According to News Shopper, legendary LED ZEPPELIN bassist John Paul Jones, who is also a member of THEM CROOKED VULTURES, will receive an honorary fellowship from Deptford's (a district of South London, Engand) Trinity Laban Conservatoire of Music and Dance. Jones will receive the accolade at the prestigious performing arts college in Creekside today. He will join the ranks of other acclaimed artists who have received the honor, including Oscar-nominated composer John Powell.
Canadian documentarian Sam Dunn of Banger Films ("Metal: A Headbangers Journey", "Rush: Beyond The Lighted Stage") recently spoke to Spinner.com about the Alice Cooper documentary he is currently working on.
"We know Alice through various projects that we've done," he said. "We interviewed Alice for 'Headbanger's Journey'. He's also featured pretty prominently in two episodes of [the new groundbreaking documentary series] 'Metal Evolution', both in [the] Shock Rock and Early Metal U.S. [episodes]. He's a pretty fascinating character, who has been through a lot in his life. He's one of those musicians that maybe he hasn't had a hit in a long time, but everyone knows who Alice Cooper is because of his influence on pop culture and the big songs he had in the '70s. . . We're in the early stages of telling the story of his career. We're probably going to focus in on his early years up to his comeback in the '80s. We're exploring a different stylist approach with this film. It won't be talking heads; it's going to be more of an archival and animated journey through his career. He's such a rich visual artist, it makes so much sense to try and do it in a different way. I think we're just a little bit sick of doing talking head interviews, to be honest [laughs], after doing 300 of them for 'Metal Evolution'. So it's really the story of Alice's career from the '60s right up to the '80s and everything he went through — the ups and the downs, battles with alcoholism, being raised in a Christian family, rebelling against that but then coming back to faith later in his career, and moving from town to town, and trying to find his place."
The Alice Cooper documentary is tentatively scheduled to premiere at the TIFF (Toronto International Film Festival) in September 2012.
Alice Cooper's new album, "Welcome 2 My Nightmare", sold 18,000 copies in the United States in its first week of release to debut at position No. 22 on The Billboard 200 chart. Cooper's previous CD, 2008's "Along Came A Spider", opened with just under 10,000 copies to land at No. 53.
Recorded with longtime collaborator Bob Ezrin, who produced the original multi-platinum "Welcome To My Nightmare" album in 1975, "Welcome 2 My Nightmare" picks up right where they left off, with Alice trapped in his own warped mind.
That original album is an all-time rock classic that spawned a worldwide theatrical tour and pioneering U.S. TV special and cemented Alice Cooper as a visionary trailblazer whose influence persists today in rock, metal, pop, punk, theater, television, film and much more.
"We know Alice through various projects that we've done," he said. "We interviewed Alice for 'Headbanger's Journey'. He's also featured pretty prominently in two episodes of [the new groundbreaking documentary series] 'Metal Evolution', both in [the] Shock Rock and Early Metal U.S. [episodes]. He's a pretty fascinating character, who has been through a lot in his life. He's one of those musicians that maybe he hasn't had a hit in a long time, but everyone knows who Alice Cooper is because of his influence on pop culture and the big songs he had in the '70s. . . We're in the early stages of telling the story of his career. We're probably going to focus in on his early years up to his comeback in the '80s. We're exploring a different stylist approach with this film. It won't be talking heads; it's going to be more of an archival and animated journey through his career. He's such a rich visual artist, it makes so much sense to try and do it in a different way. I think we're just a little bit sick of doing talking head interviews, to be honest [laughs], after doing 300 of them for 'Metal Evolution'. So it's really the story of Alice's career from the '60s right up to the '80s and everything he went through — the ups and the downs, battles with alcoholism, being raised in a Christian family, rebelling against that but then coming back to faith later in his career, and moving from town to town, and trying to find his place."
The Alice Cooper documentary is tentatively scheduled to premiere at the TIFF (Toronto International Film Festival) in September 2012.
Alice Cooper's new album, "Welcome 2 My Nightmare", sold 18,000 copies in the United States in its first week of release to debut at position No. 22 on The Billboard 200 chart. Cooper's previous CD, 2008's "Along Came A Spider", opened with just under 10,000 copies to land at No. 53.
Recorded with longtime collaborator Bob Ezrin, who produced the original multi-platinum "Welcome To My Nightmare" album in 1975, "Welcome 2 My Nightmare" picks up right where they left off, with Alice trapped in his own warped mind.
That original album is an all-time rock classic that spawned a worldwide theatrical tour and pioneering U.S. TV special and cemented Alice Cooper as a visionary trailblazer whose influence persists today in rock, metal, pop, punk, theater, television, film and much more.
Lou Reed, King Diamond (MERCYFUL FATE), Hank Shermann (MERCYFUL FATE), Timi Hansen (MERCYFUL FATE), Michael Denner (MERCYFUL FATE) , Marianne Faithfull, Ray Haller (SWEET SAVAGE), Kid Rock and John Bush (ARMORED SAINT) joined METALLICA on stage last night (Wednesday, December 7) for the second of four intimate shows at the Fillmore in San Francisco as part of the week-long celebration of its 30th anniversary as a band for fan club members only.
After opening sets from THE SOUL REBELS brass band and ARMORED SAINT, as well as an appearance by ANTHRAX guitarist Scott Ian — who took to the stage with METALLICA guitarist Kirk Hammett to tell stories of hanging out with late METALLICA bassist Cliff Burton — METALLICA rocked the capacity crowd with a 20-song set which featured selections from all periods of the band's career, including a previously unreleased track from the "Death Magnetic" sessions called "Just A Bullet Away".
The band's setlist was as follows:
01. To Live Is To Die (premiere)
02. Enter Sandman
03. Holier Than Thou
04. Disposable Heroes
05. Bleeding Me
06. Wasting My Hate
07. My Apocalypse
08. Just A Bullet Away (previously unreleased song from "Death Magnetic" sessions; premiere)
09. Breadfan (BUDGIE cover) (with METALLICA fan Andrew Dowis)
10. The Memory Remains (with Marianne Faithful)
11. Killing Time (SWEET SAVAGE cover) (with Ray Haller)
12. Turn The Page (with Kid Rock)
13. The Four Horsemen (with John Bush)
14. Iced Honey (with Lou Reed)
15. The View (with Lou Reed)
16. White Light/White Heat (with Lou Reed)
17. Creeping Death (with Jason Newsted)
18. Battery (with Jason Newsted)
19. Mercyful Fate Medley (MERCYFUL FATE cover) (with Hank Shermann, Michael Denner, Timi Hansen and King Diamond)
20. Seek & Destroy (with Jason Newsted, Scott Ian, Ray Haller, John Bush, Joey Vera, Gonzo Sandoval, and THE SOUL REBELS)
METALLICA kicked off its week-long celebration of the band's 30th anniversary in spectacular style at the Fillmore in San Francisco on Monday night (December 5), welcoming former bassist Jason Newsted and many other metal stars to the stage while playing a 21-song set that delved deep into the band's catalog and even included a previously unheard track from the sessions for 2008's "Death Magnetic" album. (Check out video footage and photos of the first 30th-anniversary concert at this location.)
In addition to Newsted, METALLICA was joined by former guitar tech and METAL CHURCH guitarist John Marshall, SAXON vocalist Biff Byford, Brian Tatler and Sean Harris of DIAMOND HEAD — with whom they played four of that band's songs — and all the members of opening act APOCALYPTICA at various points. The show also featured a salute to 86-year-old Ray Burton, father of late METALLICA bassist Cliff Burton.
METALLICA frontman James Hetfield told The Pulse Of Radio he had a wishlist of people he hopes can make it for the remaining gigs. "Well, Lemmy [Kilmister, MOTÖRHEAD mainman] for sure. Ozzy. And then, you know, there's lots of other people along that way. Tony Iommi [guitarist, BLACK SABBATH], I mean, all the bands that we've admired over time, some of the bands that maybe have supported us, you know, from ARMORED SAINT and blah blah blah...you know, there's so much, so many great moments that could be had."
The last two shows will take place on Friday (December 9) and Saturday (December 10), with special guests and events, rare songs, varied set lists and more.
The band has booked several European shows next summer, including one at a venue in Denmark that used to be a prison, at which it will perform its self-titled 1991 effort, a.k.a. "the black album," in its entirety.
METALLICA was formed when Ulrich, who had moved to Los Angeles from Denmark, placed an ad in a local paper called The Recycler looking for other musicians to play with. The ad was answered by guitarists James Hetfield and Hugh Tanner of the band LEATHER CHARM.
METALLICA officially formed in October 1981 and the band's first recording was "Hit The Lights" for the compilation "Metal Massacre".
Bay Area DJ Ron Quintana came up with the group's name: he was debating between using "Metallica" and "Metal Mania" for the name of his radio show and Ulrich encouraged him to use "Metal Mania" so that he could use "Metallica" for his new band.
METALLICA's first full lineup — featuring Hetfield, Ulrich, guitarist Dave Mustaine and bassist Ron McGovney — played its first gig on March 14, 1982 at Radio City in Anaheim, California.
After opening sets from THE SOUL REBELS brass band and ARMORED SAINT, as well as an appearance by ANTHRAX guitarist Scott Ian — who took to the stage with METALLICA guitarist Kirk Hammett to tell stories of hanging out with late METALLICA bassist Cliff Burton — METALLICA rocked the capacity crowd with a 20-song set which featured selections from all periods of the band's career, including a previously unreleased track from the "Death Magnetic" sessions called "Just A Bullet Away".
The band's setlist was as follows:
01. To Live Is To Die (premiere)
02. Enter Sandman
03. Holier Than Thou
04. Disposable Heroes
05. Bleeding Me
06. Wasting My Hate
07. My Apocalypse
08. Just A Bullet Away (previously unreleased song from "Death Magnetic" sessions; premiere)
09. Breadfan (BUDGIE cover) (with METALLICA fan Andrew Dowis)
10. The Memory Remains (with Marianne Faithful)
11. Killing Time (SWEET SAVAGE cover) (with Ray Haller)
12. Turn The Page (with Kid Rock)
13. The Four Horsemen (with John Bush)
14. Iced Honey (with Lou Reed)
15. The View (with Lou Reed)
16. White Light/White Heat (with Lou Reed)
17. Creeping Death (with Jason Newsted)
18. Battery (with Jason Newsted)
19. Mercyful Fate Medley (MERCYFUL FATE cover) (with Hank Shermann, Michael Denner, Timi Hansen and King Diamond)
20. Seek & Destroy (with Jason Newsted, Scott Ian, Ray Haller, John Bush, Joey Vera, Gonzo Sandoval, and THE SOUL REBELS)
METALLICA kicked off its week-long celebration of the band's 30th anniversary in spectacular style at the Fillmore in San Francisco on Monday night (December 5), welcoming former bassist Jason Newsted and many other metal stars to the stage while playing a 21-song set that delved deep into the band's catalog and even included a previously unheard track from the sessions for 2008's "Death Magnetic" album. (Check out video footage and photos of the first 30th-anniversary concert at this location.)
In addition to Newsted, METALLICA was joined by former guitar tech and METAL CHURCH guitarist John Marshall, SAXON vocalist Biff Byford, Brian Tatler and Sean Harris of DIAMOND HEAD — with whom they played four of that band's songs — and all the members of opening act APOCALYPTICA at various points. The show also featured a salute to 86-year-old Ray Burton, father of late METALLICA bassist Cliff Burton.
METALLICA frontman James Hetfield told The Pulse Of Radio he had a wishlist of people he hopes can make it for the remaining gigs. "Well, Lemmy [Kilmister, MOTÖRHEAD mainman] for sure. Ozzy. And then, you know, there's lots of other people along that way. Tony Iommi [guitarist, BLACK SABBATH], I mean, all the bands that we've admired over time, some of the bands that maybe have supported us, you know, from ARMORED SAINT and blah blah blah...you know, there's so much, so many great moments that could be had."
The last two shows will take place on Friday (December 9) and Saturday (December 10), with special guests and events, rare songs, varied set lists and more.
The band has booked several European shows next summer, including one at a venue in Denmark that used to be a prison, at which it will perform its self-titled 1991 effort, a.k.a. "the black album," in its entirety.
METALLICA was formed when Ulrich, who had moved to Los Angeles from Denmark, placed an ad in a local paper called The Recycler looking for other musicians to play with. The ad was answered by guitarists James Hetfield and Hugh Tanner of the band LEATHER CHARM.
METALLICA officially formed in October 1981 and the band's first recording was "Hit The Lights" for the compilation "Metal Massacre".
Bay Area DJ Ron Quintana came up with the group's name: he was debating between using "Metallica" and "Metal Mania" for the name of his radio show and Ulrich encouraged him to use "Metal Mania" so that he could use "Metallica" for his new band.
METALLICA's first full lineup — featuring Hetfield, Ulrich, guitarist Dave Mustaine and bassist Ron McGovney — played its first gig on March 14, 1982 at Radio City in Anaheim, California.
METALLICA performed a previously unreleased song from the "Death Magnetic" sessions called "Just A Bullet Away" last night (Wednesday, December 7) at the second of four intimate shows at the Fillmore in San Francisco as part of the week-long celebration of its 30th anniversary as a band for fan club members only.
A rough-mix version of the studio recording of "Just A Bullet Away" has since been e-mailed to members of METALLICA's official fan club and can now be streamed in the YouTube clip below.
Commented the band: "We're pretty excited to be bringing these songs back to life nearly four years after they were recorded. Once again, this is the unpolished version of the song... the original rough mix from March of 2008 in its rawest, untouched form."
