Ozzy Osbourne continues to entertain people around the world as one of the top vocalists in Heavy Metal history. Now, Ozzy is back with two new projects, neither of which features him on center stage. The first, a book titled Trust me, I'm Dr. Ozzy, is an advice column where the Prince of Darkness listens to questions about kids, relationships, sex, drugs and anything else on his reader's mind before giving them advice on what to do in their current situation. It is a hilarious book, however, Ozzy does the unexpected and comes across as actually caring what these people are going through. You get his over the top sense of humor but Ozzy also reveals he is much more in touch with humanity then one might expect.
The other project is a documentary by his son, Jack Osbourne, titled God Bless Ozzy Osbourne. Jack went behind the lens and delivered big with a behind the scenes look at who Ozzy really was, and is, and what it was like to grow up his son. At times this is humorous, but other times it is soul searchingly honest and emotional. Ozzy discusses the project in-depth in the interview that follows.
At the end of our time together, I took the opportunity to ask Dr. Ozzy for some advice with a personal problem I am currently facing. His answer was spot on, so much so that I'm hoisting a piece of pepperoni pizza in his honor as I type these words.
Jeb: Your new book is a collection of question and answers from your advice column that was in the Times in London and in Rolling Stone Magazine. What was your reaction when you were asked to do the column?
Ozzy: What happened was that I was asked to get this test on my DNA because of everything that I had done with drugs and alcohol, and the lifestyle I had led the last forty years. I did this thing called Genomics, which is where they take some of your blood and they go clear back in your bloodline and figure out where you came from, and what diseases and things you could be facing in your lifetime.
The Times in London said, "Why don't you do a column since you've survived everything and give advice to people." The column is really just common sense. I suddenly found myself relating to a lot of the people writing in. They wrote in about kids and marriage and all of this stuff. If I didn't know what to say, or if it was serious, then I would tell them to go and see a doctor.
Jeb: When they did the DNA test, I heard they found you were part Neanderthal.
Ozzy: Yeah, yeah, that explains the thick part of my skull [laughter].
Jeb: Did you expect the results to be that in-depth?
Ozzy: I didn't know what to expect. I did find out one thing that I didn't like. Every morning, I like to get up and have a strong cup of coffee and I found out I'm allergic to coffee because of this test. I go, "Oh fuck." I have one cup of good strong coffee a day but that's it.
I can only decipher about a third of it [the test] because two thirds of it is a lot of technical jargon. It's not a cheap test; it costs quite a lot of money. It is beyond my fucking brain, what they talk about. It is hard for me to digest information because it may as well all be in Latin.
Jeb: Did you have a lot of fun doing the column?
Ozzy: If it wasn't fun then I wouldn't have done it. I suppose people were expecting me to tell them to take a ton of acid, and an aspirin, and go to bed.
Jeb: I think the book has more charm because you're so open about substance abuse.
Ozzy: I was talking to my wife just the other day about this; most of my old associates, people that I used to get stoned and drunk with, are dead and gone. There are a few stragglers but most are dead. The word moderation has never applied to Ozzy Osbourne. I never went out for a fucking drink; I went out to get fucking crippled. I would say, "I am going down to the local pup, darling. I'll be back in a little while." I would show back up three days later in a pair of fucking handcuffs.
Jeb: Now, at age 62, is moderation something you can achieve?
Ozzy: I can't drink and I can't do drugs. I mean, I live in California and I could get a bag of mild marijuana from the doctor but who I am fucking kidding? I'd start out with a mild bag of marijuana and I'd end up with a fucking bag of crack. My mind runs away with the fantasy because one drink, or one joint, or one whatever doesn't apply to me but my head still thinks it does. I will think about it and my head runs away with the thought.
Jeb: You have tried to quit for as long as I can remember. Why is it different now?
Ozzy: I got fed up with quitting. The first thing I stopped was tobacco, and don't ask me how I did that. I have been in nearly every rehab around. I have been in rehab with heroin users and they say, "I can put the smack down but I can't give up tobacco." I put it down first. My voice would crack in concert and I felt like a soccer player kicking the fucking wall when he was not in the game.
To be honest with you, I was not having a good time. I would make all of these grandiose statements about how I was Mr. Sober, now. In the National Enquirer, the following day, you would see me on the floor in a bog covered in piss.
There is a lot more help these days than there used to be. It is a lot more openly spoken about then when I was a kid. My folks didn't say, "He's got a drinking problem." You just didn't talk about it. My drinking problem was that I couldn't get e-fucking-nough. If I knew, and I honestly thought to myself, that I could drink moderately, then I would, but I know I can't. I never ever did, I never ever will and I don't want to.
Jeb: I think when someone like you tells people to stop doing drugs it comes across loud and clear. What was one of your favorite questions on drugs?
Ozzy: The one that I remember was this guy who had just come back from a doctor who had prescribed this medication that said on the bottle, "While taking this medication, do not drink alcohol." This guy asks, "What should I do?" I said, "Well, if you're a dummy, and you're fucking nuts, then you will drink alcohol with the medication. If I were you, then I would do what it says on the bottle and not drink any alcohol." Some people are fucking insane.
Jeb: Oh, come on, I imagine back in the day you would've drank with the medication.
Ozzy: I did. If they would have asked me that question ten years ago, then I would have been on drugs and drunk and I would've gone, "Dude, this is Ozzy, I've just taken this medication and I'm about to down a quart of vodka. Where is the nearest fucking hospital from where I am?"
Jeb: Were there any sex questions that were uncomfortable for you to answer?
Ozzy: The newspaper would get them all in and then just send through the funny things. One guy wrote in telling me that he was worried about his relationship because he used to have sex with his wife three to four times a week. He said, "Now, we are only doing it once a week. I'm 80 years old and I'm worried we are growing apart." I said, "Stop complaining, man!" I mean fucking hell, he's doing good.
Jeb: I want to talk about a project your son Jack did called God Bless Ozzy Osbourne. Tell me about how that came about.
Ozzy: He decided to go behind the camera, rather than in front of the camera. He wanted to start a production company and he said, "Would you mind if I did a documentary on you?" I said, "Just don't make me look like something that I'm not. If I'm bad then say that I'm bad." I didn't want him to do one of these documentaries that say, "Look at me, I'm the wonderful one." I've had my wonderful moments but I've also had my fucked up moments as well. I said, "Jack, you've got the freedom of the camera. Do the best job that you can."
I must confess, when I was watching it in a theater in New York, part of me said, "Fuck, be careful what you ask for." I'm not afraid to talk about the bad things I've done in my life. So many of us are the great and glorious and never talk about the things that we don't want to talk about.
Jeb: Was it emotional for you to see you through your son's eyes?
Ozzy: No, because when I was watching it, I was just watching a film. We're a very close family. There were parts of it that kind of got me. There was a question that asked if I was a very good father and the answer was no. I thought about it and I suppose it was true because I was always fucked up, you know.
Jeb: I think that would be hard to take now that you're not all fucked up.
Ozzy: But it's the truth. I remember one time I was arguing with my son Jack and I said, "What the fuck is wrong with you? You're always complaining about what I'm doing. You've never wanted for a damn fucking thing." He said, "Oh yeah?" I said, "Name one fucking thing in your life that you've wanted that you haven't got? If your bicycle broke, you got a new one. If you wanted to go somewhere you got to do it." He said, "You want to know what I've never had? A father." He stopped me dead in my fucking tracks. Alcoholics and drug addicts are self-centered people. We only care about ourselves.
Jeb: You can't go back and do it again.
Ozzy: If you could buy love then people would be selling it in gold boxes.
Jeb: Are you at a place in your life where you can finally say that you're happy and that you're satisfied?
Ozzy: No.
Jeb: How can that be?
Ozzy: I'm a worrier. I will worry if I don't have anything to worry about.
Jeb: From the outside looking in, it appears you're doing great. You can tell that you are really in love with your family.
Ozzy: We do stupid things and we have rows but it's a family. When we started filming The Osbournes T.V. series people would come into my house and go, "Is it always like this?" I was like, "What?" They would go, "Your son just put a fucking spike in his shoe and your daughter just bought a new party dress. Your wife is coming in with all these shopping bags and the fucking cat is on fire." It was just how our life is. When we did the show, a lot of people ended up relating to us. We didn't go Hollywood bullshit.
Jeb: My daughter, Cassidy, watched the show and said, "We are like The Osbournes but without the money and drugs."
Ozzy: [Laughter] I love it.
Jeb: My last one is asking Dr. Ozzy for some advice. I need some help with an issue that I know you have struggled with. I have discovered a new authentic Mexican restaurant in town and I'm hooked on burritos. What do I do to get off the burritos?
Ozzy: Switch to pizza [laugher]!
Jeb: That's perfect. I'm getting a pizza today.
Ozzy: I will do that with burritos. I will eat nothing but burritos for about a month and then I will go, "This is fucking boring." A normal person wouldn't eat burritos every day for six weeks. If they did then they would never eat one again for the rest of their life.
When I was doing that TV show people were noticing that I was eating these energy bars, and then they got them for me for free. Then, I was eating burritos all the time and I was given a lifetime supply and I never had to buy one when I went to the place to get one. Once they started giving them to me for free, I've never had one since. When it was free, I didn't want it. I have no idea why I'm like that.
Truer words could not have been spoken. Not many bands have shaped heavy metal like the British band Judas Priest. With Glenn Tipton and KK Downing on dueling guitar, Ian Hill on bass and the Metal God, Rob Halford on vocals, they have forged the metal scene since the '70s. The band's unique style of wearing S&M leather and writing thunderous anthems have ignited and influenced four generations of musicians. With such hits as "Breaking the Law," "Living After Midnight" and "Hot Rockin," it's no wonder.
All the more reason it came as a shock to metal heads worldwide when the band announced they would be embarking on their farewell "Epitaph Tour." Just as big of a blow to fans was the departure of lead guitarist and founding member KK Downing. Rumors circulated and fans speculated on what was going on in the Priest camp and if this was truly the end to one of the greatest metal bands of all time.
While on a break from their US leg of their tour, I had the chance to sit with guitarist Glenn Tipton and newest member Richie Faulkner (replacing KK) in New York to clear the air on all the rumors, what lie head for the band, and to discuss their latest release, a greatest hits CD entitled; The Chosen Few. Hopefully metal heads can now breathe a sigh of relief when they hear that their idols are re-energized and plan to make more new music.
Glenn Tipton Photo: Rob Cavuoto
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Rob Cavuoto: Tell me about Richie Faulkner joining the band and the audition process involved?
Glenn Tipton: We originally approached another guitarist and he was very honest and told us he didn't think he fit the bill. So we asked him if he knew any great guitar players and he recommended Richie.
We emailed Richie and he didn't get back to us. In actuality, he thought our requests were a prank. We eventually got in touch with him and he came up to my house to show me what he could do.
He started to play and straightaway I thought we had our guy. I asked him to work on a few Priest songs and to send me a tape to see what his take was. It couldn't have been better. He does his own thing to our songs and it fits perfectly into what we do. I don't know who would be here if we didn't find Richie. I immediately liked him as a person, which is very important in this band. It's not just about playing, but getting along as well.
Rob: Tell me what Richie brings to the band?
Glenn Tipton: We've only been playing together for less than six months but every night live, Richie changes the songs up a bit by adding his own licks here and there. We are still learning from each other. We are also learning visual things, so there is more impact on the audience. It's not all about playing the guitar on stage; it's about presences, being at the right place at the right time, giving the band visual strength.
Rob: The auditions were an extremely well-kept secret, how did you manage to do that?
Glenn Tipton: We didn't do anything immediately when KK told us that he wanted to retire. We assumed he would change his mind, but he was adamant. At that point we already announced our farewell tour. Also, we didn't ask that many guitarists to come down, maybe two or three people and we asked them to be discrete. Also, it wasn't a process that went on for a long period of time.
Glenn Tipton and Richie Faulkner Photo: Rob Cavuoto
Rob: Tell me why you thought the emails were a hoax and what it felt like to be asked to audition for Priest?
Richie Faulkner: I got two emails which I deleted as they said Judas Priest and I assumed they were spam. On top of that the guitarist, who had recommended me, gave Glenn my old phone number, so they had trouble with that too. Finally Iron Maiden's production person got them the right number to reach me. When the call came, I never consider that sort of scenarios to occur and thought it was a joke. Obviously it wasn't and we went on from there.
Rob: What did you do to prepare for the audition?
Richie Faulkner: I had been in cover bands before and we did a few Priest numbers. I went to meet with Glenn the day after I got the call so I really didn't have time to prepare. I was confident that I knew enough though. So when I went down there, I played a few licks as well as a few bits and pieces of other songs. Glenn asked me to learn three Priest songs from their set which are big KK solos like "Victim of Changes," "Blood Red Skies" and "Beyond the Realms of Death."
Rob: What was the thing that tipped the scales in Richie's favor?
Glenn Tipton: He is an amazing guitar player. He knew exactly what to do and knew what was right for the band, yet provided his take on our songs. We wanted the band to sound the same and wanted to give Richie the freedom to do his own thing. That might not have worked with most players.
Rob: When interpreting what KK played on all the Priest records how much are you staying true to his parts and how much is your own spin?
Richie Faulkner: I'm a fan myself, so I know what is expected. Yet as a musician you have to put your own stamp on it. KK would also do things differently live than what he played on the records. Of course there are certain solos that you have to you keep the same. I change things up where I feel it's appropriate. They weren't looking for a KK clone.
Rob: Do you think that the casual fan may think Richie is KK, as they both look similar?
Glenn Tipton: I'm sure there will be a small percent of people who might not be aware that KK left. I think in general that the news of KK's departure spread like wildfire. Richie has performed and won over the fans. The criteria wasn't visual, we really didn't know what Richie looked like until he turned up.
Glenn Tipton Photo: Rob Cavuoto
Rob: Do you foresee KK coming back at any point?
Glenn Tipton: Ken has made it quite clear that he has retired from the music business. Richie has made a massive commitment to this band and has worked very hard.
Rob: What has been the most incredible aspect of being in Priest?
Richie Faulkner: I don't think you can put one thing on it. Aside from the fact that you play amazing songs every night with amazing musicians to amazing fans, you can't put your finger on one thing. It's everything you would image it to be. If you could dream of joining one of your favorite bands and then it happens.
Rob: Was there any challenges in getting Priest ready for the Epitaph World Tourwith a new member?
Glenn Tipton: I told Richie if he has any questions he can ask me. Turns out he knew the songs better than me, particularly on the older ones. [Laughing] He did his homework and is a quick learner.
Rob: What are the band's plans to record a new CD?
Glenn Tipton: Rob and I started writing last January and February. We have eight to ten strong ideas with four almost complete. We now want to work with Richie, and the prospect of developing new material with him. I can see more than one LP in our future and the ideas we have already been changing with Richie's input. It's a whole new area and I'm not sure how it's going to work out, but from what I've heard with Richie's playing I'm really optimistic and excited that we will come up with some great music.
There is a lot of life left in the band. I know we have talked about this being our farewell tour, but it's really a farewell tour of the planet! It doesn't mean that we are playing our last shows. We have a lot of energy. It's very difficult to give up. If the band was offered a string of dates, I'm sure we will consider them. We still have some shelf life left.
Rob: The songs that you have already worked up, what style of Priest are they in?
Glenn Tipton: They are what people would want from us. There will be a couple of anthems that will be a thank you to our fans for being so loyal thought-out the years. It's our gesture to our fans to thank them in the best way we can…through our songs.
Rob: On your new greatest hits CD, The Chosen Few, how did the concept come about to have other famous metal musicians pick their favorite Priest songs?
Glenn Tipton: We spoke to the record company about it and just felt it was a good idea. These are the musicians that we have a lot of respect for from Ozzy to Lemmy of Motorhead to Joe Elliot of Def Leppard. It's cool to read the liner notes to understand why it's their favorite Priest song. Priest can be what you want it to be and struck a chord in people's lives.
Whether a song got them through a good or bad time in their life, helped them overcome a break-up or a new romance it's an interesting take on what it meant to them. The comments are interesting and make the songs interesting through these musicians.
Rob: Do you have a favorite Priest song and LP?
Richie Faulkner: Favorite song would have to be "Victim of Changes" and favorite LP I would have to go back to Defenders of the Faith. "Turbo Lover" and "Blood Red Skies" becomes a different animal when we play them live and I love them too.
Rob: Looking back over your career in Priest what was the most important thing that you have learned?
Glenn Tipton: Right from the word "Go" I learned that's it's important to be yourself and have your own style and nurture it, to be proud of it as a guitar player and as a band member. You can fall into the trap of listening to other bands and subconsciously copying them. Always try to be true to yourself and be proud of what you do.
Rob: When it's all said and done and you all do finally retire, what do you want Judas Priest to be remembered for?
Glenn Tipton: I would hope to think that we shaped heavy metal and helped it evolved over the years as well as inspiring people along the way. That is what I would be most proud of.
Roberto Medina, the organizer of Brazil's legendary Rock In Rio festival, told Globo.com's Extra that GUNS N' ROSES frontman Axl Rose's behavior at this year's event — where the singer and his bandmates came onstage two hours late despite having reportedly agreed to pay a heavy fine for making the audience wait — exhibited a "lack of commitment" and "respect for the public."
As previously reported, GUNS N' ROSES' continual tardiness is making things rough for concert promoters and fans alike, with long waits for Axl Rose just as much a definite at a the band's concert as hearing "Paradise City" or "Welcome To The Jungle".
GUNS N' ROSES' defended its actions with a brand new post on its Facebook page, stating, "Love it Hate it Accept it Debate it — You want 8 o'clock shows go find F-R-I-E-N-D-S or hit a cinema somewhere.. or you wanna be informed go catch the 10-o'clock news.. this is Rock N' Roll! Treat yourself don't cheat yourself thinking you're gonna go to school or work or whatever you 'normally' do the next day. Oh and remember before you get high and never want to come down. 'you can have anything you want but you better not take it from me!' This is GUNS N' ROSES and when the time is right the stage will ignite. Looking forward to sharing that with rockers soon!"
GUNS N' ROSES' 2001 show at Rock In Rio saw them take to the stage two hours late, and while the crowd waited patiently for them on that occasion, this has not been the case at other shows.
In March 2010, fans of the band rioted in São Paolo, Brazil after a private show was canceled at the last minute, and in 2002 fans in Vancouver, Canada and Philadelphia in the U.S. rioted when shows were canceled on the day.
Also in 2010, organizers of the Reading festival in England pulled the plug on the band's PA, silencing them after they took to the stage an hour late and tried to overrun the event's curfew time by over half an hour.
GUNS N' ROSES' was reportedly fined $108,000 (£72,000) by officials at London's O2 Arena in October 2010 after Rose's late stage appearance meant he and his bandmates went over the venue's strict 11 p.m. curfew. The fans were so upset about GUNS N' ROSES' tardiness at the first of the two London shows that they were throwing things at Axl Rose. He told the audience not to be doing that because they could miss him and hit someone at the front of the stage by accident. They wouldn't want that to happen, he added. The concert organizers allowed them to play for the extra hour over curfew for two gigs.
At GUNS N' ROSES' lone U.S. concert appearance in 2010 in Sturgis, South Dakota, the crowd — composed largely of bikers — was forced to wait the usual two hours before Rose arrived. Rather than rioting, however, those in attendance either littered the stage with debris or simply left.
As previously reported, GUNS N' ROSES' continual tardiness is making things rough for concert promoters and fans alike, with long waits for Axl Rose just as much a definite at a the band's concert as hearing "Paradise City" or "Welcome To The Jungle".
GUNS N' ROSES' defended its actions with a brand new post on its Facebook page, stating, "Love it Hate it Accept it Debate it — You want 8 o'clock shows go find F-R-I-E-N-D-S or hit a cinema somewhere.. or you wanna be informed go catch the 10-o'clock news.. this is Rock N' Roll! Treat yourself don't cheat yourself thinking you're gonna go to school or work or whatever you 'normally' do the next day. Oh and remember before you get high and never want to come down. 'you can have anything you want but you better not take it from me!' This is GUNS N' ROSES and when the time is right the stage will ignite. Looking forward to sharing that with rockers soon!"
