Posts Tagged “Ted Nugent”

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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Brian Schenk of the KQCK radio station conducted an interview with members of WARRANT and SKID ROW when the two bands played at the Wild Horse Pass Casino in Chandler, Arizona on August 23. You can now watch the footage below.

With over 10 million album sales spanning nearly two and a half decades, WARRANT came into the world spotlight when their debut album, “Dirty Rotten Filthy Stinking Rich”, reached multi-platinum stardom. Consisting of original bandmembers Erik Turner, Jerry Dixon, Steven Sweet, Joey Allen and Robert Mason now on lead vocals, they continue to tour worldwide and play in front of sold-out crowds.

In 2011, the band released “Rockaholic”, their latest CD, on iTunes, and their singles “Life’s A Song” and “Home” videos received a huge amount of success, which prompted them to launch their 21st-anniversary “Cherry Pie” tour with FIREHOUSE and TRIXTER.

At the helm for “Rockaholic” was mega-producer Keith Olsen (OZZY OSBOURNE, WHITESNAKE, SCORPIONS), while the mixing duties were handled by Pat Regan (KISS, DEEP PURPLE, TED NUGENT).

SKID ROW‘s latest EP, “United World Rebellion – Chapter One”, was released in Europe on May 24 via Germany’s UDR Music. The European version of the EP includes two bonus tracks, both of them cover tunes: “Fire Fire” (EZO) and “United” (JUDAS PRIEST).

“United World Rebellion – Chapter One” sold around 1,500 copies in the Unted States in its first week of release. Released in North America on April 16 via MRI, the effort is the first in a series of EPs that the reincarnated band — Dave “Snake” Sabo (guitar), Rachel Bolan (bass), Scotti Hill (guitar), Johnny Solinger (vocals) and Rob Hammersmith (drums) — plans to release in the near future.

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Brian Schenk of the KQCK radio station conducted an interview with members of WARRANT and SKID ROW when the two bands played at the Wild Horse Pass Casino in Chandler, Arizona on August 23. You can now watch the footage below.

With over 10 million album sales spanning nearly two and a half decades, WARRANT came into the world spotlight when their debut album, “Dirty Rotten Filthy Stinking Rich”, reached multi-platinum stardom. Consisting of original bandmembers Erik Turner, Jerry Dixon, Steven Sweet, Joey Allen and Robert Mason now on lead vocals, they continue to tour worldwide and play in front of sold-out crowds.

In 2011, the band released “Rockaholic”, their latest CD, on iTunes, and their singles “Life’s A Song” and “Home” videos received a huge amount of success, which prompted them to launch their 21st-anniversary “Cherry Pie” tour with FIREHOUSE and TRIXTER.

At the helm for “Rockaholic” was mega-producer Keith Olsen (OZZY OSBOURNE, WHITESNAKE, SCORPIONS), while the mixing duties were handled by Pat Regan (KISS, DEEP PURPLE, TED NUGENT).

SKID ROW‘s latest EP, “United World Rebellion – Chapter One”, was released in Europe on May 24 via Germany’s UDR Music. The European version of the EP includes two bonus tracks, both of them cover tunes: “Fire Fire” (EZO) and “United” (JUDAS PRIEST).

“United World Rebellion – Chapter One” sold around 1,500 copies in the Unted States in its first week of release. Released in North America on April 16 via MRI, the effort is the first in a series of EPs that the reincarnated band — Dave “Snake” Sabo (guitar), Rachel Bolan (bass), Scotti Hill (guitar), Johnny Solinger (vocals) and Rob Hammersmith (drums) — plans to release in the near future.

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Firearms love still very much present among the Nugent family.

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“Blown Away”, the new video from Canadian rockers CONEY HATCH, can be seen below. The song comes off the band’s reunion album, “Four”, which will be released on September 24 in North America and September 27 in Europe via Frontiers Records.

Once dubbed “the loudest band in Toronto,” CONEY HATCH is back with its first record of new material in over two decades. “Four” is chock-full of the unique brand of melodic riff-rock that first brought the band to the attention of critics and rock fans all over the world.

