After 2011′s Damaged Goods, it looked like Reno’s Hellbound Glory might be on the way to stardom. They landed an opening spot for Kid Rock, a coup for an independent underground country act. There was talk of a fourth album to come soon. Then, they just sort of disappeared.
There were occasional rumblings from the camp — their single “The Feud,” which had a much louder and more electrified sound than what fans were used to; a couple of live YouTube “albums”; a scattering of cover tunes on the Internet. But nothing really substantial, until now. LV, named after Hellbound Glory frontman Leroy Virgil, is a five-song EP with a very strong connection to Virgil’s home of Aberdeen, Washington.
Showing posts with label Kid Rock. Show all posts
Showing posts with label Kid Rock. Show all posts
Tuesday, July 15, 2014
Saturday, July 27, 2013
Saturday Shuffle: Black Sabbath, Kiuas, Kid Rock, Amorphis, Lacuna Coil
Yep. I had to get embarrassed eventually. See the third track. But the others kind of make up for it.
Black Sabbath, “Voodoo.” From
the album Mob Rules (1981). I’ll admit that I don’t like Mob Rules as much as
Heaven and Hell, but there still isn’t anything remotely close to a stinker on
the record. “Voodoo” strikes me as much closer to a Dio tune than even a
Dio-era Sabbath tune, but that’s not a bad thing at all. Geezer Butler is his
usual badass self on this tune, thumping along and offering up some tasty bass
fills.
Labels:
Amorphis,
Black Sabbath,
Dio,
Goth,
Hard rock,
Kid Rock,
Kiuas,
Lacuna Coil,
Power metal,
Prog metal,
Traditional metal
Sunday, January 16, 2011
Blast Beats: Whitey Morgan, Hinder, Kid Rock

Whitey Morgan and the 78s, “Whitey Morgan and the 78s”
I heard good things about this record when it came out last year, but it’s taken me this long to finally get a hold of it and give it a good listen. Most of the praise that I heard is well-deserved.
Labels:
Blast Beats,
Country,
Hard rock,
Hinder,
Kid Rock,
Reviews,
Whitey Morgan
Thursday, April 8, 2010
Review: Slash, "Slash"

There are usually two main problems with records like this. Either the songs end up sounding like the guest artists rather than the primary artist or the collaborations sound forced. This album has both.
There are some surprising guests and some not-so-surprising guests here. You might expect a Slash record to feature guest shots by the likes of Alice Cooper (who he’s played with before), Ozzy Osbourne or Ian Astbury. You’d be less likely to think of pop singer Fergie, rappers Cypress Hill or Maroon 5’s Adam Levine. They’re here, too, with mixed results.
Thursday, October 14, 2004
Interview: Kenny Wayne Shepherd
It's been about five years since Shreveport native Kenny Wayne Shepherd released his last album, and when he takes the stage at the Strand Theatre on Friday night to launch his latest album "The Place You're In," fans may be in for a surprise. Shepherd's sporting a new look and a new sound.
The guitarist who made his name by peddling the blues to a younger audience, puts the focus on rock for this outing.
"It's definitely a breath of fresh air," Shepherd said. "After not having a record out for almost five years, to come out with a new sense of musical style, it's probably a good thing."
"I've been working nonstop since I graduated from high school - year after year, 250 shows a year, three albums," he said. "I think it was just time to take a break, sit back, relax and live life at home for a while."
One thing he worked on during the break was honing his vocal chops. On "The Place You're In," Shepherd steps up to the mic for the first time in his career.
"It's something that I think all my fans have been anticipating and that I've been looking forward to doing," he said. "It was just a matter of when I felt comfortable enough to step up and do it."
Shepherd thinks the move also adds even more depth and passion to his music.
"This is a very personal album as far as the lyrics go," he said. "It has a different effect when you're actually the one singing and translating the message to people."
He's not planning to take on the old songs himself, though. Noah Hunt is still part of the band (and sings a couple of songs on the new album).
Another guy who handles vocals on the album is Kid Rock. Shepherd first worked with the rap-rocker on Kid Rock's self-titled 2003 album. Now, Rock returns the favor on the track "Spank."
"It's always a pleasure to work with him," Shepherd said. "We've just kind of run into each other on the road over the years and developed a really good friendship. He called me to play on his record, and I had this song that I thought was well-suited for him. It turned out great."
Even with all this rock talk, Shepherd's not worried about alienating his old fans. He's always had a strong rock influence in his music, and though a few may not like it, he thinks most of the fans will follow him.
"I couldn't make everybody happy with any of my other records, either," he said. "There were still some blues purists out there who criticized me and said I wasn't a blues player. With anything, you're going to anticipate some of that.
"But I expect to gain some new fans as well. That's a good thing because they'll listen to my previous albums and maybe get turned on to the blues in the process."
Tuesday, November 11, 2003
Review: Kid Rock, "Kid Rock"

