|Posted on August 14, 2019 at 9:35 PM||comments (0)|
With the recent Oscar-winning film, Bohemian Rhapsody, the music of Queen is more popular than ever. In 2002, many of those hits were compiled into a rock musical experience, We Will Rock You, which will be hitting the road once again for a North American tour starting September 3rd in Winnipeg, Manitoba (Canada).
Produced by Annerin Theatricals in Alberta, Canada, We Will Rock You will be offering a VIP package at each stop, which include cast member meet and greets, exclusive merchandise, and much more. Tickets are on sale now. More information can be found on the musical’s official website.
Annerin has announced the cast: Trevor Coll as Galileo, Keri Kelly as Scaramouche, Krystle Chance as Killer Queen, Alysse Ernewein as Oz, Brian Christensen as Brit, Kyle Gruninger as Khashoggi, and Kevin Doe as Buddy.
Also new to the production is Music Director Stuart Morley, who was asked personally by Brian May to oversee the updated version. As he recently told the Calgary Herald, “I’ve re-Queened the score. I’ve made it more like the original Queen. I went to Queen’s studio and I listened to old vocals. This new score is far more accurate and authentic. When they were creating the original score for the musical, they made it more theatrical than authentic. I’m a purist so I want to bring the score back to its roots. I’ve been given access to tapes no one else has been given to work with. I feel this new version of the musical can be something not even Brian and Roger thought it could become.”
While We Will Rock You is a quirky, eccentric and heartfelt story of outsiders, it’s also a creative cautionary tale for the cyberage. It reflects the scale and spectacle that marked Queen’s live performances and earned the band its pinnacle position in rock history. The audience can expect We Will Rock You to rock as fiercely as the best of Queen’s concerts.
“Annerin is proud to be able to produce We Will Rock You, and we are obviously lucky with our timing,” says Jeff Parry, President Annerin Theatricals. “This is a show I have wanted to produce since I first saw it in London. My vision was to be able to produce it in such a way that it plays in soft-seaters as well as cut-down arenas. I thought that Queen’s musical was for everyone and not just the typical Broadway crowd, therefore we’re producing it in a way that can accommodate most buildings and audiences that want to experience the music of Queen in a uniquely theatrical manner.”
Since 2002, over 16 million theatregoers in 19 countries have been thrilled by this awe-inspiring production which is based on the songs of Queen with a book by Ben Elton (The Young Ones, Blackadder, Popcorn). The original West End production featured music supervision from Brian May and Roger Taylor, and Elton fashioned this futuristic story around more than 24 of Queen’s biggest hit songs including: “We Are the Champions,” “Radio Ga Ga,” “I Want To Break Free,” “Somebody To Love,” “Killer Queen,” “Don’t Stop Me Now,” “Under Pressure,” “Bohemian Rhapsody,” “Another One Bites The Dust” and, of course, “We Will Rock You.”
With the Oscar-winning film, Bohemian Rhapsody, the music of Queen is more popular than ever. We Will Rock You follows two revolutionaries, Galileo and Scaramouche, on a quest to save rock n’ roll in a post-apocalyptic world where there are no musical instruments and rock n’ roll has died. They join a small group of societal outcasts, the Bohemians, as they fight to take back the iPlanet from the all-powerful Globalsoft, led by the Killer Queen. They fight for freedom, individuality and the rebirth of rock ‘n roll.
Casting for the tour is currently underway.
Prepare to Rock out to We Will Rock You at any of the following stops, with more to be added in the coming weeks on the musical’s website.
3 - Winnipeg, MB - Centennial Concert Hall
4 - Winnipeg, MB - Centennial Concert Hall
5 - Winnipeg, MB - Centennial Concert Hall
6 - Winnipeg, MB - Centennial Concert Hall
7 - Winnipeg, MB - Centennial Concert Hall
8 - Winnipeg, MB - Centennial Concert Hall
11 - Moorhead, MN - Bluestem Center for the Arts Amphitheater
12 - Prior Lake, MN - Mystic Lake Casino
13 - Prior Lake, MN - Mystic Lake Casino
14 - Prior Lake, MN - Mystic Lake Casino
17 - Joliet, IL - Rialto Square Theatre
20 - Milwaukee, WI - Miller High Life Theatre
24 - Casper, WY - Casper Events Center
26 - Missoula, MT - Adams Center
27 - Boise, ID - CenturyLink Arena Boise
28 - Spokane, WA - First Interstate Center for the Arts
30 - Everett, WA - Angel of the Winds Arena
1 - Federal Way, WA - Federal Way PAEC
2 - Salem, OR - Historic Elsinore Theatre
4 - Las Vegas, NV - The Orleans Hotel & Casino
5 - Las Vegas, NV - The Orleans Hotel & Casino
6 - Bakersfield, CA - Fox Theater
8 - Stockton, CA - Bob Hope Theatre
9 - San Jose, CA - Center for the Performing Arts
10 - Fresno, CA - Warnors Center
11 - Los Angeles, CA - Microsoft Theater
12 - Indio, CA - Fantasy Springs Resort Casino
14 - Prescott Valley, AZ - Findlay Toyota Center
16 - Denver, CO - Temple Hoyne Buell Theatre
19 - Kansas City, MO - Arvest Bank Theatre at the Midland
20 - Enid, OK - Central National Bank Center
21 - Wichita Falls, TX - MPEC Memorial Auditorum
22 - Irving, TX - The Pavilion at Toyota Music Factory
24 - Cedar Park, TX - H-E-B Center at Cedar Park
25 - San Antonio, TX - Majestic Theatre
27 - Sugar Land, TX - Smart Financial Centre
29 - New Orleans, LA - Saenger Theatre
30 - Birmingham, AL - Alabama Theatre
2 - Wilmington, NC - Wilson Center (two shows: 2pm and 7:30pm)
8 - Ocean City, MD - Ocean City Performing Arts Center
9 - Petersburg, VA - VSU Multipurpose Center
10 - Allentown, PA - PPL Center
14 - New York, NY - Hulu Theater at Madison Square Garden
15 - New York, NY - Hulu Theater at Madison Square Garden
16 - New York, NY - Hulu Theater at Madison Square Garden
17 - New York, NY - Hulu Theater at Madison Square Garden
21 - Indianapolis, IN - Murat Theatre at Old National Centre
22 - Mt. Pleasant, MI - Soaring Eagle Casino
23 - Mt. Pleasant, MI - Soaring Eagle Casino
24 - Van Wert, OH - Niswonger Performing Arts Center
26 - Louisville, KY - Palace Theatre
27 - Cincinnati, OH - Taft Theatre
27 - Calgary, AB - Southern Alberta Jubilee Auditorium
30 - Edmonton, AB - Northern Alberta Jubilee Auditorium
7 - Toronto, ON - Meridian Hall (formerly Sony Centre)
|Posted on August 14, 2019 at 9:30 PM||comments (0)|
"As the WorldWired tour hits the last leg in Europe, there are still so many places left to visit; South America, you’re up first in 2020! The last time we had the pleasure was in 2017 as part of the Lollapalooza festival and now it’s time to come back with the full-on stadium experience (as seen in N. America and Europe) for six headlining shows including two Brazilian cities we have never played in – Belo Horizonte and Curitiba," state Metallica.
