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Eddie Trunk of "That Metal Show" Hosts
Hair Metal Holiday 2016
SLAUGHTER, Kix, King's X, Lynch Mob (George Lynch of Dokken), BulletBoys, Pretty Boy Floyd, Tuff, Lillian Axe, Supernova Remnant, DJ Joey Scandalous, HOST: Eddie Trunk
Sat, December 10, 2016
Doors: 2:00 pm / Show: 3:00 pm (event ends at 12:00 am)The Bomb Factory
This event is all ageshttp://www.thebombfactory.com/event/1271521/
EDDIE TRUNK OF 'THAT METAL SHOW" HOSTS "HAIR METAL HOLIDAY"
During this time filmed what became a platinum home video "From the Beginning" depicting the bands rather different and humorous lifestyle. To showcase the live prowess the band had garnered during their first tour, the band released "Stick It Live" a five song EP collection which entered the billboard charts and went gold as quickly as it was released. This was certainly a shock to the non-believers in the world.
Slaughter was contacted by Orion pictures and Record Producer Jimmy Iovine to write and record what would become the theme song for "Bill and Ted's Bogus Journey" and later made a video featuring clips from the film as well. This CD was also Gold.
The band went on to record the "WildLife", it's second record after a consistent schedule of touring behind the multi-platinum debut, "Stick It To Ya." During this time the band was awarded the prestigious American Music Award in 1991. The "WildLife" CD entered the billboard charts the first week of release in the top ten at # 8 and was shortly their after certified platinum. The band also filmed what became a second gold home video documenting the making of the "WildLife" CD. The band embarked on a tour that would take them through their first challenging obstacle to overcome.
During the Ozzy Osbourne Tour (June 1992), Singer Mark Slaughter was diagnosed with a nodule on his right vocal chord that required surgical attention that was later performed in August 1992. The band would not perform again until Halloween of 1992 on the Dick Clark's Halloween Special from Universal Studios in Hollywood, CA. The band continued to tour with the Damn Yankees bringing them midway through the 1993 season. After receiving the most media attention for a second CD effort, the band began to make plans to record their next Chrysalis release (Fear No Evil). The next series of challenges was soon to come. The writing of "Fear No Evil" in Las Vegas seemed to start out with a normal timber as all other records thus far. However midway into writing, guitarist Tim Kelly and then tour manager were arrested in Las Vegas by drug enforcement agents for a six plus year old charge involving narcotic trafficking. From this point through completion of the record, it was not known if Tim Kelly would ever tour with the band again. Soon to add gasoline to the fire was the small dirt bike accident within a half mile of Dana Strum's house in Las Vegas, NV causing multiple broken bones including a left wrist and two fingers on the left hand (the hand he plays bass with). Once again the band was determined to continue on. Tim was now travelling coast to coast to record and meet with attorneys as Dana was going through rehabilitative therapy and the band embarked on a recording schedule starting in November of 1993.
The band played it's first engagement on new years 1993 debuting material from the forthcoming CD at the Hurricane in Las Vegas at a meager price of $100 dollars per person. "Fear No Evil" was completed in February 1994 with the band touring with Damn Yankees from February on . After flying to New York to debut the album for the record company at the mid year point, the group soon realized that no one involved in the promoting of their early records was any longer employed by Chrysalis(EMI) records. The band spent four months negotiating their release from the label. Within three months after negotiating the release the band signed a deal with then newcomer CMC International records with a vision of bringing Hard Rock and Metal Music to the people again. Slaughter also made a Pacific Rim record deal with JVC Victor Records of Japan, marking a new world release period for Slaughter.
The band embarked on a tour that would take them through late 1995 that took them from the days of tour busses to adjusting to Chevy Astro Vans. The band never lost their humor or spirit during these trying times. The group also released "Rain On", a five song import EP featuring Slaughter's first cover song, Elton John's "Saturday Nights Alright for Fighting." The band then embarked on their first tour of Japan. The tour was a long overdue overwhelming success. Slaughter had to perform with Vince Neil guitarist "Dave Marshall", (Tim Kelly's long time friend) in Japan due to Tim's ongoing legal problems. Many seeing the band during these trying times felt as thought the group itself was beginning to perform better as a unit ironically. By this time Tim Kelly's legal problems had ended and the band was now bound and determined to continue it's pursuit of good time rock and roll.
