None But My Own

"Orion" from Yankee Stadium 9.14.11

2011-10-01T14:15:00.001-05:00

After watching Ray Burton's beautiful and touching tribute I felt compelled to share this. I think the sound sucks on this Flip camera, I need a Zoom! Regardless, here's "Orion" Cliff's masterpiece, executed with care. Here it is from my view that night.

Much respect to the Burton Family for making and sharing with us.

"Knock that shit off, Dad!"

The Big 4, The Bronx, New York - Yankee Stadium September 14, 2011

2011-09-30T00:02:00.000-05:00

What you are about to read is a stream of consciousness in regards to the events of September 14-15^th, 2011. I need to stress, what I am about to write should not come across as gloating or in a braggart sort of tone. This is just what I experienced during a brief 26 hour visit to the Rotten Apple! So read it, don’t read into it!

I think there are two very strong opinions on the whole ‘Big 4’ phenomenon. And let’s face it, no matter what it is you think of it, it is a HUGE deal. I’ve now been witness to two US ‘Big 4’ Festivals and I have had a total blast at each. This stream of consciousness is definitely not a “review” of the show. Basically both the Indio, CA show back in April and the one in New York share many a similarity. However the differences between the two will be noted below. Both will always be “deathbed” memories. I’m serious. I love my kids, of course. Love my wife, without her I’m not here. But my love of music? My music that has never left my side, my music that has been like a life saving device in my head ever since I can remember. Some of these musical memories, especially those that have happened in the past several years sometimes leave me speechless.

I arrived into LaGuardia right on schedule. No bags to check so I was out and about in a New York minute (sorry, last pun.) It was a lot hotter here than in Chicago I could already tell. In fact, it was hotter than fuck! Back home it was a comfortable 40 degrees; here it was mid 80’s. I jumped in a cab and instructed him to go to Yankee Stadium. I was never the biggest sports guy in the world, but I love my baseball. Ask anyone who knows me and they’ll tell you it’s a big part of our family’s life. I was excited as all hell to see the stadium. It totally didn’t disappoint. Even for a newer place, its vibe is inescapable; it was definitely an honor of sorts to be there, especially for this!

I had time to kill so I tried to grab a burger at one of the many sports bars surrounding the area. The first place I tried was packed with Metalheads! Air-conditioning cranked it was wall-to-wall black t-shirts and it was insta-vibe. Not that I needed a boost or something, but it wasn’t until I was surrounded by my kind that it all dawned on me. I spent some time talking to local freaks before I decided to get on my way. Crossing East 161^st street I grabbed a slice and went on an exploratory walk.

Sometime towards the end of my walk I received the call I was waiting for. My friend Robb and his friend Monte had taken the subway in from Manhattan and were looking for me outside the stadium. We ran into a friend of Monte’s named Todd Gordon. Todd signed Exodus to their first ever record deal when he owned Torrid Records. You may have seen him interviewed in ‘Get Thrashed,’ very cool guy.

So after some walking we found the check-in tent and we entered near what looked to be the receiving area of Yankee Stadium. By this time it was about 3:45 and we headed straight for the stage. There was a short video presentation of Anthrax getting an award from the president of the Bronx association or something. We arrived backstage at about the same time as the band and watched the set from Scott Ian’s side of the stage.

Us, along with Eddie Trunk and Mike Portnoy watched Anthrax storm the stage with new song “Fight ‘Em Till You Can’t.” I won’t go song by song but I will say this. This was one of the best Anthrax sets I’ve seen in maybe 15-20 years. Yes the first “reunion” show in 2005 was killer, but this was different. That felt cool, but this was way more serious and it was a set delivered with intent.

1. Fight 'Em Till You Can't
2. Got the Time
3. Madhouse
4. Caught in a Mosh
5. Antisocial
6. The Devil You Know
7. Indians
8. Metal Thrashing Mad
9. I Am The Law

New songs sounded great, the band was giving it 110% and even though it’s basically the same set-list as Indio, like I said this was way different. This didn’t feel like a heritage band playing 20 year old classics, and let’s face it there’s been a lot of times I’ve seen Anthrax act as one.

Still can’t stand “AntiSocial,” and “Got The Time,” these songs went over huge. What do I know? Truthfully though Joey Belladonna kicks ass on ‘Worship Music’ and he killed it at Yankee Stadium.

Speaking of killing, the Bronx crowd came to rage and rage they did. This was one of the biggest differences between the two US shows. The NY crowd was way intense.

Megadeth were next and well, they played. Of their set-list we saw maybe three or so songs before deciding it was time to grab some food. This is the second time in as many months I’ve chosen food over Megadeth, not just any food, but this time it was Yankee Stadium’s finest. The spread was out of this world and it was great to escape the heat and relax for a while.

I’m not saying I dislike Megadeth, but unlike Anthrax, what (little) I saw here left a lot to be desired. The band was tight enough, but at the same time they looked under rehearsed…does make sense? Adding insult to injury, Dave Mustaine’s neck injury seemed to take its toll, vocally. Chris Broderick remains a highlight of any Megashow and watching him shred was what I missed most during lunch.

1. Trust
2. Hangar 18
3. She-Wolf
4. Public Enemy No. 1 (new song I didn’t hear)
5. Head Crusher
6. A Tout Le Monde
7. Sweating Bullets
8. Symphony of Destruction
9. Peace Sells
10. Holy Wars... The Punishment Due

Slayer on the other hand…Slayer were fucking great! I was blown away by the band with Gary Holt in Indio, but this was next level kind of brutality. I don’t know if it’s because Gary is so in-tune with the band at this point or what, but they put a hurting on the Bronx.

Opening with “Disciple” from 2001's "God Hates Us All,' the crowd were so into it the time between Megadeth and Slayer must have felt like forever in the crowd, when Slayer took the stage the place just erupted! The sound for the whole show was superb, the clarity during Slayer's set was remarkable. So for the next 50+ minutes time stood still as the band tore through a catalog of classics and new ‘World Painted Blood’ material to a maniacal response.

As I mentioned before Gary Holt has locked in with Kerry King and together they make a devastating pair flanking front man Tom Araya. I’ll be blasphemous here and say the two Holt-Slayer shows I’ve seen have destroyed some of the Hanneman era stuff of the past several years. Maybe it’s the new blood infused or maybe it’s just a satanic coincidence? Not sure, but if Slayer continue to dominate live like this, they can tour for the next decade or so health withstanding.

In five months (February 2012) Dave Lombardo will celebrate his decade back on the throne for Slayer and I couldn’t imagine anyone else back there. Paul Bostaph did a fine job during his tenure, but no one plays like Dave. I was fortunate enough to watch the man work up-close for the first time in several years, his playing was simply extraordinary! He was like a metallic Keith Moon with the abstract way he attacks the kit. It was amazing to see him work within the context of the band as the three stringed members of the band would come back to the kit and watch him and watch for cues. Awesome.

Also, I have to say the intro to “Raining Blood” was way fucking E-V-I-L! I’m serious, I’ve heard that song how many times live? Well this was the first time since oh, say 1988 that I actually got goose bumps during the intro. Not fucking around, it was awesome!

1.'Disciple'

2. 'Postmortem'

3. 'Hate Worldwide'

4. 'War Ensemble'

5. 'Psychopathy Red'

6. 'Mandatory Suicide'

7. 'Chemical Warfare'

8. 'Silent Scream'

9. 'Dead Skin Mask'

10. 'Snuff'

11. 'South Of Heaven'

12. 'Raining Blood'

13. 'Black Magic'

14. 'Angel Of Death'

Metallica took the stage at the early time of 8:30 or so and as much as I enjoyed Anthrax, as much as I enjoyed my catered lunch, and as much as I enjoyed Slayer…it was all over with the opening riff of “Creeping Death.” People, you cannot fuck with the catalog of hits Metallica have up their sleeves and it’s almost impossible not to have a great time while the band is performing. Sure you can stand there and critique or take pot shots at the band for a number of reasons, but at the end of the day they’re one of the most powerful live bands I’ve ever heard, stadium setting or not.

Their set, like the other bands was very similar to Indio, but truthfully I felt it was a great selection back in April and still do now. Well paced with old and new material, the new stuff was given an incredible response and the classics? Again, just a wealth of material to choose from and all delivered like the band had something to prove. I’ve been seeing Metallica live since 1986 and have yet to see them phone it in.

Getting to re-live this show with my brother Robb was something I won’t soon forget. Over the years we’ve talked at great length about Metallica’s impact on our lives. When he toured with them in 2009 I felt privileged to get to hear stories and experiences and he has this way of including me in some of these experiences, tonight was one of those nights.

Thanks to Metallica Security, we were allowed to watch the show un-obstructed from Kirk’s side of the stage…sitting on the stage! No bullshit, it was fucking unreal, feeling the power of the band as well as the 40 or 50,000 in attendance was, yeah…something.

1. Creeping Death
2. For Whom the Bell Tolls
3. Fuel
4. Ride the Lightning
5. Fade to Black
6. Cyanide
7. All Nightmare Long
8. Sad But True
9. Welcome Home (Sanitarium)
10. Orion
11. One
12. Master Of Puppets
13. Blackened
14. Nothing Else Matters
15. Enter Sandman

16. Overkill (w/ members of Slayer, Megadeth, Anthrax, & Exodus)
17. Battery
18. Seek & Destroy

The “Overkill” jam was something of a surprise and went pretty kick ass from what I can remember. I got a bunch of shitty pix from it, but what I remember most was all the smiles and how much fun everyone was having and needless to say that vibe of metallic bliss was contagious because everyone around us was in a really good mood. One of the coolest things I can think of was getting to see Gary Holt and Kirk Hammett jamming together!

Really, if the original “Big 4” jam in Indio was jacked to see Dave Mustaine and James Hetfield on the same stage this was kinda similar for different reasons, of course! Fucking “Battery” followed up the jam, it was a raging version and the night ended with the beach ball drop during “Seek and Destroy” and that brought the music to an end.

We went back to the underbelly of Yankee Stadium to have a few drinks and talk to the assorted people hanging around. I don’t want to start name dropping more than I already have, but as a fan of Heavy Metal I couldn’t believe some of the people I’d come in contact with over the course of the night. While mingling, Robb got his invites to the after party and like I said earlier, he has this way of looking out for me.

Which was very cool, but one small problem, we’re in The Bronx with no transportation and the after party is in Manhattan. We’re sure the fuck not going to take the subway, ya know? So as we’re figuring things out Robb disappears for a few minutes. He comes back saying he found us a ride and we’re good to go. So this is a good thing, right? I think it was a 30 or so minute ride and it would have sucked to take public transportation, especially being loaded and un-familiar with the subway system as a whole.

We walk through several doors of the cavernous Yankee Stadium and arrive at an area with several totally blacked out SUV’s…next thing I know I’m in one of these SUV’s with Robert Trujillo and Metalli-scribe Steffan Chirazi and a few of Robert’s guests on my way to the ‘Big 4’ after party! So take a moment to re-read that shit… I had my Led Zeppelin, “The Song Remains The Same” moment, me in a limo leaving a NY arena after the rock show! It was one of the most surreal moments in my life and like I said, “he has a way of including me in these experiences.” The after party was legendary and I had so many amazing chats with people from all over the globe, two weeks later and my head is still spinning.

