Howdytoons’ Latest LP Is A Blast About Creatures From The Past

Courtesy: Howdytoons Productions, Inc.

Family music act Howdytoons is scheduled to release its latest album, Dinosaurs & Monsters Friday through its own label, Howdytoons Productions, Inc.  The band’s fourth album in its ongoing “dinosaur rock” series of releases, the nine-song album is a fun new offering for the entire family.  That is due in part to its featured musical arrangements.  They will be examined shortly.  The lyrical content that accompanies the album’s musical arrangements makes for its own interest and will be examined 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 the record’s presentation.  All things considered they make the album just one more enjoyable addition to this year’s field of family music albums.

Dinosaurs & Monsters, the latest new album from family music act Howdytoons, only runs nine songs deep, but in that spread, it offers plenty for audiences to appreciate, beginning with the album’s musical content.  The musical content comes largely in the form of some hard rocking compositions that are still mostly family friendly.  There is a touch of some ska and reggae to mix things up a bit, too.  The whole thing opens with a Soundgarden-esque composition in ‘Allosuarus.’  That comparison is most evident in the song’s verses.  More specifically, the comparison is to Soundgarden’s hit song, ‘Spoonman.’  At the same time though, the chromatic scale used in the guitar line in the verses is also comparable to Filter’s hit single, ‘Hey Man, Nice Shot.’  ‘Dimetrodon,’ which immediately follows immediately conjures thoughts of works from System of a Down.  ‘Brachiosaurus’ is just as easily comparable to Marilyn Manson’s cover of the Eurhythmics’ single, ‘Sweet Dreams.’  So right here in this first trio of songs, grown-ups get songs that will appeal to them while also introducing young listeners to some fun rocking compositions.  ‘Brontosaurs is Back’ changes things up with its ska approach and gives way to the even easier moving reggae style composition, ‘Diplodocus.’  From there, things pull back even more with the folk style Stegosaurus.’  Things gradually pick back up after that song, carrying listeners through to the album’s end with three more rocking songs in the kindie-rock of ‘I’m a Pterodactyl,’ and the much heavier ‘The Kraken’ and ‘Kronosaurus.’  The short and simple of these arrangements is this:  From one to the next, the styles and sounds of the arrangements offer a certain level of variety.  The songs will appeal just as much to grown-ups as to their younger counterparts.  To that end, they form a strong foundation for the record.

Building on the strength thereof is the lyrical content that accompanies that musical content.  The lyrical content featured here is, as the album’s title suggests, about dinosaurs and at least one monster, the kraken.  From the Stegosaurus to the Dimetrodon to the perhaps lesser-known Kronosaurus (which was a real, sea-going dinosaur) and more, the album teaches listeners of all ages about a variety of dinosaurs.  Believe it or not, there are plenty of adults who remember very little about different dinosaurs (and other topics), so to that end, this content serves as a great review for those grown-ups and an equally welcome introduction for young listeners.  What’s more, kids love dinosaurs in general.  So, adding fun rocking songs to lessons about dinosaurs will just get kids enjoying learning about them even more.  Keeping that in mind, this simple, straight forward lyrical content from one song to the next, as it follows one, central theme makes the lyrical side of this record just as appealing as the album’s musical content.

While the content featured in Dinosaurs & Monsters clearly does plenty to make the album enjoyable, their sequencing puts the finishing touch to the presentation.  As noted already, the sounds and styles featured in the arrangements changes ever so much from one to the next, at least in regards to the heavier content.  The placement of the more pop-oriented songs in the middle of the album shows even more the time and thought that went into the album’s sequencing.  It shows the band did not want audiences to grow tired of the album.  That effort paid off, too.  That is because it ensures the stability of the album’s energy even as the sounds and styles of the songs change from one to the next.  Keeping that in mind, the album’s sequencing puts the finishing touch to the presentation.  When the positive general effect ensured by the sequencing is considered along with the album’s content, the whole makes the album an enjoyable presentation for audiences of all ages.

