The Black Moods will join The Dead Daisies on the road this summer.
The band will serve as support for The Dead Daisies’ tour, which is in support of its latest album, Holy Ground, which was released early this year through SPV. The tour, which The Black Moods is using to promote its latest album, Sunshine, is scheduled to launch Sept. 10 and to run through Oct. 15. It features performances in cities nationwide, such as Portland, OR; Fort Wayne, IN and Vineland, NJ.
Tickets are available now for each show here. The tour’s schedule is noted below.
8/3 Scottsdale, AZ @ Frasher’s Tavern
8/6 Salt Lake City, UT @ The Royal (w/ Royal Bliss, Smile Empty Soul)
8/7 Lewiston, ID @ Snake River Rock Fest ^
9/5 Charlotte, NC @ Hops & Hogs Festival ^
9/10 Rockford, IL @ The Apollo Theater AC #
9/11 Joliet, IL @ The Forge #
9/13 Fort Wayne, IN @ Piere’s #
9/14 Cleveland, OH @ Agora Theater #
9/17 Buffalo, NY @ The Showplace Theater #
9/18 Vineland, NJ @ The Landis #
9/20 New York, NY @ Sony Hall #
9/22 Virginia Beach, VA @ Elevation 27 #
9/24 Ft. Lauderdale, FL @ Culture Room #
9/25 St. Petersburg, FL @ Jannus Live #
9/27 Sauget, IL @ Pop’s #
9/29 Dallas, TX @ Granada Theater #
9/30 San Antonio, TX @ The Rock Box #
10/2 Houston, TX @ Warehouse Live #
10/3 Austin, TX @ Come and Take It Live #
10/7 San Diego, CA @ Ramona Mainstage #
10/9 Sacramento, CA @ Aftershock Festival ^
10/10 Roseville, CA @ Goldfield Trading Post (Placer) #
10/12 Portland, OR @ Alberta Rose Theater #
10/15 Seattle, WA @ Neptune Theater #
# with The Dead Daisies, Don Jamieson
^ festival appearance
More information on The Black Moods’ upcoming tour dates and its new album is available along with all of the band’s latest news at:
The Dead Daisies’ new album Holy Ground is the first truly great new pure rock record of 2021. That is saying quite a bit, considering the releases of new albums from the likes of Weezer, Foo Fighters, and Michael Schenker Group already available. That is proven from start to end of the 11-song record through its collective musical and lyrical content. The record’s musical arrangements give listeners touches of the pure rock sounds of the 80s, 90s, and even 2000s, bringing the whole together for a whole that will appeal to a wide range of listeners. The lyrical content is accessible to any listener, making for its own appeal. ‘Unspoken,’ the album’s lead single – which the band premiered almost a year ago in April 2020 – is just one of the songs that serves to support the noted statements. It will be discussed shortly. ‘Come Alive,’ which comes early in the 48-minute record’s run, is another key addition to the album. It also shows how the album’s musical and lyrical content come together to make the album in whole a success. ’30 Days in the Hole’ is yet another addition to the album that adds to the record’s interest. It will also be discussed later. All three songs noted here are important to the whole of Holy Ground. When they are considered with the rest of the album’s entries, the whole of the album leaves no doubt as to why the record is the best pure rock record to be released so far.
The Dead Daisies’ new album Holy Ground is an impressive work from the veteran rock super group. It is a record that audiences have been awaiting since early last year when the band debuted the record’s lead single, ‘Unspoken.’ The song is just one of the ways in which the album’s musical and lyrical content come together to make the album such a strong return for the band. The song’s musical arrangement almost immediately lends itself to comparison to AC/DC’s timeless hit song ‘For Those About to Rock (We Salute You).’ That is evidenced in the steady, plodding time keeping and the guitar work here. The subtlety and control in the guitar work is a near mirror image of that in the aforementioned AC/DC song. Yet is still manages to maintain its own identity separate from that of the other composition. That is due in large part to the song’s chorus sections. They change the song’s feel considerably. The contrast in those two approaches gives the song’s overall arrangement its own unique identity that will connect easily with listeners. The lyrical content that accompanies the song’s musical arrangement adds even more interest to the overall song.