So that’s it. 26 hours in the Big Apple with an experience to last a lifetime is a small price to pay for how I felt that morning headed back to LaGuardia. I’m not sure how to end this really, it was one of those moments that I was fortunate to experience and I guess that’s the way to go out. Many thanks to each and every soul I encountered on this trip, those I missed meeting and those who I had no idea were even there! Eternal thanks to my brother Robb for ALWAYS having my back.

9.27.2011

2011-09-27T07:13:00.000-05:00

For the past 25 years now, the date of September 27th has been a somber one. No doubt about it, it's a heavy day for millions and millions of Heavy Metal, as well as all sorts of Rock music devotees. As a weird metallic twist, as we remember the departed on this day we also get a chance to celebrate!

In Stores (what are those? right kidz?) Today is the new album by MACHINE HEAD, 'Unto The Locust.' It's been a long time since I've put my head in "review mode" so I'm not even going to try. This album is about as good as it gets and if you choose not to listen, or even check it out...it truly is your loss.

I think the goal of any band is to progress and try to build on what you've already done. A LOT of bands end up running out of steam and end up writing and re-writing the same thing year after year. This is not the case with 'Unto The Locust.' It speaks to me, it satisfies me, it motivates me. No matter what you listen to, music should do this for you. As a fan, I'm extremely proud of this album, has it been worth the four year wait?

Abso-mutherfuckin'-lutely.

"Music My Savior, Save Me"

9.27.2011 - 25 years gone.

Funny enough, I agree with Mr. Mick Wall...Cliff would have loved the Lou Reed/Metallica stuff. From what I've heard of it, it sounds about as against the grain as you can be. Right up Cliff's alley. Regardless, lotsa people missing you dude. You left your mark and will always be remembered.

Old Metal Mag -Slayer 1986

2011-08-30T22:16:00.000-05:00

Old Metal Mag with Slayer doing press for their new album, 'Reign In Blood' from Metal Forces, Issue 20 Oct/Nov 86.

Movie Review: God Bless Ozzy Osbourne

2011-08-27T01:15:00.001-05:00

Last night we attended the first of two screenings of the long awaited Jack Osbourne directed, ‘God Bless Ozzy Osbourne.’ I’m not sure what I went in expecting from it, I’d only just recently watched the trailer to the film and I thought it looked very promising. I have to say, at the end of the two hour film I felt nothing. I’ve seen many, many music films and documentaries and after the special ones they make you want to root for the subject. Anvil, Lemmy, Iron Maiden, Metallica etc. etc. In those films the story outweighs the music in connecting the artist to the fans. The film makers do this through emotion and a storyline extremely well put together and the connection is almost impossible to ignore.

In ‘God Bless Ozzy Osbourne’ there’s definitely a conscious effort to remove all the glitz and glamor and a sincere hope people view his father in a different light, that’s something I can understand. However this isn’t 1978, 88, or even 2008 and the public opinion of Ozzy isn’t what it used to be. I mean are there really people who still think Ozzy is a “devil worshipper,” “chicken-killer,” “bat-biter,” and “Alamo-pisser?” Really? I didn’t think so. In my opinion, where Jack Osbourne ultimately fails as not only a film maker but as a story teller, he fails in his choice of stories!

If you’ve seen the early 90’s VHS release ‘Don’t Blame Me,’ or VH1’s “Ozzy Osbourne :Behind The Music” or any of the A&E/Biography/E! channel specials on Ozzy, sorry to say you’ve basically seen ‘God Bless…’ I’m not saying they’re identical, but how many more times do we need to hear about Ozzy lapping up Nikki Sixx’ piss from 1984? You see it’s not just the Nikki piss story, it’s all the other folk lore Ozzy stories I alluded to earlier, “Alamo,” “Bat,” “Dove.” They’re here, again, told the same way. Like the crazy uncle telling stories from his hippie days at Christmas, they’re good the first ten or so times. You laugh, good stuff, right? However you want to suffocate the motherfucker with a pillow after the twentieth time! Even the Sabbath stuff, we know how the name came about, we know so much of this stuff, why not make good on the film’s trailer and give the audience something new?

The “new” I am referring to is the interview footage shot with the Osbourne children. Not only the ones Sharon gave birth to, but more importantly, Jessica and Louis, the children from his first marriage. I’ve said many times, here and in person, Ozzy Osbourne is not capable of telling his life story. The key to putting all the pieces together is his supporting cast. When it comes to Ozzy the musician, there are several key characters you MUST speak to/with. When it comes to John Michael, the human being it’s all about the children. I thought that’s what this film was supposed to be about. Its unfortunate there’s not more in the film with each of them.

But thinking about it, really how much more “he wasn’t there for us” could both Ozzy as well as the audience listen to? Each child had their own stories of the hell and horror of having to live with the super addict Ozzy Osbourne is/was and how substance abuse can take a toll on being a parent. One of the children, maybe Aimee, told the story of not knowing whether Ozzy was on “uppers” or “downers” and how much alcohol he’d consumed and what that would do to his mood that day. Now, this is the tough part, one of them at least, about getting older and seeing this film as a father myself. The young Tom wouldn’t think twice about what a shitty father Ozzy was to his family. 40 year old Tom finds it sad and disgusting. When one of the interviewers asked Ozzy the birth date of his first daughter…and I don’t fucking care what marriage she was from or any of that shit…but he had no idea.

The film is not terrible, I don’t want my criticism to sound like the film is worthless, it definitely has some historic and entertainment value. Some excellent Black Sabbath and Randy Rhoads archival footage as well as multiple TV pieces throughout the years help tell the amazing rags to riches story. Ozzy visiting his childhood home in Aston, Birmingham is one of the best scenes in the film. Actually all of the footage filmed in Birmingham is excellent. We see the prison where Ozzy spent time in after getting busted for breaking into a store. There’s also a shot of Ozzy standing outside his grade school [which if I can dork out for a second, the school they show? that playground? If we presume that’s the school where Tony Iommi used to beat on Ozzy as kids during their school years, that’s amazing to see] and the absolute honesty in both his voice and eyes tell more of a story than what you see on screen.

There’s some almost shocking stuff based around ‘The Osbournes’ series and hearing about Ozzy’s state during the filming and re-watching some of that footage several years down the line is frighteningly real…put it this way, Sharon is an evil cunt of a woman, but I can’t believe she allowed her family to be filmed at such a time in their lives. From her Cancer to the others being completely fucked up, the power of the dollar rules all!

Cameos in the film are similar to any other music doc, some are essential and add color and spice to a story and some just waste oxygen. Henry Rollins, Rudy Sarzo, Robert Trujillo, the three members of Black Sabbath and Ozzy’s PA, Tony Dennis are all pleasures to watch reminisce on screen. While it would NEVER happen, a book by Tony Dennis would be one of the greatest stories ever told! However, one doesn’t keep a job like his for 30+ years by spilling the beans, shame though! The end of the film basically focuses on the sobriety aspect of the Osbournes. There’s an interview at the end of the film with Ozzy and Jack and some great stuff is spoken about, and believe me, I salute them and anyone facing the throes of addiction. It’s amazing what sobriety has done for Ozzy as his health, speech and demeanor are light years ahead of what we’re used to seeing.

In closing, maybe it’s the ol “feel sorry for the fanatic” syndrome. Perhaps if I didn’t know so much about the man, then maybe the film would have been exactly what I was hoping for. However to debunk this myth, Mrs. Vader accompanied me to the theater and while she’s no “encyclopedia metallica” she’s seen some of the above mentioned television programs/videos and felt ‘God Bless…’ could have come up with something more than a bunch of rehash.

Maybe this was and my problem…I suppose when you go to see something that holds so much promise you want to love it, you want to cheer for it, you want to tell your friends about what you just experienced and how it’s moved you. I didn’t get any of that tonight. I feel this film is made for the casual fan, the outsider, the person who does not buy or listen to Ozzy or Sabbath music. Why??? Why pander to them? To those people Ozzy Osbourne will always be the “bat-biting,” “Alamo-pissing,” “Suicide Solution,” “Dove-chomping,” “piss-licking,” sonofabitch. You know what, that makes me happy.

Old Metal Mag - Metallica

2011-08-21T23:33:00.000-05:00

My goal for this blog from here on out is to have something new at least once per week. Lofty aspirations I agree, but truth be told life's fucking hectic these days and "brand new" content will not always be readily available, so anything I can share on even a weekly basis is good for me.

I recently acquired a fucking slew of old Metal Mags. Seriously, I struck gold in many ways so here's the first from this haul.

Thrash of the Titans : 2001-2011 Ten Years After

2011-08-11T00:08:00.000-05:00

Wow, 10 years have gone since the totally epic ‘Thrash of the Titans’ show was held in San Francisco on August 11, 2001. I remember the event as well as the events that lead up to this monumental happening quite well, in fact I look back at that time rather fondly.

In July of 2001 I had taken a self-imposed hiatus from life. At the time I was working for a big coatings company and managing Usurper. When I left my job, all I did all day was take care of Max. He was two years old and leaving him every morning was fucking killing me. So all day we’d do whatever the hell we wanted to do all day and at night I’d write and take care of Usurper stuff if needed.

Earlier in 2001 the band decided to part ways with their label at the time, Necropolis Records and it was my job to find a new one. By Summer I was in talks with two labels, one of them daily, trying to figure out a way to get a deal done ASAP. 10 years later at least I can say I did it, but I don’t miss that bullshit one bit. I still have the Earache contract the band eventually signed, it’s like 60 pages long, filled with so much bullshit it’d make you sick.

The news of Chuck’s Cancer didn’t do too much to me. Yeah, of course it was a shame, but I was in a different head space then. At the time it felt like if I couldn’t see you or if I didn’t truly care about you, I couldn’t give a fuck about you. No middle ground, that’s just the way it was. But it was strange that another Metal musician named Chuck had been stricken by this illness in a relatively short amount of time. Not long after Chuck Billy announced his illness his friends put together a benefit show. It was decided that all monies would be split between the Billy and Schuldiner families. It was a good thing and you know what? The show went down in history…

I was honored to cover the show for two magazines. Terrorizer from the UK and Unrestrained! from Canada ran my reviews and I was chuffed as fuck to have my writing in Terrorizer for the first time. Looking back I’m not entirely impressed with the writing. Bad punctuation and other shit that makes me cringe a bit, as it should! I hope we’re all a little better at something a decade later, eh? Having more work in print via Unrestrained! was also nothing short of a thrill. I respected the hell out of the original U!Crew and shared many a drink with them. Adrian left us a few years ago, the Metal world lost a good one there.

So I’m not going to re-review the show, no way. But I will give a run down as if I were reviewing the show today.

Sadus: Still remember them being “on,” Steve D of course nailed it. Drummer Jon Allen I think was jamming with Testament at the time so he was loose. He was a fucking monster on the kit all day and night long. TOTT was a good day for drummer watching, off to a great start.

Forbidden: I was never the biggest Forbidden fan. Didn’t like it at the time and not crazy about them today either. I think their brand new album, ‘Omega Wave’ is the best thing they’ve ever done. Their songwriting finally caught up with their abilities, good shit. Ten years ago though? Yeah, they were good. I make mention of Tim Calvert joining the band on stage and then Paul Bostaph takes over on drums? Still good memories. The band had been out of commission for several years before reuniting and recording the aforementioned ‘Omega Wave’.

Exodus: I could have been a bit more honest in regards to Exodus. But seeing as it wasn’t my magazine I didn’t want to start calling people out, you know? But looking back, fuck they were sloppy and yeah, a bit of a mess but they still had that balls-out/chaotic Exodus vibe. Set-list was cool, nothing more to really say. This was one of Paul Baloff’s last gigs and six months later he’d be gone.

