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Jeb Wright of Goldmine magazine recently conducted an interview with JUDAS PRIEST singer Rob Halford about the 30th anniversary of the band’s “Defenders Of The Faith” album. A couple of excerpts from the chat follow below.

Goldmine: “Defenders…” has a lot of anthems. PRIEST has always had a few anthems on each album, but on this one, most of the songs were anthems.

Halford: Yeah, I don’t know if that is particular to metal. I am just thinking about it as we’re talking, if that happens in any other kind of music. I think the anthem idea, whether it’s your countries “Stars And Stripes” or our “God Save The Queen”, it really unites everybody in the moment to something they truly love, they cherish and they believe in, whether it is your country, family, or your song, or your band. There is just a wonderful emotion that really speaks volumes through the song you’re listening to. In this case, it is that refrain, “We are defenders of the faith.” That’s all it is, “We are defenders of the faith” and it’s going around and around. It is a beautiful moment of what we strive to be in metal.

Goldmine: You’re one of my favorite metal lyricists of all time. I really like Geezer Butler of BLACK SABBATH as well, but I really like what you do. When you hit on something like “In the dead of night, love bites” do you realize how good that is?

Halford: It is not about a mosquito, that’s for sure, although I have my share of those in Miami! Thank you for saying those nice words. I love Geezer‘s words, as he is a tremendous lyricist. Another example of what make PRIEST a special band are these little mini-movies that we put into your head when you are singing the words along with the band. “The Sentinel”, for example, it says, “Along deserted avenues, the steam begins to rise,” and you’re immediately drawn into the visual. I’ve always felt that it is my role in PRIEST to have a message, whether it be of any great value, or if it is just entertaining. Because I am an avid book reader and I love movies, I just love every aspect of the arts… visually, I find them very stimulating as a lyricist. I had a blast on that record writing about vampires and sentinels and then jawbreakers.

Goldmine: As we look back at 30 years of “Defenders Of The Faith”, where do you think that fits into the history of the PRIEST catalog?

Halford: Looking through the rich history of the back catalog of PRIEST, I think it is important for many reasons. Mostly that it really reinforces everything that we’ve tried to be in PRIEST, as a classic heavy metal band, including all of the songs that we’ve talked about and I’ve described to you. It is vital for it to be recognized right now. The fans love that record so much. We played some of the songs [recently] in Brisbane and the Aussies were going mental for it. A lot of young metal fans were there as well. I was looking out into the crowd and there were a lot of metalheads in their teens going crazy for a record that was there long before they were. That, to me, is one of the heartwarming aspects of this album by PRIEST. Even though this record is 30 years old, it is still able to touch people all these years later, and I hope people will be doing that in the future as well.

Read the entire interview at Goldmine.

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Crazy G of NewEnglandConcertReviews.com conducted an interview with former PANTERA and current HELLYEAH drummer Vinnie Paul (pictured) when HELLYEAH played at DCU Center in Worcester, Massachusetts on May 8. You can now listen to the chat in the YouTube clip below. A couple of excerpts follow below (transcribed by BLABBERMOUTH.NET).

On the making of HELLYEAH‘s fourth album, 2014′s “Blood For Blood”:

“It was a really trying CD at first. We knew we had a couple of bandmembers that really had lost their focus and were becoming a detriment to the band, so we parted company with [bassist] Bob [‘Zilla’ Kahaha] and [guitarist] Greg [Tribbett]. And myself, Tom [Maxwell, guitar] and Chad [Gray, vocals] wrote the record. I think we made the most intense HELLYEAH record ever. I think we made the ultimate HELLYEAH sound — what we had been looking for from the start. And we brought Kyle [Sanders, bass] and Christian [Brady, guitar] in to complete the band, and it’s never felt better; it’s truly a brotherhood. And we’ve been out slamming it on the road, man. So sometimes it takes a little bit of time for certain things to fall into place, and everything kind of fell into place with this record.”

