Show Report - Light of Day, 1/16/15

Photo courtesy: Conni Freestone

Bobby Mahoney and the Seventh Son has been a little busy over the past few months...so we apologize for the lack of show reports.

But that's not a bad thing of course. In fact, 2014 was the busiest year the band ever had. So needless to say, 2015 was due for a big start.

The band took The Saint by storm Jan. 3, debuting a slew of new material and rocked Bar A in Belmar, New Jersey in honor of Clarence Clemons. But it would be Friday, Jan. 16 that would be etched in the history of Seventh Son lore. And nonetheless, it was for a good cause. 

Just a couple of months after taking to Canada for the foundation, Light of Day brought itself to New Jersey for what has annually become one of the biggest weeks in the Tri-State area. And this year, the Seventh Son band was part of it.

Photo courtesy: Jeff Ross

Hundreds graced The Stone Pony in Asbury Park for the second-biggest show of the whole weekend. While of course Bobby & Co. would be featured, they would be a small footnote on a tremendous bill of some of the most talented rockers and songwriters in the world today. Names like James Maddock, Ten Ton Mojo, Willie Nile among others were there to help raise money to cure Parkinson's Disease, and as Canada showed, Light of Day truly is one of a kind.

It would be a short set for the guys, but nonetheless, one of the most exciting in the band's history. With barely any space to move in the audience, Seventh Son hit the stage with an explosive start. "New Age Outlaws," fresh with its extended introduction, kickstarted the five guys into a frenzy, with Bobby and Jon sharing the microphone as the song climaxed to an immense crash.

In keeping emphasis on power, the band launched into the recently-debuted ".38 Special." Hamming it up more than ever, Bobby motioned for Jon to "shoot [him] down," igniting a breakdown fueled by musical craftiness. The bass, interweaving with breaks left open by the guitars and drums, created a spectacle for the crowd.

A tight version of "Danger Dan" led way for the always powerful "Scoundrels," which was cut short due to time constraints. However, the band introductions allowed for a slowing down of the set, setting the perfect pace for what would be the finale.

Photo courtesy: Julie Grant

"Another Deadbeat Summer" took its familiar spot as the show closer, but this time, it was chaotic. Danny Gochnour of Joe Grushecky and the Houserockers, "Mouth of the South [Jersey]" Gary Tripieddi, Johnny Pisano of the Willie Nile Band, Joe Rapolla, Eddie Mac of Projex and even Bobby's mother herself joined the band on stage among several others to set the table for what would eventually prove itself as one of the most epic nights of Light of Day.

It was one of those nights where you realize there's something special in the air. And whether it was the electricity of a Mahoney guitar solo, the high voltage brought on by a Marshall with some mojo, the showmanship of a man from Bleecker Street or the dedication of the tremendous Light of Day staff, it all just came together.

And we're just around the corner until next year.

Setlist

1. New Age Outlaws

2. .38 Special

3. Danger Dan

4. Scoundrels

5. Another Deadbeat Summer

Bobby Mahoney and the Seventh Son to play the 2014 Asbury Park Music Awards

 

ASBURY PARK, N.J. --- After being nominated for two Asbury Music Awards in 2013, Bobby Mahoney and the Seventh Son have been announced as a musical guest for the 2014 awards on Dec. 18, 2014. The event will once again be held at the Asbury Park-famous Stone Pony.

"Asbury Park has been my musical home since I was 15," Bobby Mahoney, lead singer and guitarist for the band said. "And I am humbled and honored to be playing the Asbury Music Awards with so many great artists."

The band will join the likes of Deal Casino, Eastbourne, Sofia Nicole among many others as performers for the evening.

It was a busy 2014 for Bobby Mahoney and the Seventh Son, as the band released its debut full-length studio album, Friends in Low Places, to critical-acclaim. Jersey shore outlet The Aquarian had the following about the album in July:

"Friends In Low Places marks Mahoney’s return to the band format and a more tumultuous and concentrated rock and roll sound. Defiant and green, this record logs adolescent 'life in the fast lane'recorded and learned by the young men who wrote it."

In June, the band released the first album's first music video, "Another Deadbeat Summer." It features shots of not just the shore, but a live performance at the Asbury Park-famous venue The Saint.

The group is currently in the midst of touring to support the album, which has included to stops in Canada as part of Light of Day Canada.

"A lot of hard work went into the past year with this band," rhythm guitarist Jon Alba added. "We are very excited to share the stage with such talented acts and to represent a place we feel is one of our adopted homes."

In 2013, the band was nominated for "Top Young Band," while Mahoney himself was nominated for "Top Male Acoustic Act."

Doors will be at 6 p.m., while Bobby Mahoney and the Seventh Son hits the stage at 7:25 p.m. Advance tickets for the event can be purchased at the box office at The Saint and The Stone Pony, or in advance via Ticketmaster or Ticketweb.

For more information on the event, visit the official website of the awards or its official Facebook page.

Jon reflects on Light of Day Canada

Photo courtesy: Felicia McIntosh

***The following is a personal essay from Bobby Mahoney and the Seventh Son rhythm guitarist Jon Alba***

It's funny how much can be accomplished in such a short period of time.

When we began our trip up to Canada, the second in 2014, Bobby looked at me and asked if I ever thought we'd be on a festival bill in Canada four years ago. The reality? Absolutely not.

As many are aware, the band started as a part-time thing. It was meant for one gig, maybe a couple. To think we'd be able to take it any measure beyond that is odd to think about. But to do two mini-Ontario tours in one year? No way.

We were very fortunate to be part of what is a very special annual event for the first time as a unit. For those unaware, Light of Day Canada generates funds through a series of concerts featuring some of the best live acts in the business, with the money going towards Parkinson's Disease research. It's a win-win for all involved, whether on the stage, in front of it or in organization. When we got the call to come open up the shows, it was a no-brainer.

Rather than give a typical show-by-show report, I figured it may be interesting to go through each show from our personal perspective and detail just how special this past weekend was. There wasn't a night I got to sleep before 4 a.m., but every single bit of it was worth it. And here's why.

After a multi-day drive, we reached Niagara Falls only to hitch a bus to Toronto for the first set of shows, originally slated to be the last show at the legendary El Mocambo. The bus ride featured all of those involved in the shows, including John Cafferty and the Beaver Brown Band, Joe Grushecky and the Houserockers, Joe D'Urso & Stone Caravan, among many others. Rather than close our eyes for the ride, we wanted to know the stories of these entities, how they got where they were. I'm the oldest member in the band at the slender age of 21, there was plenty to learn.

As a journalist-in-training (that's my real job, at least), I found their stories to be incredibly captivating. While Bobby hears a lot of them from time to time, it was my personal first glimpse at where these great acts came from, both personally and professionally. D'Urso spent time in my shoes working towards a career in television. Jeffrey "Joffo" Simmons of the Houserockers grew up alongside Willie Stargell's children amidst the run of the "We Are Family" Pittsburgh Pirates of 1979.

Of course, the musical advice was thrown in and appreciated significantly, but for me, it's those stories that are just as interesting.

The last time the band was in Toronto, turnout was a bit lower than expected. But this time, in what was intended to be the venue's final show, that would be far from the case. Hundreds (well over the capacity of the club) packed the floor to witness the sendoff for a venue that had hosted acts like the Rolling Stones, Stevie Ray Vaughn and others - but tonight, the Seventh Son would be the one etching its name into the walls.

We played that show like our life depended on it. Twenty-five consecutive minutes of heart-racing, sweat-inducing rock n' roll (I use those adjectives because that's sure as hell what it felt like on the stage). The crowd at the Elmo was perhaps the best of the three shows, and fed us back the energy we needed to get things kicked off right. Danny Gochnour of the Houserockers and Eddie Manion of E Street Band fame joined us for our final tune, and as a music fan and enthusiast, time seemed to stop for me. It was a moment on stage I'll never forget, and I, alongside the rest of the band, cannot thank them enough for making something special happen.

Photo courtesy: Jeff Ross

Thankfully, the club was saved at the 11th hour, by Canadian billionaire Michael Wekerle. We were thrilled to see Wekerle enjoy our set, and even posed for a couple pictures with him afterwards (alongside throwing him a copy of Friends in Low Places, of course).

Set

1. Teenagers Too

2. Hit The Town

3. Danger Dan

4. Scoundrels

5. Another Deadbeat Summer

As we returned to Niagara close to 5 a.m., we then awoke for lunch with the whole gang. It was during this lunch I was able to grasp a real appreciation for one person in particular.

Joining LOD Canada this year was Pat Travers, a musical journeyman who has worked with some of the biggest names in the industry throughout his career. Travers, like myself, is a hard rock enthusiast, and the framework of his playing indicates pure brilliance through power chords and note intricacy. During lunch, we struck up conversation with him, as he would go into stories about AC/DC (one of the primary influences of Bobby's and mine), super-producer Mutt Lange among other topics. The experiences were great to hear about, but the next day, Travers would treat us to an intimate conversation about the inner-workings of the guitar, and how he goes about tackling it every time he picks it up.

Bobby, the band and myself in particular cannot be more lucky to have gotten a chance to just absorb that information and knowledge. Simply incredible. And he kicked ass as well on stage.

Nonetheless, Friday brought the Niagara show to the Greg Frewin Theatre. I was fortunate enough to be joined by my old podcasting buddy Tanner Kish, who was able to catch the band for the first time.

This show was about as special of a Bobby Mahoney and the Seventh Son show you'll ever see. The theater, intimate in its own fashion, set the scene for the first ever (and long-rehearsed) full band performance of "Guilden Street." The song was done in honor of LOD Niagara figureheard David Rotella, who has been (alongside his son Evan) an incredible supportor of the band.

Photo courtesy: Felicia McIntosh

I cannot accurately describe the feeling starting the show off with that C-chord in a silent theater. I rarely get nervous before a show, but I had butterflies. But I'm thrilled with how the song received new life, as the band showed up to bring it.

"Scoundrels" followed suit, and in what may have been the best performance the song has ever had, brought a sort of electricity to the room. I'm not sure I've ever had so much fun on one song in any show I've been a part of with this band as that one. The band was locked-in. Even though it was a shorter set, Niagara brought one of the most intense stage experiences we have had to date.

Set

1. Guilden Street

2. Scoundrels

3. Star-Crossed

4. Another Deadbeat Summer


Photo courtesy: Felicia McIntosh

After another late night, we woke up to head laterally across Ontario towards Kingston, an acoustic set with Bobby and myself. Bobby and I are the lone remaining members of the original Seventh Son lineup, it all goes back to the two of us. 

It's for that reason I find it hard, no matter what my own personal schedule be, to pass up doing a duet performance.

The BluMartini played perfect host to the short set we pumped out, which, in a fitting manner, began with "Worrisome Child." It's a song we can play in our sleep, but there's almost a primal feeling still every single time when we get to the solo, one Bobby rips to shreds with his distortion. In that moment, we play back to what we are at our root: The lead and the rhythm.

Kingston was receptive to the rest of the set, and we stuck around to show our fellow musicians the respect we have for them and thanking them for embracing our presence on the leg.

