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John Corabi, former lead singer of MÖTLEY CRÜE, THE SCREAM and UNION, is still celebrating the 20th anniversary of the MÖTLEY CRÜE album that he appeared on by performing most of the songs from the LP with his backing band.

Video highlights of Corabi‘s July 4 concert at the Whisky A Go Go in West Hollywood, California can be seen below (courtesy of California Rock News).

Corabi originally joined CRÜE in 1992 as the replacement for the group’s original singer, Vince Neil, who was fired due to personal differences. With Corabi on vocals, MÖTLEY CRÜE released one critically acclaimed full-length CD, which ended up being a commercial failure in the wake of grunge despite a Top-Ten placing on the album chart. When Neil returned to the fold in 1997, Corabi was left on his own and formed the band UNION with ex-KISS guitarist Bruce Kulick.

“A lot of fans said, ‘No way I was buying that record when it came out,’” Corabi told CantonRep.com about the “Mötley Crüe” record. “I think we had kind of a die-hard fan base when it came out, but a lot of the people were angry with MÖTLEY for getting rid of Vince, or Vince leaving or whatever happened. But a lot of fans, once Vince came back, saw it, picked it up and ended up really enjoying it. It’s still trudging along and selling and doing its thing. The best thing to me is that it still sounds as relevant now as it did when it came out.”

According to Corabi, the idea to revisit his time with MÖTLEY CRÜE came from a brainstorm session with his manager.

“A lot of people assumed I faded off into the sunset,” Corabi told CantonRep.com. “So my manager and I had the plan to do the acoustic record and build a little from there. I was gonna do a new electric record, but he said, ‘MÖTLEY‘s doing their farewell, and they’re not playing any of that material you were on. Learn that whole record and tour it.’ There’s a lot of interest in the fact we’re out playing that record.”

In a 2012 interview, MÖTLEY CRÜE guitarist Mick Mars stated about the band’s 1994 self-titled album: “I thought that was probably… To me, and I can only speak for me, I think that was probably the best album we’ve done. Musical-wise, the songs, I felt, were strong. And just musically, to me, it was, I guess, my BEATLES ‘White Album’; that’s kind of how I feel about that one. I’m not saying that any of my other albums are crummy or anything like that — I love every album that we did — but that one just has a special thing for me.”

MÖTLEY CRÜE drummer Tommy Lee echoed Mick‘s sentiments, telling Australia’s Beat about the CD: “It’s huge. Honestly, dude, it’s one of my favorite CRÜE records. Sonically, the songs and the playing on that record is gnarly. We worked our arses off on that record. We had so much to prove: Vince was gone, we had a new singer who also plays guitar and writes and he brought a whole new element to this. But once fans are used to a certain thing, they just didn’t want to know about any other version of MÖTLEY CRÜE. That’s understandable, but when you break it down, that record still sounds rad today.”

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Los Angeles cyber metallers FEAR FACTORY have uploaded the first in a series of webisodes containing behind-the-scenes footage from the band’s current European tour. The 22-minute clip, which focuses on the group’s appearance at this weekend’s With Full Force festival in Löbnitz, Germany can be seen below.

FEAR FACTORY‘s new album, “Genexus”, will be released on August 7 via Nuclear Blast Entertainment. The follow-up to 2012′s “The Industrialist” was co-produced by longtime collaborator Rhys Fulber, along with guitarist Dino Cazares and vocalist Burton C. Bell and mixed by Andy Sneap (ARCH ENEMY, TESTAMENT, EXODUS, MACHINE HEAD). Artwork was once again handled by Anthony Clarkson. Drums on “Genexus” were performed by Mike Heller (MALIGNANCY).

“The word ‘genexus’ is a hybrid of two words: ‘genesis’ and ‘nexus,’” explained Burton C. Bell. “This word describes the next transition in human evolution as man moves forward to a ‘mechanical’ state of being. Ray Kurzweil predicts that the singularity will occur around 2045. ‘Genexus’ is the term for that next evolutionary process. Where humans are machines, machines are human, and the differences are oblivious to the naked eye.”

He continued: “This album is a record of thought patterns, psychology and struggles of the Genexus generation. The cognitive machine has arrived, and it wants autonomy from the industry that created it. This machine struggles, like every other human has throughout the course of history. This is the story of every one of us.”

