Showing posts with label Ozzy Osbourne. Show all posts
Showing posts with label Ozzy Osbourne. Show all posts

The Rock Gods & Metal Monsters 2019 Auction


Backstage Auctions is proud to The Rock Gods & Metal Monsters 2019 Auction, the most anticipated auction event of the year! 


We are so excited about this year's Rock Gods & Metal Monsters Auction and we are positively sure that the items we will be presenting in the auction will excite fans and collectors all over the world! The auction catalog will showcase over 1,000 auction lots of rare hard rock and heavy metal music memorabilia featuring;  

AC/DC, Aerosmith, Alice Cooper, Anthrax, Black Sabbath, Bon Jovi, The Cult, Deep Purple, Def Leppard, Dio, Dream Theater, Gary Moore, Guns N' Roses, Iron Maiden, Judas Priest, KISS, Megadeth, Metallica, Michael Schenker, Motley Crue, Motorhead, Ozzy Osbourne, Pantera, Poison, Rainbow, Ratt,  Rob Zombie, Runaways, Rush, Saxon, Scorpions, Slayer, Stryper, Testament, Thin Lizzy, UFO, Uriah Heep, Van Halen, Venom, WASP, Whitesnake, White Zombie, Y&T and so many more! 

Fans and collectors around the world will be blown away by the historical and rare pieces of music memorabilia including;  Artwork, Artist Signed Items, Record Awards, Instruments & Gear, Concert Tour T-Shirts & Jackets, Concert Handbills, Movie Props, Tickets & Passes, Tour Programs & Itineraries, Picks & Sticks, Photos, Posters, Promotional Swag, Vinyl and more! 

This year’s Rock Gods & Metal Monsters auction will showcase some very spectacular and rare collections. Highlights include: 

A selection of notable Metallica collectibles from the 1980s. 
Hundreds of pieces of KISS memorabilia
Collection of very rare U.S. and European metal concert posters
Early day Black Sabbath, Ozzy and Randy Rhoads memorabilia.
Huge collection of vintage concert t-shirts and jackets! 
Rare movie memorabilia direct from the creators of “Detroit Rock City”.
A historic collection of vintage Bay Area thrash metal concert handbills.

The auction will be live and open for bidding May 11 - 19, 2019 with a special VIP Preview beginning a week before the bidding goes live. So mark your calendar, this is definitely "the" auction event of the year! 

If you are not already a VIP, we invite you to register for your VIP All Access Pass sign up today! SIGN UP HERE

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We look forward to seeing you at the auction block! 

CD Review: Zakk Wylde – Book of Shadows II

CD Review: Zakk Wylde – Book of Shadows II
eOne Music
All Access Rating: A

Zakk Wylde - Book Of
Shadows II 2016
A sequel two decades in the making, Zakk Wylde's Book Of Shadows II seems at odds with the gregarious personality – not to mention the increasingly muscular physique – of its bearded viking of a creator.

Foregoing the mighty roar of a typical Black Label Society or Ozzy Osbourne release, Wylde crafts a dog-eared, toned-down hymnal of introspective, bittersweet ballads with a soulful Southern-rock drawl reminiscent of the Allman Brothers on this, his beautifully rendered second solo album.

The assured work of a man once broken and lost and cautiously hoping beyond hope that he's completely healed, Book of Shadows II, due out on eOne Music, is deeply moving, with the lush, pastoral "Autumn Changes" and "Lay Me Down" and a bluesy "Tears of December" serving notice immediately that Wylde, for all his fortitude, is acutely aware of his all-too-human vulnerability. "Darkest Hour" and "Forgotten Memory" – with its echoes of Jimi Hendrix's "Little Wing" – quietly and gracefully swan dive all the way to rock bottom and yearn for salvation, while "Lost Prayer" has a hopeful, sunny glow ensconced in blues tradition.

Here, warm organ sounds coat a rich, organic blend of tasteful electric and acoustic guitar meditations, all backing resonant vocals soaked in too much melancholy. Melodies slowly evolve and take shape, in no hurry to articulate the inner turmoil of the artist. Tracks such as "Sorrowed Regret" and "The Levee" start out spare and haunting, before Wylde adds instrumental flesh to these creaking bones, in a sense gradually bringing them back to life in some sort of folk-rock resurrection. Spiritual and cathartic, Book of Shadows II is full of woe, evocative of a life of hard-earned lessons and turning inward to confront whatever demons are still in there.
– Peter Lindblad

Black Sabbath's 'Sabotage': Anger is an energy

Classic album from metal pioneers hits a milestone
By Peter Lindblad

Black Sabbath's sixth studio
album 'Sabotage'
Nobody's going to lie about Sabotage's age. The sixth studio album by heavy metal godfathers Black Sabbath did, indeed, turn 40 last week in late July, but it's hard to imagine Ozzy Osbourne, Bill Ward, Geezer Butler and Tony Iommi throwing a party in its honor.

Born out of anger and frustration over ongoing litigation with former manager Patrick Meehan, 1975's Sabotage, perhaps the most underrated of Sabbath's acclaimed "first six" albums, was recorded at Morgan Studios in London. The whole soul-sucking process seemed to take an eternity, as Ozzy would lament in his autobiography, saying that "Sabotage took about four thousand years" to make. Ozzy got so fed up by the whole experience that the singer, who rarely wrote lyrics for Sabbath, penned what amounted to a scathing "diss" track with "The Writ," which asked if Meehan was actually Satan or a man and posited the confrontational query: "What kind of people do you think we are? Another joker who's a rock and roll star for you/Just for you." It was a rhetorical question for Ozzy.

Hyperbole aside, the interminable sessions for Sabotage, only made more exhausting by the band's legal entanglements, caused no shortage of headaches. Butler is quoted in the liner notes to Reunion, the band's 1988 live album, as saying that "music became irrelevant to me." And yet, it's clear from listening to Sabotage, even all these years later, that Black Sabbath put a great deal of care into making it. Although intent on continuing down a primrose path that would lead them further into prog-rock temptation – "Supertzar" is practically a choral piece, with grand arrangements and the London Philharmonic Choir wailing and moaning in sinister fashion in chasing a striking Iommi riff like spectral hunting dogs – Sabotage is a record that has a hot temper, the very title suggesting that Sabbath was sick and tired of being screwed over. And raw emotions have often fueled great rock 'n' roll.

Frayed nerves and all, and perhaps on the cusp of a collective nervous breakdown, the original Sabbath lineup muddled through Sabotage's difficult birth and, in the process, broke new ground in terms of songwriting structures and musical innovation. Although not exactly immediately accessible, Sabotage has endured, slowly becoming a fan favorite, even as everyone laughed at its ludicrous album art and Bill Ward in his red tights. An arty concept gone horribly wrong, although, to be fair, this seemed to happen a lot with Sabbath, the cover of Sabotage ranks right up there with those of Paranoid and Never Say Die! for sheer absurdity.

 It's a journey with odd detours, including the completely out-of-character synth-pop flatulence of the universally hated "Am I Going Insane." Thankfully, it's the only real misstep here, although another confounding turn takes place after the opener "Hole In the Sky" essentially draws up the blueprints for stoner metal, with its heavy swing and charged, churning riffage. In a bizarre bit of sequencing, an instrumental titled "Don't Start (Too Late)" follows, allowing Iommi to display his prowess on acoustic guitar, as he pieces together complex little puzzles with an easy, smooth dexterity that proves, once and for all, that he's more than just a master of riffs. Which is great, except that any momentum gained from "Hole In The Sky" is stalled momentarily for an interlude that probably should have arrived in the middle of Sabotage, rather than at the beginning.