On HELLYEAH‘s continued success:

“We’ve worked very hard from Day One, [since] this band started, and we haven’t slowed down, we haven’t stopped, and we don’t intend on it. We’re not 25 years old anymore, so we don’t have any time to waste. We really enjoy what we’re doing, and luckily, all of us are in great health right now, happy and loving what we’re doing. And the stage is what we live for, man.”

On HELLYEAH‘s upcoming activities:

“We really, from the start of this record [‘Blood For Blood’], wanted to do a complete two-year touring cylcle, which we really haven’t had the opportunity to do with any of the previous HELLYEAH records. We would put a record out, tour for a year and go right back and start working on another one. And so we’re finally getting into the second year of touring for this record, and it’s just starting. After this tour, we go straight to Europe, where [we'll be] for a month, and as soon as we get back from there, we do [Rockstar Energy Drink] Mayhem [Festival] all summer with SLAYER and the mighty KING DIAMOND, which is gonna be an absolutely amazing tour; I’m really looking forward to that. And as soon as that’s done, we go to Australia and New Zealand, Japan and Indonesia, and then we come back and we do another run here early next year, which will be our final run, and then we start working on a new record.”

“Blood For Blood” sold around 17,000 copies in its first week of release to land at No. 18 on the Billboard chart. The band’s previous effort, “Band Of Brothers”, opened with 19,000 copies back in July 2012 to debut at No. 19.

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In a recent interview with The Columbus Dispatch, LINKIN PARK singer Chester Bennington was asked if he hesitated to take on Scott Weiland‘s role in STONE TEMPLE PILOTS. He responded: “For me, it wasn’t inserting myself in someone’s shoes. I felt that position had been vacant for a long time. Even though Scott was there, honestly, I don’t think he had ‘been there.’”

He continued: “In the initial [STONE TEMPLE PILOTS] conversation we had, I said: ‘Why do you guys want to give up your legacy?’ It’s kind of a scary thing … but the music is too deserving, too good, to not have a chance to continue.”

Chester added: “People come to a lot of pre-judgments; a lot of them are going to be mad about it. But the idea of creating something new means you let the other thing go.”

Asked how balances demands of two major bands, Bennington replied: “I do not have the answer to that. I don’t know how to make it work; I have no idea. This sounds ridiculous, but as a creative person, I kind of go where my creative pointer points me.”

Bennington was asked in an interview with ArtistDirect.com about the progress of STONE TEMPLE PILOTS‘ next full-length album, which is due out this fall. He replied, “We’re really trying to take the musicality to a different level and to bring a lot of energy. We got super funky. This thing is as raw and real as it gets… It’s fun to be a part of that and do it on that level this way. It’s really interesting. I’m having a great time doing it.”

Bennington also said that the band’s new music is “pretty fucking insane, dude. We’re rocking over here.”

STONE TEMPLE PILOTS recently dropped the added “With Chester Bennington” from their name after settling their legal issues with Weiland.

The band began working with Bennington in May 2013 after firing Weiland three months earlier, claiming that his erratic behavior held back the band’s career. So far it has released one EP called “High Rise” with Bennington on vocals.

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In a recent interview with the “White Line Fever” podcast (hear audio below), MEGADETH bassist David Ellefson spoke about the status of ALTITUDES & ATTITUDE, his project with ANTHRAX bassist Frank Bello which released its self-titled EP back in January 2014.

“Actually, Frank and I have been in the studio a lot these past six months working on finishing a full-length for the next release, which we have… I mean, we are literally finalizing, probably, in the next two weeks — getting the final vocals and final bits done on it,” he said. “So I’m excited about it. There are some great tunes.”

He continued: “It’s just this thing that… Me and Frank have this whole other side of us and this other spirit soars when the two of us get together and get in a room and start writing songs together. It’s, like, we write ‘em right there in the studio; they just fall off our guitar necks. And it’s a beautiful thing. And what’s cool about it, we haven’t left our bands; it’s kind of a side, vanity thing that we do… a vanity project, if you will. And that’s the beauty of it — because we get to… We do what we do in ANTHRAX and MEGADETH, and then when we get together, we have this whole other side of us that gets to be exposed. So it’s very genuine, very pure, and I think that really comes through with the music. So hopefully we’ll have the full-length out sometime… We’re just getting busy finishing it, and then hopefully we can get busy working toward the release of that.”