The lyrical content featured in ‘Unspoken’ comes across as a statement about that type of person who is completely stuck on himself/herself. That is just this critic’s interpretation, of course. The seeming statement is inferred right from the song’s lead verse, which states, “In the static/Gotta make your pledge/So dramatic and you’re out on the ledge/Bones are breaking/Hear the rattle and moan/Your body aching and you’re out in the zone/Yeah, I can hear you breathe/Unspoken/You gotta let go/Unspoken/You’re out in the glow/Unbroken/You let it all flow.” The seeming commentary continues in the song’s second verse, which states, “In the oneness now you realize/Lost your compass and I sympathize/In the darkness now/You fade to grey/In the stillness you will make your way.” Again, this is all the interpretation of this critic and should not be taken as the only interpretation. Regardless, the song’s lyrical content is sure to generate plenty of discussion among listeners. That alone is proof of the song’s role in the album’s overall success. It is just one of the songs that serves to prove the album’s strength. ‘Come Alive,’ which comes early in the album’s run, is another way in which the record proves it has reached the top of the field for now.
The musical arrangement featured in ‘Come Alive’ is a steady, forward-driving composition whose musical arrangement blends the best of yesterday’s and today’s pure guitar rock. The subtle strength of the song’s bass line together with the steady time keeping and the guitar line makes is so well-balanced. There are moments here in which the guitar line lends itself to comparison to works from Joe Satriani before switching back to a more modern radio rock sound a la Velvet Revolver, modern Stone Temple Pilots and others of that ilk. The precision in which the two sides switch back and forth makes for its own level of enjoyment. The lyrical content that accompanies the song’s fiery musical arrangement helps to illustrate the seeming message delivered here.
The message that seems to be presented in ‘Come Alive’ comes across as being one person telling another that he/she needs to examine his/her life and change his/her mindset. This inferred right from the song’s outset in its lead verse and chorus, which states, “I’m standing in my shadow/And you can find me there/I’ll meet you in the shallow water/They stop and stare/Within my inner vision/I’d like to testify/No crash and no collision/My faith, I can’t deny/Come alive/You can start over/Now, take me by the hand and come alive/I gotta break your malady/You got to live your life free/So come alive.” It is as if the speaker is telling that person here that while he/she might be in a tough spot, he/she still has his/her faith and that the subject to whom the speaker is speaking can turn things around on a better course. The seeming commentary continues in the song in which front man Glenn Huges (Deep Purple, yes the same one) sings, “You’re fallin’ in the skyline/And you will come and go/Your sign is in your bloodline/Sometimes its quick and slow/Somehow the earth is mending/I’ll meet you at the gate/This is your life resending/You got to feel your weight.” The song’s third and final verse puts the period on the interpreted message, stating, “Oh, it’s amazin’, you travel on/I am praisin’, gotta let you roam/Come and deliver/All that you need.” Again these lyrics collectively are only interpreted in the noted fashion by this critic. They should not be taken as the only interpretation. Regardless the possibility of this song focusing on a discussion between two people, one trying to motivate the other certainly seems plausible. If it is indeed the case, then the whole makes this another fully accessible for listeners, as every listener (or most listeners) has found themselves in a similar position. To that end, the whole of this seeming message and the energy in the song’s musical arrangement ensures listeners’ engagement and entertainment even more. It shows even more in whole why the album in whole is such a successful new entry from The Dead Daisies. It still is not the last of the album’s most notable works. ’30 Days in the Hole’ is yet another key way in which the record’s musical and lyrical content pair to show why the album succeeds.
’30 Days in the Hole’ opens with a solid drum beat that is soon after accompanied by Hughes’ vocals and the equally powerful guitar and bass lines to round out the arrangement. The whole of the song’s arrangement immediately lends itself to comparisons to works from the likes of Motley Crue, Poison, and Warrant. Even with such comparisons, it still boasts its own unique identity that audiences will enjoy.
For all of the fun energy that the song’s musical arrangement presents audiences, its lyrical content seems to take on a much more serious tone as it addresses the consequences of drug use. The contrast in the playful, upbeat sense in the song’s musical arrangement against the more serious lyrical topic makes for a lot of interest here.