Returning from a rather long tour, the band begun to make plans to record "Revolution", the bands fourth full length effort and first enhanced CD. With musical climates changing the band embarked on a bit of a psychedelic approach still maintaining a good time spirit with often more challenging songs to be recorded. The record was released with an in store promotion campaign across major cities in America with the band signing copies of all of its catalog to date. Slaughter then embarked on it's first of what would become many package tours, this time with "Motley Crue" singer Vince Neil who had performed with Tim, Mark and Blas at a Las Vegas charity engagement earlier that year. (Ironically the band had met a talented young sound man/guitarist from Orlando, Florida named Jeff Blando who would later become the fourth member of Slaughter after the tragic passing of Tim Kelly.) The band began to feel an upswing in audience attendance and peoples determination to let hard rock live.
The band continued to tour with Alice Cooper, Dokken and Warrant on it's second package tour showing even more promise and teaching the band that sticking to their guns was the right thing to do. After playing their last headlining date in Detroit, MI (November 1997) the band returned to their respective homes and planned a new live release to encompass performances of material spanning the years.
"Eternal Live" was the band's 6th record, and their first full-length live release is Slaughter at it's best- live on stage. Recorded in the summer of 1997 at two of their most exciting concerts - one in Mexico in front of more than 20,000 fans, and one in their hometown, Las Vegas, "Eternal Live" captures the excitement of a Slaughter performance and showcased 12 songs off their earlier albums. Sadly, this album must also serve as a tribute to original Slaughter guitarist Tim Kelly (1963-1998)-RIP, who was killed in a car accident. "Eternal Live" was Tim's farewell performance, "explains bassist and producer of all Slaughter albums, Dana Strum." And I think he'd be pleased that his last recordings were not just in the studio, but were with our fans there too." Uncertain if the band would continue or tour after Tim's passing, the only logical replacement was Jeff Blando who was described by late guitarist Tim Kelly as "One Hell of a player."
The band rehearsed with Jeff Blando during the last week of May 1998 with no other goal in mind than to continue and make this work. The bands first performance with out Tim Kelly was in Salt Lake City in June 1998. The warmth and support of the audience was nothing short of overwhelming. The band several gigs later realized that the fans would rather feel and hear the music than see it fade away. This marked a noted positive change for all of the members, with Blando being received with open arms. Drummer Blas Elias adds, "You can't top our fans. They stick with us through the best and worst of times. We keep in touch with them all via the internet and they never let us down." According to front man Mark Slaughter, "It's been the love and support of our fans that helped us carry on after Tim died. And we make this solemn promise to them that as long as they are there, so will Slaughter be there."
The band continued touring on there self named "1998 "Rock Never Stops" Tour playing to as many as 16,000 fans the likes of which Slaughter had not seen in a great many years.
This would become a positive turning point for the group with nothing but promise ahead of them. All of the members reflect that Slaughter has enjoyed plenty of "BIG TIME" success in their 10 year career. Five songs on their albums were #1 MTV videos. Seven of the songs were in rotation on AOR radio. Like any group who has known the thrill of selling millions of records around the world , filling large arenas and having their faces plastered on magazine covers, the members of Slaughter have felt the pressures of maintaining that success. "Five years ago , it's all we could think about," says Dana, "but then losing Tim and seeing music come and go over the past few years has taught us a lot about the music business and has allowed us to re-evaluate what we're doing." Blas admits, "From this point on our only priority as a band is to make the best records and perform the best live shows that we can for as long as we can."
Las Vegas, Nevada / May 1999 : Slaughter had completed their seventh CD to date entitled "Back to Reality."(CMC/BMG RECORDS) That marked the first joint writing effort involving all four band members and the most challenging recording schedule to date. (With Production of the CD beginning only in March of 1999) During this time the band also filmed for VH-1 "Where Are They Now", the show aired Summer 1999.
