|Posted on January 16, 2018 at 8:30 PM||comments (0)|
|Posted on January 16, 2018 at 8:15 PM||comments (0)|
AC/DC were a band on ice. Eight years had passed since 2000’s Stiff Upper Lip album, and five since their last performance at a SARS benefit concert in Toronto. Sony worked the back catalogue gamely enough, keeping the big hits and the schoolboy iconography in the public consciousness, but creatively speaking, there was an eerie silence from the world’s loudest band.
Even worse, filling the void during the wilderness years were malignant whispers from that scurrilous tool of modern witchcraft, the internet. Cliff Williams had taken a career-threatening cut to the hand (true). Angus had a blues solo project on the go (false). Beano was packing it all in (almost true).
In reality, the Youngs had been knocking about material throughout the decade, with both determined to have “all the goods” before they hit the studio, perhaps wounded by the criticism that late-period AC/DC albums consisted of one great song surrounded by autopilot filler.
“The last gigs were done in 2003,” Angus told Guitar World, “and after a while Malcolm and I got together in a studio in London. We’d pick a couple of song ideas and play away, work a bit and then take a break when we’d begin to get stale.”
“I know that the boys wanted something special,” Johnson told Classic Rock in 2008. “They really, really did. And when Angus and Malcolm make their mind up on something, they are stubborn. They will not stop until they get what they want. They’re two stubborn guys when it comes to perfection.”
Undoubtedly so. But, for the first time since the early days in Australia, the Youngs were also prepared to cede a little creative ground. It was telling that when AC/DC began recording at the Warehouse Studio in Vancouver, they were accompanied by Brendan O’Brien, a new producer who was openly pushing the band to ditch the latter-day blues vibe and reinstate the melodic rock‑radio hooks.
“The AC/DC music that I remember most is Highway To Hell and Back In Black,” O’Brien said, “which I view as pop songs done in a very heavy, ferocious way. Angus and Malcolm were writing songs that had a lot of hooks, and my only job was to make a record that made people say: ‘I’ve missed AC/DC and I’m glad they’re back.’”
“I suppose that’s good,” conceded Angus. “Because I’m always a bit ‘raw dog’, you know? If I write something, I just tend to mumble and get a rough tune going. I’ll concentrate more on the swing side of it than anything; the rhythm. But being a producer, Brendan knows how to bring out the melody. It gives you a bit of a kick up the butt. The guy’s not gonna let just anything cruise, he’ll make you work.”
Certainly the producer could be pushy – Angus remembers being hectored to play a slide-guitar lead on Stormy May Day – but he also knew when to use a velvet glove.
“Before I started this album,” Johnson told us, “I met Brendan for the first time and I said: ‘Brendan, if I’m not up to scratch, if I’m not up to the job, please, please tell me. I’m a big boy. I won’t cry, I’ll just disappear. I’ll say goodbye to the boys and they can get someone else in to do the job. And I really mean it.’”
At early Vancouver sessions, Johnson looked to be struggling, apparently needing the call and response of a crowd to summon his vocals. “I’m not a great singer,” he admitted, “but I’m a passionate singer. I’ve gotta have a mic in me hand and I have to be able to move, which you can’t do when there’s a static mic. I think you’ve been able to tell on the last couple of albums, it’s just been getting almost mechanical. And I wasn’t proud of it.”
After Johnson told his producer that he “fucking hated” the studio experience, O’Brien nursed the singer’s insecurities, asking him to sing for just an hour each day, and finding a location for the vocal booth that played to his showman’s instincts.
“I came in,” Johnson recalls, “and Brendan said: ‘We’re gonna sing in here.’ And I said: ‘In there? That’s an office behind the reception desk, with glass windows! Everybody can see us when they’re coming in.’ And he went: ‘Well, at least there are people there.’ And that’s how I sang it. I just sang it right out there. Scared the receptionist every day, poor girl.”
Recorded and mixed in a head-spinning two months, these 15 songs represented AC/DC’s best material since 1981’s For Those About To Rock. Though hardly a reinvention of the wheel, from the guttersnipe chants of Rock N Roll Train to the glam-tinged Anything Goes and the meaty groove of War Machine, this was the sound of a restored line-up playing ferocious and fist-tight.
“Angus and Malcolm had written the songs in England, and I don’t believe the band even rehearsed before they came into the studio,” engineer Mike Fraser told Sound On Sound. “But they didn’t miss a beat and they were really tight. Right away there was this wall of sound coming at us. I’m a fan of the band, and I remember turning to my assistant Eric [Mosher] and saying: ‘Do we have the best job ever, or what?’”
If the new music rediscovered the blood and thunder of the old days, then moments like the epic Rock N Roll Dream proved there was still life in the Johnson pipes.
“When I first heard [the playbacks], I had bumps on me arms,” the singer said, “because I thought it was me twenty-five years ago. I went, ‘Holy shit!’ It was spooky. I thought I was listening to meself when I was a young man. And I can only put that down to Brendan O’Brien.”
There were some surprisingly astute lyrics, too, from Money Made’s beating-back of the corporate tentacles (Angus: “The focus seems to be: how do we get money out of this?”;), to War Machine’s musings on the treatment of soldiers through history (although with four songs that had the word ‘rock’ in the title it was never too cerebral). Officially, only the Youngs were credited for the lyrics (and music), though Johnson would admit to giving the drafts a “kick up the ass”, and coming up with the memorably filthy couplet to Big Jack (‘Big Jack, Big Jack, Santa ain’t the only one who’s got a full sack!’;). “I’m very proud of that,” he said. “It’s disgusting, but that’s what I’m all about, folks.”
Now they just needed the obligatory dangerous-sounding album title.
“I remember when I was a boy and I had me motorcycle,” explained Johnson. “And on the radio in the morning it said: ‘Ladies and gentlemen, today the weather is very cold outside. Please be careful of black ice on the roads.’ Black ice was dangerous and it couldn’t be seen. That was the whole thing about it – it was this ice that you couldn’t see that could fucking kill you.”
