Blog Archives

Hard Rock Music Time Machine – 8/11/16

Hard Rock Music Time Machine - Hollywood Undead

Hard Rock Music Time Machine – 8/11/16

Each Thursday, Hard Rock Music Time Machine takes a journey back in time to feature a variety of songs that date back as far as the ’70s, the ’80s (the glory days of hard rock), hidden gems of the ’90s and hard rock/metal songs of the new millennium (as recent as a few years ago).

Whenever possible, it will also contain interviews from featured artists discussing the inspiration and meaning behind their songs.   On the last Thursday of each month, we will be doing special themes that feature songs based on specific categories or years.

In addition to appearing on the embedded YouTube playlist below, all songs featured on Hard Rock Music Time Machine can be listened to individually by clicking on the hyper-linked song titles above each review.



 ADAM WALDMAN – (Publisher, Hard Rock Daddy)

HOLLYWOOD UNDEAD – “Undead” (2008)

If you’re easily offended by harsh language, Hollywood Undead might not be for you.  However, if you like a band that refuses to be defined by others, then Hollywood Undead should be right up your alley.  Most new bands are so happy just to have a record deal, that they reluctantly allow the label to dictate artistic direction early on.  To their credit, Hollywood Undead had a vision for what they wanted to be, and it didn’t include censorship (the release of their debut album was delayed due to switching to a more open-minded label).

When Hollywood Undead’s debut album (Swan Songs) was finally released, it instantly garnered attention from fans who appreciated their powerful brand of rap rock.  The decision not to put out a censored album proved to be a smart (albeit ballsy) move for the band.

Like Kid Rock – who energizes fans with autobiographical songs like “Cocky” and “American Badass” – Hollywood Undead came bursting onto the scene with “Undead,” their cocksure rap rock song in the same vein.  This take-no-prisoners single from the band’s debut album laid the foundation for what was to come.

Hollywood Undead is unquestionably one of the top rap rock bands around.  They have continued to grow through the years, all the while staying true to what made them so appealing in the first place.

DEATH! DEATH! DIE! – “Put Ur Balls On It” (2010)

Although Death! Death! Die! has not come close to enjoying the same success as Hollywood Undead, you’d never know it from the swagger displayed in “Put Ur Balls On It.”  Amazingly, the lyrics to this song make “Undead” seem somewhat tame by comparison.  To say that this song is “ballsy” would be an understatement, but for those who are not easily offended, it’s actually clever and funny (in a dirty way).

Who else would think to transition from lyrics like…“I made your mom an alcoholic…she tried my seven inches, now she’s drunk on dick” to “I got my curly locks cause I was made by two jews…solvin’ mysteries like I was Steve from Blues Clues”?  If you’re a fan of Hollywood Undead, Eminem and the like, make sure to check out this song!



 ANDY CHEUNG – HRD Music Scout

MINOR THREAT “In My Eyes” (1981)

As a longtime fan of the punk and hardcore genres, when I look back at the bands that moved me the most, Minor Threat is at the top of my list.  This band has influenced almost every aspect of modern punk and hardcore music, culture and lifestyle.  Not only did they influence other groups in the genre, but they also influenced a plethora of bands in the thrash metal genre.  Most thrash metal bands (such as Slayer) will cite Minor Threat as a huge influence in their attitude and sound.  “In My Eyes” is from the band’s eponymous compilation album.  As the founders of straight-edge hardcore, Ian MacKaye screamed angrily about anti-smoking, anti-drinking, anti-drugs and keeping a clear mind.  Being one of the most important albums in hardcore punk, the spirit of Minor Threat lives on.


CRO-MAGS “We Gotta Know” (1986)

By the mid-‘80s, a lot of punk hardcore music has started to attract metalheads, leading to the crossover genre.  Cro-Mags was one of the bands that started crossing over before the term was even coined.  They were a hardcore punk band all around; fast, heavy and angry, as reflected in their song “We Gotta Know” (from their album The Age of Quarrel).  The band is still going strong all these years later, playing recently at a benefit show in NYC to raise money for Bad Brain’s Dr. Know.




SEBASTIAN BACH – “You Don’t Understand” (2007)

Sebastian Bach gained fame as the soaring voice of Skid Row in the late ‘80s.  Since then, he has broadened his resume not only with more singing roles, but acting roles as well.  This tune comes from his 2007 solo album, Angel Down.


STEVE PERRY – “Captured By The Moment” (1984)

While enjoying superstardom as the front man for Journey, Steve Perry released his first solo album, Street Talk.  It was a huge success with megahits “Oh Sherrie” and “Foolish Heart.”  Less well known, but equally compelling, is this ode to the ‘60s, replete with nostalgic pop culture references.





THE ARROW – “Centuries Behind” (2008)

“Centuries Behind” is a bright and energetic track from Russian metal band The Arrow.  The song is off of their last known album, 2008’s Lady Nite.  You’ll hear traditional driving metal rhythms blended with classical progressions, led by Alex Cap’s excellent vocals and the standout guitar work of Juri Bobyrev and Kirill Emelyanov.  Although they are still listed as active, there’s not much trace of their whereabouts today.


