They don't call it a variety show for nothing. Most of the crowd for last night's Welcome 2 My Pudding, the 11th installment of local restauranteur, golfer, and shock rocker Alice Cooper's long running Christmas Pudding event, was more interested in seeing guys like Kip Winger than Brian "Head" Welch.
But the diverse -- let's call it scattered, even -- lineup, which featured John Corabi (Motely Crue), Bruce Kulick (KISS), Gary Mule Deer, Runaway Phoenix with guitarist Orianthi (who also plays in Alice's band), Kip Winger, and headliners Brian "Head" Welch, The Tubes, Rob Halford, and Alice himself, was united for a cause, Alice Cooper's Solid Rock Foundation.
The charity "ministers" to children through music, dance, art, sports, recreation, and if the word minster doesn't give it away, most of last night's performances has a Christian tinge -- no hallelujahs, but some heavy nods to Jesus and the Big Guy upstairs.
"We have good hearts, even though we're freaking y'all out," said Brian "Head" Welch during his band's set, which was the heaviest of the night. I watched as some of the crowd (which tended toward the gray years) mimicked the jerky, nu-metal headbanging of Welch and friends, and though they were met with nice rounds of applause at the conclusion of each song, the looks on people's faces indicated they liked their metal of a more classic vintage.
Welch did a little preaching, but mostly focused on the rock -- he even performed Korn's "Blind," replicating some of Jonathan Davis' trademark growl, but falling a little shy. He followed it with a line from "Amazing Grace:" "I once was blind, but now I see."
An intermission followed Head's set of "peaceful, pleasant Christmas music," as he joked, and before long Valley favorites The Tubes were on stage. The band plowed through a truncated set, plagued by mixing issues during "She's a Beauty," but finding their footing with "White Punks on Dope" and the band's proggy, new wave-ish "Talk to Ya Later."
The band made the puzzling choice to close on an extended space jam; it would have been better to go out on "Talk to Ya Later," which actually had folks dancing in the aisles (okay, they were just dancers from Solid Rock, but still). Backed by young bucks from Cooper's band, Rob Halford's short set wasn't lacking for intensity. I saw Judas Priest for the first time earlier this year and was impressed by the strength of Halford's voice even in echoing, murky-sounding Veteran's Memorial Coliseum. In Comerica, it was even more apparent how well his voice has held up.
Thankfully skipping tunes from his Christmas album, Winter Songs, Halford rammed through Priest classics like "Breaking the Law" and "You've Got Another Thing Coming." He joked about being almost neighbors with Cooper in Paradise Valley, and that he was glad to be home while his Priest bandmates "froze back in London."
Finally the time had come for the pudding-guy himself, Alice Cooper. Backed by an excellent band that includes longtime associate Steve Hunter and Orianthi, the Australian guitarist who was slated to be Michael Jackson's guitarist before his untimely death. The band tore through Cooper classics like "No More Mr. Nice Guy," "Under My Wheels," "I'm 18," and "Billion Dollar Babies." Cooper's voice was in good form, and the band was energetic.
He didn't get preachy, save for the kind of tone-deaf message of "Hey Stoopid" ("If you know someone who wants to commit suicide...call 'em stupid, with two Os, and tell 'em Alice sent you."), instead sticking to the rock. The band dug deep for 1971's "Halo of Flies," which was stellar, but bogged down by the long bass/drum solo section. The rest of the band returned for "I'll Bit Your Face Off," from Cooper's latest, Welcome 2 My Nightmare. Cooper was clearly having fun with the new song, which is one of the better offerings found on the disc.
Just after midnight, the band ripped into "School's Out," Cooper signature jam. The audience cheered and danced, and then shuffled for the door. A five hour Christmas variety show, with comedians, jugglers, magicians, and a smorgasbord of heavy acts is a massive undertaking, and though everyone was thoroughly rocked, it was pretty late night if you intended to make it to church in the morning.
Critic's Notebook
Last Night: Alice Cooper's Welcome 2 My Pudding
The Crowd: Mostly 40s and 50s, but plenty of people brought kids, too. It's a strange world when shock rock is family safe.
Random Notebook Dump: "Ha -- "I'm 80." Cooper joked that he would have to change the lyrics to "I'm 18" to reflect his current state soon.
Overheard: "Is that Alice Cooper's son or Jack Black's?" overheard during Runaway Phoenix's set, which featured Dash Cooper on vocals.
Ex-GUNS N' ROSES bassist Duff McKagan joined the latest version of GUNS on stage last night (Saturday, December 17) at Pacific Coliseum in Vancouver, British Columbia, Canada to perform two GN'R classics: "You Could Be Mine" and "Civil War".
McKagan also performed "You Could Be Mine" with GUNS on Friday at the Key Arena in Seattle.
Duff's band LOADED opened for GUNS at both the Seattle and Vancouver shows.
McKagan tweeted earlier today, "Thanks, Axl Rose [GUNS N' ROSES lead singer and sole remaining original member — Ed.]. My friend..... A really great couple of nights. Thank you Seattle and Vancouver. And... good fuckin night!"
In the latest installment of his column, which appears on Reverb at SeattleWeekly.com, McKagan stated about the prospect of opening for his old band, "I was somehow reluctant at first to do this. I love that dude [referring to Axl], but wanted to sort of stay out of the fray, especially after that whirlwind tour of the world we had just done. AND that damn book tour.
"But this fray is only a fray if I let it be. And now I am actually pretty excited to see my old pal. His band is the nicest bunch of fellas, and I will be home after all. The KeyArena will be rocking . . . and I hope you all show up.
"After all, it is just some dudes doing what they know how to do best: connect with the audience, that fan-ship that has honored us with their presence for so damn long. And THAT, my friends . . . is overwhelming."
McKagan made worldwide headlines in October 2010 when he joined GUNS onstage for four songs at a concert in London, England, marking the first time he had set foot on a stage with GUNS N' ROSES in 17 years.
GUNS N' ROSES will be inducted into the Rock And Roll Hall Of Fame next April in Cleveland, prompting speculation about whether the event could lead to a reunion of the band's original lineup.
Duff's band LOADED opened for GUNS at both the Seattle and Vancouver shows.
McKagan tweeted earlier today, "Thanks, Axl Rose [GUNS N' ROSES lead singer and sole remaining original member — Ed.]. My friend..... A really great couple of nights. Thank you Seattle and Vancouver. And... good fuckin night!"
In the latest installment of his column, which appears on Reverb at SeattleWeekly.com, McKagan stated about the prospect of opening for his old band, "I was somehow reluctant at first to do this. I love that dude [referring to Axl], but wanted to sort of stay out of the fray, especially after that whirlwind tour of the world we had just done. AND that damn book tour.
"But this fray is only a fray if I let it be. And now I am actually pretty excited to see my old pal. His band is the nicest bunch of fellas, and I will be home after all. The KeyArena will be rocking . . . and I hope you all show up.
"After all, it is just some dudes doing what they know how to do best: connect with the audience, that fan-ship that has honored us with their presence for so damn long. And THAT, my friends . . . is overwhelming."
McKagan made worldwide headlines in October 2010 when he joined GUNS onstage for four songs at a concert in London, England, marking the first time he had set foot on a stage with GUNS N' ROSES in 17 years.
GUNS N' ROSES will be inducted into the Rock And Roll Hall Of Fame next April in Cleveland, prompting speculation about whether the event could lead to a reunion of the band's original lineup.
Tommy Stinson can't slow down. The guy stays busy -- playing bass in Guns N' Roses (clocking nearly 14 years in the band, only Axl Rose and keyboardist Dizzy Reed have been in the band longer), releasing solo records (like this year's excellent One Man Mutiny), and playing in Soul Asylum. It's what you would expect from a guy who was freaking 11 years old when he started playing in The Replacements, one of the most celebrated "left of the dial" rock bands of the '80s.
I called Stinson (just before Guns N' Roses was announced as 2012 inductees to the Rock N' Roll Hall of Fame) to discuss the current Guns N' Roses tour (which winds its way to Comerica Theatre on Tuesday, December 27), whether or not Guns will follow up Chinese Democracy, and the ever-nagging question of a Replacements reunion.
Tommy Stinson [answering the phone]: Wow, hi.
Up on the Sun: Is this Tommy?
Yeah.
What was the wow for? Was I too timely?
Yeah, they fucking book me at 2:15, 2:30, 3 o'clock . . . it's like, 15 minutes almost isn't quite enough time to talk to somebody. Invariably, they want to talk about everything I've done in some capacity or another. So you've got 15 minutes [laughs]. Make 'em good.
You've been singing The Who's "My Generation" and The Dead Boys' "Sonic Reducer" in GNR's live sets. Curious, why those tunes?