Enter "Symptom of the Universe," the proto-thrash beast that seeks and destroys, inspiring Metallica and the rest of its ilk to rise up from the gutter and revolt against everything '80s glam-metal represented. Trace the origins of the New Wave of British Heavy Metal and here is where you end up, and yet, somewhere along the way, Sabbath decides the track needs a jaunty acoustic jam that seems to fly directly in the face of its evil, menacing riff.

All of this kind of works in a weird way, but upon its release, Sabotage must have been somewhat off-putting, although the forceful, straightforward push and solar-powered flashes of "The Thrill Of It All" and "Megalomania" seem to suggest a more grounded Sabbath that has freed itself from the shackles of doom and gloom. And then there's Ozzy's blazing vocals on "The Writ," so powerful and commanding. Of course, Sabotage precipitated a sad decline, their creative powers eroded by drug use that was the stuff of legend. They would recover, but not until Ronnie James Dio arrived. Sabotage was then, in some regard, a link to past glories, a life line for fans who wondered afterward if the old Sabbath was ever coming back. These days, even if it's not on the level of say Masters Of Reality or Vol. 4, it's damn close.
– Peter Lindblad

Alex Skolnick Unlocks His Vault Of Vintage Testament Treasures for Auction

Alex Skolnick
For more than 3 decades Alex Skolnick has shared his near immeasurable talents with all of us.  Known as one of the fastest and technically skilled guitarists in modern rock history, it takes all but one Testament live gig to be left in awe!

Like many great minds, Alex didn't limit that sharing to touring and recording with his legendary Bay Area Trash band; from writing columns in Guitar magazine and offering lectures, to penning down his memories in a must-read book and straight-up, old school sit-down guitar lessons with aspiring shredders, Skolnick has made it a goal to spread his 6-string gospel.

Well, the sharing has taken on a new dimension as Alex has opened the doors to his vault of vintage touring and recording memorabilia! In partnership with Backstage Auctions, Skolnick is offering up a most impressive collection of vintage guitars, gear, stage worn clothing and historical ephemera that is set to hit the auction block.

Skolnicks pre-Testament days guitar
Among the highlights are three of his oldest guitars that date back to the pre-Testament days when the band was locally known as Legacy. Each of these guitars has a phenomenal touring and recording history and are absolute crown-jewels. In addition to several sets of Marshall amp & cabinet combos and a colorful array of vintage pedals, the auction will also feature a unique assortment of recording and sound equipment.

And then there are the shirts and jackets...from vintage mid 1980s stage worn shirts to exclusive leather Testament tour jackets, it's all there. Coupled with rare paper goods such as itineraries, tour programs, signed vinyl and vintage Legacy concert handbills, Testament collectors will have to pinch themselves more than once to realize that this is not a dream. Rounding out the auction are cool mementos from the time Alex was carrying the guitar torch for the likes of Savatage and Ozzy Osbourne.

Owning a true piece of Alex Skolnick memorabilia does not come with the guarantee that you will end up being the virtuoso he is, but it does come with a signed Certificate of Authenticity, a great deal of history and the spirit of passion and inspiration!

The Rock Gods & Metal Monsters Auction will be live from June 20th – 28th with a special VIP Preview that starts June 13th. If you are not registered for your All Access Auction Pass, rock on over and sign up today – it takes just a minute and there is no fee to sign up.
Link: All Access Registration

Follow Backstage Auctions on Twitter and Facebook for auction highlights before, during and after the event. 



#RGMM2015

Neal Schon's 'Exotica' video premieres

Journey guitarist joined by Castronovo, Mendoza on new album 'SO U'
By Peter Lindblad

Neal Schon 2014
Photo by Robert Knight
Just because he likes to step out on the love of his life, Journey that is, on occasion doesn't mean Neal Schon doesn't love her. They seem to have an open marriage, and that's cool.

Jamming with friends and exploring new territories in jazz fusion, blues and hard rock is Schon's way of expressing the creativity and virtuoso musicianship that sometimes gets stifled with such a commercially successful outfit like Journey. A man like Schon cannot live by the financially sustaining bread of "Don't Stop Believin'" alone.

On the upcoming release SO U, due out on Frontiers Records May 19, Schon gets together with a couple of like-minded musical adventurers to go wherever the wind, and their own imaginations, take them. Drummer Deen Castronovo, known for his work with Journey and Ozzy Osbourne, among others, and bassist Marco Mendoza, who's worked with the likes of Ted Nugent, Whitesnake and Thin Lizzy, are the two brave souls joining Schon this time around, while Jack Blades, of Night Ranger/Damn Yankees fame, stayed home and did a lot of the co-writing.

A video of "Exotica," the first release from SO U, premiered on Vintage Guitar yesterday, and you can see it here: http://www.vintageguitar.com/16927/guitar-legend-neal-schon-teams-up-with-marco-mendoza-and-deen-castronovo-for-smoking-new-fusion-and-blues-inspired-hard-rock-album/

Against a backdrop of ever-changing, computer-generated psychedelic imagery, the trio playfully and joyously performs with improvisational fire, mind-blowing instrumental wizardry and unbridled enthusiasm. It's upbeat, sunny jazz fusion amplified with the powerful drive and edge of meaty rock 'n' roll and more expansive psychedelia than Schon has displayed on past efforts, like 2012's critically acclaimed The Calling.

Caught in the wild cosmic storm of Mendoza's bubbling bass, the captivating fills and crazed beats of Castronovo, and Schon's own soaring guitars are short conversations with the three, as they explain the project and what it means for them.

While the video itself is not exactly an artistic triumph – with Schon, Mendoza and Castronovo seeming to be set into a "Tron"-like world, only this one has more fiery scenery – the three give a master class on how to play with both precision and whimsy. Jazz purists might turn their noses up at this kind of thing, but to watch three supremely talented musicians showing off their chops is really entertaining and it's a good composition, with clear melodic elements and strong cohesive bonds. If nothing else, "Exotica" should wow worshippers of instrumental music.

SO U can be pre-ordered now via iTunes, Amazon and the Journey online store. Those who purchase SO U now via iTunes will receive "Exotica" as an instant gratification track.


CD Review: Red Dragon Cartel – Red Dragon Cartel

CD Review: Red Dragon Cartel – Red Dragon Cartel
Frontiers Records
Red Dragon Cartel - S/T 2014
All Access Rating: B+

The reports from the front lines were troubling. Red DragonCartel, it seemed, had stumbled out of the gate. By most accounts, their first show together at the Whisky-A-Go-Go in West Hollywood was a train wreck, with the blame laid squarely on a singer who probably needed more rehearsal time and more rest leading up to the show and less booze the night of it.

This was supposed to be Jake E. Lee’s glorious return to rock ‘n’ roll after a 20-year absence, and all anybody could talk about was how off tune newcomer D. J. Smith was. Some good came out it, though, as Smith and the rest of the band made a renewed commitment to tightening up their performances, and since then, there haven’t been many complaints. Red Dragon Cartel seems to have righted the ship.