Black Ice it was. And so, in October 2008, AC/DC’s 14th international album duly went forth to top the charts in 29 countries and sell eight million copies. Not bad for a record that at the time was only issued physically, with Walmart given exclusive distribution rights across North America. “We’re the only band left in the world now that hasn’t signed to iTunes,” Johnson said at the time. “We want people to buy a record, a physical thing, not a number on a fucking download, which is what it’s turning into.”
“You get very close to the albums,” Angus told The New York Times, justifying the band’s reluctance to let fans cherry-pick tracks to download. “It’s like an artist who does a painting. If he thinks it’s a great piece of work, he protects it. It’s the same thing: this is our work.”
But even AC/DC would eventually relent, and they released their catalogue to iTunes some four years later, in November 2012.
But the commercial response left no doubt: the world needed Black Ice. More to the point, AC/DC needed it too. After several barren years, this album thawed the band out, planted their flag in the post-millennium, and minted several new songs that you genuinely hoped would be chalked on the set-list when you saw them live. “I think we realised that it was well worth waiting for,” said Johnson. “You couldn’t not bang your head to it.”
This heart-warming tale does has a chilling postscript. Black Ice was released more than five years ago now – even though the massively successful tour in support lasted right through until late June of 2010, including their hugely triumphant return to Donington to headline the Download festival (for which they even brought their own stage). In many ways the story ends as it began, with a hungry fan base left hanging, unsure whether they’ve heard the last from AC/DC. “But if this is the end,” Paul Elliott wrote in his review of Black Ice in Classic Rock, “they’ll be going out on a high.”
But don’t worry, we have a sneaky suspicion they’ll be back to surprise us.
|Posted on January 16, 2018 at 8:10 PM||comments (0)|
According to the Birmingham Mail, Ozzy Osbourne fans will have to cough up over £1700 (approximately $2,345.00 US, which includes the festival weekend ticket) for the backstage package to meet him at Download Festival 2018 at Donington Park, UK. This includes a personal photograph, dressing room access and a Q&A with Osbourne himself.
A Meet & Greet package is also available for £545 ($751 US).
The three day Download Festival takes place June 8th to 10th, 2018 at the spiritual home of rock in Donington Park, Leicestershire. Tickets are on sale now at this location:
Ozzy Osbourne has set up a virtual donor drive to help find suitable bone marrow donors to fight against blood cancer, reports Indiana University's The Penn Online.
The 69-year-old rocker has launched a drive on the website DKMS.org, which is a non-profit organization dedicated to ending blood cancer and blood disorders, by raising awareness and recruiting life-saving bone marrow donors who will help give someone a chance of surviving their illness.
Ozzy's page has been set up through his work with charity Love Hope Strength, which was founded by The Alarm frontman Mike Peters, who is himself a two-time cancer survivor.
A short statement from Ozzy on his virtual donor drive reads: "Please do me a favor and see if you are eligible to register with Love Hope Strength to be a life saving marrow donor for a potential patient in need of a bone marrow match!"
Read more at thepenn.org, and visit Ozzy's virtual donor drive page here:
NEAL SCHON Joins JOE SATRIANI, PHIL COLLEN, JOHN PETRUCCI For 'Superstition' Cover In Oakland (Video)
|Posted on January 16, 2018 at 8:05 PM||comments (0)|
JOURNEY guitarist Neal Schon appeared as a guest at this past Sunday's "G3" concert at the Fox Theater in Oakland, California. The "G3" tour features Joe Satriani, DEF LEPPARD guitarist Phil Collen and DREAM THEATER axeman John Petrucci. The four musicians were joined by singer extraordinaire Debbi Blackwell-Cook (DELTA DEEP) for an electric rendition of Steve Wonder's "Superstition". Check out fan-filmed video footage below:
Last week, JOURNEY drummer Steve Smith apparently confirmed to the Marin Independent Journal that his band will embark on a six-month tour with DEF LEPPARD in May. The trek, which is expected to include around 60 dates, will likely be announced at the end of this week, possibly on Thursday, January 18, when Schon and DEF LEPPARD singer Joe Elliott are scheduled to promote the tour with media outlets in New York City.
DEF LEPPARD and JOURNEY previously toured together in 2006. The trek was reportedly one of LEPPARD's most successful U.S. runs since the 1992-1993 "Adrenalize" tour. The DEF LEPPARD-JOURNEY package launched in June 2006 and consisted of three legs, taking the two bands up to November of that year.
At the time, DEF LEPPARD was supporting its covers album called "Yeah!"
Collen has said in past interviews that he would love to tour with JOURNEY again.
|Posted on January 16, 2018 at 8:05 PM||comments (0)|
The Gibson Flying V is one of the most distinctive and recognizable electric guitars ever made. We're celebrating its history with the below gallery featuring many rockers who have played one, including Eddie Van Halen, Keith Richards and Tom Petty.
Check out the gallery here:
As Guitar Aficionado notes, its look was Gibson's attempt to come up with a Modernist answer to the Fender Stratocaster. In 1956, Gibson president Ted McCarty commissioned some new designs, and the Flying V was the only one that survived the process intact.
A patent was issued on Jan. 7, 1958, and it quickly became a favorite with blues stars Albert King and Lonnie Mack. King, in particular, liked it because, as a lefty, he could turn it upside down and it would look the same. But it originally didn't sell very well and was quickly discontinued.
But in 1965, Dave Davies of the Kinks picked one up on a U.S. tour when his only guitar was lost by an airline. Appearing with the Flying V on television brought exposure to the instrument, and it was reissued in 1966 with a few modifications to its design. Still, even with Richards playing one at the Rolling Stones' famous Hyde Park show in 1969 and Jimi Hendrix -- who was heavily influenced by King -- having one custom-made, it failed to sell in big numbers and production ceased in 1970.
They tried again in the mid-'70s and, this time, it caught hold with hard rock acts overseas, thanks to Michael Schenker of Scorpions and UFO, Marc Bolan of T. Rex and Bad Company's Mick Ralphs, and it hasn't been out of production since. It later became synonymous with '80s metal thanks to Metallica's James Hetfield and Kirk Hammett, a huge Schenker fan.
|Posted on January 16, 2018 at 7:50 PM||comments (0)|
Jeff Young has shared a letter he claims he received from Dave Mustaine less than two months ago in which the MEGADETH leader purportedly apologized to his former bandmate for "disclosing [their] secrets" and invited him to take part in the group's hypothetical Rock And Roll Hall Of Fame induction.
