|Posted on July 22, 2019 at 9:35 PM||comments (0)|
Pinnacle Music Group have announced that the legendary guitar virtuoso, Marty Friedman, will be returning to Australia, for the first time with his full “Super Band” across four very intimate venues.
With a career of over 30 years with some of the world’s biggest heavy metal acts on top of an absolutely monumental solo career, Marty Friedman is a household name for guitarists across the world, and Australian fans get the chance to see the legendary shredder himself tear it up onstage in four incredibly intimate venues, giving fans a once-in-a-lifetime opportunity to experience Friedman’s guitar wizardry closer than ever before.
Ultimate VIP Packages Available! - You all have heard how great the VIP packages were for Marty's US and Europe tours - this time will top even that. What you get with this great package:
- Meet Marty and have ALL your items signed - no limit
- Photo with Marty - with your own camera
- Chat with Marty - no rush through
- Exclusive Marty Friedman guitar pick - the exact same one he uses
- And the rarest of the rare—the VIP only CD, Marty's Vault 4: Wicked Sh*t From Japan
If you know anything about the previous VIP packages, you will know that participants all received Marty's Vault 1, 2 & 3. Those are not available anywhere anymore. The new 75 minute Marty's Vault “4” CD continues in a series of Marty's recordings that he has done in Japan that have not been heard outside of Japan and contain some of Marty's finest and favorite playing of his career. This is a must have for any Marty collector and is not for sale anywhere and ONLY available with the VIP package.
VIP packages are limited. To get yours now, please send an empty email to: firstname.lastname@example.org
Tickets for the Australian tour are on sale now via pinnaclemusic.eventbrite.com or Oztix.
11 - Sydney, Australia - Crowbar
12 - Brisbane, Australia - Crowbar
13 - Melbourne, Australia - Bendigo Hotel
14 - Canberra, Australia - The Basement
|Posted on July 22, 2019 at 9:30 PM||comments (0)|
Three years after titling his self-named band's album This House Is Not for Sale, Jon Bon Jovi has gone back on his word. The High Point Estate, his 15-acre estate in Middletown, N.J., is on the market for $20 million.
According to the listing, held by Gloria Nilson at Christie's International Real Estate, the six-bedroom, nine-bathroom (seven full, five half) was built in 1999 and has 18,000 square feet of living space. Designed by Robert A.M. Stern, the house is described as a "French-inspired chateau" that's been "masterfully designed" with "sumptuous living spaces." It's marked from the outside by French balconies, large windows, wrought iron, solid wood double-doors, brick courtyards and a wide driveway.
Inside is a 50-foot living room with 12-foot ceilings, an elevator that runs from the basement to the second floor, movie theater, staff quarters and a master suite complete with a balcony, curved steam shower, his-and-her walk-in closets, a private hallway and a kitchenette. The kitchen features hand-painted beams, modern appliances and alabaster counters.
The property sits on the Navesink River, offering 750 feet of frontage, as well as water views from the breakfast room, family room, dining room, the master bedroom and one of the other bedrooms. The yard consists of formal, manicured lawns and gardens, a heated outdoor pool with cabanas, a pub and a three-bedroom carriage house built in 1910. The stables on the property have been converted into a recording studio.
In February 2018, Bon Jovi sold his duplex in New York City's West Village for $15 million. The asking price had been $17.2 million.
CHRIS JERICHO: FOZZY Is 'More Than Ready, Willing And Able To Continue The Vibe' of Classic Rock And Metal Bands
|Posted on July 22, 2019 at 9:15 PM||comments (0)|
FOZZY singer Chris Jericho has dismissed the notion that rock is dead, saying that "rock and roll's exactly where it's always been."
While rock 'n' roll has been king of the music world for decades, in the past few years, it's been unseated by the growing popularity of hip-hop. This has caused many pundits to proclaim the genre "dead" from an industry perspective, noting that it has been eclipsed in all measures by pop, hip-hop, and EDM.
Jericho, who is a former WWE wrestling superstar, spoke about rock's supposed diminishing status during a brand new interview with the "ROCKwell Radio" show on The Edge.
Addressing the whole "rock is dead" debate, Jericho said (see video below): "It's not dead. Rock and roll's exactly where it's always been, which is kind of under the surface. I mean, you go back to the '80s or the '90s, rock bands were always big, and you get a few like, like METALLICA or GUNS N' ROSES or NIRVANA, that break out, but most of the time, most of the bands I listened to were never mainstream. IRON MAIDEN's still not mainstream and still does twenty thousand people a night. So it's not dead. Rock radio is not dead. Rock radio is still very influential. We know it, because the last record, our 'Judas' record, we had three Top 10 singles and it took us to a completely different level. I didn't realize that before the album came out. I just thought, 'Rock radio — who listens to rock radio?' But a lot of people do.
"People still like to rock, man," he continued. "And no matter how big rap gets, or pop music, you're always gonna have that, that people still wanna rock. And that's a cool thing now, with all these bands up and coming, 'cause sooner or later, there won't be an AC/DC or a GUNS N' ROSES or a METALLICA or an IRON MAIDEN. Who's gonna take over? I know we're ready to do it."
Elaborating on his belief that FOZZY is capable of taking over from some of his musical heroes, Jericho said: "Like I said, people like to have fun. And when you go to a FOZZY show, we make sure you have fun. It's not a dirty word. Drink some beer. Chant 'FOZZY.' Show your boobs if you're a guy or a girl — we don't care. Just have fun. And all the bands I love have that vibe.
"KISS is done after this [last] tour," he added. "THE [ROLLING] STONES, we don't know how much longer they're gonna be rocking. But we are more than ready, willing and able to continue the vibe of what we're talking about, which is just enjoying yourself and being happy to be alive."
Jericho recently confirmed to the FM99 WNOR radio station that FOZZY will enter the studio later this year to begin recording its new album, but that the follow-up to 2017's "Judas" won't arrive until 2020.
FOZZY's fall tour starts on September 5 in Denver and wraps on September 28 in Atlanta. The trek includes a September 14 date in Los Angeles opening for MAIDEN.
Check out the interview below:
|Posted on July 22, 2019 at 9:10 PM||comments (0)|
Queen’s video for their classic 1975 track Bohemian Rhapsody has passed the 1 billion views mark on YouTube.
It’s now the first pre-1990’s video to reach 1bn views on the platform – and Queen have celebrated the milestone by releasing a remastered, hi-def version of the promo and announced a campaign titled You Are The Champions.