Asked for his opinion about the recent influx of “supergroups” — new bands consisting of members from two or more already accomplished bands — David said: “It’s interesting. Me and Frank was not intended as a supergroup. That was literally born out of me and Frank doing some bass clinics together, and we were in London, and I looked over at him. I said, ‘You know, dude. You and me should really write some of our own songs so we can do these clinics and have something different to play at ‘em rather than just MEGADETH and ANTHRAX songs. So that’s how ALTITUDES & ATTITUDE started — it was for us to create some of our own original content for clinics, and then it spun off into Frank and I going out and hiring a guitar player and a drummer and actually going out and doing our own shows together — as a legitimate act, not as a clinic.”

He continued: “I’ve done… I have another all-star collective I do called METAL ALLEGIANCE that we’ve done some shows up here in the United States with, and some cruises and things like that. And the thing with that that is different is that formed as a collective of guys getting on stage and, basically, playing the songs out of our record collections when we were teenagers. We started another one many years ago — back in, like, 2007, I think — we started one called HAIL! And same thing — it was always born out of getting together and playing songs together live. And those are definitely all-star collectives.”

Ellefson went on to say: “To put together an original group of famous guys… You know, me and Frank are lucky, because we really enjoy hanging out together, and we have a very common thing between us that we both like different music outside of thrash metal, and that is really the basis of the ALTITUDES & ATTITUDE material. Lots of times, when these supergroups get together, it’s based on, ‘How is this gonna sell? Wouldn’t it be great if we could get that guy? And if we could get this guy? That would sell even more.’ And sometimes it’s done with, like… Rather than really making legitimate music you really like, you’re really just kind of going, ‘I wanna make some new songs in a new setting,’ or, ‘I hate my band. I wanna leave my band. Or, ‘They kicked me out of my band, and I still enjoy being famous. How can I still stay famous?’ To me, it’s the cart before the horse.”

He added: “When MEGADETH had disbanded back in 2002, a little group formed around me, quite honestly, called F5. And we never made, really, big money doing it. In fact, I told the guys… I said, ‘Dude, we’re having so much fun doing this, let’s never lose just the joy we have making music together. Just getting together, writing tunes, making records, having fun doing that. And if we get to go tour, and if we get to go play… And we had shot some videos and stuff, and we had some fun with it. But then it came to a certain point where it was, like, it wasn’t enjoyable and we had to stop and step back away from it. And since then, we have actually been writing some songs together and putting a few tunes up on the Internet and stuff, and we’re back to the joy and the fun of it again.”

Ellefson concluded: “To me, anytime the joy comes out of music, you’d better just stop, man, because it really kills… it kills the whole thing.”

“Here Again” performance clip:

“Tell The World” performance clip:

“Tell The World” video:

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On May 21, Jo Schüftan of Horns Up Rocks! conducted an interview with FEAR FACTORY guitarist Dino Cazares (pictured). You can now listen to the chat in the YouTube below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).

On FEAR FACTORY‘s forthcoming album, “Genexus”, due on August 7 via Nuclear Blast Entertainment:

“‘Genexus’ is ‘genesis’ and ‘nexus’ together. And genesis is, obviously, the beginning of time, and nexus is things coming together. So it’s a combination of where we started from the beginning and where we are now and those things coming together. It’s a full conceptual album.”

“There’s gonna be ten songs on the record, and, of course, there will be special packaging with bonus tracks and, of course, vinyl with bonus tracks as well.”

On signing with Nuclear Blast Entertainment, which is headed up by former Roadrunner Records A&R chief Monte Conner:

“I always try to look for the next thing, go to the next level, and definitely going to Nuclear Blast Entertainment was the next level for us. Monte Conner originally signed the band back in 1991 on Roadrunner Records. So when he left there and went to Nuclear Blast and realized that we were available, he definitely approached the band. And it’s been a great pleasure working with Monte again. I feel like we’ve got the old team back. And everything’s worked out great so far.”