TIME REQUIEM – “Hidden Memories” (2004)

“Hidden Memories” is an epic track from Sweden’s Time Requiem (from their third album, The Inner Circle of Reality).  Founder Richard Anderson started this band because he felt that his previous endeavor (Majestic) had run its course.  The main themes and reprises in this neo-classical metal piece are pit against forceful, driving rhythms.  Strong vocals from Apollo Papathanasio, deft guitar work from Magnus Nordh and excellent keyboards from Anderson are the standout performances.

Music Discovery Monday – 7/11/16

Music Discovery Monday - Halestorm

Music Discovery Monday – 7/11/16

Music Discovery Monday shines a light on artists that are not getting the radio attention that they deserve, while also showcasing new singles by established bands that are likely to get airplay in the future.

In addition to appearing on the embedded YouTube playlist below, all songs featured on Music Discovery Monday can be listened to individually by clicking on the hyper-linked song titles above each review.



 ADAM WALDMAN – (Publisher, Hard Rock Daddy)

HALESTORM – “I Like It Heavy”

One of the things that sets Lzzy Hale apart from most other female hard rock vocalists is that she has the delivery and attitude of the male vocalists that influenced her sound, while maintaining a distinct feminine quality.  Hale has found the perfect balance between sexy and ballsy, masterfully infusing just the right amount of each quality into her vocals.  It’s not just her delivery that makes her stand out; it’s also the comfort in singing lyrics that, at times, could make a sailor blush.

“I Like It Heavy” is a fun track that pays direct homage to influences like Black Sabbath, Led Zeppelin and Lemmy in a groove-oriented, Kid Rock anthem kind of way.  Back in 2001, Kid Rock referenced Hank Williams Jr., Billy Gibbons (ZZ Top) and Willie Nelson, and paid homage to Lynyrd Skynyrd’s “Freebird,” in his bombastic song, “You Never Met A Motherfucker Quite Like Me.”  Like Kid Rock, Hale has a way of making “motherfucker” seem like a perfectly acceptable word to sing along in unison.

Just when you think that “I Like It Heavy” has come to an end, there is an unexpected bonus in the form of Janis Joplin seemingly being reincarnated through Hale, with a closing that conjures up memories of “Bobby McGee.”  Hale was already my favorite female rock vocalist.  “I Like It Heavy” further confirms my feelings about her place in the hierarchy of women rockers.

AIRBOURNE – “Breakin’ Outta Hell”

There were many (myself included) who thought that Airbourne frontman Joel O’Keeffe would have been a better choice to front AC/DC than Axl Rose.  Although I still believe it to be true, the silver lining is that O’Keeffee continues to put out new material with Airbourne.  “Breakin’ Outta Hell” has a definite AC/DC vibe, albeit with an edgier sound than the legendary band’s recent material.  The gritty, enraged vocals on this track are reminiscent of Blackie Lawless from the early days of W.A.S.P.  The title track of the band’s upcoming album release also features some nice Angus Young-esque lead guitar work from O’Keeffe.



 ANDY CHEUNG – HRD Music Scout


Being a longtime fan of Mercyful Fate, I was excited to hear the about the reincarnation of the band (minus King Diamond).  With the original shredders – Michael Denner and Hank Shermann – who are probably two of the best guitar duelists in metal history, their new album, Masters of Evil, does not disappoint.  This album also sees the return of Snowy Shaw, who is one of my favorite drummers of all time.  “Angel’s Blood” is classic metal at its best.  The only thing that would make the album better is if King Diamond made a guest appearance on a song or two.



Flotsam and Jetsam has been around forever.  Since 1981, they have released 12 albums, the newest one being their self-titled release.  Their brand of power thrash metal has held its form over the years, and their new album is no different.  With original founding member Eric Knutson on vocals, and newcomer Jason Bittner on drums (another one of my all-time favorites), Flotsam and Jetsam is a heavy reminder of how a well-written and composed thrash metal album should sound.




SCORPION CHILD – “My Woman In Black”

“Ethereal and turbulent.”  That’s the sound this Austin, Texas band was going for on Acid Roulette, the follow-up album to their eponymous debut.  They found it, along with tons of groove and raw energy. There are strong Led Zeppelin and stoner rock influences, but with a heavier and more contemporary sound.



Wildheart’s music could have come straight out of the ‘80s, but they do it justice with clean vocals and blazing guitars.  This glam metal band out of Belgium writes some catchy tunes and performs them with tons of energy.




ASTRALION – “Wastelands Of Ice”

Finland’s Astralion has released their second full-length album, Outlaw“Wastelands of Ice” has a steady, mid-tempo pace that mixes well-timed changes of pace between respites of calm, heavy, powerful refrains.  The bright and hopeful theme is emphasized by the guitar solo work of Hank Newman and rousing vocals led by Ian Highhill.  A high-quality, clean and refined production sound provides the finishing touch.