Queen have teamed up with YouTube Music, Universal Music Group and Hollywood Records for the initiative, which will give fans the chance to have a starring role in three new user generated videos for a trio of the band’s best-loved songs.
Queen are looking for musicians, singers, and instrumentalists for their take on Bohemian Rhapsody, while dancers are invited to submit their own routines and interpretations for Don't Stop Me Now. Visual artists will also have the chance to design something eye-catching around a word or phrase from A Kind Of Magic’s lyrics.
Queen’s Brian May and Roger Taylor say: “We are honoured that Bohemian Rhapsody has just hit 1bn views on YouTube. We want to thank you all and celebrate with our amazing fans all around the world by creating three new music videos to our songs, all featuring you!
“Whether you are a musician, singer, dancer, visual artist or you just want to have some fun. Visit the You Are The Champions website to find out more and we’ll see you on the road somewhere.”
The completed videos will be uploaded later this year to the official Queen YouTube channel.
|Posted on July 22, 2019 at 9:00 PM||comments (0)|
Dream Theater have announced the second North American leg of their Distance Over Time tour, splitting their set between new and classic songs in addition to the performance of Metropolis Part 2: Scenes From a Memory in its entirety.
The 27-date tour begins on Sept. 26 and will run through Nov. 11, bringing over two hours and 45 minutes of prog metal to the stage each night on the "Evening With" styled trek.
See the complete list of stops below and for additional ticket information, head to Dream Theater's website:
While Dream Theater have a new album, Distance Over Time, to promote, they're keeping one foot in the present and one foot in the past, not sleeping on the 20th anniversary of their defining concept record.
Dream Theater 2019 North American Fall Tour Dates:
Sept. 26 — Louisville, Ky. @ Louisville Palace
Sept. 27 — Indianapolis, Ind. @ Murat Theatre at Old National Centre
Sept. 29 — Canton, Ohio @ Canton Palace Theatre
Oct. 01 — Peoria, Ill. @ Peoria Civic Center
Oct. 02 — St. Louis, Mo. @ Stifel Theatre
Oct. 04 — Baltimore, Md. @ Hippodrome Theatre at the France-Merrick Performing Arts Center
Oct. 05 — Raleigh, N.C. @ Raleigh Memorial Auditorium
Oct. 06 — Richmond, Va. @ Dominion Energy Center
Oct. 08 — Charleston, S.C. @ North Charleston Performing Arts Center
Oct. 09 — Asheville, N.C. @ Thomas Wolfe Auditorium
Oct. 11 — New Brunswick, N.J. @ State Theatre New Jersey
Oct. 12 — Albany, N.Y. @ Palace Theatre
Oct. 15 — Brookville, N.Y. @ Tilles Center for the Performing Arts at LIU Post
Oct. 17 — Chattanooga, Tenn. @ Tivoli Theatre
Oct. 18 — Memphis, Tenn. @ Graceland Soundstage at Elvis Presley’s Memphis
Oct. 19 — Biloxi, Mo. @ Hard Rock Hotel & Casino Biloxi
Oct. 22 — San Antonio, Texas @ Majestic Theatre
Oct. 23 — El Paso, Texas @ Abraham Chavez Theatre
Oct. 24 — Mesa, Ariz. @ Mesa Arts Center – Ikeda Theatre
Oct. 26 — Tucson, Ariz. @ Tucson Music Hall
Oct. 27 — El Cajon, Calif. @ Magnolia Performing Arts Center
Oct. 28 — Riverside, Calif. @ Fox Performing Arts Center
Oct. 30 — San Jose, Calif. @ San Jose Civic
Nov. 01 — Reno, Nev. @ Grand Theatre at The Grand Sierra Resort
Nov. 04 — Omaha, Neb. @ Orpheum Theater
Nov. 05 — Madison, Wis. @ Capitol Theater
Nov. 06 — Cincinnati, Ohio @ Taft Theatre
Nov. 09 — Syracuse, N.Y. @ Crouse Hinds Theater
Nov. 11 — Kitchener, Ontario @ Centre In The Square
|Posted on July 22, 2019 at 9:00 PM||comments (0)|
Geoff Tate will perform the QUEENSRŸCHE albums "Rage For Order" and "Empire" in their entirety on the "Empire 30th Anniversary Tour" in 2020.
1986's "Rage For Order" introduced a much more polished look and sound for QUEENSRŸCHE. The album featured keyboards as prominently as guitars, and the group adopted an image more closely associated with glam rock or glam metal than with heavy metal (of which glam metal was a subgenre). A video was filmed for the song "Gonna Get Close to You", originally recorded in 1984 by DALBELLO.
Released in 1990, "Empire" included the hit ballad "Silent Lucidity", which reached No. 9 on the Billboard singles chart, helped propel "Empire" to No. 7 on the album chart and earned two Grammy Award nominations.
Confirmed "Empire 30th Anniversary Tour" 2020 dates so far are as follows:
Feb. 21 - Jergels - Warrendale, Pennsylvania
Feb. 22 - Mount Ponoco - Mount Poncho, Pennsylvania
Feb. 23 - Town Ballroom - Buffalo, New York
Feb. 26 - Philadelphia, Pennsylvania
Feb. 27 - The Warehouse FTC - Fairfield, Connecticut
Feb. 28 - Stereo Garden LI - Patchogue, New York
Mar. 01 - Tupelo Music Hall - Derry, New Hampshire
Mar. 04 - The Haunt - Ithaca, New York
Mar. 05 - The Beachland Ballroom and Tavern - Cleveland, Ohio
Mar. 06 - The Token Lounge - Westland, Michigan
Mar. 07 - Arcada Theater - St. Charles, Illinois
Tate recently told MisplacedStraws.com that he will take the "Empire 30th Anniversary Tour" to "as many countries as I can and playing the album in its entirety, which I've never done before. So that'll be real fun. In fact, I think there's some songs on that album that I've never, ever played live before, so it'll be a treat — for me, as well, I think, for the audience too," the former QUEENSRŸCHE singer said. "I'm really looking forward to that."
Last November, Tate said that QUEENSRŸCHE was working on a 30th-anniversary edition of "Empire", telling Eonmusic: "There's a box set thing coming out for that. I'm kind of in the process of working with them on it right now. I can say from my perspective looking it, it's going to be a phenomenal box set, and I'm really looking forward to it. I'm contributing all kinds of stuff, from interviews to comments to liner notes — yeah, you name it."
When pressed about the musical content, however, the singer remained tight-lipped. "I know exactly what it's going to be, but I can't tell you exactly right now — it's too early," he said.