"Just A Bullet Away" lyrics:
All roads they lead to shame
All drowning in the blame
All reflections look the same
In the shine of the midnight revolver
All hide beneath a skin
A hope so paper thin
I'm at the door again
And the shine of the midnight revolver
Even the promise of danger has gone dull
Staring down the barrel of a 45
Suck on the barrel
Suck on the barrel
Suck it 'til it's gone dry
For all reflections look the same
In the shine of the midnight revolver
Redemption purify
Will nothing satisfy
The scars just multiply
In the shine of the midnight revolver
Twisting in apocalypse
Death upon the fingertips
Frigid metal touches lips
And the shine of the midnight revolver
'Cause you lied
Just a bullet away
Just a bullet away from leavin' you
Just a bullet away
Stop the voices in my head
Caressing death again
Becomes the heroin
Forbidden medicine
Puts a shine on the midnight revolver
Eternal borderline
All the faces intertwine
Oh God... now I see mine
In the shine of the midnight revolver
Even the promise of danger has gone dull
Staring down the barrel of a 45
Suck on the barrel
Suck on the barrel
Suck... suck till it's dry
For all reflections look the same
In the shine of the midnight revolver
Down In Misery
Down In Misery
Just a bullet away
Just a bullet away from leavin' you
Just a bullet away
Stop the voices in my head
All roads they lead to shame
All drowning in the blame
Reflections look the same
In the shine of the midnight revolver
All hide beneath a skin
A hope so paper thin
I'm at the door again
And the shine of the midnight revolver
Even the promise of danger has gone dull
Staring down the barrel of a 45
Suck on the barrel
Suck on the barrel
Suck... suck till it's dry
Do all reflections look the same
In the shine of the midnight revolver
'Cause you lied
Yes you lied
Just a bullet away
Just a bullet away from leavin' you
Just a bullet away
Stop the voices in my head (End of lyrics)
METALLICA earlier in the week made available another previously unreleased song from the "Death Magnetic" sessions called "Hate Train" after first performing it live on Monday, December 5 at the Fillmore in San Francisco.
"Death Magnetic" was officially certified double platinum by the Recording Industry Association of America (RIAA) on June 28, 2010 for shipments in the United States in excess of two million copies.
METALLICA drummer Lars Ulrich told The Pulse of Radio in an October 2008 interview that he didn't understand the controversy that had broken out over the audio quality of "Death Magnetic" shortly after the LP's release. Some fans and publications had accused the group and producer Rick Rubin of mixing the album at such a loud volume that the music is distorted and difficult to listen to. But Ulrich said that he's more than happy with the way it turned out. "I listen to this record, and I listen to it every couple of days," he said. "And when I hear it, it puts a smile on my face and it blows me away, and I don't understand what people are talking about. Somebody told me the other day that there were 12,000 people that had signed a petition to remix the record. We've sold two and a half million copies [worldwide] of 'Death Magnetic'. You do the math yourself."
A number of fans said online that they prefer the versions of the CD's tracks prepared for the Guitar Hero video game, which are mixed differently.
Ted Jensen, the engineer who mastered the album at Sterling Sound in New York, responded to fan complaints that the CD is too loud and the audio is pushed to distortion levels by writing, "I'm certainly sympathetic to your reaction, I get to slam my head against that brick wall every day. In this case the mixes were already brick-walled before they arrived at my place. Suffice to say I would never be pushed to overdrive things as far as they are here. Believe me, I'm not proud to be associated with this one, and we can only hope that some good will come from this in some form of backlash against volume above all else."
Mastering is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the "master," from which all copies will be produced.
Blame for the sound quality has been laid at the feet of the band itself, producer Rick Rubin and his recording engineer, Greg Fidelman.
A rough-mix version of the studio recording of "Just A Bullet Away" has since been e-mailed to members of METALLICA's official fan club and can now be streamed in the YouTube clip below.
Commented the band: "We're pretty excited to be bringing these songs back to life nearly four years after they were recorded. Once again, this is the unpolished version of the song... the original rough mix from March of 2008 in its rawest, untouched form."
"Just A Bullet Away" lyrics:
All roads they lead to shame
All drowning in the blame
All reflections look the same
In the shine of the midnight revolver
All hide beneath a skin
A hope so paper thin
I'm at the door again
And the shine of the midnight revolver
Even the promise of danger has gone dull
Staring down the barrel of a 45
Suck on the barrel
Suck on the barrel
Suck it 'til it's gone dry
For all reflections look the same
In the shine of the midnight revolver
Redemption purify
Will nothing satisfy
The scars just multiply
In the shine of the midnight revolver
Twisting in apocalypse
Death upon the fingertips
Frigid metal touches lips
And the shine of the midnight revolver
'Cause you lied
Just a bullet away
Just a bullet away from leavin' you
Just a bullet away
Stop the voices in my head
Caressing death again
Becomes the heroin
Forbidden medicine
Puts a shine on the midnight revolver
Eternal borderline
All the faces intertwine
Oh God... now I see mine
In the shine of the midnight revolver
Even the promise of danger has gone dull
Staring down the barrel of a 45
Suck on the barrel
Suck on the barrel
Suck... suck till it's dry
For all reflections look the same
In the shine of the midnight revolver
Down In Misery
Down In Misery
Just a bullet away
Just a bullet away from leavin' you
Just a bullet away
Stop the voices in my head
All roads they lead to shame
All drowning in the blame
Reflections look the same
In the shine of the midnight revolver
All hide beneath a skin
A hope so paper thin
I'm at the door again
And the shine of the midnight revolver
Even the promise of danger has gone dull
Staring down the barrel of a 45
Suck on the barrel
Suck on the barrel
Suck... suck till it's dry
Do all reflections look the same
In the shine of the midnight revolver
'Cause you lied
Yes you lied
Just a bullet away
Just a bullet away from leavin' you
Just a bullet away
Stop the voices in my head (End of lyrics)
METALLICA earlier in the week made available another previously unreleased song from the "Death Magnetic" sessions called "Hate Train" after first performing it live on Monday, December 5 at the Fillmore in San Francisco.
"Death Magnetic" was officially certified double platinum by the Recording Industry Association of America (RIAA) on June 28, 2010 for shipments in the United States in excess of two million copies.
METALLICA drummer Lars Ulrich told The Pulse of Radio in an October 2008 interview that he didn't understand the controversy that had broken out over the audio quality of "Death Magnetic" shortly after the LP's release. Some fans and publications had accused the group and producer Rick Rubin of mixing the album at such a loud volume that the music is distorted and difficult to listen to. But Ulrich said that he's more than happy with the way it turned out. "I listen to this record, and I listen to it every couple of days," he said. "And when I hear it, it puts a smile on my face and it blows me away, and I don't understand what people are talking about. Somebody told me the other day that there were 12,000 people that had signed a petition to remix the record. We've sold two and a half million copies [worldwide] of 'Death Magnetic'. You do the math yourself."
A number of fans said online that they prefer the versions of the CD's tracks prepared for the Guitar Hero video game, which are mixed differently.
Ted Jensen, the engineer who mastered the album at Sterling Sound in New York, responded to fan complaints that the CD is too loud and the audio is pushed to distortion levels by writing, "I'm certainly sympathetic to your reaction, I get to slam my head against that brick wall every day. In this case the mixes were already brick-walled before they arrived at my place. Suffice to say I would never be pushed to overdrive things as far as they are here. Believe me, I'm not proud to be associated with this one, and we can only hope that some good will come from this in some form of backlash against volume above all else."
Mastering is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the "master," from which all copies will be produced.
Blame for the sound quality has been laid at the feet of the band itself, producer Rick Rubin and his recording engineer, Greg Fidelman.
http://www.youtube.com/watch?v=d1mRQXRsQao&feature=player_embedded
Ian S. Port of SFWeekly.com recently conducted an interview with legendary San Francisco Bay Area metal photographer Brian Lew about the large-format hardcover photo collection "Murder In The Front Row: Bay Area Bangers And The Birth Of Thrash Metal". A couple of excerpts from the chat follow below.
SFWeekly.com: What's your backstory with the Bay Area metal scene?
Lew: Basically the whole kind of big story of the book is we were all just kids at the time. It wasn't like METALLICA and SLAYER and MEGADETH were on tour, and we just met them. METALLICA came to San Francisco to play a showcase for Metal Blade Records. I arranged to meet them. I was fortunate enough to get their demo tape very early on, so I arranged to meet them in front of the Stone on Broadway, which was their first show [in S.F.]. But we were all the same age, so it wasn't like I was meeting METALLICA. I was meeting a band who I wanted to meet. That was sort of the foundation of the original Bay Area metal scene.
SFWeekly.com: When was that first show at the Stone?
Lew: It was Sept. 18, 1982. The story is, they played in L.A. and nobody got them, and they came up here and for whatever reason we gravitated towards them. The one thing about that first show — that one moment where they made a connection with us — was we'd been exposed to this underground European New Wave Of British Heavy Metal ... and nobody else knew about it. And then METALLICA came to town that first show. At the time, they would just play these cover songs as if they were their own. They had their own songs that were on their demo, but then they had a couple of DIAMOND HEAD songs in their set. But they wouldn't say, because nobody knew who DIAMOND HEAD were. I just remember my friends and I being shocked that this band was playing a song by this obscure band. We thought we were the only ones who knew about them. That was just one more thing that kind of set the tone and made us bond with METALLICA and vice versa. They realized that we were speaking the same language.
SFWeekly.com: What were some other memorable shows here? You were at Cliff Burton's first show with METALLICA, right?
Lew: Back then, a show like Cliff Burton's first show, the magnitude wasn't really obvious. They definitely went to the next level as band, and you could tell that. When Cliff played something clicked, and in between the time that they moved to the Bay Area and left for New York to record "Kill 'Em All", it was only like six months, really. So they played maybe five shows, and so then they did their first tour... that was like late '83. That was sort of like the moment where they were definitely something bigger, you started reading articles about them. But the real game-changer was — and there are photos of this in the book — was in '85 ... they played a Day On The Green at Oakland Stadium. And in the Bay Area, Bill Graham's Days On The Green, they were iconic. They dated back to the '70s, I went to them as a kid. It was before the days of packaged tours, so Bill Graham would put together these really unique bills. And the staging would be — it wasn't like this generic big stage at a stadium. Every Day On The Green had a theme. If it was a July 4 Day On The Green, the scrims on either side of the stage would be Mount Rushmore, and the faces on Mount Rushmore would be members of the bands. It was a uniquely Bay Area thing. So for METALLICA to play a Day On The Green, being from the Bay Area, it was like a big deal, because up until that time, only rock stars played a Day On The Green. In '85, they were like fourth on the bill with SCORPIONS, RATT, and they came out dressed exactly the same as they had always been dressed — ripped jeans, T-shirts with the sleeves cut off — but they were playing in front of 50,000 people. And of all the shows I've seen of them, that was the moment where it was like "Holy crap, this is, like, what's going on." They were just friends, and now our friends are playing in front of 50,000 people! So '85 they played Day On The Green and they were third or fourth on the bill, and then six years later, they headlined and they had the No. 1 album in the country, and the Black Album became the Black Album. So within six years of them being those kids onstage... they were headlining it. And headlining at Oakland Stadium, which was like 20 minutes from where they used to live.
SFWeekly.com: What's your backstory with the Bay Area metal scene?
Lew: Basically the whole kind of big story of the book is we were all just kids at the time. It wasn't like METALLICA and SLAYER and MEGADETH were on tour, and we just met them. METALLICA came to San Francisco to play a showcase for Metal Blade Records. I arranged to meet them. I was fortunate enough to get their demo tape very early on, so I arranged to meet them in front of the Stone on Broadway, which was their first show [in S.F.]. But we were all the same age, so it wasn't like I was meeting METALLICA. I was meeting a band who I wanted to meet. That was sort of the foundation of the original Bay Area metal scene.
SFWeekly.com: When was that first show at the Stone?
Lew: It was Sept. 18, 1982. The story is, they played in L.A. and nobody got them, and they came up here and for whatever reason we gravitated towards them. The one thing about that first show — that one moment where they made a connection with us — was we'd been exposed to this underground European New Wave Of British Heavy Metal ... and nobody else knew about it. And then METALLICA came to town that first show. At the time, they would just play these cover songs as if they were their own. They had their own songs that were on their demo, but then they had a couple of DIAMOND HEAD songs in their set. But they wouldn't say, because nobody knew who DIAMOND HEAD were. I just remember my friends and I being shocked that this band was playing a song by this obscure band. We thought we were the only ones who knew about them. That was just one more thing that kind of set the tone and made us bond with METALLICA and vice versa. They realized that we were speaking the same language.
SFWeekly.com: What were some other memorable shows here? You were at Cliff Burton's first show with METALLICA, right?
Lew: Back then, a show like Cliff Burton's first show, the magnitude wasn't really obvious. They definitely went to the next level as band, and you could tell that. When Cliff played something clicked, and in between the time that they moved to the Bay Area and left for New York to record "Kill 'Em All", it was only like six months, really. So they played maybe five shows, and so then they did their first tour... that was like late '83. That was sort of like the moment where they were definitely something bigger, you started reading articles about them. But the real game-changer was — and there are photos of this in the book — was in '85 ... they played a Day On The Green at Oakland Stadium. And in the Bay Area, Bill Graham's Days On The Green, they were iconic. They dated back to the '70s, I went to them as a kid. It was before the days of packaged tours, so Bill Graham would put together these really unique bills. And the staging would be — it wasn't like this generic big stage at a stadium. Every Day On The Green had a theme. If it was a July 4 Day On The Green, the scrims on either side of the stage would be Mount Rushmore, and the faces on Mount Rushmore would be members of the bands. It was a uniquely Bay Area thing. So for METALLICA to play a Day On The Green, being from the Bay Area, it was like a big deal, because up until that time, only rock stars played a Day On The Green. In '85, they were like fourth on the bill with SCORPIONS, RATT, and they came out dressed exactly the same as they had always been dressed — ripped jeans, T-shirts with the sleeves cut off — but they were playing in front of 50,000 people. And of all the shows I've seen of them, that was the moment where it was like "Holy crap, this is, like, what's going on." They were just friends, and now our friends are playing in front of 50,000 people! So '85 they played Day On The Green and they were third or fourth on the bill, and then six years later, they headlined and they had the No. 1 album in the country, and the Black Album became the Black Album. So within six years of them being those kids onstage... they were headlining it. And headlining at Oakland Stadium, which was like 20 minutes from where they used to live.