The guitarist, whose entire career with MEGADETH was spent recording and touring in support of the band's 1988 platinum-selling album "So Far, So Good...So What!", revealed the contents of the letter during the latest episode of his "Music Without Boundaries" Internet radio show.
Claiming that the letter was forwarded to him on November 27, 2017 via MEGADETH's longtime webmaster Dave McRobb, Jeff read out its contents to his listeners, occasionally peppering it with small personal asides.
According to Jeff, Mustaine's letter read as follows:
"I know our relationship has been good and bad, and good and bad again, and I want to say I'm sorry and I'd like to make things right. I have something else very serious to bring up now too, okay? We are being considered for the induction into the Rock And Roll Hall Of Fame in the next year or two and I really, really want you to be there with me when we do.
"I understand if you cannot forgive me, and that is something else I wanted to discuss with you. I'd rather do it in person. In the event I can't see you soon and the induction happens before, we can meet. I need to apologize to you for disclosing our secrets after we broke up.
"Jeff, I know you know I was hurt, and honestly, I know us breaking up hurt you too, although I'm sure it was a relief in some ways for you too. I was afraid we couldn't find someone as talented as you. I honestly missed our good times. I was also very intimidated by your incredible guitar skills.
"I'm sorry if I remember things differently. I truly thought what I said was correct and maybe Dave [Ellefson, MEGADETH bassist] and Chuck [Behler, former MEGADETH drummer] could help remind us of what happened.
"I never meant to hurt you or your career, and I have tried to make up for it with positive comments, since I upset [sic].
"I know it doesn't matter as much as my apology does in making amends for whatever I've done that I'm not aware of.
"I also have a radio show. I've been playing a lot of 'So Far, So Good… So What!' and I wondered if you had any stuff you'd like played.
"As soon as we know [about the Rock Hall induction], we're willing to confirm with the alumni and I'll make sure you get in and out quickly and safely back to Florida.
"Jeff, I was healed from METALLICA with loads of therapy. When they went into the Rock And Roll Hall Of Fame and didn't let me be a part, everyone knew Lars [Ulrich, METALLICA drummer] was behind that. I promised myself after that happened to make amends to my guys and for us to be together on that glorious day.
Young, who pointed out on his show that he hasn't lived in Florida for the past eight years, seemed unimpressed by Mustaine's gesture, saying that while "it's cool" that Dave wrote the letter, there was "so much that's been said" by Mustaine "about all the [former MEGADETH] members, not just me." Jeff then added that he doesn't "give a shit" about "the petty stuff," insisting that he has "moved on" from MEGADETH.
Jeff made headlines in December 2009 for accusing Mustaine of, among other things, "dissing, exaggerating and just plain lying on some level about nearly every talented musician that has passed through his dysfunctional little ensemble." He also also disputed Mustaine's claim in an interview that Young's drug problem led to MEGADETH's 1988 Australian tour being called off and the group being "banned" from performing in the country.
In a February 2010 interview with Ultimate-Guitar.com, Young stated about his time with MEGADETH: "I try to look back on it with positivity. I try to only remember and think about the good stuff, and all the good that came from it… Even though I have a bad feeling about Mustaine as a person... I can totally appreciate the good songs that he's written, and so can his fans. The unfortunate thing is that it's hard for me to appreciate and look back on my time fondly, and it's hard for the fans to enjoy the music, when he won't shut his fucking mouth… I think he's done enough that he can be proud of without taking credit for other people's contributions to his band. He was in METALLICA, and he's in MEGADETH. He's written all these songs, has played all his own solos, sang all his own vocal melody lines, produced albums, and toured the world. He's got enough, but he's like the kid in the sandbox that has to have all the toys in his corner, and he doesn't wanna share any credit or anything. Just like the three-way partnership with me, just like with Junior [MEGADETH bassist David Ellefson] with the money; he thinks that it's all his, and he doesn't wanna share any credit. I don't understand that kind of narcissism."
Mustaine was not inducted into the Rock And Roll Hall Of Fame with METALLICA during the April 2009 ceremony at Cleveland, Ohio's Public Auditorium. Ulrich later explained to The Plain Dealer that Mustaine "never played on any METALLICA records. No disrespect to him. But there [were] half a dozen other people that were in the lineup in the early days. We thought... the fair thing to do would be to include anybody that played on a METALLICA record." He added: "Dave Mustaine was in the band for eleven months, predominantly in 1982... I'm not trying to play it down. I have nothing but respect and admiration for his accomplishments since."
BOB ROCK TO CO-HOST 2018 JUNO SONGWRITERS' CIRCLE; "I'M HONOURED," SAYS THE METALLICA / MOTLEY CRUE PRODUCER
|Posted on January 16, 2018 at 7:45 PM||comments (0)|
The Canadian Academy of Recording Arts and Sciences (CARAS) announced today that, eight-time JUNO Award winning artist Jann Arden and Canadian Music Hall of Fame inductee Bob Rock will co-host and perform at the 2018 JUNO Songwriters’ Circle Presented by SOCAN, on Sunday, March 25th from 12 to 2 PM, PST at Vancouver’s Orpheum Theatre.
After co-writing what is known as Arden’s most personal and poignant album to date, These Are The Days, to be released in March 2018, the pair will reunite as co-hosts of the JUNO Songwriters’ Circle
Presented by SOCAN (The Society of Composers, Authors and Music Publishers) JUNO Songwriters’ Circle is an intimate and interactive event, benefiting MusiCounts. Considered the “Jewel of JUNO Week,” JUNO Songwriters’ Circle showcases some of Canada’s most talented songwriters, performing their original songs and sharing the stories behind them. Arden and Rock will be joined on stage by 2018 JUNO Award nominees who will be announced in February.
“JUNO Songwriters’ Circle is a truly inspiring event that demonstrates the passion and inspiration of songwriting. These artists truly open themselves up to their audience showcasing their vulnerability and raw emotion,” said Arden. “I feel so fortunate to be a part of an event that not only offers audiences unfiltered access to artists but also benefits Canadian youth through MusiCounts.”
