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Black Stone Cherry bridges the gap between the blue collar craftsmanship of dirty, bluesy, ballsy, pedal-to-the-metal Hard Rock steeped in the ancestral lineage of Southern Rock and the warm, broad embrace of the rock radio mainstream. There’s enough boot stomping, soulful meat-and-potatoes in the Kentucky band’s stew to invigorate Middle America, with the melodic chops to conquer the worldwide stage.

The Allman Brothers and Metallica meeting up, getting drunk, raising some hell and then crashing into a big brawl together, only to have Robert Johnson break it all up? That’s essentially the sound of Black Stone Cherry. 

The Black Stone Cherry sound is as timeless as a backyard barbecue, a rundown farmhouse or a worn-in pair of Levi’s, but as forward thinking as anything generated by the millennial crowd in the modern age. 2014’s Magic Mountain carries the torch for the brightest moments of Classic Rock history, but it’s no throwback. The energy, enthusiasm and skill of today’s best rock n’ rollers keeps one Black Stone Cherry boot planted in the future, even as they call upon the musical ghosts of the past. 

The band’s substantial catalog has given birth to a bevy of rock radio staples like “White Trash Millionaire,” “In My Blood” and “Please Come In.” It’s all driven by the vocal charisma and vibrant lead guitar shred of Chris Robertson, the driving dynamic crunch of guitarist Ben Wells, the rhythmic pulse of bassist Jon Lawhon and the always-in-the-pocket groove of drummer John Fred Young, all of whom add their voices to Black Stone Cherry’s soaring melodies and instantly accessible vibe. 

“It’s an honor for people to throw us in the same category as Lynyrd Skynrd, Allman Brothers, Molly Hatchet, or the Marshall Tucker Band,” Wells concedes. “But we don’t act like we’re from the ‘70s. We never set out to be a Southern Rock band. It just comes naturally. We couldn’t run from that if we wanted to. There is definitely heavy rock in our sound, but we can also go into something that’s country, or even funk. We bring a little bit of everything to the table. We don’t limit ourselves.”

Black Stone Cherry’s fourth full-length album arrives destined to add to Black Stone Cherry’s eight triumphant victories on the mainstream rock radio charts, kicking off with lead single “Me and Mary Jane,” with badass barnburners like the grimy “Dance Girl” and the slow boiling, ultimately explosive “Blow My Mind” all on tap. 

The band took off several months in late 2012 to decompress from the victorious but exhaustive touring cycle behind Between the Devil & the Deep Blue Sea (2011), the follow-up to their commercial breakthrough Folklore and Superstition (2008) which had delivered on the ambitious promise of their self-released, self-titled debut. Starting families, hanging out and being home helped recharge the BSC muse. 

“We got to just settle in and be the good old boys from Kentucky that we are,” notes Robertson. “I did a lot of deer hunting. Spending time alone in the woods will do you good, man.” After they finished writing, they headed to California to record. 

Black Stone Cherry’s producer partnerships read like a who’s-who of rock n’ roll hitmakers. They made their second album with Bob Marlette (Ozzy, Seether, Saliva) and the follow-up with Howard Benson (Daughtry, Creed, Three Days Grace). Joe Barresi (Queens of the Stone Age, Tool, Soundgarden) came onboard to help the band craft what will certainly be a watershed moment in their storied career. 

“A lot of rock music today doesn’t have any soul. It’s all really bland,” observes Lawhon. “There’s no attitude. There’s no heart. We all grew up on ‘70s rock, Southern Rock, country music and bluesmen like Robert Johnson and Muddy Waters. On this album, more so than ever, those elements are all in the forefront.” 

“We went in feeling a real sense of freedom and confidence about what we wanted to be as a band and what we wanted this album to sound like,” explains Wells. “We wanted it to be something that would really go over with our fans live. That’s where we really sell ourselves. We wanted to showcase the heavy riffs and the melodies.”

The universal appeal and undeniable authenticity of Black Stone Cherry’s rock anthems and down-to-earth attitude has won them an increasingly diverse and international fanbase (as evidenced by the #1 debut of Folklore and Superstition on the UK’s rock charts), converting unbelievers while crossing the globe alongside rock royalty like Nickelback, Bad Company, Lynyrd Skynyrd, Def Leppard, Whitesnake, Chickenfoot (featuring ex-members of Van Halen) and Alter Bridge. 