Dinosaurs & Monsters, the latest album from family music act Howdytoons, is a presentation that the entire family will find enjoyable.  That is due in part to its musical content, which provides some fun rocking tunes that grown-ups will find familiar and that younger audiences will find a great introduction to the rock realm.  The lyrical content that accompanies the album’s musical arrangements is straight forward.  It centers on…well…dinosaurs, as with its three predecessors.  That straight forward, accessible presentation ensures audiences’ engagement throughout the album in its own right.  The sequencing of that content brings everything full circle and completes the album’s presentation.  That is because it ensures the album’s energy remains stable even as the sounds and styles of the arrangements changes ever so much throughout the album.  Each item examined here is important in its own way to the whole of the album.  All things considered they make Dinosaurs & Monsters a blast about the past for future generations of audiences.

Dinosaurs & Monsters is scheduled for release Friday through Howdytoons’ own label, Howdytoons Productions, Inc.  More information on the album is available along with all of the band’s latest news at

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Museum Of Light Signs New Record Deal; Announces New Album Details; Debuts Album’s Lead Single

Rock band Museum of Light has a lot to look forward to this year.

The band recently signed a new record deal with independent record label Spartan Records. The new deal will see the band release its new album, Horizons, through the label June 10. In anticipation of the record’s release, the band premiered the album’s lead single, ‘Soft Openings‘ Thursday through Decibel.

Courtesy: Spartan Records

The rich, sonic painting that the trio paints with its new almost entirely instrumental track (there are some random vocals in the mix) is a fully immersive presentation. Audiences will hear influence from Soundgarden in a unique composition. Ironically, this band, like Soundgarden, is also from Seattle, Washington, the home of grunge.

Front man Ted Alvarez talked about the blend of heavy and ambient sounds in the song’s arrangement.

“Those would seem to be incompatible, but the more we played, the more we realized those two things could mesh, and could be incredibly appealing to us,” he said. “For us, both are coming from places of joy, pleasure, and serenity as opposed to anger or rage. Don’t get us wrong — there’s plenty of wonderful aggressive music that comes from those places. But there sure is a lot of it already. This stuff should be a release to listen to and certainly to play, and that’s ultimately a positive vibe.”

More information on Museum of Light’s new single, album, and record deal is available along with all of the band’s latest news at:



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Saliva’s ‘Every Six Seconds’ Tribute EP Will Appease Audiences While They Await The Band’s Next Album

Courtesy: Megaforce Records

Twenty years after Saliva made its major label debut (and second overall album) with Every Six Seconds, the band is revisiting that record with its new EP, Every Twenty Years.  The six-song record features a handful of re-worked versions of songs from Every Six Seconds that make up the majority of the record.  Those songs are certain to engage and entertain listeners in their own way.  They will be discussed shortly.  While the majority of the songs featured in Every Twenty Years are lifted from Every Six Seconds, there are two songs that were not featured in that album.  Their inclusion in the record adds their own level of appeal to the EP.  They will be discussed a little later.  The performances of the updated songs put the finishing touch to the EP and will also be discussed later.  When this aspect is considered along with the songs themselves and the two bonus tracks, the EP in whole proves itself a presentation that any Saliva fan will enjoy.

Saliva’s brand new EP, Every Twenty Years is a tribute to the band’s debut album, Every Six Seconds, that despite its brief nature, will appeal widely to the band’s established audience base.  That is due in part to the EP’s featured songs.  The majority of the record’s songs (four in all) are lifted from Every Six Seconds.  They are ‘Your Disease,’ ‘Click, Click, Boom,’ ‘After Me,’ and ‘Greater Than/Less Than.’  ‘Your Disease’ and ‘Click, Click, Boom’ were both hit singles spawned from Every Six Seconds.  “Greater Than/Less Than’ meanwhile was a carryover from the band’s self-titled 1997 debut album.  ‘After Me’ garnered its own appeal among audiences following the release of Every Six Seconds, too.  This collection of songs is a brief tribute to the legacy of Every Six Seconds, but considering the popularity of the songs’ source material, these re-worked renditions are certain to garner renewed interest in the band’s noted major label debut.  That in turn makes these primary songs a good starting point in examining this EP’s appeal.  The two bonus tracks that accompany the EP’s primary content build on the appeal of those works to make the EP increasingly engaging and entertaining.