Set

1. Worrisome Child

2. Star-Crossed

3. Another Deadbeat Summer

The reality is, I'm not entirely sure how much time I have left in this band with the real world quickly approaching me. But I wanted to take the time to write this to show my sheer gratification I have for all of those who have given us an opportunity to, even if for just a weekend, pretend to actually be rock stars. We as a band, and as people, embraced every minute of it.

And then there was the time Vinny "Big Pussy" Pastore made me look up his movies upon his request.

I speak on behalf of the band when I say a major special thanks to Gord and Ginette, without whom the shows would not have run. Gord is an incredible music mind who I never get tired of hearing stories from, and Ginette is one of the sweetest people you'll ever run into. Another thanks as well again to David Rotella for genuinely getting behind everything we do. A shoutout also goes to the rest of the LOD Canada crew, including Tony Serra and Sam Grasso, for making all of this happen.

And of course, all the best to the man behind it all, Mr. Bob Benjamin.

As far as the musicians and people, there is no one better. Whether it's Danny and his Bobby Mahoney-hating/loving significant other Jamie, Joe D'Urso, "Mr. Lou" DeMartino, our superfans who made the trips just to see us, or anyone else, we cannot thank you enough for letting us be a part of something this special. We were humbled to be around musicians and individuals with as much passion as you guys.

I am not sure if I will ever get to be a part of something this special ever again. But all I can say is, I sure hope it's just around the corner...

Photo courtesy: Joey Cartwright


Bobby Mahoney and the Seventh Son to release "New Age Outlaws" music video Thursday

Courtesy: Mitch Bilus

Four months after the release of the highly-popular music video for "Another Deadbeat Summer" off the debut full-band studio album Friends in Low Places, Bobby Mahoney and the Seventh Son will release another video to promote the compilation.

"New Age Outlaws," originally released as the first single off the album, will debut its music video Thursday night. Directed and filmed by Zack Morrison, the piece will mark the second time the two entities have worked together on a music video.

"Once again, we had the chance to work with the great Zack Morrison," Mahoney said. "Zack is an extremely talented up-and-comer in the film industry. He graduated from Rutgers and is now at Columbia for graduate school for film. Not only does he produce excellent film work but he is also a passionate music lover. It is always great to work with him, as well as to see him enjoying our music at shows. He has helped us out a lot in the past year. I look forward to seeing all the great things he will accomplish."

The video was shot in 4K, also known as "super HD," with a RED Epic Cinema camera courtesy of Ideas United and Distinguished Filmmakers. It was filmed on Sept. 6, 2014 at The Court Tavern in New Brunswick, N.J. before a packed audience.

"This time around we went for a straight, no frills live video," Mahoney said. "I think it accentuates the rawness of 'New Age Outlaws.' It is arguably the hardest rocking song on the record, and we had a kick-ass time at the show filming. We don't have mosh pits at a lot of our shows, but one broke out while filming this video and it was an awesome vibe in the room and it gave the song the edginess it needed."

In addition to the video, the band will release preliminary dates for the winter leg of the Friends in Low Places Tour.

A second preview for the film can be found below.

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "Guilden Street"

The seventh track on Friends in Low Places is a sharp curve from the rest of the album. 

"Guilden Street" starts as a somber acoustic reflection piece, and explodes into something much more. It has quickly become a fan-favorite, but is seldom played live.

Describe the origins of "Guilden Street," the place and song.

BM: "Guilden Street is a street in New Brunswick, N.J. that some friends used to have a house on. This house was notorious for insane nights of teenage debachary."

JA: "Guilden Street started as an acoustic demo that Bobby put on YouTube. He felt strongly about it for the album, and while I was heistant at first, we figured we'd just lay it down and see what we could do with it."

How was the song conceived?

BM: "The song was written based off a series of events that took place at this house, and how I felt out of place. Seeing my friends turning into different people over the years, or even the course of one night, is really what the song is about. Not fitting in with your friends as they change and grow up, and how you have less and less in common is part of life - it happens. It all hit me at this house party one night, and that is what inspired the song. I also never really understood the whole 'partying' thing that most people my age do. I just never saw the appeal to drinking or doing drugs. Not that I am some annoying 'Straight Edge' advocate that judges people, or a D.A.R.E. officer, but I just never really got into that stuff. But to each their own."

JA: "I wasn't there, but everything seems to be pretty literal in the song. You can follow along the storyline fairly easily, as its written to reflect how the night unfolds. It fits really well following up 'Deadbeat' because things are really beginning to crash and burn for the main character."

Describe the recording process.

BM: "The acoustic guitar and lead vocals were recorded by me in the studio, and then we brought in Joe Larkin to sing some harmonies with me to make it sound huge. He did a great job and I think his vocals really make the studio version of the song come to life and stand out. Max then did the snare drum part, and I wrote the string quartet part and added it in later."

JA: "We've mentioned throughout all of these how much Bobby and I argued over elements of the album. 'Guilden Street' was one of my biggest contentions. I believed in the song, but not the original presentation. The song was laid down vocally and acoustically, and that was originally to be it. I had initially conceived a full band version of the song, with it being intended to close the album in the same exact way 'Self-Induced Exile' does. But we soon learned that version of the song would not work, and I pushed to add more elements to what had been recorded. We conceived the snare to resemble a drummer boy march, as the characters, as Bobby insinuates, are marching to their downfall. The other voices was Bobby's call, and the strings fell on both."

What are some of your favorite elements of the song?

BM: "Well like I said, Joe's vocals really tie it all together. I am also proud of the string parts, and the lyrics. These are some of my most honest lyrics I have ever written."

JA: "The harmonies definitely are awesome. There's a lot going on, which is cool. I think once the snare hits, the song really explodes, which creates an awesome sonic moment on the album."

Are you surprised the song has gotten over the way it has?

BM: "Yeah, a lot of people tell me that they connected with this song the most on the album, which makes me happy. I fought tooth and nail to keep this song on the record, and I'm happy people appreciate it for what I intended it to be."

JA: "Very, and that's not a bad thing. I didn't think it would be a song people would connect to initially, but I think once we added the extra elements, it really becomes a standout track. And now, ironically, it's one of my favorites."

Do you have plans to keep the song around?

BM: "Yeah I think we have some cool ways to work the band in a little more with this one."

JA: "Stay tuned, Canada."

What are the struggles with playing the song live?

BM: "Most of the shows we play are hard rock/punk shows that don't have a lot of room for ballad type songs. People who are there to rock out, often times tune out the softer songs, or go to the bathroom or get a drink. But that is why I want to change up the arrangement a bit and give it a little more bite."

JA: "We've gotten experimental with it. Our live show is where we earn our money (jokes), so when we have to slow things down, it becomes a little harder to elongate a show. But the song is fun, and there are people who really love this song."

Any final thoughts?

BM: "It is a song about sticking to your guns. I am extremely proud of the song. Don't go to the bathroom when we play it."

JA: "I mean, if you gotta piss..."

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "Another Deadbeat Summer"

By the end of "Scoundrels" on Friends in Low Places, the tone has begun to change for the main character. "Another Deadbeat Summer" is a reminder that while great things may be going on all around you, sometimes, they don't necessarily involve you.

Bobby Mahoney and Jon Alba hit upon how the sixth and possibly most popular song on the album came to be.

Describe the writing of "Another Deadbeat Summer."

BM: "I had written 90 percent of the song on my own, but I had palm muting in the verse and open strumming during the chorus. It was Jon's idea to do big open strumming during the first two verses, and bring it down for the first half of the choruses. He kept telling me to strum it like Bruce Springsteen does in the song 'Don't Look Back.' I lifted the title from one of Elijah Reiss' films."

JA: "In the other articles, we've referred to the day we banged out half the album. This was that day. And I can vividly recall Bobby telling me he had a good idea for a song with a catchy chorus (which we had been looking for), to which I whipped out my guitar and began to re-enact what I anticipated it would sound like (with palm muting and fast strumming). He threw something at me after...because it was dead on. I battled with him for months on the big open strumming. We actually had a crash in the studio where we lost most of the original recording. Had that not happened, I'm not sure the song would have turned out the way it eventually did, because he finally relented."

It was your mother who first said something to you about the song. What did she say?

BM: "When Jon and I were first playing through the song, my mother walked in the room and asked 'Did you write that?' and when we replied 'Yes," she said 'That's it. Thats the song. Thats a hit.' Thus far, she has been right, as it is our most recognizable and popular song to date."

JA: "That was pretty cool. Ann [Bobby's mother] is maybe the biggest BMSS fan out there, and not just because of the obvious reasons. So to hear that, it was definitely cool. And so far, like he said, she's been right." 

What made you wait to release the song as the second single for the album?

BM: "It is catchy as fuck, and it is something that a lot of people can relate to. We released 'New Age Outlaws,' the hard rocker, as the first single, so we decided to release the 'pop' song from the record as the second single."

JA: "Another Jon Alba-influenced decision. I should make more of them...but it only made sense. Bobby wanted to push hard for it as the lead single, but my ideology was, let's bait them with the rocker, and then unleash what we think is the catchiest next to leave them wanting more."

What inspired you to write a song like this?

BM: "The song is a composite of many summer parties and nights, including some that were extremely lame. I am not a party person, so I often find myself sitting on a couch, watching other people, and making mental notes for possible lyric ideas. Everyone has stories of awesome summer nights, and everyone also has stories of really shitty summer nights, and most people write about the good ones, so I decided to write about the bad nights."

JA: "Bobby is just the worst at parties. I wouldn't know how to relate. I'm pretty and popular and have lots of friends. Worth noting though, the original words to the end of the chorus were 'Another shitty night' rather than 'Another wasted night.' The first time it was ever performed, it actually had those lyrics too. I thought those words were a little too forceful, and how do we feel about the time spent at the party when all is said and done? Not necessarily bad about it, but the time was rather wasted."

How was the music video idea conceived?

BM: "We were originally going to do a party scene video with me being the loser in the corner (the role I was born to play), but decided against that because of logistical reasons. Instead, we came up with the idea to do an awkward third-wheel video on the boardwalk. Me being the awkward third wheel (the other role I was born to play) would be having the shittiest possible day while following around these two summer romance kids."

JA: "We really did struggle to figure out what to do. We were approaching the targeted shooting date, and Zack, Bobby nor I could come up with anything. I pitched the idea of rather than a party, send Bobby as the wasted third wheel on some kind of date. Zack then worked with us to narrow it down a bit, and we got the concept of a date at the boardwalk."

Describe filming the video.

BM: "It was so much fun. Liz and Chris [the leads] are two amazing actors, and we had a great time shooting it. The goal was to make it as funny as possible, while showcasing the awkwardness of the situation. Zack did an amazing job directing as well. He is such a talented person. We had so much extra b-roll that didn't make the video. Too much stuff for a short music video. It was weird to lip-sync while walking around on the boardwalk in the middle of the day and night, with random people around giving me puzzled looks. But hey, anything for rock. We had a great time making the video, and I could not be happier with how it came out."

