Posts Tagged “Robb Flynn”

Robb Flynn of San Francisco Bay Area metallers MACHINE HEAD has posted the latest installment of his online blog, “The General Journals: Diary Of A Frontman… And Other Ramblings”. It follows below in its entirety.

“I’m in a shitty mood.

“Not for the story I’m about to tell, but because of my thoughts afterward.

“I went out to San Francisco for my buddy Joe‘s birthday shenanigans. We went out for Moroccan food at a joint called El Mansour. The place had a great vibe, belly dancing, sword balancing, and amazing food! The lamb in particular was to-freakin’-die-for, slow roasted and covered in honey and cinnamon.

“On the way out there, Joe‘s buddy Tony picked me up from JingleTown [studio], since I didn’t want to drive as I knew I’d be drinking. On the hour-long trip out (Saturday traffic to San Francisco), he was telling me some pretty awesome stories about growing up in the ”70s. You see, Tony was a teenager in 1975, and used to go the famous San Francisco venue Winterland. Winterland was before my time, but being part of the scene you heard the legend, the stories and the history.

Tony is a big BLACK SABBATH fan, saw them back in ’75 on the ‘Sabotage’ tour and said it was a life-changing experience. Him and his buddies used to go to Winterland, load up on LSD, cigarettes, and weed, and go watch pretty much the cream of the crop of classic rock bands. TED NUGENT, SABBATH, DEEP PURPLE, JOURNEY, MONTROSE, you name it, he went and saw it. The shows would start and if people loved the opening band (essentially cheering non-stop) they’d get to do encores. He was telling me about a show JOURNEY (the opener!), killed it, and they got 4 encores, the support band got 4 encores! Then the headliner, MONTROSE, got 5 ENCORES! MONTROSE didn’t stop playing until 2:30 in the morning, everyone stayed, no one would even dare consider leaving and people experienced some of the best music of their lives.

“An opener getting encores, crazy…

“And the venue allowed things like this to happen. The venue just kept the bands rolling.

“Not only that, but all of the shows at Winterland were $4.50.

“4 dollars and 50 cents…..18 freakin’ quarters!

“Wow…?!?

“All I could think of was ‘what an amazing time for music.’

“People wonder why the ‘classic rock’ bands were so good. They were playing by their own rules, and they had a culture of venues and people around that were as crazy and fly-by-the-seat-of-their-pants as the bands themselves. The promoters around that time did anything to make the bands happy and if it meant playing all goddamn night? Let ’em!

“I tell you right now, though, there isn’t a band out there who would play til 2:30 a.m. nowadays, let alone find a major venue that would even ALLOW such a thing.

“I remember when I first started going to /playing thrash shows, it was a very similar thing. It was no rules, no security, no safety, no curfews, and for the most part anything went!
Venues these days are mostly run with union workers. In most major cities, you have to take breaks during the day, where a band can’t even sound check for an hour because the union workers need a ‘break.’ Nowadays if you play 1 minute past 11 p.m. at any of the large union venues, it costs the band $1,000 dollars a minute. When we were out with METALLICA playing arenas they regularly play 20 minutes past 11:00 p.m., and they regularly paid $20,000 to do so.

“I went and saw PEARL JAM about a month ago, and they played one of the best, most truly rock ‘n’ roll shows I’ve seen in eons. It was fucking magical, Eddie Vedder drank 3 bottles of wine, and about 2 hours into the set, he started getting a little sloppy, forgetting lyrics, missing cues, it looked like it was about to fall off the rails. The band then they took a quick break and he came back and played ‘Black’.

“Let me tell you, it was magic! I’m getting goose bumps writing this, just remembering it. It was such a turn-around; it totally took the night to an even higher level. At this point they were already 45 minutes past 11. They played several more songs and eventually the Oakland Arena (currently called the Oracle Arena, until some different stupid corporate sponsor buys it and changes it to something ridiculous like Florida’s 1-800-Ask Gary Amphitheater) turned on the house lights, signaling them to stop. PEARL JAM said ‘fuck you!’ and played 2 more songs with the house lights on! Eddie Vedder then brought the band back out onstage to do an extra-long goodbye to the crowd. I love their fucking attitude.

“In the end, they played 70 minutes over ‘curfew’ and I’d imagine left Oakland about $70,000 dollars lighter to do so. Of course PEARL JAM can afford it, and frankly it gave every single person there one of the best shows of their life. But this gesture to keep the ‘room’ in a good mood in conjunction with the Winterland conversation, it got me thinking.