Formed back in the early ’80s in Toronto Canada, original members Andy Curran, Carl Dixon, Dave Ketchum and Steve Shelski released three records on Anthem Records in Canada and Polygram for the rest of the world. The band toured relentlessly and played support slots on tour with the likes of JUDAS PRIEST, IRON MAIDEN, ACCEPT, TED NUGENT and CHEAP TRICK, to name a few. After three releases and many miles of success and rocky road under their belts, the four band members went their separate ways in 1986.

The story of this reunion is an amazing journey that only fate could be responsible for. Late one night, on his way home from a recording session in Australia, a weary Carl Dixon had a near fatal head-on car collision that left him clinging to life. While Carl was still in an induced coma, his wife reached out to the other members of CONEY HATCH and asked them to offer words of encouragement over to the phone to Carl. She held the phone to his ear as he lay unconscious in his bed. “I told him to get better quick,” says bassist/vocalist Andy Curran. “I said we had a lot more rockin’ to do with CONEY HATCH. I really didn’t think we’d play together again but it just came out of my mouth… and Carl remembered it!”

After many operations, Band-Aids, stitches, titanium rods, doctors, nurses, medicine and sheer gut-determination Carl Dixon returned to the stage with his three original bandmates in August of 2010 in Hamilton Ontario in front of 7,500 hungry HATCH fans. News of that show travelled fast and the original CONEY HATCH was soon invited to play Firefest 2011 for their first time ever in the U.K.! The rave reviews flooded in after that sweaty night in Nottingham and the band returned to their homeland to find a record deal offer waiting for an all new CONEY HATCH record.

After much discussion and soul-searching, the band decided to grab the opportunity from Frontiers to work together again. They enlisted the help of long time friend and Juno Award-winning engineer Vic Florencia (Danko Jones, Nelly Furtado, Hillary Duff, Marc Jordan, Olivia Newton-John etc) to capture the new recordings.

“All of us are thrilled to have recorded a fourth CONEY HATCH record,” says Curran. “We never thought it would happen but the stars aligned and hell froze over! The new material feels like it could have been the record after ‘Outa Hand’ before ‘Friction’… Its raw and not too overproduced, but still has that vintage HATCH sound. Sonically, we did a ‘2013 L.A. botox face lift’ job and it sounds pretty fresh. The recording process was extremely challenging as the four of us all live separate lives in four different towns…it was honestly like herding cats, but eventually we got them all in the same bag! We’re very happy with the final outcome.”

“Four” track listing:

01. Blown Away
02. Boys Club
03. Down & Dirty
04. Do It Again
05. Connected
06. Revive
07. We Want More
08. Devil U Know
09. Marseille
10. Keep Drivin’
11. Holdin’ On

CONEY HATCH is:

Carl Dixon (lead vocal, guitar)
Andy Curran (vocals, bass)
Steve Shelski (lead guitar)
Dave Ketchum (drums)



Coney-Hatch-Four

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Brian McCollum of the Detroit Free Press recently conducted an interview with legendary BLACK SABBATH bassist Geezer Butler. A few excerpts from the chat follow below.

On the band’s new album, “13”, topping sales charts across the globe:

Butler: “It’s just amazed us. We thought there’d be some interest in it. But never in our wildest dreams would we have expected it to go to No. 1. Around the world, all over the place, it’s doing well.”

On the original BLACK SABBATH lineup being considered the band’s most definitive incarnation:

Butler: “When you mention it to the average person, they’ll know BLACK SABBATH with Ozzy [Osbourne, vocals] in the band. That was our breakthrough (period) in the ’70s. People so often associate Ozzy with SABBATH, and SABBATH with Ozzy. It’s the same thing with a band like VAN HALEN — people like David Lee Roth and Sammy Hagar, but the classic lineup would be Dave.”

On producer Rick Rubin‘s contribution to the new album’s success:

Butler: “When we tried to do albums in the past, we all had different ideas of what it should be like, and it never ended up being successful. This is what we needed — we needed a producer. Rick Rubin had always made it known he wanted to be the first-choice producer if we all got back together.