The band continues to promote their 2016 album Hardwired ... to Self Destruct. It's been a big year for the band, which will continue in September with a pair of sold out shows in which the group celebrates the 20th anniversary of their S&M symphonic album live in San Francisco. The S&M2 shows will be filmed and turned around for a one-night only theatrical screening on Oct. 9. For more details, click here:
As for Greta Van Fleet, it's just the latest sign of ascension in the rock industry. The nod from the veteran metalliers comes while they continue to promote their Anthem of the Peaceful Army album. They'll continue to tour well into late fall in the U.S., and dates can be found here:
Just last month, the band revealed that they had started work on their second album, adding that they hope to have it out by the end of the year. No title or official release date has been revealed.
To get in on a Metallica show, make sure to check for tickets here:
Metallica / Greta Van Fleet 2020 South American Tour:
April 15 - Santiago, Chile @ Estadio Nacional
April 18 - Buenos Aires, Argentina @ Campo Argentino de Polo
April 21 - Porto Alegre, Brazil @ Arena do Grêmio
April 23 - Curitiba, Brazil @ Estádio Couto Pereira
April 25 - São Paulo, Brazil @ Estádio do Morumbi
April 27 - Belo Horizonte, Brazil @ Estádio do Mineirão
|Posted on August 14, 2019 at 9:25 PM||comments (0)|
Judas Priest guitarist Glenn Tipton is thanking fans for their support in raising $150,000 for his Parkinson's Foundation from the sale of "No Surrender" t-shirts during the band's "Firepower" world tour.
"I'd like to say a massive THANK YOU to everyone who bought The Glenn Tipton Parkinson's Foundation charity t-shirts throughout the various tour legs," says the rocker, "and a big thank you also to those who had the bike selfies done. I'd also like to thank Rob, Ian, Richie, Scott and Andy - the donations are building up nicely and that wouldn't have been possible without all the hard work from the guys in the band and the crew who went onstage every night and helped raise money for a great cause
"We will report on the amount raised as we go along - it currently stands at just over US $ 150,000 - but there's still a long way to go. For anyone who wants to donate to the charity there will be a link set up soon to make that possible - once again thanks to everyone."
Tipton announced his retirement from touring last year to deal with his Parkinson's battle; he hand-picked "Firepower" co-producer Andy Sneap to take over his guitar duties on the road as the band brought their new music to fans around the globe.
"It was the band that suggested we start a foundation which, although in my name, is really a Judas Priest foundation," explained Tipton last year. "We are selling t-shirts with the slogan 'No Surrender' which is very appropriate considering the determination you have to summon up to get on with life and beat this illness - it's the sort of thing that always happens to 'someone else'
"There are many Parkinson related charities were we could send the funds we raise to which deal with the many different aspects of this disease both physically and mentally - but what really excites me is a brand new pioneering treatment called MR-guided focused ultrasound thalamotomy, which although in its early stages has already had great success with a Parkinson's related condition called essential tremor.
"Dr Bain, my specialist who is one of the leading experts in this field, and his colleagues are now turning their attention to treating Parkinson's patients with this state of the art MR scanners and are very optimistic as to the positive results that are emerging."
|Posted on August 14, 2019 at 9:20 PM||comments (0)|
Ozzy Osbourne has been called a “genetic mutant” after research into the rocker’s DNA was carried out.
Genetics professor Bill Sullivan delved into a study by Massachusetts-based research firm Knome from 2010 while researching his new book Pleased To Meet Me: Genes, Germs And The Curious Forces That Make Us Who We Are.
The initial study was performed using a blood sample from The Prince Of Darkness in a bid to understand how he’s managed to withstand years of drug and alcohol abuse while others can’t.
The result, according to the New York Post, was that they discovered a previously unseen mutation which showed Ozzy has several genetic variations that predisposed him towards addiction, and that the mutation allowed the now sober Ozzy to drink in larger quantities than the average person.
Sullivan says: “Ozzy is indeed a genetic mutant,” in the book which will be released in September through National Geographic.
The publication also claims that our DNA shapes everything, from things we love and hate, our political leanings, who we’re attracted to and why “bacteria in our guts mess with our minds.” The book also claims that our grandparents’ experiences in the past also echo in our own DNA.
Sullivan adds: “A gene is one piece of a puzzle that makes up a picture. You can’t tell what that picture is going to be solely by looking at one puzzle piece.”
Ozzy, meanwhile, will return to touring in early 2020 when he resumes his No More Tours 2 dates across the UK and Europe.
|Posted on August 14, 2019 at 9:20 PM||comments (0)|
Jimmy Page found himself the loser in another planning battle with a neighbor over proposed changes near the London mansion he’s owned for 46 years.
The Led Zeppelin guitarist spent five years in a dispute with Robbie Williams, arguing that the pop star’s basement redevelopment plans could damage the integrity of his Tower House home.
While the possibility of further disagreement remains, Page recently took action against businessman Sir Harvey McGrath, who wanted to build three 20" wooden trellises in his back garden.
“I urge the council to refuse the application as having the potential for harmful impact on living conditions in the Tower House,” Page wrote in March. “I use the area to listen to and scrutinize recordings, requiring my full concentration with no distracting noise and/or vibration from other sources, for meetings away from the main house and for recorded interviews where naturally there cannot be any constant background noise.”
“Our client’s property would be directly and adversely impacted by the application's proposals,” Page’s lawyers said in a letter to the Royal Borough of Chelsea and Kensington Council, according to the Daily Mail. They argued that one of the trellises might require attachment to a wall of Page’s home.
