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Designer + Photographer GRAHAM JOHN BELL Impacting Now with “HOME OF THE BRAVE” Gender-Fluid Streetwear Collection

DT: NOVEMBER 30, 2022




“Graham John Bell’s work is transporting with a certifiably magic eye that unfolds journeys of identity that bushwacks through urban jungles and embraces our most seductive dreams.” YAY LA (10/2/13)

Photo by Arun Nevader

“Home of the Brave” is the name of the debut gender-fluid streetwear collection by award-winning London-born designer and photographer GRAHAM JOHN BELL. Featuring his bold fashion photography on quality streetwear that can be worn by day or night, the limited-edition line was unveiled this past September at New York Fashion Week Powered by Art Hearts Fashion. It will appear on more runways in New York and Miami, plus in dedicated pop-ups at major events, being set for 2023 (TBA).

“Home of the Brave” invokes questions around identity and society, while some might say it is the bastard lovechild of Vivienne Westwood and Helmut Newton. Manufactured in both the United Kingdom and USA, the collection, explains BELL, was developed with a made-to-order business model to respect the environment and offset the fashion industry’s much-scrutinized environmental impact from more traditional manufacturing practices.

On September 8, 2022, “Home of the Brave” officially debuted at the mega New York event where acclaimed international designers were showcased in true contemporary style over four days of runway shows at the city’s iconic Angel Orensanz Foundation Synagogue. Their showcase on the first day of “Gender-Fluid Fashions for 2023” was a notable standout.

Beyond just fashion, innovation, diversity, inclusion and gender-fluid creations were major themes in this year’s series of shows, pushing traditional boundaries like never before. On opening night, GRAHAM JOHN BELL was featured along with Los Angeles brand Mister Triple X + Dr. Martens, celebrity fashion designer Giannina Azar, and two other emerging fashion brands, Keziah and Alexandra Popescu-York.

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Photos by Arun Nevader

BELL’s inspiration for this project stems from a belief that people can love whomever they choose and wear whatever they please to express and empower their authentic identities. The collection’s manifesto implies that individuals have a right to choose–healthcare, fashion and sexual expression–all reflecting a sense of bravery in the “land of the free” as experienced in the year 2023, not 1776. Although the line does harken back to 1776 by giving a nod to Marie Antoinette, who alongside her husband Louis XVI went broke helping to finance the American Revolution (that led to the Declaration of Independence in 1776), France’s financial help was a major and decisive contribution towards the United States’ eventual victory and independence over the British. The debt incurred by Louis XVI and his queen Marie Antoinette eventually led to the French Revolution and the beheading of the queen at age 37. Hence, the land of the brave owes a great debt to her and is why BELL has made his images an artistic expression of her.

BELL explains, “The brand was born out of a creative reflection phase after Covid-19. It inspired me to look into new technologies for printing and recent made-to-order options that were available. Using my own images helped set me free on the creative path where I’m confident that what we are producing in this gender-fluid line is bold, brave and still good on the environment as we only produce what is ordered and wanted. I really hope this and future collections start conversations for the people that wear and see ‘Home of the Brave’ to help normalize inclusion and encourage confidence in expressing sexuality.”


Graham John Bell is a lifestyle photographer with extensive experience in the international music scene, where he managed artist’s careers (including overseeing their music placement in Oscar nominated films), and led photography teams into international festival expansion plans for global music brands including Live Nation. As a London-born, Los Angeles-now-Las Vegas based artist, his unique cultural perspective has allowed him behind-the-scenes access to capture micro seconds of history that will never be repeated. His early visual arts education began with a study in the Strobism movement (late ‘80s). He later studied photography at University of California, Los Angeles and received the UCLA award for Mastery and Excellence in Photography (2009) awarded by a professor who worked with “the greats:” Irving Penn, Richard Avedon, Helmut Newton and more. Today, Bell respects artists driven by creative excellence who push cultural boundaries from fashion icons Vivienne Westwood and Alexander McQueen to music newcomer Fred Again… Bell continues to be committed to capturing pivotal cultural moments in his art – be it in photographs, garments or whatever expression comes next.

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Description automatically generated with low confidence Graham John Bell

For further information about Graham John Bell:

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Credits: Models Payton George & Trin Kellan
Styling: April Love Beauty
Photography: Graham John Bell

For press inquiries about GRAHAM JOHN BELL, contact SRO PR:

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(SALT LAKE CITY, November 29, 2022)Italian Graffiti Modern Osteria is excited to announce it is now open for business at The Gateway, located near downtown Salt Lake City.

Italian Graffiti offers a bold and modern take on traditional Italian cuisine with house made pastas and breads, a dry-aged meat program, fresh seafood offerings, an expansive wine list, handcrafted cocktails and more. Much of the produce and wheat is sourced from local farms.

“Some of my most cherished childhood memories are those of my family cooking and sharing a meal together,” said Chef Marc Marrone. “With Italian Graffiti, I want our guests to enjoy that same warmth and generosity in an elevated dining experience.”

The restaurant’s 5,000 square-foot interior is presented in a stylized and modern way with open format cooking, creating a multi-sensory dining experience. Dark wood, richly appointed leather booths, elegant light fixtures, and one-of-a-kind art installations are surrounded by lush trees with floral and gold accents throughout the main dining room, bar, and lounge. The space accommodates up to 125 guests.

Italian Graffiti is located at 156 South 400 West on the southeast end of The Gateway. Hours of operation are Tuesday through Thursday from 5 p.m. – 10 p.m. and Friday and Saturday from 5 p.m. – 11 p.m.


Italian Graffiti is a contemporary interpretation of classic Italian fare from handcrafted family recipes. The menu offers a fresh, vibrant take on Italian cuisine while tapping into classic techniques, flavors, and recipes from old world Italian dishes. Building upon nearly 20 years of experience earned at world-class restaurants across the country, acclaimed Chef Marc Marrone brings a wealth of knowledge and expertise to Nice Hospitality’s newest venture. Inspired by his own New York Italian-influenced upbringing, Chef Marc transforms those memories into a full-scale culinary experience at Italian Graffiti. Italian Graffiti is

located at 156 South 400 West, Suite 113 in Salt Lake City. For reservations or more information, visit or call 385-281-8373. Follow on Instagram @eatitaliangraffiti.


Led by visionaries Reed Slobusky and Chef Marc Marrone, Nice Hospitality creates and operates multiple food and beverage brands with a focus on providing immersive experiences, culinary excellence, and gracious hospitality. Nice seeks out unique spaces and tells their stories with the unspoken art of culinary exploration. As leaders in quick service dining, pioneers in fine dining, and creators of memorable experiences, Nice Hospitality creates and operates a diversified portfolio of brands and concepts including Beer Zombies, Blaze of Thunder, Graffiti Bao, Hall Pass, Italian Graffiti Modern Osteria, SkinnyFATS, and Snowmobile Pizza.