GUNS N' ROSES' 2001 show at Rock In Rio saw them take to the stage two hours late, and while the crowd waited patiently for them on that occasion, this has not been the case at other shows.
In March 2010, fans of the band rioted in São Paolo, Brazil after a private show was canceled at the last minute, and in 2002 fans in Vancouver, Canada and Philadelphia in the U.S. rioted when shows were canceled on the day.
Also in 2010, organizers of the Reading festival in England pulled the plug on the band's PA, silencing them after they took to the stage an hour late and tried to overrun the event's curfew time by over half an hour.
GUNS N' ROSES' was reportedly fined $108,000 (£72,000) by officials at London's O2 Arena in October 2010 after Rose's late stage appearance meant he and his bandmates went over the venue's strict 11 p.m. curfew. The fans were so upset about GUNS N' ROSES' tardiness at the first of the two London shows that they were throwing things at Axl Rose. He told the audience not to be doing that because they could miss him and hit someone at the front of the stage by accident. They wouldn't want that to happen, he added. The concert organizers allowed them to play for the extra hour over curfew for two gigs.
At GUNS N' ROSES' lone U.S. concert appearance in 2010 in Sturgis, South Dakota, the crowd — composed largely of bikers — was forced to wait the usual two hours before Rose arrived. Rather than rioting, however, those in attendance either littered the stage with debris or simply left.
Megadeth's upcoming CD, TH1RT3EN, is guitarist Chris Broderick's second with the group, and it allows him to showcase his classically-influenced, harmonically rich style in a variety of settings, from the head-down, high-tech thrash heard on the band's last CD, 2009's Endgame, to more melodic, anthemic songs reminiscent of albums like Countdown to Extinction and Youthanasia. We reached out to Chris to find out how he feels about TH1RT3EN, what he feels he brings to Megadeth, and more.
(This is the first in a four-part series of interviews with all four members of Megadeth, leading up to the release of TH1RT3EN on November 1.)
How does being in Megadeth compare to being in your previous bands like Jag Panzer and Nevermore?
It's a whole new level, in terms of the amount of prep that I have to do, to the video shoots to all of that. Where I'm at on stage, the amount of production we have, it's just a lot more. Takes up a lot more of your time, and it's a much bigger stage.
Is it more satisfying?
I would say it gives me more of a sense of accomplishment, the fact that I'm able to do what I love – which is playing the guitar – for a living.
What's it like to work with Dave Mustaine on the guitar parts?
I think it's great, because he comes from a different background than I do. He brings an insight from a totally different light than I view it from. And you can sense it in our playing styles, too, that we' re very different in that sense. So I think that's awesome.
What's the viewpoint that you bring to your playing?
Dave got his playing from the street, he picked up a lot of his playing from listening to records. I come from a more schooled approach.
How do you feel that the styles complement each other?
I think they're very complementary. [Dave] has more of that grit and that push and pull of the beat, where he'll play a little ahead of the beat or a little bit behind the beat. Mine tends to be right on the beat. So it was cool to learn that style, to actually play in front of the beat a little bit and then pull back when you want to do that, but then also lock in with the beat when it was time to do that.
Do you try to replicate the band's classic songs live, or do you try to put your own stamp on them?
I try to do as good a job as possible to re-create the original as faithfully as possible, but at the same time we all have our own ways that we approach the instrument, so I think a little bit of my playing would come out within those songs as well. But I do try to keep it as close to the original as possible.
What does your playing bring to Megadeth that your predecessors didn't?
It's definitely going to be my own influences, my classical guitar background, the schooling that I came up with. It's just a different balance of influences, you know? I can't speak exactly to what their abilities are and aren't, I can only listen to what they recorded in the past and make assumptions on that.
Could you be specific on some of your influences?
I've got a lot of time invested in counterpoint, which is the main form of composition that Bach would use, and I utilize that information when I write and when we come up with guitar harmonies.
Can you explain counterpoint for some of our readers who might not know what that is?
Sure. It's the idea of having a melody and a counter melody that work in harmony together really well. When you harmonize on guitar, usually what you would do is you would move up an interval and harmonize the exact same guitar line as the original, whereas counterpoint would have you do an entirely different melody, but it still works harmoniously with the original melody. So there's a lot of governing rules behind that and how you make that work.
Are there any examples on TH1RT3EN?
Yeah, but they're more textures buried in the background, making them hard to point out. There's a little bit of contrapuntal harmony in "Millennium of the Blind"...I'm trying to think of where else there would be as well. There were some things that we recorded, but we didn't use – they made things too complex, took away too much from the original melody.
So when you go into putting together guitar parts for a Megadeth record, making it sound like a Megadeth record is the top priority?
We'll come into the recording process and the songwriting process with all those different possibilities, whether contrapuntal or bringing in different styles of music were just presenting harmonic and rhythmic ideas. And then, of course, after you try it, you're like, "Okay. That's definitely not the correct style for this song." Or it doesn't fit the song correctly, and you put it on the back burner. Definitely all that stuff's open, but like you said, at the end of the day it has to sound like Megadeth.
Does Dave do the lion's share of the writing?
Yeah, except for, obviously, I write my solos, and sometimes the guitar melodies over the top I'll write. The countermelodies, the harmonies, things like that I'll have a big say on. Most of the rhythms are Dave.
How do you approach writing the solos? Is it more of a compositional thing or more of an instinctive thing?
It's a little bit of both. When I hear the rhythm, I usually like to loop it and solo over the top, getting the feel for the phrasing, what is going to be like, hearing it in my head. And then from there I like to think about compositional skills and how I can develop what I'm hearing. That's the ideal way. Sometimes you run into time constraints and things of that nature where you have to move a bit more quickly and you don't have all the time in the world to compose exactly what you want.
It sounds like the recording of the album went quickly. Was it quick in a good way, or in the "oh crap, we have to get this thing done" way?
A little bit of both. We did have the deadline of the fact that we were leaving for Europe to do a tour and the Big Four shows, but I don't think it was absolutely crucial that we finished the CD by then. It was a goal, and we ended up meeting that goal. For me, it was awesome, in the sense that it came out quickly and it came out well within the time that we had. Now, that being said, you can always sit there and listen to the song again and again and see if there's any marginal thing that you could do to make it just that much better, but then a lot of times that leads to second-guessing yourself. I'd say overall I'm pleased with the fact that we got it finished as quickly as we did.
Megadeth's TH1RT3EN will be in stores November 1. You can pre-order the album on CD or deluxe double picture disc vinyl at this link.
(This is the first in a four-part series of interviews with all four members of Megadeth, leading up to the release of TH1RT3EN on November 1.)
How does being in Megadeth compare to being in your previous bands like Jag Panzer and Nevermore?
It's a whole new level, in terms of the amount of prep that I have to do, to the video shoots to all of that. Where I'm at on stage, the amount of production we have, it's just a lot more. Takes up a lot more of your time, and it's a much bigger stage.
Is it more satisfying?
I would say it gives me more of a sense of accomplishment, the fact that I'm able to do what I love – which is playing the guitar – for a living.
What's it like to work with Dave Mustaine on the guitar parts?
I think it's great, because he comes from a different background than I do. He brings an insight from a totally different light than I view it from. And you can sense it in our playing styles, too, that we' re very different in that sense. So I think that's awesome.
What's the viewpoint that you bring to your playing?
Dave got his playing from the street, he picked up a lot of his playing from listening to records. I come from a more schooled approach.
How do you feel that the styles complement each other?
I think they're very complementary. [Dave] has more of that grit and that push and pull of the beat, where he'll play a little ahead of the beat or a little bit behind the beat. Mine tends to be right on the beat. So it was cool to learn that style, to actually play in front of the beat a little bit and then pull back when you want to do that, but then also lock in with the beat when it was time to do that.
Do you try to replicate the band's classic songs live, or do you try to put your own stamp on them?
I try to do as good a job as possible to re-create the original as faithfully as possible, but at the same time we all have our own ways that we approach the instrument, so I think a little bit of my playing would come out within those songs as well. But I do try to keep it as close to the original as possible.
What does your playing bring to Megadeth that your predecessors didn't?
It's definitely going to be my own influences, my classical guitar background, the schooling that I came up with. It's just a different balance of influences, you know? I can't speak exactly to what their abilities are and aren't, I can only listen to what they recorded in the past and make assumptions on that.
Could you be specific on some of your influences?
I've got a lot of time invested in counterpoint, which is the main form of composition that Bach would use, and I utilize that information when I write and when we come up with guitar harmonies.
Can you explain counterpoint for some of our readers who might not know what that is?
Sure. It's the idea of having a melody and a counter melody that work in harmony together really well. When you harmonize on guitar, usually what you would do is you would move up an interval and harmonize the exact same guitar line as the original, whereas counterpoint would have you do an entirely different melody, but it still works harmoniously with the original melody. So there's a lot of governing rules behind that and how you make that work.
Are there any examples on TH1RT3EN?
Yeah, but they're more textures buried in the background, making them hard to point out. There's a little bit of contrapuntal harmony in "Millennium of the Blind"...I'm trying to think of where else there would be as well. There were some things that we recorded, but we didn't use – they made things too complex, took away too much from the original melody.
So when you go into putting together guitar parts for a Megadeth record, making it sound like a Megadeth record is the top priority?
We'll come into the recording process and the songwriting process with all those different possibilities, whether contrapuntal or bringing in different styles of music were just presenting harmonic and rhythmic ideas. And then, of course, after you try it, you're like, "Okay. That's definitely not the correct style for this song." Or it doesn't fit the song correctly, and you put it on the back burner. Definitely all that stuff's open, but like you said, at the end of the day it has to sound like Megadeth.
Does Dave do the lion's share of the writing?
Yeah, except for, obviously, I write my solos, and sometimes the guitar melodies over the top I'll write. The countermelodies, the harmonies, things like that I'll have a big say on. Most of the rhythms are Dave.
How do you approach writing the solos? Is it more of a compositional thing or more of an instinctive thing?
It's a little bit of both. When I hear the rhythm, I usually like to loop it and solo over the top, getting the feel for the phrasing, what is going to be like, hearing it in my head. And then from there I like to think about compositional skills and how I can develop what I'm hearing. That's the ideal way. Sometimes you run into time constraints and things of that nature where you have to move a bit more quickly and you don't have all the time in the world to compose exactly what you want.
It sounds like the recording of the album went quickly. Was it quick in a good way, or in the "oh crap, we have to get this thing done" way?
A little bit of both. We did have the deadline of the fact that we were leaving for Europe to do a tour and the Big Four shows, but I don't think it was absolutely crucial that we finished the CD by then. It was a goal, and we ended up meeting that goal. For me, it was awesome, in the sense that it came out quickly and it came out well within the time that we had. Now, that being said, you can always sit there and listen to the song again and again and see if there's any marginal thing that you could do to make it just that much better, but then a lot of times that leads to second-guessing yourself. I'd say overall I'm pleased with the fact that we got it finished as quickly as we did.
Megadeth's TH1RT3EN will be in stores November 1. You can pre-order the album on CD or deluxe double picture disc vinyl at this link.
RATT frontman Stephen Pearcy played an abbreviated set on October 8 as part of the South Texas Rock Fest at Sunken Gardens in San Antonio, Texas. He writes on Facebook, "A big FUCK YEAH! to those who went to the show last night San Antonio and sang the rest of 'Round & Round', even if I forgot what city I was in. Someone decided to cut our lights and sound off before the song was even done! And our set was cut down to 30 minutes from the standard 75 minutes." He adds, "Sorry for our drummer throwin' the drum set off the stage; shit happens. It pissed him off to that we couldn't finish our set. Then we heard about the cops looking for us, so we watched the band and just left. Whatever, we had a great fuckin time."
Pearcy's new solo single, "Too Much Is Never Enough", was released in July via iTunes. The song comes off Pearcy's next solo album, "Sucker Punch", which is tentatively due in early 2012.
In a recent interview with Guitar International, Pearcy stated about the forthcoming CD, "It's probably one of the first records that I'm actually doing all the guitars on. Most people don't really know me as a guitar player, even as a writer, but those songs came from somewhere. The RATT EP was literally all of my songs from the MICKEY RATT days, with the exception of "You Think You're Tough", which Robbin [Crosby, late RATT guitarist] and I had penned together. That's the song that ended up getting us signed. I've been a guitar player for years, it's just overlooked. I'm doing the solos on both of the sample singles. I'm currently the label [via Top Fuel Records], but Roadrunner has an option on it. Whether they pick it up is irrelevant, because it will be heard. What I wanted to do this time, since I was writing so many songs, is for my fans to hear the process. Not just give them a basic track, but to give them a rough version. Feedback has been good. Depending on how the record is picked up, my manager and I have talked about a whole other approach to releasing a record that nobody has ever done before."
Pearcy recently recorded a new version of RATT's '80s hit "Wanted Man" for "Big John's Rock N Lock", the new show featuring world-famous rock and roll bodyguard "Big" John Murray, celebrity reality star of VH1's "Rock Of Love".
Pearcy's new solo single, "Too Much Is Never Enough", was released in July via iTunes. The song comes off Pearcy's next solo album, "Sucker Punch", which is tentatively due in early 2012.
In a recent interview with Guitar International, Pearcy stated about the forthcoming CD, "It's probably one of the first records that I'm actually doing all the guitars on. Most people don't really know me as a guitar player, even as a writer, but those songs came from somewhere. The RATT EP was literally all of my songs from the MICKEY RATT days, with the exception of "You Think You're Tough", which Robbin [Crosby, late RATT guitarist] and I had penned together. That's the song that ended up getting us signed. I've been a guitar player for years, it's just overlooked. I'm doing the solos on both of the sample singles. I'm currently the label [via Top Fuel Records], but Roadrunner has an option on it. Whether they pick it up is irrelevant, because it will be heard. What I wanted to do this time, since I was writing so many songs, is for my fans to hear the process. Not just give them a basic track, but to give them a rough version. Feedback has been good. Depending on how the record is picked up, my manager and I have talked about a whole other approach to releasing a record that nobody has ever done before."
Pearcy recently recorded a new version of RATT's '80s hit "Wanted Man" for "Big John's Rock N Lock", the new show featuring world-famous rock and roll bodyguard "Big" John Murray, celebrity reality star of VH1's "Rock Of Love".
San Francisco Bay Area thrashers TESTAMENT have tapped Gene "The Atomic Clock" Hoglan (ex-DARK ANGEL, ex-STRAPPING YOUNG LAD, FEAR FACTORY, DETHKLOK) to join them on the road for select dates on their upcoming co-headlining tour with ANTHRAX. Gene will sit behind the kit for TESTAMENT from October 28 through November 13; the remainining dates will see TESTAMENT joined by John Tempesta (EXODUS, WHITE ZOMBIE, ROB ZOMBIE, HELMET, THE CULT).
Commented Hoglan: "As many of you know, I just played on the new TESTAMENT record, 'Dark Roots Of Earth', which went amazingly well. The dudes were kind enough ask me to join them for a couple weeks on this tour with ANTHRAX and DEATH ANGEL. I'm super-stoked to do the shows. It's going to be a great time.
"Just so everybody knows, I will be selling my drum instructional DVD, 'The Atomic Clock', at the shows (shameless plug). If you can't make it out to one of the shows, buy it online!"
Hoglan previously played drums on TESTAMENT's 1997 album, "Demonic", but didn't stick around long enough to do any touring with the band.
TESTAMENT's U.S. tour with ANTHRAX and DEATH ANGEL is scheduled to kick off on October 14 in Grand Rapids, Michigan.
Due to a "serious injury," regular TESTAMENT drummer Paul Bostaph is unable to take part in the tour. Paul was also absent from the recording sessions for TESTAMENT's new album, "The Dark Roots Of Earth", tentatively due in February 2012 via Nuclear Blast Records.
Commented Tempesta: "I haven't left THE CULT. I'm just helping these guys [TESTAMENT] out for this tour since Paul is still injured."
Although Tempesta recorded only two studio albums with TESTAMENT (1994's "Low" and 2001's "First Strike Still Deadly", a collection of re-recordings of songs from "The Legacy" and "The New Order"), he left a lasting impression on TESTAMENT guitarist Eric Peterson. "John is definitely one of the best drummers in the country," Peterson remarked. "He has the power of John Bonham, the finesse of Carter Beauford, and the aggression of Dave Lombardo. As a drummer, John really has it all."
SADUS drummer Jon Allen sat behind the kit for TESTAMENT when the band performed in the place of IN FLAMES at the first two shows of the Rockstar Energy Drink Mayhem Festival — on July 9 in San Bernardino, California and on July 10 in Mountain View, California — as well as on the group's recently completed South American tour.
TESTAMENT has announced that it will again be offering special VIP/Meet-And-Greet Packs on its upcoming co-headlining tour with ANTHRAX with support from DEATH ANGEL. This is your chance to spend intimate, quality time with TESTAMENT — up close and personal!
TESTAMENT offered these packs on last year's monumental "American Carnage" tour (also featuring MEGADETH and SLAYER), which presented fans with a unique and exclusive chance to spend time with the band before doors opened, take photos and get autographs, throw up the horns, and chat. This year with the VIP/Meet-And-Greet Packs, fans will have another chance to hang out, sign autographs and take photos with the band, as well as have access to a ticket to their performance, special merchandise hand-picked by the band, and a collectible TESTAMENT laminate to commemorate this ultimate fan experience!
TESTAMENT Meet-And-Greet Package includes (full details):
* One General Admission ticket
* Meet-and-greet with select members of TESTAMENT
* Photo with select members of TESTAMENT
* Autograph opportunity with select members of TESTAMENT
* TESTAMENT merchandise items*
- T-shirt of your choice from the merch booth (before doors open)
- Opportunity to purchase a second item at half off from the merch booth (before doors open)
- Assorted guitar picks
- Wristband
- Rare, out of print "Live At The Filmore" cassette
- Original printing of "Demonic" CD
* Collectible TESTAMENT laminate
For more information on how to obtain your special VIP/Meet-And-Greet Pack, head over to www.slotix.com now!
"We love connecting with our fans and showing them same the respect and admiration they show us year after year," states vocalist Chuck Billy. "Hanging out and talking to the fans was a phenomenal experience for everyone last year. It was a first for us as well as the fans. It's a great way to join us at the shows in celebration of all that is heavy metal and to make a personal connection with us, so come hang out and commemorate this great tour!"
Commented Hoglan: "As many of you know, I just played on the new TESTAMENT record, 'Dark Roots Of Earth', which went amazingly well. The dudes were kind enough ask me to join them for a couple weeks on this tour with ANTHRAX and DEATH ANGEL. I'm super-stoked to do the shows. It's going to be a great time.
"Just so everybody knows, I will be selling my drum instructional DVD, 'The Atomic Clock', at the shows (shameless plug). If you can't make it out to one of the shows, buy it online!"
Hoglan previously played drums on TESTAMENT's 1997 album, "Demonic", but didn't stick around long enough to do any touring with the band.
TESTAMENT's U.S. tour with ANTHRAX and DEATH ANGEL is scheduled to kick off on October 14 in Grand Rapids, Michigan.
Due to a "serious injury," regular TESTAMENT drummer Paul Bostaph is unable to take part in the tour. Paul was also absent from the recording sessions for TESTAMENT's new album, "The Dark Roots Of Earth", tentatively due in February 2012 via Nuclear Blast Records.
Commented Tempesta: "I haven't left THE CULT. I'm just helping these guys [TESTAMENT] out for this tour since Paul is still injured."
Although Tempesta recorded only two studio albums with TESTAMENT (1994's "Low" and 2001's "First Strike Still Deadly", a collection of re-recordings of songs from "The Legacy" and "The New Order"), he left a lasting impression on TESTAMENT guitarist Eric Peterson. "John is definitely one of the best drummers in the country," Peterson remarked. "He has the power of John Bonham, the finesse of Carter Beauford, and the aggression of Dave Lombardo. As a drummer, John really has it all."
SADUS drummer Jon Allen sat behind the kit for TESTAMENT when the band performed in the place of IN FLAMES at the first two shows of the Rockstar Energy Drink Mayhem Festival — on July 9 in San Bernardino, California and on July 10 in Mountain View, California — as well as on the group's recently completed South American tour.