“I’m honoured to be co-hosting the JUNO Songwriters’ Circle with Jann in Vancouver. This one of a kind showcase offers an in-depth look at the inspiration and power of story-telling that comes with songwriting,” said Rock. “It brings me great pleasure to support MusiCounts and the work they do for school music programs across the country.”
Tickets for the 2018 JUNO Songwriters’ Circle go on sale on January 19th at 10 AM, PST through www.ticketmaster.ca or by phone at 1-855-985-5000. Tickets are available starting at $39.50 (plus taxes and service fees).
Proceeds from JUNO Songwriters’ Circle will benefit MusiCounts, Canada’s music education charity associated with CARAS, that works to keep music alive in schools and communities across Canada.
Raina Douris will emcee this year’s JUNO Songwriters’ Circle, which will be rebroadcast on CBC Music. For more information and details on the CBC Music ticket pre-sale, visit CBCMusic.ca/junos.
Bob Rock’s start in the music business came in the late seventies as a guitar player and songwriter in the multi-JUNO Award-winning Canadian band The Payola$. In his spare time Bob would spend his time in the studio learning the craft of recording engineering. Rock started as a runner and assistant engineer and volunteered his services whenever possible. Before long Rock was engineering and mixing projects alongside the late Bruce Fairbairn. The pair were responsible for numerous hit albums in the early 1980’s by the likes of Loverboy, Bon Jovi and Aerosmith.
Bob produced the platinum-selling Sonic Temple album by The Cult and then the biggest selling Mötley Crüe album, Dr. Feelgood, entering the Billboard Top 100 at #1. The album sold more than 6 million copies in America. Metallica heard these albums and liked the production which sparked a long-standing relationship between Rock and Metallica, that collaboration brought such titles as the “Black” album, S&M and Load (totalling sales of over 46 million units).The Black Album remains on the Billboard Charts 26 years later.
Rock has produced a variety of material for Michael Bublé, Jann Arden, Van Morrison, Cher, Ron Sexsmith and Sarah McLachlan and recently delivered the newest release from Alan Doyle entitled A Week At The Warehouse.
(Photo - ZimZimY)
|Posted on January 16, 2018 at 7:40 PM||comments (0)|
Here we are now, entertain us ... and for over two decades now Nirvana's Nevermind album has entertained us. The iconic, game-changing album from the grunge icons is just one of 25 new titles that are going into the Grammy Hall of Fame this year.
In order to enter the Grammy Hall, a recording must be at least 25 years old and exhibit qualitative or historical significance. That definitely holds true for Nirvana's Nevermind album, which gave us such standout songs as "Smells Like Teen Spirit" and "Come as You Are," as it also does for recordings from Queen, Aerosmith, Jimi Hendrix and a wealth of other acts.
Aerosmith's entry for 2018 is their 1973 single "Dream On." The track appeared on their self-titled debut disc and was their first major hit. Now in their fifth decade of music, Aerosmith have become one of hard rock's most enduring and respected bands.
Queen are being saluted for their 1975 album, A Night at the Opera. The band's fourth studio release provided arguably their best known song, the epic "Bohemian Rhapsody." The album also featured the catchy single "You're My Best Friend" and the instrumental closer, "God Save the Queen."
As for Jimi Hendrix, his 1970 offering Band of Gypsys goes into the Grammy Hall as the musician's last full length recording prior to his death. The live album was captured on New Year's Day at New York's Fillmore East and is considered influential in the evolution of funk over the next decade.
"The Grammy Hall Of Fame strives to embody the changing climate of music throughout these past decades, always acknowledging the diversity of musical expression for which the Academy has become known," said Neil Portnow, President/CEO of the Recording Academy. "Iconic and inspiring, these recordings are an integral part of our musical, social, and cultural history, and we are proud to have added them to our growing catalog."
This year's Grammy Hall of Fame induction class also includes albums and singles from the likes of Dr. Dre, Linda Ronstadt, Sam Cooke, Johnny Cash, Public Enemy, Whitney Houston, David Bowie, Gladys Knight and the Pips, the Rolling Stones, Billie Holliday, Leon Russell and more. With the 25 new recordings, the Grammy Hall of Fame now includes 1,063 titles in all. You can see what has been chosen for the Grammy Hall at this location:
|Posted on January 16, 2018 at 7:35 PM||comments (0)|
The latest posthumous release by Jimi Hendrix will be available in March, but you can hear the first track from Both Sides of the Sky now.
The song also happens to be the lead track on the upcoming album, a cover of the Muddy Waters blues classic "Mannish Boy." You can listen to it below:
The material on Both Sides of the Sky comes from January 1968 through February 1970, with focus on the period when Hendrix was working with bassist Billy Cox and drummer Buddy Miles in the trio that became Band of Gypsys. "Mannish Boy" was recorded during their first session on April 22, 1969, at the Record Plant in New York.
The group eventually made its public debut at the Fillmore East on New Year’s Eve 1969 and New Year’s Day 1970, shows that were documented on the 1970 album Band of Gypsys and 2016's Machine Gun: The Fillmore East First Show 12/31/69. The previously unreleased "Mannish Boy" gives a pretty clear picture where the trio was headed.
Experience Hendrix L.L.C. claims Both Sides of the Sky marks "the final volume in a trilogy of albums intended to present the best and most significant unissued studio recordings remaining in Jimi Hendrix’s archive." The first two records – 2010's Valleys of Neptune and 2013's People, Hell and Angels – both reached the Top 5.
The track listing for Both Sides of the Sky, which will be released on March 9, can be found below. The album was co-produced by Eddie Kramer, the recording engineer who worked with Hendrix on all of the albums released during his life. Kramer recently talked about the project on BBC Radio 6 Music.
