Posts Tagged “Drummer Mike”

Brian Giffin of Australia’s Loud magazine recently conducted an interview with keyboardist Jordan Rudess of progressive metal giants DREAM THEATER. A couple of excerpts from the chat follow below.

Loud: Does releasing a self-titled album mark some sort of new beginning for DREAM THEATER?

Rudess: I think it was more that we wanted to put the stamp of a self-titled album here because we felt very strong about it. We felt like we’re at this great point where we felt that people should take notice. We’ve been very clear — we’re all getting along so well; musically we’re having a great time together in the studio; and we felt that we’ve made a great album that we want people to know about. If you want to know what DREAM THEATER is about, check this album out, because we feel that this is one of the best albums that we’ve done.

Loud: What was it like reconvening to record this time with [new drummer] Mike Mangini a part of the band?

Rudess: He was really well behaved, so it was good. It was a lot of fun to have him there, unlike the previous album where we brought him in for the drum parts after the music was written. For this one, he was there the whole time. Some people know it, some people don’t, but Mike Mangini is a very upbeat character. He’s very funny, he’s got a very good nature, he’s lively and in front of the drums, he’s a madman. He can play things no one else can play. So him being there personally, with his upbeat personality, and him contributing to the dynamic to the music we were writing really gave the music a real spark. So we enjoyed that quite a lot. With “A Dramatic Turn Of Events”, we had a good time writing that, but this time, all being together working on the album as a band was great. We had been on tour with Mike Mangini for a year, we knew that we all got along, we knew that we were a very effective unit with each other playing music. The fans had all voiced their opinions and they all loved our shows.

Loud: Tell us something about “Illumination Theory”, because that’s quite an extensive piece.

Rudess: Well, I come from a Julliard classical music background, I like pieces where motifs and ideas get developed and changed and can be allowed to breathe and that track’s certainly not any sort of standard pop song format in any way, shape or form. I just love the fact that we’re just really going for it and there’s all these kind of progressive parts where there’s interesting counterpoints and harmonic changes going on, and I’m also very fond of the fact that in the middle section of “Illumination Theory”, there’s that whole section that really is very ambient and very electronic-soundscapey which leads into a string ensemble part which was actually done with the help my young protege Eren Başbuğ, a young Turkish arranger/conductor who took what I had composed on my keyboard and fleshed it out for a string orchestra. And then the string orchestra came into the studio and he came in and conducted them. That piece just has so much to it. I love when we get deep and it all gets a bit wild, and I also love that in the midst of all that madness, we really let that middle section to really breathe and slow down and be melodic like a movie score.

Loud: There always seems to be at least one song on every album that really shows what DREAM THEATER is all about and that’s definitely the track this time around.

Rudess: I think that’s really important, because a lot of the songs on this album are a little bit more concise. Believe it or not, there are two songs in the four-minute range on this album. It’s like we managed to bring our music a little bit more to the point, but at the same time we thought, “Hey we’re DREAM THEATER! We could do, we should do a track that goes for it and is more epic,” and that’s what “Illumination Theory” was more about.

Read the entire interview at Loud magazine.

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On September 16, Louder! Magazine conducted an interview with drummer Mike Portnoy (THE WINERY DOGS, DREAM THEATER, AVENGED SEVENFOLD, ADRENALINE MOB) after THE WINERY DOGS‘ headlining concert La Maroquinerie in Paris, France. You can now watch the chat below.

THE WINERY DOGS‘ self-titled debut album sold around 10,200 copies in the United States in its first week of release to land at position No. 27 on The Billboard 200 chart. Released in North America on July 23 via Loud & Proud Records and in Japan on May 15 via Victor Entertainment, the CD was mixed by Jay Ruston, who has previously worked with ANTHRAX, ADRENALINE MOB, STONE SOUR and STEEL PANTHER.

“Bands like [LED] ZEPPELIN and THE WHO, THE [ROLLING] STONES, and THE BEATLES, CREAM, and [Jimi] Hendrix. I mean, I grew up with that stuff,” Portnoy told Voice Of America. “And, although I’ve been able to pay tribute to it throughout my career with tribute bands and things like that, I’ve never been in an all-original band that was kind of playing classic rock power trio stuff. That’s how I describe this band: just a straight-up rock band.”

