Blues rock band Ghost Hounds debuted its new single, ‘Make It Shake‘ this week.
The band premiered the single Thursday, more than a month after the premiere of its debut single, ‘Dirty Angel‘ and its video. The musical arrangement featured in ‘Make It Shake’ is a not too much different from its predecessor in regard to its musical arrangement. The bluesy southern rock leaning exhibited in ‘Dirty Angel’ is just as present here, but the general sound of the arrangement gives the song its own identity separate from that work. Audiences who listen closely could also argue there is a subtle classic rock influence added to the mix to make things even more interesting.
According to a statement from the band, the song’s lyrical theme is meant to be a celebratory song and that the band’s time on the road with The Rolling Stones actually played into that approach here.
“Over the years we’ve been fortunate enough to tour with The Rolling Stones, which was absolutely surreal and a major inspiration for us,” the statement reads. “Opening for them was a do-or-die moment – we knew that we had to go on stage and get the crowd moving to show them what we’re all about. ‘Make It Shake’ is all about that feeling of crafting an irresistible song that just makes people want to get up and dance.”
‘Make It Shake’ is the second single from Ghost Hounds’ as yet untitled forthcoming album. The record’s title and other details are all under consideration. More information on Ghost Hounds’ new single and album is available along with all of the band’s latest news at:
The Rolling Stones and ABKCO Records have partnered to resurrect the video for one of its classic songs more than half a century after it first premiered.
The band debuted a colorized version of the video for its song, ‘Child of the Moon’ Friday. The new version presents the original black and white — which has been restored in a rich 4K presentation — in so much fullness. The colorization takes audiences back in time in the best way possible and enhances the viewing experience for the song even more.
The original video for ‘Child of the Moon’ was recorded in 1968 and directed by Michael Lindsay-Hogg. It was recorded in a field near Enfield, UK.
Hogg talked about the video’s creation in a recent interview.
“I said to Mick Jagger, ‘I think we really need a white horse in the field,” Lindsay-Hogg said. Think Fellini,’ because Fellini was the go-to guy in the ‘50s and the ‘60s for the odd ingredient in the shot, whether it was a clown in white face or a white horse. We all arrived at various times in this field looking onto a sort of clump of trees aiming up a little hill. [Former guitarist] Brian [Jones] was late, which is sort of the reason Brian isn’t around for a while in the shot. Mick said, ‘Do you want me to mime?’ I said, ‘No. I think we want to try something even more different here. More radical.
Lindsay-Hogg continued, “We intercut you with things that are happening up in the trees and make a little story.’ He was very savvy and very versed in film. He was willing to try this, and I don’t know if it had been done before, where you have a small scenario where you cut in the principals with something happening and stitch it together. I thought it would be interesting basically to have three ages of women coming out of the trees and Mick looking at them. Then the audience would become a participant in the video and start to make the story themselves.”
He concluded, “What’s interesting is we have a little girl, we have an older woman, and the middle woman was an actress friend of my girlfriend, Eileen Atkins and she now is Dame Eileen Atkins, one of the foremost actresses in the British theatre. The little girl runs off to the side, the older woman walks through the slightly wet ground and we see her go off and we see the white horse. Eileen Atkins is the one who retreats up back the way she came down, and she looks back at Mick with a look which you might describe as longing or anxious. Something in her look relates to Mick in a way we let the audience figure it out.”
‘Child of the Moon’ was the b-side to The Rolling Stones’ hit single, ‘Jumpin’ Jack Flash.’ The song peaked at #1 in the UK and #3 in the U.S.
More information on the debut of the resurrected video is available along with all of The Rolling Stones’ latest news at:
Few bands or even musical acts across the musical universe can say they have been around (and even relevant) for 50 years, but in 2012, The Rolling Stones managed to say just that. In celebration of the anniversary, the band launched its “50 & Counting Tour” Oct. 25 in Paris, France. The tour, which ran just short of a year, took the band from Paris to London and all the way across the United States before bringing the band back home to London in July 2013. The tour grossed in excess of $87 million for the band, proving it a resounding success. Now thanks to Mercury Studios and Universal Music Group, the band’s fans worldwide can enjoy one of the concerts – its Dec. 15, 2012 show at the Prudential Center in Newark, NJ – in the comfort of their homes and cars thanks to the band’s latest live recording, GRRR Live! Released Feb. 10, the recording is another welcome addition to the home library of any of The Rolling Stones’ fans and rock fans in general. That is due in no small part to the concert’s extensive set list, which will be discussed shortly. The band’s performance thereof adds its own share of engagement and entertainment to the recording and will be addressed a little later. The companion booklet that accompanies the recording rounds out its most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the recording’s presentation. All things considered they make the recording easily among the best of this year’s new live recordings.