The two bonus songs featured in Every Twenty Years are a re-worked take of the band’s 2001 cover of Henry Mancini’s ‘Theme From Peter Gunn’ and a cover of Soundgarden’s hit 1994 single, ‘Spoonman.’  Saliva’s take on ‘Spoonman’ largely stays true to its source material, which will appeal to fans of both bands.  Front man Bobby Amaru’s vocal delivery holds its own here against that of the late great Chris Cornell while his band mates – Paul Crosby (drums), Brad Stewart (bass), and Wayne Swinny (guitar, vocals)  — are just as applause worthy in their own performances here.

Saliva’s take on ‘Theme From Peter Gunn’ was not featured as part of Every Six Seconds despite also being released in 2001.  It was re-named ‘Spyhunter’ as it was featured in the soundtrack to the 2001 reboot of the vintage video game “Spyhunter.”  Both versions clock in at four minutes, 22 seconds in length, so needless to say not much has changed between the original and this song.  The variations are in fact that subtle. Considering that  the original rendition is likely difficult to find today other than through YouTube, having this version included in an official Saliva record makes for even more appeal here.

Speaking of variations, the variations between the original and updated takes of the songs from Every Six Seconds make for their own appeal, too.  That speaks to the importance of the band’s performance of said songs.  While there are many similarities between the original and updated version of ‘Click Click Boom’ for instance, there are also clear differences. The differences are most clear from the second verse on. They come in part through the vocal delivery of current front man Bobby Amaru and former front man Josey Scott. Amaru’s vocal delivery style is noticeably heavier heavier than that of Scott in the verses while the two have roughly similar styles in the more melodic choruses.  In terms of the instrumentation here, there are clear moments throughout when Swinny’s guitar riffs are heavier than in the original.  There are also certain effects used here that were not used in the original composition.  All things considered, the band’s updated take of ‘Click, Click, Boom’ is actually an improvement over the original work and just part of the proof of the importance of the band’s performances here.

Just the two renditions of ‘Click, Click, Boom’ are relatively similar, save for some subtle variances, so are the two renditions of ‘Your Disease.’  The updated take featured in Every Twenty Years is different from its source material primarily in the fact that it is more amped up in the verses than the original take.  The choruses meanwhile are just as controlled and melodic.  There is a slight change in the guitar arrangement in the song’s chorus refrain that adds a nice touch, too.  Other than that and the noted heavier approach to the song’s verses, the song’s update is largely the same as the original.  That marriage of something old and something new (yes, that awful wedding pun was intended) make this presentation yet another example of what makes the band’s performances of the  updated songs so important to the EP’s presentation.  The band’s performance in the updated take of ‘Better Than/Less Than’ is yet another example of the importance of the band’s performances here.

Saliva’s updated take of ‘Better Than/Less Than’ is just as subtle in its performance as the band’s performance in the other examined updates.  Swinney’s guitar line is once more amped up here in comparison to the band’s initial performance.  The result is that the song’s distinctly Alice in Chains style sound and style is even more evident here than in the original.  That is not to say that it was not evident in the original work.  It is just so   much more pronounced in this case.  Taking this update into account along with the performances in the other examined updates and that in the band’s updated take of ‘After Me,’ the importance of the band’s performances here become that much clearer.  When they are considered along with the EP’s main body and its bonus songs, the whole makes this EP a mostly enjoyable presentation that will tide audiences over until the band releases its next album.

Saliva’s brand new EP Every Twenty Years is a presentation that will appeal to the band’s established audience base.  That is due in part to its featured songs.  The songs are for the most part, lifted from the band’s 2001 album, Every Six Seconds.   However, there are two “bonus” tracks added to the mix to enhance the EP’s presentation.  One of the songs is an updated take of a cover that the band recorded for a game that was itself an update of a video game that was popular in the 1980s.  How is that for a little six degrees of separation?  The other song is a cover of a song made famous by a famed grunge act and is just as engaging and entertaining as that original.  The band’s performances of the updates rounds out the EP’s most important elements.  The performances are subtle yet still heavy updates of the band’s own original songs that will keep listeners engaged and entertained in their own right.  Each item examined is important in its own way to the whole of the EP.  All things considered, they make the EP a work that is certain to tide audiences over until the band releases its next album.  Every Twenty Years is available now.