Tate told Eonmusic that one song from "Empire" that was rarely performed live is "Anybody Listening?" "When QUEENSRŸCHE was together, we never really put that song in our set. We just had a hard time playing it, for some reason; it just never jelled or felt right. And I'd really like to play that song again, and play it right."
In April 2014, Tate and QUEENSRŸCHE announced that a settlement had been reached after a nearly two-year legal battle where the singer sued over the rights to the QUEENSRŸCHE name after being fired in 2012. Original QUEENSRŸCHE members Michael Wilton (guitar), Scott Rockenfield (drums) and Eddie Jackson (bass) responded with a countersuit. The settlement included an agreement that Wilton, Rockenfield and Jackson would continue as QUEENSRŸCHE, while Tate would have the sole right to perform the albums "Operation: Mindcrime" and "Operation: Mindcrime II" in their entirety live.
Tate has been replaced in QUEENSRŸCHE by former CRIMSON GLORY singer Todd La Torre.
Geoff recently celebrated the 30th anniversary of "Operation: Mindcrime" on European and U.S. tours.
Tate's post-QUEENSRŸCHE band OPERATION: MINDCRIME released three albums over three years as part of a trilogy: "The Key" (September 2015), "Resurrection" (September 2016) and "The New Reality" (December 2017).
|Posted on July 22, 2019 at 8:55 PM||comments (0)|
Sons Of Apollo have shared a live video of their performance of Dream Theater's "Just Let Me Breathe," from their forthcoming 'Live With The Plovdiv Psychotic Symphony'.
The group features former Dream Theater stars Mike Portnoy and Derek Sherinian, along with bass legend Billy Sheehan (The Winery Dogs, Mr. Big, David Lee Roth) and Jeff Scott Soto (ex-Journey, ex-Yngwie Malmsteen's Rising Force).
The new live package is set to be released on August 30th in various formats including standard digital album, Blu-Ray, special edition 3CD + DVD Digipak and a limited edition deluxe 3CD + DVD + Blu-Ray Artbook package.
Mike Portnoy had this to say about the song featured in the new live video, "In writing the setlist for Sons Of Apollo's very first tour, I knew we had to include a few songs from the Dream Theater album, Falling Into Infinity, which was the only full length studio album we did while Derek was in the band.
"I wanted to do 'Just Let Me Breathe' as it's one of the deeper cuts on the album and I knew SOA would absolutely slay it! Between Bumble, Derek & Billy's crazy guitar, keys & bass unison sections and Jeff's overall driving, funky vocal delivery (with myself on the verses & chorus and Bumble on the bridge),
"I knew the Sons would breathe a whole new life into this track and even kick it up a few notches! Plus, as the song's lyricist, I took artistic license and changed the lyric from 'Shannon Hoon' to 'Chris Cornell' to give it a little more relevance in 2019."
Watch the video here:
|Posted on July 22, 2019 at 8:45 PM||comments (0)|
As the rock world celebrated the life and achievements of Phil Lynott’s mom Philomena Lynott following her death in June, one moment from 2012 was mentioned time and time again. That was the year Philomena, then 81, took on the might of U.S. presidential candidate Mitt Romney.
It was by no means the biggest battle in her life – along with having to deal with her son's death as a result of drug issues in 1986, she'd endured poverty, racism, religious pressures and the pain of giving up two children for adoption over the years. While Phil's success with Thin Lizzy had given her a level of security she'd never had before, she never lost her fighting spirit, and often went back into action to protect his legacy after his death.
n comments reported around the world, she objected to Romney's campaign’s use of the Thin Lizzy classic “The Boys Are Back in Town." “Mitt Romney's opposition to gay marriage and to civil unions for gays makes him anti-gay – which is not something that Philip would have supported," Philomena said.
"Neither would Philip have supported his policy of taxing the poor and offering tax cuts to the rich, which [vice-president running mate] Paul Ryan is advocating. There is certainly no way that I would want the Lynott name to be associated with any of those ideas. ... I would not want Philip's music to be used in any way that could hurt a single person, and this is the effect of what happened with Paul Ryan using and abusing my son's music in that way. A lot of fans and musicians are very angry about it and I can fully understand why.”
Philomena knew she was right, because it was a fan who’d written to her at home in Ireland to tell her what was going on in America. John King, a member of the U.S.-based Thin Lizzy tribute band Emerald, knew of her strong feelings about protecting her late son’s legacy.
“I am a singer-songwriter, and a firm believer in musicians being remunerated properly for their published work,” King tells UCR. “I’d seen the Republican party use ‘Barracuda’ by Heart in 2008, and I was disgusted by it. I was aware the Wilson sisters stepped up and decried the action, but things got tangled up in a combination of music-business and political limbo, and the urgency and message was lost on many people.
“In 2012, I watched the roll-out of Mitt Romney and Paul Ryan," he continues. "I couldn’t believe my ears as I heard ‘The Boys Are Back in Town’ playing as their intro song! I was livid. I was beyond pissed off. … By then I was aware that Philo was ferociously protective of ‘her boy’ even after all those years. I knew she took shite from no one, and that reaching out to her would be a more direct path than attempting to approach anyone in the music industry or lawyers, or even politicians.”
A member of his band told him how to contact Philomena directly, so King sat down to write. “I explained what happened to the Wilson sisters, and how Romney and Ryan were the types of people that would not only steal from Phil, but if he were a U.S. citizen, their policies would probably harm, or even help kill someone like him: a black musical artist with a dependency," he recalls. "I told Philo how much Phil and his music had meant to me over the years, how I fronted Emerald, and how I admired her for all she’d done for him and the fans all over the world. I can’t recall all of that letter, but it turns out I didn’t have to.”
King had no reason to believe his approach had been all that special, but he felt it was important to do his bit. Having done so, and seen Philomena’s reaction, he could be forgiven for thinking it was over. That was before a letter arrived from Ireland with a Phil Lynott stamp.
“I was absolutely floored when I saw the return address and the Phil stamp.” King said. “I just looked at it for a while. I wondered who it was from, since celebrities often have ‘people’ who handle their correspondence. I cried when I read it and realized that I’d achieved my goal, and that the letter really did come right from her own hand.”
In her handwritten reply, Philomena wrote, “Dear John, I’m sorry it has taken to long to answer your letter. But I have been ill. I’m getting better now. I asked mt nephew to email you and thank you for letting me know about Romney using my boy’s music. Well, I put a stop to it. My message went round the world. I told everybody about your letter. I even read it on radio. You brought it to my attention. So thank you so much. My kindest regards to you and all your loved one[s]. I wish you great success. May God bless you and yours always.”