Death Angel: For the same reasons I mention in the reviews, this was a real release of emotion and aggression. This was the first time the band had performed as Death Angel in 11 years. Their set was electrifying; it remains one of my favorite live sets from any band any where. They played a great selection of songs covering all their releases to date. They were well rehearsed and really made an impact. Their “reunion” continues to this day.

S.O.D.: Killed It.

Anthrax: Same thoughts now as then. “Gung-Ho” with John Bush. Other than that the usual set-list they still play to this day. They were going strong and totally fucked up by playing “Bring Tha Noize” at a Thrash Metal Revival. Seriously, I’ll never forget how disappointed I was.

Vio-Lence: Amazingly good. Still after all this time, they destroyed like no other band that day or night. Vio-Lence were 90% of the reason I attended this show to begin with and they made it more than worth it. They crushed and conquered, it was fucking awesome. Remember the rumours of Jason Newsted playing Bass for Vio-Lence for this show if Deen Dell couldn't? Check out the ‘Eternal Nightmare’ reissue with the live record from December 2001.

Legacy/Testament: This was a fun set, a lot of inter band changes from John Tempesta to Derrick Ramirez to Zetro to Steve D from Sadus. All jammed early Testament songs including “Reign Of Terror!” Chuck Billy guests at the very end on "Into the Pit", great end to a great show. Testament has returned and are currently writing a new record.

Machine Head and more - Rockstar Energy Mayhem Festival - Tinley Park, IL 8.5.2011

2011-08-10T01:06:00.002-05:00

I attended the ever professional yet monstrous Rockstar Energy Drink MayhemFestival on Friday August 5^th and knew from the get-go this was going to be a bit different. I usually fly solo to mega-big shows and events. I usually have “work” to do, be it interviews or photos or what have you and I don’t know, it just sometimes makes it tough to do these things when someone is tagging along. Don’t even get into the guest list situations and the usual absence of “+1’s,” etc.

So I knew this would be a different sort of gig as I was going to be bringing my 12 y/o to the show. He’s been digging more and more music, gravitating towards music of ‘The Big 4’ and especially Megadeth. He has the first four Mega CD’s on his iPod, he’s set for now, no? So his interest in Machine Head is also on a steady rise and seeing as both bands were on this year’s edition of the festival, twas a no brainer.

I definitely was not on “festival coverage mode” so I wasn’t too concerned with our arrival time, we entered the gates as Suicide Silence was ending. We headed back to the dressing rooms as I wanted to say hello to Robb and the guys as well as introduce everyone to Max. Max meeting Robb was a planets collide moment for me, definitely memorable. Roadrunner UK press goddess Michelle Kerr was here with Metal Hammer scribe Dom Lawson working on the Machine Head ‘fanpack' it's always great to see these long distance friends.

(Robb Flynn/Max Trakas...sporting a shirt from the Jan/Feb 1988 Dio/Magadeth/Savatage Tour)

We caught several songs from Hatebreed, but I must admit Hatebreed now has so many songs, so many I don’t know and it lessens my enjoyment of their set. I love their earliest work, but lost em somewhere several years ago. One of the best live bands around, but not knowing their material loses me. Around the time Hatebreed was shutting down Max and I spent a few watching the Metal Mullisha crue. Good god, those guys are out of this world crazy. I never thought I’d be writing about them here, but they were kick ass and this year’s show was one of their most impressive yet.

There’s something telling about seeing a band’s next era for the first time. I mean if you take notice of such things, and really pay attention to one or several bands, its interesting stuff. Because of my interest in Machine Head I couldn’t wait to see the “…Locust” era of the band commence. I had helped usher in the ‘Blackening’ era of the band back in February of 2007 in Denver. I remembered how different the vibe of the band was on stage in comparison to the last time I saw them as their “Through The Ashes…’ cycle finished.

Four years on, Machine Head take the stage victorious before a single note is struck at least that's the feeling I get. Back on the main stage for another several shows, the crowd is now in the ten’s of thousands are theirs for the next half hour. Opening with “Imperium” Machine Head plays with an intense swagger but with all the hunger of a band 10 years their junior. “Beautiful Mourning” one of three songs from ‘The Blackening’ was met with a roar as the audience grew.

“Locust” from their upcoming LP ‘Unto The Locust’ out September 27^th was played and I was impressed with the reaction, very promising response especially considering how many attendees were seeing the band for the first time. The song came off without a hitch and gave a hint of the next era of the band. Definitely darker, groove is there but it’s a much heavier groove, this track needs to be heard live. “Aesthetics Of Hate” and “Halo” closed out the Machine Head portion of the show in grand fashion. Can’t tell you how many times I’ve seen the “guitar duel” between Robb Flynn and Phil Demmel but it’s still kick ass. A new era begins…

Truthfully, and this is funny, but Max lasted several songs of Megadeth. Personally, I think he was so used to the records and the intensity being so high on those that modern Megadeth live at least, really do not cause any type of stimulation, thus causing 12 year olds to sorta lose a little interest. Not total interest but when we invited to grab some dinner in catering, food won the war. Megadeth were themselves, the songs we saw were good, but they could do themselves a helluva favor by mixing the set up a little here and there.

That was really about it, the rest of my night was filled with much laughter and thankful to be in the company of the MH family, even if for just several hours. Cheers to all who made a father and son hang more than memorable. Xtra special thanks to Randy "Big Unit" Johnson for the photo and not being a dick!

SOUNDGARDEN: UIC Pavilion, Chicago, IL 07.16.11

2011-07-22T12:32:00.002-05:00

When it comes to writing, I’ve NEVER been a “multi-tasker.” I applaud those of you who can juggle live reviews, movie reviews and music reviews etc. while doing more! That’s never been me and I don’t think in my 40^th year I’m about to turn the corner and even attempt. Whatever it is I have my head wrapped around seems to totally consume me, it may not be productive but it’s how things work around here.

Since the last time I was here and wrote about my “Big 4” experience I’ve had no inspiration to return. I wasn’t really getting out to see bands, no new music was forcing my heart to write what it did to me, haven’t had jack shit as far as time for books and movies…I’ve been just “done” for a while now.

This past weekend was sort of a 50/50 one, had plans for both Friday and Saturday with family and friends and lo and behold both plans were canceled. On a whim I remembered Soundgarden were playing in town that Saturday night, the Saturday I found myself “open.” I had no tickets, no pre planned options of shooting the show, nothing, nada, zilch, other than being a fan of them band I don’t even know what possessed me to go. Pretty unlike me to show any sort of spontaneity in my old age, but this worked out rather well.

With everything from the drive in to the parking to finding tickets with perfect seats the evening was off to a great start. We missed support band The Mars Volta, but having seen them at what I believe was their “peak” several years ago I didn’t think they’d be able to conjure up anything for me in the much larger UIC.

Speaking of such, I have to say the ten-thousand plus seats the UIC holds was definitely a bold booking for a band of Soundgarden’s stature. Even with their millions of albums sold as well as their massive 2010 Lollapalooza appearance they’ve still been gone well over a decade and the “super” unknown (sorry, had to) tour traffic they’d generate in today’s climate had to be taken into consideration.

I was impressed with the amount of people who left the house to see the band again. No doubt some of the Chicagoans in attendance on Saturday might have seen either the Lolla set or the ‘Palooza warm-up set at the intimate Vic Theater several days earlier. I was at neither, I can’t even remember the last time I saw Soundgarden. I think it may have been when they and Blind Melon did a short run supporting Neil Young in 1993??

So not long after we found our seats the house lights went down and the rather bare stage was awash in blue/purple lights. As the intro to “Searching with My Good Eye Closed” rang through the PA and I started to reminisce about the times I’d seen the band before, the whole “time” aspect of not only Soundgarden’s music, but all the music that has become such an important in my life. But indeed the time spent in the “Grunge Years” were some fucked up years, huh? Important, yes, but fucked up nonetheless.

As the intro reached its maximum volume the band appeared and took their positions, “Searching…” was always such a great opening song and time has done nothing to change that, in fact it’s probably made it even better. That same reminiscent thought process I experienced during the song’s intro is something I’d continue to bombard my brain and soul with throughout the show.

“Spoonman,” “Room A Thousand Years Wide,” and the pummeling “Jesus Christ Pose,” were nailed down before Vocalist Chris Cornell addressed the crowd. Making mention of Guitarist Kim Thayil’s Chicago roots and the fact that the band must love our city as they’ve played here more than anywhere else over the past decade plus. Of course any type of personalization in the concert going experience is instantly met with approval, tonight was no different. Did I mention I cannot stand fucking “Spoonman!” Even so, it was enjoyable tonight.

One of my favorite SG tracks ever, is from the 1996 ‘Down on the Upside’ album, “Blow up the Outside World.” Having never had the opportunity to see this song performed live this was one of those moments that transcended the usual excitement of seeing a band play. This was just beyond “whatever” for me, several days later, it still holds true. The crowd reception and total participation on this song was also a very pleasant surprise. A triple shot from the ‘Superunknown’ album followed, “The Day I Tried to Live,” “My Wave,” and “Fell on Black Days,” followed and again this for me, went far beyond a simple “concert.” I needed an evening with no wife, no kids, no phones, no computer, no nothing. I needed me and music…

Individually as well as collectively the performances tonight were simply on another level. Soundgarden co-founder and current Pearl Jam drummer Matt Cameron basically put on a clinic in power and being a human metronome tonight. Flawless fucking precision people, seriously. Bassist Ben Shepherd, never the most visual subject played his ass off as well. Bass slung low, he is obviously an extremely important cog in the machine and his volume in the mix cemented this fact.

Guitarist Kim Thayil absolutely came up aces this evening. His sound was definitely one of the darkest and heaviest I’ve heard in a building this size in a long time. His work on the next set of songs “Ugly Truth,” “Hunted Down,” “Outshined,” and “Flower” was just rafter shaking heavy. Always an overlooked riff lord, Thayil whipped out a generation of licks and hardly broke a sweat in the process.

“Rusty Cage,” “Black Hole Sun,” “Burden in My Hand,” and “Pretty Noose” followed. Funny, I’ve disliked the song “Black Hole Sun” for many a reason, over played really, but when the band went into it on Saturday it didn’t bother me. Truthfully all my talk of Soundgarden and time? “Black Hole Sun” is more of a memory of playing Rock Band with Max. That’s one of the first songs we played on the game so my connection with the song over time has changed.

Much has been said of Chris Cornell in the years that followed the silencing of the ‘Garden. From his solo work as well as his union with the R.A.T.M. rejects, Audioslave to the disastrous Timberland collaboration, Cornell since the earliest days of the band has always been near the headlines. I’m not sure what I was expecting from the guy, but I know for a fact I wasn’t supposed to be this blown away! Think about all the vocal gods in Rock/Metal and I will say Cornell was absolutely fucking godly in his delivery.

That being said, the tail end of the show including the encore was some of the best Soundgarden I’ve ever witnessed. From “4^th of July,” to “Nothing To Say,” to “Mailman” to “Beyond The Wheel.” Closing it all was the immaculate “Slaves and Bulldozers” I cannot remember the last time I had such a “lose yourself for two hours” concert experience. The vibe was great, I don’t think, make that know I wouldn’t have gotten this feeling from seeing some overly aggressive balls out Metal show, this is what I needed and this is what I got.

