Molly Hatchet

Molly Hatchet

Molly Hatchet is an American southern metal band formed in Jacksonville, Florida, in 1975. They are known for their hit song "Flirtin' with Disaster" from the album of the same title. The band, founded by Dave Hlubek and Steve Holland, took its name from a prostitute who allegedly mutilated and decapitated her clients Most of Molly Hatchet album covers feature heroic fantasy inspired art, some of which were painted by artists Frank Frazetta and Boris Vallejo.

Based in Jacksonville, Florida, Molly Hatchet shared influences and inspiration with the most well-known act in the southern rock genre, Lynyrd Skynyrd, as well as another up-and-coming southern-rock act, .38 Special, who referred them to manager Pat Armstrong. Armstrong with partner Alan Walden had briefly been co-manager of Lynyrd Skynyrd in 1970. Armstrong signed Molly Hatchet and garnered the group a recording contract with Epic Records, bringing in Tom Werman as a producer. Werman had already worked with acts such as Cheap Trick, Stranger and Ted Nugent. Ronnie Van Zant was slated to produce Molly Hatchet's first album, having helped in writing arrangements and directing rehearsals prior to his fatal airplane crash. Molly Hatchet actually cut their first demos in Lynyrd Skynyrd's 8-track recording studio using their equipment.[3] Other demos were cut in Jacksonville's infamous Warehouse Studios and "shopped", and Warner Brothers expressed interest. Warner Brothers' A&R could not decide whether to sign Molly Hatchet or another promising band they had been working with at that same time. They ended up being turned down by Warner Brothers and would later discover that the competing band was none other than Van Halen. Within six months they signed to Epic Records.Prior to the band's signing with Epic Records, they often toured the Florida roadhouse and bar circuit. Dave Hlubek was the band's vocalist prior to Danny Joe Brown, and wrote and co-produced many of the band's songs. Hlubek has stated that the demise of Lynyrd Skynyrd – who were at the height of their success – opened the door for Molly Hatchet.

The result of the teaming of Tom Werman, a producer known for working with straight hard rock acts, with a Southern-influenced band led to a new development in the Southern rock genre. Combining boogie, blues and hard rock, Molly Hatchet's sound was different from more country-influenced acts such as Outlaws. Like the area's other Southern rock acts, their music typically expressed the values, hopes and excesses of 1970s-era young adults in a Southern metropolitan area like Jacksonville, in addition to Southern ("Gator Country", "Sweet Dixie") and Western themes ("Edge of Sundown", "Bounty Hunter", "Gunsmoke").

The band recorded and released their first album, Molly Hatchet in 1978, followed by Flirtin' with Disaster in 1979. Molly Hatchet proceeded to tour behind the record, building a larger fan base. Danny Joe Brown, whose gruff voice and tough yet amicable persona had defined the act to that point, left the band in 1980 because of his chronic diabetes and other reasons, only to return two years later.
Website
http://www.mollyhatchet.com

Molly Hatchet-The Deed is Done

Deed is Done

In my opinion, Molly Hatchet have been a second grade southern rock band way behind Lynyrd Skynyrd as well as Blackfoot. But with the release of 1984's "The deed is done", Molly Hatchet got their act together and gave us an album full of groovy melodic rock of high quality. Some fans think this album is too light, too commercialized, too popish (the even used some keyboards) but the fact is that Molly Hatchet have never sounded as good as they do on "The deed is done", and the album sure rocks. Just listen to the opening riff of "Satisfied man" which kinda sets the tone for what to come. With songs like "Good smoke and whiskey" with its slight resemblance to ZZ Top, the catchy semi ballad "Stone in your heart", the very Lynyrd Skynyrd sounding "Heartbreak radio" and the in-your-face "Man on the run" this is without doubt the best release from Molly Hatchet.

Danny Joe Brown's deeply-Southern-fried vocals blend in surprisingly well with the band's slick, polished sound. The first and the best song on here, "Satisfied Man," is an upbeat keyboard-and-guitar-riff anthem that begins with a mid-tempo drumbeat (instead of a fast guitar riff-- shocker!), and doesn't let up from there. It's a great driving song with great backing vocals that makes you wanna sing along with it. The next best song on the album is the MTV hit "Stone In Your Heart" which is preceded by a keyboard intro piece (another shocker!) which is actually listed as a separate track. To the band's credit, this song could have been very nearly maudlin, but it turns out to be a catchy song with "na-na-na-NA-na" background vocals.

