Ellefson the eponymous solo band of Grammy-Winning Megadeth bassist/co-founder David Ellefson has announced the release of No Cover, an LP featuring  13+ cover songs including classic tracks from Motörhead, W.A.S.P, Def Leppard, Cheap Trick, Queen, Judas Priest, Twisted Sister, Fastway, Fight, Dead Kennedys, and more, out October 2nd on Combat Records.

Ellefson, featuring Ellefson on bass, with vocalist Thom Hazaert, guitarists Andy Martongelli and Ron “Bumblefoot” Thal (Sons of Apollo, Yes, Ex-Guns N’ Roses), and drummer Paolo Caridi, will be joined by a laundry list of legendary guests including Charlie Benante (Anthrax), Eddie Ojeda (Twisted Sister), Brandon Yeagley (Crobot), Dirk Verbeuren (Megadeth), Frank Hannon and Troy Lucketta (Tesla), Mark Slaughter, Jason McMaster (Dangerous Toys, ex-Watchtower, Evil United), Greg Handevidt (Kublai Khan, Ex-Megadeth), Chuck Behler (Ex-Megadeth), Gus G, John Aquilino (Icon), Doro Pesch, Dave McClain (Sacred Reich, Ex-Machine Head), Dave Alvin (White Trash), Todd Kerns (Slash & The Conspirators),  Andy Freeman (Last In Line), Jacob Bunton (Mick Mars), Dead By Wednesday, and more TBA. 

Produced by Ellefson and Hazaert, with guitarist Andy Martongelli, and engineers Alessio Garavello, Matt LaPlant (Nonpoint, Lil’ Jon, Skindred), and John Aquilino, and mixed by Alessio Garavello, Randy Burns, and more, Ellefson describes the process as a collaborative tribute, and a loving homage, to some of his favorite artists.

You can pre-order now on CD LP and Cassette, or in a deluxe bundle with an exclusive T-shirt: here.

Before any of us started writing our own songs, we all began playing cover songs by our heroes during our formative years as musicians. So, it’s fun to go back in time and revisit those songs which helped us to become the artists we are today, especially when, ironically, many of those artists have now become peers and friends. During the process of recording some covers for B-Sides and bonus tracks for the upcoming Ellefson solo LP, Thom and I just said, ‘This is a blast, let’s just do a whole album of covers.’ Literally, within 2 weeks, we had the songs recorded, and began calling our friends to join us, many of whom we had just performed with on the Mega-Cruise back in October. From there, the album just fell into place.”

He continues, “A lot of our buddies have been playing covers and quarantine jams on the Internet during the pandemic, so this is really just an extension of that, but we took it the next level and actually recorded a full studio album. We’ve been working remotely anyway, as we’re all over the Globe, so it was easy to incorporate some guests jumping in with some outstanding performances of their own. It’s been a really fun nod to making great music with our friends, who are kick-ass players, and many legends in their own right, which is the whole reason we got into this in the first place.”

Says vocalist, and co-producer, Hazaert, “It’s all songs and artists that really mutually influenced both myself and David, especially a lot of early ‘Metal’ and harder Classic Rock. Some stuff I picked, some stuff he picked, but for the most part it was all artists that we both loved. What’s funny, as there’s a bit of an age gap, we were sometimes more influenced by different eras of the same bands. But it was really him saying, ‘Let’s do this song,’ and me saying, ‘Yes, and let’s do this song.” And before we knew it, we had over 15 songs. And it’s a lot of album tracks, deep cuts, early tracks, stuff people might not expect, which was what was so fun.”

He adds, “It was also great that we were able to work in a lot of nods to David’s history, getting Chuck Behler to play with us, bringing in original Megadeth guitarist Greg Handevidt to play on Love Me Like A Reptile, a song they used to play in cover bands together before they moved to LA (which we wrote about in More Life With Deth), and Randy Burns is going to mix a track or two. As a singer, these are literally bands I’ve listened to, and covered all my life, and for me, getting to play with Eddie Ojeda, the Tesla guys, Charlie Benante, Jason McMaster, Mark Slaughter, etc, and sing these songs that mean so much to me. I mean, literally, the entire record is my bucket list of people I’d love to play with, and some of my favorite bands. So, it’s truly an honor to put together something so fun, and really as effortless as this was. It truly is a love letter to Rock N’ Roll, an homage to what made us, musically, who we are today.”

