BMG, Rhino Announce Details For RATT Box Set

Courtesy: BMG/Rhino Entertainment

BMG and Rhino Entertainment have partnered to re-issue five of RATT’s albums.

The Atlantic Years is scheduled for release June 9 exclusively on vinyl. The collection culls RATT’s first five records, all of which were released through Atlantic Records, into the standalone collection.

Along with the records released through Atlantic Records, the box set will also feature the band’s single, ‘Nobody Rides For Free’ as a bonus on a 7″ exclusive to the collection. The standalone single was featured in the 1991 movie, Point Break, which starred Keanu Reeves and Patrick Swayze.

The collection’s track listing is noted below:

Out Of The Cellar (1984)

1.    Wanted Man (Cristofanilli/Crosby/Pearcy)

2.    You’re In Trouble (DeMartini/Pearcy/Crosby)

3.    Round And Round (DeMartini/Pearcy/Crosby)

4.    In Your Direction (Pearcy)

5.    She Wants Money (Croucier)

6.    Lack Of Communication (Croucier/Pearcy)

7.    Back For More (Pearcy/Crosby)

8.    The Morning After (DeMartini/Pearcy/Crosby)

9.    I’m Insane (Crosby)

10. Scene Of The Crime (Crosby/Croucier)

Invasion Of Your Privacy (1985)

1.    You’re In Love (Croucier/Pearcy)

2.    Never Use Love (Pearcy)

3.    Lay It Down (DeMartini/Pearcy/Crosby/Croucier)

4.    Give It All (Pearcy/Crosby)

5.    Closer To My Heart (Crosby/Pearcy)

6.    Between The Eyes (DeMartini/Pearcy)

7.    What You Give Is What You Get (Croucier)

8.    Got Me On The Line (Crosby/Pearcy)

9.    You Should Know By Now (Crosby/Pearcy/Croucier)

10. Dangerous But Worth The Risk (DeMartini/Pearcy/Croucier)

Dancing Undercover (1986)

1.    Dance (Pearcy/Crosby/DeMartini/Hill)

2.    One Good Lover (Crosby/Pearcy)

3.    Drive Me Crazy (Pearcy/Crosby/DeMartini/Blotzer)

4.    Slip Of The Lip (DeMartini/Pearcy/Croucier)

5.    Body Talk (DeMartini/Pearcy/Croucier)

6.    Looking For Love (Crosby/Pearcy/Croucier)

7.    7th Avenue (DeMartini/Pearcy/Croucier)

8.    It Doesn’t Matter (Croucier/Pearcy)

9.    Take A Chance (DeMartini/Pearcy/Crosby/Croucier)

10. Enough Is Enough (DeMartini/Pearcy/Crosby/Croucier)

Reach For The Sky (1988)

1.    City To City (Pearcy/Crosby/DeMartini/Croucier/Hill)

2.    I Want A Woman (Crosby/Pearcy/Croucier/Hill)

3.    Way Cool Jr. (DeMartini/Pearcy/Hill)

4.    Don’t Bite The Hand That Feeds (Pearcy/Crosby/Croucier/Hill)

5.    I Want To Love You Tonight (DeMartini/Crosby/Pearcy)

6.    Chain Reaction (DeMartini/Pearcy/Croucier)

7.    No Surprise (DeMartini/Pearcy)

8.    Bottom Line (Croucier/Pearcy/DeMartini/Crosby/Hill)

9.    What’s It Gonna Be (Croucier/DeMartini/Crosby/Pearcy/Hill)

10. What I’m After (Croucier/Pearcy)

Detonator (1990)

