75. 40. 20. Three numbers. One extraordinary chapter in heavy metal history. New Album available for Pre-Order now 2027 marks a unique triple anniversary for Udo […]
The post U.D.O. RELEASE NEW SINGLE & VIDEO “I’LL DIE TRYING” AND ANNOUNCE 20TH STUDIO ALBUM VOODOO RANGER appeared first on Metal-Rules.com.
Foghat lead singer/guitarist Scott Holt takes center stage on the band’s soul-stirring take on the Elmore James blues classic, “It Hurts Me Too,” the second single released today from the upcoming triple-vinyl Live & Loud Across The U.S.A. It arrives ahead of the album’s October 30 release on Foghat Records, distributed by Select-O-Hits, a division of Sun Records.
Live & Loud Across The U.S.A. will be sold as two gold vinyl discs, along with a bonus third red vinyl disc (along with a double CD) that will include a reissue of the fan favorite Earl & the Agitators (aka Foghat) record, Shaken & Stirred (produced/mixed/mastered by guitarist Bryan Bassett), which has never been available on vinyl until now.
Recorded live in 2024, “It Hurts Me Too” finds Foghat returning to the deep blues foundation upon which the band was built in their days with Savoy Brown. Written by Hudson Whittaker, it was first recorded by Tampa Red in 1940 and later immortalized by the great Elmore James. The song has traveled through generations of blues musicians, and in Foghat’s hands it becomes something immediate, raw, and deeply personal. Scott doesn’t simply sing the blues; he reaches inside the song and makes every word, note, and silence count.
“This is the kind of song Scott was born to sing,” says Foghat founding drummer Roger Earl. “He doesn’t just play the blues; he understands where it comes from and what it’s supposed to feel like. Every night we play this song, he takes us somewhere different. I’m sitting behind him listening, and I still get chills.”.
A limited quantity of numbered and autographed copies of Live & Loud Across The U.S.A. can be pre-ordered here and on TalkShop.Live. On August 13, Roger Earl, Scott Holt, and Jason Peverett (Lonesome Dave’s son), along with a few selected fans, appeared on the site’s Rock & Roll Channel with their good friend and host, Steve Harkins, for an in-depth discussion about this new release and the band’s legendary career.
As Scott Holt tells it, he first learned of “It Hurts Me Too” from Junior Wells during his long tenure as guitarist with blues legend Buddy Guy, who took him under his wing as a young musician. He spent over a decade touring and recording with Buddy and received an extraordinary musical education (and life education). He traveled around the world and played onstage with greats such as Eric Clapton, Carlos Santana, B.B. King, John Lee Hooker, Willie Dixon, David Bowie, Double Trouble, among many others. He also played on Buddy Guy’s Grammy-winning album, Slippin’ In, and went on to establish his own voice through seven solo records and decades of live performances.
“Buddy taught me that the blues has to be honest,” says Holt. “You can learn the notes, but if you don’t mean them, the audience knows. “It Hurts Me Too” leaves you nowhere to hide. You have to step inside that story and tell the truth.”
Scott Holt’s journey into Foghat was not an overnight replacement or an attempt to recreate the past. It began back in 2014, when Roger Earl, guitarist Bryan Bassett, and the late Craig MacGregor first met Scott and invited him to their studio, Boogie Motel South, to help write a couple of songs for their upcoming album, Under The Influence. The chemistry was immediate, and they ended up writing about 17 songs. Within a couple of years, after an unexpected recording session with students at Dark Horse Institute in Franklin, TN, these four musicians found themselves with enough new music for a full album. Over a couple of bottles of Foghat Cellars Cabernet Sauvignon later, Bryan Bassett deemed this new venture as Earl & the Agitators, and in 2018 they released a record under this new name.
When longtime vocalist Charlie Huhn retired in 2022, Scott was the natural choice to step forward. He already knew the musicians, the music, and the spirit of the band because he had been part of the Foghat family for years.
His arrival as Foghat’s lead singer, along with his blues background, also brought the band’s musical story full circle. Foghat was born in 1971 when Roger Earl and “Lonesome” Dave Peverett left Savoy Brown to follow their own path–taking the blues they loved and turning it into something louder, tougher, and unmistakably their own. More than five decades later, Scott’s lifetime steeped in the blues has reconnected Foghat with those earliest roots while helping drive the band forward.
Founding drummer Roger Earl remains at its heart, and along with Scott, is joined by longtime lead/slide guitarist Bryan Bassett, who has been not only a band member but also the band’s producer and engineer since 1999 (who had also played with “Lonesome” Dave Peverett for many years prior to that), along with bassist/vocalist Rodney O’Quinn, who joined in 2015 after being hand-picked by longtime bassist Craig MacGregor, who sadly passed in 2018.
