Author: planetsixstring

A snippet of another song from HOLLYWOOD GODS N’ MONSTERS, the new band featuring former STEEL PANTHER bassist Travis Haley (a.k.a. Lexxi Foxx) alongside longtime friend and television celebrity from MTV’s “Pimp My Ride”, Diggity Dave, is available below.

HOLLYWOOD GODS N’ MONSTERS states: “And another new song. HOLLYWOOD GODS N’ MONSTERS putting a smash to Billy Squire/Mary J. Blige/Nipsey Hussle/and Micky Avalon. As we continue to grow and the immense support rushes in…we’ll continue to be ever so grateful for your backing. A bunch of shows about to be announced….so watch this space!!!”

After performing for over two decades with his former band, Haley had amicably decided to move on and do something a little different in the space of music and bass playing alike.

Diggity Dave explains: “It’s not like he ever thought he wasn’t challenged by the copious amount of talent that resided within STEEL PANTHER; it’s just that he wanted to explore different kinds of music and was intrigued by some of the music I was sending him.”

Diggity Dave has been doing television since the early 2000s but came from the world of music. Diggity was signed to Warner Brothers Records in the mid-1990s with a band he fronted named SHAKE THE FAITH which featured Tommy Thayer (KISS) on guitar, Brian Jennings on guitar (who went on to play with TVT recording artists CLOSURE) and drummer Danny Parker (who went on to co-found Warner Brothers recording artist BEAUTIFUL CREATURES). After a decade of being on MTV, Diggity went on to star in countless other TV shows, including “Battleground Earth” with longtime friend Tommy Lee (MÖTLEY CRÜE) and famed rapper Ludacris.

Travis, Diggity, Brian, Danny and their female singer 7even (Kris Aragon) have known one another for 20 years before collaborating on this magnipotent, musical, mishmash.

Travis says: “I am very proud of what I’ve accomplished with my other band. Nothing can take away the memories and the camaraderie that existed for all those years, but I just felt it was time for something new. When I heard this music, I knew this was the group of friends and the music I wanted to collaborate on.”

Because Diggity, Brian and Danny had all played in a previous band together and had been best of friends with Haley for more than half their lives, the opportunity to form a new band was simply too compelling not to do so. Diggity confesses that the challenge was what kind of music they would construct. “Once we figured it out, we then set out to find the missing pieces that would propel the sonic and sound needed to round out this parade of hooligans,” he says. “We knew we were in need of two types of talent. A rapper extraordinaire that could dismantle any genre of music and reconstruct it into his own image, and a female singer that could terrorize through the throat but tingle the testicles. We managed to find the perfect purveyors of punched out panic.”

HOLLYWOOD GODS N’ MONSTERS has enlisted a rapper named Hype (a.k.a. H.M.K.) who is a phenom in the world of not just rap but also as a vocalist. Hype, who just released a single titled “Money & Power”, was already a bullet on the rise in the musical scene when he was brought into the fold with HGNM. Hype says: “I knew this was a great opportunity to represent legends past and present from all genres of music, while also transforming music for a new generation. It was a no-brainer to team up with these rockstars and ‘Define My Hype’ to the world.”

Rounding it out was a female singer who goes by the name 7even (also known as Kris Aragon). Travis says 7even was vital for the overall sound of the band because the music demanded not just a female presence, but a female who could occupy a musical space that was jumping from pop, punk, rock, rap, and country.

HOLLYWOOD GODS N’ MONSTERS’ music is what some might call “mashup” but they get agitated when people throw them in that category. HGNM is a new hybrid of musical forms, one that has not been explored, but is sure to ignite a million copy bands once they “blow up the area” and introduce the world to “smashup” music. The band explains it as a blender of styles, sounds, artists, genres, and attitudes.