“Shit has changed.

“On the one hand, I love PEARL JAM‘s ‘fuck you, were doing it our way’ attitude, and on the other hand, it angered and depressed me.

“Only the METALLICAs and PEARL JAMs can pull things like this. Bands that have sold millions of records, and they can afford it.

“If MACHINE HEAD tried playing an hour over curfew at say, the House Of Blues in Dallas, Texas, we’d be walking out of there with our entire guarantee eaten up. Even if the fans wanted it, some venue would do their best to shut it down, cut power, close curtain, whatever.

“The music business has sucked the life out of creativity. No one is encouraged to take risks, no one is encouraged to push the envelope, because it’s all about first-week sales! It’s about pointless radio play and how good your last tour went. How venues and promoters are squeezing the last drop of spontaneity out of your soul by not ‘allowing’ you to playing past curfew and not drawing outside the line.

“When we play that game, we essentially applaud mediocrity.

“There’s nothing dangerous about music these days, there’s nothing surprising about it either. There can’t be. Other than PEARL JAM, the only ‘band’ that doesn’t seem to really give a flying fuck and plays by their own rules isn’t really a band at all, are they? Axl and the ROSES are known for bending the rules and telling the powers that be to ‘fuck off,’ but because their band is so confusing they come across as a joke. But people don’t see this. People don’t see any of this!

“And the reason you don’t care is because it’s too easy to get sucked into your phone, or your Facebook, or your Twitter, or your Tumblr, or your Instagram, or your games, or your TV shows.

“Music isn’t important anymore. Say it is all you want, but the fact is, the 2 biggest rock records of last year only sold 400,000 copies, neither even went gold.

“Music is in the background of a game. Why go to a show when you can watch clips of it on YouTube and bitch about how it stinks live?

“And you know what, I miss music being important! I miss live shows being important. I miss feeling a part of something that was so high on my list I’d crawl through broken glass to get it.

“All this technology we have now that’s supposed to make us ‘connected?’ It’s making me feel more fucking disconnected than ever. I mean watching all the things that other people are doing that I’m not invited to or even a apart of? And yet at the same time completely disgusted by faux-self-importance it has given everyone, (here’s my dog or cat for the millionth time, here’s a selfie for the millionth time, here’s my kids for the millionth time, here’ the food I’m eating for the millionth time, here’s what I’m doing and you’re not). Don’t you wish you were eating what I’m eating?

“Fuck you!

I’ve thought of tweeting or Facebooking something so many time and just went, ‘who cares’, why should anyone care about this, and you SHOULDN’T care.

“You’re all my ‘friends,’ you’ve all ‘liked’ me, but really, you’re not my friends, because we don’t know each other. You took a photo of me, or you interviewed me, or we talked after a show. And after you get past the initial coolness, of re-connecting with someone from high school on Facebook or Twitter, you realize you truly have drifted apart.

“And fuckin’ A, I’m glad we did.

“I don’t want to be ‘friends’ with everyone; I don’t want to be ‘liked’ by everyone. I want to feel connected to something. And nothing I look at in the music business does that. I don’t get radio bands; I don’t get any of these fucking ‘scene bands.’ I don’t get bands singing about how great being American is, as if the geographic location you were born, (and had zero control over in any way shape or form), somehow makes us better than any other geographical place of birth!?

“I don’t get why people don’t want to see live music anymore, I don’t get it. Did you see the clip of Hetfield talking about how America needs to start ‘wanting’ music again? This is James ‘Fucking’ Hetfield talking, people! Didn’t those words do anything to anyone? Didn’t what he said make you feel a bit disgusted? I’m a METALLICA fan and those words being spoken kind of stung a bit.

“You can bitch all you want that MACHINE HEAD only does festival tours and only plays for 30 minutes, but all those bands (including us) that play festival tours, can’t draw squat when were not on festival tours. And even the big metal festivals are having troubles. Maybe the days of bands touring is coming to an end? Bands didn’t always tour, you know, Mozart didn’t hit the road for a year or 2 back in the day. Touring is really a phenomenon of the last 60 years or so. People didn’t always buy records, or CDs, or files, or streams, that’s also a phenomenon of the last 60 or 70 years.

“I don’t get the political fucking correctness of music anymore.

“I don’t get the narrow-mindedness of the world anymore.