Regarding the songwriting process for THE WINERY DOGS‘ album, Portnoy said: “In all cases, the music was the very first element and from there, Richie would start melodies on top of it. Sometimes the final lyrics were there, coming up on the spot, and other times he would take the melodies and write lyrics later. There were a couple of examples of Richie having something and bringing it in. In those cases, like ‘Damaged’ and ‘Regret’, we just left them. Because in those two particular cases, the songs were great as they were.”

Portnoy was full of praise for his THE WINERY DOGS bandmates, telling Voice Of America: “Billy Sheehan is my favorite bass player on earth and he has been for almost 30 years now. So to work with him and make music with him for me is an honor. And Richie is someone I have the utmost respect for as an artist. I mean, he is just so underappreciated, not only as a guitarist, but as a singer and a writer as well. I think for me, the most exciting aspect of this band is for people to discover Richie that aren’t aware of what a musical genius he is.”

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All five members of DREAM THEATER took part in a question-and-answer session with the registered users of the DreamTheaterForums.org web site earlier today (Tuesday, September 24). You can now watch the discussion below.

DREAM THEATER‘s new, self-titled album was released on September 24 via Roadrunner Records. The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

“Dream Theater” is available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

DREAM THEATER‘s video for the song “The Enemy Inside” was directed by Bill Fishman (RAMONES, STEVE RAY VAUGHAN). The strictly conceptual clip deals with the torment of a soldier who’s struggling with reintegrating into his life back home due to post-traumatic stress disorder (PTSD).

Regarding the song’s lyrics, guitarist John Petrucci told Billboard.com: “At the time that we were in the studio working on the [new DREAM THEATER] album and I was writing lyrics, the Boston Marathon bombings happened. There was a lot of discussion of terrorism and PTSD as if affects people who witness traumatic events like terrorism, so it was just very on my mind. It linked very well with the mood of the song, and as we started to get into it, I watched some documentaries and things like that. I was like, ‘This is really something that needs to be written about.'”

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Metal Injection recently conducted an interview with guitarist John Petrucci of progressive metal giants DREAM THEATER. You can now watch the chat below.

DREAM THEATER‘s new, self-titled album will be released on September 24 via Roadrunner Records. The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

Speaking to Ultimate-Guitar.com, Petrucci stated about “Dream Theater”: “I think it’s building on [what we did on the “A Dramatic Turn of Events” album], but taking it to the next level. One of the things I really wanted to do on ‘A Dramatic Turn of Events’ was to create something that was sonically very rich and high-def and powerful and I think we accomplished that. But on this album, I wanted to take that even further…. [I wanted to] get more cinematic with it and more earthy and aggressive and bigger. I wanted a bigger, more forward in-your-face kind of sound. I think that kind of dictated the sounds we went for while we were writing and recording and then ultimately how it was mixed. So yeah, it was kind of building on that, but taking it to the next level. You always need to progress and to try and do something different and kind of have a little bit different take on it and a different perspective. But hopefully make it better as you go.”

In January, Petrucci said of Mangini‘s work: “When people hear the drumming on this album, they’re gonna be pretty freaked out. On the last album, he did a great job, but he wasn’t there for the writing process and he was interpreting drum parts that I had programmed. Even though he used his creativity, of course, to change them up and do his thing, I feel like now he’s just Mike Mangini unleashed. It’s all him. It’s all his creativity, all his decisions and ideas and man, the guy’s an animal.”

“Dream Theater” track listing:

01. False Awakening Suite
I. Sleep Paralysis
II. Night Terrors
III. Lucid Dream
02. The Enemy Inside
03. The Looking Glass
04. Enigma Machine
05. The Bigger Picture
06. Behind The Veil
07. Surrender To Reason
08. Along For The Ride
09. Illumination Theory
I. Paradoxe de la Lumière Noire
II. Live, Die, Kill
III. The Embracing Circle
IV. The Pursuit of Truth
V. Surrender, Trust & Passion

Directed by Bill Fishman (RAMONES, STEVE RAY VAUGHAN), the strictly conceptual clip deals with the torment of a soldier who’s struggling with reintegrating into his life back home due to post-traumatic stress disorder (PTSD).