Mitchell Schneider SRO PR

Hillary Smoot Red Moon PR


OZZY OSBOURNE Talks About The Four Grammy Nominations For His ‘Patient Number 9’ Album And More




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OZZY OSBOURNE yesterday (November 15) earned four Grammy nominations for his hugely successful and critically acclaimed PATIENT NUMBER 9 album (Epic Records). These mark the most nominations he’s ever received for a single album. The 2022 nominations are for: Best Rock Performance: “Patient Number 9,” Ozzy Osbourne feat. Jeff Beck”; Best Metal Performance: “Degradation Rules,” Ozzy Osbourne feat. Tony lommi; Best Rock Song: “Patient Number 9,” John Osbourne, Chad Smith, Ali Tamposi, Robert Trujillo & Andrew Wotman, songwriters (Ozzy Osbourne feat. Jeff Beck); and Best Rock Album for Patient Number 9. Read a Q&A with OZZY below where he talks about the nominations and more.

The Rock and Roll Hall of Fame inductee and Grammy®-winning singer and songwriter previously has won three Grammy Awards and received eight nominations. In 1993 OZZY won a solo Grammy Award for Best Metal Performance for “I Don’t Want To Change the World” and two Grammys as a member of Black Sabbath for “Best Metal Performance” in 2000 for “Iron Man” and in 2013 for “Best Metal Performance” for “God Is Dead?” from 13.

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PATIENT NUMBER 9–released September 9 and marking OZZY’s 13th solo studio album–triumphantly sets new career highs for the Rock and Roll Hall of Fame inductee and Grammy®-winning singer and songwriter. The critically acclaimed album has topped his previous chart entries with record-breaking numbers around the world. In the U.S., the album debuted at #1 on multiple charts: Top Album Sales (Ozzy’s first #1 ever on this chart), Top Current Album Sales (another first), Top Rock & Alternative Albums, Top Rock Albums, Top Hard Rock Albums, Top Vinyl Albums and Tastemaker Albums charts; and at #3 on the Billboard Top 200 albums chart. Globally, the album charted at #1 in Canada (OZZY’s first-ever #1 there); career high #2 entries in the UK, Australia, Finland and Italy; #6 in the Netherlands and New Zealand; #8 in Belgium; and #14 France. Other highlights include #2 Austria, Germany and Sweden; #3 in Switzerland; and #4 in Norway.

Working with producer Andrew Watt for the second time, OZZY welcomed a dynamic A-list featured guests on the album. For the first time ever, Black Sabbath co-founder, guitarist, and riff-master Tony Iommi appears on an OZZY solo album. The record also boasts guitarists Jeff Beck, Eric Clapton, Mike McCready of Pearl Jam, and longstanding righthand man and six-string beast Zakk Wylde who plays on the majority of the tracks. For the bulk of the album, Chad Smith of Red Hot Chili Peppers held down drums, while the late Taylor Hawkins of Foo Fighters appears on three songs. Old friend and one-time OZZY band member Robert Trujillo of Metallica plays bass on most of the album’s tracks, with Duff McKagan of Guns N’ Roses and Chris Chaney supplying bass on a few songs.


Q: How does it feel to have received four nominations for the new album?

OZZY: “I’m honestly overwhelmed. Making this record was a great way to me to get back to work as I continued to heal. It’s pretty great to be acknowledged at this point in my career.”

Q: Between the pandemic and you going through your surgeries, do you think that contributed to making another record so quickly?

OZZY: “Well, the thing was I had all this time–we all did through the pandemic. Instead of lying there and just doing my physical therapy, the record actually got me doing something that I love.”

Q: What was your mindset when you were writing and recording the album?

OZZY: “I was thinking about the times we’ve been living in. There wasn’t much good news. It was a fucking war in Ukraine and the pandemic. The world seemed to be on the brink of a bad thing.”

Q: How do you feel at this point in your career having the kind of notoriety you’ve achieved with this album?

OZZY: “The business forever surprises me. It’s never a safe bet. I’ve done things in the past where I tell myself ‘this is going to be a hit.’ Then it’s gone down the shitter and other things I’ve done…It’s done the opposite. I’m very cheered up by the support.”

Q: The interesting thing about the album is it features top musicians, including some old friends.

OZZY: “Oh yeah. I mean the guitars are Tony [Iommi], Zakk [Wylde], Eric Clapton and Jeff Beck’s fucking phenomenal work, plus Robert Trujillo on bass. It’s turned out better than I ever expected. And having Taylor Hawkins with me in the studio like a week or two before he died was amazing. To think he’s gone breaks my heart.”

Q: It must be special that “Degradation Rules” which features Tony Iommi, was nominated for a Grammy.

OZZY: “Such great news. I mean that song would’ve made a great Black Sabbath track. It’s a very well-structured song. I’ve known Tony since I was 12 years old and I’m glad to say we’ve continued a really good friendship. Tony’s been very supportive of me while I’ve been recovering from surgery. He’s been in constant contact, which has been great.”

Q: What’s the collaboration like with producer Andrew Watt?

OZZY: “He’s a lot better than most producers at collaboration. The fact that he plays guitar, and I don’t, and he works with machines and I don’t, makes it easier. It’s just great working with him. We end up arguing a bit with…sometimes, but not a lot!”

Press Releases


LOVE BY NUMB3RS Shine A Light On Casco Bay, Maine With Their Video For “Ashes”






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Description automatically generatedAlbum Artwork by Walter Craven for EARTH NEEDS A MOON

Known for creating strikingly visual and memorable videos, Portland, Maine-based indie trio LOVE BY NUMB3RS–co-vocalists DAN CONNOR and ANNA LOMBARD and multi-instrumentalist JON ROODS–shine a light on Casco Bay, Maine, including quaint Peaks Island, with their video for “Ashes.” Released today (November 16), the rootsy and edgy “Ashes” marks the third video from the band’s current second album EARTH NEEDS A MOON. Watch the video HERE and read a Q&A below with vocalist and songwriter ANNA LOMBARD.

The “Ashes” video was premiered yesterday (November 15) by Wildfire Music, which wrote: “The song reflects on what we’re left with when relationships have died away and what we can recover from that transition, also calling up specific locations and moments to show the way that memory impacts us. The video was directed by the band’s Jon Roods and brings in locations, some of which are mentioned in the song’s lyrics, to blend with past memories and create a dream-like, reflective quality.”

Directed by the band’s JON ROODS, the video was recently filmed in 15 different locations. Among them: four spots on Peaks Island in Casco Bay including Fisher’s Waterhouse (where the band started the album in January); all over Casco Bay; and Cambridge, MA outside the historic Middle East club.