But council planning director Sue Foster dismissed the objection, saying in a decision notice. “The second trellis would be fixed to freestanding posts, set away from the side listed building by 0.3m," she noted. "The height of this trellis would not exceed the height of the existing neighbor’s trellis.
"Given that there are many examples of timber trellises within the vicinity, the proposed works would preserve the character and the appearance of the property. … There would be no material effect upon the external appearance of the neighboring Grade I listed building, or its setting, its structural integrity, or its special historic interest.”
Last year Page explained, “I have been the custodian of the house, and on my watch I feel that I have got to do everything with all these sorts of haphazard things … that really it’s my duty while it’s my watch.”
|Posted on August 14, 2019 at 9:15 PM||comments (0)|
Steve Stevens is hopeful that his collaboration with Ozzy Osbourne will eventually see the light of day.
The BLACK SABBATH singer and Stevens connected through their mutual friend Billy Morrison, who plays alongside the guitarist in Billy Idol's band. Ozzy told SiriusXM several years ago that they had made a "bluesy" song with the working title "Crack Cocaine", which was originally slated to appear on Osbourne's next solo album.
Asked in a new interview with "Talking Metal" how much material he actually worked on with Ozzy, Steve said (hear audio below): "I think there's one which kind of rose to the top. I was asked to write with him by Billy Morrison, the second guitar player in BILLY IDOL. [Ozzy and Billy are] buddies, and I have a home studio. [Morrison] said, 'Can I bring Ozzy over to do some writing?' There's one song which may see the light of day. I was just happy to have [Ozzy in the studio with me]. I set up my microphone and you hear that voice and you get chills. Same as I do with Geezer [Butler, BLACK SABBATH bassist] when we are in the room [playing together with DEADLAND RITUAL] and you just play guitar and it's sitting next to that bass sound.
"I've always maintained that I'm a fan," Stevens continued. "I've never lost that kid fan thing out of the music that made me wanna do this. And I think that's what keeps me kind of always looking to get better and work with other people.
"Yeah, maybe the Ozzy thing will see the light of day," he added.
Ozzy has not released an all-new solo album since 2010's "Scream", having spent the last few years touring with BLACK SABBATH in support of that band's "13" LP, as well as playing a number of solo shows.
Ozzy has previously made conflicting statements about whether or not he intends to record a new studio album, telling The Orange County Register in 2017 that "it's not cost-effective" to release full-length collections of tracks. "You actually lose money because people aren't buying records anymore," he said. "A couple of songs, maybe I'll do that and put that out. I'll go to Sharon [Osbourne, Ozzy's wife and manager] and say, 'I want to do an album' and then I'll go to her and say, 'I don't want to do an album.' I really can't make up my mind."
A year ago, Osbourne told the Boston Herald that he was hoping to return to the studio after he completes his "No More Tours 2" farewell tour. "I have a bunch of songs written and have plenty of ideas and really want to do a new album, but as to when and how it will come together, I do not really know," he said.
Earlier this summer, Stevens completed the first tour with DEADLAND RITUAL, which also features Butler, drummer Matt Sorum (GUNS N' ROSES, VELVET REVOLVER) and singer Franky Perez (APOCALYPTICA).
In early April, Ozzy postponed all his 2019 tour dates, both in North America and Europe, as he recovered from an injury sustained while dealing with his recent bout of pneumonia. The singer fell at his Los Angeles home, aggravating years-old injuries from his 2003 ATV accident that required new surgery.
|Posted on August 14, 2019 at 9:05 PM||comments (0)|
Foo Fighters' headlining set during the final night of Hungary's Sziget Festival Tuesday (August 13) ended in good vibes as bandleader Dave Grohl welcomed a crowdsurfing man in a wheelchair onstage. Not only that, the rocker also invited a woman blowing bubbles to enjoy the show from the main platform.
Grohl started communicating to the fan in the wheelchair from the midpoint of the two-and-a-half-hour long concert, Hungary Today reported. After the concertgoer was frequently featured on the large projector screen during the performance, the bandleader ultimately made a special plea to the attendee. Watch fan-captured video of the feel-good spectacle down toward the bottom of this post.
"Ladies and gentlemen I would like to say, even to the guy in the fucking wheelchair,” Grohl cheerily addressed the audience, as transcribed by NME. "He's the fucking star of the show right there — that's the fucking star of the show. My man! My man! I have a question; do you wanna come up and watch the show from up here?"
Grohl continued, "You wanna come up? Bring that motherfucker up here right now. Come on, come see the show. And then you know what? How about this: the girl with the bubbles, you still got bubbles? Where's my bubble girl? I need the bubble girl and I need this man here right now — come up onstage."
Foo Fighters ended their hit-filled set in Hungary with a triumphant performance of signature 1997 cut "Everlong." The fan in the wheelchair finished his time in the spotlight by hoisting Grohl's guitar above his head and lobbing it across the stage in a blaze of rock fury.
Before that, Grohl added, "I would like to say that between the bubble girl and this man right here, and mother nature, I think we had a beautiful night."
GEORGE LYNCH ON HOW AC/DC AND LED ZEPPELIN INFLUENCED THE END MACHINE - "IT'S NOT JUST ABOUT HEAVY GUITARS; IT'S ABOUT HAVING SPACE IN THE MUSIC"
|Posted on August 14, 2019 at 9:00 PM||comments (0)|
Guitar legend George Lynch recently spoke with Guitar World about The End Machine, featuring himself, former Dokken bandmates Jeff Pilson and Mick Brown, and vocalist Robert Mason. He talks specifically about his guitar sound on the record, which has a clean '70s sound compared to his trademark Dokken sound.
Lynch: "I’ve learned over the years that those classic guitar sounds we all know and love are not that distorted. And that’s a hard lesson, because you want to crank the volume and the gain because it’s easier to play that way. But when you listen to great bands like AC/DC or Led Zeppelin, it’s not just about heavy guitars. It’s about having space in the music and allowing the other instruments and the production to shine through as well. So I’ve learned to be open to new things."
