New recording and change in line up

Almost a year after the release of our debut album “protector”, we’ll cut our second next week in Atlanta. Out of more than 30 songs, we’ll nail it down to recording just about half of that. A very strong half, that is. Due to many activities and obligations in life, Peter Stroud will not be able to be a part of The Bullhounds anymore. Rick Richards will play all guitars on the coming album. Expect rock’n’roll control!

“protector” 4th best album of 2014

According to www.rocktip.de (Germany) “protector” is the 4th best album of 2014! We do better than Rival Sons’ “Great Western Kalkyrie” (6th place), but are surpassed by The Quireboys’ “Black Eyed Sons” (3rd). Both are bands we highly respect.

On another note, our song “Make It” was nominated for best rock song of 2014 by Danish radio station myROCK. We didn’t win this time though!

The motherrockin’ review from CAPAC.dk in English!

CAPAC recommends: The Bullhounds – “protector”

(Original review published May 25 2014 in Danish on www.capac.dk/wordpress)

The cover of The Bullhounds’ new album is adorned by a small extract of the painter Paul Klee’s ink drawing Der Beschützer (The Protector) which is on display at Tate Gallery. The extract shows the protector – a non-specified dog with flappy ears and an aggressive yawning gob. As listeners we are already here dropped a co0uple of hints about the music hidden on the album.

The album was recorded in Atlanta Georgia a warm and sweaty August in 2011 and the mandatory thank you notes in the cover refer to the chief producer Jeff Bakos et al. who together with the band member Erling Daell has been responsible for the production and the other Bullhounds as ‘protectors and creators of rock’n’roll’.

We are thus dealing with people who will fight for rock’n’roll – but not just any kind of the beloved music genre. In the above mentioned thank you notes, inspiration from both Georgia Satellites – as well as – yes, who else? – Chuck Berry, is highlighted.

These two iconic evidences point to the lifeblood of rock that range from Chuck Berry’s elementary, cheerful preaching of a not always uncomplicated daily life with school, work, girlfriends and parties in the street to Georgia Satellites’ revitalisation of good time rock’n’roll to our days unspoiled, punk-rock. And that is exactly what we get from the speakers: No bullshit-rock’n’roll.

Nor the wheel or the hot barber water are reinvented. Together with the friends (Tom Gray, lap steel guitar, hammond organ, Matt Wachope, piano and hammond organ), The Bullhounds (Erling Daell, vocal, Rick Richards, guitar, Peter Stroud, guitar, Mauro Magellan, drums – and Keith Christopher, bas) deliver the basic, non-technology polluted clean version of rock’n’roll. The Bullhounds’ attitude are made clear already in the first song “Fugitive” which is an almost archetype love song about love and lust as a prison which the man in the song wishes to escape from. An ode to freedom delivered with Daell’s raw, masculine voice and springy rock guitar records – taken directly from the Junior Woodchucks’ little book for rock’n’rollers. It becomes almost even more basic in the song ‘Make it’ where the text has been limited to simple, short statements: “Make it loud/Make it pop/Make it hard/Make it hot…” A super simple song about just doing it: deliver the goods – rock’n’roll. It is a gripping rock song (written by Alec White), which in all its simplicity almost beats Chuck Berry who’s otherwise considered the master of simple, but very explicit songs.

And so it continues to the love song “Little Lady”, which clearly owes a lot to Berry’s “Memphis Tennessee” and is an unambiguous declaration of love to Berry’s genre defined rock. Where ‘Little Lady’ celebrates a woman that can satisfy all the male needs, the girl in “Mean Mean Girl” is the exact opposite. A bitch that is downright mean. A little balance is brought to the sexes with this song that updates Berry’s rock to a modern, up-tempo rock’n’roll, which could easily be represented on the before mentioned Satellites’ setlist.

The texts on the album move perfectly within the well-known theme. There are the already mentioned songs about the often complicated relationships with the beautiful sex (those songs take up quite a bit of space on the album) and songs about a male life where you live from hand to mouth, search for the right woman and the purpose of life – and where the purpose most of all seems like: rock’n’roll.