They both came about as equally and accidentally as anything. We happened to be in Japan, and Axl introduced me as doing a "bass solo." The guys and I have been doing "My Generation" at rehearsal, just for laughs. It sparked that I had to fucking do something. I wasn't going to sit there and twiddle my thumbs and play a bass solo. I've never done that, that's kind of stupid. So we just busted into it. After that it was like, 'Eh, that's getting kind of boring.' He introduced me that way for a while, and then we did "Sonic Reducer," a couple times.
Then he stopped introducing me in that way, so I felt like it was time for that to go away, that whole element of the set had run its course. He asked me recently, "Why did you stop doing the songs?" and I was like, "I kind of thought you wanted me to because you stopped introducing me to do them." He was like, "No, you gotta do that." We'll probably work something new up. I'm getting a little bored of them.
What about throwing in a song from your last solo record, One Man Mutiny?
You know, maybe. "It's a Drag" might, but eh...I just think that would be kind of weird. The guys [in the band] want me to do one or two off my last record, "Motivation" or "Moment Too Soon." They keep pushing. But I could just hear him [Rose] getting a breather while we're doing that saying "Real cute, guys." Not really appropriate. Or is it? I just don't know.
You generally seem to keep that stuff separate. You have your thing and the Guns N' Roses thing, and they seem be two different worlds.
Totally. That's how I've been doing it for so long.
You're a busy guy -- GN'R, solo, and Soul Asylum.
Yeah, [Soul Asylum] did a whole new record, and I think it's probably going to come out soon. Hopefully first or second quarter.
You've been playing music since an incredibly young age. Does it just make sense to do it all the time?
It does. Until you get burned out, which is kind of where I am right now. I think I've made myself a little crispy here in the past few years. I think I might take a little vacation.
Sounds necessary. You've been in Guns N' Roses 13 years.
Shit, I think it will be 14 by the time fuckin' May rolls around.
What's the secret? Not a lot of people have stayed in the band like that.
You know, it's been a good gig for me. it's been fun, and you know, it's served me well in a lot of ways. Axl and I get along pretty good, and now is kind of the time to stick it out if we're going to make another record. The lineup is working, and the camaraderie is good; it's a good fit for me.
I thought about asking if GN'R was going to do another record, but I thought that might be the worst question in the word considering how long people asked about Chinese Democracy.
You know, I just see us making a record much quicker, because, in hindsight, a lot of what happened with Chinese Democracy, we could get around now. Mostly what happened with that record, why it took so long, was we just had no help from the record company whatsoever. [Axl] got zero fucking help from anyone outside the band to fucking do it. You know, it just got stupider and stupider as the record company kept throwing bad A&R guys [at us], or producers like Roy Thomas Baker who, you know, he made things sound better, but that wasn't' what we needed. We needed someone to help us fucking sow it up, and he came in fucking re-recorded everything five fucking times with every amp in the country. I just don't think that was something that was really important to making a record, that could have been taken care of in the mix.
In the time between when Axl started talking about that album and it actually came out, the whole music industry changed.
Oh yeah, tenfold it changed. Sadly, the help that was needed to try and capitalize [on] what could have been the biggest record of the fucking end of the industry as we know it, they just squandered it. Interscope didn't really get on board, and recognize that shit's changing pretty fast, and we can't really keep up with it. [They should have thought] We've got this record over here, the must anticipated record in fucking forever, and we should really be helping this guy out to get this thing together. Never happened. That shit happens every day to lots of band. But if you're Guns N' Roses, do something before everything really hits the shitter, I think you'd want to take advantage of that, especially considering the amounts of money they could have made.
So it's fair to say you're disappointed with the record.
The stupid thing was, it was pulled out of [Axl's] hands. He was already ready to give it up, but there were a few minor things that meant a lot to him artistically, but they pulled it out of his hands anyway. What was another couple fucking weeks waiting for the artwork? I mean really? That's what it came down to. That's just too bad.
The whole thing is a disappointment, considering how much time everyone put into it. But I still think it's a great record. I think it will go down as being a great record down the line. Compare it lyrically to past GN'R records, where his head was at and what he was trying to get out with the record, [and] I think there's some significantly deep, thought-out stuff. Down the road people will see that.
You worked some with Paul Westerberg (of The Replacements) on the Open Season soundtrack, and rumors were flying that you two were going to do shows together. As a Replacements fan, I have to ask, is there any chance of that?
Never say never. But it's probably about as likely as an original Guns reunion. [Laughs] About that likely. For the 'Mats, there's a certain amount of baggage that Paul still carries with him, and it's harder for him to get over it. He's done his solo stuff, and scored Open Season, and done some other things since the Replacements have broken up, but he still has that traveling with him.
I don't know if it's the disappointment of not getting past it or just having to live up to being that guy. He was the singer of that band and wrote most of the songs, but it's harder for him to deal with that baggage of "Can I be as good as I was?" or "Should I even bother?" or "Should I just go play my songs and have fun?" He can't really get around that. I've been doing so much other shit, I would only be interested in doing it if we could go out and have a good time with it. You know, appreciate what we did.
I would never want to try and re-create our youth, it's fucking 20-some years ago, and there's been lots of different lifestyle changes since. There's the rub right there.
When Matt Sorum sat for the first time on the drum riser behind The Cult, he figured he'd made it. It was 1989 and the British hard rock group were at the very peak of their powers, releasing music that had genuine crossover appeal in the United States.
But little did Sorum know that The Cult would merely be a stepping stone to one of the most storied bands in modern rock history. Los Angeles natives Guns N' Roses were scouting for a new drummer, having fired Steven Adler for his continued substance abuse. Sorum joined the band, contributing his belting style to the Use Your Illusion project, and so began a feverish seven years lived on rock'n'roll's leading edge.
Of course, the Gunners are now just one of the many arcs in the greater Matt Sorum story. After he left the group in 1997, Sorum bedded down behind the boards, becoming a producer for groups such as Poe and Candlebox. In the new millennium, when he finally returned to a steady recording project, it was as a driving force behind the propulsive Velvet Revolver, along with fellow GnR alumni Slash and Duff McKagan.
Velvet Revolver are currently on hiatus as the group search for a new singer (following the acrimonious departure of Scott Weiland). Sorum, though, has stayed busy, focussing on two recording projects, Darling Stilettos and Diamond Baby, his fashion label, Sorum Noce, and playing as a drummer for hire in a variety of high-profile touring bands.
It was on a recent visit to Australia to help re-open Sydney's Hard Rock Café that TheVine caught up with Sorum and picked his brains about the ins and outs of his career so far.
--
TheVine: How was the opening last night?
Matt Sorum: It was great!
Big night?
Great night, yeah. Awesome time.
I hear that you were lucky to make it down to Sydney. There's a story floating around that you'd lost your passport.
Yeah, well. I had a bit of a whirlwind trip, I was doing four gigs in three days. I've got a couple of bands that I put together that are fun bands. I've got a band called Magnificent Seven with Steve Stevens, and some other friends from Billy Idol's band, and we went to Mexico. We were in Cabo, came back, and I had a gig that night with Dave Navarro and Billy Idol at The Roxy [in Los Angeles]. I was kind of like bringing all these people to the airport; so it's more along the lines of I set my passport down but I didn't realise it until I had to go to New York. I did a gig with Courtney Love, and then I flew back on Sunday. I thought I had everything together and when I got to the airport I realised I didn't have my passport. I almost didn't make the last flight and the last flight was 11:50. I got there at about 11:00. They were getting ready to shut it down, and the guy found my passport in the airport – an immigration guy – so I got on the last flight out.
You're just talking about how you've got a few bands on the go. You're known for your versatility, both as a drummer and in other fields. Those early days in L.A. when you were behind the kit for all sorts of different artists – Belinda Carlisle, King Solomon Burke, Tori Amos's band – how important was that for your development as a drummer? It sounds like a great apprenticeship.
I came from [an environment] of getting gigs, you know what I mean? The beauty about growing up in the '70s is that you had to have musicianship, number one, but you had to be able to sort of morph as well. When I came to Hollywood in 1979 I just grabbed every gig I could get because I didn't want to have a real job. I was jumping into all these different situations and I was picking up gigs and doing all kinds of shit.
There was one time I was in ten bands at the same time and I would drive around with this drum kit. I had this full station wagon, and I'd go from gig to gig. It was kind of a trip because I was playing in a Top-40 band five nights a week, and then going and doing other gigs to make sure that I wasn't going to get locked up in that world, because I always looked at Top-40 guys as, "Oh God, they're making a living and they get lazy." But I wanted to break out, I wanted to be in the big bands.
Is that about the time you hooked up with Amos?