TESTAMENT has announced that it will again be offering special VIP/Meet-And-Greet Packs on its upcoming co-headlining tour with ANTHRAX with support from DEATH ANGEL. This is your chance to spend intimate, quality time with TESTAMENT — up close and personal!
TESTAMENT offered these packs on last year's monumental "American Carnage" tour (also featuring MEGADETH and SLAYER), which presented fans with a unique and exclusive chance to spend time with the band before doors opened, take photos and get autographs, throw up the horns, and chat. This year with the VIP/Meet-And-Greet Packs, fans will have another chance to hang out, sign autographs and take photos with the band, as well as have access to a ticket to their performance, special merchandise hand-picked by the band, and a collectible TESTAMENT laminate to commemorate this ultimate fan experience!
TESTAMENT Meet-And-Greet Package includes (full details):
* One General Admission ticket
* Meet-and-greet with select members of TESTAMENT
* Photo with select members of TESTAMENT
* Autograph opportunity with select members of TESTAMENT
* TESTAMENT merchandise items*
- T-shirt of your choice from the merch booth (before doors open)
- Opportunity to purchase a second item at half off from the merch booth (before doors open)
- Assorted guitar picks
- Wristband
- Rare, out of print "Live At The Filmore" cassette
- Original printing of "Demonic" CD
* Collectible TESTAMENT laminate
For more information on how to obtain your special VIP/Meet-And-Greet Pack, head over to www.slotix.com now!
"We love connecting with our fans and showing them same the respect and admiration they show us year after year," states vocalist Chuck Billy. "Hanging out and talking to the fans was a phenomenal experience for everyone last year. It was a first for us as well as the fans. It's a great way to join us at the shows in celebration of all that is heavy metal and to make a personal connection with us, so come hang out and commemorate this great tour!"
I've been a Dream Theater fan for a real long time. I've always thought Mike Portnoy was the best drummer of all time. When he left Dream Theater I was kind of shocked as was the rest of the Dream Theater fan base. However they got this new guy Mike Mangini who is just as good and a very interesting guy to listen to. After the interview I checked out the show near Chicago, IL and Mangini tore it up. I wish Mike Portnoy nothing but the best. I love Adrenaline Mob and am looking forward to his stuff with John Sykes. That said, Mike Mangini is the drummer for Dream Theater right now and I'm totally cool with that. He's insanely good. Check out my interview with Mike Mangini right here.
Zoiks!: How has the transition into the drumming role of Dream Theater been?
Mike Mangini: Natural, much like the audition that everybody can see in the documentary, it was a very natural thing. We like the same things, we see things the same way, so I guess it was really natural for everything to progress the way it has.
Z!: The fan reaction seems to be varied. What have you noticed in terms of the fan reaction?
MM: It depends on what you mean by fan reaction, because there are people who have seen the show and then there are people who have not seen the show, so you have to divide them into two distinctly different groups. A lot of times the people who haven't seen it have more to say, but they haven't seen it, so I don't know what that is all about sometimes. The people that have seen it, by the third song they are making me feel so welcome that it has transformed everything for me to another level. It makes it that much easier because they have been overwhelmingly positive. It's great.
Z!: You mentioned people that haven't seen the show. I think blabbermouth.net tends to be a big site where a lot of conversation is going. Do you think a site like that is good for the music industry, or does it hurt?
MM: I'm not quite sure. There are different philosophies about this. I'm too busy with my life to spend time on the Internet. I'm busy doing something rather than talking about it, so I don't know what that is like. There's that aspect of it that I completely don't know anything about that, because again I practice drums and I'm in a band, plus I have a family, so I'm busy. Then there is press. They say all press is good press? I don't know. As long as people feel like they are expressing themselves and getting what they need out of their system, cool.
Z!: What was your strategy with the audition process?
MM: The root of this comes from stuff that's natural. My strategy was basically to be myself. That means, what I usually do and have done in my life. When I come into a pre existing situation, I learn the music as it pre-existed. I never put myself above that and change the parts, although I'm evolving and doing somethings that are a little more personal recently. That's always been my philosophy so I just stuck with what I always do.
Z!: How big is your set on stage?
MM: Well I have an octave of toms that I use because they have multi octaves on their instrument. So what I do is I divide…I associate three tom toms plus my snare or four tom toms with every one of their octaves, and it allows me to play things in the same frequency register. Everything has a purpose, everything up there gets hit, in some songs, everything gets hit. The only reason I know one Internet thing is because I was asked to look at an article about my drums so I had to go look at it. I was surprised at comments of people saying why all the drums or all the drums don't all get hit. I mean they're wrong, they get hit, what am I supposed to say?
Z!: So much has been made about the set list being the same for the whole tour as opposed to when Mike Portnoy was here, it would change night to night?
MM: The consistent set list is the way to go. It allows the crew to be consistent each night. It allows the transitions to be consistent. It allows us to get comfortable with the flow. For me I wouldn't want to mix up the set at all, because I haven't been in the band for too long. My past would dictate that just throwing songs in would be risky for the flow…it might be fun though, I don't know, I've never done it.
Z!: What was the recording process like. Did you get to bring a lot of your style to the process or was it more like they just told you what to do?
MM: John Petrucci programmed the drum machine, which basically means kick and snare with some fills, so I would know where he's feeling up and down or on and off the beat. It was a nice skeleton for me to work with. What I did was, I applied my drum set to that skeleton. Sometimes I played things completely different, but not too often, other times John asked me to try something different, other times we experimented with everything and went with what flowed the best.
Z!: Were the songs completely written?
MM: Yes, oh absolutely. I was busy putting my drum set together for this and going through the whole catalogue. Think about it for a minute, I am new in this band. Me being a composer right away was not a good idea. I didn't want to do it; they didn't want me to do it. I write music on instruments, on keyboard and stuff like that. Who am I to show up and write riffs with these monsters? I didn't even try to do that. I also needed to configure my drum set based on the past catalogue. What if I showed up with a completely different drum set, recorded this record and then found myself ready to go on tour thinking oh no I need a high stack or I need octobons or I need this or I need a gong drum. I didn't want to be in that position, so while they were composing I was working on the drums.
Z!: I thought I read somewhere that when you tried out, you tried out on a drum set they set up, not your traditional set up.
MM: That's absolutely correct, I ended up setting it up, but the hardware was limiting, so I set it up differently than I've ever played a kit before. In other words when I sat down to do the audition, that configuration I'd never played in my life and I didn't get to warm up on it either, so I just had to sit and do it. But that's what I mean about this being natural, something inside just kicked in…it's so much fun. Hey normally it's possible that'd I'd be nervous in a situation like that, but with this I wasn't.
Z!: As a non drummer, who doesn't really know anything about drums (both laugh) at what point…Dream Theater is a very technical band. Mike Portnoy is an amazing drummer clearly you are too. As a drummer at what point do you decide that you wanna go from a regular drummer to a virtuoso drummer?
MM: You know what, that's all to do with stuff that's out of our control as human beings. Whatever you think that is, from body and spirit and emotion, psychology, I think these are things that are callings. People are attracted…some of us drummers are attracted to certain kinds of music; others are not attracted to certain kinds of music. I think everyone should try to listen to everything to try and see if it sparks in the brain. Eventually you have to follow your heart. Does that make any sense?
Z!: Oh yeah I completely get what you're saying.
MM: I think it's a calling. I think that the only thing that has to do with making decision are the unfortunate or fortunate things like, can you imagine all the people with a ton of talent who have no access to equipment or no freedom? Imagine how much joy we're all missing out on if someone doesn't have the opportunity, so I think that has something to do with it too. I know had to fight for everything. I had to wait for a little piece of equipment every Christmas and I'm lucky I got that (laughs).
Z!: Dream Theater is a progressive rock band, but with in that genre they're very eclectic. They can be very heavy and they can be very soft. As a fan are you more into the heavy side of music or the softer side?
MM: Because I've spent times with so many types of music, it depends on my mood. Now mainly, if I'm going to play drums I like music with a lot of energy to it. So pretty much I like orchestrating on the drums with a heavy metal sensibility, that energy and that's the band I'm in now. I've played full on Latin gigs. I love to play that music because it's really high energy and as a drummer you can play things that are technically challenging and somewhat more fun. I've played full on jazz gigs in the last few years…just two of them, not many, but that has a sort of expressiveness to it yet you have to be so careful playing that to be quiet a lot of times and I don't like to be quiet sometimes (laughs) so I like orchestrating on the drums with some energy which means pretty much Dream Theater to me.
Z!: This isn't your first time joining an established band. You joined Extreme…
MM: Extreme and then Steve Vai, Missing Persons, Annihilator.
Z!: How is playing in those bands been different from playing in Dream Theater?
MM: Playing in Dream Theater, again this might come down to the drum set as well, as an expression of who I would like to be any way and a calling that's inside me. My drum set fits this and it represent apiece of who I am musically. Each of those cymbols is structured with a specific frequency and has a purpose. Everyone of those drums has a purpose and you know something, for anybody that might read comments made by the small kit drummers and the guys that say, 'oh so and so can play on a four piece kit.' Well so can I, so can Marco Minnemann, Virgil Donati, so can Terry Bozzio so can all these players. They can play anything they want with a small kit. I really admire the guys with a creative imagination and the ones that just go for it, because it's fun and don't listen to those people that are criticizing you, trying to judge and all that. Again I'd rather be the person practicing my instrument rather than talking about someone else doing it. Which is probably why I appreciate all these players so much. For the record, I can sit there completely happy listening to Jeff Hamilton, a jazz player, playing on a four-piece kit all night long, or Jojo Mayer playing on a smaller type of kick. I enjoy listening to Steve Smith putting a few different knick-knacks on his drums, or Terry Bozzio going crazy. I just like it all.
Z!: Who are some of your early influences?
MM: The first influence would be Ringo Starr, Buddy Rich, Bobby Columby from Blood Sweat and Tears, Danny Seraphine from Chicago, Terry Bozzio, they're all expressive drummers, you know what I mean. Those are my early influences, John Bonham.
Z!: When did you first pick up the sticks?
MM: Well I started performing when I was five…two to five hundred people.
Z!: Jeez
MM: They were weddings, once or twice a year or every other year or something…we have a huge family. I got the drum set that I used in those performances when I was four and I got like a paper skinned toy kit when I was three. I don't know, what really counts, I mean how do you play when you're five? I don't know, I guess I did ok with the Ringo stuff, I don't know.
Z!: As a fan, was there a live concert that you saw that blew you away?
MM: Absolutely, first…wait a minute, you know what, seeing Buddy Rich when I was nine that hit me. Then the first rock concert that I ever went to was the Rush "Hemispheres" tour. Then again I see this guy with all these instruments and all this percussion having the time of his life, why wouldn't I want set up all kind of stuff and have fun.
Zoiks!: How has the transition into the drumming role of Dream Theater been?
Mike Mangini: Natural, much like the audition that everybody can see in the documentary, it was a very natural thing. We like the same things, we see things the same way, so I guess it was really natural for everything to progress the way it has.
Z!: The fan reaction seems to be varied. What have you noticed in terms of the fan reaction?
MM: It depends on what you mean by fan reaction, because there are people who have seen the show and then there are people who have not seen the show, so you have to divide them into two distinctly different groups. A lot of times the people who haven't seen it have more to say, but they haven't seen it, so I don't know what that is all about sometimes. The people that have seen it, by the third song they are making me feel so welcome that it has transformed everything for me to another level. It makes it that much easier because they have been overwhelmingly positive. It's great.
Z!: You mentioned people that haven't seen the show. I think blabbermouth.net tends to be a big site where a lot of conversation is going. Do you think a site like that is good for the music industry, or does it hurt?
MM: I'm not quite sure. There are different philosophies about this. I'm too busy with my life to spend time on the Internet. I'm busy doing something rather than talking about it, so I don't know what that is like. There's that aspect of it that I completely don't know anything about that, because again I practice drums and I'm in a band, plus I have a family, so I'm busy. Then there is press. They say all press is good press? I don't know. As long as people feel like they are expressing themselves and getting what they need out of their system, cool.
Z!: What was your strategy with the audition process?
MM: The root of this comes from stuff that's natural. My strategy was basically to be myself. That means, what I usually do and have done in my life. When I come into a pre existing situation, I learn the music as it pre-existed. I never put myself above that and change the parts, although I'm evolving and doing somethings that are a little more personal recently. That's always been my philosophy so I just stuck with what I always do.
Z!: How big is your set on stage?
MM: Well I have an octave of toms that I use because they have multi octaves on their instrument. So what I do is I divide…I associate three tom toms plus my snare or four tom toms with every one of their octaves, and it allows me to play things in the same frequency register. Everything has a purpose, everything up there gets hit, in some songs, everything gets hit. The only reason I know one Internet thing is because I was asked to look at an article about my drums so I had to go look at it. I was surprised at comments of people saying why all the drums or all the drums don't all get hit. I mean they're wrong, they get hit, what am I supposed to say?
Z!: So much has been made about the set list being the same for the whole tour as opposed to when Mike Portnoy was here, it would change night to night?
MM: The consistent set list is the way to go. It allows the crew to be consistent each night. It allows the transitions to be consistent. It allows us to get comfortable with the flow. For me I wouldn't want to mix up the set at all, because I haven't been in the band for too long. My past would dictate that just throwing songs in would be risky for the flow…it might be fun though, I don't know, I've never done it.
Z!: What was the recording process like. Did you get to bring a lot of your style to the process or was it more like they just told you what to do?
MM: John Petrucci programmed the drum machine, which basically means kick and snare with some fills, so I would know where he's feeling up and down or on and off the beat. It was a nice skeleton for me to work with. What I did was, I applied my drum set to that skeleton. Sometimes I played things completely different, but not too often, other times John asked me to try something different, other times we experimented with everything and went with what flowed the best.
Z!: Were the songs completely written?
MM: Yes, oh absolutely. I was busy putting my drum set together for this and going through the whole catalogue. Think about it for a minute, I am new in this band. Me being a composer right away was not a good idea. I didn't want to do it; they didn't want me to do it. I write music on instruments, on keyboard and stuff like that. Who am I to show up and write riffs with these monsters? I didn't even try to do that. I also needed to configure my drum set based on the past catalogue. What if I showed up with a completely different drum set, recorded this record and then found myself ready to go on tour thinking oh no I need a high stack or I need octobons or I need this or I need a gong drum. I didn't want to be in that position, so while they were composing I was working on the drums.
Z!: I thought I read somewhere that when you tried out, you tried out on a drum set they set up, not your traditional set up. MM: That's absolutely correct, I ended up setting it up, but the hardware was limiting, so I set it up differently than I've ever played a kit before. In other words when I sat down to do the audition, that configuration I'd never played in my life and I didn't get to warm up on it either, so I just had to sit and do it. But that's what I mean about this being natural, something inside just kicked in…it's so much fun. Hey normally it's possible that'd I'd be nervous in a situation like that, but with this I wasn't.
Z!: As a non drummer, who doesn't really know anything about drums (both laugh) at what point…Dream Theater is a very technical band. Mike Portnoy is an amazing drummer clearly you are too. As a drummer at what point do you decide that you wanna go from a regular drummer to a virtuoso drummer?
MM: You know what, that's all to do with stuff that's out of our control as human beings. Whatever you think that is, from body and spirit and emotion, psychology, I think these are things that are callings. People are attracted…some of us drummers are attracted to certain kinds of music; others are not attracted to certain kinds of music. I think everyone should try to listen to everything to try and see if it sparks in the brain. Eventually you have to follow your heart. Does that make any sense?
Z!: Oh yeah I completely get what you're saying.
MM: I think it's a calling. I think that the only thing that has to do with making decision are the unfortunate or fortunate things like, can you imagine all the people with a ton of talent who have no access to equipment or no freedom? Imagine how much joy we're all missing out on if someone doesn't have the opportunity, so I think that has something to do with it too. I know had to fight for everything. I had to wait for a little piece of equipment every Christmas and I'm lucky I got that (laughs).
Z!: Dream Theater is a progressive rock band, but with in that genre they're very eclectic. They can be very heavy and they can be very soft. As a fan are you more into the heavy side of music or the softer side?
MM: Because I've spent times with so many types of music, it depends on my mood. Now mainly, if I'm going to play drums I like music with a lot of energy to it. So pretty much I like orchestrating on the drums with a heavy metal sensibility, that energy and that's the band I'm in now. I've played full on Latin gigs. I love to play that music because it's really high energy and as a drummer you can play things that are technically challenging and somewhat more fun. I've played full on jazz gigs in the last few years…just two of them, not many, but that has a sort of expressiveness to it yet you have to be so careful playing that to be quiet a lot of times and I don't like to be quiet sometimes (laughs) so I like orchestrating on the drums with some energy which means pretty much Dream Theater to me.
Z!: This isn't your first time joining an established band. You joined Extreme…
MM: Extreme and then Steve Vai, Missing Persons, Annihilator.
Z!: How is playing in those bands been different from playing in Dream Theater?
MM: Playing in Dream Theater, again this might come down to the drum set as well, as an expression of who I would like to be any way and a calling that's inside me. My drum set fits this and it represent apiece of who I am musically. Each of those cymbols is structured with a specific frequency and has a purpose. Everyone of those drums has a purpose and you know something, for anybody that might read comments made by the small kit drummers and the guys that say, 'oh so and so can play on a four piece kit.' Well so can I, so can Marco Minnemann, Virgil Donati, so can Terry Bozzio so can all these players. They can play anything they want with a small kit. I really admire the guys with a creative imagination and the ones that just go for it, because it's fun and don't listen to those people that are criticizing you, trying to judge and all that. Again I'd rather be the person practicing my instrument rather than talking about someone else doing it. Which is probably why I appreciate all these players so much. For the record, I can sit there completely happy listening to Jeff Hamilton, a jazz player, playing on a four-piece kit all night long, or Jojo Mayer playing on a smaller type of kick. I enjoy listening to Steve Smith putting a few different knick-knacks on his drums, or Terry Bozzio going crazy. I just like it all.
Z!: Who are some of your early influences?
MM: The first influence would be Ringo Starr, Buddy Rich, Bobby Columby from Blood Sweat and Tears, Danny Seraphine from Chicago, Terry Bozzio, they're all expressive drummers, you know what I mean. Those are my early influences, John Bonham.
Z!: When did you first pick up the sticks?
MM: Well I started performing when I was five…two to five hundred people.
Z!: Jeez
MM: They were weddings, once or twice a year or every other year or something…we have a huge family. I got the drum set that I used in those performances when I was four and I got like a paper skinned toy kit when I was three. I don't know, what really counts, I mean how do you play when you're five? I don't know, I guess I did ok with the Ringo stuff, I don't know.
Z!: As a fan, was there a live concert that you saw that blew you away?
MM: Absolutely, first…wait a minute, you know what, seeing Buddy Rich when I was nine that hit me. Then the first rock concert that I ever went to was the Rush "Hemispheres" tour. Then again I see this guy with all these instruments and all this percussion having the time of his life, why wouldn't I want set up all kind of stuff and have fun.
Hey, this is Niclas from Sweden!
Sebastian Bach: Yes, hello dude!
How are you?
SB: Alright, what´s going on?
Not much! Had a couple of beers. Been to a birthday party.
SB: Nice!
Congrats to the new album! Not to kiss ass or anything, but it´s a fantastic album!
SB: (laughs) Thank you so much dude! I´m just waking up here, so I´m having a coffee while you´re having a beer. Thank you very much! I worked really hard on it for two years and I´m back on the charts all over the world for the first time in 16 years and it feels really, really good! It´s incredible! I can´t even tell you how good it feels.
I was actually pretty floored the first time I heard it and it´s a bit different from "Angel down" and I just sat there listening to it and it was just song after song with kick ass melodies and great riffs. It sounds awesome!
SB: Thank you so much! I think the producer, Bob Marlette, did an incredible job and I´ve gotta give a 100 % credit to Nick Sterling for revitalizing my whole sound. He´s 21 years old and just came in with all this incredible music and we came up with the first Skid Row album when we were that age, so people say this reminds them a little bit of the first Skid Row record and that´s because rock and roll is all about the spirit of being a teenager and getting crazy, you know. Going out and fucking getting loaded and having fun! (laughs)
True! It is!