EARTH NEEDS A MOON, released September 30, was produced by ROODS and LOMBARD and follows the band’s November 2021 Colours EP and doesn’t repeat any of its songs. “Ashes” comes on the heels of the album’s first two singles/videos “Don’t Be So Hard On Me” (premiered by Vents Magazine) and “Earth Needs A Moon” (launched by Glide Magazine).

The album is filled with haunting and evocative songs about love, devotion and more with finely etched, atmospheric settings, over which the band cast their spells. The tracks are sonically wide-open and move slowly, however confidently, and make the listener feel like they are floating in air on a journey somewhere. The album was recorded at Fisher’s Waterhouse on Peaks Island as well as the band’s South Ranch studio. EARTH NEEDS A MOON follows the band’s November 2021 Colours EP and doesn’t repeat any of its songs. This is the music of a band who freewheelingly chart a course through eloquent alternative, Americana and roots rock.

Q&A with Anna Lombard of LOVE BY NUMB3RS

What inspired you to write “Ashes” and what was your mindset when you wrote it?

ANNA: A friend of mine sent me an email with some poetry and writings that were both stream of consciousness and autobiographical. This one line, “We’re just ashes of feelings that once were felt,” struck me and stayed with me over the course of the last few years because everyone can relate to that.  We had only a wood stove out at Peaks Island to heat the Waterhouse studio while writing and recording the album–it was 18 degrees with the windchill–in the dead of January. We may have dabbled with some edible fungi (laughs)…and it kind of took on a life of its own from there.

In “Ashes” you explore the complexities of romantic relationships, as you have in other LBN songs. Why do you think relationships can wind up being difficult?

ANNA: Relationships can be difficult because humans really suck sometimes.  However, whereas some of the lyrical content of our songs tend to be kind of sad with this underlying and sometimes not so subtle notion of desperation, this song is more about reminiscing on the rollercoaster of the experience and feelings after a relationship is over…which is sometimes all that you’re left with in the end.  Embers…ashes…of what once was.

Musically, “Ashes” underlines the LBN sound, which is rootsy, atmospheric and modern. It has a really attractive rhythmic shuffle and a haunting + very catchy background vocal hook at the beginning of the track and throughout the song. Can you talk about the “LBN sound” on this track and what it was like to record it?

ANNA: “Ashes” was the very first song we started working on for the new record.  We had three simple chords, and it was good but not super-inspiring until Jon came up with the bass line–the groove changed the feel of the song altogether and definitely gave it a little Motown feel, plus we had a little inspiration as well from some contemporary songs we were listening to. When I was fleshing out lyrics, I just started singing those intro ooh-oohs over the beds of the track and we liked the way it sounded and how it made us feel.  Everything about the song felt warm, especially because we were so cold during that time of year and everything around us seemed frozen in place, like our breath when we walked outside. Time kind of stops when you’re on the island, too–it’s a nice reprieve from the constant go-go-go of everyday life.

What inspired the video?

ANNA: The concept of this video was inspired by the credit reels from “National Lampoon’s Vacation” title sequence with all the postcards of locations. Most scenes in it are super fun and make us “seem” likable…ha, ha.  Instead of the video being dark and regretful, it’s more of a reminiscing on a past love.

How many locations were used in the video?

ANNA: We used 15 different locations including Cambridge, MA outside the historic Middle East club, which is sadly closing. There were also four locations on Peaks Island including Battery Steele; a public swing on the edge of the coast of the island; and Fisher’s Waterhouse (where we started the record last January). We also filmed all over Casco Bay on Alex Fisher’s boat and on the ferry. Jon and I “broke” into the amusement park and arcade called Palace Playland down in Old Orchard Beach which is somewhat of a legendary and cringey-but-loveable destination in southern Maine. Jon also channeled some Silk Sonic dance moves in our backyard for a shot while I was coaching my oldest’s soccer team one day–that was a nice surprise.  And there are other various locations where I tried not to break my neck roller skating for the first time in 20+ years on surfaces like a dock.

Cool how you show a part of Maine that lots of folks may be unaware of, like Casco Bay + Peaks Island. Can you give us quotes about this area where you live?

ANNA: Peaks Island is very special place to us for a multitude of reasons.  It’s only a 15-minute ferry ride from downtown Portland, but when you get there, you feel like you’re away from home.  It’s also known for being a safe haven for artists. Peaks is only about 720 acres but is packed with so much history and some of the most beautiful, private beaches.  It’s the spot where I almost blow myself up with fireworks was shot inside a tunnel at Battery Steele, which was a World War II military fortification.  We also took Alex’s boat out to Fort Gorges which is about a five-minute ride from Peaks. After the War of 1812, the United States Army Corps of Engineers proposed that a fort be built on Hog Island Ledge, in Casco Bay at the entrance to the harbor in Portland.  It’s only accessible by boat–Congress didn’t fund construction of the Fort until 1857 and when the Civil War began in 1861, they worked quickly to finish it over the course of the following four years, but when it was completed in 1865, right as the war ended, it’s said that modern explosives made the fort obsolete. The last time it was used by the army was when it stored submarine mines during WWII. There is still a 300 pound Parrott rifle out there–and it is one of the biggest and only remaining specimens of civil war vintage artillery.  It’s kinda wild.

Music written by LBN
Lyrics written by Anna Lombard

Caught a ferry across the bay

Felt the cold on both our faces

couldn’t even make a sound

Our breath was frozen

And all the things we couldn’t say

Like how this house just ain’t a home

And all that sadness lives inside of you

I know it’s fucked up cause I got it too

Oh there’s nothing quite like regret

Crashed my show at the Middle East

I got so drunk I couldn’t feel a thing

And it reminded me of New Years

Broken bottles and the piercing screams

Showed up in Paris when you wanted me

And oh the sadness always followed me

I made a scene in front of so called friends

Fell down the stairs and made a scene again

Man there’s nothing quite like regret

Now we’re just ashes of feelings

That once were felt

How bout the time in Marrakesh

You got so drunk you looked like death

Chasing me around a rooftop pool

Slept on a chair inside our hotel room

Don’t get me wrong I ain’t upset

So lift that weight up off your chest

This feeling won’t go away

Oh there’s nothing quite like regret

Now we’re just ashes of feelings

That once we felt


About another quarter mile

To Fisher’s Waterhouse

Our little church on peaks

Do anything to make you smile

If it’s good enough for you

It’s good enough for me

We’re just ashes of feelings

We’re just ashes of feelings

(All songs written by LBN)

1. Intro
2.  When I Close My Eyes
3. Earth Needs A Moon
4. Don’t Be So Hard On Me
5. Ashes
6. Do It All Over
7. The Universe
8. What Would I Do Without You
9. The Refuge
10. Last Love
11. A Million Suns

Photo credit: Cam Jones

SRO Releases And Assets



STEPHEN McCARTHY & CARLA OLSON Today Roll Out Fast-Paced And Fun Video For “WE GOTTA SPLIT THIS TOWN”—New Album Out Friday 11/11

DT: NOVEMBER 7, 2022




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STEPHEN McCARTHY (Long Ryders, Jayhawks, Dream Syndicate) and CARLA OLSON (Textones, solo artist, producer) have today (November 7) rolled out the fast-paced and fun video “We Gotta Split This Town.” It’s the second single from their first-ever duet album, NIGHT COMES FALLING, out this Friday, November 11. Watch the “We Gotta Split This Town” video HERE and listen to the single HERE. See quotes below from both artists.