The noted topic is clearly addressed right from the song’s outset in the lead verse, which states, “Chicago Green, talkin’ ’bout Black Lebanese/A dirty room and a silver coke spoon/Give me my release/Black Nepalese/It’s got you weak in your knees/Sneeze some dust that you got buzzed on/You know it’s hard to believe.” The commentary continues in the song’s second verse, which states, “Newcastle Brown can sure smack you down/Take a greasy whore and a rollin’ dance floor/If you live on the road, there’s a new highway code/You take the urban noise with some durban poison/You’re gonna lessen your load.” The song’s chorus reminds listeners about the result of using those drugs, stating, “30 days in the hole/I got 30 days.” Maybe the contrast of the upbeat energy in the song’s musical arrangement and serious lyrical content is intentional. It could be meant to help create a sense of irony. People (especially rock stars) think that they are having fun using those drugs and living the rock and roll lifestyle, but in reality, they are only hurting themselves. This is, again, just this critic’s interpretation and should not be taken as gospel. If in fact it is somewhere in the proverbial ballpark, then the song has certainly succeeded in its goal to be so ironic. It is just one more way in which the album proves overall, to be such an engaging and entertaining presentation. Together with the other songs noted here and the rest of the album’s works, the whole makes the album overall a successful new offering from The Dead Daisies that is unquestionably the first truly great rock record of 2021.
The Dead Daisies’ new album Holy Ground is a presentation that rock purists and the band’s fans alike will agree is a welcome return from the band. That is proven through the album’s collective musical and lyrical content. Each of the songs examined here serve to help illustrate the noted statements in their own way. When they are considered along with the rest of the album’s songs, that whole makes Holy Ground the first great new rock record of 2021. The album is available now.
More information on Holy Ground is available along with all of The Dead Daisies’ news at:
It’s time to ‘Rise Up’ again with The Dead Daisies.
The band today unveiled the lead single from its forthcoming album Burn It Down. The mid-tempo, guitar-driven rocker is streaming online now via Spotify. Front man John Corabi explained in a recent interview that the song’s lyrical theme is a social commentary.
“‘Rise Up’ is a blistering, old school Sabbath riff with angry lyrics about the state of the world!,” Corabi said. “It’s about the people in power that say they have our best interests at heart, but don’t. We need to rise up and let our voices be heard and tell them we want CHANGE and deserve BETTER!”
‘Rise Up’ is just one of the 11 total songs included in Burn It Down, which is currently slated to be released April 6 via Steamhammer Records. Also included in the record are songs such as ‘Set Me Free,’ ‘Can’t Take It With You’ and the album’s title song alongside seven other songs. Audiences will hear plenty of new material when the band heads back out on the road next month in support of Burn It Down. The band’s upcoming tour schedule is available online now along with all of the band’s latest news and more at:
The band has announced it will release its next album this spring. Titled Burn It Down, the album will be the band’s fourth full-length studio recording and will be released Friday, April 6, 2018 via Spitfire/SPV. It will be available on Digipack CD, Digital, picture disc vinyl and deluxe vinyl/CD combo pack.
The 10-song record was recorded in Nashville, TV with Marti Frederiksen leading the project. Anthony Focx mixed the record while Howie Weinberg handled mastering. Also joining the band for its latest album is Deen Castronovo (Revolution Saints, Bad English, Journey). Castronovo played alongside guitarist Doug Aldrich most recently on Revolution Saints’ most recent album Light in the Dark (2017).
The album’s track listing is noted below.
THE DEAD DAISIES — BURN IT DOWN TRACK LISTING:
Burn It Down
What Goes Around
Set Me Free
Dead And Gone
Can’t Take It With You
Leave Me Alone
Front man Jon Corabi said in a recent interview that he enjoyed working on the album and was looking forward to its release.
“I’m extremely excited about our new record “Burn It Down!,” Corabi said. “It was a pleasure to once again work with Marti Frederiksen and the band on what I believe is the next great step in The Dead Daisies journey. This is a balls-out old school rock record!!! Enjoy it, and see you all on our massive 2018 world tour!!!! Peace, Crabby”
Aldrich anticipated the album’s release, too.
“The new Daisies album will melt your face!,” Aldrich said. “It is raw and in-your-face with a whole new sound!”
The band will take to the road this spring in Europe in support of Burn It Down beginning April 8 in Glasgow, UK. The band’s European schedule currently runs through May 12 in Madrid, Spain. The tour also includes performances in France, Hungary, Belarus, Germany and a number of other nations. The full schedule is noted below.