The Big 4, Indio, California April 23, 2011

2011-05-17T01:27:00.002-05:00

So I’ve been trying to get these words out of my head since I landed back in Chicago after my ‘Big 4’ weekend of April 22-25^th. I’ve written about the gig for a website called AntiMusic and that can be found HERE. But until I “None But My Own” the event and what it meant to me, I won’t be able to move on. So thanks for the barrage of emails asking for my opinion, here we go.

If you’re of a certain age group I think at one point or another one of the bands that make up the ‘Big 4’ was probably “your band.” You know the one that you really identified with and the one that made life livable throughout your late adolescent years. I was one of those kids that, at one time or another, ALL four bands were the only one that mattered. I wasn’t alone.

As the years flew by, all of these bands would either continue to stimulate me by way of live shows and/or recordings (Metallica/Slayer) or at the least remind me of a much simpler time in my life (Megadeth/Anthrax). Still the idea of all four sharing the same stage was something I really thought I’d never see. So almost 10 months to the day since the first ever "Big 4" concert became a reality, it was time for the US to finally witness the historic bill some 25+ years in the making.

I flew out on black Friday, April 22 landing at LAX and met upon arrival by my friend of over fourteen years Brian Subterfuge. When the Southern California concert was announced earlier this year there was a list maybe five people in the world that I would have picked to see this show with, he was way up there on that list. We met via tape trading and a specific addiction to the band Vio-Lence. This was 1997 people, there weren’t that many of “us” around at that time, he’s been a brother from another mother ever since.

So think about it, before this “show review” even begins I’m already kicking it with one of my favorite people in the world. This would not be the only highlight of the weekend…

We made the two hour drive into Indio on Saturday, day of show to check into our hotel and could already sense the anticipation. Indio seems to survive off the festivals and events in the area so having different divisions and masses descend on the town seems normal to the locals as far as I can tell. As far as the weather, I left a rainy 45 degree Chicago day some 24 hours earlier so the 11:00am desert sun was incredible. I was in a great mood and I couldn’t wait to get to the festival site.

I was set to pick up my credentials early so we faced none of the horrific tales of Coachella festivals gone wrong, the throngs of people all entering the site at once ala Woodstock. So I check in, pick up my ticket and we begin our day. My day and mood goes from great to unfuckingbelieveable when I meet another Bonded via Metal friend, Brian “ümlaut” Lew. Please, see some of his work HERE and HERE and watch for THIS coming fall of 2011. Long story short, Brian looked out for me and basically handed me the keys to the kingdom. This review, cheesy as it sounds is dedicated to him. Cheers .

As I walked through the security laden entrance of the Empire Polo Club, site of the aforementioned and massive Coachella Festival everything seemed so intense. I was excited to be there, no doubt, but so was everyone else. I’ve never experienced European festivals but sometimes you think by watching your US Festivals, California Jams, Wacken videos you’d be “used to it.” The electricity present was very real and I was just in total awe to be at such a place.

As I walked towards the main stage area it meant passing through the food and merch vendors and multiple bars. As I stepped onto the grass the sounds of Exodus’ “Piranha” was blasting through the PA. I took it as a sign; it would be one of those days. It wouldn’t be too long before the music started, but I was ready to hear something loud. It had been far too long since my last show and I wanted it, make that needed it.

Anthrax kicked things off promptly at 2pm. It was Scott Ian’s opening chords of “Caught In A Mosh” that kicked off the first ever “Big 4” show in North America and it was kick ass. Anthrax was into it and the roar of the crowd was all the approval they’d need. The set would be a series of highs and lows and really, everything that you either love or hate about Anthrax was well on display. For the highs there was standard ‘Thrax fare such as “A.I.R.,” “I Am The Law,” “Among The Living,” “Metal Thrashing Mad,” and “Madhouse.”

For the lows there were “Got The Time,” “Anti-Social” and Joey Belladonna. I know the guy is trying his best and performance wise he’s doing a helluva job but still. I mean isn’t it strange to have him coming in early (or late) on songs he’s been playing since 1987? However, his timing aside it’s his stage persona, song intros and general rapport with the crowd that’s unbelievably bad. I mean I’m writing this piece three weeks after the event and I still can’t believe they (Scott and Charlie) let him say a fucking thing in between songs.

Still Anthrax played a solid set I’ll give the band that. They played new song “Fight Em Til You Can’t” and you’ve gotta wonder how much longer they can fight? If the Belladonna sung ‘Worship Music’ fails to find followers will that be the knockout blow? They’ve been staggering and receiving standing eight counts for an extremely long time now, some would say since the Elektra years. Even Jake LaMotta eventually hit the canvas, guys.

It was cool in a geeky way to see Scott Ian break out the “S.O.D.” Jackson, which I’ve never seen him play before. They did their job of warming up the sun baked warriors but in some way I think they could have done something a bit special for the show. Especially seeing they have the most to prove of all the bands, but I guess that’s just me.

At the conclusion of Anthrax’ set we ventured into the general admission bars and we grabbed $9 beers. Happy to say these would be the first and only $9 beers of the event as not long after someone let us know of the “VIP” bar area with $4 beers and well, life is good. In the same area as the bar were clean toilets and no lines, loving this day.

Photo by Umlaut

Time between sets wasn’t that long, enough time to re-group with friends old and new and of course have a drink or two. Throughout the day I would meet so many people, so many very cool people obviously having just as good a day as myself. Many moments, many conversations and yeah, I was looking forward to seeing Megadeth.

Opening with one of the weirdest songs for this or any other Megadeth era since its release in 1997’s “Trust” wasn’t the song to open with, Dave! I mean whatever, again but fucking “Trust?” Opening?? Well regardless, Megadeth take the stage and gladly the opening was a distant memory as they tore into “In My Darkest Hour,” one of Mega’s finest.

Dave Mustaine a man who owns stages for a living didn’t need too long to claim another on the massive Coachella structure. Looking pretty cool, calm and collected, Mustaine was armed and ready with a custom double neck Dean as his weapon of choice for the first few songs. “Hangar 18” and “Wake up Dead” deliver the goods as the ever increasing crowd begins to swell.

I’ve said it before and I’ll say it again, the current line-up of Megadeth - Mustiane, Ellefson, Broderick and Drover is their best, ever. They hit strides throughout the show that were scarily good. Anthrax didn’t hit that stride, Megadeth hit it several times. They were truly “on.”

Megadeth played many of their fan favorites old and new as a unit they were really commanding and played an excellent set. Closing with their “big 3” of “Symphony Of Destruction,” “Peace Sells,” and the timeless “Holy Wars…the Punishment Due” Megadeth bid farewell.

The time spent between Megadeth and Slayer was in the bar and in the band compound area of trailers and “personal space.” Again just a gaggle of people like Eddie Trunk (“Stumble the Trunk” by the end of the night), Brian Slagel, Ross “Gross Halfwit” Halfin, Chris Jehrico, Brian Posehn, Don Jameson from That Metal Show Mike Portnoy, Chuck Billy, John Tempesta, Mike Inez and Jerry Cantrell, etc. etc. walking around. More on that later.

It’s funny how no matter the situation, opening or closing, indoors or out, night or daylight when it’s Slayer time, it’s SLAYER time. Seeing them in the pre-dusk hours did little to subdue the largest crowd of the day, so far. Opening with the title track from their 2009 release, 'World Painted Blood' it didn't take long for Slayer to turn the festival site into their own private battlefield. Tearing through new burners like "Hate Wordwide," and "Snuff" to bona fide classics like "Black Magic," "Raining Blood," and "Postmortem" Slayer were killing it.

Guest Guitarist, Exodus’ Gary Holt was flawless in his attack on simply everything. I arranged myself on his side of the stage so I could get a clear sound of what he adds to the band live, it was fucking heavy. He blended in with Kerry King almost seamlessly and the results were pure Slayer. While I was surprised at the amount of new songs played it wasn’t long before the classic material took over.

Bassist/Vocalist Tom Araya, the ever cool frontman of the band continues to be vocally intense and spot on with his timing and delivery. I think the surgery and his being unable to headbang has resulted in excellent vocal performances still so essential to the Slayer experience. “Silent Scream,” and “Anti-Christ” were perfect examples of this.

Behind the kit, back with the band for over eleven years now was the often imitated, never duplicated Dave Lombardo. Lombardo paced the band through levels of intensity bands 20 years their junior will never produce. I must say seeing Slayer perform “Seasons In The Abyss” in the desert was and will always be pretty memorable.

Encore time was something of a surprise. As the pre-recorded “South Of Heaven” tape rolled, stage right was filed with a familiar sight. Jeff Hanneman out of commission since late 2010 had taken his rightful position. Jamming on both “South” and set closer “Angel Of Death” he looked re-energized and far more animated than I’ve seen from his side of the stage in many years. No matter what, it was great and totally Slayer-like to have him out there and say not a fucking thing about it.

Between the bars and the fun I was about as ready as I could get for Metallica. I was in the photo pit and was talking to the people who had been on the barrier since maybe 11:30 AM, some seven or so hours. There was a group of people from Romania and they were there for one reason and that reason was Metallica. One of them told me “I hate every other band on the bill, I am here for Metallica!” I thought that was great. Fanaticism makes the world go around, it’s taken me to many places myself and for these people, I was happy as hell for them.

When the intro “Ecstasy of Gold” concluded and Metallica took the stage with “Creeping Death” the roar from the now estimated at 55,000+ crowd was simply deafening. I remember turning my back to the band to face the crowd during the “Die-Die-Die” chants of the song and it was fucking intense. So much passion for this band, so many still boiling, this was going to be a memorable set.

“For Whom the Bell Tolls,” “Ride The Lightning,” and “Fade To Black” were next and it felt like Metallica had a switch to control the masses of people in the palm of their hand. They sounded heavy as all hell, really it was almost bludgeoning. Being up in the photo pit, the bass sound was unreal. New ‘Death Magnetic’ material “Cyanide” and “All Nightmare Long” blended in nicely, being only two of three songs from the years 1992-1997 to be played tonight; it definitely was a greatest hits sort of night. Not that anyone minded.

A brutal and heavy "Sad But True" from their gargantuan 1991 self titled album was aired alongside Metalli-classics “Welcome Home (Sanitarium),” “Master Of Puppets” and “One.” All great songs, timeless Metal classics but it was around this time Metallica did what the other bands wouldn’t or couldn’t do.

Pulling out an ace of spades, they go into “Orion.” For the first time ever in America, they throw down with fucking “Orion!” The 1986 instrumental was delivered with class with Bassist Robert Trujillo honoring the life, music and spirit of long departed Cliff Burton while guitarists James Hetfield and Kirk Hammett harmonized in perfection. This was something as a Metallica fan as well as a fan of music I will never forget.

If you’re here you know what all that means to me and it was probably THE song of the entire festival for me. I remember when Trujillo went into the first bass break everything sort of hit me. Where I was, whom I was with, what I am, who I am. Things like - just how fucking fast time flies and it was just a general intense moment for me “alone” in the desert night. I actually found a star in the sky and was grateful for everything and [almost] everyone that had brought me to this point.

“Blackened” began the descent of the set for Metallica. Still brilliant after 23 years, the post apocalyptic ditty reaches new levels of vitality in the festival setting. The night was highlighted in what is now known as 'The Big 4 Jam' which, if you've seen either the DVD or broadcast from last summer's Sofia, Bulgaria concert you know what that is. The joining of all four bands performing the Diamond Head classic 'Am I Evil?" and I will admit how much cooler this was in person.