Jimi Hendrix, 'Both Sides of the Sky' Track Listing:
1. "Mannish Boy" (previously unreleased)
2. "Lover Man" (previously unreleased)
3. "Hear My Train A Comin'" (previously unreleased)
4. "Stepping Stone" (previously unreleased)
5. "$20 Fine" (previously unreleased, featuring Stephen Stills)
6. "Power Of Soul" (previously unavailable extended version)
7. "Jungle" (previously unreleased)
8. "Things I Used to Do" (featuring Johnny Winter)
9. "Georgia Blues" (featuring Lonnie Youngblood)
10. "Sweet Angel" (previously unreleased)
11. "Woodstock" (previously unreleased, featuring Stephen Stills)
12. "Send My Love To Linda" (previously unreleased)
13. "Cherokee Mist" (previously unreleased)
|Posted on January 16, 2018 at 7:30 PM||comments (0)|
The Dead Daisies have announced that their new studio album will arrive on April 6.
The follow-up to 2016’s Make Some Noise will be titled Burn It Down and will launch through Spitfire Music/SPV.
Frontman John Corabi says: “I’m extremely excited about our new record Burn It Down. It was a pleasure to once again work with Marti Frederiksen and the band on what I believe is the next great step in The Dead Daisies journey.
“This is a balls-out old school rock record! Enjoy it, and see you all on our massive 2018 world tour!”
Guitarist Doug Aldrich adds: “The new Daisies album will melt your face! It is raw and in-your-face with a whole new sound!”
Burn It Down will also be the band’s first with former Journey drummer Deen Castronovo, who joined the lineup in November. He took over behind the kit from Brian Tichy, who left to “pursue other projects.”
Last month, the band announced a UK and European tour which will get underway in Glasgow on April 8.
The Dead Daisies Burn It Down tracklist:
Burn It Down
What Goes Around
Set Me Free
Dead And Gone
Can’t Take It With You
Leave Me Alone
|Posted on January 15, 2018 at 7:40 PM||comments (0)|
Tony Harnell says that he "had a great time" singing for SKID ROW, despite the fact that he lasted less than a year as the frontman of the formerly New Jersey-based outfit.
Harnell joined SKID ROW in April 2015 as the replacement for Johnny Solinger, who was the band's frontman for fifteen years. Tony quit the group only eight months later, explaining in a Facebook post that "being ignored and disrespected isn't my thing."
In a recent interview with the "Unphiltered" radio show hosted by former SKID ROW and SAIGON KICK drummer Phil Varone, Harnell said that he had no regrets about the time he spent with SKID ROW.
"I had a great time, I actually did have a really good time with SKID ROW," he said (hear audio below). "It was a good experience for me. I'm glad I did it. It just wasn't the best match, I would say, both musically and personality-wise. But I think very highly of them, and I had a good time doing it."
Harnell added that he spent "probably about 10 months" as SKID ROW's vocalist. "We did a decent amount of shows," he said. "By the end of my stint, I started to finally feel somewhat comfortable with the material, but there were some things happening that I wanted differently. But it was all good."
Last October, Harnell once again split with Norwegian rockers TNT, less than a year and a half after he rejoined the group. During the "Unphiltered" interview, Harnell described his relationship with TNT as "a very long marriage. I'm here [in New York], they're there [in Norway] — they're across the pond really far away. It's a very difficult situation to be in without having a very unified business organization, and no matter what I did, I could not get the thing unified. We were just on two totally separate not only continents physically, but mentally, psychologically, we were on two different continents as well."
According to Harnell, he "really, really wanted" his latest collaboration with TNT to work out. "In my opinion, this was gonna be it — we were gonna stay together until I didn't feel like singing anymore," he said. 'I was gonna do other things and do other projects and so forth, but my goal was that TNT woud be my band for at least another five years, maybe 10 years or whatever, until it ran its course. So this was kind of an unexpected thing."
One thing that Harnell wants "to make clear" is that he "did not quit" TNT "this time. I really haven't quit the band as many times as other people in the band have said and also the press has said," he explained. "Most of the time, it's been either a mutual parting of ways or a break. We've taken several breaks that were just not even talked about — we just didn't record or work [together] for a couple of years and then just started working again. The only time I legitimately actually quit the band was 2006. And then this [latest split] was just sort of a, 'This isn't working.' It was kind of a mutual thing. It [was] working on stage really well — actually, some of the best shows we have ever done were this year. And I was actually really happy. In August, I thought we did some of the best shows we've ever done, and then at the same time, we could not get the business stuff together. And at our age, the business really does have to be organized."
The singer went on to suggest that some of the individuals closely associated with TNT were to blame for his most recent exit from the group. "There are people that often are maybe well-meaning, but there, unfortunately, were people around the band that were, instead of trying to bring the main characters in the band together, they were more… maybe inadvertently — I don't think they were on purpose trying to do this — but they ultimately drove a wedge between the two most important members of the band, and that was ultimately the thing that I think caused this last thing to fall apart," he said.
At the end of the day, Harnell says that he feels "really, really bad" for the TNT fans who were hoping to catch the band live again. "I feel bad about it for myself, because I really wanted this to work so badly. I was having a great time. In fact, I posted three videos, I think, on my page after the last shows that we did because I was so proud of the band for how well I thought we were playing. So, ultimately, I feel very, very bad for all the fans that never got to see the band, 'cause I was really looking forward to coming to America. We were starting to get some really good offers for some really good festivals in the U.S., and I was excited about it. And a lot of other countries and a lot of other things were coming together, and then, all of a sudden, it was done."
Harnell added that was aware of the fact that he was being blamed by many of the TNT fans for his latest departure from the group. "I don't read Blabbermouth — I don't," he said. "I mean, I read the stories, but I don't read the comments under the stories, because those are dangerous to read. But I know just from peeking at my page and having to delete a few things here and there, and over at the TNT page, and then hearing from a few friends some things that the people were saying some not-such-nice things. But, honestly, at the end of the day, I don't really hold it against them, because they don't know. They weren't there, and anything they're hearing is either second-hand or third-hand [information]."
SKID ROW guitarist Dave "Snake" Sabo told the "Trunk Nation" show last November that things fell apart so quickly with Harnell because "some things just aren't meant to work… they just don't work together. Knowing him before and then working with him, it was two separate… it really was two different things," he explained. "A lot of conflict, a lot of butting heads, and it just… it never meshed, it was never right. We knew him for a long time, [but we] never worked with him — never worked in a band situation, in a band environment with him. And you know what — for better or for worse, this is our band; it belongs to us. And so if someone is gonna come in and work with us, we have a certain way that we do things, and that may not work for some people. It didn't work for him. Look, [he's] a talented guy; it just wasn't right for us."