GRRR Live!, the latest live recording from The Rolling Stones, is a presentation that every one of The Rolling Stones’ fans will welcome in their home libraries. Along with so many of the live shows that the band has released over the course of the past five years or so, it is more proof of why The Rolling Stones is among the rock world’s top acts, not only in the studio but on the stage, too. The recording’s appeal is due in no small part to its featured set list. The set list runs 23 songs deep and features a number of well-known hits from The Rolling Stones, such as ‘Paint It Black,’ ‘Honky Tonk Women,’ and ‘Brown Sugar’ while also including some lesser-performed gems, such as ‘Get Off My Cloud,’ ‘Happy’ and ‘Respectable’ to add even more interest. There are even some other interesting non-Rolling Stones tracks, such as Freddie King’s ‘I’m Going Down’ and Bo Didley’s equally timeless 1956 hit, ‘Who Do You Love?’ Simply put, the set list offers audiences plenty of familiarity along with a peppering of something less performed and some other extras to really keep listeners engaged and entertained.
As if the primary set list is not enough for audiences, the collection features three songs – ‘Respectable,’ ‘Around and Around’ (a Chuck Berry hit) and ‘Gimme Shelter’ — as bonus performances on the recording’s Blu-ray. The songs, which bring the set list’s song count to 26 songs, were recorded during the first of the band’s two shows at the Prudential Center on Dec. 13, 2012. So not only do audiences get a taste of that concert, but the entirety of the band’s Dec. 15, 2012 show. What audiences get, in other words, is really the best of both worlds all the way around in the overall set list.
As much as the set list does to make this recording so enjoyable, the band’s performance thereof is of its own appeal. From Mick Jagger’s familiar swagger throughout the show and his ability to work the crowd, to the band’s very performance of the songs themselves, audiences get so much out of the performances in general. One of the most notable of the performances is that of the band’s timeless classic ‘Paint It Black.’ Unlike so many other takes of the song, this one has a unique, almost stripped down approach. The use of the keyboards and sitar here feels more prominent than ever. Charlie Watts’ performance on the drums is even different here than in so many takes of the song that the band has ever produced. It is a surprise, but a welcome surprise.
Speaking of surprise, the surprise appearance of Lady Gaga with the band on its performance of ‘Gimme Shelter’ makes for its own engagement and entertainment, too. Her vocals, together with those of Jagger make for such an interesting pairing. That is because of the power in her vocal performance. There is so much soul and fire in her delivery. The juxtaposition of her fire to Jagger’s subtle swagger in his vocals makes for such an interesting blend that even the least of Gaga’s fans will actually appreciate her work in this case.
The band’s performance of ‘Who Do You Love’ with The Black Keys (yes, The Black Keys) is yet another example of the importance of the performances featured here. The decidedly rockabilly approach that the two bands give the song is so unique in its own right, especially in comparison to Bo Didley’s original song. The coordination between Watts and The Black Keys drummer Patrick Carney is spot on throughout the performance, with the two keeping perfect time throughout and really helps keep the song moving. Jagger’s familiar dancing alongside Black Keys front man Dan Auerbach’s easygoing vibe makes for its own special contrast that is so enjoyable, too. Between this performance, the others examined here and the rest of the performances that make up the whole of this presentation, there is no doubt whatsoever about the important role of the set’s performance to the overall presentation. It ensures audiences’ engagement and entertainment just as much as the show’s set list.
As much as the band’s performance does to make this recording so enjoyable, it is still just one more part of what makes this concert so fun. The liner notes in the recording’s companion booklet add even more to the enjoyment. Penned by author Paul Sexton, the liner notes featured in the companion booklet start out by outlining the story of the break the band took in 2007 following the end of its “A Bigger Bang” tour. From there Sexton tells the story of the band’s preparation for its next tour that would become “The 50 & Counting Tour.” From a recording session in Paris, France in 2012 that led to the creation of two new songs – ‘Doom & Gloom’ and ‘One More Shot’ – to rehearsals for the tour to the tour’s launch, to the outline of the performance featured here, Sexton paints a rich picture of what was to come and what came of the tour and performance. That picture is painted additionally through the words of the band members themselves, which personalizes the story all the more for audiences. When the overall story laid out in the liner notes is considered alongside the set list featured here and with the band’s performance thereof, the whole makes GRRR LIVE! Yet another fully enjoyable performance from The Rolling Stones proving yet again why this band is among the greatest bands in the world if not the greatest.