THE DEAD DAISIES BURN IT DOWN WORLD TOUR UK & EUROPE:
UK (with special guests THE TREATMENT* & THE AMORETTES)
Sunday 8thGarage Glasgow, UK
Monday 9th Robin 2 Bilston, UK
Tuesday 10th Koko London, UK*
Thursday 12th Academy 2 Manchester, UK
Friday 13th Rock City Nottingham, UK*
Saturday 14th Academy Bristol, UK*
EUROPE (with special guests THE NEW ROSES)
Monday 16th 013 Tilburg, NET
Tuesday 17th Biebob Vosselaar, BEL
Wednesday 18th Markthalle Hamburg, GER
Friday 20th Sticky Fingers Gothenburg, SWE
Saturday 21st Parktreateret Oslo, NOR
Sunday 22nd Klubben Stockholm, SWE
Tuesday 24th Pumpehuset Copenhagen, DEN
Wednesday 25th Rosenhof Osnabrueck, GER
Thursday 26th Backstage Werk Munich, GER
Friday 27th Barba Negra Track Budapest, HUN
Sunday 29th Simm City Vienna, AUS
Tuesday 1st Thanks Jimi Festival Wroclaw, POL
Thursday 3rd Kesselhaus Berlin, GER
Friday 4th Schlachthof Wiesbaden, GER
Saturday 5th Live Music Hall Cologne, GER
Sunday 6th Le Trabendo Paris, FRA
Tuesday 8th Z7 Pratteln, SWI
Wednesday 9th Live Club Trezo (Milan), ITA
Friday 11th Zentral Pamplona, SPA
Saturday 12th Mon Madrid, SPA
More information on Burn It Down is available online along with all of The Dead Daisies’ latest news and more at:
Courtesy: Combat Records/EMP Label Group/O’Donnell Media Group
Combat Records is coming back.
EMP Label Group head Dave Ellefson announced this week that the label, which was one of the seminal punk and thrash labels from the 1980s, has been resurrected and will be part of the EMP Label Group family. The one-time powerhouse label shuttered its doors in the mid-2000s after its catalogue was absorbed by Sony Music.
The label’s official re-launch will happen in 2018, with its first release being British hard rock act Raven’s next, as yet untitled album. It will also re-issue a number of classic thrash and metal albums from various acts once it officially opens as well as a new compilation piece from Helstar and new recordings from Dead By Wednesday and 80s progressive thrash outfit Wrath.
Ellefson said in a recent interview about the label’s re-launch that he was optimistic about its new life.
“Today is a really exciting day, as after over a year, it was finally announced that we will be re-launching the legendary Combat Records as a new label through EMP Label Group,” Ellefson said. “We are so excited and honored to be able to revive such an iconic brand that was so instrumental to my history. Even though we signed to Capitol after Killing is My Business, Combat’s logo was on all the Megadeth releases through Countdown to Extinction, and it was and is one of the most iconic metal labels of all time, even being home to some of the other artists who would end up on the EMP roster, like Helstar. The same independent spirit that drove Combat in those early days, is truly the same spirit that drives what we do with EMP, and we are honored to launch another amazing conduit to support new and established metal artists, with great respect to the legacy of the past.”
Ellefson added with Combat’s resurrection, it will only handle new material 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 nre releases under the Combat banner. As always, thank you for your support and stay tuned for more details!”
Combat Records will be distributed through EMP Label Group via Amped Distribution domestically and via SPV in Europe.
More information on Combat Records, along with its latest news, is available online now at:
Mark Slaughter will release his new solo album next month.
The Slaughter founder’s sophomore solo album, Halfway There, will be released via EMP Label Group/Amped on Friday, May 26 in North America and EMP/SPV in Europe. It will be released May 10 via EMP Label Group/Universal in Japan. Its release comes roughly two years after the release of Slaughter’s solo debut record, 2015’s Reflections in a Rearview Mirror.
Slaughter will support RATT next month in a Japanese tour in support of his new album. The tour will include performances in Nagoya, Osaka and the Toyo Metal Summit on May 14 with RATT, Sebastian Bach E’Nuff Z’ nuff, and other veteran acts.
More information on Slaughter’s new album and tour is available online now along with all of his latest news and more at:
The Dead Daisies has a new live recording on the way this spring.
The band announced Friday it will release Live and Louder on Friday, May 19 in stores and online via Spitfire Music/SPV. The recording culls a number of the band’s shows from its 2016 UK and European tour for its presentation and will be released in a variety of platforms.
Those platforms include CD/DVD combo pack, 2 LP Gatefold vinyl, Digital download and limited edition box set. The recording’s CD/DVD platform includes a picture booklet with pictures from the band’s tours, a bonus documentary, all of the videos from Make Some Noise’s singles and picture gallery.
The recording’s 2 LP Gatefold vinyl pressing comes in a multi-color 180-gram setting, 4-page booklet and bonus CD pressing of the recording.