Read the complete interview here:
Surely, some fans may be wondering to themselves, isn't The End Machine just Dokken without Don Dokken? "Musically, of course there's bound to be moments that will be reminiscent of Dokken. That's only logical," says bassist Jeff Pilson. "But, my guess is there will be less of that than people would expect. Some people who've heard it say they think it's closer to Lynch Mob than Dokken, but really it is pretty much its own thing. We allowed ourselves to get a little deeper than either of those projects really have, while still staying extremely melodic and not being afraid of good old-fashioned guitar rock. Maybe Lynch Mob, a bit of Dokken, but then some 70's guitar rock added in. George [Lynch] is playing fantastic on this... very inspired. Everyone is really, but George covers some new territory here and it's very cool. Plus, the songs as compositions took on their own life, especially adding Robert [Mason] to the writing. That's what I'm most proud of, is the way this stands on its own. It doesn't step on our legacy together one bit, but it has it's own personality and I think that's important."
"This is decidedly not me 'stapled' onto a Dokken record," adds Mason. "I wouldn't have been involved if that was the intent. Fans will hear bits of our styles in this collection of songs, and while reminiscent signatures are undeniable, The End machine was purposely built to stand apart and on its own merit."
|Posted on August 14, 2019 at 9:00 PM||comments (0)|
Tesla are premiering a video for "California Summer Song", a track from their latest album, "Shock." The new clip mixes lyrics with images supplied by fans.
"A big Thank You to all of our Tesla Troops who submitted their summer photos to be included in this video," says the band. "This song and video is for you to celebrate the summer with and drift away."
Produced by Def Leppard guitarist Phil Collen, Tesla's eighth album "Shock" debuted at No. 21 on the US Billboard 200 upon its release in March.
The group just wrapped up a Canadian tour with Def Leppard, and will return to live action with another month of US dates starting August 31 in Snoqualmie, WA.
Watch the video here:
|Posted on August 14, 2019 at 8:55 PM||comments (0)|
Fan-filmed video footage of HEART performing the LED ZEPPELIN classic "Stairway To Heaven" on August 13 at Merriweather Post Pavilion in Columbia, Maryland can be seen below:
Back in December 2012, HEART's Ann and Nancy Wilson delivered a moving rendition of "Stairway To Heaven", LED ZEPPELIN's signature song, at the 2012 Kennedy Center Honors. They were joined by Jason Bonham, son of original drummer John and the drummer for LED ZEPPELIN's 2007 reunion show. Their version of the track gradually grew to include a string section, a horde of backup singers and the Joyce Garrett Youth Choir. Jimmy Page, Robert Plant and John Paul Jones sat watching from the balcony and were visibly moved, particularly Plant, who had tears welling up in his eyes.
Ann Wilson wrote afterward on the HEART web site: "It was our honor to be asked to do it before an audience like that. My main goal though was to please Jimmy Page, Robert Plant and John Paul Jones... especially Plant, since all these many years he has taught me so much about singing from the soul and has given me such a pleasure in his lyrics. What a high that night was. Never to be forgotten!"
HEART recently extended its massive "Love Alive" cross-country summer tour into the fall with dates now taking the group through October. New dates include stops in Newark, Little Rock, Memphis, Kansas City, St. Paul and more with JOAN JETT & THE BLACKHEARTS joining as very special guests and Lucie Silvas opening.
The group's first tour in three years kicked off on July 9 at the Hollywood Casino Amphitheatre in St. Louis, Missouri and includes stops in Chicago, Atlanta, Houston, Denver, and Los Angeles at the historic Hollywood Bowl, before wrapping October 13.
Produced by Live Nation, the now-48-city trek by the trend-setting, multiple-platinum Rock And Roll Hall Of Fame legends includes a stellar lineup with JOAN JETT & THE BLACKHEARTS joining the majority of shows. The first leg of the tour also includes Sheryl Crow, Brandi Carlile, Elle King and Lucie Silvas as special guests.
|Posted on August 14, 2019 at 8:50 PM||comments (0)|
Billy Idol and Bryan Adams appeared onstage together Saturday night to duet on the Eddie Cochran classic “C’mon Everybody” at the PNC Bank Arts Center, Holmdel, N.J.
It was their latest shared moment on the double-header Shine a Light tour, which started on Aug. 1. The run is named after Adams’ latest album.
You can watch the duet performance below:
Idol and Adams performed the same song together a handful of times during the road trip. It’s also served as a vehicle for them in the past, with one performance taking place in Germany in 2014.
Earlier this year, Adams revealed that he was a victim of the Universal Music fire in which an unknown amount of artists' archive material was lost in 2008. He explained that he had been kept in the dark about the incident, even when he was trying to locate potential contents for a box set.
"I contacted the archive dept of Universal Music," he explained. "I called everyone -- former A&M employees, directors, producers, photographers, production houses, editors, even assistants of producers at the time. I can tell you with 100 percent certainty that I couldn’t find anything at Universal that had been published to do with my association with A&M Records in the 1980s. ... If you were doing an archaeological dig there, you would have concluded that it was almost as if none of it had ever happened. ... There was no mention that there had been a fire in the archive."
Adams' North American tour continues without Idol until Sept. 21.
|Posted on August 14, 2019 at 8:50 PM||comments (0)|
In May this year, it was reported that Guns N’ Roses had begun legal proceedings against the Canarchy Craft Brewery Collective’s Oskar Blues Brewery over their Guns ‘N’ Rosé beer.
The band were suing the Colorado brewery because of the name of the ale – which was used without the band's permission – with Guns N' Roses also claiming the company had been selling merchandise associated with the beer, including t-shirts and bandanas.
It's claimed the brewery previously tried to trademark the Guns ‘N’ Rosé name but scrapped those plans as soon as Axl, Slash, Duff and co. objected.
Now, Reuters report that the lawsuit has been settled, with both sides agreeing in principle to draw a line under the legal case, with both parties now working on a written settlement which would see the case dismissed.
Papers originally filed by the band in a Californian court argued that the brewery “should not be entitled to continue to sell infringing products and intentionally trade on GNR’s goodwill, prestige, and fame without GNR’s approval, license, or consent.”
Guns N’ Roses were suing the brewery for trademark infringement and were seeking unspecified damages.
The band are currently preparing for the next leg of their mammoth Not In This Lifetime tour, which will get under way again in Charlotte on September 25.
|Posted on August 11, 2019 at 9:15 PM||comments (0)|
The ‘80s hair metal scene produced its share of reckless hedonists who adhered to a strict diet of sex, drugs and booze. Some, like Nikki Sixx and Slash were able to kick their vices. Others, such as Warrant’s Jani Lane, were never able to abandon the rock and roll lifestyle. Lane died on August 11, 2011, of acute alcohol poisoning. He was 47.
