|Posted on December 1, 2019 at 7:30 PM||comments (0)|
Van Halen frontman David Lee Roth has taken credit for structuring Eddie's guitar solos on the band's landmark 1978 self-titled debut album, saying he sang them to the acclaimed guitarist.
Roth sat down with Missouri radio station KSHE 95 to promote his upcoming residency in Las Vegas and he was asked if he needed to obtain permission from Van Halen to perform their classic tracks.
Dave responded, "No. I wrote the songs. I wrote every word you heard, every syllable, every melody. I structured even the guitar solos on that first album. Why do you think the solos later changed so radically? I sang the solos for Jamie's Cryin' and Runnin' With The Devil etc..."
He reiterated the point when he was asked about his backing band Horses Of God and also claimed credit for Van Halen's album covers, naming the band and also Eddie's signature striped guitar. He said, "We do not sound like Van Halen live. You have not heard this. Van Halen live is lead, bass, drums. Here, we start with three or four guitars and we bring it with an unforgiving attitude.
"We're not up here strumming with the devil, this is not some tribute band. I wrote those songs, structured those songs. I designed the backgrounds on the stage. I came up with the album covers. I thought of the stripes on the guitar. I'm the one who said, 'Call it Van Halen.' And we take it with that attitude. We ain't talking about love."
Check out the full interview below:
|Posted on December 1, 2019 at 7:25 PM||comments (0)|
Queen ruled the rock world in 1986 (well, except perhaps the U.S.), after securing the throne with their breathtaking performance at Live Aid the previous year. They followed that up with the release of their 12th studio album A Kind of Magic, which sold 100,000 copies in its first week and would sell six million more in the future.
Next come the Magic Tour, a 26-date royal progress through Europe, including a triumphant return to London’s Wembley Stadium and a dramatic appearance before 120,000 subjects at England’s Knebworth Park to close the journey. It also included the largest show ever performed by a Western band in Communist Eastern Europe, when they drove a 13-truck extravaganza to play for 80,000 people in Budapest, Hungary.
It seemed like a good idea to release an album from the tour. But in fact, Live Magic – released on Dec. 1, 1986, although it didn't appear in the U.S. until a decade later – proved to be a significant dent to their crown, and became known as one of the most disappointing live releases of all time.
The fundamental problem with Live Magic is that it attempts to contract the experience of a full-blown Queen tour into a single disc. The idea of presenting recordings from multiple locations is a good one, and so – up to a point – is the concept of providing a lightning-fast taster of the band’s abilities, perhaps aimed at new fans.
But that’s not how it plays out. Forcibly crushed into a running time of 49 minutes and 19 seconds, much of the band’s extravagance and regality is stripped away. It’s difficult to imagine “Bohemian Rhapsody” without the operatic section; it’s even more difficult to hear it rendered that way on the disc. “We Will Rock You” loses 30 seconds while “We Are the Champions” is stripped of 60 seconds, and a verse and chorus of “Tie Your Mother Down” are edited out. Not every song from the set list makes the cut, and those that do aren’t in the original order. What’s worse is, better editing – such as removing long sequences of nothing but crowd applause – would have allowed room for at least some of those missing musical passages.
What were they thinking? Perhaps there’s a clue in an interview with Freddie Mercury that took place midway through the tour, when he was once again asked to discuss the band’s fragile existence. “It's trying to keep the band going when everybody says it's breaking up,” he reflected. “[W]e were all getting really desponded and we all wanted to do different things, and when you have that in your sort of bloodstream. … The slightest things that happens, you just say ‘Fine, that's it.' … You just need the slightest excuse to actually break up the band.”
Asked what kinds of things the members fought over, Mercury replied: “A lot of the time [it’s] how each musician is displayed on an album. … So, like, if I had more songs than somebody else, it would make them a lesser musician, you see what I mean? … I’ve always tried to sort of make it very diplomatic, so I just say OK, no matter what it is, we all have even songs from now.” He added: “At this point of time, I think that's the only way for Queen to survive.”
So, perhaps Live Magic is like anything else designed by committee – an example of so many compromises being made that the jigsaw no longer makes up a picture.
The tragedy is made even more Shakespearean by hindsight. The Magic Tour was Queen’s last with Mercury: He discovered he was HIV-positive after the road trip, but before the live album’s release. He was diagnosed with AIDS the following year. When Mercury later revealed his condition to his bandmates, they made the decision to remain off the road and focus instead on studio work.
Few live albums could carry that amount of emotional baggage, and Live Magic certainly wasn’t up to the challenge. Perhaps in recognition of that fact, Queen released the double-disc Live at Wembley ’86 the year after Mercury’s death. With a running time of 110 minutes, it did far more justice to the legacy of one of rock’s greatest in-concert acts. So did Hungarian Rhapsody, the Budapest show, which came out in 2012.