Travis says: “This generation, the one before it, and the one that’s following are ripe for a band like us. It’s about losing yourself in the music, about dancing, about feeling alive. That’s why the DJ scene has conquered music — because people wanna go to a show and identify and recognize the songs they’re ingesting. They just wanna be enveloped in the music they know, their friends know, and hell… even their parents know.”

Diggity closes by saying: “We are not a cover band. This is original stuff we’re creating, and it’s a living, breathing history of music. We equate it to what DJs are doing, but in the form of a full band smashing together the songs every generation has grown up with. What other band is mixing the ’70s band CHIC with QUEEN, AEROSMITH, SUGARHILL GANG, BLONDIE and DMX? And that’s just one song by us. Also, kids wanna see rock stars again… larger-than-life entities on stage that mirror the atmosphere. Think of us as a bigass American jukebox… where all the records in it have melted together… except when you press B5…you get that plus B6, B7, B8 and the track you thought you knew is now a stitched-up Frankenstein jam that makes you shake your ass harder than ever.”

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In a new interview with “The Cassius Morris Show”, David Ellefson once again opened up about his dismissal from MEGADETH six months ago, just days after sexually tinged messages and explicit video footage involving the bassist were posted on Twitter. At the time, Ellefson released a statement on Instagram denying all social media chatter that he “groomed” an underage fan. He also filed a report with the police department in Scottsdale, Arizona alleging unlawful distribution of sexually explicit images of him by unknown offenders. In the report, Ellefson admitted that he had been exchanging sexual text messages with a Dutch teenager, who captured a video of several of their virtual “masturbating encounters” without his consent and shared them with friends. (According to Ellefson, the woman was 19 at the time of their first virtual sexual encounter.) Ellefson, who lives in Scottsdale, first became aware of the video on May 9, when the claim “David Ellefson of MEGADETH is a pedophile” appeared on Instagram. Ellefson told police he was notified on May 14 by MEGADETH that the band would be parting ways with him. Three days later, he was fired.

Asked if his split with MEGADETH affects only his professional relationship with the band or if it also means the end of his friendship with MEGADETH leader Dave Mustaine, Ellefson told “The Cassius Morris Show” (as transcribed by BLABBERMOUTH.NET): “My view on that is, look, relationships are never really fully done — especially one where you’ve had sort of a brotherhood and a professional [relationship] and friendship and all these other things. If you’re in a band, it’s not like, ‘Dude, it’s just business.’ You’re creative, you’re friendly, there’s business — all those things are intertwined; it’s all part of that. So, if we’re not hanging right now…

“I don’t wish anybody any ill will; I wish everybody the best,” he continued. “I think that’s one of the ways to sort of bless it — you give it your best and you give it your best energy and not harbor grudges on anything. Instead of being sad that it’s over, be glad that it ever even happened. We got to live a dream. We got to do something most people will never get to do, and we got to do it. So, if this is the sort of exit from that, or a timeout from it, whatever it is, let it be what it is.

“I just love that analogy: there’s a reason the rearview mirror is very small in the car — ’cause you’re not supposed to spend all your time looking at it. Look through the big windshield up front. That’s where your head is, that’s where your hope is, that’s where your future is, where everything is.

“It’s easy to micromanage stuff in the rearview mirror, but that’s all meant to be behind you,” he added. “The good news is, look, our songs still get played everywhere. They get played on the radio. I hear ’em around. I see people wearing our t-shirts. And it’s kind of, like, cool. That’s awesome. I’m proud to have been a part of all that.”