This album is an even more dramatic departure from the rock-rapper's past than "Cocky." But it's also a much better album. "Kid Rock" gives him something he's never had, a distinct personality. It's a much more coherent record than "Cocky," which bounced from one end of the spectrum to the other.
The album has a long list of contributors from Hank Williams Jr. on the Aerosmith-laced "Cadillac" to a reunion with Sheryl Crow on "Run Off to L.A." These guest spots provide some of the hottest tracks on the album, including "Black Bob," where Shreveport native Kenny Wayne Shepherd lays down a wicked wah-wah lick, and "Hillbilly Stomp" which features the talents of ZZ Top's Billy Gibbons.
There are some clunkers on the album, like the Kenny Chesney-penned country ballad "Cold and Empty" - which despite being a little dull is an almost surefire crossover hit - and the sappy "Do It For You," which really doesn't fit the Kid's style. But he more than makes up for those with raucous rockers like "Jackson, Mississippi" and "Son of Detroit," an inspired take on David Allan Coe's "Son of the South."
Those looking for the Kid Rock who recorded "Bawitdaba" and "American Bad Ass," may not find him on this album. There's only one rap, "Intro" (which for some odd reason is the album's seventh song.) But those who come to this album prepared for Kid Rock's transition into a Southern rock crooner should enjoy it.
Get "Kid Rock."
Labels:
Billy Gibbons,
Country,
Hank Williams Jr.,
Hard rock,
Kenny Wayne Shepherd,
Kid Rock,
Reviews,
ZZ Top
Friday, July 26, 2002
Interview: Ted Nugent

The outspoken - and often outrageous - rocker is just as at home screaming at the top of his lungs from the stage or sitting quietly beneath a forest canopy waiting on a trophy buck. He's a rock 'n' roll wildman who also touts sobriety and family values.
Nugent admits that some people might consider those things a contradiction, but for him, rock 'n' roll, family and hunting are all part of the ultimate life experience.
"My being, my gift of life, compels me to manage it for quality of life," Nugent says. "Clean, sober and at a higher level of awareness."
Outrageous
Nugent is currently rolling across the country on his annual summer tour and looking forward to the release of his new album "Craveman," due out on Spitfire this fall.
As with everything, the gonzo guitarist talks about his upcoming tour and the album with supreme self-confidence, often crossing the border into outright cockiness.
"It's sheer delirium," Nugent says of the road. "When you've got the caliber of musicians and support that I travel with, every night is a barbecue musical orgy. It's just so intense. You've got to be cut from a special bulletproof cloth to keep up with the energy my guys create."
The new album marks the return of a sound Nugent fans will be familiar with. It's raw, raunchy and angry, and the 53-year-old musician wouldn't have it any other way.
"I happen to be on a rhythm and blues jihad right now," he says with a chuckle. "I call it throbnoxious. The music is so throbnoxious. It's so rhythm and blues and so gutsy. It covers all bases from outrage and insanity to genuine spirituality. I couldn't be more proud of it. It's got 14 songs, and every one of them will rearrange your face."
Nugent credits bass player Marco Mendoza and drummer Tommy Clufetos with the power and intensity of the music. As for the attitude, that's all Nuge. One look at song titles like "Rawdogs and Warhogs," "My Baby Likes My Butter on Her Gritz" and "Sexpot" will tell Nugent fans all they need to know about the album.
The Motor City Madman says he's playing most of the songs from "Craveman" on this tour, but not to worry, he's also working in fan favorites.
One particular tune seems to have a lot of resonance during his performances. "Fred Bear," a tribute to bowhunting legend and Nugent mentor Fred Bear, brings the house down every night, the rocker says.
"The highlight of my life is 'Fred Bear,'" Nugent says. "We played it in the upper peninsula of Michigan the other night. I'm telling you, the man was there."
Nugent says the song has a mystical quality that engenders a feeling of brotherhood in the crowd.
"I have more hunters and fisherman per capita in my audience than any society on the planet," he says. "There is a blood-brotherhood campfire that ignites when I play that song that is just magical."
Outspoken
In the 1970s, Ted's testosterone-fueled anthems like "Cat Scratch Fever" and "Stranglehold" ruled the rock stages. In recent years, though, Nugent's become known just as much for his mouth as his music.
The guitarist, known affectionately by his fans as "Uncle Nuge," is a staunch political activist who also encourages his fans to get involved in government. He often closes concerts by urging people to write their congressmen.
The rocker is active in a wide variety of organizations from the National Rifle Association to Mothers Against Drunk Driving to the Big Brothers/Big Sisters program to his own Ted Nugent United Sportsmen of America. His work has earned him praise from conservative leaders like Tom Ridge and President Bush.
Among the causes Nugent champions is the fight against drug and alcohol abuse. No matter how wild he is on stage, Nugent says he's never taken drugs and never will.
"I've made it a crusade to let people know that you can't rock 'n' roll and have a fun life like Ted Nugent unless you're clean and sober - you'll hurt yourself," he says. "My idea of a party doesn't include puking and dying."
Nugent has even made it a goal to help other rockers overcome their addictions. He points out friends Steven Tyler and Joe Perry of Aerosmith and says he'd like to think he had a hand in helping them kick their habits. He's also taken on one of the most notorious musicians of today's scene, Kid Rock.
"I went down and jammed with Bob Ritchie, and the guy was chain-smoking like an idiot," Nugent says. "Here's a guy with an amazing voice - and Bob Seger was there, too - and these guys were chain smoking, two of the greatest voices out there. I put some pressure on them. I said 'Bob? Bob? What are you guys doing?'"
He also works to keep children off drugs through the Drug Abuse Resistance Education program, though his methods often raise eyebrows.
"I'm without question the most effective D.A.R.E. officer in the history of the program," Nugent brags. "When I confront children, they relate to me because of my attitude, my uppitiness and my street language."
That last part is what bothers some people, he says.
"I don't use the f-word with grade-schoolers, but I will use the phrase 'kiss my ass," Nugent says. "Some people will get all upset and say, 'ooh, he used the a-word.' Wait a minute, we're talking about saving kids. When was the last time the a-word killed a child? Let's get our priorities straight here. If you want kids to relate to you, you have to speak on their level."
Outdoors
But the two issues that are nearest and dearest to Ted Nugent are hunting and Second Amendment rights. The guitarist has become one of the nation's most prolific speakers on the subjects. He appears on radio and television talk shows, writes for a number of publications and has even written a pair of books - "God, Guns and Rock 'n' Roll" and a wild game cookbook "Kill It and Grill It."
But even in the hunting community, he has critics - people who don't like his straightforward and confrontational approach. Nugent says directly challenging anti-hunters, as he regularly does on talk shows, is the only way to get the message out.
"That's what the hunting community has always needed to do," he says. "Instead of backing down and saying, 'well, we catch and release,' we should be challenging people. We should be saying, 'No, no, no. Your tuna is dead. We kill our food. Get over it.'"
Nugent says taking the defensive in the face of anti-hunting attacks isn't going to help hunters.
"Never defend the sport; always promote it," he says. "When you see illegal and nasty behavior by our fellow sportsmen, either clean them up or throw them out. We've got to really be dedicated to upgrading this honorable hunting and fishing lifestyle imagery, so more people will join us in this environmental upgrade. That's all I really live for."
That and, of course, rock 'n' roll.
Labels:
Aerosmith,
Hard rock,
Interviews,
Kid Rock,
Ted Nugent
Tuesday, November 20, 2001
Review: Kid Rock, "Cocky"