Underneath the dedication “always” and two hearts with two kisses each, a postscript reads, “Sorry about scribble but I’m writing in bed. If you need anything, I will try to help. Please keep in touch.”
For King – who has the letter and envelope framed on his wall – it was a validation of everything he believed about Phil and Philomena. “I got the feeling that she was an absolutely real person,” he says. “She showed everyone via her living example how to adapt to various circumstances, get through tough times, how to help others and how to survive tragedy. She was the epitome of a loving mother, and proved what faith, hope and love can do. A mother’s love got things done in a far more speedy and effective way than outreach to any industry channel ever would. Philo certainly cut through the red tape!”
The year of her death arrived amid a series of personal tragedies in King’s family, so her letter was on his mind even even before the news of her passing was announced. “I think of Philo when things are tough,” he says. “She went through more difficulty than I have, and she did it with grace, compassion and class. And she kicked some ass. She reminds me to put my head down and keep going. I also think of her in good times as well. She also inspires me to find joy in life. She reminds me that love and passion fuel the fire that keeps us going. I wish I would have met her in person, but the experience I have will last a lifetime.”
King, who plans to visit Ireland one day and pay tribute at the graves of both Lynotts, insists Philomena "was a badass long before [Phil] was a badass. She also turned out to be a sweetheart.”
|Posted on July 22, 2019 at 8:45 PM||comments (0)|
Motörhead's official social media pages have all been updated with a teaser video, including the tagline: "We interrupt your regularly scheduled programming for the following important news update..."
Watch the clip below, and keep an eye on motorhead79.com for updates.
|Posted on July 22, 2019 at 8:40 PM||comments (0)|
A video showcasing a 2019 remix of David Bowie’s classic track Space Oddity has been released to coincide with the 50th anniversary celebrations of Apollo 11’s mission to the moon.
The track has been remixed by longtime David Bowie producer Tony Visconti, with the video featuring footage of Bowie filmed during his 50th birthday concert at New York’s Madison Square Garden in 1997.
he promo also includes video shot and directed by choreographer Eduaord Lock which appeared on the backdrop of Bowie’s Sound And Vision tour in 1990.
The video made its premiere on Saturday at The Kennedy Center in Washington – the 50th anniversary of Neil Armstrong and Buzz Aldrin’s historic moon landing – which also came just days after Bowie released the single.
The Space Oddity remix featured on the double 7-inch single box set which was released earlier this month through Parlophone.
Along with the double 7-inch vinyl set, the package also includes a double-sided poster featuring an original Space Oddity press advert, and a Ray Stevenson shot of Bowie taken at the London Palladium on November 30, 1969.
In addition, the box set also features an info card and a print with an alternative shot taken by Jojanneke Claassen from the Space Oddity promo single cover session.
In April this year, a 7-inch singles box set titled Spying Through A Keyhole was released featuring nine previously unreleased Bowie demos.
Check out the "Space Oddity" remix here:
|Posted on July 21, 2019 at 9:40 PM||comments (0)|
Tapped to replace Clive Burr in 1982 after touring activities for "Number Of The Beast" concluded, drummer Nicko McBrain brought a degree of finesse and technicality that was largely missing from IRON MAIDEN's early output. Whereas Burr was often lauded for his heavy-handed, punk-oriented style, McBrain was largely the opposite, playing with a degree of dexterity and flair that helped primary songwriter Steve Harris take MAIDEN down more adventurous paths. He is now the third longest-tenured member of MAIDEN, behind Harris and guitarist Dave Murray.
McBrain spent his early drumming years playing for the likes of Pat Travers and French rockers TRUST, eventually falling onto the radar of Harris and MAIDEN during the group's initial European tour.
"My actual association goes back prior to my joining of the band," he told Washington D.C. radio station WTOP. "[In] 1979, they did their very first European date in Belgium. I was playing in a band MCKITTY and we were on the same bill with them. I got to see IRON MAIDEN's very first European show out of England. That was the night when I really got to know the band. That was the beginning, that day we played the show in Belgium with IRON MAIDEN and NAZARETH were the headline band. Steve saw I did an impromptu drum solo and a bass solo, because the guitar player's rig went down. Steve remembered my solo and said it was one of the best solos he'd ever seen, and he's not a solo guy, as you know. You'd very rarely hear Steve do a solo and you don't get a drum solo anymore. But that set me up to be the drummer when Clive started — he wasn't playing too well, and his heart wasn't in it anymore. The first drummer that came to mind was myself. I was in the right place at the right time."
Accounts vary on the reasoning behind Burr's 1982 dismissal. Burr — who passed away in 2013 due to complications from multiple sclerosis — disputed the long-held accounts of his instability due to alcohol abuse. Things unraveled when Burr temporarily left MAIDEN's "Beast On The Road" world tour to attend his father's funeral, with McBrain serving as his fill-in. By the time Burr returned, McBrain was already anointed as his permanent replacement.
"The late Clive Burr was a great mate and a fantastic drummer," he said. "He just lost the heart for it. I took his drum stool. The funny thing is, I was playing in a band in 1980 for a couple of years, a band called TRUST. When I left TRUST to join MAIDEN, and Clive actually went and did an album with TRUST that next year. We kind of swapped drum stools. It's quite a weird story. Not a lot of people know that, and now they do. I went off and I'm the second-longest surviving member of IRON MAIDEN. It's Steve, Dave, then me. Not Bruce [Dickinson, vocals]. Not Adrian [Smith, guitar]. Because both of them had a hiatus from the band. It's been an absolutely incredible, insane wonderful, glorious, biting fingernails, journey. There's never really been bad times with the guys, except when we lost a couple of engines on a very expensive airplane a few years ago. [Laughs]"
MAIDEN's "Legacy Of The Beast" tour kicked off on July 18 in Sunrise, Florida and will hit 33 cities across the U.S. and Canada. Support on the trek comes from THE RAVEN AGE. Additionally, FOZZY will be guests for the Banc Of California Stadium show in Los Angeles.
MAIDEN's 2019 North, South and Central America trek comprises 44 shows in six countries, which, combined with the band's 2018 European dates, means that by the end of this tour, the group will have taken the "Legacy Of The Beast" show to over one and three quarter of a million fans around the globe.