1.    Intro To Shame (DeMartini)

2.    Shame Shame Shame (DeMartini/Pearcy/Child)

3.    Lovin’ You’s A Dirty Job (DeMartini/Pearcy/Croucier/Child)

4.    Scratch That Itch (Croucier/Pearcy/Child)

5.    One Step Away (Blotzer/Pearcy/DeMartini/Croucier/Child)

6.    Hard Time (DeMartini/Pearcy/Child)

7.    Heads I Win, Tails You Lose (DeMartini/Pearcy/Child)

8.    All Or Nothing (DeMartini/Pearcy/Crosby/Kilgore/Child)

9.    Can’t Wait On Love (Crosby/Croucier/DeMartini/Pearcy/Blotzer/Child)

10. Givin’ Yourself Away (Child/Warren/Pearcy)

11. Top Secret (Pearcy/DeMartini/Child)
“Nobody Rides For Free” – 7” Single – Exclusive to LP box

As an added bonus, the box set will also feature a 12-page replica tour book that features rare and previously unreleased photos from RATT’s archives. A poster, bumper sticker, guitar pick, and replica backstage pass are also extras included in the collection.

More information on RATT’s forthcoming box set is available along with all of the band’s latest news at:




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80s Hair Rock, Metal Fans Will Find Appeal In The Guitar & Whiskey Club’s Debut Self-Titled EP

Courtesy: Head First Entertainment

Early last month, independent rock band The Guitar & Whiskey Club released its debut studio recording in the form of its self-titled EP.  Released Nov. 7, the five-song record will appeal easily to any fan of the rock and hard rock sounds of the 80s.  The record’s musical arrangements and lyrical themes are sure to keep fans of that era and musical genre engaged and entertained from the start of the 23-minute record to its end.  ‘Sleazy,’ the EP’s second entry, clearly supports the noted statements, as does ‘I know,’ which immediately follows.  Both songs will be examined here.  ‘Lone Cowboy,’ the EP’s closer, is yet another notable addition to the record.  It will also be examined later.  When it is considered alongside the other two songs noted here and with the record’s two other songs, the whole makes The Guitar & Whiskey Club an intriguing addition to this year’s field of new EPs.

The Guitar & Whiskey Club, the debut self-titled EP from its namesake band, is a presentation that will find appeal among most fans of the rock and hard rock sounds and acts from the 80s.  This is proven through the record’s musical and lyrical content alike.  ‘Sleazy,’ which comes early in the EP, is just one of the songs that serves to support that statement.  The song’s musical arrangement is full on sleaze rock in the vein of L.A. Guns and Motley Crue.  That is evident from the bombast of the guitar work and drumming to the vocals of front man Jeffrey Donovan.  The whole is a mid-tempo composition that is an easy single to represent this first outing from The Guitar & Whiskey Club.

The lyrical theme content that accompanies the song’s musical arrangement will find just as much appeal among the noted audiences as the song’s musical content.  That is because, as with so many 80s hair rock songs, this work centers on a woman.  In this woman’s case, she is nothing but trouble, though.  She keeps leading the song’s subject down the wrong path.  This is made clear as Donovan sings in the song’s lead verse and chorus, “Woke up on the wrong side of town this morning/Got out of the wrong side of bed/Don’t know what I did to deserve this feelin’/Of a thunderbolt inside my head/But I’m suspectin’ that I neglected/To draw the line when it comes to you/Now I’m feelin so sleazy/Every time you tease me/You make that feelin’ come easy/Starin’ at the lumps in the sheets next to me/Wonderin’, ‘Oh My God is that you?’/All I see is tangled bed hair/Naked dirty feet/And now I’m thinkin’/What did I do/So I’m stressin’/Scratchin’ my head, guessin’/And lookin’ for some kind of clue.”  The song’s subject continues on in similar fashion from here, noting that this woman just keeps leading him down the noted path he’s on.  He even says he doesn’t hate the woman for it.  In fact, he seems to say that he welcomes having that side of himself brought out by the woman. That almost misogynistic tone here is, again, something that is so commonplace in so much 80s hair rock and metal.  So to that end, this and the song’s musical content collectively make for plenty of appeal for the band’s audiences and those of its more well-known counterparts.