SB: True! (laughs) Well you know, when you get older and into your 50´s or whatever, some guys can´t retain that spirit. I´m quite immature! (laughs)
Well, you probably should stay a bit immature in a way.
SB: Well, I go see Ozzy Osbourne now and it´s so much fun and he says "Let´s have fun!" and everybody´s smiling and having a great time and he´s one of my favorite front men. And we´re running out of dudes like that! I don´t know how much longer they can go because they´re really getting up there in age, you know. All of them! Maybe I´m next up to bat? There´s not many, you know!
Bob Marlette, was he a first choice? What led you to choose Marlette for producing?
SB: Well, I have a manager named Rick Sales and he´s really, really helped my career a lot since he started managing me and he hooked me up with Bob. We were looking at some other producers, but Bob was really fired up to do it right away. I want always to be busy doing stuff. I don´t wanna wait around and Bob was like "Let´s go!". We started in February and went up until… well, the last day of recording was April 3rd, my birthday. He just did a great job! Technology has progressed so much recording wise and since we made the Skid Row albums it´s completely different, so when people say it sounds like… "You only like modern!" and I´m like "Well, if you´re making a record in 2011, you´re gonna use the best equipment in 2011! You´re not gonna go and get a fucking board from 1987!". You know what I mean? (laughs) I don´t think I could make a record that sounded exactly like those old records. It would be impossible! I don´t want to do that! I want to make those current killer sounding records that I can and I think I did to so…
How do you feel about making records today? Some say that people just want one song and there´s no one listening to a whole album anymore. It´s so much about just one song here and one song there.
SB: Right! Well, I listen to records and like, I love the new record by Black Veil Brides, "Set the world on fire". I listen to it from the first song right to the last song and I love it! That´s a great new album! With "Kicking and screaming" I don´t want you to press shuffle! It´s all made to go in the sequence that it´s in. The ballads are kind of hidden on the record, but then when you find them it´s like "Wow!" and the tempos and the grooves and the key changes, they go together real well. I just wanted to make a record that fits along the line of all the other records I´ve made and I haven´t made that many. I look up to a band like Rush, which has like over 30 albums or whatever it is. I don´t know how many, but that´s what I wanna do. I´m that kind of vocalist and I´ve got a lot of energy and when I have a guy like Nick Sterling, it makes it real easy because he´s very prolific and he comes to me like "Do you like this?" and I´m like "Yeah dude, I really like it!". (laughs) "I really like it a lot!". (laughs)
The title for the album, did that come early on or…?
SB: I think the part of being a good writer is to be organized and when you have an idea, you should be able to capture it on your smart phone or, like a million years ago, on a piece of paper. (laughs) Or you should be able to record it or if you have lyrics you should be typing it somewhere. Whenever I hear a phrase or something, I´ll write it down and I have so many ideas from over the years and I´m always writing stuff down and Nick and Bob Marlette, the producer, came up with that music and I fucking freaked out. I remember Nick going "Dude, wait till you hear this fucking song! You wanna rock?" and they put on "Dah dah dah dah" and I was like "Oh my god! You gotta be kidding me?". It had no lyrics of melody, so I went through all my ideas and I had an idea, "Kicking and screaming" and that riff to me, sounded just like that. I love music where the lyrics seem to describe the sound of the music and I really learned that from Rob Halford of Judas Priest. For some reason… like "Desert plains" sounds like he´s in the desert riding in the plains. I don´t know why and I don´t know how he does that. And like "Hot rockin´"…(sings, Editor´s note) "I wanna go, I wanna go, I wanna go hot rockin´" and it sounds like hot rockin´. (laughs) Or (sings again, Editor´s note) "I got a contract on you… dah dah dah dah!". It sounds like I got a contract on you! (laughs) he´s really good at that and I always noticed that about his writing, so I always listen to the music and go "What does this sound like?" and that sounded like kicking and screaming. (laughs)
It makes sense!
SB: Yeah, right on!
Did you wind up with a lot of leftovers from the recordings that didn´t make the cut?
SB: Yes, we did! We had a bunch of other songs. Three or four with Nick that were fucking amazing and then I had about five or six songs with Jamey Jasta and another song with John 5, so there is a bunch of other demos.
Any chance of you using them later on?
SB: Yeah, and there´s also other country songs that I didn´t put out. There´s a bonus, "jumping off the wagon" on the deluxe version and there´s other songs from that session. But these are the best of the best and I´ll probably do the next record soon because I wanna capitalize on this momentum, so I wanna put it out sooner rather than later. I might listen to that old stuff, but by then I´ll probably feel different, you know, and I wanna express different things probably.
The artwork then? Did you just go "Well, I want some elephants, I want fire and I want a woman with a lot of arms!"?
SB: (laughs really hard) That sounds so funny! "Well, I want elephants, I want fire, I want a woman with a lot of arms, I want some skulls, I want leather!". (laughs)
No, but how do you do that?
SB: That fits the lyrics of the album. The album cover was done by Richard Villa, who did the Black Veil Brides cover and I´m good friends with them and Andy (Andrew Biersack) showed me their cover and I was like "Wow dude! Who painted that?". He hooked me up with this guy and I went through a divorce last September and then I came to LA and fell in love again with another girl, who I´m still seeing. She did the video and so a lot of the lyrics are about losing love and some of the lyrics are about finding new love. I mean, any guy that´s been around for a couple of years have gone through stuff with girls and the cover (laughs) is the goddess Kali Ma dragging me into hell with knives to kill me and I´m kicking and screaming not to be dragged into hell. (laughs) We came up with that concept, me and Richard Villa, and he´s like "Dude ok, let´s have the goddess of Kali Ma dragging you into hell!" and we just came up with the concept and it´s based on the lyrics on the record. It came out really good and my girlfriend Minnie, she´s a model, on the front and we did an amazing photo session that was a lot of fun, of her doing all that and he painted it. I´ve never seen that Indian artwork in rock and roll. I´ve seen like Japanese and German world war II kind of things, but I´ve never seen that crazy fucking violent Indian art and I´ve always been attracted to that. I like to make something that I´ve never seen before. The album cover is very original to me.
Going back to when you first started out and everything and getting into singing and all that, was there a first moment when you felt that "Wow, I´ve made it!"?
SB: Yes! It was on the Bon Jovi tour and we started touring with him in Texas and this was one the "New Jersey tour" and by the time we got to Chicago, I think it was a month into the tour and maybe less… We were building up momentum and becoming a big band, but then when we got to Chicago and the Rosemont Horizon and I´ll never forget this… I was on stage and I told the whole crowd "I want every single one of you to stand up! Get up out of your seats!" and I raised my hand and the whole arena stood up and I went "Oh my god!". It was like to the back row and for the first time I raised like 20.000 people to their feet with their fists in the air and I turn around to the guys and go "We´re fucking making it! This is it". (laughs) Then I came off stage to Doc McGhee and I go "Did you fucking see that?" and he was all crying and "Yeah, you did it dude!" and we were all freaking out. That was the exact moment!
Cool! I saw Skid Row when you opened up for Mötley Crüe in Gothenburg…
SB: Oh yeah!
It was the "Dr Feelgood tour" and me and my friends had the first album and you came on stage and blew us away and we thought "Wow, this is amazing!".
SB: Cool!
And then Mötley Crüe came out and they felt kind of tired and old…
SB: I remember that!
Skid Row blew Mötley Crüe off the stage and during that tour, did you have that feeling that there were more action in you guys than Mötley Crüe?
SB: Well, I don´t wanna put down Mötley Crüe and they´re certainly doing amazing now, but at the time yeah, we felt like the younger version of a rock band. I don´t know what to say… I was such a Mötley Crüe fan, that I was just blown away that I was on tour with them, like a fan. "I´m on tour with Mötley Crüe and I can´t believe this!". I don´t remember feeling that we were better than them. We were different and I´m such a fan.
Not long ago I talked to Ted Poley from Danger Danger and Danny Vaughn from Tyketto and the whole New Jersey scene back then. Were there a lot of things happening in New Jersey back then?
SB: Yeah, New Jersey felt like rock royalty, because Bon Jovi was so huge on "Slippery when wet" and he really summed up the whole New Jersey scene and also Springsteen. It wasn´t heavy metal but there was this whole scene in Jersey that felt like rock royalty and it was weird. I remember driving around in Jersey back then in ´87 or ´86 and I was like "Wow, we´re in New Jersey". (laughs) It was like Graceland or something. (laughs)
What made you end up on Frontiers Records?
SB: They´re signing so many bands, like every hard rock band you know! It´s amazing and they´re very good! They pulled out all the stops for me. They´ve done everything. They put me back on the fucking charts! My album came out at number 68 and my album "Angel down" came out at 190 and I was not happy that day when that happened! I was fucking miserable! So this is something I can live with and it inspires me to do another record, which is all I really want. We also have an hour long DVD in the deluxe version with live versions of all the songs from the Guns N´Roses tour plus the three videos that we shot for the album and they also made a vinyl record, which is amazing! They´ve really gone all out to make sure. It´s all very high quality, everything that they do and that´s what I really appreciate. You have this CD for the rest of your life so it gotta be really good quality. I mean, I´ve had record companies in the past, where I´ll get the CD and the album cover is completely fucked up, like it´s cropped in the middle of the guys face. Shit that makes you nuts and it´s too late to change it because they printed it up already and I´m like "How the fuck can you do it? How can you have the cover like all screwed up, fucked up? This is it!". It´s fucking garbage, but everything with Frontiers is amazingly high quality!
Cool! You were just here last weekend, but when can we expect to see you back on stage in Sweden and Europe?
SB: We´re booking a tour right now for January and February.
Alright!
SB: Yeah, we´ve got a new agent now, Steve Strange, and he´s one of the biggest booking agencies in Europe and he signed the band and we´re going to Europe in January and February.
Excellent! I hope to see you in Stockholm!
SB: Oh yeah buddy! I think my great memory of Stockholm is when I played the Globe (Stockholm´s biggest indoor arena, Editor´s note) with Guns N´Roses and I was wearing my silver pants. (laughs) I came on stage and Axl Rose is like "Dude, where did you get those pants man?". He really liked my pants.
Of course! An honor talking to you and again, all the best with the album and the tour and looking forward to catching you here in Stockholm!
SB: Thank you so much dude! I´m glad you like the record and I hope to see you in January!
Sebastian Bach: Yes, hello dude!
How are you?
SB: Alright, what´s going on?
Not much! Had a couple of beers. Been to a birthday party.
SB: Nice!
Congrats to the new album! Not to kiss ass or anything, but it´s a fantastic album!
SB: (laughs) Thank you so much dude! I´m just waking up here, so I´m having a coffee while you´re having a beer. Thank you very much! I worked really hard on it for two years and I´m back on the charts all over the world for the first time in 16 years and it feels really, really good! It´s incredible! I can´t even tell you how good it feels.
I was actually pretty floored the first time I heard it and it´s a bit different from "Angel down" and I just sat there listening to it and it was just song after song with kick ass melodies and great riffs. It sounds awesome!
SB: Thank you so much! I think the producer, Bob Marlette, did an incredible job and I´ve gotta give a 100 % credit to Nick Sterling for revitalizing my whole sound. He´s 21 years old and just came in with all this incredible music and we came up with the first Skid Row album when we were that age, so people say this reminds them a little bit of the first Skid Row record and that´s because rock and roll is all about the spirit of being a teenager and getting crazy, you know. Going out and fucking getting loaded and having fun! (laughs)
True! It is!
SB: True! (laughs) Well you know, when you get older and into your 50´s or whatever, some guys can´t retain that spirit. I´m quite immature! (laughs)
Well, you probably should stay a bit immature in a way.
SB: Well, I go see Ozzy Osbourne now and it´s so much fun and he says "Let´s have fun!" and everybody´s smiling and having a great time and he´s one of my favorite front men. And we´re running out of dudes like that! I don´t know how much longer they can go because they´re really getting up there in age, you know. All of them! Maybe I´m next up to bat? There´s not many, you know!
Bob Marlette, was he a first choice? What led you to choose Marlette for producing?
SB: Well, I have a manager named Rick Sales and he´s really, really helped my career a lot since he started managing me and he hooked me up with Bob. We were looking at some other producers, but Bob was really fired up to do it right away. I want always to be busy doing stuff. I don´t wanna wait around and Bob was like "Let´s go!". We started in February and went up until… well, the last day of recording was April 3rd, my birthday. He just did a great job! Technology has progressed so much recording wise and since we made the Skid Row albums it´s completely different, so when people say it sounds like… "You only like modern!" and I´m like "Well, if you´re making a record in 2011, you´re gonna use the best equipment in 2011! You´re not gonna go and get a fucking board from 1987!". You know what I mean? (laughs) I don´t think I could make a record that sounded exactly like those old records. It would be impossible! I don´t want to do that! I want to make those current killer sounding records that I can and I think I did to so…
How do you feel about making records today? Some say that people just want one song and there´s no one listening to a whole album anymore. It´s so much about just one song here and one song there.
SB: Right! Well, I listen to records and like, I love the new record by Black Veil Brides, "Set the world on fire". I listen to it from the first song right to the last song and I love it! That´s a great new album! With "Kicking and screaming" I don´t want you to press shuffle! It´s all made to go in the sequence that it´s in. The ballads are kind of hidden on the record, but then when you find them it´s like "Wow!" and the tempos and the grooves and the key changes, they go together real well. I just wanted to make a record that fits along the line of all the other records I´ve made and I haven´t made that many. I look up to a band like Rush, which has like over 30 albums or whatever it is. I don´t know how many, but that´s what I wanna do. I´m that kind of vocalist and I´ve got a lot of energy and when I have a guy like Nick Sterling, it makes it real easy because he´s very prolific and he comes to me like "Do you like this?" and I´m like "Yeah dude, I really like it!". (laughs) "I really like it a lot!". (laughs)
The title for the album, did that come early on or…?
SB: I think the part of being a good writer is to be organized and when you have an idea, you should be able to capture it on your smart phone or, like a million years ago, on a piece of paper. (laughs) Or you should be able to record it or if you have lyrics you should be typing it somewhere. Whenever I hear a phrase or something, I´ll write it down and I have so many ideas from over the years and I´m always writing stuff down and Nick and Bob Marlette, the producer, came up with that music and I fucking freaked out. I remember Nick going "Dude, wait till you hear this fucking song! You wanna rock?" and they put on "Dah dah dah dah" and I was like "Oh my god! You gotta be kidding me?". It had no lyrics of melody, so I went through all my ideas and I had an idea, "Kicking and screaming" and that riff to me, sounded just like that. I love music where the lyrics seem to describe the sound of the music and I really learned that from Rob Halford of Judas Priest. For some reason… like "Desert plains" sounds like he´s in the desert riding in the plains. I don´t know why and I don´t know how he does that. And like "Hot rockin´"…(sings, Editor´s note) "I wanna go, I wanna go, I wanna go hot rockin´" and it sounds like hot rockin´. (laughs) Or (sings again, Editor´s note) "I got a contract on you… dah dah dah dah!". It sounds like I got a contract on you! (laughs) he´s really good at that and I always noticed that about his writing, so I always listen to the music and go "What does this sound like?" and that sounded like kicking and screaming. (laughs)
It makes sense!
SB: Yeah, right on!
Did you wind up with a lot of leftovers from the recordings that didn´t make the cut?
SB: Yes, we did! We had a bunch of other songs. Three or four with Nick that were fucking amazing and then I had about five or six songs with Jamey Jasta and another song with John 5, so there is a bunch of other demos.
Any chance of you using them later on?
SB: Yeah, and there´s also other country songs that I didn´t put out. There´s a bonus, "jumping off the wagon" on the deluxe version and there´s other songs from that session. But these are the best of the best and I´ll probably do the next record soon because I wanna capitalize on this momentum, so I wanna put it out sooner rather than later. I might listen to that old stuff, but by then I´ll probably feel different, you know, and I wanna express different things probably.
The artwork then? Did you just go "Well, I want some elephants, I want fire and I want a woman with a lot of arms!"?
SB: (laughs really hard) That sounds so funny! "Well, I want elephants, I want fire, I want a woman with a lot of arms, I want some skulls, I want leather!". (laughs)
No, but how do you do that?
SB: That fits the lyrics of the album. The album cover was done by Richard Villa, who did the Black Veil Brides cover and I´m good friends with them and Andy (Andrew Biersack) showed me their cover and I was like "Wow dude! Who painted that?". He hooked me up with this guy and I went through a divorce last September and then I came to LA and fell in love again with another girl, who I´m still seeing. She did the video and so a lot of the lyrics are about losing love and some of the lyrics are about finding new love. I mean, any guy that´s been around for a couple of years have gone through stuff with girls and the cover (laughs) is the goddess Kali Ma dragging me into hell with knives to kill me and I´m kicking and screaming not to be dragged into hell. (laughs) We came up with that concept, me and Richard Villa, and he´s like "Dude ok, let´s have the goddess of Kali Ma dragging you into hell!" and we just came up with the concept and it´s based on the lyrics on the record. It came out really good and my girlfriend Minnie, she´s a model, on the front and we did an amazing photo session that was a lot of fun, of her doing all that and he painted it. I´ve never seen that Indian artwork in rock and roll. I´ve seen like Japanese and German world war II kind of things, but I´ve never seen that crazy fucking violent Indian art and I´ve always been attracted to that. I like to make something that I´ve never seen before. The album cover is very original to me.
Going back to when you first started out and everything and getting into singing and all that, was there a first moment when you felt that "Wow, I´ve made it!"?
SB: Yes! It was on the Bon Jovi tour and we started touring with him in Texas and this was one the "New Jersey tour" and by the time we got to Chicago, I think it was a month into the tour and maybe less… We were building up momentum and becoming a big band, but then when we got to Chicago and the Rosemont Horizon and I´ll never forget this… I was on stage and I told the whole crowd "I want every single one of you to stand up! Get up out of your seats!" and I raised my hand and the whole arena stood up and I went "Oh my god!". It was like to the back row and for the first time I raised like 20.000 people to their feet with their fists in the air and I turn around to the guys and go "We´re fucking making it! This is it". (laughs) Then I came off stage to Doc McGhee and I go "Did you fucking see that?" and he was all crying and "Yeah, you did it dude!" and we were all freaking out. That was the exact moment!
Cool! I saw Skid Row when you opened up for Mötley Crüe in Gothenburg…
SB: Oh yeah!
It was the "Dr Feelgood tour" and me and my friends had the first album and you came on stage and blew us away and we thought "Wow, this is amazing!".
SB: Cool!
And then Mötley Crüe came out and they felt kind of tired and old…
SB: I remember that!
Skid Row blew Mötley Crüe off the stage and during that tour, did you have that feeling that there were more action in you guys than Mötley Crüe?
SB: Well, I don´t wanna put down Mötley Crüe and they´re certainly doing amazing now, but at the time yeah, we felt like the younger version of a rock band. I don´t know what to say… I was such a Mötley Crüe fan, that I was just blown away that I was on tour with them, like a fan. "I´m on tour with Mötley Crüe and I can´t believe this!". I don´t remember feeling that we were better than them. We were different and I´m such a fan.
Not long ago I talked to Ted Poley from Danger Danger and Danny Vaughn from Tyketto and the whole New Jersey scene back then. Were there a lot of things happening in New Jersey back then?
SB: Yeah, New Jersey felt like rock royalty, because Bon Jovi was so huge on "Slippery when wet" and he really summed up the whole New Jersey scene and also Springsteen. It wasn´t heavy metal but there was this whole scene in Jersey that felt like rock royalty and it was weird. I remember driving around in Jersey back then in ´87 or ´86 and I was like "Wow, we´re in New Jersey". (laughs) It was like Graceland or something. (laughs)
What made you end up on Frontiers Records?