ANNIHILATOR FRONTMAN / FOUNDER JEFF WATERS ON NEW SONG "PSYCHO WARD" AND DOMESTIC ABUSE - "LOVE TO ALL YOU SURVIVORS OUT THERE"
|Posted on December 1, 2019 at 7:20 PM||comments (0)|
"Domestic abuse: It can take on numerous forms, including physical, verbal, emotional, economic and sexual abuse. Violence, threats, intimidation, blackmail... common with this. I've written a few songs on this subject since 2001 ('Battered', 'Rage Absolute', 'All For You', 'Snap', 'One To Kill'). The new song 'Psycho Ward' is the next to cover this issue.
Let's call it 'fictional'; about a total narcissistic, insecure, evil person who sees all others as beneath him. Wife, kids, family are simply property and money is the only way to be 'someone' or 'something' in life. Family is only a 'status' thing and, when it starts to question or want to escape from the intimidation / abuse, it is either physically beat down to prevent escape or it's 'conditioned' to shut up, take it and do what it's told. In the end, this asshole got what he deserved, yet only after severely damaging his family.
In real life, assholes like this cause unbelievable psychological damage to their children and (former or current) partners, yet they are so psychopathic or evil or narcissistic to even care: it's all about them ('Poor me!') and they are never wrong; always someone else's fault. I've heard some horrible stories about women / men being put out for the night with the family dog, punched in the face, kicked, pushed down stairs, raped, terrorized, threatened with horrible violence, etc. Young children told they were fat, no good, losers, an embarrassment and the abuser's sick beliefs forced on them... to be just like him / her or they were failures.
While tough to get out of, those who do have a chance at life. Victims of these abusers can get through life but often the damage is permanent. Scarred.
Love to all you survivors out there. There's hope and help and good people out there that can help. More on that later."
You can check out the video here:
|Posted on December 1, 2019 at 7:15 PM||comments (0)|
Widely called the last great album Black Sabbath recorded with their powerhouse lineup – Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward – Sabbath Bloody Sabbath is still considered a classic and influential release. Yet there was a time in the summer of 1973 when it looked like the follow-up to Vol. 4 might have to be scrapped.
“I just got stuck and couldn’t think of anything to write,” Iommi told me in 2009. “I don’t know if it was pressure or what. We left Los Angeles, went back to England and we thought, ‘Well that’s it. We’re all finished. It’s over.”
For Sabbath Bloody Sabbath, which was released Dec. 1, 1973, Black Sabbath had hoped to recreate the atmosphere they had engendered for Vol. 4, an album that was fueled by copious quantities of drugs and alcohol. Despite the fact that they were higher than the sun when they wrote that record, they were also extremely prolific and vibrated with creativity. So they returned to the location they rented in Bel Air with the hope that lightning would strike twice.
“It was the same house, the same everything, but it just didn’t work,” Iommi said. “It was the first time in my life I’d ever had writer’s block and basically everyone used to wait around until I came up with a riff and then we’d work from there. But nothing was coming.”
Discouraged, Black Sabbath left Los Angeles, flew back the England and took a few weeks off. When they reconnected, they decided to give the album another shot, so they rented Clearwell Castle in The Forest of Dean, Gloucestershire, England and set up their equipment in the dungeon. The change of atmosphere inspired Iommi.
“As soon as we were in there I came up with the title track, 'Sabbath Bloody Sabbath,'" he said. “The riff came up just like that and I thought, ‘That’s it, we’re off again.’ That was the start of the album and we just kept going from there.”
As much as the castle invigorated Sabbath, it also freaked them out. There were reports that the place was haunted and during their stay Iommi and Osbourne saw a figure in a black cloak walk down a corridor and disappear. It wasn’t an isolated incident. While such experiences were scary, the doomy environment complimented the minor-key riffs of songs like “A National Acrobat” and “Killing Yourself to Live.”
Although much of Sabbath Bloody Sabbath is brooding, the band also experimented with styles outside of doom metal. “Sabbra Cadabra” is rooted in the heavy blues of bands like Cream and Led Zeppelin and “Looking for Today,” which features melodic arpeggios and an acoustic interlude enhanced by a flute passage, and is more traditional hard rock.
Black Sabbath recorded Sabbath Bloody Sabbath at Morgan Studios in Willesden, North London, and while they were there with producer Tom Allom, they stretched their musical boundaries even further than they had when they were in the castle dungeon. Iommi came up with “Fluff,” a plaintive acoustic classical instrumental, which weaved together delicate guitars, spare piano and strings. The piece was named after BBC radio employee Alan “Fluff” Freeman, one of the few DJs who played Black Sabbath on the air.
And Black Sabbath hired an orchestra for the proggy, sweeping “Spiral Architect,” but their studio space was too small to fit all the players, so they relocated to Pye Studios, where Osbourne spent the day humming the parts he wanted the violinists and cellists to play.
In addition, Osbourne bought a Moog synthesizer to use on “Who Are You?” Although he had no experience with the instrument, he fiddled with the settings to create an otherworldly series of tones and noises that matched the song’s ominous vibe. Also, Iommi recorded various parts for the album on sitar and bagpipes, but didn’t like any of the parts he played so he scrapped them.
