Posts Tagged “Long Time”

Canadian multi-instrumentalist, singer, songwriter and producer Devin Townsend was interviewed on the March 7-9 edition of Full Metal Jackie‘s nationally syndicated radio show. You can now listen to the chat using the Podbean widget below.

To see a full list of stations carrying the program and when it airs, go to FullMetalJackieRadio.com.

The cover artwork for the forthcoming debut album from the CASUALTIES OF COOL project from Devin Townsend can be seen below.

Devin recently launched a three-month-long crowdfunding campaign on PledgeMusic for CASUALTIES OF COOL since the album will be released without record-label backing.

In a 2013 interview with BluntMag.com.au, Devin stated about CASUALTIES OF COOL: “If there’s anybody who’s new to what I do, who maybe heard ‘Liberation’ or some of the songs off ‘Epicloud’ and thought, ‘This is really cool, I could get into this,’ you’re going to hate CASUALTIES. [laughs] I mean, really, it’s as opposite of ‘Epicloud’ as ‘Ghost’ was to ‘Deconstruction’. It’s this weird, dark, not evil but verging on it, bluesy, Johnny Cash-y, strange, quiet folk record. But I love it, it’s the one record that I’ve done over the past 10 or 15 years where I can truly say, ‘This is where I am right now.’

“You know, the other things that I’ve done have been as well in their own right, ‘Epicloud’, ‘Deconstruction’ and ‘Addicted!’, but there was an agenda with those, I was trying to say something with them or I was trying to prove a point, make a statement about the past or whatever. CASUALTIES is something that I’ve done without any pressure, without anybody telling me what to do, without showing it to anyone, it’s just what evolved when I wasn’t thinking about it. As a result of that, I’m incredibly proud of it, but it remains to be seen whether or not other people will resonate with it. I think they will, man. I think it’s fucking awesome, and I mean, I haven’t smoked weed in a long time but I can’t imagine that it wouldn’t be awesome while you’re smoking. [laughs]”

Asked where CASUALTIES OF COOL will fit into the Devin Townsend discography in terms of sound — among his more traditional-sounding albums, or a bit more removed like his ambient albums, Devin said: “Somewhere in the middle, you know, somewhere in the middle. It’s like, if you took the weird elements of ‘Ki’ and the weird elements of ‘Devlab’ and added a vintage sort of vibe.

“My management had a suggestion, which I think is pretty cool, which was, ‘You shouldn’t call it DEVIN TOWNSEND PROJECT, you shouldn’t even put your name on it, just call it CASUALTIES OF COOL and put it out as its own thing.’ It’s got a different singer, I sing on like half of it right, but it’s got this lady [Vancouver artist Ché Aimee Dorval, who also appears on ‘Ki’] who’s just this brilliant singer, she’s a young, despondent-sounding bluesy vocalist and it’s creepy. I think that that might be a way for me to get away with it, putting it out without it being part of the DTP [DEVIN TOWNSEND PROJECT] or whatever.

“I don’t know what to tell you, man. I just go where it feels the most honest to go, then I deal with people thinking it’s weird afterwards. [laughs]”

Regarding whether there is a particular atmosphere he wants to create or a story he wants to convey with CASUALTIES OF COOL, Devin said: “Yeah there’s a story, definitely. It’s going to take a little longer than what we’ve got for me to explain it, but you’ll hear it eventually. I want it to be something you listen to quietly, by yourself, in the middle of the night, with a big old full moon outside. It’ll work perfectly.”

Interview (audio):

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MÖTLEY CRÜE guitarist Mick Mars plans to release at least an EP of solo material once the band has completed its “Final Tour”, with the possibility of even more songs surfacing in the years to follow.

MÖTLEY CRÜE held a press conference on January 28 at Hotel Roosevelt in Los Angeles where they announced that the band will launch the “Final Tour” later this year, with the group planning to play 72 shows in North America in 2014 and more overseas in 2015. Making it official, the four members of the band had their lawyer draw up a formal “cessation of touring” agreement that goes into effect at the end of 2015 and prohibits the members of the group from going on the road again under the MÖTLEY CRÜE banner.

During an appearance on the March 3 edition of Eddie Trunk‘s show “Trunk Nation” on SiriusXM‘s Hair Nation, Mars was asked if he had any plans to pursue a solo career once MÖTLEY CRÜE was done touring.