2019 saw the release of Ellefson’s More Life With Deth memoir, co-written with Hazaert, which led to the pair collaborating on the Ellefson compilation release Sleeping Giants,  released as a companion album to the book,featuring Hazaert on several new tracks, alongside guest appearances by Thal, Darryl “DMC” McDaniels, Mark Tremonti, Chris Poland, Kristian Nairn (Game of Thrones), Dave McClain (Sacred Reich), Eric AK (Flotsam and Jetsam), John Bush (Armored Saint) and more, which spawned the Metal radio hit Hammer (Comes Down), which spent several weeks in rotation, as well as landing in the “Devil’s Dozen” Top 12, on Sirius XM Liquid Metal.

Ellefson and Hazaert followed up the release of Sleeping Giants with an extensive US and European Tour dubbed More Life With Deth, with Hatchet guitarist Clayton Cagle, as well as Flotsam and Jetsam’s Steve Conley, stepping in on second guitar in the US, including several now legendary shows featuring Megadeth alumni Chuck Behler and Chris Poland.

That tour also included a performance on Megadeth’s Megacruise, where Ellefson and Hazaert, along with Opus and Dave Sharpe of Dead By Wednesday, and Clayton Cagle of Hatchet, performed a special Megadeth Mega-Jam set, as a tribute to Dave Mustaine, with guests including Megadeth’s Kiko Loureiro and Dirk Verbeuren.

Ellefson and Hazaert (DE and TH) also participated in another noted highlight of the Megacruise, coordinating an all-star KISS jam, which, in addition to Ellefson, featured Frank Bello, Charlie Benante, and Scott Ian of Anthrax, Clayton Cagle of Hatchet, plus members of Hellyeah, Butcher Babies, Queensryche, Suicidal Tendencies, and more, where Hazaert shared vocal duties on God of Thunder with Chuck Billy of Testament, and God Gave Rock And Roll To You with the legendary Doro Pesch, as well as participating in the epic finale of Rock And Roll All Nite.

The European More Live With Deth tour saw the permanent addition of guitarist Andy Martongelli and drummer Paolo Caridi into the recording lineup, as well as the return of Bumblefoot to the fold, and Ellefson was born. March 2020 brought the release of the hit single Simple Truth, which was premiered on SiriusXM by Eddie Trunk, followed in May by the release of their re-imagined Post Malone cover Over Now, both of which garnered national airplay, (Over Now currently in its 4th week on the Billboard Rock charts), garnering spins and coverage on nationally syndicated radio and major press outlets.

Ellefson is set to tentatively release their debut full length studio LP in Spring 2021.

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As previously reported, Don Dokken will be releasing The Lost Songs: 1978-1981 on August 28th. Greg Prato for Songfacts spoke with Dokken about this forthcoming release among many other topics, highlights appear below.

Songfacts: Let’s discuss how The Lost Songs: 1978-1981 came about. 

Don Dokken: When you make a record, you put out 10 or 11 songs, but you always write another 10 or 15. So, early on in my career, I had this huge amount of material and it just went by the wayside. Then it disappeared for 30 years. I thought the tapes were all gone. I was just moving s–t out of my garage six months ago, and I found all these old masters. 

I talked with Silver Lining, and I said, “It might be fun to put out a retrospective of the early days. But I can’t promise that it will be high quality – the s–t’s 40 years old.” So, I did the best I could and mastered it. There were a couple of songs that weren’t even done – it was just guitar, bass, and some vocals, and there were no solos and no overdubs. So, we decided to finish them up. I thought it would be a fun project. 