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Canadian guitarist Glen Drover (MEGADETH, KING DIAMOND) was interviewed by rock journalist Mitch Lafon for a recent edition of the “One On One With Mitch Lafon” podcast (Facebook page). You can now listen to the chat in the YouTube clip below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).

On why he quit MEGADETH in 2007:

“That’s kind of an old story, isn’t it? But if you want me to revisit it, it’s just… It was just personal stuff that I don’t need to get into. But it was just… I wasn’t really happy at the time there, in the situation. It’s pretty much like I said in [my original] statement: I wasn’t happy in the band at that time, and I just felt like I was away from my family too much, which I was. You know, my son was very young. It’s personal, but it’s true. That’s what happened. He was very young, and I was missing out on a lot of his youth. And being that I wasn’t happy in the band at that point, it was magnifying that. And that’s pretty much what it is. But that’s, yeah, old news.”

On whether he has any regrets about leaving MEGADETH:

“No, not at all. There might have been… There was a moment after about a couple of years, I remember, where I felt… It’s like any relationship: you get to a point down the road, and you start thinking about the good stuff that you really liked, and there was a lot of good stuff there. So I was kind of missing it for a little bit. But then I was reminded of why it wasn’t right for me, and that was it. So, no, I don’t have any regrets whatsoever. And that’s just the way it works. There’ll always be changes, because that’s just the way that band works. You know, it’s Dave‘s [Mustaine] band, and that’s just the way it is. And it’s cool. But I’m glad to have been a part of it, and I’m glad to have had the opportunity that he gave me to do it. I had a lot of great times, met a lot of great people, played good music and seen the world with my brother [former MEGADETH drummer Shawn Drover] multiple times. To go out doing that on your own is one thing, but to go out and do that with your brother, who you’re close with, and always have been… We’ve always been… especially with music… So for us to have been in a band like that, that we grew up with, and then now we’re touring the world with them, it’s just not something that you expect to happen in your life. Lightning doesn’t usually strike twice in the same spot, you know what I mean?!”

On what he learned from being in MEGADETH:

“Well, I learned a lot of stuff on a professional level. Just how to conduct yourself… I learned a lot of it before with KING DIAMOND, and then going into that band [MEGADETH], [I] got into it further, so there was a lot of things I learned from Dave: what to do and what not to do with certain things, and learning the ropes even more. So, it was great to have that — to have the exposure and [learn to] do all that kind of stuff. How to handle intereviews, how to do this, how to do that… And, of course, it opened a lot of doors; there’s no question about it. I mean, I do musical stuff for a living. If there hadn’t been all these bands, I wouldn’t be doing that kind of thing, which I love doing. I’d be doing it, but probably on a smaller scale. I’m pretty busy with it — there’s no question about it — but I love it.”

Glen‘s debut solo album, “Metalusion”, was released in April 2011 via Magna Carta Records.

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After some years in a proverbial ditch, outlaw country maniacs BOURBON CROW, featuring Wednesday 13 and Rayen Belchere (a.k.a. country rock artist Early Ray) have launched a Kickstarter campaign for their third studio album, “Off The Wagon & On The Rocks”.

The band’s 2006 debut, “Highway To Hangovers”, piqued many Wednesday 13 fans’ interest in the outlaw country sound, coupled with BOURBON CROW‘s irreverent lyrics and stripped back acoustics. The band followed “Highway…” in ’09 with “Long Way To The Bottom”, but since then the project has lain dormant until Rayen and Wednesday were able to buy their way out of their record deal. Now that has happened, they’re looking for some help to move forward.

Here’s what the boys had to say about the project: “Heyahhh, Mules!! You wanted it, you asked for it and now you got it!! BOURBON CROW is BACK!!! Back and working on the new CD, ‘Off The Wagon & On The Rocks’.

“After buying ourselves out of our old record deal and taking control of our old record masters, we can finally do BOURBON CROW as we want, when we want and how we want! After this, though, we need your support to make this new release a reality!

“We understand this might not be for everyone, but those who can pledge and support, please know that you are directly impacting the future of BOURBON CROW.

“If we raise more than our goal, we will be using that money to promote the new record and possibly tour, depending on how much we raise.

“There is no label, agent or bank fronting the money and telling us what to do. It’s just US and YOU!