“Loyalty is kind of important to me, but I mean, doing side projects and everything else, [there is] nothing wrong with it at all,” Mars said. “But I have my own stuff that I have been stashing for a long time.”

Regarding what shape his debut solo release will take, Mars said: “I can honestly say that I am going to release at least an EP. As far as a whole album right now, I won’t release a whole album ’till I think every single one of my songs is an ‘A’ song. And I’ve got a shitload of songs, and they’re all ‘B’ songs, ‘C’ songs… I’ll give them to, like, baby bands coming up, TV commercials, movies, soundtracks, whatever the heck, but I will not put them on my record until I believe in my heart that they’re ‘A’ songs, that when you hear them, you have to have all of them. You know what I mean? No fillers. If I hear a filler in there or anything I think is a filler? No. But then, who am I to judge? Then you release singles.”

He continued: “I have about six songs… I mean, I have way, way more than that, but they’re all, like… to me, they don’t matter. They’re laying there. I mean, stacks. And I have a studio in my house, of course, and I go down there almost every day. And just in the past week or so, I’ve written six new songs which I believe are pretty much on their way to being ‘A’ songs. But I just need someone to come in and help me, not arrange, by any means… I know what I’m hearing and I know what I wanna hear. It’s, like, [I need] a guy to help me [lay vocals on top of it]… ’cause I’m not a singer.”

Asked what he plans on doing after MÖTLEY CRÜE retires from touring, Mars told Edmonton, Alberta, Canada’s 100.3 The Bear radio station nack in January: “A solo record. People have been asking me for that for years and years and years. And ‘Why hasn’t Mick written a book?’ So that, of course, is gonna be in the works. I haven’t started anything or figured out who I want to write with me, or help me write it. But doing that kind of a thing. Putting together, probably, a cool band with some cool friends of mine and stuff, and going out and doing some… you know, a few weeks here and a few weeks there, touring… but not as the MICK MARS BAND; I won’t do that. [Laughs] You’ll see, like, a name, and you’ll go, ‘Hey, who’s that?’ ‘I don’t know’ That’s the name of the band.”

In a September 2012 interview with Jacky Bam Bam of the 93.3 WMMR radio station in Philadelphia, Pennsylvania, Mars spoke about his long-rumored solo album of R&B, soul, and blues songs, which he had asked American R&B and soul singer-songwriter Macy Gray to guest on. “I would love to have Macy Gray sing stuff for me,” he said. “What I have in mind is not like your shuffle beat kind of blues, it’s more of an Etta James kind of blues. If you listen to the first Paul Butterfield album, with Sam Lay playing drums, there’s not a shuffle in it. He takes the drums and he does a whole different thing with them. I want lots of movement in the rhythm, so you can’t help but move. Like a Macy Gray voice on it, or Andy Garcia — people like that are, to me, they’re fabulous singers. Not that I wanna do a hodgepodge of singers and stuff, but to [have them] guest on a couple of songs would be very cool.”

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RockNLive.org recently conducted an interview with MOTÖRHEAD drummer Mikkey Dee in Paris, France. You can now watch the chat below.

Asked how MOTÖRHEAD‘s 21st studio album, “Aftershock”, compares to the band’s previous releases, Dee said: “You know, I hate when bands say, ‘Our new album is the best one we’ve ever done.’ I think it’s a cliché, it’s boring to hear, and I switch to the next channel. ‘Cause I think it’s bullshit. And we never say that with MOTÖRHEADever. I say that we’ve made a new record that it feels like it’s a good contender, maybe, but I need way more time to feel if this is one of the better albums we’ve done. But with ‘Aftershock’, I think at least it felt very, very good. And now when it’s finished, it feels better than I felt in a very long time with the songs. So I really hope that this album is gonna grow even more on me. But it feels like a great album. But I can’t say it’s the best. People want us to say, ‘Oh, it’s the best album,’ or, ‘It’s a bad album.’ I don’t know yet.”

“Aftershock” will be released as a an official Classic Rock collectors fanpack that features the new LP in full plus a 132-page magazine that forms the “ultimate sleevenotes” to the new release, with extensive and exclusive interviews with Lemmy, Mikkey Dee and Phil Campbell.

Pre-order your copy now at this location (official on-sale date is October 21).

Inside is everything you need to know about “Aftershock” and the world of MOTÖRHEAD in 2013: inside the making of album, new features covering all eras of the band’s career from 1975 to 2013, and tons of previously unseen pictures.