Harnell was replaced in SKID ROW by South African-born, British-based singer ZP Theart, who previously fronted DRAGONFORCE, TANK and I AM I.
Last November, TNT recruited Baol Bardot Bulsara as the band's new singer. The Spanish vocalist made his live debut with TNT on November 22 at the Oslo Spektrum on Oslo, Norway, where the group performed as the support act for the SCORPIONS.
GUNS N' ROSES GUITARIST SLASH PRESENTED WITH ONE OF A KIND GIBSON LES PAUL SLASH ANACONDA BURST GUITAR; VIDEO
|Posted on January 15, 2018 at 7:35 PM||comments (0)|
The resurgent Guns N’ Roses and their massively successful Not In This Lifetime Tour continue to show no signs of slowing down as the band storms into 2018 with 13 stadium shows lined up across Europe, as well as festival headline slots at Download Festival UK, Paris and Madrid, Italy’s Firenze Rocks and Belgium’s Graspop Metal Meeting.
Starting on June 3rd at Berlin’s Olympiastadion, the Live Nation produced tour will steamroll across Europe including shows scheduled in Denmark, UK, France, Italy, Belgium, Spain, Holland, Poland, Norway, Sweden as well as multiple shows in Germany. For the first time in the group’s history the international rock icons will perform in Estonia, at the renowned Tallinn Song Festival Grounds. Tickets go on sale Thursday, November 16th.
3 - Berlin, Germany - Olympiastadion
6 - Odense, Denmark - Dyreskuepladsen
9 - Donnington, UK - Download
12 - Gelsenkirchen, Germany - Veltins Arena
15 - Firenze, Italy - Firenze Rocks
18 - Paris, France - Download
21 - Dessel, Belgium - Graspop Metal Meeting
24 - Mannheim, Germany - Maimarktgelände
26 - Bordeaux, France - Matmut Stadium
29 - Madrid, Spain - Download
1 - Barcelona, Spain - Estadio Olympico
4 - Nijmegen, Netherlands - Goffertpark
7 - Leipzig, Germany - Festwiese
9 - Chorzow, Poland - Stadion Slaski
13 - Moscow, Russia - Otkritie Arena
16 - Tallinn, Estonia - Tallinn Song Festival Ground
19 - Oslo, Norway - Valle Hovin
21 - Gothenburg, Sweden - Ullevi Stadium
|Posted on January 15, 2018 at 7:30 PM||comments (0)|
The Slash and Alter Bridge frontman has lined up the intimate headline performances in support of his upcoming album Year Of The Tiger, set to arrive on March 9 via Napalm Records.
Tickets will go on general sale from 9am on Friday (January 19) from Live Nation.
In December, Kennedy shared a video for the title track and reported: “It’s probably the closest thing to a full-on concept record that I’ve ever written.
“It basically tells a story from start to finish and it documents when my father passed away when I was a kid and what happened after that with my mom, my brother and I.”
Year Of The Tiger is now available for pre-order in a variety of packages, including gold vinyl and a deluxe wooden box set.
Find the tracklist below, along with Kennedy’s UK tour dates.
Myles Kennedy 2018 UK solo tour dates:
Mar 17: Birmingham Institute2
Mar 18: Nottingham Rescue Rooms
Mar 20: Glasgow The Garage
Mar 21: Manchester Gorilla
Mar 24: Bristol Thekla
Mar 26: London Islington Assembly Hall
Myles Kennedy Year Of The Tiger tracklist:
Year Of The Tiger
The Great Beyond
Devil On The Wall
Ghost of Shangri La
Haunted By Design
Nothing But A Name
Love Can Only Heal
One Fine Day
JUDAS PRIEST's ROB HALFORD Says 'Firepower' Album Sounds Like It Was Recorded By 'A Young, Fresh Metal Band'
|Posted on January 15, 2018 at 7:20 PM||comments (0)|
JUDAS PRIEST singer Rob Halford spoke to U.K.'s Metal Hammer magazine about the lyrical themes covered on the band's upcoming album, "Firepower". "We're an open book," he said. "We can go anywhere, and that's my job, where the proverbial word 'challenge' comes into play. I'm looking for things around me in the real world and in the metal fantasy world, so I'm making political comment and comments on the environment, as metaphorically as I can.
"We've always tried to be a bit ambigious, so our fans can make up their own mind, but on this one, you know, we are talking about Mother Earth and places like 10 Downing Street [the headquarters of the government of the United Kingdom]," he continued. "But we've always found a balance in not making the message too intense, while showing that we're connected as a bunch of metalheads in the real world."
Halford also credited "the incredible work" of British producer Andy Sneap for making "Firepower" sound "as wonderful as it does." "We are aware of the elements that are important to PRIEST, that have been our anvil in everything we've done, but in working with Andy, who is such a sought-after, contemporary metal producer, he's been able to dial everything in and get an effect where what you hear coming out of the speaker sounds like a young, fresh metal band," he said. "I've always tried to keep up with what's going on in metal, and I really feel confident that this sound is as strong as it ever was."
"Firepower" will be released on March 9 via Epic.
The follow-up to 2014's "Redeemer Of Souls" was recorded Sneap, the band's longtime collaborator Tom Allom and engineer Mike Exeter (BLACK SABBATH).
The official video for the album's first single, "Lightning Strike", can be seen below:
Halford stated about "Lightning Strike": "To me, the overall concept of this song is to use the element of a lightning strike to pull away and tear apart at an individual, at a body of people, maybe an organization, maybe an administration, that is kind of leading you, or leading us, into potentially a destructive place. You're kind of spinning that effect round, and you have the right to react and to do something about it. So that, in essence, is what this song is all about."
The North American leg of the "Firepower" tour will kick off on March 13 in Wilkes Barre, Pennsylvania and will wrap on May 1 in San Antonio, Texas. Support on the trek will come from SAXON and BLACK STAR RIDERS.
|Posted on January 15, 2018 at 7:15 PM||comments (0)|
Late Megadeth drummer Nick Menza will be inducted into the Hall Of Heavy Metal History on January 24th in Anaheim CA at the Wyndham Anaheim Garden Grove - 12021 Harbor Blvd., Garden Grove, CA.