From the sound of their searing self-titled debut record, they knew all along what direction they wanted to go. Updating the ripping and tearing guitar work he did with Ozzy Osbourne and Badlands with slick, hurricane-force modern production, Lee has built up a potent arsenal of riffs and torrid solos in his time away that David Koresh would admire, as Red Dragon Cartel roars through 10 songs of slightly darkened, expansive post-grunge hard rock that eats dynamite for breakfast. The slashing riffs of “Deceiver,” an adrenaline rush of an opener that kicks down the door with all the subtlety of a SWAT team, give fair notice that Lee is back with a vengeance, and the snarling "Wasted" finds Lee's mushrooming guitar barking like angry dobermans who've just caught a whiff of fear, while the heavy, swaggering "Shout It Out" has an infectious, swirling nu-metal vortex of a chorus.

"Slave" is a buzzing hive of frenzied riffing, while the sludgy "War Machine" dances and stomps around a witches' cauldron stirred by Tony Iommi and the original Black Sabbath. Filter's kaleidoscopic "Take a Picture" comes to mind when the rougher cinematic ballad "Fall From the Sky" washes in, carrying with it a flood of melody, but it's the soulful "Redeem Me" that brings Red Dragon Cartel back to a more organic and earthy sense of self.

Guests like Robin Zander of Cheap Trick and ex-Iron Maiden singer Paul Di'Anno, plus former Pantera and current Kill Devil Hill bassist Rex Brown, are there for window dressing, and they only flesh out a diverse set of tracks that allows Lee's scorching fretwork to burn. Making up for lost time, Lee serves up an array of tricks that won't break new ground, but they will thrill anybody with an appreciation for six-string agility and melodic power. And in Smith, Lee has unearthed a forceful vocalist whose singing is brawny and masculine.

Chock full of big, roundhouse hooks, Red Dragon Cartel is on rare occasions clunky and derivative, but on it Lee, lured out of retirement by sod-busting bassist Ronnie Mancuso, unloads in such gripping fashion two decades of artistic frustration on anybody who will listen. Still, few may notice those slight blemishes, and everyone should lend Red Dragon Cartel an ear. http://www.frontiers.it/
– Peter Lindblad



Guitar master Ethan Brosh unleashes 'Live the Dream'


Ethan Brosh 2014
Prepare to be amazed! Live the Dream, the upcoming all-instrumental album from guitar wunderkind Ethan Brosh, is due out March 4 on drumming legend Carmine Appice’s new label, Rocker Records LLC, and Brosh’s dazzling chops and limitless imagination as a player and composer will undoubtedly delight metal aficionados and fill them with awe.

An honest-to-goodness guitar hero, Brosh, who grew up in Israel, is a daring six-string acrobat who plays with fire and precision, never sacrificing technical proficiency for flashy showmanship – although his dynamic, fleet-fingered solos, furious riffs and complex acoustic figures are wildly entertaining. Having added to his already bulging bag of tricks, the Berklee College of Music graduate, now an instructor at the school, soars to new heights on Live the Dream, pushing the envelope with supernatural guitar wizardry and drawing up stunningly inventive musical designs that are wondrous to behold.

“Rocker Records and Carmine Appice are excited to be working with one of metal’s up-and-coming young stars,” said the label’s Michael Cusanelli.

They are not alone in their admiration. Mixed by Max Norman (Ozzy Osbourne, Megadeth) and mastered by Bob Ludwig (Bon Jovi, Def Leppard and Iron Maiden), Live the Dream – with cover art painted by Joe Petagno – is progressive and intellectual in its construction, showcasing refined melodic sensibilities and a maturing instinct for developing intricate and diverse harmonies. Live the Dream, an album Brosh began promoting last spring while touring in support of Yngwie Malmsteen, finds Brosh quickly evolving as a songwriter, even going so far as to effectively experiment with flamenco, trading off nylon string and full-on electric guitar parts in a completely unique and beguiling fashion while also employing the formidable talents of Megadeth’s Dave Ellefson in a way nobody would expect.

Brosh used to be in the band Angels of Babylon with Ellefson, who appears on two Live the Dream tracks. Together again, they go nuclear on the track “Rude Awakening.”

“The intent here was to create a heavy, in-your-face kind of tune with a real mean groove to it!” said Brosh, joined by bassist Alex Pierce and drummer Tyler LeVander on Live the Dream. “I figured this tune could use the help of the greatest thrash metal bassist Dave Ellefson! I still can’t get over how huge Ellefson’s bass intro sounds after the incredible mix of Max Norman!”

Brosh is just as enthused about the title track. “I feel this tune defines a lot of my guitar playing at this point in time,” he said. “It’s an epic tune that combines some hard rock riffs that have lots of drive to them. I believe the beginning is a perfect introduction to this record and its dream concept!”

A product of an enjoyable creative process, “Space Invaders” is mind-blowing as well. “Since this is a guitar instrumental record after all, I figured I’d have some fun with writing a tune that has a fast riff and lots of guitar harmonies, etc., etc. … I’m really proud of the way it came out because I feel the melodies came out strong in the end,” said Brosh. “To me, that’s really important. People seem to respond really well to this one when we play it live. Maybe it’s because it has too many nooooooootes!”

It’s a good bet they’ll embrace “Clean Slate,” too.

“The tune started as a guitar only idea,” said Brosh. “It developed through time. When I sit at the edge of the stage and play this tune, it is an intimate moment between the audience and me, regardless of the crowd size. Once the band joins in with a big bang, it really hits the listener hard! I think we managed to capture that vibe very well on the record, too. I have a feeling this will be a tune that stands out for people!”

Below is the track listing for Live the Dream:

Track listing:
1. Live the Dream
2. Forbidden Pleasure
3. Bottomless Pit
4. Knock on Wood
5. Space Invaders
6. Suspicious Exchange
7. Rude Awakening
8. Dawn of an Old Era
9. Clean Slate
10. Silver Lining
11. Up the Stairway
12. When Picks Fly
13. Crying Moon

For more information on Ethan Brosh, visit www.ethanbrosh.com - http://www.ethanbrosh.com

Original Black Sabbath catalog available digitally

Black Sabbath's '70s catalog is
now available through iTunes
Black Sabbath is finally going digital.

For the first time, the full catalog from the original lineup is now available digitally in the United States, having been remastered specifically for iTunes. The increased audio fidelity is supposed to replicate more closely what the artists, recording engineers and producers had in mind when making the records.

"It's about f--king time the first eight Black Sabbath albums were made available on iTunes in the U.S., said Ozzy Osbourne.

Sabbath guitarist Tony Iommi added, "Great news, been a long time trying to explain to fans why the music wasn't available."

Available exclusively on the iTunes Store worldwide (www.iTunes.com/BlackSabbath), The Complete Studio Albums 1970-1978 can be purchased in one newly created downloadable bundle. Fans can also choose to download the eight legendary studio albums, two classic compilations, or simply purchase each song individually.

Black Sabbath: The Complete Studio Albums 1970-1978 features the band's collected studio work for Warner Bros. Records from the 1970s. Among the offerings are the band's groundbreaking self-titled debut from 1970, 1970's Paranoid, 1971's Master of Reality, 1972's Vol. 4, 1973's Sabbath Bloody Sabbath, 1975's Sabotage, 1976's Technical Ecstasy, and 1978's Never Say Die!.

Compilations We Sold Our Soul for Rock 'N' Roll (1976) and 2006's Greatest Hits 1970-1978 are also available. 

The reunited original Sabbath lineup, minus Bill Ward of course, will soon return to North America on its latest tour, following runs through both North and South America, Australia, Asia and Europe. 
This latest round of North American tour dates starts March 31 at Barclays Center in Brooklyn, NY, and will take the doom-metal godfathers through 10 cities in Canada, including Montreal, Ottawa, Calgary and Edmonton. The trek ends April 26 at the Hollywood Bowl in Los Angeles, CA. 