Fanpack edition includes:

* New album “Aftershock”
* 132-page magazine
* Giant double-sided poster
* Exclusive MOTÖRHEAD car sticker

“Aftershock” track listing:

01. Heartbreaker
02. Coup De Grace
03. Lost Woman Blues
04. End Of Time
05. Do You Believe
06. Death Machine
07. Dust And Glass
08. Going To Mexico
09. Silence When You Speak To Me
10. Crying Shame
11. Queen Of The Damned
12. Knife
13. Keep Your Powder Dry
14. Paralyzed

Check out the cover artwork below.

Due in North America on October 22, “Aftershock” was recorded at NRG Studios in North Hollywood, California and is described in a press release as “a true leveler, a crushing confirmation of everything MOTÖRHEAD stands for, marching from the dust storm to deliver 14 belting statements which see MOTÖRHEAD in perhaps their best writing form for years. There’s swagger, there’s punch, there’s speed and there’s dirty filthy grooves, Lemmy Kilmister, Phil Campbell and Mikkey Dee showing clearly that MOTÖRHEAD is not simply a band, it’s a genre!”

“Steal it if you must, buy it if you can!” says Lemmy, whose pride in the album is so immense that guests to his home and dressing room in the last couple of months have been treated to extremely loud airings of the rough mixes, while Phil Campbell adds, “I really think the variation on the album shows that we’ve dug deep and produced some of our best work for a long time.”

MOTÖRHEAD canceled a handful of shows on its European festival tour last month after Lemmy suffered a haematoma (where blood collects outside of a blood vessel). The news of Lemmy‘s latest medical issue followed reports that he was also recently fitted with a defibrillator because of heart problems.

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Brendan Crabb of Australia’s Loud magazine recently conducted an interview with guitarist Mårten Hagström of Swedish experimental extreme metallers MESHUGGAH. A couple of excerpts from the chat follow below.

Loud: I’m sure like many people within the metal world you were actively following Randy Blythe‘s [LAMB OF GOD] recent trials and tribulations. What was your take on that situation?

Hagström: I was following what happened; I knew what was going on. I kept up to date on the Internet, but I really didn’t get too into it. It’s one of those things where it was fairly obvious what was going on, but it’s also one of those things where… It’s out of your hands, sort of. But the thing is, it’s scary, stuff like that. And as a travelling musician, or whatever you want to call it, every once in a while, stuff goes wrong. And it doesn’t have to be something like that; that’s a very unique situation, a very strange and tough situation for Randy, of course. But there’s shit happening all the time when you’re out on the road. You never really know what’s going to go down around the corner. It was a sobering thing, I think, for others, standing on the sidelines.

Loud: Although obviously not on such a level as that, but have you witnessed similarly concerning or dangerous behaviour at MESHUGGAH shows?

Hagström: No, not really. Sometimes, granted, you see stuff going down. But when you’re up there playing, you’re so focused on what’s going on onstage that you’re not always… You realize that there’s a moshpit going on or whatever, but it’s not like you’re consciously taking it in. But we’ve been around for a long time, so yeah, definitely, we’ve seen stuff on the road that’s scary. But you can’t think about it that way. Every occupation has a hazard, so it’s not often that anything happens. The scary thing about Randy‘s situation was how easy things can go wrong, and how bad and confused the consequences can get.

Loud: How much longer do you plan to tour in support of the latest record before you bunker down to write new material?

Hagström: End of the year. I think the last day of November is our last show for this album. So we’re basically looking to have some time off in December, and then we’ve been on the road with “Koloss” for like two years or something, on and off. So then I guess it’s about time to start writing new stuff again.

Loud: You mentioned that every album represents a slight progression for the band. In your view, what is the next step forward for MESHUGGAH creatively?

Hagström: I have no idea, and I never do. And I think that’s a good thing, ’cause people sometimes say that we’re pretty unpredictable, but I don’t really think we are, because we have a sound that’s been with us since at least like the “None” EP (from 1994), that’s very us. [laughs] It doesn’t really change all that much, but it’s still a progression, and what I mean by taking a step forward is that we’re still, we’ve been around now. We’re veterans in this game [laughs], and we’re still having fun with what we do, with experimenting with the music that we want to create. So as long as it feels like we’re making it better, and as long as it feels like we’re doing something that we can at least stand for and be proud of, that’s all that we ask.

You can read the entire interview at Loud magazine.