Led Zeppelin visited Black Sabbath in the studio while they were recording, and drummer John Bonham volunteered to play on “Sabbra Cadabra,” but Sabbath felt that his distinctive style would disrupt the flow of the album. However, Yes keyboardist Rick Wakeman, played as a session musician on the song.
In his memoir, I Am Ozzy, Osbourne wrote that after all of its fits and starts Sabbath Bloody Sabbath was a creative triumph for Black Sabbath. [“[It was] our last truly great album, I think. And with the music we'd managed to strike just the right balance between our old heaviness and our new, 'experimental' side."
While Sabbath Bloody Sabbath went Gold in the U.S. on March 20, 1974, It didn’t go Platinum until Oct. 13, 1986. A remastered version of the album was released in 2012, but it contained no additional material.
|Posted on December 1, 2019 at 7:10 PM||comments (0)|
A few excerpts follow (transcribed by BLABBERMOUTH.NET).
On the band's forthcoming studio album, "Say Nothing":
Joey: "There was a big impact for 'Rx (Medicate)', to not only our fans but to people who had never heard us before. That song, I think, brought a lot of awareness to a problem that maybe some people don't know about. There's a lot of people who have either experienced it themselves or potentially know somebody that has. That song really brought us into a place as a band where we went, 'Wow.' I think we need to start talking more about other issues that the world is facing. When we came from a place of our last record that was a little bit more light-hearted, a lot of breakup songs, a lot of love stuff, a lot of tongue-in-cheek stuff, too. All of a sudden, 'Medicate', was, like, 'Wow, what a difference.' Sometimes it's a little scary to touch upon such serious issues. When we saw the positive reaction from the song, we felt like it was the perfect time for us to keep going with that idea and really reach out to a whole other list of serious issues that are going on in the world. This new record, 'Say Nothing', comes out early next year, is a, if you will, a continuation. The last one, there was some darker material, some lighthearted, this one is really kind of all the way through from front to back is a darker record."
On whether it's important for THEORY OF A DEADMAN to discuss issues like domestic violence through the band's recent video for "History Of Violence":
Joey: "It's a real thing. I think a lot of people maybe don't know about it; I'm not sure. It's a real thing. We were really happy to put this song out for our first single to kind of lead into letting everybody know, 'This is what our new record is going to be like. Already, we're seeing a huge influx of people coming to our shows already reacting, almost the same way, if not more, than they did to 'Rx'. We know we've touched a nerve, but we are here to help. We've already put out, on the video, we wanted to make sure you could see we're involved in the domestic hotline to help call in. Anybody that needs help, call them, that's what they're there for. We also want to make a video that really showed and try and be as true to it as possible within the three-and-a-half-minute segment of what it really looks like. We chose not to be in the video. We felt like it was a better solution to represent the real life of it and to have us not in it and just almost be like a very short movie, a realistic rendition of what this song is really about. I think the video ties well with it. You're right, we have had a lot of pretty heavy reactions to it and because it was done properly. It was done to show that this is not a joke."
On taking a more serious approach with their lyrical themes:
Joey: "It's not that — I mean, the thing is, a lot of people in the world break up and relationships, they break up. People can relate to it. I think that's what gave us success over the years was there was a relation to this for our fans. We get it. We get what you guys are going through. We go through the same thing. I don't know if this stuff that we're doing now is any better. All I know is it's definitely in a different realm. All the other stuff was… This is darker. It's just a darker, deeper more serious thing that is going on in the world. So, we're writing about it."
THEORY OF A DEADMAN's seventh studio album, "Say Nothing", will be released on January 31 via Atlantic Records.
|Posted on December 1, 2019 at 7:00 PM||comments (0)|
Joe Satriani says he was “forced” to come up with an alternative version of the cover for his classic 1987 album Surfing With the Alien as a result of licensing costs.
In addition to the regular album, a newly-released deluxe edition of Surfing with the Alien also includes a “stripped” version of the LP, with the original backing tracks from his 1987 release, but all his solos and melodies have been removed. It was launched as a limited-edition run of 3,500 copies for Record Store Day’s Black Friday on Nov. 29.
It also features new artwork, with Satriani's guitar replacing the comic book world's Silver Surfer on the cover. “Due to the ever increasing costs of licensing the Silver Surfer artwork from Marvel we were forced to come up with a new cover,” Satriani explained in a statement accompanying the release. “Seeing my chrome guitar bursting through a multicolor wormhole seems quite fitting. It’s as if it always belonged there.”
He also explained that he’d resisted the idea of the “stripped” album because he “didn’t want to reveal what I always thought should stay a secret.” He continued: “When I build a track from scratch it’s a kind of musical alchemy, a mixture of voodoo, mojo, blood, sweat, tears, prayers… and a lot of hard work.” Each track, he said, had to inspire and challenge him. “I cherish them because of this. So, it’s no wonder I’ve been reluctant to release them.”