Last month, Ellefson spoke to SiriusXM’s “Trunk Nation With Eddie Trunk” about the statement Mustaine — who formed MEGADETH with Ellefson in 1983 — released on May 24 announced the bassist’s departure from the band. In the statement, Dave said: “We do not take this decision lightly. While we do not know every detail of what occurred, with an already strained relationship, what has already been revealed now is enough to make working together impossible moving forward.” Asked if he was aware of any tension between him and Mustaine and whether he “felt like the ice was getting ready to break again,” Ellefson told “Trunk Nation”: “I did not. I think one of the things — and this probably started 20 years ago, when MEGADETH was disbanded in 2002 and then put back together in 2004, it was very clear in 2004 that it was gonna be reframed around Dave unilaterally, one hundred percent being the boss and running the show. Gone were the days of the partnership, the ’90s, where it was me, Nick [Menza], Marty [Friedman], Dave — kind of ‘the four horsemen ride again’ kind of mentality… That day was done; it was not gonna be that anymore. And that’s where we fell apart in 2004 and I wasn’t with the group through those years. Coming back to it in 2010, now we’re a few years older, [with] a little more maturity in the situation, realizing that we’re better together, that even though it’s not, on paper, a partnership, there’s a kind of visual partnership — the optics of it are kind of, like, ‘Yeah, this looks better as MEGADETH with me and Dave together. We’re one of those bands that, although Dave is the quarterback and the quarterback still plays, the overall feeling and likability and I think everything about it just feels better when it’s Dave and Dave together, because we’ve been together from the beginning for so many years. And I think that worked really well for the last decade. At the same time, Dave and I are grown men, and we have opinions. It’s not the thing where it’s just Dave and three side guys when it’s me and the band. And apparently, they didn’t want that anymore — they wanted it to not be that. And I can’t speak for them, ’cause I don’t know. I’m not trying to put words in anybody’s mouth about that. But it just seemed like ‘there’s just too much history here, and let’s just part ways now and let MEGADETH move forward on a new day with kind of a new marching order.’ So rather than fight it, which is what happened 20 years ago, ’cause we were dissolving a partnership at that point, we’re not dissolving a partnership [this time]. It’s, like, ‘Hey, we don’t want you here. There’s the door. Don’t come to work on Monday.’ So, it’s, like, ‘Okay. Fine.’ And that’s just how I viewed it, and that’s how I view it today. I don’t have any sour grapes over it, and I’m not bitter about it.”

Two days after Mustaine announced Ellefson’s latest departure from MEGADETH, the bassist released a follow-up statement in which he vowed to file a “defamation lawsuit” against the person who “illegally posted a very private video” of the bassist and made “false allegations” against him. He also said he was working with the police in Scottsdale “in their investigation into charges regarding revenge pornography to be filed against the person who posted the video. This person will be prosecuted to the fullest extent of the law,” Ellefson wrote. He went on to say that he was “taking this time to be with my family” and wished his “bandmates” the best with their tour.

Ellefson laid down his bass tracks on MEGADETH’s sixteenth LP in May 2020 at a studio in Nashville, Tennessee.

In July, Mustaine announced during an episode of his Gimme Radio program “The Dave Mustaine Show” that Ellefson’s bass tracks would not be used on the new MEGADETH LP.

In 2004, Ellefson filed an $18.5-million lawsuit against Mustaine, alleging the frontman shortchanged him on profits and backed out of a deal to turn Megadeth Inc. over to him when the band broke up in 2002. The lawsuit was eventually dismissed and Ellefson rejoined MEGADETH in 2010.

Ellefson was in MEGADETH from the band’s inception in 1983 to 2002, and again from 2010 until his latest exit.

We will always be best friends.@ellefsondavid @Megadeth pic.twitter.com/kzs89sA8Vy
— Dave Mustaine (@DaveMustaine) November 2, 2017

New Orleans thrash icons EXHORDER will return to the road later this month on a U.S. headlining tour. The journey runs from November 24 through December 19 and will see the band performing its classic 1990 debut, “Slaughter In The Vatican”, in its entirety.