Lane’s descent into oblivion was neither sensational or romantic. He died alone, with no money or ID at a Comfort Inn in Woodland Hills, California. Police reported that Lane was surrounded by liquor bottles and pills.
The singer had always taken a firm stand against drugs, but when it came to alcohol there were no limits. “If anybody was caught with [drugs] they were immediately fired,” he told Louder Than Hell: The Definitive Oral History of Metal. “I didn’t tolerate any of that stuff. But drink ‘til you puke, pass out, get up and do it again.”
Like many of his peers, Lane basked in cash, booze and babes well through 1990, when Warrant released the hit album Cherry Pie. He blew his first big record label paycheck on a sports car and promptly totaled it. At the time, it didn’t seem to matter. There were always more personal possessions to be had. The band’s first five albums sold over 10 million copies around the world. And in 1991 Lane married steamy model Bobbi Brown, who had starred in the sleazy and suggestive “Cherry Pie” music video. Then, at the end of that year, Nirvana released their second album Nevermind. It marked the symbolic end for hair metal. Almost overnight Pearl Jam, Soundgarden and Alice in Chains took over the rock charts and metal bands were seen by the mainstream as self-indulgent, misogynistic Neanderthals replaced on the evolutionary ladder by a more cerebral breed.
The climate shift was hard enough on bands like Guns N’ Roses, Motley Crue and Scorpions, but groups like Warrant and Great White, who weren’t as wealthy or well-known, took a major hit. Whether Warrant’s rapid descent played into his worsening alcoholism or marital problems is unknown, but in March 1993 the singer left Warrant to launch a solo career. Later that year Lane and Brown got divorced. By year’s end Lane was back in Warrant and helped them secure a new record deal with independent label CMC, which put out the widely ignored Ultraphobic (1995), Belly to Belly (1996) Greatest and Latest (1999) and the covers album Under the Influence in 2001.
Argumentative and controlling, especially when he was drinking, Lane frequently fought with his bandmates about their image and musical direction. He put out a power-pop solo album Back Down to One, which tanked in 2003, and entered rehab for alcohol abuse that same year. He left Warrant in 2004 due to personal and creative differences and, as a solo artist, dropped off the Bad Boys of Metal tour, which also featured Kevin DuBrow, Steven Adler and Bang Tango, in August 2004, after eight shows.
The next year, Lane briefly revisited the limelight as a participant in the VH1 series Celebrity Fit Club 2. During the show he talked about his alcohol addiction, and viewers seemed to sympathize with his struggle. Even so, his musical career failed to reignite. In an effort to capitalize on the success of the TV show, Lane reissued Back Down to One in 2006 and called his touring band Jani Lane’s Warrant. Almost immediately, the rest of Warrant hit him with a cease and desist and Lane was forced to scrap tour posters that featured the band’s logo and stop using the name.
Lane made several guest appearances on albums by Liberty and Justice and Saints of the Underground in 2007 and 2008, respectively, and in 2010 he filled in for vocalist Jack Russell on a tour for Great White.
Lane died quietly and tragically. After the vocalist’s body was identified, Warrant guitarist Erik Turner issued the following statement: “This is an all-too-sad ending to what started out as a great career with Warrant, and what could have been, and should have been, a long life filled with great music and great shows.”
KISS guitarist Paul Stanley was equally sympathetic: “Jani was a terrific writer and singer who seemed to see his successes as a cross to bear. He fought his enemy within, and he lost. A very sad end to a tortured life.”
On August 29, 2011 Quiet Riot, Great White and LA Guns performed at a public memorial concert for Lane at the Key Club in Hollywood.
STYPER FRONTMAN MICHAEL SWEET TO RELEASE TENTH SOLO ALBUM IN OCTOBER; GUESTS INCLUDE JEFF LOOMIS, TODD LA TORRE, TRACII GUNS AND MORE
|Posted on August 11, 2019 at 9:10 PM||comments (0)|
Building upon the success of his 2016 release One Sided War, Stryper frontman Michael Sweet returns with his tenth solo studio release, aptly titled Ten. The new album is scheduled for release in North America on October 11 via Rat Pak Records and will also be available in Europe via Frontiers Music Srl.
Ten features an all-star guest lineup that includes appearances by Jeff Loomis of Arch Enemy, Todd La Torre of Queensrÿche, Andy James, Tracii Guns of LA Guns, Rich Ward of Fozzy, Joel Hoekstra of Whitesnake, Gus G. of Firewind, Howie Simon, Ethan Brosh, Marzi Montazeri, Will Hunt of Evanescence , John O’Boyle, Mike Kerr and Ian Raposa of Firstbourne and more.
On the subject of guest musicians Michael comments: “There is a different player appearing on every song. It started out where I was just going to have a couple of guest appearances on it, then I decided that it would be really interesting to bring in different players for every song. I started putting names out there and reaching out to people, and they started agreeing to do it. And then I had guys reaching out to me."
Ten is currently available for pre-order in various bundle configurations including translucent green and black splatter vinyl, cassette and hand autographed CD packages. The album also has two bonus tracks that appear on all configurations. Produced by Michael Sweet, Ten was recorded and mixed by Danny Bernini at the Spirithouse Recording Studio in North Hampton and was mastered by Alex Saltz.
Regarding the musical direction of the album Michael states: “I’m very excited about this release, there are old-school, straight-ahead metal ideas in the vein of Judas Priest, Dio and Iron Maiden, all the stuff I love listening to!”
As for the Ten album title, Sweet recently stated, "It's called 'Ten' cause it's my tenth album, and because there is a title track on there about the Ten Commandments - a really powerful song. There's real heavy stuff. It starts kind of smacking you in the face and it ends kicking you in the gut."
"Better Part of Me" (featuring Jeff Loomis of Arch Enemy)
"Lay It Down" (featuring Marzi Montazeri)
"Forget, Forgive" (featuring Howie Simon)
"Now Or Never" (featuring Gus G of Firewind)
"Ten" (featuring Rich Ward of Fozzy)
"Shine" (featuring Ethan Brosh)
"Let It Be Love"
"Never Alone" (featuring Joel Hoekstra of Whitesnake)
"When Love Is Hated" (featuring Joel Hoekstra of Whitesnake)
"Ricochet" (featuring Tracii Guns of LA Guns)
"With You Till The End (featuring Mike Kerr and Ian Raposa from Firstbourne)
"Son Of Man (featuring Todd La Torre of Queensryche and Andy James)
DISTURBED Guitarist On Spotlighting Mental Health Issues: 'We Just Want To Help Raise The Awareness'
|Posted on August 11, 2019 at 9:05 PM||comments (0)|
Prior to DISTURBED's performance at the recent Rock USA festival in Oshkosh, Wisconsin, guitarist Dan Donegan spoke with Kaytie and Cutter or the Appleton, Wisconsin radio station Razor 94.7 and 104.7. The full conversation can be seen below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET).
