leaves zero doubt as to that statement’s truth.  Its musical arrangements and its lyrical themes collectively fully support the noted statements.  That is proven clearly in all three of the songs examined here as well as through the album’s existing singles.  When that collective is considered with the album’s one remaining work, the whole of the album proves itself a memorable musical “ride.”  The Ride is scheduled for release Friday through AntiFragile Music.

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

Website: http://smalltowntitans.com

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

Twitter: http://twitter.com/smalltowntitans

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

The Lonely Ones Debuts New Single, ‘Real Big Trouble’

Courtesy: O’Donnell Media Group

Independent rock band The Lonely Ones debuted its latest single over the weekend.

The band debuted its new single ‘Real Big Trouble‘ Friday.  The song is the band’s first new music since the debut of its single ‘The Lonely One’ March 23.  The band debuted its cover of Queen’s Flash Gordon theme song in July.  Its debut was not connected to Arrow Video’s re-issue of Universal’s 1980 movie last month.  The movie was an adaptation of the classic comic strip.

The Lonely Ones’ cover of Queen’s original has received praise from Queen guitarist Brian May and Flash Gordon himself, Sam J. Jones, since its debut.

May said of the cover, “What a fantastic cover! I didn’t realize they were going to go into The Hero and the whole reprise…magnificent!”

Jones also praised the band’s cover.

“This is one of the best covers I have ever heard and seen,” he said. “What a gifted group – The Lonely Ones are for everyone of us, from the 1980’s to right now!”

The Lonely Ones’ new single is a heavy work that will fit into any active rock radio station programmer’s daily play list.  The melodic hard rock arrangement featured in the song is grounded in its bass and drums.  The guitar and vocals build on that foundation to flesh out the song even more.

The lyrical content featured in this song hints at someone who has caved under the pressure of his past. He even goes so far as to say, “I’m ready for the judgement day/I’m crawling out of my skin/I got myself in some real big trouble again.”

More information on The Lonely Ones’ new single is available along with all of the band’s latest news at:

 

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

Twitter: http://twitter.com/_thelonelyones_

 

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

Arrow Video’s ‘Flash Gordon’ Re-Issue Is The Movie’s Best Presentation Yet

Courtesy: Arrow Video/MVD Entertainment Group

Arrow Video’s recently released Blu-ray re-issue of Universal’s classic sci-fi flick Flash Gordon is the new gold standard for the movie’s home release.  Released Aug. 18 on Blu-ray and 4KUHD, this latest re-issue of the 1980 comic strip adaptation is the movie’s first domestic re-issue since 2012, when it was re-issued alongside The Last Starfighter, Dune, and the pilot for the original Battlestar Galactica series in a four-disc DVD set.  The movie’s audio and video form the foundation for its latest re-issue, and will be discussed shortly.  The extensive bonus content that accompanies the movie’s home release builds so much on the foundation formed by the movie’s production values.  It will be discussed a little later.  Flash Gordon’s story rounds out its most important elements and will also be discussed later.  Each item noted here is important in its own way to the whole of the movie’s presentation.  All things considered, they make the movie’s latest re-issue a presentation that is without question one of this year’s top new DVD/BD re-issues.

Arrow Video’s new Flash Gordon re-issue is a presentation that will appeal to a wide range of audiences.  From sci-fi fans to fans of comics to action movie aficionados to classic cinema connoisseurs, this movie’s appeal will find plenty of appreciative audiences.  That is proven in part through the production values presented in this re-issue.  The colors in the sets and the costumes are so rich, especially the reds (red was allegedly the favorite color of the movie’s famed Producer Dino De Laurentiis according to information provided in the movie’s bonus content) of Ming’s palace.  In comparison to footage from the movie in its original presentation (which is shown in the noted bonus content), it is clear that painstaking efforts were taken in order bring forth the true, rich color.  If De Laurentiis were alive today, he would be just as impressed by this aspect.  In the same vein, every laser blast and every note of rock band Queen’s feature-length soundtrack is expertly balanced, enhancing the viewing experience for audiences even more.  Even a minor touch, such as the ambient sounds of Planet Mongol and its moons get their own attention.  From that production aspect to the noted deep, rich colors and the balance in the music and sound effects, it is clear that painstaking efforts were made in order to offer viewers the best possible presentation once again.  It’s another way in which Arrow Video continues to prove itself one of the leading names in the home media world.  Those efforts also go a long way toward making this presentation so enjoyable for viewers.  It is just one of the most notable aspects of the movie’s new home re-issue, too.  Its bonus content adds even more enjoyment to its presentation.