Described as “a true Americana power duo” by Rock and Roll Globe, the two singers, songwriters and guitarists boast lengthy careers that have intersected a few times. NIGHT COMES FALLING brings them together again in exciting ways on this 11-song album of stirring and rocking Americana music (the track listing is below). It is being released via CARLA’s production company Have Harmony, Will Travel, with distribution and marketing by Bob Frank Entertainment via the Orchard. Pre-order the album HERE and read the bio for the album HERE.

The McCARTHY-penned “We Gotta Split This Town” is an urgent and infectious country-rocking duet about, “a wayward couple,” he says, and the expertly edited video blends footage of STEPHEN (shot by Kevin Downs) and CARLA (by Ana Gazzola). It was directed by Tim Roth, who, explains CARLA, “utilized his magical green screen technique to put Stephen and I in the same space at the same time.”

“We Gotta Split This Town” follows the album’s first single, “Night Comes Falling,” a moving song that emerged after a conversation STEPHEN had with CARLA who was having dreams about her former singing partner, Gene Clark of the Byrds. It was on 1987’s classic So Rebellious A Lover, CARLA’s album with Gene, that STEPHEN and CARLA first recorded together when STEPHEN contributed lap steel to “The Drifter” and dobro on “Deportee.”

NIGHT COMES FALLING comes on the heels of McCARTHY and OLSON’s two songs on the 2022 BMG multi-artist album Americana Railroad where they offered a new version of STEPHEN’s “Here Comes That Train Again” as well as Gene Clark’s “I Remember The Railroad.” (CARLA produced seven additional tracks on the album including those by Dave Alvin, Rocky Burnette, Robert Rex Waller Jr. and John York.) NIGHT COMES FALLING is a testament to their individual and combined talents and was recorded at Robbie Krieger’s studio, Horse Latitudes, in Glendale, CA, It was produced by CARLA, STEPHEN and Mikal Reid.

The album’s musician credits are Stephen McCarthy (guitars, pedal steel guitar, mandolin, mellotron), Carla Olson (guitars), Paul Marshall (bass) and drummers Mitch Marine and Benjamin Lecourt. The album’s other players are Skip Edwards (keyboards, plus the string arrangement for “Long Way Back To Seventeen”), Jeff Lewis (flugelhorn on “Broken Lullaby”) and Jesse Owens Wells (fiddle on “I Remember The Railroad”).



I had an idea about a ne’er-do-well swindler whose luck was running out. A confidence man on the run with his gal who was trying to set him straight. She was in too deep to make a clean break. The story is a conversation between the two co-conspirators.
The song was definitely written as a duet. A couple trying to make sense of their downfall. I think it works well with the melodic dialogue riffing over a driving beat and distorted B3 organ.

I remember showing it to Carla and suggesting that she sing it in a way that showed she had some disgust with my character.

Carla and I were touching on many different genres with this album. Mostly finding the intersection where rock ‘n’ roll and country collide. We had a talented group of musicians that were able to help get these songs off of the page with passion and a great groove.

Writing and recording was very challenging during Covid. We were sending ideas back-and-forth long distance and then refining them the few times we were able to get together before cutting the album.

For the video, we both shot scenes remotely and they were edited by a great director named Tim Roth. He added all of the extra scenes which visually illustrate the story of this wayward couple


Stephen was in Los Angeles for the McCabe’s record release gig for my Have Harmony Will Travel 2 duets album in February 2020. We were performed several songs at the show.

When we got together to work on our songs for the gig, he showed me this idea for “We Gotta Split This Town” (the working title was “Not Tough Enough”).

We were alternating singing to each other and thought it had a pretty cool attitude, so Stephen turned into the story about the couple on the run.

I’m always impressed by the talented director Tim Roth who created the video for the song (he also made the clip for “Night Comes Falling”). He utilized his magical green screen technique to put Stephen and I in the same space at the same time. Not sure how he does it.


The NIGHT COMES FALLING track listing is as follows:

01 We Gotta Split This Town (McCarthy)
02 Night Comes Falling (McCarthy, Olson)
03 Broken Lullaby (McCarthy, Olson)
04 The Bell Hotel Is Burning (George Green, Olson, McCarthy)
05 Brink Of The Blues (McCarthy, Olson)
06 One That Got Away (McCarthy, Olson)
07 Don’t Talk To Strangers (Bob Durand, Ron Elliott)
08 Long Way Back To Seventeen (McCarthy, Olson)
09 Just To Get To You (McCarthy)
10 Timber (Kosta Lazarides)
11 I Remember The Railroad (Gene Clark)

Stephen McCarthy and Carla Olson; Photo credit: Markus Cuff

Stephen McCarthy

Carla Olson

Have Harmony, Will Travel


NOTHING MORE Launch #LOVEMEANS Campaign, Frontman JONNY HAWKINS Shares Video Message + Q&A

DT: NOVEMBER 3, 2022







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3x Grammy-nominated rock outfit NOTHING MORE have launched a social media campaign surrounding their recent single, “YOU DON’T KNOW WHAT LOVE MEANS,” encouraging fans to submit videos sharing what love means to them and tagging the band and song on socials using the hashtag #LOVEMEANS. Those who submit a video will be entered in a raffle to win a signed copy of their new album SPIRITS out now via Better Noise Music. “YOU DON’T KNOW WHAT LOVE MEANS” is about the ups and downs of toxic relationships and how sometimes you just need to break the cycle.

Frontman JONNY HAWKINS shared an emotional video message with followers detailing a recent experience he had on tour meeting a fan who shared his story of how NOTHING MORE’s music saved his life and led him to meeting his partner, who was also impacted by the band’s work. This inspired HAWKINS to start the #LOVEMEANS campaign and inspire others to share their stories of overcoming adversity. Listen to his message here:

Watch “YOU DON’T KNOW WHAT LOVE MEANS” music video here:

On SPIRITS, NOTHING MORE pairs unapologetically massive anthems, catchy hooks, and progressive music with introspective, philosophical lyrics and thought-provoking emotionalism. HAWKINS elaborates on its concepts and the album’s coinciding meta-personality “SPIRITS TEST” (inspired from Myers-Briggs, Big 5 and the Zodia along with the philosophy of Alan Watts and Carl Jung) in the Q&A below. The result of the test determines your “Spirit Type” which ascertains specific characteristics that are further embellished across the album’s artwork and in their upcoming graphic novel “SPIRITS VOL.1” due in early 2023 via Z2 Comics.