On the band's recent single, "A Reason To Fight", which addresses mental health and addiction:
Dan: "All of us collectively have dealt with the issues of addiction or depression, whether it was us individually or close family members or close friends, as most people have. It really hit home. Early on, when we were in the writing process in the studio, I had mentioned to David [Draiman, vocals] — because when we start writing, we've written over 100-something songs together, so sometimes he'll turn to us and say, 'Hey, is there anything,' trying to spark a new idea or a new subject that we haven't touched on before. I had mentioned to him early on that I wanted to touch on [mental health awareness], because I have a close family member to me that has had his struggles with addiction. I know what a great guy he is. He's had his battles, and he's struggled with it, but he's a great guy and I can see the shame in his eyes of feeling like he let himself down and everybody else down. I'm always there pulling for him, because I know that it's a demon. It's something that you've got to battle every day when you get to that point. We wanted to spin the positivity to it of letting those who are fighting those demons to keep fighting, and [know] they're not alone. It's our job to kind of step in and intervene and hope that we can be that added strength to them to help them continue in that fight... We just really thought it was an important topic to touch on."
On writing the music for the song:
Dan: "The song kind of came last minute. Musically, I had the intro piece on the guitar, and I didn't quite have enough music to where I was ready to present it to the guys just yet. We were in the studio in Las Vegas making the album, and the song almost didn't become a song because I wasn't ready to present the music. I had the intro piece, and we had a little bit of downtime in the studio, and Kevin Churko, our producer, walked in the other room to set up some microphones on the drum kit, and we had a little bit of downtime in the control room, so I just started noodling around and playing that part. David's like, 'Wait a second — keep playing that for a second. Keep looping that part.' A melody came to him, and he just started scatting over the top of it. Right off the bat, it just had this catchy, melodic hook to it, and we made it a priority. At that point, as the music was progressing and we finalized it in the studio, that brought out the emotion of the song. David said at that point, 'This is the one we need to use musically [to] send this message lyrically."
On the song's reception:
Dan: "It's such a deep, personal topic for us, and we knew how much it home for us and how theraputic it was for us to be able to play this song live and get this message out, but we never really knew the magnitude of how much it hit so many people in the audience because of their own experiences... When you can see the biggest muscle-head, beefiest guy out there in a mosh pit the song before, and the next song, he's broken down in tears, you realize it's okay to let your guard down. Whatever that guy's experience is, whether it was him or a loved one or a friend or whoever, there's a lot of people going through it. We just want to help push the message and raise the awareness."
On how his views on mental health have changed over time:
Dan: "A big turning point for me, surprisingly, was when Robin Williams committed suicide. In my younger years, I would get angry — like a lot of people would get — when I had a few friends that committed suicide. I would think it's a selfish thing, and I'd get frustrated. I'm like, 'You didn't get rid of the pain — you just passed it on to somebody else that loves you by doing that.' Then I see someone like Robin Williams do it and I realize, 'This is a sickness. It's not a choice'... You think, 'This guy's famous. He makes everybody around the world laugh. He's got money; he's got family.' You think he's got everything. Why would somebody like that do it? The reality kicked in that it is a sickness, and they can't help it. Same with Chester [Bennington] and Chris [Cornell]. You've got everything — beautiful family, money, fame, fans everywhere, and you think that that's going to solve your problems, and it just doesn't. There's just people that are dealt that, and they have to battle those demons."
Check out the interview here:
|Posted on August 11, 2019 at 9:00 PM||comments (0)|
By 1984, Iron Maiden were well on their ascent to rock superstardom. Albums The Number of the Beast and Piece of Mind had brought the band to an international audience. For their next LP, Powerslave, the group decided to embark on its largest and most exhaustive run yet, the World Slavery tour.
The band created an entirely new set design, production and aesthetic for the tour. Gleaning inspiration from the album’s artwork, Iron Maiden decided to go with an Egyptian theme. It would become one of the most elaborate stage setups of its time.
“We wanted something that would tie in with the theme of Powerslave, which is Egyptian mythology, so we put together the idea of constructing an Egyptian temple complete with hieroglyphics and tombs,” singer Bruce Dickinson told Hit Parader magazine in 1984. “It’s quite spectacular to look at and even more fun to play on. That’s an important factor for us. When you’re working in the same environment every night, you might as well enjoy where you’re working.”
“I was asked to do things that I’d never done before, on a scale I’d never done before,” recalled set designer Alan Chester in the documentary The History of Iron Maiden: Part 2 Live After Death. The stage would include massive backdrops, a giant sarcophagus and multiple risers. Even the stage floor, unable to be seen by a large percentage of the audience, was decorated for the tour. “The floor was very, very complicated, intense Egyptian pattern,” Chester revealed. “And we just put in lots of little messages in hieroglyphics.”
“I just loved that set,” Dickinson said of the World Slavery stage, noting that he was especially fond of the abundance of pyrotechnics. ”You had to be careful if you were standing the wrong way and the wind was a little bit wobbly," the singer noted. "I did singe my nose hairs on a couple of occasions."
Still, like most Iron Maiden shows, the real visual star was Eddie, the band’s mascot that was re-imagined as a mummy here, its giant figure emerging from backstage to hover above the band. “The centerpiece, of course, was Eddie, which I just thought was a masterpiece of kitsch,” Dickinson admitted. “No legs, just this huge torso. The arms were on the big motorcycle springs so they wobbled.”
“I remember the first time we pulled Eddie out,” drummer Nicko McBrain recalled. “Out he comes in all his splendor, the mummy. These great big arms and they were on these springs. And they put him too low. And his freaking hands hit me on the top of the noggin! And all me cymbals have gone flying. ‘Oy, he’s too low! Pull him up a bit!’ ‘Can’t -- we’ve got no room!’”