Metallica celebrate 30 years together, for most of which they have been the pre-eminent heavy metal band on the planet. In Paris, for a TV appearance promoting a controversial collaboration with Lou Reed, word comes through that a fan wants to meet them. But not just any fan – it is teen sensation Justin Bieber.
The only trouble is, he's been visiting Disneyland and his car has broken down. Metallica singer and guitarist James Hetfield snorts with incredulity. "Justin Bieber can drive?"
There is much guffawing in the Metallica camp but drummer Lars Ulrich is genuinely disappointed. "Can you imagine that picture? Metallica, Lou Reed and Justin Bieber! We could have put it out that this is our next project. The fans would go f---ing crazy! People already accuse us of betraying metal by working with Lou. Wait till they hear what we can do with Bieber!"
It is fair to say that the Lou Reed/Metallica collaboration has divided fans and critics alike. Lulu is a 95-minute double album of droning, grinding, free-form improvised metal, with Reed intoning explicitly gruesome if psychologically acute lyrics written around the provocative themes of Frank Wedekind's early 20th-century plays, Earth Spirit and Pandora's Box.
Rock magazine Uncut hailed it as "extraordinary, passionate and just plain brilliant" while music website Quietus probably caught the flavour of most reviews by dismissing it as "a candidate for one of the worst albums ever made". Writing in The Daily Telegraph, Andrew Perry conceded that Lulu was "gruelling" work, yet was impressed with "the sheer sense of unrestrained folly" on "a record that wilfully defies all in the name of artistic purity".
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"Who cares?" snaps Reed when I mention the critics. "I never wrote for them then, I don't write for them now. I have no interest in what they have to say about anything. I'm interested in whether I like it. I write for me."
Reed is a notoriously difficult interviewee, with a reputation for being uncommunicative, insulting, evasive, dour, bad-tempered and sometimes just monosyllabic and boring. Journalists approach with trepidation, sharing war stories about times he has walked out or refused to speak at all. Still, we return for more punishment. The man is a genius, after all, founder of the hugely influential Velvet Underground, a collaborator with Andy Warhol and among the most innovative lyricists and artistically adventurous musicians of the rock era. So what if he's also obnoxious and weirdly insecure?
"You know a lot of time these guys that interview us, they think they're more literate than I am. That would be a real bad mistake," he snarls, having misinterpreted a question to locate offence where none was intended. "Don't kid yourself about me, you know what I'm saying? I'm not a good guy to f---- with."
"No, Neil's cool," interjects Ulrich, calming the situation. Perennially upbeat, energetic, friendly, loquacious and enthusiastic, Ulrich is the diametric opposite of Reed. Metallica view Reed with amused affection, overlooking his contrariness and taking pride that such an iconic writer should want to collaborate with them.
"I think we're the band he has always heard in his head but never been able to play with," Ulrich says. "He's a fascinating human being, he's brilliant musically, intellectually, but I think he feels misunderstood. Most people have a tendency to start a conversation in a neutral position and then see where it goes. He starts in a negative position, then you've got to go to neutral and then to positive. When he feels comfortable and trusts people, he opens up, and incredible things can happen."
It is not hard to detect the vulnerability underpinning Reed's surliness. "Are you gonna savage this when you leave the room?" he asks, out of the blue. "I think we did a sensual thing. Music is magical, it can make you feel good, it can make you feel bad, and then you put some serious words to it, not just 'I got released from rehab this week, yay.' Let's say you go a little bit past there. In my conceit, I thought what if Tennessee Williams had got a crack at this? Can't it be A Streetcar Named Desire that's a rock record? Why isn't anyone doing it? Instead of writing the trash that is out there. I wanted to do something on that level, always. I came close on Berlin. Pretty close. But this one, for me, from beginning to end, this is it."
So what is it, exactly? "I don't like the word rock opera, but I'm trying to write on that level that's reserved for plays still, or novels," says Reed. "I was trying to escape the simplistic form, and find a different kind of melodic form, but still rock. I didn't want to traipse off into the land of jazz. All this stuff is about emotion, I mean, why else do it?" Reed starts quoting Shakespeare, "Out, out, brief candle", dramatically reciting Lady Macbeth's monologue. "Hey, if I could get there, climb that particular ladder. You have to pass through blood to get there, wherever it is."
There is, to be fair, a lot of blood in these particular tracks. It had its origins in 10 monologues written for avant-garde director Robert Wilson's Lulu, staged in Berlin earlier this year. It is the story (filmed as Pandora's Box in 1929, starring Louise Brooks) of an alluring femme fatale who cuts a sexual swath through society before meeting her nemesis in Jack the Ripper.
Musically, the original setting was a kind of vague electronic ambience. "In my mind, it was missing something, I didn't know what." Reed had the idea of giving the lyrics to Metallica, whom he had previously performed with in 2009 at the Rock and Roll Hall of Fame. "I thought that they could put a long, sinewy muscle in it."
For Metallica, this has been a revelatory project, where they have been free to experiment outside the confines of their genre. "There was a kind of spontaneous and impulsive energy," says Ulrich.
Indeed, the key to the band's longevity seems to come from their attempts to find new directions for their heavy guitar sound, as hilariously portrayed in the 2004 documentary Some Kind of Monster, in which they employed a therapist to unblock their creativity.
Ulrich says: "Turning your back on structure, you are opening up a world of possibilities. For Metallica, to have the luxury of that kind of impulsiveness with somebody who speaks our own language was the reward in itself."
Although Metallica will headline the Download festival in the UK in June (as part of their European Summer Vacation tour), there are no plans to tour Lulu. "We haven't actually figured out a way to present this live," admits Ulrich.
"Holy s---, you perform it at your own risk," says Reed. "The first thing is, can you get through it emotionally? You have to go for broke, the jugular. That can really get to you."
As much as Reed asserts disdain for criticism, I suspect he has been upset by the reaction to Lulu. "I think this thing needs a champion. This is for people who are literate. This isn't 'I cry in my beer cos you f---ed him and ran your truck through my bar.'
"You can write 30 of those and move to Nashville. These words – every time I see them I get thrilled because it does it to me. It may do it to no one else, I don't care. I can't try any harder. I can't do any better. And my heart was pure and my soul was pure, too. I went in there to make music with the best guys I could find. And we did."
Besides Axl Rose, Dizzy Reed has logged in the most years in Guns N' Roses, a hard rock band freshly inducted into the Rock and Roll Hall of Fame on Wednesday.
The keyboardist has been in Guns N' Roses since 1990. That's 21 years. That's much longer than Slash, Duff McKagan and Lafayette native Izzy Stradlin.
Reed is the only one left from the "Use Your Illusion" era besides Rose. He maintained his presence throughout the roller-coaster, rigorous recording process of "Chinese Democracy," the 2008 album that took 14 years to finish. He saw the original "Appetite for Destruction" lineup dissipate and even musicians who were hired on for "Chinese Democracy," such as Buckethead and Robin Finck, come and go.
Three years after the release of "Chinese Democracy," Rose, Reed and the rest are winning over American cities with a juggernaut of a tour. Despite one canceled show in Albany, N.Y., Guns N' Roses gigs have received rave reviews thanks to a three-hour set of old hits and surprise covers to go along with the "Chinese Democracy" tracks.
Reed has seen it all while touring with Guns N' Roses and he is happy to report that the tour has gone smoothly.
"No mishaps or riots. That's always a positive for me," Reed reported over the phone during a stop in Cleveland.
Guns N' Roses performs at 8 tonight at Conseco Fieldhouse in downtown Indianapolis.
Question: What has kept you so entrenched in this band?
Answer: When I set out to do something, I like to sort of finish it. I've never seen any reason to quit. We started to make a new record, and I really wanted to see it through. I had a lot invested to it. People would quit and then be replaced. They came and went, but I didn't have any reason to quit. (Rose) gave me an opportunity and it was largely his idea for me to be in the band. I really always felt I needed to stick this out as long as I could. He's been good to me thus far, and I'm still alive.
Q: With the live show, how do you work with Chris Pitman, the newer keyboard player?
A: As far as the older stuff, I do all the piano stuff, and there's a lot of that. I think the main thing is we kind of look out for each other so we're not blown up by the pyro. It's good. We spot each other, basically.
Q: How have the crowds been from your point of view?
Q: How have the crowds been from your point of view?
A: It's a good cross section. There are some older folks there that were probably around in the beginning and their kids, too. It's just what kind of happens when you stick around for a long time (laughs). But the crowds in general have been very receptive, and it's been a blast.
Q: You had a hand in writing many of the songs on "Chinese Democracy." What was that like for you? What was the process like?
A: There were a few different periods of writing I can sort of remember. At one point, myself and Axl were in the studio for a few months just recording ideas. Some things came from that, just throwing stuff back and forth. Everyone else brought in ideas here and there. There were a few different processes. It was quite the experience, actually. It was a good learning experience because everyone that is in the band now or came through are all really creative, good songwriters in their own right. I hear about these consortiums or symposiums in Nashville (Tenn.) where everyone sits in a room and kicks around ideas. It was sort of like that but not as structured.
Q: You joined the band in 1990 but knew Rose years before that. What was your impression of him then and now?
A: We've always got along pretty well. I remember the first time I ever met him: He walked into this studio that they were moving into. My band at the time was moving into the studio next door. I was sort of entertaining this young lady on this mattress on the floor of the studio. There was garbage everywhere because we just moved out. He walked in and saw us and he said, "I like that dude." That was the first thing I remember him saying. And I was like "All right, well ... ." Then I saw them play for the first time and I thought, "I have to join that band. Those guys are amazing." He heard me play and he said, "You're going to be the guy. When we add a keyboard player, it's going to be you." That all kind of worked out in a weird way. I'm just happy I'm still here, man, and being able to make music has always been awesome. He's one of a kind, man. Always has been, always will be.
Q: What did you think of Rose's interview on "That Metal Show" on VH1 Classic (from Nov. 11)?
A: I haven't seen the interview. We've been pretty isolated. It's backstage, bus, hotel. I haven't really heard much about it yet. Now you have me all curious.
Q: The "That Metal Show" hosts were surprised how funny and laid back Rose was during the interview, which took place at 5 a.m. Has he been that way during the whole tour?
A: You know what, Axl is a lot more fun at 5 a.m. than he is at 5 p.m. Let's put it that way.
GUNS' N' ROSES has made the final list for induction into the Rock And Roll Hall Of Fame. The band will be inducted during the 27th annual ceremony, scheduled for April 14, 2012 in Cleveland. As with all the Cleveland induction ceremonies, the evening's awards are open to fans and will be televised on HBO in early May.
Legendary guitarist Slash (GUNS N' ROSES, VELVET REVOLVER) will guest on the nationally syndicated radio show "Rockline" with host Bob Coburn on Wednesday, December 14 at 8:30 p.m. PT / 11:30 p.m. ET. Fans are encouraged to speak with Slash by calling 1-800-344-ROCK (7625).
For more information, visit RocklineRadio.com.
Slash recently completed the first recording session for his upcoming solo album at Barefoot Recording in Hollywood, California with producer Eric Valentine (QUEENS OF STONE AGE, THE ALL-AMERICAN REJECTS). Joining Slash in the studio were the members of his touring band: vocalist Myles Kennedy (ALTER BRIDGE), rhythm guitarist Bobby Schneck, bassist Todd Kerns (SIN CITY SINNERS, formerly of AGE OF ELECTRIC), and drummer Brent Fitz (formerly of THEORY OF A DEADMAN).
A short video clip from the studio sessions can be viewed below.
In a recent interview, Slash stated about the musicians in his band, "I was really fortunate. When I'd done the [first solo] record, I thought, 'I've gotta tour on this.' And I had to figure how I was gonna actually pull that off. And I set about auditioning musicians in L.A. and I just happened to meet Brent Fitz, who I'd never played before and who is not from Los Angeles; he was one of the guys I auditioned and he was great. And then he introduced me to Todd Kerns, who fit in perfectly. And it turned out to be a great band from the start — definitely worth going in and making a record with."
Valentine previously worked with Slash on the guitarist's self-titled solo album. But "the big difference," according to Slash, will be that Eric is "also gonna be mastering this one" in addition to recording and mixing the CD. "So it's like one-stop shopping, which is pretty cool," the axeman said.
Regarding the musical direction of his new material and how it compares to last year's self-titled effort, Slash said, "This one's definitely a very focused… Very hard. Some of it's very heavy. It's got sort of a more unified sound to it, especially with one vocal all throughout."
For more information, visit RocklineRadio.com.
Slash recently completed the first recording session for his upcoming solo album at Barefoot Recording in Hollywood, California with producer Eric Valentine (QUEENS OF STONE AGE, THE ALL-AMERICAN REJECTS). Joining Slash in the studio were the members of his touring band: vocalist Myles Kennedy (ALTER BRIDGE), rhythm guitarist Bobby Schneck, bassist Todd Kerns (SIN CITY SINNERS, formerly of AGE OF ELECTRIC), and drummer Brent Fitz (formerly of THEORY OF A DEADMAN).
A short video clip from the studio sessions can be viewed below.
