Sebastian Bach - Child Within The Man - CD

Sebastian Bach new full length album "Child Within The Man". With an inimitable presence as loud as his instantly identifiable voice, Sebastian Bach has left a San Andreas Fault-size imprint on music, theater, film, television, and culture. Moreover, his influence only continues to magnify. He has penned and voiced some of the most iconic anthems in rock history, crafting a catalog highlighted by generational hits such as “18 and Life,” “I Remember You,” “Youth Gone Wild”,” Slave To The Grind,” “Wasted Time,” and “Monkey Business,” to name a few. He has made history as “the first heavy metal singer on Broadway” with a now legendary turn in Jekyll & Hyde: The Musical in addition to leading roles in The Rocky Horror Picture Show and Jesus Christ Superstar. He has appeared in dozens of television series and films, ranging from Trailer Park Boys and Robot Chicken to Spongebob Squarepants, The Masked Singer, and Hell’s Kitchen. Speaking to his versatility, he’s the rare force of nature who can duet with Axl Rose and reprise a seven-season recurring role on Gilmore girls. After selling tens of millions of albums, generating billions of streams, toppling charts, and packing arenas and amphitheaters around the world, he does what he does best on his long-awaited sixth full-length album, Child Within the Man [Reigning Phoenix Music]. “All I can do is make music that I love,” he explains. “That’s all I’ve ever done—and I really love this album. I have the same feeling for these songs that I did for 18 and Life. I hear the same emotion. If anyone is feeling down or depressed, crank this record. You’ll realize you can take the bull by the horns.” Sebastian’s return is long overdue, to say the least. He dropped his last solo record, Give ‘Em Hell, in 2014. Since then, he remained as busy as ever on the road. He launched popular tours such as 18 and LIVE as well as celebratory 30th anniversary jaunts in honor of the self-titled Skid Row and Slave To The Grind, performing each classic in its entirety. Not to mention, he unveiled his acclaimed autobiography 18 and Life on Skid Row. Along the way, he carefully assembled what would become Child Within the Man with none other than powerhouse producer Michael “Elvis” Baskette [Mammoth WVH, Alter Bridge] behind the board. He proved to be the perfect fit both sonically and philosophically. Rather than record on the West Coast, Sebastian and his cohorts Devin Bronson [guitar], Todd Kerns [bass], and Jeremy Colson [drums] decamped to Florida and holed up at Elvis’s Studio Barbarosa. They invariably benefitted from living, writing, and recording together under one roof—a first for Sebastian. “In my whole career, I’ve never lived in a house with the band, and it was like a whole family. We’d walk downstairs, get coffee, eat breakfast, and go to work. It’s how Elvis does things.” The title represents the arc of the album for Sebastian and, ultimately, his journey thus far. No matter how much the world around him has changed, he has never lost sight of why he pursued music in the first place. Like a surge of uncontainable energy, his excitement powers up the album. “Nothing makes me feel more like a little kid than great rock ‘n’ roll does,” he exclaims. “You can put on a song, and it’ll make you feel like a child—no matter how old you are. That’s what music is all about to me. It’s a valuable thing to have in life. During the years of being shut down for the Pandemic, I’d remind myself how much fun rock is. It adds light to your life. That’s the core theme of the album. Along with the artwork, it’s why Child Within the Man is such a perfect title.” Mastered by the legendary Robert Ludwig [Led Zeppelin, Jimi Hendrix, Tool, KISS, Donald Fagen, Eagles, Metallica], the music captures Sebastian at his most impassioned and indomitable with no shortage of youthful spirit. He introduces the record with the arenaready stomp of “What Do I Got To Lose?” Co-written by Myles Kennedy [Alter Bridge, Slash], guitars lock into a heart-thumping groove as Sebastian’s voice rings out on the refrain, “I’m holding on for judgment day.” The momentum gives way to a fret-burning lead. “To me, ‘What Do I Got To Lose?’ is the perfect sentiment for a guy who hasn’t put out a record in almost a decade,” he laughs. “What do I have to lose? The answer is nothing, & a lot. It’s an anthem for coming back and crushing it. It’s time to lay down the law and put the hammer down old school-style.” The album opens with the onslaught of “Everybody Bleeds.” His menacing intonation kickstarts a barrage of galloping drums and incisive riffing, crashing into the chorus, “Everybody bleeds, everybody burns, everybody drowns.” “If you want it hard and fast, f*ckn’ turn it up and let’s go. Here’s the next chapter.” Then, there’s “(Hold On) To The Dream.” Clean guitar underscores a dynamic vocal run from Sebastian. He stretches his high register to the heavens over a palm-muted trudge only to turn on a dime with a venomous and vitriolic bridge, “You…stand for something, but you die for nothing. You…sick of living this nightmare.” “To me, it’s the heaviest song I’ve ever been a part of, and that’s saying something” he grins. “It harkens back to my passion for classic metal in terms of the structure.” Welcoming a bevy of friends along for the ride, guitar god John 5 [Mötley Crüe] tears right through “Freedom” with a scorching guest spot, continuing a longstanding 3- Album creative collaboration with Sebastian. Speaking of old friends, Steve Stevens [Billy Idol] rips it up on “F.U.”—an acronym for “Fake You.” Meanwhile, six-string sensation Orianthi adds another dimension to “Future Of Youth.” “There’s a female sensibility in the tune, which was welcome,” he goes on. “I want my record to have different vibes.” Fittingly, he closes out the album with a virtuosic display on “To Live Again.” It fits right in among his boldest and biggest ballads. “I’m not scared of ballads,” he laughs. “Some rockers shy away from slow songs, but I’m a sucker for a good slow song. That’s ‘To Live Again’ in a nutshell.” Coming full circle, the artwork comprises two paintings by Sebastian’s late father David Bierk. His paintings previously graced the covers for Skid Row’s Slave To The Grind and Subhuman Race as well as Sebastian’s Angel Down. This time around, Sebastian enlisted Michael Godard & Christian O’Mahoney from Wentworth Galleries to juxtapose two paintings by Bierk. One painting was born in 1978 and depicts a ten-year-old Sebastian running next to a broken down car in a field as Jesus ascends to heaven in the background. The second painting from 1989 reimagines Sebastian’s first centerfold on stage at Giants Stadium. “When the two paintings come together, I’m essentially running into myself on stage,” he notes. “It reflects this spirit of being young and having fun. Michael & Christian brought the art back to life, boosted the colors, and added texture. To bring back paintings my dad all of those years ago and make them into album art is very personal and emotional to me. It’s incredible.” In the end, Sebastian Bach has returned with his most unapologetic and undeniable offering yet. "'Child Within the Man' sounds like an album from the '70s in a video from the '80s on the internet in 2024" he leaves off. “It was made by real musicians, a real producer, and mastered with real dynamics. It’s meant to sound big. In some ways, I’ve been working on this one for 35 years. I’m coming to unite everyone under this album, and we’re going to have a rock n’ roll party. This album represents my whole career so far, now, and the future. It’s just me, my friends, my family and all of YOU who have been rockin’ HARD with me since 1989…. the FIRST 35 years that is!”