I was playing in this hotel in this Top-40 band and I walked out in the lobby and saw Tori Amos sitting behind a piano. She was working in the piano bar trying to make tips -- $100 or $50 a night or whatever they paid in those days. I went up to her and we formed a band. I thought she was the most talented singer. We started a band and started playing around Hollywood. I had that going, and then she ended up getting a record deal and they fired the band [laughs]. I spent about two years with Tori to kind of be left in the dust. That was my first real taste of the cutthroat music business. I tried to build a band up to get a record deal, a band called Population Five. All the time I was doing sessions and picking up gigs.
So how long was it before you got together with the guys from The Cult?
After the Tori Amos experience I did an album for a guy named Jeff Harris and Polygram Records. I just put my name out as a gun for hire, and I got an audition for The Cult. I got offered all these heavy metal band gigs, like Winger, Warrant, Survivor, and I just never felt that music. So I turned them down … When it came time to make a big decision, I always made sure that I made the right decision, so when I found out about The Cult, I said, "Here's a band that I can sink my teeth into and get some credibility." So when I joined The Cult that was really my first taste of the big time.
They were a band at the peak of their powers. You toured with them for a couple of years. Did it feel like a big opportunity? The Gunners saw you on the last show of that tour.
Oh yeah, I was on my first tour bus, hanging out with all the big rock stars. The first show I met Steven Tyler, and the Motley Crew guys in Vancouver. Our opening show with Metallica was in British Columbia. There were all these guys and I'm like, "Oh my God, I've definitely arrived into the big leagues."
The Cult was a big band then. We'd gone platinum on the Sonic Temple album and we were starting to play arenas. So I got a real taste of the big arena world and became pretty close with the Metallica guys. We toured with them for about six months. My next tour in Europe with The Cult was with Aerosmith and all of a sudden here I am on stage with Steven Tyler, a guy that I grew up [listening to]. I would be perfectly happy to have stayed with The Cult.
Then when Guns N' Roses came along that was the next career move for me. At the time I was a sideman for The Cult. They were paying me a salary. I'm thinking, "Make me a member. Include me in the band." I made them that offer. They didn't really step up so I said, "Well I've gotta go." When I left and joined Guns N' Roses it was a big move for me.
I wanted to talk about the Guns N' Roses in a second, but skipping forward to that late '90s period, when you left Guns N' Roses and you hooked up with Lanny Cordola to work in production and on film scores. Was that the first time you started writing music, that late '90s period?
No, I always had that. I always played guitar and I always wrote and sang. I just never really was in a position to lend it to a band. I wasn't a voice in The Cult, as far as the music. I really spent a lot of time in Guns N' Roses being an arranger. I was really an arranger guy because I had a real good sense of that world, but I didn't really share in the writing, so to speak.
After that, I really wanted to branch out. When I left Guns N' Roses I was like, "You know what, I'm just going to explore my avenues." I ended up producing a platinum album for an artist named Poe. I started working with Candlebox and really started to work up the hours in the recording studio. Then I got into doing some film scores. After being in that band [Guns N' Roses] I was a bit worn out, and needed to just be myself for a while and find out who I was as a musician again.
That makes me think of your days with Velvet Revolver. That was the first time you were out front of a band. Not on stage of course, but just in terms of taking a leading role in the affairs of the group. Was that something that came naturally to you at that time?
No. That particular band was really sort of an idea that came from a death of a friend. A friend of mine passed away. I had a tribute concert. I couldn't get Ozzy because Ozzy wasn't available but the drummer that passed away was Randy Castillo [Ozzy Osbourne's drummer during the mid 1980s to early 1990s] so I called Slash and Duff and asked if they'd come and play.
We got together, Steven Tyler came, Josh [Todd] from Buckcherry sang. And Cypress Hill – those guys got up, which was kind of weird … But it came up killer, and the crowd just loved it, and the next day Slash and Duff were like, "Okay, let's do something." That was the beginning of Velvet Revolver. Then we spent two years building this project. I was really a leader in that band. Slash and Duff have always kind of taken my voice, even though I was never really represented in that way back in Guns N' Roses – I was always that guy behind the scenes.
When Velvet Revolver came along I was like, "We need to make a modern rock'n'roll album here." I was helping pick the producer, picking the mixer, picking the songs and a lot of the business end of things. I think I was a bit paranoid in a way, too. I didn't want to screw it up: "Let me help. Maybe if I help we won't screw this up."
But little did Sorum know that The Cult would merely be a stepping stone to one of the most storied bands in modern rock history. Los Angeles natives Guns N' Roses were scouting for a new drummer, having fired Steven Adler for his continued substance abuse. Sorum joined the band, contributing his belting style to the Use Your Illusion project, and so began a feverish seven years lived on rock'n'roll's leading edge.
Of course, the Gunners are now just one of the many arcs in the greater Matt Sorum story. After he left the group in 1997, Sorum bedded down behind the boards, becoming a producer for groups such as Poe and Candlebox. In the new millennium, when he finally returned to a steady recording project, it was as a driving force behind the propulsive Velvet Revolver, along with fellow GnR alumni Slash and Duff McKagan.
Velvet Revolver are currently on hiatus as the group search for a new singer (following the acrimonious departure of Scott Weiland). Sorum, though, has stayed busy, focussing on two recording projects, Darling Stilettos and Diamond Baby, his fashion label, Sorum Noce, and playing as a drummer for hire in a variety of high-profile touring bands.
It was on a recent visit to Australia to help re-open Sydney's Hard Rock Café that TheVine caught up with Sorum and picked his brains about the ins and outs of his career so far.
--
TheVine: How was the opening last night?
Matt Sorum: It was great!
Big night?
Great night, yeah. Awesome time.
I hear that you were lucky to make it down to Sydney. There's a story floating around that you'd lost your passport.
Yeah, well. I had a bit of a whirlwind trip, I was doing four gigs in three days. I've got a couple of bands that I put together that are fun bands. I've got a band called Magnificent Seven with Steve Stevens, and some other friends from Billy Idol's band, and we went to Mexico. We were in Cabo, came back, and I had a gig that night with Dave Navarro and Billy Idol at The Roxy [in Los Angeles]. I was kind of like bringing all these people to the airport; so it's more along the lines of I set my passport down but I didn't realise it until I had to go to New York. I did a gig with Courtney Love, and then I flew back on Sunday. I thought I had everything together and when I got to the airport I realised I didn't have my passport. I almost didn't make the last flight and the last flight was 11:50. I got there at about 11:00. They were getting ready to shut it down, and the guy found my passport in the airport – an immigration guy – so I got on the last flight out.
You're just talking about how you've got a few bands on the go. You're known for your versatility, both as a drummer and in other fields. Those early days in L.A. when you were behind the kit for all sorts of different artists – Belinda Carlisle, King Solomon Burke, Tori Amos's band – how important was that for your development as a drummer? It sounds like a great apprenticeship.
I came from [an environment] of getting gigs, you know what I mean? The beauty about growing up in the '70s is that you had to have musicianship, number one, but you had to be able to sort of morph as well. When I came to Hollywood in 1979 I just grabbed every gig I could get because I didn't want to have a real job. I was jumping into all these different situations and I was picking up gigs and doing all kinds of shit.
There was one time I was in ten bands at the same time and I would drive around with this drum kit. I had this full station wagon, and I'd go from gig to gig. It was kind of a trip because I was playing in a Top-40 band five nights a week, and then going and doing other gigs to make sure that I wasn't going to get locked up in that world, because I always looked at Top-40 guys as, "Oh God, they're making a living and they get lazy." But I wanted to break out, I wanted to be in the big bands.
Is that about the time you hooked up with Amos?
I was playing in this hotel in this Top-40 band and I walked out in the lobby and saw Tori Amos sitting behind a piano. She was working in the piano bar trying to make tips -- $100 or $50 a night or whatever they paid in those days. I went up to her and we formed a band. I thought she was the most talented singer. We started a band and started playing around Hollywood. I had that going, and then she ended up getting a record deal and they fired the band [laughs]. I spent about two years with Tori to kind of be left in the dust. That was my first real taste of the cutthroat music business. I tried to build a band up to get a record deal, a band called Population Five. All the time I was doing sessions and picking up gigs.
So how long was it before you got together with the guys from The Cult?
After the Tori Amos experience I did an album for a guy named Jeff Harris and Polygram Records. I just put my name out as a gun for hire, and I got an audition for The Cult. I got offered all these heavy metal band gigs, like Winger, Warrant, Survivor, and I just never felt that music. So I turned them down … When it came time to make a big decision, I always made sure that I made the right decision, so when I found out about The Cult, I said, "Here's a band that I can sink my teeth into and get some credibility." So when I joined The Cult that was really my first taste of the big time.
They were a band at the peak of their powers. You toured with them for a couple of years. Did it feel like a big opportunity? The Gunners saw you on the last show of that tour.
Oh yeah, I was on my first tour bus, hanging out with all the big rock stars. The first show I met Steven Tyler, and the Motley Crew guys in Vancouver. Our opening show with Metallica was in British Columbia. There were all these guys and I'm like, "Oh my God, I've definitely arrived into the big leagues."