In a recent interview, Slash stated about the musicians in his band, "I was really fortunate. When I'd done the [first solo] record, I thought, 'I've gotta tour on this.' And I had to figure how I was gonna actually pull that off. And I set about auditioning musicians in L.A. and I just happened to meet Brent Fitz, who I'd never played before and who is not from Los Angeles; he was one of the guys I auditioned and he was great. And then he introduced me to Todd Kerns, who fit in perfectly. And it turned out to be a great band from the start — definitely worth going in and making a record with."
Valentine previously worked with Slash on the guitarist's self-titled solo album. But "the big difference," according to Slash, will be that Eric is "also gonna be mastering this one" in addition to recording and mixing the CD. "So it's like one-stop shopping, which is pretty cool," the axeman said.
Regarding the musical direction of his new material and how it compares to last year's self-titled effort, Slash said, "This one's definitely a very focused… Very hard. Some of it's very heavy. It's got sort of a more unified sound to it, especially with one vocal all throughout."
SlashFrance.net and AlterBridge-France.fr conducted an interview with Myles Kennedy (ALTER BRIDGE, SLASH) before ALTER BRIDGE's November 4 concert at Le Zénith in Paris, France. The 19-minute clip, which includes performance footage, can be seen below.
When asked if the forthcoming second solo album from legendary guitarist Slash (GUNS N' ROSES, VELVET REVOLVER) — which will feature lead vocals and songwriting contributions from Myles — will be heavier than last year's self-titled effort, Kennedy said, "A lot of it depends on which songs make the cut. There's 17 tracks [in the works] right now, so depending on which end up being the final ones. But there are definitely songs with more of an aggressive side — [Slash's] signature dark riffs that he's so great at, there's tracks with that. Then there's also tracks that touch on other vibes, stylistically. So it's definitely a dynamic [album]."
Slash recently completed the first recording session for his upcoming solo album at Barefoot Recording in Hollywood, California with producer Eric Valentine (QUEENS OF STONE AGE, THE ALL-AMERICAN REJECTS). Joining Slash in the studio were the members of his touring band: Kennedy, rhythm guitarist Bobby Schneck, bassist Todd Kerns (SIN CITY SINNERS, formerly of AGE OF ELECTRIC), and drummer Brent Fitz (formerly of THEORY OF A DEADMAN).
Regarding the musical direction of his new material and how it compares to last year's self-titled effort, Slash previously said, "This one's definitely a very focused… Very hard. Some of it's very heavy. It's got sort of a more unified sound to it, especially with one vocal all throughout."
When asked if the forthcoming second solo album from legendary guitarist Slash (GUNS N' ROSES, VELVET REVOLVER) — which will feature lead vocals and songwriting contributions from Myles — will be heavier than last year's self-titled effort, Kennedy said, "A lot of it depends on which songs make the cut. There's 17 tracks [in the works] right now, so depending on which end up being the final ones. But there are definitely songs with more of an aggressive side — [Slash's] signature dark riffs that he's so great at, there's tracks with that. Then there's also tracks that touch on other vibes, stylistically. So it's definitely a dynamic [album]."
Slash recently completed the first recording session for his upcoming solo album at Barefoot Recording in Hollywood, California with producer Eric Valentine (QUEENS OF STONE AGE, THE ALL-AMERICAN REJECTS). Joining Slash in the studio were the members of his touring band: Kennedy, rhythm guitarist Bobby Schneck, bassist Todd Kerns (SIN CITY SINNERS, formerly of AGE OF ELECTRIC), and drummer Brent Fitz (formerly of THEORY OF A DEADMAN).
Regarding the musical direction of his new material and how it compares to last year's self-titled effort, Slash previously said, "This one's definitely a very focused… Very hard. Some of it's very heavy. It's got sort of a more unified sound to it, especially with one vocal all throughout."
Chris Broderick was well respected in the guitar world as both a virtuoso player and a great teacher, but on February 4, 2008, his life changed dramatically. It was on that day that he made his debut as the new lead guitarist of Megadeth.
Broderick has spent the last three years touring the world, playing to sold out stadiums and writing and recording music for two Megadeth albums. His playing may just be the best the band has ever seen, and that is saying a lot. Yet, no one in the bands' past, not even Marty Friedman, can say that they can one up Broderick. He more than holds his own and, in fact, has really boosted new life into the band as their albums Endgame and TH1RT3EN have proven.
Not just a Metal gunslinger, Broderick is well versed, and appreciates, all styles of guitar playing. He is influenced as much by classic players as he is by shredders. Another player of the same caliber as Chris is Testament's Alex Skolnick. He, too, shreds and still hits the road playing other styles, namely jazz in the Alex Skolnick Trio. The two of them deciding to join forces and put on a winter guitar retreat is a true match made in heaven.
There is still time to learn more and sign up for the retreat, which takes place the week after Christmas. Imagine spending five days hanging out with Alex Skolnick and Chris Broderick and soaking up their guitar knowledge. Oh yeah, you might even get to jam with them at the Master Class too.
In the interview that follows Chris tells Classic Rock Revisited all one needs to know about the winter retreat but we also talk about Megadeth, how he composes solos and if he was more a Metallica or Megadeth fan growing up.
Jeb: Before we even get into the new album TH1RT3EN, you are doing something really cool. You and Alex Skolnick are doing a winter retreat for guitar players at the Full Moon Resort in New York. Tell me about that.
Chris: It was presented to us and we both thought it was a great idea because of our musical backgrounds and because we have both been teachers. I thought it really made good sense. We've toured together and we've hung out together in the past, so that makes it really cool.
People can come and hang out at the resort, which is a nice environment and learn about guitar playing. It is really set up so a person can take a vacation centered around the guitar. While they are here they will get to see how we view the guitar and learn about things we utilize to create on the guitar. We will cover every aspect of our playing and they can learn from us.
Jeb: Is there a minimum skill level of player that should attend this?
Chris: It is open this year to anyone. This is the first time I have done anything quite like this. The first year I will be getting the lay of the land and seeing what people are most interested in and what they want to learn. I don't think that how accomplished you are on the instrument will make you either qualified, or unqualified, to attend.
Jeb: From the perspective of the instructor, do you have any preset goals you want to get across?
Chris: I have a list of goals. I had to come up with a curriculum that I wanted to teach. I have all of the things I want to do planned out but whether I get to all of them or not will depend on the class.
Jeb: Will Alex and you be doing any teaching or performing together?
Chris: Yes, definitely. We will teach a couple of glasses together and then, at the end of the night, we will do a Master Class where we get everyone together and we allow the students to get up and play with us.
Jeb: Are the classes limited?
Chris: I am sure there is a limit to the size of the hotel but for all purposes, right now, there is no limit. People can sign up and come to the resort.
Jeb: This is coming up really quickly.
Chris: It is December 26th through the 30th. I have not been to the resort yet but I have heard it is really a wonderful place.
Jeb: Alex is great guitar player, as you are. Both of you are versed in many styles. What is it about Alex's playing that attracts you to him?
Chris: I think Alex has really cool choices when it comes to note selection. If you listen to his solo in "Soul of Black" or "The Preacher" then you realize that his guitar lines are really, really cool.
Jeb: Have you checked out his jazz band?
Chris: Not too much. I know he has a tour this week with The Alex Skolnick Trio. I know they cover songs like "War Pigs" and stuff, which is really cool.
Jeb: You have a scope of musical interest well beyond Metal. What would Megadeth fans be surprised at from you at this clinic?
Chris: I think that is true for both of us. I really can't say because I don't know what they will know about me. I know that my history has become fairly common public knowledge. We have also posted our curriculum for the people who have signed up for this.
Jeb: It is obvious from a fan perspective to see what they get out of this but I wonder what you, as instructors, get out of this.
Chris: Seeing someone really grasp onto the knowledge you're trying to convey, and really utilize it and make it part of their own is very rewarding. I really get a lot out of that. Passing on the knowledge is really what excites me.
Jeb: Megadeth is a larger than life situation. You are able to not be the big Rock Star during this time, you're a real person.
Chris: I just consider myself lucky to even have got into the position that I'm in. I am glad people really like what I do and how I play but I realize that there are a lot of other great players out there.
Jeb: You are one of those guitar players that make you really become inspired but at the same time you make me want to smash my guitar over my head. Who inspired you to get to the level you're at?
Chris: Jason Becker, Paco de Lucia and players like that, in general, inspired me. I was definitely always into harder rock but I was also into the whole classical thing. Early on, I was into jazz but I can appreciate any genre as long as it is played and executed well.
Jeb: I think you have brought a lot of fresh air into the last two Megadeth releases. I have not stopped cranking up Endgame and now I have to find time for TH1RT3EN. Do you feel you've really brought something to the band?
Chris: I don't feel like I have been a game changer, or anything like that, but I do bring my knowledge of harmonization and functional tonality to the band. I also bring my influences, as well. I would think that anyone in my position would bring something to the band. There should be some inflection of personality to the band and I think that's what I bring.
Jeb: Whitesnake has a huge legacy of great guitar players. Megadeth is doing that as well. Mustaine always surrounds himself with classy players. Do you pat yourself on the back at all to be a member of that Brotherhood?
Chris: When I first joined, I didn't even have time to think about the people who I was trying to replace. I just knew I had a lot of work to do, in terms of getting the music down, and trying to learn it accurately. It wasn't until maybe a year ago that I could even think about where I was positioned as a guitarist.
Jeb: You joined the band and then started doing Big 4 Shows and playing huge stadiums around the entire world. The last few years must be a huge whirlwind.
Chris: Absolutely, it really has been. It is to the point that you don't even recount half of it anymore because there is so much going on, constantly. It has just been awesome.
Jeb: Dave Ellefson is a great guy but also a very good musician. You made one album without him and now you've made one with him. You're in a unique position to comment on what he brings to Megadeth.
Chris: I would say I noticed the element of friendship that they have between each other right away. They have a great camaraderie. Dave and Dave have such a history that they can really read each other's mind, which is awesome. Ellefson is a great bass player, who is very professional. I can't say enough about getting to jam with him.
Jeb: You look at the new album and I have to say that it has a very classic Metal sound. "We the People" is classic Mustaine and "Public Enemy No. 1" is a great track. The one that I have been cranking up is "Sudden Death." Tell me about that song.
Chris: That was written for Guitar Hero and we knew that they wanted a lot of guitar soloing on it. It was one of those things where we went and wrote the song around the solos and then expanded the song from there. Dave and I went back and forth taking solos and we really wrote the solos first and then the song was arranged around that. It was a backwards way of doing it but it really worked.
Jeb: How do you and Dave work? Does he come in with the ideas and just have you create solos?
Chris: We all present ideas. If you're a musician then you're always writing music but, at the end of the day, we have to look at what fits Megadeth.
Jeb: Outside of the fan base, people are still scared of Megadeth. The reality is that you are all solid musicians and it is really all about the music.
Chris: You have to be professional at all times. In today's day and age there is a lot of scrutiny and you end up on YouTube almost every night. You've got to develop some tough skin as there are a lot of people checking you out.
Jeb: Do you take the mathematical approach to creating guitar solos or do you just rip them out and then go back and figure out what you just did?
Chris: I really do both, but at the end of the day, I prefer to compose the solos. When you have time to think about what is going into a part of the song, then you can think more complexly than if you just solo over the top of something. When you just solo over the top of something then you're at the whim of your technique and you're at the whim of what you're thinking about at the moment.
Jeb: Was TH1RT3EN a tough album to make? Dave Mustaine tends to be a superstitious man. Did the name of the album worry him?
Chris: Not at all. This album was one of the smoothest albums I've ever been involved in. From start to finish, we were able to start the songs and finish them and move onto the next. It really was an easy album to make.
Jeb: Will Megadeth continue on the road in 2012?
Chris: We are going out on the Gigantic Tour in 2012. Plans are even being worked on past that. It is going to be a very busy 2012.
Jeb: Before we go, I have to talk about the song "Head Crusher" from Endgame. OH MY GOD! That is all I've got to say about that one. The guitar in that is SICK.
Chris: I think we were after a really aggressive sound for that whole CD. "Head Crusher" is very, very in your face and that's what we were looking to do. Wow, I'm glad you said that.
Jeb: TH1RT3EN has a lot more melody than Endgame. Which style do you like playing in better?
Chris: It does have a lot more melody. I'm a guitar player, so I guess I like to play songs like the ones on Endgame better, but if you really look at some of the melodies and the guitar playing that was put down for TH1RT3EN, then you see how it is so much more appropriate for the music. Personally, I think most people are going to gravitate towards TH1RT3EN than your average guitar player would.
Jeb: Last one: Growing up were you in the Metallica camp or the Megadeth camp?
Chris: Growing up? The problem is that it is not a fair assessment. I really didn't follow Megadeth until Marty Friedman got into Megadeth. I got into Metallica in the Ride the Lightening era. I didn't get into Megadeth until much later, so I can't really make that judgment.
Today marks seven years since Pantera and Damageplan guitarist Dimebag Darrell was killed onstage. This week, we are posting remembrances of him by his friends and peers. Today, Judas Priest frontman Rob Halford talks candidly about meeting Dimebag, working with him, and how he took the news when he heard about the shooting. A portion of the interview ran in Revolver's "Fallen Heroes" issue (available here) earlier this year.
REVOLVER When did you first meet Dimebag Darrell?