FATES WARNING – “From The Rooftops”

“From the Rooftops” is a track off of Fates Warning’s latest album release, Theories of Flight.  Tranquil beginnings give way to driving aggression in true prog metal style.  Ray Alder’s renowned vocals navigate through time shifts with expert precision.  It’s a great backdrop for a song about time: however tranquil it may seem, it is unstoppable and ‘ends all things.’  The terrific percussion work of Bobby Jarzombek sets the pace with complex rhythms with Joey Vera on bass, topped off by Jim Matheos’ mind-bending shred on lead guitar.



To be considered for Music Discovery Monday, please e-mail a link to the song being submitted on YouTube and an artist bio to –

Outlaws & Moonshine – 1919 (EP): Hard Rock Daddy Review

Outlaws & Moonshine 1919

The inspiration for both the name Outlaws & Moonshine and their debut EP (1919) predates the band by nearly a century.  Back in 1919, around a half century before the evolution of Southern Rock, the era of Prohibition began in the United States.  That government miscalculation gave rise to speakeasies and moonshine while making outlaws out of bootleggers until the repeal of Prohibition in 1933.

Not much good came out of Prohibition in the early 20th century.  However, in 2015, Southern Rock fans will celebrate Prohibition for inspiring this Indiana quartet to take us on a journey back in time.

With their debut EP, 1919, Outlaws & Moonshine have captured the essence of legendary artists like Lynyrd Skynyrd and Molly Hatchet (to name a few), added their own modern touches, and created a sound that they call “New Southern Rock.”

Beau Van is a talented guitar player and a soulful Southern Rock singer, but perhaps his greatest gift is the ability to paint a mental picture with lyrics that bring you into his world.  With obvious pride of his heritage, Van has a way of romanticizing a small town, country lifestyle.  Just like Sons Of Anarchy made people want to become bikers, Outlaws & Moonshine’s 1919 makes you want to hang out and party with Van (and the rest of the band) in his hometown.

Should you be so lucky as to hang out with the boys of Outlaws & Moonshine, you would likely get to learn more about the story of “Cootie Brown” (the drunkest redneck in town), as you sat on the porch sipping moonshine from a mason jar.  Maybe moonshine is not your thing.  Would the boys drink “Whiskey” with you all night long instead?  Hell yeah…they love that stuff!

While Outlaws & Moonshine have cultivated a sound that harkens back to the glory days of Southern Rock, one of their greatest appeals is how relatable they are to the everyman, the working stiffs who understand what it’s like to grind through the week anxiously awaiting the weekend.

Van’s unapologetic, defiant embracing of “country grammar” in songs like “Hey Y’All” shows his true character, and only serves to make him more likeable (even to a “Yankee” like me whose knowledge of the South is mostly derived from watching The Dukes Of Hazzard as a kid).

Based on the first three tracks on 1919, you’d expect a song called “Redneck Me” to be dripping with “back beat boogie woogie” – the words used to describe the sound of the band in their bio.  This is where the album takes an unexpected turn, showcasing deeper emotions with a southern-style love ballad in the musical vein of Kid Rock’s nostalgic country rock songs and the Jonny Van Zant classic, “Brickyard Road.”

“Different Kind Of Man” – the final track on the EP – offers a little bit of everything that Outlaws & Moonshine has to offer.  From the sweet acoustic guitars and melodic harmonies to gritty, soulful vocals and bluesy guitar shredding, this Skynyrd-esque track is the definition of “New Southern Rock.”

As the saying goes…“it doesn’t have to be old to be classic.”  Outlaws & Moonshine may classify themselves as “New Southern Rock,” but that is more a matter of chronology than sound.  If the band had made their debut with 1919 in the ‘70s, they may very well be mentioned in the same breath as the very legends of Southern Rock that they cite as influences.

HRD Radio Report – Week Ending 1/25/15

HRD Radio Report - Kid Rock


The HRD Radio Report showcases the weekly Active Rock Mediabase Charts (compiled by, and appears every Tuesday on  The HRD Radio Report digs deeper into the weekly Active Rock charts, providing commentary, reviews, recommendations and predictions.  It also features opinion pieces on chart action and the music business in general.

Many of the artists featured on the Active Rock charts have already been reviewed on

Click on the hyperlinked song titles to read song reviews, and the hyperlinked artist names to read album reviews.

