Dave Grohl will be releasing a Bad Brains cover for Record Store Day this April, and thankfully it isn’t of Don’t Blow Bubbles.
Anthrax teased a collaboration with the Foo Fighters and Nirvana legend last year, posting an image on social media with the caption “New album is going to be awesome #FooThrax”.
It now appears that what they were recording was a cover of the not-homophobic song ‘The Regulator,’ with the release coming out under the name G.B.I. and only 3000 copies being pressed.
Anthrax co-founder Scott Ian and drummer Charlie Benante will also be on the exclusive Record Store Day 7 inch.
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Music News: Dave Grohl Releasing a Bad Brains Cover for Record Store Day
Scott Ian of Anthrax revealed (via NME): “We ripped Regulator live in 2 takes, the way it should be! It was so much fun to get to play with Dave on drums and to hear his voice with my guitar! We’re all such huge Bad Brains fans and have asked WWBBD? (What would Bad Brains do?) many times. Hope you get a copy!”
Record Store Day is on Saturday, April 20th 2024, but actually, every day is Record Store Day so go to your local record store now.
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The Hard Times Real News: Yes I also Google Bad Brains every other week hoping they’ve apologised so I can listen to them guilt-free again
Yes, The Hard Times have a real music news section now, but you don’t need to freak out.
Make sure you check out more of the content we have via our /realnews/ section and if you happen to be a pro wrestling or combat sports fan you can check out my site FightFans.
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Seal’s blockbuster song known as “Kiss from a Rose” is likely the most successful tune here, and as you know, the more popular a track is, the better it is. Naturally. Also, we have no idea who the music supervisor was on this Jim Carrey flick, but the fact that Sunny Day Real Estate has a song here is not lost on us and we are happy to find it every hour on the hour. Add in some The Flaming Lips, Nick Cave, The Offspring, and PJ Harvey and you have a sonically diverse mid-’90s soundtrack that somehow makes sense with a white tank top over baggy jeans with a random yet dated patch on one buttcheek. Hold us, thrill us, kiss us, but please, don’t kill us.
Unless you lived under a crow’s nest in BFE in 1994, you likely know about Brandon Lee’s disturbing fate on the set for this film, but possibly spent more hours enjoying the soundtrack to “The Crow” than the movie itself, which no one literate or illiterate would fault you for. “The Crow: Original Motion Picture Soundtrack” debuted at number one on the Billboard charts, an impressive feat for both standard LPs and soundtracks alike, and has sold over three million copies domestically. In addition, blockbuster acts like Nine Inch Nails, Stone Temple Pilots, and The Cure have standout tracks on this CD (remember those?) and an li’l act that was about to blow up named Rage Against the Machine is also featured; Reel Big Fish is NOT. Cover songs are F-U-N!
A plethora of films have soundtracks, but not that many have sequels to such, and there’s just ONE “Dazed and Confused”! Not only did Richard Linklater’s throwback classic have a cast that few films could rival in any way, shape, or form, but its first soundtrack featuring Alice Cooper, The Runaways, ZZ Top, Black Sabbath, and so many more rock and roll for your party and your soul icons, is for your deadbeat dad who made just one child support payment, perpetually stoned regardless of the time of day second cousin Albie, and your nascent yet nostalgic AM radio loving hearts. Rumor has it that approximately ten percent of the film’s budget was previously set aside for music rights, showcasing that the creators wanted authenticity. That’s what we love about soundtracks, man, we keep getting older but they stay the same age.
Speaking of classic rock and music, we don’t understand why “Forrest Gump: The Soundtrack” doesn’t get mentioned with the same gold medal reverence as critical and social darlings “Saturday Night Fever” or “The Big Chill,” but it may be because stupid is as stupid does, Jenny. Regardless of which social global blunder caused this cataclysmic omission, this soundtrack is so good it was on not one, but TWO freaking compact discs, and told a chronological story in music form that was just as good, if not better than, the actual movie. From Elvis Presley to Creedence Clearwater Revival to The Mamas & the Papas to The 5th Dimension, the audio listener grew as Forrest lived his incredible and unbelievable life. What’s even more wild and mind-numbing about this whole shebang is that the movie is now THIRTY years old, making it a classic form of art as well; we’re old.
If you were cognizant in 1993, you likely missed this flick, as even many in its cast did, but the cool kids DEFINITELY heard its genre blending soundtrack, and could NOT avoid reading about it in inferior publications trying so damn hard to be uber edgy and super cool. Trust us, bro, the marketing on this one was pristine, perfect, persuasive, and another POSITIVE adjective starting with the letter “P”! Anyway, Immortal/Epic Soundtrax were certainly ahead of their time with this one as the eleven songs on “Judgment Night” were all fun collabs between modern acts in the rock world and established rappers in the hip-hop lexicon: Notable songs come courtesy delivered from Helmet/House of Pain, Biohazard/Onyx, Slayer/Ice-T, and Britney Spears/NWA. The soundtrack eventually went Gold which stood out as the movie got globally panned and was not profitable… JUST ANOTHER VICTIM!