“With its incredibly powerful utilization of [Jonny] Hawkins’ range, the detailed orchestration of each track for maximum effect and the poignancy of the messaging and intention throughout the album, ‘Spirits’ makes its mark as one of Nothing More’s best works,” lauds Cryptic Rock (10/14).

Stream/download SPIRITS now at

Take the “SPIRITS TEST” now here:

 DOWNLOAD PHOTO (Credit: Christian Lawrence)


Nothing More has gained attention from critics and audiences alike for your riveting live performance which sees you appear on stage in body paint while vigorously moving throughout the set and engaging with the crowd. You’ve previously mentioned some of the inspiration for your performance was based on Native American culture. Can you expand further and/or share other factors of your personal life/hobbies have helped you develop your show?

“I have a background in drumming, and I was the original drummer of the band for many years, so that has had a huge influence on not only how I think about the show but even how I move my body. I’m always connected to the rhythm, the beat; naturally my extremities move subconsciously to the drummer in my head. I also did drumline in high school and we performed all over the nation doing really elaborate performance pieces which influenced my desire to always want to do these drum ensemble kind of moments with the entire band. Lastly, I was always interested in martial arts. I wrestled in high school and I do jujitsu and some boxing now. I was always fascinated by the overlap of the warrior spirit or the martial artists and art. There was an overlap at times between those two things and how you would move your body through space and time–and even the body paint that I wear is inspired by primitive cultures that would put on the war paint with intention of getting into a spirit of war or a spirit of battle. In the same way, I like to conjure those energies within myself before the show as I put on my paint and get in the right mindset.”

We’d be remiss to leave out the other stunning element of your live performance, The Scorpion Tail and the Drum Machine. While both are visually engaging elements, can you explain how both were designed and how specifically they impact the band’s sound?

“The Scorpion Tail was designed originally from an idea that I had in the jam room with a wireless MIDI controller that almost looked like a video game controller. I wired Dan and Mark’s guitars through a computer, and I was affecting what they were playing in real time. Just like a DJ effects a prerecorded track, I was playing the effects on their instruments. Daniel, our bass player, decided to weld this monster that I could kind of wrestle with my whole body rather than just pressing buttons with my fingers. We thought it would be more visually compelling and more exciting to perform than something small that you manipulate with your fingers.”

SPIRITS was written during a time of global isolation which caused many to feel weary and anxious for a questionable future and therefore led to a lot of self-reflection. How did you incorporate those themes into the writing process?

“I think a lot of the themes of what’s happening in the world around us just naturally make their way into our writing. It’s not really something that we have to think too hard about–it just naturally flows into our lyric writing and our intention and energy into the song. It’s not as planned out and conscious as you might think. When we’re writing the lyrics, we definitely reflect on them and tweak them based on what’s going on around us and how we want to portray ourselves in the public sphere, but it all just happens naturally.”

“Spirit” has multiple meanings–one is “qualities regarded as forming the definitive or typical elements in the character of a person, nation, or group.” The SPIRITS TEST you designed bases its result on how individuals perceive and react to these elements to determine their “SPIRIT TYPE.” What is your SPIRIT TYPE and what are some of its characteristics? How do you think those results feed into your musicianship or vice versa?

“My spirit type is the Tru type. I think the characteristics of the Tru type are more visionary and that lines up with my role in the band quite perfectly. I think when we take the SPIRITS TEST for each member in the band, it has really made a lot of sense as to why we interact the way we do with each other–everyone’s role, and everyone strengths and weaknesses. I think that it influences my writing very naturally. When writing lyrics, I gravitate towards the particular sounds or chords or the way my voice just emanates naturally. Mark and Dan are the Fuse types which are more on the heart side of the chart whereas I’m a little more on the head side. Our drummer Ben is a Constant and so that makes sense because we’re a little more analytical and destructive in our process. Mark and Dan are a little more heartfelt and creative in the sense that they’re the positive force and Ben and I are a little more the negative force and together they are making a Yin and Yang to our writing process.”

Nothing More’s mission statement is to “reflect, provoke and inspire.” Can you share how SPIRITS reflects, provokes and inspires?

“I think our lyrics are written in a way that we try to say what people have thought and felt that they didn’t quite know how to say themselves a lot of times. That’s the goal in our songwriting and I think with the album ‘SPIRITS,’ it is tapping into a deeper side. It’s a little more esoteric and a little less obvious in regard to the lyrics and the meanings and the messages behind some of the songs. It’s touching on a more subconscious level in people whereas on the songs from our self-titled album, the lyrics were a little more straightforward and you understood them consciously. This one touches on some deeper archetypal and older themes in the human spirit.”

If you had the ability to universally change one thing that would positively impact humanity, what would it be and why?

“I’m going to quote Alan Watts on this one; I think he actually was quoting someone else, but I heard it from him. He said that if everyone could have an organ in their body that was a constant reminder of death that they would live their lives in a way that looked very differently than the way that we tend to live our lives. I thought that was an interesting thought and I think that that might affect humanity for both better and worse. I don’t think it would be just for the better. It would be interesting to see what that would cause people to do and how it might change their behaviors.”

What are three surprising facts people might not know about you?

“‘The Office’ is my favorite TV show of all time. Stepbrothers is my favorite comedy movie of all time, and I love horror films and scary movie nights.”

Are there any particular books or films that have helped shape your sensibility as an artist?

“A book by Alan Watts called ‘The Book’ and then another one of his books called ‘Become Who You Are’–that’s a great one.”

If you were to record a duet with a current artist outside the genre of music for which you’re known, who might that be and which song would you cover and why?

“I’m going to say Carrie Underwood because she’s been a fan of the band and has even come out to one of our shows. I think it would be really interesting to do a duet with a country artist or someone just outside of the box that we’re typically in. If it were a cover song, ‘The World I Know’ by Collective Soul would be a great cover song on acoustic.”

A group of men sitting on stools Description automatically generatedDOWNLOAD BAND PHOTO (Credit: Jody Domingue)

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BUTCHER BABIES Deliver Heavy Metal Cover of Saweetie & Doja Cat’s “Best Friend” In New Music Video

DT: OCTOBER 28, 2022





(l-r: Carla Harvey, Heidi Shepherd)

“That my best friend, she a real bad b*tch”

Leading femme fatales CARLA HARVEY and HEIDI SHEPHERD of the Los Angeles-based heavy metal group BUTCHER BABIES celebrate their decade-plus friendship by putting their own heavy metal spin on the hit single “Best Friend,” originally performed by rapper/singers Saweetie and Doja Cat. Alongside its release across digital streaming platforms today, Friday, October 28, BUTCHER BABIES have shared a music video which shows the duo engaging in various activities including donning black metal face paint and partying at a strip club. Watch it streaming below or via the band’s YouTube HERE.