JA: "We filmed the first portion of it at The Saint with the full band, which was a great gig. The night at the boardwalk was a long one. I had just come back from a full day shift at MLB Network, and we booked it right to the beach. We had our fair share of photobombers, but it worked out well. People really got invested in watching it. We did some things that were pushing the envelope a little bit that didn't make the final cut, but it was a lot of fun. Zack really is tremendous, as were Liz and Chris."

The entire crowd at the CD release show sang the chorus back to you for the first time. What was that moment like?

BM: "Surreal really. It was so cool to have people know the words to an entire song like that. People who have came to see us a few times know the choruses to a few of the songs, and thats great, but this was the first time people knew most of the song, and were actively singing along. That was a totally on the spot moment at the end of the song when I had the crowd sing along. I'm just thankful that they did!"

JA: "The most insane moment I've ever been a part of on stage. May never be topped. If you watch the video, you can see it in my eyes."

What has this song done for your career thus far?

BM: "While it is far from a 'hit,' it is the first time we have a song that is attached to us. Like 'Oh I love BM &TSS! That song 'Another Deadbeat Summer is so catchy!' or something to that effect. When we play the song there is always a spike in energy from the crowd."

JA: "It got us our first radio play. What more can you want than that? And it's awesome when I hear friends just humming along or singing the chorus to themselves casually."

Is this the best song you've ever written?

BM: "I would like to think that I haven't written that one yet. I'll get back to you in 30 years."

JA: "I prefer 'Tame Me,' but this one ain't bad either. It's not the best, but it may be the catchiest to date."

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "Scoundrels"

"Scoundrels" is the middle tune on Friends in Low Places, and serves as perhaps the most important track in the album's sequencing. The "rhapsody" features multiple sections that provide an intreresting and provacative segue to the latter half of the composition, making it stand out.

Bobby and Jon talked about the track and its significance to them.

"Scoundrels" has an interesting backstory. Explain how it came about.

BM: "The first part came out of a jam session that included Jon, Drew (our original drummer) and myself. Jon had the riff and I recall singing nonsense words to the melody that ended up in the song and I hit that high note in the chorus on the first run through and then started incorporating the words 'Friends in Low Places' on the next few run throughs. The rest of the song was written in various locations, including my dorm room, the dining hall, the hallways of the Shea Auditorium, and in the Studios at William Paterson University."

JA: "'Scoundrels' was the last song conceived for the album, and ended up being perhaps the most important from a story standpoint. I came up with the riff you hear in the beginning and throughout the choruses around November of 2012 as a lick based around chicken picking, but shelved it for a while. I tried re-hashing it several times, but Bobby actually vetoed it (I even wrote several different songs in different keys using it that will never see the light of day). Finally, in this one fateful jam after 95 percent of the album had been recorded, I just started the riff and Drew just filled it in. We had that chemistry throughout all the time we played together, and it worked. I guided Bobby through some chord changes, and we just felt it. He then created the chorus concept on-spot, and the song was born."

 The song had a unique recording process. Describe it.

BM: "We recorded the first section of the song essentially note for note as the original jam from Drew's basement. From there, Jon and I had come up with a long bridge with a build up. This song was the only song to feature James McIntosh, the current drummer, on the album. He, Max and I arranged the remaining three sections together. The second and third sections were totally written on the fly in the studio with James in the main recording room. He did a great job on that track- its not easy to do a recording on the fly like that with me barking orders over the monitors. There were slight tempo changes between each section, but nothing drastic enough for the untrained ear to notice."

JA: "At this point, all of my tracks and the bass tracks had been laid down for the album. I take a lot of pride in playing the things that I write, but Bobby ended up taking my parts. After hearing them back, I just didn't feel like the parts had my personal spin on them, and asked him if I could record on my own portable mixer and send them in. He agreed, so I set up my guitar in my room and laid down one track for the rhythm. Somehow, it worked. Joe also then subsequently came up with a bass lick that we knew we had to get into the song, so he did the same thing (on a much nicer rig) and sent them in to be mixed. Our friend and fellow musician Tim Gysin also makes an appearance vocally."

The album title comes from within the song. What stands out about it?

BM: "The theme of friendship runs deep through this album, and the idea of losing friends over your convictions. We all have friends that are different and weird, or maybe we are that friend. The idea of having friends in low places is something we all can relate to - even Garth Brooks."

JA: "For the record, we don't listen to Garth Brooks. Nothing against him, but we weren't even aware there was a compisition called that. The album went through several title changes (ranging from 'Poets & Kings' to the self-consciously grammatically incorrect 'Better Men Than Me'). Ultimately, we settled for this for the reasons Bobby mentioned. Friendships, in the end, can greatly shape one's personality. 

What is your favorite section of the song?

BM: "The first section rocks hard, while also jamming and being groovy (or 'Drewvy'). The second section includes a quiet, then building lyric that ends in me snarling the name of the song. The third section, the solo, explodes and is ferocious. The final section is really quiet, yet very reflective and is very special to me. I can't choose one section as my favorite. Depends on my mood, as does a lot of things."

JA: "I wish I could take the high road and say I love every part, but I'll choose one for this sake. The line involving the 'Scoundrels from the east side' is so powerful to me. It's an anthem for the main character at that point, a battle call. I really think it stands out, and is very different from stuff we've done before. That whole part was conceived in a hallway, just Bobby and I together, deciding what kind of breakdown we could do for the song. Really great stuff."

What exactly is the final part of the song?

BM: "The end section of the song was taken from a song called 'Madman' that I was working on, and I decided it would fit well in the story. The idea of the last section came from a Martin Scorsese short film called 'Life Lessons' from 'New York Stories.' I very much related to the main character in that story, and I wanted to sing his song about needing failure and depression in order to create something real and beautiful."

JA: "I love that part. I wish the audiences would appreciate it more, honestly. I think it's powerful, and can create an incredible scene when played with the proper reception."

Do you think you took a risk with "Scoundrels" at all?

BM: "This song was not written to be radio friendly - we already had songs like 'Deadbeat' and 'New Age' for that. This song had to be as long as it was. We made the choice to make it long, so we stuck to that and went all out. The song isn't for everyone, and thats okay. It was the song that I had to write."

JA: "I'll admit, it does hurt when I see this song isn't as well-received as I hoped it would be, but I still take a tremendous amount of pride in it. We definitely took a risk, as it was way different than anything we had done before it. But I respect people for liking what they like, and I know there are people out there who enjoy it."

Where does the song compare to the rest of the album for you?

BM: "It is easily one of my favorites, if not my favorite. I think it shows off every aspect of the band at its finest."

JA: "My favorite. Undoubtedly, and unquestionably."

Were there any particular difficulties you ran into when writing it?

BM: "I spent a lot of time on the lyrics. Usually, I try to write from the heart, quickly and honestly. But these lyrics I spent many hours, with many re-writes working on, and refining exactly what I was trying to say. The end product contains some of my favorite lyrics I have ever written. I am extremely proud of the words in this song."

JA: "Really figuring out where we wanted to go with it was tough. We could have left the song as it is heard in the first part, but really challenging to go above and beyond and do something different without being pretentious about it."

Why is "Scoundrels" so critical to the album's story?

BM: "It ties it all together. The line between the first two sections is literally the turning point of the album. Where the main character goes from wanting to fit in, to trying to figure out who he is, and then makes an effort to stay away from whatever was popular or cool. The album takes a dark turn at this point in the album and it is done very effectively, in my opinion, with this song."

JA: "I think what is done, thematically, is pretty cool. As he said, the theme of the entire album literally changes in the middle of the song. I can't think of many other albums that are able to do that, so it's something we take pride in."

The song is one of the key parts of your sets live. Why is that?

BM: "It's awesome. Like I said, it shows off the band firing on all cylinders. I do the band introductions during this song most nights because the idea of 'Friends in Low Places' fits for me to introduce my band of misfits."

JA: "Before the tour started, I had always done the band introductions. With the name change in the band, it only made sense that be changed to Bobby. 'Teenagers Too' had been the most frequent track used for them, but a few weeks prior to the CD release show in Asbury Park, I proposed the idea for the new breakdown that has now become a staple of the live show. It's so much fun. It's so groovy. It's perfect. And then the 'east side' portion...when all the band joins in...it's just massive."

Any final reflections on the song?

BM: "One of my favorite songs I have written, definitely some of my best work lyrically. Also, it was a total team effort. I could not be more proud of this song. It was the last song we recorded for the album, but I think it might be the most important."

JA: "It's the best song on the album, in my opinion, compositionally. I think if people take a moment and listen to what is actually happening, they will appreciate it for what it is as well. There's a ton of passion put into every facet of the tune, which is something I believe is missing from a lot of music today."

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "New Age Outlaws"

Photo courtesy: Clinton Wilcott

The fourth selection on Friends in Low Places marks arguably the heaviest part of the album, as "New Age Outlaws" packs a punch heard perhaps nowhere else in the band's catalog.

A constant in a Seventh Son set, Bobby Mahoney and Jon Alba discussed the track's orgins and how it ended up on the new installment.

"New Age Outlaws" has been around since late-2012. Why keep it around for the new album?

BM: "This is one of our hardest rocking tunes, and we wanted this album to have its roots in hard rock and punk, and this song fits the bill perfectly. Lyrically, it also fit into the album theme and it helps piece the story together."

JA: "I love every single thing about this song. I think it was best described in The Aquarian review of it. 'Mahoney’s vocal presence blends with the anaconda power crush of drums, rhythm guitar and bass in this sure to be popular rocker.' All of those elements come together and create an awesome clash of sound."

Who wrote the track?

BM: "Well according to Jon, the main riff came to him in his sleep. From there, he and I worked out the rest of the song with the arrangement and I came up with the lyrics. We wanted a fast rocker with a punch, yet have it be different from tunes we wrote previously, like 'Teenagers Too'."

JA: "A solid team effort. The riff did come to me in my sleep, in a rare nap (they happen on a far smaller scale than when Dan breaks strings). I heard the lick in my head, and immediately woke up and picked up an acoustic guitar and figured out the notes and then the main rhythm. It sounds ridiculous, but it's 100 percent accurate. The original solo used to have Bobby using an octave pedal, but we scaled it back a bit for the album."

An older recording of the song, featuring the octave pedal solo.

Why did you decide to make it the lead single for the album?

BM: "Again, coming back to the hard rock element, we wanted to showcase this album as a hard rock album, and Jon and I had long conversations about which song should be the lead single, and we ultimately agreed that this was the hardest rocking song on the album and would make a good single."

JA: "Bobby has mentioned many times on stage how he and I argue about virtually everything. This was one of those things. I was pushing hard for 'Outlaws,' and he was pushing for 'Another Deadbeat Summer,' which he was justified to do. I argued we needed to hit everyone with a punch first before unleashing what we thought was the catchiest song, which ended up working out well. We decided it would be best to go hard to start, and thus, 'Outlaws' was the first one released in April.

Describe the recording process for the song.

