BLACK SABBATH guitarist Tony Iommi will undertake a select number of signings in the United Kingdom and the East Coast of the United States Of America to promote his upcoming memoir, "Iron Man: My Journey Through Heaven And Hell With Black Sabbath". The book will be released in the United States on November 1 in hardback by Perseus Books/DeCapo Press and in Europe on October 13 through Simon & Schuster.
Tony will be signing copies of "Iron Man" at the following locations in the U.K. and U.S. (more events to be announced):
* Monday, Oct. 17 - London, UK @ HMV FOPP
* Tuesday, Oct. 18 - Birmingham, UK @ HMV
* Wednesday, Oct. 19 - Sheffield, UK @ Waterstones
* Thursday, Oct. 20 - Nottingham, UK @ Waterstones
* Tuesday, Nov. 1 - Ridgewood, NJ @ Bookends (6:00 p.m. - 9:00 p.m.)
* Wednesday, Nov. 2 - Huntington, NY @ Book Revue (7:00 p.m. - 10:00 p.m.)
Please note that Tony will only be signing copies of his book "Iron Man". Any memorabilia or outside items will not be signed.
Da Capo reportedly paid a six-figure amount at auction for the rights to the 352-page book, which was described as "'Angela's Ashes' meets 'The Ground Beneath Her Feet' meets 'Spinal Tap'" by Foundry Literary + Media co-founder Peter McGuigan, who completed the North American rights deal for the memoir.
In a recent interview with Guitar World magazine, Iommi explained how his autobiography came together. "I had a chap called TJ Lammers, who I met many, many years ago when he used to work at Phonogram Records," he said. "He later became a journalist and he had his own magazine. He lives in Holland and we've stayed in touch over the years. I've had a few people say, 'Oh, I can write a book for you,' but I wanted a different outlook to the normal music journalist, and that's what happened. He came over to England and stayed with me for a few days. Then he'd write it up, come back again and do more. The whole thing took a couple years to finish."
When asked how his book will be different to the typical rock biography, Iommi said, "I don't know. I don't read rock biographies, so it could be the same, it could be different. It's just my life, really. It's about what happened and what I grew up from, and how I've gone through life to where I am now. It's something I probably should have done a long time ago because there are so many books out now. I've been meaning to do it for many, many years but never got around to it."
The name "Tony Iommi" sends shivers down the spines of guitarists around the world. As lead guitarist and songwriter of BLACK SABBATH, Tony Iommi is considered to be one of the most influential musicians of the past four decades and the inventor of heavy metal. From working-class, Midlands roots, his unique playing style — a result of a disfiguring hand injury he suffered working in a sheet metal factory — created a dark and gothic sound unlike anything that had been heard before and which captured the mood of its time. SABBATH went on to become a superband, playing to massive audiences around the world and selling millions of records, and Iommi led the life of a rock star to the fullest — with the scars from all the drug-fuelled nights of excess and wildness to show for it.
"Iron Man" is the exclusive account of the life and adventures of one of rock's greatest heroes. It chronicles the story of both pioneering guitarist Tony Iommi and legendary band BLACK SABBATH, dubbed "THE BEATLES of heavy metal" by Rolling Stone magazine. "Iron Man" reveals the man behind the icon yet still captures Iommi's humor, intelligence, and warmth. He speaks honestly and unflinchingly about his rough-and-tumble childhood, the accident that almost ended his career, his failed marriages, personal tragedies, battles with addiction, bandmates, famous friends, newfound daughter, and the ups and downs of his life as an artist.
Everything associated with hard rock happened to BLACK SABBATH first: the drugs, the debauchery, the drinking, the dungeons, the pressure, the pain, the conquests, the company men, the contracts, the combustible drummer, the critics, the comebacks, the singers, the Stonehenge set, the music, the money, the madness, the metal.
Brian May (QUEEN): "Tony Iommi is the true father of heavy metal, a continuously creative genius riff-meister, and one of the world's great human beings."
Eddie Van Halen (VAN HALEN): "Without Tony, heavy metal wouldn't exist. He is the creator of heavy! Tony is a legend. He took rock and roll and turned it into heavy metal."
James Hetfield (METALLICA): "Mr. Iommi, aka . . . The Riffmaster. It's all his fault I am where I am."
Ozzy Osbourne (BLACK SABBATH): "Tony Iommi should be up there with the greats. He can pick up a guitar and play a riff that'd knock your fucking socks off."
Tony will be signing copies of "Iron Man" at the following locations in the U.K. and U.S. (more events to be announced):
* Monday, Oct. 17 - London, UK @ HMV FOPP
* Tuesday, Oct. 18 - Birmingham, UK @ HMV
* Wednesday, Oct. 19 - Sheffield, UK @ Waterstones
* Thursday, Oct. 20 - Nottingham, UK @ Waterstones
* Tuesday, Nov. 1 - Ridgewood, NJ @ Bookends (6:00 p.m. - 9:00 p.m.)
* Wednesday, Nov. 2 - Huntington, NY @ Book Revue (7:00 p.m. - 10:00 p.m.)
Please note that Tony will only be signing copies of his book "Iron Man". Any memorabilia or outside items will not be signed.
Da Capo reportedly paid a six-figure amount at auction for the rights to the 352-page book, which was described as "'Angela's Ashes' meets 'The Ground Beneath Her Feet' meets 'Spinal Tap'" by Foundry Literary + Media co-founder Peter McGuigan, who completed the North American rights deal for the memoir.
In a recent interview with Guitar World magazine, Iommi explained how his autobiography came together. "I had a chap called TJ Lammers, who I met many, many years ago when he used to work at Phonogram Records," he said. "He later became a journalist and he had his own magazine. He lives in Holland and we've stayed in touch over the years. I've had a few people say, 'Oh, I can write a book for you,' but I wanted a different outlook to the normal music journalist, and that's what happened. He came over to England and stayed with me for a few days. Then he'd write it up, come back again and do more. The whole thing took a couple years to finish."
When asked how his book will be different to the typical rock biography, Iommi said, "I don't know. I don't read rock biographies, so it could be the same, it could be different. It's just my life, really. It's about what happened and what I grew up from, and how I've gone through life to where I am now. It's something I probably should have done a long time ago because there are so many books out now. I've been meaning to do it for many, many years but never got around to it."
The name "Tony Iommi" sends shivers down the spines of guitarists around the world. As lead guitarist and songwriter of BLACK SABBATH, Tony Iommi is considered to be one of the most influential musicians of the past four decades and the inventor of heavy metal. From working-class, Midlands roots, his unique playing style — a result of a disfiguring hand injury he suffered working in a sheet metal factory — created a dark and gothic sound unlike anything that had been heard before and which captured the mood of its time. SABBATH went on to become a superband, playing to massive audiences around the world and selling millions of records, and Iommi led the life of a rock star to the fullest — with the scars from all the drug-fuelled nights of excess and wildness to show for it.
"Iron Man" is the exclusive account of the life and adventures of one of rock's greatest heroes. It chronicles the story of both pioneering guitarist Tony Iommi and legendary band BLACK SABBATH, dubbed "THE BEATLES of heavy metal" by Rolling Stone magazine. "Iron Man" reveals the man behind the icon yet still captures Iommi's humor, intelligence, and warmth. He speaks honestly and unflinchingly about his rough-and-tumble childhood, the accident that almost ended his career, his failed marriages, personal tragedies, battles with addiction, bandmates, famous friends, newfound daughter, and the ups and downs of his life as an artist.
Everything associated with hard rock happened to BLACK SABBATH first: the drugs, the debauchery, the drinking, the dungeons, the pressure, the pain, the conquests, the company men, the contracts, the combustible drummer, the critics, the comebacks, the singers, the Stonehenge set, the music, the money, the madness, the metal.
Brian May (QUEEN): "Tony Iommi is the true father of heavy metal, a continuously creative genius riff-meister, and one of the world's great human beings."
Eddie Van Halen (VAN HALEN): "Without Tony, heavy metal wouldn't exist. He is the creator of heavy! Tony is a legend. He took rock and roll and turned it into heavy metal."
James Hetfield (METALLICA): "Mr. Iommi, aka . . . The Riffmaster. It's all his fault I am where I am."
Ozzy Osbourne (BLACK SABBATH): "Tony Iommi should be up there with the greats. He can pick up a guitar and play a riff that'd knock your fucking socks off."
BLACK SABBATH guitarist Tony Iommi will undertake a select number of signings in the United Kingdom and the East Coast of the United States Of America to promote his upcoming memoir, "Iron Man: My Journey Through Heaven And Hell With Black Sabbath". The book will be released in the United States on November 1 in hardback by Perseus Books/DeCapo Press and in Europe on October 13 through Simon & Schuster.
Tony will be signing copies of "Iron Man" at the following locations in the U.K. and U.S. (more events to be announced):
* Monday, Oct. 17 - London, UK @ HMV FOPP
* Tuesday, Oct. 18 - Birmingham, UK @ HMV
* Wednesday, Oct. 19 - Sheffield, UK @ Waterstones
* Thursday, Oct. 20 - Nottingham, UK @ Waterstones
* Tuesday, Nov. 1 - Ridgewood, NJ @ Bookends (6:00 p.m. - 9:00 p.m.)
* Wednesday, Nov. 2 - Huntington, NY @ Book Revue (7:00 p.m. - 10:00 p.m.)
* Thursday, Nov. 3 - New York, NY @ Barnes & Noble (97 Warren Street) (6:00 p.m.)
Please note that Tony will only be signing copies of his book "Iron Man". Any memorabilia or outside items will not be signed.
Da Capo reportedly paid a six-figure amount at auction for the rights to the 352-page book, which was described as "'Angela's Ashes' meets 'The Ground Beneath Her Feet' meets 'Spinal Tap'" by Foundry Literary + Media co-founder Peter McGuigan, who completed the North American rights deal for the memoir.
In a recent interview with Guitar World magazine, Iommi explained how his autobiography came together. "I had a chap called TJ Lammers, who I met many, many years ago when he used to work at Phonogram Records," he said. "He later became a journalist and he had his own magazine. He lives in Holland and we've stayed in touch over the years. I've had a few people say, 'Oh, I can write a book for you,' but I wanted a different outlook to the normal music journalist, and that's what happened. He came over to England and stayed with me for a few days. Then he'd write it up, come back again and do more. The whole thing took a couple years to finish."
When asked how his book will be different to the typical rock biography, Iommi said, "I don't know. I don't read rock biographies, so it could be the same, it could be different. It's just my life, really. It's about what happened and what I grew up from, and how I've gone through life to where I am now. It's something I probably should have done a long time ago because there are so many books out now. I've been meaning to do it for many, many years but never got around to it."
The name "Tony Iommi" sends shivers down the spines of guitarists around the world. As lead guitarist and songwriter of BLACK SABBATH, Tony Iommi is considered to be one of the most influential musicians of the past four decades and the inventor of heavy metal. From working-class, Midlands roots, his unique playing style — a result of a disfiguring hand injury he suffered working in a sheet metal factory — created a dark and gothic sound unlike anything that had been heard before and which captured the mood of its time. SABBATH went on to become a superband, playing to massive audiences around the world and selling millions of records, and Iommi led the life of a rock star to the fullest — with the scars from all the drug-fuelled nights of excess and wildness to show for it.
"Iron Man" is the exclusive account of the life and adventures of one of rock's greatest heroes. It chronicles the story of both pioneering guitarist Tony Iommi and legendary band BLACK SABBATH, dubbed "THE BEATLES of heavy metal" by Rolling Stone magazine. "Iron Man" reveals the man behind the icon yet still captures Iommi's humor, intelligence, and warmth. He speaks honestly and unflinchingly about his rough-and-tumble childhood, the accident that almost ended his career, his failed marriages, personal tragedies, battles with addiction, bandmates, famous friends, newfound daughter, and the ups and downs of his life as an artist.
Everything associated with hard rock happened to BLACK SABBATH first: the drugs, the debauchery, the drinking, the dungeons, the pressure, the pain, the conquests, the company men, the contracts, the combustible drummer, the critics, the comebacks, the singers, the Stonehenge set, the music, the money, the madness, the metal.
Brian May (QUEEN): "Tony Iommi is the true father of heavy metal, a continuously creative genius riff-meister, and one of the world's great human beings."
Eddie Van Halen (VAN HALEN): "Without Tony, heavy metal wouldn't exist. He is the creator of heavy! Tony is a legend. He took rock and roll and turned it into heavy metal."
James Hetfield (METALLICA): "Mr. Iommi, aka . . . The Riffmaster. It's all his fault I am where I am."
Ozzy Osbourne (BLACK SABBATH): "Tony Iommi should be up there with the greats. He can pick up a guitar and play a riff that'd knock your fucking socks off."
Tony will be signing copies of "Iron Man" at the following locations in the U.K. and U.S. (more events to be announced):
* Monday, Oct. 17 - London, UK @ HMV FOPP
* Tuesday, Oct. 18 - Birmingham, UK @ HMV
* Wednesday, Oct. 19 - Sheffield, UK @ Waterstones
* Thursday, Oct. 20 - Nottingham, UK @ Waterstones
* Tuesday, Nov. 1 - Ridgewood, NJ @ Bookends (6:00 p.m. - 9:00 p.m.)
* Wednesday, Nov. 2 - Huntington, NY @ Book Revue (7:00 p.m. - 10:00 p.m.)
* Thursday, Nov. 3 - New York, NY @ Barnes & Noble (97 Warren Street) (6:00 p.m.)
Please note that Tony will only be signing copies of his book "Iron Man". Any memorabilia or outside items will not be signed.
Da Capo reportedly paid a six-figure amount at auction for the rights to the 352-page book, which was described as "'Angela's Ashes' meets 'The Ground Beneath Her Feet' meets 'Spinal Tap'" by Foundry Literary + Media co-founder Peter McGuigan, who completed the North American rights deal for the memoir.
In a recent interview with Guitar World magazine, Iommi explained how his autobiography came together. "I had a chap called TJ Lammers, who I met many, many years ago when he used to work at Phonogram Records," he said. "He later became a journalist and he had his own magazine. He lives in Holland and we've stayed in touch over the years. I've had a few people say, 'Oh, I can write a book for you,' but I wanted a different outlook to the normal music journalist, and that's what happened. He came over to England and stayed with me for a few days. Then he'd write it up, come back again and do more. The whole thing took a couple years to finish."
When asked how his book will be different to the typical rock biography, Iommi said, "I don't know. I don't read rock biographies, so it could be the same, it could be different. It's just my life, really. It's about what happened and what I grew up from, and how I've gone through life to where I am now. It's something I probably should have done a long time ago because there are so many books out now. I've been meaning to do it for many, many years but never got around to it."
The name "Tony Iommi" sends shivers down the spines of guitarists around the world. As lead guitarist and songwriter of BLACK SABBATH, Tony Iommi is considered to be one of the most influential musicians of the past four decades and the inventor of heavy metal. From working-class, Midlands roots, his unique playing style — a result of a disfiguring hand injury he suffered working in a sheet metal factory — created a dark and gothic sound unlike anything that had been heard before and which captured the mood of its time. SABBATH went on to become a superband, playing to massive audiences around the world and selling millions of records, and Iommi led the life of a rock star to the fullest — with the scars from all the drug-fuelled nights of excess and wildness to show for it.
"Iron Man" is the exclusive account of the life and adventures of one of rock's greatest heroes. It chronicles the story of both pioneering guitarist Tony Iommi and legendary band BLACK SABBATH, dubbed "THE BEATLES of heavy metal" by Rolling Stone magazine. "Iron Man" reveals the man behind the icon yet still captures Iommi's humor, intelligence, and warmth. He speaks honestly and unflinchingly about his rough-and-tumble childhood, the accident that almost ended his career, his failed marriages, personal tragedies, battles with addiction, bandmates, famous friends, newfound daughter, and the ups and downs of his life as an artist.
Everything associated with hard rock happened to BLACK SABBATH first: the drugs, the debauchery, the drinking, the dungeons, the pressure, the pain, the conquests, the company men, the contracts, the combustible drummer, the critics, the comebacks, the singers, the Stonehenge set, the music, the money, the madness, the metal.