Trust me; don't judge this until you're in the same "room" with this "jam." It was again, something you never thought you’d see in person. But like I said, seeing it is feeling it.

One complaint, Joey Belladonna. Dude STILL doesn’t know the words to “Am I Evil?” What the fuck is wrong with him?

Metallica then ended the night with the one-two punch of “Hit The Lights” and “Seek And Destroy.” That was it, 20 some songs later and the first North American “Big 4” show comes to a pyro-tastic finish. After the show it was off to the bar to see where the night took us. Meeting up with SF-by-way-of-Chicago friend Marc Paschke is always a good time.

After a few drinks and general chatter about the day was when I had the strangest “how weird is this” moment. At one point in the evening it felt as if I had walked into a Metallica book. Throughout the day I had come into contact with several important characters that participated in the bands world domination.

Umlaut, Vader, Subterfuge and Gibson (Exodus).

From Brian Slagel, to Brian Lew to Mike Alago to Steffan Chirazi to to one of the bands first tech’s, Dave Marrs to former fan club president and Metalli-author K.J. Doughton. The original Metalli-video guy, THE main source for the ‘Cliff Em All’ footage, Otto from Detroit was there too. Fuck, right? Earlier in the day I had spoken with Kirk Hammett and Robert Trujillo, just hellos and whatnot, but again, fuck.

I know I’m forgetting people, but that’s the downside of getting this off my chest so long after. But in closing it was one of the greatest concert experiences I’ve ever had. That’s say’s a lot and means a lot. I always wanted to do one of those massive festivals, but was never crazy about being one of the 55,000 all clamoring for the same space. This was a flawless day, in every regard.

So that’s about it. It was epic to the truest sense of the word and that’s all I have to say about that. They say a picture say’s a thousand words? Well here’s a thousand more.

Fuck yeah.

330, 0330, 3.30, IIIXXX, Three-Thirty

2011-03-30T07:19:00.000-05:00

Happy 12th & 7th Birthday to the two most important people in my life. Everything and everyone in the world can disappear, but as long as I have you two - Life Is Good.

Thank you both for the daily lessons.

3.19.2011 Gone But Never Forgotten....

2011-03-19T14:55:00.000-05:00

So last year I "promised" this 3.19 thing wouldn't be a yearly deal. I lied. Maybe I was talking about all the words I could use to mark this bummer of an anniversary? Who knows, a lot can happen in a year and I'm glad to be here for another one. If you're looking for past remembrances of this day, check HERE and HERE.

Of course, 3.19 marks the passing of both guitar great Randy Rhoads and the destined-to-be-legendary Andrew Wood. A lot of time has passed since both left Earth, but their music will last forever. I'm running this Kerrang piece on Mother Love Bone, with Jeff Ament reminiscing about the MLB days via the "Stardog Champion" (as it came to be known) compilation release.

Speaking of which, the release of the long, long awaited Malfunkshun documentary has been bumped from Winter 2011 to Spring 2011. Like my beloved Cubs, I hope I'm alive to see certain things come to fruition.

Not much more to say.

(click image to enlarge)

Old Metal Mag Moment: Old Metal Mags

2011-03-14T21:50:00.000-05:00

Just some killing time stuff for the older generation.

Metal Magazines are the reason I'm here. I still thumb through my collection quite a bit for many different reasons, but there's never been a time in my life that these relics of my past have ever let me down.

I can go to them for old interviews, research, facts, photos, opinions all of which have come in handy doing this thing here. I can also go to them for comfort. Like someone who builds model airplanes as a hobby or stress reliever, I can go the the my Metal library. One I'm glad to have seeing that the mass print medium hardly exists anymore. The days of sharing all the different opinions and styles to a large audience seems to primarily exist on computer screens.

Sorry, but that's lame.

I mean how many of the Revolver-Core would remember the mighty Metal Rendezvous, along side Stateside staples like Circus or (S)Hit Parader let alone Creem or Metallion?

Metal Rendezvous was an absolute killer of a mag. Back when it was being published I had a hard time finding it on a regular basis, but a more missed title may or may not exist. Though the mag is long gone it's awesome to see former MR Chief Photographer Bill Hale still sharing his work with the world through the essential 'Metallica: The Club Daze' book and his soon to be unleashed Megadeth book, 'Another Time, Different Place' via MTV Books.

Kerrang! - it's importance from it's start (as an offshoot of Sounds) in 1981 until the late 90's was something else! The 00's were really trying years for fans of the mag. More often than not going overboard on more than just questionable bands. The Paul Brannigan years were also important the way he realized the importance of satisfying it's core audience with the (whether you liked em or not) artists that moved magazines. The Creem guy here is complimentary as hell and should be in 87 Kerrang! was still "it."

Creem was a Rock N Roll institution for many, many years. If you're unfamiliar with it and worship at the art of Rock writing definitely look it up. Better yet, check this out. Creem Metal, as the reviewer describes wasn't the greatest idea or even executed that well, but back then I loved it and another title to buy in my youth wasn't a bad thing.

Metallion was a popular magazine from Canada that lasted only 11 issues in the mid 1980's, so their mention here was perfect timing as I'm sure they were about finished if not totally dead at the time of this review. I've only got two issues of this mag, shame it went so quick.

Circus and Hit Parader, I'll have to write about a different time. Circus broke it wide open for me many, many years ago. I'll always have a lot of respect for them. Like the rest they changed gears many times over, but like I said, they got me going.

Hit Parader was what it was. Always felt like they were the Burger King to Circus' McDonald's. Not sure if it was the visual aspect or if it was down to the writing? Probably a hefty percentage of both as Hit Parader always had a 2nd rate feel to their photos. But respect to HP as well, because they were tried and true every fucking month at a very important time for me.

I mean even the chameleon-like Revolver could never shuck and jive like the once mighty RIP. RIP's ascent was at least a little more honest(?). But the guy is harsh on RIP, but this was 87 and RIP was still somewhat aimlessly existing in the newsstands. They didn't cover any one genre extensively, so they didn't have their niche, yet.

Their true calling rang several issues later as RIP's "domination" and the phenomenon of Guns N Roses happened almost side by side with the two finding many opportunities to cross pollinate for many years to come. But it's all business at the end of the day so we'll see what's left of the art in the years to come.

For now though, here's what the writer at Creem Metal thought of the "competition" back in 1987.

(Click on image to enlarge)

March 3, 2011

2011-03-03T23:34:00.001-06:00

From Mick Wall.Com

02 March, 2011

By far the best - as in most accurate - review of the Metallica book so far. Not just because the guy likes it, just his whole vibe. You just know if it was a crap book he'd have stuck the knife in without a second thought. A real person saying how it really is, named Tom Trakas. Thanks, Tom.

I'm at a real loss for words here. The above means quite a bit to me and I don't know how to describe it. Mick Wall to me is about as high as you can get when it comes to the art of Rock N Roll writing. I've been reading and devouring his work for as long as I can remember.

His first book, 'Diary of a Madman' was one of the first Rock books I ever read and his body of work over the past few decades has shaped, for better or worse, what you read today. To have the above written about my own writing? It doesn't get any better.

In addition to that, today is the 25th Anniversary of 'Master Of Puppets.' I guess it's been a day of reflection. Where I've been, where I'm at and where I'm going. Crazy. Thanks to my readers who are along for the ride.

Tom

Book Review : Enter Night - The Metallica Biography by Mick Wall

2011-02-25T14:45:00.004-06:00

The last time I checked, and I check often enough, there are some 600 choices for books on Metallica at Amazon.com. Sure not all of these are biographical or even remotely based on the story of the band, but my point is there are a fucking ton of books on them! This review is intended to reach those who have or more importantly, will purchase a Metallica bio book…as well as those who are thinking of writing one.

At one point, the story and history of Metallica was a wide open highway. Its mile markers were there, all that needed to be done was for someone to lay the miles and miles of blackened asphalt. The story, as we all know is one of legend and its interpretation has been attempted many times with a variety of results. Those who have put pen to paper in the name of the band have always seemingly done so from the “outside.” This is not a coincidence. Metallica may have started as “the people’s band” but make no mistake, that band is a multi-multi million (billion?) dollar corporation with very few loose lips within its ranks.

With the release of the highly anticipated Mick Wall penned ‘Enter Night’ the Metalli-book market just got a lot fucking smaller. We’re talking narrowing your choices from say 30-40 to less than a handful. It doesn’t take long for ‘Enter Night’ to go from being just “another Metallica book” to being “THE Metallica book.” I’m not saying Mick discovers a lost treasure trove of information or reinvents the wheel, I mean let’s face it, we all know the basic story.

Lars’ 1973’s Deep Purple show, James’ Christian Scientist upbringing, Dave Mustaine, moving to San Francisco, Jonny Z, head to New Jersey, Megaforce, Sweet Silence Studios, Q-Prime, Elektra, Ozzy tour, Ljungby, Sweden, Jason Newsted blah, blah, blah. All of that is in here, of course but it’s the reading between the lines and the delivery that makes this one different.

Mick Wall is no stranger to the world of Metallica and has definitely done his research with both his personal as well as professional experiences with them. One of the key things to making ‘Enter Night’ so successful are the people and sources who have gone on record to enhance the already mind-boggling origin and meteoric rise of the band. The supporting cast of the Metallica story has always played a big part in its history. Names like Brian Slagel, Jon “Jonny Z” Zazula, Xavier Russell, Hugh Grant, Ron Quintana, Harald Oimoen, Malcolm Dome, Geoff Barton and many others have almost become as much a part of the ‘Tallica story as those of the band members themselves. There’s a reason for that, this we all know. You don’t become one of the biggest selling bands in the history of music all by yourself, do you?

So these people (some of whom) in and around Metallica since their inception are interviewed for the book and let me tell you, each and every one of the hit home runs! Don’t get me wrong, just about all of them have been interviewed for various books, documentaries etc. over the years, but there’s no doubt in my mind they’ve all dug a bit deeper for Mr. Mick Wall. I lost count at fifteen or twenty things that just blew my mind while reading and suspect it will do the same for you. Things that have never been shared or remembered or brought forth in such a way really does wonders for a story you might have heard before…or even fifty times before.

Wall begins ‘Enter Night’ by dissecting the individual members to a certain degree, shedding light on the personalities of the individuals who would go on to change Heavy Metal history. Each member is looked at rather honestly and because of his history with the band, some of this honesty can be taken or left. I personally enjoyed what was written and think you will too. Throughout the book Wall speaks very highly of Cliff Burton on a number of levels, those being the obvious as well as the not so obvious. In fact the entire book is rather Cliff heavy and the association doesn’t end in 1986 either. More on this later though.

Interview wise, there’s both historic, current (2009) and archival words from the band itself as well as those who were there at various stages. Jon and Marsha Zazula really go above and beyond in their recollection of the Metallica/Zazula/CraZed Management years. For the first time IMO, ever, you don’t just read about Metallica arriving and their time spent in the Zazula household in the spring of 1983, you’re practically there. Marsha’s memories add much color to the early days. The ‘Rock N Roll Heaven’ stories and what she picked up on from various members, especially Lars, is very telling and almost prophetic of what was yet to come.

Martin Hooker and Gem Howard, former honchos at UK label Music For Nations go to bat with what it was like to work with Metallica and Megaforce in the beginning. Later, Dave Thorne of Phonogram comes in takes you onto the next level, all of them providing a wealth of information rarely/seldom spoken of. ‘Ride/Master/Justice’ Producer Flemming Rasmussen adds valuable weight to the technical side of the band and how the members evolved from year to year (84-88) both musically as well as personally. How they functioned as a unit creating one of the mightiest trilogy’s in HM history.