BM: "I went in and laid scratch guitar and vocal tracks down to a click. Then Giancarlo came in and laid down the drums to the scratches, and then we layered the bass, guitars and vocals accordingly from there. Usually, I am a "One Take Wonder," meaning that I am usually very quick when it comes to recording my parts. I take a lot of pride in this, however recording the solo for 'Outlaws' took a good 10 tries for me to get right." 

JA: "Actually, it was 13 tries...anywho, it was actually good that happened, because it taught us to have some patience and perfect every take we could. I personally chose to go an interesting approach by using Bobby's Telecaster for the rhythm track, then using my Les Paul for the lead lick. You can hear the single coil in the rhythm. Usually, it's done the other way around. It's also the only song on the album I use my rhythm pickup for, to give it a little more meat."

Where did you draw inspiration for the song?

BM: "I took a different lyric-writing approach for this song. I took a page out of Dylan's book, and used a bunch of different images and ideas and threw them into the melting pot. The lyrics cover everything from prostitutes from queens, 'The Poet' of Asbury Park, Mardi Gras, to one of my best friends and his girlfriend that he had at the time."

JA: "The name itself Bobby picked while watching an episode of 'Monday Night Raw' with me and the popular New Age Outlaws tag team was on-screen. He said he liked the name, and that was it. I had thought an outlaws theme would be cool, and it just so happened they came on-screen. I think it has a double-meaining too; there is definitely a coming-of-age mentality behind us recording this album for sure, the new age of rock."

The song is just before the turning point in the album. Why is that?

BM: "This song, at its core, is about people who live outside, not only laws, but also the social conventions that most people deem normal. It is at this point of the story that the main character is weighing his options: Either join this gang of outlaws, or go on his own. While the outlaws are not normal people, the main character thinks that even if he joins up with these social misfits, that he is still conforming to something, and he doesn't know how he feels about it. By the end of the song, he decides to go out with them for one night to see how it goes."

JA: "You can tell there is trouble on the horizon when the outlaws are around. And with the next track, it becomes very apparent there was some foreshadowing in this tune."

People have taken to the concept of the "outlaws" in reference to the band. How do you feel about that?

BM: "I think it is fitting. We are very different from most bands in our generation. I have always been influenced by 'outlaw' figures in music, such as Johnny Cash and Keith Richards. There is something appealing about different, and I like it."

JA: "I think it's pretty awesome. It definitely fits the motif we were going for. Maybe it should be on a t-shirt or something..."

What does "New Age Outlaws" mean to you?

BM: "Its a song about standing outside of people's social conventions, despite the difficulties that come with it. It is about doing whatever the fuck you want to do. Don't worry about what people expect you to do."

JA: "I take an enormous amount of pride in this song, and to me, it's the most sonically-pleasing on the album. It's badass, as the outlaws are meant to be. Love it."

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "Danger Dan"

"Danger Dan" on stage with the Seventh Son in January 2013.

Track 3 on Friends in Low Places continues the hard rock-oriented sound that Bobby Mahoney and the Seventh Son has become synonymous with over the past three years. "Danger Dan" is an ode to former bandmate and Creating Clementine bassist Dan Guerron, and has become a surprise staple of band shows.

Bobby Mahoney and Jon Alba spoke with the site to discuss what has become one of their favorites off the album.

How did "Danger Dan" come to be?

BM: "'Danger Dan' was the nickname of a friend, Dan Guerron of Creating Clementine. We wanted to make a Chuck Norris-themed set of lyrics with all exaggerated, tall-tale style stories about Dan. That was the original idea for the song - more of a novelty, but it turned into a really cool song that I am very proud of."

JA: "Bobby had said he liked the nickname 'Danger Dan,' which is what our former bassist was going by. I suggested the idea of having a fun, no-shits-given kind of song on the album, with some corny but creative lyrics. And thus, the song was born."

What kind of vibe do you feel the song gives off?

BM: "It is a groovy song. Very Red Hot Chili Peppers."

JA: "I think you hear a bit of a Red Hot Chili Peppers vibe in the drums, which is credit to how Giancarlo played it on the album and how James does live. It would have been perfect for our old drummer Drew as well. However, I don't think the guitars carry that at all, honestly. Whenever I hear that song, I hear a very Lenny Kravitz-esque rhythm."

What is your favorite element of the song?

BM: "I love the drums and how they blend with the guitar riff. Giancarlo (and now James) really fit into the pocket and I think it shows off their musicianship. They really fit the drums snug with the riff and it is really cool to feel that groove."

JA: "The instrumental bridge. It's something we've never done before, with the call and response between the guitars. I came up with the idea to kind of mock a gun being fired and the response of the victim, to give in to that folklore/outlaw mythology behind 'Danger Dan' himself. That's what the physical instrumentation demonstrates."

The song has become a hidden gem, per se, on the album in terms of live performance. Do you plan on keeping it live?

BM: "I don't see why not. It is fun as hell to play."

JA: "It really is probably the most fun song to play we have. It allows us to explore a new element we've never done before, so I sure as hell hope it stays for a while."

Describe the writing process of the song.

BM: "Jon had the basic idea for the riff, and we had the lyrical concept, and I finished the details of the lyrics and had the ideas for the call and response section, choruses, and the key change at the end."

JA: "This is the first time we're mentioning it here, and you'll hear a lot about it in the coming articles, but there was a series of songs on the album that we banged out (structurally) all in one day. This is one of them. I had an idea for a lick in my head, we figured it out on guitar, and we worked with it. I actually wrote the key change lyrics, which give allusion to the next song ("A new age outlaw, a one-man band").The instrumental bridge originally sounded a little bit different, but Bobby called an audible in the studio." 

Where does it fit in to the grand spectrum of the album?

BM: "'Danger Dan,' in this case, is that friend that is begging you to come out tonight, and though you don't really feel like it, you go anyway. He is the one saying, 'Hey, come hit the town tonight,' and it all runs together in the events of one night, from 'Teenagers Too' through the rest of the album."

JA: "As you read these, you'll see that each song really connects with one another. What Bobby said is exactly how the first three songs of the album unfold."

You've mentioned the lyrics are a little unique in that they are kind of out there. Was it hard writing them because of this?

BM: "I wouldn't say it was difficult, but it definitely took some time to get right. I wanted to make sure the 'tall tale' aspect was clear."

JA: "I'd say it probably took about a week or two. I came up with the key change lyrics on the spot, but it was a little harder figuring out what was 'too much' when it came to how hokey we could get with the lyrics. In the end, I don't think anything is too bad with them."

Do you feel the song was worth taking the risks?

BM: "It is one of our tightest live songs, and it definitely stands out on the record because of how different the groove is from our other songs."

JA: "Definitely. Because I don't think it comes across that we took some, which isn't a bad thing. We love it, and when we nail it live, we know it."

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "Hit The Town"

Photo courtesy: Ethan Reiss

After the listener gets through the fist-raising anthem "Teenagers Too" on Friends in Low Places, the chaos continues into the very next track.

"Hit The Town" is Track 2 on the debut studio album for Bobby Mahoney and the Seventh Son, and unlike the rest of the songs on the album, was composed entirely by rhythm guitarist Jon Alba. 

The site talked with Bobby and Jon about this song in the lastest edition of "Behind the Song."

How did "Hit The Town" come to be?

JA: "'Hit The Town' started as a lick that actually has never seen the light of day. The main chorus progression you hear started as extended riffage, but played higher up on the neck based around the G and B strings. There were also many more chord changes in the chorus originally, but they proved to be too choppy and got rid of some of the groove. Eventually, it worked into its own, and the song is undoubtedly my own personal tribute to the essence of hard rock."

The song was written in late-2012. What made you want to hold on to it for the album?

BM: "I felt that it definitely worked in the story I wanted to tell. It's also one of those songs that I think deserved studio recordings treatment. The main section of the song is actually the fastest BPM on the album. It was a perfect fit for the story."

JA: "The song is a great capturing of what our early run as Seventh Son was about. Hard, balls to the walls rock. This is a song, like 'Teenagers Too,' that gets away with its simplicity due to what it offers to the ear. I also personally love the reckless intent; there's no love subject, there's no happy ending. It just goes."

Why is the song the second on the album?

BM: "The groove is so different from 'Teenagers Too' that opens the album, so it stands out in the second slot. It also rocks hard and is a perfect second song, both on the album and live."

JA: "It also continues the thematic elements presented in 'Teenagers Too.' The song makes literal references to gambling, but it is also metaphorical in that regard; a Friday night for the youth is rarely ever easy going, and this song explains that adrenaline rush experienced by many."

Is it weird having a song essentially entirely composed by Jon on the disk?

BM:  "Not for me. A lot of our writing is a team effort and there are a few songs on the album that were mostly me, so I like that we have an abundance of songwriting going on. I just have to put up with Jon constantly reminding me that he can write good songs. It's a friendly competition." 

JA: "Because I CAN write good songs...he just has to hope this isn't the song that gets him a record deal. On a serious note, as I mentioned earlier, this song is a tribute for me. It is in honor of some of my favorite hard rock acts, namely AC/DC, and most definitely a nod to the late, great Bon Scott."

What is your favorite element of the song?

BM: "I just love that it is a no frills rocker. The intro builds up and just explodes. The solo is always fun to play as well."

JA: "Personally, I'd probably say the intro. I don't get many moments to display my craft, as most rhythm guitarists shouldn't because I believe their skill should be displayed subtly. But that is one of them. I also take a lot of pride in the lyrics. While it may be a little wordy at parts, I think the chorus is super catchy."

How does "Hit The Town" differ from songs found later on the album?

BM: "This is one of the few songs that I doubled my vocals. You hear it in octaves for the choruses. It gives it a cool effect. In the 'story' of the album, this is the 'Hey, get off your ass, let's go tear up this night' song and it is definitely a call to action."

JA: "It's probably the most aggressive song on the album, possibly next to 'New Age Outlaws' and 'Teenagers Too.' The later parts of the album turn more into dispair, and this offers a glimmer of optimism.

You try to change up your sets as much as possible. Why is this song a mainstay?

BM: "It is one of the band's favorites to play, and when we have talked about cutting it for a show, the guys were sad and heavily protested. It's a kick-ass, balls to the wall, rock tune. I'm really glad Jon wrote this one."

JA: "I noted in the last article that it's super important for us to feed off one another for energy during our shows. If the energy isn't there, we can't have a good performance. This one gets the blood pumping."

How do you look back on "Hit The Town" at the end of the day?

BM: "It is extremely fun to play and just go apeshit. AC/DC on steroids."

JA: "I always joke it's the best AC/DC song since 1990...but honestly, I will always have a soft spot for it, and am glad it has become a staple of our sets and made the album.

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Behind the Song: "Teenagers Too"

Friends in Low Places, the first full-length studio album by Bobby Mahoney and the Seventh Son, takes a look at the opposite spectrums of the teenage experience. Right off the bat, "Teenagers Too" hits the listener with a punch to the gut with its punk-inspired riffage and aggressive lyrics.

The site spoke with Bobby Mahoney and Jon Alba, who co-wrote the entire album, to discuss the song.