The following is the Active Rock Mediabase Chart for the week ending 1/25/15.  All exclusive HRD content is featured below the chart:

1 4 THREE DAYS GRACE “I Am Machine” 1992
2 1 FIVE FINGER DEATH PUNCH “Wrong Side Of Heaven” 1827
3 2 FOO FIGHTERS “Something From Nothing” 1769
4 5 SEETHER “Same Damn Life” 1687
5 3 ROYAL BLOOD “Figure It Out” 1518
6 7 PAPA ROACH “Face Everything And Rise” 1309
7 8 ASKING ALEXANDRIA “Moving On” 1251
8 6 GODSMACK “Something Different” 1074
9 11 PRETTY RECKLESS “Follow Me Down” 998
10 12 IN THIS MOMENT “Sick Like Me” 881
11 13 NOTHING MORE “Mr. MTV” 870
12 21 HALESTORM “Apocalyptic” 837
13 14 NICKELBACK “Million Miles An Hour” 823
14 15 AC/DC “Rock Or Bust” 807
15 18 MARILYN MANSON “Deep Six” 759
16 16 SIXX A.M. “Stars” 758
17 17 YOUNG GUNS “I Want Out” 656
18 20 STARSET “Carnivore” 623
19 23 ARCTIC MONKEYS “R U Mine?” 553
20 19 CHEVELLE “An Island” 521
21 24 BRING ME THE HORIZON “Drown” 479
22 26 SLASH “Bent To Fly” 441
23 25 MOTIONLESS IN WHITE “Reincarnate” 433
24 29 ALL THAT REMAINS “This Probably Won’t End Well” 421
25 22 LINKIN PARK “Rebellion” 375
26 36 KID ROCK “First Kiss” 361
27 27 OF MICE & MEN “Feels Like Forever” 338
28 43 BLACK KEYS “Weight Of Love” 290
29 31 RISE AGAINST “Tragedy + Time” 261
30 30 LIKE A STORM “Wish You Hell” 260
31 28 THEORY OF A DEADMAN “Savages” 241
32 41 ISLANDER “New Wave” 239
33 32 3 YEARS HOLLOW “For Life” 236
34 33 LINKIN PARK “Final Masquerade” 227
35 34 WE AS HUMAN “Bring To Life” 213
36 46 CAGE THE ELEPHANT Cigarette Daydreams 197
37 40 BEARTOOTH “Beaten In Lips” 188
38 38 NICKELBACK “Edge Of A Revolution” 176
39 42 AMARANTHE “Drop Dead Cynical” 174
40 37 SHAMAN’S HARVEST “Dangerous” 159
41 48 SLIPKNOT “Custer” 157
42 45 HINDER “Hit The Ground” 154
43 0 MOTLEY CRUE “All Bad Things” 112
44 0 FOO FIGHTERS “Congregation” 108
45 44 SAVING ABEL “Blood Stained Revolution” 107
46 56 THOUSAND FOOT KRUTCH “Unraveled Road” 95
47 50 CHARM CITY DEVILS “Karma” 79
48 52 XFACTOR1 “I Blame You” 67
49 49 FOZZY “Do You Wanna Start A War” 67
50 52 LENNY KRAVITZ “Dirty White Boots” 66




 KID ROCK – “First Kiss”

When it comes to radio play, Kid Rock poses something of a dilemma because of his ability to straddle a variety of genres and appeal to fans of each.  His latest single, “First Kiss,” is not exactly what comes to mind when you think of Active Rock radio, and yet, the song is steadily climbing the charts (#26 this week).  With the Mainstream Rock charts carrying virtually no clout due to the lack of overall spins, it stands to reason that artists whose music fits the format would start to cross over to Active Rock.  After all, a good portion of Active Rock fans are also fans of the music that is played on the limited amount of Mainstream Rock stations that exist.  The same cannot be said for the Alternative Rock songs that regularly appear in the “I CALL B#LL$HIT!” section of the HRD Radio Report.  If you follow the Active Rock charts, you are well aware of how stagnant they can be. so adding songs like “First Kiss” into Active Rock rotations helps to keep things fresh and interesting.  As a good portion of the U.S. is being pummeled by a record-breaking snowstorm today, one listen to the nostalgic, feelgood “First Kiss” allows you to escape the cold and get into a summer frame of mind, much like another Kid Rock classic, “All Summer Long.”


THE BREAKDOWN by Jon Loveless


Now we know what it takes to dislodge the Five Finger Death Punch / Foo Fighters stranglehold on the number one spot on the Mediabase Active Rock airplay chart: the all-time kings of the active rock hill, Three Days Grace.  “I Am Machine” becomes the 13th song from the band to ascend to the top spot, extending their lead for most #1 Active Rock songs (Linkin Park has hit the top spot 11 times).




Asking Alexandria suffered no loss of momentum at radio with the news of Danny Worsnop’s departure, but how the lineup change will affect them is the future is the much larger question…

More spins this week for Halestorm as new stations come on board for “Apocalyptic” giving it a nice jump and putting the Top 10 well within reach for them next week …

Motley Crue leads five songs debuting in the Top 50 this week with “All Bad Things” (which is very likely their final single) …




Asking Alexandria – “Moving On”

Halestorm – “Apocalyptic”

Kid Rock – “First Kiss”


Foo Fighters – “Something From Nothing” 

Royal Blood – “Figure It Out”

Godsmack – “Something Different”




FOZZY – “Do You Wanna Start A War”

More than 15 years ago, when pro wrestler Chris Jericho teamed up with guitar hero Rich Ward (Stuck Mojo), I don’t know if anyone really thought we’d be where we are today:  enjoying a third straight Active Rock charting single from Fozzy.   The transformation from novelty act recording NWOBHM covers to an honest-to-goodness band with its own voice took a while to make it out of developmental territory, but more evidence that the transition is complete comes from the title track from their latest album.  Not quite as infectious as the lead single from the album (“Lights Go Out”), I think it’s a confirmation of the band’s growth that they’re having success with songs that aren’t the strongest on the album.  This is a sign of depth as well as the musical diversity that the band has grown into.  Maybe they’ll never win the World Heavyweight Title, but they’re at least getting into contender status for the Intercontinental belt, and that’s not shabby at all.




