Afterwords (El Music Group) is the new studio album from Collective Soul. It is the seventh studio album by the hard-rocking band from the tiny town of Stockbridge, GA that’s gone on to become multi-platinum hit-makers playing all over the world.
Bright as California sunshine, the first single “Hollywood” features an undeniable melody with tinges of ’80s pop. Singer/ songwriter Ed Roland puts a bouncy energy to his sly lyrics that compare Tinsel Town to a naughty girl (or is it the other way around?): “Yeah, Hollywood/ You know I love you more than one man should/ Yeah, Hollywood/ kiss me, kiss me good.”
While “Hollywood” may strike listeners as the perfect top-down summer song, much of the rest of Afterwords captures Collective Soul at a time when Roland is writing from a hard-won, much more mature perspective, and his band mates are contributing from equally strong musical directions. “The theme of this one is love.” Roland says of Afterwords. “It sounds corny saying that but we’ve been blessed with success and with that comes the confidence to do things. I always liked writing positive songs and although a whole love record is different for me it’s an important step.”
What do you do when “Perfect”, your first national radio single peaks at number 46, your record label goes chapter 11, your band mates can’t tour and you come home to find your personal life in shambles? Well, if you’re Don Miggs, you hole up in your living room, document the past year on “tape” and release it to the world before you even understand what was happening. Then you call an old friend from your hometown in New York and ask if he’ll cross the country with his bass guitar to join a band that is starting over. And what would 2007 be without a Myspace.com story? Your drummer would answer an ad on the “friend” site and fill the big shoes of the guy called the “future of drumming” in some circles. You go on to decide that four was one too many and set about to reinvent the look and sound of the band, hitting the road harder than ever before as a three piece.
So now what? Once singled out by the San Francisco Herald as “the next big thing outta the San Francisco Bay Area,” MIGGS appear to have moved out of the shadow of expectations and overcome intense odds to right things for the band. And if the reviews and growing crowds are any indication, this lineup appears ready for it’s close up.
Breaking new ground within the exploration of pure-styled rock & roll, Ike Reilly unveils an unusual ability as a songwriter, venturing to assault the ruggedness of hard rock tones and forwarding crude and fierce lyrics within his songs. Born in the little town of Libertyville, IL, Reilly follows a separated trail of most of the singer/songwriters of the late ’90s. Unlike other artists, Reilly prefers the harshness of intrepid rocking riffs, sustained by ingenious melodies and exalting words. Ike’s first record features his signature gritty yet soothing voice and brutally honest lyrics (though he claims that none of his songs are really about him). “Last time, I couldn’t make you come,” blurts the opening line, proving that making music, for Ike, isn’t about impressing anyone. Backed up by Tinley’s catchy and innovative guitar and keyboard riffs and a tight cast of band members, “Salesmen and Racists” showed that garage band rock revival music can become a well mastered art form. Despite the success of his recorded material, Ike’s main draw will always be his raucous, driving live performances. Packed full of energy and, usually, a lot of alcohol, his concerts bring the phrase “rowdy bar band” to a whole new level. Ike continues to play frequently around the Twin Cities, and he tends to favor venues that have a bar and plenty of room to dance/jump up and down/make a fool out of yourself, especially the Varsity Theater and the 7th Street Entry.
“15,” the blockbuster third album from Eleven Seven/Atlantic recording group Buckcherry, has been certified platinum by the RIAA for sales exceeding 1 million units. Released April 11, 2006, the Los Angeles-based hard rock outfit’s “15” kick-started the rock revolution with a remarkable 91-weeks-and-counting on the Billboard Top 200 Albums Chart, powered by four enormously successful multi-format hit singles: “Crazy Bitch,” “Next 2 You,” “Everything,” and “Sorry.” Accolades for the band’s success through real music are pouring in, lauding the band for bringing rock back despite the music industry’s failed focus on manufactured hip-hop and pop. Said fellow Eleven Seven Music label mate, Sixx: A.M. and Mötley Crüe bassist Nikki Sixx, “Few bands are savvy enough to write hit songs that aren’t just the flavor of the week. Buckcherry have stood the test of time and overcome adversity – which allows them to not only make rock history, but pave the road going forward, too.” Or, as Jed Gottleib at the Boston Herald put it, “Hundreds of bands score gold records. Hundreds more have Top 40 singles. Yet only a handful of lucky and brilliant artists. . . become part of the American experience.”
Ike Reilly’s “Poison The Hit Parade” is a collection of songs taken from demos from his brilliant debut “Salesmen and Racists” and alternate versions of songs from the blistering “Sparkle In The Finish” and 2007’s “We Belong To The Staggering Evening,” as well as the previously unreleased title track and the massive and poignant cancer anthem, “Dragonflies.” ”Poison” showcases Reilly and his bandmate Ed Tinley as producers unencumbered by the major label system and willing to frame a song in any vibe needed to hold the melodies and tales of Reilly’s unique vision. Beginning with the title track, “Poison The Hit Parade” continues Reilly’s prolific assault with images of characters in a conflicted middle America: patriotic doubt, the celebration of life and death, high school girls in summer dresses and more theoretical assassination attempts.
Echovalve. To their fans, the band is a refreshing anecdote to over-processed, cookie-cutter rock music. Mainstream in their own right, they have managed to take a distinctively original approach to a familiar genre. With searing and melodic riffs, tasty bass lines, pounding beats, and intensely haunting, hook-laden vocals, Echovalve has honed a sound that sets them apart. Through the challenges of the highly competitive, ever-changing world of the music industry, Echovalve has remained steadfast. What kills most has given life time and time again to a band that has refused to go away. Though the band is clean now, members have been plagued with drug and alcohol addictions and one band member was declared clinically dead following a drug overdose (he lived to tell the tale). The band has toured the country with no money, sleeping on park benches as they went from town to town. One band member was actually homeless and living on the streets for a while. That which did not break them only made them stronger and has made the successes that have come their way even sweeter.
Here are this week’s GHIDRAH songs:
SONG 1: Buckcherry - “Sorry”
SONG 2: Ike Reilly - “Poison The Hit Parade”
SONG 3: Echovalve - “Dirty Little Secret”
“Poison” showcases Reilly and his bandmate Ed Tinley as producers unencumbered by the major label system and willing to frame a song in any vibe needed to hold the melodies and tales of Reilly’s unique vision.
Beginning with the title track, “Poison The Hit Parade” continues Reilly’s prolific assault with images of characters in a conflicted middle America: patriotic doubt, the celebration of life and death, high school girls in summer dresses and more theoretical assassination attempts.
His longtime band, The Assassination, is present on several of the tracks here, but many other fine musicians can be heard on these recordings made in Chicago, Los Angeles, Denver, New York City, Jamaica and Ireland.
STREAMING AUDIO:
IKE REILLY - “Poison The Hit Parade”
IKE REILLY - “Janie Doesn’t Lie”
OFFICIAL WEBSITE: http://www.ikereilly.net
PLAY