Brian May (QUEEN): "Tony Iommi is the true father of heavy metal, a continuously creative genius riff-meister, and one of the world's great human beings."
Eddie Van Halen (VAN HALEN): "Without Tony, heavy metal wouldn't exist. He is the creator of heavy! Tony is a legend. He took rock and roll and turned it into heavy metal."
James Hetfield (METALLICA): "Mr. Iommi, aka . . . The Riffmaster. It's all his fault I am where I am."
Ozzy Osbourne (BLACK SABBATH): "Tony Iommi should be up there with the greats. He can pick up a guitar and play a riff that'd knock your fucking socks off."
According to People.com, Ozzy Osbourne's wife/manager Sharon admitted on her daytime talk show "The Talk" earlier today (Thursday, October 6) that she took a break from the program to deal with a problem with her breast implants.
"One morning I woke up and one of my boobies was kind of much longer than the other ... So I'm thinking, this isn't right," Sharon said.
Her surgeon told her one of her implants had "leaked into the wall of my stomach," so she had them removed and has gone back to her natural assets.
"I don't feel like I have a water bed laying on my chest anymore," Osbourne said.
The Daily Record reported in 2006 that Sharon Osbourne spent £300,000 (approximately $530,000 at the time) on plastic surgery.
In 1999 she underwent a gastric banding procedure where an elastic band is put around the stomach. Within a year, she was down to 98 pounds — and ready for some serious refurbishment.
She began with surgery to trim off the excess skin, then had her breasts, legs and bottom lifted. She had a tummy tuck, liposuction and a full facelift.
Sharon Osbourne published her best-selling memoir in 2005, called "Extreme: My Autobiography". A second volume was rushed out in 2008 after Ozzy's book was delayed.
"One morning I woke up and one of my boobies was kind of much longer than the other ... So I'm thinking, this isn't right," Sharon said.
Her surgeon told her one of her implants had "leaked into the wall of my stomach," so she had them removed and has gone back to her natural assets.
"I don't feel like I have a water bed laying on my chest anymore," Osbourne said.
The Daily Record reported in 2006 that Sharon Osbourne spent £300,000 (approximately $530,000 at the time) on plastic surgery.
In 1999 she underwent a gastric banding procedure where an elastic band is put around the stomach. Within a year, she was down to 98 pounds — and ready for some serious refurbishment.
She began with surgery to trim off the excess skin, then had her breasts, legs and bottom lifted. She had a tummy tuck, liposuction and a full facelift.
Sharon Osbourne published her best-selling memoir in 2005, called "Extreme: My Autobiography". A second volume was rushed out in 2008 after Ozzy's book was delayed.
When Rob Halford announced earlier this year that his band Judas Priest would launch its farewell "Epitaph Tour," fans were disappointed. However, Halford said the scaling back of touring plans was a necessary evil propagated by the "reality of mortality, more than anything else."
"I think one of the things that we seriously considered was how to maintain the longevity of Priest, and one of the ways of doing that is just to cut back a little bit on these intense tours that we do," Halford told SoundSpike via telephone from England.
"We're still going to stay focused on recording and writing new songs; as you may have heard we have a new album coming out sometime next year. And [we will] do some more shows, but not on a lengthy touring basis. Maybe do festivals or special events -- that kind of thing. I think, realistically, it guarantees the life of the band, rather than saying 'farewell,' 'goodbye, 'this is it.' I think it was important for us to send that message out to everyone that this was farewell to some aspects, because obviously there are certain parts of the world that we might not get back to ever again. That's why we're urging everybody to come and see us."
Judas Priest begins the next leg of its North American tour, with Black Label Society and Thin Lizzy supporting, on Oct. 12 at San Antonio's AT&T Center. The jaunt is similar to other legs of the tour in that it will feature a retrospective of Priest's career.
"We've tried, as best we can, to kind of go through as much of the significant material that we feel needs to be represented," Halford said. "So we are going from the first album to [2008's] 'Nostradamus' and everything in between. The songs are great. It felt good right from day one. We're leaving [the setlist] as it is. We're not going to mess with it. We open up with 'Rapid Fire' from 'British Steel,' and we end the show with 'Living After Midnight.' Between the beginning and the end, it's two hours of heavy molten metal and the fans are just going crazy for it."
Next year, as Halford mentioned, fans will be going crazy for new material that he and guitarist Glenn Tipton penned in the first quarter of the year. It is the follow-up to the concept album "Nostradamus."
"It made absolute sense to be who we are and what we're renowned for, which is making the best heavy metal albums that we can," he said. "Our next record, when it's completed, will just be a traditional British heavy metal release, which obviously means there's going to be loads of riffs and screaming vocals and crazy guitars, lead breaks and all of the wonderful aspects that are loved about Judas Priest and heavy metal in general. It's going to be pretty much a straightforward, good solid piece of heavy metal that we're working on to release next year."
The album will be Judas Priest's first with new guitarist Richie Faulkner, who replaced K.K. Downing earlier this year. (Downing cited differences with the band and management and a breakdown in their relationship.) Halford admitted he felt skeptical about the situation. But those fears were soon quelled.
"You never know how these things are going to turn out," Halford said about the hiring of Faulkner. "Call it fate. Call it destiny. Through the channels we were working in, we had Richie proposed to us. We did what everybody does -- jump on the Internet and see what's going on. Then it's a leap of faith, really.
"Richie came up to the Midlands and sat with Glenn and myself, and we talked and we talked. It was immediately -- within the first hour or so -- that this guy, in terms of personality, was going to be the one who could deal with what we were going to present him: 'You're going to stand on stage with Judas Priest and you're going to go on a world tour and all these other commitments.' It was straight into rehearsals. We knew the guy could play, but in terms of 'fitting in,' as it was called, it was just immediate. Absolutely immediate."
Faulkner went from a little rehearsal room to the stage of "American Idol," when Judas Priest led contestant James Durbin on renditions of "Living After Midnight" and "Breaking the Law."
"[Faulkner] just slipped in there as though it was waiting to happen," Halford said. "There was a tremendous sense of charisma and confidence. Of course, the next show that he played live with us was in Holland, where we started the European tour. Just an incredible talent, fabulous guitar player, tremendous personality on stage, can't take your eyes off of him. He loves playing his guitar. He loves Judas Priest. He loves heavy metal. What more could you ask for?"
Halford said the collaboration with Durbin was also a dream come true. He said he loves 'Idol' because it provides "a tremendous opportunity for extremely talented people to move quickly, to be recognized quickly.
"The results of 'American Idol' are very challenging, actually," he continued. "Once you've won, you have to back it up. You've really got to be ready to dive into the deep end, go rolling in the deep, like Adele says. You've got to be ready to handle all of that. It's always interesting to see where the winners end up. Some of them maintain their position more strongly than others. But that's rock' n' roll for us."
As far as Durbin is concerned, Halford called him "brilliant. Absolutely sensational."
"The first we heard about James and the connection with Priest was when he covered our song 'You've Got Another Thing Comin',' Halford said. "We were really excited to hear that was taking place. As we kind of followed his growth through the last season of 'Idol' and listening to him speak, it became clear he was a champion for heavy metal music.
"I can recall, right from these early weeks, thinking, 'If this guy gets to where we hope he's going to get, it wouldn't surprise me in the least if something comes our way, in terms of do we want to get involved.' When the call came, we weren't 100 percent surprised. We were absolutely delighted. We dropped everything to fly to Los Angeles and then fly back to London, all within the space of a couple days. It was a great moment for James and, more importantly, it was a great moment for heavy metal music because it was suddenly in the arms of 30-odd-million-plus households throughout the USA. And then, of course, it bounced around the rest of the world afterward. Everything that we've done in those types of appearances for us has been not only for Priest but championing the cause of heavy metal music."
That's been the goal of Judas Priest for its 40 years, Halford said. In that four-decade career, Halford said the band's greatest accomplishment is "still being here, quite frankly."
"We've done that through hard work, determination, and the passion and love that we have for the music that we love to write and record and play live," he said. "As equally important in all of that is the fans. You can't do what we've been doing for 40 years without this fanatical fan base that refuses to let us go. We can only say thank you again and again and again to the fans that have given us this life."
Tourdates
October 2011
12 - San Antonio, TX - AT&T Center
14 - Corpus Christi, TX - Concrete Street Amphitheater
15 - The Woodlands, TX - The Cynthia Woods Mitchell Pavilion
16 - Allen, TX- Allen Event Center
18 - Tucson, AZ - Anselmo Valencia Tori Amphitheatre
19 - Chula Vista, CA - Cricket Wireless Amphitheatre
21 - Phoenix, AZ - Arizona Veterans Memorial Coliseum (Arizona State Fair)
22 - Devore, CA - San Manuel Amphitheater
23 - Las Vegas, NV - The Joint at Hard Rock Hotel/Casino
25 - Bakersfield, CA - Rabobank Arena
27 - Concord, CA - Sleep Train Pavilion at Concord
29 - Seattle, WA - WaMu Theater
30 - Vancouver, British Columbia - Rogers Arena
November 2011
1 - Edmonton, Alberta - Shaw Conference Centre
2 - Calgary, Alberta - Scotiabank Saddledome
4 - Salt Lake City, UT - Maverik Center
5 - Broomfield, CO - 1st Bank Center
8 - Cincinnati, OH - U.S. Bank Arena
9 - Springfield, IL - Prairie Capital Convention Center
10 - St. Charles, MO - The Family Arena
12 - Hammond, IL - The Venue at Horseshoe Casino
13 - Detroit, MI - Joe Louis Arena
15 - Cleveland, OH - Quicken Loans Arena
16 - Rochester, NY - Main Street Armory
18 - East Rutherford, NJ - IZOD Center
19 - Johnstown, PA - Cambria Co. War Memorial Arena
20 - Lowell, MA - Tsongas Center at UMass Lowell
22 - Toronto, Ontario - Air Canada Centre
23 - Quebec City, Quebec - Quebec Colisee Pepsi
24 - Montreal, Quebec - Bell Centre
26 - Reading, PA - Sovereign Center
27 - Winston-Salem, NC - Lawrence Joel Veterans Memorial Coliseum
30 - Tampa, FL - 1-800-ASK-GARY Amphitheatre
December 2011
1 - Miami, FL - Bayfront Park
3 - Biloxi, MS - Hard Rock Live
12 - San Antonio, TX - AT&T Center
14 - Corpus Christi, TX - Concrete Street Amphitheater
15 - The Woodlands, TX - The Cynthia Woods Mitchell Pavilion
16 - Allen, TX- Allen Event Center
18 - Tucson, AZ - Anselmo Valencia Tori Amphitheatre
19 - Chula Vista, CA - Cricket Wireless Amphitheatre
21 - Phoenix, AZ - Arizona Veterans Memorial Coliseum (Arizona State Fair)
22 - Devore, CA - San Manuel Amphitheater
23 - Las Vegas, NV - The Joint at Hard Rock Hotel/Casino
25 - Bakersfield, CA - Rabobank Arena
27 - Concord, CA - Sleep Train Pavilion at Concord
29 - Seattle, WA - WaMu Theater
30 - Vancouver, British Columbia - Rogers Arena
November 2011
1 - Edmonton, Alberta - Shaw Conference Centre
2 - Calgary, Alberta - Scotiabank Saddledome
4 - Salt Lake City, UT - Maverik Center
5 - Broomfield, CO - 1st Bank Center
8 - Cincinnati, OH - U.S. Bank Arena
9 - Springfield, IL - Prairie Capital Convention Center
10 - St. Charles, MO - The Family Arena
12 - Hammond, IL - The Venue at Horseshoe Casino
13 - Detroit, MI - Joe Louis Arena
15 - Cleveland, OH - Quicken Loans Arena
16 - Rochester, NY - Main Street Armory
18 - East Rutherford, NJ - IZOD Center
19 - Johnstown, PA - Cambria Co. War Memorial Arena
20 - Lowell, MA - Tsongas Center at UMass Lowell
22 - Toronto, Ontario - Air Canada Centre
23 - Quebec City, Quebec - Quebec Colisee Pepsi
24 - Montreal, Quebec - Bell Centre
26 - Reading, PA - Sovereign Center
27 - Winston-Salem, NC - Lawrence Joel Veterans Memorial Coliseum
30 - Tampa, FL - 1-800-ASK-GARY Amphitheatre
December 2011
1 - Miami, FL - Bayfront Park
3 - Biloxi, MS - Hard Rock Live
For over 40 years, AEROSMITH delivered flat-out, four-on-the-floor blues-based rock unlike any band before. Referred to as "The Bad Boys from Boston," they combined memorable songwriting with a showmanship unlike any band on the planet.
Forty-plus years later, the band holds a spot in the rarified air of American rock royalty as one of the greatest — and most mercurial — rock 'n' roll bands of all-time.
"The Ultimate Illustrated History Of The Boston Bad Boys" is a massive, illustrated celebration and the first of its kind to provide a front-row seat to the Boston Bad Boys' entire career: scrapping their way cross-country in the 1970s, scrapping their way back to the top of the heap in the late 1980s, and scrapping with each other the entire way. Music journalist Richard Bienstock's lively history of the band's rise, fall, and rebirth is illustrated with nearly 400 photographs and collectibles, including gig posters, backstage passes, ticket stubs, seven-inch picture sleeves, and vintage T-shirts. "The Ultimate Illustrated History Of The Boston Bad Boys" also includes an extensive discography and assessments of each of the band's studio albums, written by such distinguished rock scribes as Daniel Bukszpan, Neil Daniels, Chuck Eddy, Bill Holdship, Greg Kot, Martin Popoff, Bud Scoppa, Phil Sutcliffe, and Jaan Uhelszki. The result is a visually stunning portrait of the band many have called America's best.
About the author: Richard Bienstock is a senior editor with Guitar World magazine and the executive editor of Guitar Aficionado magazine. He is also a musician and journalist whose writings have appeared in numerous U.S. and international publications, including The Village Voice and Classic Rock magazine. He currently lives in New York City.
For more information, visit www.voyageurpress.com.
Forty-plus years later, the band holds a spot in the rarified air of American rock royalty as one of the greatest — and most mercurial — rock 'n' roll bands of all-time.
"The Ultimate Illustrated History Of The Boston Bad Boys" is a massive, illustrated celebration and the first of its kind to provide a front-row seat to the Boston Bad Boys' entire career: scrapping their way cross-country in the 1970s, scrapping their way back to the top of the heap in the late 1980s, and scrapping with each other the entire way. Music journalist Richard Bienstock's lively history of the band's rise, fall, and rebirth is illustrated with nearly 400 photographs and collectibles, including gig posters, backstage passes, ticket stubs, seven-inch picture sleeves, and vintage T-shirts. "The Ultimate Illustrated History Of The Boston Bad Boys" also includes an extensive discography and assessments of each of the band's studio albums, written by such distinguished rock scribes as Daniel Bukszpan, Neil Daniels, Chuck Eddy, Bill Holdship, Greg Kot, Martin Popoff, Bud Scoppa, Phil Sutcliffe, and Jaan Uhelszki. The result is a visually stunning portrait of the band many have called America's best.
About the author: Richard Bienstock is a senior editor with Guitar World magazine and the executive editor of Guitar Aficionado magazine. He is also a musician and journalist whose writings have appeared in numerous U.S. and international publications, including The Village Voice and Classic Rock magazine. He currently lives in New York City.
For more information, visit www.voyageurpress.com.
During a brand new interview with OC Weekly, Duff McKagan's (VELVET REVOLVER, GUNS N' ROSES, DUFF MCKAGAN'S LOADED) was asked about how the search for a new VELVET REVOLVER lead singer is going more than three years since the band parted ways with Scott Weiland. "Slash [VELVET REVOLVER/ex-GUNS N' ROSES guitarist] and I played in New York a couple weeks ago [as part of the Road Recovery benefit concert] and Matt Sorum [VELVET REVOLVER/ex-GUNS N' ROSES drummer] was there," Duff replied. "There was a singer there [possibly referring to Jimmy Gnecco of OURS. — Ed.] we might write some songs with."
He continued, "None of us have really tried [to find anyone] in the last few years. We've all been busy with other things.