We were supposed to be on tour this summer, like 25-30 shows, and we needed a product out there, so I said, “Let’s do this.” But with the COVID thing, everything went to hell in a handbasket. I have two shows [this] month [July 17 in Roanoke, Virginia and July 18 in Hot Springs, Arkansas] – I don’t know how. Everyone says, “No one’s playing this year,” but we have two shows coming up in July. Like, 5,000 people. 

Songfacts: Is there a plan for social distancing at those shows?

Dokken: We were talking about that. How in the f–k do you take 2,500 people and put them six feet apart? It’s not reality. You’re going to make everybody stand six feet apart at a concert? It’s not going to happen.

But then again, with all these protests and tens of thousands of people ass to elbow next to each other and not wearing masks, nobody is paying attention, and you see what’s happening: COVID is going up. 

I just came in the house from my car – I was at the doctor’s. I wear my mask, gloves, and I have my disinfectant hand spray. I’ve got no desire to catch it. But a lot of people are catching it. Memorial Day weekend, you see these pictures of 3,000 people in a swimming pool with no mask on. What do you think is going to happen?

I’m just going to be really careful. I’m not really worried about the concert at all. I’d be more concerned about the airplane. 

Songfacts: Which songs do you feel define Dokken?

Dokken: Boy, that’s more of a question to ask a fan, not me. We’re a very unusual band compared to typical ’80s rock bands because there was glam metal, hard rock – it was diversified. Some people think of us as a glam metal band, but we’re not, obviously. We have songs like Kiss of Death, Tooth and Nail, Lightning Strikes Again, Paris Is Burning, When Heaven Comes Down – a very heavy side to us. Some of our songs are borderline Metallica.

But all our videos and all our singles were geared for pop radio. So, of course, the songs that were most commercial came out and MTV put those on. So, that kind of signified our sound as a very commercial rock band. I have people say, “I don’t like your commercial stuff,” and I have other people say, “I don’t like the heavy stuff.” You can’t make everybody happy, man. 

Songfacts: What was the inspiration behind the song Breaking the Chains?

Dokken: It’s kind of inspired by the Accept song Balls To The Wall. Accept was in the studio, and I remember Udo doing that thing, “We’re going to break the chaaains!” And I thought, “That’s cool.” He kept doing it over and over again trying to get the right vibe, and I thought, “What a great phrase, ‘break the chains.'” 

I wrote it in Germany. The Scorpions were in there recording, Accept was in there recording, and I was in there recording. The title Breaking The Chains was my way of esoterically saying, “It’s now or never. This is my shot. I’ve got a record deal. It could be over in a month.” How many bands have put out a record and thought they were going to be big rock stars and you never see them again? 

Breaking The Chains is a classic song now, but it didn’t sell anything in the beginning. It only sold 100,000 copies. That album [of the same name] tanked. But we did an arena tour with Blue Öyster Cult to back it up. 

Songfacts: Just Got Lucky?

Dokken: I can’t really speak for that – that was more of a song that Jeff and Mick wrote. That was kind of their baby. I just wrote some of the lyrics. I think it was George’s music, and Jeff and Mick wrote most of the lyrics, so I can’t really tell you what the inspiration was.

We never wrote together in Dokken. The three of them wrote, and I wrote by myself. Unfortunately, it wasn’t a band effort. It was dynamics of the band, with all the tension of George and I competing. When you’ve got two alpha males in the band, you’ve got trouble. 

Songfacts: Can you give any…examples of Dokken songs that were more band effort songs? 

Dokken: Slipping Away, It’s Not Love. Most of the collaboration happened at the end before we broke up in ’88. The last album, Back For The Attack, was more of a band effort.

Songfacts: Do you ever wonder what would have happened if Dokken didn’t break up at that point and continued on?

Dokken: I already know what would have happened. We would have been a huge band playing sold-out arenas. We were totally prepped. Our manager said, “Look, you’ve done Monsters of Rock. You’ve played stadiums. The next record, you’re going to do a world tour headlining – no more supporting. Give me one hit, and it’s going to be over. You’re going to be on.” 