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




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Saliva Unveils Re-Worked Version Of Its Classic Song, ‘Click Click Boom’

Courtesy: Megaforce Records

Saliva released another single from its forthcoming EP last week.

The band unveiled a re-worked take on its classic song, ‘Click Click Boom‘ Thursday. The song is the second single from its forthcoming EP, Every Twenty Years, which is scheduled for release 7 through Megaforce Records. The band debuted the EP’s lead single, a re-worked version of ‘Your Disease‘ last month.

While there are many similarities between the original and updated version of ‘Click Click Boom,’ there are also clear differences. The differences are most clear from the second verse on. The vocal delivery of current front man Bobby Amaru and former front man Josey Scott become evident over that course of time. There are also changes to the guitar line between the two renditions.

Founding member and guitarist Wayne Swinny talked about re-working the song in a prepared statement.

“Re-recording ‘Click Click Boom’ was much easier than the original recording because we already had the blueprint laid out for us,” he said.  “There was no need to alter anything because the original had all the right pieces in all the right places. We simply used the advances in modern technology to enhance the song sonically.”

Pre-orders for Every Twenty Years are open now. Along with re-worked takes of ‘Click Click Boom’ and ‘Your Disease,’ the record also features updated versions of ‘After Me,’ ‘Greater Than/Less Than,’ and ‘Spyhunter’ and a cover of Soundgarden’s hit single, ‘Spoonman.’

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




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Small Town Titans Celebrates Soundgarden Anniversary With ‘Spoonman’ Cover

Independent hard rock act Small Town Titans has another treat for audiences.

The band recently unveiled the video for its cover of Soundgarden’s classic hit ‘Spoonman.’  The video’s premiere, which ran online at, was meant to celebrate the 24th anniversary of the release of Superunknown, the album from which the song came.  The album was originally released March 8, 1994.

Courtesy: TAG Publicity

Front man Phil Freeman, whose vocal delivery in this song sounds eerily like that of Soundgarden’s late front man Chris Cornell, said in a recent interview that Cornell — and Soundgarden in whole — has been integral in STT’s own career, making this cover even more special for him and his bandmates.

“Chris Cornell has been a musical hero of mine since I was in high school, and has been a major influence in the style of our band,” Freeman said.  “Soundgarden’s repertoire is vast and difficult to pull off.  The reason we decided to cover this classic of theirs is not only to challenge our musicianship and ability, but also to pay tribute to one of the greatest voices and lyricists of Rock ‘n Roll from one of the greatest bands of all time.  Our hope is that our interpretation does the song and its original performers the justice and recognition it deserves.”

Small Town Titans’ take on ‘Spoonman’ can be downloaded and streamed online now here.  More information on the band’s new cover is available online now along with all of STT’s latest news and more at:






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2017 Rock On The Range Festival Lineup Announced

Courtesy: Danny Wimmer Presents/AEG Live

Courtesy: Danny Wimmer Presents/AEG Live

The lineup for the 2017 Rock on the Range Festival has been announced, and once again it has proven to be quite the collection of acts.

The three-day festival will be headlined by Metallica, Soundgarden and Korn.  It will feature more than 50 bands over the course of that time along with some of the country’s top comics at the festival’s Rock on the Range Rolling Rock Comedy Tent.