"I think once that whole thing went down with Scott, we thought we'd find a guy right away. Once a few months went by, it was like, 'Oh fuck.'"
He added, "We didn't give up on the band but you can't force a singer into a situation. It's got to just kind of happen. So playing a few weeks ago with that singer, it seemed really natural. So we'll see. I'll come back to you on that."
Jimmy Gnecco of OURS sang lead vocals on three songs ("Slither" by VELVET REVOLVER, "It's So Easy" by GUNS N' ROSES and "Hey Joe" by JIMI HENDRIX) during the Road Recovery concert with Slash, McKagan, Sorum, Gilby Clarke (ex-GUNS N' ROSES) and Dave Kushner (VELVET REVOLVER). Fan-filmed video footage of his performance can be seen below.
VELVET REVOLVER has been more or less on hiatus since its split with Weiland, although it was recently revealed that the group recorded an album's worth of material with STONE SOUR and SLIPKNOT frontman Corey Taylor.
In a recent interview with Brazil's "Lokaos Rock Show", VELVET REVOLVER drummer Matt Sorum said about the band's current status, "After [we parted ways with] Scott Weiland [in 2008]… We had such a great first record, especially. The second album is still a good album, but… It's hard to replace Scott for that particular band, I think.
"When we did VELVET REVOLVER, we wanted to make a modern rock album, and we had to figure out a way to make that work. We didn't wanna be like GUNS N' ROSES. We knew we had that in us anyway, especially the Slash and Duff sound was the initial sound of [GN'R's classic debut album] 'Appetite For Destruction', the way they played together and everything. Part of that chemistry was there, and when we added Scott, it brought it into a more modern rock element. He came more from grunge — the Seattle [sound like] SOUNDGARDEN, PEARL JAM and bands like that. So it took it sort of forward. We became more of a modern rock band and we were on modern rock radio."
He continued, "None of us have really tried [to find anyone] in the last few years. We've all been busy with other things.
"I think once that whole thing went down with Scott, we thought we'd find a guy right away. Once a few months went by, it was like, 'Oh fuck.'"
He added, "We didn't give up on the band but you can't force a singer into a situation. It's got to just kind of happen. So playing a few weeks ago with that singer, it seemed really natural. So we'll see. I'll come back to you on that."
Jimmy Gnecco of OURS sang lead vocals on three songs ("Slither" by VELVET REVOLVER, "It's So Easy" by GUNS N' ROSES and "Hey Joe" by JIMI HENDRIX) during the Road Recovery concert with Slash, McKagan, Sorum, Gilby Clarke (ex-GUNS N' ROSES) and Dave Kushner (VELVET REVOLVER). Fan-filmed video footage of his performance can be seen below.
VELVET REVOLVER has been more or less on hiatus since its split with Weiland, although it was recently revealed that the group recorded an album's worth of material with STONE SOUR and SLIPKNOT frontman Corey Taylor.
In a recent interview with Brazil's "Lokaos Rock Show", VELVET REVOLVER drummer Matt Sorum said about the band's current status, "After [we parted ways with] Scott Weiland [in 2008]… We had such a great first record, especially. The second album is still a good album, but… It's hard to replace Scott for that particular band, I think.
"When we did VELVET REVOLVER, we wanted to make a modern rock album, and we had to figure out a way to make that work. We didn't wanna be like GUNS N' ROSES. We knew we had that in us anyway, especially the Slash and Duff sound was the initial sound of [GN'R's classic debut album] 'Appetite For Destruction', the way they played together and everything. Part of that chemistry was there, and when we added Scott, it brought it into a more modern rock element. He came more from grunge — the Seattle [sound like] SOUNDGARDEN, PEARL JAM and bands like that. So it took it sort of forward. We became more of a modern rock band and we were on modern rock radio."
MOTÖRHEAD will release "The Wörld Is Ours Vol. 1 - Everywhere Further Than Everyplace Else" on November 14 via Motörhead Music / UDR / EMI.
"Around The Wörld Vol. 1" is a blistering DVD containing live footage, interviews and some of the finest moments from the band's 2011 world tour.
Mixed by the band's long-time producer Cameron Webb, "Around The Wörld Vol. 1" is stuffed with the classics Motörfans demand, from "Overkill" to "Ace Of Spades" to "Killed By Death" as well as some old gems like "Over The Top" and new favorites such as "I Know How To Die".
"Around The Wörld Vol. 1" gives you the complete set from the band's supreme performance in Chile at the Teatro Caupolican in Santiago on April 9, 2011, shot by Banger Films and Sam Dunn ("Iron Maiden Flight 666", "Rush: Beyond The Lighted Stage"). The DVD continues with some tasty morsels from New York's Best Buy Theater and the Manchester Apollo.
"Around The Wörld Vol. 1" is a pure testament to the power, glory and sheer voltage of the finest rock 'n' roll played by real legends. Accept NO substitute! And yes, as you guessed, the DVD documentation will be continued next year…
"Around The Wörld Vol. 1" track listing:
Santiago, Chile (90-minute concert) + interview (9 minutes)
01. We Are Motörhead
02. Stay Clean
03. Get Back In Line
04. Metropolis
05. Over the Top
06. One Night Stand
07. Rock Out
08. The Thousand Names of God
09. I Got Mine
10. I Know How to Die
11. The Chase Is Better Than the Catch
12. In the Name of Tragedy
13. Just 'Cos You Got the Power
14. Going to Brazil
15. Killed by Death
16. Ace of Spades
17. Overkill
New York (20 minutes) + interview (23 minutes)
01. Rock Out
02. TheThousand Names of God
03. Killed By Death (feat. Doro and Todd Youth)
Manchester (25 minutes) + interview (12 min)
01. We Are Motörhead
02. Stay Clean
03. Be My Baby
04. Get Back In Line
05. I Know How to Die
06. Born to Raise Hell (feat. Michael Monroe)
"Around The Wörld Vol. 1" will be available in the following formats:
1. DVD + double audio CD (3-disc set)
* Digipack 8 panel / 24 page booklet / CD format for CD racking
* The DVD contains the full track listing as above plus 2 bonus audio CDs containing
the Santiago concert in full and the selected tracks from New York and Manchester
2. Blu-ray - Amaray box (single disc)
The Blu-ray contains the full track listing as above plus the following bonus
Material: "Get Back In Line" video clip (3:45), "I Know How To Die" video clip (4:00), "The Wörld Is Yours" EPK (23 minutes)
3. DVD - Amaray box (single disc)
The DVD contains the full track listing as above
4. Vinyl LP - Gatefold sleeve (double disc)
The vinyl album contains the full 90-minutes concert in Santiago, Chile at Teatro
Caupolican
5. Digital audio
The digital package contains full 90-minute concert in Santiago, Chile plus selected songs from the New York and Manchester concerts
"Around The Wörld Vol. 1" is a blistering DVD containing live footage, interviews and some of the finest moments from the band's 2011 world tour.
Mixed by the band's long-time producer Cameron Webb, "Around The Wörld Vol. 1" is stuffed with the classics Motörfans demand, from "Overkill" to "Ace Of Spades" to "Killed By Death" as well as some old gems like "Over The Top" and new favorites such as "I Know How To Die".
"Around The Wörld Vol. 1" gives you the complete set from the band's supreme performance in Chile at the Teatro Caupolican in Santiago on April 9, 2011, shot by Banger Films and Sam Dunn ("Iron Maiden Flight 666", "Rush: Beyond The Lighted Stage"). The DVD continues with some tasty morsels from New York's Best Buy Theater and the Manchester Apollo.
"Around The Wörld Vol. 1" is a pure testament to the power, glory and sheer voltage of the finest rock 'n' roll played by real legends. Accept NO substitute! And yes, as you guessed, the DVD documentation will be continued next year…
"Around The Wörld Vol. 1" track listing:
Santiago, Chile (90-minute concert) + interview (9 minutes)
01. We Are Motörhead
02. Stay Clean
03. Get Back In Line
04. Metropolis
05. Over the Top
06. One Night Stand
07. Rock Out
08. The Thousand Names of God
09. I Got Mine
10. I Know How to Die
11. The Chase Is Better Than the Catch
12. In the Name of Tragedy
13. Just 'Cos You Got the Power
14. Going to Brazil
15. Killed by Death
16. Ace of Spades
17. Overkill
New York (20 minutes) + interview (23 minutes)
01. Rock Out
02. TheThousand Names of God
03. Killed By Death (feat. Doro and Todd Youth)
Manchester (25 minutes) + interview (12 min)
01. We Are Motörhead
02. Stay Clean
03. Be My Baby
04. Get Back In Line
05. I Know How to Die
06. Born to Raise Hell (feat. Michael Monroe)
"Around The Wörld Vol. 1" will be available in the following formats:
1. DVD + double audio CD (3-disc set)
* Digipack 8 panel / 24 page booklet / CD format for CD racking
* The DVD contains the full track listing as above plus 2 bonus audio CDs containing
the Santiago concert in full and the selected tracks from New York and Manchester
2. Blu-ray - Amaray box (single disc)
The Blu-ray contains the full track listing as above plus the following bonus
Material: "Get Back In Line" video clip (3:45), "I Know How To Die" video clip (4:00), "The Wörld Is Yours" EPK (23 minutes)
3. DVD - Amaray box (single disc)
The DVD contains the full track listing as above
4. Vinyl LP - Gatefold sleeve (double disc)
The vinyl album contains the full 90-minutes concert in Santiago, Chile at Teatro
Caupolican
5. Digital audio
The digital package contains full 90-minute concert in Santiago, Chile plus selected songs from the New York and Manchester concerts
San Antonio may never see a heavy metal festival on as grand a scale as the famous Castle Donington shows in England back in the day. But at least the Alamo City keeps trying. And when some of those same bands venture here, it makes the South Texas Rock Fest more than merely a consolation prize.
Saxon is one such group accustomed to touring San Antonio for the better part of three decades, including the fest. The Englishmen headlined the previous STRF in 2009 and will do so again on the first night of the two-day fest Oct. 7 at Sunken Garden Theater (details at bottom). This time around, Saxon is touring behind its 19th studio album Call To Arms, a crunching, rocking and at times melodic record that hits stores and online sites today (preview songs here).
The record hits you in the face out of the gate with Hammer Of The Gods (see video here) and continues its heavy jaunt through 11 tunes such as Surviving Against The Odds and Afterburner. The title track, a ballad about war, comes with an orchestral version that rounds out the album.
Original vocalist Biff Byford, 60, phoned me from England recently to share tales of yesteryear and look ahead to next week:
Q: I know San Antonio seems like a long way from England right now, but how does it feel to be back headlining the South Texas Rock Fest?
A: It's great, actually. It's one of the biggest cities in America, and we like coming there. There are hundreds of stories, including one of our guitarists falling in the River Walk. That was funny. He didn't catch anything. Too many stories to talk about here. Great parties.
A: It's great, actually. It's one of the biggest cities in America, and we like coming there. There are hundreds of stories, including one of our guitarists falling in the River Walk. That was funny. He didn't catch anything. Too many stories to talk about here. Great parties.
Q: Call To Arms is your 19th record, which is an incredible number nowadays. What makes it different than some of the others?
A: We sort of changed our style a little bit on the recording of this one. I brought in a friend of mine (to co-produce with Byford), Toby Jepson from Little Angels who's doing the Dio Disciples tour in America. He's a huge fan of early Saxon. We wanted to bring back the early spirit of Saxon. It worked really well. I think the album captured the rawness of Saxon and is really in-your-face (Note: Dio Disciples will be at the STRF on Oct. 8. See my interview with singer Tim "Ripper" Owens at bottom).
A: We sort of changed our style a little bit on the recording of this one. I brought in a friend of mine (to co-produce with Byford), Toby Jepson from Little Angels who's doing the Dio Disciples tour in America. He's a huge fan of early Saxon. We wanted to bring back the early spirit of Saxon. It worked really well. I think the album captured the rawness of Saxon and is really in-your-face (Note: Dio Disciples will be at the STRF on Oct. 8. See my interview with singer Tim "Ripper" Owens at bottom).
Q: What are your favorite tracks off of it?
A: I like the first track Hammer of the Gods. It's a really great opening track with a powerful sound and riff. I like Call To Arms. That's a sad song about soldiers being away from home and living with death. A friend of ours did the orchestral version as an experiment. It sounds great.
A: I like the first track Hammer of the Gods. It's a really great opening track with a powerful sound and riff. I like Call To Arms. That's a sad song about soldiers being away from home and living with death. A friend of ours did the orchestral version as an experiment. It sounds great.
Q: The digipack has a 1980 Castle Donington performance. For us Americans who have never been to one of those festivals in England, how would you describe those types of shows back then?
A: We found autographed tapes in somebody's attic. I think it was Nigel Glockler's attic. We listened to them all, and one of them was Castle Donington. There have been quite a few bootlegs of that one, but this is the actual recording from the mobile. It hadn't been played for 30 years until we heard it. It's really crisp; the cymbals are crashing. It was the first really big festival, and we were riding the Wheels of Steel album, which went platinum in the UK. It was absolutely fantastic because everybody in the audience had gotten the album. We were underdogs. Rainbow was headlining. It was a special time. It was the dawning of the New Wave of British Heavy Metal -- Judas Priest, Scorpions, Riot, Rainbow, Saxon all played that day. It was a great day, actually. It was a one-day festival, not people camping in their tents like they do now. It's called the Download Festival now, and we might be playing it next year.
A: We found autographed tapes in somebody's attic. I think it was Nigel Glockler's attic. We listened to them all, and one of them was Castle Donington. There have been quite a few bootlegs of that one, but this is the actual recording from the mobile. It hadn't been played for 30 years until we heard it. It's really crisp; the cymbals are crashing. It was the first really big festival, and we were riding the Wheels of Steel album, which went platinum in the UK. It was absolutely fantastic because everybody in the audience had gotten the album. We were underdogs. Rainbow was headlining. It was a special time. It was the dawning of the New Wave of British Heavy Metal -- Judas Priest, Scorpions, Riot, Rainbow, Saxon all played that day. It was a great day, actually. It was a one-day festival, not people camping in their tents like they do now. It's called the Download Festival now, and we might be playing it next year.
Q: What's been the secret to yours and (original guitarist) Paul Quinn's relationship sustaining as long as it has, weathering lineup changes over the years and still going strong today?
A: We must be like soul brothers or something. I don't know. We tolerate each other. All the other bands that have been together for so long, you have to be tolerant. We have some great moments and bad moments. Nigel Glockler joined the band in 1981. He's been around for a long time as well. He's left and joined again, left and joined again, but the nucleus has been intact. The last lineup change was 1994, so it's been a long time.
A: We must be like soul brothers or something. I don't know. We tolerate each other. All the other bands that have been together for so long, you have to be tolerant. We have some great moments and bad moments. Nigel Glockler joined the band in 1981. He's been around for a long time as well. He's left and joined again, left and joined again, but the nucleus has been intact. The last lineup change was 1994, so it's been a long time.
Q: Are you content with the public perception of Saxon's place within the New Wave of British Heavy Metal and your influence upon so many bands and fans?
A: The last two years, it has been getting quite a lot of attention. Bands like Metallica are citing us as influences. And I think it's good with bands like Pantera and Down, Foo Fighters. Must be a lot of bands -- Machine Head, Megadeth. They've all said Saxon is an influence.
A: The last two years, it has been getting quite a lot of attention. Bands like Metallica are citing us as influences. And I think it's good with bands like Pantera and Down, Foo Fighters. Must be a lot of bands -- Machine Head, Megadeth. They've all said Saxon is an influence.
Q: Is it true that you are launching a campaign to have Britons declare heavy metal as their religion in the United Kingdom Census 2011?
A: Yeah, they haven't counted it yet. It's just a little fun. I think "Metal Hammer" magazine is carrying that.
A: Yeah, they haven't counted it yet. It's just a little fun. I think "Metal Hammer" magazine is carrying that.
Q: How quickly did you realize the anthemic impact of Denim and Leather?
A: We didn't really think -- obviously when I wrote the lyrics, I didn't think it would capture so many people's imaginations. I think it was one of the first songs a band wrote about their audience. So it created the situation where it could connect. Rock stars and celebrities didn't mention their fans much, and we broke the mold. Denim and Leather really summed up the feeling of the ages for a lot of people. We just connected to those people, and they just dug it.