Regarding the song’s lyrics, John Petrucci told Billboard.com: “At the time that we were in the studio working on the [new DREAM THEATER] album and I was writing lyrics, the Boston Marathon bombings happened. There was a lot of discussion of terrorism and PTSD as if affects people who witness traumatic events like terrorism, so it was just very on my mind. It linked very well with the mood of the song, and as we started to get into it, I watched some documentaries and things like that. I was like, ‘This is really something that needs to be written about.'”

“Dream Theater” will be available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

Interview:

“The Enemy Inside” video:



dreamtheaterself_600

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Journalist and musician Barbara Caserta of Italy’s Linearock conducted a 30-minute video interview with drummer Mike Portnoy (THE WINERY DOGS, DREAM THEATER, AVENGED SEVENFOLD, ADRENALINE MOB) prior to THE WINERY DOGS‘ concert at Live Club in Trezzo sull’Adda, Milan, Italy. You can now watch the chat below.

Asked what led to his departure from ADRENALINE MOB, the band featuring Russell Allen (vocals; also of SYMPHONY X) and Mike Orlando (guitar), Portnoy said: “I’m very proud of the album I made with ADRENALINE MOB and I think that there was really a great chemistry there; it was a great band. I was definitely behind it. I spent two years of my life developing it and trying my best. But at the end of the day, I came out of DREAM THEATER wanting to do a lot of different things, and I wasn’t ready to commit exclusively to any one band. I had just spent 25 years with one band — and side projects, obviously, but committed to one band. And I said right from the beginning I was gonna plant many different musical seeds and see which grew, and that would kind of dictate where I would go and what I would do. And I spent a good solid two years giving my all to ADRENALINE MOB. But it only blossomed a little; I kept waiting for it to truly blossom and waiting for touring opportunities to come around, which never happened, and waiting for certain things to happen that never happened, so when it came time for them to start to want to do a new record, it’s, like, well, I have five months of THE WINERY DOGS dates on the calendar, so I had to make a decision; I couldn’t be in two places at the same time. Luckily, up until now, I’ve been able to juggle all these different things and make the schedules work out, but finally it came to a head where it’s, like, ‘OK, do I do a record with ADRENALINE MOB or do I tour with THE WINERY DOGS?’ And it’s, like, well, ADRENALINE MOB is not really growing fast enough. I don’t have time to get into a van and play to a hundred people a night for the next ten years to develop this when I have other opportunities and things like THE WINERY DOGS and other things that are offering opportunities and situations that I need to follow through with. So I haf to make a decision, and one shoe had to drop, and unfortunately, it happened to be ADRENALINE MOB.”

He continued: “[They’re a] great band, and I would have loved to have done more if they could have worked around my schedule, but I understand that they wanna keep working. So I had to make a decision and THE WINERY DOGS has a lot of buzz and opportunity and possibility and potential, so I didn’t want to not give it a fair chance.”

In a recent interview with Brazil’s “Wikimetal”, Allen stated about Portnoy‘s departure from ADRENALINE MOB: “He’s been, obviously, real busy with THE WINERY DOGS, which is his next band that he’s doing. The truth of it is we wanna keep working, we wanna keep doing ADRENALINE MOB and we don’t wanna wait around for Mike to have the time [to put into ADRENALINE MOB]. And he doesn’t know when he will have the time again, so that’s really what’s going down. Mike Portnoy was asked to be in the band by myself. Me and Orlando had already written all the material, so [ADRENALINE MOB‘s debut album] ‘Omertá’ was completely finished before Mike joined the act. And it’s a bummer, but he’s got his sights on other things, and he’s not gonna stick around. So we wish him the best of luck, but the MOB‘s gotta go on.”

ADRENALINE MOB‘s most recent touring and recording lineup also included DISTURBED bassist John Moyer

ADRENALINE MOB released “Covertá”, an eight-track EP featuring cover versions of some of the group’s favorite songs, on March 12.