Comments vocalist Kyle Thomas: “It seems kind of crazy that EXHORDER is finally doing a proper U.S. tour for ‘Slaughter In The Vatican’ in 2021, thirty-one years after its release. The opportunities and possibilities didn’t line up for us back in the day, so we’ve decided to take this show on the road and give everyone a proper tribute to this landmark album. As a band, we are truly grateful and honored to be able to do this, and for me, it’s simply amazing. Almost like watching one of your children grow up and succeed in life! Without overstating the obvious too much, it’s going to be immeasurably exciting to once again take the show on the road after more than a year and a half on hold due to the pandemic. May we all find good health in the upcoming months to make the shows on this tour as exciting to witness as it is for us to perform them! We look forward to rolling with our support acts TAKE OFFENSE, EXTINCTION A.D. and PLAGUE YEARS as well. See you all soon. Can’t wait!”

EXHORDER tour dates with TAKE OFFENSE, EXTINCTION A.D., PLAGUE YEARS:

Nov. 24 – Saint Vitus Bar – Brooklyn, NY
Nov. 26 – The Middle East – Cambridge, MA
Nov. 27 – Cafe 611 – Frederick, MD
Nov. 28 – Craft House – Pittsburgh, PA
Nov. 29 – Reggies – Chicago, IL
Nov. 30 – Emerson Theatre – Indianapolis, IN
Dec. 02 – Southport Music Hall – New Orleans, LA
Dec. 03 – Warehouse Live – Houston, TX
Dec. 04 – The Rail Club – Ft. Worth, TX
Dec. 05 – Come And Take It Live – Austin, TX
Dec. 06 – Rock House Bar – El Paso, TX
Dec. 07 – Nile Theater – Mesa, AZ
Dec. 08 – 1720 – Los Angeles, CA
Dec. 09 – Brick By Brick – San Diego, CA
Dec. 10 – 1933 – Bakersfield, CA
Dec. 11 – Dive Bar – Las Vegas, NV
Dec. 12 – The Phoenix Theater – Petaluma, CA
Dec. 14 – Bossanova Ballroom – Portland, OR
Dec. 15 – El Corazon – Seattle, WA
Dec. 16 – The Shredder – Boise, ID
Dec. 17 – The Complex – Salt Lake City, UT
Dec. 18 – Moxi Theater – Greeley, CO
Dec. 19 – Marquis Theater – Denver, CO

Formed in 1986, EXHORDER’s thirty-five-year long (and counting) journey has proven exciting, yet tumultuous, fraught with euphoric peaks and crippling valleys throughout its existence. The band recorded their controversial classic demo, “Slaughter In The Vatican”, in 1987 and from there, the international attention the band drew via the world of underground tape trading was indisputable. As fate would have it however, the band broke up for the first time in early 1988 due to internal struggles. A reformation ensued later that year and EXHORDER set out once again to pursue its vision.

The band soon signed with Mean Machine Records but the label dissolved before the band’s debut could be completed. The contract was subsequently purchased by R/C Records, a subsidiary of Roadracer/Roadrunner Records in the United States. With a small recording budget and repair to previous sessions, “Slaughter In The Vatican” was completed and released with the assistance of legendary producer Scott Burns in 1990, nearly five years after much of the material was written.

Following a series of lineup shifts, a second full-length, and multiple hiatuses, the band finally relaunched itself in 2017. Legends grow over time, and new generations emerge to keep them alive. With the demand of EXHORDER at an all-time high, the band set out once again to finish the job they had not yet completed. The band played a series of club shows and festivals to immense interest. A deal with the Nuclear Blast label was quickly inked and in 2019 the band released “Mourn The Southern Skies”. Rave reviews from critics and fans saw the band’s popularity increase yet again, and the band set out on the road to packed venues and large festivals.

In March of 2020, a direct support tour slot in front of OVERKILL allowed the band to showcase themselves at the level they had always strived to reach. Live reviews of the tour and audience reaction proved that the hunger for this band by the public continues to grow.