“I don’t get people asking me every week to try and write ‘more like ‘Burn My Eyes’, please.’

“I don’t get religious nutjobs who think that when they die they’re going to 72 virgins when they get to heaven. (‘You’re guaranteed to get some pussy in the afterlife, boys,’ so obviously written by a man!)

“I don’t get religious fucking nutjobs who think that Jesus is coming back soon, wearing a white, blood-stained robe (stained with the blood of his enemies…whoever those are) and will be carrying a sword, and by ‘sword,’ the bible meant an AR-15!

“What did Napoleon say? ‘Religion is what keeps the poor from murdering the rich.’

“I don’t get why we need to hear ‘America The Beautiful’ and ‘thank a soldier’ in a TV commercial, 22 and 14 times respectively during the Superbowl.

“I don’t fucking get it.

“You don’t care about music, and I don’t care about music, and I sit here wondering if this feeling is a result of the business itself, or is the business a result of our own apathy towards music.

I feel lost.

“I feel alone.

“Something has to change.

“Someone has to stir the pot.

“Something needs to come along and wake us up out of the slumber.”

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San Francisco Bay Area metallers MACHINE HEAD entered GREEN DAY‘s Oakland, California’s JingleTown Recording compound on February 9 to begin recording their new album for a late 2014 release via Nuclear Blast Entertainment.

The first in a series of short segments regarding the production side of making MACHINE HEAD‘s new CD can be seen below.

Tentative songtitles set to appear on the new MACHINE HEAD album include “Killers & Kings”, “Beneath The Silt”, “Eyes Of The Dead” (formerly “Ojos De La Muerte”), “Sail Into The Black”, How We Die” and “Night Of The Long Knives”.

As part of this year’s Record Store Day on April 19, MACHINE HEAD will release a 10-inch vinyl single, with the A-side containing the “demo” version of a new song, “Killers & Kings”. The B-side will be a cover version of the track “Our Darkest Days” from one of MACHINE HEAD‘s favorite bands, IGNITE.

Speaking to U.K.’s Metal Hammer magazine, MACHINE HEAD frontman Robb Flynn stated about the band’s new material: “It sounds like MACHINE HEAD! It’s definitely moving forward, which I feel like we’re probably always gonna do.

“We’re not a band that ever looks back. We do our thing and try to take the life experiences that we have and the musicianship that we’ve evolved and try to use it. Obviously, we have our sound and we have the MACHINE HEAD patented harmonics, the downtuned riffs and I sing the way I sing.

“I think Bob Dylan said it best: ‘You just find new ways to say the same thing.'”

Speaking about some of the specific tracks and the lyrical themes covered on the new album, Flynn said: “I’ve got some pretty cool lyrics ready. There’s a song called ‘Night Of The Long Knives’, and it’s pretty fucked! It’s about the Manson murders, and the lyrics are really dark and vicious.

“We’ve found some new twists to give to the MACHINE HEAD sound and some new fire and excitement.”

Asked what the band’s main aims were when they started composing music for the new CD, Flynn said: “Well, it’s nice to try and have a plan, but music has a way of unravelling over time! [Laughs] You’ve just got to roll with it.

“With [2007’s] ‘The Blackening’, I’d love to say I had this grand vision of nine- and 10-minute songs, but the first four songs we wrote were the four shorter songs on the record. For months, there was no indication whatsoever that we’d have 10-minute songs. That stuff came later.

“Human nature wants to control and dictate where things will go, but you can’t. It won’t let you! The more you try, the more it goes, ‘Fuck you.’ It’s going some other way!”

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Machine Head have been on our radar pretty frequently in 2013, but mostly due to Robb Flynn dressing up like a woman and then poking some fun at Avenged Sevenfold. This time it's actual Machine Head news, and good news at that! So first up we've got guitarist Phil Demmel posting on his Twitter regarding …

The post MACHINE HEAD Are More Than Halfway Through Writing A New Record appeared first on Metal Injection.

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San Francisco Bay Area metallers MACHINE HEAD are continuing work on the material for the follow-up to 2011’s “Unto The Locust” for a 2014 release. Writing on his official Twitter profile earlier today (Thursday, September 19), MACHINE HEAD guitarist Phil Demmel said: “Pretty sure we’re over the hump writing this record. Each song is a monster so far. So stoked!”