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Rod Whitfield of SF Media recently conducted an interview with keyboardist Jordan Rudess of progressive metal giants DREAM THEATER. A couple of excerpts from the chat follow below.

On the band’s new, self-titled album:

“Yeah, I’m so excited about it. I think it’s definitely one of our best, and we feel so good about it that we decided to stamp it with a self titled name, so everybody’s happy.

“We just feel that the band is at such a great point, personally and musically, that it was really time to mark this down, and say ‘Hey, you know what? If you want to know about DREAM THEATER this is it.’ It’s really a representation of who we are as people at this point in time. It was a fantastic year before this on the road with [recently added drummer] Mike Mangini, and getting him fully integrated into the band.”

On what Mike Mangini has added to the DREAM THEATER songwriting process:

“Having him come into the studio with us gave us that extra spark, not only musically, but he’s also such a lively, energetic fun guy. So it brought us to this very strong, unified and powerful level. Having him there was just a treat, because he’s such a unique person, his playing is really individual, and the way he thinks, he offered some really interesting ideas. Especially in the realm of rhythm, it was very cool.”

On the differences in the personalities and playing of Mike Mangini and former DREAM THEATER drummer Mike Portnoy:

“Yeah, I feel so lucky in my career to have worked with some of the greatest drummers, and guitarists as well, but we’re talking about drummers, and Mike Portnoy is one of the greatest drummers out there. We had a great time playing for many years together. And now we’re playing with Mangini, it’s a whole ‘nother wonderful musical experience. And what’s really cool is that all these great drummers that I’ve played with, they’re all so different, but what’s especially cool about Mangini is that, not only is he a different kind of a drummer, but he can also fit like a glove into the music. So when we play the older DREAM THEATER songs, it feels very comfortable. Even though he has a different approach, it kinda fits like a glove, if you will. So that’s obviously why he got the gig, because he can do that, but he can also offer some fresh and exciting ideas into what we’re doing.”

Read the entire interview at SF Media.

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Alison Hell has apparently been thrust into the fashionable zombie age, judging by the gory chick clawing and gnawing on a heart in 3-D fashion for ANNIHILATOR‘s fourteenth album, “Feast”. At least Jeff Waters and company make the most of the moment, delivering a largely fast, well-entertaining ride.

Moving on past the ooh and ahh hologram cover spiffing up the ECO-book version to “Feast”, this album is by-and-large a serious ass-kicker. Stacked with heaps of thrash, killer shredding, smelted solos and superb drumming, “Feast” throws a few monkey wrenches into the scheme using the same exploratory spirit of “All For You” without dramatically altering the crunchy-yet-crisp feel of this record.

Kudos to Jeff Waters for keeping the criminally-overlooked Dave Padden on board all this time, especially now that his singer has of late been picking up rhythm guitar duties on the road. “Feast” was laid out with Waters fielding guitars and bass (Alberto Campuzano handles the latter outside of the studio), but it still feels more of a collaborative effort with Padden‘s trusty dynamics and fluid pounding from drummer Mike Harshaw.

Harshaw is terrific all over this album, as sharp as anyone Waters has corralled into the ANNIHILATOR compound. Harshaw has proven himself worthy of stepping onto Mike Mangini‘s pedals, laying down steady mosh and thrash pulses throughout “Demon Code” and “No Way Out”. He’s especially huge with his snub-nosed snare rolls on the shifty genre-collision of “No Surrender”.

“Feast” gets rowdy in a hurry with the thrashy “Deadlock” and “No Way Out”, while “Smear Campaign” alternates between mid-tempo power lines and stepped-up thrusts. “No Surrender” then presents one of the album’s curveballs, mingling some funky licks all over the verses ala LIVING COLOUR before walloping the song with massive metallic rivets on the choruses and bridges. Lifting “No Surrender” through a mosh-driven middle section and an out-of-nowhere gloom arc filled with the sounds of a presumed zombie attack, then a scorching solo from Waters, the left-of-center tinkering throughout “No Surrender” is flat-out weird. Yet it’s also a welcome sojourn back to the thrash-prog motifs of ANNIHILATOR‘s early years. Waters also loads “One Falls, Two Rise” at the end of the album with one of the busiest rounds of progression he’s ever attempted.