KOBRA AND THE LOTUS VOCALIST KOBRA PAIGE POSTS VIDEO MESSAGE TO THE FANS; COUNTDOWN TO NEW SINGLE RELEASE BEGINS
|Posted on July 21, 2019 at 9:35 PM||comments (0)|
|Posted on July 21, 2019 at 9:30 PM||comments (0)|
Metallica might be about to release a book about their history aimed specifically at younger fans, but a new range of jigsaws might be more your thing.
Zee Productions are about to release four separate 500-piece puzzles, each depicting the covers of the band’s first four albums: Kill ‘Em All, Ride The Lightning, Master Of Puppets and …And Justice For All.
Each is now available to pre-order, with the company previously releasing puzzles based around Iron Maiden, Motorhead, Judas Priest and Slayer.
Metallica are currently on the road on the latest European leg of their globe-spanning WorldWired tour. They’ll return to the US in September for two shows with the San Francisco Symphony Orchestra to celebrate the 20th anniversary of their landmark S&M live album.
|Posted on July 21, 2019 at 9:25 PM||comments (0)|
“Back then, any one of them could come up with a riff and the rest of them would build on it," says former Guns N’ Roses friend and photographer Marc Canter. “They were totally on the same page as far as what they wanted to do with music and they needed each other to come up with the best songs.”
It was at this stage in their career that Guns N’ Roses wrote the songs for their explosive debut Appetite for Destruction, which came out on July 21, 1987. The title of the album was a reflection of the young, rambunctious rockers who had a magical chemistry, but were just as likely to spend their time taking drugs, drinking copiously, fighting one another or anyone in their way, getting arrested -- or some combination of the above.
In an era of bad-boy rockers who weren’t terribly bad and wrote music that sounded too good, Guns N’ Roses were the genuine article. Their songs echoed with the love for rock and roll and the spirit of rebellion. When Geffen Records A&R man Tom Zutaut signed the band he had no idea what he had gotten into. No one else wanted GN’R because they were viewed as a liability, a band as likely to miss the show as perform a gangbuster set. Yet what Zutaut heard from vocalist Axl Rose, guitarists Slash and Izzy Stradlin, bassist Duff McKagan and drummer Steven Adler was inspiring and seemed to have the potential to be a profitable signing if they didn’t all die in an alcohol or drug related mishap.
“There are some bands that just can’t be stopped and you can sense it,” Zutaut says. “No amount of alcohol or drugs will slow them down. Guns N’ Roses were able to consume those things, yet, deliver at a live show and deliver in the studio. I don’t know if that makes them like gorilla glass on a cell phone or what, but there are plenty of bands that probably did less heroin than Guns N’ Roses and drank less alcohol, but imploded. For every Guns N’ Roses or Motley Crue that delivers, there’s probably 10 bands that are great but fall apart before they even become successful.”
Impressed by Guns N’ Roses’ ability to endure under adverse conditions, Zutaut paid producer Spencer Proffer $15,000 to record “Nightrain” and “Sweet Child of Mine,” as a test and if the chemistry was good he would stay on for the debut. He also agreed to record a few extra songs with the band for the EP Live Like a Suicide, which Geffen released in England under a different label to pique interest in the band before they toured there.
“Proffer didn’t produce those songs, his engineer just recorded them,” Canter says. “GN’R recorded those songs in two or three weeks at a time when they were totally out of control. Even Axl wasn’t in the best shape, and he was the cleanest out of all of them. But he was fooling around with whatever they were doing. Once he saw that they were totally spun out, he just stopped. But nobody showed up on time. They’d throw up or pass out in the studio. But they got the songs done. They recorded nine songs in that studio including 'Heartbreak Hotel,' 'Don’t Cry' and 'Welcome to the Jungle.' But they only used those four. And then they used 'Shadow of Your Love' as a b-side.”
The writing sessions for Appetite for Destruction were brief and frantic, largely because they band was aching to get into the studio again and record their first album, but also because they wrote many of the songs on their debut before the band got signed. McKagan had “It’s So Easy,” Stradlin presented “Think About You,” “Anything Goes" was a Hollywood Rose tune and Slash, McKagan and Adler had started “Rocket Queen” when they were in the band Road Crew. “Mr. Brownstone,” a warning of sorts about the allure of heroin, came quickly to Slash and Stradlin, largely because they wrote from experience.
“Slash once told me, ‘You know, you do heroin once and it’s such a high, that you want to do it again,” says the band’s former European publicist Arlett Vereecke. “The problem with that is, the minute you do it a second time, you’re addicted to it. Axl wasn’t really doing drugs because of the medication he was on. He was not a big drinker either. People have a misconception about that, but he was the clean and mostly sober one, really. He wanted to preserve his voice, and he was serious about it.”
“Axl was the only sober one and he was surrounded by guys that were either strung out on heroin, drugged out on pills or in an alcoholic stupor, and that added to some of the friction in the band,” added Zutaut. “Axl didn’t want to be around the guys that were all f--ked up.”
While Guns N’ Roses liked Proffer, they weren’t thrilled with his mix, so they searched for another producer. They recorded demos with Manny Charlton and talked to Paul Stanley of KISS, but he wanted to make changes to the drum set up that Adler unequivocally rejected. Robert John Lange exceeded the budget for the project, so the band went with Mike Clink, who had previously worked with Triumph. Guns N’ Roses started recording Appetite for Destruction in January, 1987. The band recorded the basic tracks in two weeks, then Slash recorded overdubs and Rose tracked his vocals.
The band finished most of their work between March and April at Rumbo Studios in Canoga Park, California, Take One Studio in Burbank, The Record Plant in Los Angeles and Can Am Studio in Tarzana. While the sessions were reasonably productive, there were days Rose wouldn’t show and then other times when the band’s handlers had to put out fires.
“Whenever they were home they’d get arrested just walking on the street,” Vereecke says. “At one point, Axl’s brother, Stewart, called me at five in the morning and said, ‘Good morning, Arlett.’ I said, ‘Really. It’s five in the morning. What’s up?’ He said, ‘Nothing really.’ I said, ‘It’s five in the morning. Something is up.’ He said, ‘Well, Axl would like to talk to you.’ I said, ‘Really? And what is he up to?’ And he said, ‘He’s in the cell next to me.’ I said, ‘What do you mean?’ He said, ‘Yes, can you arrange for a limo to pick us up in the morning? We’re in the drunk tank.’ That happened quite a bit, The police picked them up for drunkenness on the street and threw them in the drunk tank. Axl didn’t get drunk to the extent that the others did at all. But hey, he was still Axl, so he was an easy target.”