GRRR LIVE!, the latest live recording from The Rolling Stones, is another enjoyable offering from the band. The concert, which was part of the celebration of the band’s 50th anniversary, proves appealing in part because of its set list. The set list offers audiences plenty of familiar hits from the band’s catalog while also including some lesser performed pieces. The set list also throws in some covers that are just as entertaining in their own right. Speaking of entertaining, the band’s performance of the set list is definitely entertaining from beginning to end. The band’s performance is everything audiences have come to expect from the group throughout its historic career. The liner notes included in the recording’s companion booklet add their own engagement and enjoyment to the mix as they lay out the story of the concert featured here. Each item examined is important in its own way to the whole of the presentation. All things considered they make GRR LIVE! Another fully enjoyable live offering from one of the greatest rock bands in the world if not the greatest in the land.
GRR LIVE! Is available now through Mercury Studios and Universal Music Group. More information on the recording is available along with the band’s latest news at:
One of The Rolling Stones’ classic albums will get a vinyl re-issue this spring for Record Store Day.
Beggars Banquet, the band’s timeless 1968 album, which was originally released through Decca Records in the UK and through London Records in the U.S., will be re-issued on vinyl for Record Store Day, April 12. The forthcoming re-issue will be presented on a grey/blue/black/white swirled pressing. The album was the final record from the band to feature its original lineup of Mick Jagger, Brian Jones, Bill Wyman, Charlie Watts, and Keith Richards.
The vinyl re-issue will feature the original album’s track listing, which includes some of the band’s biggest hits, such as ‘Sympathy for the Devil,’ ‘Street Fighting Man,’ and ‘Salt of the Earth.’
The record’s track listing is noted below.
The Rolling Stones Beggars Banquet(Record Store Day Edition)
Side 1
1) Sympathy for the Devil
2) No Expectations
3) Dear Doctor
4) Parachute Woman
5) Jigsaw Puzzle
Side 2
1) Street Fighting Man
2) Prodigal Son
3) Stray Cat Blues
4) Factory Girl
5) Salt of the Earth
More information on this and other titles from ABKCO Records is available at:
The Rolling Stones has another new live recording out this week. It comes in the form of Licked Live in NYC. The recording is another wonderfully enjoyable presentation for any fan of The Rolling Stones. That is due in part to its featured set list which will be discussed shortly. The bonus content that accompanies the recording makes for its own engagement and entertainment. It will be discussed a little later. The companion booklet rounds out its most important elements and will also be examined a little later. Each item noted is important in its own way to the whole of the recording’s presentation. All things considered, they make the recording another presentation that is sure to appeal to any rock purist and fan of The Rolling Stones.
Licked Live In NYC, the latest live recording from The Rolling Stones, is another thoroughly impressive presentation from the band and from Mercury Studios. It is a work that will appeal to any fan of what is in this critic’s mind, the best rock and roll band in the world. The recording’s success comes in part through its featured set list. The set list is largely composed of so many familiar songs from The Rolling Stones. ‘Gimme Shelter,’ ‘Tumbling Dice,’ ‘and Honky Tonk Woman’ are all there. The latter of the group features a guest appearance by Sheryl Crow. Also included in the set list are the likes of ‘It’s Only Rock ‘n’ Roll (But I Like It),’ ‘Angie’ and ‘Street Fighting Man.’ At the same time though, the set list also pulls in what many might consider some deep cuts. They come in the form of ‘Happy,’ ‘If You Can’t Rock Me,’ ‘Don’t Stop,’ ‘Monkey Man,’ Thru and Thru’ and Can’t You Hear Me Knocking.’ The latter of that group of songs was performed by guitarist Keith Richards. ‘Don’t Stop’ is a single featured in the band’s compilation record, 40 Licks. ‘Monkey Man’ takes audiences back to 1969 and the band’s beloved album, Let It Bleed while ‘Thru and Thru’ is lifted from the band’s 1994 album, Voodoo Lounge. On a side note, Mercury Studios has released a live Rolling Stones performance previously that was part of a tour in support of Voodoo Lounge in the form of Voodoo Lounge Uncut. That recording was released in 2018. Getting back on topic, ‘Can’t You Hear Me Knocking’ is lifted from the band’s hit 1971 album, Sticky Fingers but has rarely been featured on any of the band’s live recordings. So it is its own treat for audiences. ‘Happy’ reaches back to 1972 and the band’s album, Exile on Main Street while ‘If You Can’t Rock Me’ comes from the band’s 1974 album, It’s Only Rock ‘n’ Roll. Simply put, what audiences get from this concert’s set list is a fair balance of familiar songs and some that are less familiar in a live setting from the band. They also pull from a relatively healthy swath of some of the band’s most well-known and beloved albums. In other words, audiences get the best of both worlds in more ways than one here. To that end, the set list forms a solid foundation for the recording’s presentation.