These dates will be part of the band's final shows of their 2013-2014 world our in support of 13, their first studio album in 35 years.

DVD Review: Black Sabbath – Live ... Gathered in Their Masses

DVD Review: Black Sabbath – Live … Gathered in Their Masses
Vertigo/Republic
All Access Rating: B+

Black Sabbath - Live ... Gathered in Their
Masses 2013
Darkness had spread across Australia in the spring of 2013, as the originators of doom metal, Black Sabbath, brought their live, and fairly ancient considering their advanced age, evil to the land "Down Under." 

Meteorologists may not have had an explanation for the atmospheric anomaly, but the reunited original Sabbath lineup – except drummer Bill Ward, that is – did. They had embarked on a world tour in support of their comeback album 13, one of 2013's most critically acclaimed metal albums, and Ozzy Osbourne, Tony Iommi, Geezer Butler and Ward's replacement, ex-Rob Zombie and Alice Cooper tub-thumper Tommy Clufetos, rode into Melbourne like the "Four Horsemen of the Apocalypse." 

It wasn't the end of days. Grizzled, yet fully capable of churning through and grinding out old sonic blasphemies and new abominations alike with a tenacious spirit, Sabbath just needed a place to practice their dark arts. On April 29 and May 1, Melbourne audiences were able to witness what might be their last chance to see Sabbath's unholy trinity do their worst. The filmmakers who shot the amplified, electrifying "Live … Gathered in Their Masses" must have been thinking along those lines as well.

As is the case with most, but not all, concert DVDs these days, high-definition cameras were used to sharply and vividly capture Sabbath, awash in purple and blue hues, rolling through its set list like a Sherman tank. While briefly shedding a light on what goes on behind the scenes at the start, the film slams forward, with Sabbath diving headlong into "War Pigs" with an appropriate amount of blood lust. Slogging through the heavy sludge of "Loner" and raging through "God Is Dead," off the new LP, with the sinewy muscle of men half their age, Butler and Iommi plunder their blackened past with confident and brutal efficiency, relentlessly kicking with scuffed boots at the still red-hot embers of "Iron Man," "Symptom of the Universe," "Snowblind," "N.I.B." and "Fairies Wear Boots" and slowly coaxing them into burning conflagrations of oily, industrialized metal that Sabbath bulldozes into piles of smoldering ruins as the fires die down.

Lenses smartly seek out Butler and Iommi, instinctively catching them in action as the bassist thunders and gallops along to every bludgeoned, crusty riff or every spell of solo wizardry that blasts its way out of Iommi's bottomless bag of tricks. And yet when they want to build the kind of gallows drama that plays out in a condemned man's head the night before his execution, the pair tease, in the most torturous manner possible, the haunted "Black Sabbath" as it crawls along like a death sentence, as does this viscous, "head pounding against a wall" version of "Into the Void."

Still a deranged cheerleader, Ozzy, on the other hand, is not the strongest vocalist anymore, and his incessant yammering on about not being able to hear the crowd roar its appreciation becomes somewhat distracting, grating and tiresome. Still, there is some demonic life left in that ravaged, frail voice, and when it comes to interpreting Sabbath's most horrific Satanic verses in his uniquely insane manner, nobody compares to Ozzy. All in all, "Live ... Gathered in Their Masses," available as a single DVD or a CD/DVD version, finds Sabbath possibly making a last punishing stand as Butler, Iommi and Ozzy confront their own mortality. If they are nearing the end, this powerhouse concert DVD will testify to their explosive potency as a live act, even as most of their contemporaries have long since retired. http://www.republicrecords.com/
– Peter Lindblad




CD Review: Black Sabbath – 13

CD Review: Black Sabbath – 13
Universal Republic
All Access Rating: A-

Black Sabbath - 13 2013
13 is a matter of life and death for Black Sabbath. The harsh truth of the matter is the godfathers of heavy metal may not be long for this world. 

Tony Iommi’s cancer scare has certainly given them pause to consider their own mortality, and if Iommi is to be believed, it was his health concerns that led Sabbath to move on without original drummer Bill Ward and get 13 made with someone else – namely, Brad Wilk, of Rage Against the Machine and Audioslave fame. Time waits for no one, not even Black Sabbath.

The grim reaper hasn’t come knocking on their doors just yet, however. As 13 proves, Sabbath is, thankfully, still alive and kicking up a monstrous racket of doom-laden metal that’s reminiscent of that haunting and truly unsettling first album that signaled such a turbulent sea change in rock music back in 1970. Rife with meditations on dying and the afterlife, as well as existential thoughts on whether the Almighty still has a pulse, 13 is the heaviest, blackest tar Sabbath has stirred in decades, just as producer Rick Rubin intended. And yet, some of that sludge Sabbath is so famous for has been washed off. Cleaned off somewhat, the snarling, brass-knuckled sound of 13 is bone-crushing, as that serrated edge to Iommi’s crunching, growling riffs and his intensely focused solos saws through steel, throwing sparks into the air.

Inhabiting both heaven and hell, with sympathy for the devil and his Maker, the lurching 8:52 first single “God is Dead” seems to move in slow motion – as if sizing up its prey – right up to the bridge, which twists and swings like a bridge during an earthquake. Surging with energy, as Iommi’s guitar slashes like a broadsword, it seems as if Sabbath has discovered an ancient and evil groove, pulled out of the ground by its roots by Geezer Butler’s brawny bass lines and reanimated for the garment-rending, circling menace of “Live Forever.” That survival instinct is kicking in, although the grave doesn’t seem like such a bad option on 13.

Stretching out long past seven minutes, as most tracks on 13 do, the gnarled psychedelic-blues of “Damaged Soul” ponderously crawls through the wreckage of a life in ruins, while “Dear Father” is a slow, steady climb up a mountain of emotional garbage – the remains of a broken relationship with a not-so loving parent. And “Loner” is almost as depressing, as Iommi stacks cement blocks of riffs to create a movable wall of thick, impenetrable sound – the kind the subject of the song might build internally to shut out the outside world.

Mangled guitars, writhing bass lines and crashing drums surround Ozzy Osbourne’s rather dour vocals, which fits 13’s downtrodden mood like a velvet glove. Shifts in tempo and melodic current occur, but they are not abrupt. Sabbath flows easily from detour to detour, never needing a GPS to find their way back to the main road – although it’s easy to get lost in the lush, mysterious “Zeitgeist,” the snaky conga drums and brushed acoustic guitars bringing to mind “Planet Caravan.” Sabbath’s past is omnipresent on 13, which makes the whole musical direction of the record seem calculated and not as naturally or organically inspired as perhaps it should appear.

