Halestorm has announced that they will be releasing their ReAniMate 3.0: TheCoVeRs EP on January 6th via Atlantic Records. Continue reading
If truth be known, I’d never really given Halestorm much of a chance. They were one of those bands that I’d not really consciously listened to. I had, probably subconsciously, decided that they were not for me, that they were lightweight blah blah blah: you get the idea. Sometimes it’s good to be wrong. I was wrong about Halestorm and I don’t mind who knows. Into The Wild Life (Atlantic) is a boisterous, effervescent and terrific record of pounding rock songs that will have you grinning from ear to ear and punching the air in infectious delight.
This is the first Halestorm material in the best part of three years but, if you’re a long-term fan, you’ll definitely believe it’s been worth the wait. Into The Wild Life is, simply put, a cracking bunch of songs delivered with energy and gusto.
The pounding heart of Halestorm is unquestionably their lead singer and protagonist Lzzy Hale. On Into The Wild Life she turns in a performance that you need to file under “cracking”, such is her power, brio and wit. Whether she is ruminating on the joys of break up sex (on lead off album track ‘Apocalyptic’), multiple personalities (‘Mz Hyde’) or the valediction of ‘Dear Daughter’ it’s abundantly clear why this woman has become such an inspiration for rock fans across the planet.
The real reason why Into The Wild Life works is that it’s absolutely packed full of tunes. There’s an admirable lack of bombast on ‘Scream’ which makes it all the more effective, a decent pinch of Foo Fighters inspired rockolla on ‘Mayhem’, more Joan Jett than you can stick in a blackheart on ‘Gonna Get Mine’ and a chorus catchier than a winter cold on ‘Amen’.
There used to be a lazy, condescending school of rock journalism that looked at “female fronted rock bands” as if they were some kind of zoo exhibit. With the release of Into The Wild Life, Lizzy Hale hasn’t just rightly condemned this nonsense to the dustbin, she’s ground it to dust. Her delivery across the entire album is gritty, powerful and, at times, role model emancipating. Ably supported by fearsomely tight performances from Joe Hottinger on guitars and Arje Hale and Josh Smith delivering a pounding back line, Into The Wild Life suggests that Halestorm’s breakthrough to the big league has arrived, and how. Into The Wild Life is one of the most unexpectedly enjoyable records of the year.
Pretty darn fabulous.
The Dollyrots will be hitting the road with Bowling For Soup across the US.
The punk pair of Kelly Ogden [vocals, bass] and Luis Cabezas [guitar, vocals] are bringing someone else along for the ride this time around. Ogden was actually pregnant with the couple’s first child River throughout recording their latest effort Barefoot And Pregnant.
Touring as a family is something new for The Dollyrots, but as Kelly puts it:
“I have plenty of practice playing rough with wild boys, so motherhood’s been a natural thing to make part of my tour life. We consider BFS family as well, so for River it’ll be like having four of his favorite Uncles around 24/7!”
Barefoot And Pregnant marked the group’s first chart appearance with a peak #7 on Billboard’s Heatseekers Albums and followed a highly successful crowdsourcing campaign through PledgeMusic. It’s out now on Arrested Youth/Hunnypot Records and is the follow-up to the group’s 2012’s self-titled LP, two albums on Joan Jett‘s Blackheart Records, and a 2004 debut through Lookout/Panic Button Records.
Jun 05: House of Blues – Houston, TX
Jun 06: House of Blues – Dallas, TX
Jun 17: Brighton Music Hall – Boston, MA
Jun 18: Irving Plaza – New York, NY
Jun 19: TLA – Philadelphia, PA
Jun 20: Soundstage – Baltimore, MD
Jun 21: House of Blues – Cleveland, OH
Jun 22: Shelter – Detroit, MI
Jun 23: Bottom Lounge – Chicago, IL
Jun 24: Vogue – Indianapolis, IN
Jun 25: Mercury Ballroom – Louisville, KY
Sep 11: Marquis Theatre – Denver, CO
Sep 12: Urban Lounge – Salt Lake City, UT
Sep 13: Neurolux – Boise, ID
Sep 14: Hawthorne Theatre – Portland, OR
Sep 15: Crocodile – Seattle, WA
Sep 16: WOW Hall – Eugene, OR
Sep 17: Boardwalk – Orangevale, CA
Sep 18: Bottom Of The Hill – San Francisco, CA
Sep 19: Roxy – Los Angeles, CA
Sep 20: House Of Blues – Anaheim, CA
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Famed musician, writer and producer Kim Fowley, who epitomized the Hollywood music business in the 1960s and 1970s, died on January 15 after a long battle with bladder cancer. He was 75.
He was best known as Svengali, producer and promoter of the all girl 70s rock band the Runaways, which launched the careers of future starlets Joan Jett, Cherie Currie and Lita Ford.
Though Fowley never registered any major hits in his own name – his 1969 Imperial album “Outrageous” barely grazed the charts at No. 198 – he had a hand in several ’60s and ’70s chart records. Consistently ahead of the curve as a talent scout, he was involved with artists like Warren Zevon and Cat Stevens early in their careers.
Blessed with a genius for self-promotion, with a sharp tongue and gift of gab that magnetized writers, Fowley styled himself, in English writer Barney Hoskyns’ words, as “the ultimate Hollywood pop hustler.”
Born in L.A., Fowley was the son of Douglas Fowley, a familiar second-tier leading man and heavy in film and TV. He attended West L.A.’s University High, where his classmates included surf duo Jan & Dean and future Beach Boy Bruce Johnston.
Fowley was prominently featured in the 2003 documentary “Mayor of the Sunset Strip,” about L.A. DJ and onetime club owner Rodney Bingenheimer, a close friend. In Floria Sigismondi’s 2010 biopic “The Runaways,” Fowley was portrayed by Michael Shannon.