A: We didn't really think -- obviously when I wrote the lyrics, I didn't think it would capture so many people's imaginations. I think it was one of the first songs a band wrote about their audience. So it created the situation where it could connect. Rock stars and celebrities didn't mention their fans much, and we broke the mold. Denim and Leather really summed up the feeling of the ages for a lot of people. We just connected to those people, and they just dug it.
I have to tell you, Biff, that I was the only person from San Antonio aboard the 70000 Tons of Metal cruise back in January.
Oh, you were?
Q: Yes, and if I remember correctly, I believe you did Wheels of Steel and Denim and Leather in their entirety. What were your impressions of the entire voyage and experience?
A: Yeah, we liked it. We actually did Wheels of Steel and Strong Arm of the Law. It was really laid-back, no problems. We just went on with our concerts. There's too much food there. I think I put on a few pounds. Just a great week. I didn't know what to expect. The fans soon worked out the logistics of which bands to see. We played two nights, and I think most people came to see us the second night. I would recommend it for those who can afford it. There were a lot of Germans and Europeans on there. Some Americans, but not fully represented. But yeah, we liked it. It was great.
Oh, you were?
Q: Yes, and if I remember correctly, I believe you did Wheels of Steel and Denim and Leather in their entirety. What were your impressions of the entire voyage and experience?
A: Yeah, we liked it. We actually did Wheels of Steel and Strong Arm of the Law. It was really laid-back, no problems. We just went on with our concerts. There's too much food there. I think I put on a few pounds. Just a great week. I didn't know what to expect. The fans soon worked out the logistics of which bands to see. We played two nights, and I think most people came to see us the second night. I would recommend it for those who can afford it. There were a lot of Germans and Europeans on there. Some Americans, but not fully represented. But yeah, we liked it. It was great.
Q: I have a social media question from one of my readers. Chuck from San Antonio says he saw Saxon with Iron Maiden and Girlschool at the old Hemisfair Arena. He wants to know your favorite show or touring act during the New Wave of British Heavy Metal heyday in San Antonio and if there are any plans for a new live album.
A: Well actually, it was Iron Maiden, Saxon and Fastway. But that tour with Maiden was fantastic. We were on the Power & The Glory album, and it was a great period for us. It was a special moment, and I don't think it will ever happen again. As for the live album, we have one coming out next year, but it's a DVD. It's called Heavy Metal Thunder Live and was recorded at a festival in Germany. It sounds great. Really high quality with massive sound and pyro. You should watch out for that.
A: Well actually, it was Iron Maiden, Saxon and Fastway. But that tour with Maiden was fantastic. We were on the Power & The Glory album, and it was a great period for us. It was a special moment, and I don't think it will ever happen again. As for the live album, we have one coming out next year, but it's a DVD. It's called Heavy Metal Thunder Live and was recorded at a festival in Germany. It sounds great. Really high quality with massive sound and pyro. You should watch out for that.
I will, and thanks for the time, Biff. We're looking forward to your return here. Hopefully, we can meet, and I can thank you in person.
Yeah, no problem! We're really looking forward to San Antonio. We're playing a few Texas gigs before that one, so we should be rarin' to go.
Yeah, no problem! We're really looking forward to San Antonio. We're playing a few Texas gigs before that one, so we should be rarin' to go.
- WHAT: South Texas Rock Fest
- WHO: (Day 1): Saxon, Warrant, Quiet Riot, and more. (Day 2): UFO, Dio Disciples, Lita Ford, Stephen Pearcy and more
- WHEN: Oct. 7-8
- WHERE: Sunken Garden Theater (3875 N. St. Mary's)
- TICKETS: $35-$250; purchase and details here.
- MORE INFO: www.southtexasrockfest.com
Continue reading on Examiner.com Q&A: Saxon's Biff Byford to rock at STRF armed with 19th album - San Antonio Metal Music | Examiner.com http://www.examiner.com/metal-music-in-san-antonio/q-a-saxon-byford-visit-south-texas-rock-fest-armed-with-19th-album#ixzz1a3M954et
Joey Belladonna: Back In The Saddle With Anthrax
Anthrax's fierce new album Worship Music delivers us their first studio release in 21 years with frontman Joey Belladonna, and it picks up where they left off. The rip roaring collection of thrashers and melodic headbangers is one of their strongest releases ever, encompassing everything from the raging "Earth On Hell" to the more contemplative "In The End". It's classic Anthrax for the modern rock world. I recently interviewed Joey Belladonna for Newsday just prior to the Big 4 show at Yankee Stadium, and we had a lengthy chat about his return to the iconic thrash quintet, his musical philosophy, his cover band and meeting Steve Perry. Most of the excess landed here on A.D.D.
This is the first new album you have done with Anthrax in 21 years. What has it been like getting back together with them?
For me, it's nice to do a record because I would've liked to have done records throughout the time that they've been together. There wasn't any reason in my eyes to make all these changes. I didn't think we were doing anything wrong or something wasn't working. When the Nineties came in and they felt they had to jump ship with something I was doing — sometimes when you have something that works like that, you should stay the course with it. It's easy for me to say sometimes when somebody has some other opinions on what style they're looking for. Who am I to say that even if I did stay in the band we would have been fine and dandy. I think we would've been personally. From what I can read now, we definitely would've been fine because we're not doing anything right now that's unusually different or harder or anything that anybody had to figure out how to persuade somebody in the band to figure out.
This is the first new album you have done with Anthrax in 21 years. What has it been like getting back together with them?
For me, it's nice to do a record because I would've liked to have done records throughout the time that they've been together. There wasn't any reason in my eyes to make all these changes. I didn't think we were doing anything wrong or something wasn't working. When the Nineties came in and they felt they had to jump ship with something I was doing — sometimes when you have something that works like that, you should stay the course with it. It's easy for me to say sometimes when somebody has some other opinions on what style they're looking for. Who am I to say that even if I did stay in the band we would have been fine and dandy. I think we would've been personally. From what I can read now, we definitely would've been fine because we're not doing anything right now that's unusually different or harder or anything that anybody had to figure out how to persuade somebody in the band to figure out.
The first generation of thrash bands deftly combined menace with melody. From what I understand, when you first joined Anthrax you were more of a classic rock fan and liked more melodic music. So you brought that aspect of your style into Anthrax's music.
When I first got there, it almost seemed like as time went on if I wasn't into metal or they didn't think I was…I was plenty into metal enough. It takes time to learn about other bands. Take Queensrÿche — maybe [I didn't know a lot] until I got to know who they are. I could mention Max Webster, a great Canadian band that has played with Rush; they might not have heard of them. There's a lot of good music out there. For me, if someone's not into something that doesn't mean they can't apply themselves to it. I never started singing to be like someone else. I just do what I do and how I feel, and I have my own original style. I'm not going to do follow someone because he's barking now or singing higher than ever. I want to be original. It's a hard tossup. I definitely was into even more progressive stuff when I joined the band. I was a huge fan of Kansas, Deep Purple, Yes, UK and all kinds of crazy stuff. That was the cool thing. I just came in with a whole different aspect of singing and hearing what they did, and it just came out cool. I never read into it any further really.
When I first got there, it almost seemed like as time went on if I wasn't into metal or they didn't think I was…I was plenty into metal enough. It takes time to learn about other bands. Take Queensrÿche — maybe [I didn't know a lot] until I got to know who they are. I could mention Max Webster, a great Canadian band that has played with Rush; they might not have heard of them. There's a lot of good music out there. For me, if someone's not into something that doesn't mean they can't apply themselves to it. I never started singing to be like someone else. I just do what I do and how I feel, and I have my own original style. I'm not going to do follow someone because he's barking now or singing higher than ever. I want to be original. It's a hard tossup. I definitely was into even more progressive stuff when I joined the band. I was a huge fan of Kansas, Deep Purple, Yes, UK and all kinds of crazy stuff. That was the cool thing. I just came in with a whole different aspect of singing and hearing what they did, and it just came out cool. I never read into it any further really.
"When you ask me about music, I'm really reluctant to bring up names of bands like it's something that I shouldn't have brought up — 'Oh my God, he listens to that, how crummy is that'."
Is it surreal to think that you first joined Anthrax back in 1985?
The other night I was talking to Neal Schon and the drummer from Night Ranger [Kelly Keagy]. We were throwing ages around, and I said, "I'm 20, I don't give a shit what you guys are. I really don't think about it." It's all how you feel, how you go about it and how enthusiastic you are and eager you are to participate in something like this.
The other night I was talking to Neal Schon and the drummer from Night Ranger [Kelly Keagy]. We were throwing ages around, and I said, "I'm 20, I don't give a shit what you guys are. I really don't think about it." It's all how you feel, how you go about it and how enthusiastic you are and eager you are to participate in something like this.
As you get older, how do you keep your voice in shape?
There is no real set way. Some days you just do what you do. It's a normal day and normal procedure. You take it easy and try to sleep as much as you can. I'm just singing more. I just focus on what I'm doing. Maybe I'm just into it enough that it translates. I don't warm up or do anything. I just prefer not to. Like tonight — there's no place that I would've done any warm-up for four hours. I just go. I just start singing. I could never see myself sitting in a room and singing scales.
Anthrax tried recording Worship Music previously with Dan Nelson, but it didn't work out.
They went through their own steps of putting the record together, and I think there were so many hurdles to go through. I don't know how the hell they thought they could just put anybody out there and start singing on a record. You could do that, but I don't think you can do it like that. Anthrax is a bit different. I don't think they were that far off on the record. They had plenty of stuff going on, pieces and parts. But when I got in there, I was singing to two tracks of rough stuff. I wasn't hearing the record in its entirety, and I didn't need to. If you have guitar, a drumbeat and an arrangement that's correct, I could sing over it. I'm starting to hear the record as a whole now. That's fine. That's how I write too. If me and a guitar player were here today, I'd be coming up with a good beat and structure the whole song, get the tempo, the arrangement and guitar. I don't even need a lead break, I just need to know where the verses and choruses are, and I can sing on it.
I basically went in there with the lyrics and started busting away. I had references for some things, like a structure they were looking for. Nobody was there [while I sang my parts]. I just don't think they had a whole lot done. Everybody seems to have been concerned that they just wiped something off and I just jumped in there. Even if that had been the case, that's still a lot to do. This is all brand-new bass, a lot of brand-new guitars and most of the leads are new. Charlie did a lot of drum tracks over, and we re-cut quite a few tunes. There were some songs for which I hadn't heard any vocals yet. It's pretty new. It just took a long time so it seems like they had it finished a long time ago.
I assume you come up with your vocal melodies and harmonies?
Yeah, I come up with a lot of stuff. As a matter of fact, I was restricted in a way because I really wanted to finish it to a point of their liking, but I had a lot more ideas that I could've put on it. I wanted just to go way beyond it, but I didn't want them to consume too much of what else they hadn't heard. I did quite a bit, but I was also very content and trying to stay with something that they wanted and that I was cool with. We almost got to the point where I didn't know if I was going to finish everything. There's a bunch of B-side stuff that I wasn't really too crazy about, but I wasn't concerned about doing that. I wanted to get a record out. I didn't care about cover songs.
There is no real set way. Some days you just do what you do. It's a normal day and normal procedure. You take it easy and try to sleep as much as you can. I'm just singing more. I just focus on what I'm doing. Maybe I'm just into it enough that it translates. I don't warm up or do anything. I just prefer not to. Like tonight — there's no place that I would've done any warm-up for four hours. I just go. I just start singing. I could never see myself sitting in a room and singing scales.
Anthrax tried recording Worship Music previously with Dan Nelson, but it didn't work out.
They went through their own steps of putting the record together, and I think there were so many hurdles to go through. I don't know how the hell they thought they could just put anybody out there and start singing on a record. You could do that, but I don't think you can do it like that. Anthrax is a bit different. I don't think they were that far off on the record. They had plenty of stuff going on, pieces and parts. But when I got in there, I was singing to two tracks of rough stuff. I wasn't hearing the record in its entirety, and I didn't need to. If you have guitar, a drumbeat and an arrangement that's correct, I could sing over it. I'm starting to hear the record as a whole now. That's fine. That's how I write too. If me and a guitar player were here today, I'd be coming up with a good beat and structure the whole song, get the tempo, the arrangement and guitar. I don't even need a lead break, I just need to know where the verses and choruses are, and I can sing on it.
I basically went in there with the lyrics and started busting away. I had references for some things, like a structure they were looking for. Nobody was there [while I sang my parts]. I just don't think they had a whole lot done. Everybody seems to have been concerned that they just wiped something off and I just jumped in there. Even if that had been the case, that's still a lot to do. This is all brand-new bass, a lot of brand-new guitars and most of the leads are new. Charlie did a lot of drum tracks over, and we re-cut quite a few tunes. There were some songs for which I hadn't heard any vocals yet. It's pretty new. It just took a long time so it seems like they had it finished a long time ago.
I assume you come up with your vocal melodies and harmonies?
Yeah, I come up with a lot of stuff. As a matter of fact, I was restricted in a way because I really wanted to finish it to a point of their liking, but I had a lot more ideas that I could've put on it. I wanted just to go way beyond it, but I didn't want them to consume too much of what else they hadn't heard. I did quite a bit, but I was also very content and trying to stay with something that they wanted and that I was cool with. We almost got to the point where I didn't know if I was going to finish everything. There's a bunch of B-side stuff that I wasn't really too crazy about, but I wasn't concerned about doing that. I wanted to get a record out. I didn't care about cover songs.
Belladonna live in Rochester, NY in 2009.
(Photo credit: De-fexxx666.)
(Photo credit: De-fexxx666.)
Worship Music sounds really fresh and like a continuation what you guys did two decades ago.
Sonically it sounds amazing too. This record is one of those things that takes a little while to consume. There are some interesting arrangements. I don't know if people get will it right away or if it will take them a little while.
Sonically it sounds amazing too. This record is one of those things that takes a little while to consume. There are some interesting arrangements. I don't know if people get will it right away or if it will take them a little while.
You also play drums and did so at a cover gig recently at the Nutty Irishman on Long Island. And Charlie also plays guitar.
He plays all the guitars at the end of "In The End".
He plays all the guitars at the end of "In The End".
Do you think Anthrax will do a jam on stage were you all switch instruments?
That would be great. Even Rob plays drums. He could play keyboards. We could do some funny stuff, man, but I'm not sure anybody's up for that too much. We did it in Japan back in '88 when Danny [Spitz] was in the band. That's when Charlie got his nose broken. Danny tipped back — Charlie was behind him on the guitar — and hit him right in the nose. I think we were doing "Living After Midnight" or "Green Manalishi". I don't even remember.
That would be great. Even Rob plays drums. He could play keyboards. We could do some funny stuff, man, but I'm not sure anybody's up for that too much. We did it in Japan back in '88 when Danny [Spitz] was in the band. That's when Charlie got his nose broken. Danny tipped back — Charlie was behind him on the guitar — and hit him right in the nose. I think we were doing "Living After Midnight" or "Green Manalishi". I don't even remember.
Anthrax is known for bringing a sense of humor to metal. You smile once in awhile.
That's one thing with Anthrax that I didn't see when they did the [John] Bush thing. Everything was stoic as all hell, and it wasn't the same at all. I still think that I bring that same kind of thing to the band at this point in time, but I don't set out to be that way. That's just the nature of how you want to be — if your personality is a little bit witty and open to just enjoying yourself. I just feel better doing that. I don't want to be like, "We're the band, and you need to look up to us. We're the shit." I never got into that. I just think people want to have a good time.
That's one thing with Anthrax that I didn't see when they did the [John] Bush thing. Everything was stoic as all hell, and it wasn't the same at all. I still think that I bring that same kind of thing to the band at this point in time, but I don't set out to be that way. That's just the nature of how you want to be — if your personality is a little bit witty and open to just enjoying yourself. I just feel better doing that. I don't want to be like, "We're the band, and you need to look up to us. We're the shit." I never got into that. I just think people want to have a good time.
I found an interview that you did with KNAC in 2005, and supposedly Steve Perry was backstage with you.