“Slaughter In The Vatican”, which was recently inducted into Decibel magazine’s coveted Hall Of Fame series and re-released on vinyl, remains a crucial release in the annals of metal. Decibel hailed the band’s “precision groove and whip-smart thrash,” Invisible Oranges lauded a “groundbreaking and incredibly heavy slab of groove-infused thrash and speed metal,” Sputnik Music commended “an album which helped to kick-start the groove metal revolution, while staying true to its thrash roots,” while AllMusic observed the album’s “death metal-style double kick drums, chugging guitar riffs played at both slow and blistering tempos, and…the gruff but very expressive lead vocals of frontman Kyle Thomas.” After a seventeen-month halt in touring due to the pandemic, EXHORDER put on a legendary performance of “Slaughter In The Vatican” in its entirety at Psycho Las Vegas 2021 and is fully ready to return to the stage with the record that started it all.

EXHORDER 2021 is:

Kyle Thomas – vocals
Marzi Montazeri – guitar
Jason Viebrooks – bass
Sasha Horn – drums

Photo by Stephanie Cabral

Finnish melancholic progressive metallers AMORPHIS will release their fourteenth studio album, “Halo”, on February 11, 2022 via Atomic Fire Records.

In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, AMORPHIS combine the role of ancient minstrels and luminaries of the modern world, honoring tradition without getting stuck in the past.

The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how AMORPHIS manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under The Red Cloud” followed by 2018’s “Queen Of Time”.

“It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable AMORPHIS from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates.

Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud’. However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental.

That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs AMORPHIS offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried AMORPHIS significantly forward.”

Indeed. Setting off with the stormy grandeur of opener “Northwards”, AMORPHIS take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark.

However, no AMORPHIS album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for AMORPHIS,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters”, Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo”, he outdid himself once again. “‘Halo’ is a loose-themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.”

Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, AMORPHIS still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality.

The track listing for the effort is as follows:

01. Northwards
02. On The Dark Waters
03. The Moon
04. Windmane
05. A New Land
06. When The Gods Came
07. Seven Roads Come Together
08. War
09. Halo
10. The Wolf
11. My Name Is Night

AMORPHIS is:

Tomi Joutsen – vocals
Esa Holopainen – guitars
Tomi Koivusaari – guitars
Santeri Kallio – Keyboards
Olli-Pekka Laine – bass
Jan Rechberger – drums

“Singing In My Blood”, the first book by former NIGHTWISH singer Tarja Turunen, has just been made available via Rocket 88. Written and compiled over the past year of lockdown, Tarja has searched through scores of photos and memories to create a big, deluxe book about her life in music. There are contributions from friends and colleagues who’ve played a part in her music on stage, in the studio and at home, alongside lots of previously unseen intimate photos from childhood to the present day.

Asked in a new interview with Chaoszine why she chose not to focus on her time with NIGHTWISH in the book, Tarja said (as transcribed by BLABBERMOUTH.NET): “NIGHTWISH was a big part of my life. Almost nine years I was a part of the band. I gave for the band my voice, my soul, my face, my image. And it also gave me the whole world of rock and roll, and I’m deeply grateful. And it’s always going to be part of my life. But not too many people really know what I’ve been doing after NIGHTWISH — especially here in Finland; I think it’s really a lack of information going on. People do know what I do abroad, but not here. And that was my intention — was to really open that part of my journey and [focus on the fact I’ve] been doing a solo career almost double the time that I’d been in the band, so I’ve been surviving there alone.”

For more information about “Singing In My Blood”, visit tarjabook.com.

Turunen was fired from NIGHTWISH at the end of the band’s 2005 tour by being presented with an open letter which was published on the NIGHTWISH web site at the same time. In the letter, the other members of NIGHTWISH wrote: “To you, unfortunately, business, money, and things that have nothing to do with emotions have become much more important.”

NIGHTWISH keyboardist and main songwriter Tuomas Holopainen later called the decision to part ways with Turunen “the most difficult thing I ever had to do.” For her part, Tarja said the way she was kicked out of the group proved that her former bandmates were not her friends. “Maybe one day I’ll forgive, but I will never forget,” she said.