The Cult was a big band then. We'd gone platinum on the Sonic Temple album and we were starting to play arenas. So I got a real taste of the big arena world and became pretty close with the Metallica guys. We toured with them for about six months. My next tour in Europe with The Cult was with Aerosmith and all of a sudden here I am on stage with Steven Tyler, a guy that I grew up [listening to]. I would be perfectly happy to have stayed with The Cult.
Then when Guns N' Roses came along that was the next career move for me. At the time I was a sideman for The Cult. They were paying me a salary. I'm thinking, "Make me a member. Include me in the band." I made them that offer. They didn't really step up so I said, "Well I've gotta go." When I left and joined Guns N' Roses it was a big move for me.
I wanted to talk about the Guns N' Roses in a second, but skipping forward to that late '90s period, when you left Guns N' Roses and you hooked up with Lanny Cordola to work in production and on film scores. Was that the first time you started writing music, that late '90s period?
No, I always had that. I always played guitar and I always wrote and sang. I just never really was in a position to lend it to a band. I wasn't a voice in The Cult, as far as the music. I really spent a lot of time in Guns N' Roses being an arranger. I was really an arranger guy because I had a real good sense of that world, but I didn't really share in the writing, so to speak.
After that, I really wanted to branch out. When I left Guns N' Roses I was like, "You know what, I'm just going to explore my avenues." I ended up producing a platinum album for an artist named Poe. I started working with Candlebox and really started to work up the hours in the recording studio. Then I got into doing some film scores. After being in that band [Guns N' Roses] I was a bit worn out, and needed to just be myself for a while and find out who I was as a musician again.
That makes me think of your days with Velvet Revolver. That was the first time you were out front of a band. Not on stage of course, but just in terms of taking a leading role in the affairs of the group. Was that something that came naturally to you at that time?
No. That particular band was really sort of an idea that came from a death of a friend. A friend of mine passed away. I had a tribute concert. I couldn't get Ozzy because Ozzy wasn't available but the drummer that passed away was Randy Castillo [Ozzy Osbourne's drummer during the mid 1980s to early 1990s] so I called Slash and Duff and asked if they'd come and play.
We got together, Steven Tyler came, Josh [Todd] from Buckcherry sang. And Cypress Hill – those guys got up, which was kind of weird … But it came up killer, and the crowd just loved it, and the next day Slash and Duff were like, "Okay, let's do something." That was the beginning of Velvet Revolver. Then we spent two years building this project. I was really a leader in that band. Slash and Duff have always kind of taken my voice, even though I was never really represented in that way back in Guns N' Roses – I was always that guy behind the scenes.
When Velvet Revolver came along I was like, "We need to make a modern rock'n'roll album here." I was helping pick the producer, picking the mixer, picking the songs and a lot of the business end of things. I think I was a bit paranoid in a way, too. I didn't want to screw it up: "Let me help. Maybe if I help we won't screw this up."
Any further news on a new Velvet Revolver record, or nailing down a new frontman for the band?
Yeah, they're at home trying out a guy right now. Their sitting in a room looking at a singer named Jimmy Gnneco. So we'll see how that goes, and then we've got a couple of other ideas. It looks like Slash is going to make another album, but I'm not sure about his touring and stuff yet. So we'll see how that goes. But we're all open to it and interested in trying to do something together.
Guns N' Roses: how often do people ask you if the band's getting back together?
I just don't have an answer. That's the thing: I'm not the guy. I wish I knew, but I'd be the last guy to hear about it, probably. You'd know about it before I would. My grandmother would call me to let me know [laughs]. I'd be a rich man if for every time I got asked that question I got handed a dollar bill. I'd be a wealthy, wealthy man.
The band's been nominated [now accepted] for induction into the Rock and Roll Hall of Fame. Does that make you think about a possible reformation?
It's going to be as big of a train wreck as The Sex Pistols, Blondie, or any of those other bands. That's my prediction. Or Van Halen, which I don't know if you saw that, but we [Velvet Revolver] were involved in that. Train wreck; it was a complete train wreck. But maybe it won't; maybe it will be a miracle; I hope for that and put out the positive vibrations. But it's coming up pretty quickly – that's in March, so we'll see.
Axl Rose was interviewed last month on That Metal Show and host Eddie Trunk talked about getting the impression that his anger towards some of the former GnR guys had dissipated quite a bit – do you get a similar impression at all?
That they're easing up a little bit?
Yeah.
I don't know, man. You know, I don't want to say, because then this will be all over the internet and I'll just get a bunch of shit for it. The problem is that a lot of the fans don't even take what I have to say with a grain of salt. I'd rather if Slash had that conversation. And Slash is the quiet one; that's the problem. He's not like me. I'm just like a guy who's a little bit more off the cuff – I kinda say what I'm feeling. Slash will just not say anything and that's the way he likes it. And then I'll open my big ol' mouth and the next thing you know I'm getting slapped around the internet by all the jackasses on their blog sites – you know what I mean?
So it's better if I just go, "I don't know shit." Which is the absolute truth [laughs]. They could be in a room right now having a coup around a bonfire, eating samoras, and talking about the resurrection of the Holy Grail. Seriously, like the Illuminati or some shit [laughs], and I wouldn't be invited, you know what I'm saying?
You've got so much else going on now – Diamond Baby, Darling Stilettos, your other production work – would you even have time or the inclination for a reunion?
If the number was high enough [laughs]. No, you know what: I just love creating music. When I left Guns N' Roses I thought I was starting to lose my soul. Why did I get into this business in the first place? Because I love music, and I want to make some music. I don't want to sit around and get caught up in a bunch of drama. If I'm going to feel uncomfortable and spiritually not well, what's the point? It's like, "Let's make some music, man." One thing I do care about is the fans. And the one thing I learned later on in life is that a lot of people got a lot of joy from that. So if that's the only reason to do it, I think that's a great reason. If everyone could just put all their differences aside. But if that time will ever come, I'm not sure. I'm cool with whatever.
It's interesting that you've moved into all sorts of other musical pursuits, but you still seem to revel in being a bit of a drummer for hire. Is that a fair comment?
I'm a drummer for hire because I still like to drive a Mercedes Benz [laughs]. If I wasn't spoiled by the accolades and lifestyle that I've put together for myself – if I'd never tasted the success – it probably would've been different. People would say, "Matt, you're not touring and making millions of dollars, you're maybe living a bit beyond your means."
I'm still a bit of a hustler. I still get out and I work. I'm a worker. But I have a home and I have a place, and I work and do stuff. I do it as excitement for myself. It's a challenge. I've always challenged myself. I came to Australia yesterday. I love that. I'm not here with the band, it's just me. The fact that they asked me to come over here for whatever credibility I add to the world is a blessing. It's been a great life and I completely trust that everything kind of comes because I'm taken care of, in a way.
I have to give a lot of that to Guns N' Roses or Velvet Revolver or any of the things that I've done in my career. It helps pave the way for all my other ventures. While half the time I have to answer all the questions, that's just part of it. It's my legacy.
You've got your own album, Hollywood Zen, and you've always been in that Los Angeles scene. What are your thoughts on the Los Angeles music scene at the moment?
There isn't really one. There's a bit of stuff happening on the strip but not like the old days. There's a Silver Lake thing going on that's all about Beck and all those hipsters over there. I call them shoegazers. The whole Coachella scene, and the shoegazer scene is those kids that stand on stage and stare at their shoes. Where are the rock stars? I don't know. That's just me. Do I like some of that music? Yeah, I like MGMT, I like some of those kind of bands. But The Killers, I see that man [Brandon Flowers] as being a real frontman. I'm more into the entertainment value. Muse: I think they've got great stuff. There's good stuff out there. The local scene in L.A., I don't really see much. I see more in Australia when I'm here.
Yeah, they're at home trying out a guy right now. Their sitting in a room looking at a singer named Jimmy Gnneco. So we'll see how that goes, and then we've got a couple of other ideas. It looks like Slash is going to make another album, but I'm not sure about his touring and stuff yet. So we'll see how that goes. But we're all open to it and interested in trying to do something together.
Guns N' Roses: how often do people ask you if the band's getting back together?
I just don't have an answer. That's the thing: I'm not the guy. I wish I knew, but I'd be the last guy to hear about it, probably. You'd know about it before I would. My grandmother would call me to let me know [laughs]. I'd be a rich man if for every time I got asked that question I got handed a dollar bill. I'd be a wealthy, wealthy man.
The band's been nominated [now accepted] for induction into the Rock and Roll Hall of Fame. Does that make you think about a possible reformation?