SB: They´re signing so many bands, like every hard rock band you know! It´s amazing and they´re very good! They pulled out all the stops for me. They´ve done everything. They put me back on the fucking charts! My album came out at number 68 and my album "Angel down" came out at 190 and I was not happy that day when that happened! I was fucking miserable! So this is something I can live with and it inspires me to do another record, which is all I really want. We also have an hour long DVD in the deluxe version with live versions of all the songs from the Guns N´Roses tour plus the three videos that we shot for the album and they also made a vinyl record, which is amazing! They´ve really gone all out to make sure. It´s all very high quality, everything that they do and that´s what I really appreciate. You have this CD for the rest of your life so it gotta be really good quality. I mean, I´ve had record companies in the past, where I´ll get the CD and the album cover is completely fucked up, like it´s cropped in the middle of the guys face. Shit that makes you nuts and it´s too late to change it because they printed it up already and I´m like "How the fuck can you do it? How can you have the cover like all screwed up, fucked up? This is it!". It´s fucking garbage, but everything with Frontiers is amazingly high quality!
Cool! You were just here last weekend, but when can we expect to see you back on stage in Sweden and Europe?
SB: We´re booking a tour right now for January and February.
Alright!
SB: Yeah, we´ve got a new agent now, Steve Strange, and he´s one of the biggest booking agencies in Europe and he signed the band and we´re going to Europe in January and February.
Excellent! I hope to see you in Stockholm!
SB: Oh yeah buddy! I think my great memory of Stockholm is when I played the Globe (Stockholm´s biggest indoor arena, Editor´s note) with Guns N´Roses and I was wearing my silver pants. (laughs) I came on stage and Axl Rose is like "Dude, where did you get those pants man?". He really liked my pants.
Of course! An honor talking to you and again, all the best with the album and the tour and looking forward to catching you here in Stockholm!
SB: Thank you so much dude! I´m glad you like the record and I hope to see you in January!
Frontiers Records will release ROYAL HUNT's 11th studio album, "Show Me How To Live", on November 29 in North America and December 2 in Europe.
ROYAL HUNT was recently rejoined by D.C. Cooper, the American singer that performed on the band's two most successful releases in the '90s: "Moving Target" and the concept album "Paradox". "We started chatting on Skype from time to time and that's how the idea of doing on a mini-tour came about," says ROYAL HUNT founder, songwriter and keyboards player André Andersen. "After playing some shows we realized that the chemistry was still there and we decided to continue… recording a new album — first..."
"Show Me How to Live" is described in a press release as "highly melodic with rich, lush arrangements and stellar production" and certain to "please the fans of neoclassical yet progressive music."
"The new songs are continuing right from where we left it in the first place, [and] so far it sounds great," says Andersen. "It will have some qualities of our previous albums, 'Moving Target', and 'Paradox', but you can certainly expect some cool updates and new twists!"
The follow-up 2010's "X" is being recorded at NorthPoint studio in Copenhahen and will be mixed at RoastingHouse Studios in Malmö, Sweden. The mastering duites will be handled by Jan Eliasson at AudioPlanet in Copenhagen.
"Show Me How To Live" track listing:
01. Introduction
02. One More Day
03. Another Man Down
04. An Empty Shell
05. Hard Rain's Coming
06. Half Past Loneliness
07. Show Me How To Live
08. Angel's Gone
As a companion to the new album, Frontiers Records will also release on the same day a ROYAL HUNT double DVD entitled "Future Coming From The Past". This double package serves as a celebration of the return of singer D.C. Cooper to the line-up, and makes finally widely available two very rare items which were only released in Japan back in the day. The first DVD is entitled "1996" and was recorded live in Japan just after the release of the band's "Moving Target" album. "1996" is an excellent summary of ROYAL HUNT's career up to that point. The band offers a great mix of songs from their first three studio albums. The band was in top form for this show, with D.C. leading the way. The second DVD, "Paradox - Closing the Chapter", was recorded in 1998 and marked the end of the original D.C. Cooper era for ROYAL HUNT. It is essentially a complete live performance of the band's amazing studio album "Paradox", their most successful album to date. It is a very solid performance and D.C. delivers the goods, while the band's playing is superb. To complete the package is a 50-minute documentary which shares stories of life in a rock band.
ROYAL HUNT's current lineup:
André Andersen - Keyboards
D.C. Cooper - Vocals
Allan Sørensen - Drums
Andreas Passmark - Bass
Jonas Larsen - Guitars
ROYAL HUNT's last album, "X", was released in Europe on June 7, 2010 via Scarlet Records. The CD, which featured the vocals of Mark Boals (ex-YNGWIE MALMSTEEN'S RISING FORCE, BILLIONAIRE BOYS CLUB, RING OF FIRE), came out in Japan and Southeast Asia on January 21, 2010 through Marquee/Avalon.
Singer John West joined ROYAL HUNT in 1999 during the recording of the "Fear" album and he worked with the band up until its "Royal Hunt 2006" live CD/DVD.
ROYAL HUNT was recently rejoined by D.C. Cooper, the American singer that performed on the band's two most successful releases in the '90s: "Moving Target" and the concept album "Paradox". "We started chatting on Skype from time to time and that's how the idea of doing on a mini-tour came about," says ROYAL HUNT founder, songwriter and keyboards player André Andersen. "After playing some shows we realized that the chemistry was still there and we decided to continue… recording a new album — first..."
"Show Me How to Live" is described in a press release as "highly melodic with rich, lush arrangements and stellar production" and certain to "please the fans of neoclassical yet progressive music."
"The new songs are continuing right from where we left it in the first place, [and] so far it sounds great," says Andersen. "It will have some qualities of our previous albums, 'Moving Target', and 'Paradox', but you can certainly expect some cool updates and new twists!"
The follow-up 2010's "X" is being recorded at NorthPoint studio in Copenhahen and will be mixed at RoastingHouse Studios in Malmö, Sweden. The mastering duites will be handled by Jan Eliasson at AudioPlanet in Copenhagen.
"Show Me How To Live" track listing:
01. Introduction
02. One More Day
03. Another Man Down
04. An Empty Shell
05. Hard Rain's Coming
06. Half Past Loneliness
07. Show Me How To Live
08. Angel's Gone
As a companion to the new album, Frontiers Records will also release on the same day a ROYAL HUNT double DVD entitled "Future Coming From The Past". This double package serves as a celebration of the return of singer D.C. Cooper to the line-up, and makes finally widely available two very rare items which were only released in Japan back in the day. The first DVD is entitled "1996" and was recorded live in Japan just after the release of the band's "Moving Target" album. "1996" is an excellent summary of ROYAL HUNT's career up to that point. The band offers a great mix of songs from their first three studio albums. The band was in top form for this show, with D.C. leading the way. The second DVD, "Paradox - Closing the Chapter", was recorded in 1998 and marked the end of the original D.C. Cooper era for ROYAL HUNT. It is essentially a complete live performance of the band's amazing studio album "Paradox", their most successful album to date. It is a very solid performance and D.C. delivers the goods, while the band's playing is superb. To complete the package is a 50-minute documentary which shares stories of life in a rock band.
ROYAL HUNT's current lineup:
André Andersen - Keyboards
D.C. Cooper - Vocals
Allan Sørensen - Drums
Andreas Passmark - Bass
Jonas Larsen - Guitars
ROYAL HUNT's last album, "X", was released in Europe on June 7, 2010 via Scarlet Records. The CD, which featured the vocals of Mark Boals (ex-YNGWIE MALMSTEEN'S RISING FORCE, BILLIONAIRE BOYS CLUB, RING OF FIRE), came out in Japan and Southeast Asia on January 21, 2010 through Marquee/Avalon.
Singer John West joined ROYAL HUNT in 1999 during the recording of the "Fear" album and he worked with the band up until its "Royal Hunt 2006" live CD/DVD.
Fans of dramatic, symphonic Euro metal have something to look forward to when the cold, dark, dreary winter sets in. Finnish/Swedish superstars NIGHTWISH will release their new album, "Imaginaerum", in North America on January 10, 2012 via Roadrunner Records and it will serve as a welcome beckon of warmth and light in an otherwise dark season! The album is the band's first since 2007's "Dark Passion Play", which was then-new singer Anette Olzon's debut.
The band examined its catalog when sitting down to write what would become "Imaginaerum". The songs for the album were written between 2008 and 2010, after the "Dark Passion Play" tour cycle ended.
At that point, NIGHTWISH knew they wanted to do something different, new and unique, which is exceptional for a band whose career has been defined by words like different, new and unique!
The band consciously wanted to do something so big, crossover, detailed, innovative and, well, "nuts," that it would leave the band, and hopefully the people experiencing it, completely awestruck. It would be a situation where fans and/or critics would either love it or hate it, but they'd be left awestruck nonetheless. That's when the band realized another dimension, namely video, was necessary for the project.
Instead of a concept album, the band set the album to a film.
"The original idea I had was to film 13 short stories related to the songs with a connected storyline, shot by Stobe Harju," keyboardist/songwriter Tuomas Holopainen said. It was Harju's idea to turn the 13 stories and visions into more of a connected cinematic piece — essentially, a film. It would have a clear plot, script, dialogue and real actors in an ambitious effort to create something wholly unique.The film was shot in September of this year.
The movie is based on the album and its 13 tracks, honoring the original ideas, but having evolved radically from the initial plan. Holopainen said, "Still, it was important from the very beginning that the album would work as its own individual piece of art, as well. It is a thematic album about life itself, about imagination, love, goodness and beauty, with a touch of darkness and melancholy, which are strongly included in all of those things mentioned."
The band will have but a small part in the film. A 2012 premiere date is being eyed.
"Imaginaerum" track listing (note that track 12 is broken down into four parts):
01. Taikatalvi
02. Storytime
03. Ghost River
04. Slow, Love, Slow
05. I Want My Tears Back
06. Scaretale
07. Arabesque
08. Turn Loose the Mermaids
09. Rest Calm
10. The Crow, the Owl and the Dove
11. Last Ride of the Day
12. Song Of Myself
Song 1: From A Dusty Bookshelf
Song 2: All That Great Heart Lying Still
Song 3: Piano Black
Song 4: Love
13. Imaginaerum
"Imaginaerum" release dates:
Finland: November 30
Europe: December 2
Australia: January 6
North America: January 10
Japan: January 11
New Zealand: January 16
A track-by-track breakdown of the album by Tuomas Holopainen can be found at Metalhammer.co.uk.
Regarding the "Imaginaerum" cover artwork, which can be seen below, Holopainen said, "Originally, this was supposed to be the centerfold image of the album, but once I and some mates saw the final image, we immediately knew that the hunt for the actual cover artwork was over. I believe this is Toxic Angel's finest piece of work yet, capturing the deepest essence of what 'Imaginaerum' is all about. The power of imagination and places of wordless wonders, magic and awe, of longing and the surreal.
"I emphasized from the start that not a single living thing should be seen in the picture, and Toxic was able to create that sublime but desolate, 'all this waiting for you, and you only' feeling.
"All you need is the courage to enter."
NIGHTWISH's new single, "Storytime", will be released in Europe on Friday, November 11 via Nuclear Blast Records.
On the topic of the musical direction of the forthcoming album, NIGHTWISH singer Anette Olzon wrote on her official blog, "I think it's a great and varied CD. The feelings in it are great and there are a lot of elements in it, so I am sure it will have many different favorite songs for the listeners since the songs are so different in styles and sound. [2007's] 'Dark Passion Play' is a great album and this one, too, so I don't know yet which one I like more, but, of course, for me personally, this one feels better to do since the songs are more adjusted to my voice and my style."
NIGHTWISH will kick off the "Imaginaerum" world tour in Los Angeles. The very first show of the trek will take place at the Gibson Amphitheatre in Universal City, California on Saturday, January 21. This will be the biggest NIGHTWISH show production ever on North American soil and strictly a one-off — there will be no U.S. tour until later in 2012.
The band examined its catalog when sitting down to write what would become "Imaginaerum". The songs for the album were written between 2008 and 2010, after the "Dark Passion Play" tour cycle ended.
At that point, NIGHTWISH knew they wanted to do something different, new and unique, which is exceptional for a band whose career has been defined by words like different, new and unique!
The band consciously wanted to do something so big, crossover, detailed, innovative and, well, "nuts," that it would leave the band, and hopefully the people experiencing it, completely awestruck. It would be a situation where fans and/or critics would either love it or hate it, but they'd be left awestruck nonetheless. That's when the band realized another dimension, namely video, was necessary for the project.
Instead of a concept album, the band set the album to a film.
"The original idea I had was to film 13 short stories related to the songs with a connected storyline, shot by Stobe Harju," keyboardist/songwriter Tuomas Holopainen said. It was Harju's idea to turn the 13 stories and visions into more of a connected cinematic piece — essentially, a film. It would have a clear plot, script, dialogue and real actors in an ambitious effort to create something wholly unique.The film was shot in September of this year.
The movie is based on the album and its 13 tracks, honoring the original ideas, but having evolved radically from the initial plan. Holopainen said, "Still, it was important from the very beginning that the album would work as its own individual piece of art, as well. It is a thematic album about life itself, about imagination, love, goodness and beauty, with a touch of darkness and melancholy, which are strongly included in all of those things mentioned."
The band will have but a small part in the film. A 2012 premiere date is being eyed.
"Imaginaerum" track listing (note that track 12 is broken down into four parts):
01. Taikatalvi
02. Storytime
03. Ghost River
04. Slow, Love, Slow
05. I Want My Tears Back
06. Scaretale
07. Arabesque
08. Turn Loose the Mermaids
09. Rest Calm
10. The Crow, the Owl and the Dove
11. Last Ride of the Day
12. Song Of Myself
Song 1: From A Dusty Bookshelf
Song 2: All That Great Heart Lying Still
Song 3: Piano Black
Song 4: Love
13. Imaginaerum
"Imaginaerum" release dates:
Finland: November 30
Europe: December 2
Australia: January 6
North America: January 10
Japan: January 11
New Zealand: January 16
A track-by-track breakdown of the album by Tuomas Holopainen can be found at Metalhammer.co.uk.
Regarding the "Imaginaerum" cover artwork, which can be seen below, Holopainen said, "Originally, this was supposed to be the centerfold image of the album, but once I and some mates saw the final image, we immediately knew that the hunt for the actual cover artwork was over. I believe this is Toxic Angel's finest piece of work yet, capturing the deepest essence of what 'Imaginaerum' is all about. The power of imagination and places of wordless wonders, magic and awe, of longing and the surreal.
"I emphasized from the start that not a single living thing should be seen in the picture, and Toxic was able to create that sublime but desolate, 'all this waiting for you, and you only' feeling.
"All you need is the courage to enter."
NIGHTWISH's new single, "Storytime", will be released in Europe on Friday, November 11 via Nuclear Blast Records.
On the topic of the musical direction of the forthcoming album, NIGHTWISH singer Anette Olzon wrote on her official blog, "I think it's a great and varied CD. The feelings in it are great and there are a lot of elements in it, so I am sure it will have many different favorite songs for the listeners since the songs are so different in styles and sound. [2007's] 'Dark Passion Play' is a great album and this one, too, so I don't know yet which one I like more, but, of course, for me personally, this one feels better to do since the songs are more adjusted to my voice and my style."
NIGHTWISH will kick off the "Imaginaerum" world tour in Los Angeles. The very first show of the trek will take place at the Gibson Amphitheatre in Universal City, California on Saturday, January 21. This will be the biggest NIGHTWISH show production ever on North American soil and strictly a one-off — there will be no U.S. tour until later in 2012.
"The Ballads IV", the new compilation from German guitarist AXEL RUDI PELL, has registered the following first-week chart positions:
Germany: #29
Switzerland: #53
Norway: #65
In addition to all of the group's ballads since the release of "The Ballads III" (which came out in 2004), "The Ballads IV" includes three newly recorded songs.
"The Ballads IV" was released as standard version, double gatefold LP in colored vinyl and as a digital download.
"The Ballads IV" track listing:
01. Where The Wild Waters Flow (5:34) (new recording)
02. Holy Diver (4:49) (new recording)
03. Hallelujah (4:16) (new recording)
04. Northern Lights (6:22)
05. Noblesse Oblige (Opus #5 Adagio Contabile) (4:08)
06. Love Gun (4:03)
07. Glory Night (5:44)
08. In The Air Tonight (8:37)
09. Touching My Soul (6:32)
10. Like A Child Again (4:47)
11. No Chance To Live (6:17)
12. Haunted Castle Serenade (Opus #4 Grazioso E Agresso) (3:51)
13. The Curse Of The Damned (9:57)
Germany: #29
Switzerland: #53
Norway: #65
In addition to all of the group's ballads since the release of "The Ballads III" (which came out in 2004), "The Ballads IV" includes three newly recorded songs.
"The Ballads IV" was released as standard version, double gatefold LP in colored vinyl and as a digital download.
"The Ballads IV" track listing:
01. Where The Wild Waters Flow (5:34) (new recording)
02. Holy Diver (4:49) (new recording)
03. Hallelujah (4:16) (new recording)
04. Northern Lights (6:22)
05. Noblesse Oblige (Opus #5 Adagio Contabile) (4:08)
06. Love Gun (4:03)
07. Glory Night (5:44)
08. In The Air Tonight (8:37)
09. Touching My Soul (6:32)
10. Like A Child Again (4:47)
11. No Chance To Live (6:17)
12. Haunted Castle Serenade (Opus #4 Grazioso E Agresso) (3:51)
13. The Curse Of The Damned (9:57)
Guitarist Matt Brown has left SEVENTH VOID, the band featuring former TYPE O NEGATIVE guitarist Kenny Hickey and drummer Johnny Kelly. Kelly states, "No replacement has been made yet. Meanwhile, the rest of us are working on demos and will hopefully be recording the next SEVENTH VOID record before the holidays. At least that's our goal!"
SEVENTH VOID had its debut album, "Heaven Is Gone", released in Europe in November 2010 via Napalm Records. The CD was made available with brand new cover artwork.
"Heaven Is Gone" was released in the United States on April 21, 2009 via Vinnie Paul's (PANTERA, HELLYEAH) Big Vin Records. The CD sold around 1,800 copies in the United States in its first week of release. It debuted at No. 21 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.
Rounded out by bassist Hank Hell (INHUMAN), SEVENTH VOID continues TYPE O's tradition of slow, heavy riffs and existential lyrics, but with a slightly sludgier, "stonier" flavor.
SEVENTH VOID had its debut album, "Heaven Is Gone", released in Europe in November 2010 via Napalm Records. The CD was made available with brand new cover artwork.
"Heaven Is Gone" was released in the United States on April 21, 2009 via Vinnie Paul's (PANTERA, HELLYEAH) Big Vin Records. The CD sold around 1,800 copies in the United States in its first week of release. It debuted at No. 21 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.
Rounded out by bassist Hank Hell (INHUMAN), SEVENTH VOID continues TYPE O's tradition of slow, heavy riffs and existential lyrics, but with a slightly sludgier, "stonier" flavor.
Bassist Rudy Sarzo (BLUE ÖYSTER CULT, ex-OZZY OSBOURNE, QUIET RIOT, WHITESNAKE, DIO), drummer A.J. Pero (TWISTED SISTER) and guitarist Mike Orlando (ADRENALINE MOB) have joined forces in a brand new project called TRED. An album's worth of material is currently in the works for a tentative January 2012 release.
The identity of TRED's frontman — who is said to be a well-known singer in the Rob Halford vein — will be revealed later this week.
TRED's musical direction is described as "go-for-the-throat, straight-ahead rock."
Commented Orlando: "15 tracks so far are in pre-production and we will announce the vocalist very shortly!
"A.J., Rudy and myself are real excited about launching this new lineup and it will definetely have tons of energy, great playing and some kick-ass hard rock!
"It will be an honor to be part of this new band, as it is an honor to be part of ADRENALINE MOB as well! Should be an exciting 2012!"
The identity of TRED's frontman — who is said to be a well-known singer in the Rob Halford vein — will be revealed later this week.
TRED's musical direction is described as "go-for-the-throat, straight-ahead rock."
Commented Orlando: "15 tracks so far are in pre-production and we will announce the vocalist very shortly!
"A.J., Rudy and myself are real excited about launching this new lineup and it will definetely have tons of energy, great playing and some kick-ass hard rock!
"It will be an honor to be part of this new band, as it is an honor to be part of ADRENALINE MOB as well! Should be an exciting 2012!"
Swedish guitarist/vocalist Christian Älvestam (SOLUTION .45, MISERATION, TORCHBEARER, ex-SCAR SYMMETRY) has inked a deal with Pivotal Rockordings for the release of his first solo EP, entitled "Self 2.0". The EP will be made available exclusively in all major web-retail outlets and streaming services in the spring of 2012.