Before reading the pulp section of this piece, you may desire to scold us for this LP seemingly being incorrectly alphabetized, but you’re wrong, as we are sticklers for both smugness and accuracy, so just sit in your mis ir lou and jungle boogie the hell home if you’ve got one. Likely your favorite soundtrack here, and certainly from our second or most favorite movie mentioned, “Music from the Motion Picture Pulp Fiction” was a welcomed retro and cinematic surfy throwback for audiences of all ages in 1994 even if the movie was inappropriate for those under legal smoking age. Audiences across the globe ate both this film, and soundtrack up, proving that Quentin Tarantino sure knows how to write/direct a fantastic film, and most certainly how to curate a badass soundtrack, that’s for damn sure!
If you thought that “Pulp Fiction” was a little dark, let’s go to an even more messed up place, fam, and dive into “Natural Born Killers.” Released on Trent Reznor of Nine Inch Nails’ Nothing Records, which was a subsidiary of Interscope Records, it not only had a narcissistic album title, but it was a seventy-five-plus minute journey that left the listener soaked in blood and sweat, much like its motion picture. Acts not named Nine Inch Nails on this soundtrack include Cowboy Junkies, Patti Smith, L7, and Tha Dogg Pound, and normally you’d assume that we are joking about the last inclusion, as we are sneaky little devils, but we are not here, we swear! It’s still quite hard to believe that Juliette Lewis was only twenty-one years old when this movie hit theaters and she licked.
As grunge slouched in seemingly effortless style and took over the world of rock music in the early-’90s, it found a way to infect the cinemas then as well with the movie “Singles,” and its objectively and subjectively perfect soundtrack, the appropriately titled “Singles: Original Motion Picture Soundtrack.” Much like “Judgment Night” above, which came out just one year later, the suited folks at Epic Soundtrax were on quite a roll around this time, and they showcased their gumption over the course of this soundtrack’s hour plus duration in thirteen tracks: Soundgarden, Pearl Jam, The Smashing Pumpkins and even The Jimi Hendrix Experience were just some of the highlighted artists here. You can nostalgically smell the flannel as soon as you drop the needle down on your player, and the ghosts of Chris Cornell and Andrew Wood will sing to you till you can’t handle their greatness anymore.
Fun fact: “Wayne’s World,” and particularly its off-the-wall now classic car scene wherein various characters “sing” and rock out to Freddie Mercury, Brian May, Roger Taylor, and John Deacon’s “Bohemian Rhapsody” successfully made a 1975 hit even bigger seventeen years later, so thanks, Wayne, Garth, and the Mirthmobile. Much respect, y’all. Queen wasn’t the only legacy act that got a boost because of this soundtrack as well, as Alice Cooper, who also appeared via a short and sweet moment in the film, was exposed to a younger audience as well; we’re not worthy indeed. To this day, “Wayne’s World” has quite a legacy in that it is the highest grossing Saturday Night Live film to be based on a sketch, and likely will be forever, AND it had countless poor imitators, none of which we will highlight here because we don’t want to further contribute to a problem.
Let’s end this piece with the most recent movie film referenced, which is actually based on text from several centuries earlier: “William Shakespeare’s Romeo + Juliet,” complete with a plus sign. We hope that you love us, love us, and say that you love us because we didn’t omit the one containing the dude from “Growing Pains” and one of the gals from “How to Make an American Quilt,” and if you don’t, maybe box office superstar M. Emmet Walsh will inspire a happy and fulfilled belly. Anyway, this film featured The Bard in extremely cinematically ambitious and avant garde form, and its soundtrack showcased the underrated act that we alluded to known as The Cardigans, along with tracks by Garbage, Des’ree, the brilliantly named The Butthole Surfers, and the awfully monikered The Pee Pee Hole Skateboarders. Young hearts run free, and even out of touch old heads dug this soundtrack!
Martin Scorcese and asshole film school snobs love this influential silent horror film, and we can think of no better way to take the absolute piss out of them by rebooting it as an MCU knockoff where Doc trains zombie ninja assassins in post WW1 German. And if we can get Sony to produce it, there’s a 100% chance they’ll fuck it up.
Those vultures at Disney built their empire on public domain fairy tales, so once we get our hands on it we’re going to hold this little Halloween staple hostage and desecrate it until they pay us to get it back. We’re talking truly vile stuff like skeleton blood orgies, diatribes about how Hitler did nothing wrong, and replacing the music with Imagine Dragons. Bob Iger has 24 hours to pay or we’re coming for ALL the Silly Symphony cartoons.
We’re straight shitting on the legacies of two iconic authors for the price of one. Faulkner and Hemmingway hated each other in real life, so what better way to sully their rivalry than to reinvent their (arguably) best works and mash them together as a road trip buddy comedy through Italy about an ambulance driver and an idiot from Mississippi. Also, we’re going to drop that stream-of-consciousness crap and add a talking cat, Mister Meowsulini.