The bonus content that is featured in Flash Gordon’s latest re-issue is extensive to say the absolute least.  Audiences get two separate feature length audio commentaries, — one from director Mike Hodges and the other from star Brian Blessed (who played Prince Vultan) – a series of interviews with the movie’s cast and crew, two episodes of the Flash Gordon cartoon series, and a vintage “making of” featurette as well as photo galleries from the movie’s creation.  The bonus content alone makes for literally hours of entertainment and engagement.  The vintage making of featurette reveals that creation of the set for Ming’s palace alone took four months.  That and the other sets were so extensive that production had to take place primarily in a six-million cubic foot aircraft hangar.  It was just one of the facilities that was used for the movie’s production.  As director Mike Hodges reveals (off the cuff) during his audio commentary, Elstree Studio was also used.  That is the same studio in which Star Wars was created by George Lucas.  This is especially important to note because it is also revealed in one of the bonus discussions, that George Lucas apparently wanted to make Flash Gordon before Star Wars, but could not afford the rights, so he ended up making Star Wars.  How is that for a little six-degrees of separation?

As if everything already noted here is not enough reason to check out the bonus content, viewers will learn that there apparently was quite a bit of tension behind the scenes during the movie’s creation.  Hodges points out during his commentary that De Laurentiis viewed the movie’s creation in a very serious fashion, even though Allin was extremely displeased with the final product.  The vintage making of featureette does point out that De Laurentiis was himself very much a Flash Gordon “fan boy” prior to producing the movie.  To that point, his “seriousness” was perhaps chalked up to that fandom, even though he might not have thought he was going to such extreme.  There is nothing wrong with his approach, either, since he wanted to pay proper tribute to the original, timeless Flash Gordon comic strip.

Allin, on the other hand, said during the new bonus featurette “Lost in Space: Nic Roeg’s Flash Gordon,” that he and Roeg wanted to make a serious film in Flash Gordon complete with sociopolitical commentary, but that De Laurentiis wanted to stay true to the original Flash Gordon comic strip, which ran daily from 1934 to ’92.  Its Sunday edition continued until 2003.  The movie does just that with its special effects and its overall look (what with its costumes and sets).  The short and simple here is that Allin and Roeg’s story would have been a good fit among today’s comics based movies (since dark, brooding stories are about all that audiences get nowadays in comics-based movies).  De Laurentiis’ version has remained a cult favorite for four decades meanwhile maybe because of his dedication to its source material.  Regardless of which side viewers take, all of the noted discussions are sure to engage audiences thoroughly and generate plenty of discussion among audiences.  All things considered here (along with the bonus content not directly noted – again the bonus content here in fully immersive) the bonus content featured with Arrow Video’s recent Flash Gordon re-issue more than makes the movie worth owning.  When it is considered with the outstanding production values presented in this re-issue, the two elements together make for so much enjoyment for audiences.  They are still not all of the positives provided in the movie.  The movie’s central story adds even more to that enjoyment.

