|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.
|Posted on August 11, 2019 at 8:30 PM||comments (0)|
The setlist on the night was as follows:
"Slide It In"
"Love Ain't No Stranger"
"Hey You (You Make Me Rock)"
"Slow An' Easy"
"Ain't No Love In The Heart Of The City"
"Trouble Is Your Middle Name"
- guitar duel -
"Shut Up & Kiss Me"
- drum solo -
"Is This Love"
"Give Me All Your Love"
"Here I Go Again"
"Still Of The Night"
"Burn" (Deep Purple)
|Posted on August 11, 2019 at 8:30 PM||comments (0)|
Organizers of Kruise Fest, a two-day fan-organized event scheduled around the 2019 Kiss Kruise, announced that Ace Frehley would appear with his former Frehley’s Comet colleagues and also with his current band in Miami, FL in October.
The Kruise Fest takes place on October 28 and 29, before the ninth annual cruise begins on October 30. Appearances by Bob Kulick, John Corabi and Sebastian Bach have also been confirmed at the DoubleTree Hilton Convention Center.
On October 28 performers include the Kruise Fest All-Star Band. “Anchored by Ace Frehley's touring musicians, the group will be joined by Grammy winners John Regan and Bob Kulick, and artists including Richie Scarlet and Tod Howarth, with more to be announced,” a statement said. The following evening will see a performance by Return of the Comet, which includes ex-Frehley’s Comet members John Regan, Howarth, Scarlet and Steve “Budgie” Werner.
“Tuesday's headliner will be none other than the Spaceman himself, Ace Frehley,” the statement added. “Ace will be performing a full set with his band and will jam two songs with Return of the Comet for a once-in-a-lifetime experience for those in attendance.”
Two previous Frehley’s Comet reunions have taken place – one in 2017, which featured Regan, Howarth and Scarlet, and one in 2018 which also featured Anton Fig, completing the classic lineup.
Kruise Fest organizers Joe D'Angelo, Neil Davis, Jay Jadofsky and Bill Alward described themselves as “die-hard Kiss fans as well as veteran members of the Kiss Army and Navy,” and said the festival was “by the fans – for the fans.” Full details can be found at the Kruise Fest website.
|Posted on August 8, 2019 at 9:35 PM||comments (0)|
It’s always tragic when a metal fan dies, and his death goes on trial for all to see, be it the 19-year-old Lamb of God fan who died in Prague, resulting in the Manslaughter case against vocalist Randy Blythe, or the two boys that allegedly tried to kill themselves in a suicide pact for their favorite band Judas Priest; there’s nothing victorious about a musician winning a case that involved an unnecessary death.
One of the most publicized metal death cases wrapped up on Aug. 7, 1986, when a judge threw out a lawsuit that claimed Ozzy Osbourne and two record labels encouraged a teenager in California to shoot himself in 1984. The 19-year-old, John McCollum, had been listening to Ozzy’s “Suicide Solution” the night he committed suicide with a .22 caliber handgun.
His parents filed suit in civil court in October, 1985, claiming that it was criminally negligent of Osbourne to include “Suicide Solution” on the 1980 album Blizzard of Ozz, and that his labels Jet and CBS Records shared in the responsibility for the young man’s death. The suit stated that all three parties acted irresponsibly because they released the track “with the knowledge that such [a song] would, or at the very least, could promote suicide.”
McCollum was suffering from alcohol abuse and emotional problems when he chose to end his life. His parents insisted that young, impressionable adults were particularly susceptible to being influenced by Osbourne's music and that, therefore, Osbourne, Jet and CBS should be held accountable.
Osbourne has always insisted that he wrote “Suicide Solution” as a warning about the dangers of drugs and alcohol.
The case was originally thrown out that December when a judge ruled that Osbourne had the absolute First Amendment right to write a song about suicide. In August 1986, the California Court of Appeals upheld the verdict, insisting that there was nothing in the song that presented a clear and present danger.