The contributions from former tour manager Bobby Schneider, who started as a drum tech for Lars, are some of the best in the entire book. Where I previously mention interviewees hitting home runs? Well without even trying, Schneider hits Grand Slam after Grand Slam. His joining the Metallica world in 1985 and working with them until (I believe) the end of the “Damaged Justice” era is some of the most fascinating stuff in here. From inner workings, relationships and closed door happenings, Schneider matter-of-factly details his time while bringing the reader into their world during the, to some, most exciting years (85-89/90). I don’t want to give away too much here, I’d much rather you take my word for it. His words and recollections are just essential to the Metallica story.

Undocumented tales of how the pairing of Metallica and Q-Prime came to, and continue to, rule the world from meager beginnings is also given some hefty ink. If you’re a Metallica fan or just a fan of the business of music, this is some of the most interesting stuff in the book. The dynamics between managers Cliff Burnstein and Peter Mensch and the band especially that of Lars Ulrich are the tales and situations you couldn’t dream up. Mick having spent considerable time with both parties, again, brings the truth in an uncompromising way.

Their evolution from point A to point B is nothing short of revolutionary. True, there’s a lot of luck that gets a band so successful and influential enough that it makes its way into the Rock And Roll Hall of Fame (yeah it’s a sham, but Metallica are dare I say bigger than this farce of an institution). However, behind that luck is also a shared belief and the drive to stop at nothing attitude that transcends and obliterates four leaf clovers.

Because of the personal interactions with the band over the years Mick Wall comes with some rather deep and often insightful words/memories/experiences I don’t think I’ve ever read in another Metallica book. His memories of the Cliff Burton era are crisp and vibrant and help explain just what the young man’s existence meant to not only the music and attitude of the group, but how they carried themselves for the short 36 months of his tenure.

The Metallica-Jason Newsted marriage of some 15 years is examined fairly thoroughly and at times rather harshly. Brutal in his views on the pairing from the start Mick point blank summarizes a relationship that (from the inside) seemed doomed from the start. It’s a shame really as Newsted was a great foot soldier and did the best with what and whom he had to work with, but the dissatisfaction of it all rears its ugly head time and again here. Mick’s summary of the “Newkid” years on pages 379-380, especially the way he leaves things at the end are so hauntingly true…it’s just not right.

Are you still with me? Cool, I’m trying to wrap things up here so bear with me.

Because Metallica was guarded by their (management controlled) public image and never a typical “Sunset Strip” proper type of band, their excesses were usually tied to (harmless?) alcohol consumption and perhaps a “dabbling here and there” of substances. I, as a fan never gave it much thought, and those I’ve spoken to on the subject felt the same. Plenty of us believed the press when the band would say “it was all about the music, not about girls and drugs, all the cliché stuff” that surrounded Heavy Metal in the mid to late 80’s. Thinking now, guys in their early 20’s only living for the music seems absurd, but that’s the way their image was protected and it worked. ‘Enter Night’ definitely shines a new light on some of what fueled the band and the effects of such choices at various times in their career. Ah, to be young and naïve again!

As the story progresses, much like the music itself of the late 1990’s there’s not too much you can really do with the story. All of what happens, ‘Load,’ ‘Reload,’ Napster, image, inter-band turmoil etc. runs it’s course and no matter who it is writing about it, its an era some fans don’t really want to remember or look back on with any such fondness. So while it’s all put together well, it’s not as gripping or mind blowing as the earlier chapters, again, much like the music.

There’s a ton of great of great interviews here, a wealth of information and all of it very well written. One gets the feeling Wall was never overly smitten or impressed with Metallica or the massive machine behind the band. You have to remember this was a guy who was writing and hanging with bands such as Thin Lizzy, Black Sabbath, UFO and Motörhead when Metallica was still a dream for Lars Ulrich and Co.

Because of his “lackadaisical” approach to the band, his style is loose, honest and just commanding. However due to this stance there’s a few errors here and there that are easily looked over, not because they weren’t researched, but it’s seemingly because the big picture is more important to Wall than some of the minute details.

So in closing, this is a book I loved. It’s broken down several barriers of hearsay and folklore and really humanizes Metallica in a way that simply hasn’t been done before. I’ll have to go on record as saying until an official book hits the shelves, this is about as “it” as it gets. However now that I think about it, even if something official comes out down the line, chances are this will be the book they try to top.

***Other than the cover, none of the above images appear in this book.

Motörhead: February 19, 2011 Congress Theater-Chicago

2011-02-22T19:53:00.005-06:00

Touring in support of album number 20 (!) 'The World Is Yours,' Motörhead did what they've been doing since 1975, which is kick your ass. Seriously a killer set by Lemmy, Phil Campbell and Mikkey Dee and done so in front of one of the biggest audiences since the halcyon days of playing at the Aragon Ballroom in the 80's!

Yes, the Congress Theater was packed, over 4,000 people and seemingly one guy dispensing beer!

Venue oddities aside, this was a very memorable shows for many a reason and if you couldn't be there you missed a loud one. It's been a long time since I've been to the Congress and I didn't remember it sounding that good, so kudos to the road crew for delivering the decibels!

Set List:

• We Are Motörhead
• Stay Clean
• Get Back In Line
• Metropolis
• One Night Stand
• Over the Top
• Rock Out
• Guitar Solo - Phil Cambell
• The Thousand Names of God
• I Got Mine
• I Know How to Die
• The Chase Is Better Than the Catch
• In the Name of Tragedy
• Drum Solo -Mikkey Dee
• Just 'Cos You Got the Power
• Going to Brazil
• Killed by Death
• Ace of Spades
• Encore:
• Overkill

Both Clutch and Valient Thorr opened and put on energetic and entertaining sets, but it was all about the headliner for me.

Xtra Special Thanks to Alan, for everything!

Above and beyond my friend.

Movie Review - Lemmy: 49% Motherfucker, 51% Son Of A Bitch

2011-02-12T00:04:00.004-06:00

I’ve said it before and I’ll say it again and again, I LOVE what’s going on in Rock/Metal Media these days. Books, Documentaries, DVD’s whether they’re home releases, VH1 exclusives, Palladia HD runs or works cool enough to screen in a movie theater…this is where it’s at.

Last night was the one and only Chicago showing at The Music Box and despite it being a work night and a 9:45 start as well as a 45 minute one way ride into the big city, I had to be there. True motivation was hard to come by after a full day and yet all it took were the words from a Old-Metal friend to get me on my merry way.

For those of you living under or crushed by the rock, ‘Lemmy: 49% Motherfucker, 51% Son Of A Bitch’ is a film over four years in the making, profiling one Ian Fraser “Lemmy” Kilmister the iconic leader of Motörhead. The band he founded in Chelsea, London back in 1975, and the same band he still fronts today.

The directors of the film were granted all access to Lemmy’s world which by all accounts has never happened before. It’s really fascinating to see this man, a figurehead of the entire loud music (Punk, Rock, Metal) generation ebb and flow his way through this thing we call life. Obviously, his life is probably more exciting than yours and that’s a given, in fact I’ll guess it’s a shitload more exciting than yours so what we see on screen is pretty much his existence in a nutshell.

We see Lemmy at his regular haunts, those being the Rainbow Bar and Grill, in the studio – either recording new Motörhead music or various sessions, one featured in the film shows Lemmy and Dave Grohl recording for the ‘We wish you a metal X-Mas…’ album, to backstage and on-stage. The cream of the crop? An in-depth visit to the Los Angeles apartment he’s lived in since moving to America some 20 years or so ago.

It’s not what one would think it is. I really don’t think anything can prepare you for what this is like. So I won’t spoil it for you, but it’s of interest.

The movie is a homage to the man. From his earliest musical exploits in The Rocking Vickers to the legend that breathes among us, if it’s important, it’s in here. With some great archival footage interspersed with cameos - each with their own take on what Lemmy as a musician or as a man has meant to them. The film is Metallica heavy with all four current members given ample interview screen time as well as a full performance of "Damage Case" with Lem guesting with Metallica. A rare Jason Newsted appearance is also in the film.

As with any cameo heavy film there’s certain people, no matter what they say you just want to throw something at the screen. Those people are in here, but for whatever reason it’s somewhat tolerable.

Some great time is spent with Lemmy's son, Paul. A level headed guy, super calm and enjoying the time with his father. There's a true bond there, it's a strong point of the film. But yes, Paul's participation is pretty vital to getting a slight insight to the interior of the hardened shell of a man one fan loudly claims "will survive a nuclear bomb...along with cockroaches!"

The last thing I’ll say is I wondered how the film was going to portray the man. With a few of the recent Metal Docs, despite what you thought of the featured band going in, you definitely thought more of them on the way out. The Anvil movie for instance, how could you not root for that? Even the Rush movie had people gushing about the trio’s off-stage demeanor, again it had people gravitating towards them. Ending up in their corner.

I’m proud to say the movie is as cut and dry as the film’s subject. The filmmakers do not try to paint a pretty picture, it seems pretty accurate. He’s no saint, neither are we, but for a multitude of reasons he comes across as even cooler than before. While not exactly a laugh-a-minute the deeper side of Lemmy is given a slight peek, it's not always pretty, but again, just pure.

By now the free world has seen this on cable, so I’m done babbling. The movie is kick ass. The DVD comes out this coming Tuesday, Feb 15^th. The BluRay is supposed to have some 4 hours of extras. '49% Motherfucker, 51% Son Of A Bitch' is a unapologetic, unflinching look into the life of a true original. Cheers to the filmmakers and to the first to pour a drink and always the last man standing, Lemmy.

An Interview With Sean Yseult

2011-02-09T00:40:00.000-06:00

One of the coolest things about this writing stuff is if you’re moved by someone’s art, be it music or writing or whatever, there’s a (sometimes, extremely) small chance you’ll be able to speak with the creator about it. It almost adds a new personal dimension to the work you’ve already been moved by, it’s tough to explain.

After I finished ‘I’m In the Band’ by Former White Zombie and current Star & Dagger Bassist Sean Yseult it was like I had to speak with her. I think the book is killer and you get a feeling she’s got a great story to tell and she does. If you haven’t yet checked it out, go to her official site and check out book previews, music, photos, art and more.

After a successful weekend at the 2011 Namm Convention where she unveiled her Schecter Coffin Bass Sean was back to business and also promoting, which is where we start.

None But My Own: I made mention in my review that since the sales of CD’s and what not are totally on the decline, I hope more people do these kinds of projects. Be it movies or books, things the kids can’t readily steal. But I was blown away by ‘I’m In The Band.’

Sean Yseult: Cool, thank you so much.

When you were working on ‘I’m In the Band,’ what type of response did you think you would get? Did you think it would be just the White Zombie fans? I think it’s deserving of a broader scope because there’s so much in here.

Well I definitely knew the White Zombie fans would gravitate to it. Over the years I’ve definitely seen my share of internet chatter and received emails regarding everything from “why there wasn’t more information in the box set” to just about anything else related to the band. I just really wanted to get the story of the band out there because it’s never really been told. So I knew the fans would be into it and I also thought it would appeal to a wider female audience as well. So outside of that I wasn’t too sure who it would speak to.