Meanwhile, MACHINE HEAD frontman Robb Flynn has posted a picture of what appears to be a list of working songtitles for the forthcoming CD: “Killers & Kings”, “Beneath The Silt”, “Sail Into The Black”, “Ojos De La Muerte” and “Night Of The Long Knives”.

MACHINE HEAD‘s next album will be the band’s first with new bassist Jared MacEachern, who replaced Adam Duce this past spring.

Some fans might remember MacEachern from MACHINE HEAD‘s 2007 “The Black Tyranny” tour, on which he performed with his previous band, SANCTITY. MACHINE HEAD, challenged to find a fill-in bass player for the North American tour after an injury sidelined Adam Duce, also found themselves in need of someone to sing harmony with singer/guitarist Robb Flynn.

Earlier this year, MACHINE HEAD conducted an extensive search for candidates through various channels, the most fruitful of which proved to be video submissions. Sifting through more than 400 videos, the band personally reviewed and evaluated everyone’s performances, including MacEachern, who made the short list without a second thought.

After reviewing all of the submissions, the band narrowed down the 400-plus candidates to a short list of seven, each of whom took a trip to Oakland to perform a handful of songs in person and spend the day hanging with the band.

MACHINE HEAD is currently finalizing a new label home following the expiration of the band’s contract with longtime record company Roadrunner Records.

MACHINE HEAD‘s most recent studio album, “Unto The Locust”, sold more than 17,000 copies in the United States in its first week of release to land at position No. 22 on The Billboard 200 chart — putting MACHINE HEAD in the Top 25 for the first time in the band’s history.

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Machine Head’s Robb Flynn and Phil Demmel

Machine Head are busy working on the follow-up to 2011′s epic Unto The Locust, and according to guitarist Phil Demmel, it’s all coming along nicely.

“Pretty sure we’re over the hump writing this record,” comments the man himself via Twitter. “Each song is a monster so far. So stoked!”

Get excited.

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AVENGED SEVENFOLD is working on a video for the song “Shepherd Of Fire” with director Wayne Isham, who has helmed videos for such established artists as METALLICA, MTLEY CRE, SIMPLE PLAN, PANTERA, ‘N SYNC, SHANIA TWAIN, GODSMACK, BRITNEY SPEARS, LEONA LEWIS, PINK FLOYD, SHERYL CROW, JOSS STONE, MADONNA, AVRIL LAVIGNE, DEF LEPPARD and BON JOVI.

Isham previously worked with AVENGED SEVENFOLD on the “Seize The Day”, “Afterlife”, “Nightmare” and “So Far Away” videos.

According to The Pulse Of Radio, AVENGED SEVENFOLD singer M. Shadows told a Canadian radio station that he isn’t bothered by recent comments from MACHINE HEAD frontman Robb Flynn, in which Flynn called the band’s new “Hail To The King” CD a “covers album.” Flynn specifically called the band out for songs like “This Means War”, which bears a strong resemblance to METALLICA‘s “Sad But True”, along with others.

Shadows told the Ottawa station, “I have met Robb on numerous occasions and he’s always been cool to me. And I just read it as a joke . . . I really don’t know what to say about it other than I agree with him on the ‘Sad But True’ thing — that was obviously an inspiration for that song. Everything else, I kind of think he . . . If it is a joke, it was kind of overboard, ’cause it doesn’t make sense in my mind.”

Shadows added, “Some people might see it as being as an underhanded . . . joke. But, to me, if he just wants to go in there and write whatever he wants, I think that’s totally cool. Everyone has an opinion and everyone should be entitled to say whatever they want. So it’s no skin off our backs.”

Flynn didn’t pull any punches in his critique, writing, “Congratulations to AVENGED SEVENFOLD on their latest ‘covers album’ coming in at #1, who knew that re-recording METALLICA, GUNS N ROSES, and MEGADETH songs could be such a worldwide hit!!?? Ba-dap Psssssss!!”

Asked if the bands Flynn mentioned were influences, Shadows replied, “I think all the bands he said we were very inspired by. I think also [BLACK] SABBATH, [LED] ZEPPELIN, THE ROLLING STONES.”

“Hail To The King” sold 159,000 copies in its first week of release, giving the California band their second straight chart-topper after 2010’s “Nightmare”.

Next up for AVENGED SEVENFOLD is its first major tour in support of the new CD, which starts October 3 in Chicago.