The limited edition box set contains the recording’s CD/DVD combo pack and 2 LP pressing, exclusive 7” colored vinyl single, poster, sticker, button, patch and photocard.
Audiences can check out a trailer for the recording online now here.
More information on Live & Louder is available online now along with all of The Dead Daisies’ latest news and more at:
Veteran county music act The Outlaws recently announced that it will release its new live recording Legacy Live next month. The recording, the band’s fourth live recording, will come four years after the release of the band’s most recent full-length studio recording, It’s About Pride (2012). There is plenty to say to the positive about this latest live effort from the Florida-based band beginning with its set list. That will be discussed shortly. The band’s stage presence throughout the course of the concert is just as important to discuss. Last but hardly least of note in the record’s presentation is its audio mix. It rounds out the record’s most important elements and is just as important as the show’s set list and the band’s performance thereof. All things considered, Legacy Live shows itself in the end to be one more of this year’s top new live CD recordings.
The Outlaws’ new live recording Legacy Live is one of 2016’s top new live CD recordings. That is due in no small part to the concert’s set list. The twenty song set list is spread across two discs and totals 117 minutes. That is just under two hours worth of Outlaws hits on two discs live. The set list reaches all the way back to the band’s 1975 self-titled debut album and as recent as It’s About Pride, the band’s most recent full-length studio recording. The band’s debut is one of the most heavily represented albums in this concert with five songs being pulled from that record. The band’s sophomore record, Lady in Waiting (1976) gets a fair share of nods, too with four of its nine total songs being pulled for the show’s set list. Hurry Sundown (1977), the band’s third record is represented by a trio of songs. It’s About Pride sees four of its songs featured in the show’s set list. Some material from band member Henry Paul’s solo work is even featured in this set list including the title track from the band’s album Grey Ghost and the song ‘So Long.’ Obviously not every one of the band’s 12 total albums could be represented here. That would dramatically increase the show’s length and likely would have caused legal issues with performance times for the band, etc. However, the fact that so much of the band’s history is presented throughout the nearly two-hour set helps the concert’s title live up to expectations. It truly does present a healthy portion of the band’s legacy. Keeping this in mind the album’s set list clearly proves to be of the utmost importance to its presentation. It is not the recording’s only key element, though. The band’s stage presence throughout the concert is just as important to note as the show’s set list.
The set list that is featured in this recording is in itself a clearly important portion of the concert’s presentation. That is due to the quantity of the band’s work that is represented throughout the body of the show’s twenty-song set. The set list reaches all the way back to the band’s 1975 self-titled debut and as recent as its 2012 album It’s About Pride with a number of albums in between represented along with one of Henry Paul’s solo records, too. As important as the set list proves to be to the record’s presentation, it is not the recording’s only key element. The band’s stage presence throughout the concert is just as important to note here as the show’s set list. Audiences will be pleased to know that from beginning to end, the band’s members let their performances do the talking for them. Little to no time is wasted between songs with banter between the band and audience or even between the band members themselves. The energy exhibited throughout each member’s performance shows that the band gives its all throughout the recording, too. Considering the fact that the band started recording and performing together some four decades ago (and has gone through a number of lineup and label changes since that time) the energy and chemistry exhibited—even in an audio-only setting—shows that the band is still well at the top of its game in this performance. This is something that audiences new and old alike will appreciate. Even with this in mind, the band’s stage presence throughout the concert is still not the last element to note in its presentation. The concert’s audio mix is its finishing touch.
The set list that makes up the body of Legacy Live and the band’s performance thereof are both key elements to consider in this new Outlaws live recording. While both elements are clearly important to the recording’s presentation, they are not its only key elements. The concert’s audio mix is the recording’s finishing touch. The audio mix is relatively stable from beginning to end. Given, in the very rare moments when Henry Paul does take a moment to just talk, the audio is a little bit softer than that in the band’s overall performance. But those moments are so rare that it becomes something of a non-factor. This means that audiences will very rarely find themselves having to adjust the volumes on their radios (or whatever audio delivery system they may use) when experiencing this concert from beginning to end. Considering this, it strengthens the recording’s presentation even more. When it is set against the remainder of the discussed elements, the whole of the recording proves ultimately to be a presentation that is one more of this year’s top new live CD recordings.