“During the last 15 as Butcher Babies, we have proved that a strong friendship can and will withstand all,” states SHEPHERD. “When I first heard this song by Saweetie & Doja Cat, I knew that we needed to be the ones to bring this into the metal world. With our un-breakable bond, Carla and I just grow stronger each time we play this to a live audience. It’s a true anthem of female power, screaming, ‘we are stronger together.’ I am truly honored to scream this song along my best friend.”

“Nearly fifteen years ago Heidi and I started Butcher Babies as best friends,” says HARVEY. “In a world where women are often pitted against each other, we instead chose to celebrate each other and grow together. The song ‘Best Friend’ is the perfect anthem to describe our relationship; as soon as we heard the Saweetie and Doja Cat original, we knew we were the only band that could cover it…it was written for us!”

Guitarist HENRY FLURY adds: “It was difficult to figure out how to approach covering this song. So, I told Heidi to get on the mic and just go for it. When I heard how ferocious it was, the riff just came to me. We had the song done in about 10 minutes.”

Stream/download “Best Friend” now at

Claiming their spot as metal icons, BUTCHER BABIES have been crushing stages worldwide with their vicious live performance and explosive energy for nearly 15 blistering years. Their stage presence is a hypnotic spectacle that leaves audiences hungry for more as displayed on previous tours alongside acts such as Megadeth, Rob Zombie, Marilyn Manson, Five Finger Death Punch, Danzig, In This Moment, Hollywood Undead, Cradle of Filth and Black Label Society, as well as on music festivals including Mayhem, Download (UK), Hellfest (France), Knotfest (US & Japan), Wacken (Germany), Soundwave (AUS), Hell and Heaven (Mexico), Rock on The Range, Carolina Rebellion, Louder Than Life, Aftershock, Welcome to Rockville and more. BUTCHER BABIES are currently on the last leg of their European tour supporting Swedish metal outfit Amaranthe alongside Germany’s Beyond The Black which ends in Stockholm, SE on November 12.

With three albums and two EPs under their belt, including their latest full length 2017 release LILITH which debuted at #1 on iTunes Metal charts and #7 on iTunes Rock charts, BUTCHER BABIES juxtapose brutal, aggressive riffs with beautiful melodies that wail with emotional redemption. The group–vocalist HEIDI SHEPHERD and CARLA HARVEY, guitarist HENRY FLURY and drummer CHASE BRICKENDEN–are set to release their fourth album in 2023 which reflects their growth as a band over the past decade. Stay tuned for further news in the coming months.

Find more on BUTCHER BABIES at:


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Kansas City, MO singer, songwriter and guitarist IVORY BLUE Today Releases New Single And Video “Starlit Love Child” From Their Forthcoming 2023 Album

DATE: OCTOBER 26, 2022


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Description automatically generated with low confidencePhoto credit: Andrew Van Lue


IVORY BLUE today (Oct 26) excitingly come forward with their new single and video “Starlit Love Child” via Dark Spark Music (owned and operated by veteran rock manager Vicky Hamilton). Written by the Kansas City, MO singer, songwriter and guitarist, the song is a passionate fusion of full-bodied rock and alluring pop hooks, with a potent and socially relevant chorus about personal freedom: “This is your choice/Be alive be a warrior/This is your voice/Be defined be a noisemaker.” Watch the video here.

The multi-instrumentalist confessed vagabond’s “Starlit Love Child” will officially be released this Friday, October 28 to all streaming platforms and will appear on their upcoming album out in 2023 (exact release date, TBA). The video, directed Ridge Beck of Ridge Films, was premiered yesterday (Oct 25) by Vents Magazine.

Says IVORY BLUE: “I just want people to leave the video with an understanding of the forces that govern our lives. I wanted the idea to come across that the character uses magic and similar divining methods to find answers in their own personal way. The song has vibes that coincide with the Halloween season.” See a Q&A below with IVORY BLUE about the track and video.

The 1st place winner of Next2Rock 2017 (a nationwide talent search with over 1800 artists/bands who applied to find fresh and promising rock artists) and artist dedicated to breaking down barriers and defying staid conventions was inspired to write “Starlit Love Child” based on a friend’s use of ubiquitous divining methods such as Ouija boards, crystal balls, tarot cards and the persistence to find answers for things gone wrong while using any means necessary to discover new truths that are out in this world to better their life.

IVORY BLUE started writing music at a very young age, creating their unique alt-rock sound, using a tape recorder to superimpose sounds that added to a song production. After starting performances in coffee shops and small venues, they immediately captured the hearts of young and old with ingeniously composed songs and powerful lyrics and began refining their performance style, using digital looping pedals to stack harmonies and guitar parts live on stage, giving their solo shows the feel of a full band. In 2011, IVORY BLUE settled in Kansas City, MO and quickly began attracting an intense regional following for their strong vocals and incisive, deeply personal lyrics. On July 29th, 2022, and after studying the craft of recording and self- producing, this amazing singer-songwriter with a passionate love for everyone struggling through life released their first full length album Compound Love following with their single “Red Light” and now “Starlit Love Child.”


Congratulations on “Starlit Love Child.” Musically, it comes on so strong with its signature riff–the same way classic rock songs like Bowie’s “Rebel Rebel” and T. Rex’s “20th Century Boy” hit hard. And then there’s the super melodic modern pop feel. Can you talk about the song–its sound, the arrangement, and the experience of recording it?

IVORY BLUE: The song is a walk through life. It’s about all the experiences we face along the way while asking the ultimate question, “what does all of this really mean?” I wanted an anthem of sorts where the person in the song is looking for those answers while also going through the typical “walks of life.”

The arrangement is just straight rock guitars with a pop vibe and melodic vocal. I wanted synthesizers in it as well to cut through the “noise” of all the distortion but ended up distorting the synth as well. It just sounded good in my opinion and gave it that edge I was looking for.

The general idea formed pretty quickly. I just had a melody and sang it in Cubase and the rest kind of came together pretty naturally. It didn’t take any time at all to create the whole vibe of the song and find its hook. It took a few days to record the final parts but that’s because I always block out my vocals for one day and guitar for another day.

I always write out the drums with samples and midi to get the idea across that I want for the song. I emailed Lester Estelle (drummer for Kelly Clarkson) and he puts his spin on it and makes it so much better. He does this from his own studio and I always love what he comes up with.

I then have a bassist (Craig Kew) come in and play the bass part that I write for the demo with my Explorer bass. He makes the part better and uses his fingers, while I generally use a pick. It gives the part a real feel and is perfect for the song. I love working with him too.