The lineup for the 2017 Rock on the Range Festival includes: Metallica, Soundgarden, Korn, The Offspring, Volbeat, Primus, Bush, Chevelle, Papa Roach, Seether, Coheed & Cambria, Alter Bridge, The Pretty Reckless, Taking Back Sunday, Thrice, Amon Amarth, Pierce The Veil, Sum 41, Skillet, Dillinger Escape Plan, In Flames, Gojira, Biffy Clyro, Motionless In White, Nothing More, Beartooth, Starset, Every Time I Die, The Story So Far, Deafheaven, Zakk Sabbath, Rival Sons, The Amity Affliction, Attila, Norma Jean, Suicide Silence, Whitechapel, I Prevail, Turnstile, Dinosaur Pile-Up, Red Fang, Dorothy, Kyng, Radkey, As Lions, Frank Carter & The Rattlesnakes, Sylar, Fire From The Gods, Badflower, Wage War, Goodbye June, Cover Your Tracks, DED, Bleeker, Royal Republic, Mother Feather, Aeges and One Less Reason.

Rock on the Range—fueled by Monster Energy—is billed as America’s largest and most acclaimed rock festival.  The festival will also feature in 2017 “The Music Experience,” art installations, and unique on-site activities over the course of the festival’s three days.

Tickets for the 2016 festival sold out more than two months in advance of the festival.  It marked the fourth consecutive year the festival has sold out in advance.

Weekend Field, new Weekend Field VIP, Weekend Stadium and a limited number of Weekend Stadium 4-packs are available now for purchase.  A layaway option is also available for concert-goers.  That option allows audiences to split the cost of their ticket/ticket packages into four separate monthly payments.

Fans can get a pre-sale password for Weekend Field VIP, Weekend Field GA, Weekend Stadium GA and Weekend Stadium GA 4-packs on the official Rock on the Range website, Facebook page and Twitter page.  The ticket prices are listed below.


  • Weekend Field VIP: starting at $349.50* + fees
  • Weekend Field GA: starting at $199.50* + fees
  • Weekend Stadium GA: starting at $99.50* + fees
  • Weekend Stadium GA Ticket 4-Pack: $380.00 + fees
  • * Phase One prices listed
  • *** Ticket prices automatically move to the next price level once the allotment sells out ***

General on-sale for tickets is Friday, Dec. 2 at 10 a.m. EST.  Tickets will be available online at the festival’s website, at Ticketmaster locations and the MAPFRE Stadium box office.

Audiences who want an even more special concert experience can purchase the new Uber Ranger Camping Package.  The package includes amenities for four people such as luxury RV on a double campsite at the Ohio Expo North Campground (May 18 – 21), a dedicated concierge with golf cart shuttle, 4 Weekend VIP Field Admission Tickets, a backstage tour, access to the stadium club (with catered lunch and dinner), access to the Side Stage Viewing Platform, access to the VIP Lounge and more.  More information on the new Uber Ranger Camping Package is available here.

Rock on The Range celebrated its 10th anniversary in 2016.  More than 120,000 people attended the festival from around the world.  As part of its 10th anniversary celebration, Columbus, OH mayor Andrew J. Ginther and the Columbus, OH city council presented festival organizers with awards of recognition.  A resolution was also announced from the Franklin County Board of Commissioners acknowledging the festival’s economic impact on the city.

The commissioners pointed out in their resolution pointed out the festival brought in more than $140 million for the city over the course of its ten years in the city.

Rock on the Range is produced by Danny Wimmer Presents, AEG Live and MAPFRE Stadium.  It is supported by Monster Energy, Bud Light and Zippo.  They and other partners will feature interactive experiences, meet & greets, and other special fan engagement opportunities throughout the festival.

More information on the 2017 Rock on the Range Festival is available online now at:










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Temple Of The Dog Reunites; Announces Tour, LP Re-Issue

Courtesy: UMe

Courtesy: UMe

Temple of the Dog is officially returning.

The rock super group—Chris Cornell (Soundgarden), Pearl Jam’s Jeff Ament, Stone Gossard, and Mike McCready, and Matt Cameron (Soundgarden, Pearl Jam)—announced this week that it has reunited and will tour together for the first time ever.  The group also announced that it will re-issue its self-titled 1991 record this fall to mark the 25th anniversary of its release.  The album will be re-issued Friday, September 30th via UMe.  It will be available in four different formats—four-disc Super Deluxe Edition, double LP vinyl, two-disc Deluxe Edition CD set, and standard single-disc platform.  Pre-orders for physicals are open now.  They can be placed here.  Each pre-order includes a detailed list of the contents of each presentation.