On using a real drummer on “Genexus” compared to 2012′s “The Industrialist”, which was recorded with a drum machine:

“Yeah, it gives it more of a natural feeling… definitely more of a natural feeling. Obviously, when you start recording, you can add sounds and you can manipulate the sounds any way you want it to sound like. So it’s kind of a hybrid between organic and digital; that’s what this record sounds like. And I think that’s what makes it sound really good. Albums like ‘Demanufacture’ and ‘Obsolete’ were the same type of hybrid, and that was the approach that we took on the drums on this record. Also, Deen Castronovo, the drummer of JOURNEY, actually played on one of the tracks on the album.”

On the addition of new FEAR FACTORY bassist Tony Campos (STATIC-X, SOULFLY, MINISTRY, PRONG):

“We were pretty much already done with the [‘Genexus’] record, and in February, we went to Australia to play this festival called the Soundwave festival, and there is where MINISTRY was playing on the same festival, so we got to hang out [together] a lot. And Tony found out that Matt DeVries wasn’t gonna be playing with us any longer, because he wanted to focus on his family. So Tony found out and straight away asked me. He goes, ‘Hey, man, what’s going on? I heard Matt‘s gonna be leaving.’ I’m, like, ‘Yeah. Oh my God!’ It’s, like, he’s right in front of me, and why didn’t I even think to ask him? You know what I mean?! Maybe because he was doing SOULFLY or something… So when he asked me, I’m, like, ‘You’re in. You don’t have to audition. What are you gonna do about your other bands?’ And he goes, ‘Well, MINISTRY‘s gonna be done soon. And I really wanna play with you, man.’ And I’m, like, ‘Okay. Fuck, you’re in. That’s it.’ That’s how quick it was decided.”

Tony‘s been a friend of mine since way back… back in what I call the ‘backyard days.’ Because the backyard days was when his band — they were called DOMINION — and my band, FEAR FACTORY, we were doing backyard shows, backyard gigs here in East L.A., in South Central Los Angeles, back when we were in our early teens — 19, 20, 21 years old — doing these shows. So I knew him from way back then. And then when he joined STATIC-X, we took STATIC-X on their first tour in the U.S. — FEAR FACTORY did. And then, obviously, we do ASESINO together, so we’ve been friends for quite a long time. It’s like having my own brother in the band; that’s how close and that’s how tight we are. And, obviously, he knows the style. He was in STATiC-X, [which] had a lot of similar style of FEAR FACTORY. And, obviously, playing in bands like MINISTRY and SOULFLY and CAVALERA CONSPIRACY and PRONG, he’s definitely a bass player that can pretty much adapt to whatever you throw at him — whatever band it is, he can pretty much adapt to it. And, obviously, he’s in ASESINO, which is my other project, which is pretty extreme. So I already know that he can handle the picking style. So it’s all good. It works out perfect.”

“Genexus” was co-produced by longtime collaborator Rhys Fulber, along with Cazares and vocalist Burton C. Bell and mixed by Andy Sneap (ARCH ENEMY, TESTAMENT, EXODUS, MACHINE HEAD).

In addition to Cazares, Bell and Campos, FEAR FACTORY‘s current touring lineup features drummer Mike Heller.

FEAR FACTORY will hit the road this July with COAL CHAMBER.

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Las Vegas-based metallers FIVE FINGER DEATH PUNCH will release their sixth full-length studio album, “Got Your Six”, on August 28. Among tracks set to appear on the CD is the album’s first single, “Jekyll And Hyde”, which will be made available at radio in the coming weeks. FIVE FINGER DEATH PUNCH guitarist Zoltan Bathory tells Revolver magazine about the song: “That one has a funny story. Ivan [Moody, vocals] doesn’t sleep at night, so it’s pretty often that he’ll call one of us at four or five in the morning and leave crazy messages on our phones. And what happened was, Jason [Hook, guitar] was going through his voicemail and found dozens and dozens of these messages from Ivan. So he copied them onto a hard drive and then we pulled out different words and sentences and put them together. And that’s the verses of the song. They’re taken directly from Jason‘s phone. It’s one of my favorite songs on the record, just because it’s so bizarre.”