The most dramatic and episode that happened while Guns N’ Roses recorded Appetite for Destruction happened when Rose recorded the intro for “Rocket Queen.” He wanted it to start with sex noises and he wanted them to be authentic. “Steven’s girlfriend at the time showed up at the studio and basically Axl said to her, ‘Hey, do you wanna fuck? I want to record it and put it on the record,” recalls Zutaut. “And she was like, ‘Sure.’ She was probably strung out on dope, but there was no consideration for the fact that she was in New York staying with her boyfriend, who was Steven Adler. So we mic’d up this sexual session between Axl and his drummer’s girlfriend, and we recorded it, and the results of it ended up on ‘Rocket Queen.’”
The band finished the overdubs in New York City at Mediasound Studios, where the album was mixed; mastering took place at Manhattan’s Sterling Sound.
Despite it’s fantastic assortment of tracks, which included the fire and thunder of “Welcome to the Jungle,” the anthemic grandeur of “Paradise City,” the bluesy bluster of “Nighttrain,” and the melodic sentiments of “Sweet Child O’ Mine,” Appetite for Destruction didn’t blow up right away. Since months after its release, the album seemed to be stalled at 250,000 in sales and MTV refused to play the video for “Welcome to the Jungle.” Executives at Geffen approached the band and their manager Alan Niven and suggested they stop touring and start preparing their second record.
“MTV was afraid that if they played GN'R they would get thrown off of local cable TV channels,” Zutaut says. “It was absurd because I knew this band would get such a huge boost if we could only get the video played. So I asked David Geffen if he could help me out and get MTV to play ‘Welcome to the Jungle.’”
“There was an incredibly gorgeous girl who worked with us and she promised she would dance naked on MTV President and CEO Tom Freston’s desk if they would play ‘Jungle,’” Niven says. “We went at them with a full-court press. At the same time, I sent a blistering letter to the head of programming about what they were playing and what they weren’t because I thought, ‘F--k. They haven’t even looked at this video for six months. Are they ever going to view it?’ And bless his heart, the man took it in a very amused spirit and that turned his head around.”
Geffen convinced the head of MTV to air the video at 5AM on a Sunday as a personal favor. “That was all it took. They got so many requests after that they had to keep playing it.” Guns became a hit on MTV and a sensation live, and Appetite for Destruction turned into the best-selling American debut of all time, selling 18 million copies by September, 2008.
“There was nothing contrived about Guns N’ Roses,” and that’s why they were so popular,” Zutuat says. “They live the life, they were what they were, and everything they did was out of a musical passion and a musical desire to achieve their own vision, which was different than a lot of other people’s vision. They were the real deal and people loved them for it.”
|Posted on July 21, 2019 at 9:25 PM||comments (0)|
Available for streaming below is a sneak peek from the next episode of Sammy Hagar's Rock & Roll Road Trip.
"This Sunday, get ready for a jam session like no other as Sammy hosts a special drummer episode featuring Kenny Aronoff, Jason Bonham and Sheila E. See what happens when the folks in the back are put in front of the camera for an interview and a drum off unlike anything before seen on the show."
|Posted on July 21, 2019 at 9:20 PM||comments (0)|
Rolling Stones veteran Ronnie Wood is working on his first solo album in nearly a decade, and it’s set to be released alongside a documentary about his life in October, according to a report.
The Sun said that both projects had been underway for four years, and that Wood had struggled to find time to do everything he wanted to over the time period.
“This album and the TV show is a big deal for Ronnie,” the newspaper quoted a source as saying. “He hasn’t done any solo recordings since I Feel Like Playing and Live in London in 2010. He felt it was time to tell his story with a programme he fully cooperated with. It’s likely to be with the BBC or Netflix and offers a very candid look back on his life.”
The report added that Wood had “found time to nip into a recording studio in south-west London to put the new album to bed” in between his other commitments. Along with the Stones’ No Filter tour and the possibility of a new LP from the band, Wood endured a cancer battle, celebrated the birth of twins and released some of his artwork in recent years.
"There was a week when everything hung in the balance and it could have been curtains – time to say goodbye," he said after successful cancer surgery. "I was prepared for bad news but I also had faith it would be OK. Apart from the doctors, we didn’t tell anyone because we didn’t want to put anyone else though the hell we were going through. But I made up my mind that if it had spread I wasn’t going to go through chemo, I wasn’t going to use that bayonet in my body." Asked why, he explained: "I wasn’t going to lose my hair. This hair wasn’t going anywhere."
|Posted on July 21, 2019 at 9:15 PM||comments (0)|
In conjunction with a recent Metal Hammer retrospective on SKID ROW's self-titled 1989 debut, guitarist Dave "Snake" Sabo spoke at length about the album with writer Clay Marshall. Some select "outtakes" from the interview appear below (as transcribed by BLABBERMOUTH.NET).
On whether, 30 years later, he'd change anything about the album:
Snake: "I think there's been times throughout the existence of the record that yeah, I felt like that, but not anymore. I think right after the record was done, I was questioning everything, because that's who I was at that particular time in my life — questioning everything, completely unsure of what I did, what we did, praying that someone would buy the record, not knowing if anybody would, wondering what we were going to do if it failed. All those things — I was so worrisome, not allowing myself at all to be mindful and to be living in the moment. I was just so worried — so nervous and worried and questioning everything. 'I should've done this differently. I should've done that. This tone should have been that instead of that.' I went through that several periods during the life of the record. I think it's been a while now where I just look at it and I go, 'No,' because if you mess with one thing, you mess with the fate of that record. You change the whole balance of it in some way. There's a butterfly effect. I look at it now, because I'm older and a slight bit wiser."
On the abrasive, unexpected squeals in the guitar solo of hit power ballad "I Remember You":
Snake: "I guess it's a Jersey thing... It was so important just for us to be who we are, and to be who you are while at the same time figuring out who you are, it's a tricky thing, but it's exciting, because it's about discovery, and those bits and pieces — those little things like that — that's part of the essence of who we are as guitar players. While it certainly didn't seem out of place for me — it made perfect sense, Scotti [Hill, guitar] having that in there; I was like, 'Yeah, that's who he is as a guitar player. That makes total sense' — but the fact that it's in the middle of this soaring ballad, that's really interesting, and the fact is, it works because it's honest. As people always say, guitar players, the solo should be an extension of the story that you're attempting to tell of the song. It can't just be a vehicle to go berserk over for the sake of showing your acrobatics as a guitar player. It's got to enhance the song, for that part of the song — it's kind of, 'Okay, what are you saying here?' That's the beauty of Scotti's playing more so than mine — that he just captures a particular mood of the song and is able to extend it to another place and continue the story, and it works seamlessly between a vocal, his solo and then back into the vocal. He's always been able to do that with what looks to me like relative ease, and I've always been really enamored with that part of his playing. That was one of the reasons why, when he jammed with us at the very beginning and he had said, 'I'll just play rhythm.' I was like, 'There's no way. You can't. You're such a [good] guitar player. That would be a travesty. It would be criminal.' He's really adept at that, and somehow, the guitar isn't being an extension of him. The solo becomes an extension of the melodies of the song, and he's really good at that."