Fresh off the huge success of 1998's "Devil Without a Cause," Kid Rock sets out to prove he's not a one-trick pony on this album. There's no denying the talent of his Twisted Brown Trucker band, as they effortlessly shift from R&B grooves to headbanging metal to foot-stomping country. I have to question if this is really what fans want from Kid Rock.
Those who enjoyed the punchy mix of hard rock and hip hop on "Devil Without a Cause" may not find much they recognize on this album.
The first single "Forever" mixes a catchy, funky guitar riff with some nice hooks. And the title track, with its self-aggrandizing swagger, echoes the attitude of his last album. But beyond that, this album is a self-indulgent jumble of musical styles which leave the listener wondering what's going on.
Two big-name guest appearances are both disasters.
"Picture," his country duet with Sheryl Crow will be a big hit, I'm sure - and if it wasn't Kid Rock, it would probably cross over to country radio. But it's boring and a bit hard to swallow.
The same with the other country tune "Lonely Road of Faith." It's really hard to take these heartfelt lyrics about devotion seriously coming from someone who was just extolling the "virtues" of strippers on the last song.
The other guest appearance is rapper Snoop Dogg on the track "W.C.S.R." This is a pointless exercise in vulgarity, that seems to be a contest between the two to see how much profanity they can fit in a three-minute song.
Songs like "Midnight Train to Memphis" and "Drunk in the Morning" seem to drone on in a country twang before erupting into something more like what you expect from Kid Rock. They're not bad songs, but I have to wonder how many of his fans are going to sit through the first two minutes to get to the "good part."
It's not all bad, though. When the country/rap/rock formula works, it's fantastic. The perfect example is "You Never Met a Motherfucker Quite Like Me." The song layers twangy guitar over a hip hop beat with just a touch of Southern rock on the chorus.
Of course, I would like to hear him write a song every now and then about something besides himself, but what can you expect on an album named "Cocky?"
"What I Learned Out on the Road" starts with a smooth country sound, then moves to a funky Aerosmith-flavored chorus. It's one of the strongest songs on the album.
Then he takes a heavier turn on "I'm Wrong, But You Ain't Right." The introduction is an obvious tribute to Bob Seger's "Turn the Page," but then the tune explodes into heavy Pantera-influenced screamer.
The Southern-fried blues groove of "Baby Come Home" is addictive, and may be my favorite song on the album. While the Iggy Pop-inspired punk of "I'm a Dog" showcases Kid Rock at his conceited best.
Overall, "Cocky" is not bad. Kid Rock accomplishes his goal, which is to show more musical depth.
But, in all honesty, if I want musical depth, I'm not going to look to Kid Rock. I look to him for uptempo tunes with plenty of swagger, and above all, plenty of fun. While it is a good album, I've got a feeling a lot of fans will wear out the skip button.
Get "Cocky."
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