What is "Teenagers Too" about?

BM: "'Teenagers Too' is an exaggerated and generalized look at the chaos that goes along with being an adolescent. I looked to older teen gang stories, such as 'The Outsiders' and 'West Side Story' to create a suburban world where the teenagers essentially did whatever they wanted. The song is very tongue in cheek, and is very sarcastic because while I was 16 when I wrote the song, I did not connect with most of the people my age, so this was my 'fuck you' to my own generation. The song is my response to how I was seeing my friends changing as they got older."

JA: "That song is very timely in regards to when it was written. The cool thing about it is, even almost four years later, it still can relate to a lot of people at the age of 16. People complain about this generation all the time...and I think that song addresses those complaints in a sarcastic manner. Even as we get older, that song doesn't lose any meaning, in my opinion."

How did the song come to be?

BM: "The song was written by Jon and I, in my basement. I had the lyrics written and Jon had the idea for the B-D-A-G riff that starts the song. We had most of the song written and then we brought it to Drew and Dave (drummer and bassist at the time) and we ironed it out and came up with an arrangement that is not all that different from the current form of the song, minus a longer intro and without the ending jam."

JA: "That's truthfully the first Jon and Bobby composition, in its fullness. I sat down in his basement and just banged out the B progression, including the rhythmic strumming for the verse. Bobby had essentially written the lyrics as a poem, anthemic in a way. We worked out the rest of the progression, including the key change in the solo, and just took it from there. The catchy bass riff was conceived by Dave, and the extended jam you hear at the end of the album was actually spontaneous during a gig from a few years back. The song also started with a different intro initially, which does not appear on the album."

"Teenagers" has been played at every single full band show since it was conceived in 2011. Why is that?

BM: "From the first time we played the song at Churchill Live (a popular local benefit concert) in 2011, we have played it at every full band gig. It is a high energy rocker that crowds, both young and old, really get into. Not only is it fun for the audience, but it is also a lot of fun for us to play. The end section of the song started as a jam we did live and we actually did it so many times that it became a really great part of the song."

JA: "I'd be lying if I said there weren't any songs I get bored with playing every now and then. 'Teenagers Too' is certainly not one of them. It is genuinely so much fun to play, and brings so much energy for us on stage that we are able to bounce off one another with. I mentioned it earlier, but it's anthemic, and I think the crowd really buys into that part of it."

Why does the song start off the album?

BM: "Not only does it get the album off to an explosive start, but it also is a great place to start the storyline of the album. It is an overture of sorts. It touches upon all of the themes of the album, in a general way, and then each song goes more in depth with each of those ideas. The album is about teenage confusion and alienation, so what better song to open the album with than 'Teenagers Too' ultimately?"

JA: "I think that speaks for itself. From the second we conceived the idea of an album, we knew that would be the opening track. For all intent and purposes, it's the definitive 'vintage' Seventh Son track. I came up with the idea of starting the song with the feedback, which was actually longer in one of the initial trackings we laid down. Instead of our old intro, the feedback cuts in to the hi-hat count and what I perceive to be a massive explosion of sound. It's funny, because the song had always been seen as the guaranteed closer for a Seventh Son show. We tried opening with it once in Summer 2013, and it worked. That's when I knew we could try making this happen."

What stands out about "Teenagers Too" in your opinion?

BM: "The big chant-choruses are quite different from our other songs, so it definitely stands out from our catalogue. I also think it has a cinematic feel to it- especially with Jon's 'rap' in the middle section. I think you can visualize the images in the song, despite how exaggerated those images are."

JA: "Honestly, I wish I had conceived the idea of a 'rap' while we were still recording. Now, it appears live, but on the record, you hear the 'Stand down and resume blind faith' bit. That was created on the spot in the studio and not pre-planned, with me coming up with the idea of some sort of resistance to the teenage uprising and Bobby filling out the blind faith bit. I think blind faith is another one of those underlying motifs in the album, and it's something that actually appears in new Seventh Son material as well.

What's your favorite part of the song?

BM: "First of all, I love the whole vibe of the song. It is reckless and rebellious and it kicks ass. I have played the same solo essentially every single time we have played the song, since the first demo, and it is still one of my favorite solos on the album. I am very proud of it. I also love the ending because it is just so much fun to play."

JA: "Definitely the solo and ending, like Bobby said. That solo tells a story, in my opinion. It starts out in the same vein of the early parts of a rebellion; there's rumbling, but it's just a concept. Then the key change promotes growth, and by the end, with the smashing of the cymbals, it's absolute chaos. The added ending also gives a hint of what the band is like live to the record."

Ultimately, how do you look back on the song?

BM: "It is amazing that after playing this song for the last four years, it is still fun and I love playing it every night. At the end of the day, its about having fun and making loud music with your friends, and with this song, I get to do just that."

JA: "It will always have a special place for me. It's one of the first rock songs that I ever got to write, and I think, it's still one of our finest. It may not be all that complicated, but it's based on the foundation of rock: Simple ain't easy. It takes a tremendous amount of intensity and passion to successfully play that song, so it makes us be that much better every time we play it."

Friends in Low Places is available via iTunes, Bandcamp, Spotify and various other outlets.

Bobby Mahoney and the Seventh Son to play Light of Day Canada 2014

Light of Day Canada has announced Bobby Mahoney and the Seventh Son as one of the billed acts for its 2014 edition of its annual concert series.

The organization announced the following Tuesday, with a photo as well:

"#LODCanadaLineUp announcement!
They were so damn good on their 3 day mini-tour of Canada that we just had to bring them back! Opening the show in Niagara & Toronto, Bobby Mahoney and the Seventh Son!! Bobby will be doing an acoustic set in Kingston!"

Earlier in the day, the organization teased the appearance with the following photo, a callback to the first track on Friends in Low Places:

As noted in the release, the band will play the first two shows on Nov. 6 and Nov. 7 at the Hard Rock Cafe in Toronto and the Greg Frewin Theatre in Niagara Falls, respectively. Bobby will then play solo acoustically at the BLUMartini Bar & Grill on Nov. 8 to close out the leg.

The shows will benefit Parkinson's Disease research, as all Light of Day events do.

"I have been supporting Light of Day for the last three years, in both Canada and New Jersey," Mahoney said. "And I can't wait for the full band to partake in this year's festivities. Such a great string of shows for such a worthy cause. We are very excited."

Prior to Tuesday's announcement, John Cafferty and the Beaver Brown Band alongside Joe D'Urso & Stone Caravan had been the only acts confirmed thus far for the shows. More acts are expected to be announced shortly. 

As noted in the release, Bobby Mahoney and the Seventh Son recently completed a short tour of Canada, playing NiagaraToronto and Kingston in promotion of the new Friends in Low Places release.

"The energy we saw at the [Niagara] show was enough to make us want to have them open the Niagara and Toronto shows for Light of Day Canada," David Rotella, head of Light of Day Canada said. "Look out Canada, the New Age Outlaws are coming back across the border - we're just around the corner."

Tickets for all three shows go on sale Aug. 15 through the organization. More information on Light of Day Canada can be found here.

Show Report - The Mansion, 8/9/14

All good things must come to an end. But that doesn't mean they have to go out quietly, as Saturday night's Bobby Mahoney and the Seventh Son show brought an electric ending to the Friends in Low Places Tour Canadian leg.

The venue was The Mansion in Kingston, Ontario, and Tim Gysin would once more set the stage for the gang. Gysin's strong stage presence behind the keyboard is one that can hardly be replicated, no matter how seasoned the performer may be. As he ripped into cuts from his new album Chapter Next..., the crowd appreciated his intimacy and passion with every song.

Photo courtesy: Felicia McIntosh

As Gysin took his final bow, the boys hit the stage, and the town, with a forceful version of the second track off the new album. The always popular "Danger Dan" and "New Age Outlaws" made way for a second, more polished verion of the new "Don't Ask Me Why," with Bobby bringing into question encounters of the past with the final line of the chorus, "why the hell are you surprised?"

Photo courtesy: Ann Mahoney

Three more cuts off Friends in Low Places concluded with an enormous, impromptu rendition of "Scoundrels," with Bobby, Dan, Tim and Jon portraying the lost voices of those from the east side. The song was perhaps the highlight of the entire tour, and continues to be a staple in the sets.

After working through some more standards, including "Left For Dead," "It's a Long Way to the Top," and "Delicate Fall From Grace," the new "Running Away" made its return to the set once more. The infectious chorus had The Mansion crowd grooving, and the band was in control.

The rest of the set saw the band dabble in more standard tracks, though an intimate version of "Guilden Street" also pleased the crowd in the process.

Photo courtesy: Ann Mahoney

"Another Deadbeat Summer" closed the night, with all the performers up on stage sending out the Canadian night in style. Between Gysin and the band, the leg was an enormous success, and big news will be following soon. Until next time...

Setlist

1. Hit The Town

2. Danger Dan

3. New Age Outlaws

4. Don't Ask Me Why

5. Star-Crossed

6. Can't Stand Mysefl

7. Scoundrels

8. Left For Dead

9. It's a Long Way to the Top (If You Wanna Rock 'n' Roll) (cover)

10. Delicate Fall From Grace

11. Running Away

12. Thick As Thieves

13. Meeting Up

14. Girl, You Have No Faith in Medicine (cover)

15. Self-Induced Exile

16. Guilden Street

17. Light of Day (cover)

18. Teenagers Too

19. Another Deadbeat Summer

For more information on Bobby Mahoney and the Seventh Son sets, click here.

Show Report - Cadillac Lounge, 8/8/14

Photo courtesy: Felicia McIntosh

Fresh off the hot start of the Canadian leg of the Friends in Low Places tour, Bobby Mahoney and the Seventh Son took to the legendary Cadillac Lounge in Toronto, Ontario.

After the trek, the day saw the guys visit the Hockey Hall of Fame in the city (after all, they are tourists). In the process, they took a picture with Lord Stanley himself, a moment that made Dan Cohen "as happy as a little girl," (his own words).

Night 2 of the tour saw a 25-song set and kicked off with the second appearance of "Running Away," once again relying on its quick, intense verses and catchy chorus. "Meeting Up" would follow up a few cuts off the recently released album, showing that the new tracks are also here to stay.

Photo courtesy: Felicia McIntosh

A welcomed showing of "Delicate Fall From Grace" led way for a brief acoustic session with Bobby and Jon. The two delved into two more Delicate cuts, "Ultimatum" and one of Jon's favorites, "Crazy Dreams." Bobby even let Jon take one of the transitions on vocals, much to his surprise. Bobby would then take the stage solo for a performance of "Until The Wind Changes."

The band joined back on stage with a combination of more Friends in Low Places material alongside a showing of "Left For Dead."

After a break, things heated up once more with an encore of mostly covers, including an impromptu jam of AC/DC's "Gone Shootin'" and D Generation's "Degenerated." The major highlight of the encore, however, was the live debut of "Don't Ask Me Why," the fourth song debuted in the two shows so far.