Perhaps most well known in the metal community as the singer on SCAR SYMMETRY's first three albums, and currently front man in SOLUTION .45, Älvestam also garnered fandom in the house music scene through his collaboration on a single MCD with DJ Henrik B, entitled "Now And Forever". The single not only received rave reviews in the electronic music scene, but also was immediately picked up by DJ Tiesto, who played it in regular rotation on his world tour to tens of thousands of people. With additional contributions of his signature vocal style as a guest in the most recent DEMON HUNTER and BLOODBATH releases, Älvestam's name has become a fixture among hordes of fans.
However, "Self 2.0" promises to be something different from what fans expect from the singer/songwriter, as Älvestam explains:
"It's not exactly a secret that I have a weak spot for more pop-oriented stuff - especially in the vein of the sound of the '80s," he says. "In fact, I have always been listening to softer music, alongside the heavier stuff, which is probably why my own music so often, unintentionally, tend to end up being a mixture of the two. I simply can't help myself when it comes to merging the aforesaid styles together, it seems. I'd like to call it unavoidable influence, as a direct result of having been indoctrinated with both, from childhood upwards. With that said, fighting against it is not an easy thing, whether you want to or not. At the same time, some would call it a mixed blessing, I guess. Anyhow, I have wanted to do something a bit different from what I usually do for a long time now and that is to make an all-stripped-down and laid-back album, where I use my clean vocals only. You who have followed me since the early days know I've made brief digressions, musically, of that sort before, like the 'Final State' trilogy (UNMOORED) and 'Lethean Tears' (SOLUTION .45), to name a few, so it's not like 'Self 2.0' is me heading out into completely unexplored territory. I've been there before, grubbing in its periphery. Then again, I guess you could see 'Self 2.0' as me going all the way for the first time, if you like!
"What can you expect of 'Self 2.0' then, taken as a whole? Well, if you, like me, dig bands/artists such as Michael Cretu (SANDRA/ENIGMA, etc.), Krister Linder (GRACE/DIVE, etc.), 30 SECONDS TO MARS, MUTE MATH, NEPHEW, DEAD LETTER CIRCUS, PENDULUM, MEW, THE RADIO DEPT. and so on, chance is 'Self 2.0' may strike your fancy!"
Perhaps most well known in the metal community as the singer on SCAR SYMMETRY's first three albums, and currently front man in SOLUTION .45, Älvestam also garnered fandom in the house music scene through his collaboration on a single MCD with DJ Henrik B, entitled "Now And Forever". The single not only received rave reviews in the electronic music scene, but also was immediately picked up by DJ Tiesto, who played it in regular rotation on his world tour to tens of thousands of people. With additional contributions of his signature vocal style as a guest in the most recent DEMON HUNTER and BLOODBATH releases, Älvestam's name has become a fixture among hordes of fans.
However, "Self 2.0" promises to be something different from what fans expect from the singer/songwriter, as Älvestam explains:
"It's not exactly a secret that I have a weak spot for more pop-oriented stuff - especially in the vein of the sound of the '80s," he says. "In fact, I have always been listening to softer music, alongside the heavier stuff, which is probably why my own music so often, unintentionally, tend to end up being a mixture of the two. I simply can't help myself when it comes to merging the aforesaid styles together, it seems. I'd like to call it unavoidable influence, as a direct result of having been indoctrinated with both, from childhood upwards. With that said, fighting against it is not an easy thing, whether you want to or not. At the same time, some would call it a mixed blessing, I guess. Anyhow, I have wanted to do something a bit different from what I usually do for a long time now and that is to make an all-stripped-down and laid-back album, where I use my clean vocals only. You who have followed me since the early days know I've made brief digressions, musically, of that sort before, like the 'Final State' trilogy (UNMOORED) and 'Lethean Tears' (SOLUTION .45), to name a few, so it's not like 'Self 2.0' is me heading out into completely unexplored territory. I've been there before, grubbing in its periphery. Then again, I guess you could see 'Self 2.0' as me going all the way for the first time, if you like!
"What can you expect of 'Self 2.0' then, taken as a whole? Well, if you, like me, dig bands/artists such as Michael Cretu (SANDRA/ENIGMA, etc.), Krister Linder (GRACE/DIVE, etc.), 30 SECONDS TO MARS, MUTE MATH, NEPHEW, DEAD LETTER CIRCUS, PENDULUM, MEW, THE RADIO DEPT. and so on, chance is 'Self 2.0' may strike your fancy!"
"On The Spur Of The Moment", the new album from German metallers BRAINSTORM, entered the official chart in the band's home country at position No. 59. The band states, "We are so proud and happy! Thanks to our great fans and supporters."
"On The Spur Of The Moment" was released on September 30 via AFM Records. The CD was recorded at Studio 22 in Ludwigsburg, Germany with Axel Heckert. According to BRAINSTORM, "Axel is a huge fan of the band and he [helped] us to reach a whole new level."
"On The Spur Of The Moment" track listing:
01. Below The Line
02. In The Blink Of An Eye
03. Temple Of Stone
04. In These Walls
05. Still Insane
06. Dark Life
07. No Saint - No Sinner
08. Where Your Actions Lead You To Live
09. A Life On Hold
10. My Own Hell
BRAINSTORM previously described the material on "On The Spur Of The Moment" as "more aggressive than the last songs we had written. For us, 'Memorial Roots' was a cool album, but 'On The Spur Of The Moment' will be a BLAST!"
"On The Spur Of The Moment" was released on September 30 via AFM Records. The CD was recorded at Studio 22 in Ludwigsburg, Germany with Axel Heckert. According to BRAINSTORM, "Axel is a huge fan of the band and he [helped] us to reach a whole new level."
"On The Spur Of The Moment" track listing:
01. Below The Line
02. In The Blink Of An Eye
03. Temple Of Stone
04. In These Walls
05. Still Insane
06. Dark Life
07. No Saint - No Sinner
08. Where Your Actions Lead You To Live
09. A Life On Hold
10. My Own Hell
BRAINSTORM previously described the material on "On The Spur Of The Moment" as "more aggressive than the last songs we had written. For us, 'Memorial Roots' was a cool album, but 'On The Spur Of The Moment' will be a BLAST!"
James Durbin, the 22-year-old rocker from Santa Cruz, California who was one of the finalists on the last season of "American Idol", will guest on the nationally syndicated radio show "Rockline" with host Bob Coburn on Monday, November 28 at 8:30 p.m. PT / 11:30 p.m. ET. Fans are encouraged to speak with Durbin by calling 1-800-344-ROCK (7625).
For more information, visit RocklineRadio.com.
Durbin will release his debut album, "Memories Of A Beautiful Disaster", on November 21 via Wind-Up Records.
The CD's cover artwork can be seen below.
A new Durbin track, "Stand Up" (hear audio below), has been released as part of volume 2 of the "Official Gameday NFL Music" EP, which features additional songs by Jordin Sparks, Darius Rucker, HINDER and Sammy Hagar.
Material from the EP will be used by the NFL throughout the season, providing some great exposure for Durbin across America.
"Official Gameday NFL Music Vol. 2" track listing:
01. DARIUS RUCKER - "Kick Off"
02. HINDER - "The Fight's About To Begin"
03. SAMMY HAGAR - "Knockdown"
04. JAMES DURBIN - "Stand Up"
05. JORDAN SPARKS - "You Gotta Want It"
MÖTLEY CRÜE guitarist Mick Mars revealed via Twitter last month that he was in the studio working on "a killer track" with Durbin.
"That's right! That's Mick Fuckin Mars!!!!! Playing on MY record!!! This is so unbelievable!!!!" tweeted Durbin in reply to Mick's message. He also attached a photo of what appeared to be the MÖTLEY CRÜE guitarist laying down a track in the studio.
Durbin told USA Today in May that he was planning to record an album, with what he described as a "[DIO] 'Holy Diver', [BLACK SABBATH] 'Neon Knights'-type" feel. "I potentially heard my first single yesterday," he said, adding that it "still has a heavy edge and is radio friendly." He also wrote a song with James Michael (SIXX: A.M., SCORPIONS, MÖTLEY CRÜE) and frequent AEROSMITH collaborator Marti Frederiksen.
Durbin performed JUDAS PRIEST's classic songs "Living After Midnight" and "Breaking The Law" with the British heavy metal legends themselves during the "American Idol" May finale.
Durbin sang the JUDAS PRIEST classic "You Got Another Thing Coming" on the March 1 edition of "Idol" (see video below). His rendition marked the first time, according to AEROSMITH singer and "American Idol" judge Steven Tyler, where a JUDAS PRIEST single was performed on the "Idol" stage.
In a recent interview with SoundSpike, JUDAS PRIEST singer Rob Halford called Durbin "brilliant. Absolutely sensational." He added, "The first we heard about James and the connection with PRIEST was when he covered our song 'You've Got Another Thing Comin''. 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."
For more information, visit RocklineRadio.com.
Durbin will release his debut album, "Memories Of A Beautiful Disaster", on November 21 via Wind-Up Records.
The CD's cover artwork can be seen below.
A new Durbin track, "Stand Up" (hear audio below), has been released as part of volume 2 of the "Official Gameday NFL Music" EP, which features additional songs by Jordin Sparks, Darius Rucker, HINDER and Sammy Hagar.
Material from the EP will be used by the NFL throughout the season, providing some great exposure for Durbin across America.
"Official Gameday NFL Music Vol. 2" track listing:
01. DARIUS RUCKER - "Kick Off"
02. HINDER - "The Fight's About To Begin"
03. SAMMY HAGAR - "Knockdown"
04. JAMES DURBIN - "Stand Up"
05. JORDAN SPARKS - "You Gotta Want It"
MÖTLEY CRÜE guitarist Mick Mars revealed via Twitter last month that he was in the studio working on "a killer track" with Durbin.
"That's right! That's Mick Fuckin Mars!!!!! Playing on MY record!!! This is so unbelievable!!!!" tweeted Durbin in reply to Mick's message. He also attached a photo of what appeared to be the MÖTLEY CRÜE guitarist laying down a track in the studio.
Durbin told USA Today in May that he was planning to record an album, with what he described as a "[DIO] 'Holy Diver', [BLACK SABBATH] 'Neon Knights'-type" feel. "I potentially heard my first single yesterday," he said, adding that it "still has a heavy edge and is radio friendly." He also wrote a song with James Michael (SIXX: A.M., SCORPIONS, MÖTLEY CRÜE) and frequent AEROSMITH collaborator Marti Frederiksen.
Durbin performed JUDAS PRIEST's classic songs "Living After Midnight" and "Breaking The Law" with the British heavy metal legends themselves during the "American Idol" May finale.
Durbin sang the JUDAS PRIEST classic "You Got Another Thing Coming" on the March 1 edition of "Idol" (see video below). His rendition marked the first time, according to AEROSMITH singer and "American Idol" judge Steven Tyler, where a JUDAS PRIEST single was performed on the "Idol" stage.
In a recent interview with SoundSpike, JUDAS PRIEST singer Rob Halford called Durbin "brilliant. Absolutely sensational." He added, "The first we heard about James and the connection with PRIEST was when he covered our song 'You've Got Another Thing Comin''. 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."
With the October 11 release of metal band RIOT's classic 1981 album "Fire Down Under", Audio Fidelity launches its new Target Series imprint, designed to broaden the company's audience beyond its longstanding and loyal audiophile base. Audio Fidelity, via the affordably-priced Target Series, will be reissuing a number of classic albums in the coming months on both CD and vinyl formats, meticulously re-mastered by the company's acclaimed audio engineers, Steve Hoffman and Kevin Gray.
"Fire Down Under", considered by many hard-rock fans to be the New York-based band's best, will be reissued on traditional vinyl with its original artwork and will be available at both online and brick-and-mortar retailers.
RIOT, founded in 1976 by guitarist and songwriter Mark Reale, has now spent more than three decades as a hard-rock institution. But "Fire Down Under", the group's third album and its commercial breakthrough, achieved iconic statue by almost not making it out of the gate. The record was deemed unsatisfactory for release by Capitol Records, RIOT's original home label. Only when contractual differences were ironed out between Capitol and the band's next label, Elektra Records, did "Fire Down Under" see release, in February of 1981.
Some have cited the album as one of the more impressive metal offerings of the '80s — the decade when the genre made its heaviest creative and commercial impact. A tight program of first-rate songs (all RIOT originals) performed at an unrelenting pace, the album was recorded immediately following the band's barnstorming tours with AC/DC and MOLLY HATCHET. Standout tracks include "Swords And Tequila", "Outlaw", "Altar of the King", "Feel the Same" and the breakneck title song. Reale's and Rick Ventura's fiery guitar work provide most of the album's punch, though singer Guy Speranza lends much to the terse, powerful proceedings, as do drummer Sandy Slavin and bassist Kip Leming — all of whom contribute to the songwriting. Producer Steve Loeb's credits also include engineering PUBLIC ENEMY's best-selling "Fear of a Black Planet" album.
"Fire Down Under" was chosen as the Target imprint's initial release, says Audio Fidelity founder and president Marshall Blonstein, because it fits with the direction the company plans to take in expanding its market beyond the audiophile community it has served since 2001. "Over the years," he explains, "many music fans have contacted us to suggest we put out various records that, for one reason or another, didn't make sense as releases aimed exclusively at the audiophile market. The idea behind Target allows us to answer their requests by issuing these titles as conventional CDs and on traditional vinyl at a more favorable price." Generally, Target releases will retail for between $14.99 and $19.99 and will be available just as widely at the same outlets as Audio Fidelity's 24K Gold CD and 180-gram virgin vinyl audiophile releases.
Blonstein emphasizes that Target Series titles will meet the same high standards that have earned Audio Fidelity its distinctive reputation. "Our audio engineers, Steve Hoffman and Kevin Gray, will do the mastering," he says, "just as they do on Audio Fidelity releases, which guarantees top audio quality." A full release schedule for the Target imprint is currently being firmed up.
Founded in 2001, Audio Fidelity specializes in deluxe reissues of classic popular-music recordings for the audiophile and collector markets. The Camarillo, California-based label is best known for its 24-Karat Gold CDs and its 180-gram virgin-vinyl album editions, as well as a line of popular DVD titles.
"Fire Down Under", considered by many hard-rock fans to be the New York-based band's best, will be reissued on traditional vinyl with its original artwork and will be available at both online and brick-and-mortar retailers.
RIOT, founded in 1976 by guitarist and songwriter Mark Reale, has now spent more than three decades as a hard-rock institution. But "Fire Down Under", the group's third album and its commercial breakthrough, achieved iconic statue by almost not making it out of the gate. The record was deemed unsatisfactory for release by Capitol Records, RIOT's original home label. Only when contractual differences were ironed out between Capitol and the band's next label, Elektra Records, did "Fire Down Under" see release, in February of 1981.
Some have cited the album as one of the more impressive metal offerings of the '80s — the decade when the genre made its heaviest creative and commercial impact. A tight program of first-rate songs (all RIOT originals) performed at an unrelenting pace, the album was recorded immediately following the band's barnstorming tours with AC/DC and MOLLY HATCHET. Standout tracks include "Swords And Tequila", "Outlaw", "Altar of the King", "Feel the Same" and the breakneck title song. Reale's and Rick Ventura's fiery guitar work provide most of the album's punch, though singer Guy Speranza lends much to the terse, powerful proceedings, as do drummer Sandy Slavin and bassist Kip Leming — all of whom contribute to the songwriting. Producer Steve Loeb's credits also include engineering PUBLIC ENEMY's best-selling "Fear of a Black Planet" album.
"Fire Down Under" was chosen as the Target imprint's initial release, says Audio Fidelity founder and president Marshall Blonstein, because it fits with the direction the company plans to take in expanding its market beyond the audiophile community it has served since 2001. "Over the years," he explains, "many music fans have contacted us to suggest we put out various records that, for one reason or another, didn't make sense as releases aimed exclusively at the audiophile market. The idea behind Target allows us to answer their requests by issuing these titles as conventional CDs and on traditional vinyl at a more favorable price." Generally, Target releases will retail for between $14.99 and $19.99 and will be available just as widely at the same outlets as Audio Fidelity's 24K Gold CD and 180-gram virgin vinyl audiophile releases.
Blonstein emphasizes that Target Series titles will meet the same high standards that have earned Audio Fidelity its distinctive reputation. "Our audio engineers, Steve Hoffman and Kevin Gray, will do the mastering," he says, "just as they do on Audio Fidelity releases, which guarantees top audio quality." A full release schedule for the Target imprint is currently being firmed up.
Founded in 2001, Audio Fidelity specializes in deluxe reissues of classic popular-music recordings for the audiophile and collector markets. The Camarillo, California-based label is best known for its 24-Karat Gold CDs and its 180-gram virgin-vinyl album editions, as well as a line of popular DVD titles.
Due to complications from singer Tony Moore's emergency oral surgery, legendary U.S. metal band RIOT is disappointed to announce that it will not be able to support HAMMERFALL on the Swedish metal act's previously announced European headlining tour.
A routine dental checkup discovered a deeply infected root canal, and the infection had spread to the jaw and surrounding teeth. The only option was immediate surgery to remove the tooth, as well as a portion of the infected bone tissue, and to perform a large graft with healthy bone from the surrounding area.
Says Tony: "During the initial examination, my doctor gave me a puzzled look and then asked the question that put fear in my heart: 'Are you in a lot of pain?' I was then informed that I would be if this procedure was not performed [as soon as possible]. After the surgery, I was made aware of the extent of the bone graft, and the risk of dislodging fragments of implanted bone should I resume normal activity too soon. I was put on a liquid diet and limited to bed rest for several days, then informed that because of the location of the surgery, singing was out of the question for four weeks. As I write this I still have stitches in my mouth and have to limit my physical activity. The recovery period essentially wiped out any hope of sufficient practice time for a RIOT setlist, and full recovery takes four months before the tooth can be replaced. We discussed all the options we could think of, the last of which was to perform the final 10 dates of the engagement with minimal practice on my part. In then end, though, everyone agreed that going out with my voice at any less than 100 percent would have compromised a show for which some fans have been waiting many years. With heavy hearts we made the only viable decision; to withdraw from the tour."
Commented RIOT in a statement: "The entire RIOT organization would like to apologize to our record label, SPV, and thank them for supporting our decision. We have been assured that future European dates will be announced as soon as the appropriate schedule can be safely booked. We would also like to apologize to HAMMERFALL, who have been extremely generous and supportive throughout this process. We look forward to meeting you all in the near future. Finally we would like to apologize to our fans and friends who have sustained us throughout the reunion. We are as disappointed as you are, but you can be assured that RIOT will visit Europe as soon as possible. We're already confirming dates for early 2012 in the U.S., and we plan to support the release of 'Immortal Soul' as strongly as you have supported us for nearly a quarter of a century.
"A special note to our Asian fans: these events will not have any effect on our plans to perform in Japan in 2012. Tony will be fully recovered long before then, and we look forward to bringing 'Immortal Soul' to you soon. In the meantime, we hope that you enjoy the album as much as we have enjoyed creating it. Let us know what your favorites are so that we can bring them to you onstage next time we meet."
A last note from Tony: "I've been dying to sing this stuff since we finished the album, and being sidelined like this is a major blow. I'm doing everything I can to recover so that I can rebuild the voice you'll hear when the album is released. I know that you want nothing less. Thanks from the bottom of my heart for your support and good wishes."
RIOT's new album, "Immortal Soul", will be released on October 21 in Japan via Marquee/Avalon; October 26 in Scandinavia; October 28 in Germany; Austria and Switzerland; October 31 in the rest of Europe; and November 22 in the U.S. and Canada through Steamhammer/SPV. The effort will be available as a limited digipack with two bonus tracks, double gatefold LP (colored blue vinyl) and regular jewel case.
"Immortal Soul" track listing:
01. Riot
02. Still Your Man
03. Crawling
04. Wings Are For Angels
05. Fall Before Me
06. Sins Of The Father
07. Majestica
08. Immortal Soul
09. Insanity
10. Whiskey Man
11. Believe
12. Echoes
13. Johnny's Back (live recording; digipack bonus track) *
14. Metal Soldiers (live recording; digipack bonus track) *
* Recorded live at the Sweden Rock Festival on June 6, 2009 in Sölvesborg, Sweden
The artwork was created by the band's vocalist Tony Moore and can be seen below.