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Video footage of Jeff Waters‘ (ANNIHILATOR) September 14 Epiphone-sponsored guitar clinic at Rockland Music in Witten, Germany can be seen below.

ANNIHILATOR‘s 14th studio album, “Feast”, sold around 800 copies in the United States in its first week of release.

Asked what the tipping point was in terms of ANNIHILATOR shifting its focus away from North America, Waters told Dead Rhetoric: “[ANNIHILATOR‘s original record label] Roadrunner dropped everything that was metal. There were no bands left from that purge — Canadian or United States — that had the word metal in it. You had Robb Flynn from VIO-LENCE turn into MACHINE HEAD. They didn’t start off with the thrash they have been playing recently — they had red jumpsuits on and changed their sound/image. Bands lost their record deals — nobody was in a position to carry on. Most bands just got jobs, some bands adapted and got rid of their name, changed musicians and went on. For MACHINE HEAD, that worked. We said, this is what we do. We had the luck of Europe and Japan staying with these styles and still buying our music.

“We didn’t have an option in North America unless I wanted to change the name of the band and play a different form of music. ‘Set The World On Fire’ didn’t do well in North America, but it was the second-biggest album for us ever in Japan, and ‘King Of The Kill’ was the biggest one there. ‘Set The World On Fire’ had us headlining to 80,000 people at the Dynamo festival in Europe, so we were going up but North America didn’t see that. I didn’t have time to tour the world and try to break back in Canada and the United States. Playing this was not the kind of music the labels wanted to sign anyway, a traditional form of heavy metal and thrash metal. Fans may have wanted it, but the industry didn’t, the clubs didn’t, the booking agents didn’t. They weren’t having it in 1993. I just decided I would vacation here and live in Canada, but do my hobby and living where people wanted me in Europe and Japan.

“My son is over 18; I can now tour wherever I want. With the Internet, it is awesome. The fans are finding us and wondering why we haven’t been releasing records in North America and touring there. They think I don’t like them, which is another misconception. If a label would sign me there, I would gladly tour, and now we got a deal through UDR Music/EMI, so there are no excuses.”

ANNIHILATOR‘s current touring lineup:

Jeff Waters – Guitar, Vocals
Dave Padden – Lead Vocals
Mike Harshaw – Drums
Alberto Campuzano – Bass

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“No Way Out”, the new video from Canadian metal veterans ANNIHILATOR, can be seen below. The clip accompanies the band on their tour from the airport to the hotel room, from the rehearsal room to the stage at the Wacken Open Air festival in Wacken, Germany in front of over 80,000 metal fans.

“No Way Out” comes off ANNIHILATOR‘s 14th studio album, “Feast”, which sold around 800 copies in the United States in its first week of release.

Asked what the tipping point was in terms of ANNIHILATOR shifting its focus away from North America, ANNIHILATOR mainman Jeff Waters told Dead Rhetoric: “[ANNIHILATOR‘s original record label] Roadrunner dropped everything that was metal. There were no bands left from that purge — Canadian or United States — that had the word metal in it. You had Robb Flynn from VIO-LENCE turn into MACHINE HEAD. They didn’t start off with the thrash they have been playing recently — they had red jumpsuits on and changed their sound/image. Bands lost their record deals — nobody was in a position to carry on. Most bands just got jobs, some bands adapted and got rid of their name, changed musicians and went on. For MACHINE HEAD, that worked. We said, this is what we do. We had the luck of Europe and Japan staying with these styles and still buying our music.

“My opinion would be much different if those two territories had not been there, I probably would have been quite bitter and depressed.

“We didn’t have an option in North America unless I wanted to change the name of the band and play a different form of music. ‘Set The World On Fire’ didn’t do well in North America, but it was the second-biggest album for us ever in Japan, and ‘King Of The Kill’ was the biggest one there. ‘Set The World On Fire’ had us headlining to 80,000 people at the Dynamo festival in Europe, so we were going up but North America didn’t see that. I didn’t have time to tour the world and try to break back in Canada and the United States. Playing this was not the kind of music the labels wanted to sign anyway, a traditional form of heavy metal and thrash metal. Fans may have wanted it, but the industry didn’t, the clubs didn’t, the booking agents didn’t. They weren’t having it in 1993. I just decided I would vacation here and live in Canada, but do my hobby and living where people wanted me in Europe and Japan.