“protector” is not an album that shakes the impressing construction that we call rock’n’roll. It is an album that is lovingly loyal, yes devoted to the best rock’n’roll has to offer -both music- and text wise. Protector is rather one of those balks that keep the building standing – proud in all its glory.

Thus “protector” joins the row of albums which once in a while appear and with vitality and charm show us how it all began and demonstrate where the source of fascination to the often pronounced dead rock’n’roll lies. A needed album conscious of tradition that I can only give my warmest recommendations. And now, it would be appropriate for The Bullhounds to tour the summer festivals and teach the youth – and those who have come out of it – a lesson in rock’n’roll.

The Bullhounds. “protector”. Produced by Erling Daell, Jeff Bakos, Peter Stroud and Mauro Macgellan. RockBastard Records. Released May 26 2014.

A motherrockin’ Danish review by a true protector of rock’n’roll. Will be translated into English ASAP!

From www.capac.dk/wordpress:

Capac anbefaler: The Bullhounds – Protector

25. maj 2014

Coveret til The Bullhounds nye album The Protector prydes af et lille udsnit af maleren Paul Klees blækterning Der Beschhützer (Beskytteren), der til daglig befinder sig på Tate Gallery. Udsnittet viser beskytteren – en ikke nærmere defineret hund med strittende ører og aggressivt gabende kæft. Og dermed får vi som lyttere allerede et par indicier til den musik, der gemmer sig pladen.

Pladen er indspillet Atlanta Georgia en varm og svedig uge i august 2011, og de obligatoriske taksigelser i coveret omtales chefproducer Jeff Bakos m.fl. , der sammen med bandmedlem Erling Daell har haft ansvaret for produktionen, og de andre bullhounds som “beskyttere og skabere af rock’n roll”. Vi har altså at gøre med folk, der vil slås for rock’n roll. Men ikke hvilken som helst udgave af den elskede musikgenre. I samme taksigelser fremhæves såvel Georgia Satellites som inspirationskilde som – ja, hvem andre? – Chuck Berry.

De to ikoniske indicier peger altså på den livsnerve i rocken, der går fra Chuck Berrys elementære, livsglade besyngelse af et ikke altid lige ukompliceret hverdagsliv med skolegang, arbejde, pigevenner og fest i gaden over Georgia Satellites revitalisering af good time rock’n roll og frem til vore dages uslebne, punkede rock. Og det er da også lige netop det, vi får ud af højtalerne. No bullshit-rock’n roll.

Her skal ikke opfindes hverken dybe tallerkner eller varmt barbervand. The Bullhounds (Erling Daell, san, Rick Richards, guitar, Peter Stroud, guitar, Mauro Magellan, trommer – og Keith Christopher, bas) dyrker sammen med vennerne (Tom Gray, lap steel guitar, hammond orgel, Matt Wachope, piano og hammond orgel) den basale, teknologisk ubesmittede udgave af rock’n roll.

Attituden fastlægges allerede i det første nummer “Fugitive”, der er en næsten arketypisk kærlighedssang om kærligheden og begæret som et fængsel, som manden i sangen vil flygte fra. En frihedsode sunget med Daells rå, maskuline stemme og spænstige rockguitarakkorder, der er taget lige ud af den lille grønspættebog for rock’n rollere. Og endnu mere basalt bliver det næsten i sangen “Make it”, hvor teksten er barberet ned til helt enkle, korte statements: “Make it loud/Make it pop/Make it hard/Make it hot…”. En ultranenkel sang om bare at gøre det: levere varen – rock’n roll. Det er en medrivende rocksang (skrevet af Alec White), der i sin enkelhed næsten falder bag om Chuck Berry, der ellers er mesteren udi såre enkle, men meget sigende sange.