Nevertheless, 13 is a lucky number for Sabbath. With its tenacious hooks, the album bearing those numerals has given them their first No. 1 record in 43 years. Maybe God isn’t dead after all. http://www.republicrecords.com/
    Peter Lindblad

The year in heavy metal - The best of 2012


Van Halen, Judas Priest, High on Fire and others make our list

By Peter Lindblad
Overkill - The Electric Age
It was a bull market for heavy metal in 2012. Any bears who predicted a downturn after a very strong 2011 were quickly proven wrong when Overkill’s The Electric Age was released early this year and it served notice that the East Coast thrash-metal kingpins were back and better than ever.
And then, the new Van Halen record came out, and it didn’t suck. In fact, it stunningly good, and even if it was pieced together with leftovers from the good old days, their ability to pull it all together and make something coherent – and oh so powerful – out of all those scraps certainly made everybody stand up and applaud. Were that all to 2012, we could have suffered through the rest of it without whining about the state of heavy metal, but there was more, much more, to this year than two electrifying releases.
It was a great year for grizzled veterans like Kreator and Testament and younger acts like High on Fire, Pallbearer, The Sword and Whitechapel – all of whom unleashed hell in 2012 with stunning albums. Saxon and Ozzy Osbourne’s band received their just due with amazing DVDs; in Saxon’s case it was a captivating documentary while Ozzy came out with a thrilling concert video from the “Diary of the Madman” tour, where Brad Gillis had just replaced Randy Rhoads following Rhoads’s death. And then there was Iron Maiden, showing everybody just how it’s done onstage with an incredible world tour, supported by none other than Alice Cooper. So, with 2013 just about upon us, it was time to reveal our best of 2012 heavy metal selections.
Metal Artist of the Year/Comeback of the Year: Van Halen
Van Halen - A Different Kind of Truth 2012
Expectations couldn’t have been lower, especially after the release of that lead trial balloon known as “Tattoo.” Underwhelming in almost every possible way, from its awkward verses to choruses as glitzy and smarmy as a Las Vegas lounge lizard, the 2011 single had everyone talking – only most of that conversation revolved around how historically awful “Tattoo” was. The bar wasn’t just lowered. It had crashed through the floor. And then, A Different Kind of Truth arrived, and it was magnificent – aggressive and heavy, with Eddie Van Halen putting on an awesome fireworks display of dazzling solos and dynamic riffs. Of course, the triumphant tour that was supposed to vault them back to the top of the hard-rock heap ended rather abruptly, and Eddie’s health problems were a buzz kill, so it wasn’t the best of times for Van Halen. Still, in 2012, Van Halen redeemed itself mightily with A Different Kind of Truth, and that was no mean feat, considering how far they’d fallen.
Best Metal Album: High On Fire, De Vermis Mysteriis (Entertainment One)
High on Fire - De Vermis Mysteriis 2012
This could just as easily go to Kreator’s Phantom Antichrist or Over Kill’s The Electric Age, but the tumultuous De Vermis Mysteriis is such an intense, churning maelstrom of ragged, crazed thrash and pulverizing sludge metal that it simply boggles the mind. His throat shredded almost beyond repair, Matt Pike rages maniacally about Jesus’ cursed, time-traveling twin brother and the devastation he has wrought in an epic concept album engulfed in thundering drums, pile-driving bass and roiling guitar riffs. Mother Nature may have met her match.
Best Metal Song: Testament – “Native Blood” (Off of the album Dark Roots of Earth on Nuclear Blast Records)

Testament - Dark Roots of Earth 2012
Rightly proud of his Native American heritage, a battle-scarred Chuck Billy belts out the lyrics to “Native Blood” with the full-throated roar of a runaway freight train. Impassioned and defiant, Billy’s booming, resonant voice adds gravitas and emotional depth to a powerful song of independence and self-reliance that stirs the soul, a modern-day anthem for indigenous peoples everywhere who feel the weight of oppression upon them. And while the words that steam out of Billy’s fiery mouth carry both a political and social significance for those he’s trying to rouse to action, it’s the deliriously infectious riffs and terrific momentum “Native Blood” gathers – not to mention a blast-furnace chorus that even Metallica would kill to call its own – that make it the standout track on one of the finest albums of Testament’s glorious career.
Best New Hard Rock Band: World Fire Brigade
World Fire Brigade - Spreading My Wings 2012
World Fire Brigade is not just some reasonable facsimile of Fuel, even if its degrees of separation from those ‘90s alternative rockers are way fewer than six. See, Brett Scallions has teamed with Smile Empty Soul’s Sean Danielsen and producer Eddie Wohl on a new – well, fairly new, having actually been hatched in 2009 – project that is full-on metal … cross my heart, it is. Of course, it helps to have Wohl, who has worked as a producer for none other than Anthrax, onboard. And then there’s the presence of Anthrax’s Rob Caggiano and closet metalhead Mike McCready of Pearl Jam fame to add sonic heft to the proceedings. In interviews prior to this release, Scallions said World Fire Brigade was heavier and more metallic than Fuel, and he wasn’t kidding. Thick with dynamic, serpentine riffs, World Fire Brigade’s surprisingly powerful debut, released this past summer, is chock full of gripping hooks and compelling songs that would be commercially viable were it not for radio’s aversion to comeback stories.
Best Concert DVD: Ozzy Osbourne Speak of the Devil (Eagle Vision)
Ozzy Osbourne - Speak of the Devil 2012
On June 12, 1982, Ozzy Osbourne’s “Diary of a Madman” tour rolled into Irvine Meadows, California, having only recently buried guitarist Randy Rhoads, the man primarily responsible for reviving the career of one of metal’s greatest frontmen. With heavy hearts, and a new guitarist in Brad Gillis, Ozzy and his band put on an electrifying performance for the ages, as they plowed through a set list heavy on selections from Ozzy’s two solo records – plus a doom-laden medley of Black Sabbath’s “Iron Man,” “Children of the Grave” and “Paranoid” to close the show. Of great historical importance, “Speak of the Devil” captures all the madness with varied camera work, their lenses focused mainly on an enthusiastic Ozzy imploring the crowd to go nuts and Gillis’s fiery fretwork. Backed by a dark, gothic castle and a huge drum riser for Tommy Aldridge, a reinvigorated Ozzy seems hell-bent on proving to everyone that Rhoads’ death will not send him into another tailspin like the one that nearly killed him after being summarily dismissed from Sabbath. This is a fantastic entry in Ozzy’s journal of rock ‘n’r roll insanity.
Best Documentary DVD: Saxon Heavy Metal Thunder – The Movie (UDR/Militia Guard/EMI)
Saxon - Heavy Metal Thunder 2012
Sex, tea and rock ‘n’ roll? Evidently, at least until bassist Steve Dawson dabbled briefly with cocaine, substance abuse wasn’t part of the equation for working-class heroes Saxon, one of the bands that spearheaded the New Wave of British Heavy Metal. Abstaining from alcohol and drugs, these teetotalers preferred less powerful brews, but they did indulge in other forms of debauchery offstage – namely, doing groupies in the back of a cramped touring van, where privacy wasn’t an option. Inside the venue, they were all business, rocking as if their lives were at stake in blazing live shows that became the stuff of legend. And yet, at least in America, Saxon never really hit the big time, despite the patronage of Lars Ulrich and the respect of everybody from Motorhead to Doro. That is a damn shame. Incapable of putting on airs, Saxon pushed their records into the red more often than not. Appropriately enough, this thoroughly engrossing, warts-and-all documentary is a no-frills, completely candid oral history, with some narration from Fastway’s Toby Jepson, of the band from stem to stern – augmented by rare concert footage that confirms their reputation as one of the hottest running engines ever built by heavy metal. Here’s hoping the long arm of the law – and time – won’t ever catch up with these hard-rock veterans.
Best Live Album: U.D.O. – Live in Sofia (AFM Records)
U.D.O. - Live in Sofia 2012
The greatest live albums don’t just make you feel as if you were there, front row, experiencing the show up close. They make you suicidal over the fact that you missed it. Such is the case with U.D.O.’s Live in Sofia, a thundering, electric performance fueled by the raucous energy of a salivating crowd. Surveying material from Udo Dirkschneider’s days with Accept and his grossly underappreciated solo career, Live in Sofia is a captivating listen, with Udo growling and screaming like a caged animal and his band charging through a tantalizing set list with technical brilliance and pure adrenaline. Bulgaria’s capitol is probably still burning.  
Best Metal Reissue: Judas Priest – Screaming for Vengeance Special 30th Anniversary Edition (Columbia Legacy)
Judas Priest - Screaming for Vengeance 2012
No other metal reissue had a chance in 2012, not with the bonus DVD version of Priest’s historic 1983 US Festival concert – the one everyone’s been lusting after for years – added onto it. One of the truly great albums in heavy metal history, Screaming for Vengeance goes through a revved-up remastering that packs on the sonic muscle and makes it gleam like chrome. As with the 2001 reissue, this edition includes the Turbo outtake “Prisoner of Your Eyes” and “Devil’s Child,” but this time around, scorching live versions of “Electric Eye,” “Riding on the Wind,” “You’ve Got Another Thing Coming,” “Screaming for Vengeance” and “Devil’s Child” – all culled from a stirring 1982 performance in San Antonio, Texas – fill out this absolutely essential reissue. Alone, the US Festival footage would be worth its weight in gold, as Priest delivers the goods and then some with a hammer-and-tong performance that is absolutely scintillating. Packaged together, this reissue is a must-have.
Best Book: Randy Rhoads by Steven Rosen and Andrew Klein (Velocity Books)
Randy Rhoads - 2012
Yes, the price tag is a bit steep. These days, who in their right minds is going to shell out around $99 for a book? This one just might be worth it. An extravagant package, overflowing with colorful and rarely, if ever, seen photos of the late guitarist and a plethora of memorabilia, the 400-page Randy Rhoads is a work of outstanding journalism. Exhaustively researched, with the authors interviewing seemingly almost everyone who ever came in contact with Rhoads, this fully loaded, bulging biography takes readers into studio sessions with the Blizzard of Ozz band, pieces together the events leading up to Rhoads’s tragic death and the sad aftermath, and relates, in detailed fashion, Rhoads’s unusual childhood and his rigorous musical education. And that’s just a small taste of what’s inside this extraordinary biography.
Best Tour: Iron Maiden, Maiden England World Tour, 2012
Iron Maiden - Maiden England Tour 2012
Supported by shock-rock superstar Alice Cooper for a smashing double bill, Iron Maiden stampeded through North America and points abroad as if sitting atop fire-breathing steeds and whipping them into the fog of battle. Two elaborate stage shows, one the product of Cooper’s nightmarish imagination and the other an ambitious fantasy merging historical and scientific references with dazzling technology and the ever-present Eddie, gave concertgoers an unforgettable thrill, but it was Iron Maiden who stole the show. Still possessing a strong voice that climbs to places few singers can ever hope to reach, Bruce Dickinson again leads the charge through a play list reminiscent of the “Seventh Son of a Seventh Son” tour, and the rest of the gang plays with vim and vigor, clearly relishing the nostalgia and warm embrace of frenzied, almost obsessive, crowds. Iron Maiden rides again.