He was.
He was.
Journey has been going strong without him, but nobody knows what's happened to him. Have you stayed in touch with him since then?
No, I never got to share any phone numbers, although that would've been awesome. I think he had 50 songs or so. So he had music. I didn't bring up Journey.
What was he like?
He was cool. He was in [Rob] Zombie's dressing room with an agent, so we kind of made our way into that room. I asked him what he was up to, and he said he didn't know if he ever wanted to do it with that band anymore. He didn't think he wanted to try to chase it. But at the same time he was working on that surround sound version of the [vintage Journey] Houston show, so he was definitely in the midst of doing something with Journey, but not in a live sense. It was cool seeing him. I also had a nice time talking with Neal last night. It was cool to chat with him again.
No, I never got to share any phone numbers, although that would've been awesome. I think he had 50 songs or so. So he had music. I didn't bring up Journey.
What was he like?
He was cool. He was in [Rob] Zombie's dressing room with an agent, so we kind of made our way into that room. I asked him what he was up to, and he said he didn't know if he ever wanted to do it with that band anymore. He didn't think he wanted to try to chase it. But at the same time he was working on that surround sound version of the [vintage Journey] Houston show, so he was definitely in the midst of doing something with Journey, but not in a live sense. It was cool seeing him. I also had a nice time talking with Neal last night. It was cool to chat with him again.
The new Journey album is great.
The writing isn't nearly what used to be. It's just so different.
The writing isn't nearly what used to be. It's just so different.
"When the Nineties came in and they felt they had to jump ship with something I was doing — sometimes when you have something that works like that, you should stay the course with it."
It's different, but I think there's a lot of good stuff there. There are some critics who have found the album to be impenetrable or said that fans who know the pop hits won't be able to get into it. To me, Journey wasn't all just about pop hooks.
I liked them long before they even had Perry. I loved them when they were just instrumental, and [Gregg] Rolie was singing "Look Into The Future". It was very fusion/hard rock. I love the rock, and I like the ballads too just because there are some great numbers with some awesome vocals. Neal is a great player. These guys have been doing it for a long time and just love to play too. It's great to have good talent out there still performing. I never thought I'd meet the guy, but it's great to run into him. He knows my name.
I liked them long before they even had Perry. I loved them when they were just instrumental, and [Gregg] Rolie was singing "Look Into The Future". It was very fusion/hard rock. I love the rock, and I like the ballads too just because there are some great numbers with some awesome vocals. Neal is a great player. These guys have been doing it for a long time and just love to play too. It's great to have good talent out there still performing. I never thought I'd meet the guy, but it's great to run into him. He knows my name.
What kind of music do you have in your iPod?
It really depends upon what mood I'm in. I can come across Sevendust in an afternoon or be listening to John Mayer tonight on my way home. I'm crazy with my interests. Late at night after playing for hours, I wonder why I'm listening to something heavy. Should I be listening to something like Sade on the way home? I've got a wide range of stuff. I don't get into the brand brand new stuff. Certain music doesn't appeal to me. There has to be something in there. I was just talking to somebody about David Weckel. I like fusion drumming in that style. I have all his records, and it turns out the guy from Night Ranger played with him not too long ago, so we got on that kick. I love anything that's got some style to it and has some cool vocals too. I'm a sucker for melody.
[continued below]
It really depends upon what mood I'm in. I can come across Sevendust in an afternoon or be listening to John Mayer tonight on my way home. I'm crazy with my interests. Late at night after playing for hours, I wonder why I'm listening to something heavy. Should I be listening to something like Sade on the way home? I've got a wide range of stuff. I don't get into the brand brand new stuff. Certain music doesn't appeal to me. There has to be something in there. I was just talking to somebody about David Weckel. I like fusion drumming in that style. I have all his records, and it turns out the guy from Night Ranger played with him not too long ago, so we got on that kick. I love anything that's got some style to it and has some cool vocals too. I'm a sucker for melody.
[continued below]
Anthrax at the Sonisphere Festival in Warsaw, June 2010:
(L to R) Scott Ian, Charlie Benante, Frank Bello, Joey Belladonna and Rob Caggiano.
(Photo credit: Andy Buchanan.)
(L to R) Scott Ian, Charlie Benante, Frank Bello, Joey Belladonna and Rob Caggiano.
(Photo credit: Andy Buchanan.)
When you ask me about music, I'm really reluctant to bring up names of bands like it's something that I shouldn't have brought up — "Oh my god, he listens to that, how crummy is that". It's more weird that I'm a metal singer, so to speak. Certain music will tend to educate me in some ways and give me all kinds of depth. "I didn't know they could put those three chords together and make it sound like that. And those harmonies underneath, wow!" That's why I listen to certain things, and sometimes it just makes you feel good. I don't care if it is or isn't heavy. I don't think that way, but I'm afraid to say that I just listened to all of Bread's Greatest Hits. People are weird like that — they actually take that to heart. That's where you've got that worship, which relates to the Worship Music title. "If you're a fan of them, I don't like you!" Even when I'm playing my cover [band] thing, if somebody finds out that I'm in Anthrax and didn't know anything about it, they actually like what I'm doing in the cover thing better. Not that I care because I'm not trying to sell the Anthrax thing, I'm just playing covers and having a good night out. People are funny about what they like. That's cool, but I can't take it that far.
What band name do you play your covers under?
Chief Big Way. It's a three-piece, sometimes a four-piece with keyboards. We play Triumph, Deep Purple, Rush, Van Halen, Led Zeppelin, The Who, Pink Floyd, Hendrix, Cream, all classic stuff. We also do Priest, Sabbath and Dio. It's all older, straight up hits type stuff. I'm on the drums with the [vocal] headset. There are no props and no gimmicks. I sing the whole night.
Chief Big Way. It's a three-piece, sometimes a four-piece with keyboards. We play Triumph, Deep Purple, Rush, Van Halen, Led Zeppelin, The Who, Pink Floyd, Hendrix, Cream, all classic stuff. We also do Priest, Sabbath and Dio. It's all older, straight up hits type stuff. I'm on the drums with the [vocal] headset. There are no props and no gimmicks. I sing the whole night.
Isn't it difficult to sing and play drums at the same time?
It's not an easy thing. I never thought that I would sing and play "Tom Sawyer" at the same time. Something that you think is easy to play is often not. "Heartbreaker" by Led Zeppelin has so many different [drum] accents that have nothing to do with the song vocally. It's a good challenge.
It's not an easy thing. I never thought that I would sing and play "Tom Sawyer" at the same time. Something that you think is easy to play is often not. "Heartbreaker" by Led Zeppelin has so many different [drum] accents that have nothing to do with the song vocally. It's a good challenge.
Andrew Magnotta of The Aquarian Weekly recently conducted an interview with guitarist John Petrucci of progressive metal giants DREAM THEATER. A couple of excerpts from the chat follow below.
The Aquarian Weekly: Why was [new DREAM THEATER drummer] Mike Mangini not included in the writing of the new record?
Petrucci: I decided to do it this way because I wanted to make sure that we were able to focus on DREAM THEATER's core compositional elements and sounds without a new person coming in. Whatever that Mike might have brought to the table, I thought it was too early to kind of bring in somebody that we didn't really know at all, as far as their compositional abilities. I've been writing this music forever and just felt comfortable in that kind of environment. When you can focus on just guitar, keyboards, bass and our singer is there, it's just a more intimate environment and you're not trying to integrate somebody else and feel them out. I just kind of wanted to eliminate that whole process. I mean, it could have been great, but I was more comfortable doing it this way for this album at least.
The Aquarian Weekly: How is your relationship with [former DREAM THEATER drummer] Mike Portnoy now?
Petrucci: I haven't spoken with him in quite a while now. We've known each other forever. We were in the band for over 25 years. But yeah, I haven't spoken to Mike in quite some time now.
The Aquarian Weekly: He initially took and has continued to take what seems like the brunt of the criticism for leaving the band. Do you think that was fair to him?
Petrucci: I think that people can be pretty mean. It's not good to read, as far as negativity. People from all walks of life make changes and for whatever reason leave jobs. Whatever it is in their life they have to do, they have to make decisions. That's what happens. I know that people were very upset by that and I can totally understand that, but the world can definitely be a little hard on people.
The Aquarian Weekly: As far as the music on the new record, was there anything that influenced this album that was absent from past albums?
Petrucci: Going into it and writing it, we had made a conscious decision to really focus in again on the core compositional elements: What are the things that we really want to explore and focus on on this album? I knew that I wanted it to be a broad album, that we wanted to give everybody the band an opportunity to shine, whether that's in an arrangement way or an orchestration way. I knew and hoped that it would be mixed by Andy Wallace, which it was. I wanted the presentation sonically to be epic and grand and high-fi and all that stuff. Those were some of the goals. We really wanted to infuse the elements of progressive music that we grew up with and make sure that it was a melodic album and rich in the lyrical message. Those were all the things that were on our mind, that we talked about the whole time.
The Aquarian Weekly: So were you inspired by work that you had previously done in DREAM THEATER?
Petrucci: I think that we're always inspired by — we always kinda look back and kind of assess what we've done: What do we like about moments in our history and what don't we like? What are the things that we want to continue to explore and keep a part of our sound and what are the things that we don't necessarily want to be a part of our sound. It's like that in any successful situation that you're in; you always have to go back and assess and ask questions and always think in a way that's moving forward, but that's using your experience and lessons from that past to make things even better.
The Aquarian Weekly: Why was [new DREAM THEATER drummer] Mike Mangini not included in the writing of the new record?
Petrucci: I decided to do it this way because I wanted to make sure that we were able to focus on DREAM THEATER's core compositional elements and sounds without a new person coming in. Whatever that Mike might have brought to the table, I thought it was too early to kind of bring in somebody that we didn't really know at all, as far as their compositional abilities. I've been writing this music forever and just felt comfortable in that kind of environment. When you can focus on just guitar, keyboards, bass and our singer is there, it's just a more intimate environment and you're not trying to integrate somebody else and feel them out. I just kind of wanted to eliminate that whole process. I mean, it could have been great, but I was more comfortable doing it this way for this album at least.
The Aquarian Weekly: How is your relationship with [former DREAM THEATER drummer] Mike Portnoy now?
Petrucci: I haven't spoken with him in quite a while now. We've known each other forever. We were in the band for over 25 years. But yeah, I haven't spoken to Mike in quite some time now.
The Aquarian Weekly: He initially took and has continued to take what seems like the brunt of the criticism for leaving the band. Do you think that was fair to him?
Petrucci: I think that people can be pretty mean. It's not good to read, as far as negativity. People from all walks of life make changes and for whatever reason leave jobs. Whatever it is in their life they have to do, they have to make decisions. That's what happens. I know that people were very upset by that and I can totally understand that, but the world can definitely be a little hard on people.
The Aquarian Weekly: As far as the music on the new record, was there anything that influenced this album that was absent from past albums?
Petrucci: Going into it and writing it, we had made a conscious decision to really focus in again on the core compositional elements: What are the things that we really want to explore and focus on on this album? I knew that I wanted it to be a broad album, that we wanted to give everybody the band an opportunity to shine, whether that's in an arrangement way or an orchestration way. I knew and hoped that it would be mixed by Andy Wallace, which it was. I wanted the presentation sonically to be epic and grand and high-fi and all that stuff. Those were some of the goals. We really wanted to infuse the elements of progressive music that we grew up with and make sure that it was a melodic album and rich in the lyrical message. Those were all the things that were on our mind, that we talked about the whole time.
The Aquarian Weekly: So were you inspired by work that you had previously done in DREAM THEATER?
Petrucci: I think that we're always inspired by — we always kinda look back and kind of assess what we've done: What do we like about moments in our history and what don't we like? What are the things that we want to continue to explore and keep a part of our sound and what are the things that we don't necessarily want to be a part of our sound. It's like that in any successful situation that you're in; you always have to go back and assess and ask questions and always think in a way that's moving forward, but that's using your experience and lessons from that past to make things even better.
Lina Lecaro of LA Weekly recently conducted an interview with JANE'S ADDICTION guitarist Dave Navarro. A couple of excerpts from the chat follow below.
LA Weekly: The band has such a long and sometimes tumultuous history. In making a new record, were there differences that had to be worked out or was it all smooth sailing?
Navarro: I get asked this so many times and I always fail to come up with a good answer. I've been with this band almost 25 years and I've worked with all these guys in one way or another over the years on different projects. Also keep in mind we'd done extensive touring with NINE INCH NAILS in Europe in 2009. We'd essentially been a working band for two years prior to even thinking about this. Relationships were well established and we just went in and did it. It was pretty natural and a lot of that comes from intuition. You gain that by spending a lot of time together.
LA Weekly: What about the writing and recording process?
Navarro: There was a number of ways we went about it but that's the way JANE'S ADDICTION's always worked, in terms of not having a formula. Some came from jamming, some from working on multi-track... It's difficult for me to describe a process which is primarily felt.
LA Weekly: What made you decide it was time for some new music?
Navarro: At that point, after doing the NAILS tour and the European dates, we were really enjoying the band and being on the road and playing shows. It was about keeping our fans satiated and we wanted to keep going. It's like any relationship. If you're in a relationship and you and your partner don't create new experiences and have new things to bring into it, it's gonna die. I think that another tour just playing "Mountain Song" and "Jane Says" wouldn't be of interest to us, and wouldn't be of interest to anybody else. It's evolve or die. We love playing the old songs, don't get me wrong, but we've added the new stuff, and already it's ignited a sense of urgency and made the flow of the sets feel fresh and new.
LA Weekly: Tell me about your bass players. Eric Avery is the original of course, and you've had Duff McKagan, and even Flea for a little bit. Now it's Chris Chaney. Is he the permanent bassist at this point?
Navarro: He pretty much always was. The only reason he wasn't on the NINE INCH NAILS tour was because Eric came back for that. Chris has been and is a member of JANE'S ADDICTION.
LA Weekly: How has having different bass players affected the band's music?
Navarro: There's only been two, Chris and Eric. There's no recorded music with Duff. As for playing live, I believe that having different influences on stage helps one become a more well-rounded player. I've played with hundreds of different musicians, just with CAMP FREDDY alone. And don't forget Martyn LeNoble played with JANE'S for a couple years too.
LA Weekly: The band has such a long and sometimes tumultuous history. In making a new record, were there differences that had to be worked out or was it all smooth sailing?
Navarro: I get asked this so many times and I always fail to come up with a good answer. I've been with this band almost 25 years and I've worked with all these guys in one way or another over the years on different projects. Also keep in mind we'd done extensive touring with NINE INCH NAILS in Europe in 2009. We'd essentially been a working band for two years prior to even thinking about this. Relationships were well established and we just went in and did it. It was pretty natural and a lot of that comes from intuition. You gain that by spending a lot of time together.
LA Weekly: What about the writing and recording process?
Navarro: There was a number of ways we went about it but that's the way JANE'S ADDICTION's always worked, in terms of not having a formula. Some came from jamming, some from working on multi-track... It's difficult for me to describe a process which is primarily felt.
LA Weekly: What made you decide it was time for some new music?
Navarro: At that point, after doing the NAILS tour and the European dates, we were really enjoying the band and being on the road and playing shows. It was about keeping our fans satiated and we wanted to keep going. It's like any relationship. If you're in a relationship and you and your partner don't create new experiences and have new things to bring into it, it's gonna die. I think that another tour just playing "Mountain Song" and "Jane Says" wouldn't be of interest to us, and wouldn't be of interest to anybody else. It's evolve or die. We love playing the old songs, don't get me wrong, but we've added the new stuff, and already it's ignited a sense of urgency and made the flow of the sets feel fresh and new.
LA Weekly: Tell me about your bass players. Eric Avery is the original of course, and you've had Duff McKagan, and even Flea for a little bit. Now it's Chris Chaney. Is he the permanent bassist at this point?
Navarro: He pretty much always was. The only reason he wasn't on the NINE INCH NAILS tour was because Eric came back for that. Chris has been and is a member of JANE'S ADDICTION.
LA Weekly: How has having different bass players affected the band's music?