ROB HALFORD Priest was in Canada rehearsing for the Painkiller tour. I was doing an interview from the hotel room and I turned the telly on to [Canadian music-video channel] Much Music. The sound was turned off, and I saw this guy and he's got a British Steel T-shirt on. So I quickly finished the interview, and I turned the volume up and he's just talking about his band, Pantera, and Cowboys From Hell. And just watching him and listening to him on the television, you just felt like, This is a great guy. Firstly, I saw a clip of the band. I was like, My God, this guitar player is fucking phenomenal, besides the rest of the band. And then just hearing him talk I thought, I really would like to meet this guy. So I called up Much Music and I said, "Was that Darrell? Is he still there?" It wasn't Dimebag in those days, it was Diamond Darrell. They said, "Yeah, he still is" And he was like, "Oh my God, I can't believe it, I'm wearing a Priest shirt." And I said, "Yeah, I've just seen you on the Much Music." He said, "Oh man, I'd love to see you. We got a show tonight at the club in Toronto." I'm pretty much sure that it was Pantera and Stryper. So I went down there, and we had a great time together, and we just talked about metal, this, that, and the other. I think jammed "Metal Gods" with them. It's a bit blurry, it should be more significant than this, but this is 1991. I was clean and sober then, but you know how things get jumbled up in your brain. So that was the start of that.
ROB HALFORD Priest was in Canada rehearsing for the Painkiller tour. I was doing an interview from the hotel room and I turned the telly on to [Canadian music-video channel] Much Music. The sound was turned off, and I saw this guy and he's got a British Steel T-shirt on. So I quickly finished the interview, and I turned the volume up and he's just talking about his band, Pantera, and Cowboys From Hell. And just watching him and listening to him on the television, you just felt like, This is a great guy. Firstly, I saw a clip of the band. I was like, My God, this guitar player is fucking phenomenal, besides the rest of the band. And then just hearing him talk I thought, I really would like to meet this guy. So I called up Much Music and I said, "Was that Darrell? Is he still there?" It wasn't Dimebag in those days, it was Diamond Darrell. They said, "Yeah, he still is" And he was like, "Oh my God, I can't believe it, I'm wearing a Priest shirt." And I said, "Yeah, I've just seen you on the Much Music." He said, "Oh man, I'd love to see you. We got a show tonight at the club in Toronto." I'm pretty much sure that it was Pantera and Stryper. So I went down there, and we had a great time together, and we just talked about metal, this, that, and the other. I think jammed "Metal Gods" with them. It's a bit blurry, it should be more significant than this, but this is 1991. I was clean and sober then, but you know how things get jumbled up in your brain. So that was the start of that.
And I told [Judas Priest guitarists] Glenn Tipton and K.K. Downing specifically after that, "I've seen this band. They're absolutely fucking amazing and they are going to be huge. They are going to be huge!" And I said, "We should try to get him on the tour." So, to cut a long story short, we brought them with us on the Priest Painkiller tour of Europe and nobody had a clue who they were. They had no distribution as far as I understood in Europe. So they went out blind, in front of Germans and French and whatever. I used to watch every show, and the first reaction fans gave them was, Who the hell is this? And it was like, Oh my fucking God, what's going on in front of my eyes? They would just win an audience over in 30, 40 minutes. From playing fresh, new music that nobody had heard before. The communication was instant with that band. So there it was. So by the time we'd done the European tour, and they went back to the States, Cowboys was shooting up the charts. And that was it, they were off and running. They were just launched into the stratosphere on that first release.
You mentioned his British Steel shirt. He used to wear a razorblade necklace in honor of your album. Did he ever tell you about that?
Yeah, and he had it tattooed on his leg as well. He loved that record. It meant everything to him. It was one that he said was very inspiring to him as a guitar player and as a musician in general. That's great, isn't it?
Yeah, and he had it tattooed on his leg as well. He loved that record. It meant everything to him. It was one that he said was very inspiring to him as a guitar player and as a musician in general. That's great, isn't it?
Shortly after you toured with them, you worked with him on the song "Light Comes Out of Black," for the Buffy the Vampire Slayer soundtrack. How did that come together?
I was away from Priest. Sony were working on the soundtrack. They wanted Sony artists and asked me to write a song. I hadn't written as a solo writer for years and years and years. But it's one of those things where you don't know what you can do until you put your nose to the grindstone. So I wrote "Light Comes Out of Black," and I was stuck. And I got Dime's number, and I called him up and I said, "Here's the deal." And he goes, "Let's do it. Just get in the plane and come down to Dallas." So that's what I did the next day, went to the studio, laid the track down in a very short space of time. Phil wandered by, said "Oh, how's it going, 'metal god'?" So I told him and he said, "You got a spot for me?" I said, "Pfft, here's the mic." So Phil joins me on the back end of the song. And it turned out really god. It's amazing to think that that's a Pantera song really. It is Pantera with me on lead vocals, and Phil obviously doing the outro sections. But it's a Pantera song really.
I was away from Priest. Sony were working on the soundtrack. They wanted Sony artists and asked me to write a song. I hadn't written as a solo writer for years and years and years. But it's one of those things where you don't know what you can do until you put your nose to the grindstone. So I wrote "Light Comes Out of Black," and I was stuck. And I got Dime's number, and I called him up and I said, "Here's the deal." And he goes, "Let's do it. Just get in the plane and come down to Dallas." So that's what I did the next day, went to the studio, laid the track down in a very short space of time. Phil wandered by, said "Oh, how's it going, 'metal god'?" So I told him and he said, "You got a spot for me?" I said, "Pfft, here's the mic." So Phil joins me on the back end of the song. And it turned out really god. It's amazing to think that that's a Pantera song really. It is Pantera with me on lead vocals, and Phil obviously doing the outro sections. But it's a Pantera song really.
Did you play guitar on a demo and send it to him originally?
Yeah, I put my very primitive…I just don't have the mental capacity to do what guitar players do.
Yeah, I put my very primitive…I just don't have the mental capacity to do what guitar players do.
What was exceptional about working with Dime?
His interpretation of the song. His phrasing, the feel was unique. Let's face it. You look at rock and roll. You've got Jimmy Page, Jimi Hendrix, you've got Eddie Van Halen. I'm just going through a list off the top of my head, you obviously got Dimebag. Obviously, Glenn [Tipton, Priest guitarist], [Iron Maiden's] Adrian Smith and Dave Murray, all of these significant lead heavy-metal, hard-rock guitar players. And Dimebag…I'm mentioning them now because they're very influential. All of those guitar players have been very influential to not only music but specifically to other guitar players around the world. And there's no doubt that Dimebag's impression was just monumental. If you took Dimebag out of the equation, metal would sound totally different right now, without a doubt it would, definitely.
His interpretation of the song. His phrasing, the feel was unique. Let's face it. You look at rock and roll. You've got Jimmy Page, Jimi Hendrix, you've got Eddie Van Halen. I'm just going through a list off the top of my head, you obviously got Dimebag. Obviously, Glenn [Tipton, Priest guitarist], [Iron Maiden's] Adrian Smith and Dave Murray, all of these significant lead heavy-metal, hard-rock guitar players. And Dimebag…I'm mentioning them now because they're very influential. All of those guitar players have been very influential to not only music but specifically to other guitar players around the world. And there's no doubt that Dimebag's impression was just monumental. If you took Dimebag out of the equation, metal would sound totally different right now, without a doubt it would, definitely.
What was the last time you talked to Dime?
I'm pretty certain it was Aladdin in Las Vegas on the Halford Resurrection tour with Iron Maiden. It might have happened maybe once, twice after that.
I'm pretty certain it was Aladdin in Las Vegas on the Halford Resurrection tour with Iron Maiden. It might have happened maybe once, twice after that.
Where were you when you heard Dime had died?
I was in my house in Phoenix. I think somebody texted me or somebody called me, and my legs went from underneath me. I just hit the deck. This can't be real. I put the TV on, and it was actually on CNN. I just sat there in disbelief. And then I balled like a baby, like you should do. I just cried my eyes out. And you just don't know what to do. You're full of confusion, you're full of anger, you want to fucking smash things to pieces. You want to play the music; you want to call Phil. All of these things are going on in your head. And obviously, Pat [Lachman] was singing for Damageplan at the time. I wanted to call Pat. Do you call, do you not call? What the fuck's going on? Just a bazillion things are going around your head at the same time. But it was just terrible. It's just seems inconceivable. I don't think, now, that's never happened to anybody else, has it? I mean, we lost people through self-induced things, like booze and drugs. We've lost people like Ronnie [James Dio] with the kinds of illnesses. But to be fucking brutally murdered is just insane. Absolutely insane. John Lennon is the only other person, isn't it? They're both in good company, as far as what they mean and how they've lived on in our lives. How Dimebag will always live on. That's the only bit of solace you've got. It's that the work that they made will live forever. That's the blessing.
I was in my house in Phoenix. I think somebody texted me or somebody called me, and my legs went from underneath me. I just hit the deck. This can't be real. I put the TV on, and it was actually on CNN. I just sat there in disbelief. And then I balled like a baby, like you should do. I just cried my eyes out. And you just don't know what to do. You're full of confusion, you're full of anger, you want to fucking smash things to pieces. You want to play the music; you want to call Phil. All of these things are going on in your head. And obviously, Pat [Lachman] was singing for Damageplan at the time. I wanted to call Pat. Do you call, do you not call? What the fuck's going on? Just a bazillion things are going around your head at the same time. But it was just terrible. It's just seems inconceivable. I don't think, now, that's never happened to anybody else, has it? I mean, we lost people through self-induced things, like booze and drugs. We've lost people like Ronnie [James Dio] with the kinds of illnesses. But to be fucking brutally murdered is just insane. Absolutely insane. John Lennon is the only other person, isn't it? They're both in good company, as far as what they mean and how they've lived on in our lives. How Dimebag will always live on. That's the only bit of solace you've got. It's that the work that they made will live forever. That's the blessing.
Metal guitar legend "Dimebag" Darrell Abbott's (PANTERA, DAMAGEPLAN) influence on the music community can never be fully estimated, but if the collection of artists and players at this year's Dimebash is any indication, his legacy is as far-reaching and deeper than ever before.
On December 14, the world of hard rock and metal come together in a communion of thunderous songs and stories to tip its collective glass to one of the true masters of not only guitar, but music as a whole.
"Today marks the seventh year, which still doesn't seem like a reality to me," states Rita Haney, longtime girlfriend of Dime and the person who knew him best.
"Sometimes I think, 'Boy, this sure is a long-ass tour,' but then I focus back in and realize what I'm working on at this moment and I just have to smile and be thankful for all the amazing people that surround me — thanks to him.
"I hope everyone enjoys this event as much as we like bringing it to them. It's nothing more, nothing less, than 'about a damn good time!' — one of my favorite Dime pastimes and phrases.
"There are no words to express my thanks to all the artists who make this event special and give 'us fans' a night to remember two truly amazing people and the music they created! I am forever at your beckon call, so c'mon out and experience the evening with us. It's going to be quite magical!!!"
The Key Club in Hollywood will play host to all-star jams featuring the vocal talents of heavy hitters like:
* Jerry Cantrell (ALICE IN CHAINS)
* David Draiman (DISTURBED)
* Duff McKagan (VELVET REVOLVER, GUNS N' ROSES)
* Serj Tankian (SYSTEM OF A DOWN)
* Mike Muir (SUICIDAL TENDENCIES)
* Sebastian Bach (SKID ROW)
* John 5 (ROB ZOMBIE, MARILYN MANSON)
* Scott Ian (ANTHRAX)
* Phil Demmel (MACHINE HEAD)
* Warren DeMartini (RATT)
* Ben Harper
* Chris Howorth (IN THIS MOMENT)
* Tom Morello (RAGE AGAINST THE MACHINE)
* Doug Pinnick (KING'S X)
* James Lomenzo (WHITE LION, MEGADETH, BLACK LABEL SOCIETY)
* Ginger Fish (ROB ZOMBIE, MARILYN MANSON)
* Brian Tichy (WHITESNAKE, OZZY OSBOURNE)
* Joey Jordison (SLIPKNOT, MURDERDOLLS)
The whole shebang will be emceed by "That Metal Show"'s Eddie Trunk and his co-horts, Jim Florentine and Don Jamieson. In addition, kicking off the event will be KILL DEVIL HILL, the band featuring Vinny Appice (HEAVEN & HELL, BLACK SABBATH, DIO) on drums, Rex Brown (DOWN, PANTERA) on bass, Mark Zavon (RATT, W.A.S.P., 40 CYCLE HUM) on guitar and Jason "Dewey" Bragg (PISSING RAZORS) on vocals. Also on deck are DIO DISCIPLES — the new project featuring former DIO members Simon Wright (drums), Craig Goldy (guitar), Scott Warren (keyboards) and Rudy Sarzo alongside singers Tim "Ripper" Owens (YNGWIE MALMSTEEN, BEYOND FEAR, JUDAS PRIEST, ICED EARTH) and Toby Jepson (LITTLE ANGELS, GUN) — with a special appearance by Glenn Hughes (BLACK SABBATH, DEEP PURPLE, BLACK COUNTRY COMMUNION).
100% of proceeds from the event will benefit the Ronnie James Dio Stand Up & Shout Cancer Fund. Additionally, attendees will be able to land some limited-edition merchandise and purchase Monster Energy cocktail drink specials with 100 percent of the proceeds benefitting the cause as well.
Key Club
9039 Sunset Boulevard
West Hollywood, CA 90069
(310) 274-5800
Thursday, December 14, 2011
Doors Open: 7:00 p.m.
Performances Begin: 8:00 p.m.
On December 14, the world of hard rock and metal come together in a communion of thunderous songs and stories to tip its collective glass to one of the true masters of not only guitar, but music as a whole.
"Today marks the seventh year, which still doesn't seem like a reality to me," states Rita Haney, longtime girlfriend of Dime and the person who knew him best.
"Sometimes I think, 'Boy, this sure is a long-ass tour,' but then I focus back in and realize what I'm working on at this moment and I just have to smile and be thankful for all the amazing people that surround me — thanks to him.