The life and times of Randy Rhoads


A Q&A with the writer of a new biography on the guitar icon
By Peter Lindblad
"Randy Rhoads" - 2012 Photo by Neal Preston
Thirty years have passed since the death of Randy Rhoads, and for some, the shock hasn’t completely subsided. That day in 1982 when Rhoads died in a plane crash that could have easily been avoided he took a little piece of heavy metal’s soul with him.
He was beloved for having played a major role in rescuing a self-destructive Ozzy Osbourne from himself and helping revive his stalled career. Other guitarists worshipped the searing fretwork he branded into the skin of such classic albums as Blizzard of Ozz and Diary of a Madman, and yet, Rhoads wasn’t satisfied as an artist. His voracious appetite for learning everything he could about the instrument he played – and classical music in particular – burned so intensely that he was willing to throw away his newfound fame and fortune, things he never really cared about to begin with, to seek pure knowledge in the world of academia.
Everybody figured he’d return from his studies one day and unveil his masterpiece, but Rhoads never got the chance. And that is a tragedy. Gone, but not forgotten, Rhoads’ memory has been kept alive by the fans and admirers who have never stopped celebrating his unique genius. Now comes an extravagant and comprehensive new biography, simply titled “Randy Rhoads,” (available at http://velocitybooks.org/shop/randy-rhoads/) that is sure to stoke the embers of their memories. Stuffing hundreds of rare, never-before-seen images from various stages in Randy’s life and incendiary career into more than 400 pages, “Randy Rhoads” – fashioned into a thick, colorfully rendered coffee table book – provides the definitive account of the guitarist’s all-too-brief time on this planet.
In painting their vibrant and illuminating portrait of Rhoads, writers Andrew Klein and Steven Rosen cast their nets wide, interviewing everybody from family members to childhood friend and assorted musical collaborators to compile a multi-faceted look at this legendary guitarist who was really a teacher at heart. Though it doesn’t make him out to be a saint, the exhaustively researched book – packed with details about the studio sessions that birthed his most famous works and engaging stories that reveal much about his character – is honest and sympathetic towards its subject. All of this makes for an engrossing tribute and essential reading.
Recently, Klein took time out to discuss the book with us.
What is it that makes Randy Rhoads such a compelling character, even all these years after his death?
Andrew Klein: Randy was very different than other legends who have left us too soon, such as Hendrix and Stevie Ray Vaughn. They were amazing guitar players. Randy was an exceptionally gifted musician as well. But the strong interest in Randy 30 years after his passing is attributed to several factors.
For starters, he left us just after he made it big. It was a time when we couldn’t wait to hear what would be coming next. Sadly, he passed away and left us hanging and wanting so much more. There is virtually no video of him. This adds to his mystique. We, as fans, want so much more than we were given – more music, more video, more photos. We want more of all things Randy! We just can’t let him go. He was so charismatic. We just can’t get enough of him.
All the information that has been released about Randy prior to our book was very on the surface. There hadn’t been anything released that explored and documented who he was. Our book is filled with stories as told by his closest friends who knew him best. They introduce us to the part of Randy that we’ve always wanted to know.
His dedication to learning his instrument, even at a young age, is remarkable. What struck you most about his musical education?
Randy Rhoads with his guitars - Photo by John Stix
AK: Well, you nailed it. It was his dedication to learning and furthering himself that we find the most inspiring and remarkable. Even Ozzy was struck by this. When Randy informed Ozzy he was quitting the rock and roll lifestyle in favor of pursuing a master’s degree in classical music, Ozzy asked him to wait a little longer. Ozzy said, “One more year and you can buy your own university. You have to strike while you are hot.” Randy didn’t care about any of that. He made up his mind and nothing was going to persuade him otherwise.
There again, it’s that dedication to his beliefs that we find so inspiring. Furthering himself musically was at the top of his priority list. Anyone else would have relished in what he was experiencing. Selling out the world’s biggest arenas and stadiums got old for him rather quick. He got a taste of it and desperately wanted to move on to something else. That was Randy. He had a long list of things he wanted to accomplish.
Randy really did go his own way, dressing as he did in high school and even getting into trouble occasionally. What do you think it was that fuelled his individualism?
AK: Randy was one in a billion. He didn’t try to be different. He was born different. I don’t think he dressed that way because his goal was to be different. He wore what he wanted to wear. He used to take his first girlfriend, Jan, with him when he shopped for shoes. He preferred the girl’s shoes, and he would have her try them on for him.
Clearly, he was embarrassed to buy them for himself, and he knew he would get grief for wearing them. It didn’t matter to him. He was very committed to doing what he wanted to do. Sometimes it did get him into a lot of trouble, especially at school. He constantly had jocks wanting to beat him up. They called him names. It didn’t affect him. Randy may have been frail, but he was emotionally strong. It took more than names to rattle him. He just laughed at them.
Do you think there was anything about his childhood that prepared him for life as a metal guitar idol?
AK: Both of his parents were accomplished musicians. Despite the fact there wasn’t a stereo in his house, he grew up in a house full of music. Had he never found an Army-Navy acoustic in his mother’s closet, an instrument would have eventually found its way into his hands. It was his destiny and beyond his control. Music ran through his blood. I’m not sure any of these elements prepared him to be a metal guitar idol. Even as a child, he was on a path toward become a virtuoso musician. Randy didn’t like heavy metal music. He didn’t listen to it and he didn’t own those kinds of records. Ozzy presented him with an opportunity to further himself. Randy obviously did a great job of maturing into that role. It was a ticket out of Hollywood and onto the world’s stage. That’s all it was for him. But when he got there, he didn’t want to be there. He thought he would make a record, tour, and then resume his life where he left off. He didn’t have future plans because there were so many opportunities being presented to him. He didn’t know what to do.
He had made up his mind to leave Ozzy’s band so that he could figure it out. Sadly, we’ll never know what he would have done. What we do know is that it would have been amazing. The Diary of a Madman album was recorded 15 months before he passed away. The subsequent year he spent touring, brought him a wealth of experience, and his playing improved immensely. The height of his abilities he had yet to reach are unimaginable.
One of the really interesting portions of the book deals with the rivalry between Randy and Eddie Van Halen, and the competitive nature of the L.A. music scene. It doesn’t seem like there was any real acrimony between the two and perhaps they didn’t really have much of a personal relationship at all. How much did they influence each other?