And… we broke up. Our management started shifting all their attention to their other band, which was Metallica, and then they did The Black Album. We probably would have had a Black Album if we would have stayed together and put our heads together. We were right there on the precipice. We were already playing arenas and selling out 10,000 seaters, and then we were playing stadiums. We were right on the precipice of next album, world tour, done deal.

And we didn’t make it because I couldn’t take it anymore. The drug abuse was so rampant. I’m not putting the finger on them, but I never did coke – it wasn’t my thing. And those guys were coked-up out of their minds, as was everybody – you can’t just say Dokken. Dokken was known for infighting because they publicized it. I can name you five bands that have the same problem. I don’t know why they publicized the feud between George and I so much, but there’s a lot of bands out there that have the same problem with the singer and the guitar player. It’s always the “Eddie Van Halen and David Lee Roth” kind of thing. Van Halen had the same problem. 

If we would have survived the Monsters of Rock tour, I think we probably would have been a huge headliner, but it was bad timing. When we did Monsters of Rock, we had already been on the road for over a year. Van Halen hadn’t toured in two years, Metallica hadn’t toured, the Scorpions hadn’t toured – they were all fresh. We had just finished a world tour with like, five other bands, playing all over the world twice. We were pretty burned out. 

They said, “Hey! You’ve got the Monsters of Rock tour!” And I said, “You’ve got to be kidding me, man. I need a break.” We were tired. And hence, because we were tired, the drugs got worse, and people were doing coke to keep going. And I was drinking my wine.

We were pretty burned out, so when you’re irritable and the tensions are high, we just were fighting every day and it wasn’t fun. I was like, “Hey, my dream came true. I fought and fought for this, and here we are, playing stadiums.” A million people in six weeks. 

I was so happy to have gotten that far. We were on the bill above Metallica. I thought, “This is it, boys. One more great record and we’re home free.” But the band was unraveling. I was happy to be out there on that stadium tour, but I was totally depressed. I was just miserable. To see your guitar player on stage in front of 100,000 people walk behind his amplifier in the middle of the solo and snort coke, I mean, f–k, man. It drove me crazy. So, that just broke us up. That’s the way it goes. S–t happens.

And then of course, my name is Dokken. It’s not made up like “Mick Mars” or “Nikki Sixx.” It’s my real name. And when they took my name away from me and said I couldn’t use my name anymore, I was absolutely dumbfounded. The judge said, “You can’t use the name Dokken anymore.” I said, “But I’ve been Dokken since 1977.” And he goes, “You can’t use it anymore. You can call your album Don Dokken.” I said, “That’s not the same…I love my Don Dokken album on Geffen…[After that record] I retired…I had two young kids. I was working on my house, riding my Harley, and just chilling out. Then Mick called me and said he wanted a gig after Lynch Mob, and then Jeff called me, and then George called me. They were all kind of like, “We’re broke. We want to get back in the band.” Because they spent all their money on the typical rock star thing – divorces, child support, alimony – it’s just the old story. 

So, I said, “If you guys want to come back, I want my name back.” That was the deal: “If you guys want to play with me again, I want my f–king name back.”

Because we were a corporation, everybody had an equal 25% ownership of my name. That’s why I couldn’t use my name. So, we got back together and we did a really cool album, Dysfunctional, on Columbia [in 1995]. We moved forward after that, and then of course, things unraveled again. It’s kind of like getting divorced from your wife that you don’t get along with, and then five years later, you try to get back together. It’s just not possible.

Jon Levin has been in the band as my guitar player for 20 years. We get along great. All the guys in my band have been in there a long, long time now, and we have fun on the road. We hang out, we go to dinner, we barbeque, we bowl – we hang out as a band. Dokken was never like that. They were in the back of the bus doing coke, and I was in the front of the bus.

I’m very grateful to be where I am now. I have these two shows coming up with George – it should be fun. George will open up as Lynch Mob, then he’s going to come on stage for the last four songs and do the encores, and I’ve got one of my old Dokken guitar players doing the shows: Reb Beach, from Winger and Whitesnake. Reb is coming to fill in because Jon can’t go on the road right now – he doesn’t feel comfortable with the COVID because his father is 90 years old and he’s the primary caregiver. He said, “Man, if I get COVID and give it to my dad, he’ll die.” And I said, “I get it, Jon. I respect you and your father…”

…and I just told Jon, “Let’s hope for the best. Let’s hope the COVID thing gets better and they come out with a vaccine. Until then, if you don’t feel comfortable getting on a plane, then don’t.”