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GUNS N’ ROSES guitarist Ron “Bumblefoot” Thal was interviewed on the latest episode of “Totally Driven Radio”, the weekly radio podcast heard live every Thursday night from 8 p.m. to 11:00 p.m. EST on the VOC Nation Radio Network. You can now listen to the podcast using the audio player below.

Asked about GUNS N’ ROSES‘ continual stage tardiness, with long waits for singer Axl Rose just as much a definite at a the band’s concerts a couple of years ago as hearing “Paradise City” or “Welcome To The Jungle”, Thal said: “That hasn’t happened for a long time. But it did for a long time. And that’s not something that I can ignore and pretend hasn’t happened or didn’t happen.

“I absolutely had the hardest time out of anybody in the band with that stuff — with ‘late’ stuff.

“I’m always in touch with one very simple thing: you make music to make people happy. You put on a show, you entertain — whatever you wanna call it — you do it to make people happy. And to be happy, and to just share this great moment together. And anything that takes away from that or undoes that or creates the opposite of that is completely just anti why you’re doing what you’re doing. So if there are 20,000 people that are pissed off, ’cause we just left them…

“I mean, hell, if I have to wait five minutes longer in a doctor’s office, or in traffic or something like that, I’m starting to get annoyed. So imagine, if that’s five minutes, imagine two hours. Yeah, I get it; I totally get it. It’s not like I don’t care, it’s just… there’s nothing I can do.

“But that was something I had a very hard time with, and there’s been times when I just walked off stage and just started throwing a fit on the side. I had a really hard time with that, and I understand, and I know. And it’s not just that, it’s not just the waiting, it’s the fact that.. if you’re gonna do that to someone that isn’t expecting that and has a babysitter waiting, or you have to be up in four hours for work, or whatever it is, or the buses are gonna stop running soon, or whatever it is.

“It’s, like, you didn’t go out that night and buy those tickets and do us the honor of having your presence there just to stain our existence so that we could completely fuck you and inconvenience you and put you in this position wher, alright, ‘My life is gonna be really annoying, and I have to choose between missing the show after waiting for it, or seeing it.’

“I’ve gotten so much resentment over that from people. And they have the right. And I’m just happy that that’s not happening anymore. And I’m really, really happy that we’ve been going on time, close to on time, sometimes early. And I know the fans are very happy; the people that come to the show are much happier about that.

“There’s always the fans that are, like, ‘Nah, it’s a rock concert. They should be three hours late.’ Maybe for you, but not for the other 20,000 people… Everyone’s got responsibilities. Rent isn’t what it was in the ’70s. There’s a lot more living hand to mouth, and you can’t fuck with that. And I get it. And this is not some kind of, like… I’m not trying to bash Axl or anything. I get it. And I’m just glad that we’ve been doing better with that.”

In an August 2010 radio interview, former SKID ROW singer Sebastian Bach, a close personal friend of Axl Rose, offered an explanation for why the GUNS N’ ROSES frontman is persistently late going on stage. “Everybody has all these theories as to why he acts the way he acts, and there’s no big mystery,” Bach said. “He tells me the source of all of the insanity — it’s his voice. It’s his job to sing like that, and sometimes that sound is hard for him. And a lot of singers, you know… To sing in that range is just not an easy thing to do. And he does what he can, and it takes him 45 more minutes to warm up his pipes so he can sing ‘Sweet Child O’Mine’.”

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“She Said”, the first video from SUPERMANIC, the Los Angeles-based industrial rock band led by Grammy Award-nominated guitarist Sin Quirin (MINISTRY, REVCO, LORDS OF ACID) and singer and music producer Kallaghan (CHARLES MASSABO), can be seen below. The group is currently working on its first album for a tentative 2014 release.

“She Said” was produced by Charles Massabo and features drums by Devin Sack Saqq.

In a recent interview with Sic Asylum, Sin stated about SUPERMANIC: “Kal and I met about a year ago at NAMM. We had a mutual friend that introduced us, over the course of the year we kept in touch and when I got home from the MINISTRY tour we really started talking about starting this project. We really hit it off and had long talks about what it is we really wanted to accomplish. We were very careful to talk about every detail with each other, even who we wanted in the band. We wanted to make sure that we go the right people involved and not get players who later on we would regret bringing on.

“We went into it wanting to start a rock band. Obviously, I come from the industrial side so it would be inevitable to get some electronics in there, but at the end of the day we wanted to do some of these songs with an acoustic guitar and the song still be very strong.