AK: It’s hard to say given that neither have ever spoken publicly about it. The very first time Randy saw Van Halen, he took his girlfriend Jan with him. Jan told us that Randy was “devastated” after the show. Here he was, the king of Burbank. Everyone was always telling him how great he was. Then he saw Eddie and it opened his eyes and he got a major reality check. It was healthy for him. He was inspired. He thought Eddie was great. He wanted to be great also. I know they met at least four times.
Quiet Riot and Van Halen played on the same bill at Glendale College in April 1977. Quiet Riot opened, Van Halen was the headliner. Randy once approached Eddie and asked him how he was able to keep his guitar in tune without a locking nut for his tremolo. Eddie refused to tell him and said it was his own secret. Randy couldn’t comprehend because he was a teacher at his core.
He loved to help others and he was always willing to share anything he knew. He would teach anyone anything they wanted to learn. So, he was quite disappointed in Eddie’s treatment of him.
Randy Rhoads with his dog - Photo by William Hames
Randy and his good friend Lori Hollen were in the parking lot behind the Whisky loading his gear into this car. Eddie and Dave pulled up alongside of them in a white Mercedes diesel and began harassing him. Lori quickly put a stop to it and actually slapped Dave across his face. Quiet Riot’s drummer, Drew Forsyth, has said that the Eddie/Randy rivalry has been made up to be so much more than it was. He also said that Eddie used to come watch Randy play way more than Randy used to go see Eddie play. They were both great, and I’m sure there was an immense amount of mutual respect. Randy told journalist John Stix that he does a lot of Eddie’s licks live, and it kills him that he does that. But he added that it’s just flash, and that’s what the kids want to see. That’s what impresses them. He also said that it kills him because he believes in the importance of finding your own voice and style. He thought the worst thing a guitar player could do was copy someone else.
Finally, when Randy was home on break from the Ozzy tour, he decided to drive to his local music store to buy some classical albums. Randy said that when he walked into the record store, Eddie Van Halen was standing on line at the register purchasing the Diary of a Madman album. Imagine that scene. Can you imagine walking into a record store on any given day and seeing both Eddie and Randy in there at the same time?
Did Randy see Eddie as an equal? It does seem that even though Van Halen had a much larger profile nationally, music observers in L.A. didn’t see Randy as a lesser talent.
AK: There were some fans that were lucky enough to meet Randy that told him they thought he was just copying Eddie. It’s hard to say how that made Randy feel. I’m sure he didn’t appreciate it. Our Senior Editor, Peter, took lessons from Randy. Peter wanted to learn all the Van Halen songs. Randy would go home and learn the songs in his free time, just so he could teach them to Peter. I’ve heard those lesson tapes. It’s really cool to listen to. Randy charged $8 for a lesson. His students really got way more than their money’s worth. Randy thought Eddie was great. He wasn’t shy about saying so, but he hated the comparison.
In Quiet Riot, according to the book, Randy was frustrated by Kevin DuBrow’s domineering personality, and yet, it was Kevin who pushed Randy to step out of the shadows and become a star. How would you characterize the relationship between them? Could either have become the star they were without each other?
AK: Well, you can argue that one didn’t need the other to become a star. They both became stars separately from each other. But the dream was they were going to do it together. Randy and Kevin were the best of friends. Very close. Like brothers. They remained good friends even while Randy was with Ozzy. Kevin attended all the local Ozzy concerts and was invite to after-parties at the Osbournes’ house.
Kevin was domineering and Randy hated that. Randy tolerated it because he knew that that component of Kevin’s personalithy was the reason why they were so successful, locally. Those who knew Randy said that if not for Kevin, no one outside of Randy’s garage would have ever heard him play. Kevin was the driving force. Randy was not a go-getter. He just wanted to play and leave the details to others. He was also non-confrontational, which is why he put up with Kevin. It was easier for Randy to say nothing than to argue. Toward the end of 1979, Randy saw the writing on the wall. Music was changing. Disco, Punk, and New Wave had taken over. Randy and Kevin never really saw eye to eye musically. When he finally got settled in with Ozzy, he was happier because he felt he had more musical freedom. Ozzy was constantly telling him to “go out there and be the best Randy Rhoads you can be.” Ozzy wanted Randy to be a guitar hero. He wanted that explosive playing all over his records. Kevin stifled Randy and preferred poppy, catchy songs because he thought that’s what would ultimately get them a record deal.
The Starwood really launched Quiet Riot, in the same way that the Whisky propelled Van Halen to fame and fortune. What was the Starwood like back then?
AK: The Starwood was the place to be. If you liked music or wanted to go see a live band, you would go to the Starwood. The Starwood was home for Quiet Riot. Their pictures covered the walls.
When they walked through the door on off nights, they were treated like celebrities. The VIP section was sanctioned for them and they were given all the free drinks they could handle. You could go see bands play at the Starwood seven out of seven nights per week. They also had multiple rooms and stages. You could walk into one room and watch a rock band, or go into another room and see a disco band playing at the same time.
The Starwood closed in the early 1980s. Things weren’t the same anymore. Punk bands had taken over and things became violent. Neighbors were complaining. The final straw was when someone, I think a bouncer, was stabbed. That was the end of the club and the end of a very important era of music on the Hollywood scene.
There are many great photos in the book, from Randy’s childhood through his teenage years and then into his professional life. How were you able to compile such a vast assortment of images? Also, what is your favorite and why?
The famous Paul Natkin photo 
AK: The bulk of the images were donated by Randy’s closest friends. The balance of the images were licensed by the respective photographers. I contacted each one of them and told them I was compiling a book and that I’d like to license their images. As I spent time with each photographer, I was able to see not only all of their images of Randy Rhoads, but also, their images that relate to the story. For example, when I visited with Jeffery Mayer, I asked him if I could see his Leslie West and Alice Cooper photos, as I knew I would need those, too. Then there’s another guy such as Jack Lue who shot everyone. He had to utilize the assistance of a hand-truck to bring all of his photos for us to see. We were able to license additional photos from him of peripheral characters such as Nikki Sixx, George Lynch, and Chris Holmes, as well as all of his amazing images of Randy.
It’s very difficult for me to pinpoint my favorites. Randy Rhoads was incredibly charismatic. All of his photos are endearing. One thing about Randy, he always looks different. If you think about it, the majority of the photos of him were taken over a two- to three-year period. Yet, he has so many different looks. He had a very animated face with lots of different expressions, especially while he was onstage.