Regarding the musical direction of the new FIVE FINGER material, Bathory said: “So far, it’s a harder, faster record. We don’t have a slow song and I don’t think we’re gonna write one. So it’s just a higher-energy effort.” He believes that the music has has picked up pace “because when we started to write this time, everybody was in a really good mood. The band has always been a well-oiled machine, but this is one time where we felt, ‘Wow, everyone has grown up in some way as a musician.’ We also stopped all the partying and the crazy shit and were really focused and sober. And because of that, this record has been probably the most fun one to make. It also maybe contributed to everything being more up-tempo and energetic.”

To promote “Got Your Six”, FIVE FINGER DEATH PUNCH will embark on a North American co-headlining tour with PAPA ROACH this fall. Also appearing on the bill will be IN THIS MOMENT and FROM ASHES TO NEW.

In an innovative move, FIVE FINGER DEATH PUNCH and PAPA ROACH actively involved the fans by giving them the opportunity to request the tour come to their city via a “demand campaign.” An overwhelming 1.5 million people responded to the call to action and made their voices heard.

“Got Your Six” was once again helmed by Kevin Churko, the Canadian record producer/engineer and songwriter who currently lives in Las Vegas, where he works out of his private studio, The Hideout Recording Studio.

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Bassist Dan Maines (pictured) of Maryland rockers CLUTCH is sitting out the band’s current live shows so that he can stay at home to await the birth of his child. Filling in for him is FU MANCHU‘s Brad Davis.

CLUTCH has set “Psychic Warfare” as the title of its eleventh album, tentatively due in September via the band’s own label, Weathermaker Music. Songtitles set to appear on the follow-up to 2013′s “Earth Rocker” include “X-Ray Visions”, “Firebird”, “Quick Death In Texas”, “Our Lady Of Electric Lights”, “Monsters”, “Decapitation Blues” and “Son Of Virginia”.

The basic tracks and most of the guitars for “Psychic Warfare” were laid down at producer Machine‘s studio in Dripping Springs, Texas, while the remainder was recorded at CLUTCH‘s studio in Maryland.

Fallon says that the secluded studio location was the inspiration for the song “Quick Death In Texas”. He explains: “I was staying in a kind of unique, maybe 100-year-old property, by myself. I got spooked out because I come from the East Coast and the suburbs and I was out in the woods. That was the environment that brought out ‘Quick Death In Texas’ — and the locals.”

In a recent interview with Pollstar.com, vocalist Neil Fallon stated about CLUTCH‘s forthcoming album: “There’s nothing out of the ordinary of the CLUTCH canon [on the new CD].” He continued: “I think these songs were written so soon after ‘Earth Rocker’ that they have a lot in common. It’s a faster record. It think it shares a bit of the sense of humor, lyrically, with ‘Earth Rocker’. There are a lot of hooks on this record.”

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In a brand new interview with “The Jim Chinnici Radio Show” on iRadioUSA.com, ex-SKID ROW drummer Rob Affuso was asked if he thinks the band’s classic lineup — featuring Affuso on drums and Sebastian Bach on vocals — will ever reunite. He responded (hear audio below): “Well, I have tried, unsuccessfully, three times, kind of, full-court press — for any basketball fans out there — to get it back together, to try to get Rachel [Bolan, bass] and Sebastian in a room and talk. And, inevitably, either Sebastian would say something stupid two weeks prior and then piss Rachel off or whatever… I don’t wanna say ‘stupid’… but he’d say something to piss Rachel off. And then Rachel would be, like, ‘Well, fuck you.’ And that happened, like, literally three times. And the one time I thought it was about to happen, and it just fell apart. I don’t see it happening; I really don’t. I’ve tried. I think Rachel and Snake [guitarist Dave Sabo] just don’t wanna do it. They’re happy where they are, and they wanna move forward.”