During the summer of 1999 it was interesting to note that while on it's own (SELF-NAMED) "Rock Never Stops Tour" (which included : TED NUGENT and NIGHT RANGER) Slaughter did more press (including "Forbes" and "Various TV and Radio Shows", but also had the "#1 Track" on the "VH-1" CD "Power Ballads" with "Fly To The Angles" and "Up All Night" became the "#1 Track" on Rhino Records "Hard Hitters" meaning that Slaughter had Never released more Product in any year of the GROUP'S history.
VH-!,MTV and Major Film Companies have gone to SLAUGHTER requesting that "Songs, Sounds and Images" be included in releases for 2003 and beyond.
Slaughter took part in the hugely successful summer 2000 "Poison, Cinderella, Dokken and Slaughter" tour proving that rock is stil alive and well.
In 2001 Slaughter was a part of the "Voices of Metal" tour featuring Vince Neil of Motley Crue, Ratt, and Vixen.
Slaughter has shown that with perseverance and sheer talent, a band can survive and win over the support of fans , regardless of what others may say about the quality of their music. What's most important is that their music is still here and the vast majority of critics who panned them in the past are not, and that's as good as gold.
In summer 2003 Capital records re-released the first two Slaughter CD's "Stick it to Ya" and the "Wildlife" featuring 24 bit digital re-mastering, additional photos, bonus tracks and liner notes written by Mark Slaughter and Dana Strum.
In April of 2004, Slaughter released a DVD-A entitled "Then and Now" that features 12 songs and 50 rare photos of the band over the years. Slaughter will also have a DVD that features all of the music videos and behind the scenes footage during the 2004 season". "Check the SLAUGHTER TOUR DATES PAGE for SLAUGHTER TOUR DATES
In 2005 Slaughter toured the USA between February and November.
"The boys and I are so happy that our old friend, Tom Lipsky, has invited us to join the Loud & Proud family," exclaims Whiteman. "We worked with Tom and Madelyn Scarpulla on our last studio album, SHOW BUSINESS, and we're looking forward to working with them again with the release of the first new KIX album in almost 19 years! We'll still be coming to a dump near you very soon!"
Loud & Proud Owner & President Tom Lipsky adds, "What I have always loved about KIX is they make rock 'n roll fun. What I love about their new music is that it's pure, genuine KIX music, straight up guitar rock with no compromise. They're not chasing trends or trying to re-invent themselves. They're simply doing what they do best…and now they can do it Loud and Proud!"
Marking the re-emergence of KIX in early-2000's, the band had teamed up a few times a year to test the waters with reunion shows in the Maryland/Pennsylvania, which were very well received. Then in the summer of 2008, KIX performed outside the mid-Atlantic for the first time in 13 years at two of the biggest rock festivals in the U.S. Rocklahoma in Pryor, OK and Rock the Bayou in Houston, TX. The band was hailed by many music websites and attendees as "Best Performance" at both festivals, where they played alongside Sammy Hagar, Alice Cooper, Tesla, Queesryche, Ratt, and more.
As the demand for new music has never subsided and in fact has only increased over the last few years, the band decided that they can no longer ignore the overtures from their fans and are currently recording new KIX songs. The new album, due out summer 2014, is produced by Taylor Rhodes, who last worked with KIX on 1991's HOT WIRE album. Rhodes has also written hit songs for Aerosmith, Ozzy Osbourne and Journey.
Sneak Preview was offered a recording contract in 1985 if they relocated to Houston, TX, which they did, but the deal failed to materialize. Undeterred, the trio continued on and perfected their sound and songwriting further, catching a break when ZZ Top video producer Sam Taylor took the group under his wing, helping them secure a recording contract with New York's Megaforce label in 1987, and suggesting that they change their name to King's X (the name of a local outfit that Taylor was an admirer of back in his high school days).
In 1988, King's X released their debut album, Out of the Silent Planet. Despite praise amongst critics, the public didn't know exactly what to make of the group's original and multi-genre encompassing style, and the album sank without a trace. But with their sophomore release, 1989's classic Gretchen Goes to Nebraska, a buzz began to develop around the band in the metal community, as members of Anthrax and Living Colour praised King's X in the press, and MTV granted a few airings of their anthemic track "Over My Head." The stage was set for the group's big breakthrough, and things appeared to be going according to plan when their third release, Faith Hope Love, surfaced in late 1990.