“Please spread the word, as we can only do this with your help. Keep checking back for updates and information and sneak peeks behind the scenes.”

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General Music News: Guitarist Phil Collen says his friend made less than $20 for 1 million song streams.

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General Music News: "I will know exactly in one month who I want to have in this band to play Deep Purple and Rainbow songs."

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ATOM HEART was formed in March 2015 and to listen to them, you would never know they have been playing together for such a short time.  An awesome blend of hard rock, metal, and blues that is guaranteed to blow you away.

They are in the process of working on their first release, expected in late September.

Located in Warsaw, Poland, they are working on their first release, recording in Sonic Disorder Studio.

Their live shows are like their studio work, high energy, excellent quality.  Don’t miss any chances to see them play live!

ATOM HEART is:

Daniel Brühl       Vocals
Ilya Mayeuski     Drums
Tomek Kozieł   Bass
Kamil Wysocki    Guitar

Check out their demo EP at:  http://atomheart-official.com/

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The post Atom Heart appeared first on Daily Heavy Metal News.

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During a brand new question-and-answer session with asQme, guitarist Greg Mackintosh of British gothic metal pioneers PARADISE LOST was asked how he sees the music industry evolving in the next ten years. He responded: “Well, it’s obviously gonna progress with the online downloading thing now that Apple have adopted a Spotify type of [streaming] scenario.”

He continued: “Personally, I’d prefer people downloaded our records for nothing than actually got them from Spotify, because Spotify only really benefits the few people that run it, and I can probably see the Apple thing going pretty much the same way. On the plus side, it seems that there’s been a real resurgence in the vinyl market, with the reintroduction of vinyl chart coming back as well. And I know my son, for instance, is really into physical product, and he’s, like, just turned 18, so that’s quite… it gives you some confidence for the future.”

He added: “So it’s probably gonna go in two directions at first, and then there’ll be some kind of… I don’t know… other format that maybe comes along that decimates them both. But I guess we’ll just wait and see. I’m not really a very good soothsayer when it comes to that.”

Mackintosh last year spoke in more detail about how the Internet and digital music revolution has affected the music industry. He told Metal Road “It’s kind of killed it a little bit, because there is no money for the industry. I don’t mean for the bands — I mean, just in the industry, there’s no money — so there’s not as much for tour support, things like that, or promotion, so everyone kind of has to do extra things which you wouldn’t normally want to do. Even just like the packaging of an album, you have to do 20 different formats just to try to sell it to people. It leaves a bit of a sour taste in my mouth. We started in the music scene when it was more honest, shall we say?! But, I mean, there’s plus points to the way it is now. People get to hear things faster, people get to promote things instantly. We don’t have to rehearse as much, ’cause we just send each other things over the Internet.”

PARADISE LOST‘s latest album, “The Plague Within”, was released on June 2 (one day earlier internationally) via Century Media.

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FIVE FINGER DEATH PUNCH‘s Jeremy Spencer says that Lars Ulrich was a huge influence on him as a drummer and credits the METALLICA sticksman for inspiring him to play double bass.

Spencer, 42, started playing drums at age six on a drum set his grandmother purchased at Sears. After high school, he moved to Los Angeles, where he met BULLETBOYS guitarist Mick Sweda. After spending a few years in various bands and projects, it was a fateful online discovery that would help spawn the beginnings of FIVE FINGER DEATH PUNCH.

During an appearance on a recent edition of the “Metal Hammer Magazine Show”, Spencer stated about METALLICA: “[‘Master Of Puppets’ is] definitely my favorite, probably, metal album ever. It’s gotta be top two for sure. It’s a toss-up between that and… I actually like ‘South Of Heaven’ by SLAYER too. But when I first heard ‘Master Of Puppets’, man, the drumming and the double bass, I never heard anything like that before as a young kid. It made such an impression on me that I just kind of wanted to do all things double bass. There’s some really fast moments in ‘Damage Inc.’, and it just stuck with me and made such an impression on me as a drummer when I was younger; I instantly fell in love with it.”

Asked what was so special about “Master Of Puppets” in particular, Spencer said: “I think they blended… They kind of had some European melody going on in the guitars, especially in the early records. That was different. But it was just… It was a different beast at that time; nothing sounded like it. There was an energy coming from that, and I think the riffs and the arrangements of the songs, it made such an impression on me and on so many other people.”