Affuso went on to admit that the fact that SKID ROW‘s classic lineup can’t reunite “really kills [him] on many levels.” He explained: “One, as a professional… As a kid growing up and dreaming of being a rock star and working your ass off to be somewhere and get somewhere and then you find this group [of people] that you grow with. So it’s very disappointing, because you grow up and you reach this incredible level of success, and then you have [these] fights and drama. And okay, so then it ends, but you know what?! A few years, several years down the road, we’re all still alive, we’re all viable, we’re all still playing our instruments. So it’s just very… it’s sad. It’s sad that we had that [and we can't bring it back]. We were less than one percent of the people on earth — we had this special thing — and it’s been taken away by… It’s just that [Rachel and Snake have the attitude], ‘No, we don’t wanna do it. We’re gonna do it our way.’ Which is fine. I mean, Rachel and Snake own the name; they own the name SKID ROW and they are the main songwriters. So, in essence, they can do whatever they want with the name. They could put Winnie The Pooh and Mickey [Mouse] up there and call it SKID ROW. No offense to the guys, but I’m just saying… They own it. With that said, I really don’t see it. I’ve tried, I’ve tried, I’ve tried… I don’t see it, unfortunately.”

In a November 2014 interview with Metal Rules, Affuso spoke about the breakup of SKID ROW‘s classic lineup. He said: “It was a very awkward time. I was not getting along with Sebastian, [and neither were] any of the others. He was very difficult at that time, and so it was forced [upon] the [other] guys to make that decision to change singers, and I didn’t really want to be without Sebastian. I felt Sebastian was an integral part of SKID ROW, as [were] Rachel and Snake, because they wrote a lot of the music.”

He continued: “[When we decided to carry on as OZONE MONDAY with a new vocalist], I wasn’t convinced of the music and the music we were playing, I wasn’t convinced that the lead singer [Shawn McCabe] was right choice. Not that he was bad; I wasn’t convinced that he was the right singer. He was a good singer, I just don’t think he was right, and, to be honest, I lost my passion and my heart for the music, what we were doing. It began to show and that’s when the band and I separated — because I was no longer very interested in what we were doing at that point.”

SKID ROW recently fired its lead singer of the past fifteen years, Johnny Solinger, and replaced him with ex-TNT frontman Tony Harnell.

Photo courtesy of Rob Affuso‘s Facebook page

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Former SKID ROW singer Sebastian Bach was interviewed on the on the latest episode of Metal Injection ‘s podcast, “Metal Injection Livecast”. You can now listen to the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).

On whether it’s true that the classic SKID ROW lineup was offered half a million dollars to reunite for an appearance at a European festival:

“That is a hundred percent accurate and true. It was the Sonisphere in the U.K., like, two or three years ago, and they even printed up posters prematurely, because who would turn that down for 45 minutes’ work? [Laughs] But, yeah, it never happened. But those posters actually existed. It was on the Internet. It was crazy. It was KISS, SKID ROW and FAITH NO MORE. But when SKID ROW didn’t take the gig, they booked my solo band the next year. I didn’t make a half million bucks, but I kicked total ass. [Laughs]”

On why the SKID ROW guys hate him so much:

“I’ve talked to all of those guys except the bass player [Rachel Bolan], and he is the one that has it in for me. I can’t answer that. I think… I mean, I’m writing my book now, and I touch upon this. I really think it’s a classic case of… You know, some of these musicians like to use this term ‘Lead Singer’s Disease,’ and I think that’s a way of, kind of, dealing with the extra attention that the frontman gets. And it’s not just SKID ROW — it’s AEROSMITH and VAN HALEN and KISS… And all the bands… BLACK SABBATH. I guess Rachel is, like, the Bill Ward of SKID ROW. [Laughs] I think that’s really what it is. Because I haven’t given that guy any reason to dislike me in nineteen years. I haven’t talked to him in nineteen years or been in the same room with him — in nineteen years. Let me repeat that: nineteen years. That’s a long time. That’s a long time. So whatever I did nineteen years ago has nothing to do with 2015, so I don’t understand it either. Maybe it’s because I’ve been successful since they kicked me out; I’ve never stopped working. And maybe he resents the fact that I’m, like, the face of his band, but I never tried to be that; I just kind of showed up… I didn’t have some devious plot. I just was the singer of the band. And every singer of every band gets more attention that the fucking bass player. What are we talking about? [Laughs]”