The story at the center of Flash Gordon is relatively easy to understand.  It starts with Flash and Dale Arden taking a flight somewhere (it’s never pointed out where the pair is going interestingly enough) and ending up crashing in the lab of the mad scientist Dr. Hans Zarkov.  Zarov basically kidnaps the duo and the trio ends up flying into space where they end up rocketing to another galaxy that is ruled by the evil emperor Ming The Merciless.  Along the way Flash unites the peoples of the worlds ruled by Ming, befriending them in the process.  The story has a happy ending, but also leaves the door open for a sequel (which going back to the bonus content, could have happened, but never did).  It has to be assumed in the movie’s story that as the clock reaches zero near the movie’s end, Ming does stop his attack on Earth before his alleged death, though that is never made 100 percent certain.  The only way audiences can assume the Earth is safe comes in the final scene in which Dale tells Flash that she is a New York girl and would rather go home than stay on the planet Mongol.  Next to that note, the only other odd note from the story is centered on all of star Sam J. Jones’ constant costume changes.  It just so happens that everything he wears is Flash Gordon-themed.  It is never fully explained where he gets all of his attire, but oh well.  That aside, the story’s simple approach is very much in line with the original Flash Gordon comic strip.  Yes, comics often do have deep philosophical language, but they are also meant to entertain the masses, and that is what this story does.  It entertains while also presenting at least some philosophy.  To that end, the story succeeds just as much as the movie’s bonus content and its production values.  When all three elements are considered together, they make the movie in whole the best presentation yet of this cult classic flick.

Arrow Video’s recent Blu-ray re-issue of Flash Gordon is an applause-worthy presentation that will appeal to a wide ranger of viewers.  That is proven in part through the movie’s production, which fully brings out the deep, rich colors in the sets and costumes.  The same can be said of the movie’s sound, which is so well-balanced in terms of the soundtrack and special effects noises.  The bonus content featured with the movie’s new re-issue will immerse audiences even more in the movie.  From everything noted here to other items, such as the realization that Queen was not the first choice for the movie’s soundtrack, and the note that the movie never got the merchandising push that other movies have gotten over the years, the bonus content adds so much of its own appeal to the movie.  The movie’s simple story does its own part to appeal to audiences with its simple presentation.  All three items noted here are important in their own way to the whole of the movie’s latest re-issue.  All things considered, they make this presentation, the best yet for the movie.

More information on Arrow Video’s Flash Gordon re-issue is available along with all of the company’s latest news at:

 

Website: http://www.arrowfilms.com

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

Twitter: http://twitter.com/ArrowFilmsVideo

 

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

May, Jones Praise The Lonely One’s ‘Flash Gordon Theme/The Hero’ Cover

Courtesy: O’Donnell Media Group

The Lonely Ones’ cover of Queen’s Flash Gordon theme song/’The Hero’ is getting some high praise.

The song, which the band debuted in July has received praise from Queen guitarist Brian May and Flash Gordon himself, Sam J. Jones.  A comment from May on the song was released Wednesday, noting of The Lonely Ones’ cover, “What a fantastic cover! I didn’t realize they were going to go into The Hero and the whole reprise…magnificent!”

Jones also praised the band’s cover.

“This is one of the best covers I have ever heard and seen,” he said. “What a gifted group – The Lonely Ones are for everyone of us, from the 1980’s to right now!”

The band’s take on the song pays full tribute to Queen’s version of the classic work.  The Lonely Ones’ rendition is longer than that of Queen, with the original clocking in at just under three minutes and the cover coming in at five-and-a-half-minutes.  Even with that in mind, the band’s cover is still very much in line with Queen’s original work.

The band talked about its take on the song in a collective statement.

“We recorded Flash in 2019 – a pretty dark year for the four of us on all fronts,” the statement reads. Our original musical output reflected that darkness, so recording a cartoonishly triumphant, heroic cover song seemed like a good counter-balance. Fast forward to spring 2020 and the impending COVID-19 Stay at Home order. With limited time and help from some fans we got our friends together to film a music video while we were still able. It’s July now and, with the future more unclear than ever, it seems like the perfect time to release the most positive song we have.  I hope you enjoy it. “Flash/The Hero. A Queen Cover.”