“Wrapped” struts out with dukes up on a mostly straightforward rawk jive that gets the benefit of some wicked top riffs and a fret-scratched solo. Then the murky anti-ballad “Perfect Angel Eyes” interrupts the headstrong chaos of “Feast”, keeping a strong slow pulse with a nifty bass loft and a subliminal static hiss lurking overtop the acoustic spiral of the song. After this point, “Feast” gets back on the gas with only a few noodlings scattered throughout “Demon Code” and the uppity “Fight the World” (which has a nifty slow fakeout intro before rumbling into speed mode) before the decorative signature swaps come all over “One Falls, Two Rise”. Padden‘s soaring vocals on “One Falls, Two Rise” hit new timbres on the opening verses than we normally hear out of him and they’re wonderful, even more so once the song blasts into a thrash arc and Padden dips into his trademark blend of clean-growl. The song takes a hundred directions from that point and Padden adjusts himself flawlessly as if by instinct.

The ECO-book version of “Feast” comes with the bonus disc “Re-Kill”, fifteen re-recordings from the back catalog, half culminated from ANNIHILATOR‘s celebrated couplet “Alison Hell” and “Never Neverland” and the rest spread throughout the non-Padden years. While the entire notion of heritage acts releasing bonus discs with redos has become passé, “Re-Kill” is harmless if perhaps a little insulting to Coburn Pharr and Randy Rampage. As much as it’s a joy listening to Dave Padden through ANNIHILATOR‘s last handful of studio albums, it’s more than enough for us to hear him take down “Alison Hell”, “Fun Palace” and “Word Salad” onstage. The man’s created his own legacy, modest though it may be, just like his benefactor, Jeff Waters.

That aside, “Feast” is still a hell of an enjoyable trip and Jeff Waters‘ enduring faith in Padden has paid off. From “Metal” to “Annihilator” and now “Feast”, Padden has forced Waters to raise his game, even if Padden sowed the seeds on “All for You” and “Schizo Deluxe”, two ANNIHILATOR albums that deserve more respect. “Feast” is a culmination of both of those albums while hearkening back to the early days in spots. All delivered with excellent production and a tasteful sense of style. The repeat and tweaked guitar intros to many of the cuts on the album reveals a return to songwriting fortitude in Waters‘ always-changing mindset. No need to gush about Waters‘ fret prowess on “Feast”. That comes as an automatic selling point. With much congratulations due, “Feast” is an album destined to keep a-rolling more than a few times simultaneously in your player.

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A three-minute “blooper reel” filmed during DREAM THEATER guitarist John Petrucci and singer James LaBrie‘s recent European promotional tour for their new, self-titled album can be seen below.

“Dream Theater” — the band’s 12th studio release overall, and fourth with Roadrunner Records — will be released on September 24. The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

“Dream Theater” will be available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

DREAM THEATER will be on tour in Europe in January and February 2014, and in North America in March 2014.

“Live At Luna Park”, DREAM THEATER‘s live concert, which was previously scheduled for release in May via Eagle Rock Entertainment, will now drop in North America on November 5 as a Blu-ray, 2DVD, 2DVD + 3CD, Blu-ray + 3CD, deluxe edition with 40-page book, Blu-ray + 2DVD + 3CD, and digital video via iTunes.

“Live At Luna Park” was filmed over two nights in South America — home to one of DREAM THEATER‘s most ardent fanbases. The DVD was filmed August 19 and August 20, 2012 at Estadio Luna Park in Buenos Aires, Argentina after a 15-month world tour, hitting 35 countries.

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Anna Dave Bertram of Sweden’s Access: Rock recently conducted an interview with guitarist John Petrucci of progressive metal giants DREAM THEATER in Stockholm. You can now watch the chat below.

The new self-titled album from DREAM THEATER is available for streaming in its entirety using the SoundCloud widget below (courtesy of RollingStone.com).