Sometimes it seems that you just can’t win for losing.   Only three songs clearly qualifying for I.C.B. this week – Arctic Monkeys, Black Keys, Cage The Elephant – as Fall Out Boy drops off the chart (a step in the right direction).   The downside is that those who insist on pushing these faux-rock songs to Active Rock audiences decided to simply push the ones that remained even harder.  The compost pile trio received over 1,000 spins in the past week, an increase of more than 15%, and that’s a step in the wrong direction.




Next week, we’ll watch to see if Three Days Grace can solidify their hold on the top chart position, learn more about which songs (if any) already entrenched in the Top 10 can maintain their momentum to possibly succeed them, and see just how quickly some fast-rising songs can get themselves into the discussion as well.




That’s all for this week.  Tune in to every Tuesday for the HRD Radio Report. \m/

HRD Radio Report – Week Ending 1/18/15

HRD Radio Report - Halestorm


The HRD Radio Report showcases the weekly Active Rock Mediabase Charts (compiled by, and appears every Tuesday on  The HRD Radio Report digs deeper into the weekly Active Rock charts, providing commentary, reviews, recommendations and predictions.  It also features opinion pieces on chart action and the music business in general.

Many of the artists featured on the Active Rock charts have already been reviewed on

Click on the hyperlinked song titles to read song reviews, and the hyperlinked artist names to read album reviews.

The following is the Active Rock Mediabase Chart for the week ending 1/18/15.  All exclusive HRD content is featured below the chart:

1 1 FIVE FINGER DEATH PUNCH “Wrong Side Of Heaven” 2057
2 2 FOO FIGHTERS “Something From Nothing” 2022
3 3 ROYAL BLOOD “Figure It Out” 1828
4 4 THREE DAYS GRACE “I Am Machine” 1781
5 5 SEETHER “Same Damn Life” 1617
6 6 GODSMACK “Something Different” 1322
7 8 PAPA ROACH “Face Everything And Rise” 1221
8 9 ASKING ALEXANDRIA “Moving On” 1082
9 7 POP EVIL “Beautiful” 947
10 10 HELLYEAH “Moth” 945
11 12 PRETTY RECKLESS “Follow Me Down” 931
12 11 IN THIS MOMENT “Sick Like Me” 920
13 13 NOTHING MORE “Mr. MTV” 875
14 14 NICKELBACK “Million Miles An Hour” 783
15 18 AC/DC “Rock Or Bust” 722
16 16 SIXX A.M. “Stars” 722
17 17 YOUNG GUNS “I Want Out” 667
18 22 MARILYN MANSON “Deep Six” 651
19 19 CHEVELLE “An Island” 581
20 20 STARSET “Carnivore” 570
21 0 HALESTORM “Apocalyptic” 545
22 21 LINKIN PARK “Rebellion” 465
23 31 ARCTIC MONKEYS “R U Mine?” 429
24 25 BRING ME THE HORIZON “Drown” 427
25 23 MOTIONLESS IN WHITE “Reincarnate” 418
26 26 SLASH “Bent To Fly” 394
27 27 OF MICE & MEN “Feels Like Forever” 349
28 24 THEORY OF A DEADMAN “Savages” 343
29 30 LIKE A STORM “Wish You Hell” 310
30 39 ALL THAT REMAINS “This Probably Won’t End Well” 308
31 28 RISE AGAINST “Tragedy + Time” 261
32 34 3 YEARS HOLLOW “For Life” 240
33 36 WE AS HUMAN “Bring To Life” 238
34 35 LINKIN PARK “Final Masquerade” 227
35 33 AC/DC “Play Ball” 221
36 54 KID ROCK “First Kiss” 217
37 29 SHAMAN’S HARVEST “Dangerous” 208
38 38 NICKELBACK “Edge Of A Revolution” 206
39 44 ISLANDER “New Wave” 197
40 32 FALL OUT BOY “Centuries” 196
41 41 BEARTOOTH “Beaten In Lips” 190
42 48 AMARANTHE “Drop Dead Cynical” 154
43 83 BLACK KEYS “Weight Of Love” 148
44 45 SAVING ABEL “Blood Stained Revolution” 134
45 49 HINDER “Hit The Ground” 131
46 50 CAGE THE ELEPHANT Cigarette Daydreams 121
47 47 LENNY KRAVITZ “Dirty White Boots” 101
48 51 CHARM CITY DEVILS “Karma” 91
49 53 YOU ME AT SIX “Forgive And Forget” 86
50 58 SLIPKNOT “Custer” 78