Resting firmly on that foundation is the band’s performance of the set list. The band’s performance, which took place on stage at Madison Square Garden Jan. 18, 2003, is everything that audiences have come to expect from Mick Jagger, Ronnie Wood, Keith Richards, and the now late great Charlie Watts, as well as their fellow musicians and performers. Jagger’s swagger is just as energetic and prevalent as ever throughout the concert. Even his interaction with his fellow performers, including the backing singers, is just so real. Watts’ energy is on full display as he keeps the beat in each song while Wood and Richards bring their own familiar yet unique energy to each performance. Late great saxophonist Bobby Keys’ solo work and backing work throughout the show even added its own great touch to the whole. The energy that he and everybody else brough from the whole unit is fully engaging and entertaining. It makes the overall group’s performance just as immersive and enjoyable as ever. There really is no one bad thing to say about the band’s performance at any point in the concert. To that end, the set list and band’s performance thereof collectively make for so much enjoyment in this concert. They are just a portion of what makes the recording so enjoyable, too. The bonus content that accompanies the concert adds even more to the overall experience.
The bonus content comes in the form of a n extensive documentary about the band’s tour, a group of “studio rehearsal performances” and some live extras. The extra live content comes in the form of live clips of ‘Star Star,’ ‘Street Fighting Man’ and ‘I Just Want To Make Love To You.’ Between those songs, the full “rehearsal” performances of ‘Well Well’ and Extreme Western Grip’ brings the recording’s full song list to 26 songs. So in other words, audiences not only get some extra performances, which are engaging and entertaining in their own right, but audiences also get in these performances some more enjoyable live performances, some in studio and some on stage. It’s the best of both worlds, so to speak.
The bonus documentary that comes with the presentation is important in its own right because it really makes audiences the proverbial fly on the wall. Audiences get to watch as the band members plan the tour from which the featured concert was included. From planning the stage show to rehearsing together to even Jagger preparing his vocals and dancing skills. Yes, he even trains in regards to the dancing that he does on stage. Audiences will be pleasantly surprised to watch him train for that aspect. It shows just how seriously the band members take the preparations for its shows. At the same time, in listening to the band members talk about working together and to see them interacting with fans, family, and friends, audiences gain even more appreciation for the band. That is because of how easygoing the band members appear throughout the show. That easygoing nature shows through just as much on stage, so in essence, audiences get a definite vibe of what you see is what you get from the band. It really shows that this veteran band, even at that point in its career, did not seem to have the ego of so many bands out there today, veteran and otherwise. Between that and the appreciation that audiences will have watching the band prepare for the tour, the documentary presents its own engagement and entertainment. When the enjoyment generated through the documentary is paired with that generated through the bonus performances, the overall bonus content more than makes for reason to take in this concert. That bonus content is just one more part of what makes Licked Live In NYC so enjoyable. The liner notes featured in the recording’s companion booklet rounds out the most important of its elements.