Molly Hatchet-No Guts No Glory

No Guts, No Glory

O.K., I know that this wasn't their most commercially successful album, but it is every bit as good as their first two albums "Molly Hatchet" and "Flirtin' With Disaster". This was the first album recorded after lead singer Danny Joe Brown's return to the band, and you can tell he was full of energy and out to prove that Hatchet was back, bigger than ever! This album is a feather in his cap, as the true voice of Molly Hatchet. I really liked the previous two albums with Jimmy Farrar on vocals, but his style was vastly different from D.J.B. Right away on the first track "What Does It Matter?", in the opening riffs, Danny lets loose with his banter, and there's no mistaking who's on vocals. Dave Hlubek's master piece "Fall of the Peacemakers" fits nicely in the middle of the album, but probably the track with the most drive is "What's it Gonna Take". Awesome dual harmony guitar leads and sang with conviction. You will not be disappointed with your purchase. This has the true Hatchet sound!

Molly Hatchet- Kingdom of XII

Kingdom of XII

This third offering from the "new" Molly Hatchet is an excellent addition to their growing discography, and any fan (old or new) should definitely add it their collection.

Every song is another worthy entry in their canon, but personal favorites on this disc include - "White Lightning," "Kickstart To Freedom," and their cover of the Rolling Stones tune "Tumbling Dice." Another acoustic number, this time out consisting of "Edge Of Sundown" (found either on The Danny Joe Brown Band 1981 LP or Molly Hatchet's own 1985 Double Trouble - Live) closes the set.

However, not all is calm for me on this release. Drummer Mac Crawford has left the band, and has been replaced by Sean Shannon. Though Shannon's work is very competent, I must admit to missing Crawford. I viewed him as the best drummer the band had ever employed, and wish him well in his endeavors. Charlie Daniels has been brought aboard to add fiddle fire to two tracks ("Gypsy Trail" and "Angel In Dixie"), and for some reason, though I'm a fan of Daniels work, wish he had been left off the final release. Finally, before I really start nitpicking (lol), I want to throw a barb at vocalist Phil McCormack. I've been very pleased with his work up and through this album, but finally began to notice some cracks in the foundation. A dead-ringer for original vocalist Danny Joe Brown, McCormack initially started off as just one helluva replacement (see 1996's "Devil's Canyon"); but on this album sounds to me as if he's actually attempting to sound like Brown. Either way, I'm really cutting my complaints to the bone because, let's face it, there really isn't much to complain about concerning "Kingdom Of XII." You'll see once you give it a listen.

Molly Hatchet -ReGrinding the Axes

ReGrinding the Axes

On Regrinding the Axes, Molly Hatchet revisits some of their favorite songs originally made famous by other legendary rock bands, covering well-known anthems from the repertoire of Lynyrd Skynyrd, The Allman Brothers, Rolling Stones, ZZ Top, George Thorogood, Thin Lizzy, and Leslie West s Mountain. The album also features three lengthy live tracks, recorded during one of their mind-blowing concerts. Combining loud hard rock boogie with guitar jam-oriented southern rock,
Molly Hatchet has become the definitive southern rock band and an icon of rock music in general.
Formed in Jacksonville in 1975, Molly Hatchet took their band name from a legendary prostitute who allegedly mutilated and decapitated her clients. Their self-titled debut album, recorded in 1978, quickly went platinum; the follow-up, Flirtin with Disaster, was even a bigger success, ultimately
selling well over two million copies. I dont know what this band is... but it ain't Molly Hatchet. Molly Hatchet WAS Danny Joe Brown. Even Jimmy Farrar's time with the band was still classic... and still Molly Hatchet. To Jimmy Farrar's credit he did not attempt to sound like DJB. He did his own thing, and it paid off. Phil McCormack is an impersonator, and not a very good one. He's the Rich Little of rock-n-roll. Nothing "Molly Hatchet" (so-called) has done since the late 90's can stack up against the real Molly Hatchet. This reincarnation of Hatchet is nothing more than a really pathetic cover band that you would pay $1 to see in some bar somewhere on Saturday night where no one is really paying any attention at all to the band, and everyone is watching the game on the big screen TV or playing darts. In other words... they suck. Everyone knows it. It's amazing they dont know it... or maybe they do, which makes what they are doing even more pathetic. And then to re-record and re-issue songs that were cover tunes to begin with... what? Why? Oh, I know... TOTAL LACK OF CREATIVITY. Posers calling yourselves "Molly Hatchet"... please, stop what you are doing. Phil, stop immitating DJB! Get some confidence and sing like yourself. I am quite certain the world has never heard your real voice. The world might like it, you never know unless you try. Band... get a new name. Try, like all other successful bands, to do something original! Keep it southern, keep it rockin'... but stop posing. Goodness, we cant take it anymore out here! You've become a parody of the original, and an embarrassment to southern rock in general. At least the boys in Skynyrd are trying to something original and not trying to mimick. Hatchet is a joke.