 HALESTORM – “Apocalyptic”

Although there are certainly some real head-scratchers appearing on this week’s chart, Active Rock programmers deserve credit for jumping right on board with the “Apocalyptic,” the first single off of Halestorm’s upcoming album, Into The Wild Life (dropping the first week of April).  Given the tremendous radio success of the singles from the band’s previous album, The Strange Case Of…, it stands to reason that Active Rock radio would be chomping at the bit to add the first new Halestorm song in three years into heavy rotation.  The song rockets all the way up to the #21 position in its debut week, and it won’t be long before it provides a welcome challenge to the stagnant top of the chart.  Lzzy Hale and the boys pick up right where they left off with “Apocalyptic,” a heavy, melodic rocker with lyrics that show why Lzzy is considered a rock goddess by the masses.



THE BREAKDOWN by Jon Loveless


It looked iffy in the middle of the week, but Five Finger Death Punch had a strong airplay weekend to remain atop the Mediabase Active Rock airplay chart for a third straight week (and fifth week overall) with “Wrong Side Of Heaven.”  The stability is highlighted even more with the song recording exactly the same number of spins as the week before.  Not really surprising to see Foo Fighters’ “Something From Nothing” stay at #2 with a fractional gain, while Royal Blood’s “Figure It Out” remains at #3 with a fairly slight decline.   Hard to be surprised at this point, as this is the ninth consecutive week for that trio of songs to hold down the top three spots.




Halestorm returns with a bang as “Apocalyptic” narrowly misses debuting in the top 20 …

All That Remains continues their strong start with “This Probably Won’t End Well”

Kid Rock picks up more believers for “First Kiss”increasing spins over 200% …

Nearly two months after it began receiving airplay, “Forgive & Forget” by You Me At Six finally cracks the Top 50.  Whether that’s the tipping point for a song that would have been expected to fare better as the follow-up to a single (“Room To Breathe”) that spent three months in the Top 10 remains to be seen.




Marilyn Manson – “Deep Six”
Halestorm – “Apocalyptic”
All That Remains – “This Probably Won’t End Well”


Godsmack – “Something Different”
Pop Evil – “Beautiful”
Shaman’s Harvest – “Dangerous”





Not being particularly a fan of one of rock’s more polarizing artists, this isn’t something I would have expected to name as one of the catchier songs at a given moment, but I suppose it goes to show that you just never know.  Brooding & lively at the same time, Manson has cited both post-punk and classic blues as influencing his more recent work, but for me in this case, it’s the guitar work that sells the song.




Good news/bad news again this week.   I’d be far more excited to see “Gotta Get Away” exit the Active Rock chart if it weren’t replaced immediately by another song by The Black Keys.  It’s amazing how anyone can call this song, or Arctic Monkeys or Cage The Elephant song “active rock” with a straight face.   By comparison, Fall Out Boy seems downright legitimate … but only by comparison.  Around 900 spins were thrown away by the format this week on those four songs alone.




Sometimes a rant can be good for the soul…cathartic.  I sure hope that’s the case, because it’s increasingly difficult to avoid becoming angry at the deep funk that Active Rock radio, and by extension as well as by design the Active Rock chart, has fallen in to.  I’m sure that it’s been hard to miss in my comments, but it’s hard to hide when I’m ready to pound my keyboard in sheer frustration.  Maybe if I just let a few things out I’ll feel better, so here goes…

There’s no excuse for lazily pounding listeners over the head with the same songs week after week after week…there just isn’t.  There’s no shortage of airplay-worthy material right now.  If anything, there’s a significant glut of it. At any given moment over the past year or so, there are roughly 2x-3x the number of current (less than 90 days old) singles available than any station could reasonably and effectively play.  That’s just the number that I can identify from my vantage point in the cheap seats; the true total is certainly even higher.  There may, however, be some reasons that playing the same songs over and over, week after week is becoming increasingly common.


1) Too few radio decision-makers seem to have a clue as to what “Active Rock” means.  To paraphrase the famous quote about obscenity, when trying to identify songs from the ill-defined genre…“I know it when I hear it.”  More important though, is an ability to know what it isn’t when you hear it.  This is the basis for the “I Call B#ll$hit!” segment of the HRD Radio Report, an idea that predates my presence, but one that I wholeheartedly endorse.

Programmers who are intent on playing “alternapop” artists like Black Keys, Arctic Monkeys and the like ad nauseam, should just get the hell away from Active Rock and take those artists and songs with them.


2) Too few decision-makers seem to have an interest in actually being Active Rock.  It feels as though many are simply frustrated that they aren’t working for an Alternative station somewhere, and take their frustrations out on the listeners by shoveling pile after steaming pile at them to satisfy their own tastes instead of living up to the format.  The business desperately needs to find, and then empower, people who WANT to program the format, instead of sticking square pegs into round holes.


3) And finally…consolidation.  The two problems that I mentioned first are then multiplied and magnified by a consolidation of ownership.  This leaves stations under the same ownership playing largely the same songs at the direction of “consultants” or “vice-president in charge of programming” or whatever lofty title was handed off to whatever power players that were able to position themselves into a high-paid job.