“We definitely are building the band on delivering strong and heavy rock songs, and though the industrial influences may be there, I didn’t want it to be compared to anything else I have ever done.

“As you know, I am heavily influenced by bands from the ’60s and ’70s and really wanted to draw from those influences, and Kal was really into writing catchy/hooky kind of melodies, so that became the foundation for the band.

“We have a handful of material so far and the ranges of the songs will blow you away.

Kal has such a great voice and I am not kidding when I say it is one of the best set of vocals I have heard in a long time. You are going to really hear that as well when we start slowly releasing some more material. Kal just has such a strong voice that, to me, he is right up there with some of the cats you hear on the radio.”

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On September 11, Andrew Schizodeluxe of The Rock Pit conducted an interview with guitarist/vocalist Mille Petrozza of German thrash metal veterans KREATOR. A couple of excerpts from the chat follow below.

The Rock Pit: Well, let’s talk about the new DVD, “Dying Alive”. How did the idea of this new DVD come about?

Mille: Basically, it was the middle of the tour that we felt it went very well, we had many people at the shows and we knew it was a huge production and we wanted to give fans something back, like the memory. We felt this was the perfect time after 10 years of our last official DVD release, “Live Kreation”. We felt it was about time to come out with a new live DVD/live record package and we talked to the record company about it and they supported us and went along. We got a team of 24 cameras into the Turbinenhalle in Oberhausen, which is very close to where we live, and we had full control over everything that happened to make sure that the quality was 100% guaranteed.

The Rock Pit: Watching the live show on the DVD, there seems to be so many cameras around, you seemed to have captured every angle possible. Was that the band’s idea or was that someone else’s idea?

Mille: That was our idea — ours and the director. We talked about this for a long time and we definitely wanted to make sure that… I mean, it’s always different to when you are in a room and watch a band, it’s a different feel than being in your living room and watching it from your sofa or whatever, so we wanted to make sure that we got an impression of what it’s like to come to a KREATOR show.

The Rock Pit: I ask this question with a few other thrash bands regarding the recent resurgence of thrash metal in general. Obviously, the genre has never gone away but it seems to have crept back in a big way recently, which we haven’t seen in quite some time. What’s your take on this new interest in the genre?

Mille: For me, it never felt like it went away. It quietened in the ’90s, but that was metal in general, but now it’s stronger than ever because people have grown up. A lot of the bands that have been around back then that are still around are a little more controlled with how they handle things and they are more experienced. It comes down to the music. Now they live by fans that have grown up with this kind of music. Back in the day, neighbors were like strangers to this music and so the whole industry has changed. In my opinion, it has a lot to do with self-confidence nowadays; it’s a whole different deal. Nowadays, we are more confident in what we do and I think I can speak for a lot of the bands, a lot of the old-school thrash bands that nowadays when you get the feedback from the new generation of bands, it gives you a lot of energy.

The Rock Pit: Obviously you did a bit of experimenting in the ’90s and then came back to the thrash sound. Do you think you would ever try a different direction again or do you think you will stay in the thrash genre?

Mille: I think we experiment within our music. In the ’90s, we experimented on a whole album, nowadays we experiment within certain parts of certain songs but people don’t see that experimenting as much as we did in the ’90s. A lot of the elements, like in “Phantom Antichrist”, for example, is something that we took from that era and put it into our new music, so it’s always in motion. Our music always develops and we can look back on many, many hours that we have tried, riffs or melodies that we tried in the ’90s and we still profit a lot from that. It was not for nothing, even though some of the ’90s experimental albums weren’t that well received by the audience, for us, musically, it made us grow.

Read the entire interview from The Rock Pit.

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Rick Florino of PureVolume recently conducted an interview with Ben Shepherd about the SOUNDGARDEN bassist’s debut solo album as HBS (his given name of Hunter Benedict Shepherd), “In Deep Owl”, which was released on August 27. A couple of excerpts from the chat follow below.

PureVolume: As this has been a long time in the making, when was the first time you got to sit down and listen to it? What was your reaction?

Ben Shepherd: It was a while ago that I actually listened to it. Not having a band, it’s hard to go through sequencing by yourself. You’re like, “Fuck, what’s next?” You have to listen to it as someone else. I tried to imagine how I would want to hear it and then sequence it. Then, I’d run it by everybody involved like Dave French, Chad MacMurray, and all of my friends. I actually did listen to it a bit ago from start to finish. I wanted to make it something you’d want to listen to and keep it fresh. That’s all I was aiming for.