The Lonely Ones’ cover of the Flash Gordon theme song/’The Hero’ is available to stream and download here.

 

Courtesy: Arrow Video/MVD Entertainment Group

The debut of The Lonely Ones’ cover of the song came less than a month ahead of the Blu-ray and 4KUHD re-issue of the classic movie Flash Gordon.  Arrow Video re-issued the movie on the noted platforms last month.  The debuts are not connected, however.

The new re-issue features a companion booklet with new liner notes on the movie penned by a variety of film critics and historians; separate feature length audio commentaries by Mike Hodges and Brian Blessed; cast interviews; a behind-the-scenes making of featurette; archival interview with Mike Hodges, screenwriter Lorenzo Semple Jr. and comic book artist Alex Ross as well as much more.

More information on The Lonely Ones’ cover of ‘Flash Gordon’/’The Hero’ is available along with all of the band’s latest news at The Lonely Ones’ official Facebook page.

More information on Arrow Video’s forthcoming re-issue of Flash Gordon is available along with all of the company’s latest news at:

 

Website: http://www.arrowfilms.com

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

Twitter: http://twitter.com/ArrowFilmsVideo

 

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

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

Courtesy: Combat Records

Audiences got their first preview of Megadeth bassist David Ellefson’s new eponymous rock project this week.

The band — Ellefson (bass), Thom Hazaert (vocals), Andy Martongelli (guitar), Ron “Bumblefoot” Thal (guitar), and Paolo Caridi (drums) — released the song ‘Wasted‘ Friday.  The song, a cover of the Def Leppard song, is the lead single from the group’s debut record, No Cover.

Ellefson’s cover of ‘Wasted’ features guest appearances from Frank Hannon (Tesla), Jacob Bunton (Mick Mars, Lynam), and Dave McClain (Ex-Machine Head, Sacred Reich).

The famed names featured on ‘Wasted’ are just some of well-known musicians and performers who make appearances on this record.  Also lending their talents to the album are equally well-known figures, such as Charlie Benante (Anthrax), Al Jourgensen (Ministry) and Gus G. (Firewind).

Along with debuting its lead single, Ellefson has also unveiled the initial track listing for No Cover.  The initial listing opens with a cover of Judas Priest’s timeless hit song ‘Freewheel Burning’ and also features covers of songs such as AC/DC’s ‘Riff Raff,’ Queen’s ‘Sheer Heart Attack’ and Billy Idol’s ‘Rebel Yell.’

The album’s initial track listing is noted below.  Two tracks are still TBA. Pre-orders are open now.

 

Tracklist:
1. Freewheel Burning (Judas Priest) ft. Jason McMaster, Gus G, Andy James, Dave McClain
2. Tear It Loose (Twisted Sister) ft. Eddie Ojeda, Dave McClain
3. Love Me Like A Reptile (Motorhead) ft. Doro Pesch, Greg Handevidt, Chuck Behler
4. Holiday in Cambodia (Dead Kennedys) ft. Charlie Benante
5. Rebel Yell (Billy Idol)
6. Wasted (Def Leppard) ft. Frank Hannon, Jacob Bunton, Dave McClain, Bumblefoot
7. Riff Raff (AC/DC) ft. Jason McMaster, Dave Lombardo
8. Nailed To The Gun (Fight) ft. Andrew Freeman, Russ Parrish, Jimmy DeGrasso
9. Not Fragile (Bachman-Turner Overdrive) ft. John Aquilino
10. Say What You Will (Fastway) ft. Troy Lucketta, Mark Slaughter
11. LOVE Machine (W.A.S.P.) ft. Dirk Verbeuren, Dave Alvin
12. Love Hurts (Nazareth) ft. Brandon Yeagley, Chuck Behler, Tyson Leslie
13. Sheer Heart Attack (Queen) ft. Bumblefoot, Doro Pesch, Charlie Benante
14. Sweet FA (Sweet) ft. Todd Kerns, Bumblefoot, Shani Kimelman
15. TBA
16. TBA
17. Auf Wiedersehen (Cheap Trick) ft. Al Jourgensen, Brandon Yeagley, Charlie Benante