Quite literally, one person / one chain / one group acting with a single mind can almost instantly create a “hit” today, at least in terms of chart position.  From a business standpoint, the joint ownership makes sense and really isn’t the issue I’m raving about; it’s the internal decision to treat every market and every audience as generically as possible that creates the problem.

All things in music seem to be cyclical, so maybe this is simply another cycle.  The problem that I have with this particular cycle, and the concern that it creates, is that it could be the sort of cycle that leads to the death of a format/genre.  It’s eerily similar to what is seen on the Mainstream Rock chart, where songs move at a glacial pace, with little semblance of rhyme or reason as to what hits or doesn’t hit.

The Mainstream Rock format is at such a low point that it probably shouldn’t even continue to exist in its current state.  Of course, if you are amongst those who believe that five nationwide spins per week is worthy of being referred to as a Top 50 song, and you like hearing the same songs played repeatedly in heavy rotation for six to nine months at a time, then you probably still believe in the format.

There!  Rant over….for now…




In the next HRD Radio Report, we’ll likely see how long radio can beat the same dead horses.   At this point anything else might be cause for celebration with supersized fonts.




That’s all for this week.  Tune in to every Tuesday for the HRD Radio Report. \m/

Kid Rock “First Kiss” – A Nostalgic Musical Journey

Kid Rock First Kiss

On a brutally cold winter day, it’s natural to start longing for the summer, but it takes a certain kind of magic to actually put you in a summer frame of mind.  Enter Kid Rock with the title track from his upcoming album, First Kiss.  The single, released yesterday, is the kind of song that you crank up with the top down as you bask in the glory of a summer wind hitting you in the face.

One of the most fascinating things about Kid Rock is his ability to transcend genres, and yet, still hold the same appeal to fans with polar-opposite musical tastes.  “First Kiss” is good, ole fashioned rock and roll with a country flavor that will have the same mass appeal as the classic, “All Summer Long.”  Like “All Summer Long,” “First Kiss” takes you on a nostalgic journey, perfectly highlighted by Kid Rock’s soulful, raspy vocals.

For those who long for the simpler times of a bygone era, “First Kiss” is especially poignant.  The song is as much about reveling in a carefree youth as it is about reminiscing about an actual first kiss.  It also perfectly exemplifies how life has a way of changing your perspective as time goes by.

It doesn’t matter if you are a fan of hard rock or country, from the same generation as Kid Rock or not; “First Kiss” is an instant classic that will hook you in with its infectious melody and leave you feeling uplifted and ready for summer.

Click here to pre-order some very cool First Kiss packages!

Three For Thursday: Rush, Kid Rock, Led Zeppelin

Three For Thursday - Rush, Kid Rock, Led Zeppelin

Three For Thursday featuring:  Rush, Kid Rock and Led Zeppelin.  The theme of the week is revealed below the last video.


This week’s “Three for Thursday” songs:

ARTIST:               Rush

SONG:                “Dreamline”

ALBUM:               Roll The Bones

RELEASED:          September 3, 1991




ARTIST:                Kid Rock

SONG:                 “Times Like These”

ALBUM:                Born Free

RELEASED:           November 16, 2010




ARTIST:                Led Zeppelin

SONG:                 “Stairway To Heaven”

ALBUM:                IV (Zoso)

RELEASED:           November 8, 1971


This week’s Three For Thursday theme is…


RUSH – “Dreamline”… “like lovers and heroes, birds in the last days of spring”

KID ROCK – “Times Like These”… “the ice and snow give way to a new spring bloom”

LED ZEPPELIN – “Stairway To Heaven”… “it’s just a spring clean for the May queen”


Three For Thursday Archives

Three For Thursday: Kid Rock, Van Halen, New Years Day

Three For Thursday - Kid Rock, Van Halen, New Years Day

Three For Thursday featuring:  Kid Rock, Van Halen and New Years Day.  The theme of the week is revealed below the last video.


This week’s “Three for Thursday” songs:

ARTIST:             Kid Rock

SONG:               “Happy New Year”

ALBUM:              Rebel Soul

RELEASED:         November 19, 2012




ARTIST:               Van Halen

SONG:                 “Jump”

ALBUM:                1984

RELEASED:           January 9, 1984




ARTIST:               New Years Day

SONG:                 “Angel Eyes”

ALBUM:                Victim To Villian

RELEASED:           June 11, 2013


This week’s Three For Thursday theme is…

“NEW YEARS” – While two of the three connections are obvious, Van Halen’s “Jump” may seem like it doesn’t belong.  However, the video for “Jump” debuted on MTV as the clock struck midnight on January 1, 1984.  Thirty years have passed, but the moment has not lost any clarity over time.