The album just missed the U.S. Top 30 and nearly reached gold certification, due to landing a lengthy spot opening on AC/DC's sold out arena tour in both the states and Europe, while the Beatlesque "It's Love" received major airtime on MTV. What should have been an exciting time for the band quickly turned sour, however, as King's X began to experience trouble with manager Taylor. 1992's self-titled release (the group's first to appear on Atlantic Records without the Megaforce imprint) proved not to be as focused as their previous pair of albums, resulting in the album disappearing quickly from sight after release (and their ensuing tour halted), as they ended their relationship with Taylor.
But it appeared as though the change had refueled the group's musical desire once again, as evidenced by the Brendan O'Brien-produced, stellar 1994 release, Dogman, which performed respectfully on the charts. This success resulted in the band opening shows for Pearl Jam and a show-stopping performance on the opening night of the mammoth Woodstock '94 festival. Atlantic Records began putting pressure on the trio to deliver a breakthrough hit but when 1996's Ear Candy failed to live up to expectations, King's X left the label (Atlantic would issue one more release from the band a year later, The Best Of, which featured 13 fan favorites, as well as three unreleased compositions and a live track).
1998 saw the group sign to the Metal Blade label, as both Pinnick and Tabor issued their first solo albums (Tabor with Moonflower Lane and Pinnick with Massive Grooves, the latter issued under the alias Poundhound), followed by the group's seventh studio release overall, Tapehead. Now free to issue albums at their own pace, the group issued two more albums only a year apart -- 2000's Please Come Home...Mr. Bulbous and 2001's Manic Moonlight. Pinnick continued his solo career in conjunction to King's X, issuing Poundhound's second release, Pineappleskunk, the same year (as well as forming a side-project with former members of Trouble, dubbed Supershine), while Tabor issued two albums with the prog metal supergroup Platypus -- 1998's When Pus Comes to Shove and 2000's Ice Cycles. Around the same time, King's X received a pleasant accolade from their peers when they were voted as one of the "100 Greatest Artists of Hard Rock" on a VH1 TV special
When George Lynch joined Dokken in the early 1980’s, success came very quickly. As history proves, much of the band’s album sales and credibility is the result of George Lynch’s guitar abilities and songwriting. With Dokken, Lynch recorded five albums from 1983 to 1988, all of which did remarkably well in the United States, Europe and Asia. This worldwide success made George Lynch one of the most influential rock guitarists in modern music, even earning the band a Grammy nomination in 1989 for Best Rock Instrumental. 1989 was also the year the George parted ways with Dokken and began the new decade with a different approach…enter the Lynch Mob.
By the early 1990s George had become a marquee guitar hero throughout the world. As a result, working with the Lynch Mob was a highly scrutinized and anticipated project. In just three years, the Lynch Mob released two records and hit the road on two worldwide tours. After the second tour’s completion, Lynch took hiatus and retreated to the studio to craft his first solo recordings.
“Sacred Groove,” Lynch’s first solo endeavor was released in 1993. For the first time in his career, he was able to display a broader assortment of musical and guitar styles. The “Sacred Groove” album clearly established Lynch as an eclectic musician with a volume of eccentric work. Having satisfied this endeavor, George Lynch took several years off to spend time with his children and enjoy life in Arizona. That was until a call from an old friend came in 1994.
Following his departure, Dokken had reformed without the use of George Lynch, but when the record company refused to release a new Dokken record without Lynch, phone calls were made in late 1994. Lynch came in to fulfill the requests of the record company and round two with the band began. Soon to follow were two more Dokken records and three more years of touring the globe.
By 1998, Lynch finished his commitment with Dokken and set out to work with the Lynch Mob. This resulted in “Smoke This,” an album that featured a culmination of his playing styles, but with a new approach. The 1999 tour that followed brought George’s playing to a new audience and resulted in a renewed interest in the band and George Lynch’s influence. With new confidence, George began working with former Dokken band mate bassist Jeff Pilson and drummer Michael Frowein on what was to become a lengthy album titled “Wicked Underground.”