01 – Bad To The Bone
02 – Mississippi Queen
03 – Free Bird
04 – Back In The U.S.S.R.
05 – Sharp Dressed Man
06 – The Boys Are Back In Town
07 – Tumbling Dice
08 – Dreams I’ll Never See
09 – Melissa
10 – Wild Horses
11 – Tequila Sunrise
12 – Yesterday
13 – Get In The Game [Live] (bonus track)
14 – Layla / Guitar Solo [Live] (bonus track)
15 – Dreams I’ll Never See [Live] (bonus track)

Molly Hatchet-Justice

Justice

Molly Hatchet's latest album, JUSTICE, is the band's newest addition to the Southern rock lexicon.  The first two straight ahead rockers that lead off the album are “Been to Heaven, Been to Hell” and “Safe in My Skin.”  Lamenting the fact that they've been through heaven and hell, the best place for them is back in Jacksonville!  And the best way to get there is in a souped-up Silverado.  Watch out playing these first two songs while driving out on the highway.  May induce excessive speed!  The third track is “Deep Water.”  This song would seem very at home in 1985.  The beginning synth-keyboard, syncopated drums, and lead guitar riff is something I would expect if I took a trip in my DeLorean and turned on MTV.  Or maybe on the Scorpions farewell tour, at the very least.  Another song that reminds me of the retro eighties is “Vengeance.”  Now that I think of it, a lot of these tunes would work on MTV, if they still played music on that channel.  Another great tune, “American Pride” makes the band's patriotic statement with “Got that American pride with that Southern style, born and bred something deep inside.”

One of the most heartfelt tracks on this album is “Fly on the Wings of Angels (Somer's Song).”  The band has dedicated this song to Somer Thompson, a seven year old Florida girl who was assaulted and murdered.  The band played a charity concert in her honor to raise money and inform the public about what had happened.  Fittingly, the band rounds out this disc with “Justice.”  Phil preaches, “We need some justice to make the wrong right” and then, the band proceeds to make an eight and a half minute epic reminiscent of the glorious 70's.

The sound quality of JUSTICE is due in part, to the tracks being recorded on an analog mixing board.  The warmth of analog cannot be beat.  My only criticism is that sometimes I can't understand Phil's vocals.  If you've listened to any of the previous CD featuring Phil's singing, that seems to be a running theme.  He just gets muddied up when added to the modern guitar sounds of Bobby Ingram.  On second listening, my ears have gotten used to it but I really have to work at picking out lyrics here and there.  Other than that minor flaw, the music on this album rocks.  This band isn't going anywhere for a long time.  So, yeah, my friend, Molly Hatchet is still alive and kickin'!  Hell yeah!!

Molly Hatchet -Molly Hatchets 1st

Molly Hatchet

Now, I own several Molly Hatchet albums, but this album is really the only one that I listen to on a somewhat regular basis. And if you happen to be like me, a casual fan, this self-titled debut is really the only album in their catalogue that I would consider essential. Sure, there are some that assert 'Flirtin' With Disaster' or 'Beatin' The Odds' is better, and tastes will naturally vary, but I honestly don't see how anyone could rationally come to that conclusion. Yes, 'Flirtin'' and 'Beatin'' are good, but in my opinion this is clearly MH's best, and it's their only album that is absolutely solid from top to bottom. It features Hlubek's best songwriting, lyrically and musically, and Danny Joe Brown's best vocals. It also contains a remake of 'Dreams I'll Never See', which is arguably their best song from any album, and certainly my favorite. Furthermore, although Farrar's vocals on 'Beatin'' are good, they're not even close to being as good as DJB's from this album.

One of my favorite southern rock albums of all time! People tried to say they were copying Skynyrd because of their three guitar attack but Blackfoot(another must have)had more of a Skynyrd sound in my opinion. That triple guitar work just wraps around you in Dreams I'll Never See. The whole album grabs you and drags you along for a great ride. Danny Joe Brown's vocals are a perfect fit, too bad he had to leave (due to health issues if I recall) after their second album (Flirtin' With Disaster). If you like Southern Rock, this album and Flirtin' definitely should be on your shelf. Another band you should check out is The Four Horsemen. They aren't Southern Fried, actually they're from above the border but the music has a definite southern edge and a bluesy feel to it. Nobody Said it was Easy and Gettin' Pretty Good at Barely Gettin' By are definitely worth a listen.