I talked to Mikkey Dee from the Scorpions the other night, and he and his wife got COVID in Australia. They were in the middle of nowhere and got it. He called me up and he said, “I’ll tell you Don, you don’t want to get it. I was on the floor.” He lost 35 pounds. He was sick as a dog – he was in a hospital. He was really in bad shape. He said, “I don’t know how I got it.” Because they had social distancing big-time in Australia. 

So, I’m taking a risk doing these shows. I know that. But what are you going to do?…

…But I’ve got to go out and work. I want to play. We’re right in the middle of making a new record – that’s what my focus is. The Lost Tapes was kind of a Band-Aid to hold us over because of the COVID so we could take our time with the new record.

Read more at Songfacts.

To read more about Dokken’s The Lost Songs: 1978-1981 and to hear the first single, Step Into The Light, please click here.

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Drummer Jimmy DeGrasso spoke to Eddie on his SiriusXM’ show, Trunk Nation, about his decision to exit Ratt after playing a number of shows with the veteran California hard rock act in 2017 alongside three members of RATT’s classic lineup — singer Stephen Pearcy, bassist Juan Croucier and guitarist Warren DeMartini.

“I played with them back in 2014; when they neeed a [fill-in] drummer, I did three shows with them,” DeGrasso said [via Blabbermouth.net]. “And then they sort of went silent, and then all the legal stuff started to happen. And then we all started to talk again. So we decided to come out and play. And, of course, we started on the Monsters Of Rock cruise [in October 2016], which was really cool. And the show, I thought, went really well. We rehearsed three or four days. And then we started to book shows, and then we started to play.

The odd thing about those guys, it’s, like, there’s no fighting — there was no fisticuffs in the dressing room or no screaming or any of that stuff. I don’t know what goes on behind the scenes with Warren and Stephen and Juan. So we did [shows] pretty much through the end of the summer [of 2017], and then Stephen had to have his knee replaced, which, obviously, is traumatic. And then we started to talk again, and then the next thing I hear, Warren’s not in the band. [Laughs] I’m, like, ‘Oh, okay.’

Honestly, I think you need Warren in that band. There’s no disrespect to anybody, but the band is Warren and Stephen, really, for the most part, I think. I think most fans would agree. And I don’t know what legal squabbles are going on behind the scenes. I’m not sure. I don’t know if there’s even any. I guess it’s just a situation where they just can’t coexist. I don’t know.”

When asked if Pearcy and Croucier approached him to play with Ratt in the band’s current lineup, which also includes guitarist Jordan Ziff, DeGrasso said, “Yeah, they did, for sure, and we talked a bit. My issue with it is, and, like I said, I made it clear with them, I just think the band’s strongest when it’s the three of them and [guitarist] Carlos [Cavazo, who played on Ratt’s last studio album, 2010’s Infestation]. I mean, Carlos is an amazing guitar player, and it was a great chemistry there. It’s all public domain. You can go watch the shows from ’17 — they were great. I don’t know why they can’t keep themselves together. I don’t know the subpolitics. And I told them that. I just [didn’t] think I [wanted to] be involved unless it’s the real guys.”

In addition to Ratt, DeGrasso previously played with Y&T, White Lion and Megadeth, among others.

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Earlier today (July 2nd), Megadeth, Lamb Of God, Trivium and In Flames released the following joint statement: “We are excited to share the new 2021 dates for The Metal Tour Of The Year.. All tickets will be honored for the new rescheduled dates. If you are a ticket holder and cannot make the new show, you will receive an email directly allowing you to request a refund. For more details, please visit livenation.com/refund. We can’t wait to get back on stage and get this tour kicked off.”