"I hope everyone enjoys this event as much as we like bringing it to them. It's nothing more, nothing less, than 'about a damn good time!' — one of my favorite Dime pastimes and phrases.
"There are no words to express my thanks to all the artists who make this event special and give 'us fans' a night to remember two truly amazing people and the music they created! I am forever at your beckon call, so c'mon out and experience the evening with us. It's going to be quite magical!!!"
The Key Club in Hollywood will play host to all-star jams featuring the vocal talents of heavy hitters like:
* Jerry Cantrell (ALICE IN CHAINS)
* David Draiman (DISTURBED)
* Duff McKagan (VELVET REVOLVER, GUNS N' ROSES)
* Serj Tankian (SYSTEM OF A DOWN)
* Mike Muir (SUICIDAL TENDENCIES)
* Sebastian Bach (SKID ROW)
* John 5 (ROB ZOMBIE, MARILYN MANSON)
* Scott Ian (ANTHRAX)
* Phil Demmel (MACHINE HEAD)
* Warren DeMartini (RATT)
* Ben Harper
* Chris Howorth (IN THIS MOMENT)
* Tom Morello (RAGE AGAINST THE MACHINE)
* Doug Pinnick (KING'S X)
* James Lomenzo (WHITE LION, MEGADETH, BLACK LABEL SOCIETY)
* Ginger Fish (ROB ZOMBIE, MARILYN MANSON)
* Brian Tichy (WHITESNAKE, OZZY OSBOURNE)
* Joey Jordison (SLIPKNOT, MURDERDOLLS)
The whole shebang will be emceed by "That Metal Show"'s Eddie Trunk and his co-horts, Jim Florentine and Don Jamieson. In addition, kicking off the event will be KILL DEVIL HILL, the band featuring Vinny Appice (HEAVEN & HELL, BLACK SABBATH, DIO) on drums, Rex Brown (DOWN, PANTERA) on bass, Mark Zavon (RATT, W.A.S.P., 40 CYCLE HUM) on guitar and Jason "Dewey" Bragg (PISSING RAZORS) on vocals. Also on deck are DIO DISCIPLES — the new project featuring former DIO members Simon Wright (drums), Craig Goldy (guitar), Scott Warren (keyboards) and Rudy Sarzo alongside singers Tim "Ripper" Owens (YNGWIE MALMSTEEN, BEYOND FEAR, JUDAS PRIEST, ICED EARTH) and Toby Jepson (LITTLE ANGELS, GUN) — with a special appearance by Glenn Hughes (BLACK SABBATH, DEEP PURPLE, BLACK COUNTRY COMMUNION).
100% of proceeds from the event will benefit the Ronnie James Dio Stand Up & Shout Cancer Fund. Additionally, attendees will be able to land some limited-edition merchandise and purchase Monster Energy cocktail drink specials with 100 percent of the proceeds benefitting the cause as well.
Key Club
9039 Sunset Boulevard
West Hollywood, CA 90069
(310) 274-5800
Thursday, December 14, 2011
Doors Open: 7:00 p.m.
Performances Begin: 8:00 p.m.
With a sound as hairy as their name suggests, Atlanta quartet Mastodon takes the box that is heavy metal and tramples it to smithereens. On their latest release, The Hunter, the band once again redefines their own sound, as well as the definition of metal itself. Bassist/vocalist Troy Sanders took some time out from the band's most recent US tour to discuss the new record, personal goals, Record Store Day…and mountains.
Mastodon is one of the few bands I've found that can explore a different style or concept on every record and still get everything right. Were there any specific people or events that inspired the music on The Hunter?
The biggest event that inspired the bulk of the sound was the fact that we wrote, recorded, and toured Crack The Skye for two and a half years. That was such a layered, complex, emotional journey, and for the bulk of the tour, we would play that record in its entirety, and that was a daunting task. From start to finish, that thing is kind of a beast to play! When we were done with that seventh song, it was like a giant exhale, like a "Phew!" and now we can move on to some older songs that spark up some fresh energy. So, after writing, recording, and touring that record, when we went into the writing process for the new album, it was a knee-jerk reaction to go in the opposite direction, and not pound our heads into the concrete wall trying to write these 9-minute epics. You know, shoehorning a really difficult bridge in between three verses, two crazy choruses, and this long outro, and this massive intro…this time around, it was, "Hey, guys, let's embrace the simpler side of Mastodon music", and go the opposite direction that we did on Crack The Skye. We're very proud of everything we achieved with Crack The Skye, but after living that for over two years, we wanted to make a sharp left turn, and this seemed like the obvious reaction.
This was the band's first record with Mike Elizondo handling production duties. What made you guys choose Mike for this session?
Yes, he understood and embraced every aspect and angle that we were throwing at him! Around March of this year, he was the first producer to approach us. He flew to Atlanta, took us out for some tacos, and they were delicious tacos! That's a good way to win us over, simply purchase four tacos. Besides that, he's a fan, and had wanted to do a record with us since our Blood Mountain days. He just said "Hey, guys, I just wanted to meet you face to face, and say that I'd like to work with you on your new album, and these are some things that I can bring to the table…" And everything that he mentioned was equally important to the four of us, so we shared with him some demos that we had done. He embraced our heavy songs, our psychedelic songs, the slow sweet stuff, the proggy stuff…he really understood everything that we were trying to do. So we befriended each other right away, personally and musically, and we had no desire to look anywhere else. We felt that we were on the same page, and that was the most important thing to us, to be on the same page with the guy who's going to be our fifth member while we're in the studio. Looking back, I don't think we could've made a better decision.
So he's someone you'd use again?
Absolutely!
The Hunter marks a further foray into cleaner, more melodic vocals, a process begun on Crack The Skye. Was there an impetus for that, or did it just happen?
Well, as we're always trying to grow as songwriters, and focus on the art of song-crafting, we've slowly but surely realized that melody plays an important part in writing a memorable and unique song. In the past, it was always easy to ignore, as we were focusing the bulk of our energy on the songs themselves. Then it came to lay down vocals, and it was very easy to resort to a less than meticulously thought out vocal pattern. You could kind of be aggressive over anything, and it would work, to some degree. But slowly, and it started a little bit with Blood Mountain, then we really tried to step it up on Crack The Skye, and then more than ever, we focused our time and energy on vocals for The Hunter. It became vital to us that we wanted to create more melody, and a great way to do that is if you can find a proper vocal pattern that marries and matches the music itself, and it just lends itself to the greater good of the song. All of our favorite albums and songs of all time have a wonderful melody that gets in your head, and you fall in love with it. So that's what we were shooting for. It wasn't always as easy as we hoped, but sometimes we'd throw around some vocal ideas, and the guys in the band would say, "Yeah, that works", and we'd just kind of stick with it. Looking back on the recording, putting more time and energy into creating the vocals was definitely a great idea.
The cover art, as usual, is awesome. Did you guys have a hand in the artwork, or was it entirely up to the artist?
No, it's a complete collaboration. [The Hunter cover artist] AJ Fosik is a guy who can do some epic wood sculptures, and that type of art fascinates us. The Hunter is not based on wood itself, but there are a lot of references and phrases that deal with the element of wood: the trees, the forest and such. So having a carving of wood was a perfect fit! And we're always fascinated with mythological creatures, so this triple-jawed Minotaur type head was right up our alley. As soon as we began sharing ideas with AJ, he started to work right away, and he created something that looks so damn slick, it looks fake. It's that good! He spent hours on it, just as we spent hours in the studio simultaneously, so these two pieces of work coming together, it just seemed like the perfect fit. It made for a wonderful marriage of art and music!
What's the writing process for Mastodon? Is it primarily one member writing, or a more collaborative effort?
A year ago, when we were on the Blackdiamondskye tour, which was Mastodon, Deftones, and Alice In Chains, we were surrounded by a lot of very genuine people. Both of those bands have overcome very tragic experiences, Deftones with their bassist, and Alice In Chains with their lead singer, but they were still up there every night, killing it! It was a very inspirational tour to be a part of, and having so much down time as the opener on that tour, we would have practice amps set up in our dressing rooms. The skeleton of what would become The Hunter was actually created while on that tour. When we got home, after the holidays, we started sifting through all these ideas, and realized that we had the bulk of a record! It was just a matter of taking those pieces and starting to put that puzzle together. That was a very inspirational part of The Hunter as well, being a part of that tour.
So it's not all business at hand until you get back home?
Yeah, but only if it comes naturally. We're not going to sit down and say, "Guys, we need to start writing something right now!" We let it come to us. You know, [guitarists] Bill [Kelliher] and Brent [Hinds] will sit down, every day, for either one minute or an hour, and just start playing the guitar, because that's what they live to do, have a guitar in their hands. So we just let it come to us naturally, we feel that's the best way to create, when something inspires you authentically, without being forced.
Scott Kelly makes an appearance on this album, as he did on Leviathan, Blood Mountain, and Crack The Skye. How did you guys get together with Scott initially?
Well, we've all been hugely inspired by [Scott's band] Neurosis, even before Mastodon formed. But we befriended Scott along the way, when Mastodon supported Neurosis back in '02 at The Trocadero in Philadelphia, and from there, we formed a great relationship with all the members of Neurosis, personally and musically. Now, every time we write a riff that sounds like a Neurosis-ish part, we always call Scott, send him the files, and he's always like "I'll drop anything to start knocking that out." It wasn't pre-planned over the last four records, there's just been a riff that we could hear Scott's voice over, and every time, he's more than happy to collaborate with us.
So it's just been coincidence, it wasn't a case of "Hey, we need to put Scott on this record"?
Right, we never intend to write a part for him, it just comes naturally, which is the best way for it to come.
The band is currently on tour with Dillinger Escape Plan and Red Fang. Is there any band that you guys haven't yet traveled with, but hope to in the future?
The only band that's left on our list to share a stage with is Judas Priest, and we're hoping that will happen in the summer of 2012. So, once we check their name off, our list will be complete!
You can die happy?
Yeah… We've been fortunate enough to share a stage or tour with all of our musical heroes.
And you'll live with the fact that K.K. Downing is not in the band anymore?
No, our friend Richie [Faulkner] took his place. Richie's cool as hell!
For Record Store Day 2012, Mastodon plans to team up with Feist for a split 7", in which you'll cover one of their songs, and they'll cover one of yours. Any ideas as to which songs you'll be trading?
No, we're currently in the works, trying to narrow that down, as we only have a small window to make it happen, for us anyway. Our current US tour is ending tomorrow (12/2/11), and we fly to Europe in January to start our tour over there, so we have to have it done and recorded within that one-month span. And when you throw in all the holidays, and New Year's, we need to get on that right away. So we're currently narrowing it down, and we will track it in December.
Any clues as to what Feist might cover of yours?
When we met them two months ago, in London, Ms. Feist said she was leaning towards doing "Oblivion" [from Crack The Skye]. But that was two months ago, so I don't know if they've narrowed down what they want to do yet. But anything that they choose, I know it's going to be beautiful, and whatever we choose, I'm confident that it will be rockin'! And we always embrace change, we never fear to expect the unexpected. I think it's a good thing, I think it will be very unique. Ultimately, it's being done because we support independent record stores, and we believe that Record Store Day is vital and extremely important.
If you had to pick one favorite venue, which would it be?
I would say it's the mountain, I forget the name of it, so this might not do any good. We played three gigs in Greece, it's this outdoor area right in front of this massive face of a mountain. That's been the best. I forget the name, but where all the Sonisphere Festivals are held. [Troy was thinking of Terra Vibe Park in Athens, Greece] Anything of epic proportions fascinates us, such as a giant mountain.
So if I hope to lure Mastodon to one of my parties, I need a giant mountain?
Yeah, or a big-ass oak tree, or something…a whale carcass… Any of those would do.
What's the most fucked up place you've ever slept while on the road?
I slept on a pile of cat litter! In the early days, it was '02 in Binghamton, NY, and this group of kids was gracious enough to have us sleep over at their house, when we couldn't afford one Motel 6 between the six of us. The four of us woke up, looked at each other, and we all had cat litter stuck to our faces! You know, one of the prouder moments of being a rock 'n' roller…
When you're not shaking the walls with your bass guitar, what do you do for fun?
Oh, I like to lay low at home, because we're away from our homes eight or nine months of the year. Just reconnecting with family, and having that sense of normalcy is very important to me, personally. I like to buy groceries, and cook them, catch up on movies, and just be a family man.
What albums are you currently listening to?
The only album I've listened to this whole month has been the new Feist record because we're trying to figure out what song we want to do.
So you're definitely covering something off of the new one?
Yeah, we're going to do something off their latest one, Metals. Other than that, as my ears are exposed to the daily grind of being on tour with Red Fang and Dillinger Escape Plan every night, I don't feel much urgency to continue listening to music while I'm out here. It's more of a decompression thing, for my head and my ears.
Any messages for the fans before we go?
We're just thrilled that anybody is supporting us. There's a lot of Mastodon love to go around, and we appreciate people letting us invade their lives, ears, brains, and nervous systems, and we appreciate the energy in return.
Vocalist Russ North has rejoined the legendary NWOBHM act CLOVEN HOOF.
Commented Russ: "The fans and musicians in the group deserve nothing less than 100 percent commitment, and until I could give that, I had to take time out away from music. It was imperative that the band had to tick over until I could sort private matters out that made it at the time impossible to front CLOVEN HOOF. Lee [Payne, bass] was a really good friend whilst I was going through a difficult situation and gave me his full support as ever. He gave me space and time in the knowledge that I would return better than ever.
"I am now delighted to say that I am in it for the long haul and firing on all cylinders. Lee and I have promised each other another 10 years of making metal mayhem together.
"I would like to thank Ash Cooper for doing a terrific job on the vocals whilst I was away. He is a true professional and the band wish him well in all his future projects.