In 2019, Turunen dismissed Internet chatter about her possible return to NIGHTWISH after her December 2017 onstage reunion with the band’s then-bassist/vocalist Marko “Marco” Hietala during a “Raskasta Joulua” concert in Hämeenlinna, Finland.

“I know a lot of fans would love to see something happen, but it’s a very long distance away,” she told Kerrang! magazine. “Personally, I don’t see anything happening with me and them, to be perfectly honest. Marco came a little later into the band; he wasn’t there since the beginning. He was always a guy I was close to. Me and [NIGHTWISH keyboardist/leader] Tuomas Holopainen, however, haven’t seen each other in a long time… but we have been in touch. It’s not bad. The past is what it is; we can’t change that. We can only change the future.”

NIGHTWISH’s authorized biography, “Once Upon a Nightwish: The Official Biography 1996-2006”, was published in Finnish in 2006 and in English three years later.

Turunen’s husband, Marcelo Cabuli, and his business partners later sued the parties behind the book for defamation. Named in the lawsuit were the publishing house Like Kustannus Oy and the author of the book, Marko “Mape” Ollila. Cabuli and his Brazilian business partners argued that the book includes false accusations and insinuations that have caused them suffering and financial problems.

The book blamed Cabuli for the events leading up to Turunen’s dramatic expulsion from the band in late 2005.

In 2011, the Helsinki District Court dismissed Cabuli’s lawsuit, ruling that the book — which criticized Cabuli on only a few of its 380 pages — did not detrimentally affect his work or reputation in South America. In addition, the court determined that Ollila did not maliciously portray Cabuli in a negative light.

On November 19, Robert Plant and Alison Krauss will return with new album “Raise The Roof”, delivering a fresh, cosmic collision of early blues, country deep cuts, revolutionary folk-rock and lost soul music written by a dozen legends and unsung heroes of the past century. The long-awaited reunion marks the duo’s first record in 14 years, produced by T Bone Burnett, and the track listing reflects both deep-rooted influences and recent revelations. On “It Don’t Bother Me”, the final preview of the album shared today, the two artists transform Bert Jansch’s solo acoustic composition into an empowering arrangement led by Alison Krauss, simmering with spectral flourishes of dolceola, marxophone and pedal steel, handclaps and percussion, and interplaying guitars of Marc Ribot and LOS LOBOS’ David Hidalgo.

On the inclusion of “It Don’t Bother Me” on “Raise The Roof”, Plant says: “I’ve been a big follower of Bert Jansch’s work since I was a teenager, and of that whole Irish, Scottish, English folk style that has a different lilt and different lyrical perspective. I was very keen to bring some of that into the picture.”

“One of my favorite parts of this is the songs and songwriters that I had never heard of,” adds Krauss. “Working with Robert, and with T Bone, is always a great education in music history.”

“It Don’t Bother Me” arrives on the heels of “Raise The Roof”‘s lead single, “Can’t Let Go”, which just spent 10 consecutive weeks at No. 1 on the Americana radio charts, as well as the album’s sole original song, “High And Lonesome”, penned by Plant and T Bone Burnett.

Following the monumental debut of 2007’s platinum-certified “Raising Sand”, which won all six Grammy Awards for which it was nominated (including “Album” and “Record Of The Year”), Plant and Krauss “are still proof that sometimes the best things come from unlikely collaborators” (Entertainment Weekly). Across “Raise The Roof”, the Rock And Roll Hall Of Famer and 27-time Grammy-winning Bluegrass Hall Of Famer step further outside their comfort zone, expanding their unexpected, unparalleled partnership in remarkable new directions.

