FROM THE FIRE Sign to Lion's Pride Music for 'OctOpus'


Lions Pride Music is ecstatic to have signed a classic act like FROM THE FIRE for their up and coming new studio album, “OctOpus”, due out late 2016. Also to follow will be re-press of the band’s first two albums, “Evil Men Do”, and of course the classic debut album, “Thirty Days & Dirty Nights”.
In August 1990, a band was formed to showcase the songwriting talents of New Jersey native Nadine Arel. Michael Sciotto was going to be the drummer; Paul St. James (Drive She Said) would play bass, and Arel would play keys.

Mike called Long Islander J.D. Kelly to check out the material. Since he'd been a fan of Sciotto's talents for a while, Kelly was anxious to meet the band - and it only took a few moments of listening to the songs to realize that the group's potential was huge. Kelly joined on the spot, and brought some songs of his own.

Only one piece was missing. Voodoo X Guitarist Tommy Lafferty - who had been in cover bands with Kelly, and was a friend of Sciotto - was contacted to see if he knew of any guitar players looking for a gig. Tommy replied "Yeah... me". That reply started a series of events that would take the band from an unknown, unsigned act to a top-flight AOR outfit with a record deal, all in the space of less than a week.

The magic started when the newly-formed band was spotted at their very first gig a tribute to the legendary Stevie Ray Vaughaan, only weeks after his passing by indie-label execs Mark Brian Levine annd Steven Marder, who approached the group after their set and offered a contract with their label, Metropolis Records. The timing was right, the label offer was a great one, and the band members knew that opportunity was knocking loudly.


What happened next was a blur of contract signings, packing, and flying out to Los Angeles to meet producer Jean Beauvoir and co-producer/Engineer Pat Regan at Fortress Sound. The first week saw intense rehearsal, and the choosing of nine songs for the album, including two covers: the Lafferty/Beauvoir composition "Same Song", and a cover of Eric Carmen's classic "Go All The Way".

Rough mixes were promising. The strong performances of the band had set a great foundation for Beauvoir and Regan's polish and finesse, and the combination gave the album a slick, top-class feel. As Christmas approached, the band prepared to return to the New York tri-state area. Beauvoir and Regan stayed behind at Fortress Sound to reset the studio and mix the album. It was around that time that a late night session of a different kind took place at the band's condo: the long days and even longer nights of recording, publicity, and activities of the unofficial kind had inspired a simple name for the upcoming release: "Thirty Days and Thirty Nights".  During a loud playback in the control room Record Exec Mark Levine asked the band what the working title of the album was, Tommy replied Thirty Days and Thirty Nights, Mark chuckled at the title. When asked what was so funny Mark replied, “Great title, Thirty Days and Dirty Nights..huh??? A Classic was born, thx Mark!


In late 1991 a European label called Music for Nations grabbed the chance to distribute the album across the Atlantic. Active Records pressed the release, and put it on the market in the UK, Spain, Germany, France, and throughout the continent. Initial press was phenomenal; "Raw", "Kerranng", "Metal Edge", and the Belgian magazine "Rock Report" all praised the record - the last, in Flemish - and it seemed that things were looking up. The band continued to rehearse and write songs, some of which were demo'd in a crude home studio in Kelly's apartment. The recording gear was nothing special, but those songs - including a cover of Brett Smiley's "Blame it on the Moon", delivered to the band by none other than legendary rock impresario Andrew Loog Oldham himself, were... so much so that a leaked copy of the home studio sessions resulted in a bootleg release via Japan.

Despite the great press and solid response, the pre-Internet distance between the band and its fan base took its toll, and From The Fire started to fragment into smaller projects, as members pursued opportunities outside of the group.

On the night of October 17, 1992, at NYC's Rocketeria, From the Fire performed what would be their last live show for over 20 years.


A re-release of "Thirty Days" in 2009 sparked talk of a reunion, but the actual re-assembling of the band would take place in 2013, when Sciotto, Kelly, and Lafferty converged on Sciotto's upstate New York studio to record "Evil Men Do". The album was ready literally just in time for the band's live performance at the 2014 "Firefest" in Nottingham, UK. Containing strong AOR and melodic rock elements, it remains a collectible that has seen a very limited pressing.

In late summer of 2015, Kelly and Lafferty took up production of From The Fire's third album, "OctOpus", going so far as to release two songs from the album onto social media for their fans to enjoy. The first song, "You Will Survive", is a tribute to the late singer Jimi Jamison, who had a tremendous influence on Kelly both as a singer and songwriter. The second, "The Night I Made You Mine", is a haunting piece about a tryst between lovers - and the heartbreak it ultimately causes them both.

With the balance of the songs to be recorded leaning heavily toward the style of classic American AOR, "OctOpus" is slated for completion in early 2016, with some "familiar names" in the production credits. As of this writing, Lafferty and Kelly are assembling a top-shelf live band to support the album with American and European tour dates to be announced upon the record's release. Stay tuned.