The liner notes featured in the companion booklet were penned by journalist/broadcaster Paul Sexton. Sexton outlines the show in his notes, giving audiences a preview of the concert before audiences even take in the show. It is a thorough description highlighting many of the extensive number of high points throughout the concert. He also cites guitarist Ron Wood as saying that the band rehearsed no less than 120 (yes, 120) songs in preparation for the tour. That tidbit, while minimal, is still powerful. It adds even more to the documentary, showing even more just how seriously the band took its preparations for the tour. That the band had that many songs to rehearse is in itself shocking and in a good way. It makes for even more appreciation for the band and the overall presentation here. AS if that is not enough, there are comments from Richards and from Watts about how the band came to decide on the venues for the concert. Their insights are deep as they talk about the constraints of performing at larger venues and at theaters and smaller venues. All of these discussions and the previous that Sexton offers audiences makes for its own engagement and value to the recording, too. When that engagement and value is paired with the impact of the concert’s set list and the band’s performance thereof, and with the bonus content featured here, the whole makes Licked Live in NYC yet another fully successful live offering from a group that is one of the greatest rock and roll bands in the world if not the best.
Licked Live in NYC, the latest live recording from The Rolling Stones, is an impressive new offering from the group that rock purists and fans of The Rolling Stones alike will find appealing. Its appeal comes in part through its featured set list and the band’s performance thereof. The set list gives audiences plenty of familiar content while also bringing some deep cuts that have rarely appeared in any of the band’s existing live recordings. That best of both worlds approach and the enjoyment of the songs themselves makes for so much enjoyment. The band’s performance of each song makes for its own engagement and entertainment. That is because even being 40 years into its life at the time of the concert, it shows the band was still at the very top of its game. That includes the core group’s backing performers. The bonus content that accompanies the concert adds to the overall enjoyment. That is because it gives audiences even more live content, both on stage and in studio. The documentary that is also used as bonus content will keep audiences engaged and entertained in its own right. That is because it shows the time and effort that the band put into preparing for its 40th anniversary tour. The liner notes crafted by Paul Sexton do well to compliment the documentary while also previewing the concert through his own descriptions. Each item examined here is important in its own way to the whole of the recording. All things considered they make Licked Live in NYC one more of the year’s top new live recordings.
Licked Live in NYC is available now. More information on Licked Live in NYC is available along with all of its latest news at:
The Rolling Stones is celebrating its 60th (yes, 60th) anniversary this year, and in celebration of the historic mark, ABKCO will release a new collection of the band’s singles next month in the form of The Rolling Stones Singles 1963-1966.
The new limited edition box set of singles is scheduled for release June 10. It features reproductions of the band’s first 18 7″ vinyl singles and EPs. Those records were originally released through Decca Records and London Records. The music was remastered by 12-time Grammy award-winning engineer Bob Ludwig.
A 32-page booklet will accompany the new box set. It will feature liner notes by Rolling Stones authority Nigel Williamson, as well as rare photos. A poster and five exclusive cards are also included in the hard shell box.
The full record/track listing for the collection is noted below. A companion box set, dubbed The Rolling Stones Singles 1966-1971 is scheduled for release next year.
The Rolling Stones Singles 1963-1966 tracklist:
“Come On” (originally released June 1963) Side A: Come On Side B: I Want To Be Loved
“I Wanna Be Your Man” (originally released November 1963) Side A: I Wanna Be Your Man Side B: Stoned
The Rolling Stones E.P. (originally released January 1964) Side A: Bye Bye Johnny Money Side B: You Better Move On Poison Ivy
“Not Fade Away” (originally released February 1964) Side A: Not Fade Away Side B: Little By Little
“Tell Me” (originally released June 1964) Side A: Tell Me Side B: I Just Wanna Make Love To You
“It’s All Over Now” (originally released June 1964) Side A: It’s All Over Now Side B: Good Times, Bad Times
Five by Five E.P. (originally released August 1964) Side A: If You Need Me Empty Heart 2120 South Michigan Avenue Side B: Confessin’ The Blues Around and Around
“Time Is On My Side” (originally released September 1964) Side A: Time Is On My Side Side B: Congratulations
“Little Red Rooster” (originally released November 1964) Side A: Little Red Rooster Side B: Off The Hook
“Heart Of Stone” (originally released December 1964) Side A: Heart Of Stone Side B: What A Shame
“The Last Time” (originally released February 1965) Side A: The Last Time Side B: Play With Fire
Got Live If You Want It! E.P. (originally released June 1965) Side A: We Want The Stones (Live) Everybody Needs Somebody To Love (Live) Pain In My Heart (Live) Route 66 (Live) Side B: I’m Moving On I’m Alright