While sessions for the album began in Nashville in November 2019, wrapping just weeks before the world went into lockdown, Krauss remembers sending Plant the Randy Weeks/Lucinda Williams classic “Can’t Let Go” at least 10 years ago — and “it seems like time hasn’t passed at all” (NPR Music). Elsewhere on “Raise The Roof”, Plant and Krauss reimagine songs from Merle Haggard, Allen Toussaint, THE EVERLY BROTHERS, Anne Briggs, Geeshie Wiley, Ola Belle Reed, Brenda Burns and more, with arrangements even more evocative and hypnotic than those on “Raising Sand”.

“It’s such a far cry from everything I’ve done before,” says Plant. “I love the whole kaleidoscope of music that I’ve explored, but this is a place where you can think within the song, you can decide how to bring home an emotion. It’s another blend that we’ve got, and long may we have more of them.”

“Raise The Roof” track listing:

01. Quattro (World Drifts In)
02. The Price Of Love
03. Go Your Way
04. Trouble With My Lover
05. Searching for My Love
06. Can’t Let Go
07. It Don’t Bother Me
08. You Led Me To The Wrong
09. Last Kind Words Blues
10. High And Lonesome
11. Going Where the Lonely Go
12. Somebody Was Watching Over Me

Photo by David McClister

BLACK LABEL SOCIETY has released the official music video for the song “End Of Days”. The track is taken from the band’s upcoming 11th studio album, “Doom Crew Inc.”, which is due on November 26 via MNRK Heavy (formerly eOne Music).

In a recent interview with the Morristown, New Jersey radio station 105.5 WDHA, BLACK LABEL SOCIETY leader Zakk Wylde stated about the writing process for “Doom Crew Inc.”: “The way it always goes, it’s always the music first and then a melody. And then I’ve gotta find out something I wanna sing about. So then I’ll write the lyrics. That’s usually always the way it goes. And then, when it’s all done, then the solos go on it. The painting’s all done, and the solo is the frame that goes on the thing. So you can sit back and look at the whole thing. That’s the way we pretty much always do it.

“We did the box set, and then we did videos for that, and then, after that, [my wife Barbaranne] was just, like, ‘Maybe you guys can do a record,'” he recalled. “I said, ‘All right. No problem.’ So I said, ‘How long till the guys come out?’ [She said], ‘You’ve got a month till the fellows come out.’ So I was just, like, ‘All right. Let me get started.’ So I would just have a cup of coffee and just start writing riffs. You always get inspired by — for me, it’s always Mount Riffmore, which is CREAM, MOUNTAIN, [LED] ZEPPELIN, [BLACK] SABBATH, DEEP PURPLE… If you’re not getting inspired by the riffs those guys have created, it’s just like… So I’ll just go fishing and just start writing till you get to something you like.

“What we ended up doing [was] tracking about 30 songs and then whittled it down to the 12 that we have [on the album],” Zakk explained. “It’s funny, ’cause the ‘Farewell Ballad’ thing has been sitting around on YouTube for probably about 11 years or something like that — just that instrumental strip of music. And so I was just, like, ‘You know what? Let me just get around to finishing this thing.’ ‘Cause we had that bit of music, the chord progression that I wrote. So then I just finished it — I just wrote a melody, I wrote a song with that intro. So we finished that thing. And then ‘Love Reign Down’, the piano ballad, that was sitting around. I wrote that about my mother who passed away. That was during [the making of Ozzy Osbourne’s] ‘No More Tears’, actually. I remember noodling on the piano at A&M and I wrote that song. So it was good to actually finally put that on an album. But the rest of it is all brand new. ‘Set You Free’ was pretty much right at the end, when we were tracking everything else. So that definitely popped in there late at the end of the whole thing. But the album’s probably almost about a year old now, since we recorded it and finished it and mastered it and everything like that. But it’s just been sitting in the can until right now.”

“Doom Crew Inc.” will be available digitally on CD and vinyl plus a deluxe edition that includes vinyl, CD longbox, cassette and more. The 12-track album is both a tribute to the band’s “first to bleed, last to leave” road crew and a salute to the legion whose support, stretching back to 1998, rivals that of the KISS Army.