The Lynch/Pilson project grew out of song ideas that began with Michael Frowein at Lynch’s Stonehouse Studios the previous year. Jeff Pilson was always in mind to join in the completion of the songs. The collaboration proved to inspire Pilson and Lynch to completing the full-length record together. “Wicked Underground” was completed under the name LP (Lynch/Pilson) and delivered to stores in April 2003.
Also in 2003, Lynch began reworking the sound of earlier Lynch Mob and Dokken material. To complete this task, George re-assembled Mob band members, Robert Mason and Anthony Esposito, along with Michael Frowein on drums. Together, they reinvented the spirit and fire of early Lynch compositions onto an album titled, “REVolution,” which was also released in 2003. The guitar work on both “Wicked Underground” and “REVolution” demonstrated Lynch’s consistency with his signature sound while balancing a more experimental side.
ROUND THREE: THE RESSURECTION
At present, George Lynch has been busy in the studio and on the road. His latest solo record titled “Furious George” features a collection of songs that influenced the musician throughout his career. He is also working on a retrospective compilation titled “Lost Lynch.” The collection exhibits his natural progression and growth as a musician, guitarist and songwriter. Spanning over thirty years, “Lost Lynch” showcases his earliest recordings at age 15 to his multi-platinum successes later in his career. This collection explores some choice examples of missing links from Dokken and Lynch Mob, as well as Lynch’s later projects that have never been released to the public.
George Lynch is always evolving as a musician. And with the George Lynch guitar legacy comes remarkable business opportunities. Many musical instrument manufacturers consult with George creatively to produce equipment. As a result, many quality products bear his name.
The most notable is his endorsement with ESP Guitars. ESP has held George as their highest profiled endorser for close to 20 years. Electric guitar pickup guru Seymour Duncan has also honored George with his own signature series pickup called the “Screamin’ Demon.” Now a highly regarded standard in the guitar world, the “Screamin’ Demon” reigns as one of Seymour Duncan’s most popular items to date. Currently, Lynch and Seymour Duncan are developing the “Super V,” a new pickup initially available only in the new ESP George Lynch Super V guitar, which is slated to be unveiled at NAMM ’05. George also conceived the design for a triple amp selector switching system called the “Tripler” which is now being manufactured by Morley. American Recording Technology manufactures and distributes the George Lynch Signature guitar, patch and speaker cables. An endorsee of Dean Markley, George Lynch and the company are working on a signature string set debuting at the upcoming Winter NAMM show. In 2005, Randall Amplifiers will unveil a new George Lynch modular amp called the “Lynch Box.” Also of note, George Lynch and Robert Keeley have developed the Lynch Time Machine, a unique and powerful effect unit that is gaining a lot of interest and momentum within the guitar industry.
The BulletBoys began as a collection of talented musicians from high profile bands such as King Kobra and Ratt. Using their credentials, they were able to quickly capture the attention of music fans around the world while front man,Marq Torien, emerged as one of the most underrated vocalists of the era.
The BulletBoys formed in 1988 at the very peak of the Los Angeles glam metal movement. With record companies constantly searching for new talent, they possessed a pedigree that most bands would kill for. Unlike the other glam rockers of the day, the BulletBoys were more hard rock and blues fusion than pure hair metal. Thanks to comparisons to the likes of Aerosmith and especially Van Halen, talent scouts came running and the band quickly received their first major label contract.
BulletBoys: Self-Titled Debut Album
With hard rock guru Ted Templeman producing, and a deal with a label that specialized in their brand of hard rock, their self-titled debut was destined to be an instant success. Having previously engineered acts such as Van Halen, Van Morrison, Doobie Borthers, Linda Ronstad, Montrose, David Lee Roth, and other classic bands on his resume, Templeman was viewed as a bona-fide hit maker and became a natural fit for the BulletBoys.
The BulletBoys album dropped in 1988 with the driving single "Hard as a Rock" becoming an instant fan favorite. The thumping rock continued with the following hits, "Kissin' Kitty" and "F#9." Escaping the trends set by most bands of the era, the BulletBoys opted not to include a power ballad on their album. Instead, they kept the rock and blues coming with the smash hit single "Smooth Up in Ya". After a successful cover of the classic blues song, "For the Love of Money" The BulletBoys officially established themselves as the leaders of party rock.