“(I Can’t Get No) Satisfaction”
(US version, originally released June 1965) Side A: (I Can’t Get No) Satisfaction Side B: The Under Assistant West Coast Promotion Man
“(I Can’t Get No) Satisfaction)” (UK version, originally released August 1965) Side A: (I Can’t Get No) Satisfaction Side B: The Spider And The Fly
“Get Off Of My Cloud” (US version, originally released September 1965) Side A: Get Off Of My Cloud Side B: I’m Free
“Get Off Of My Cloud (UK version, originally released October 1965) Side A: Get Off Of My Cloud Side B: The Singer Not The Song
“As Tears Go By” (originally released December 1965) Side A: As Tears Go By Side B: Gotta Get Away
“19th Nervous Breakdown” (US version, originally released February 1966) Side A: 19th Nervous Breakdown Side B: Sad Day
More information on this and other titles from ABKCO is available along with all of the label’s latest news at:
Udo Dirkschneider is among the most well-known and respected front man in the rock and hard rock communities. That is due to his work with Accept and with his namesake band, U.D.O. Considering everything that Dirkschneider has done over the course of his career — between records recorded with each band and even compilations of the bands’ hits — there is still one item that to this point, Dirkschneider has not checked off from his list. That item is a covers collection. This Friday, he will get to check off that item when he releases his first-ever covers collection, My Way. Running 17 songs deep, the compilation is a unique collection of songs, pulling in takes of hit songs from the likes of Rainbow, Judas Priest, Motorhead, Led Zeppelin, Billy Squier, and even Tina Turner. They and their songs are just some of the notable entries in this presentation. The Led Zeppelin, Billy Squier and Motorhead covers stay largely true to their source material while amping them up slightly. The Tina Turner cover is unique in its own right, building on the original and making it even more interesting. Among the more notable covers featured in the collection is that of The Rolling Stones’ timeless classic, ‘Paint It Black.’ This cover will be discussed shortly. The cover of AC/DC’s ‘T.N.T’ is near perfection. It will be discussed a little later. Any review of Dirkshchneider’s new record would be incomplete without a discussion on the cover of ‘My Way,’ the collection’s title track. It will also be discussed later. All three songs noted here are important in their own way to the whole of My Way. When they are considered with all of the record’s other covers, the whole makes My Way a presentation that rock and hard rock fans will find just as appealing as those of Dirkschneider.
My Way, the first-ever covers collection from veteran hard rock front man Udo Dirkschneider, is quite the unique presentation. It is a work that his fans and casual hard rock and rock fans alike will find appealing. That is proven throughout the record in each and every tribute that Dirkschneider and his fellow musicians pay here. Sadly those fellow musicians are not credited in the streaming copy of the record provided to this critic. If names were provided, those musicians would get their due credit. Getting back on the topic at hand, the record offers audiences plenty of notable songs from acts that are themselves equally notable (and some less notable, making for even more engagement and entertainment). One of the most notable of the covers is that of The Rolling Stones’ ‘Paint It Black.’ The song is known to every rock fan out there. That opening guitar line from Keith Richards and the companion drumming from the late great Charlie Watts are iconic to say the least. Front man Mick Jagger’s slightly gritty vocals add even more to the whole. Where the original song gives audiences an upbeat albeit contemplative work, Dirkschneider and his fellow musicians on the other hand turn the original on its ear by giving it a power metal facelift of sorts. Dirkschneider’s familiar gritty near growling vocal delivery adds its own unique punch to the composition alongside the power metal style and sound presented here. It gives the song a whole new sense that still hits hard in its own fashion while still keeping as true as possible to the source material. It is a take that is sure to impress The Rolling Stones, their fans, and those of Dirkschneider alike. It is just one of the song featured in this set that makes the collection worth hearing. Dirkschneider and company’s take of AC/DC’s ‘T.N.T.’ is another notable addition to the record.
As with the band’s cover of ‘Paint It Black,’ Dirkschneider and company strive to stay true to the source material in its cover of ‘T.N.T.’ while still giving the original song a welcome amped up new treatment. Instead of a power metal approach in this case, the collective instead just gives the song a rich, bluesy almost late 80s hair metal approach (right down to the bombastic guitar solo at the songs’ end) and blends that with the song’s original edge. What’s really interesting here is that Dirkschneider’s trademark vocal delivery style is actually an interesting blend of the vocals of AC/DC’s original front man Bon Scott and his replacement, Brian Johnson. That blend of sounds and styles within his one delivery makes his vocals all the more important to the whole. In turn, it makes the song that much more enjoyable and in turn, the album, too.