"Nick was the beating heart of Megadeth," says Menza's manager Robert Bloger. "He was a huge part of the bands imagery, energy and power, with a very unique animated style of playing that fans latched onto."
"Nick Menza was an inspiration for both Megadeth fans, and metal drummers around the world," says Hall Of Heavy Metal History President/CEO Pat Gesualdo. "It is a great honor to have Nick Inducted into the Hall Of Heavy Metal History, and to have his legacy preserved in metal music forever."
The 2018 Hall Of Heavy Metal History inductees include:
Bill Ward, Lzzy Hale, Billy Sheehan, Carmine Appice, Anvil, Jordan Rudess, Riot, Metal Mike Chlasciak, Nick Menza, Munsey Ricci (President, Skateboard Marketing), Exodus, Sammy Ash (COO Sam Ash Music), Elliott Rubinson (Owner, Dean Guitars, with Rubinson family accepting Induction).
The Hall Of Heavy Metal History is a non-profit organization dedicated to enshrining forever, those Iconic musicians and music industry executives who are responsible for making hard rock and heavy metal music what it is today. Their contribution to the genre is invaluable, and they keep inspiring heavy metal fans throughout the world, from generation to generation.
The Hall Of Heavy Metal History does an Annual Celebrity Benefit Gala in January, in Anaheim CA. The Hall also has does an Annual on-stage Induction Ceremony at Wacken, the world's largest heavy metal festival, for the "Global Metal Ambassador Artist Award." The Hall Of Heavy Metal History is part of the non-profit organization D.A.D. (Drums And Disabilities), where celebrities, sports stars, law enforcement agencies, the United States Department of Defense, and major corporations join to help special needs children and wounded soldiers on a Global basis. D.A.D. and the Hall of Heavy Metal History also join with the Ronnie James Dio Stand Up And Shout Cancer Fund.
For tickets or more information, visit thehallofheavymetalhistory.org.
W.A.S.P. LEADER BLACKIE LAWLESS ON "TREMENDOUS AMOUNT OF WORK" THAT WENT INTO UPCOMING ANNIVERSARY RELEASES SURROUNDING THE CRIMSON IDOL - "SO, WHEN YOU SAY IT'S NOT NEW, IT'S ALL NEW"
|Posted on January 15, 2018 at 7:10 PM||comments (0)|
In a new interview with Metal-Rules.com's Marko Syrjala, W.A.S.P. leader Blackie Lawless discusses the 1992 classic album The Crimson Idol, as well as the upcoming re-recorded version of the album (ReIdolized), and the 25th anniversary tour. An excerpt follows:
Metal-Rules: First of all, I would like to congratulate you on this new tour, because it’s been entirely sold out so far. There is a lot of demand for W.A.S.P., and for my eyes, it seems that the band’s popularity is growing again. Is this something that you didn’t expect this time?
Blackie Lawless: "It’s hard to predict. You know what I mean? Who knows how an audience will respond? As an artist, you make the best work you can and whatever happens, happens. You can’t predict anything. As I said, the only thing anyone ever is in control of is the stuff they do. So, anything after that, you hope for the best. But it’s nice to, you know, I’m at a point in my career where I’m trying to make the best records that I can because I don’t think there is anything to prove. The time itself speaks for that. Any artist who can go 20, 30 years. So, the only thing you really can do is keep doing quality work, and that’s my motivation. Yeah."
Metal-Rules: This time you don’t have an actual new studio album to promote, but you’re soon going to release the re-recorded version of The Crimson Idol, which is one of your most significant records to date. Also, the long-awaited movie based on the album will finally see the light of the day. Would you tell more about those upcoming releases and the reasons behind the decision to re-record the old album?
Blackie Lawless: "Yeah. This is what we’re doing now. I mean that new version of the record comes out in February and as well as the movie. So, it was a tremendous amount of work to re-record that album and to put that film together. I had never done anything like this and the amount of work that I took to do it. It was just like it never stopped. I had five guys. After the record was finished, I had five guys working in different places all over the world. Editing that movie, doing special effects on it. I’m trying to coordinate all these guys, I have never done this before. I don’t know exactly, what’s involved and I’m trying to organize them with each other. They’ll send me pictures. They’ll send me 30 seconds of one song and say, “What do you think about this?” Then I’ve got to coordinate this with somebody else that’s doing whatever they’re doing on the film. I mean it’s unbelievable, and I have never done it before. So, it’s a tremendous amount of work. So, when you say it’s not new, it’s all new. It’s just in a way that I never expected it to be.
Read the full interview and check out some great photos, all by Marko Syrjala, at Metal-Rules.com.
2017 marked the 25th anniversary of The Crimson Idol - the legendary story of Jonathan Aaron Steele, which was originally intended to be accompanied by a movie, with several hundred hours of film that were shot to create approximately 60 minutes of movie footage. The album is still considered to be the best of W.A.S.P.'s career, and one of the greatest concept albums of all time! It undoubtedly belongs in every metal head’s record collection.
Napalm Records now presents ReIdolized (The Soundtrack To The Crimson Idol), the 25th anniversary of the iconic hit album plus the original The Crimson Idol movie on DVD and BluRay. For the first time EVER as originally intended - film and soundtrack united and released as one special product. The product will also feature four missing songs that were originally intended to be part of the original The Crimson Idol.
ReIdolized (The Soundtrack To The Crimson Idol) will be released worldwide on February 2nd via Napalm Records.
"The Titanic Overture"
"The Invisible Boy"
"Arena Of Pleasure"
"Chainsaw Charlie (Murders In The New Morgue)"
"The Gypsy Meets The Boy"
"I Am One"
"Hold On To My Heart"
"The Lost Boy"
"The Great Misconceptions Of Me"
- 2CD & Bluray & DVD in Slipcase
- 2LP Gatefold + DVD
- Deluxe Box
- 2CD Digipack (Re-Press)
- 2CD Jewelcase (Re-Press)
- Digital Album
Pre-order at this location:
(Photo - Marko Syrjala)
|Posted on January 15, 2018 at 7:00 PM||comments (0)|
Aerosmith frontman Steven Tyler has announced the inaugural Janie’s Fund gala night, which will take place on Jan. 28 at Red Studios in Hollywood. He launched the charity in 2015, dedicated to providing protection and counseling for young female victims of abuse, and it’s raised over $2.5 million since then. Janie’s House – named after Aerosmith’s 1989 track “Janie’s Got a Gun” – was established last year in the Atlanta Metro Area to offer shelter from the victims of abuse or neglect, with space for 30 live-in clients and 24-hour medical facilities available.