Following the album’s release, lead singer Marq Torien quickly began drawing comparisons to David Lee Roth and Terrence Trent Darby. Not only did they share similar vocal styles, but Torien brought the crazy energy and showmanship of Diamond Dave and his soulful motown style vocals to excited, crowded live audiences every night. With the band’s success, they secured a coveted touring spot opening for Bon Jovi, followed by other tours pairing them with Ozzy Osbourne, Cinderella and Living Color, which led to massive headlining gigs. The consistent hits and touring eventually paid off, and vaulted the BulletBoys to platinum status.
The long touring schedule kept the BulletBoys from the recording studio for years. The harsh evenings of never-ending shows took a toll on Torien's voice, forcing him to recuperate before they could complete their second album, 1991's Freakshow. Keeping the driving hard rock alive and with Marq Torien's banshee screams in full force, the BulletBoys were officially back. The wave of singles which included "Thrill That Kills," as well as the MTV video standouts “Hang on St. Christopher" and “Talk to Your Daughter” became popular favorites which could be heard bursting from car stereos all over the country.
After another busy tour schedule, the BulletBoys reentered the studio to record Za-Za in 1993. Packed with a wide variety of music that touched on everything from power ballads to party themes, Za-Za featured the popular songs “Laughing with the Dead”, “When Pigs Fly,” and “The Ballad Mind.” Unfortunately, the constant strain of exhaustion and internal strife pulled the group apart, resulting in all of the founding members leaving, except for Marq Torien.
BulletBoys: Future & Rock The Bayou
The BulletBoys continued to tour and release the albums Acid Monkey and eventually Sofie, surviving throughout the grunge era and outlasting the nu-metal craze. Greatest Hits: Burning Cats and Amputees reunited the BulletBoys' original superstar lineup temporarily in 2000, to the delight of fans nationwide. Torien continued to keep the group alive, as the 2007 release Behind the Orange Curtain was well received by critics and fans.
BulletBoys: 10c Billionaire
In 2009, Bulletboys released 10c Billionaire on Chavis Records, the sixth successful album from the rock warriors. In its first week of sales, the new record burst onto the Billboard Charts at #6 in top internet sales, signifying Torien’s ability to keep the band alive for over 20 years and surviving throughout the test of time. The group continues to tour in support of 10c Billionaire, and will appear on many of the top music festivals in America during 2010.
In 2015, Marq Torien released Elefante’ on Cleopatra/Universal Records, produced and engineered by Ryan Greene, Marq Torien & Matt Thorne, In it’s first week of sales, then new record landed onto the CMJ charts at #9. This stellar album is an expertly assembled eleven song collection of Hard Rock and Heavy Metal, each track, beginning with the relentlessly pummeling “Rollover” and the acoustic-tinged quasi-Power Ballad “Symphony”, immediately commands the rapt and undivided attention of all parties involved. The group drives home each key focal point via a seamless blend of soaring vocals, blistering fretwork and imaginatively punishing rhythms. Amid various an array of numbing inanities. The initial excursions are as memorable as they are thoroughly satisfying. With Torien's now-trademark über-slick delivery and a seemingly renewed sense of purpose paving the way, the group finds itself creating relevant, thought-provoking music in an era when so many of their remaining contemporaries find themselves completely reliant on the County and State Fair circuits for survival. This is quite possibly as good as it gets and trust me, you will not be disappointed.