‘I Know’ is the polar opposite of ‘Sleazy’ in terms of its musical arrangement and lyrical theme, but at the same time is still classic 80s rock in its own right.  In the case of ‘I Know,’ the song’s arrangement is right in line with the power ballads that rose to fame in the 80s hair rock and metal scene.  That melancholy, flowing solo guitar line in the song’s opening bars that is eventually paired with an equally mournful electric guitar line and vocal delivery from Donovan immediately takes listeners back in time, thinking of ballads from so many 80s hair rock bands.  The schmaltz is on full display here and is sure to appeal just as much to the noted audiences.

The lyrical content featured alongside the song’s musical arrangement adds even more to the appeal for the noted audiences.  In the case of this song, it comes across pretty clearly as a song about a breakup.  This is evidenced as Donovan sings, “I know/What you said/Can’t escape the words/Trapped in my head/You know/How I am/From the time we shared/Inside your bed/One on one and high on the feeling/Two lovers share each other’s reaction/Me on you and you on top/Let it rain/You knew when he came/Your spirit left me/In the cold again/I know/You felt pain/For what you did to me/There’s no escape/One looks back and says to the other/Can we go back and savor each other/It’s just too hard to go any further.”  Again, this is obviously that mournful, melancholy about a relationship that went south because of one partner’s infidelity.  It is another familiar theme among the 80s rock scene, and just as familiar here as in the songs of that era.  The emotional impact of the lyrics is heightened through the noted musical arrangement that pulls at listeners’ heart strings just as much as the lyrics.  To that end, it is another example of what makes this record appealing to a very specific audience base.

‘Lone Cowboy,’ which closes out the record, is yet another example of what makes The Guitar & Whiskey Club appealing to 80s hair rock and metal fans.  The country rock approach taken in the song’s arrangement is just as familiar as so many other similar style songs from days gone by.  At the same time, audiences could just as easily make comparison to certain works from Black Label Society, considering the overall arrangement.  At the same time, listeners could also make a slight comparison to work from Pink Floyd (of all bands) here, too.  It really is an intriguing combination of sounds and influences, and works surprisingly, all things considered.

The lyrical theme that accompanies the song’s mournful musical arrangement comes across as another all too familiar topic.  In the case of this work, it comes across as being that theme of being out on the road.  This is inferred as Donovan sings here, “Man walks softly/When his horse has died/In bad country no man can hide/Man gets lonely, Heaven knows/On the prairie all alone/Days are blazing/Nights are cold/Trail tells of another wrangler alone/Memories haunt him of his life at home/The journey back shouldn’t take so long.”  This is, again, an all too familiar theme that has been tackled by so many bands that have come before, but is still a great guilty pleasure work.  The use of the melancholy musical arrangement here adds to the song’s impact.  All things considered the song becomes yet another example of what makes The Guitar & Whiskey Club appealing to this band’s fans and to those of the hair metal and rock sounds of the 80s.  When it and the other songs examined here are considered along with the EP’s other two remaining works, the whole makes the record one more intriguing addition to 2022’s field of new EPs.

The Guitar & Whiskey Club, the eponymous debut EP from the independent Guitar & Whiskey Club, is a work that is sure to appeal to anyone that is a fan of 80s hair rock and metal.  Its musical and lyrical content alike makes that clear, as is evidenced here.  From the familiar musical sounds to the equally familiar lyrical themes, the whole of this record is very targeted in its presentation.  That presentation makes the record a work that while targeted, is still worth hearing at least once.

The Guitar & Whiskey Club is available now. More information on the EP is available along with all of the band’s latest news at:



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Testarossa Debuts New Single, ‘Welcome To The Show,’ Companion Video

Courtesy: INgrooves/The Label Group

Independent rock band Testarossa premiered its latest single and video this week.

The band kicked off the weekend by premiering its new single, ‘Welcome To the Show‘ and its companion video Friday through INgrooves/The Label Group. The song features a guest appearance by Steven Adler (Guns N’ Roses, Road Crew, Bullet Boys, Adler’s Appetite).