"Musical lyrics and poetry cannot be construed to contain the requisite 'call to action' for the elementary reason they simply are not intended to be and should not be read literally,” Superior Court Judge John Cole said. “Reasonable persons understand musical lyrics and poetic conventions as the figurative expressions which they are.”
Furthermore, added the judge, the defense failed to provide evidence that would prevent Osbourne from being fully protected under the First Amendment. “We have to look very closely at the First Amendment and the chilling effect that would be had if these words were held to be accountable,” Cole said.
Cole added that even if Osbourne had intended to express that suicide was preferable to the rigors of daily living, he had the constitutional right to make such a statement.
FIVE FINGER DEATH PUNCH Guitarist Doesn't Care How Long It Takes To Complete New Album: 'We Have One Objective: It Has To Be Good'
|Posted on August 8, 2019 at 9:25 PM||comments (0)|
In a brand new interview with "The Art And Span Show", FIVE FINGER DEATH PUNCH guitarist Zoltan Bathory was asked to clarify his recent claim that the group upcoming eighth album will see him and his bandmates "shifting back to that heavier side" of their sound.
"This answer will cause a debate in certain forums," Zoltan said (hear audio below). "But, look, a lot of people listen to super-heavy music, and for them, they look at us like, 'Ah, that's a radio band,' or whatever. And people who listen to radio will say, 'Oh, man. That's way too heavy for us.' So we are kind of on the cusp, in between. Obviously, we have a lot of heavy, heavy songs.
"I would say [the music on the upcoming album is] 'heavier' in a way that we're kind of gravitating back toward this big groove style of metal, so when you do that, it actually feels heavier," he continued. "You can play something super technical, and it's not gonna feel as heavy as some sludgy, big groove. It just feels heavier. So it's not necessarily faster, it's not necessarily angrier that way."
Zoltan added: "The songs that are there right now, [they have] probably the biggest grooves, the heaviest grooves that we have written. And then also there are a couple of songs that Ivan [Moody] already did the vocals on that are just different — not heavy, but different. I think it's gonna very diverse. And in the end, we'll see how many or what songs we'll put on the record. We kind of like to keep it in balance. But I feel like — again, I'm just predicting it — let's say we write five more ballads or five more slower songs, that would change the equation, but I don't think it's gonna go there. I can see this very coherent picture — okay, this is gonna be a little bit denser, heavier. I wouldn't say darker, but it's the grooves, I think."
According to Bathory, FIVE FINGER is taking its time to complete the new LP, which is once again being recorded with the band's regular producer, Kevin Churko, in their hometown of Las Vegas.
"We are fairly comfortable with the record," he said. "It will take as long as it takes. We have one objective — it has to be good; it has to be the best we have done so far. So if we can finish it [and get it out this year], we'll finish it. And if not, then next year. We don't care how long it takes."
The drums on the disc were laid down by Charlie "The Engine" Engen, who made his live debut with the group during its fall 2018 tour with BREAKING BENJAMIN. He stepped in for original drummer Jeremy Spencer, who left the band in December due to a back injury.
FIVE FINGER DEATH PUNCH will embark on a U.S. headlining tour in the fall. The trek will start on November 1 with two special kick-off shows in the band's hometown of Las Vegas on November 1 and 2 at The Joint at Hard Rock Hotel & Casino. Support on the tour will come from THREE DAYS GRACE, BAD WOLVES and FIRE FROM THE GODS.
|Posted on August 8, 2019 at 9:20 PM||comments (0)|
Guns N' Roses' Duff McKagan and Rob Zombie have both shared some thoughts about this year's Johnny Ramone Tribute, which is taking place this Sunday, August 11th at the Hollywood Forever Cemetery.
This year's event will feature celebrating the 40th anniversary of the cult classic The Warriors, with a special screening of the film on the Fairbanks Lawn.