“My son is over 18; I can now tour wherever I want. With the Internet, it is awesome. The fans are finding us and wondering why we haven’t been releasing records in North America and touring there. They think I don’t like them, which is another misconception. If a label would sign me there, I would gladly tour, and now we got a deal through UDR Music/EMI, so there are no excuses.”

Regarding the state of the metal scene in 2013, Waters said: “We are in a slight little lull here. ANTHRAX, you had your singer switch with Joey Belladonna coming back, a great album and tour, so we are waiting for a new record and hoping it’s going to be a kick-ass record. You’ve got SLAYER who has lost the amazing Jeff Hanneman, but Kerry King also wrote a lot of their big songs too. They lost the team but they still have the one guy who could bring them back and resurrect themselves if he wants to do it. Gary Holt is now in there as one of the best riff writers and players in the history of thrash; very underrated guy. If Gary and Kerry hook up, if they block out the outside world and write one of the best records, they could do it for SLAYER. You have METALLICA; there’s no new record from them. MEGADETH are doing what they are doing. We are waiting, what’s coming. That may be one reason why the new ANNIHILATOR record is unexpectedly doing a zillion times better than anything since 2001. Within four hours of the actual release in Europe, which got released on a Friday the record company scrambled, EMI knew we had a problem because the first run sold out. The next week the label got it back in the stores for the next round and it’s selling out all over again. I never ever thought that would happen for this band over there. Our ticket sales for the upcoming tour have gone through the roof. In a way, there is nothing coming out. DEVILDRIVER has a record coming out. With the lull of the ‘Big Four,’ there is an emptiness. The timing of our record has helped, I hope some new records come out soon that kick ass. Metal fans are waiting for something. Where is the next wave coming from? Where is the next surge of five or six killer records in six months? People are starving for stuff. I am searching iTunes looking for something I don’t already have that is all the old-school stuff.”

ANNIHILATOR‘s current touring lineup:

Jeff Waters – Guitar, Vocals
Dave Padden – Lead Vocals
Mike Harshaw – Drums
Alberto Campuzano – Bass

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Spokane’s Rock 94 1/2 conducted an interview with AVENGED SEVENFOLD bassist Johnny Christ at the Aftershock festival, which took place September 14-15 at Discovery Park in Sacramento, California. You can now watch the chat below.

According to The Pulse Of Radio, AVENGED SEVENFOLD singer M. Shadows told a Canadian radio station that he isn’t bothered by recent comments from MACHINE HEAD frontman Robb Flynn, in which Flynn called the band’s new “Hail To The King” CD a “covers album.” Flynn specifically called the band out for songs like “This Means War”, which bears a strong resemblance to METALLICA‘s “Sad But True”, along with others.

Shadows told the Ottawa station, “I have met Robb on numerous occasions and he’s always been cool to me. And I just read it as a joke . . . I really don’t know what to say about it other than I agree with him on the ‘Sad But True’ thing — that was obviously an inspiration for that song. Everything else, I kind of think he . . . If it is a joke, it was kind of overboard, ’cause it doesn’t make sense in my mind.”

Shadows added, “Some people might see it as being as an underhanded . . . joke. But, to me, if he just wants to go in there and write whatever he wants, I think that’s totally cool. Everyone has an opinion and everyone should be entitled to say whatever they want. So it’s no skin off our backs.”

Flynn didn’t pull any punches in his critique, writing, “Congratulations to AVENGED SEVENFOLD on their latest ‘covers album’ coming in at #1, who knew that re-recording METALLICA, GUNS N ROSES, and MEGADETH songs could be such a worldwide hit!!?? Ba-dap Psssssss!!”

Asked if the bands Flynn mentioned were influences, Shadows replied, “I think all the bands he said we were very inspired by. I think also [BLACK] SABBATH, [LED] ZEPPELIN, THE ROLLING STONES.”

“Hail To The King” sold 159,000 copies in its first week of release, giving the California band their second straight chart-topper after 2010’s “Nightmare”.

Next up for AVENGED SEVENFOLD is its first major tour in support of the new CD, which starts October 3 in Chicago.

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Lots of drama this week, between Robb Flynn calling out Avenged Sevenfold and this odd story about Bruce Dickinson. Here are the most visited pages of the week: MACHINE HEAD's Robb Flynn Congratulates AVENGED SEVENFOLD For "Their Covers Album," Hail To The King Going To #1  AVENGED SEVENFOLD Frontman Responds To ROBB FLYNN's "Cover Albums" …

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