The musical arrangement featured in the band’s new single is, fittingly, a throwback to the sounds that made Guns N’ Roses popular and continues to make it a fan favorite. Comparisons to works from the likes of Ratt and Motley Crue are just as easy to make, considering the bombastic guitar riffs, powerhouse drumming and equally distinct vocal delivery style.

Drummer Buddy Radford talked about the song’s musical arrangement in a prepared statement.

“We are here to put the piss and vinegar back into rock-n-roll, Radford said. “‘Welcome to the Show’ is essentially a catchy chorus wrapped with simple verses and soaked with copious amounts of guitar wankery. It oozes attitude and harkens back to the day when people weren’t so soft and rock music was hard. It’s only Rock-N-Roll but we like it.”

No information was provided about the lyrical theme presented in the song. However, a simple listen revels the theme is simply about enjoying and celebrating the excesses of rock and roll.

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

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Station’s Established Audiences Will Have A Positive “Perspective” On The Band’s Latest Album

Courtesy: Station Music, LLC/AWAL

Candy is typically the most common treat that people give out on Halloween, but fans of the independent rock band Station got a special treat early this month in the form of the band’s new album, Perspective.  Release Oct. 8 through Station Music, LLC via AWAL, the 10-song record is certain to appeal to the band’s established audiences and to fans of the rock sounds of the 1980s alike.  That is due to the musical arrangements that make up the record’s body.  They will be examined shortly.  The lyrical themes that accompany the record’s musical content will appeal to even more audiences.  They will be discussed a little later.  The record’s sequencing rounds out its most important elements and will also be examined later.  Each item noted is important in its own way to the whole of Perspective.  All things considered, they make this record a work that the band’s target audiences will agree is worth hearing at least once.

Neo-classic rock band Station’s latest album, Perspective, is a presentation that is certain to appeal to the band’s established audiences and those with an affinity for the 1980s.  That is proven in large part to the album’s featured musical arrangements.  The arrangements in question exhibit their own diversity while also presenting quite a bit of familiarity.  Case in point is the album’s opener and latest single, ‘I Can’t Find My Way.’  The song’s arrangement immediately lends itself to comparison to works from the J. Geils Band with the subtlest touch of Def Leppard.  Immediately after that, the band conjures thoughts of Van Halen circa 1988 (the year that the band released its album, OU812) in ‘See The Light.’  The comparison comes through the overall arrangement.  The song’s production immediately gives the song that same distinct sound.  Meanwhile, front man Patrick Kearney sounds so closely similar to former VH front man Sammy Hagar here.  Again that is thanks in part to the song’s production.  The sound of his vocals here are not fully identical, but certain the similarity is there.  The whole makes the song one of the most engaging and entertaining of the album’s songs.  As if that is not enough, the band even reaches back to Van Halen’s David Lee Roth era through its original song, ‘Don’t Keep Me Waiting.’  Again, the production and the band’s approach to crafting the song play into that comparison.  At the same time, audiences can also hear a not so subtle influence from Def Leppard here.  This is not the only time in the record in which the band exhibits that influence, either.  ‘Do You Really Want To Fall in Love,’ and ‘If You Want Love’ each exhibit Def Leppard’s influence, too.  As if all of this is not enough, the band offers audiences some heavier sounds of the 80s in this record, too, such as in the clearly Ratt-esque closer, ‘All Over Again’ and the Whitesnake-esque closer, ‘You Found Yesterday.’  Between everything noted here and the influences that are evident in the album’s other songs, the collective musical content leaves no doubt that it will appeal to Station’s fans and those of the rock sounds of the 80s.  They build a strong foundation for the record for those audiences.  They are just part of what will ensure the album’s appeal.  The album’s lyrical themes add their own touch to the record’s appeal.