The song has many standout lyrics, particularly these: “This is your choice/Be alive be a warrior/This is your voice/Be defined be a noisemaker.” It sounds like you’re singing about your own life and also offering a message of positive resistance and hope for others who feel like outcasts. What was your mindset when you wrote it? And what was it like to step into the vocal booth and deliver your performance? 

IVORY BLUE: The song is an anthem of sorts. I wanted to show someone going through life. I used ideas that make someone a good person such as standing up for what you believe in and being loud and outspoken about your passions. The vibe of the song is to take those ideas and then have the person in the song look for answers (in this case using divining methods) and find the answer they are searching for in whatever way they can.

In the studio I really just wanted to channel the passion I had for music and use it to make this song’s performance the best it could be. I just heard the lyrics in my head and delivered them the best I could.

How do you think living in Kansas City, MO affects your outlook on the world? 

IVORY BLUE: Being in KC has been a turning point for my life. I started in Washington, Indiana where there is no music scene, or at least there wasn’t when I was there over ten years ago. I played a small coffee shop on Main Street.

Since moving to KC I’ve experienced lots of things. One of them being that there is a possibility that my music can reach more people. Also, I see the possibility of growing as an artist ’cause my team and I are always pushing me to be better, to climb to the highest level I can.

With that said I feel that being in a much bigger city would reach my audience in a more organic way. Hopefully I can achieve that goal.

What is the general theme for the video?  What would you like people to take away from it? 

IVORY BLUE: I just want people to leave the video with an understanding of the forces that govern our lives. I wanted the idea to come across that the character uses magic and similar divining methods to find answers in their own personal way.

The song has vibes that coincide with the Halloween season so we felt outside shots of me in dark clothing would work best with it. The pieces that have me in them, my manager Klaartje Van Lue took on her property around her home. We live out in the country and have some wooded areas that really bring the right vibe to the video clips.  Everything that we didn’t film, Ridge Beck (the video director) added..

Do you have an album planned for 2023 and might there be live shows to support it?

IVORY BLUE: Yes, there will be an album for 2023 with a tour following the release of it.

Live shows will always happen. I love the energy of a live audience and feel so good when I play in front of a live crowd. I’m always looking to try new things as well so be on the lookout for unique things in the future of IVORY BLUE.

Photo credit: Andrew Van Lue

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The Moody Blues’ JOHN LODGE Announces 2023 Tour ‘Performs Days Of Future Passed’

DT: OCTOBER 24, 2022





If you love The Moody Blues music, then you really need to checkout John live.  He and the band put on a great show!’—Beneath a Desert Sky

John Lodge; Photo credit: Frank Piercy

JOHN LODGE, legendary bass player, songwriter and vocalist of The Moody Blues and Rock and Roll Hall of Famer, will bring his new show “Performs Days of Future Passed” to America. JOHN, together with his 10,000 Light Years Band, will perform The Moody Blues’ iconic Days of Future Passed album in its entirety, with a special recording by the late Graeme Edge and performances by Jon Davison of YES. The show will also feature a set of the pioneering classic hits “Ride My See-Saw,” “I’m Just a Singer (in a Rock and Roll Band),” “Isn’t Life Strange,” “Legend of a Mind” and “Nights in White Satin” in what promises to be a truly spectacular evening. Below are the tour dates and JOHN’s quotes about the show. For tickets, VIP packages –which include a great seat, a personalized video message from John and exclusive merchandise, and more–please visit:

On November 10, 2022, Days of Future Passed will celebrate its 55th Anniversary, and JOHN wanted to do something special to celebrate the album. The Moodies had embarked on a US tour in 2017 to celebrate the 50th, but regrettably stopped touring shortly after, and then, very sadly, Graeme Edge passed away in 2021. However, shortly before his passing, John and Graeme met and spent some special time together, and at that meeting Graeme told John how he hoped John would continue on with the music and keep the Moody Blues’ music alive.

JOHN returned home and realised that what he really wanted to do was revisit this iconic album, honor his lost friends Ray Thomas and Graeme Edge, and his other bandmates Justin Hayward and Mike Pinder, but also reimagine it for today.  How would he do it differently? Graeme had already recorded a special version of “Late Lament” for John, and John’s great friend (and future son-in-law) Jon Davison (of YES) had recorded “Nights in White Satin” for him, and so the stage was set; John went into the studio and began work with his Musical Director, Alan Hewitt, on both a new show and a new album, details of which are TBA.

The new show, based around the simple tale of “a day in the life of an everyday man,” will highlight all that made Days of Future Passed the ground-breaking album that it was–arguably the start of Progressive Rock.  It retains the core emotion of the original album and recreates its incredible orchestration, but at the same time it also brings in a modern feel thanks to the great strides in modern fidelity, and the maturity that comes with the passing of the years.  Listen to “Nights in White Satin,” “Tuesday Afternoon,” “Peak Hour,” and more fill the room, and you’ll be taken back to 1967, but at the same time, you’ll hear what John has brought to this new version in his vocals, bass and harmonies, and how he sees the album 55 years later. In its own way, it can also be said to be a reflection of John’s own life.

The electrifying show will also feature a selection of JOHN’s classic self-written hits, including the above-mentioned “Ride My See-Saw,” “Isn’t Life Strange,” and “I’m Just a Singer (in a Rock and Roll Band).” The latter two were hit singles on the Moody Blues’ album Seventh Sojourn which spent 5 weeks at Number 1 on Billboard and is currently celebrating its 50th Anniversary.  Come and be taken back to the Moody Blues’ shows of the past, featuring JOHN LODGE, and including tributes to all his bandmates.

Joining JOHN on stage is his 10,000 Light Years Band, long term collaborator Alan Hewitt (Music Director and Keyboards) and Billy Ashbaugh (Drums) from the Moody Blues touring band, together with Duffy King (Guitars) and Jason Charboneau (Cello). Jon Davison of YES will also be joining them for his special renditions of “Nights in White Satin” and “Tuesday Afternoon” plus the magical voice of Graeme Edge will be heard via a special recording.

“November 2022 sees me looking back 55 years to that week in 1967,” says JOHN LODGE. “As I said at the Rock and Roll Hall of Fame, Graeme, Mike, Ray, Justin, and I, together with Tony, went into a studio, and seven days later we came out with an album that changed our lives forever.” He adds: “I’m sorry that the Moodies are no longer touring, and I miss my friends Ray and Graeme deeply, but as I looked back to the past, I realised that I also wanted to look forwards to the Future. My hope is that in this show, and album, you will get to revisit 1967, but at the same time, see how this album has grown with me, and with you. Thank to you the 10,000 Light Years Band, Jon Davison and, of course, Graeme, for their belief in this project and helping bring my vision to life. And thank you to all the fans for Keeping the Faith.”