Molly Hatchet-Devils Canyon

Devils Canyon

On DEVIL'S CANYON, Molly Hatchet carries on despite the loss of vocalist Danny Joe Brown, the last remaining original member, during the sessions for the album. Although the next four albums would be even better (especially WARRIORS OF THE RAINBOW BRIDGE, which saw the return of original guitarist Dave Hlubek), this CD, despite a fair amount of filler, deserves five stars due to such great songs as "Tatanka", which details the plight of the Native American, and "The Journey", which asks the sort of questions that led me to hang up pictures of pretty actresses as a deterrent to self-indulgent behavior. The fact that surviving members of Molly Hatchet, both past (now playing in Gator Country) and present (including Hlubek) advocate sanctions against Indonesia in retaliation for that country's trumped-up 2005 drug-smuggling conviction of a young Australian tourist makes DEVIL'S CANYON an essential purchase for both your ears AND your conscience. I was very plesantly surprised by this "new " Molly Hatchet.This CD rocks with good old southern rock style . While the chemistry of the original Molly Hatchet is missed Bobby Ingram has taken the torch and carried on with attention and respect to the Molly Hatchet sound .Phil McCormick sounds alot like Danny Joe Brown but the new songs belong to the new band members and they don't hold back on this CD . 2 songs in particular really shine , Devils Canyon and Journey have that Boogie no more guitar solos that make you want to "kick your chair out of the way "...Don't let the fact that the original members are no longer with Hatchet stop you from giving this CD a try ...you will be glad there are new members still rockin on and producing top notch southern rock .For the record this is the best of the 3 new CD'S that this new version of Molly Htachet has done . Enjoy.

Molly Hatchet- Beatin' the Odds

Beatin' the Odds

Beatin' the Odds is just one of those albums that has remained under the radar for so long that people assume that it must be because it's not a good album...wrong. When this record first came out, it was pretty well recieved by the fans, it charted at #20, just one notch below their best charting album Flirtin' with Disaster. They were still playing to sold-out crowds, the band was tighter than ever, yet for some reason this album slipped away into rock n roll obscurity. It's now the "hidden gem" the "forgotton years" etc. etc. You never hear any of these songs on classic rock radio, which isn't saying much.

In this reviewers opinion Beatin' the Odds is every bit as good as Flirtin' with Disaster and almost as good as their debut record, which is saying alot because those are Molly Hatchet's best records, some of the best rock music there is. To make it even better Rock Candy has made this Remastered/Reloaded edition a top-notch package. From the cover art being faithfully restored full-size (one of the best covers ever--RIP F. Frazetta)to the booklet jam-packed with cool little tid-bits in an interveiw with Jimmy Farrar, to the music which has never sounded better. Then add 4 bonus tracks from a very rare 6 track live EP that was released back in the day, recorded live in Lakeland, Fl. in 1980 and you have one nice piece of Southern Rock history.

And what about the album? What can I say, it's the original line-up of Hatchet except for the vocalist Danny Joe Brown who has been replaced by Jimmy Farrar who takes over the job without skipping a beat, he fills his shoes like they were his own. As a devout Molly Hatchet fan I love DJB just as much as anyone, but I have to say Jimmy Farrar has never gotten the respect he deserves and neither has this album. Every track is a keeper, the band was on top of their game, the song-writing was still top-notch, guitar driven rock was still their priority.

Molly Hatchet- Flirtin' with Disaster

Flirtin' with Disaster

Southern rock has always tread on the boundary with country, which gives most of it the swing that defines it. We hear a healthy dose of blues and (usually) anthems of boozing, womanizing and basically kicking somebody's ass.
What sets the original Molly Hatchet apart from the rest is their heavy sound. Three guitars up front, triple leads, wicked slide and a boozy vocalist combine for the hardest of all Southern rock albums, "Flirting With Disaster."
Led by guitarist Dave Hlubek, this rowdy bunch swings and has a great time throughout. It's like having a good time at a bar but hoping you don't piss these guys off because they won't hesitate to mop up the floor with you, especially Duane Roland, he of the muttonchops and shades. This is a band that would intimidate the Hells Angels.
Still, it's a friendly outing. "One Man's Pleasure" bumps headlong into country territory and then obliterates it with scorching lead breaks and the wickedest slide you'll hear this side of Oz. "Jukin' City" is a nod to the Allman Brothers, and the title track reigns supreme as the best Southern rock song of all time (second place goes to "Train, Train" from Blackfoot.)
It moves quick and stays heavy enough to satisfy metalheads as well as good ol' boys. Plus, there are four additional tracks, three live, including a great reading of "Crossroad Blues."
Molly Hatchet exists today with no original band members, relegating them basically as a cover band. If you want the classic triple threat lineup of Hlubeck, Roland and Steve Holland, not to mention the unmistakable voice of Danny Joe Brown, get the debut "Molly Hatchet" and this one. And set your cruise control if you listen in the truck unless you want a speeding ticket.