Legacy Live, the latest live recording from veteran country music outfit Outlaws, is one of this year’s top new live CD recordings. That is proven in no small part through the extensive twenty-song set list at the center of the recording. The band’s performance of that set list is just as important to note as the set list itself. The high quality production values presented in the recording are the final touch to the recording. They leave listeners to very rarely have to adjust the volume on their music delivery system at any point throughout the nearly two-hour concert. That solidifies the concert’s presentation and proves once and for all why this concert is one of this year’s top new live CD recordings. Legacy Live will be available in stores and online on Nov. 18 in the U.S. More information on Legacy Live is available online now along with all of the band’s latest news and more at:
It’s official. There’s another new contender for the title of one of the year’s top new rock records. The band’s name: The Dead Daisies. The band’s album: Make Some Noise. While the band’s name makes it sound like some dark, goth-rock act, the truth is that it is anything but. It is a super group of sorts whose album, just as with Foghat’s new album Under The Influence, exhibits everything that is right with rock and roll. It reminds listeners through both its musical arrangements and lyrical content that thankfully, there is still hope for real rock and roll even in the 21st century. The album’s adrenaline-fueled opener ‘Long way To Go’ clearly exhibits that. The same can be said of the album’s titles track and its cover of John Fogerty’s ‘Fortunate Son.’ All three songs show in their own way why this record gives hope for real rock and roll in the 21st century. They are hardly the only songs presented in the album that could be cited in proving this. There are nine other songs that could just as easily be used to prove that statement. All things considered the album in whole is a *ahem* rock solid record that, again, gives full hope for the future of rock in the 21st century.
The Dead Daisies’ latest full length studio offering Make Some Noise is a record that will have listeners making noise of their own after hearing it. That is because over the course of its twelve total tracks, it reminds listeners that thankfully there is still hope for the future of real rock in the 21st century. The album’s opener is a clear example of why the album gives such strong hope. That is exhibited both in the song’s musical arrangement and its lyrical content. The song’s musical arrangement is a full-throttle, no-nonsense, guitar-driven rock and roll composition that conjures thoughts of AC/DC, and so many other pure rock and roll acts. The catch is that even with those thoughts in mind, the song manages to maintain its own identity separate from those bands. This makes the song all the more enjoyable. It is just part of what makes the song stand out. The song’s lyrical content is just as important to note here as its musical makeup. The song’s lyrical content is a clearly socially conscious statement that addresses the unrest in the world today. That is clear as front man John Corabi (ex-Motley Crue) sings, “There’s something going down on the streets right now/There’s hate in the air/We’re upside down/Guns and bombs/Blood on the floor/We’re killing ourselves and there ain’t no cure/Maybe tomorrow/Maybe today/No more enemies…Just more suffering.” From here he and his band mates—Doug Aldrich (guitar), Marco Mendoza (bass), Bran Tichy (drums), and Davi Lowy (guitar)—drive home the song’s message in its chorus as they sing, “We’ve got a long way to go/And no time to get there/One step forward two steps back/There ain’t nobody to blame.” The message is just as clear in the song’s second verse as Corabi sings, “Something’s going on/Times are changin’/Movin’ too fast/We’re all going crazy/Black man, white man…in the name of love open your eyes.” The message is clear. People have got to stand up and join together, not stand against one another. We have got to overcome all of the violence and hate that are filling the world. It is a wonderful message. Given it’s hardly the first time that a band has ever presented that message. The thing is that it is a message that the world needs to hear whether from The Dead Daisies or another band. What’s more the fact that Corabi and company presented the message in such a straight-forward, blue-collar fashion makes it all the more important to note. It isn’t presented in some overly philosophical fashion (as has been done by some bands) or even in any militant fashion either (as with certain other acts). Audiences familiar with their music history will understand those references. It just puts the message out there: we have got to stand together against all of this negativity in the world.” The band uses the same blue-collar rock and roll approach in the song’s musical arrangement, which adds even more to the message’s impact. When the two elements are joined together as one, they work to show in whole just what makes the song (and the album in whole) such an impressive new offering from The Dead Daisies. Audiences can see the song’s official video online now here. It is just one of the songs presented in this album that makes the record so impressive. The album’s title track is another clear example of what makes this record such a strong new offering from the band.