The 2021 dates for The Metal Tour Of The Year:

July 9 – Detroit, MI @ DTE Energy Music Theatre 
July 10 – Mt. Pleasant, MI @ Soaring Eagle Casino 
July 11 – Toronto, ONT @ Budweiser Stage 
July 13 – Burgettstown, PA @ S&T Bank Music Park July 14 – Cincinnati, OH @ PNC Pavilion 
July 16 – Bristow, VA @ Jiffy Lube Live 
July 17 – Charlotte, NC @ PNC Pavilion 
July 18 – Raleigh, NC @ Red Hat Amphitheater 
July 20 – Boston, MA @ Rockland Trust Bank Pavilion 
July 21 – Wantagh, NY @ Northwell Health at Jones Beach 
July 23 – Darien Center, NY @ Darien Lake PAC 
July 24 – Holmdel, NJ @ PNC Bank Arts Center 
July 26 – Camden, NJ @ BB&T Paivlion 
July 27 – Cleveland, OH @ Jacobs Pavilion at Nautica 
July 28 – Indianapolis, IN @ Ruoff Home Mortgage Music Center 
July 30 – Laval, QC @ Place Bell 
July 31 – Quebec City, QC @ Videotron Centre 

Aug. 3 – Green Bay, WI @ Resch Center 
Aug. 4 – Minneapolis, MN @ The Armory 
Aug. 6 – Chicago, IL @ Hollywood Casino Amphitheatre 
Aug. 7 – Kansas City, MO @ Spring Center 
Aug. 8 – Rogers, AR @ Walmart Amp 
Aug. 10 – St. Louis, MO @ Hollywood Casino Amphitheatre 
Aug. 11 – Nashville, TN @ Nashville Municipal Auditorium 
Aug. 12 – Atlanta, GA @ Ameris Bank Amphitheatre 
Aug. 14 – W. Palm Beach, FL @ iTHINK Financial Amphitheatre 
Aug. 18 – Corpus Christi, TX @ American Bank Center Selena Auditorium 
Aug. 20 – Austin, TX @ Germania Insurance Amphitheater 
Aug. 21 – Irving, TX @ The Pavilion at Toyota Music Factory 
Aug. 22 – Houston, TX @ Cynthia Woods Mitchell Pavilion 
Aug. 24 – El Paso, TX @ Don Haskins Center 
Aug. 25 – Albuquerque, NM @ Isleta Amphitheater 
Aug. 27 – Denver, CO. @ Pepsi Center 
Aug. 29 – Phoenix, AZ @ Arizona Federal Theatre 
Aug. 31 – Reno, NV @ Reno Events Center 

Sep. 1 – Irvine, CA @ FivePoint Amphitheater 
Sep. 2 – Concord, CA @ Concord Pavilion 
Sep. 4 – Portland, OR @ Moda Center 
Sep. 5 – Auburn, WA @ White River Amphitheatre 
Sep. 7 – Pocatello, ID @ Portneuf Health Trust Amphitheatre 
Sep. 8 – Salt Lake City, UT @ USANA Amphitheatre 
Sep. 10 – Las Vegas, NV @ Mandalay Bay Events Center

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Early September will see Zakk Sabbath, the Black Sabbath tribute band featuring guitarist/vocalist Zakk Wylde (Black Label Society, Ozzy Osbourne), bassist Blasko  (Ozzy Osbourne, Rob Zombie) and drummer Joey Castillo (Danzig, Queens of the Stone Age), release their spectacular tribute to the Birmingham four, a faithful yet supercharged rendition of Black Sabbath’s first album. Vertigo Records issued the iconic debut album on a Friday the 13th in 1970, and the world was never the same. Legendarily recorded in a single day in October 1969, the earth-moving self-titled set closed the book on hippie optimism with its dark magic and ushered in a brand new genre, setting the metal template for decades to come.
Exactly 50 years later, Zakk Sabbath celebrate the first chapter in the Sabbath catalog with a reverently rendered tribute, simply titled Vertigo, which is slated for a release on September 4th, via Magnetic Eye Records. Faithfully recorded in the spirit of the original, live in the studio and with a film crew documenting the process, the session culminated in a new version of a landmark album that celebrates the greatest heavy metal band of all time and the record that started it all.
“We recorded a live EP and were wondering what we could do next as a cover band, so the 50th album anniversary came just at the right time,” explains Blasko regarding Zakk Sabbath’s decision to go studio. “Compared to Paranoid, which is almost like a best-of record, the bulk of the material on Black Sabbath is deep-cut, really experimental stuff that was never thoroughly explored, so that was a challenge, not to forget that we wanted to meet our own high standards.”
Describing the DIY process as very productive,” the three respectfully added their own flair to make for a slightly different flavor, also revisiting various live renditions and extending a solo here or slowing things down because that’s what they tended to do on stage.”