PureVolume: It’s the first unfiltered and unadulterated look at you that fans have gotten.

Ben Shepherd: That’s true. That’s why I did it. It was like, “Where is he? Whatever happened to that guy?” It was done before SOUNDGARDEN had ever reunited.

PureVolume: Do you feel like there’s a certain mystique to the lyrics?

Ben Shepherd: I want to do that to give people freedom to think and feel about what it is. I don’t want to just blurt it out, unless it’s one of those songs where you want to say exactly what it is. I don’t tend to write journalistically like that when it comes to words. Like “Stone Pale” was made up on the spot years ago. Then, I added a verse during the recording of this record because I thought it needed another verse instead of just repeating a verse.

PureVolume: It’s very immediate…

Ben Shepherd: That’s really how it was. “Baron Robber” was made up on the spot. I told the drummer Joseph Braley, “I have a song for you to play.” Then, I made it up on the spot, and we worked it out as we were doing it. [laughs] He nailed it, man!

PureVolume: Is it fair to say there’s a western vibe to the record?

Ben Shepherd: In any town, there’s a spot where you can see where it was made. Where we were at in Georgetown, its nickname was Deep Owl. That’s all trains and wobbly-era. It’s 1800s, early 1900s. People were wearing bowlers and old filson jackets. They’re all brick workers, union guys, iron workers, and all kinds of stuff. It definitely has that era feeling with modern stuff thrown on top of it. It was more about absorbing the feeling of it. I always write songs like that anyway. I think that’s from my youth. The first song I ever heard in life was “Big River” by Johnny Cash. It’s totally in my ilk to do that.

Read the entire interview at PureVolume.

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After splitting with the band’s guitarist during the Summer, Canadian act Laika has now checked in with the following announcement about recording a new album: “Long time no update.

The post Laika To Record New Album This Winter appeared first on Daily Heavy Metal News.

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Greg Prato of Songfacts recently conducted an interview with guitarist Rick Wartell of Chicago doom metal legends TROUBLE. A couple of excerpts from the chat follow below.

Songfacts: It’s been six years since the band’s last release, “Simple Mind Condition”. Why did it take such an extended period of time to release “The Distortion Field”?

Rick Wartell: Well, first and foremost, we went through two rather important personnel changes — they were both vocalists. First Eric Wagner and then Kory Clarke. Until we got to Kyle Thomas. So that alone is a big change. It’s a big step, and it takes time to get acclimated to a new vocalist and for a new vocalist to get acclimated to what we’re doing. That, plus recording glitches, that kind of thing. And another reason was that we didn’t have a record deal, so we didn’t feel any pressure to make this happen overnight. We took our time and wanted to make sure we were completely happy with it before we released it.

Songfacts: What would you say sets “The Distortion Field” apart from previous TROUBLE albums?

Rick: When Bruce [Franklin, TROUBLE‘s other guitarist/original member] and I wrote the music for this album, we kind of had something to prove. We wrote it with an attitude and wrote what we really wanted to write without any outside influences whatsoever for the first time in a long time, let’s just say that. And we really didn’t care if people were going to dig it or not. We went in and said, “We’re going to write what we want to write and let the chips fall where they may.” We had to be true to ourselves and make ourselves happy with this record first and foremost, and that was the attitude we went in with. Fortunately, people are liking it at this point, so we’re happy about that.

Songfacts: How would you say Kyle compares to Eric, vocally?

Rick: Well, they’re both completely different. I think Kyle‘s more a power vocalist with a lot of range. Eric is more of a melody singer with a really high range. But with Kyle, I think it gives us the opportunity to do a lot more musically, because we don’t have to worry about keys and key changes, key progressions and that kind of thing, because it just seems like he has more of a range than most singers I’ve heard out there, let alone Eric. I don’t like comparing one against the other, because it’s like comparing apples and oranges, really. They both have their really good qualities.

Songfacts: Is Eric still on good terms with the band?

Rick: Yeah. There’s no bad blood between any of the band members and Eric Wagner at all. Never been a bad word said between us. People probably find that hard to believe, but we’ve all known each other for an awfully long time, so we all wish each other well. It’s just a matter of what projects people want to work on. It’s individual choices.

Read the entire interview at Songfacts.

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