The songs are odes to celebration and mourning, the soundtracks to jubilant evenings and bewildering days recorded in Wylde’s home studio, the Black Vatican. On this album, Zakk trades solos and twin-guitar parts with Dario Lorina, backed by the rumble of longtime bassist John “J.D.” DeServio and powerhouse drummer Jeff Fabb.

BLACK LABEL SOCIETY kicked off the “Doom Trooping Over North America” tour on October 1 in Sacramento at Ace Of Spades. The trek, with openers OBITUARY and PRONG, will run through November 28, ending in Albuquerque at the Sunshine Theater. The band will then finish up the tour from December 27-31 with PRONG and ARMORED SAINT.

“Doom Crew Inc.” track listing:

01. Set You Free
02. Destroy & Conquer
03. You Made Me Want To Live
04. Forever And A Day
05. End Of Days
06. Ruins
07. Forsaken
08. Love Reign Down
09. Gospel Of Lies
10. Shelter Me
11. Gather All My Sins
12. Farewell Ballad

Photo credit: Justin Reich

During a recent appearance on SiriusXM’s “Trunk Nation L.A. Invasion”, Nikki Sixx discussed the fact that GUNS N’ ROSES apparently once considered recording a cover version of the early MÖTLEY CRÜE song “Stick To Your Guns”. The CRÜE bassist said (as transcribed by BLABBERMOUTH.NET): “After we took them out on tour, and they first put out ‘Welcome To The Jungle’, or was it ‘Sweet Child O’ Mine’, I remember going to the Rainbow [in West Hollywood], and I saw Axl [Rose, GN’R singer] there. And he jumped up and he said ‘hi’ and ‘thanks for the tour. Thanks for the tour because now MTV is gonna play ‘Sweet Child O’ Mine’.’ It really gave ’em a shot. And I was super stoked for those guys. And then he kind of told me he always loved that song ‘Stick To Your Guns’ and had thought about covering it in GN’R. That’s pretty cool to hear, that those guys thought that was cool. And that song’s got its own little life, so to speak.”

Back in 2016, Sixx told Neon Sunsets that he didn’t know Rose “that well. I mean, I knew him a bit in the ’80s when [GUNS N’ ROSES] opened for MÖTLEY CRÜE,” he said. “He was always sweet to me. He was always kind of shy and respectful. And I’m happy for him [now that he is reunited with Slash and Duff McKagan]. He looks happy. He looks healthy. He missed doing what he’s doing right now, and I’m sure having Slash and Duff by his side feels really good. So it’s badass. Good for him. And good for Slash and Duff too. Good for the fans.”

In his “The Heroin Diaries” memoir, Sixx wrote that Tom Zutaut, the former Geffen Records executive who signed GUNS N’ ROSES to a record deal in 1986, told him in 1987 that he was “being considered” to produce GN’R’s debut album, “Appetite For Destruction”. Sixx added: “I went to see them play at the Roxy, but I didn’t think they were all that great. The truth is that I was so out of it that I had no idea who was any good and who wasn’t. Fuck, at the time the most I would have been able to do as producer would have been pressing ‘play’ on the tape machine.”

A few years ago, Sixx said that GUNS N’ ROSES’ “Welcome To The Jungle” was one of his top five favorite 1980s tracks. “I always loved that song because the energy of it,” he said. “I like the way the vocal lays in and it has this nice swagger to it. But I think really was a defining moment for GUNS N’ ROSES.

“We love GUNS N’ ROSES,” he added. “The guys would come hang out at my house in Los Angeles. We took them out on tour and they opened for us for a leg of the tour. It was really great because they were really green and they were really raw and they had just finished recording their first record. I felt good for us for turn our audience on to a new band.”

“Stick To Your Guns” was the A side of MÖTLEY CRÜE’s debut single, which was released in May 1981 via the band’s own label Leathür Records.