The band’s tour launches November 4th and currently spans only five cities—Philadelphia, New York, San Francisco, Los Angeles, and Seattle—winding down on November 20th.  Pre-sale tickets are  currently open for fans signed up with Pearl Jam’s official fan club, Ten Club, and to the e-mail lists of Soundgarden and Chris Cornell.  Fan pre-sales end next Wednesday, July 27th.  General public ticket sales begin at 12pm local time next Friday, July 29th.  $1.50 from each ticket sold will benefit the Chris and Vicky Cornell Foundation.  An additional $1.50 from each ticket sold will benefit Pearl Jam’s Vitalogy Foundation.

Temple of the Dog originally rose from the remnants of Mother Love Bone.  That band ended after then front man Andrew Wood died from a drug overdose.  Wood was, coincidentally, Cornell’s room mate and close friend.  After Wood’s passing Cornell went on to write the songs ‘Say Hello 2 Heaven’ and ‘Reach Down’ in order to process his grief.  Those songs would also go on to be included in Temple of the Dog’s sole album.  Eventually Gossard and Ament, two of the original members of Mother Love Bone, added Mike McCready to the band’s lineup, who was then followed by Cameron on drums.  The resultant album, according to TOTD’s members, was originally not meant for commercial release.  As Cornell recalls of the album, “Temple was about making an album simply for the joy of doing it. We weren’t concerned what anyone outside of our group of friends would think of it. It was the first and maybe only stress-free album that we all made.”  When the band crafted ‘Hunger Strike’ Cornell felt that the song needed a duet.  Enter Eddie Vedder, who would eventually go on to front Pearl Jam.  The song would go on to be the band’s biggest hit and would peak at #4 on Billboard’s Mainstream Rock Chart.

Temple of the Dog did have a very limited number of shows in November and December of 1990.  The band’s upcoming shows this fall mark the first time since those shows that the band has ever toured together.  There was a performance in 2015 in which Cornell joined his former TOTD band mates for a performance of ‘Reach Down’ and ‘Call Me A Dog’ at Seattle’s Benaroya Hall.  In 2014 Cornell also joined the band for a performance at the Bridge School show and for two nights at PJ20 in Alpine Valley, Wisconsin.  More information on Temple of the Dog’s upcoming concerts and album re-issue is available online now along with all of the band’s latest news at

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Prong’s First-Ever Covers Record Is A Must For Long-Time Fans And The Metal Masses Alike

Courtesy:  Steamhammer Records/SPV

Courtesy: Steamhammer Records/SPV

Tommy Victor has spent the better part of his adult life in the music industry. For nearly thirty years, Victor has been releasing music under the moniker of hard rock/metal band Prong. Through all of the band’s ups and downs, Victor has pushed on releasing new material from Prong. He has released, over the course of that time nine full length studio albums, two live albums, one remix album, four EPs, and a number of singles and music videos. For all of those releases, there is still one item that until now Victor hasn’t handled under the Prong moniker. That item is the obligatory covers album. Next week, Victor will release Prong’s first ever covers album in the form of Songs From The Black Hole. The ten track album will be released via Steamhammer/SPV. This collection of covers is a great addition to any long-time Prong fan’s music collection. That is obvious right off the top with the band’s cover of Discharge’s ‘Doomsday. The high adrenaline song grabs listeners instantly and refuses to let go. Sisters of Mercy’s ‘Vision Thing’ follows ‘Doomsday’ and is one more example of what makes this album a must have for any long-time Prong fan. Those fans that are familiar with Prong’s body of work will hear the influence of SOM on Tommy Victor when listening to this song. And much the same can be said of Prong’s cover of Black Flag’s ‘The Bars.’ Stylistically speaking, it’s easy to hear Black Flag’s influence on Victor throughout Prong’s albums. It’s not the only obvious influence either. The inclusion of songs from the likes of Killing Joke, Bad Brains, ad Butthole Surfers shows Prong’s roots just as clearly. And much the same can be said of the compilation’s remaining four tracks. The entire record taken into consideration, it proves to be more than just another obligatory collection of songs flung together to fulfill a contractual obligation. Rather it is a record that celebrates some of rock’s greatest bands and at the same time one of the industry’s most important and influential yet least known bands. If not for the fact that it is indeed a covers album, it would have otherwise been justifiably named by this critic as one of the best new hard rock and metal albums of the year.