Listen to their cover of Black Sabbath, below.

Zakk Sabbath’s Vertigo won’t be available digitally, “to make the release feel authentic to the time when vinyl ruled the earth. It was such a cool time for those of us that grew up during that time. The fan experience with the physical product is irreplaceable with digital and streaming. We wanted to capture that authenticity.”
Vertigo will be available as:

*Digipak CD.

*CD/DVD hardcover book with the album behind-the-scenes-interviews and making-of limited edition yellow vinyl.
Vertigo Tracklisting:

1) Black Sabbath
2) The Wizard
3) Wasp / Behind the Wall of Sleep / N.I.B
4) Wicked World
5) A Bit of Finger / Sleeping Village / Warning
For More Info Visit:

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The video for hard rockers SteelHeart’s timely, powerful, anthemic ballad My Freedom has just been released and is available now at SteelHeart.com.  The song will be released digitally worldwide on July 3rd.  Originally available on their most recent studio album, 2017’s Through Worlds Of Stardust, this newly-recorded, stripped-down, solo acoustic version of the song and corresponding video exemplify the potency of lead singer Miljenko Matijevic’s impressive vocals and impassioned delivery and message. 

Of the track, Matijevic avowed, “I wrote this song back in 2006 and recorded a full band version which was released on my last SH album. Considering all that has been going on in our world and the way I/we have been isolated, the lyrics kept haunting me night after night, and I was compelled to re-record the song acoustically. The recording was effortless but deeply emotional, bringing me to tears at times singing these lyrics.  This new version of My Freedom feels like it captures the (essence) and frustrations that we have all been experiencing these past several months.”

The aptly-named SteelHeart is the rock n’ roll band fronted by internationally known Croatian-American musician Miljenko Matijevic.  Platinum- and gold-certified around the world, SteelHeart burst on the scene in 1990 with their self-titled debut.  The album featured such global hits as She’s Gone and I’ll Never Let You Go (Angel Eyes).  Several years into their red-hot career, which included worldwide tours and massive radio success, on Halloween Eve in 1992, lead singer Matijevic suffered a freak accident when a 1000 lb. lighting rig fell on him during a show, breaking his nose, cheekbone, jaw and twisting his spine.

Four years and much physical rehabilitation later, Matijevic and a new line-up of SteelHeart returned with a new album (SteelHeart’s third), Wait, which sky-rocketed the band to new heights.  In 2001 a song from that album, We All Die Young, was featured in the smash hit movie, Rock Star, starring Mark Wahlberg and Jennifer Aniston.  Not only was the song prominently featured in the film, but Matijevic himself played an integral role lending his soaring lead vocals to Mark Wahlberg’s character, Chris Cole, first in his cover band Steel Dragon and then in Steel Dragon itself as per the triumphant story line. 

SteelHeart went on to release several more albums and DVDs, including 2017’s critically-acclaimed Through Worlds Of Stardust, album.  The band boasts upwards of 340,000 monthly listeners on Spotify and more than 170,000 followers.  In between SteelHeart world tours, lead singer Matijevic has also taken on such high-profile “side” gigs as singing for the legendary Doors with Robby Krieger and Ray Manzarek during two world tours and becoming a superstar in Asia, performing at numerous festivals in Korea, including one to an audience of 60,000 and appearing as a mainstay on Korean television.  

To experience SteelHeart, please visit: steelheart.com.

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