It's going to be as big of a train wreck as The Sex Pistols, Blondie, or any of those other bands. That's my prediction. Or Van Halen, which I don't know if you saw that, but we [Velvet Revolver] were involved in that. Train wreck; it was a complete train wreck. But maybe it won't; maybe it will be a miracle; I hope for that and put out the positive vibrations. But it's coming up pretty quickly – that's in March, so we'll see.
Axl Rose was interviewed last month on That Metal Show and host Eddie Trunk talked about getting the impression that his anger towards some of the former GnR guys had dissipated quite a bit – do you get a similar impression at all?
That they're easing up a little bit?
Yeah.
I don't know, man. You know, I don't want to say, because then this will be all over the internet and I'll just get a bunch of shit for it. The problem is that a lot of the fans don't even take what I have to say with a grain of salt. I'd rather if Slash had that conversation. And Slash is the quiet one; that's the problem. He's not like me. I'm just like a guy who's a little bit more off the cuff – I kinda say what I'm feeling. Slash will just not say anything and that's the way he likes it. And then I'll open my big ol' mouth and the next thing you know I'm getting slapped around the internet by all the jackasses on their blog sites – you know what I mean?
So it's better if I just go, "I don't know shit." Which is the absolute truth [laughs]. They could be in a room right now having a coup around a bonfire, eating samoras, and talking about the resurrection of the Holy Grail. Seriously, like the Illuminati or some shit [laughs], and I wouldn't be invited, you know what I'm saying?
You've got so much else going on now – Diamond Baby, Darling Stilettos, your other production work – would you even have time or the inclination for a reunion?
If the number was high enough [laughs]. No, you know what: I just love creating music. When I left Guns N' Roses I thought I was starting to lose my soul. Why did I get into this business in the first place? Because I love music, and I want to make some music. I don't want to sit around and get caught up in a bunch of drama. If I'm going to feel uncomfortable and spiritually not well, what's the point? It's like, "Let's make some music, man." One thing I do care about is the fans. And the one thing I learned later on in life is that a lot of people got a lot of joy from that. So if that's the only reason to do it, I think that's a great reason. If everyone could just put all their differences aside. But if that time will ever come, I'm not sure. I'm cool with whatever.
It's interesting that you've moved into all sorts of other musical pursuits, but you still seem to revel in being a bit of a drummer for hire. Is that a fair comment?
I'm a drummer for hire because I still like to drive a Mercedes Benz [laughs]. If I wasn't spoiled by the accolades and lifestyle that I've put together for myself – if I'd never tasted the success – it probably would've been different. People would say, "Matt, you're not touring and making millions of dollars, you're maybe living a bit beyond your means."
I'm still a bit of a hustler. I still get out and I work. I'm a worker. But I have a home and I have a place, and I work and do stuff. I do it as excitement for myself. It's a challenge. I've always challenged myself. I came to Australia yesterday. I love that. I'm not here with the band, it's just me. The fact that they asked me to come over here for whatever credibility I add to the world is a blessing. It's been a great life and I completely trust that everything kind of comes because I'm taken care of, in a way.
I have to give a lot of that to Guns N' Roses or Velvet Revolver or any of the things that I've done in my career. It helps pave the way for all my other ventures. While half the time I have to answer all the questions, that's just part of it. It's my legacy.
You've got your own album, Hollywood Zen, and you've always been in that Los Angeles scene. What are your thoughts on the Los Angeles music scene at the moment?
There isn't really one. There's a bit of stuff happening on the strip but not like the old days. There's a Silver Lake thing going on that's all about Beck and all those hipsters over there. I call them shoegazers. The whole Coachella scene, and the shoegazer scene is those kids that stand on stage and stare at their shoes. Where are the rock stars? I don't know. That's just me. Do I like some of that music? Yeah, I like MGMT, I like some of those kind of bands. But The Killers, I see that man [Brandon Flowers] as being a real frontman. I'm more into the entertainment value. Muse: I think they've got great stuff. There's good stuff out there. The local scene in L.A., I don't really see much. I see more in Australia when I'm here.
The Associated Press recently spoke to Chris Cornell about the singer's current acoustic solo tour and the reunion of grunge legends SOUNDGARDEN, which he calls "hugely fulfilling." You can now check out the chat below.
Cornell's appearance on NBC-TV 's "The Tonight Show With Jay Leno", which was originally set for last night (Friday, December 16), has been rescheduled for January 5.
Although Cornell has been recording a new album with SOUNDGARDEN for the first time in 15 years, he continues to work as a solo artist as well. He told Spin.com how it's different from playing with a band. "An acoustic show is all about you, and any little nuance or mistake is amplified," Cornell explained. "I'm very nervous about it, but I love the intimacy. Once you sit in front of people and start playing songs, it's all on you. No matter what happens, it's entirely your responsibility the entire time. I like that intensity."
Cornell told The Pulse Of Radio that he sees working with SOUNDGARDEN again as having a positive influence on his solo career. "One thing about a solo artist is you can just be in a room way too long with yourself and your own thoughts and your own songs, and it feels really good to be working with Ben (Shepherd, bassist) and Matt (Cameron, drummer) and Kim (Thayil, guitarist) again, and it's actually a really nice reprieve also from just being alone, doing what I do," he said. "It's helping with the balance, I think, too."
Cornell has issued three solo albums. The last one, 2009's "Scream", was trashed by critics and fans for abandoning Cornell's rock roots for an urban pop sound.
SOUNDGARDEN reunited last year after disbanding in 1997.
Cornell's appearance on NBC-TV 's "The Tonight Show With Jay Leno", which was originally set for last night (Friday, December 16), has been rescheduled for January 5.
Although Cornell has been recording a new album with SOUNDGARDEN for the first time in 15 years, he continues to work as a solo artist as well. He told Spin.com how it's different from playing with a band. "An acoustic show is all about you, and any little nuance or mistake is amplified," Cornell explained. "I'm very nervous about it, but I love the intimacy. Once you sit in front of people and start playing songs, it's all on you. No matter what happens, it's entirely your responsibility the entire time. I like that intensity."
Cornell told The Pulse Of Radio that he sees working with SOUNDGARDEN again as having a positive influence on his solo career. "One thing about a solo artist is you can just be in a room way too long with yourself and your own thoughts and your own songs, and it feels really good to be working with Ben (Shepherd, bassist) and Matt (Cameron, drummer) and Kim (Thayil, guitarist) again, and it's actually a really nice reprieve also from just being alone, doing what I do," he said. "It's helping with the balance, I think, too."
Cornell has issued three solo albums. The last one, 2009's "Scream", was trashed by critics and fans for abandoning Cornell's rock roots for an urban pop sound.
SOUNDGARDEN reunited last year after disbanding in 1997.
British rock legends UFO will release their new album, "Seven Deadly", on February 28, 2012 (one day earlier internationally) via SPV/Steamhammer. The effort, which was recorded with producer Tommy Newton at his Area 51 studio in Celle, Germany, will be made available as a limited-edition digipack (including two bonus tracks), a double gatefold LP with printed innersleeves and colored vinyl, standard-edition CD and as a digital download.
"Seven Deadly" track listing:
01. Fight Night
02. Wonderland
03. Mojo Town
04. Angel Station
05. Year Of The Gun
06. The Last Stone Rider
07. Steal Yourself
08. Burn Your House Down
09. The Fear
10. Waving Good Bye
11. Other Men's Wives (bonus track)
12. Bag O' Blues (bonus track)
According to a press release, "Seven Deadly" is "an atmospherically dense fabric consisting of classy guitars, tight rock grooves and vocals which are unique to UFO. The classic rock of 'Burn Your House Down' features all the important UFO strengths, 'Going Down To Mojotown' sees the musicians sound tougher than ever, and last but not least, 'Wonderland' features a pointed reference to UFO's early days. 'Angel Station' sees the band prove how classic rock music is complemented perfectly with epic elements, while 'Fight Night' is an excellent track to be performed in a live context."
UFO's latest best-of collection, "Best Of A Decade", was released in North America on September 28, 2010 via SPV/Steamhammer.
The band's most recent studio album, "The Visitor", came out in June 2009.
The current lineup continues to consist of the three original members, Phil Mogg (vocals), Paul Raymond (guitar, keyboards), and Andy Parker (drums), as well as American world-class guitarist Vinnie Moore.
Pictured below at Area 51 studios in Celle, Germany (from left to right): Peter Knorn (manager, UFO), Tommy Newton (sound engineer), Olly Hahn (A&R, Steamhammer), Phil Mogg (singer, UFO)
"Seven Deadly" track listing:
01. Fight Night
02. Wonderland
03. Mojo Town
04. Angel Station
05. Year Of The Gun
06. The Last Stone Rider
07. Steal Yourself
08. Burn Your House Down
09. The Fear
10. Waving Good Bye
11. Other Men's Wives (bonus track)
12. Bag O' Blues (bonus track)
According to a press release, "Seven Deadly" is "an atmospherically dense fabric consisting of classy guitars, tight rock grooves and vocals which are unique to UFO. The classic rock of 'Burn Your House Down' features all the important UFO strengths, 'Going Down To Mojotown' sees the musicians sound tougher than ever, and last but not least, 'Wonderland' features a pointed reference to UFO's early days. 'Angel Station' sees the band prove how classic rock music is complemented perfectly with epic elements, while 'Fight Night' is an excellent track to be performed in a live context."