It’s incredible to think that roughly twenty-seven years after the release of its debut album Force Fed, Prong has not released even one covers album. In comparison to the countless covers albums released by Prong’s counterparts in both the mainstream and underground, it becomes even more incredible. For that reason alone, founder and sole original member Tommy Victor is to be commended for holding his ground. Audiences that pick up this record will agree in listening to Songs From The Black Hole that Victor is just as worthy of applause for the covers chosen for this record. Right off the top, the album grabs listeners and refuses to let go with its cover of Discharge’s ‘Doomsday.’ The song title sounds ominous, like a Soundgarden song or a piece from some black metal band. But the reality of the song is that it is actually a high-energy war protest piece that will have any metal purist wanting to get a circle pit started in their own home all while making audiences really think. Tommy [Victor] sings, “And now the end is near/The end is near/It’s time to say our last goodbyes…Is it a reality or just a nightmare…/Nowhere to run, nowhere to hide/No escape, no escape/Is it reality or just a nightmare?” The song’s seemingly politically charged lyrics coupled with the talents of Victor’s band mates–bassist Jason Christopher and drummer Art Cruz–make ‘Doomsday’ a great addition to this record regardless of regardless of its placement in the album’s sequencing. It isn’t the only song worth noting that makes this record so enjoyable for Prong’s fans and the metal masses, either. The album’s second song, Sisters of Mercy’s ‘Vision Thing’ is another solid addition to the record.

Prong’s cover of ‘Vision Thing’ is just as solid an addition to SFTBH as the record’s opener, Discharge’s ‘Doomsday.’ Sisters of Mercy’s original take on ‘Vision Thing’ has a decidedly 80s rock sound. Yet despite this, it still manages to stand out from all of the songs churned out by the hair metal bands of its age. Its sound is more similar to that of Billy Idol than say Poison stylistically speaking. Victor and compay somehow managed to keep the song’s original style all while mixing it with the band’s own updated sound to make for yet another solid addition to this surprisingly enjoyable collection of covers. As with SFTBH’s opener, this song is just as apt to leave audiences thinking as deeply as rocking out. Victor sings about what sounds like a drug addict in a hotel room getting high in the song’s first verse, singing, “Two thousand hamburg four/And colours I ain’t seen before/It’s a small world and it smells funny/I’d buy another if it wasn’t for the money.” This definitely comes across as a commentary of sorts about someone getting high on something. The seeming reference to JFK’s assassination that follows will generate just as much discussion as the verse’s opening lines if not more. The song’s closing lines say plenty, though seeming to clear up any questions that might have been left. Victor sings in the song’s closing lines, “What do we need to make our world come alive/What does it take to make us sing/While we’re waiting for the next one to arrive/One million points of light/One billion dollar vision thing.” These lines come across as a statement concerning the need for things to change considering the state of the world (I.E. drug users everywhere, murderers, etc.). Again, this song’s mix of musical and lyrical substance makes this piece another solid addition to a record that is surprisingly enjoyable for Prong’s first-ever covers LP.