As much as the covers of AC/DC’s ‘T.N.T.’ and The Rolling Stones’ ‘Paint It Black’ do to make My Way worth hearing, they are just two of the record’s most notable tracks. No examination of the record would be complete without an examination of the collection’s title track. Originally composed by the team of Jacques Revaux, Gilles Thibaut, and Claude Francois, it was made most popular by American singer Frank Sinatra in 1969 after Paul Anka secured the rights for the song from the group. Ironically it is well-known that Sinatra hated the song the more popular it became because he got tired of having to hear and perform the song. That aside, it still remains a fan favorite to this day among thousands of audiences, apparently including Dirkschneider. One would not think Dirkschneider, a metal head, would find inspiration in Sinatra, but apparently he has some respect for the famed singer and what is one of his most beloved songs. Dirkschneider actually does a surprisingly impressive job here, his more familiar gritty vocal delivery gone in favor of a much more controlled approach and sound. The control that he uses here along with the use of the piano, strings, and subtle time keeping throws directly back to the composition that made Sinatra such a star. Even as the song builds to its peaks in its choruses, Dirkschneider and his fellow musicians exercise so much control, making the song stand out so starkly from all of the other covers featured throughout the record. It honestly serves to create a whole new respect for Dirkschneider in the end because it shows that he is more than just the metal head that so many people think they know. It makes the song a wonderful final accent to this record. When it is considered alongside the other songs examined here and with the rest of the record’s entries, the whole makes the overall presentation a rare covers set that is actually worth hearing if only every occasionally.
My Way, the first ever collection of covers from Udo Dikschneider, is an interesting compilation. It brings together a relatively wide swath of rock and hard rock songs, as well as some more pop oriented content for a while that makes a person rethink what they think they know of the famed former Accept and current U.D.O. front man and his tastes in music. The covers themselves vary in style and sound but still strive to stay as true as possible to their source material. That is made clear through the songs examined here. When those songs are considered along with the rest of the record’s entries, the whole makes My Way a rare covers collection that is actually worth hearing.
My Way is scheduled for release Friday through Atomic Fire Records. More information on the collection is available along with all of Dirkschneider’s latest news at:
Mercury Studios is reaching into The Rolling Stones’ live vault once again.
The company, formerly Eagle Rock Entertainment, announced Wednesday, it is scheduled to release Licked Live in NYC June 10. A trailer for the recording is streaming here.
The concert presented in the package was held January 18, 2003 at New York City’s Madison Square Garden for an HBO special. It was the second of two dates that the band performed at the venue that month, with the first date having been held two days prior on Jan. 16.
Mercury Studios will release the concert on DVD/2CD and SD Blu-ray/2CD combo packs, as well as 2CD and 3 LP standalone sets. It features performances of many of the band’s greats hits, such as ‘Brown Sugar,’ ‘Gimme Shelter,’ and ‘Sympathy for the Devil.’ Additionally, Sheryl Crow made a guest appearance on the band’s performance of ‘Honky Tonk Women.’
As an added bonus, the package’s DVD and BD packages will feature the band’s rehearsal footage and three extra performances not featured in the original HBO performance. Also, the SD Blu-ray package will feature the 51-minute documentary, “Tip of the Tongue,” which follows the band as it prepares for the tour.
The full concert set list is noted below for each of its platforms.
Track listing:
Courtesy: Mercury Studios
More information on this and other titles from Eagle Rock Entertainment is available at:
INXS’ classic song, ‘Never Tear Us Apart‘ is getting renewed attention thanks to Sunflower Dead.
Sunflower Dead premiered its take on the INXS classic Friday. The cover’s premiere comes almost a month after the band premiered its then latest single, ‘Falling Down‘ and its companion lyric video. SFD’s take on the song is available to stream and download here.
Sunflower Dead’s take on the classic (which itself bears some musical and stylistic similarity to songs from The Rolling Stones) gives the song an interesting hard rock update. In this case, it bears more similarity to works from the likes of Saliva and other similar acts. The gritty sound of the vocals and infectious guitar solo pairs with the richness of the bass and drums
Front man Michael Del Pizzo talked about the band’s take on the song in a prepared statement.