Rocker and filmmaker Rob Zombie had this to say, "From the moment I met Johnny, the only thing we ever did was talk about movies. He absolutely loved movies as much as music so it makes complete sense that every year the Johnny Ramone Tribute screens a movie in honor of good ol' JR."
The event will also feature a special photo exhibit curated by Mr. Musichead featuring iconic punk rock, glitter rock and rock 'n roll photos in the mausoleum and the night will also include select, never-before-seen films by Vincent Gallo and unreleased archival footage of Johnny Ramone, with famed DJ Howie Pyro spinning vinyl and special guest appearances, according to the announcement.
Proceeds from the event will benefit Dr. David Agus at the Center for Applied Medicine at the Keck School of Medicine at USC. Duff McKagan shared, "The Johnny Ramone Tribute is one of the world's best rock n' roll events. The money raised for cancer research is a true and righteous cause and we all hail Johnny Ramone."
Johnny's widow Linda Ramone had this to say, "Johnny Ramone, leader, legend, and collector. To sit and watch the cult classic film The Warriors with thousands of people right by Johnny's statue under the stars at Hollywood Forever, I know he's smiling. That's what makes the Johnny Ramone Tribute the best thing ever. Gabba Gabba Hey, One Of Us."
Doors open at 6:30 p.m. Tickets are $20 and on sale now at www.johnnyramone.com. Kids under 10 get in free.
|Posted on August 8, 2019 at 9:15 PM||comments (0)|
"Never Forgive, Never Forget"
"One Against The World"
"(We Make) Sweden Rock"
"Second To One"
"Scars Of A Generation"
"Dead By Dawn"
"Chain Of Command"
"And Yet I Smile"
|Posted on August 8, 2019 at 9:10 PM||comments (0)|
Aerosmith had more or less seen and done everything onstage by the time they performed at the Sturgis Motorcycle Rally in Rapid City, S.D., on Aug. 5, 2009.
Their 40th anniversary was looming, and they’d delivered more than 1,500 concerts, so it was no big deal for singer Steven Tyler when they encountered a technical problem with their sound.
Ever the showman, Tyler strutted up the catwalk and began performing some dance moves for the crowd, since he couldn’t speak to them. Just as he went into a turn, he stumbled, lost his footing and staggered off the stage into the security area below. As the audience looked on, it took staff about 45 seconds to lift him back on the platform, and carefully walk him away.
After Tyler received medical attention on the scene, the decision was made to fly him to a hospital for further treatment. “He was good-natured about it,” an event spokesman told Billboard at the time. “He was in good spirits when he got in the helicopter. He was talking and joking with the physician. It was an unfortunate end to an extraordinary evening.”
The frontman was later confirmed to have suffered a broken shoulder and a cut to the head that required 20 stitches. “I was doing the Tyler shuffle and then I zigged when I should have zagged ... and I slipped, and as I live on the edge … I fell off the edge!” he said in a statement. However, that statement also included news that the rest of Aerosmith’s tour was being canceled.
The singer wasn’t the only one with health issues – guitarist Brad Whitford and bassist Tom Hamilton both faced medical emergencies that led to missed shows. Seven concerts had already been postponed as a result of a leg injury sustained by Tyler.
“It hasn’t really felt like a tour,” guitarist Joe Perry lamented in an interview with Billboard. “It's been such a stop-and-go thing. In some ways the band has played the best it ever has. ... It was building up to be the best show and best tour we've done in a long time. In another couple weeks it was going to be a really unique kind of tour for us. Right now I don't know what's going to happen.”
Soon the rest of the story slipped into the public arena. Tyler, it was reported, hadn’t spoken directly to any of his bandmates for several months. He’d hung up the phone on Perry the last time the guitarist tried to make contact. He’d hired his own management, separate from the band’s, and had become interested in pursuing solo projects under the banner of “Brand Tyler.” Things were so bad that none of Tyler's bandmates joined him on the flight to hospital.