“Dream Theater” — the band’s 12th studio release overall, and fourth with Roadrunner Records — will be released on September 24.

Speaking to Ultimate-Guitar.com, Petrucci stated about “Dream Theater”: “I think it’s building on [what we did on the “A Dramatic Turn of Events” album], but taking it to the next level. One of the things I really wanted to do on ‘A Dramatic Turn of Events’ was to create something that was sonically very rich and high-def and powerful and I think we accomplished that. But on this album, I wanted to take that even further…. [I wanted to] get more cinematic with it and more earthy and aggressive and bigger. I wanted a bigger, more forward in-your-face kind of sound. I think that kind of dictated the sounds we went for while we were writing and recording and then ultimately how it was mixed. So yeah, it was kind of building on that, but taking it to the next level. You always need to progress and to try and do something different and kind of have a little bit different take on it and a different perspective. But hopefully make it better as you go.”

The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

In January, Petrucci said of Mangini‘s work: “When people hear the drumming on this album, they’re gonna be pretty freaked out. On the last album, he did a great job, but he wasn’t there for the writing process and he was interpreting drum parts that I had programmed. Even though he used his creativity, of course, to change them up and do his thing, I feel like now he’s just Mike Mangini unleashed. It’s all him. It’s all his creativity, all his decisions and ideas and man, the guy’s an animal.”

“Dream Theater” track listing:

01. False Awakening Suite
I. Sleep Paralysis
II. Night Terrors
III. Lucid Dream
02. The Enemy Inside
03. The Looking Glass
04. Enigma Machine
05. The Bigger Picture
06. Behind The Veil
07. Surrender To Reason
08. Along For The Ride
09. Illumination Theory
I. Paradoxe de la Lumière Noire
II. Live, Die, Kill
III. The Embracing Circle
IV. The Pursuit of Truth
V. Surrender, Trust & Passion

“Dream Theater” will be available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

DREAM THEATER will be on tour in Europe in January and February 2014, and in North America in March 2014.



dreamtheaterself_600

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On September 15, RockNLive.org conducted an interview with drummer Mike Portnoy (THE WINERY DOGS, DREAM THEATER, AVENGED SEVENFOLD, ADRENALINE MOB) before THE WINERY DOGS‘ headlining concert La Maroquinerie in Paris, France. You can now watch the chat below.

THE WINERY DOGS‘ self-titled debut album sold around 10,200 copies in the United States in its first week of release to land at position No. 27 on The Billboard 200 chart. Released in North America on July 23 via Loud & Proud Records and in Japan on May 15 via Victor Entertainment, the CD was mixed by Jay Ruston, who has previously worked with ANTHRAX, ADRENALINE MOB, STONE SOUR and STEEL PANTHER.

“Bands like [LED] ZEPPELIN and THE WHO, THE [ROLLING] STONES, and THE BEATLES, CREAM, and [Jimi] Hendrix. I mean, I grew up with that stuff,” Portnoy told Voice Of America. “And, although I’ve been able to pay tribute to it throughout my career with tribute bands and things like that, I’ve never been in an all-original band that was kind of playing classic rock power trio stuff. That’s how I describe this band: just a straight-up rock band.”

Regarding the songwriting process for THE WINERY DOGS‘ album, Portnoy said: “In all cases, the music was the very first element and from there, Richie would start melodies on top of it. Sometimes the final lyrics were there, coming up on the spot, and other times he would take the melodies and write lyrics later. There were a couple of examples of Richie having something and bringing it in. In those cases, like ‘Damaged’ and ‘Regret’, we just left them. Because in those two particular cases, the songs were great as they were.”

Portnoy was full of praise for his THE WINERY DOGS bandmates, telling Voice Of America: “Billy Sheehan is my favorite bass player on earth and he has been for almost 30 years now. So to work with him and make music with him for me is an honor. And Richie is someone I have the utmost respect for as an artist. I mean, he is just so underappreciated, not only as a guitarist, but as a singer and a writer as well. I think for me, the most exciting aspect of this band is for people to discover Richie that aren’t aware of what a musical genius he is.”

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