Three For Thursday Archives

Kid Rock – $20 Best Night Ever Tour: Hard Rock Daddy Concert Review

Kid Rock $20 Best Night Ever Tour - Bethel Woods Center For The Arts

©Hard Rock Daddy
Kid Rock – $20 Best Night Ever Tour – Bethel Woods Center For The Arts

Kid Rock calling his tour the “$20 Best Night Ever Tour” may seem incredibly “Cocky,” but as the man says…“It ain’t braggin’ motherfucker if you back it up!”  There are very few artists in any genre that can back up a claim like that, but Kid Rock is absolutely one of them.  One of the things that you have to love about Kid Rock is that there is no pretense; what you see is what you get.  Nowadays, there is a lot of lip service paid by politicians who claim to be “a man of the people,” but those words ring hollow because they lack sincerity.  Kid Rock is a man of the people, and if he wasn’t so busy entertaining the masses, he would be ideally suited to hold public office and effect real change.

The “$20 Best Night Ever Tour” shows just how connected Kid Rock truly is to the people, the real people who are still struggling to make ends meet, not the ones who judge America’s fiscal recovery by a stock market rebound.

A $20 bill featuring a skull with Kid Rock’s likeness covered the entire stage as the lights went down and the whole crowd sang along to Journey’s “Don’t Stop Believin’” as it blared through the speakers into the unseasonably cool night air to begin the show.  As the crowd sang…“just a small town boy, born and raised in south Detroit,” the music stopped.  Kid Rock’s silhouette appeared in the center of the dollar bill as he recited a prayer that was more spiritual than religious, and expressed his sincere gratitude to everyone in the crowd for spending their hard-earned money to attend the concert.

The man who creatively found a way to turn back the clock to 1980’s concert pricing was thanking people for spending their money to see him perform, when the ones who should have been truly grateful were the fans lucky enough to experience the “best night ever” at a tremendous discount.

After Kid Rock got done thanking the crowd and promising them a great show, he and his incredible band launched into the highly energetic “Devil Without A Cause.”  If anyone had any doubt that they would be getting the full Kid Rock experience for a mere $20, they quickly found out that Kid Rock doesn’t do anything half-assed.  He is, quite simply, one of the greatest live performers in music today; although even he acknowledges that his “colorful” lyrics may not be for everyone.

When the band finished playing “Celebrate” (the only track of the evening off of his most recent album – Rebel Soul), he explained to the crowd that those who were fans of some of his radio hits, and decided to attend the concert because it was only $20, might be in for a surprise.  A well-timed disclaimer if ever there was one, as he immediately launched into “You’ve Never Met A Motherfucker Quite Like Me.”  It may sound crazy to anyone who hasn’t seen Kid Rock live, but because he is so likeable, no one ever seems to be offended by anything he says or does on stage, regardless of their personal moral compass.

The majority of the set list (see below) featured songs from Devil Without A Cause, Cocky and Rock N Roll Jesus.

Kid Rock is in a class by himself when it comes to breaking down music genre barriers, which is why it is virtually impossible to categorize the fans in attendance.  There was no demographic; ages ranged from elementary school kids to grandparents.  His music appeals to rock, punk, rap, hip hop and country fans alike, a sentiment that he drove home with authority during his performance of “Forever.”  If you love great songs performed to perfection in an electrified atmosphere, there simply is no better place to spend $20 for entertainment than Kid Rock’s $20 Best Night Ever Tour.

This concert was about more than just great music.  Kid Rock took the time to show his true appreciation for everyone who made the night possible – the fans and the sponsors (Harley Davidson, Jim Beam) who helped subsidize the price of tickets, merchandise and concessions.  In doing so, he showed that change can happen in an industry that has become much too comfortable with the status quo.  And if that means having commercial messages embedded into the concert experience, then so be it.  Not surprisingly, Kid Rock found a way to make these messages inspirational, so they didn’t feel like advertising.  When you leave a Kid Rock concert, you do so with a sense of empowerment that you can do anything in life that you desire if you set your mind to it.

The $20 Best Night Ever Tour may sound like hyperbole to some, but those that experienced it firsthand would agree that the tour is aptly named.


  1. Devil Without A Cause
  2. Celebrate
  3. You Never Met A Motherfucker Quite Like Me
  4. American Badass
  5. Wasting Time
  6. Cowboy
  7. So Hott
  8. Forever
  9. Cocky
  10. Rock Bottom Blues
  11. Picture
  12. Rock N Roll Jesus
  13. Only God Knows Why
  14. Born Free
  15. Blue Jeans And A Rosary (encore)
  16. All Summer Long (encore)
  17. Bawitdaba (encore)

Patriotic Hard Rock Songs

Patriotic Hard Rock Songs

In celebration of Independence Day, Hard Rock Daddy presents a list of patriotic hard rock songs.

There are many hard rock songs that feature patriotic titles, but the song lyrics actually have little to nothing to do with patriotism. The patriotic songs on this list were chosen because of their relevant lyrical content, many of which involve the freedom that we all enjoy because of the American military.

As we make preparations for Fourth of July celebrations, the focus is on food, family, friends and fireworks for the most part.  However, without our military, none of these things would be possible.

The video playlist below can also be found on To scroll through the videos, click on the “playlist” button on the YouTube player.