The lyrical themes featured in Perspective are maybe not as diverse as the record’s musical arrangements.  They are however, still accessible.  As the titles of certain songs note, some of the songs center of romantic relationships.  The album’s opener, ‘I Can’t Find My Way’ meanwhile is about taking chances in life so as to reach one’s potential.  Guitarist Chris Lane discussed that theme during a recent interview, noting, “Not wanting to take the chances in life that allow you to follow your own path.  It really speaks to the spirit of the band with how we approached this record and what we wanted to accomplish.”  It gives audiences something a little bit different from the album’s love songs, adding to the ensured appeal.  On a similar note, ‘Believe’ is clearly about believing in one’s own self.  Kearney makes that clear as he sings, “that you shouldn’t need another in the end” in the song’s chorus as he notes that we only need ourselves for reassurance and self confidence.  He points out in the song’s second verse that troubled times will come, but then reminds listeners they can get through those times.  It is a them that is certain to resonate with not just the audiences noted here but with listeners in general with that accessibility.  The theme here is also one more example of what makes the album’s lyrical content stand out.  When the album’s musical and lyrical content is considered together, the whole makes for more than enough reason for the noted audiences to give this album a chance.  They are just a part of what makes the album worth hearing, too.  The record’s sequencing rounds out the most important of the album’s elements.

Perspective’s sequencing is important to note because it is this element that ensures the album moves fluidly from start to end.  Thanks to the time and thought that went into the album’s sequencing, the songs’ energies rise and fall solidly at all of the right points.  It opens on in upbeat fashion in ‘I Can’t Find My Way’ before picking up even more in ‘See The Light.’  From there, things pull back a little bit in ‘Do You Really Want To Fall in Love Again.’  The band doesn’t let the album pull back too much though, as the record picks back up again in the noted Van Halen/DLR-era style song, ‘Don’t Keep Me Waiting.’  The steady mid-tempo work, with its blues rock approach is a distinct change of pace from its predecessor.  ‘Tonight,’ the album’s midpoint, pulls things back again with its clearly contemplative sound and stylistic approach.  From that point on to the album’s end, the songs’ energies continue to rise and fall at all of the right points, too.  The result is that the record’s sequencing keeps the album moving solidly from one song to the next while also keeping the songs’ sounds and styles changing along with their lyrical themes.  The end result is that the sequencing proves just as successful here as the record’s overall content.  All things considered, the album proves a work that, again, any fans of the rock sounds of the 80s will enjoy just as much as those with any affinity for the 80s in general.  To that end, it proves a work that those audiences will agree is a success.

Station’s fourth album, Perspective, is a work on which the band’s audiences will have a positive point of view.  That also applies to those who are still living in that era.  This is proven in large part through the album’s featured musical arrangements.  The arrangements show clear influences from some of the biggest musical acts of the age, from the J. Geils Band, to Def Leppard, to Van Halen, Dokken and even Ratt and others.  The lyrical themes featured in the band’s new album prove just as accessible as the record’s musical arrangements.  They are also diverse in their own right.  The content’s sequencing takes all of that into full account along with the songs’ energies in assembling the songs.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make the album on which the band’s audiences will have a positive perspective.

Perspective is available now through Station Music, LLC through AWAL.  More information on the album is available along with all of Station’s latest news at:




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Rocklahoma Performance Times Announced

Courtesy: A12 Entertainment

The 2021 Rocklahoma Festival will go on for now.

Performance times for the festival were announced Wednesday through a news release distributed to the media. The festival’s unofficial start is scheduled to take place at 7 p.m. ET Thursday with a performance by Devium IV on the Deb Concerts Stage.

Thursday night’s kickoff continues at 8:05 p.m. with a performance by Dead Metal Society. The Iron Maidens follow at 9:30 p.m. Stephen Pearcy, the voice of RATT will headline the evening’s events at 10:50 p.m.


Friday’s official launch opens at 11 a.m. on the Deb Concerts Stage with a performance by Straight Six. Lovesick Radio, Outlaw Devils, Travis Bond & The Rebel Souls, and Color of Chaos keep things moving from 11:50 a.m. through 2 p.m.