On whether there was ever any talk of playing the Sonisphere gig without Rachel:

“Well, there’s an issue with the ownership of that name. That’s kind of a boring interview that I don’t wanna go into. But that’s, basically… Like, Axl [Rose] owns the name GUNS N’ ROSES; that’s why Slash isn’t in GUNS N’ ROSES. And Rachel owns the name [SKID ROW] with Snake [guitarist Dave Sabo]. And how that happened is another fucked up, bullshit story, but I don’t wanna talk about it. I didn’t realize those guys owned that name until after I was out of the band. That’s how crazy that shit is.”

On how the advent of the Internet and social media has changed the way he promotes his new music:

“There are so many ways I could answer that. All I can say to you is that I was signed to a label called Frontiers Records; I signed a contract in, like, 2003 or 2004… I can’t remember… Ten years ago or something. And I have put out three full-length solo CDs, a double live CD. A lot of product. And now I’m not with them anymore, and I’ve gotta tell you, it’s the greatest feeling to not be working on a record. [Laughs] Like, when Gene Simmons [KISS] says ‘rock is dead,’ that’s not a literal statement. But as far as making an album and putting it out and there’s nowhere to play it… It’s, like, wow! It’s really challenging. I mean, YouTube is cool. What’s really frustrating to all of us bands… Nikki Sixx [MÖTLEY CRÜE] said it, Ian Astbury [THE CULT] said it, Gene Simmons… We all say it — that these radio stations play our music all day — they play ‘I Remember You’, ’18 And Life’ and on down the line forever. So it’s almost, like, we feel as they kind of owe use. Play the new shit. You built your station on our music, and you still play it every day. So how is it you can’t play the new tune? Logically, it doesn’t make sense. ‘Cause the fans wanna hear it live. I play just as much new stuff as old, and it fits right in. And the videos get millions of plays on YouTube. So it would just make sense. ‘Here’s ‘I Remember You’, and here’s the new one.’ That’s the way it used to be. I don’t see what the big deal is.”

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Dan Padavona, the son of legendary heavy metal singer Ronnie James Dio (HEAVEN & HELL, BLACK SABBATH, DIO, RAINBOW), has released his second full-length novel, “Dark Vanishings”, a post-apocalyptic horror/adventure novel that is the first in a series. Episode Two of “Dark Vanishings” is scheduled for release in late June, with the third episode slated for late July. The “Dark Vanishings” series will conclude this autumn and winter.

From the back cover: “What would you do if almost everyone on earth disappeared? Where would would you go? What choices would you make?

“A teenage girl harboring a horrible secret flees across the country from a deranged stalker. A boy who discovers he was secretly adopted is pursued by a dark, cloaked figure through upstate New York. A Florida man moves into a luxurious amusement park resort, where he meets a beautiful woman. But they are not alone in the resort.

“A young man with an addiction to fast cars and absolute power clashes with a bounty hunter, while a father and daughter search for each other in a lost world where rules no longer exist and danger lurks around every corner.”

For more information, visit DanPadavona.com.

Ronnie died of stomach cancer in May 2010 at the age of 67. At his public memorial service, Dan Padavona cautioned the memorial crowd to be screened regularly by a doctor and take care of themselves, something he said his father did not do.

“I beg you not to make the same mistake my dad made,” said Padavona. “For dad, the show always had to go on. He ignored the warning signs for years, and all along the cancer was growing and mutating from something that was probably easily defeatable into a monster which even Dio couldn’t slay.”

Video footage of Dan Padavona‘s eulogy to his father, Ronnie James Dio — taped on May 30, 2010 at the Hall Of Liberty at Forest Lawn Hollywood Hills in Los Angeles — can be viewed below.

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