Both Prong’s cover of ‘Doomsday’ and of ‘Vision Thing’ are solid additions to SFTBH. By themselves, both songs present their own element of enjoyment. When taken into consideration with the record’s other covers, both songs combine with those covers to show why for a first-time effort, Prong’s new covers record is a must have for any of its long-time fans. ‘Doomsday’ and ‘Vision Thing’ aren’t proof enough of this argument, then the band’s cover of Black Flag’s ‘The Bars’ is sure to convince audiences. PRong’s cover of this hardcore classic is a near spot on re-working. What’s more, there’s a certain element to it that harkens back to the days of Prong’s 1994 album Cleansing. Lyrically speaking, ‘The Bars’ is a rather dark song. It seems to focus on a figure with some rather troubling inner turmoil. As Victor sings, “Everytime I see I got my hands wrapped around the bars/I can’t shut off my mind/And now I’ve waited/My hands are wrapped around the bars/The bars, the lies, the lies, lies, lies/Are trapped behind the bars/My mind hates my body/My body hates my soul/I close my eyes and fight/Inside my own black hole.” The figure’s own torn feelings apparently seem to center around a young woman that took her own life by jumping out of a window. It is hardly the most positive lyrical content. But it is deep and deeply moving. Prong’s take on the song, musically speaking is a perfect match for those lyrics. The combination of both elements exhibit exactly why ‘The Bars’ is one more great addition to SFTBH.

‘The Bars,’ ‘Doomsday,’ and ‘Vision Thing’ are all positive additions to SFTBH. They are just a small glimpse into what makes this first-ever covers collection from Prong a must have for the band’s long-time fans. The record’s other seven covers each offer their own enjoyment for fans, too. All ten of the compilation’s songs taken into consideration, SFTBH proves in the end to be a record that was well worth the wait whether listeners are fans of Prong or the band’s covered by Prong here. SFTBH will be available in stores and online next Tuesday, March 31st. Beginning April 17th, Prong will hit the road in support of SFTBH with a sixteen-date European tour that runs through May 3rd. After wrapping the European leg of its tour Prong will take off the rest of the summer to charge up for a U.S. tour that kicks off October 23rd in Ramona, California. The 41-date North American tour will take the band across America and Canada throughout the summer and into the winter, wrapping up December 7th at the famed Whiskey a Go Go in West Hollywood, California. The band’s full tour schedule is available online along with all of the latest updates from the band at:




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Carolina Rebellion Festival Expands In Its Third Year

Courtesy:  Ashton-Magnuson Media

Courtesy: Ashton-Magnuson Media

The Carolina Rebellion Festival is coming back this Spring.  The annual festival returns to the Rock City Campgrounds at Charlotte Motor Speedway on Saturday and Sunday may 4th and 5th.  The Charlotte Motor Speedway is in Concord, just outside of Charlotte.  Now in its third year, this year’s festival marks the first time that it will fill a full weekend.  There will be three stages for this year’s festival:  The Monster Energy ‘Carolina Stage, the Monster Energy ‘Rebellion Stage, and the Jagermeister Stage.  This year’s band lineup is going to be big one.  It’s all set to kick off with performance on Saturday by:  Alice in Chains, Limp Bizkit, Deftones, Three Days Grace, Papa Roach, Bullet for my Valentine, Halestorm, Asking Alexandria, Sick Puppies, In This Moment, Device (with David Draiman), Young Guns, Otherwise, Aranda, Tracer, and Monstro.

Things won’t let up much on Sunday, May 5th.  The current lineup slated for the festival’s second day includes:  Soundgarden, Rise Against, Bush, 3 Doors Down, Buckcherry, Volbeat, Hollywood Undead, All That Remains, Steel Panther, Pop Evil, Escape The Fate, Nonpoint, Thousand Foot Krutch, Red Line Chemistry, Heaven’s Basement, and American Fangs.

Full weekend general admission tickets and single day general admission tickets for the Carolina Rebellion Festival go on sale Friday, February 8th at 10amEST.  Full weekend tickets start at $99/person plus fees.  Single day admission tickets start at $59.50 plus fees.  Parking cost is included with all tickets.  For more information on tickets and the festival, audiences can go online to and  Anyone that signs up for the Carolina Rebellion Newsletter can pre-order full weekend tickets for a discounted price of $89 plus fees.  This applies only during the pre-sale period, which runs from Wednesday February 6th to Thursday, February 7th.

Fans can also go online to http://www.CarolinaRebellion to get information on camping, hotel and VIP packages as well as military discounts, which will also be available for all active duty military personnel.

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