"We are looking forward to playing as many shows as possible next year and I can't wait to play in Greece and Cyprus. I promise the best CLOVEN HOOF set ever.
"I am currently putting down vocals for the new studio album and it will be an absolute killer.
"It is great to be back where I belong."
CLOVEN HOOF's "I'm Your Nemesis" video — featuring Ash Cooper on vocals — can be seen below.
CLOVEN HOOF is:
Chriss Coss - Guitar
Peter Baker - Keyboards
Mark Gould - Drums
Russ North - Vocals
Lee Payne - Bass
Joe Whelan - Guitar
CLOVEN HOOF last year released a five-song EP entitled "Throne Of Damnation". It contained three new songs — "Prime Time", "Running Man" and "Freak Show" — along with reworked versions of "Whore Of Babylon" and "Night Stalker", the latter of which is featured on the Brütal Legend game.
CLOVEN HOOF re-recorded 24 of its classic songs for a two-part "best-of" compilation, "The Definitive Part One" and "The Definitive Part Two".
Commented Russ: "The fans and musicians in the group deserve nothing less than 100 percent commitment, and until I could give that, I had to take time out away from music. It was imperative that the band had to tick over until I could sort private matters out that made it at the time impossible to front CLOVEN HOOF. Lee [Payne, bass] was a really good friend whilst I was going through a difficult situation and gave me his full support as ever. He gave me space and time in the knowledge that I would return better than ever.
"I am now delighted to say that I am in it for the long haul and firing on all cylinders. Lee and I have promised each other another 10 years of making metal mayhem together.
"I would like to thank Ash Cooper for doing a terrific job on the vocals whilst I was away. He is a true professional and the band wish him well in all his future projects.
"We are looking forward to playing as many shows as possible next year and I can't wait to play in Greece and Cyprus. I promise the best CLOVEN HOOF set ever.
"I am currently putting down vocals for the new studio album and it will be an absolute killer.
"It is great to be back where I belong."
CLOVEN HOOF's "I'm Your Nemesis" video — featuring Ash Cooper on vocals — can be seen below.
CLOVEN HOOF is:
Chriss Coss - Guitar
Peter Baker - Keyboards
Mark Gould - Drums
Russ North - Vocals
Lee Payne - Bass
Joe Whelan - Guitar
CLOVEN HOOF last year released a five-song EP entitled "Throne Of Damnation". It contained three new songs — "Prime Time", "Running Man" and "Freak Show" — along with reworked versions of "Whore Of Babylon" and "Night Stalker", the latter of which is featured on the Brütal Legend game.
CLOVEN HOOF re-recorded 24 of its classic songs for a two-part "best-of" compilation, "The Definitive Part One" and "The Definitive Part Two".
"Imaginaerum", the first album in four years from Finnish/Swedish symphonic metallers NIGHTWISH, has entered the official chart in Finland at position No. 1.
According to Rytmi.com, "Imaginaerum" sold 50,000 copies in Finland in its first two days of release. The band's first CD since 2007's "Dark Passion Play" — which was then-new singer Anette Olzon's debut — is due in North America on January 10, 2012 via Roadrunner Records.
Note: The International Federation of the Phonographic Industry (IFPI) in Finland has revised the sales requirements for albums to reach platinum status in the country from the pre-2010 level of 30,000 to the current 20,000.
"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
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.
According to Rytmi.com, "Imaginaerum" sold 50,000 copies in Finland in its first two days of release. The band's first CD since 2007's "Dark Passion Play" — which was then-new singer Anette Olzon's debut — is due in North America on January 10, 2012 via Roadrunner Records.
Note: The International Federation of the Phonographic Industry (IFPI) in Finland has revised the sales requirements for albums to reach platinum status in the country from the pre-2010 level of 30,000 to the current 20,000.
"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
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.
Finnish female-fronted symphonic metallers AMBERIAN DAWN have set "Circus Black" as the title of their fourth studio album, due in Finland on February 29, 2012 via Spinefarm Records. The band's mainman, keyboardist and guitarist Tuomas Seppälä composed all ten songs for the CD and vocalist Heidi Parviainen penned the lyrics.
"Circus Black" features guest appearances by Timo Kotipelto (STRATOVARIUS) and Jens Johansson (STRATOVARIUS, DIO, YNGWIE MALMSTEEN'S RISING FORCE). Kotipelto sings lead vocal parts on "Cold Kiss" and Johansson plays a keyboard solo on "Crimson Flower".
Commented Tuomas: "'Circus Black' is the most impressive AMBERIAN DAWN album so far. Musically it represents the most sophisticated and most symphonic edge of AMBERIAN DAWN music. There's more diversity on this album than never before. This is the first time we used a real choir and we gathered some really excellent professional opera singers together to be able to achieve the best-sounding choir possible. This choir was conducted by Mikko P. Mustonen from Pathos Music. He also arranged the choir and orchestral parts.
"We managed once again to get some world-class guests on this album. So, the production is our biggest so far and the final polish on this album was given by Teropekka Virtanen (mixing engineer) and Mika Jussila (mastering engineer) at legendary Finnvox Studios in Finland.
"The whole band did excellent job with recordings. It was really awesome, that Kasperi [Heikkinen] recovered from his hand injury just in time (only a couple of weeks before the mixing sessions started) and he was able to play guitar solos on this album. Even in the fall it seemed that I and Kimmo [Korhonen] would have to play all guitar parts by ourselves."
"Circus Black" track listing:
01. Circus Black (3:49)
02. Cold Kiss (feat. Timo Kotipelto) (3:31)
03. Crimson Flower (feat. Jens Johansson) (4:25)
04. Charnel's Ball (4:27)
05. Fight (3:21)
06. Letter (4:31)
07. I Share With You This Dream (3:37)
08. Rivalry Between Good and Evil (instrumental) (4:00)
09. Guardian (5:09)
10. Lily of the Moon (4:12)
AMBERIAN DAWN last year parted ways with Tommi Kuri (bass), Emil Tobias Pohjalainen (guitar) and Joonas Pykälä-aho (drums) and replaced them with Jukka Koskinen (NORTHER, WINTERSUN), Kimmo Korhonen (WALTARI, HELION, SOLACIDE) and Heikki Saari (NORTHER, NAILDOWN), respectively.
AMBERIAN DAWN's current lineup:
* Heidi Parviainen - Vocals
* Tuomas Seppälä - Keyboards, Guitar
* Kasperi Heikkinen - Guitar
* Kimmo Korhonen (WALTARI, HELION, SOLACIDE) - Guitar
* Jukka Koskinen (NORTHER, WINTERSUN) - Bass
* Heikki Saari (NORTHER, NAILDOWN) - Drums
For more information, visit www.amberiandawn.com.
"Circus Black" features guest appearances by Timo Kotipelto (STRATOVARIUS) and Jens Johansson (STRATOVARIUS, DIO, YNGWIE MALMSTEEN'S RISING FORCE). Kotipelto sings lead vocal parts on "Cold Kiss" and Johansson plays a keyboard solo on "Crimson Flower".
Commented Tuomas: "'Circus Black' is the most impressive AMBERIAN DAWN album so far. Musically it represents the most sophisticated and most symphonic edge of AMBERIAN DAWN music. There's more diversity on this album than never before. This is the first time we used a real choir and we gathered some really excellent professional opera singers together to be able to achieve the best-sounding choir possible. This choir was conducted by Mikko P. Mustonen from Pathos Music. He also arranged the choir and orchestral parts.
"We managed once again to get some world-class guests on this album. So, the production is our biggest so far and the final polish on this album was given by Teropekka Virtanen (mixing engineer) and Mika Jussila (mastering engineer) at legendary Finnvox Studios in Finland.
"The whole band did excellent job with recordings. It was really awesome, that Kasperi [Heikkinen] recovered from his hand injury just in time (only a couple of weeks before the mixing sessions started) and he was able to play guitar solos on this album. Even in the fall it seemed that I and Kimmo [Korhonen] would have to play all guitar parts by ourselves."
"Circus Black" track listing:
01. Circus Black (3:49)
02. Cold Kiss (feat. Timo Kotipelto) (3:31)
03. Crimson Flower (feat. Jens Johansson) (4:25)
04. Charnel's Ball (4:27)
05. Fight (3:21)
06. Letter (4:31)
07. I Share With You This Dream (3:37)
08. Rivalry Between Good and Evil (instrumental) (4:00)
09. Guardian (5:09)
10. Lily of the Moon (4:12)
AMBERIAN DAWN last year parted ways with Tommi Kuri (bass), Emil Tobias Pohjalainen (guitar) and Joonas Pykälä-aho (drums) and replaced them with Jukka Koskinen (NORTHER, WINTERSUN), Kimmo Korhonen (WALTARI, HELION, SOLACIDE) and Heikki Saari (NORTHER, NAILDOWN), respectively.
AMBERIAN DAWN's current lineup:
* Heidi Parviainen - Vocals
* Tuomas Seppälä - Keyboards, Guitar
* Kasperi Heikkinen - Guitar
* Kimmo Korhonen (WALTARI, HELION, SOLACIDE) - Guitar
* Jukka Koskinen (NORTHER, WINTERSUN) - Bass
* Heikki Saari (NORTHER, NAILDOWN) - Drums
For more information, visit www.amberiandawn.com.
British thrash metal veterans ONSLAUGHT will cross the Atlantic for their first-ever North American tour in March 2012. The three-week trek will see the band performing a setlist spanning all its studio albums — "Power From Hell", "The Force", "In Search Of Sanity", "Killing Peace" and their latest release, "Sounds Of Violence". Support on the dates will come from M-PIRE OF EVIL (formerly PRIMEVIL), the new band featuring former VENOM members Jeff "Mantas" Dunn (guitar), Antony "Antton" Lant (drums; brother of VENOM frontman Conrad "Cronos" Lant) and Tony "The Demolition Man" Dolan (bass, vocals). Also appeaing on the bill for some devastating dates on the U.S. West Coast will be EVILDEAD.
Commented ONSLAUGHT guitarist Nige Rockett: "Good morning, America. Here we are at very long last!
"ONSLAUGHT are super-fucking stoked to announce our debut tour of the mighty U.S. of A and Canada. It's been one hell of a long time coming, but we are now finally bringing the 'Scream For Violence' tour to North America for 20 shows in March and April 2012. Just as we did in Europe, the U.K. and South America, we'll be thrashing it up with a brutal 90-minute set featuring tracks off all five ONSLAUGHT studio albums. We can't fucking wait, guys. This is the sound of violence!"
The dates are as follows:
Mar. 19 - Seattle, WA - Studio 7
Mar. 20 - Portland, OR - Hawthorne Theatre
Mar. 21 - Oakland, CA - The Pound
Mar. 22 - Los Angeles, CA - Ecoplex
Mar. 23 - San Diego, CA - Jumping Turtle
Mar. 24 - Tempe, AZ - 910 Live
Mar. 26 - San Antonio, TX - The Korova
Mar. 27 - Laredo, TX – [to be announced]
Mar. 29 - St. Louis, MO - Fubar
Mar. 30 - Chicago, IL - Reggies
Mar. 31 - Dayton, OH - House of Rock
Apr. 01 - Detroit, MI - Blondies
Apr. 03 - Toronto, ON - Wrek Room
Apr. 04 - Montreal, QC - The Katacombs
Apr. 06 - Rochester, NY - Montage Music Hall
Apr. 07 - Brooklin, NY - Saint Vitus Bar
Commented ONSLAUGHT guitarist Nige Rockett: "Good morning, America. Here we are at very long last!
"ONSLAUGHT are super-fucking stoked to announce our debut tour of the mighty U.S. of A and Canada. It's been one hell of a long time coming, but we are now finally bringing the 'Scream For Violence' tour to North America for 20 shows in March and April 2012. Just as we did in Europe, the U.K. and South America, we'll be thrashing it up with a brutal 90-minute set featuring tracks off all five ONSLAUGHT studio albums. We can't fucking wait, guys. This is the sound of violence!"
The dates are as follows:
Mar. 19 - Seattle, WA - Studio 7
Mar. 20 - Portland, OR - Hawthorne Theatre
Mar. 21 - Oakland, CA - The Pound
Mar. 22 - Los Angeles, CA - Ecoplex
Mar. 23 - San Diego, CA - Jumping Turtle
Mar. 24 - Tempe, AZ - 910 Live
Mar. 26 - San Antonio, TX - The Korova
Mar. 27 - Laredo, TX – [to be announced]
Mar. 29 - St. Louis, MO - Fubar
Mar. 30 - Chicago, IL - Reggies
Mar. 31 - Dayton, OH - House of Rock
Apr. 01 - Detroit, MI - Blondies
Apr. 03 - Toronto, ON - Wrek Room
Apr. 04 - Montreal, QC - The Katacombs
Apr. 06 - Rochester, NY - Montage Music Hall
Apr. 07 - Brooklin, NY - Saint Vitus Bar
It's been a liberating year for Corey Taylor. The vocalist behind the mask of Slipknot member #8 and out front of Stone Sour has pulled back from his musically aggressive ways to release an irreverent, thought-provoking book about the Seven Deadly Sins, speak at England's renowned Oxford University about his literary efforts and also embark on a solo book reading/acoustic concert tour that recently found him singing the SpongeBob SquarePants theme to his children onstage. But none of these extra-metal activities should sound surprising because Taylor is a man who likes to mash up his life in funny ways, and he has been reveling in his current solo tour because it truly reveals his personality.
"I'm one of those people that loves to have one foot in structure and also one foot in spontaneity," Taylor tells The Aquarian. "I love being extemporaneous, I love breaking it up, I love changing everything. The great thing about this show is that it's different every night. I come out and talk about different things, and even with the set of music that we play, we allow ourselves to be able to get in and out of the songs differently."