With lineup changes knocking their momentum and the Eighties developing into a thrash-fest, a new-look RIOT bounced back in 1988 with the widely-acclaimed "Thundersteel". Although the faces might have looked unfamiliar, with only guitarist Mark Reale now left from the band's formative years, the aggression and musicianship remained unrivalled and unchallengeable. With Tony Moore's distinctive vocals, the muscle and might of bassist Don Van Stavern and drummer Bobby Jarzombek powering the songs along, and Reale's precision playing RIOT were reborn, and followed "Thundersteel" two years later with the jaw-dropping "The Privilege Of Power", an inspiring and at times truly epic album. However, by this time the music world was turning into a very different place, and RIOT found themselves struggling against a tide of apathy. Reale continued to guide the ship through the next two decades, delivering albums of consistent, quality metal, culminating in 2006's "Army Of One" — a true statement of intent, as if one were needed.
But the army of one is an army of five once more as RIOT's classic "Thundersteel" and "Privilege…" lineup has reunited, adding guitarist Mike Flyntz who played in the live band at that time.
A routine dental checkup discovered a deeply infected root canal, and the infection had spread to the jaw and surrounding teeth. The only option was immediate surgery to remove the tooth, as well as a portion of the infected bone tissue, and to perform a large graft with healthy bone from the surrounding area.
Says Tony: "During the initial examination, my doctor gave me a puzzled look and then asked the question that put fear in my heart: 'Are you in a lot of pain?' I was then informed that I would be if this procedure was not performed [as soon as possible]. After the surgery, I was made aware of the extent of the bone graft, and the risk of dislodging fragments of implanted bone should I resume normal activity too soon. I was put on a liquid diet and limited to bed rest for several days, then informed that because of the location of the surgery, singing was out of the question for four weeks. As I write this I still have stitches in my mouth and have to limit my physical activity. The recovery period essentially wiped out any hope of sufficient practice time for a RIOT setlist, and full recovery takes four months before the tooth can be replaced. We discussed all the options we could think of, the last of which was to perform the final 10 dates of the engagement with minimal practice on my part. In then end, though, everyone agreed that going out with my voice at any less than 100 percent would have compromised a show for which some fans have been waiting many years. With heavy hearts we made the only viable decision; to withdraw from the tour."
Commented RIOT in a statement: "The entire RIOT organization would like to apologize to our record label, SPV, and thank them for supporting our decision. We have been assured that future European dates will be announced as soon as the appropriate schedule can be safely booked. We would also like to apologize to HAMMERFALL, who have been extremely generous and supportive throughout this process. We look forward to meeting you all in the near future. Finally we would like to apologize to our fans and friends who have sustained us throughout the reunion. We are as disappointed as you are, but you can be assured that RIOT will visit Europe as soon as possible. We're already confirming dates for early 2012 in the U.S., and we plan to support the release of 'Immortal Soul' as strongly as you have supported us for nearly a quarter of a century.
"A special note to our Asian fans: these events will not have any effect on our plans to perform in Japan in 2012. Tony will be fully recovered long before then, and we look forward to bringing 'Immortal Soul' to you soon. In the meantime, we hope that you enjoy the album as much as we have enjoyed creating it. Let us know what your favorites are so that we can bring them to you onstage next time we meet."
A last note from Tony: "I've been dying to sing this stuff since we finished the album, and being sidelined like this is a major blow. I'm doing everything I can to recover so that I can rebuild the voice you'll hear when the album is released. I know that you want nothing less. Thanks from the bottom of my heart for your support and good wishes."
RIOT's new album, "Immortal Soul", will be released on October 21 in Japan via Marquee/Avalon; October 26 in Scandinavia; October 28 in Germany; Austria and Switzerland; October 31 in the rest of Europe; and November 22 in the U.S. and Canada through Steamhammer/SPV. The effort will be available as a limited digipack with two bonus tracks, double gatefold LP (colored blue vinyl) and regular jewel case.
"Immortal Soul" track listing:
01. Riot
02. Still Your Man
03. Crawling
04. Wings Are For Angels
05. Fall Before Me
06. Sins Of The Father
07. Majestica
08. Immortal Soul
09. Insanity
10. Whiskey Man
11. Believe
12. Echoes
13. Johnny's Back (live recording; digipack bonus track) *
14. Metal Soldiers (live recording; digipack bonus track) *
* Recorded live at the Sweden Rock Festival on June 6, 2009 in Sölvesborg, Sweden
The artwork was created by the band's vocalist Tony Moore and can be seen below.
With lineup changes knocking their momentum and the Eighties developing into a thrash-fest, a new-look RIOT bounced back in 1988 with the widely-acclaimed "Thundersteel". Although the faces might have looked unfamiliar, with only guitarist Mark Reale now left from the band's formative years, the aggression and musicianship remained unrivalled and unchallengeable. With Tony Moore's distinctive vocals, the muscle and might of bassist Don Van Stavern and drummer Bobby Jarzombek powering the songs along, and Reale's precision playing RIOT were reborn, and followed "Thundersteel" two years later with the jaw-dropping "The Privilege Of Power", an inspiring and at times truly epic album. However, by this time the music world was turning into a very different place, and RIOT found themselves struggling against a tide of apathy. Reale continued to guide the ship through the next two decades, delivering albums of consistent, quality metal, culminating in 2006's "Army Of One" — a true statement of intent, as if one were needed.
But the army of one is an army of five once more as RIOT's classic "Thundersteel" and "Privilege…" lineup has reunited, adding guitarist Mike Flyntz who played in the live band at that time.
Following the release of its long-awaited second album "III", CHICKENFOOT has announced a five-date European tour for January 2012; the band's first concerts on the continent since July 2009.
Jan. 12 - Manchester, UK @ Academy
Jan. 14 - London, UK @ O2 Academy Brixton
Jan. 16 - Paris, FRA @ Olympia
Jan. 17 - Tilburg, NETH @ O13
Jan. 19 - Dusseldorf. GER @ Mitsubishi Electric Hall
Tickets for the January 2012 European concerts will go on sale from Friday, October 14.
CHICKENFOOT fans in the U.K. will be treated to a Planet Rock pre-sale, where tickets can be purchased 24 hours ahead of the October 14 general on-sale date. By visiting www.planetrock.com, tickets will be available from 9 a.m. on Thursday, October 13.
Featuring guitar hero Joe Satriani and former VAN HALEN members Michael Anthony (bass) and Sammy Hagar (vocals), CHICKENFOOT's touring lineup will include legendary drummer/musician Kenny Aronoff, who is filling in for Chad Smith while Smith hits the road with his main band, RED HOT CHILI PEPPERS.
Commented Joe Satriani, "Kenny brings that same combination of super chops and wild energy to the band that we're used to; and, offstage, he's just as crazy as Chad."
"III" sold 42,000 copies in the United States in its first week of release to land at position No. 9 on The Billboard 200 chart. The band's self-titled debut opened with 49,000 units back in June 2009 to debut at No. 6.
"III" was produced by Mike Fraser (AC/DC, METALLICA) and is the much-anticipated follow-up album to the successful eponymous debut of a rock band packed with successful veterans.
"Chickenfoot III" features 10 tracks with so many moments of epiphany that one can barely take them all in on first listen. Colossal, stadium-shaking riffs abound on earth-movers such as "Alright, Alright", "Last Temptation", "Bigfoot" and "Lighten Up".
Jan. 12 - Manchester, UK @ Academy
Jan. 14 - London, UK @ O2 Academy Brixton
Jan. 16 - Paris, FRA @ Olympia
Jan. 17 - Tilburg, NETH @ O13
Jan. 19 - Dusseldorf. GER @ Mitsubishi Electric Hall
Tickets for the January 2012 European concerts will go on sale from Friday, October 14.
CHICKENFOOT fans in the U.K. will be treated to a Planet Rock pre-sale, where tickets can be purchased 24 hours ahead of the October 14 general on-sale date. By visiting www.planetrock.com, tickets will be available from 9 a.m. on Thursday, October 13.
Featuring guitar hero Joe Satriani and former VAN HALEN members Michael Anthony (bass) and Sammy Hagar (vocals), CHICKENFOOT's touring lineup will include legendary drummer/musician Kenny Aronoff, who is filling in for Chad Smith while Smith hits the road with his main band, RED HOT CHILI PEPPERS.
Commented Joe Satriani, "Kenny brings that same combination of super chops and wild energy to the band that we're used to; and, offstage, he's just as crazy as Chad."
"III" sold 42,000 copies in the United States in its first week of release to land at position No. 9 on The Billboard 200 chart. The band's self-titled debut opened with 49,000 units back in June 2009 to debut at No. 6.
"III" was produced by Mike Fraser (AC/DC, METALLICA) and is the much-anticipated follow-up album to the successful eponymous debut of a rock band packed with successful veterans.
"Chickenfoot III" features 10 tracks with so many moments of epiphany that one can barely take them all in on first listen. Colossal, stadium-shaking riffs abound on earth-movers such as "Alright, Alright", "Last Temptation", "Bigfoot" and "Lighten Up".
Swedish metallers STEELWING will release their second album, "Zone Of Alienation", in Janaury 2012 via NoiseArt Records. The CD was helmed by producer Rikard Löfgren, who had previously worked with DEATHSTARS, MAMAKIN, ENFORCER and VOMITORY, among others.
Commented STEELWING: "The recording sessions at Leon Music with Rikard Löfgren were a blast! Everyone worked really hard to pull it off with a tight deadline but Rikard really understood the STEELWING sound and used his ear for melodies to bring out the best in our songwriting. The results speak for themselves and the progression of the band since our debut is obvious."
According to a press release, "Zone Of Alienation" is a semi-concept album set in a not-so-distant future where the remnants of mankind have fled into outer space. Following the eradication of the Earth after religious wars have gone nuclear, they set out to find new worlds to colonize.
The "Zone Of Alienation" cover artwork was created by Dimitar Nikolov and is an eerie depiction of heavily armed space pioneers setting foot on a hostile planet.
"Zone of Alienation" track listing:
01. 2097 A.D.
02. Solar Wind Riders
03. Full Speed Ahead!
04. Breathless
05. Tokkotai (Wind of Fury)
06. Zone of Alienation
07. The Running Man
08. They Came From The Skies
09. Lunacy Rising
The album will be made available as a limited-edition digipack with a bonus track.
"Zone of Alienation" release dates:
Germany, Austria, Switzerland, Belgium, Holland, France: January 6
Sweden: January 10
Rest Of Europe: January 27
STEELWING will embark on a tour in January with their fellow Swedes GRAND MAGUS and BULLET.
Commented STEELWING: "We are absolutely stoked to hit the road again after the recordings of our second album, and we couldn't ask for a better lineup for this tour — it's gonna be a true heavy metal assault on the senses! We will, of course, play some of the classics from our first album but we'll also play a couple of new songs for all you metal marauders to raise your fists and scream along to!"
GRAND MAGUS, BULLET, STEELWING, SKULL FIST, VANDERBUYST tour dates:
Jan. 05 - DE - Munich, Backstage
Jan. 06 - DE - Stuttgart, Universum
Jan. 07 - CH - Aarau, Kiff
Jan. 08 - BE - Vosselaar, Biebob
Jan. 09 - FR - Paris, Divan du monde
Jan. 10 - DE - Darmstadt, Steinbruch Theater
Jan. 11 - DE - Hamburg, Markthalle
Jan. 12 - DE - Berlin, K17
Jan. 13 - DE - Andernach, Juz
Jan. 14 - DE - Essen, Turock
Jan. 15 - NL - Tilburg, 013
Commented STEELWING: "The recording sessions at Leon Music with Rikard Löfgren were a blast! Everyone worked really hard to pull it off with a tight deadline but Rikard really understood the STEELWING sound and used his ear for melodies to bring out the best in our songwriting. The results speak for themselves and the progression of the band since our debut is obvious."
According to a press release, "Zone Of Alienation" is a semi-concept album set in a not-so-distant future where the remnants of mankind have fled into outer space. Following the eradication of the Earth after religious wars have gone nuclear, they set out to find new worlds to colonize.
The "Zone Of Alienation" cover artwork was created by Dimitar Nikolov and is an eerie depiction of heavily armed space pioneers setting foot on a hostile planet.
"Zone of Alienation" track listing:
01. 2097 A.D.
02. Solar Wind Riders
03. Full Speed Ahead!
04. Breathless
05. Tokkotai (Wind of Fury)
06. Zone of Alienation
07. The Running Man
08. They Came From The Skies
09. Lunacy Rising
The album will be made available as a limited-edition digipack with a bonus track.
"Zone of Alienation" release dates:
Germany, Austria, Switzerland, Belgium, Holland, France: January 6
Sweden: January 10
Rest Of Europe: January 27
STEELWING will embark on a tour in January with their fellow Swedes GRAND MAGUS and BULLET.
Commented STEELWING: "We are absolutely stoked to hit the road again after the recordings of our second album, and we couldn't ask for a better lineup for this tour — it's gonna be a true heavy metal assault on the senses! We will, of course, play some of the classics from our first album but we'll also play a couple of new songs for all you metal marauders to raise your fists and scream along to!"
GRAND MAGUS, BULLET, STEELWING, SKULL FIST, VANDERBUYST tour dates:
Jan. 05 - DE - Munich, Backstage
Jan. 06 - DE - Stuttgart, Universum
Jan. 07 - CH - Aarau, Kiff
Jan. 08 - BE - Vosselaar, Biebob
Jan. 09 - FR - Paris, Divan du monde
Jan. 10 - DE - Darmstadt, Steinbruch Theater
Jan. 11 - DE - Hamburg, Markthalle
Jan. 12 - DE - Berlin, K17
Jan. 13 - DE - Andernach, Juz
Jan. 14 - DE - Essen, Turock
Jan. 15 - NL - Tilburg, 013
Reunited '80s cult metal outfit SANCTUARY — which features in its ranks current NEVERMORE frontman Warrel Dane and bassist Jim Sheppard — has been confirmed for the Metal Assault II festival, set to take place January 14, 2012 in Würzburg, Germany.
The festival billing is shaping up as follows:
SANCTUARY
HEIR APPARENT
HIRAX
THE SANITY DAYS
PAGAN ALTAR
SINISTER REALM
A new band photo of SANCTUARYcan be seen below.
SANCTUARY recently tapped Brad Hull (FORCED ENTRY) to play second guitar for the band.
Hull and Shannon Sharp, one of the moderators at Metalguitarist.org, were the top picks for the position. Brad, having previously toured with SANCTUARY, was given the opportunity to play the dates in Atlanta (ProgPower USA XII festival) and Greece.
Hull has spent the last two years playing the role of "James Hetfield" in the METALLICA tribute band BLISTERED EARTH, which plays "classic songs ranging from 1983's 'Kill 'Em All' to 1991's self-titled 'Metallica'."
SANCTUARY's current touring lineup:
Warrel Dane - Vocals
Lenny Rutledge - Guitar
Brad Hull - Guitars
Jim Sheppard - Bass
Dave Budbill – Drums
In a recent interview, Dane stated about how SANCTUARY's reformation came about, "[SANCTUARY guitarist Lenny Rutledge and I] always talked to each other, but never really been friends again. And when the whole thing came about, that we were actually friends again, that's when we started talking more about doing it. And it definitely wasn't because NEVERMORE was imploding... which it was, at that point . . . We all just started talking with each other again. That was kind of the groundwork for it. And then we started saying, 'Well, gosh, let's make music again.' And my god! Lenny is writing some stuff that is so friggin great! Obviously, he's been bottling this up for years, because he really hasn't been doing anything... Well, he's had bands here and there. But he's really writing some great stuff that's really inspiring me, and making me fall in love with music again, with the creative process... everything that revolves around that. Really inspiring me to write really evil lyrics."
Regarding the sound of SANCTUARY's upcoming studio album, tentatively titled "The Year The Sun Died", Dane said, "This record is not going to sound like the other two. It might sound very similar to the second one ('Into The Mirror Black'). It's definitely not going to sound like the first one, because we're all a little bit older and I can't come up with a c-clamp for a scrotum and a helium tank . . . It's not going to sound like the old ones... it's 2011. It's still gonna be that good, I think, and there's gonna be high-pitched screaming. I'm making sure of that. With NEVERMORE, high-pitched screaming was never really called for. You know, with SANCTUARY... of course it is."
SANCTUARY played its first U.S. show in more than 20 years on January 21 at El Corazon in Seattle, Washington.
The festival billing is shaping up as follows:
SANCTUARY
HEIR APPARENT
HIRAX
THE SANITY DAYS
PAGAN ALTAR
SINISTER REALM
A new band photo of SANCTUARYcan be seen below.
SANCTUARY recently tapped Brad Hull (FORCED ENTRY) to play second guitar for the band.
Hull and Shannon Sharp, one of the moderators at Metalguitarist.org, were the top picks for the position. Brad, having previously toured with SANCTUARY, was given the opportunity to play the dates in Atlanta (ProgPower USA XII festival) and Greece.
Hull has spent the last two years playing the role of "James Hetfield" in the METALLICA tribute band BLISTERED EARTH, which plays "classic songs ranging from 1983's 'Kill 'Em All' to 1991's self-titled 'Metallica'."
SANCTUARY's current touring lineup:
Warrel Dane - Vocals
Lenny Rutledge - Guitar
Brad Hull - Guitars
Jim Sheppard - Bass
Dave Budbill – Drums
In a recent interview, Dane stated about how SANCTUARY's reformation came about, "[SANCTUARY guitarist Lenny Rutledge and I] always talked to each other, but never really been friends again. And when the whole thing came about, that we were actually friends again, that's when we started talking more about doing it. And it definitely wasn't because NEVERMORE was imploding... which it was, at that point . . . We all just started talking with each other again. That was kind of the groundwork for it. And then we started saying, 'Well, gosh, let's make music again.' And my god! Lenny is writing some stuff that is so friggin great! Obviously, he's been bottling this up for years, because he really hasn't been doing anything... Well, he's had bands here and there. But he's really writing some great stuff that's really inspiring me, and making me fall in love with music again, with the creative process... everything that revolves around that. Really inspiring me to write really evil lyrics."
Regarding the sound of SANCTUARY's upcoming studio album, tentatively titled "The Year The Sun Died", Dane said, "This record is not going to sound like the other two. It might sound very similar to the second one ('Into The Mirror Black'). It's definitely not going to sound like the first one, because we're all a little bit older and I can't come up with a c-clamp for a scrotum and a helium tank . . . It's not going to sound like the old ones... it's 2011. It's still gonna be that good, I think, and there's gonna be high-pitched screaming. I'm making sure of that. With NEVERMORE, high-pitched screaming was never really called for. You know, with SANCTUARY... of course it is."
SANCTUARY played its first U.S. show in more than 20 years on January 21 at El Corazon in Seattle, Washington.
RHINO BUCKET, FLAMETAL, HELIX, ODIN, DC4 and NIGHT RANGER have been confirmed for the new metal cruise Monsters Of Rock - The Voyage, which is set to sail on February 25, 2012 and return three days later via Ft. Lauderdale / Bahamas / Key West.
The billing is shaping up as follows:
BANG TANGO
BLACK 'N BLUE
CINDERELLA
DC4
ERIC MARTIN
FASTER PUSSYCAT
FIREHOUSE
FLAMETAL
HELIX
JOHN CORABI
KEEL
KIX
LYNCH MOB
NIGHT RANGER
ODIN
RHINO BUCKET
STRYPER
TESLA
Y&T
Commented the organizers: "The inaugural Monsters Of Rock cruise will be nothing short of epic! Think of it as one big backstage party… Talk about getting up close and personal with some of your favorite bands! This will indeed be the rock 'n roll vacation that people will chatter about for years to come... and we invite you to be a part of it."