Navarro: There's only been two, Chris and Eric. There's no recorded music with Duff. As for playing live, I believe that having different influences on stage helps one become a more well-rounded player. I've played with hundreds of different musicians, just with CAMP FREDDY alone. And don't forget Martyn LeNoble played with JANE'S for a couple years too.
Liz Ramanand of Loudwire recently conducted an interview with guitarist/vocalist Matt Heafy of Florida-based metallers TRIVIUM. A couple of excerpts from the chat follow below.
Loudwire: How would you compare "In Waves" to the rest of the TRIVIUM albums?
Heafy: I think the big thing with our sound is that every album sounds pretty different. People typically don't know what to expect when listening to one of our albums. With this record, it sounds like TRIVIUM, it doesn't sound like another band, it doesn't sound like something else or some other genre, it truly just sounds like our band. I don't know what components made that happen or how a band can make that happen but it took us five records to really hone out what sound like.
Loudwire: With heavy tracks like "In Waves" and "Dusk Dismantled" throughout the album, how do you prepare your voice for songs like these?
Heafy: I never really learned a proper way of screaming. I had lessons here and there for singing and I mean I was able to pick up a little bit from every singing teacher but basically I wanted to learn the fundamentals from people. Whenever you go into a teaching-based situation with an instrument, for me at least for voice, it was kind of like that singing teacher's way or the highway and it could really put up mental blocks in your head. As far as screaming, I don't really know what I'm doing but it does the job so it's really about learning the fundamentals and how to warm up and how to sing right and just take care of yourself.
Loudwire: You guys are on tour with DREAM THEATER; what's your relationship with those guys?
Heafy: They're one of the greatest bands of all time, we've been trying to tour with them and it finally happened now. As far as [John] Petrucci goes, he's my favorite guitar player in the world. With every show we've ever done and we ever do, I always use his warm-up exercises from his VHS from the '90s and I use that a lot in my abilities when I was younger and I still use is nowadays on tour. They're about as good as they get when it comes to any musician or band. They're the best.
Loudwire: How would you describe metal music, or the industry itself, from when you first started versus now?
Heafy: Well, it changes every album. "Ascendency" was 75 percent physical sales in CDs; "In Waves" is 75 percent digital sales. So obviously the markets have been completely flipped around. The CD buying market whether digital or physical goes down 10 to 30 percent every single time we release a record and that's a worldwide scale. Metal is in a very odd spot in the U.S. and in a lot of other places in the world it's still very strong, other places it's kind of quiet, but in the U.S. right now there aren't really any new metal bands. There aren't any new bands that are coming out that were our age. Metal's kind of lost right now. The bands that are touring in metal, they've been around for a while now, there's no one new coming in and doing something different. That's why with this record, "In Waves", we wanted to do something that was completely reactionary towards what we see in our genre and pushing it beyond the boundaries of what a metal band is suppose to look like, what a metal band is suppose to sounds like and push everything to a new creative height where it's not doing things that we're suppose to do but doing things that we want to do.
Loudwire: How would you compare "In Waves" to the rest of the TRIVIUM albums?
Heafy: I think the big thing with our sound is that every album sounds pretty different. People typically don't know what to expect when listening to one of our albums. With this record, it sounds like TRIVIUM, it doesn't sound like another band, it doesn't sound like something else or some other genre, it truly just sounds like our band. I don't know what components made that happen or how a band can make that happen but it took us five records to really hone out what sound like.
Loudwire: With heavy tracks like "In Waves" and "Dusk Dismantled" throughout the album, how do you prepare your voice for songs like these?
Heafy: I never really learned a proper way of screaming. I had lessons here and there for singing and I mean I was able to pick up a little bit from every singing teacher but basically I wanted to learn the fundamentals from people. Whenever you go into a teaching-based situation with an instrument, for me at least for voice, it was kind of like that singing teacher's way or the highway and it could really put up mental blocks in your head. As far as screaming, I don't really know what I'm doing but it does the job so it's really about learning the fundamentals and how to warm up and how to sing right and just take care of yourself.
Loudwire: You guys are on tour with DREAM THEATER; what's your relationship with those guys?
Heafy: They're one of the greatest bands of all time, we've been trying to tour with them and it finally happened now. As far as [John] Petrucci goes, he's my favorite guitar player in the world. With every show we've ever done and we ever do, I always use his warm-up exercises from his VHS from the '90s and I use that a lot in my abilities when I was younger and I still use is nowadays on tour. They're about as good as they get when it comes to any musician or band. They're the best.
Loudwire: How would you describe metal music, or the industry itself, from when you first started versus now?
Heafy: Well, it changes every album. "Ascendency" was 75 percent physical sales in CDs; "In Waves" is 75 percent digital sales. So obviously the markets have been completely flipped around. The CD buying market whether digital or physical goes down 10 to 30 percent every single time we release a record and that's a worldwide scale. Metal is in a very odd spot in the U.S. and in a lot of other places in the world it's still very strong, other places it's kind of quiet, but in the U.S. right now there aren't really any new metal bands. There aren't any new bands that are coming out that were our age. Metal's kind of lost right now. The bands that are touring in metal, they've been around for a while now, there's no one new coming in and doing something different. That's why with this record, "In Waves", we wanted to do something that was completely reactionary towards what we see in our genre and pushing it beyond the boundaries of what a metal band is suppose to look like, what a metal band is suppose to sounds like and push everything to a new creative height where it's not doing things that we're suppose to do but doing things that we want to do.
SPV/Steamhammer will re-release VIRGIN STEELE's "Age Of Consent" album in November. This 2CD digipak reissue comes with bonus tracks, five of them previously unreleased, and a massive booklet with new liner notes and previously unseen photos. It will also be made available in vinyl for the first time since 1988.
Release dates:
Germany: November 25
Rest Of Europe: November 28
USA/Canada: November 22
Originally released in October 1988, "Age Of Consent" was the fourth full-length album by VIRGIN STEELE. It took eight months to be completed, in comparison with 1985's "Noble Savage", which was recorded in only a few weeks. The songs on "Age Of Consent" follow in style and content the music of its precedessor.
Before the release of "Age Of Consent", VIRGIN STEELE toured heavily in Europe as special guests for BLACK SABBATH and MANOWAR.
Commented VIRGIN STEELE singer David DeFeis: "To me, 'Age Of Consent' is the album that I usually refer to as 'the one that got away album' in our career. When it was originally released it was sent out into the world without any promotion or fanfare, much like a soldier, catapulted onto a battlefield, naked and without any weapons. Because of this many people were completely unaware of its existence. Therefore we are absolutely over the moon about being able to present it to you once again. For this reissue, I have remastered all the songs from the original source tapes, and added several more 'bonus tracks.' Some of the bonus material features brand new compositions, and other tracks are covers that have been re-arranged and in some cases re-written.
"We hope that you will join us in celebrating our anniversary, and we hope you will enjoy and play at maximum volume these barbaric-romantic creations."
Track listing:
Double digipak (including new booklet with rare photos and new liner notes by David DeFeis):
CD1
01. The Burning Of Rome (Cry For Pompeii) (6:39)
02. Let It Roar (3:48)
03. Prelude To Evening (1:10)
04. Lion In Winter (5:32)
05. Stranger At The Gate (1:30)
06. Perfect Mansions (Mountains Of The Sun) (8:33)
07. Coils Of The Serpent (1:24)
08. Serpent's Kiss (8:15)
09. On The Wings Of The Night (4:41)
10. Seventeen (4:21)
11. Tragedy (4:22)
12. Stay On Top (3:37)
13. Chains Of Fire (3:35)
14. Desert Plains (4:52)
15. Cry Forever (4:32)
16. We Are Eternal (4:13)
CD2
01. Screaming For Vengeance (5:11) (bonus track)
02. The Curse (2:57) (Bonus Track)
03. Breach Of Lease (5:58) (bonus track; previously unreleased)
04. Another Nail In The Cross (6:24) (bonus track; previously unreleased)
05. A Changling Dawn ("Noble Savage" acoustic version) (10:56) (bonus track; previously unreleased)
06. Under The Graveyard Moon (6:53) (bonus track; previously unreleased)
07. Down By The River (5:43) (bonus track; previously unreleased)
Double Gatefold LP in coloured blue vinyl and printed innersleeves:
LP1
Side A
01. The Burning Of Rome (Cry For Pompeii) (6:39)
02. Let It Roar (3:48)
03. Prelude To Evening (1:10)
04. Lion In Winter (5:32)
05. On The Wings Of The Night (4:41)
Side B
01. Seventeen (4:21)
02. Tragedy (4:22)
03. Chains Of Fire (3:35)
04. Cry Forever (4:32)
05. We Are Eternal (4:13)
LP2
Side C
01. Perfect Mansions (Mountains Of The Sun) (8:33)
02. Coils Of The Serpent (1:24)
03. Serpent's Kiss (8:15)
04. The Curse (2:57 (bonus track)
Side D
01. Screaming For Vengeance (5:11) (bonus track)
02. Another Nail In The Cross (6:24) (bonus track; previously unreleased)
03. Under The Graveyard Moon (6:53) (bonus track; previously unreleased)
Release dates:
Germany: November 25
Rest Of Europe: November 28
USA/Canada: November 22
Originally released in October 1988, "Age Of Consent" was the fourth full-length album by VIRGIN STEELE. It took eight months to be completed, in comparison with 1985's "Noble Savage", which was recorded in only a few weeks. The songs on "Age Of Consent" follow in style and content the music of its precedessor.
Before the release of "Age Of Consent", VIRGIN STEELE toured heavily in Europe as special guests for BLACK SABBATH and MANOWAR.
Commented VIRGIN STEELE singer David DeFeis: "To me, 'Age Of Consent' is the album that I usually refer to as 'the one that got away album' in our career. When it was originally released it was sent out into the world without any promotion or fanfare, much like a soldier, catapulted onto a battlefield, naked and without any weapons. Because of this many people were completely unaware of its existence. Therefore we are absolutely over the moon about being able to present it to you once again. For this reissue, I have remastered all the songs from the original source tapes, and added several more 'bonus tracks.' Some of the bonus material features brand new compositions, and other tracks are covers that have been re-arranged and in some cases re-written.
"We hope that you will join us in celebrating our anniversary, and we hope you will enjoy and play at maximum volume these barbaric-romantic creations."
Track listing:
Double digipak (including new booklet with rare photos and new liner notes by David DeFeis):
CD1
01. The Burning Of Rome (Cry For Pompeii) (6:39)
02. Let It Roar (3:48)
03. Prelude To Evening (1:10)
04. Lion In Winter (5:32)
05. Stranger At The Gate (1:30)
06. Perfect Mansions (Mountains Of The Sun) (8:33)
07. Coils Of The Serpent (1:24)
08. Serpent's Kiss (8:15)
09. On The Wings Of The Night (4:41)
10. Seventeen (4:21)
11. Tragedy (4:22)
12. Stay On Top (3:37)
13. Chains Of Fire (3:35)
14. Desert Plains (4:52)
15. Cry Forever (4:32)
16. We Are Eternal (4:13)
CD2
01. Screaming For Vengeance (5:11) (bonus track)
02. The Curse (2:57) (Bonus Track)
03. Breach Of Lease (5:58) (bonus track; previously unreleased)
04. Another Nail In The Cross (6:24) (bonus track; previously unreleased)
05. A Changling Dawn ("Noble Savage" acoustic version) (10:56) (bonus track; previously unreleased)
06. Under The Graveyard Moon (6:53) (bonus track; previously unreleased)
07. Down By The River (5:43) (bonus track; previously unreleased)
Double Gatefold LP in coloured blue vinyl and printed innersleeves:
LP1
Side A
01. The Burning Of Rome (Cry For Pompeii) (6:39)
02. Let It Roar (3:48)
03. Prelude To Evening (1:10)
04. Lion In Winter (5:32)
05. On The Wings Of The Night (4:41)
Side B
01. Seventeen (4:21)
02. Tragedy (4:22)
03. Chains Of Fire (3:35)
04. Cry Forever (4:32)
05. We Are Eternal (4:13)
LP2
Side C
01. Perfect Mansions (Mountains Of The Sun) (8:33)
02. Coils Of The Serpent (1:24)
03. Serpent's Kiss (8:15)
04. The Curse (2:57 (bonus track)
Side D
01. Screaming For Vengeance (5:11) (bonus track)
02. Another Nail In The Cross (6:24) (bonus track; previously unreleased)
03. Under The Graveyard Moon (6:53) (bonus track; previously unreleased)
Dutch female-fronted symphonic metallers WITHIN TEMPTATION will take part in a signing session at Media Markt Bäckebol in Gothenburg, Sweden on October 26 at 3.30 p.m. (15.30).
WITHIN TEMPTATION's fifth studio album, "The Unforgiving", sold around 12,000 copies in the United States in its first week of release to debut at position No. 50 on The Billboard 200 chart. Released on March 29, the CD was produced by Daniel Gibson and is based on a comic book story written by script writer Steven O'Connell (BloodRayne, Dark 48). The band asked comic artist Romano Molenaar (Witchblade, Darkness, X-Men) to draw the characters and scenery of "The Unforgiving", which was made available via Sony Music in Continental Europe and Roadrunner Records in the U.S., U.K. and Ireland, Japan and Australia.
WITHIN TEMPTATION guitarist Robert Westerholt recently announced that he will step down from touring duties in order to focus on taking care of the three children he has with the band's lead singer, Sharon den Adel. His replacement on stage is Stefan Helleblad, who has been working with the band behind the scenes for a few years.
WITHIN TEMPTATION's fifth studio album, "The Unforgiving", sold around 12,000 copies in the United States in its first week of release to debut at position No. 50 on The Billboard 200 chart. Released on March 29, the CD was produced by Daniel Gibson and is based on a comic book story written by script writer Steven O'Connell (BloodRayne, Dark 48). The band asked comic artist Romano Molenaar (Witchblade, Darkness, X-Men) to draw the characters and scenery of "The Unforgiving", which was made available via Sony Music in Continental Europe and Roadrunner Records in the U.S., U.K. and Ireland, Japan and Australia.
WITHIN TEMPTATION guitarist Robert Westerholt recently announced that he will step down from touring duties in order to focus on taking care of the three children he has with the band's lead singer, Sharon den Adel. His replacement on stage is Stefan Helleblad, who has been working with the band behind the scenes for a few years.
"The Great Bludgeoning", the new album from Danish thrashers HATESPHERE, entered the official chart in the band's home country at position No. 84. The group's previous CD, "To The Nines" (2009), landed at No. 36 while 2007's "Serpent Smiles and Killer Eyes" debuted at No. 26.
"The Great Bludgeoning" was produced, mixed and mastered by Tue Madsen (THE HAUNTED, SICK OF IT ALL, MOONSPELL, DARK TRANQUILLITY) at the Antfarm Studios in Aarhus, Denmark. The cover artwork as created by Mircea Gabriel Eftemie, who has previously worked with SOILWORK, STRAPPING YOUNG LAD and MNEMIC (for which he also plays the guitar).
"The Great Bludgeoning" track listing:
01. The Killer
02. Venom
03. Smell Of Death
04. Decayer
05. The Wail Of My Threnode
06. Resurrect With A Vengeance
07. The Great Bludgeoning
08. Need To Kill
09. Devil In Your Own Hell
Commented the band: "We have aimed the new album in a more old-school direction than its predecessor.
"With people this experienced joining the band, it has been a very relaxed and enjoyable process to write the songs, and we have all agreed on the concept. More metal and everything that follows. The cover, the title and the lyrics speaks for themselves.
"We are an angry-sounding metal band, and we have no intention of denying that. That's why the cover is more back-to-the-roots and the lyrics are again about aggressions, drinking and hate. The things that HATESPHERE has always been about.
"Expect brutality, melody and groove in just the right dose.
"We have had one hell of a time writing and recording it, and we can't wait to present the album to all of you before long! Within a month or so, we will have the first song snippet and video ready for you — so keep your eyes and ears open."
HATESPHERE recently announced the addition of bassist Jimmy Nedergaard (GOB SQUAD) to the group's ranks. Nedergaard was described by his new bandmates as "a metalhead [with] a punk rock background [who] knows what he is going into, he shares our visions with the band, he has tried something different than metal but still has it deep in his heart, and last but not least he's a great guy." The group added, "Fitting in personally means a lot to us, so Jimmy's age and experience has made him the perfect choice."