Bonus Tracks
18. Eat The Rich (Krokus) ft. Dead By Wednesday

 

No Cover was co-produced by Ellefson, Hazaert, and Martongelli.  The record was engineered by Alessio Garavello, Matt LaPlant (Nonpoint, Lil Jon, Skindred) and John Aquilino.  Alessio and Garavello mixed the album alongside Randy Burns and others.

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

“Before any of us started writing our own songs, we all began playing cover songs by our heroes during our formative years as musicians,” said Ellefson.  “So, it’s fun to go back in time and revisit those songs which helped us to become the artists we are today, especially when, ironically, many of those artists have now become peers and friends. During the process of recording some covers for B-Sides and bonus tracks for the upcoming Ellefson solo LP, Thom and I just said, “This is a blast, let’s just do a whole album of covers!” Literally, within 2 weeks, we had the songs recorded, and began calling our friends to join us, many of whom we had just performed with on the MEGA-Cruise back in October. From there, the album just fell into place.”

“A lot of our buddies have been playing covers and quarantine jams on the Internet during the pandemic, so this is really just an extension of that, but we took it the next level and actually recorded a full studio album,” he added.” We’ve been working remotely anyway, as we’re all over the Globe, so it was easy to incorporate some guests jumping in with some outstanding performances of their own. It’s been a really fun nod to making great music with our friends, who are kick-ass players, and many legends in their own right, which is the whole reason we got into this in the first place!”

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

“It’s all songs and artists that really mutually influenced both myself and David, especially a lot of early “Metal” and harder Classic Rock,” he said. “Some stuff I picked, some stuff he picked, but for the most part is was all artists that we both loved. What’s funny, as there’s a bit of an age gap, we were sometimes more influenced by different eras of the same bands. But it was really him saying, “Let’s do this song”, and me saying, “Yes!!! And let’s do this song.” And before we knew it, we had over 15 songs. And it’s a lot of album tracks, deep cuts, early tracks, stuff people might not expect, which was what was so fun.”

“It was also great that we were able to work in a lot of nods to David’s [Ellefson] history, getting Chuck Behler to play with us, bringing in original Megadeth guitarist Greg Handevidt to play on “Love Me Like A Reptile”, a song they used to play in cover bands together before they moved to LA (which we wrote about in More Life With Deth), and Randy Burns is going to mix a track or two,” added Hazert.  “As a singer, these are literally bands I’ve listened to, and covered all my life, and for me, getting to play with Eddie Ojeda, the Tesla guys, Charlie Benante, Jason McMaster, Mark Slaughter, etc, and sing these songs that mean so much to me. I mean, literally, the entire record is my bucket list of people I’d love to play with, and some of my favorite bands. So, it’s truly an honor to put together something so fun, and really as effortless as this was. It truly is a love letter to Rock N’ Roll, an homage to what made us, musically, who we are today.”

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

Combat Records was a seminal punk and thrash record label in the 1980s.  Its doors closed in the mid-2000s after its catalog was absorbed by Sony Music.  Combat Records’ official relaunch took place in 2018.

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

“…And to clarify, we do not own any rights to the Combat Records back catalog,” Ellefson stressed. “That is owned and controlled by Sony, and they have done a great job of curating it through other imprints. Combat Records will solely focus on new releases under the Combat banner. As always, thank you for your support and stay tuned for more details!”

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

at:

Website: http://www.combatrecs.com

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

Twitter: http://twitter.com/combatrecs

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Ellefson is scheduled to release its debut full-length studio recording in spring 2021.  More information on Ellefson is available along with all of the group’s latest news at:

 

Website: http://davidellefson.com

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

Twitter: http://twitter.com/ellefsondavid

 

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