Eddie’s popularity proved to be a double-edged sword when, one night, part of the mascot disappeared. “After the show, somebody stole the torso -- I mean, it was huge!” McBrain laughed. “You can imagine two guys running down the street with this big mummified body.”
With its mascot MIA, the band had to get creative. “We went out and we bought a lot of bath towels, and we layered them to make up another body until we replaced the foam torso for Eddie,” McBrain revealed. “I remember we’d be standing at the side of the stage, and every night it would come off. And we were always saying, ‘There’s Ed. He’s out of the shower again.’”
Despite some occasional hiccups -- and mummy disappearances -- the World Slavery tour began well for Iron Maiden. The band notably kicked off its trek with five shows in Poland. Fans came out in droves for these rare performances by a western band in the Eastern Bloc nation.
“It was hysteria, really,” bassist Steve Harris said of the Poland performances. “It was just incredible. I mean the reaction of the fans was just unbelievable. I’ll never forget it because it was quite goosebump time, really.”
Even the band’s longtime manager, Rod Smallwood, could sense the importance of those concerts. “It was a phenomenal vibe, and you just felt like you were doing something,” he acknowledged. “In some ways you felt like you were gonna weaken the wall.”
The tour spent three months winding its way throughout Europe before heading to North America. A packed schedule left the band with few days off. Slowly, the rigors of life on the road began to take their toll. “It was relentless, one after the other after the other after the other,” Dickinson said of the group’s performance schedule.
While word of Iron Maiden’s amazing live show continued to spread, pressure to deliver on a nightly basis also mounted. “The band was getting very big very quickly, and it was a bit scary,” admitted guitarist Adrian Smith. “The responsibility every night of walking out and playing to those people for months and months and months. It did wear you down.”
The stresses of touring wore especially heavy on the band’s frontman. “Radio City Music Hall … we were doing seven shows and I started to feel crap,” Dickinson recalled. “And after about the third or fourth one I said to [manager] Rod [Smallwood], I said, ‘I feel really ill.’ And he goes, ‘How ill?’ I said, ‘I’m feeling really ill.’ And he said, ‘Well, you can do it tonight. You’ve got a day off tomorrow.’”
The singer tried to power past the exhaustion, but struggled to do so. “I went onstage, just felt dizzy and I couldn’t move," Dickinson said. "I sat, I did most of the show ... just sitting on the drum riser.” The band would cancel four shows in late January, as its singer recuperated.
“I know that it really got to Bruce, more than anyone in the band,” noted McBrain, adding that the singer nearly “jumped ship” due to the tour’s strenuous demands.
Performances continued. Days turned into months. “Your whole reality shifts,” Dickinson said of life on the road. “You read the stories and you think, ‘The guy sent out his private jet to go and get him a curry. What a wanker.’ But if you’re in rock 'n' roll reality shift, there’s a bizarre logic whereby it’s like, ‘I want a curry. If I don’t get a curry I’m gonna go mad. I don’t care how much it costs. Get me a curry!' After you’ve had about six months off you go, ‘Oh, did I spend that much on a curry? I could have bought a car for that!’”
Iron Maiden hit Japan and Australia before returning to the U.S. for even more extensive touring. “I don’t think we realized how far we pushed ourselves,” guitarist Dave Murray said of the arduous schedule. “It was starting to take its toll on the band after a while. It’s just, when it got into the 12th, 13th months, there was a few chinks in the armor. We were starting to sort of lose it.”
The final performance of the 'World Slavery' tour took place on July 5, 1985, in Irvine, Calif. By this point, the entire band was exhausted. “When we got to the end of the Powerslave tour," Harris recalled, "that was the first time where we actually said, ‘All right, let’s take some time off or else we’ll all end up in the funny farm.’”
Dickinson, it turns out, was already at his wits’ end. “I came very close to quitting after the Powerslave tour,” he later admitted in his autobiography What Does This Button Do?. “I was in no mood for any more backstage politics or solitary confinement in tour buses.”
Iron Maiden took more than a year off from performing following the conclusion of the World Slavery tour. Their next trek, Somewhere on Tour, launched in September 1986.
|Posted on August 11, 2019 at 8:50 PM||comments (0)|
Questions surrounding the mix of Metallica's ...And Justice for All album and its significant lack of bass just won't die. It's been the subject of debate for over 30 years now and in a new interview with the band's fan magazine, So What!, James Hetfield renewed his support for what they did at the time.
When asked if Jason Newsted, who had just joined the band to replace the late Cliff Burton, ever approached him or Lars Ulrich about the level of bass in the mix, Hetfield said, "He probably did. I don't know what my answer was then, but it was kinda done."
He noted that it wasn't meant as a slight against Newsted, adding, " It was not all about, 'Fuck him. Let's turn him down.' That's for sure." Instead, he insisted Metallica were pursuing the "best-sounding record we could make."
Papa Het admitted that fatigue could have played a factor in the notorious mix in addition to hearing issues attributed to not wearing ear plugs during concert performances. "We were burnt. We were frigging fried. Going back and forth [between touring and mixing the album]. Playing a gig. No earplugs, no nothing," he recalled.
"You go back into the studio, your hearing is shot," the frontman continued. "If your ears can't hear any high end anymore, you're gonna turn it up. So we're turning the high end up more and more and more and all of a sudden, low end's gone. So I know that played a bigger part than any hazing or any ill feelings towards Jason, for sure. We were fried. We were burnt."
The goal was to have the album sound "fucking tight," per Hetfield. "We wanted the snare, we wanted the guitar, we wanted everything up front and in your face and really tight. And we thought we got it." Regarding Steve Thompson, who handled the mixing (and has his own recollection of the events as seen in our exclusive video interview below), the Metallica icon said that "he's got nothing to apologize for or point fingers at," nothing that there is no "blame" to assign.
Fans had speculated that Metallica would have remixed ...And Justice for All last year for the 30th anniversary of the record, but the band remained adamant that it was not going to happen.
Hetfield reasserted his stance on keeping the original mix intact, commenting, "And why would you change that? Why would you change history? Why would you all of a sudden put bass on it? There is bass on it, but why would you remix an album? You can remaster it, yes, but why would you remix something and make it different? It'd be like… I don't know. Not that I'm comparing us to the Mona Lisa, but it's, like, 'Uh, can we make her smile a little better?!' You know?! Why?"
|Posted on August 11, 2019 at 8:50 PM||comments (0)|
Mitch Malloy reflected on Van Halen hiring him as their lead vocalist back in 1996, but then deciding to give up the gig after seeing the band appear on TV with original frontman David Lee Roth.