“A band is more than a list of names from one moment in time,” says Earl. “It’s the music, the history, the people who have carried it forward, and the connection we still have with the fans every night. Bryan, Scott, and Rodney are not pretending to be anyone else. They have each brought their own history, talent, and heart to Foghat, and this band is playing with as much passion as we EVER have.”
Same name, different musicians, same spirit. One continuing story. It’s about the music! It’s not a disconnected side story. It is part of the same musical journey: longtime friends discovering powerful chemistry, writing, and recording together and ultimately becoming the Foghat heard today.
The post FOGHAT Releases Video For “It Hurts Me Too”, The Second Single From “Live & Loud Across The U.S.A.” appeared first on Sonic Perspectives.
You may have heard it on SiriusXM in advance.
The post Justifications (The Red Chord, Etc.) Release Their Debut Single “Urge To Kill” appeared first on Theprp.com.
The South Central Los Angeles rapper AZ Chike has been making reckless, energized underground music for many years, and now he’s taking his shot at the mainstream. He got his biggest-ever look a couple of years ago when he traded bars with Kendrick Lamar on Kendrick’s song “Peekaboo.” Those two had an intriguing chocolate-and-peanut-butter chemistry. I’m already seeing people lamenting the lack of a Kendrick feature on AZ Chike’s brand new major-label debut No Rest For The Wicked, but I’m not worried about it. AZ Chike can level up just fine on his own.
The post LA Rapper AZ Chike Releases Impressive Major Label Debut <em>No Rest For The Wicked</em> appeared first on Stereogum.
Under the Lights (Do You Know Me Anymore?) by Lyfe Indoors settles into a dark late night atmosphere where the bass does much of the emotional heavy lifting. The low end stays present throughout, giving the track a slow physical pull while downtempo drums and hazy electronic textures create plenty of space around the vocals. There is a feeling of isolation running through the arrangement, but the music never becomes completely static, with subtle shifts keeping the tension alive. Lyfe Indoors leaves plenty of room for the lyrics to remain open ended, touching on fading connections, changing relationships and the strange distance that can grow between people who once knew each other well. The production feels intimate and slightly haunted, with the nocturnal mood matching the uncertainty at the heart of the song. Under the Lights finds a strong balance between atmosphere, rhythm and emotional unease.
Some connections fade without making a sound.
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Greetings, Decibel readers!
It’s a great week for long-running, reliable practitioners, with the latest from thrash-metal royalty, death-doom aristocrats, retro-rock kings, and keepers of the atmospheric black metal flames!
Check it out!
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Anthrax has always been adept at taking their signature attitude and power from Spreading the Disease and Among the Living, breaking their own stylistic boundaries, and molding it all for a new era. By their very nature — a guitarist with a penchant for New York hardcore, a singer with an epic heavy metal voice, and so on — Anthrax plays and sounds like an ensemble act that somehow all comes together. Cursum Perficio is notably a 2020s-sounding record, with the now-ubiquitous production style that fills everything out right up to the edge of peaking. And this greatly benefits the band, allowing songs like “My Victory,” “It’s For the Kids” and “The Edge of Perfection” to land with maximum impact. Speaking of “The Edge of Perfection” has a distinct Shadows Fall feel to it, which makes me wonder if guitarist Jonathan Donais had something to do with it. Those looking for some classic ‘thrax vibes should look to the record’s back half for thrashers like “NYC 93” and “T.O.M.B.”
Stream: Apple Music
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Concept-driven cavernous death metal. According to the band, the EP is based on the following idea:
“Continuing where their “Ts’ono’ot” EP ended, its story unfolds around a cenote of impossible dimensions whose cosmic call draws the lost and uncertain toward self-sacrifice. Four civilizations rise along its edge, each developing its own rites, hierarchies and monuments to transform the abyss’s fatal summons into a foundation for collective existence.”
Stream: Apple Music
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Epic, expansive, evocative black metal from the Netherlands. I’ve been a fan of Fluisteraars since 2020’s Bloem and this album definitely promises to be a mainstay for me this winter. In fact, it has some of the best 10-minute-plus compositions since Paysage d’Hiver‘s masterpiece Im Wald.
Stream: Apple Music
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Fans of Sweden’s Runemagick should know what to expect at this point in terms of quality death-doom. That said, Nicklas has added a shamanic vibe to this record that lets it stand apart from the rest of the project’s earlier output. Still, you’re here for big riffs. And you shall have them!
Stream: Apple Music
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I’ve always had a soft spot for Uncle Acid and the Deadbeats, although on paper they’re not exactly my thing. When it comes to reawakening the spirit of the past, the late-1960s/early 70s usually isn’t my first choice. But good songwriting, catchy choruses, and spooky vocals effects are always enough to push me over the edge. Put this on your spooky season playlist when you have friends over who don’t like death metal.
Stream: Apple Music
The post Five For Friday: September 18, 2026 appeared first on Decibel Magazine.