Indeed one can find YouTube clips of Taylor performing stripped-down renditions of everything from hair metal ballads to Slipknot songs to '80s pop tunes. "Every night I pull something weird out of my ass, and it's great to just watch people's faces," reports Taylor. "They're like, 'I think I know this,' and their expression just lights up. For some reason last night I was in a weird mood, so I started playing the J.G. Wentworth song from the commercial [imitates opera singing], and the whole audience started singing along with it. I was like, 'Good luck. That's going to be stuck in your head for the rest of the week, and I take no responsibility for it.'"
An even more surreal YouTube find is video of Taylor preparing to speak at Oxford, then delivering his thoughts to an eclectic group of students. Evidently the Oxford Union had pursued a Taylor speaking engagement for three years because so many students had requested his presence, but touring or recording commitments kept him from visiting. Once he found an open window, he jumped through for the opportunity. The singer admits that he was cool until he got there, and then the history seeping out of the walls and the photos of past speakers and of great debate teams made him feel a tad bit daunted by the whole affair. "I did my best, and all the kids were so excited for me to be there that I couldn't help but not have a good time. It is definitely something I'm really glad I did."
Taylor reviewed clips of past speakers and felt a lack of enthusiasm on the part of many. He wanted to go in there with passion and a sense of purpose, and he wanted to speak from the heart. So he did not write anything down other than a few liners for his introduction. "I just went off the hip from then on," he explains. "I wanted to make eye contact, to walk the room and walk the boards. It was really cool. Everywhere you looked, I saw people nodding their heads and really listening intently to what I was saying. That definitely made me feel like I was on to something. It's funny because from the Oxford speaking engagement I got the idea to do the Q&A [portion] for this tour. I was done talking but everybody was not ready to go, so I did a whole hour of just answering questions."
Taylor focused his Oxford talk on getting people to understand how they should pursue what they are good at rather than what they love. He feels that many people make that mistake, although the irony of those remarks is they come from an artist, and one could argue that there is a certain amount of self-delusion that comes with that role, particularly given the amount of rejection one has to deal with on a regular basis.
"Well, there's a difference between professional rejection and spiritual rejection," counters Taylor. "There are people who will recognize talent when they see it everywhere, but if you're just hitting a dead-end everywhere you turn, that should be a lesson in futility and you should really start to reimagine things. I'm not saying that if it just hasn't happened yet you should stop. I'm saying flat out if you're just not good you shouldn't really do it. I know it's all a matter of opinion at the end of the day, but if you're pursuing a career that you're trying to pay bills with, feed a family, clothe a family, you need to be able to earn to do these things. It's hard enough in this business being able to earn without trying to basically spin your wheels because the talent isn't there. The heart may be, but the talent just isn't there."
Luckily for the Iowa native, his talent with music and writing has lead him on a wild rock odyssey, much of which is chronicled in the philosophical pages of Seven Deadly Sins, which is not an autobiography but a meditation on how these so-called sins are not what religious figures make them out to be, and how they can be beneficial to mankind when not abused. It's definitely a fun read that will have you thinking about many of his viewpoints, regardless if you agree with them or not.
The spirited singer is certainly not being a sloth as he is already on to other big projects following this tour. He is already planning ideas for a second book. He and Slipknot bandmate Clown are starting a film production company to make "fucked up, crazy movies" that are "outside of the Hollywood caste system." A horror fiend, Taylor despises the rehash/remake trend in Hollywood, and they want to make original fare.
"We're not going to limit ourselves to that kind of genre, but at the same time everything we do is going to feel different, anything we do is going to be outside of the norm," he declares. "It may seem like a movie that you're familiar with, but it's going to have that Slipknot twist to it. We're really ecstatic. This will be a great way to lead to Clown eventually directing his first full-length feature because that guy has so much talent behind the lens, it is criminal that he hasn't gotten to do it yet. He's done little things here and there, but I think once he really gets to do his first movie it is going to be insane, and I really want to be there with him when he gets to do that."
Then there is the forthcoming Stone Sour double concept album, which he wants to make the biggest and best thing the band has ever done, featuring a "very grand story" with a potential multimedia component. "I've been thinking about this for a few years, and it's really the time to do it. The music that we're coming up with right now is so good that I cannot wait to get into the studio and get this down. We're about halfway there as far as being prepared and haven't even started rehearsing it, so I'm really ecstatic."
Naturally many people are also wondering about a new Slipknot studio album, particularly in light of the death of bassist/songwriter Paul Gray last year. Taylor believes there will definitely be another Slipknot album, but it might take a couple of years. He says there are other things the band needs to do first, and while he knows some members are anxious to record, the singer feels the time is not right. He thinks the band should continue touring and playing new territories and let them and the audience go through the healing process together.
"To be honest, I'm not ready to write a Slipknot album without Paul Gray yet, I don't care what anybody says," asserts Taylor. "There are fantastic writers in this band, and we're not at a point right now where we're ready to write as a band, and until that happens I refuse to be a part of it."
"We know the album is going to be about Paul," Taylor continues. "There's no getting out of it, to be honest. Even if we really try to write around Paul, it would still be about Paul. I mean, we're already halfway there, but until we can make that album righteously and really take ourselves out of it and really make it so much about him, I don't think we're going to be ready do that. And if I continue to be the villain who won't let the band go in, then so be it. I'm not going to let us do something wrong. It's not the right thing to do, and I'm fine with that."
Until then, there are plenty of other endeavors to keep Taylor's disciples happy.
JACK STARR'S BURNING STARR — the band led by former VIRGIN STEELE guitarist Jack Starr — will play an exclusive show at the 2013 edition of the Keep It True festival in Germany. The group's setlist will include classic songs from the early JACK STARR'S BURNING STARR albums, songs taken from the band's new CD, "Land Of The Dead", and select cuts from Starr's previous bands VIRGIN STEELE, PHANTOM LORD and GUARDIANS OF THE FLAME. The entire show will be filmed for a special DVD release, which will be out in 2014 — the 30th anniversary of JACK STARR'S BURNING STARR. Also in the works are European live shows for 2012.
"Land Of The Dead" was released on November 11 via Limb Music. The CD was produced by Bart Gabriel (CRYSTAL VIPER, SACRED STEEL, LONEWOLF), and features cover artwork by Ken Kelly (RAINBOW, KISS, MANOWAR).
"Land Of The Dead" was recorded by the same lineup that was responsible for 2009's "Defiance" album: Starr on guitar, Ned Meloni on bass, Kenny "Rhino" Earl (ex-MANOWAR) on drums, and Todd Hall on vocals. The CD also features guest appearances by David Shankle and Ross The Boss (both ex-MANOWAR) on lead guitar, and Marta Gabriel (CRYSTAL VIPER) on grand piano and keyboards.
"Land Of The Dead" was released on November 11 via Limb Music. The CD was produced by Bart Gabriel (CRYSTAL VIPER, SACRED STEEL, LONEWOLF), and features cover artwork by Ken Kelly (RAINBOW, KISS, MANOWAR).
"Land Of The Dead" was recorded by the same lineup that was responsible for 2009's "Defiance" album: Starr on guitar, Ned Meloni on bass, Kenny "Rhino" Earl (ex-MANOWAR) on drums, and Todd Hall on vocals. The CD also features guest appearances by David Shankle and Ross The Boss (both ex-MANOWAR) on lead guitar, and Marta Gabriel (CRYSTAL VIPER) on grand piano and keyboards.
Greek guitarist Gus Drax has left long-running German metallers PARADOX "due to personal reasons."
Drax will focus on his SUNBURST project, which also features vocalist Vasilis Georgiou (INNOSENSE, BLACK FATE), drummer Kostas Milonas (BLACKLEGS, N.U.R.V., G.K GROUP) and bassist Vasilis Liakos (INNOSENSE, BLACK FATE).
Drummer Alex Holzwarth and bassist Oliver Holzwarth (Alex's brother) earlier in the year rejoined PARADOX. The group is currently working on material for a new album, tentatively due in 2012 via AFM Records. According to a press release, the new record will be a conceptual effort that will be tied to the heresy story featured the PARADOX's eponymous and most commercially successful 1989 album "Heresy".
Steinhauer and the brothers Holzwarth previously collaborated on the PARADOX classic entitled "Collision Course" in 2000.
Drax will focus on his SUNBURST project, which also features vocalist Vasilis Georgiou (INNOSENSE, BLACK FATE), drummer Kostas Milonas (BLACKLEGS, N.U.R.V., G.K GROUP) and bassist Vasilis Liakos (INNOSENSE, BLACK FATE).
Drummer Alex Holzwarth and bassist Oliver Holzwarth (Alex's brother) earlier in the year rejoined PARADOX. The group is currently working on material for a new album, tentatively due in 2012 via AFM Records. According to a press release, the new record will be a conceptual effort that will be tied to the heresy story featured the PARADOX's eponymous and most commercially successful 1989 album "Heresy".
Steinhauer and the brothers Holzwarth previously collaborated on the PARADOX classic entitled "Collision Course" in 2000.
Drummer Pedro "Pete" Sandoval (MORBID ANGEL, TERRORIZER), who last year underwent back surgery for a deteriorating disc problem and has been in recovery ever since, has released the following statement via his Facebook page:
"I am back behind the drum kit! Lots of surprises for 2012, starting with the release of the new TERRORIZER album. Thanks so much, my friends!"
An excerpt from an upcoming DVD that Sandoval recorded in Barcelona, Spain can be viewed below.
In a November 21, 2011 interview with Metal Storm, MORBID ANGEL bassist/vocalist David Vincent was asked if the band's current touring and recording drummer, Tim Yeung, is now a permanent member of the group. "Permanent is an interesting word," Vincent replied. "When we got Tim to do [the latest MORBID ANGEL album, 'Illud Divinum Insanus'] — everybody knows what the story is on that — it was to do the record and to do the subsequent touring for the record. So that's what I'm prepared to discuss this evening. Tim is a very capable drummer, a very talented fellow. He's a good friend, and I feel very pleased that his schedule worked out, as such, that he could do this, 'cause we're having a good time."
In an October 2011 interview with Brazil's Som Extremo, Sandoval was asked for his opinion about MORBID ANGEL's "controversial" new CD, "Illud Divinum Insanus", which incorporates industrial and electronic elements into the band's traditional death metal sound. "No comment! I don't play on that album." He was then questioned about what he thought he would have done different on "Illud Divinum Insanus" had he played on the record. "More exreme deathgrind metal and less DJ, boring awful typical I care less industrial experimental same as everybody boring bull!" he said. "This is not what MORBID has been all about! ...Hmmmmmm, and I really care less...!"
TERRORIZER's new album, "Hordes Of Zombies", is scheduled for release in North America on February 28, 2012 via the French label Season Of Mist.
Joining Sandoval in TERRORIZER's current lineup are Wolf (a.k.a. Anthony Rezhawk), the vocalist on the previous TERRORIZER album release, "Darker Days Ahead", who returns for his second menacing oration of dark politicized prophecies about the apocalyptic near future; David Vincent on bass, ready to continue the onslaught he began with TERRORIZER's debut album masterpiece, "World Downfall"; and Katina Culture (RESISTANT CULTURE) on guitar as the replacement for the late Jesse Pintado.
TERRORIZER 2011 is:
Wolf (a.k.a. Anthony Rezhawk) - Vocals
Katina Culture - Guitar
David Vincent - Bass
Commando (a.k.a. Pete Sandoval) - Drums
"I am back behind the drum kit! Lots of surprises for 2012, starting with the release of the new TERRORIZER album. Thanks so much, my friends!"
An excerpt from an upcoming DVD that Sandoval recorded in Barcelona, Spain can be viewed below.
In a November 21, 2011 interview with Metal Storm, MORBID ANGEL bassist/vocalist David Vincent was asked if the band's current touring and recording drummer, Tim Yeung, is now a permanent member of the group. "Permanent is an interesting word," Vincent replied. "When we got Tim to do [the latest MORBID ANGEL album, 'Illud Divinum Insanus'] — everybody knows what the story is on that — it was to do the record and to do the subsequent touring for the record. So that's what I'm prepared to discuss this evening. Tim is a very capable drummer, a very talented fellow. He's a good friend, and I feel very pleased that his schedule worked out, as such, that he could do this, 'cause we're having a good time."
In an October 2011 interview with Brazil's Som Extremo, Sandoval was asked for his opinion about MORBID ANGEL's "controversial" new CD, "Illud Divinum Insanus", which incorporates industrial and electronic elements into the band's traditional death metal sound. "No comment! I don't play on that album." He was then questioned about what he thought he would have done different on "Illud Divinum Insanus" had he played on the record. "More exreme deathgrind metal and less DJ, boring awful typical I care less industrial experimental same as everybody boring bull!" he said. "This is not what MORBID has been all about! ...Hmmmmmm, and I really care less...!"
TERRORIZER's new album, "Hordes Of Zombies", is scheduled for release in North America on February 28, 2012 via the French label Season Of Mist.
Joining Sandoval in TERRORIZER's current lineup are Wolf (a.k.a. Anthony Rezhawk), the vocalist on the previous TERRORIZER album release, "Darker Days Ahead", who returns for his second menacing oration of dark politicized prophecies about the apocalyptic near future; David Vincent on bass, ready to continue the onslaught he began with TERRORIZER's debut album masterpiece, "World Downfall"; and Katina Culture (RESISTANT CULTURE) on guitar as the replacement for the late Jesse Pintado.
TERRORIZER 2011 is:
Wolf (a.k.a. Anthony Rezhawk) - Vocals
Katina Culture - Guitar
David Vincent - Bass
Commando (a.k.a. Pete Sandoval) - Drums
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