UFO's latest best-of collection, "Best Of A Decade", was released in North America on September 28, 2010 via SPV/Steamhammer.
The band's most recent studio album, "The Visitor", came out in June 2009.
The current lineup continues to consist of the three original members, Phil Mogg (vocals), Paul Raymond (guitar, keyboards), and Andy Parker (drums), as well as American world-class guitarist Vinnie Moore.
Pictured below at Area 51 studios in Celle, Germany (from left to right): Peter Knorn (manager, UFO), Tommy Newton (sound engineer), Olly Hahn (A&R, Steamhammer), Phil Mogg (singer, UFO)
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/ufosevendeadly.jpg
RATT singer Stephen Pearcy has released "Alive & Unplugged", a collection of the band's hits recorded "live and unplugged," via his Top Fuel Records.
The track listing for the effort is as follows:
01. Lovin You's A Dirty Job
02. Back For More
03. Mother Blues
04. Way Cool Jr.
05. You Think You're Tough
06. You're In Love
07. Round & Round
08. Wanted Man
Check out audio samples at Amazon.com.
Stephen Pearcy's new solo album, "Sucker Punch", is due in 2012. The singer told Noisecreep about the CD, "What I wanted to do on this new material was get a real live feel to everything. So I've been tracking stuff in-between live appearances.
"I decided to release a sample single on iTunes called 'Don't Want to Talk About' to get input from my hardcore fans. So far the reaction has been great.
"It's going to be a brutally honest record and I think my fans want that from me at this point."
Pearcy was recently on the road as part of the "Metal In America" tour. The singer's touring band includes an impressive pedigree of rock alumni consisting of drummer Greg D'Angelo (ex-WHITE LION), guitarist Greg Walls (ex-ANTHRAX), bassist Mike Duda (W.A.S.P.) and guitarist Erik Ferentinos (ANTIDIVISION; signed to Pearcy's Top Fuel Records).
For tour date information, visit www.stephen-pearcy.com.
The track listing for the effort is as follows:
01. Lovin You's A Dirty Job
02. Back For More
03. Mother Blues
04. Way Cool Jr.
05. You Think You're Tough
06. You're In Love
07. Round & Round
08. Wanted Man
Check out audio samples at Amazon.com.
Stephen Pearcy's new solo album, "Sucker Punch", is due in 2012. The singer told Noisecreep about the CD, "What I wanted to do on this new material was get a real live feel to everything. So I've been tracking stuff in-between live appearances.
"I decided to release a sample single on iTunes called 'Don't Want to Talk About' to get input from my hardcore fans. So far the reaction has been great.
"It's going to be a brutally honest record and I think my fans want that from me at this point."
Pearcy was recently on the road as part of the "Metal In America" tour. The singer's touring band includes an impressive pedigree of rock alumni consisting of drummer Greg D'Angelo (ex-WHITE LION), guitarist Greg Walls (ex-ANTHRAX), bassist Mike Duda (W.A.S.P.) and guitarist Erik Ferentinos (ANTIDIVISION; signed to Pearcy's Top Fuel Records).
For tour date information, visit www.stephen-pearcy.com.
Billboard magazine has put together a tasting at New York's City Winery and invited a panel of experts — three winos and Billboard's own editorial director, who puts it all in musical perspective — to sound off on 12 artist-branded wines, including those from AC/DC, MOTÖRHEAD, WARRANT, RATT and WHITESNAKE.
The Panel
* Michael Dorf, owner of City Winery & founder of the Knitting Factory
* Robert Haynes-Peterson, wine & spirits journalist (Beverage Media, Vegas Magazine, etc.)
* Matt Weiss, professional sommelier (formerly of BLT Prime)
* Bill Werde, Billboard's editorial director
The Panel
* Michael Dorf, owner of City Winery & founder of the Knitting Factory
* Robert Haynes-Peterson, wine & spirits journalist (Beverage Media, Vegas Magazine, etc.)
* Matt Weiss, professional sommelier (formerly of BLT Prime)
* Bill Werde, Billboard's editorial director
Dutch symphonic metallers EPICA will release their fifth full-length album, "Requiem For The Indifferent", on March 9, 2012 in Europe and four days later in North America via Nuclear Blast Records. The CD was recorded at Gate Studio in Wolfsburg, Germany under the watchful eye of Sascha Paeth.
"Requiem For The Indifferent" track listing:
01. Karma
02. Monopoly On Truth
03. Storm The Sorrow
04. Delirium
05. Internal Warfare
06. Requiem For The Indifferent
07. Anima
08. Guilty Demeanor
09. Deep Water Horizon
10. Stay The Course
11. Deter The Tyrant
12. Avalanche
13. Serenade Of Self-Destruction
The artwork for the CD was created by Stephan Heilemann and can be seen below.
Regarding the "Requiem For The Indifferent" album title, the band previously said, "This title refers to the end of an era. Mankind can no longer stick their head in the sand for the things that are happening around us. We are facing many challenges. There is an enormous tension between different religions and cultures, wars, natural disasters and a huge financial crisis, which is getting out of control. More than ever we will need each other to overcome these problems. As we are all connected; the universe, earth, nature, animals and human beings, this period in time will be the prelude to the end for those who still don't want to, or simply won't see it. 'A Requiem For The Indifferent', but also a possibility for a new beginning with great new chances!"
A CD-release party for the new EPICA album will be held on March 16, 2012 at 013 in Tilburg, Netherlands.
EPICA will play the new album in its entirety, along with some older tracks, during the more-than-two-hour event. Pyrotechnics and special show elements will be added as well.
EPICA's last album, "Design Your Universe", landed at position No. 12 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.
"This Is The Time", the latest single from EPICA, was released digitally on October 15, 2010. A video for the song, which was written for the World Wildlife Fund (WWF), was filmed in March 2010 was in Hilversum, The Netherlands.
"Requiem For The Indifferent" track listing:
01. Karma
02. Monopoly On Truth
03. Storm The Sorrow
04. Delirium
05. Internal Warfare
06. Requiem For The Indifferent
07. Anima
08. Guilty Demeanor
09. Deep Water Horizon
10. Stay The Course
11. Deter The Tyrant
12. Avalanche
13. Serenade Of Self-Destruction
The artwork for the CD was created by Stephan Heilemann and can be seen below.
Regarding the "Requiem For The Indifferent" album title, the band previously said, "This title refers to the end of an era. Mankind can no longer stick their head in the sand for the things that are happening around us. We are facing many challenges. There is an enormous tension between different religions and cultures, wars, natural disasters and a huge financial crisis, which is getting out of control. More than ever we will need each other to overcome these problems. As we are all connected; the universe, earth, nature, animals and human beings, this period in time will be the prelude to the end for those who still don't want to, or simply won't see it. 'A Requiem For The Indifferent', but also a possibility for a new beginning with great new chances!"
A CD-release party for the new EPICA album will be held on March 16, 2012 at 013 in Tilburg, Netherlands.
EPICA will play the new album in its entirety, along with some older tracks, during the more-than-two-hour event. Pyrotechnics and special show elements will be added as well.
EPICA's last album, "Design Your Universe", landed at position No. 12 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.
"This Is The Time", the latest single from EPICA, was released digitally on October 15, 2010. A video for the song, which was written for the World Wildlife Fund (WWF), was filmed in March 2010 was in Hilversum, The Netherlands.
EXODUS, POSSESSED, FORBIDDEN and HEATHEN are among the bands who will perform at a special concert to mark the 10-year anniversary of former EXODUS singer Paul Baloff's passing. Dubbed "Bonded By Baloff: A Decade Of Remembrance", the event will take place on Saturday, February 4, 2012 at the Oakland Metro Operahouse and will feature "a mind-blowing lineup that will rock your socks off!" according to a press release.
Scheduled performers:
Main Stage
EXODUS
POSSESSED
FORBIDDEN
HEATHEN
MAD AT SAM
Second Stage
ANGERHEAD
MUDFACE
THE VENTING MACHINE
HELLFIRE
HYSTERIA
You can purchase advance tickets at this location.
It was almost a decade ago — on January 31, 2002 — that Paul Baloff suffered a major stroke and was brought to Highland General Hospital in Northern California, where he remained in a coma until he was declared brain dead. On February 2, 2002, his doctors shut off his life support, leaving him to die in his sleep. He had no previous known health problems, and the stroke was a complete surprise to everyone around him.