The billing is shaping up as follows:
BANG TANGO
BLACK 'N BLUE
CINDERELLA
DC4
ERIC MARTIN
FASTER PUSSYCAT
FIREHOUSE
FLAMETAL
HELIX
JOHN CORABI
KEEL
KIX
LYNCH MOB
NIGHT RANGER
ODIN
RHINO BUCKET
STRYPER
TESLA
Y&T
Commented the organizers: "The inaugural Monsters Of Rock cruise will be nothing short of epic! Think of it as one big backstage party… Talk about getting up close and personal with some of your favorite bands! This will indeed be the rock 'n roll vacation that people will chatter about for years to come... and we invite you to be a part of it."
Legendary hard rock singer Jeff Scott Soto (YNGWIE MALMSTEEN, TALISMAN, JOURNEY) has issued the following update:
"I am contently at the halfway stages of my completing new solo album, 'Damage Control'! I am two vocals away from wrapping up 14 new masterpieces for you…
"It's been over three years since I completed 'Beautiful Mess', which was a departure from what fans expected. Well, I can tell you this new album has what you want and more! I combined the best of my first two solo albums with Frontiers Records and also tapped into the spirits of TALISMAN, SOUL SIRKUS and then some on 'Damage Control'. I have recruited my solo bandmates, new and old, to co-write with me as well as Joel Hoekstra of NIGHT RANGER and Jamie Borger of TALISMAN/TREAT to write and play with me on this. The tracks are amazing and I am sure will please all Jeff Scott Soto fans alike.
"Look for 'Damage Control' to drop in March 2012 with Frontiers Records followed by a full European/South America/possible U.S. tour...
"And oh, by the way — shameless plug — we'll be starting a new W.E.T. album [featuring Soto, guitarist/songwriter Erik Martensson (ECLIPSE) and keyboardist Robert Sall (WORK OF ART)] in a few months…
"Busy times but nothing less than you'd expect from me."
Jeff Scott Soto's double live album, "Live at Firefest 2008", came out last December via Frontiers Records.
Firefest has become a pivotal event in the melodic rock season in Europe. Born from the ashes of the Gods of AOR festival, Firefest started in 2004 and not only did it continue the tradition of Europe's finest melodic rock/AOR festivals, but exceeded all previous expectations.
Jeff Scott Soto performed at the Gods festival in 2002, putting on an amazing show that was captured on a live CD/DVD. So when the call came to Jeff about the new and continued version of this proven festival, he wasted no time in answering, "Of course!"
Frontiers Records released a live DVD and CD by Jeff Scott Soto on December 4, 2009 in Europe and January 12, 2010 in the U.S. Entitled "One Night in Madrid", the set was filmed at Sala Heineken in Madrid on April 18, 2009 in front of an intimate and enthusiastic audience. Jeff pulled no punches and performed an exhilarating show featuring tracks from many of his albums as well as showcasing new songs from "Beautiful Mess", including "Mountain", "Testify", "Our Song", "Hey", "Broken Man" and the wonderful "Gin & Tonic Sky". This is the complete show, with a DVD packed full of extras, including all of Jeff's solo videos, a special tribute to his dear friend Marcel Jacob (TALISMAN) and loads of tour footage in the form of "Goofballs!". In addition to the DVD, a double CD is also available.
W.E.T.'s self-titled debut album was released in November 2009 via Frontiers Records. "(W)ork of art (E)clipse (T)alisman" was written and recorded over a 12-month period and features the best elements of the three bands the principal artists have been involved in.
"I am contently at the halfway stages of my completing new solo album, 'Damage Control'! I am two vocals away from wrapping up 14 new masterpieces for you…
"It's been over three years since I completed 'Beautiful Mess', which was a departure from what fans expected. Well, I can tell you this new album has what you want and more! I combined the best of my first two solo albums with Frontiers Records and also tapped into the spirits of TALISMAN, SOUL SIRKUS and then some on 'Damage Control'. I have recruited my solo bandmates, new and old, to co-write with me as well as Joel Hoekstra of NIGHT RANGER and Jamie Borger of TALISMAN/TREAT to write and play with me on this. The tracks are amazing and I am sure will please all Jeff Scott Soto fans alike.
"Look for 'Damage Control' to drop in March 2012 with Frontiers Records followed by a full European/South America/possible U.S. tour...
"And oh, by the way — shameless plug — we'll be starting a new W.E.T. album [featuring Soto, guitarist/songwriter Erik Martensson (ECLIPSE) and keyboardist Robert Sall (WORK OF ART)] in a few months…
"Busy times but nothing less than you'd expect from me."
Jeff Scott Soto's double live album, "Live at Firefest 2008", came out last December via Frontiers Records.
Firefest has become a pivotal event in the melodic rock season in Europe. Born from the ashes of the Gods of AOR festival, Firefest started in 2004 and not only did it continue the tradition of Europe's finest melodic rock/AOR festivals, but exceeded all previous expectations.
Jeff Scott Soto performed at the Gods festival in 2002, putting on an amazing show that was captured on a live CD/DVD. So when the call came to Jeff about the new and continued version of this proven festival, he wasted no time in answering, "Of course!"
Frontiers Records released a live DVD and CD by Jeff Scott Soto on December 4, 2009 in Europe and January 12, 2010 in the U.S. Entitled "One Night in Madrid", the set was filmed at Sala Heineken in Madrid on April 18, 2009 in front of an intimate and enthusiastic audience. Jeff pulled no punches and performed an exhilarating show featuring tracks from many of his albums as well as showcasing new songs from "Beautiful Mess", including "Mountain", "Testify", "Our Song", "Hey", "Broken Man" and the wonderful "Gin & Tonic Sky". This is the complete show, with a DVD packed full of extras, including all of Jeff's solo videos, a special tribute to his dear friend Marcel Jacob (TALISMAN) and loads of tour footage in the form of "Goofballs!". In addition to the DVD, a double CD is also available.
W.E.T.'s self-titled debut album was released in November 2009 via Frontiers Records. "(W)ork of art (E)clipse (T)alisman" was written and recorded over a 12-month period and features the best elements of the three bands the principal artists have been involved in.
FIVE FINGER DEATH PUNCH's performance on ABC-TV's "Jimmy Kimmel Live!" show, which was originally scheduled to be taped on October 12 for an October 26 broadcast, has been postponed until next year.
The band's official statement on the matter:
"Due to current pre-production, FIVE FINGER DEATH PUNCH will not be taping the 'Jimmy Kimmel Live!' show this October 12th. The band are currently in their rehearsal studio working tirelessly to create the biggest stage show the band has ever done for their headlining Share The Welt tour with ALL THAT REMAINS, HATEBREED, and RAINS — which kicks off this upcoming weekend. FIVE FINGER DEATH PUNCH look forward to play 'Jimmy Kimmel Live!' in 2012 and apologize for any inconvenience."
FIVE FINGER DEATH PUNCH's third studio album, "American Capitalist", is due out on Tuesday (October 11). Immediately following the album's arrival, the band will hit the road for the 48 Hours Festival in Las Vegas on October 15 before kicking off the Share The Welt tour on October 16 in San Francisco.
The tour will be the first for new FIVE FINGER bassist Chris Kael, who replaced Snell earlier this year. Kael has played just a handful of gigs so far with the group but is looking forward to his first full tour: "It's very liberating to kind of free the ties of quote-unquote real life and go up there and, you know, play the role as the new bass player for FIVE FINGER DEATH PUNCH, playing in front of thousands upon thousands of people that are into you and you really feel that vibe," he said. "I'm real excited about it, finally glad to be quote-unquote living the dream, and it's a damn good feeling."
Joining FIVE FINGER DEATH PUNCH on the Share The Welt tour will be ALL THAT REMAINS, HATEBREED and REV THEORY.
"American Capitalist" follows up 2009's "War Is The Answer".
The band's official statement on the matter:
"Due to current pre-production, FIVE FINGER DEATH PUNCH will not be taping the 'Jimmy Kimmel Live!' show this October 12th. The band are currently in their rehearsal studio working tirelessly to create the biggest stage show the band has ever done for their headlining Share The Welt tour with ALL THAT REMAINS, HATEBREED, and RAINS — which kicks off this upcoming weekend. FIVE FINGER DEATH PUNCH look forward to play 'Jimmy Kimmel Live!' in 2012 and apologize for any inconvenience."
FIVE FINGER DEATH PUNCH's third studio album, "American Capitalist", is due out on Tuesday (October 11). Immediately following the album's arrival, the band will hit the road for the 48 Hours Festival in Las Vegas on October 15 before kicking off the Share The Welt tour on October 16 in San Francisco.
The tour will be the first for new FIVE FINGER bassist Chris Kael, who replaced Snell earlier this year. Kael has played just a handful of gigs so far with the group but is looking forward to his first full tour: "It's very liberating to kind of free the ties of quote-unquote real life and go up there and, you know, play the role as the new bass player for FIVE FINGER DEATH PUNCH, playing in front of thousands upon thousands of people that are into you and you really feel that vibe," he said. "I'm real excited about it, finally glad to be quote-unquote living the dream, and it's a damn good feeling."
Joining FIVE FINGER DEATH PUNCH on the Share The Welt tour will be ALL THAT REMAINS, HATEBREED and REV THEORY.
"American Capitalist" follows up 2009's "War Is The Answer".
The entire current touring lineup of SOIL will appear on tonight's (Monday, October 10) edition of "Caffeine Bomb". Make sure you tune in at 7:00 p.m. EST to 91.7 FM WHUS in Eastern Connecticut, or stream at WHUS.org.
"Caffeine Bomb" is hosted by Roger Lotring, a freelance music journalist whose work has appeared in the pages of Metal Hammer, Classic Rock, Metal Edge, Shock Wave, Zero and Burn!! magazines.
Roger is the co-author of "Full Metal Jackie Certified: The 50 Most Influential Heavy Metal Songs of the '80s and the True Stories Behind Their Lyrics". He is also the author of various CD liner notes, including the MÖTLEY CRÜE box set "Music to Crash Your Car To, Volume 2".
91.7 WHUS is a commercial-free college and community-based radio station broadcasting from the University of Connecticut.
For more information, go to this location.
The 10th-anniversary edition of SOIL's breakthrough album "Scars" — featuring the hits "Halo" and "Unreal" — is being made available digitally today (Monday, October 10) through Sony Music. The release features the rare B-side "Center" and the previously unreleased track "Damaged You" from the "Scars" recording sessions.
SOIL is preparing for a 12-date U.K. co-headlining tour with PUDDLE OF MUDD.
Due to the high demand from fans, VIP packages will be available through SOIL's Facebook site. The package will include a pre-show autograph/photo session, along with a specialized metal laminate and 8x10 photo.
SOIL will return to the U.K. later this monrh with a lineup that will include the band's original lead singer and founding member Ryan McCombs (on loan from DROWNING POOL) and fellow founding members Tim King (bass) and Adam Zadel (lead guitar) along with former STAIND drummer Jon Wysocki
Commented Wysocki: "I'm looking forward to joining my friends in SOIL on this tour. I've known these guys for a long time and always loved their music. I'm honored to be playing on this tour with the band for the amazing European fans. Looking forward to seeing you at the shows. Don't miss this one!"
SOIL has confirmed a setlist comprised of select cuts from the "Scars" and "Re.de.fine" albums, along with a surprise song from the debut "Throttle Junkies" release.
Tour dates:
Oct. 14 - London, UK @ Electric Ballroom
Oct. 15 - Conventry, UK @ Kasbah
Oct. 16 - Wrexham, UK @ Central Station
Oct. 18 - Glasgow, UK @ The Garage
Oct. 19 - Middlesbrough, UK @ Empire
Oct. 21 - York, UK @ Fibbers
Oct. 22 - Peterborough, UK @ Club Revolution
Oct. 23 - Manchester, UK @ Moho Live
Oct. 25 - Sheffield, UK @ Corporation
Oct. 26 - Cardiff, Wales The Coal Exchange
Oct. 27 - Norwich, UK @ Waterfront
Oct. 28 - Southampton, UK @ Talking Heads
"Caffeine Bomb" is hosted by Roger Lotring, a freelance music journalist whose work has appeared in the pages of Metal Hammer, Classic Rock, Metal Edge, Shock Wave, Zero and Burn!! magazines.
Roger is the co-author of "Full Metal Jackie Certified: The 50 Most Influential Heavy Metal Songs of the '80s and the True Stories Behind Their Lyrics". He is also the author of various CD liner notes, including the MÖTLEY CRÜE box set "Music to Crash Your Car To, Volume 2".
91.7 WHUS is a commercial-free college and community-based radio station broadcasting from the University of Connecticut.
For more information, go to this location.
The 10th-anniversary edition of SOIL's breakthrough album "Scars" — featuring the hits "Halo" and "Unreal" — is being made available digitally today (Monday, October 10) through Sony Music. The release features the rare B-side "Center" and the previously unreleased track "Damaged You" from the "Scars" recording sessions.
SOIL is preparing for a 12-date U.K. co-headlining tour with PUDDLE OF MUDD.
Due to the high demand from fans, VIP packages will be available through SOIL's Facebook site. The package will include a pre-show autograph/photo session, along with a specialized metal laminate and 8x10 photo.
SOIL will return to the U.K. later this monrh with a lineup that will include the band's original lead singer and founding member Ryan McCombs (on loan from DROWNING POOL) and fellow founding members Tim King (bass) and Adam Zadel (lead guitar) along with former STAIND drummer Jon Wysocki
Commented Wysocki: "I'm looking forward to joining my friends in SOIL on this tour. I've known these guys for a long time and always loved their music. I'm honored to be playing on this tour with the band for the amazing European fans. Looking forward to seeing you at the shows. Don't miss this one!"
SOIL has confirmed a setlist comprised of select cuts from the "Scars" and "Re.de.fine" albums, along with a surprise song from the debut "Throttle Junkies" release.
Tour dates:
Oct. 14 - London, UK @ Electric Ballroom
Oct. 15 - Conventry, UK @ Kasbah
Oct. 16 - Wrexham, UK @ Central Station
Oct. 18 - Glasgow, UK @ The Garage
Oct. 19 - Middlesbrough, UK @ Empire
Oct. 21 - York, UK @ Fibbers
Oct. 22 - Peterborough, UK @ Club Revolution
Oct. 23 - Manchester, UK @ Moho Live
Oct. 25 - Sheffield, UK @ Corporation
Oct. 26 - Cardiff, Wales The Coal Exchange
Oct. 27 - Norwich, UK @ Waterfront
Oct. 28 - Southampton, UK @ Talking Heads
HYPOCRISY, ENGEL and F.K.Ü. have been confirmed for next year's edition of the Rockstad: Falun festival, set to take place August 16-18, 2012 at Lugnet Falun in Falun, Sweden.
The festival billing is shaping up as follows (in alphabetical order):
HYPOCRISY
ENGEL
F.K.Ü.
SABATON
AMARANTHE
NOCTURNAL RITES
IN MOURNING
Krister Lindholm, one of the organizers of Rockstad: Falun, last year stated about the festival's origins, "Pär from SABATON and I wanted to do a special SABATON show back in 2008 and we invited some local bands and made the first issue of Rockstad: Falun a total success when we sold out the venue (1600 tickets) and went through the night with no problems or other negative stuff. After that, we decided to make the Rockstad: Falun festival an annual event and we started the plans for 2009 within a few weeks after the premiere. 2009 we went outside to do an open air one-day festival, everything went out good but we had four days of heavy rain during that weekend so we didn't manage to get more than 3000 people out."
For more information, go to this location.
The festival billing is shaping up as follows (in alphabetical order):
HYPOCRISY
ENGEL
F.K.Ü.
SABATON
AMARANTHE
NOCTURNAL RITES
IN MOURNING
Krister Lindholm, one of the organizers of Rockstad: Falun, last year stated about the festival's origins, "Pär from SABATON and I wanted to do a special SABATON show back in 2008 and we invited some local bands and made the first issue of Rockstad: Falun a total success when we sold out the venue (1600 tickets) and went through the night with no problems or other negative stuff. After that, we decided to make the Rockstad: Falun festival an annual event and we started the plans for 2009 within a few weeks after the premiere. 2009 we went outside to do an open air one-day festival, everything went out good but we had four days of heavy rain during that weekend so we didn't manage to get more than 3000 people out."
For more information, go to this location.
Guitarist Sammy Duet of New Orleans natives GOATWHORE recently spoke to Decibel magazine about the band's forthcoming album, tentatively due in early 2012 via Metal Blade Records. The follow-up to 2009's "Carving Out The Eyes Of God" was recorded at Mana Recording Studios in St. Petersburg, Florida with producer with Erik Rutan.
According to Duet, the upcoming CD will feature "the same exact [guitar] sound I used on 'Carving Out The Eyes Of God'. We're just trying to improve on that sound — make it bigger and fatter. That 'Carving' guitar sound was fucking incredible, and that's why me and Rutan spent half the week trying to get it to sound even better, which I believe we achieved. It's gonna have that growly, sub-nuclear kind of sound, but I think it's gonna be almost more refined in a way — but still very nasty."
He added, "The drums are a lot more natural-sounding. A lot of producers today, I don't know; they make the drums sound fake. They sound good, but almost too good. We're just trying to make it sound real and not like a drum machine.
"There's the same amount of solos on 'Carving'; maybe a few more. But there's gonna be a lot of other… I wouldn't exactly call them guitar solos that are gonna be going on underneath the music, but there's gonna be certain things there that will be very different. There's definitely some shit I've never really done before ever that I've just been experimenting with. You have to hear it. It's hard to explain. It's like a solo and not a solo."
"I think a lot of people are expecting us to repeat ourselves, but it's not gonna be like that. We could have easily gone and written 'Carving Out The Eyes Of God Part II' because that album is such a natural feeling for us musically. But we didn't want to do that."
Video footage of GOATWHORE performing a brand new song, "Beyond The Spell Of Discontent", on September 16 in Fort Walton Beach, Florida can be seen below.
The entire concert is available at Tyronehood.tv.
GOATWHORE was honored in the "Best Heavy Metal" category at the Big Easy Awards, which was held on April 25 at Harrah's in New Orleans, Louisiana. Also nominated for the award were ARSON ANTHEM and HAARP. GOATWHORE drummer Zack Simmons and guitarist Sammy Duet accepted the gong.
The Big Easy Awards in 2010 recognize achievement in local music and theater from 2010.
"Carving Out The Eyes Of God" sold around 2,700 copies in the United States in its first week of release to enter The Billboard 200 chart at position No. 190. The album landed at 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.
According to Duet, the upcoming CD will feature "the same exact [guitar] sound I used on 'Carving Out The Eyes Of God'. We're just trying to improve on that sound — make it bigger and fatter. That 'Carving' guitar sound was fucking incredible, and that's why me and Rutan spent half the week trying to get it to sound even better, which I believe we achieved. It's gonna have that growly, sub-nuclear kind of sound, but I think it's gonna be almost more refined in a way — but still very nasty."
He added, "The drums are a lot more natural-sounding. A lot of producers today, I don't know; they make the drums sound fake. They sound good, but almost too good. We're just trying to make it sound real and not like a drum machine.
"There's the same amount of solos on 'Carving'; maybe a few more. But there's gonna be a lot of other… I wouldn't exactly call them guitar solos that are gonna be going on underneath the music, but there's gonna be certain things there that will be very different. There's definitely some shit I've never really done before ever that I've just been experimenting with. You have to hear it. It's hard to explain. It's like a solo and not a solo."
"I think a lot of people are expecting us to repeat ourselves, but it's not gonna be like that. We could have easily gone and written 'Carving Out The Eyes Of God Part II' because that album is such a natural feeling for us musically. But we didn't want to do that."
Video footage of GOATWHORE performing a brand new song, "Beyond The Spell Of Discontent", on September 16 in Fort Walton Beach, Florida can be seen below.
The entire concert is available at Tyronehood.tv.
GOATWHORE was honored in the "Best Heavy Metal" category at the Big Easy Awards, which was held on April 25 at Harrah's in New Orleans, Louisiana. Also nominated for the award were ARSON ANTHEM and HAARP. GOATWHORE drummer Zack Simmons and guitarist Sammy Duet accepted the gong.
The Big Easy Awards in 2010 recognize achievement in local music and theater from 2010.
"Carving Out The Eyes Of God" sold around 2,700 copies in the United States in its first week of release to enter The Billboard 200 chart at position No. 190. The album landed at 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.
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