Regarding how much of an impact late METALLICA bassist Cliff Burton‘s contributions had on the way “Master Of Puppets” turned out, Spencer said: “I really don’t know, but, obviously, he had some serious influence on them, ’cause their sound drastically changed [after his death]. But I love it. I think the first three records are incredible, to me.”

FIVE FINGER DEATH PUNCH‘s sixth album, “Got Your Six”, will be released on August 28 through Prospect Park in North America and Eleven Seven Music outside North America.

FIVE FINGER DEATH PUNCH will head out on a co-headlining fall tour with PAPA ROACH. The trek kicks off on September 4 in Lexington, Kentucky, winding down on October 9 in Glen Falls, New York. Also along will be IN THIS MOMENT and FROM ASHES TO NEW.

The two headliners actively involved their fans in the routing of the tour by giving them the opportunity to request the tour come to their city via a “demand campaign.” Some 1.5 million people responded and made their choices known.

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DEF LEPPARD guitarist Phil Collen says that music streaming service Spotify is an exploitative enterprise which is just as bad as Napster, the pioneering file-sharing service which unleashed piracy on the record business and began the cataclysm that caused worldwide revenues to decline from a peak of twenty-seven billion dollars in 1999 to fifteen billion in 2013.

Speaking to CTNow, Collen was asked about the fact that much of the DEF LEPPARD catalogue is not available on Spotify or other streaming services. He responded: “I love what Taylor Swift has done [i.e. keeping her music off Spotify]. I have a friend who is a songwriter, and he had a song that got over a million plays on Spotify, and he received 12 pounds, about $18-$19. That really sums it up. It’s [as] bad [as], if not worse, than the whole Napster thing and downloading when it started. Again, a CEO from [Spotify] would make an amazing profit, whereas the artist is taken advantage of. I’m not a fan of that.”

He continued: “I don’t know where we stand in the future, but perhaps it would be good to do something else. When they show their true colors, you go, ‘Well, it’s the same old story again,’ like some old blues guy getting $50 and actually owing his whole catalogue for life to someone who’s ripped him off. It’s a little like that. It happens all the time with artists, Michelangelo or whomever, back in the day. William Blake died penniless doing brass etchings, living on someone’s floor. A businessman will probably think an artist is just content with the art. It’s a bummer getting ripped off.”

DEF LEPPARD in 2012 joined the long list of rockers who have re-recorded their biggest hits in note-perfect renditions. The band’s frontman, Joe Elliott, told Classic Rock magazine: “We’re trying to wrestle back our career and ownership of these songs. [DEF LEPPARD‘s former label Universal] own the originals; we’re at loggerheads with them over the digital rights. And as long as they’re playing silly buggers, we’ll just keep recording them again.”

The singer continued: “Until we can come to some kind of humane conclusion to this ridiculous stand-off, we’re going to say, ‘Fuck you!’ We were offered a great deal two years ago and shook hands on it. And then some other twat at the label put a stop to it. It’s our life and our music and we’re not going to let them exploit us to the extent that they’re trying to.”

Elliott told The Hollywood Reporter that DEF LEPPARD is in a unique position because they are one of few bands to have veto power. He said, “[Universal] can’t release our back catalog, we’re not going to let them put a song on a compilation unless we want it there, and they’ll never be able to license. They won’t be able to do anything without our permission because that’s in our contract.”

Asked to explain the crux of the band’s argument, Elliott said, “We want to get the same rate for digital as we do when we sell CDs, and they’re trying to give us a rate that doesn’t even come close. They illegally put up our songs for a while, paying us the rate they chose without even negotiating with us, so we had our lawyer take them down.”

He added, “When you do your own recordings, you’re making about 85 percent and 15 percent goes to iTunes or whichever particular digital domain you put them up. Something along those lines would be fair. But they were offering us the opposite — a quarter of what we get paid on our CDs. So we thought if we can’t get them to pay us a decent rate on the digital, then we’re going to go in, re-record them and pay ourselves decently. Because we’re not fighting against our own back catalog. If we put rerecords up against the originals, nobody would buy the re-records. So what we’re trying to create is what they know by making as close as we can, forgeries of what we did in ’83, ’81, ’87…”

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