Liliac closes out the performances on the Deb Concerts Stage at 5 p.m., but before that, Plush will take the stage at 4 p.m. on the Renegade Stage. Half an hour later at 3:30, From Ashes To New will open the action on the Renegade Stage.

Performances from the likes of Tremonti, Candlebox, and Sevendust are also scheduled for Friday. Rob Zombie is scheduled to headline Friday’s events at 10:45 p.m. on the Freedom Stage.


Slipknot is scheduled to headline Saturday’s events at 10:45 p.m. on the Freedom Stage. Prior to its performance, other bands, such as John 5 and the Creatures, Zero 9:36, and Pop Evil are also scheduled to perform.

Also scheduled to perform Saturday are the likes of Butcher Babies, School of Rock, and Falling in Reverse.


Sunday will see its own wide array of acts scheduled to perform. Among those scheduled to perform Sunday are The Hu, Puddle of Mudd, and Philip H. Anselmo and the Illegals.

The full rundown of performance times for this weekend’s festival is noted below.

Thursday, September 2


10:50 PM – Stephen Pearcy The Voice Of Ratt

9:20 PM – The Iron Maidens

8:05 PM – Dead Metal Society

7:00 PM – Devium IV

Friday, September 3


10:45 PM – Rob Zombie

8:45 PM – Chevelle

6:55 PM – Sevendust

5:40 PM – Candlebox

4:30 PM – Ayron Jones

3:30 PM – From Ashes To New


9:55 PM – Grandson

8:05 PM – Tremonti

6:20 PM – Austin Meade

4:00 PM – Diamante

3:00 PM – Plush


5:00 PM – Liliac

2:20 PM – Color Of Chaos

1:30 PM – Travis Bond & The Rebel Souls

12:40 PM – Outlaw Devils

11:50 AM – Love Sick Radio

11:00 AM – Straight Six

Saturday, September 4


10:45 PM – Slipknot

8:45 PM – Anthrax

6:55 PM – Pop Evil

5:40 PM – Badflower

4:30 PM – Bones UK

3:30 PM – Butcher Babies


9:55 PM – Falling in Reverse

8:05 PM – Jelly Roll

6:20 PM – Zero 9:36

4:00 PM – All Good Things

3:00 PM – School Of Rock


5:00 PM – John 5 And The Creatures

2:20 PM – Rocket Science

1:30 PM – Fist Of Rage

12:40 PM – 90LB Wrench

11:50 AM – Mind Of Fury

11:00 AM – The Rumours

Sunday, September 5


8:45 PM – Halestorm

6:55 PM – Philip H. Anselmo & The Illegals

5:40 PM – Motionless In White

4:30 PM – Steel Panther

3:30 PM – Stellar Ascent


9:55 PM – The Hu

8:05 PM – Andrew W.K.

6:20 PM – Knocked Loose

4:00 PM – Cory Marks

3:00 PM – Jeris Johnson


5:00 PM – Puddle Of Mudd

2:20 PM – Budderside

1:30 PM – Paralandra

12:40 PM – Severmind

11:50 AM – Jessikill

11:00 AM – Chaotic Resemblance

A three-day pass is required to attend the Roadhouse Pre-Party on Sept. Thursday. Doors for the Roadhouse Pre-Party open at 11 a.m. Festival grounds open for the festival daily at 2 p.m.

Rocklahoma is presented by AEG Presents.

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




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L.A. Guns Debuts New Single, ‘Well Oiled Machine’

Courtesy: Golden Robot Records

Veteran rock band L.A. Guns released its latest single this week.

The band debuted its new single ‘Well Oiled Machine‘ Monday.  The single is the second single from the band’s forthcoming album Renegades, which is slated for release later this year through Golden Robot Records.  The album’s release date will be announced soon.

The musical arrangement at the center of ‘Well-Oiled Machine’ is a full-on 80s, guitar-rock composition that will appeal to fans of the band’s fellow 80s rock stalwarts Ratt, Motley Crue and Poison.