On Rhino's recent 30th anniversary "deluxe" digital reissue of the album:
Snake: "I was really pissed, to be quite honest, that Rhino remastered it, because it shouldn't have been remastered. I hate that. I hate when things are done, number one, without your permission. We didn't have a say-so in that. That's the record business — they own your masters; they can remaster it if they want. That's the life you choose, and that's one of the byproducts of signing a record deal — they get to own those masters for a minimum of 30 years. They've got them for 31, so they get to remaster it even though I don't see the point of it. If you're going to remaster it, then why don't you remix it? Then why don't you just do different parts, then? Everything has its point and its purpose of why that record has existed for 30 years. It's had whatever impact it's had on people because of the way that record is, so why would you remaster it? Does it sound better? I don't know. To be honest, I haven't even heard it. But for me, I don't get it. You sit there and you're celebrating 30 years of something that apparently to a lot of people has a profound impact on, and I'm so thankful of that, and proud and humbled by that. If you would have said to me 30 years ago that this would have been the case, I would have said, 'You're full of bullshit,' because we were just hoping that we sold enough records to have an opportunity to make another record. I kid you not, man. Rachel [Bolan, bass] and I would talk and be like, 'Man, I hope we get to do this again,' not knowing what lies ahead. That was the beauty of that innocence. You're like a newborn experiencing the wonderments of the world for the first time. We were experiencing that world for the very first time. Even though I had seen Jon's [Bon Jovi] success and I had been privy to all of that — watching him struggle, watching him put together a band, the songwriting process, the things that he deemed as failures. They didn't have success — like, monumental success — until their third record, so watching him and the band struggle. 'Richie [Sambora, guitar], what are we going to do?' Knowing that that was what happened along that path, but that was happening to me directly. I wasn't experiencing that as if it were my own, so when we were going through it as it was our own, wow — what a trip. Through that, you're dealing with all the different personalities that come to the forefront as you travel down that road. It's wild, man."
On the band's legacy:
Snake: "I embrace our history. I embrace what we've done. I embrace all of it, from beginning to now, because without any of it, we're not here... I love going out and playing '18 And Life' and 'Youth Gone Wild', because without those songs, we're not playing — we're not doing this. How can you turn your back on that? You have to embrace it. You have to embrace the history of it, regardless of where we all are as individuals separately and collectively. There's no denying what we were able to do at that particular time in our lives, so I'm thankful for that, proud of all of it, and of everybody that took part in that — the five of us who played on the record and the songwriters and the management and the label and the press people and the BON JOVI guys and all of the bands that we were able to tour with thereafter. All of it. It always starts and ends with the music, and that's what we're celebrating here. I'm lucky — I'm really, really lucky, man. I get to celebrate it every single day, because I get to go out and play these songs that I helped create and still get to play and see people's faces and how much it means to them. That's the most amazing payoff in the world, that I get to sit there and see people's faces light up and sing those lyrics back to us that we wrote however long ago, and had no idea whether they would touch one person, much less as many as they have. I'm blown away by it. Here's another thing — here's the craziest thing, too. To be able to be driving in a car, taking my kids to school in the morning, and one of those songs pops up on the radio. You're sitting in the car with your kids, and you're going, 'Wow. What an unbelievable life I have.' This isn't a put-on, man; this is truth — I am absolutely humbled by it, and I have so many great, amazing memories of that period of time. Things turn out the way they turn out, but you cannot take away what existed, and what we've all been through together at that particular time. A lot of people that played in a part of that, I may not have spoken to in a long time or have seen, or don't even know where some of them are, but [to] everybody that was involved that played some sort of role in it, I'm forever thankful."
"Skid Row" was released on January 24, 1989 via Atlantic Records. Six years later, the album — which yielded the hit singles "18 And Life", "Piece Of Me", "Youth Gone Wild" and "I Remember You" — was certified quintuple-platinum by the Recording Industry Association of America (RIAA) for shipments in excess of five million copies in the United States.
|Posted on July 21, 2019 at 9:10 PM||comments (0)|
AC/DC are streaming live performance video of the title track to "Highway To Hell" from a 1979 Dutch television program as they mark the 40th anniversary of the classic album.
Filmed live at the Rijnhal arena in Arnhem, Holland just two weeks ahead of the project's release in the summer of 1979, the footage originally aired on the music series "Countdown" before it surfaced as part of the band's "Plug Me In" DVD box set in 2007.
Singer Bon Scott's final record with the group before his passing in 1980, "Highway To Hell" marked the band's commercial breakthrough after years of endless touring; it would set the stage for 1980's "Back In Black" - dedicated to Scott and featuring new addition Brian Johnson - to go on to become one of the best-selling albums in music history.
The official online debut of the 1979 live footage follows AC/DC's return to social media this past week for the first time in two years amid speculation that the outfit are preparing to announce plans for a world tour that may include the return of Johnson, retired bassist Cliff Williams and drummer Phil Rudd to the lineup.
Johnson and other band members were spotted at a Vancouver recording studio last summer as reports surfaced that the group were working on a new album, with sessions later confirmed by longtime AC/DC engineer Mike Fraser.
Watch the "Highway To Hell" performance here:
|Posted on July 21, 2019 at 9:05 PM||comments (0)|
A problematic report has just surfaced, revealing a representative for Metallica conspired with Live Nation to place up to 88,000 concert tickets directly on the resale market. Billboard obtained a taped conversation between Metallica associate Tony DiCoiccio and Live Nation president of U.S. concerts Bob Roux discussing the scheme in detail.
Billboard reports the recording was made in February 2017, shortly before Metallica launched their WorldWired tour in North America. The call depicts Roux’s frustration in Ticketmaster’s refusal to give tickets directly to resellers and his strategy to implement a ticket reselling scheme. The Live Nation president suggested, “Either a Live Nation employee or a venue box office basically take these and sell them into a singular account.”