BulletBoys: Greatest Hits
* "Hard as A Rock" from the BulletBoys album
* "Kissin' Kitty" from the BulletBoys album
* "F#9" from the BulletBoys album
* "Smooth Up in Ya" from the BulletBoys album
* "For the Love of Money" from the BulletBoys album
* "Freakshow" from the Freakshow album
* "Thrill That Kills" from the Freakshow album
* "Talk to Your Daughter" from the Freakshow album
* "Hang on St. Christopher" from the Freakshow album
* "Slow and Easy" from the Za-Za album
* ” Laughing with the Dead” from the Za-Za album
* “When Pigs Fly” from the Za-Za album
* “Mine” from the Za-Za album
Formed in Hollywood, California, Pretty Boy Floyd rose out of the ashes of the band Doll when its original singer was replaced by vocalist Steve “Sex” Summers in 1987. The other members of Doll consisted of guitarist Aeriel Stiles, bassist Vinnie Chas and drummer Kari Kane. The band decided to take the name Pretty Boy Floyd from a producer working with them. Before the demo was recorded, guitarist Aeriel Stiles was replaced by Kristy “Krash” Majors. Famously, Pretty Boy Floyd was signed to MCA records after only eight shows together.
Pretty Boy Floyd: Find Success
Pretty Boy Floyd released its first album Leather Boyz with Electric Toyz in 1989. The album peaked at No. 130 on the Billboard Top 200 chart. The band gained a following in Europe because Kerrang! magazine featured Pretty Boy Floyd as a cover story that same year. Leather Boyz with Electric Toyz produced two singles, “Rock and Roll (Is Gonna Set the Night on Fire)” and “I Wanna Be With You,” both of which did well on MTV. Pretty Boy Floyd loaned the song “48 Hours” to the Karate Kid, Part III soundtrack in 1989.
Pretty Boy Floyd: Defy the Odds
In 1991, Pretty Boy Floyd went their separate ways. The band members pursued various musical projects. Bassist Vinnie Chas created the band Rattlin’ Bones with former guitarist Aeriel Stiles. In 1995, Vocalist Steve Summers along with guitarist Kristy Majors, LA Guns bassist Keff Ratcliffe, guitarist Keri Kelli and drummer Kari Kane recorded Pretty Boy Floyd’s first EP A Tale of Sex, Designer Drugs, and the Death of Rock N Roll released on Perris Records. The album featured the songs “Good Girl Gone Bad” and “Junkie Girl.”
Pretty Boy Floyd: Keep Momentum
Pretty Boy Floyd released its second album Porn Stars in 1998 on Cleopatra Records. The unique album featured covers of the KISS song “Shout it out Loud” and “Department of Youth” by Alice Cooper. Porn Stars also featured new versions of five songs off of Leather Boyz with Electric Toyz including the late 1980s hit “I Wanna Be With You.” Pretty Boy Floyd remained an underground hit with fans.
Pretty Boy Floyd: New Music
Pretty Boy Floyd released its third album Size Really Does Matter on Deadline Records in 2004. The band’s lineup consisted of vocalist Steve Summers, guitarist T’Chad, bassist Lesli Sanders and drummer Dish. Size Really Does Matter won positive reviews from the critics at All Music Guide. All Music Guide reviewer Joe Viglione described the lead song “Suicide” off of Size Really Does Matter as having a “Guns N’ Roses-meets- Alice Cooper” quality. Size Really Does Matter is the first Pretty Boy Floyd album not to contain any tracks written by former guitarist Aeriel Stiles.
Pretty Boy Floyd: The Future
In 2008, Pretty Boy Floyd reunited the original members for the first time in years much to the praise of fans worldwide. Original members Guitarist Kristy Majors, Vocalist Steve Summers, Drummer Kari Kane played a sold out show the Knitting Room in Los Angeles, California in early 2008 filmed for a DVD release. Pretty Boy Floyd will appear at several festivals this summer including the first ever Rock the Bayou Music Festival held in Houston, Texas during Labor Day weekend 2008 as well as Rocklahoma, the South Texas Rock fest and the Hollywood Music Fest.
The band went onto have some success with their debut album What Comes Around Goes Around released in May 1991 on Atlantic/Titanium Records. The single "I Hate Kissing You Goodbye" was a Top 10 requested video peaking at #3 on the popular dial MTV show. What Comes Around Goes Around was produced by Howard Benson who had produced a list of similar bands Southgang featuring Butch Walker, Bang Tango, Sweet FA & Pretty Boy Floyd. He has now gone on to produce bands such as Hoobastank, Papa Roach, Daughtry, & P.O.D..