Vocalist Esben "Esse" Hansen joined HATESPHERE as the band's new singer in June 2010.
"The Great Bludgeoning" was produced, mixed and mastered by Tue Madsen (THE HAUNTED, SICK OF IT ALL, MOONSPELL, DARK TRANQUILLITY) at the Antfarm Studios in Aarhus, Denmark. The cover artwork as created by Mircea Gabriel Eftemie, who has previously worked with SOILWORK, STRAPPING YOUNG LAD and MNEMIC (for which he also plays the guitar).
"The Great Bludgeoning" track listing:
01. The Killer
02. Venom
03. Smell Of Death
04. Decayer
05. The Wail Of My Threnode
06. Resurrect With A Vengeance
07. The Great Bludgeoning
08. Need To Kill
09. Devil In Your Own Hell
Commented the band: "We have aimed the new album in a more old-school direction than its predecessor.
"With people this experienced joining the band, it has been a very relaxed and enjoyable process to write the songs, and we have all agreed on the concept. More metal and everything that follows. The cover, the title and the lyrics speaks for themselves.
"We are an angry-sounding metal band, and we have no intention of denying that. That's why the cover is more back-to-the-roots and the lyrics are again about aggressions, drinking and hate. The things that HATESPHERE has always been about.
"Expect brutality, melody and groove in just the right dose.
"We have had one hell of a time writing and recording it, and we can't wait to present the album to all of you before long! Within a month or so, we will have the first song snippet and video ready for you — so keep your eyes and ears open."
HATESPHERE recently announced the addition of bassist Jimmy Nedergaard (GOB SQUAD) to the group's ranks. Nedergaard was described by his new bandmates as "a metalhead [with] a punk rock background [who] knows what he is going into, he shares our visions with the band, he has tried something different than metal but still has it deep in his heart, and last but not least he's a great guy." The group added, "Fitting in personally means a lot to us, so Jimmy's age and experience has made him the perfect choice."
Vocalist Esben "Esse" Hansen joined HATESPHERE as the band's new singer in June 2010.
California's THROWDOWN will headline the first annual "Brawloween", a brand new tour event which will stretch across the West Coast with support from CARNIFEX, FIRST BLOOD and SUFFOKATE.
THROWDOWN will mark its first live appearances in nearly two years by presenting a fan-favorite filled set list consisting of material from classic albums like "Haymaker" (2003) and "Vendetta" (2005) alongside select tracks from "Venom & Tears" (2007) and their eOne music debut, "Deathless" (2009).
The band has confirmed a touring lineup which is comprised of both familiar faces as well as some guests:
* Dave Peters (THROWDOWN; 2000 - present) - Vocals
* Mark Mitchell (THROWDOWN; 2007 - present) - Bass
* Dave Nassie (BLEEDING THROUGH, ex-NO USE FOR A NAME) - Guitar
* Tim "Yogi" Watts (DEMON HUNTER, ex-THE SHOWDOWN) - Drums
"I can't say I love having a chronically fragmented lineup for THROWDOWN, but it does leave the door open for cool opportunities like this," said Peters.
"I'm VERY happy to be playing these shows with Yogi and Nassie as 'special guests,' or whatever you want to call them under the circumstances. They're great guys and equally great musicians. It will be a cool thing for fans of the three bands too, as it's hard to say if or when we'd share a stage in the future. The only drawback is running the risk of them setting the sound bar too high for the next time we play in our backyard."
THROWDOWN has made a limited number of prints of the tour poster artwork by illustrator Dave Quiggle shown below. These exclusive prints will only be available at the Chain Reaction show on October 23.
Peters had this to say about their first annual "Brawloween" tour: "It's exciting, if not a little nerve-wracking, to be playing a string of shows like this after almost two years. Especially with most of them so close to home.
"We plan on performing a ton of older songs and some fan favorites that were left off set lists when we were touring in support of 'Deathless' and 'Venom & Tears'. At the end of the night, we just want to have played a set that had no valleys and maintained an intensity from start to finish. The dynamic with the crowd is the most important part in pulling that off, so we're giving them what they want each night and asking only that they reciprocate and have a good time with us. So tell us what songs you want to hear, preferably before we start rehearsing them vs yelling it at the stage night of, and there's a good chance you'll hear them."
The dates are as follows:
Oct. 21 - San Diego, CA - Soma
Oct. 22 - Bakersfield, CA - Jerrys Pizza
Oct. 23 - Anaheim, CA - Chain Reaction
Oct. 24 - Tucson, AZ - Skrappy's
Oct. 25 - Phoenix, AZ - Underground
Oct. 26 - Las Vegas, NV - TBD
Oct. 27 - Reno, NV - The Alley
Oct. 28 - Sacramento, CA - The Boardwalk
Oct. 29 - Temecula, CA - The Vault
Oct. 30 - Huntington Beach, CA - E.F.F.
Oct. 31 - Canoga Park, CA - Cobalt Cafe
THROWDOWN will mark its first live appearances in nearly two years by presenting a fan-favorite filled set list consisting of material from classic albums like "Haymaker" (2003) and "Vendetta" (2005) alongside select tracks from "Venom & Tears" (2007) and their eOne music debut, "Deathless" (2009).
The band has confirmed a touring lineup which is comprised of both familiar faces as well as some guests:
* Dave Peters (THROWDOWN; 2000 - present) - Vocals
* Mark Mitchell (THROWDOWN; 2007 - present) - Bass
* Dave Nassie (BLEEDING THROUGH, ex-NO USE FOR A NAME) - Guitar
* Tim "Yogi" Watts (DEMON HUNTER, ex-THE SHOWDOWN) - Drums
"I can't say I love having a chronically fragmented lineup for THROWDOWN, but it does leave the door open for cool opportunities like this," said Peters.
"I'm VERY happy to be playing these shows with Yogi and Nassie as 'special guests,' or whatever you want to call them under the circumstances. They're great guys and equally great musicians. It will be a cool thing for fans of the three bands too, as it's hard to say if or when we'd share a stage in the future. The only drawback is running the risk of them setting the sound bar too high for the next time we play in our backyard."
THROWDOWN has made a limited number of prints of the tour poster artwork by illustrator Dave Quiggle shown below. These exclusive prints will only be available at the Chain Reaction show on October 23.
Peters had this to say about their first annual "Brawloween" tour: "It's exciting, if not a little nerve-wracking, to be playing a string of shows like this after almost two years. Especially with most of them so close to home.
"We plan on performing a ton of older songs and some fan favorites that were left off set lists when we were touring in support of 'Deathless' and 'Venom & Tears'. At the end of the night, we just want to have played a set that had no valleys and maintained an intensity from start to finish. The dynamic with the crowd is the most important part in pulling that off, so we're giving them what they want each night and asking only that they reciprocate and have a good time with us. So tell us what songs you want to hear, preferably before we start rehearsing them vs yelling it at the stage night of, and there's a good chance you'll hear them."
The dates are as follows:
Oct. 21 - San Diego, CA - Soma
Oct. 22 - Bakersfield, CA - Jerrys Pizza
Oct. 23 - Anaheim, CA - Chain Reaction
Oct. 24 - Tucson, AZ - Skrappy's
Oct. 25 - Phoenix, AZ - Underground
Oct. 26 - Las Vegas, NV - TBD
Oct. 27 - Reno, NV - The Alley
Oct. 28 - Sacramento, CA - The Boardwalk
Oct. 29 - Temecula, CA - The Vault
Oct. 30 - Huntington Beach, CA - E.F.F.
Oct. 31 - Canoga Park, CA - Cobalt Cafe
Vocalist Oliver "Oli" Sykes of the British metalcore act BRING ME THE HORIZON has commented on the reports that a 20-year-old male from the U.K. had impersonated the singer and attempted to kill a woman from California by slitting her throat.
David Russell has been jailed for life for the calculated kidnap and attempted murder of Maricar Benedicto, 19, from California. He will serve a minimum of 17 and a half years in prison after being sentenced yesterday (Wednesday, October 5) at Northampton Crown Court.
Prosecuting Queen's Counsel Christopher Donnellan told the court of Russell's actions, "He took her to an area of woodland off White Lane. He asked her to sit down on a fallen tree trunk and said he was going to blindfold her and said she would get a surprise or a present. He stood behind her, blindfolded her, asked her to put her head back, and her arms up. Although she did not see any implement because of the blindfold, the next thing she felt was her neck being sliced."
Benedicto then attempted to run away, but Russell caught up with her and stabbed her three further times. He then fled the scene, while Benedicto sought help in a nearby house.
Commented Sykes: "I woke up to the news in L.A., and didn't really believe it at first. It's very unsettling. I'm aware that people have used my identity for pranks and whatever, which has always been something that's been uncomfortable for me, but for something like this to happen is terrifying.
"My heart goes out to Maricar and hope she recovers soon. I would also urge anyone using social networking sites about a really great foundation called the Carly Ryan Foundation (carlyryanfoundation.com). Carly suffered a fate worse even worse than this case but the story isn't worlds apart. The foundation was set up to raise awareness and educate people on the risks of meeting people online.
"Stay safe and be careful."
David Russell has been jailed for life for the calculated kidnap and attempted murder of Maricar Benedicto, 19, from California. He will serve a minimum of 17 and a half years in prison after being sentenced yesterday (Wednesday, October 5) at Northampton Crown Court.
Prosecuting Queen's Counsel Christopher Donnellan told the court of Russell's actions, "He took her to an area of woodland off White Lane. He asked her to sit down on a fallen tree trunk and said he was going to blindfold her and said she would get a surprise or a present. He stood behind her, blindfolded her, asked her to put her head back, and her arms up. Although she did not see any implement because of the blindfold, the next thing she felt was her neck being sliced."
Benedicto then attempted to run away, but Russell caught up with her and stabbed her three further times. He then fled the scene, while Benedicto sought help in a nearby house.
Commented Sykes: "I woke up to the news in L.A., and didn't really believe it at first. It's very unsettling. I'm aware that people have used my identity for pranks and whatever, which has always been something that's been uncomfortable for me, but for something like this to happen is terrifying.
"My heart goes out to Maricar and hope she recovers soon. I would also urge anyone using social networking sites about a really great foundation called the Carly Ryan Foundation (carlyryanfoundation.com). Carly suffered a fate worse even worse than this case but the story isn't worlds apart. The foundation was set up to raise awareness and educate people on the risks of meeting people online.
"Stay safe and be careful."
POISON frontman Bret Michaels is assisting the "Extreme Makeover: Home Edition" team this week as they help build a brand new home for the Gibbs family in West Union, Iowa. Audrey Gibbs is a mother, a widow, a farm owner and a maternal optimist who won't let anything stop her from raising her six children, not even her blindness and her battle with a fatal disease.
A posting on the "Extreme Makeover: Home Edition" Facebook page states, "We are putting [Bret] to work on the house en route to his concert in Sloan on Saturday. Come see Bret along with 'Extreme Makeover: Home Edition' designers Paul DiMeo, Tracy Hutson, Sabrina Soto and Jeff Dye at the National Cattle Congress [Gibbs family fundraising] event this Thursday [October 6 in Waterloo, Iowa]."
Seven months after her husband died, Audrey had a brain aneurism that affected a quarter of her brain — leaving her legally blind. The doctors cannot say if she is going to lose her sight completely or even if she is going to live or die. Audrey has always been pragmatic and has no time for self-pity. She is passionately committed doing whatever it takes to raise her kids. Realizing she could not continue working as a cosmetologist, she decided to attend massage therapy classes, as she knew it was a career she could still practice after losing her sight. However, Audrey does worry about what will happen to her kids — should the worst happen. The Gibbs family own and live on a farm which they rent portions of to local farmers for additional income. Their farmhouse is in need of significant repair, with no working toilet, a ceiling that's caving in and a layout that doesn't work for the family at all — especially for Audrey, if she loses her eyesight completely.
The "Extreme Makeover: Home Edition" design team has just seven days to build a brand new home for the Gibbs. The family has been whisked away on a dream vacation to Boca Raton Resort & Club, a Waldorf Astoria Resort, while "Extreme Makeover: Home Edition" team leader Ty Pennington, designers Paul DiMeo, Tracy Hutson, Sabrina Soto, Jeff Dye and local builders Larson Construction Company, Inc., as well as community volunteers, build the structure.
A posting on the "Extreme Makeover: Home Edition" Facebook page states, "We are putting [Bret] to work on the house en route to his concert in Sloan on Saturday. Come see Bret along with 'Extreme Makeover: Home Edition' designers Paul DiMeo, Tracy Hutson, Sabrina Soto and Jeff Dye at the National Cattle Congress [Gibbs family fundraising] event this Thursday [October 6 in Waterloo, Iowa]."
Seven months after her husband died, Audrey had a brain aneurism that affected a quarter of her brain — leaving her legally blind. The doctors cannot say if she is going to lose her sight completely or even if she is going to live or die. Audrey has always been pragmatic and has no time for self-pity. She is passionately committed doing whatever it takes to raise her kids. Realizing she could not continue working as a cosmetologist, she decided to attend massage therapy classes, as she knew it was a career she could still practice after losing her sight. However, Audrey does worry about what will happen to her kids — should the worst happen. The Gibbs family own and live on a farm which they rent portions of to local farmers for additional income. Their farmhouse is in need of significant repair, with no working toilet, a ceiling that's caving in and a layout that doesn't work for the family at all — especially for Audrey, if she loses her eyesight completely.
The "Extreme Makeover: Home Edition" design team has just seven days to build a brand new home for the Gibbs. The family has been whisked away on a dream vacation to Boca Raton Resort & Club, a Waldorf Astoria Resort, while "Extreme Makeover: Home Edition" team leader Ty Pennington, designers Paul DiMeo, Tracy Hutson, Sabrina Soto, Jeff Dye and local builders Larson Construction Company, Inc., as well as community volunteers, build the structure.
Norwegian female solo artist The Commander-In-Chief will record her first album with engineer/producer Sterling Winfield (PANTERA, DAMAGEPLAN, HATEBREED, HELLYEAH). The sessions will take place in two steps, with the first five songs set to be laid down in early December 2011 at world-class residential studio The Chairworks in West Yorkshire, United Kingdom. The remaining tracks will be recorded in February 2012. At least one single from the first five songs will be released early in 2012, with the album release planned for early summer 2012.
Winfield previously mixed The Commander-In-Chiefs' "brutal, adrenalin-fueled" cover version of the BLACK SABBATH classic "Paranoid", which can be streamed in the YouTube clip below.
"Everything Sterling has worked on sounds extraordinary!" stated The Commander-In-Chief. "I cannot WAIT to work with him!! Thank you to everybody who has made 2011 such a great year for me!"
Winfield stated about The Commander-In-Chief, "I am always looking for something new and different to work on, but I have to say that when the unique talents of The Commander-In-Chief crossed my desk a few months ago, I was blown away! This was definitely new and different! In my twenty plus years as a producer and engineer, I can honestly say that I have never seen or heard anything like what she has to offer. Killer guitar-driven progressive hard rock, along with an unbelievable over-the-top vocal style, with just enough pop added so that it can be accessible to all. Neatly wrapped up in an image that is definitely fresh and exciting. I am looking forward to work with her again soon! Rock on, Commander! Well done!"
In May 2011, The Commander-In-Chief announced endorsement deals with Ibanez, Seymour Duncan and Ernie Ball. Her new official guitar is the prototype Falchion seven-string, from the new X series — the only seven-string version of this guitar in the world.
The Commander-In-Chief does all guitars and vocals herself. She is backed by her fantastic drummer and bass player for live shows.
She recently relocated to London, U.K., where she lives with her manager.
In a 2010 interview with Metal Express Radio, The Commander-In-Chief stated about her music, "I used to call it hybrid rock; the power of rock with the message of punk, and the catchiness of pop inspired by metal techniques. NOW my music has taken a more heavy direction than last year, so it's less punk and more metal."