In November, after Aerosmith performed three more shows, Perry said that he understood – though it hadn’t been directly confirmed – Tyler had left the group, and that the other members were “positively looking for a new singer to work with.” He said the singer refused invitations to write new material during the previous decade, but insisted the band was playing “hotter than ever." “You can’t take 40 years of experience and throw it in the bin!” he said.
In another interview, he noted that he didn't "know what path it’s going to take at this point … but we’ll probably find somebody else that will sing in those spots where we need a singer, and then we’ll be able to move the Aerosmith up a notch, move the vibe up a notch.”
Among Perry’s specific complaints were that Tyler had shown less interest in Aerosmith than in joining a band with Jimmy Page following Led Zeppelin’s one-off reunion in 2007. He also didn't tell Aerosmith that the idea was in the air; they found out on their own. On top of that, Tyler shot down plans to record a new album once everyone else had committed and pre-production was underway.
“After the Jimmy Page thing happened, [producer] Brendan [O’Brien], who was waiting for us to get something together, ran out of time and went off to produce Pearl Jam, who got a No. 1 record,” Perry told Classic Rock later. “Steven didn’t want to work with him – that was the vibe I got. It was like, ‘Let’s go into the studio and we can finish the record in a month with Marti Frederiksen, then we can be off Sony and take two years off.’ I wanted the last record on Sony to be at least as fucking good as it could be, so why wouldn’t you want to work with a Brendan O’Brien or Rick Rubin? We hadn’t done a studio album for about eight years and I felt it was time to make a real Aerosmith record. Steven just wanted to get off Sony so he could do his solo album.”
In another strange twist, the Toxic Twins reunited onstage when Tyler made a surprise appearance at a Perry solo show in New York. “I am not leaving Aerosmith," the singer announced. "Joe Perry, you are a man of many colors. But I, motherfucker, am the rainbow!” Perry then told the audience that despite rumors of “some kind of fight, or some kind of bullshit, it ain’t true.” Tyler disappeared as quickly as he arrived once the pair performed Aerosmith's classic "Walk This Way."
It wasn’t over. In December 2009, four months after Tyler’s stage fall, he announced he’d gone to rehab, after having become addicted to prescription painkillers as a result of a previous injury.
“I am taking responsibility for the management of my pain and am eager to be back on the stage and in the recording studio with my bandmates Joe Perry, Joey Kramer, Tom Hamilton and Brad Whitford,” he told Rolling Stone. “I wish to set the record straight and say that I have read reports of a rumored two-year hiatus and want to be clear that this is completely false, and I will enthusiastically be writing, recording and performing with Aerosmith as soon as things are handled.”
While Tyler did embark on solo projects, risking the ire of his bandmates, he also kept his word about getting back to work with them. Touring again in 2010, they went on to release Music From Another Dimension! two years later.
“I have an addictive personality, so I found certain drugs I loved and didn’t stop to the point of hurting my children, hurting my life, hurting my family, hurting my band,” the singer noted in 2018. “There was a point where I didn’t have a band and I didn’t care. I went down the worst path. I went down the rabbit hole. … I went chasing Alice.”
|Posted on August 8, 2019 at 9:05 PM||comments (0)|
The fifth episode of Led Zeppelin’s history series has been released.
The first episode focused on the recording of the band’s self-titled debut album in September 1968 at London’s Olympic Studios and featured live footage of the band and facts and figures behind the album, which would eventually see the light of day in 1969.
Part two arrived back in May and examined how The New Yardbirds became Lead Zeppelin, to eventually becoming Led Zeppelin.
The third part looked back at the band’s first-ever US tour, while part four took fans back to 1969 when Zeppelin began working on the tracks Whole Lotta Love and What Is And What Should Never Be.
The fifth instalment, which is backed with I Can’t Quit You Baby, looks back as the band continued to storm North America as they continued the writing process behind Led Zeppelin II.
Check out the new video below:
The video series is part of the ongoing celebrations to mark the 50th anniversary of the band.