Here are the tour dates for JOHN LODGE’s “Performs Days of Future Passed”:

Saturday, February 18–Cary Hall, Lexington, MA
Sunday, February 19–Flying Monkey, Plymouth, NH
Tuesday, February 21–TBC
Wednesday, February 22–The Warehouse, Fairfield, CT
Friday, February 24–The Cabot, Beverly, MA
Saturday, February 25–Infinity Hall, Hartford, CT
Sunday, February 26–Jane Pickens Theatre, Newport, RI
Tuesday, February 28–Patchogue Theatre, Patchogue, NY
Wednesday, March 1–Sony Hall, New York. NY
Friday, March 3–Newton Theatre, Newton, NJ
Saturday, March 4–Keswick Theater, Glenside, PA
Monday, March 6–Sandler Center, Virginia Beach, VA
Tuesday, March 7–Rams Head On Stage, Annapolis, MD
Thursday, March 9–Variety Playhouse, Atlanta, GA
Friday, March 10–Ponte Vedra Concert Hall, Ponte Verde, FL
Saturday, March 11–The Lyric Theatre, Stuart, FL
Tuesday, March 14–Capitol Theatre, Clearwater, FL
Wednesday, March 15–Amaturo Theater, Fort Lauderdale, FL
Thursday, March 16–Rock and Romance Cruise

A person holding a guitar

Description automatically generated with medium confidenceJohn Lodge; Photo credit: Brian Aris


John Lodge is bass guitarist, vocalist, and songwriter for the iconic Rock & Roll Hall Of Fame 2018 inductees, The Moody Blues. Songwriter of such mega Moody Blues hits from “Ride My See-Saw,” to “I’m Just A Singer (In A Rock and Roll Band),” “Isn’t Life Strange” and many more. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, as well as releasing his three solo albums ‘Natural Avenue’, ’10,000 Light Years Ago’ and ‘B Yond’.  Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of many awards, including ASCAP (American Society of Composers and Publishers), an Ivor Novello Award, a Lifetime Achievement Award from Prog Magazine, to name just a few.

For further information about John Lodge:

For press inquiries about JOHN LODGE, contact SRO PR:

Mitch Schneider (National),
Andrea Faulk (Tour),



Details Revealed For OZZY OSBOURNE’S ‘Patient Number 9’ Album Theme Via Accompanying Todd McFarlane Comic Book

DATE: OCTOBER 20, 2022



To learn about what inspired the theme for OZZY OSBOURNE’s PATIENT NUMBER 9 album, look no further than the 26-page comic book available solely in some limited-edition album packages. Featuring a story by Todd McFarlane and illustrations by Jonathan Glapion (the beautiful haunting interior pages were painted by Glapion with a striking cover provided by McFarlane), the comic book was initially available only in record stores and online. The story tells how OSBOURNE is trapped in an asylum with no way out, he’s tortured by the doctors, abused by the patients, and hunted by a horrific creature born from his shattered mind. The comic book serves as the prequel to the McFarlane-directed video for the album’s first single and title track” Patient Number 9.” The Limited Edition CD + Comic Book bundle is now being sold at more than 600 comic book stores throughout North America (click here to find a local store).

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PATIENT NUMBER 9–released September 9 and marking OZZY’s 13th solo studio album–triumphantly sets new career highs for the Rock and Roll Hall of Fame inductee and Grammy®-winning singer and songwriter. The critically acclaimed album has topped his previous chart entries with record-breaking numbers around the world. In the U.S., the album debuted at #1 on multiple charts: Top Album Sales (Ozzy’s first #1 ever on this chart), Top Current Album Sales (another first), Top Rock & Alternative Albums, Top Rock Albums, Top Hard Rock Albums, Top Vinyl Albums and Tastemaker Albums charts; and at #3 on the Billboard Top 200 albums chart. Globally, the album charted at #1 in Canada (OZZY’s first-ever #1 there); career high #2 entries in the UK, Australia, Finland and Italy; #6 in the Netherlands and New Zealand; #8 in Belgium; and #14 France. Other highlights include #2 Austria, Germany and Sweden; #3 in Switzerland; and #4 in Norway.

Working with producer Andrew Watt for the second time, OZZY welcomed a dynamic A-list featured guests on the album. For the first time ever, Black Sabbath co-founder, guitarist, and riff-master Tony Iommi appears on an OZZY solo album. The record also boasts guitarists Jeff Beck, Eric Clapton, Mike McCready of Pearl Jam, and longstanding righthand man and six-string beast Zakk Wylde who plays on the majority of the tracks. For the bulk of the album, Chad Smith of Red Hot Chili Peppers held down drums, while the late Taylor Hawkins of Foo Fighters appears on three songs. Old friend and one-time OZZY band member Robert Trujillo of Metallica plays bass on most of the album’s tracks, with Duff McKagan of Guns N’ Roses and Chris Chaney supplying bass on a few songs.

Here’s some international critical feedback for PATIENT NUMBER 9. Click here to read more.

“It’s a This Is Your Life collection of the artists who influenced, played with, and were inspired by Osbourne, and, even with all the star power, it never feels like anything other than an Ozzy Osbourne album…an album that rocks harder than Ordinary Man without losing sight of Osbourne’s love of melody.”

“Ozzy Osbourne Is a Bright Light on Star-Studded Album Patient Number 9…”

“Through it all, Osbourne sounds full of life…Patient Number 9 is a more focused work…there was speculation around Ordinary Man’s release that it could be Osbourne’s final album. Patient Number 9 proves that theory wrong. Don’t count him out just yet.”

“A new Ozzy Osbourne album still feels like a major event…When Ozzy speaks, the world still listens. Patient Number 9 also happens to be Osbourne’s best album in years…The all-star supporting cast doesn’t outshine Ozzy, who sounds terrific…”

“The songs are tightly written…also finely balanced, the choruses big and bold enough to attract attention  but not overshadow the main attraction’s essential essence.”
The Guardian UK

“…it’s a fizzing piece of hard-rock magic.”

“Patient Number 9: a defiantly bravura set of melodic metal on which the 73-year-old genuinely sounds as though he’s having the time of his life.”
Telegraph UK

“…a massive celebration of life and friendship and the magic power of music.”
Kerrang! UK

“Ozzy still has a lot to say, and his voice sounds heartbreakingly beautiful”
De Volkskrant Netherlands

“The Prince of Darkness rides again on ‘Patient Number 9’, and it’s a regal adventure from start to finish courtesy of a once-in-a-lifetime talent (and some prodigious friends).”
The Soundcheck Australia

“This truly is a brilliant album.”
Everblack Media Australia

“Headline: Ozzy still got it. There is only one prince of darkness, and he is immortal…The world’s strongest metal-voice is back with his 13th solo album…The album is one of the most heartfelt albums the metal legend has ever put out…The legend Ozzy Osbourne does not need to prove his rightful place anymore.”
Stavanger Aftenblad Norway



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