While the song’s art features a motorcycle with the band’s logo, and the lyrics could easily be confused with descriptions of a motorcycle, the reality is that the song’s lyrical theme appears to center on a woman. This is clear as front man Phil Lewis sings in the song’s lead verse, “I love my baby/She’s a well oiled machine/She takes me places that I’ve never seen/Movin’ fast/She’s a satellite/Rollin’ thunder through the night.”  The note of the rolling thunder, again, could lead to confusion, as could the mention in the song’s chorus of the subject having a “jet black shine/Curves like a dream/Ain’t nothing like you ever seen.”  In reality, that is more likely a description of said woman, complete with raven-colored hair and hourglass figure.  Lewis continues in the song’s second verse, “Lights out under barren skies/We fade away into the rest of the night/She cuts me deep like a vampire/Light ’em up/Set the world on fire.”  That mention of the vampire simile shows even more clearly that this is not about a motorcycle or even a car, but a woman.  Examining all of this, the woman is apparently quite the intense figure.  This is a theme that countless bands have used, and even despite that, will still appeal to the band’s fans as it takes a classic approach to the topic.

‘Well Oiled Machine’ is available to stream and download here.

Courtesy: Golden Robot Records

The debut of the band’s new song comes less than two months after it debuted the album’s lead single Crawl.  According to a June 10 posting to L.A. Guns’ official Facebook page, the single had received more than 100,000 streams at that time. The song is available to stream and download through Spotify, Apple Music, Amazon, and Google Play.

The band debuted a making of video for ‘Crawl’ through Golden Robot Records’ official YouTube channel the day after ‘Crawl’ made its premiere.  The making of video is streaming here.  The song’s unofficial video, it features the band performing the single over a series of clips of the band in the studio working on the song.

More information on L.A. Guns’ new single is available along with all of the band’s latest news at:





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Angeles Reveals New Album’s Track Listing

Courtesy: Dark Star Records/Sony

Angeles revealed more information about its new album this week.

The band unveiled the track listing Wednesday for its new album Hell on High Heels.  The album is composed of eight songs, the longest of which — its opener/title track — comes in at four minutes, 43 seconds.  Other song titles featured in the record are works, such as ‘Start Living,’ ‘Celebrate’ and the album’s lead single, ‘Rolling Like Thunder.’

The album’s track listing is noted below.


‘Hell On High Heels’ tracklisting:
1. Hell On High Heels – Lytle/Collins – 4:43
2. Celebrate – Lytle/Collins – 3:37
3. Heal The Wounds – Lytle/Collins – 3:52
4. Apocalypse – Lytle/Collins – 4:24
5. Start Living – Lytle/Collins – 2:58
6. Rolling Like Thunder – Lytle/Collins – 3:56
7. Run – Lytle/Collins – 3:06
8. Holly Fenton – Merrit/James – 3:22


The band debuted the video for ‘Rolling Like Thunder’ April 20.  It is the band’s first single with the current lineup of Dale Lytle Louis Collins, Cal Shelton and Danny Basulto.  The DIY-style video features new vocalist Louis Collins performing the single while footage of the band is edited into the whole along with live footage of the band from past performances.

The song’s musical arrangement is a familiar up-tempo, classic 80s, guitar-driven style work that will appeal to fans of bands, such as RATT, Motley Crue and other bands of that ilk.  Its lyrical content comes across as being just as familiar, hinting at going out partying and rocking.

Angeles debuted the title, cover art and release date for Hell on High Heels June 11.  The album is scheduled for release July 3 through Dark Star Records/Sony.  Pre-orders are open now for the album’s upcoming digital release through Apple MusicGoogle Play and Amazon.

Angeles is scheduled to open for Krokus Oct. 10 at the famed Whiskey A Go-GO in Los Angeles, LA for the last show of Krokus’ farewell tour.

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





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