“He wanted to go back to the old, basic sort of SABBATH sound — not a lot of overdubs, just a couple of guitar solos. You capture the feeling. With a lot of bands these days — and we have in the past — you’ll go put the drums down, the next day you put on the bass, then guitar. It doesn’t have the same feeling as being in the room together with Ozzy singing. That’s how we did the first three albums.”

On BLACK SABBATH‘s current touring drummer Tommy Clufetos, who has previously played with Osbourne, Ted Nugent, Alice Cooper and Rob Zombie:

Butler: “Tommy‘s a real nice bloke to get on with as well. He’s a phenomenal drummer — he picks things up so quickly. It’s incredible the way he works. He’s really dedicated to the stuff he does.”

On original SABBATH drummer Bill Ward‘s absence from the “13” recording sessions and current tour:

Butler: “It would be great if Bill ever came back, it really would, if all the stars and planets were aligned. It would be a democratic decision, really. If Bill felt up to it, and played like he used to be able to play, we’d have welcomed him with open arms. But you have to maintain a certain standard. You can’t go on with someone not up to standard, no matter who they are.”

Read the entire interview at Detroit Free Press.

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“The Motor City Madman” Ted Nugent returned to “Quinn’s AM Army” just before his stop in Baltimore during the summer tour.

Just days after making headlines for his comments regarding the George Zimmerman acquittal, Nuge talks respect for tools, guns, racism, independence and life.

The interview in its entirety can be heard using the SoundCloud widget below.

Shawn Quinn hosts the “AM Army” morning show weekdays from 5:30 a.m. to 10:00 a.m. on mainstream rock station 94.3 WQCM.

According to The Pulse Of Radio, Nugent cut loose with his opinions on racial profiling, George Zimmerman verdict backlash and several other topics during an interview on Nick Cannon‘s podcast,. Nugent explained, “I think when you use the word profile, if a Dalmatian has been biting the children in the neighborhood, I think we’re going to look for a black and white dog . . . We played the Milwaukee state fair a couple years ago and these black mobs were just attacking white folks coming out of the fair. And over and over again I watch the news and here’s a rape and here’s a burglary and here’s a murder in Chicago. Twenty-nine shot. Twenty-nine blacks shot by 29 blacks. At some point you got to be afraid of black and white dogs if the Dalmatian’s doing the biting.”

The rocker also shared that he doesn’t believe that African Americans are oppressed. He explained, “I’m not buying any claim of black oppression. We have a black president, a black attorney general, black Supreme Court justices, we have Nick Cannon, we have the most respected and revered black leaders and entrepreneurs and CEOs and entertainers. There is no limitation to anybody of any color, any race, any ethnicity, any sexual orientation if you put your heart and soul into being the best that you can be, to speak clearly and show up early and produce more than the competition. I don’t care where you’re from, you will be the American dream. Case closed.”

Later during an interview with WXBR in Massachusetts, Nugent shared his thoughts on Stevie Wonder‘s boycott of Florida following the George Zimmerman verdict. He said, “So 700 black people, mostly young children and young people were slaughtered in Chicago last year by black people, and not a peep out of Stevie Wonder? . . . Are you kidding me? What is this, One Flew Over The Cuckoo’s Nest? How brain-dead do you have to be? How strangled by denial, how dishonest, how cheap do you have to be to focus on a clear-cut case where all the evidence, from the DOJ, from the FBI, from the army of investigative specialists in Florida determined that George Zimmerman acted in self-defense against a life-threatening attack by hoodlum, dope-smoking Trayvon Martin?”

Interview (audio):

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Ted Nugent will release ‘Ultralive Ballisticrock’, a new CD/DVD release, on October 18th in Europe and October 22th in North America

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“Ultralive Ballisticrock” marks Nugent’s first live album since 2009’s “Motor City Mayhem.”

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Legendary rocker Ted Nugent will release “Ultralive Ballisticrock” — a new 2 CD+DVD available in three formats (2CD+DVD deluxe edition digipak, DVD/Blu-ray and digital download) — on October 22 on Frontiers Records.

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