Regarding her name, The Commander-In-Chief, she said, "I wanted a powerful artist name, since I've always been doing my own thing and still am. I do all the songwriting, guitar playing, singing and I write all the lyrics. For the first demo I made in Chicago I also made my own animated music video which generated quite a buzz on MySpace and gave me all my first fans. I also created illustrations for all my songs, mixing the music with visual arts. I don't do that anymore though, as I just don't have the time."
Winfield previously mixed The Commander-In-Chiefs' "brutal, adrenalin-fueled" cover version of the BLACK SABBATH classic "Paranoid", which can be streamed in the YouTube clip below.
"Everything Sterling has worked on sounds extraordinary!" stated The Commander-In-Chief. "I cannot WAIT to work with him!! Thank you to everybody who has made 2011 such a great year for me!"
Winfield stated about The Commander-In-Chief, "I am always looking for something new and different to work on, but I have to say that when the unique talents of The Commander-In-Chief crossed my desk a few months ago, I was blown away! This was definitely new and different! In my twenty plus years as a producer and engineer, I can honestly say that I have never seen or heard anything like what she has to offer. Killer guitar-driven progressive hard rock, along with an unbelievable over-the-top vocal style, with just enough pop added so that it can be accessible to all. Neatly wrapped up in an image that is definitely fresh and exciting. I am looking forward to work with her again soon! Rock on, Commander! Well done!"
In May 2011, The Commander-In-Chief announced endorsement deals with Ibanez, Seymour Duncan and Ernie Ball. Her new official guitar is the prototype Falchion seven-string, from the new X series — the only seven-string version of this guitar in the world.
The Commander-In-Chief does all guitars and vocals herself. She is backed by her fantastic drummer and bass player for live shows.
She recently relocated to London, U.K., where she lives with her manager.
In a 2010 interview with Metal Express Radio, The Commander-In-Chief stated about her music, "I used to call it hybrid rock; the power of rock with the message of punk, and the catchiness of pop inspired by metal techniques. NOW my music has taken a more heavy direction than last year, so it's less punk and more metal."
Regarding her name, The Commander-In-Chief, she said, "I wanted a powerful artist name, since I've always been doing my own thing and still am. I do all the songwriting, guitar playing, singing and I write all the lyrics. For the first demo I made in Chicago I also made my own animated music video which generated quite a buzz on MySpace and gave me all my first fans. I also created illustrations for all my songs, mixing the music with visual arts. I don't do that anymore though, as I just don't have the time."
Holland's Metalphoto has set an October 16 release date for "Chants Of Evil: The Visions Of The Breathing Darkness" — a photobook on the art of black metal. The first book on the current generation ("third wave") of black metal from the 21st century contains many beautiful live concert photos taken by the Dutch photographer Chérie. It describes and shows how black metal, originating in the 1980s, has spread from Norway all over the world. English-language texts accompanying the photos were written by the portayed artists and by internationally renowned connoisseurs of the genre.
"Chants Of Evil: The Visions Of The Breathing Darkness" contains unique concert photos of more than 60 black metal bands from around the world. The pictures were taken between 2008 and 2011 at famous summer festivals in Europe, such as Metalfest, Party.San Open Air, SWR Barroselas, Under The Black Sun, Wacken Open Air, as well as in dark underground concert venues, from Finland to Portugal but primarily in the Netherlands, Belgium and Germany.
Photography on the North American continent was done by Chris Slack (Gravemusic, Seattle).
The book is produced as a full-color A4 hardcover. It contains 96 pages of 135 grams deluxe paper and costs € 30, -.
"Chants Of Evil: The Visions Of The Breathing Darkness" contains photos of the following black metal bands:
ANGANTYR
BAPTISM
BEHEMOTH
BELPHEGOR
CELESTIAL BLOODSHED
CHAOS INVOCATION
CIRITH GORGOR
COLDBORN
DARK FORTRESS
DARKENED NOCTURN SLAUGHTERCULT
DESASTER
DODENKROCHT
DESTROYER 666
ENDSTILLE
EQUILIBRIUM
ENSLAVED
GLORIOR BELLI
GORGOROTH
HELL MILITIA
HORNED ALMIGHTY
IMMORTAL
IMPIETY
INFERNAL MAJESTY
INQUISITION
IRRLYCHT
KAMPFAR, MALHKEBRE
MARE
MARDUK
MASSEMORD
MAYHEM
MONARQUE
NACHTMYSTIUM
NAER MATARON
NARGAROTH
NËHEMAH
ONDSKAPT
ORCIVUS
PARAGON BELIAL
PRIMORDIAL
ROTTING CHRIST
SARGEIST
SATYRICON
SARKOM
SATANIC WARMASTER
SATURNIAN MIST
SETHERIAL
SHINING
SÓLSTAFIR
SUPPLICIUM
SVARTTJERN
TAAKE
TERATISM
THRONE OF KATARSIS
TRIPTYKON
URFAUST
URGEHAL
VENOM
WATAIN
WOLVES IN THE THRONE ROOM
"Chants Of Evil: The Visions Of The Breathing Darkness" contains unique concert photos of more than 60 black metal bands from around the world. The pictures were taken between 2008 and 2011 at famous summer festivals in Europe, such as Metalfest, Party.San Open Air, SWR Barroselas, Under The Black Sun, Wacken Open Air, as well as in dark underground concert venues, from Finland to Portugal but primarily in the Netherlands, Belgium and Germany.
Photography on the North American continent was done by Chris Slack (Gravemusic, Seattle).
The book is produced as a full-color A4 hardcover. It contains 96 pages of 135 grams deluxe paper and costs € 30, -.
"Chants Of Evil: The Visions Of The Breathing Darkness" contains photos of the following black metal bands:
ANGANTYR
BAPTISM
BEHEMOTH
BELPHEGOR
CELESTIAL BLOODSHED
CHAOS INVOCATION
CIRITH GORGOR
COLDBORN
DARK FORTRESS
DARKENED NOCTURN SLAUGHTERCULT
DESASTER
DODENKROCHT
DESTROYER 666
ENDSTILLE
EQUILIBRIUM
ENSLAVED
GLORIOR BELLI
GORGOROTH
HELL MILITIA
HORNED ALMIGHTY
IMMORTAL
IMPIETY
INFERNAL MAJESTY
INQUISITION
IRRLYCHT
KAMPFAR, MALHKEBRE
MARE
MARDUK
MASSEMORD
MAYHEM
MONARQUE
NACHTMYSTIUM
NAER MATARON
NARGAROTH
NËHEMAH
ONDSKAPT
ORCIVUS
PARAGON BELIAL
PRIMORDIAL
ROTTING CHRIST
SARGEIST
SATYRICON
SARKOM
SATANIC WARMASTER
SATURNIAN MIST
SETHERIAL
SHINING
SÓLSTAFIR
SUPPLICIUM
SVARTTJERN
TAAKE
TERATISM
THRONE OF KATARSIS
TRIPTYKON
URFAUST
URGEHAL
VENOM
WATAIN
WOLVES IN THE THRONE ROOM
"Mental Funeral", the classic album from California death metal pioneers AUTOPSY, will be re-released as a special 20th-anniversary edition on October 17 via Peaceville Records. The effort be released as a CD/DVD package with a bonus DVD containing two previously unseen shows — filmed in Rotterdam, Holland in 1990 and in San Pedro, California in 1991 — as well as new extensive liner notes written by the band and a track-by-track breakdown.
AUTOPSY will enter Fantasy studios in Berkeley, California in late October to record a few new tracks for an upcoming collection entitled "All Tomorrow's Funerals". This monstrous release will be made available on Peaceville Records and will contain all of AUTOPSY's EPs remastered by the bandmembers themselves as well as the newly recorded cuts, totalling 21 tracks all together. Everything from "Retribution For The Dead" to the now-sold-out "The Tomb Within" will be presented on CD and DLP with all original artworks, liner notes from the band and a killer new cover from Matt Cavotta. This is something the band has wanted to do for a long time, having all these chunks of material in one cohesive release, with the best sound and packaging possible. AUTOPSY will make every effort to make sure this death metal assault is top quality and worthy of your attention. The release date is tentatively set for March 2012.
"Macabre Eternal", the first full-length album from AUTOPSY since 1995's "Shitfun", sold around 600 copies in the United States in its first week of release. The CD landed at position No. 67 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
"Macabre Eternal" was recorded at Fantasy Studios in Berkeley, California and includes AUTOPSY's first 10-plus minute song "Sadistic Gratification".
AUTOPSY drummer/vocalist Chris Reifert previously said about "Macabre Eternal": "We've brewed up the sickest and heaviest material that our rotten souls could possibly spew forth, and we are confident that it's our best stuff yet. The EP was a taste of what's to come, but now it's time for the full assault from beyond the grave."
He continued, "The album contains no repeated EP tracks, no re-recorded old songs, no triggered trickery, and nothing less than the pure death metal brutality that AUTOPSY has always delivered."
AUTOPSY had previously decided to make an official comeback after working together on two songs for the special 20th-anniversary edition of debut album, "Severed Survival", in late 2008; the band having originally split before the release of its fourth album, "Shitfun", in 1995. A five-song EP, "The Tomb Within", came out last September and saw the original trio of Chris Reifert, Danny Coralles and Eric Cutler joined on bass by Joe Trevisano (ex-ABSCESS).
AUTOPSY will enter Fantasy studios in Berkeley, California in late October to record a few new tracks for an upcoming collection entitled "All Tomorrow's Funerals". This monstrous release will be made available on Peaceville Records and will contain all of AUTOPSY's EPs remastered by the bandmembers themselves as well as the newly recorded cuts, totalling 21 tracks all together. Everything from "Retribution For The Dead" to the now-sold-out "The Tomb Within" will be presented on CD and DLP with all original artworks, liner notes from the band and a killer new cover from Matt Cavotta. This is something the band has wanted to do for a long time, having all these chunks of material in one cohesive release, with the best sound and packaging possible. AUTOPSY will make every effort to make sure this death metal assault is top quality and worthy of your attention. The release date is tentatively set for March 2012.
"Macabre Eternal", the first full-length album from AUTOPSY since 1995's "Shitfun", sold around 600 copies in the United States in its first week of release. The CD landed at position No. 67 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
"Macabre Eternal" was recorded at Fantasy Studios in Berkeley, California and includes AUTOPSY's first 10-plus minute song "Sadistic Gratification".
AUTOPSY drummer/vocalist Chris Reifert previously said about "Macabre Eternal": "We've brewed up the sickest and heaviest material that our rotten souls could possibly spew forth, and we are confident that it's our best stuff yet. The EP was a taste of what's to come, but now it's time for the full assault from beyond the grave."
He continued, "The album contains no repeated EP tracks, no re-recorded old songs, no triggered trickery, and nothing less than the pure death metal brutality that AUTOPSY has always delivered."
AUTOPSY had previously decided to make an official comeback after working together on two songs for the special 20th-anniversary edition of debut album, "Severed Survival", in late 2008; the band having originally split before the release of its fourth album, "Shitfun", in 1995. A five-song EP, "The Tomb Within", came out last September and saw the original trio of Chris Reifert, Danny Coralles and Eric Cutler joined on bass by Joe Trevisano (ex-ABSCESS).
The president of Poland's public TV broadcaster TVP has asked the producer of the Polish version of the hit singing competition "The Voice Of Poland" to provide a detailed explanation for the "provocative behavior" of one of the show's judges, BEHEMOTH frontman Adam "Nergal" Darski.
According to reports in the Polish media, Nergal made a special guest appearance during the October 1 performance by the Polish band TIMES NEW ROMAN at the Hydrozagadka club in Warsaw (see video below). A couple of the TIMES NEW ROMAN members turned up on stage in wheelchairs, wearing hospital pajamas and accompanied by nurses. A stage announcer proceeded to inform the audience that the musicians were physically unable to play the show unless they were "healed." At that point, Nergal appeared on stage dressed as a clergyman, wearing a sash around his neck resembling a stole (a liturgical vestment of various Christian denominations, particularly within the Catholic Church and among the various Protestant communions of Anglicanism and Lutheranism). He then laid his hands on the heads of the musicians and "healed" them, making it possible for them to continue the concert.
In his statement, Braun wrote that Nergal's "provocative behavior" showed a lack of respect not only for others' religious beliefs but also for the sick and the disabled. Braun said that he considered such actions to be unacceptable and asked Darski for clarification on the matter. The TVP president also said that the current season of "The Voice Of Poland" will wrap in the coming weeks.
When asked why TVP only now decided to make a public statement about Darski's "reprehensible behavior" while the current season of "The Voice Of Poland" is still in production, the station spokeswoman Joanna Stempien-Rogalinska explained that the Programming Council Of TVP in late September refused to condemn Darski's employement as a judge on the show after determining that it did not break any existing laws. In addition, the makers of the program, Rochstar, have defended Darski's participation in "The Voice Of Poland", calling him "a warm and friendly man with a great sense of humor."
Krajowa Rada Radiofonii i Telewizji (officially known in English as the National Broadcasting Council and also commonly referred to by its Polish acronym KRRiT) — the Polish broadcasting regulator, which issues radio and television broadcast licenses, ensures compliance with the law by public broadcasters, and indirectly controls state-owned media — last month reviewed a number of "The Voice Of Poland" episodes featuring Nergal and stated that there is no basis for intervention. According to Radio ZET, KRRiT released a statement underscoring that apart from his controversial pro-satanic activity at the concerts, Nergal is an honorable activist supporting the fight against cancer and promoting hematopoietic stem cell transplantation.
Nergal's participation in the TV show divided Catholic Church. More liberal priests like, father Adam Boniecki, editor-in-chief of the Tygodnik Powszechny Catholic weekly defended the right of the musician to stay in the show arguing that he plays an entirely different role on TV. This attitude was slammed by conservative bishop Wieslaw Mering who said that the Catholic journalist "needed to have his eyes tested."
According to reports in the Polish media, Nergal made a special guest appearance during the October 1 performance by the Polish band TIMES NEW ROMAN at the Hydrozagadka club in Warsaw (see video below). A couple of the TIMES NEW ROMAN members turned up on stage in wheelchairs, wearing hospital pajamas and accompanied by nurses. A stage announcer proceeded to inform the audience that the musicians were physically unable to play the show unless they were "healed." At that point, Nergal appeared on stage dressed as a clergyman, wearing a sash around his neck resembling a stole (a liturgical vestment of various Christian denominations, particularly within the Catholic Church and among the various Protestant communions of Anglicanism and Lutheranism). He then laid his hands on the heads of the musicians and "healed" them, making it possible for them to continue the concert.
In his statement, Braun wrote that Nergal's "provocative behavior" showed a lack of respect not only for others' religious beliefs but also for the sick and the disabled. Braun said that he considered such actions to be unacceptable and asked Darski for clarification on the matter. The TVP president also said that the current season of "The Voice Of Poland" will wrap in the coming weeks.
When asked why TVP only now decided to make a public statement about Darski's "reprehensible behavior" while the current season of "The Voice Of Poland" is still in production, the station spokeswoman Joanna Stempien-Rogalinska explained that the Programming Council Of TVP in late September refused to condemn Darski's employement as a judge on the show after determining that it did not break any existing laws. In addition, the makers of the program, Rochstar, have defended Darski's participation in "The Voice Of Poland", calling him "a warm and friendly man with a great sense of humor."
Krajowa Rada Radiofonii i Telewizji (officially known in English as the National Broadcasting Council and also commonly referred to by its Polish acronym KRRiT) — the Polish broadcasting regulator, which issues radio and television broadcast licenses, ensures compliance with the law by public broadcasters, and indirectly controls state-owned media — last month reviewed a number of "The Voice Of Poland" episodes featuring Nergal and stated that there is no basis for intervention. According to Radio ZET, KRRiT released a statement underscoring that apart from his controversial pro-satanic activity at the concerts, Nergal is an honorable activist supporting the fight against cancer and promoting hematopoietic stem cell transplantation.
Nergal's participation in the TV show divided Catholic Church. More liberal priests like, father Adam Boniecki, editor-in-chief of the Tygodnik Powszechny Catholic weekly defended the right of the musician to stay in the show arguing that he plays an entirely different role on TV. This attitude was slammed by conservative bishop Wieslaw Mering who said that the Catholic journalist "needed to have his eyes tested."
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