‘Long Way To Go’ is in itself an impressive inclusion in The Dead Daisies’ new album. It is an impressive composition in itself. That is evident both in its musical arrangement and its socially conscious lyrical content. The band’s blue-collar approach to both makes the song both a strong start for the band on its new album and a clear example of what makes the album in whole stand out. It is just one of the songs included in the album that makes it stand out. The album’s title track is yet another of the album’s most notable compositions. It stands out because it is, plain and simple, a hard rocking, fist-pumping, arena rock song. It is the polar opposite of the album’s opener. The song’s musical arrangement is much slower in terms of its tempo than that of ‘Long Way To Go.’ And even despite that it still hits hard thanks to the work of Tichy and Aldrich. Tichy forms the song’s musical foundation with his work behind the kit and Aldrich builds on that solid foundation with his simple yet so fun guitar line. Mendoza’s low end expertly compliments their work. All three lines join together to instantly make the song’s musical arrangement infectious and a song that is sure to be a fan favorite at the band’s live shows, even as short as it is (it clocks in at just under three-minutes). The song’s lyrical content shows even more why the song stands out so clearly among the album’s other offerings. That is because of its simplicity. Corabi sings here, “Everybody stand/Get outta your chair/Lemme hear your sound/Put your hands in the air/Everybody on the left/Everybody on the right/Don’t hold back/Get crazy all night/Make some noise/Make it louder/Make some noise/Everybody now.” Corabi goes on in similar fashion throughout the rest of the song, encouraging audiences to turn up the volume and just let loose. No doubt they will, too. That is regardless of whether audiences are listening in their cars, at home, or at the band’s live show. It will leave listeners pumping their firsts in the air (and their horns) all the while with a wide smile on their faces. Between that and the song’s musical arrangement, the song gives listeners plenty to enjoy. When the pair is coupled it shows with full clarity why it is another important addition to the album’s whole and why the album in whole is an impressive new effort from The Dead Daisies. It still is not the album’s only remaining standout composition either. The band’s take on John Fogerty’s famed protest song ‘Fortunate Son’ is just as notable as the album’s title song and its opener.
‘Long Way To Go’ and ‘Make Some Noise’ are both key inclusions in The Dead Daisies’ new album Make Some Noise. That is made clear both in the songs’ musical arrangements and their lyrical content. The songs’ musical arrangements are both pure rock and roll compositions. There’s pretense to either arrangement. Nor does either one aim low. Rather each song presents the band giving its best and its all. The songs’ lyrical content shows just as much thought put into the record. One song presents an important message about unity that, just as with the songs’ musical arrangements, lacks any pretense in doing so. The other is the polar opposite, giving listeners a clear taste of a live Dead Daisies show. Its approach is just as simple as that used in the message in ‘Long Way To Go.’ Both songs show in their own way what makes them stand out among their counterparts. They also serve to show (both by themselves and together) what makes the album in whole such an impressive new effort from the band. They are not the only songs that serve this end. The band’s cover of John Fogerty’s famed protest song ‘Fortunate Son’ stands out just as much as those songs and the rest of the album’s compositions. The band’s take is hardly the first time that a band has tackled the song. What is important to note is that despite that, it is one of the better renditions of said song. That is due in large part to the band’s approach to the song’s musical arrangement. The band maintains the song’s original identity in its take on the song at the same time given the song its own extra touch. The band does that through the use of its familiar no-nonsense rock and roll approach. In essence the band takes Fogerty’s original tune and steps it up even more here with its own take on the song. The end result is a song that is right up there with Dave Grohl’s take on the song (which was included in Fogerty’s 2013 album Wrote A Song For Everyone and Dropkick Murphy’s take on the song included in its 2005 compilation Singles Collection: Volume 2. Keeping this in mind, it is just one more song that exemplifies what makes Make Some Noise another impressive effort from The Dead Daisies. It is, again, not the only remaining song included in this record that could be used to show what makes the album so enjoyable. ‘Song and a Prayer’ will take listeners back to the late 80s ad early 90s, when guitar rock was still king. ‘Last Time I Saw The Sun’ is a work that Buckcherry fans will appreciate. And ‘All The Same’ conjures thoughts of Sammy Hagar (both as a solo artist and with Van Halen). They are just a few more songs include in this record that make it so enjoyable. Whether for those songs, the songs more directly addressed here, or any of the album’s other compositions, listeners will agree that the album in whole is a *ahem* rock solid record and yet another clear candidate for a spot on any critic’s list of the year’s top new rock records.