On the fifth anniversary of Baloff's passing, EXODUS guitarist Gary Holt said, "[Paul's] contribution to metal lives on. How else can you explain how a guy can record one album (twice!) and still be remembered as a thrash legend to this very day? Raise those glasses high, and hide your wallets, because Paul might just be right behind you!"
"Let There Be Blood", the controversial re-recording of EXODUS' classic 1985 debut album, "Bonded by Blood", was issued in October 2008 through Zaentz Records.
Regarding the band's decision to re-record "Bonded By Blood", Holt previously said: "It is our way of paying homage to Paul Baloff by showing how relevant these songs we had written together still are. We aren't trying to replace the original; that's impossible anyway. We are just giving these songs the benefit of modern production. It's something we talked about before Paul's death and it's always been important to us to do. We were super-excited about entering the studio once again to record these classics." Current EXODUS vocalist Rob Dukes added, "Paul was rad, totally original. He was not like [METALLICA's James] Hetfield or [SLAYER's Tom] Araya. I think at times he wanted to be, but he was simply himself. He had a really cool way of going up with his voice in the weirdest spots. I, myself, find it cool and original."
Scheduled performers:
Main Stage
EXODUS
POSSESSED
FORBIDDEN
HEATHEN
MAD AT SAM
Second Stage
ANGERHEAD
MUDFACE
THE VENTING MACHINE
HELLFIRE
HYSTERIA
You can purchase advance tickets at this location.
It was almost a decade ago — on January 31, 2002 — that Paul Baloff suffered a major stroke and was brought to Highland General Hospital in Northern California, where he remained in a coma until he was declared brain dead. On February 2, 2002, his doctors shut off his life support, leaving him to die in his sleep. He had no previous known health problems, and the stroke was a complete surprise to everyone around him.
On the fifth anniversary of Baloff's passing, EXODUS guitarist Gary Holt said, "[Paul's] contribution to metal lives on. How else can you explain how a guy can record one album (twice!) and still be remembered as a thrash legend to this very day? Raise those glasses high, and hide your wallets, because Paul might just be right behind you!"
"Let There Be Blood", the controversial re-recording of EXODUS' classic 1985 debut album, "Bonded by Blood", was issued in October 2008 through Zaentz Records.
Regarding the band's decision to re-record "Bonded By Blood", Holt previously said: "It is our way of paying homage to Paul Baloff by showing how relevant these songs we had written together still are. We aren't trying to replace the original; that's impossible anyway. We are just giving these songs the benefit of modern production. It's something we talked about before Paul's death and it's always been important to us to do. We were super-excited about entering the studio once again to record these classics." Current EXODUS vocalist Rob Dukes added, "Paul was rad, totally original. He was not like [METALLICA's James] Hetfield or [SLAYER's Tom] Araya. I think at times he wanted to be, but he was simply himself. He had a really cool way of going up with his voice in the weirdest spots. I, myself, find it cool and original."
Members of EXODUS, DESTRUCTION, HEATHEN and MORTAL SIN joined Brazilian/American thrashers SEPULTURA on stage this past Friday night (December 16) at the Eindhoven Metal Meeting at Effenaar in Eindhoven, The Netherlands to perform the songs "Kaiowas" and "Refuse/Resist".
Check out photos from Metal-Experience.com.
SEPULTURA, EXODUS, DESTRUCTION, HEATHEN and MORTAL SIN are currently on the road in Europe as part of the "Thrashfest Classics" tour.
SEPULTURA's setlist for "Thrashfest Classics" consists of material exclusively from the "Beneath The Remains", "Arise" and "Chaos A.D." albums. The trek's other co-headliner, EXODUS, is performing songs from the "Bonded By Blood", "Pleasures Of The Flesh" and "Fabulous Disaster"; DESTRUCTION is playing tracks from "Sentence Of Death" and "Infernal Overkill"; and HEATHEN is performing selections from "Breaking The Silence" and "Victims Of Deception". MORTAL SIN's setlist consists of material from the "Mayhemic Destruction" and "Face Of Despair" albums.
SEPULTURA recorded a cover version of the EXODUS classic "Piranha" for its covers-only EP, titled "Revolusongs", which was released through FNM/Universal Records in Brazil in December 2002.
Check out photos from Metal-Experience.com.
SEPULTURA, EXODUS, DESTRUCTION, HEATHEN and MORTAL SIN are currently on the road in Europe as part of the "Thrashfest Classics" tour.
SEPULTURA's setlist for "Thrashfest Classics" consists of material exclusively from the "Beneath The Remains", "Arise" and "Chaos A.D." albums. The trek's other co-headliner, EXODUS, is performing songs from the "Bonded By Blood", "Pleasures Of The Flesh" and "Fabulous Disaster"; DESTRUCTION is playing tracks from "Sentence Of Death" and "Infernal Overkill"; and HEATHEN is performing selections from "Breaking The Silence" and "Victims Of Deception". MORTAL SIN's setlist consists of material from the "Mayhemic Destruction" and "Face Of Despair" albums.
SEPULTURA recorded a cover version of the EXODUS classic "Piranha" for its covers-only EP, titled "Revolusongs", which was released through FNM/Universal Records in Brazil in December 2002.
Current and former members of DOKKEN — George Lynch (guitar), Jeff Pilson (bass), and Mick Brown (drums) — have joined forces in a new project called TOOTH AND NAIL. The band is currently in the studio recording on album featuring new original material as well as reworked versions of around five or six DOKKEN classics. The lead vocal duties on the CD — which is tentatively due in march 2012 — will be handled by former SKID ROW frontman Sebastian Bach (on DOKKEN's "Alone Again"), Doug Pinnick (KING'S X), Jeff Pilson and Mick Brown (on DOKKEN's "When Heaven Comes Down"). The drum tracks on the new, original compositions will be handled by Brian Tichy (WHITESNAKE, FOREIGNER).
TOOTH AND NAIL recently took part in a photo session with acclaimed photographer Alex Solca. Those pictures, along with an official press release announcing the project, are expected to be made available in the next couple of weeks.
After laying down his tracks on Thursday, December 15 at Pilson's studio, Bach tweeted, "[I] had a blast! I forgot how great the song is." He added, "Get ready for another ballad, because every bad boy has a soft side! Hahaha."
For more information, visit TOOTH AND NAIL's official Facebook page.
Fans have been clamoring for a reunion of DOKKEN's most popular lineup for over a decade, and rumors of such a project flourished in 2009 when vocalist Don Dokken and George Lynch appeared together on VH1 Classic's "That Metal Show". Lynch has since shot down the possibility of a renewed collaboration with the singer, telling the Appleton Post Crescent in a November 2011 interview, "The same motivation that caused [Don] to break up the band originally was the same reason the reunion didn't happen. At the end of the day, he made it sound as if he was willing to go along and be fair and split everything up as a band and when it came down to the eleventh hour, he wanted it all. He figured he'd set the ball in motion and get everybody's hopes up and do all the press and have all these meetings and do all this legwork and put the managers and band members through all this pain. You get invested in the idea and then this is his whole car salesman bait-and-switch." He added, "He's a piece of work. Whatever. And I don't mind talking about this. People say you shouldn't talk about all this stuff. No one wants to hear about that. Actually, I think that it's important. I think people are interested in how the business works. Behind-the-scenes stuff, what really occurs when the rubber hits the road."
TOOTH AND NAIL recently took part in a photo session with acclaimed photographer Alex Solca. Those pictures, along with an official press release announcing the project, are expected to be made available in the next couple of weeks.
After laying down his tracks on Thursday, December 15 at Pilson's studio, Bach tweeted, "[I] had a blast! I forgot how great the song is." He added, "Get ready for another ballad, because every bad boy has a soft side! Hahaha."
For more information, visit TOOTH AND NAIL's official Facebook page.
Fans have been clamoring for a reunion of DOKKEN's most popular lineup for over a decade, and rumors of such a project flourished in 2009 when vocalist Don Dokken and George Lynch appeared together on VH1 Classic's "That Metal Show". Lynch has since shot down the possibility of a renewed collaboration with the singer, telling the Appleton Post Crescent in a November 2011 interview, "The same motivation that caused [Don] to break up the band originally was the same reason the reunion didn't happen. At the end of the day, he made it sound as if he was willing to go along and be fair and split everything up as a band and when it came down to the eleventh hour, he wanted it all. He figured he'd set the ball in motion and get everybody's hopes up and do all the press and have all these meetings and do all this legwork and put the managers and band members through all this pain. You get invested in the idea and then this is his whole car salesman bait-and-switch." He added, "He's a piece of work. Whatever. And I don't mind talking about this. People say you shouldn't talk about all this stuff. No one wants to hear about that. Actually, I think that it's important. I think people are interested in how the business works. Behind-the-scenes stuff, what really occurs when the rubber hits the road."