Photo courtesy: Felicia McIntosh

Eventually, Bobby would finish the show with his ode to his idol with a solo performance of "Thunder Road." With his eyes on Kingston to wrap the leg of the tour, the band goes in hot, ready to strike.

1. Running Away

2. Can't Stand Myself

3. Star-Crossed

4. Meeting Up

5. New Age Outlaws

6. Danger Dan

7. Delicate Fall From Grace

8. Ultimatum

9. Crazy Dreams

10. Until The Wind Changes

11. Hit The Town

12. Left For Dead

13. Scoundrels

14. Teenagers Too

15. Self-Induced Exile

16. Another Deadbeat Summer

17. Pink Cadillac (cover)

18. Light of Day (cover)

19. Bitch is Back (cover)

20. Worrisome Child

21. Girl, You Have No Faith in Medicine (cover)

22. Gone Shootin' (cover)

23. Don't Ask Me Why (debut)

24. Degenerated (cover)

25. Thunder Road (cover)

For more information on Bobby Mahoney and the Seventh Son sets, click here.

Show Report - Yanks Old Niagara Bar & Grill, 8/7/14

Photo courtesy: Ann Mahoney

After nearly 10 hours in a vehicle the day prior, and various Canadian encounters, Bobby Mahoney and the Seventh Son took to Niagara Falls for the first of three shows in Canada.

Thursday saw the band hit Yanks Old Niagara Bar & Grill as the first stop, and from the start of the evening, anyone in attendance could tell something special was about to unfold. Tim Gysin, who last opened for the band at The Stone Pony in June, brought a killer set in honor of his new album Chapter Next... Tim's impressive powerful voice and stealth way of working a keyboard drew big numbers inside the bar, and opened the eyes of those watching him.

And when eyes are open, anything at a Seventh Son show is possible.

"We had a long trip up yesterday," Bobby said. "But we're excited to be here. You ready?"

Out of the gate, the outlaws from Jersey burst into the now-rare "Thick As Thieves." "Thieves" is a one of a kind Mahoney/Alba composition, dominated by clever notations from the rhythm section and driving vocals that gets the crowd going.

Following this would be a three-peat off Friends in Low Places, led by the always fun "Hit The Town" and going into "Danger Dan." An intense rendition of "New Age Outlaws" (which was preceded by Bobby sarcastically bemoaning to the crowd that it "hurt him" to have Jon's riff played) followed, with Bobby once again taking the spotlight with his ear-splitting solo.

Photo courtesy: Ann Mahoney

"Meeting Up" would then make its second showing in a Seventh Son showing, with members of the packed crowd at Yanks picking up on the "hey girl" motif in the bridge. The Niagara faithful, however, were unaware that wouldn't be the only tease of new material they'd get Thursday night.

Bobby then said it was time to introduce his group of scoundrels, with the dynamic track of the same name following. Enamored with the big sound, he then felt it would be time to try something new.

"Pack your bags Maria," he whispered into the microphone under an arpeggiated familiar lick. He had referred to it at shows before, but now it was happening: the premiere of the extended, initially cut, verse of "Star-Crossed." Two times through, and the rest of the band came crashing in, creating a surreal sense of sound perhaps never heard at a Seventh Son show. 

But why stop there?

"Star-Crossed" opened up for another new track penned by the two who banged out Friends in Low Places, entitled "Running Away." Pounding drums opened for a year 2000-esque bass line by Joe, and an infectious chorus drove home what will surely be a welcomed edition to the Seventh Son catalog.

A dedicated "Guilden Street" with Tim on keys slowed things down for the time being, with those in attendance grabbing their loved ones and investing in the serenity of the moment. But then, one of the most interesting turn of events to ever happen at a Seventh Son show went down.

"I see we have a birthday," Jon said, as he looked towards the back of the bar to reveal a 20-something year old man with a birthday princess hat and strap on. "And he doesn't look a day over 16."

Photo courtesy: Ann Mahoney

Predictibly, the feedback for "Teenagers Too" quickly started, and Zack the birthday boy joined the stage and quickly picked up on the song's chord progression. During the breakdown, Jon offered Zack a piece of advice:

"Zack...tonight is the night, the night we reign free, where the good boys go bad, and the bad boys boogie. Your manhood will ignite, and the fire will burn to the dawn. You'll break down all the walls you've built, you'll take no liberties. For tonight is the night your parents procreated, and dictated that you must stand down...stand down...and resume blind faith." 

Considering the show was sponsored by Light of Day Canada, "Light of Day" found its way into the set with a large portion of the crowd singing along. Things were brought down for the always intense "Self-Induced Exile," before Bobby called upon Light of Day Canada head Dave Rotella's son Evan to sing his favorite tune: "Another Deadbeat Summer." The youngster killed it, commanding the stage alongside Bobby as the audience rooted on.

Photo courtesy: Ann Mahoney

Thirteen songs in, the train only continued to roll. A now-shirtless Joe took on lead vocals and guitar for The White Stripes' "Girl, You Have No Faith in Medicine," where tons of Niagara residents flocked outside the windows of Yanks to get a glimpse. "Can't Stand Myself," the last tune to be played off Friends in Low Places, led way to an extended and epic version of AC/DC's "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" closing the main set for the electric crowd as the band toasted a shot in honor of the tour's start.

The band left the stage, but Bobby stayed on to do two electrically on his own. "Called it Quits" made its second appearance in one of his sets, but as Jon assured Bobby to do one more, he made things interesting. "Anna, where did you go, you said you'd be somewhere between my heart and the shore?" he asked, and "Anna" debuted before the audience. It was catchy and had some audience members tapping their feet, but it was time to bring the band back for the encore.

A mostly spontaneous version of Springsteen's "Pink Cadillac," complete with dueling guitar and keys solos by Bobby and Tim respectively, got all the patrons singing. One of the more reckless versions of "Left For Dead" allowed for "Worrisome Child" to bring an end to a 21-song night of rock, friends and fun. 

All that in just the first night of the Canadian shows. The beauty of it? There's more surprises to follow. Stay tuned.

Setlist

1. Thick As Thieves

2. Hit The Town

3. Danger Dan

4. New Age Outlaws

5. Meeting Up

6. Scoundrels 

7. Star-Crossed

8. Running Away (debut)

9. Guilden Street

10. Teenagers Too

11. Light of Day (cover)

12. Self-Induced Exile

13. Another Deadbeat Summer

14. Girl, You Have No Faith in Medicine (cover)

15. Can't Stand Myself

16. It's a Long Way to the Top (If You Wanna Rock 'n' Roll) (cover)

17. Called it Quits

18. Anna (debut)

19. Pink Cadillac (cover)

20. Left For Dead

21. Worrisome Child

For more information on Bobby Mahoney and the Seventh Son sets, click here.

Show Report - The Stone Pony, 8/2/14

The Stone Pony very clearly remains to be one of Bobby Mahoney and the Seventh Son's favorite venues (if not, the favorite) to play in New Jersey. And whenever the boys step on that historic stage...you know something special is going to happen.

And Saturday was no exception.

In a show that had been re-scheduled after storms canceled it the first time around, Southside Johnny & the Asbury Jukes held down The Stone Pony Summerstage with the Mahoney clan manning the inside. The set started in a way that no Bobby Mahoney/Seventh Son set has before, with a ripping rendition of the ninth track off Friends in Low Places, "Can't Stand Myself."

With the crowd hopping off the bat, the gang made the transition into the now-staple "Danger Dan." The Stone Pony residents were digging the groove as new rhythm man Dan Cohen even worked his way into the backup vocals, telling the audience how "you all know the man."

Photo courtesy: Ann Mahoney

"Left For Dead" had then been planned for the set, but Bobby called an audible, instead opting for the popular "Star-Crossed." Upon the first chord strike though, in a moment never before seen with the Seventh Son, Jon struck his new axe too hard and broke a string, leading to a funny series of events as he attempted to change guitars while simultaneously sing the chorus harmonies. Eventually, he came to it, and the rest of the set went on without hitch on that end.

But what made this show any different from the rest of the Friends in Low Places shows? A new song, of course.

"We're going up to Canada next week to promote our new album," Bobby said. "But here's a new one that we're going to try out for you."

Photo courtesy: Felicia McIntosh

"Meeting Up" then made its live debut, bringing a balance of a catchy Beatles-esque chorus with a Green Day-style verse and riffage. The song went over well, and it appears it will be a keeper.

From there, the show went on as standard. A powerful version of "Scoundrels" led way for perhaps the best ever version of "New Age Outlaws," eventually parting for "Teenagers Too." 

Photo courtesy: Felicia McIntosh

With just one more to go, the band made its way into the crowd-pleasing "Another Deadbeat Summer," but with two special guests named Zack: Sandler, making his return on saxophone as he did in July, and Morrison, the director of the band's music video.

Much like on June 22, the crowd sang back the chorus to the band to end what was yet another epic Pony show. For now, it will resonate, but in just days, the outlaws themselves will take to Canadian soil.

Setlist

1. Can't Stand Myself

2. Danger Dan

3. Star-Crossed

4. Meeting Up (debut)

5. Scoundrels

6. New Age Outlaws

7. Teenagers Too

8. Another Deadbeat Summer 

For more information on other Bobby Mahoney and the Seventh Son sets, click here.

Show Report - Roxy & Dukes, 7/19/14

It had been a long time since Bobby Mahoney and the Seventh Son had taken the stage together at Roxy & Dukes Roadhouse in Dunellen, N.J. More than two years, to be exact.

The last time they did? This happened. For the first time ever.

So what would this set bring? Normally, the setlist would tell...if there had been one to start. 

"Let's just play," Bobby said to the band, and with that, the show kicked off with a ripping version of "New Age Outlaws" for the first time in more than a year. Jon's lead resonated throughout the roadhouse, with each pounding crash of Mac's cymbals echoing throughout the one of a kind venue.

"Hit The Town" (and one broken Dan Cohen string) would bring the boys to the next track, which brought the callback to the aforementioned video.

"Two years ago, we played this song here for the first time," Bobby said. "So I think it's time we do it again. This one's called 'Left For Dead.'"

And with that, the clean guitar led to the groovy chorus which led to the big ending. It's a song that is always enjoyable, and allows for the guys to kill off some early-show energy in a big way.

The rest of the set saw the Seventh Son delve through some more of Friends in Low Places, complete with yet another broken string by Dan and "Self-Induced Exile" once again serving as a powerful closer to the show.

With just the Blueberry Lawnching Festival around the corner, the band's last show before the trip to Canada, who knows what is in store. But if any of these festivals from the past have proven something, it's to expect not just the unexpected, but the completely unexpected as well.

Setlist

1. New Age Outlaws

2. Hit The Town

3. Left For Dead

4. Danger Dan

5. Scoundrels

6. Teenagers Too

7. Another Deadbeat Summer

8. Self-Induced Exile

For more on Bobby Mahoney and the Seventh Son sets, click here.

Show Report - 7/12/14

To say July 12, 2014 was an exhausting day for Bobby Mahoney and the Seventh Son would be an understatement.

But hey...the show must go on. Or rather, the show(s).