From humble beginnings, the New Orleans-based hard rock act rose above the cream of the bands touring the U.S. club circuit. Within three years, the band's live show had built a reputation that could not be denied and was becoming legendary. While performing an opening stint with Ratt, Poison and Queensryche, the guys caught the eye of MCA Records executive Irving Azoff and also Marshall Berle (nephew of Milton Berle) who, at the time, was managing rock superstars, Ratt. Irving Azoff immediately signed Lillian Axe.
Fueled by their hit single, "True Believer" followed by their cover of the Badfinger classic, "No Matter What" and VH1 Classic favorite video for “Show A Little Love,”; Lillian Axe reached the upper 100 of the Billboard album charts and with True Believer hitting number 37 with a "bullet" on radio's R&R charts. Lillian Axe was well on their way to finally becoming a well deserved success story. In 2010, Lillian Axe was introduced to multi-platinum producer, Sylvia Massy, and a creative working relationship was formed. Sylvia Massy is best known for her work with the band Tool (“Undertow went 2x platinum and “Opiate” went platinum). She also has gold and platinum records with Green Jelly, Powerman 5000, and The Red Hot Chili Peppers. Sylvia has also worked with Johnny Cash, Prince, Sevendust, The Deftones, and Seven Mary Three. The single, “47 Ways to Die”, was remixed by Sylvia Massy and was included in the film, The Hit List starring Cuba Gooding Jr. and featured during the opening credits.
Lillian Axe was inducted into the Louisiana Music Hall of Fame on May 16, 2010. Lillian Axe is the first hard rock band inducted into the LAMHOF. Lillian Axe is enshrined along with music greats Fats Domino, Buddy Guy, Louis Armstrong, Jerry Lee Lewis, Little Richard and Allen Toussaint to name a few.
In 2012, Lillian Axe had the honor of working again with Sylvia Massy on their eleventh release, XI: The Days Before Tomorrow. Platinum producer Sylvia Massy had this to say about the songs on XI:The Days before Tomorrow, “Damn! These guys know how to write! I love the new songs!”
2014, is going to be a banner year for Lillian Axe. Lillian Axe released a colossal 13 CD box set, entitled Convergence on February 1, 2014 containing all of Lillian Axe’s releases from 1988-2012 with a bonus CD of highly sought after unreleased Lillian Axe songs. Convergence was sold as a limited edition release through the Lillian Axe fan club and immediately sold out. On April 15, 2014, Lillian Axe unleashes their thirteenth release entitled, “One Night In The Temple”, a 2 CD (20 songs), DVD and Blu-Ray celebration featuring all their hits and fan favorite voted songs performed acoustically in an intimate setting housed in a Masonic Temple where Lillian Axe has recorded their last few albums. Filmed in high definition, the Blu-Ray and DVD will feature the acoustic live performance, fan question and answer session, videos for “Caged In” and “Death Comes Tomorrow,” live footage from their July 4, 2013 concert at the Paragon Casino and some very cool behind the scenes footage. “One Night In The Temple” will be released both as 2 CDs and 1DVD and 2 CDS and 1 Blu-Ray on CME Records / Sony Music in the USA and Canada and on Melodic Rock Records / Cargo Distribution worldwide.
Often regarded as underrated American hard rock gem, they are consummate professionals, balancing song structure & melody with a heavy edge. The most impressive aspect of this enduring group might just be their innate ability to remain relevant while never shunning their vibrant, vintage metal heritage.
Fueled by an unstoppable work ethic and musical vocabulary that spans from face ripping metal to soulful, stratospheric, melodies...the tie that binds this together is their trademark blend of fist raising arena rock.
Lillian Axe’s studio performance is only one piece of the unique puzzle, as their music really explodes in their preferred habitat, the stages of the world. Whether headlining or sharing the bill with national heavyweights such as Alice Cooper, Sammy Hagar, Godsmack or Seether, the boys from the bayou have the presence to make any size stage their own and with their musical muscle to win over any audience within an earshot! When you get down to it, Lillian Axe is a really personal experience, offering a one-on-one connection between the fans and band members. Whether you are watching them in front of 1000 people or 10000 people: The fans are ultimately the most important aspect of the entire cycle.
The Bomb Factory
2713 Canton Street
Dallas, TX, 75226