Swedish multi-instrumentalist Snowy Shaw has set "Snowy Shaw Is Alive!" as the title of his new live album, due just a few days before Christmas via iTunes. A "super-deluxe, limited-edition" double vinyl version of the record will be made available in early 2012.
"Snowy Shaw Is Alive!" was recorded at Snowy's concert on May 27, 2011 at the Brew House in Gothenburg, Sweden. The special event saw Shaw performing "all his favorite songs" from "all his former bands" — including KING DIAMOND, NOTRE DAME, DREAM EVIL, MERCYFUL FATE, THERION, MEMENTO MORI, ILLWILL, XXX and DIMMU BORGIR — and featured guest appearances by the following musicians:
* Andy La Rocque (KING DIAMOND, ILLWILL)
* Mike Wead (BIBLEBLACK, KING DIAMOND, MERCYFUL FATE)
* Hal Patino (KING DIAMOND)
* Mats Levén (THERION, YNGWIE MALMSTEEN, TREAT, KRUX)
* Thomas Vikström (CANDLEMASS)
* Kee Marcello (EUROPE)
* Jackie Patino (a.k.a. Maryann Cotton)
Snowy's backing band consisted of the following players:
* Kristian Niemann (ex-THERION) - Lead Guitar
* Mannequin De Sade (ex-NOTRE DAME, ENGEL) - Drums
* Elvira - Bass
The "Snowy Shaw Is Alive!" artwork was created by Snowy Shaw, with illustration by Andrej Bartulovic.
Due to the "astonishing response" and many offers from festival promoters and booking agencies, Snowy has decided to postpone the release of the DVD version of the Brew House concert "with the intention of having even more material filmed and included from the upcoming shows," according to a press release.
When asked what prompted him to stage this unusual concert, Snowy told BLABBERMOUTH.NET earlier in the year, "First of all, few people been involved in as many bands as I have, and over the years people kept saying I should revive NOTRE DAME, reunite with KING DIAMOND or MEMENTO MORI, or that DREAM EVIL wasn't as good without me and so on. Personally, I'm not a big fan of moving backwards, but this concept is something altogether new and fresh, perhaps even unique. To the best of my knowledge, I don't know of anyone else who've done anything like this before, and I [felt] really excited and optimistic about it. From the moment it first crossed my mind and the more I thought about it, I loved the idea of offering people a kick-ass 'best- of' show with all the favorites, classics and hits of all my former bands together with my all-s
"Snowy Shaw Is Alive!" was recorded at Snowy's concert on May 27, 2011 at the Brew House in Gothenburg, Sweden. The special event saw Shaw performing "all his favorite songs" from "all his former bands" — including KING DIAMOND, NOTRE DAME, DREAM EVIL, MERCYFUL FATE, THERION, MEMENTO MORI, ILLWILL, XXX and DIMMU BORGIR — and featured guest appearances by the following musicians:
* Andy La Rocque (KING DIAMOND, ILLWILL)
* Mike Wead (BIBLEBLACK, KING DIAMOND, MERCYFUL FATE)
* Hal Patino (KING DIAMOND)
* Mats Levén (THERION, YNGWIE MALMSTEEN, TREAT, KRUX)
* Thomas Vikström (CANDLEMASS)
* Kee Marcello (EUROPE)
* Jackie Patino (a.k.a. Maryann Cotton)
Snowy's backing band consisted of the following players:
* Kristian Niemann (ex-THERION) - Lead Guitar
* Mannequin De Sade (ex-NOTRE DAME, ENGEL) - Drums
* Elvira - Bass
The "Snowy Shaw Is Alive!" artwork was created by Snowy Shaw, with illustration by Andrej Bartulovic.
Due to the "astonishing response" and many offers from festival promoters and booking agencies, Snowy has decided to postpone the release of the DVD version of the Brew House concert "with the intention of having even more material filmed and included from the upcoming shows," according to a press release.
When asked what prompted him to stage this unusual concert, Snowy told BLABBERMOUTH.NET earlier in the year, "First of all, few people been involved in as many bands as I have, and over the years people kept saying I should revive NOTRE DAME, reunite with KING DIAMOND or MEMENTO MORI, or that DREAM EVIL wasn't as good without me and so on. Personally, I'm not a big fan of moving backwards, but this concept is something altogether new and fresh, perhaps even unique. To the best of my knowledge, I don't know of anyone else who've done anything like this before, and I [felt] really excited and optimistic about it. From the moment it first crossed my mind and the more I thought about it, I loved the idea of offering people a kick-ass 'best- of' show with all the favorites, classics and hits of all my former bands together with my all-s
Little Rock, Arkansas doom metal disciples PALLBEARER have completed work on their debut album, "Sorrow And Extinction", for a February 21, 2012 release via Profound Lore Records.
With the band's style of epic traditional doom treading the fine line of colossal amplifier-worship heaviness and introspective searing melodicism (in which a lot of said element is due to vocalist Brett Campbell's enigmatic and memorable distinct vocals), "Sorrow And Extinction" culls from a sound picture that also references '70s prog and the old-school Peaceville doom era (i.e. early PARADISE LOST and ANATHEMA), all while upholding the tradition of '80s classic doom (i.e. CANDLEMASS and TROUBLE).
"Sorrow And Extinction" track listing:
01. Foreigner
02. Devoid Of Redemption
03. The Legend
04. An Offering Of Grief
05. Given To The Grave
With the band's style of epic traditional doom treading the fine line of colossal amplifier-worship heaviness and introspective searing melodicism (in which a lot of said element is due to vocalist Brett Campbell's enigmatic and memorable distinct vocals), "Sorrow And Extinction" culls from a sound picture that also references '70s prog and the old-school Peaceville doom era (i.e. early PARADISE LOST and ANATHEMA), all while upholding the tradition of '80s classic doom (i.e. CANDLEMASS and TROUBLE).
"Sorrow And Extinction" track listing:
01. Foreigner
02. Devoid Of Redemption
03. The Legend
04. An Offering Of Grief
05. Given To The Grave
Norway's BORKNAGAR has entered Fascination Street Studios in Örebro, Sweden to begin mixing its new album with Jens Bogren, who has previously worked with such acts as KATATONIA, OPETH, PARADISE LOST and AMON AMARTH. The CD is tentatively due in February 2012 via Century Media Records.
Regarding the sound of BORKNAGAR's forthcoming album, mainman Øystein G. Brun previously said, "Looking back on our previous releases, our major challenge has always been to materialize our highly detailed music and compromises have been done production-wise. This time around there will be no compromise and hopefully you will witness the most powerful, rich, detailed and dynamic BORKNAGAR album to date!"
BORKNAGAR recently parted ways with David Kinkade "due to the logistical challenges [the band has] been facing having a U.S. drummer in a Norwegian band the last couple of years."The group added, "Sometimes reality bites and in order to be a fully operative band, we need a drummer based in Norway."
In a separate statement released to BLABBERMOUTH.NET, Kinkade said about his departure from BORKNAGAR, "I am leaving BORKNAGAR due to a number of reasons completely out of my control but I assure you that I've thought it through for quite some time now and I can honestly say that the spark just isn't there for me anymore. I tried everything I could over the past three years to make things happen. Now I just hope, for the fans' sake, that they will completely deliver... The fans really deserve it. I wish BORKNAGAR all the best in their future endeavors."
Kinkade, who has previously played with joined ARSIS and MALEVOLENT CREATION, joined SOULFLY a few months ago following the departure of that group's longtime skinsman Joe Nunez.
BORKNAGAR's last album, "Universal", sold around 500 copies in the United States in its first week of release. The CD landed at position No. 116 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.
"Universal" was released on February 22, 2010 in Europe and March 2, 2010 in North America through Indie Recordings.
BORKNAGAR recently parted ways with David Kinkade "due to the logistical challenges [the band has] been facing having a U.S. drummer in a Norwegian band the last couple of years."The group added, "Sometimes reality bites and in order to be a fully operative band, we need a drummer based in Norway."
In a separate statement released to BLABBERMOUTH.NET, Kinkade said about his departure from BORKNAGAR, "I am leaving BORKNAGAR due to a number of reasons completely out of my control but I assure you that I've thought it through for quite some time now and I can honestly say that the spark just isn't there for me anymore. I tried everything I could over the past three years to make things happen. Now I just hope, for the fans' sake, that they will completely deliver... The fans really deserve it. I wish BORKNAGAR all the best in their future endeavors."
Kinkade, who has previously played with joined ARSIS and MALEVOLENT CREATION, joined SOULFLY a few months ago following the departure of that group's longtime skinsman Joe Nunez.
BORKNAGAR's last album, "Universal", sold around 500 copies in the United States in its first week of release. The CD landed at position No. 116 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.
"Universal" was released on February 22, 2010 in Europe and March 2, 2010 in North America through Indie Recordings.
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