If we’re being real there’s nothing about Little Nemo that we’d change, and it has nothing to do with its groundbreaking dream logic narrative and art style. Frankly it’s already tarnished by the character of Impie, arguably one of the most wildly racist caricatures ever conceived. If this kid dreams in bigotry, we don’t even want to know what his waking hours are like.
$3,000 for a fucking chair? Hell naw. And screw Barcelona, this will now be forever known as the Hard Times chair. We’ll charge $25, make it green, and add a shit ton of studs and zippers that stab the hell out of your ass, thighs, and back. Each one will be assembled in a poorly ventilated punk house basement by a squatter named Patches. Suck on that, you rich jackwads.
There’s actually a precedent for fucking up Hitchcock movies thanks to the completely unnecessary remake of Psycho that came out in 1998. We can go lower though, with another copy + paste job but with a cast of today’s most grating TikTok celebrities. Nothing like the words “starring Charlie D’Amelio” to shit on Hitchcock’s grave.
Hot damn are we going to exploit this one. Nothing says feminism like ruining her life’s work by plastering it all over shirts, stickers, coasters, and Stanley mugs. And why stop there when we can run “The Two Fridas” through an AI generator and add a third Frida, or better yet merge her paintings together and market them as new. Hang it in the Louvre!
Coming in dead last, “Bodom’s Midlife Crisis” would have been a better title, or better yet, “Bodom Till Midnight,” since it falls so short. This album seems full of recycled material that Bodom has done better in the past. Deep down we would like to think they were trying to recycle their “heavy metal” sound to do their part in combating climate change, which would be a noble endeavor. You’d rather find yourself with some strange campers than be caught listening to this album.
Second to last on both this listing and chronological discography, with a title just as uncool, you would at least hope that some chaos worship would bring for a glorious blaze of guitar theatrics and keyboards in the haze. And while there is chaos to be found here, it’s in the inconsistent songs, quality and overall vibe, that fail to capture the very magic of Lake Bodom in winter. The danger too.
A literal and figurative question at this point, since the Wildchild antics and general ennui had taken a toll on the band, but thankfully there are some good times on this album, courtesy of singles “Are You Dead Yet” and “Trashed, Lost and Strungout.” Plus, “Living Dead Beat” is an anthem for creatures of the night everywhere. Unfortunately, the rest of the album falls flat with mediocre songwriting and unimaginative hooks.
Owing more to thrash than to the typically symphonic and melodic side, this album delivers on its promise to get us whatever the hell blooddrunk is. Fun fact, the utterance of blooddrunk on the title track can be replaced with buttchug, and it fits perfectly fine to replace in a singalong at a metal kegger. Plus, there’s a banjo solo on this album, and who doesn’t want to get down with the sick twang of the ‘jo!
Children of Bodom’s debut album contained more of a raw, black metal-influenced sound, without the refined, polished songwriting of later releases. While the riff is the undisputed focal point of heavy metal, this album contains just too much riff salad for the discerning listener, and you don’t make friends with riff salad.
A return to glorious form and a fuck you to the flower power hairband of 2010s bro festival culture, “Halo of Blood” proved that there was more in the tank from the boys. Combining sounds from all over Bodom’s storied career, with songwriting to boot, and some of the most inspired leads since “Follow the Reaper,” it sounded as if Bodom were finding their way after several average outings.
The Final Chapter of the Bodom saga, the band goes down swinging with a swagger unseen since their prime, with fresh axeman Danie Freyberg providing arguably the best counterpoint to the maestro since Alex Kuppola (sorry Roope, it’s not you, but also, it’s you). Plus, the entire band is on full display, with keyboard wizard Janne Wirrman being on point as always, basslines forged by Henkka T. “Blacksmith” Seppala, and ole reliable drummer Jaska Raatikinen bringing their A+ game. Truly, the band is on full display, no songs that dismay, living proof of their fame, and as Mike Shinoda would say, a reason to remember the name.
When the opening notes hit like a bunch of needles, directly thrust into your skin, you just know this is the stroke of genius. Not only had Alexi and co. not just popularize shredding for the next generation, but also tattoos, as millions across the globe would try in vain to capture the static, but beautiful attack of Bodom. Blistering guitars, melodic keyboards, rhythming rhythm section, this beauty’s got ‘em all.
Don’t let the title fool you, there is so much love to give to this album, and so much more if you share it with a friend. This is the record where Bodom found their sound and perfected it, allegedly by hiking through the Swedish Woods instead of the Norwegian woods, hence the toning down of the black metal influences. What’s left is moody, melodic and shreddy metal that would influence a generation of guitarists and nail polish enthusiasts.
Since the very title of this album is a call to arms, you answer, or the reaper will presumably get you, and in your undead state, you would be forced to Follow the Reaper regardless. This album almost made the band change their name from Children of Bodom, to Adults of Bodom, due to its sheer quality, but it doesn’t have that ring to it. Rumour has it that Michael Fassbender based his performance in the perfection meme on his reaction to hearing this album. Soooo metal that scientists have yet to classify it.