“We’ve made our fanbase the old school way,” Wells notes. “Radio has supported us and we have really appreciated that, but it’s when people see us live that they really fall in love with us. We wanted that to come across with the sound of this album.”

Young notes that Magic Mountain represents a “full circle” moment for Black Stone Cherry’s career, as well. His father (Kentucky Headhunters guitarist Richard Young) had helped the band get a showcase for an Atlantic Records A&R man. A deal didn’t work out then, but thanks to the recent merger between Warner, Atlantic and Roadrunner, that same A&R guy is working closely with Black Stone Cherry after all. 

“We didn’t want to make a cookie cutter record and our label team and producer were down with that vision,” says Young. “We wanted to come out with our balls out and blow everyone away, so that’s what we did this time. There’s no holding back.” 

“Holding On…To Letting Go” opens the album with bravado. It’s a stand-up-and-take-notice heavy rock song certain to get fists pumping in the air at concerts around the globe. “Runaway” is probably the most mainstream song the band has ever written, but it maintains the heavy bite that is their signature. Barresi encouraged the band to let loose with the Ted Nugent meets Aerosmith vibe of “Fiesta Del Fuego,” a personal favorite for Wells. “At the end of the song, it goes into this jam thing we put together on the spot in the studio. It’s one of my favorite sections of anything on the album.” 

Black Stone Cherry has maintained the same lineup since the band formed on Robertson’s 16th birthday: June 4th, 2001. Robertson and Young have been buddies since kindergarten. “We’ve known Jon since we were 13,” Robertson explains. “We met Ben a couple of days before we started the band. A band should be more than a singer with some fill-in guys. It’s a group of people with a common goal. It’s like a marriage. You argue back and forth but at the end of the day, you love each other.”

It’s that chemistry, loyalty, brotherhood and charm their fans respond to the most. 

“Most of our fans weren’t born with a silver spoon. They understand what it takes to achieve something in life. They have goals and ambitions, just like us,” says Lawhon. “We have picked up a lot of fans who understand and identify with us.”

Magic Mountain is about to spread that goodtime vibe even further ‘round the globe.