“The time has arrived to share what we’ve done and what we’re striving for,” Tyler said (via Music-News.com), announcing the event, which will be co-hosted by Alice Cooper, Elton John, Joe Walsh and others. “This inaugural gala is designed to bring my friends and family together so we can continue to provide uplifting and needed support for Janie’s Fund. This gala is more than a night out, it’s a break on through to the other side for these girls whose lives have been stunted. It’s an opportunity to learn of the valuable work we will be doing to get them there. It’s time to bring the awareness out of the darkness and into the light for these girls, for all to see.”
He added, “You can reach the heights of your passion, go all across the entire world and meet people from all walks of life, but the look on these girls’ faces when they know that they’ve found their safe haven, especially after being put through the pain of abuse and neglect. Now, they’re being taken care of by the best of the best in experiential therapy and 24/7 caregiving. Every five minutes, someone comes in and checks in on them and they love it, because they know someone is not coming in to abuse. This event is a testament to the important work happening at Janie’s House.”
The event is set to feature a dinner followed by a performance by Tyler and his country music collaborators Loving Mary. You can learn more about Janie's Fund at their website:
|Posted on January 15, 2018 at 6:55 PM||comments (0)|
Halestorm vocalist and guitarist Lzzy Hale joined Avenged Sevenfold onstage over the weekend in Nashville.
The band were playing a set at the city’s Bridgestone Arena when Hale appeared for a cover of Pink Floyd's classic 1975 track Wish You Were Here. Watch the clip below:
Avenged Sevenfold covered the song in the studio in October last year – which joined their reworkings of Mr Bungle's Retrovertigo, Del Shannon's Runaway, Mexican folk song Malagueña Salerosa, Beach Boys’ 1966 hit God Only Knows and Rolling Stones song As Tears Go By.
A7X frontman M Shadows explained why they had decided to record new material and add those tracks to their latest album The Stage.
He said: “We’ve said all along that we want The Stage to be a different and exciting listening experience. For us, the idea of turning an album into a living piece of art and adding new installations is really intriguing. It expands the journey.”
Avenged Sevenfold are currently on tour with Bullet For My Valentine and Breaking Benjamin, while Halestorm are currently working on the follow-up to 2015 album Into The Wild Life.
|Posted on January 15, 2018 at 6:50 PM||comments (0)|
During a recent interview with radio personality Eddie Trunk, DEF LEPPARD drummer Rick Allen offered his thoughts on the possibility of his band eventually being inducted into the Rock And Roll Hall Of Fame. "I think if the fans put us on a pedestal, that's good enough for me," he said. "I don't need a board of directors, or whatever, to decide whether I should be up there or not. And I mean that with all sincerity. Our fans have proved to us, they've shown to us over the years, time and time again, that they are so behind this band, and that, to me, is… that's all that matters."
Allen went on to speculate that DEF LEPPARD could still be inducted into the Rock Hall, although he admitted that he didn't know enough about the organization in order to predict whether or not his group will eventually get the nod.
"I think there is a certain amount of time lag, and depending on who is on the board deciding who goes through or not… We don't know the circumstances, we don't know the inner workings of how they come to certain decisions, and I don't wanna assume anything," he said.
One of the top-selling rock acts of of all time, DEF LEPPARD has been eligible for the Rock Hall since 2004.
DEF LEPPARD singer Joe Elliott told HuffPost Live in a 2015 interview that it didn't bother him at all that his band has yet to get inducted. "In fact, we've kind of all decided that, even if we get asked, we're just gonna — how can I put this? — politely refuse, like the SEX PISTOLS did… Unless there was some kind of online campaign by our fans, 'cause they were annoyed by us," he said.
DEF LEPPARD guitarist Phil Collen echoed Elliott's sentiments about the Rock Hall, telling a radio station: "I don't know [if we will ever get inducted] and I don't care, really. I think it's great that KISS got in there. They should be there. They're an American band [that's been going for] 40 years and they've been snubbed [for a long time]…. So, for them, I think [it's great]. For me, I really don't care. [It's, like], whatever. The way I look at it, I've got two diamond albums sitting on my mantlepiece — that's ten times platinum; I've got two [diamond] albums. That means the fans went out and bought it, so that means a lot more to me, I think."
|Posted on January 15, 2018 at 6:45 PM||comments (0)|
Vixen singer Janet Gardner has been forced to reschedule a recent date after undergoing surgery for a subdural hematoma.
Gardner, currently on the road in support of her self-titled solo debut, shared the news of her medical woes with fans via Facebook, where she posted a Jan. 13 update describing the way "things went a little upside down" after her Jan. 11 gig at the Whisky in Los Angeles. "I was rushed off to the hospital, and had to have emergency surgery to remove a subdural hematoma that was putting pressure on my brain," wrote Gardner. "They had to drill a hole into my head to remove the hematoma and put a titanium plate in to cover the hole. I am literally a metal head!"
Clearly, Gardner's in good spirits after her ordeal, and although it's unclear as to how large of an impact the surgery will have on her concert calendar, she's already making plans to reschedule her appearance at Count's Vamp'd in Las Vegas, where she'd been booked to perform before being brought in for surgery. "We will be rescheduling that soon. I will keep you posted on my recovery," she added. "Thank you for all the love and support!"
The Janet Gardner LP, written and recorded with Gardner's husband, guitarist Justin James, remains just one of several projects she's actively maintaining — in addition to touring and making plans to record with Vixen, she also works part-time as a dental hygienist. But as she told Billboard last summer, she's already looking ahead to her next solo outing.
"At this point in my life I'm just happy to be doing it and happy to be doing some new music. It's definitely my freedom...to do whatever you want at the time," said Gardner. "Whatever comes with it will be gravy."