However, Satriani described himself as “excited about pulling back the curtain on these magical sessions,” and emphasized that nothing had been added although “some instrument levels were adjusted in the mix to compensate for the missing melody and solo performance.” He concluded: “You can play along with these tracks or just sit back and enjoy the mixes as they are.”
|Posted on December 1, 2019 at 6:55 PM||comments (0)|
Greta Van Fleet frontman Josh Kiszka says that the band's next album is the next step in the evolution of the band's sound and they don't feel like they have anything to prove.
Kiszka was asked by Kerrang about the album and if they have something to prove with the follow up to their 2018 debut album "Anthem Of The Peaceful Army" in an exceptfrom an interview in the latest issue of the magazine.
He had this to say, "Honestly, the way that we approach our music is that we're writing it for anybody who has any reason to listen to it. We're creating something simply for the sake of making a work of art that we're proud of, that we ourselves like to listen to.
"I don't think we set out to prove anything, particularly, but to point out some things about the world and our society. There are some of those elements to this album. And it's the next step I think, in the evolution and the sound of this band."
He also shared this about the progress on the new record, "It's intended to be a full release, a full album. For about two months in the heart of the summer of this year, we really poured everything into the writing and recording, and we're hoping that sometime earlier next year we'll be able to put it out. We're super excited about it."
|Posted on December 1, 2019 at 6:50 PM||comments (0)|
KISS guitarist Tommy Thayer is featured in a new interview with The Story Of Rock And Roll Radio Show out of South Africa. He discusses how his relationship with the band formed, supporting KISS with Black 'N Blue, working with Jimmy Barnes
On working on Hot In The Shade
Thayer: "I had a relationship with Gene Simmons because he produced Black 'N Blue's third and fourth records (Nasty Nasty and In Heat). At one point he asked me if I wanted to write a couple songs with him. He was working on some tunes for their new record at the time, which became Hot In The Shade. Of course I jumped on that an ended up with a couple co-writes with Gene ("The Street Giveth And The Street Taketh Away", "Betrayed") and it was interesting because they were album tracks, but 'Betrayed' ended up being the B-side of the single, which was 'Forever'. That was a big song - it was a Top 10 record. I didn't have any money at the time, and one day I went to my mailbox and there was a cheque from the publishing company for $25,000 (laughs). I couldn't believe it."
Check out the interview here:
|Posted on December 1, 2019 at 6:45 PM||comments (0)|
Ever since Motley Crue split, guitarist Mick Mars has been steadily working toward new music. Now, while answering a fan's tweet, Mars has confirmed that his solo set is expected in April 2020.
"No one will ever stand in the way of my solo record. Ever," stated Mars. "Watch for it in April 2020."
The guitarist has been working on the effort in Nashville with producer Michael Wagener at Blackbird Studios. Mars' Nashville ties also recently helped as he landed a guest spot on the new song "Outlaws and Outsiders" from country artist Cory Marks.
Back in March, Mars spoke of his solo album with the Talking Metal podcast. "I've been working on this for years, trying to get it right. In my way of thinking, I didn't want to put out a record just to put out a record. It has to be right, for me," Mars said. "People wanna hear my music, it needs to be right. I'm not just cutting corners to, like I said, put out a record to put out a record. I just can't do it. So it's taking me a while."
Speaking of the direction, he added, "My playing has a blues element to it, of course, but it isn't like what you would call a blues record. It's more of a heavier rock thing, but I don't want to even try to out-heavy the heavies. It's just something that's hopefully just a little different than what's going on now. You're not gonna hear a Motley song or a Motley-flavored song, except for the guitar. They're gonna be a bit harder than that, but not as hard as the heavies like Ministry and some of those guys."
2020 should be a busy year for Mars, who recently reunited with Motley Crue. The band is reportedly planning a tour with Def Leppard and Poison for next year.
|Posted on November 26, 2019 at 7:25 PM||comments (0)|
Sammy Hagar says that he believed that Van Halen saved him and he joined the band at a point in his career that he needed to be reminded of what was real about being in rock n' roll.
Hagar reflected on joining the band during his recent appearance at the Grammy Museum in Los Angeles. He had this to say about becoming a member of Van Halen, "I was getting rich and famous. I was digging it. I had worked my whole life in bands from '72 to '85.
"I had been on tour, making records, on tour, making records. Took a couple vacations, but not much. I am saying, 'I'm going to take a big, long break.' I shaved my hair off and came home from tour, and the next day, I get a call from Eddie Van Halen. It's like, 'Oh my God. I don't want to do this.'
"I was thinking about wearing suits. I was going to change my whole image. I really don't know what I was thinking, I just know I was buying suits and nice shoes and stuff.
"The good part is that Eddie and Alex [Van Halen] and Mike [Anthony] saved me, because when I walked into their studio, these guys were like bums, beer bottles and cigarette butts.
"It was the filthiest, most rock 'n' roll thing. Eddie comes out of bed, fell asleep with his clothes on, got up and went right back to work with the same clothes. I went, 'Man, these guys are the real deal,' and fell into the program."
Ex-WHITE LION Singer MIKE TRAMP Says 1980s Glam Metal Bands Found Out They Were All 'Replaceable And Disposable' When Grunge Hit
|Posted on November 26, 2019 at 7:20 PM||comments (0)|
In a brand new interview with The Cosmick View, former WHITE LION singer Mike Tramp was asked if he thinks MTV played an instrumental role in the overall success of the band's 1987 album, "Pride", which went double platinum and scored several hit songs. He responded: "Of course MTV played a major role, and it did that for every single artist, including Michael Jackson. Suddenly the music was visual, and people coast to coast and around the world could watch their favorite artist pose and pout. But looking back now, it also had a dark side — we just didn't know that we were being branded for life with those videos."
He continued: "Like I just said, MTV was king and God, but when they turned their back on all the '80s bands that had built MTV and done videos per three requests, MTV now became the executioner, and it was a big stab in the back. There we learned that we were all replaceable and disposable."
Asked if he thinks music videos are relevant today, Tramp said: “No, they are not relevant. It's great if you can do one and can afford one. But they are an exclusive YouTube thing, and talk about competition. Now your video has to compete with stupidity."
A few years ago, Tramp admitted to Classic Rock that bands like WHITE LION had lost their appeal by the time 1991's "Mane Attraction" was released and alternative rock was in the ascendancy.
"The major impact came when MTV changed its concept," Tramp said. "In the '80s, MTV buttered our bread, but after Kurt Cobain wore his grandfather's sweater in the video for 'Smells Like Teen Spirit', there was no place on MTV for bands like WHITE LION and MÖTLEY CRÜE."
In the 28 years since WHITE LION broke up, guitarist Vito Bratta's public profile has been virtually nonexistent, while Tramp has remained active, recording and touring as a solo artist and with the bands FREAK OF NATURE, THE ROCK 'N' ROLL CIRCUZ and, more recently, BAND OF BROTHERS. Tramp also attempted to revive WHITE LION with the 2008 album "Return Of The Pride", featuring new members. Two years later, Tramp ceded ownership of the name WHITE LION to Bratta in an out-of-court settlement.
Tramp's latest solo album, "Stray From The Flock", was released in March via Target Records.
BASSIST DENNIS WARD - "IT'S TIME THAT I MAKE THE OFFICIAL ANNOUNCEMENT OF MY DEPARTURE FROM PINK CREAM 69"
|Posted on November 26, 2019 at 7:15 PM||comments (0)|
Bassist Dennis Ward (Magnum, Unisonic), announces his departure from melodic hard rock band, Pink Cream 69 (who he's been with for over three decades), with the following statement:
"Attention all Pink Cream 69 Fans!
"It’s time that I make the official announcement of my departure from Pink Cream 69. I’ve had a wonderful time over the past 32 years meeting so many fans and making music with fantastic people. I want to thank all the guys, Alfred, Dave Uwe and Chris, for the years of fun and adventure. I hope that they continue to carry out the legacy of PC69 and I wish them many great concerts and musical experiences.
"This departure is in no way a spontaneous decision. Many of you might have noticed that I have not performed with the band (other than a couple of shows) over the past few years. Fortunately Roman Beselt was able to step in for me often. I had been contemplating my departure for awhile now but have held on for no actual reason other than to not make any waves. My decision has nothing to do with my other activities; performing with Gus G, joining Magnum or my studio work as a producer/engineer. I have no hard feelings towards anyone in the band either, I just wasn’t enjoying the very few shows we’ve had the past few years and quite simply did not feel comfortable on stage anymore. I hope that will be reason enough for anyone curious.
"So let’s all wish the guys a great future and please continue to support the band as much as possible!"
Back in September, Dennis was interviewed by Rockpages.gr while he was in Greece playing shows with Gus G. He talked about Pink Cream 69 and why he was not happy with the band he was a founding member of. On the occasion of Ward's announcement, Rockpages have published an excerpt from the interview, where he mentions the reasons that may have led to this announcement. Watch below:
|Posted on November 26, 2019 at 7:10 PM||comments (0)|
Despite years of disputes between their iconic metal bands, Megadeth's Dave Mustaine and Metallica's James Hetfield recently reconnected after the former publicly revealed his cancer diagnosis.
"A lot [of support] came from people that I knew but I didn’t know cared," Mustaine told Rolling Stone. "Most notably, I got a text message back from my old brother, James Hetfield, and I was so, so happy to hear from him. Contrary to what anybody says, and contrary to any of the act that we put on, I love James and I know that James loves me and cares about me. You can see that when the moment of truth is here and I’m telling the world that I’ve got a life-threatening disease. Who comes to stand next to me? James."
Mustaine, who was diagnosed with throat cancer in May, has a long history with Hetfield. The two guitarists were bandmates in the early iteration of Metallica, and Mustaine wrote or co-wrote several songs on their early demo tapes. Even though he was fired from the group in 1983 (and replaced by Kirk Hammett), several of those early compositions appeared on the thrash-metal act's first two albums, 1983's Kill 'Em All and 1984's Ride the Lightning.
The guitarist wound up forming the massively influential Megadeth, widely regarded as one of Metallica's chief rivals. Though Mustaine wound up reuniting with his former band onstage as part of its 30th anniversary run in San Francisco, the two parties haven't always seen eye-to-eye. In 2017, Mustaine noted that plans for an expanded reissue of their No Life Till Leather demo tape fell through after a dispute over songwriting credits.
"James contacted me two years ago," Mustaine tweeted. "We were going to officially release the No Life Till Leather demo as a record, with 27 tracks, pics, the whole enchilada, and the talks broke down because Lars wanted credit on two songs I wrote every note and word to. I have the texts. I passed."
In September, Mustaine issued a statement saying he'd nearly finished his final round of cancer treatment, with doctors remaining "very positive" about his progress. In January, he and Megadeth will launch a European tour, and the band reportedly plans on releasing a few new tracks before that point.
Elsewhere in the Rolling Stone interview, Mustaine noted he also received encouraging correspondence from other hard rock and metal icons.
"I got a text message from Ozzy, and one from Paul Stanley," he said. "It was great to get one from Ozzy; I didn’t expect it from Paul Stanley. That was super bitchin’ because in the beginning, when Kiss first came out, I was just a kid and I loved them. I’m really grateful for everybody. Even the people who have a hard time with my behavior and my big mouth, I’m just so grateful for them showing care for me. Like they say, at the end of the day, all we’ve got is each other here in this crazy metal community."
|Posted on November 26, 2019 at 7:05 PM||comments (0)|
After a weekend of counting down with a "mountainous" social media tease, Faith No More revealed their first 2020 tour dates on Tuesday (Nov. 26).
The band had utilized their eight-pointed star logo embossed over a snow-capped mountain to tease fans of the announcement to come over the weekend. As it turns out, the group announced a return to the road, starting with three European tour dates at Ireland's Sunstroke Festival, France's Hellfest and Norway's Tons of Rock.
The shows will mark their first European performances in five years. “Five years, four colonoscopies, two root canals and a handful of prostate exams tell us that it’s time to carpe diem our asses back to Europe asap,” said the band, collectively. See the dates listed below.
It is not known as of yet if more shows will follow, but the trio of festival dates is a solid sign that there will be more activity from the group in 2020.
Faith No More released six albums between 1985 and 1997, then split up for a decade plus before reuniting to tour in 2009. Eventually, the five-piece outfit decided to hit the studio and yielded 2015's critically hailed album Sol Invictus. In 2017, they took another extended break, but discussion of the potential for new music started up again in late 2018.
Faith No More 2020 Tour Dates:
June 13 - Punchestown, Ireland @ Sunstroke Festival
June 20 - Clisson, France @ Hellfest
June 26 - Oslo, Norway @ Tons of Rock
|Posted on November 26, 2019 at 7:00 PM||comments (0)|
We're keeping our eyes open for Black Friday Deals in the run-up to the big day, and occasionally we stumble across something that isn't part an official Black Friday bargain, but is still worth getting excited about.
This time it's Guns N' Roses Locked N' Loaded box set. Limited to 10,000 copies worldwide, it launched to enormous fanfare at a wallet-busting price, but is now being heavily discounted at the band's official merch site.
The box set features a newly remastered version of Appetite For Destruction, B-Sides N’ EPs, the previously unreleased 1986 Sound City Session N’ More recordings, the Live ?!*@ Like a Suicide EP (which contains the extra track Shadow Of Your Love) and a whole lot more besides.
Originally priced at $999 in the US, the set is now available for just $399.
Sadly, the set isn't available from the UK branch of the same site, but it's possible you'll still save money if you ship from the US, even taking postage and import taxes into account (it's currently selling for over £1000 at Amazon).
Not all is lost for UK fans, though. The super deluxe edition of Appetite (you know, the one that has the music but not all the extra gubbins) is available for just £89.99 currently, which is more than £20 cheaper than Amazon.
The Locked N’ Loaded edition will also come with:
• 12 new illustration lithos – visualising each song from the album
• 5 Metal band skull face rings
• 5 Metal band skull face lapel pins
• 5 Metal guitar picks with band skull faces & signatures
• 5 previously unseen band member lithos
• 5 GN’R Logo Buttons
• Robert Williams painting litho
• Replica ‘85/’86 gig banner
• Welcome To The Jungle video invite flyer – originally drawn by Slash
• Turntable mat
• Microfiber vinyl cleaning cloth
• 7-inch large hole adapter
• 6 replica early years gig flyers
• 6 iron-on stitched logo patches
• 2-inch collectable coin
• Bandana with silver metallic ink
• 2 wall posters
• Temporary band member tattoos
• 3 replica ticket stubs
• Numbered certificate of authenticity
|Posted on November 26, 2019 at 6:50 PM||comments (0)|
Hot on the heels of the release of their first new album in decades, Risen, seminal rock band Angel is now set to tour the United States, Europe and Japan beginning next month.
December finds Angel on select tour dates in the United States with a full spring, 2020 tour to be announced. Angel will also be part of the Rock Legends Cruise in February alongside such heavyweights as Roger Daltrey, Sebastian Bach, Robby Krieger and more. In April, Angel returns to Japan for a series of shows. Please see below for the current itinerary with more tour dates (including Europe) to be announced.
13 - Teaneck, NJ - Debonair Music Hall
14 - Stafford Springs, CT - Palace Theater
15 - Scranton, PA - Stage West
27-March 2 - Fort Lauderdale, FL Rock Legends Cruise
4 - Osaka, Japan - AM Halll
5 - Nagoya, Japan - Bottom Line
7 - Tokyo, Japan - Shinjuku Blaze
8 - Tokyo, Japan - Shinjuku Blaze
Angel released Risen on October 4 via Cleopatra Records. The band features original members Punky Meadows and Frank Dimino with Danny Farrow, Charlie Calv, Steve Ojane, and Billy Orrico. They describe the songs from Risen as very diverse ranging from heavy to very melodic with real strong hooks featuring many elements of the classic Angel sound.
"Under The Gun"
"Shot Of Your Love"
"Over My Head"
"We Were The Wild"
"(Punky's Couch Blues) Locked Cocked Ready To Rock"
"Tell Me Why"
"Don't Want You To Go"
"Tower" - Bonus Track
|Posted on November 26, 2019 at 6:45 PM||comments (0)|
The soundtrack to Queen's 2018 biopic, "Bohemian Rhapsody", was honored with an American Music Award during the November 24 ceremony in Los Angeles.
The project was named "Favorite Soundtrack" by music fans ahead of "A Star is Born" by Lady Gaga and Bradley Cooper, and "Spider-Man: Into the Spider-Verse."
"Thanks to all that voted," posted Queen online, adding, "Many congratulations to all of the team involved." Directed by Dexter Fletcher, the film - which follows Queen from their formation in 1970 through to their legendary 1985 Live Aid appearance - won four Academy Awards in February, including Best Actor to Rami Malek for his portrayal of Freddie Mercury, and technical production honors in the fields of Sound Editing, Sound Mixing and Film Editing.
Read more here:
|Posted on November 26, 2019 at 6:40 PM||comments (0)|
The career of Gary Moore was a jagged timeline, full of twists, turns and wild tangents. And yet, through it all, the Irishman never lost faith in the power of live music. On December 2, 2009 — just fourteen months before his tragic death aged 58 — the fabled guitarist played a special one-off club show at London's Islington Academy. Now, 10 years later, Provogue, a division of the Mascot Label Group, will be releasing this never before released recording, "Live From London", on January 31, 2020.
As adolescence hit, Moore fell headlong into the blues flavors that dominate "Live From London"'s track listing, mostly drawing on U.S. giants like Paul Butterfield and Brit blues godfather John Mayall's seminal 1966 "Beano" album with Eric Clapton and during that same formative period, at Belfast's tough Club Rado, an early lesson in the emotional impact of live blues came from Peter Green.
Moore's own first semi-professional steps had been with the BEAT BOYS and Dublin's SKID ROW, who offered an escape-route from Belfast, plus the camaraderie of the band's chaotic frontman, Phil Lynott. Lynott was soon fired, but he remembered his old wingman when his new band, THIN LIZZY, needed a stand-in. It was a gig in which Moore played the guitar hero role to the hilt. But despite the adulation, Moore feared LIZZY was nurturing his self-destructive streak, and left to explore the outer reaches in Jon Hiseman's virtuoso jazz-fusion outfit, COLOSSEUM II.
However, every time he picked up a guitar in the dressing room, he immediately went to the timeless licks of the Mississippi Delta, Moore suddenly saw the path. So began 1990's "Still Got The Blues", the multi-million-selling comeback album on which the Irishman's rebirth as an authentic bluesman was given added credibility by collaborations with A-listers like Albert King, Albert Collins and Harrison himself.
The material from "Still Got The Blues" became the cornerstone of Moore's shows — and it never left the set list. Fast-forward to December 2009, and as a sea of punters streamed into the Islington Academy for the show that would become "Live From London". The pace was set by Albert King's "Oh Pretty Woman", through the raucous "Walking By Myself" and the weeping melody of the title track. And, of course, there was room for "Parisienne Walkways", the guitarist's U.K. No. 8 hit sounding younger than yesterday on this new release. "I can hardly get away without doing it," noted the guitarist of that fan-favorite encore. "It's quite a long version, because I like to draw things out. Us guitar players, if we can squeeze a bit more out of it, we're gonna do it, aren't we?"
Between the opener and encore, Moore gave us everything he had in Islington, revisiting some of the key crossroads of his career. From his 2008 swansong album, "Bad For You Baby", there's the energetic title track, plus "Down The Line"'s high-velocity country-blues and the emotive leads of Donny Hathaway's "I Love You More Than You'll Ever Know". Reaching further back, there's the heartfelt guitar hook of Otis Rush's "All Your Love" and an emotive reading of John Mayall's "Have You Heard", both songs that Moore would have first heard on "Beano" as a teenage guitarist.
All the more poignant, then, that just over a year later, Moore would be gone, his screaming-hot Les Paul falling forever silent. In the blues community, it left a chasm, and while the scene has welcomed a roll call of master guitar players since, the Irishman's absence still stings. "Live From London" is one last shard of genius, catching a generation-best performer firing on all cylinders, and reminding us one last time why he was put on this planet.
01. Oh, Pretty Woman
02. Bad For You Baby
03. Down The Line
04. Since I Met You Baby
05. Have You Heard
06. All Your Love
07. Mojo Boogie
08. I Love You More Than You'll Ever Know
09. Too Tired / Gary's Blues 1
10. Still Got The Blues
11. Walking By Myself
12. The Blues Is Alright
13. Parisienne Walkways
|Posted on November 26, 2019 at 6:35 PM||comments (0)|
The Who guitarist Pete Townshend expressed gratitude that late drummer Keith Moon and bassist John Entwistle were no longer in the band, recalling how they were “fucking difficult to play with.”
However, he also said he has more affection than ever for singer Roger Daltrey as they prepare to release their new album Who on Dec. 6.
“It’s not going to make Who fans very happy, but thank God they’re gone,” Townshend told Rolling Stone in a new interview. “Because they were fucking difficult to play with. They never, ever managed to create bands for themselves. I think my musical discipline, my musical efficiency as a rhythm player, held the band together.”
He noted that Entwistle's "bass sound was like a Messiaen organ. Every note, every harmonic in the sky. When he passed away and I did the first few shows without him, with Pino [Palladino] on bass, he was playing without all that stuff. … I said, ‘Wow, I have a job.’ With Keith, my job was keeping time, because he didn’t do that. So when he passed away, it was like, ‘Oh, I don’t have to keep time anymore.’”
Townshend recalled that he used to say he loved Daltrey “with my fingers crossed." “Now, I like him too," he said. "I like all his eccentricities, his foibles, his self-obsession and his singer thing. Everything about him.”
He went on to recall a moment during the recording of the band's classic 1973 album Quadrophenia. “He did a version of ‘Love Reign O’er Me,’ which was like a wailing banshee scream," Townshend explained. "I turned to my engineer, Ron Nevison, and said, ‘This is a kid on a rock. He’s wet, he’s cold. He’s had the most awful day of his life. Everything’s gone. The last thing he’s going to do is scream out. He’s going to whimper.’ ”
On being persuaded to listen again, Townshend said, “Roger was in a booth; I couldn’t see him. I was hearing it from the mixing desk. And I listened back, and I thought, ‘Fuck. He’s nailed it. He’s nailed it, because this is an internal voice.’ ... [Daltrey] becomes an actor. It’s almost like he’s a late ‘50s, early ‘60s method actor who, when you say, ‘Here’s the script,’ he goes, ‘Oh, uh … ’ and the directors go, ‘For fuck’s sake, just say the words.’”
|Posted on November 26, 2019 at 6:35 PM||comments (0)|
Hollywood Vampires have announced that they’ll play four dates in the UK next year.
Last week, Alice Cooper, Joe Perry and Johnny Depp announced a run of 11 shows across Europe in support of their latest studio album Rise – and now they’ve added four more dates in Leeds, Glasgow, London and Birmingham.
Cooper says: “This show has something for everyone. I like to joke that the Vampires are the world’s most expensive bar band, but what a lot of people don’t realise is that this is a real rock band, not just some novelty. I wouldn’t keep doing it if it weren’t such a great band.
“Everybody gets along, the musical chemistry is as good as it gets and the show will be the highest energy hard rock shows you will see all year. I never get tired of playing with these guys!”
Perry adds: “I’m looking forward to be getting back on the road with the guys in the Vampires this summer. It’s going to be great to get to play a bunch of tunes from our new album as well as a few from our dead, drunk friends.
“The last tour we were firing on all cylinders and it’s because of the great support from our fans that we really push the pedal to the floor. You can expect much of the same – we can’t wait to get over and prove it.”
Hollywood Vampires will be joined by special guests Primal Scream, with tickets going on general sale this coming Friday (November 29) from 10am.
Hollywood Vampires 2020 UK and European tour:
Aug 15: Mainz Summer In the City, Germany
Aug 16: Hamburg Stadtpark, Germany
Aug 18: Charlotta ValleyLegends Of Rock Festival, Poland
Aug 20: Berlin Citadel Music Festival, Germany
Aug 23: Lingen Emsland Open Air, Germany
Aug 25: Oberhausen Konig-Pilsener Arena, Germany
Aug 27: Klam Castle, Austria
Aug 28: Munich Olympiahalle, Germany
Aug 29: Aarburg Riverside Festival, Switzerland
Sep 02: Leeds First Direct Arena, UK
Sep 03: Glasgow SSE Hydro, UK
Sep 05: London O2 Arena, UK
Sep 06: Birmingham Arena, UK
Sep 08: Luxembourg Rockhal, Luxembourg
Sept 10: Milan Mediolanum Forum, Italy