Tremonti

All I Was reveals another side of Mark Tremonti. The Grammy Award-winning guitarist's style remains instantly recognizable. It's nearly impossible to forget his riffs in multi-platinum rock juggernaut Creed or his scorching fretwork with the critically acclaimed, fan favorite Alter Bridge. Having sold over 40 million records worldwide, this is the man behind massive hits like "My Own Prison", “Higher", and "Isolation"—just to name a few. There are a myriad of reasons why Guitar World dubbed him "Guitarist of the Year" three consecutive years in a row, and he ranked as the "fourth greatest heavy metal guitarist ever" in Total Guitar. You might think you know him from all of that, but you haven't heard Tremonti unleashed like this.
Assuming both vocal and six-string duties on his long-awaited solo debut, he thrashes with a fierce intensity that's remarkably heavy and instantly infectious. Flanked by rhythm guitarist Eric Friedman and drummer Garrett Whitlock, Tremonti engages an incendiary metallic assault that's relentless from the first moment until the last, burning down all expectations in its path. 
In many ways, Tremonti returned to his roots for All I Was. Growing up on the likes of Pantera and Metallica, heavy metal has always had a very special place in his heart. However, he never had the avenue to truly follow those impulses to the fullest until now.
"From day one in Creed, I'd pull out metal riffs and the guys would remind me that we weren't Slayer," he laughs. "Over the years, our sound got heavier. Then, Alter Bridge became even heavier than Creed. That's my foundation. It's a style that I'm really comfortable with. Now, there are no holds barred. I figured the solo album was my opportunity to get that part of myself out there without losing the sense of melody I've worked so hard to achieve."
That's exactly what he did on All I Was. While Alter Bridge frontman Myles Kennedy was on the road with Slash in early 2011, Tremonti hunkered down in his home studio and began assembling what would become the album. As he continued to rehearse with Friedman and Whitlock, the shredder came into his own as a vocalist. Of course, he'd always sung melodies in both of his other bands, but this was a whole new challenge.
"When you're singing backup, you can't really let loose and put too much character into the vocal line," he reveals. "I spent a lot of time practicing with the guys and rehearsing, and I finally developed the confidence to go in and do this."
In between touring, he collaborated with producer and longtime friend Michael "Elvis" Baskette [Chevelle, Alter Bridge] on recording. Together, they achieved a sound that's powerful and potent. "Whatever he does sounds incredible," he says of Elvis. "I trust him so much at this point. He's very honest when it comes to producing, and he's a phenomenal engineer. He always pushes me."
Tremonti also has a long history with Friedman and Whitlock as well, having co-produced their debut album with Submersed. "Garrett and I have a lot in common when it comes to our roots," he elaborates. "Eric is like a little brother to me. We have a great time together. We're all huge fans, and music is our life. We wake up wanting to play and go to sleep wanting to play. We're all on the same page."
You can hear it loud and clear on the album. Songs like "Brains" balance speed metal shredding with anthemic choruses. Tremonti also opened up like never before on the lyrics, dealing with betrayal, isolation and ultimately starting anew.
Groove-driven album opener "Leave It Alone" sets the tone for All I Was thematically. He goes on, "It’s about the walls you build up walls over the years and the lessons learned. So, as soon as you get any indication that someone is going to do you wrong, you turn the other way."'
"The Things I've Seen" imagines a similar story, but he tells it via vulnerable vocal delivery, haunting guitar soundscapes, and hypnotic harmonies. The songwriter elaborates, "It really targets two-faced people. When you chase down a dream and are betrayed at the end, that experience completely changes you as a person. You can curl up and become jaded."
With one listen to All I Was, it's clear that hasn't happened to Tremonti though. In fact, the songs brandish a youthful fire that blazes brightly. He urges listeners to stand up and fight with the pummeling thrash of "Wish You Well" and he pleads for a fresh start on "New Way Out". 
As for the title of the album, it's got a deeper meaning for its architect. He divulges, "It's about being a shell of what you used to be. In life, you can start off with a mentality that nobody can hold you back. As you grow up, you work your way through troubles and fight life's battles the best you can. How you come out on the other side is up to you."
In addition, Tremonti's gone independent once again for All I Was. "At first, I was just going to put a couple of tracks online when I had the time. As we got deeper into the album, we realized that we had to get it out there properly and tour it. We're going to give it all we've got."
The record became available via FRET12 distribution. FRET12 is the online guitar hub that Tremonti founded with his brother Daniel Tremonti and Tom Stanley in 2008, which links fans to professional guitarists around the world in today’s top bands.
Things took an even more unpredictable turn as the band began preparing for touring in late 2012. Wolfgang Van Halen was brought into the fold at the eleventh hour as touring bassist Brian Marshall was unable to commit to the fall tour. Wolfgang, who is a long-time friend of Tremonti, quickly arranged a rehearsal with the trio, and in less than 24 hours, was fully prepared to tour for “All I Was”. Shortly thereafter, he was proclaimed a full-time member of the band, rounding out the group’s four-piece live lineup.
Wolfgang Van Halen is now a staple member of the band, providing his quintessentially signature bass sound to the old and new material. Wolfgang, who is also an established singer, is able to provide new layers of vocal harmonies to the material as well, allowing audiences around the world to fall in love with B-sides like “Gone” and “All That I Got”, the latter of which showcases Wolfgang’s superior vocal skill. 
Fast forward to 2014, and fans around the world eagerly await the follow-up to “All I Was”. The same trio you heard on the first record will be recording their parts with Michael “Elvis” Baskette, along with Wolfgang recording the studio bass lines. With nearly 20 songs being recorded and an uncompromising all-access fan experience to “fuel the Tremonti project” revolving around the band’s new studio session- Mark Tremonti plans to bring his music to the people like never before!
Ultimately, the debut album remains as pure as Tremonti's love for music. "I hope people have fun listening to All I Was and want to see it live," he concludes. "This record is heavier than anything I've done, but it's still a fun record. I hope it makes people want to go out, face the world." Just like he continues to…