I’m not sure why, but I wasn’t expecting some of the “Rock N’ Roll” aspects of the book. White Zombie, from afar didn't seem like an "out of control" kind of band. In my review I wrote something like, “yeah the band ended with a thud, but you [Sean] had some FUN!”

(Laughing) Well, I made damn sure I was having a good time!

I mean you really lived it and while things could seem bad at times I don’t think you could document things the way you did if you really didn’t love what you were doing.

Well we weren’t like Motley Crue with the strippers and drugs, but yeah, I made sure to have fun with it! Having all the photos and tour diary’s to back up my memories helps (laughs)!

When you started as a Rock Musician, were you a bass player first then a song writer or vice versa?

Definitely a songwriter first. My classical music training goes back to when I was five or six, so I was trained to read, write, compose and improvise music…it was some hardcore training. By the time I was eight I was writing five page pieces on piano, some pretty intricate shit too (laughs)! Bass came later, it wasn’t until high school and getting into hardcore bands like The Cramps, Black Flag and Dead Kennedys and so on. That’s when I knew I wanted to be in a band.

As soon I got to New York I met some hardcore kids at a Bad Brains show and they we like “we’re gonna start a band and we need a Bass player!” so I got a bass for fifty dollars, a Global was the brand and it was horrible but it was all I could afford. But I don’t think we ever practiced, we just sat around and talked about having this “band”! So as soon as I started playing bass I was writing riffs, I practiced to build my strength but always was writing stuff.

I can’t profess to being the biggest White Zombie fan, but from my point of view WZ always seemed to be Rob and then the band. All important in the public eye, but definitely an emphasis on him, especially, seemingly more when the band “broke.” I liked reading just how important each of you were to the absolute foundation of the band.

That was definitely something Rob and I wanted from the start. It wasn’t like the members of the band fighting for quality, he (Rob) was really into that. He was like “I only like bands where every member’s important.” So we really tried to stress that from the beginning on all our early records too. All members were prominently featured equally, that was important to us.

I liked how (former WZombie drummer) Ivan DePrume was given the spotlight. I really never knew how vital he was both as a drummer and as a band mate.

Oh Ivan was incredibly important to White Zombie! I don’t think we would have gone the direction we went without Ivan. Ivan played on six of the eight White Zombie records, only the first 7” and the last album, but he was there for most of the ride.

Knowing how much he meant to WZ and thinking of his departure, which you don’t go into in the book, but he left just before things blew up, didn’t he?

Yeah…it was real upsetting. I don’t know if it was just a misunderstanding between him and Rob or whatever, but they kind of got into a fight on stage. Ivan felt he wasn’t going to put up with whatever and said he quit and Rob said “Good” and it was just a bad scene. The next thing you know Rob’s holding him to it and got him a bus ticket home…

No shit, he got Mustained?!…

Huh?

Nothing.

Yeah, so we were in the middle of a tour, I think we were supporting Testament and all of a sudden this kid from Wisconsin shows up and he knows our tour manager. His name is Phil…I can’t remember his last name. But he shows up the very next day and our tour manager say’s “well this guy can fill in” and we’re needing someone, right? So we start playing with this guy and he knows all the songs!?

So I didn’t know if this was planned or what but at the time it was just uncanny. He was in and we just carried on, there may have been a day off in there but I don’t think we missed a show. But you know, it was never the same after Ivan. We were like family, he was like my little brother and it was upsetting. So it was like we have this new guy in the band that we’re not friends with and…but that’s why I didn’t really go into it. Too unpleasant.

Still though, his contributions are great moments in the book. The stories of you guys rehearsing in his basement are fucking hilarious!

(laughing) Oh god, I don’t even go into half of it, man! Ivan grew up in Park Slope, New York. Park Slope now is all nice and expensive now, totally yuppied out, right? But back then his family had this building and there were like hookers on his block and it wasn’t all that great. His Mother was Russian and she’d yell at Rob and I all the time, like “what is wrong with your hair?” because we had dreadlocks and she just thought we were freaks.

At one time there was a raccoon loose and it was living in the drop ceiling, but then we found out the raccoon was the pet of a Vietnam vet who lived upstairs and it was like every single person in that house was, a real character (laughing) and I guess we fit in there too, in a weird way. But all in all his mother put up with us making all that noise in the basement for years.

Ivan’s influence by way of Metallica’s ‘Ride the Lightning’ plays a role in the story of White Zombie. Both Metallica and Cliff Burton were sort of name checked in the book around the time the “Metal-morphesis” of WZ was taking place. Ivan mentions he took a lot of heat for liking Metallica and Slayer in 85/86.

Oh well, Ivan was always with the boots, the bullet belt, I mean he was a serious Brooklyn Metal head, he was sixteen when we first met him; still in high school! But yeah, he got made fun of quite a bit. All those drives we’d take to play The Rat in Boston or Toad’s Place in Connecticut, well Ivan would have all his cassettes and he’d be blasting Slayer and Metallica and the three of us would be like “oh god, what is this?” But the more we heard it, the more it sunk in and the more we liked it and it definitely rubbed off on us!

Was Cliff Burton an influence? Both Bassists - your classical background, his classical background..

Definitely an influence, huge influence, his style, and headbanging, total original, just one of a kind.

Your description of the two scenes in which WZ in existed early on was pretty fucking funny. From “art student drop-outs with vintage guitars, dressed in sixties garage style trying to play it cool vs. high school drop outs in leather and mullets, ready to fight, fuck or get fucked up.”

Which was the difference between say CBGB’s and other NYC gigs and L’amour’s in Brooklyn. The Metal kids took to you fast; they embraced you, how awesome was that?

Exactly! We were just so happy to have an audience that liked us. Because at CBGB’s or anywhere in the East Village, you know only a smattering of people would even come and bother to see you. If they did they were also in a band so they’d be feeling competitive so they’d come out but for like all the wrong reasons. Not to support, but to check out the “competition” or they wouldn’t even pay attention, it was very strange.

So we get out to L’amour’s in Brooklyn and people were moshing and going ape-shit, it was like “Wow! This scene is alive, alive and kicking!” (laughs) and they embraced us. I don’t know if I mention this in the book but we definitely owe a lot to Biohazard and the Cro-Mags for inviting us to open for them because that was kind of our entrance to that whole Metal scene.

After that show we go to open up for Pantera at L’Amour’s on their ‘Cowboys from Hell’ tour, Slayer invited us to open a couple of shows. That was incredible and we didn’t get booed off stage! We actually had a pit by our second song, and this was back in 89 when we were still pretty noisy! I think we were still chaotic enough for them to like it.

Continuing on the subject of New York, the way you describe the East Village back then, the horror/porn theaters and just the sleaze/danger element…it reminded me of the book ‘The Evolution of a Cro-Magnon' by John 'Bloodclot' Joseph. The way he described New York growing up, the streets, the vibe, the whole culture of a neighborhood come to life was.

But he also said the New York City he grew up in is dead to him. From the changes and the way it’s all cleaned up, he just sounded disheartened. Is it the same to you when you go to New York now?

You know, I’m not really bitter about it, but mostly because I didn’t grow up there like those kids, I know a lot of New Yorkers who are really hateful about how cleaned up it is. I see it but you know? It is a shame how everything got bought out and it’s almost like a big shopping mall.

I remember when the first McDonalds came into the East Village, people were like ”whoa” and when they built a Gap on St. Marks Street…people threw rocks at it and kept breaking their windows. Nothing like that was accepted, but now you walk around Soho or the Village and it’s all corporate. Back when everything was Mom and Pop stores and independent and places you’d only find in New York.

So that part is a bummer. But I have to say, I don’t mind that it’s cleaner and safer! I’m not going to lie, as a female if I’m walking alone I like that I don’t have to feel like I’m going to get knifed or mugged. Back then I definitely found myself in some dicey situations, but it also seems these days some of the grit may be coming back…

Some of the what?

The grit. Since the economic downturn a few years ago I’ve heard a few things about the area. You hear and see some people and things, some places going under and things like that. I’m not saying it will ever get as bad as it was in the early 80’s, but it’s definitely there.

Part of it’s original charm was it was nurturing to artists. These days there’s just no way someone could live there and try to start a band or be a painter or photographer. Back then you’d see all sorts of freaks in the street, not anymore.

Speaking of freaks, how funny is it the photos you took with Kyuss on the Danzig tour (1992) and Glen’s bodyguard was Jesse James…the West Coast Choppers guy? He’s like a tabloid freak now.

Yeah! That was mind-blowing! I mean, first I kept hearing about him from different media things and I’m thinking, “no way that’s the same guy.” But then again, how many guys are named Jesse James (laughs)? But he was a really nice guy. Funny guy, we hung out a lot with him on that tour. In the pictures he’s got a broken arm, he broke it in Detroit at Harpo’s on the last night of the tour!

But yeah, I hadn’t seen Jesse since touring days and that was very strange. When I saw he had a TV show I was like , “Oh, cool for him.” The he married Sandra Bulloch and I was like “Wow, great for him…”

Great for his bank account as well.

(laughs) But strange to see someone you know, or knew totally swept up in the Hollywood world!

Not to bring up a bummer, but there’s quite a few Pantera tour mementos in the book. There are words and some great photos of two bands that seemed to really enjoy each others company. After the events of December 8, 2004 the tributes and memories were massive. Did you ever get a chance to release a statement, either something personal or on the part of White Zombie?

I went to his funeral, and Rita had asked me to go up and tell a story or something…(long pause) but I didn’t have the heart to. It was really, really upsetting…I don’t know, just so senseless and so terrible. You know some people, when I think back about them like Kurt Cobain and others; I can’t even listen to the music.

But when I hear Pantera it makes me happy, you know? Darryl was such a good soul [and a] great person with such good energy it feels like he’s still here, not to sound corny. It’s hard to put into words because it’s not like he took his own life or OD’d or something, but it was sudden and I only think of good things when I think of Darryl.

(Talk about Lead Singer’s Disease, one totally doesn’t wanna be there and the other totally doesn’t even know he’s there.)

How’s the book tour going?

Great! It’s been keeping me really busy and they keep selling out of books, so that’s been telling me it’s going good!

What type of reactions have you been receiving? Me, personally I can see people gravitating to a few different things with it, of course the visual stuff is fantastic. But I also really enjoyed the writing too.

It’s funny; there are some people who thought it was going to be all writing and not all that visual, not a coffee table styled book. Then there’s the other half who thought it was going to be all visual and were surprised at all the stories, so (laughing) it’s this hybrid kind of book, but yeah the response has been great.

http://www.seanyseult.com/

HELL AWAITS: Tiger O'Stylies, Berwyn, IL. 02.05.2011

2011-02-06T23:23:00.000-06:00

I can't remember the last time I saw a tribute band. I've never been a huge fan of going to bars and can't think of may other places where one would run into a band that solely exists on playing the music of others. Now this isn't always true, some tribute bands are just another paying gig for the working musician, however to devote yourself and your talents to the works of others, you damn well better enjoy the music. When one mentions "tribute" or "cover" most people just roll their eyes or try to change the subject. We've all seen them and they usually suck. But what is it about the small percentage of tribute bands that truly "get it"?

Chicago's HELL AWAITS is a Slayer tribute band that gets it. They perform album tracks from 1983's 'Show No Mercy' through 1990's 'Seasons In The Abyss' and do it for the drunken brotherhood of it. Consisting of current and former members of CorpseVomit, Yakuza, Cumchrist, Nachtmystium, Kommandant and more, their obvious Metal pedigree is there as is the natural vibe of jamming together as a band. Having ALL four or five guys firing on all cylinders is of the utmost importance.