The current Great White frontman recalled his brief tenure with the legendary band during an interview with Vegas Rocks! (via Sleaze Roxx).
Malloy said, "I was actually told, like it says in the documentary, on the third day I was in the band. He actually said the sentence, 'congratulations you're in the band.' Before that he said your this, you're that, compliment compliment, compliment, 'We love you. You're in the band' and actually kissed me on both cheeks. And hug me.
"So, yeah at least in that moment it was officially I was the lead singer of Van Halen. Then I went back. They had told me they were gonna go on MTV and they didn't say anything about going on MTV with David Lee Roth though (laughs).
"So, but he told me they were going on MTV cause MTV wanted them to present to support the new Van Halen. We'd really like you do this and (winks eye) well help out the new Van Halen kinda thing. Help us out we'll help you out. So, that was the deal.
"And then when Roth walked out. I mean I was at home in Nashville. I'd flown back to Nashville. So, I was like (makes big eye expression) 'uh oh'. This isn't going to work."
That confused his status with the band. "Yeeeah, well but the weird thing was that I wasn't replaced by, that's the misconception. David wasn't back in the band during that presentation. That's why things were so problematic because Ed and Al freaked out backstage. They got into a fight backstage because Dave was making it like 'I'm back in the band'. It was just a like a commercial spoof to get people to buy the best of thing.
"Dave was never back in the band. Yeah so I was like 'uh oh everyone thinks Dave is back in the band this is not going to work'. This is like suicide for any singer that steps in. Like the whole world thinks, the whole world saw that.
"So I talked to them and said 'I don't think this is going to work. I think that was kinda put the nail in the coffin for any new singer who comes in.'"
|Posted on August 11, 2019 at 8:40 PM||comments (0)|
In an interview with Xander from Total Rock Radio at this year's Wacken Open Air festival in Wacken, Germany, guitarist Oscar Dronjak of Swedish metal veterans HAMMERFALL delved deep into his songwriting process. With 11 studio albums under their belt, including HAMMERFALL's forthcoming effort, "Dominion", Dronjak explained how advancements in modern technology and the band's heavy touring workload have changed the way in which he composes.
"I haven't really gotten into [songwriting at home]," he said (see video below). "I can't believe I'm talking about it this way now. Before the previous album ['Built To Last'], I had never even had a single thought about writing songs before the album was out, but I already, in some ways, started. For me, it's a process. It's like a slow grinding wheel. It takes a while to get it going. Once it gets rolling, you keep it going. For me, songwriting is something that I really enjoy. But I have to be in the right mood to start. And I hadn't really had the time to relax yet, so far. I've written some stuff. I haven't had time to sit down and see if it's actually any good."
Dronjak also revealed that he uses his girlfriend as a sounding board for his early songwriting ideas. "I play it for her, but that's just a pre-taste — I want to play it for myself with an audience," he said. "But of course, she listens to it and has her opinions about stuff. She's not really a metalhead. She likes metal music, but she's not…I don't think she actually can tell — of course, anybody can say this is a good song or a bad song based on what they feel when they listen to it, but I think she might be a little bit afraid to give critique. Sometimes I play it just because I want to have reassurance. Sometimes I play it because I want to see what she thinks. She doesn't know because I never tell her. I should probably do that. During various stages of the songwriting for every album, I have these little listening sessions for myself and now with her, of course. My son, he doesn't care, but he's there any way at the same time. Just play all the songs we have and drink a couple of beers. I treat it like it's a party for this, just to see where we're at, to get a feel for it. Those are the best times. I like those very much. I had a couple of those for this album. For 'Built To Last', the previous album, I had none because we had no time. It was so stressful. I didn't want to do that again for this album, for 'Dominion'. We started writing songs really early just to be ahead of the schedule instead of behind all the time."
"Dominion" will be released August 16 via Napalm Records. For the album, HAMMERFALL re-teamed with James Michael to do vocals at Red Level Three studios, and Fredrik Nordström of Studio Fredman at Castle Black Studios for the instruments on the 12-song collection.
|Posted on August 11, 2019 at 8:35 PM||comments (0)|
The topic of gun violence has been back in the headlines this past week after back-to-back mass shootings in El Paso and Dayton, but sadly it's a topic that has surfaced repeatedly throughout the year. In separate discussions, both Corey Taylor and Nikki Sixx have added their thoughts to the conversation.
Taylor, who was interviewed by The Independent prior to the El Paso and Dayton shootings, stated about the topic of gun violence, "There are too many fucking guns in America. I could walk outside right now and find a gun within minutes. There’s a very toxic gun culture here, it’s a cult, and it worries me.”
The vocalist added, “Music is an easy target because [people in authority] don’t understand it. There’s a complete lack of effort to try to understand it, and a lack of willingness to take any portion of the blame for these events."
He continued, “If you’re looking for a certain kind of rhetoric, whether it’s hating black people or gay people or whatever, there are thousands of sites with people posting about it. We’re seeing the repercussions of a failure to address that. They still wanna blame the fucking music, and it’s been happening since the Sixties to ‘85 with Tipper Gore…”
Sixx, meanwhile, posted a photo of the recent issue of Time Magazine that features all of the cities where gun violence has taken place on Facebook and added his own commentary in which he hoped to open up a constructive discussion on what can be done.
His statement reads as follows:
"I AM A GUN OWNER.I WAS RAISED HAVING GUNS LIVING IN THE COUNTRY.THIS IS NOT A PARTY OR A POLITICAL ISSUE ITS A HUMAN ISSUE THAT POLITICIANS CAN FIND SOLUTIONS FOR. THE PURPOSE OF SAVING LIVES. More than 250 mass shootings in America so far this year, according to the Gun Violence Archive. This week’s @TIME cover features the communities forever changed by these horrific acts of violence.
NOBODY IS TRYING TO TAKE YOUR GUNS AWAY.LET THE CONVERSATION BE CONSTRUCTIVE. Background checks on Ammunition? It’s one of a 100 constructive ideas we can discuss… PS. Please don’t show your ignorance here. This is an opportunity to think outside the box. I am trying too."
They join such other rockers as Dee Snider, Billie Joe Armstrong, Alex Skolnick, Phil Labonte and Mark Morton who weighed in on the topic shortly after last weekend's two mass shooting incidents.