Og sådan fortsætter det videre til kærlighedssangen “Little Lady”, der hørbart står i dybeste gæld til Berrys “Memphis Tennessee” og netop er en utvetydig kærlighedserklæring netop til Berrys genredefinerende rock. Hvor “Little Lady”  besynger en kvinde, der kan tilfredsstille alle mandens behov, så er pigen i “Mean mean girl” lige den modsatte type. En kælling, der er helt igennem slem. Så der er bragt lidt balance i kønstingene med denne sang, der opdaterer Berrys rock til en moderne, uptempo rock’n roll, der sagtens kunne være med på omtalte Satellites’ setliste.

Teksterne på pladen bevæger sig fint inden for en velkendt tematik. Der er de allerede omtalte sange om det ofte komplicerede forhold til det smukke køn (de sange er der en hel del af på pladen) og sange om et mandeliv, hvor man lever fra hånden til munden, søgende efter den rigtige kvinde og meningen med livet – og hvor meningen mest af alt ligner: rock’n roll.

Protector er ikke en plade, der ryster det imponerende bygningsværk, vi kalder rock’n roll. Det er en plade, der er kærligt-loyal, ja hengiven, over for det bedste, rock’n rollen har at byde på – musikalsk og tekstlig. Protector er snarere en af de bjælker, der sørger for at bygningen bliver ved med at stå og tårne i al sin glorværdige pragt. Dermed skriver pladen sig ind i en række plader, der med jævne mellemrum dukker op og med vitalitet og charme viser os, hvordan det hele begyndte, og demonstrerer, hvori fascinationskraften i den ofte dødserklærede rock’ roll ligger. Til stadighed. En traditionsbevidst, nødvendig plade, jeg kun kan give mine varme anbefalinger med på vejen. Og nu kunne Bullhounds meget passende tage ud i festivalsommerlandet og give ungdommen og dem, der er kommet ud over den, en lektion i rock’n roll.

The Bullhounds. Protector. Produceret af Erling Daell, Jeff Bakos, Peter Stroud og Mauro Macgellan. Rock Bastard Records. Udkommer i morgen, den 26. maj 2014

New rock‘n’roll supergroup announce debut

With a cast of internationally renowned musicians, The Bullhounds are set to be one of the purest rock‘n’roll explosions of the year. Their first record – ‘protector’ – was made in a frenzy of friendship and fun, and it is out on May 23 2014.

Erling Daell Danish business entrepreneur and music aficionado turned singer/frontman has assembled a stellar lineup with three former members of Southern rock legends Georgia Satellites and guitarist Peter Stroud (Sheryl Crow, Pete Droge & The Sinners).

They have joined forces to craft a genuine rock‘n’roll record – ‘protector’ – which is out May 23 2014.

  • It was central for me to make something pure. Today, much music is so overproduced that I cannot feel the life and the nerve. Above all, life and nerve is what rock ‘n’ roll is about, says Erling Daell.

Daell has been the axis of the project as a chain reaction of coincidences, promises and positive response led him on a quest to create an album. He has known the former members of Georgia Satellites personally since the mid-90’s, and hearing about his plans, they all volunteered to throw in their talents.

  • This has all been realized by the urge to contribute, and it shows how far you can come by just believing in the power of rock ‘n’ roll. So yes, we are the protectors of rock‘n’roll, says Erling Daell.

So rooted in the sheer joy of playing together, exchanging ideas and challenging each other, The Bullhounds have the crispness of The Black Crowes, Neil Young & Crazy Horse and the unspoiled energy of The Hives and Ramones. Daell has gathered songs from various sources such as a songwriting team whose merits include Black Sabbath and Thin Lizzy and former Georgia Satellites’ front man Dan Baird.

This all to secure one thing: Powerful tunes in a powerful setting.

The Bullhounds are:

Erling Daell – vocals
Peter Stroud – guitar (Sheryl Crow. Pete Droge & The Sinners)
Mauro Magellan – drums (Georgia Satellites, Dan Baird & Homemade Sin)
Rick Richards – guitar (Georgia Satellites, Izzy Stradlin)
Keith Christopher – bass (Keith & the Satellites, Dan Baird & Homemade Sin, Kenny Wayne Shepherd)

“Protector” is produced by Jeff Bakos, Peter Stroud, Mauro Magellan & Erling Daell.