This vibe is what's going to make or break any band, one playing 100% originals or an average everyday cover band. If the band doesn't gel on stage, it's going to be a very long evening. Because HELL AWAITS has been such a formidable unit over the years, the feeling is there. When they play the Slayer material they feel it, they believe in it and they conquer it. Because of that, this gig was like like having a live Slayer "Greatest Hits" album with only the best cuts present.

My entire review of the show can be summed up with - I had a fucking blast! I can't believe I'm writing about a tribute band, but this was so fucking good I'd feel guilty if I didn't. The thing I wrote about all members firing at once? It was obvious these dudes connect on stage, they played these songs with an absolute urgency, when was the last time you heard Slayer play "Fight Til Death" and not only nail it, but give it 100% and BELIEVE IT?

Setlist was:

"Hell Awaits"

"Kill Again"

"At Dawn They Sleep"

"Altar of Sacrifice"

"Die By The Sword"

"Necrophiliac"

"Silent Scream"

"The Antichrist"

"Captor Of Sin"

"Chemical Warfare"

"Ghosts of War"

"Piece By Piece"

"Fight Till Death"

"Live Undead"

"Angel Of Death"

"War Ensemble"

"Jesus Saves"

"South Of Heaven"

"Raining Blood"

and more.

Talk about money well spent, $5 cover and a two hour set of album quality live Slayer on an ice titan like Saturday night in Berwyn.

Paul Baloff 1960-2002

2011-02-02T14:56:00.000-06:00

R.I.P. Paul Baloff

Old Metal Mag: The Four Horsemen

2011-01-27T23:26:00.000-06:00

Blame it on my iPod. I was never much of a "shuffle" guy until maybe six months ago. Now I can't stop. So one of the things that kept popping up was music by The Four Horsemen. Especially tracks from their debut album, 'Nobody Said It Was Easy.' Back then when the album was released (Def American 1991) and even now I don't think there's too many people who like or liked em or even really knew they existed.

They were a good band with shit luck. Shame really as the 'Nobody Said...' LP as well as their first, self-titled EP were kick ass slabs of AC/DC meets the Rolling Stones meets Lynyrd Skynyrd...a band wanting only to rock you, fuck you or fight you.

Here's piece from Kerrang! that ran in 1992. Pretty funny, shows the characters they could be and represents em the way I remember them. Especially Frank.

Great interview with 'Horsemen Guitarist Haggis can be found here.

(Click Image to Enlarge)

From the collection: 1991 promo for 'Nobody Said It Was Easy.' It's songs have aged well, this is a classic album. A true flash in the pan due to all their personal problems, their peak was about as short lived as they come, but at least they got to do it. Their follow-up the 1996 released 'Gettin Really Good At Barely Gettin' By' was another solid but definitely less memorable and lacking the impact of 'Nobody Said...'

Book Review : I'm In The Band by Sean Yseult

2011-01-11T22:32:00.001-06:00

Welcome to 2011. I'm liking this format and judging by the number of you who stopped by last year, we're on to something. Thanks.

Following another year of declining CD sales I'm hoping the trend of "Media" continues for many years to come. Documentaries, DVD's/Films, Books and other tough to steal media should do some damage this year with the long awaited Lemmy documentary coming on DVD as well as cinematic premieres. The Malfunkshun documentary was shown at film festivals in 2005! It's to be released in the first quarter of 2011.

Speaking of 2011, what a way to kick things off...

For you to have “been there” you must be at least 31/2/3 years old or close to it. You would remember, amongst other things - black and white television, MTV showing videos, the 3-D television premiere of ‘The Creature from the Black Lagoon’ sponsored by 7-11. You remember when “Freddy Krueger” and “Jason” weren't franchises, you get extra points for knowing Greg got the Johnny Bravo gig because he fit the suit. If you remember this stuff, not only are you “old,” but you'd fully remember when White Zombie exploded! Not imploded, that came later, but when the band really hit. To the World at large they seemed to appear out of nowhere.

This colorful, disturbing, shredded, out of place, can’t take your eye off em cartoon existence come to life. Kinda funny- the word “life” was never really associated with the corpse-y skinned White Zombie klan. Which weirdly enough their biggest shot of “life” was administered through both a legendary A&R guy and later the opinion of two cartoon morons. In the years 1985-1997/8 White Zombie went from art house noise mongers to bona fide worldwide arena headliners. From the day the band started, Co-Founder, Bassist, and new author Sean Yseult was there.

In her recently released coffee table book, ‘I’m In The Band’ (‘Backstage Notes from the Chick in White Zombie’) Yseult opens the crypt and what she unveils is quite the bible for fans of the much missed and at times horribly imitated band. I mean, a more thorough documentation on the band won’t be found, no need to look, it’s all here.

From the day she was born Sean Yseult was involved in some sort of art, her fate was sealed early on and digging into the story of not only the band’s meteoric rise it, but her own development from a North Carolina outcast to a global Bass Monster - it almost seem fitting she’d end up on top. A true rags to, uh, nicer rags story!

Featuring over 2,000 images, everything from the very first photos of Sean and the then Rob Cummings as a couple, pre band in 1985 to their final tour itineraries not to mention all the personal journals, mementos, photos, memories and scars too. Yseult is a lifer; her time spent in New York City’s Lower East Side definitely helped condition her to the rather rough lifestyle of a musician, especially a “Metal” musician. She definitely absorbed the rigors of touring and life in general and really shares it ALL with you.

However, if it were just Sean’s POV on the decade plus romp around the world the story might be a bit one-sided. Yseult, who knows a thing or two about being excluded from decisions, has really gone the extra mile in compiling the text for ‘I’m In The Band.’ By getting written contributions from some of the key souls who participated in creating the White Zombie beast the story goes from strength to strength in a way a single (usually) author just can’t compete with. Key moments with former members J. Yuenger, Ivan de Prume, Johnny Tempesta and the aforementioned A&R guru Michael Alago as well as many others who help paint the picture of the band from every step in their career.

There’s some really great early stuff where the band had their own fanzine where’d they had total control to get whatever information they wanted out and about, sell merch and music. The zines are fucking COOL to see. These documents show what it was like “back in the day.” Before ANYTHING we currently rely on, Zombie created their own world from day one and it was just a matter of time until people landed on it. When people finally land they’re carrying Grammy Nominations, A-List Hollywood Screenings, the ability to hold court with your heroes, trips to exotic locations, planes, trains and automobiles and of course flesh and party favors. Lots of both.

So it’s unfortunate how quick Planet Zombie (it’s main moons at the time of it’s demise: rz, sy, jy, & jt) implodes. That’s in here too. While it’s true, White Zombie was an unconventional band from the get-go, the inner workings after the success hit is some really good reading. Brutally honest in not only her band mates and management, she’s also that way with herself. All the mental and physical scars are shown and at times they’re not pretty, but they’re very real and very human.

Don’t get me wrong, there’s no doom and gloom here. I’m happy to say Sean Yseult had a fucking BLAST! I mean, she lived her life to the fullest during those days and thankfully still has the pictures and memory to do something like this! The stories of the band’s Brooklyn rehearsals to their Geffen signing to relocation to California to the David Letterman Show and on and on and on! I cannot say enough good things about this. It’s definitely one of those “you always find something” books. Great memories from tours with Danzig, Kyuss, Pantera and tons more. There’s just SO MUCH stuff. It’s killer.

As great as the visuals are the writing is right up there too. Straightforward and easy to digest, it’s a definite great addition to the world of Rock N Roll books. A real unflinching all-access pass into the life of a Zombie. If you were letdown (as many were) by the information (or lack-there-of) included in the ‘Let Sleeping Corpses Lie’ box-set, this is your retribution.

White Zombie was an interesting entity. The way they "made it" was the old way. Total D.I.Y. (running their own label, booking their own tours, making their own merch etc. etc) That hard work and a pinch (or punch) of luck will allow them to go down in music history. This book ties everything together and is a great way to start the new year.

Scott Ian of Anthrax, WVVX 103.1 Chicago - Interview December 1987

2010-12-31T19:37:00.013-06:00

Happy New Year and Happy Birthday to Scott Ian of Anthrax. While I had an absolute blast breaking his balls on a myriad of musical fuck up's this and in years past, I wanted to close 2010 out on a positive note.

I've unearthed an interview from December 1987 that was done live on the air on WVVX Radio in Chicago.

The show they're talking about took place on December 5 and it featured Anthrax, Exodus and Celtic Frost at the Aragon. One of the greatest gigs I've ever seen.

Happy New Year and Mazel Tov!

Kevin Wood and from The North/Deep Space Pilots: Reggie’s, Chicago December 3, 2010

2010-12-17T15:25:00.000-06:00

Kevin Wood is a guy who first appeared on my musical radar about 20 years ago when his brother’s band released their major label debut. Because of the circumstances and the fever in which I took to his brother’s music, Kevin was instantly hailed in my mind, as a pioneer and ground breaker. His most known bands would be Malfunkshun and DevilHead (both saw major label releases in the mid 90’s). He’s a prolific kind of guy, constantly writing/recording and at times jamming in a few different projects.

The ‘Malfunkshun Monument’ disc is a clever mixture of both past and present “Wood-isms,” containing new musical compositions set to lyrics written by his deceased brother. The record itself is a really good, really accomplished set of songs highlighted by both Kevin’s multi-layered six string prowess and vocalist Shawn Smith’s (Brad, Satchel) vocal contributions. The dude is an amazing singer blessed with a soulful sound, smooth delivery and 100% dedicated to the song. So knowing the opportunity to hear these songs as well as some of the older songs was probably a once in a lifetime thing I was there. I was looking forward to it.

Locals DeepSpacePilots opened the show and all I can say is WOW! The power generated by this trio in a criminally short set was something I wasn’t quite expecting. Their all killer/no filler heavy with instantaneous catchiness trip was really a stand up and notice moment for me.

Vocally, DeepSpacePilots employ melodic and at times an almost hypnotic style of lead vocals that aren’t paired up too often with music this heavy, and if they are they don’t seem to sound this good. These vocals in the rather impressive sounding room tonight were expansive and fully realized. Rounding out the band was a rhythm section that really locked-in nicely, giving the melodic moments a vehicle to operate while providing a rock solid foundation.

Memorable set to say the least.

After a quick set changeover the house lights went down and Kevin Wood and the From The North band hit the stage, opening with the Malfunkshun track “With Yo Heart, Not Yo Hands,” it was a ballsy move, really. Ballsy as “With Yo Heart…” might be one of the most famous of Malfunkshun songs and it was going to take something special to keep that intensity at the level in which it began.

In all honesty it was rather roller coaster-ish. Spread about the hour and a half (!!??) set there were moments of absolute brilliance, Wood’s command of his instrument was a no brainer, the guy can play and shred with the best of them but some of the less than stellar moments sort of dragged. Another thing I can’t get my head around? The absolute brilliance of the recorded versions of the ‘…Monument’ disc just didn’t come across live.

I suppose a huge part of it would be the absence of the CD performers, no question. But the players on stage were, unfortunately, not up to par with the expectations. Not just mine, but several of the people near me during the show. It was just a hodgepodge feel, look and at times sound.

Funny, I just spent like, a week trying to get my thoughts together around this gig and other than the DeepSpacePilots portion of it, I think this will now be erased from my mind. I'd love to see Kevin Wood again in a better situation and environment with a back-up band on par to the support band of the night.