Freddy Jones Band

Freddy Jones Band

One of America’s premiere roots rock acts, Freddy Jones Band (and no, none of the members are actually named Freddy Jones) is fronted by the founding member, guitarist and singer/songwriters Marty Lloyd, joined by bassist Rich Ross, guitarist Stu Miller and drummer, Goose LaPoint.

The band is best known for its number-one hits "In A Daydream" and "Take The Time." Now, this long-running act is back with their new release, Never Change, helmed by Producers Justin Niebank (Taylor Swift, Sheryl Crow, Kid Rock) and label partner Timm Martin of Dustimmoff Music.

Marty Lloyd characterizes the sessions for Never Change—which features the hit song “Those Diamonds" and the project’s title track —as euphoric…“Looking back, our approach to making Never Change was very similar to the historic days down at Muscle Shoals.” he says. “The essence of our sound and songwriting was supported by Justin's ‘A Team’ cast and the room soared from the first down beat. As recording artists we chase that feeling. It was incredibly uplifting and joyful!”

Justin Niebank, a three-time Grammy winning producer/engineer, adds of the album, “Never Change is the best record I have worked on in years!”



Success stories don’t usually come with a twist ending. But that’s exactly what happened to singer/songwriter Don Miggs: only when he stopped trying to force his life to follow the familiar “fame and fortune” narrative did he finally realize that the story he’d already written was far more compelling.

That story, as complicated and offbeat as life itself, is the focus of Miggs’ raw and confessional new project the Whole Damn Mess. The band’s debut album, The Queen and the Outcast, is at its core an unexpected love story. It’s a rock and roll fairy tale - on the surface the clichéd tale of two archetypes, the Rich Girl and the Bad Boy. In Miggs’ revealing, autobiographical songs, though, a more complex and richly detailed truth emerges. In the process, Miggs realizes that having everything you need doesn’t mean that you should give up on what you’ve always wanted.

To have the Whole Damn Mess, in other words, means that gaining wisdom and maturity doesn’t necessarily extinguish the fire in your belly or satisfy the dream in your heart. It’s about not holding back, about opening the floodgates and letting honesty and passion come out in all their unfiltered glory. It’s about giving up on perfection in favor of emotion in hopes of touching listeners’ souls, not just striking a hipster pose.

“I want this music to be everything to someone, not something to everyone,” Miggs says. “I’d love to show people that no matter what you have, every day can still be the best day of your life. It can be the day that you do something that you’ve never done before. It would be cool if this album gave even one person the hope to dream a little bigger than they have been.”

Throughout the ‘00s, breakthrough success always seemed poised just on the horizon for Miggs, the namesake band led by singer/guitarist Don Miggs. The band released five critically acclaimed albums and toured with superstar acts like Maroon 5, Scott Weiland of Stone Temple Pilots and Velvet Revolver, and Plain White T’s. But Miggs’ rock star lifestyle didn’t result from becoming a rock star; instead, it arrived in the form of the love of his life.

“I blinked and then we were,” Miggs sings in the album’s opener, an alternately moving and funny recounting of his wedding day. Miggs’ wife, Lisa DeBartolo, is the daughter of Pro Football Hall of Famer and former San Francisco 49ers owner Eddie DeBartolo, and falling for her ushered him into a world that seemed completely alien to a Long Island boy from modest means. This unlikely pair come vividly to life over the course of The Queen and the Outcast, which upends assumptions through Miggs’ deeply personal, thrillingly infectious songs.

“I’m always going to have a bit of a chip on my shoulder,” Miggs admits. “The way I grew up is very different from the way I live now. I know damn well that I live in a mansion not because I had a hit record but because I married the right girl, but that doesn’t mean I’m not hungry enough to make the best record of my career – warts and all.”

Throughout the recording, Miggs was aided by his co-writer/producers, Mighty Mighty Bosstones guitarist Lawrence Katz and songwriter/producer C. Todd Nielsen. Together they’ve created a sound that harkens back to classic rock from the ‘70s and ‘90s with a bracing modern energy. “Those guys really pushed me,” he recalls. “We were a three-headed monster and I wasn't allowed to take the easy route instead of being as personal and authentic as possible.”

The Queen and the Outcast is the kind of album that can only come after the ripening of life experience, and not just because of the singular story that it tells. The music itself is a unique blend of rock abandon tempered by a knowing cleverness, with pop hooks that are not only able to worm their way into the ear but provide something to ponder for the brain inside. In a culture that seems increasingly skewed to the 14-year-old mentality, it’s refreshing to find an album not made for kids that can nonetheless still make you feel like one.

“It used to be that you got to 40 and just hunkered down and prepared to die,” Miggs says with a laugh. “Our parents’ aged differently than we do today. I wanted the music to celebrate the fact that we ain’t dead yet.”

That’s just one way that Miggs’ songs resonate; even for those who can’t identify with the Whole Damn Mess’ “rags to riches” reality, there is still plenty to identify with in his wry songs. There’s the embarrassment of relatives struggling to fit in, as when Miggs’ Long Island kin get caught “leaving caviar in the trash” on “And Then We Were.” There’s the leap of faith that any two people in love take, as on “We Don’t Need a Reason.” There’s the craziness of the world from which only our loved ones can provide a refuge, as on “That’s Just How It Goes.” And then there’s the gentle reassurance of “Be Good To Yourself,” a song that Miggs wrote in response to Lisa’s struggle with postpartum depression.

Miggs already knew how to write a great song, as evidenced by his past track record. What changed with the Whole Damn Mess was his defiance of those self-defeating voices, putting aside the expectations of an imagined audience to write from a more personal space. “I realized that at this point I don’t need to preach - I need to speak. I’m not fighting to get these songs into the top 10, thought I would gladly take it! I’m fighting to leave behind a legacy that my kids and my wife can be proud of – that I can be proud of.”

Adv Tix $20.00/ DOS Tix $22.00


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