"When this happens, 4,600 tickets into a single account, there may be some eyebrows that get raised,” Roux adds. "That's the part I'm trying to figure out with Tony. You want to keep this quiet, but there isn't a good way for the light bulbs not to go off."
An executive who was also on the line, Vaughn Millette — now chairman and CEO of Outback Presents — sent the recording to Live Nation executives and board members on June 27 “to alert them of information he had collected while working with the company as a business partner.” The call was eventually given to Billboard from “a source close to Live Nation.”
When confronted with the call, Live Nation admitted to quietly transferring concert tickets into the hands of resellers over a number of years. “About a dozen artists out of the thousands we work with asked us to do this [between 2016 and 2017].”
Live Nation adds, "Since then, requests like these have declined virtually to zero as tools like dynamic pricing, platinum seats and VIP packages have proven to be more effective at recapturing value previously lost to the secondary market. Standard practice is to [now] use Ticketmaster's Platinum, VIP and other tools to help tours price closer to true market value.”
“In this situation, a consultant for [Metallica] opted to use the secondary market to try to capture that value.”
Roux and Millette conspired to resell up to 4,400 tickets per show for 20 Metallica concerts on the WorldWired North American tour. Millette would have access to 2,640 premium tickets and 1,780 “troubled” seats (harder for Live Nation to sell) for each show.
The deal gave 40 percent of the resale revenue to Metallica, 40 percent to Live Nation, 12 percent to DiCioccio and 8 percent to Millette. A separate source claimed Live Nation’s share was lower.
After attempting to sell up to 88,000 tickets over a period of six months, Millette ultimately lost money, despite Metallica’s tour grossing $111 million in 2017.
DiCoiccio is an extremely close confidant of Metallica. A Metallica rep detailed exactly how close DiCoiccio is with the band, telling Billboard, "If there's five seats on the jet flying home, it's the band and Tony.”
According to Metallica reps, the band was unaware of DiCoiccio’s dealings with Live Nation. As of this posting, he is still employed directly by Metallica, working as a ticketing consultant.
|Posted on July 21, 2019 at 9:00 PM||comments (0)|
Clint Switzer of the "Music Mania" podcast recently conducted an interview with VIXEN frontwoman Lorraine Lewis (also of FEMME FATALE).
You can listen to the entire chat below:
A few excerpts follow (transcribed by BLABBERMOUTH.NET).
On joining VIXEN in January:
Lorraine: "First of all, I'm so honored and excited to be a part of VIXEN. They are a staple in rock and roll and metal and chicks that rock. I'm super honored to be with them and to be even asked to step in was a great honor. I'm hoping that I'm doing a good job and hoping I'm doing the songs justice, et cetera. I am loving being with the girls. I have history with the girls, for sure. I go way back with them. We were all getting record deals around the same time back from the Sunset Strip days. It's just amazing to go full circle, then be able to hang out with these girls 30-plus years later. I feel like it's a big slumber party every time we're together. It's super fun."
On whether it was "easy" for her to step in and replace original frontwoman Janet Gardner:
Lorraine: "As far as I know, VIXEN being Share [Ross, bass] and Roxy [Petrucci, drums] at this point, the original members, they never want it to end. They were definitely looking to the future and 'Okay, what are we going to do if Janet bails? If Janet decides to do something different?' it was kind of a teaser for me, doing the Oklahoma show [in 2018]. I really enjoyed it so much. It was kind of one of those things where it was too weeks in the making. They called me two weeks before they went on the Monsters Of Rock cruise 2018 and said, 'Hey, Janet might not be doing this show. Would you be able to do it with us?' Because she had the aneurysm. I said 'Look, let me look at the material. I definitely want to help you guys out.' Janet definitely sings a lot higher than I do naturally. Janet has got an angelic voice. I'm a little bit lower vocally and a little bit raspy, and just a little bit different kind of a singer. I was a little nervous, to tell you the truth. I was like 'Oh dang. How am I going to take over for Janet Gardner?' I really did my homework. I really spent a lot of time with the songs because I really wanted to do the best job that I could do. I learned them all and did the Oklahoma show, and all in all with no rehearsals or anything, it came off without a hitch. That was the beginning; that kind of set the groundwork for the possibility of working together in the future. I wasn't really thinking that anything more was going to come out of it. I just thought 'This is just a one-off and that's it.' Then when they contacted me in January and said, 'It looks like Janet might be leaving. What do you think about joining VIXEN?' Number one, I was over-the-moon excited, then nervous as all hell. Because I was like, again I'm not Janet Gardner. I'm Lorraine. I know how to sing like Lorraine. I definitely do my best to honor the songs and do my best to sound, give the songs Janet's flavor, but it's still Lorraine singing Janet Gardner. That's just the truth. I know that I'm doing the best job that I can. I hope the fans love what I'm doing. Then we're looking to get some new music together so that's a merger of the two camps, basically FEMME FATALE and VIXEN and adding Britt [Denaro, guitar]. We're going to be a whole different machine once that starts as well, still honoring the VIXEN sound."
On VIXEN performing FEMME FATALE songs live:
Lorraine: "I'm super flattered, super honored that they even brought it up. I was not going to push the issue at all. I mean, I'm stepping into VIXEN. This is VIXEN's deal; this is VIXEN's show. VIXEN is the forefront of women in rock. Aside from THE RUNAWAYS, this is the only all-female band that I ever knew of was VIXEN. I'm definitely stepping into their camp and want to honor their camp the best as I can. At the same time, I'm just flattered that they want to do a couple of FEMME FATALE songs. They were hit songs. So it's really a cool thing to have VIXEN…I turn and I look and I see Share rocking to 'Waiting For The Big One' and I hear Roxy on drums with those fills and it's effing awesome to see it and have them playing those songs. They play them impeccably. I just feel really, really happy. It feels really good. Britt doesn't miss a lick. She's an amazing guitar player. All of the solos from the VIXEN songs she's nailing. She does the same thing with the FEMME FATALE songs. It's very cool to have VIXEN performing FEMME FATALE. It's very cool. I don't think that people knew that was going to happen. It's kind of a surprise when you come to a show."
Prior to Lewis's addition to VIXEN, Petrucci, Denaro and Ross vowed to "expand upon the VIXEN legacy while remaining true to our musical roots."
Gardner, who released her debut self-titled solo album in 2017, broke the news of her exit from the group on January 16.
Gardner, Petrucci and Ross are considered to be part of VIXEN's classic lineup, along with founding guitarist Jan Kuehnemund, who died of cancer in October 2013.