The Dead Daisies’ new album Make Some Noise is a record that is certain to leave listeners making their own noise about it after listening through each of its twelve total songs. That is because collectively they reassure listeners that even in the 21st century there is still hope for real, guitar-driven rock and roll. The album’s socially conscious yet blue-collar opener clearly proves this. The confident arena rocker that is the album’s title track proves it just as much. The same can be said of the band’s cover of John Fogerty’s ‘Fortnute Son.’ The song maintains the original song’s identity while adding a great additional touch through the band’s arrangement of the timeless tune. These are just a few of the songs that show why Make Some Noise will leave listeners making their own noise about the record. When they are set against the rest of the album’s songs, the album in whole proves, again, to be a “rock solid” record and another clear candidate for a spot on any critic’s list of the year’s top new rock records. It is available now in stores and online. More information on Make Some Noise is available online along with all of the band’s latest news and more at:
One of the latest additions to Dave Ellefson’s EMP Label Group, the band released its new album Illuminator this past Friday, June 3rd. The album was released via eOne in the United States and Triple Vision Entertainment in Japan. It is schedule for release later this year in Europe via SPV. The band unveiled the video for the album’s lead single ‘Everything You Love Will Someday Die’ earlier this spring. The video is streaming online now via YouTube. It features footage of the band’s members and fans singing the song.
Courtesy: EMP Label Group
Front man Evan Rodaniche discussed the video in a recent interview. He noted the song’s family roots in the interview and the video’s recording process. “This song is dedicated to my father, who passed away about a month ago after a two year battle with cancer,” he said. “But even when I first wrote these lyrics at the onset of his terminal diagnosis as a sort of comforting mantra, in the back of my mind I believed my dad was indestructible. I never thought I’d be adding an “in loving memory” dedication at the end of this video. But then he was gone. And that’s what this is all about. We spend our modern lives wrapped up in our first world problems, completely disconnected with the natural cycles of the planet around us.”
In discussing the video’s production, Rodaniche noted the cameras that were used and the band’s general approach to making the clip. We shot the video DIY with a couple Canon DSLR cameras, a black sheet in our rehearsal room and about forty non-actor friends, fans, and family who showed up one sunny Los Angeles afternoon in 2015 to mouth the lyrics to a song they’d never heard. We aimed to bring home the message that no matter who you are we’re all in this together.” He went on to not the song’s roots and sound in his discussion, too noting, “As for the song itself, it’s a little bit of old school thrash mixed with something more melodic and a little piano and acoustic guitar wankery to push it over the 6 minute epic-metal-song mark. (Yes, there’s a radio edit.) He linked this in to a discussion on [Dave] Ellefson discovering Cage 9 through ‘Everything You Love Will Someday Die.’ I was the 14 year old kid running around with a worn out cassette of Peace Sells in his Walkman, he said. “So having the dude that brought us pretty much THE most recognizable bass riff of my (and half the planet over 30’s) youth dig our band is a huge honor.” He went on further noting, “Cage 9 originated in Panama where I grew up playing in a band yet having pretty much never experienced famous bands performing live to learn from, not to mention any of our idols like Megadeth or Metallica. This definitely makes this chance to work with Dave in a mentor/label situation that much more amazing. Very excited to be releasing our new album Illuminator with EMP this summer.”
Ellefson shared his thoughts on the band and its song in a discussion of his own even echoing the Megadeth/Metallica influence in the band’s new single noted by Rodaniche. “Cage9 is definitely the real deal,” he said. When I first heard ‘Everything You Love Will One Day Die,’ it instantly struck me as the closest I’ve heard to a song with a true Metallica/Megadeth core, with the radio accessibility to really connect with a modern rock audience. And with the band’s history, and everything they’ve accomplished, they were a perfect fit for what we were doing at EMP.”
Since moving to Los Angeles the band has released a total of six albums and more than one hundred songs. One of those albums was completely in Spanish. The band has sold 25,000 copies of its albums worldwide in that time and played over 50 dates across America just last year. It has also toured Japan and Central America as direct opener for Ozzy Osbourne, Bad Religion, Seether, and In This Moment. The band has also shared stage time with the likes of Sevendust, Hellyeah, Karnivool, and others. Even Rodaniche himself spent some time in the past as a member of Powerman 5000. He also helped to co-write, record, and mix some of PM5K’s most recent albums. That isn’t Rodaniche’s only production credit. He also worked on ex-Flyleaf singer Lacey Sturm’s new album and work from Boy Hits Car, and others. As if all of this isn’t enough credit to Cage9, the band has also received glowing reviews from its much more well-known counterparts including: Pop Evil, Korn, Saving Abel, Asking Alexandria, Devil You Know, and 9Electric just to name a handful of acts.
More information on Cage9’s new album is available online now along with all of the band’s latest news and more at: