|Posted on September 18, 2018 at 8:50 PM||comments (0)|
Devgel Productions has announce that Lou Gramm and Asia Featuring John Payne have joined forces in an exciting 90 minute show featuring the hits of both Foreigner and Asia.
Expect to hear classics such as “Feels Like The First Time,” “I Want to Know What Love Is,” “Heat of the Moment,” “Juke Box Hero,” “Only Time Will Tell,” “Cold As Ice,” “Sole Survivor” and more!
Dates to be announced shortly, with availability throughout 2018 – 2019.
|Posted on September 18, 2018 at 8:45 PM||comments (0)|
HEART singer Ann Wilson will perform her version of Lesley Gore's fearless 1963 hit "You Don't Own Me" tomorrow (Wednesday, September 19) on "Jimmy Kimmel Live!" The song is from her new album, "Immortal", that was just released last week (September 14) and has been a highlight of her live shows. The album features 10 musically diverse tracks that pay tribute to some of Ann's influences and friends who've recently passed and whose music poignantly lives on.
Ann recently discussed her reasoning for including the 1960s track on the album, telling Yahoo!: "'You Don't Own Me' first came out at a time when Lesley Gore was only a teenager… It was a really bold move for a teenage girl to stand up and face her boyfriend and say, 'Hey, I don't belong to you… That was a huge move back then, and it just grew and grew into what they now call a feminist anthem. But when I do it, I think it’s more about respect. It could be about anybody. It's for anybody now. The song has really become a lot more universal than just a feminist anthem. It is one, but it goes a lot farther than that. And that's why I chose it, because in this era of people standing up for their choice of who they are, they can marry who they want. They can say, 'Me too.' They just should have respect, and they can proclaim it."
For "Immortal", which marks her debut for BMG, Ann has teamed with original HEART producer Mike Flicker. "Mike was the first producer to believe in me," Ann says. "He was my first teacher in the studio and knows how to provide that special support needed to bring out my soul in the recording process. It is exciting to work with him for the first time since 1980. I have traveled many, many miles since then but the old feeling is still there and fresh on 'Immortal'. He has fearlessly helped me bring my ideas to life once again and it's been a great collaboration."
Ann has just completed a tour with Jeff Beck and Paul Rodgers where she sang mostly covers, including a few from "Immortal".
Photo credit: Kimberly Adamis
KIX CELEBRATES 30-YEAR ANNIVERSARY OF THE 1988 PLATINUM ALBUM, BLOW MY FUSE WITH FUSE 30 REBLOWN OUT FRIDAY
|Posted on September 18, 2018 at 8:30 PM||comments (0)|
On the 30th Anniversary of their platinum album, Blow My Fuse, Maryland hard rock icons, KIX and Loud & Proud Records will release Fuse 30 Reblown - 30th Anniversary Special Edition two-disc set on September 21, 2018, exclusively through PledgeMusic, exactly 30 years after Blow My Fuse’s original September 19, 1988 release date. Fuse 30 Reblown is available for pre-order now through the band’s PledgeMusic store, where fans can also purchase special commemorative merchandise including signed copies of the album, t-shirts, beach towels, autographed memorabilia, and more.
Fuse 30 Reblown Disc 1 features a raw and impactful remix by Beau Hill (Alice Cooper, Ratt, Warrant, KIX) of KIX’s Atlantic Records album Blow My Fuse, and a top-notch mastering job by Jay Frigoletto (Alice in Chains, Tesla). Never-before-released demos of all 10 tracks, recorded in the early to mid 1980’s, are on Disc 2 and prove how well-prepared KIX were prior to entering the studio to record their albums.
The album Blow My Fuse features the group's biggest hit, the power ballad, “Don’t Close Your Eyes,” which reached #11 on the Billboard Hot 100 in early 1989. The album achieved platinum sales and peaked at #46 on the Billboard Top 200, making it the band's most successful of their 35-year career.
“We are proud to be celebrating the 30-year anniversary of the biggest album of our lives,” says singer Steve Whiteman. “We went from clubs to arenas, a van to a tour bus, and from the U.S. to Japan and Europe. And 30 years later, our fans are still right here with us.”
KIX gracefully eased back into the public consciousness in 2008. After sold out hometown gigs, the quintet hit the stage at Rocklahoma in front of over 20,000 people, venturing out of the Mid-Atlantic for the first time in 13 years. Delivering a triumphant set alongside Sammy Hagar and Alice Cooper, they left their mark on old and new fans alike. After capturing their fiery reunion on 2012's Live in Baltimore CD & DVD, the members agreed to enter the studio once again.
In 2014, KIX released their seventh full-length album, Rock Your Face Off (Loud & Proud Records) their first studio effort since 1995’s Show Business. The album debuted at #1 on Amazon’s “Hard Rock and Metal “chart, in the Top 50 on Billboard’s “Top 200 Albums” chart, #5 on the “Independent Albums “chart, #11 on the “Top Internet “chart, #17 on the “Top Rock Albums” chart, #27 on the “Indy/Small Chain Core Stores” chart and #33 on the “Physical” chart.
KIX last released CAN’T STOP THE SHOW: THE RETURN OF KIX on October 21, 2016, a two-disc DVD/CD set that entered the Billboard Top Music Video Sales chart at #3, and rose to the #1 position, the band’s highest charting debut and first #1 ever in their 35-year history. The 71-minute film offered an in-depth look into KIX’s decision to record their first new album, 2014’s Rock Your Face Off, in almost 20 years.
KIX will be playing select shows for the rest of the year and as part of the 30th anniversary celebration of the album, the band is performing the entire Blow My Fuse album from beginning to end at all of their live shows. All tour dates can be found on the band’s website and below.
SEP 28 @ 80's In The Park - Cocoa Beach, FL
OCT 6 @ Starland Ballroom – Sayreville, NJ
OCT 13 @ 5 South Event Center - Callaway, MD
NOV 01 @ Proof Rooftop Lounge - Houston, TX
NOV 03 @ IDL Ballroom - Tulsa, OK
NOV 10 @ Rockfest 80's - Miramar, FL
NOV 17@ Tally Ho Theatre - Leesburg, VA
NOV 23 @ Club XL - Harrisburg, PA
DEC 01 @ The Lincoln Theatre - Raleigh, NC
DEC 07 @ Whisky a Go Go - Los Angeles, CA
DEC 15 @ Jergel's Rhythm Grille - Warrendale, PA
DEC 08 @ BLK Live - Scottsdale, AZ
DEC 21 @ Brunswick Volunteer Fire Department - Brunswick, MD
|Posted on September 18, 2018 at 8:15 PM||comments (0)|
HARD rock heroes Ozzy Osbourne and Slayer will bring their farewell world tours to the Download Festival in Australia in March.
Download, the legendary heavy metal festival from the UK, launched in Melbourne last year with 30,000 fans embracing the hard rock extravaganza.
It has now been extended to Sydney, kicking off at Parramatta Park on March 9 and Flemington Racecourse on March 11.
The first announcement has Judas Priest, Alice In Chains, Ghost, Rise Against, The Amity Affliction and Anthrax joining Osbourne at the Australian shows.
Osbourne kicked off his No More Tears 2 final world tour in America in April and is expected to close it with the Australian shows. But he swears he is not doing a John Farnham, even though there was the No More Tours Tour goodbye shows in 1992.
Osbourne said he will continue to play gigs but not embark on the marathon runs through US, Europe and Australia.
“Let me put this straight. It’s not the end of me coming to Australia — I call myself an Aussie cuz I’m Ozzy. You are my people,” the hysterical rocker said.
“I am just not going to leave my house in January and come back in December.”
As he approaches 70 later this year, Osbourne said he wanted to spend more time with his grandchildren after five decades on the road.
“I love my work, it’s amazing, but my grandkids don’t recognise me, Jack’s three little girls,” he said.
“They are wonderful, except when they come over to the house, wreck it and leave.”
It sounds like he might have another generation of potential rockers in the family; isn’t wrecking rooms part of the job description?
Osbourne was last in Australia with Black Sabbath when they played their final shows here in 2016.
The irreverent rocker said he prefers playing his solo concerts than those farewell Sabbath shows because he felt “more like a cheerleader” than a rock performer.
Renowned for his signature, and often comedic, aerobics-style moves on stage, Osbourne said the Sabbath final lap around the world had been “very serious”.
“You don’t dare interfere with Lord Iommi’s f … ing guitar solo; You would be crucified at dawn,” he said.
“I go up there on stage with a fun attitude, get the crowd to rock out and get pissed if they want and go home after they have had a good time. It’s meant to be fun.”
Proving his quick wit remains as sharp as so ably demonstrated on the seminal The Osbournes reality series, he said he wife Sharon has been lecturing him about his posture on stage.
The rocker has a pronounced shuffle and tends to hunch over during his performance.
“Sharon is always saying ‘Stand up straight when you are on stage’,” Osbourne said.
“I am not in the army. I am in a rock band but I’ve got a Scout Leader for a wife.”
While his posture might be sloppy, his vocals remain strong which the rocker attributes to giving up his vices decades ago.
“I don’t smoke, I don’t do drugs, I don’t do alcohol. I’m pretty boring,” he said.
“At least I can remember the gigs now.”
The Download 2019 line-up features Ozzy Osbourne, Slayer, Judas Priest, Alice In Chains, Ghost, Rise Against, The Amity Affliction, Anthrax, Halestorm, Behemoth, Me First and the Gimme Gimmes, I Prevail, Converge, Frenzal Rhomb, Luca Brasi, Code Orange, Andy Black, The Fever 333, War On Women, High Tension, Outright, Ruins, Alien Weaponry with more to be announced.
An Optus Perks presale begins on Friday, with general public tickets on sale from 9am on September 26.
|Posted on September 17, 2018 at 9:45 PM||comments (0)|
According to Billboard, KISS will perform at the "America's Got Talent" season 13 finale on Wednesday.
The legendary rockers will open the two-hour program, which will air at 8 p.m. ET on NBC.
Gene Simmons recently told Sweden's Expressen newspaper that KISS will launch a three-year world tour in January 2019. Calling it the band's "most spectacular tour ever," the bassist/vocalist added that the trek will make stops on "all continents."
Simmons's comments echoed those made by his bandmate, Paul Stanley, who told CNBC's "Squawk Box" that KISS will embark on its "biggest tour" next year.
Rumors of KISS's final run of live shows gained strength several months ago following the news that the band was attempting to trademark the phrase "The End Of The Road." An application from KISS was filed in February to the United States Patent and Trademark Office, which — should it be accepted — means that the band could use it in connection with "live performances by a musical band." As it stands now, no official farewell tour has been announced.
As most fans remember, back in 2000 and 2001, KISS already performed a "Farewell Tour". The trek, which was the last to feature drummer Peter Criss, played 142 shows over five legs, covering North America, Japan, and Australia.
|Posted on September 17, 2018 at 9:40 PM||comments (0)|
When Alice Cooper was inducted into the Rock and Roll Hall of Fame in 2011, he thought it could be a short stay. ”I kept thinking, 'Who will be the first band kicked out of the Hall of Fame?'” he quipped backstage in the press area. “And then I thought, ‘Gee, it could be us!”
But as he showed from the stage during his remarks after being inducted, he had a lot of reverence for his peers who were already in the hall. “I hope I never outgrow a Pete Townshend windmill chord,” he said. “I hope I never outgrow a Jeff Beck lead guitar. ... I wish I could tell you that being in the hall now, that we’ll never embarrass you, but I can’t really make that promise. After all, we are Alice Cooper. It’s what we do.”
Nearly a decade letter, the band maintains its status as inductees (they're even part of a recent pinball exhibit at the Hall of Fame) and Cooper continues to make new music. He released the well-received Paranormal album in 2017 and is almost constantly on the road. He even documented his tour in support of that album with a new live release, A Paranormal Evening at the Olympia Paris.
Cooper has been working on a new album with the Hollywood Vampires -- the all-star collective that also features Johnny Depp and Aerosmith’s Joe Perry. His Rock Hall induction has also officially been commemorated with the pending release of Rock and Roll Hall of Fame in Concert: Encore -- a hefty DVD that collects nearly 500 minutes of previously unreleased highlights from the annual induction ceremonies.
In addition to Cooper’s induction and performance, the two-Blu-ray or four-DVD set, which comes out on Sept. 21, includes Rush, Heart, Red Hot Chili Peppers, Neil Young and more.
We caught up with Cooper to discuss his Rock Hall induction memories, his current happenings with the Hollywood Vampires, a Wayne’s World reunion and lots more.
You’ve been wrapped up in a number of projects in recent years, including the Hollywood Vampires. For everything that you thought you knew about Joe Perry, what did you discover about him that surprises you?
I think that Joe Perry works much better on encouragement than wagging your finger in his face. It’s one of those things where he really loves playing this kind of music. We both go back to the Yardbirds. If you talk to me and him and name a Yardbirds song, we can both play it. Aerosmith and Alice Cooper were very similar in that we were both very Yardbirds-oriented. And the Who and the Kinks, all of those bands. But this is the kind of band where we let everybody have their say. I don’t think there’s ever been one argument backstage or onstage about doing a song. If somebody says, “You play the lead on this one,” then we try it. And then it’s like, “You try it” and then we just say, “Okay, that one works better, let’s go with that one.” Nobody’s going, “Oh no, I want to play that.” You don’t get all of this crybaby stuff. Everybody just does what they do and everybody respects everybody. So we’ve never had an argument in this band. It’s amazing. It’s like a bunch of brothers that don’t fight.
You mentioned the Yardbirds. With your Rock and Roll Hall of Fame induction being released, I was looking back at that evening. On the night that you were inducted, you said, “I hope I never outgrow a Pete Townshend windmill chord” and “I hope I never outgrow a Jeff Beck lead guitar,” and what’s really great about that to me is that it spells out that in addition to making music and putting on a show, you’re still a fan at heart.
And that’s pretty cool. Those people you mentioned, there was probably a time where it was hard to imagine that you might wind up in the same sentence with those people.
Oh, my gosh, are you kidding? Just to think that we would ever be onstage with [them] … and then ending up [with] them all being friends with us and respecting what we do. It took a lot, and it took a big effort and there was never a time, even after 27 or 30 albums, where we didn’t refer to the Yardbirds or Pete Townshend. I mean, when we did “Elected,” that was John Lennon’s favorite song. I said, “John, this had nothing to do with politics.” I said, “This is a tribute to Pete Townshend.” You know, the beginning of that [imitating opening riff], I said, “I just wanted to find a song where we could do those big power chords and sort of tip our hat to Pete Townshend.” It ended up being a great big hit and John Lennon thought it was a very politically oriented song, where it was more satire than that. But I mean, again, “School’s Out,” half of that song is [the] Yardbirds! Because that was our influence. And then when you take it back to the Beatles and the Stones, well, you can’t even include them. Because everybody, I don’t care who it is, was influenced by the Beatles. I don’t care if it’s Cradle of Filth, they were influenced by the Beatles, somewhere in a melody -- or Frank Sinatra. They were so effective at writing melody lines. Ozzy [Osbourne] and I talked about this one time, if you go back and look at the melody lines on Love It to Death, School’s Out, Killer and all of those albums, we borrowed a lot of Beatles stuff.
I hear that from a lot of folks I talk to, so I know exactly what you’re talking about. They touched everybody who came up when you were making music and the people today. The music of the Beatles is still revealing itself to people who are just starting out.
Oh, absolutely. You listen to the Beatles to learn how to write a song and you learn in your own way. I think we learned actual songwriting from listening to the Beatles, but we learned swagger from the Rolling Stones. You’ve got to get up there and be the rooster. Nobody will ever be the rooster better than [Mick] Jagger. But a lead singer has got to have that swagger, which is kind of missing now in rock 'n' roll. It’s sort of missing. But you learn a little bit from everybody. Then there’s bands that learned a lot from us. What we brought to the table on that was, how do you make this song theatrical now? How do you take a song like “Welcome To My Nightmare,” and you don’t just say, “Welcome to my nightmare." You give them the nightmare! If you’re going to say, “Welcome to my nightmare,” then give it to them, produce it so that they can actually see the nightmare!
I love the theatrical nature of what you do, right down to the recorded intro that’s preserved on the new live record. “You have been chosen to spend the night with Alice Cooper. It’s too late now for you.” You still love to put together a show.
The funny thing, and on the Vampires show, we have Christopher Lee. The very last thing he did before he died, we asked him to read from Bram Stoker’s Dracula, the very last thing he says before we go on is, “Listen to them, children of the night, what music they make!” And then we come in, we start right in. But it was such a great tribute to Christopher Lee, who all of us really admired.
It’s hard to believe it was 2011 when you got inducted into the Rock Hall. Now that it’s been close to a decade, how do you look back on that experience? What were the moments of the night that meant the most to you?
I stepped back and said, “Well, it’s very much like graduating.” Because all of your teachers are voting on you. When you think about it, all of those people we were talking about, who are in the Hall, who we learned from, they get the ballots. They look at it and go, “Alice Cooper, well, yeah, we’ve got to mark him off.” That makes you sit there and go, “Wow, they actually like what I’m doing.” You do think about that, it’s not an egotistical thing at all, it’s more of a humility thing, of saying, “Wow, I finally got the attention of these guys and they voted on me.” You know, how cool is that that these guys got this ballot and marked my name down?
Since we were talking about the Beatles earlier, the Hollywood Vampires recorded a version of Badfinger’s “Come and Get It” with Paul McCartney. I know you’ve been all over the place recently, but have you had a chance to hear his new solo record?
I was in the studio when they were mixing it in L.A. We happened to be there recording something and he was in the other studio. We walked in and I heard some of it in there actually, and I’ve heard it on the radio now. But McCartney’s such a pro. I always said, He’s not just a Beatle, he’s the Beatle. John and I drank together and everything. But he’s the guy that I think was most locked into the music. I think if Paul McCartney wasn’t in the Beatles, he would be in a pub band forever. He just likes to play. So when he walked in and sat down at the piano, he said, “Okay, Alice, you sing the middle part, I’ll sing the other part and you can double up on me on this” and I’m going, “What?” [Laughs] I’m singing with Paul McCartney, how crazy is this? He’s the one that draws the most respect of anybody.
You can really hear the enthusiasm from all involved on that version of “Come and Get It.” It’s just infectious.
And we did it in three takes. We did it live at Johnny’s house and did three takes. Everybody was on it -- you were afraid to play a bad note with McCartney there!
It was cool seeing Mike Myers at your show in New York City recently. That must have been a fun trip to have him come out with you guys at that show.
Yeah, it really was. I had dinner with him the night before. Mike and I are really good friends. He said, “I’m going to come to the show.” Which he generally doesn’t do. He sat through the whole show and loved it. He says, “You know, every single song was a piece of my childhood.” He said, “My brother and I used to sit and listen to Alice Cooper.” He had his brother on the phone while we were doing the show, the whole show. It was really cool. And then at the end, he comes out and does the “We’re not worthy” thing and, of course, everybody went crazy. But Mike’s really cool.
That whole thing just added such an interesting dimension to your career. I know that you’ve done so many things. You just never know what something you do is going to add.
Yeah, that one and Jesus Christ Superstar, I think, was something that made people go, “What?” [Laughs] Whereas to me, it was the easiest thing in the world. I was just playing King Herod instead of Alice Cooper.
Not too far of a trip, I guess.
No, it wasn’t much of a stretch, to be honest with you!
WENDY DIO ISSUES RECAP OF RONNIE JAMES DIO AUCTION - "HOPEFULLY A LOT OF IT WILL GO INTO MUSEUMS AROUND THE WORLD"; VIDEO
|Posted on September 17, 2018 at 9:35 PM||comments (0)|
|Posted on September 17, 2018 at 9:30 PM||comments (0)|
Legendary BLACK SABBATH guitarist Tony Iommi will give a fascinating insight into his life and career at two very special events announced for October 2018.
Billed as "Tony Iommi With Phil Alexander: A Life In Music", fans will witness Tony in conversation with respected journalist and broadcaster Phil Alexander at dates in Paisley and Edinburgh.
Iommi's influence on the history of popular music cannot be overstated. A key innovator and a true rock star in every sense, when we think of Tony we think of heavy rock and of his innovative, dark guitar riffs — we think of the beginning of heavy metal.
Over 100 million albums have been sold by BLACK SABBATH, with their most recent album reaching No. 1 in many countries around the world, including the U.S. and the U.K. But it's not only the recorded sector that has been ruled by the rock legends, as over 1.6 million people who saw BLACK SABBATH perform live during their final world tour will testify.
Besides releasing three solo albums, Tony has been inducted into the Rock And Roll Hall Of Fame, written a New York Times bestselling autobiography, received two Grammy Awards and had Birmingham's Broad Street add his star.
Looking ahead to these special events, Tony said: "I'm really looking forward to spilling the beans with Phil Alexander at our 'A Life In Music' shows. I've known and worked with Phil for a long time and he probably knows more about my career than I do! He's got a great sense of humour and, combined with a nose for every last detail, it'll be fun delving into all periods of my career."
The evenings' host Phil Alexander comes from a print, radio, TV and online background. As editor of Kerrang!, he transformed the magazine into a multi-platform brand by launching the Kerrang!-branded TV, radio, web site and awards and, besides also being editor-in-chief for Mojo, was later appointed global creative director of Kerrang! magazine and Rock Music Media.
Phil remains contributing editor at Mojo and hosts a weekly Saturday night radio show on Britain's leading rock radio station, Planet Rock.
Phil said: "Each evening will be unique. As well as covering Tony's formative years, each night will focus on a specific period in his remarkable, storied career, providing a different experience for every audience. These are nights not be missed."
The dates for "Tony Iommi With Phil Alexander: A Life In Music" are as follows:
Oct. 12 - Paisley - The Spree Festival
Oct. 13 - Edinburgh - Assembly Halls
|Posted on September 17, 2018 at 9:25 PM||comments (0)|
There was a major shift on the musical horizon that would forever alter the landscape of heavy metal in the early '90s, but Ozzy Osbourne managed to stay ahead of the curve with what would become the biggest selling album of his career: No More Tears (it was released Sept. 17, 1991).
The three years since 1988’s No Rest for the Wicked had been tumultuous in the land of Oz. Heavily intoxicated, he tried to kill his wife Sharon in September of 1989 and ended up being charged with attempted murder by strangulation, which landed him a lengthy stint in a court-ordered rehabilitation facility.
He was also in battling two different lawsuits brought against him by parents who claimed subliminal messages in Osbourne’s “Suicide Solution” from his 1980 solo debut Blizzard of Ozz and 1987 live album Tribute were responsible for the respective suicides of their 17-year-old and 16-year-old sons. The charges came in the wake of a high-profile case that was dismissed in 1988 where the parents of a 19-year-old who had taken his life blamed the singer under the same circumstances.
By 1991, things had settled down greatly. The courts ruled in favor of Osbourne and CBS Records in both cases in 1991 (the Supreme Court would do the same the following year when a joint appeal was filed). Additionally, he had gotten off alcohol, making the first album in his life while dry - though he later admitted to getting his hands on any pills he could to keep a buzz.
“A lot of people think you have to be fucked up to write good music,” Osbourne said in his 2009 autobiography I Am Ozzy. “But I reckon the album I did after coming out of [rehab], No More Tears, was my best in years. Maybe part of that was because I said to the band before we even started, ‘Look, we have to treat every song like it could be a hit single, but without being too hokey or try-hard.’ Everything on that album seemed to go right.”
Zakk Wylde, with one Ozzy LP under his belt, was clearly more comfortable with his role as a contributor to the composition process, laying down some searing leads and memorable riffs throughout No More Tears. The high-point from the guitarist came on the epic, nearly seven-and-a-half-minute long title track. His solo at the tail end of an extended orchestral and piano bridge builds with tension before descending into a flurry of notes that brings the song full circle; by that point, he felt like the true heir apparent to Randy Rhoads.
Wylde wasn't the only co-writer; Lemmy Kilmister co-wrote songs on the album. Motörhead had released their first album with Epic Records earlier that year, and it made sense for the label to try and pair the two old friends with some collaborations across their separate albums.
“That was one of the easiest gigs I ever had,” Kilmister said in his 2002 autobiography White Line Fever. “Sharon rang me up and said, ‘I’ll give you X amount of money to write some songs for Ozzy’, and I said, ‘All right – you got a pen?’ I wrote six or seven sets of words, and he ended up using four of them…I made more money out of writing those four songs than I made out of fifteen years of Motörhead – ludicrous, isn’t it?!”
The songs where Lemmy contributed frontloaded the album in “I Don’t Want to Change the World,” “Desire” and the ballad “Mama, I’m Coming Home,” which remains Osbourne’s highest charting single, topping out at No. 28 on the Billboard Top 100. Kilmister also co-wrote “Hellraiser,” which was re-recorded by Motörhead and released as the lead single to the band’s album March ör Die, as well as for the soundtrack to Hellraiser III: Hell on Earth, which were released a week apart in the summer of 1992.
“The reason I got Lemmy to help out with some of the lyrics is that I like his tongue in cheek attitude,” Osbourne told Hot Metal in 1991. “He’s cynical, but he can say 'Fuck you' in four sentences. One the greatest lines he wrote was, ‘Tell me I’m a sinner, I got news for you, I spoke to God this morning and he don’t like you’ (from 'I Don’t Want to Change the World'). I’d hum a melody and sing “Mama I’m Coming Home” and he would take it from there. It’s really weird coz I listen to that song and it’s as if I wrote it. It’s as he’s read my mind.”
The trade off for the union was Osbourne appearing on March ör Die for the track “I Ain’t No Nice Guy,” which had success at radio but didn’t keep Motörhead from getting dropped by the label when the promotional cycle behind the record came to an end.
One casualty of the No More Tears recording sessions was Osbourne’s on again/off again relationship with Bob Daisley. Mike Inez joined the band as bassist in January of 1991 and performed a handful of live dates, but when the group decamped to the studio to record No More Tears, something wasn’t clicking and the decision was made to bring in Daisley.
“A lovely bloke, nice chap he is, Michael,” Daisley told Song Facts. “But it wasn't sounding and feeling how Ozzy wanted it, so I got the phone call: ‘Will you come in and play on the album?’” Daisley said he wrote all the bass lines – Inez was credited with “bass and music inspiration” in the album’s liner notes – but when it came down to contributing lyrics, a long gestating issue with royalties once again reared its head that left a nasty rift that continues to this day.
“I was going to write the lyrics, but I said, ‘Well, I don't want to do a buyout this time. I'd rather get my songwriting credits and maybe put it through the publishing company,” Daisley said. “That's when I was asked to go home. I'd written six sets of lyrics for six of the songs. I was going to work things out with them, and then they said, ‘You go home now.’ And that was it. So I only played on that one, and I didn't get any songwriting credits.”
Osbourne's image was changing with the times: gone was the album cover imagery of singer having morphed into some sort of cartoonish monster like on Bark at the Moon, The Ultimate Sin and Diary of a Madman. Instead, a subtle – even sophisticated – sepia toned portrait of the frontman with a small angel’s wing on his shoulder was chosen as the No More Tears artwork, with the concept by Sharon.
“The idea was to give the album more of a mature vibe,” Osbourne said. “I mean, I couldn’t keep doing the blood-out-of-mouth thing – it was starting to get hammy.”
The promotional push for No More Tears was unlike any other in Osbourne’s career with six of the tracks getting released to radio stations and record stores in a promotional format. Seven videos, many receiving heavy rotation on MTV, were commissioned, including the title track, two for “Mama, I’m Coming Home,” “Time After Time,” a live version of “I Don’t Want to Change the World,” album opener “Mr. Tinkertrain” and closer “Road to Nowhere.”
Additionally, there was a fantastic warts-and-all documentary, Don’t Blame Me: The Tales of Ozzy Osbourne, which came out on home video a week after the album was released. Covering his career from Black Sabbath through the recording of No More Tears, it featured interviews with Bill Ward, Lars Ulrich, Kilmister and Alice Cooper.
The publicity blitz worked, with No More Tears ultimately spending 86 weeks on the charts with a peak position of No. 7 and going four times platinum at last count by the RIAA. Its success also allowed Osbourne to survive the onslaught of grunge, as he avoided being cast aside like many of his peers from the '80s and continue his relevance through the '90s.
|Posted on September 17, 2018 at 9:20 PM||comments (0)|
Metallica are celebrating the 30th anniversary of ...And Justice For All with a special remastered box set and their own Blackened whiskey, named after the opening track on the album.
The Lady Justice Pop! Vinyl is available to pre-order now:
|Posted on September 17, 2018 at 9:20 PM||comments (0)|
Black Star Riders have announced that their new lead guitar player from January 1st, 2019 will be Christian Martucci, from Stone Sour. Christian will replace founding BSR member Damon Johnson, who has decided to part company with the band at the end of the year to concentrate on a solo career and session work.
Says Damon Johnson, "3 excellent albums in 6 years with this great band is one of the proudest achievements of my career, and it has been glorious. My family and I have decided to focus our efforts into growing my solo career and I'm excited to be home more to take advantage of working and writing in Nashville. Though I'm moving on from BSR, I will continue to work with Ricky in Warwick Johnson, and plan on being a part of any Thin Lizzy commitments in the future. Much love and continued success to the entire band and to the incredible Black Star Riders fans worldwide."
Scott Gorham states, “I just want to thank Damon for being part of the band and three great records together and I wish him all the best. For BSR it’s onwards and upwards!”
Ricky Warwick explains, “Damon Johnson is my bro and I love him. It’s been a wonderful journey for the last 6 years writing, recording and playing live with him, molding, building and making Black Star Riders into the formidable force that we have become. I totally respect his decision, he will always be family. I will miss him.”
Robert Crane added, “I’m so thankful to have shared this amazing musical journey with our brother Damon. I’m hopeful our paths cross again one day. Love and respect to D.J. and his family.”
After auditions last month in Los Angeles with some incredible guitar players, Christian was chosen to take up the position vacated by Damon.
Ricky Warwick on Christian Martucci, “Christian Martucci is a sonic force of nature, an insanely talented guitar player and a wonderful human being and I’m delighted he has become part of the BSR family. His musical pedigree speaks for itself. He will be an amazing addition to Black Star Riders, bringing a new edge and dynamic presence to the band. I eagerly look forward to writing, recording album number 4 and touring the world with him, Robert, Scott and Chad. The best way to predict the future is to go and create it. The best is yet to come!”
Scott Gorham says, “I am really looking forward to sharing the stage with Christian. He is an amazing player and an awesome addition to the Black Star Riders family.”
Robert Crane adds, “Much like seeing Chad Szeliga playing our songs for the first time, we all knew from the first chord that Christian was the guy... Straight up, he’s a badass! Let’s go!”
Christian explains, “As a fan who’s been inspired by their music, it’s an honor and privilege to be a part of Black Star Riders. I’m really looking forward to this!”
Black Star Riders will head down for the first time to South America in November, joining Judas Priest (with Alice in Chains on some dates) for shows in Chile, Argentina and Brazil. Damon will not be with the band for this run, but his temporary replacement is long time friend of the band, Thunder guitarist Luke Morley.
They will finish off the year with some dates in the United Kingdom, which will be Damon’s last shows with the band. The band will then enter the studio in early 2019 to record their fourth studio album for Nuclear Blast Entertainment.
(Photo - Matthew Stubs Phillips)
JOHN CORABI On MOTLEY CRUE: 'Who Knew That The Record That I Did With Them Would Be As Disastrous As It Was?'
|Posted on September 17, 2018 at 9:15 PM||comments (0)|
John Corabi says that there was talk about MÖTLEY CRÜE being expanded to a five-piece shortly after Vince Neil was brought back to sing for the band in 1997. "[The idea] was floated for a minute," Corabi, who originally joined CRÜE in 1992 as the replacement for Neil, told Scotty Mars of the Live 105 radio station in Halifax (hear audio below). "I don't know if it was management or what the deal was, but they were, like, 'We're bringing Vince back. And maybe we could keep you as a guitar player and you could maybe give Vince a break midway through the set and do a couple of your tunes.' And I was just, like, 'Yeah, sure. Whatever. Let me know.' And I actually was going to the studio with them for about a month, even after they told me Vince was back; I was in the studio with them and Vince pretty much daily for about a month, and then it just kind of stopped."
With Corabi on vocals, MÖTLEY CRÜE released one critically acclaimed full-length CD, which ended up being a commercial failure in the wake of grunge despite a Top-Ten placing on the album chart. When Neil returned to the fold, Corabi was left on his own and formed the band UNION with ex-KISS guitarist Bruce Kulick.
"Everything happens for a reason," John told Live 105. "Like I kind of hear people go, 'Man, you've been in a lot of bands.' Yes, I have. I've also been married several times too, and every time I get into something, I think, 'This is the one.' I think that's just human nature. When I was in THE SCREAM, I thought I'd be around for 30 years, playing with THE SCREAM guys. Who knew I was gonna get a call from MÖTLEY? And then I joined MÖTLEY and everything was peachy. And the way they were talking about Vince, I thought it was a done deal. I thought I was gonna retire with MÖTLEY, go into the [Rock And Roll] Hall Of Fame and call it a day. Who knew they would bring Vince back? Who knew that the record that I did with them would be as disastrous as it was? I mean, at that point, when I joined that band, they could fart on record and it would sell three million. Who knew?"
Corabi in 2016 said that he would avoid talking about MÖTLEY CRÜE in the future because he didn't want his comments about bassist Nikki Sixx to descend into a feud.
In an interview with Sweden Rock Magazine, Sixx said that writing the "Mötley Crüe" LP with Corabi was a prolonged and difficult experience. He went to call it "a very unfocused record" that was "painful for me, because John Corabi can't write lyrics, and I had to do all that work."
Corabi initially responded to Sixx's comments by saying that he didn't "give a shit" about what his ex-bandmate had to say, but later told an interviewer, when asked about it again, "I have no idea why Nikki feels that I'm the biggest piece of shit to roam the Earth." He then proceeded to take to his Facebook page to claim that he would "officially have nothing to say about any member of MÖTLEY CRÜE ever again," adding that he was "not backing this bullshit stirring that is happening to start a feud."
Earlier this year, Corabi released a live album of his performance of MÖTLEY CRÜE's entire 1994 self-titled album, recorded on October 27, 2015 in Nashville, Tennessee. "Live '94: One Night In Nashville" documents the album in its entirety along with the bonus track "10,000 Miles" which was originally released as a bonus track on the Japanese version of the "Quaternary" EP.
|Posted on September 17, 2018 at 9:05 PM||comments (0)|
Bret Michaels recently spoke with Digital Journal about his latest endeavours.
When asked what motivates him each day, Michaels said, "First of all, I feel grateful. I am thankful to all of the amazing fans that have been there for me, to live this dream out. I am passionate about doing things, and I have a really strong work ethic. The harder I work, the luckier I get. Nothing has ever truly fallen in my lap, but I love working since I enjoy making music and being creative."
He continued, "The most magical moment like Mulcahy's or Jones Beach is the minute I get to walk out on that stage. That is the ultimate pay-off, and the ultimate icing on the cake. I am extremely proactive and I love slapping hands. I like making a party out of each show, since I am in a great mood and I am feeling thankful. I want the fans to feel the same way. I want them to leave as excited as I did."
Read more at digitaljournal.com:
|Posted on September 17, 2018 at 9:05 PM||comments (0)|
The highly anticipated reunion of brothers Bruce and Bob Kulick at next month’s Kiss Kruise is off after Bob said he wouldn’t be taking part.
Meanwhile, VInnie Vincent announced that he would take part in the Kruise pre-party, playing a handful of songs ahead of his previously announced return-to-stage shows in December.
Bruce Kulick, a former lead guitarist with Kiss, and his brother Bob, who spent 12 years collaborating with the band in the studio, hadn’t performed a full show together until last year’s Kruise. Bruce later described it as “a gig I’ll never forget,” and hoped for further appearances together. Their return for this year’s sea-bound festival was then confirmed in January.
“Since the success of our Kiss Kruise 7 & Indy Expo performances, I had hoped that the Kulick Brothers could play more shows together,” Bob wrote in a statement released on Mitch Lafon’s Facebook page. “Many of you have asked why I will not be appearing on KISS Kruise 8 and give you a repeat performance of last years epic show. Unfortunately due to a contractual dispute that couldn’t be resolved, I will not be on KK8.”
He explained that he’d appear at the pre-party on Oct. 30 with “a special surprise for all you Kiss fans.” “Hopefully in the future there will be other opportunities for Bruce and I to share the stage," he said.
Vincent’s appearance at the party was also confirmed for two meet-and-greet events on Oct. 29 and 30; he'll also be a guest guitarist with Four by Fate on the night of Oct. 30. Organizers said fans could expect to hear Vincent playing electric guitar with the band for a handful of songs. The performance comes before his first two full shows in three decades, when he’ll take the stage at Graceland in Memphis on Dec. 7 and 8.
The eighth Kiss Kruise sails from Miami to Key West and Nassau from Oct. 31 to Nov. 5. Full details are available on the event's website:
|Posted on September 17, 2018 at 9:00 PM||comments (0)|
In a brand new interview with Scotty Mars of the Live 105 radio station in Halifax, HALESTORM frontwoman Lzzy Hale was asked if it was hard to avoid writing about politics on the band's latest album, "Vicious", in light of the current political and social climates in the U.S. "Absolutely," she responded (hear audio below). "We even said that early on, because there have been some people that have picked certain things out from our record that we weren't necessarily consciously trying to do. We kind of stay away from politics and religion; with those two things, you can't really win. So it's one of those things where we kind of stay away from it — we just wanna rock; that's all we wanna do. But it is really hard not to let that stuff soak in, because it's just there — always, especially nowadays. Whereas before, you could kind of ignore it — you're, like, 'Oh, people that are into politics, they're paying attention to that.' And now everybody's into it, and it affects so many different people, and it affects friendships. So, for us, our main goal is, like, 'All right, we can't necessarily escape it, but since we're in a position where people are going to listen to what we're doing, let's make sure we put out some empowerment, we put some positivity out there, because there's too much crap going on right now.' So that was kind of our m.o. But, yeah, it's definitely tough."
About a month before the most recent U.S. presidential election, Lzzy said that she was "into equality" and insisted that she couldn't "out of good conscience" vote for anybody who built his or her empire on "division and hate and inequality."
Although she initially said that she was a Bernie Sanders supporter, Lzzy later expressed concern that he would "die the first year in office" if he got into the White House. Hale went on to say that she would "definitely not" vote for Donald Trump, explaining that she has "just never been a fan."
"Vicious" was released on July 27 via Atlantic. The disc was recorded last year at Nashville, Tennesse's Rock Falcon recording studio with producer Nick Raskulinecz.
Raskulinecz is an acclaimed producer who has previously worked with RUSH, KORN, ALICE IN CHAINS and DEFTONES, in addition to having produced HALESTORM's third covers EP, "ReAniMate 3.0: The CoVeRs eP", which came out in January 2017.
HALESTORM's "Uncomfortable" recently landed at the top of Billboard's Mainstream Rock Songs airplay chart. It was the band's fourth No. 1, and it tied HALESTORM with THE PRETTY RECKLESS for the most chart toppers by a female-fronted act. It was also the first No. 1 by a woman or woman-led act on Mainstream Rock Songs since THE PRETTY RECKLESS made it to the top with "Take Me Down" in November 2016.
|Posted on September 17, 2018 at 9:00 PM||comments (0)|
While Disturbed are currently preparing to release their seventh album Evolution, the band is putting together their tour plans for 2019. Last month, we reported the group plans to tour extensively in 2019 and now they have released 25 of the cities they are playing next year.
The band released some of the cities, but no dates, for their 2019 tour. Some of the cities on the initial list include Chicago, Dallas, Denver, Detroit, Houston, Kansas City, Las Vegas, Los Angeles, Minneapolis, Nashville, New York, Philadelphia, Phoenix, Pittsburgh, San Antonio, San Diego, Montreal, Toronto, Washington D.C. and more. David Draiman and company also promised more cities and dates will be announced soon.
|Posted on September 17, 2018 at 8:55 PM||comments (0)|
Metal Allegiance have announced that they’ll perform Black Sabbath’s 1970 debut album at their upcoming show in Brooklyn.
The metal collective featuring Mike Portnoy, Testament guitarist Alex Skolnick and Overkill frontman Bobby “Blitz” Ellsworth recently released their new album Volume II: Power Drunk Majesty via Nuclear Blast.
They’ve played some live dates in support of the record, but will dedicate much of their set at the Brooklyn Bowl, New York, on October 27 to the Sabbath classic.
Judas Priestess, Alehkaine’s Gun and Magus Beast will also feature on the bill.
Metal Allegiance is the brainchild of Mark Menghi, who originally brought together Megadeth’s David Ellefson, Skolnick and Portnoy for the project in 2011.
Since then, an ever-changing list of musicians have played in the band including Scott Ian, Joey Belladonna, Charlie Benante, Phil Anselmo, Rex Brown, Kerry King, Dave Lombardo and Chuck Billy.
Volume II: Power Drunk Majesty features contributions from artists including Soulfly’s Max Cavalera, Nightwish’s Floor Jansen, Mastodon’s Troy Sanders, The Black Dahlia Murder’s Trevor Strnad, Armored Saint’s John Bush, Accept’s Mark Tornillo, Amon Amarth’s Johan Hegg and Death Angel’s Mark Oseguesda.
Listen to Strnad guest on The Accuser below:
|Posted on September 16, 2018 at 10:40 PM||comments (0)|
Former JUDAS PRIEST guitarist Ken "K.K." Downing was recently interviewed by the "Rock Talk With Mitch Lafon" podcast. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).
On the deterioration of his relationship with JUDAS PRIEST guitarist Glenn Tipton:
Downing: "I think everyone will know that's been in a relationship, whether it's husband-wife, boyfriend-girlfriend, business relationship… Essentially, this was a business working relationship, but it was also… I think the problem wasn't just business, it was artistic. 'Cause music is kind of a bit like that, [and] artists can be a bit more temperamental about their craft and things. A bit different to — I don't know — if you work in a bean factory or something like [that], and that's your business. So lots of ingredients, really, come into play. Music and creativity is very subjective and can be very opinionated. So you have all of those ingredients to deal with. Let me start by saying that both myself and Glenn have said before… When I first started speaking about the mutual respect — and that will always be there; I will always have the respect for… Let's just take Glenn now. Obviously, we worked and played together — not just musically; we would go out socially when we were on tour, playing some golf, tennis, chasing girls — whatever we did — drinking beer, everything happens. An we did a lot of work and a lot of stuff together, but, really, in a band, there's lots of kind of common denominators, really, with let's say four or five guys in a band. As much as you like to prevent and avoid a pecking order formulating, maybe it does. And as much as you like to avoid the guys that don't have particular egos — we're happy for nobody to have an ego — but you can't stop these things happening; it does happen. And I think that that's probably why an awful lot of bands do part ways — because things like that rear their ugly heads. But in PRIEST, I think it's fair to say that it wasn't anywhere near as bad as other bands and other people that I've seen. But was it there? I think it was. [It's] something [that] is inherent — you get people in bands, you get more flaccid characters and other people [who are] more domineering. And that's what happens. In any business relationship, you get this one-upmanship — 'Oh, I wrote this song,' and, 'Oh, I wrote that song.' All that matters, really, is the band — it's the band's song and the band perform it. Because at the end of the day, nothing is more important than the band name JUDAS PRIEST — that is the star, that is the superstar… Yes, I think it's true to say that some bandmembers will play a bigger role in achieving that goal, but at the end of the day, what is very special is the name: 'JUDAS PRIEST are appearing…', 'JUDAS PRIEST are playing at…' And it's not 'K.K. Downing is playing at…' or Glenn Tipton or Rob [Halford] or Ian [Hill] or Scott [Travis] — it's the band. And so that democracy is something I've always been a great believer in and that equality is something that I always aspired to have in JUDAS PRIEST. So, yes, when one of the bandmembers said, 'I wanna do a solo album. I wanna sell my own t-shirts. I wanna do this,' for me, it doesn't work as well for me. I always kind of said, 'That's absolutely something I'm never, ever gonna do,' and I never did it. And I'm proud of that, because I gave everything to what I thought was important all of the time. If I had songs that I thought were worthy of recording, then… Because I don't wanna record any song that's not worthy of JUDAS PRIEST recording that song… Anyway, that's just where I'm coming from, and that's what… [For] me, as an artist, it goes back all of those days creating and dedicating myself and everything I did to JUDAS PRIEST, that was more important than anything to me — people's perception and people's acknowledgement of JUDAS PRIEST as the archetypal heavy metal band, and that's what I'd like us to be remembered as."
On whether he would consider launching a new musical project or if it's JUDAS PRIEST or nothing" for him:
Downing: "I think it probably is PRIEST or nothing for me, because that was my whole life. And I'm not young enough, and I think… Can I use age as the biggest excuse? Maybe I can, maybe I can't. The guys out there are waving their arms and shouting at me. But to start over, so to speak, is never something that I've kind of wanted to do, because when you've kind of spent all of your life building up to working your way up to playing these gigs in front of these people in an abundance, it's harder at a certain age to wind the clock all the way back and make that start again. And I think that the efforts, really, especially with the songwriting and ideas and recording, I would probably just think, 'Shit, I wish this could be a JUDAS PRIEST song.' So there's lots of things that go through my mind. So I've just been doing an awful lot of things [since my departure from PRIEST] — trying to help some new bands. I'm always trying to stay in touch with the fans, whether it's interviews, doing a book, whatever. It seems that I'm always kind of still there; I don't feel as though anything has been amputated from me, really, in respect to the fans, the industry."
|Posted on September 16, 2018 at 10:35 PM||comments (0)|
Released in 1989, Trash gave Alice Cooper his biggest hit in more than a decade. To promote the record, Cooper gave it the personal touch, going to radio stations to deliver the record. And in keeping with the record's title, he showed up in a garbage truck.
"You know, we did the entire country," he told us in a new interview. "We did every major station by delivering the record in a garbage truck. That’s pure Alice Cooper. I mean, we believe in the Hollywood stunt more than anything else. There’s a funny side to this -- we finally get to Texas, we’re going to go into Houston or Dallas, one of the stations. And you know, we’d have to rent a garbage truck. I always figured, 'Well, it will just be there.' I don’t figure, 'How are we going to get a garbage truck?'”
But Cooper's controversial past came back to haunt him. "They went to rent the garbage truck and the guy that was going to rent it said, 'Well, we don’t really want Alice Cooper representing us, because it will give us a bad name.' The other guy said, 'It’s a garbage truck!' [Laughs] What kind of name do you have? What are you talking about? It’s a garbage truck!' I laughed so hard. I said, 'That’s the best story of the whole tour is that the garbage truck, they wouldn’t rent us one because they were afraid of getting a bad name.'"
In Canada, Cooper was the subject of a one-hour special on Toronto's MuchMusic station (see below), where, from the driver's seat of the garbage truck, he argued that the album's title was a source of pride.
"All good rock n' roll is trash," he said. "Every good band I've ever known started in a garage where trash is, and that's why Trash is trash. ... Look around right now at the bands that are trashed out. The [Rolling] Stones are trashing out, Aerosmith, Guns N' Roses, Alice Cooper. All the real trash bands are out on the road. "
Check out the two part video below:
DREAM CHILD FEATURING FORMER DIO, MSG, AC/DC, QUIET RIOT MEMBERS RELEASE "MIDNIGHT SONG" MUSIC VIDEO
|Posted on September 16, 2018 at 10:30 PM||comments (0)|
Dream Child, the band featuring legends of the hard rock/heavy metal scene, have released their debut album, Until Death Do We Meet Again. Order the album here:
Watch a video for the track "Midnight Song" below:
Says Craig Goldy: "The band Dream Child was conceived during a brainstorming session with Serafino (President of Frontiers) one day while discussing other matters over the phone. I mentioned that I had been listening to my favorite bands a lot recently, Deep Purple and Rainbow's Rising album, among others in that style and had noticed that many people who also love those bands often have the very same comments as one another: "They don't make music like that anymore!" Even though I said that in passing, Serafino asked me a question that would forever shape my future. He simply asked, "Well, can you?" and I said....."YES!!!"
"During the very first public memorial for our most beloved Ronnie James Dio, I had mentioned that whenever I do start writing original material again that I would utilize everything that I had learned from working side by side with the Master for so many years in such a way that I would hope to make him proud... and here it is! The name is inspired by one of his lyrics on the Dream Evil album and the nickname he gave me at the time, Dream Child!
"We are so very fortunate to have bassist Rudy Sarzo as a featured guest, Simon Wright on drums, Wayne Findlay on guitars and keyboards, and a surprise vocal discovery from Argentina, Diego Valdez, whose voice will send shivers up your spine!!
"This album will bring back memories of the days most people have thought were long gone and never to return, yet it is also new and fresh enough to be unique with some unexpected twists and turns!! No more "same old, same old" here, no fillers. Every song is an oasis in the desert and a rare gem in the coal mines of life in this new world that thinks the past greatness of rock would remain in the past. We've brought it back to life once again!!
"I am very proud of this album and all who have made this become a reality. There are some big names who've lent a hand in the writing and I am amazed at the new and aggressive sound that producer Alessandro Del Vecchio has brought to these songs!!! I hope you all agree...."
"Under The Wire"
"You Can't Take Me Down"
"Game Of Shadows"
"It Is What It Is"
"Playin' With Fire"
"Light Of The Dark"
"Until Death Do We Meet Again"
"Washed Upon The Shore"
"In A World So Cold"
"One Step Beyond The Grave"
Dream Child features:
Craig Goldy: Guitars (ex-Dio, Giuffria)
Simon Wright: Drums (ex-AC/DC, Dio, Operation: Mindcrime)
Rudy Sarzo: Bass (ex-Quiet Riot, Ozzy, Whitesnake, Dio)
Wayne Findlay: Guitars and Keyboards (ex- MSG)
Diego Valdez: Vocals (Helker)