The band began the day out in the near-90-degree heat in Bradley Beach, N.J. at the annual "Lobsterfest" in front of a crowd of people. It wasn't the typical venue for a Bobby Mahoney and the Seventh Son show, and the set proved it.

Photo Courtesy: Ann Mahoney

The boys went on for nearly two hours, bouncing between originals off both Friends in Low Places and Delicate Fall From Grace, with Bobby and Jon even bringing back the now-rare "On The Edge" off the Only Ashes Remain EP. They were also joined by familiar guest Ed McIntosh and his buddy Joey Cartwright for some tunes, while local saxiphonist Zack Sandler even hopped on for a few covers and a killer rendition of "Another Deadbeat Summer."

Setlist

1. Lowlife (John Eddie cover)

2. Hit The Town

3. Danger Dan

4. Girl You Have No Faith in Medicine (White Stripes cover)

5. Star-Crossed

6. Pink Cadillac (Bruce Springsteen cover)

7. It's A Long Way To The Top (If You Wanna Rock n' Roll) (AC/DC cover)

8. The Bitch Is Back (Elton John Cover)

9. Worrisome Child

10. Delicate Fall From Grace

11. Thick As Thieves

12. Can't Stand Myself

13. Scoundrels

14. Light of Day (Bruce Springsteen cover)

15. Ultimatum (Bobby and Jon)

16. On The Edge (Bobby and Jon)

17. Teenagers Too

18. St. Jimmy (Green Day cover)

19. Another Deadbeat Summer

Later on, Bobby made his way to the Strand Theater in Lakewood for a quick acoustic set that saw him ignite the crowd before a viewing of Destressed, the film featuring the title track off his last album. He would hop up with Tommy Byrne and Jeffrey Thompson of Tommy Bryne and the Sellouts for some jam tunes as well.

Photo Courtesy: John Posada

Setlist 

1. Another Deadbeat Summer

2. Delicate Fall From Grace 

3. Stand By Me (The Drifters cover)

4. Hang On Sloopy (The McCoys cover)

But it would be the later set that would prove to be the real attention-grabber.

For the first time ever, the guys took to the basement of the New Brunswick-famous Court Tavern. Gracing the stage where Mahoney idol Brian Fallon once did himself, he and the Seventh Son tore through some tracks off the new album.

Photo Courtesy: Laura Gubrud

Mahoney's intensity shined through most in this particular performance. With his fuse ready to blow after playing his third set of the day, he took every opportunity he could to drive home the thematic elements of Friends in Low Places. After a few blistering guitar solos and even a sax-filled cover of Springsteen's "Light of Day," the evening ended like no other show has yet.

Panting into the microphone, the lights centered in on Bobby, as he began to strum away at the opening chords to "Self-Induced Exile." Silence fell across the crowd, with the clock close to midnight, and the singer/songwriter channeled the anger and angst that fueled FILP. It was as bombastic of a closer as the band has ever had, and Bobby dropped his guitar as the final crash hit to send the crowd home with a sense of astonishment.

Setlist

1. Teenagers Too

2. Hit The Town

3. Danger Dan

4. New Age Outlaws

5. Scoundrels

6. Another Deadbeat Summer

7. Light of Day (Bruce Springsteen cover)

8. Star-Crossed

9. Self-Induced Exile

For more information on the three sets, click here.

Show Report - The Stone Pony, 6/22/14

Photo courtesy: Ethan Reiss

Perfect. 

It's the only word that can be used to describe the incredible afternoon/evening that was the Bobby Mahoney and the Seventh Son Friends in Low Places CD release party.

Hundreds packed legendary Stone Pony over the course of Sunday to catch a glimpse of some of the best local bands the New Jersey music scene has to offer, and for the price of $10, anyone who caught even just one act instantly got their money's worth. Brielle Liebman kicked things off with an acoustic set, as the singer/songwriter belted as a call for help about various topical issues in today's troubling world.

Afterwards, Social Harvest made its long-awaited return to the stage with an absolutely blistering set that captivated everyone in attendance. Highlights of the performance included the falsetto-full "Intruder" and a killer rendition of Jet's "Are You Gonna Be My Girl?" that had everyone dancing.

Check Your Morals, fresh off an appearance at "The Break" contest and the Skate & Surf Festival, then took the floor. The band displayed their fluidity throughout their set, going as far as pulling songs out of a hat to determine what would be the next one played.

It was then turn for Tim Gysin and his band to give their shot at wooing the increasingly-growing crowd in Asbury. Gysin, who contributed ideas and lent his vocal talents to Friends in Low Places, wowed the audience with his musicianship, supported in part by Giancarlo Cordasco on drums. Cordasco served as the drummer for the majority of the album as well.

Creating Clementine served as the warmup for the headliner, doing what they do best. Their set began with a vocal intro by Seventh Son's Jon Alba, which is actually the first track on their newly-released EP A Man's Best Friend. Bobby would join the band for a few songs on lead guitar to spice things up as well, putting quite the exclamation point on the opening acts.

Then it was time. The band formerly known simply as "Seventh Son" spent more than seven months preparing Friends in Low Places, and it was time to debut it live for more than 200 people in attendance. 

The performance kicked off with James McIntosh smoking the crash on his drums and pummeling through his hi-hat and snare, as Jon then yelled the words that would sum up what was about to occur:

"He's back!"

With that, Bobby kicked into the lead guitar riff to Elton John's "Bitch Is Back," and the boys were off. The crowd, surprised by the choice to open with a cover (nonetheless, an Elton John cover), ate it up, and chanted along with the chorus.

Photo courtesy: Ethan Reiss

Fired up, the band went into a triad of Seventh Son favorites, keeping the capos on and charging into "Worrisome Child." The audience, still buzzed, then popped even louder for the welcomed return of "Left For Dead," played for the first time since December. After that, "Thick As Thieves" got everyone rocking again, with Bobby and Jon dueling in licks after the guitar solo for the audience's delight.

What followed next was far from the norm, as Bobby Mahoney and the Seventh Son became Green Day, with Bobby handing his guitar off to good friend of the band and tech for Blues Traveler, Jake Katz, for a rendition of "St. Jimmy." Dan Cohen's guitar shined, chugging its way through the punk anthem. Just five songs in, and it was chaos and pandemonium at The Stone Pony.

Bobby and Jon then broke things down with an acoustic set, sending the rest of the band off stage. Friends in Low Places got its start in this matter, so it felt only appropriate to do the lead in for the album in such a way. "Ultimatum" off Delicate Fall From Grace got things started, the first time ever played with two guitars. But what was next would be one of those several moments that made the evening so special.

"A few weeks ago, Jon told me I should bring this one back," Bobby said, referring to a song that hadn't been touched in more than three years. "So if it sucks, it's his fault."

A re-written version of the rare "Too Good For Me" then came to life, with Jon performing guitar harmonies as Bobby tied up a chapter of his early work with new lyrics. It was reflective, and with a new bridge and re-worked harmonica solo, was a far cry from some of the bare bones material on the new album. "Crazy Dreams" off Delicate, an institution when the two play acoustic, closed off the short set.

Photo courtesy: Ethan Reiss

All of that before the new album was even touched. 

The Seventh Son then came back up, and it was time to delve into Friends in Low Places. "Teenagers Too," complete with feedback and an extended breakdown got things rolling straight into "Hit The Town" without a break. Bobby ignited the crowd with some call and response before telling the tale of his triumphs as the "king of kings" (a verse actually performed by Jon, who penned the tune, for this special evening). 

Photo courtesy: Ethan Reiss

"Everyone put your eyes on this guy," Jon then said to the audience, pointing at bassist Joe Larkin as the band prepared for "Danger Dan." "He's about to do some really cool shit." And that he did, and with Danger Dan himself on stage, the band launched through a wah pedal, bass-infused version of the third track on the CD.

"New Age Outlaws," the first single off Friends in Low Places, followed up at a blistering tempo, but got the blood pumping back through the five guys. Bobby then introduced the track that inspired the album title, "Scoundrels," and brought the band down as he introduced each member of his backing corps. Rather than introducing himself though, he merely summarized:

"I'm a half-hearted deviant, raised from the bottom line."

The powerful ending to "Scoundrels" then made way for one of the highlights of the night. After Jon outwardly accused Bobby of not inviting the band to a day at the beach (a reference to the recently-released music video), the front man invited the crowd to sing along to "Another Deadbeat Summer."

But as the song drew to a close, the crowd couldn't get enough. So Bobby decided to pull one more chorus out of them. And the result was as awesome as it sounds.

Now, clearly part of a very special evening, the spotlight turned to Bobby for the live debut of "Guilden Street." As he strapped back on his acoustic guitar, Gysin returned to the stage to play keys and contribute vocals. A minute or so into the tune, Bobby invited Friends in Low Places engineer Max Aharon up on stage to help with the voices as well. By song's end, six of the seven men on stage were singing, as the crowd eventually joined in to make it even bigger.

Gysin would stay on stage for the next two songs, as "Star-Crossed" kept the emotional high strong. Just before the solo hit, Jon loudly proclaimed, "This is my favorite part of the entire album!" as Bobby took the crowd through a journey of heartbreak and love lost. "Can't Stand Myself" made way for the last major emotional moment of the night.

Photo courtesy: Ethan Reiss

Bobby introduced "Self-Induced Exile," the final track on Friends in Low Places, with a confession. "These are probably the most emotional lyrics I've ever written." As he solemenly made his way through the song, the audience pulled out their cell phones to illuminate the packed room at New Jersey's most famous rock club. The band brought the song home as the lead man wailed his hardest, bringing a close to the album performance.

The setlist called for just one more song, but members of the audience clamored for "a rocker." Bobby turned to Jon and mouthed the words "Pink Cadillac," as both ran over to the other bandmates to call the audible. Midway through the song, Jon called to the crowd:

"Eddie Mac! Get up here!"

And with that, the frontman of Projex and father of the young band's drummer made his way to the stage, alongside Diego Allessandro of Lot 25. The performance reminded all those in attendance the importance of supporting local music, as everyone danced their way into the night.

Photo courtesy: Ethan Reiss

With that, Bobby and the band thanked the crowd for an amazing evening, and hit the planned encore, the title track off Delicate Fall From Grace. It was intense, it was somber, and it was appropriate for a performance that went more than two hours.

The band finished, and took the final bow for the crowd as Friends in Low Places concluded its thunderous debut. It felt as it should be...perfect.

Setlist

1. Bitch Is Back (cover)

2. Worrisome Child

3. Left For Dead

4. Thick As Thieves

5. St. Jimmy (cover)

6. Ultimatum

7. Too Good For Me

8. Crazy Dreams

9. Teenagers Too

10. Hit The Town

11. Danger Dan

12. New Age Outlaws

13. Scoundrels

14. Another Deadbeat Summer

15. Guilden Street

16. Star-Crossed

17. Can't Stand Myself

18. Self-Induced Exile

19. Pink Cadillac (cover)

20. Delicate Fall From Grace

For more information on this set, click here.