“SFD really doesn’t like doing covers,” he said. “I guess we are too lazy to learn how others correctly play their songs which is funny because our new cover of INXS’ Never Tear Us Apart is our second cover in 4 albums. Go figure! We did The Police’s Every Breath You Take on our debut album and to this day it remains one of our most requested songs and it had no radio play, no video and no promotion. For us to do a cover we have to completely rewrite our way. To do that, we have to be inspired by some kind of killer idea (in our heads at least) in a direction to take the song. With ‘Never Tear Us Apart,’ we started talking about doing this back in 2014 because we just loved the song. The thing is though, it is a very romantic and major scale type of sound. So yeah, there was no way we were doing this unless it was completely redone.”
Added Del Pizzo of the song’s cover, “I heard it in my head a certain way and rewrote the song in a minor key with crushing guitars and accordion added in. Once I showed [guitarist] Jaboo the approach, he was on board and we tracked it and fell in love with our dirty, dark, sexy and heavy version of the track. Oh and instead of doing a sax solo on the bridge, we had Jaboo rip up a guitar solo that expands upon the original sax melody. Love the original and now are extra happy with our dark rewrite of such a classic song.”
In other news, Sunflower Dead has announced a new slate of live dates. Dubbed “The Black Pilled Tour,” the run is scheduled to launch Oct. 22 in Des Moines, IA and to run through Nov. 14 in Huntsville, AL. The tour’s schedule is noted below.
Oct/Nov Tour Dates:
“The Black Pilled Tour”
Sunflower Dead will be supporting Smile Empty Soul (also on the bill is Tommy Gibbons)
10/22 Des Moines IA, Lefty’s 10/23 Saint Joseph MO, Cafe Acoustic 10/27 Wichita KS, Barleycorns 10/28 Oklahoma City OK, Kendall’s Bar 10/30 Fort Worth TX, The Rail Club 11/1 Austin TX, Come and Take it Live 11/2 Shreveport LA, 516 Soundstage 11/3 New Orleans LA, Southport Hall 11/4 Tallahassee FL, The Warrior 11/5 Jacksonville FL, Archetype 11/6 Sanford FL, West End Trading Co 11/7 Tampa FL, The Brass Mug 11/10 West Palm Beach FL, Propaganda 11/11 Fort Myers FL, Buddha Night Club 11/12 Gainesville FL, Highdive 11/13 Savannah GA, The Wormhole 11/14 Huntsville AL, Sidetracks
SFD’s take on ‘Never Tear Us Apart’ is the third single from the band’s forthcoming album, March of the Leper, which is expected for release in early 2022. The band premiere the album’s lead single, ‘The Underneath‘ and itsvideo in August.
March of the Leper will release on a variety of platforms, all of which are noted below.
March Of The Leper is available for pre-order and is available in 7 packages at this location: Pre-order
1. Signed CD
2. Signed Vinyl
3. Signed Limited Edition Cassette
4. Signed CD/T-Shirt Bundle
5. Signed Vinyl/T-shirt Bundle
6. Signed Cassette/T-Shirt Bundle
7. Everything Bundle
More information on Sunflower Dead’s new single, video, album and tour is available online now along with the band’s latest news at:
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Steve Conte premiered the latest single from his new album this week.
Conte debuted his new single, ‘Overnight Smash‘ Thursday. The song is the fourth single from Conte’s forthcoming album, Bronx Cheer, which is scheduled for release Nov. 5 through Wicked Cool Records. Conte premiered the album’s third single, ‘Dog Days of Summer‘ last month. Its premiere was preceded by that of the singles, ‘Recovery Doll‘ and ‘Gimme Gimme Rockaway.’
The musical arrangement featured in ‘Overnight Smash’ is a classic rock-infused composition. There are hints of Bruce Springsteen, Tom Petty and others interspersed throughout the course of the approximately three-minute opus. Listeners can even argue there is a slight influence from The Rolling Stones in the mix, too. The energy in the straight-driving composition is certain to keep audiences engaged and entertained in its own right.
The lyrical theme that accompanies the new song takes on a rarely discussed matter, but one that is relevant to everyone, and Conte talked about that topic during a recent interview.
“‘Overnight Smash’ is about professional jealousy,” he said. “Once somebody starts ‘getting somewhere’ in their career, there is always that crowd that, for whatever reason, got left behind in the dust, and then they like to s***-talk about ya.”
More information on Steve Conte’s new single and album is available along with all of his latest news at:
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