"Friends in Low Places" officially released

Friends in Low Places, the first full-studio album by Bobby Mahoney and the Seventh Son, is now available for purchase and streaming through Bandcamp, iTunes, Spotify, Amazon, CD Baby and other avenues!

Streaming

The album can be streamed live via Bandcamp at this link.

About the album

Friends in Low Places gives two polarizing perspectives of the teenage upbringing. 

The first takes the listener back to the days of young adolescence, rebellious attitude and all. The world is against them, and with uprising and  pride, no obstacle is too big. Certain figures are perceived as larger than life, adding to the aura of the teenage youth.

The latter focuses on what some perceive to be the realities of becoming an adult. Being left as an outcast in a seemingly normal setting. Suffering the heartbreak of love forbidden by outside forces. Being your own worst enemy.

And while it may be clear where some stand on each side of the spectrum, others still have a story to be told.

CD release party

Bobby Mahoney and the Seventh Son will hold a CD release party on Sunday, June 22 at the legendary Stone Pony in Asbury Park, N.J. to celebrate the album. Playing the show will be Brielle Liebman, Social Harvest, Check Your Morals, Tim Gysin, Creating Clementine and the headliner, Bobby Mahoney and the Seventh Son.

More information on the show can be found here. Tickets are still available online.

Doors are at 3 p.m. ET.

Album credits

All songs written by: Bobby Mahoney and Jon Alba

Bobby Mahoney- Lead Vocals and Lead Guitar on all tracks

Jon Alba- Backing Vocals and Rhythm Guitar on all tracks except "Guilden Street" and "Self-Induced Exile"

Giancarlo Cordasco- Drums on all tracks except "Scoundrels" and "Guilden Street" 

James McIntosh- Drums on "Scoundrels"

Joe Larkin- Bass on "Teenagers Too," "Hit the Town," "Scoundrels,"  "Another Deadbeat Summer," and Backing Vocals on "Guilden Street" 

Max Aharon- Snare Drum on "Guilden Street" and Bass on "Danger Dan," "New Age Outlaws," "Star- Crossed," "Can't Stand Myself" and Upright Bass on "Self-Induced Exile"

Dan "Dancer" Cohen- Backing Vocals on "Another Deadbeat Summer"

Nicco DiRenzi- Backing Vocals on "Can't Stand Myself"

Tim Gysin- Backing Vocals on "Scoundrels"

String arrangement on "Guilden Street" by Bobby Mahoney

Recorded, Produced, Mixed, and Mastered by: Max Aharon 

Recorded entirely at The Shea Center at William Paterson University in Wayne, NJ

Produced by: Jon Alba

Executive Producer: Bobby Mahoney

Album art by: Elijah Reiss

Social media

Find Bobby Mahoney and the Seventh Son on Facebook and Twitter!

Bobby Mahoney discusses "Friends in Low Places"

Just five days before the release of his first full-band studio album Friends in Low Places, Bobby Mahoney and the Seventh Son frontman Bobby Mahoney chatted with the site about several topics related to the album. 

Below are some of the highlights.

Q: You released your first full album Delicate Fall From Grace as an acoustic album. Why is Friends in Low Places with the band?

BM: "I had been playing with Seventh Son since high school and we had done the EP, but I never really thought we reached our potential. A lot of the songs I had thought would do well in a full band form as opposed to a solo or singer-songwriter album. It was time to do a rock album with loud guitars, drums, bigger choruses. It was time for that."

Q: Where do these songs come from?

BM: "Well about half the album is some older stuff from Seventh Son that have come about since 2011. Those songs are very heavily influenced by riff rock, so that comes off. They're guitar heavy songs. We've been toning them live for the last three years or six months. The other songs, Jon [Alba] and I have written recently, we wrote most of them in one day, one or two sessions. Those came from more of a deeper place in my head emotionally, and I was able to connect with those songs a little more personally. I wrote some of them as solo songs, then we created full band arrangements." 

Q: You've said this album tells a story. What story does this album tell?

BM: "The album tells a story of looking back at the teenage years of high school from a perspective of before and after. It's more of an exaggerated look at teenage life, then goes through those years, then the end of the album looks back on those. It's kind of like an epilogue. It's like prologue, story, epilogue. I felt the songs have a central theme behind them of alienation, whether it's from people you were friends with or from yourself. I felt all the songs connected. We had some other songs we could have chosen for the album, but these connected on a more musical level."

Q: What's your favorite song off the album?

BM: "It's tough, some of the songs like 'Self-Induced Exile' are a really deep connection, so that's definitely up there. To play? Overall? I guess I'd have to say 'Scoundrels.' That song shows off the band in every way possible. That song, the lyrics, I think came across really great. The first half of the song is the perfect example of what Seventh Son is. It's got the cool riff that Jon came up with, and the song as a whole has some of the best lyrics I've ever written. Then it has a tearing solo in the middle, then it breaks down to just me and an electric guitar."

Q: What's the surprise song on the album that people won't expect?

BM: "I'd say either 'Danger Dan' or 'Guilden Street.' 'Danger Dan' is a funkier song, it grooves a little more than our other stuff. It's still a rock song, it rocks hard, but it has a little more of a groove, a little more of a Red Hot Chili Peppers feel to it. 'Guilden Street' is the only acoustic song on the album, but while it is an acoustic song and I wrote it as one, there's strings on it. There's multiple layers of vocal harmonies, which also came together in a really cool way, and I'm really happy with how those came out."

Q: You recently shot and put out a music video for the second single, "Another Deadbeat Summer." How did that come about?

BM: "We had a few different ideas with Zack [the director] about what we were going to do to portray the song. We were originally going to do a party, but then we wanted to do something at the beach and we thought the best way to portray a shitty summer would be the third wheel idea. We had a great time, and we shot some of it at The Saint, which we're very grateful for. The rest we shot at Point Pleasant, which was awesome. I think exactly what we were trying to portray came across, and I'm very proud of it." 

Q: Why now? What's the point in putting out a full band album now?

BM: "I want to get us heard. I always respect bands that could not only put out a good song, but a good album. I love hearing 'Oh, did you hear this band's new album?' It shows they could write more than a good song."

Q: What should the listeners take away from the album?

BM: "I want the audience to connect to it. I think with Delicate, people may have appreciated the songs, they may have connected to 'Delicate' or one or two of the songs on the album. But I want people to connect to the album, knowing the words at the shows. I want it to get us to the next level."

Q: How is Bobby Mahoney and the Seventh Son different from the original composition of the band?

BM: "I feel like I can be a little more free with the lyrics, get a little more emotional with them. When we first started Seventh Son, we wrote these rock songs that were fun but didn't really scratch the surface emotionally, like 'Highway Robbery.' And I think we're already further along. I also built up more of a solo following in places like Asbury Park and Canada, and it would be foolish not to include that. And I wanted to combine the solo stuff and the hard rock, Seventh Son stuff. And I think with this album, we accomplished that. We hit the emotional stuff, but at the same time, it rocks fucking hard."

Q: Any final thoughts on the album?

BM: "I'm extremely proud of it. I didn't know what to expect when we went in the studio with Max [the engineer]. Max did an amazing job. We could not be more proud of it. I think people should listen to this album. Because I think they'll connect to it. Whether it's a musical part, or a lyric, I think they'll connect to it."

Friends in Low Places will be released on June 22 via Bandcamp, iTunes, CD Baby, Amazon and hard copy. The band will grace The Stone Pony the same day for the official CD release party. Tickets can be purchased here.

Bobby Mahoney and the Seventh Son - "Another Deadbeat Summer" (Official Music Video)

With just one week remaining until the Bobby Mahoney and the Seventh Son CD release party for Friends in Low Places, the band decided to drop a gift for everyone in anticipation of the big day!

On Sunday, the band released its first music video, this for "Another Deadbeat Summer," the sixth track on the album. The video sees Bobby as a third wheel for a "romantic" date on the Point Pleasant boardwalk, and the antics that ensue.

The video was directed by Zack Morrison, who can be found on Twitter here.

Show Report - Bridgewater Eagles, 6/8/14

Photo Courtsey Eddie McIntosh

Tattoos. Leather. Bikers.

Sounds like the typical venue for a Bobby Mahoney and the Seventh Son show. Right?

Especially when it's just acoustic.

Bobby Mahoney and the Seventh Son took to the "Steel Crusaders - Jersey Crew" meet and greet on Sunday afternoon in Bridgewater, N.J. for an impromptu performance. The headliner for the show, the Projex Band, serenaded the crowd with some classic rock favorites along with some country tracks.

Bobby and Jon first joined the band on Bruce Springsteen's "Radio Nowhere," adding some depth to the "I just want to hear some rhythm" sections of the track. But they also had acoustic guitars in hand.

At halftime, Projex lead singer Eddie Mac, father of Seventh Son's James Mac, gave the stage to the trio of Mahoney, Alba and the young Mac for an unexpected multi-song set. With just two acoustic guitars and drums, the guys kicked things off with the newest single off Friends in Low Places, "Another Deadbeat Summer."

Photo Courtesy Eddie McIntosh

Afterwards, Bobby called for a rare cover: "Rockin' in the Free World" by Neil Young. The song went over well with the crowd, with some in the audience pumping their fists at the chorus.

From there, it would be a Bobby Mahoney and the Seventh Son trio to close things out, with "Danger Dan" grooving straight into "Star-Crossed." Bobby then looked back at Mac and Alba and motioned for "Can't Stand Myself," the now seldolmly-played selection off the new album.

With that, Projex took back the stage, and continued to bring the house down in the blistering sun.

Setlist

1. Another Deadbeat Summer

2. Rockin' in the Free World (cover)

3. Danger Dan

4. Star-Crossed

5. Can't Stand Myself

For more on the set, click here.

Bobby Mahoney and the Seventh Son announce the Friends in Low Places Tour

Bobby Mahoney and the Seventh Son have announced the first dates for the Friends in Low Places Tour, set to kickoff this summer.

The first gig gets underway with the Friends in Low Places CD release party at The Stone Pony in Asbury Park, NJ. Tickets can be purchased here.

Additionally, the band will travel outside the United States for the first time, with three dates in Canada in August. The boys will make their way through Niagara Falls, before headed to Toronto. They'll then finish off in Kingston, O.N. The shows will be sponsored by the Light of Day foundation, in support of Parkinson's Disease research.

More dates will be announced soon for the tour, so be sure to follow the band on Facebook and Twitter for more.

"Friends in Low Places" now available for digital pre-order

Friends in Low Places, the first full-studio album by Bobby Mahoney and the Seventh Son, is now available for digital pre-order through Bandcamp!

For just $10, or buyer's price, fans can place their orders for digital copies of the album before its release on June 22! Those who pre-order will get immediate downloads of the album's first single, "New Age Outlaws," and the debuting "Another Deadbeat Summer."

In edition, the two tracks are available for immediate download for all customers at $1.

Pre-orders will be delivered at midnight on June 22, ahead of the official Bobby Mahoney and the Seventh Son CD release party at The Stone Pony later that night.

Those interested in placing a digital pre-order or downloading the tracks can do so here. Individual tracks can be downloaded below.

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