There’s one photo that is very sentimental to me. I mentioned this in the book, during my prologue. It is the one taken by John Stix right after he interviewed Randy. It was the first real good photo published of Randy. It was in a section called Music Gear in the back a Circus magazine.
I stared at that photo for years! When I was given the opportunity to write this book that was the first photo I sought out. John was the first person I called. There was no way I could produce this book without that photo. I was very disappointed that it was printed backwards on the 1987 Tribute album cover. I never understood if it was printed backwards intentionally, or if there was no one paying attention to detail.
In addition to the Stix image, every photo John Livzey took is stunning. And, you have to add the famous Paul Natkin photo of Ozzy holding Randy up in the air. It is probably one of the most famous photos in all of music history. It’s so amazing to me that that moment was captured on video, considering that there is virtually no video of Randy. On the rare night that there happened to be a bootleg video shot, the most famous photo ever was taken. You can watch that moment on YouTube. It was in Chicago on the “Diary” tour, during “Mr. Crowley.” When I was with Paul, I was astonished that he didn’t know there was a video of that very show. He couldn’t believe it when I showed it to him. Interestingly, at that moment, you can see a flash go off in the crowd. However, it was not Paul’s camera. He told he didn’t use a flash. So, somewhere out there, some lucky fan has his own photo that was taken at almost the precise moment as Paul’s. I asked Paul why he snapped a photo at that moment. He then went on to talk about something called “That Decisive Moment.” This is all covered in Chapter 14 of the book. Paul explains why he took that photo at that moment. It’s really interesting stuff. I really like Paul a lot. He was super kind to me.
You go into great detail about Randy’s work on both Blizzard of Ozz and Diary of a Madman in the book and the making of both records in their entirety. Do you think that people truly understand not only how big a role Randy played in the creation of those records and how innovative he was, but also how much of a salvation Ozzy and Randy were to each other at this time?
AK: Yes, I do think Randy’s fans recognize the importance of his role, without a doubt. Those who were there made sure of it. Ozzy has been telling the world for 30 years all about what it was like to work with Randy. Ozzy has said numerous times that the guys in Sabbath had zero patience.
One of the things Ozzy loved about Randy was that he was a teacher at his core. He used to sit with Ozzy and help him. Randy would find the right key for songs so that Ozzy would feel more comfortable and within his singing range. They worked out melodies together. Ozzy would hum ideas to Randy, and he would, in turn, convert those melodies into songs. “Goodbye to Romance” was created this way. When Randy would noodle or test sounds, Ozzy would say, “What was that?” And Randy would say, “What?” Ozzy would say, “Play that again” – and sure enough, songs were born that way as well. “Suicide Solution” and “Diary of a Madman” were born that way
I know Randy was a salvation for Ozzy. Ozzy was really down on his luck. He had just been thrown out of Sabbath. He was broke, constantly drunk, and basically living in squalor. Then, Randy Rhoads walked into his life. I am not so sure Ozzy was a salvation for Randy. I think Randy could take it or leave it. His arm had to be twisted to go to the audition, and when he was given the job, he didn’t want it. He didn’t want to hurt Quiet Riot and his friend Kevin DuBrow. Although they were frustrated and going nowhere, he was prepared to stick it out. He was not one to seek auditions, and I don’t think he would have quit had he never met Ozzy. So, I would have to conclude that Ozzy needed Randy way more than Randy needed Ozzy. This is evident at the end of Randy’s life. He informed the Osbournes he was quitting the band. Ozzy went crazy over this and begged Randy to stay. Randy had made up his mind and nothing was going to change it. Ozzy knew what he had. When they first got together in 1979, Ozzy would introduce Randy to people by saying, “This is Randy, my secret weapon.” When they met producer Max Norman for the first time, Ozzy said to him, “Keep everything Randy records – don’t erase anything!” Ozzy Osbourne is no dummy. He knew what he had.
The politics within the Ozzy Osbourne band and the relationship its members had with Ozzy and especially Sharon Arden really ripped things apart. How did they manage to hold it together long enough to make those two records?
AK: The band had a great relationship with Ozzy. From the beginning, they were managed by Sharon’s brother, David Arden. He managed the band well. He was very attentive to their needs. It was ultimately David’s decision to bring Randy to England. David tried to convince Ozzy to find a guitarist in London who was local in order to make things easier. Ozzy begged and pleaded and said Randy was the only one he wanted. David acquiesced and sent Randy a ticket. When the band began working, they were all very close. Ozzy used to say to them, “Here’s my hand, here’s my heart, this band will never part.” They recorded the Blizzard of Ozz album, and then they began a U.K. tour.
It was at this time that David had to resign because his daughter had been born prematurely and he was needed at home. This is when Sharon stepped in to replace him. She immediately got cozy with Ozzy and everything changed. When they revisited Ridge Farm to record the Diary of a Madman album, she became notorious for emptying everyone’s suitcases and throwing their personal belongings into the pond outside. Everyone who was there said the vibe changed when she arrived. Ozzy began divorce proceedings with his wife, Thelma, and succumbed to severe depression. He stopped attending writing and rehearsal sessions and drowned his sorrows in drugs and alcohol. The Diary album was nearly complete before the real problems began. It was during these recording sessions that the decision was made to fire Bob [Daisley] and Lee [Kerslake] in favor of younger, greener musicians who wouldn’t challenge authority. When Rudy [Sarzo] and Tommy [Aldridge] were brought in, the band was no longer called the “Blizzard of Ozz” – it had now become an Ozzy Osbourne solo project, which is not what Randy signed up for. Randy expressed his displeasure with anyone who was willing to listen. Randy was no longer happy as a sideman. Add to that, Sharon placed Randy in a very uncomfortable position between herself and Ozzy, which she chronicles in her own book. This was about all he could take. He really just wanted to leave the band and that situation and move on with his life.
Most affecting of all, of course, are the accounts of what people were feeling in the immediate aftermath of Randy’s death and those remembrances people have of that day Randy died. What specifically hit you the hardest while writing about Randy’s tragic end?
AK: It was a senseless death. Three people died that should still be here with us today. Andrew Aycock was not the monster he’s been made out to be. I interviewed his entire family and some of his friends. Yes, it was incredibly irresponsible flying at treetop level. But he certainly wasn’t trying to kill anyone.
He had a family to live for, and he was planning on starting his own charter company. Rachel Youngblood had a huge family. They loved her very much, and she was every bit a part of the Arden family. Sharon had known Rachel all her life. She took care of the entire Arden family. She was like a second mom to Sharon. And then there’s Randy. How can we possibly quantify what we lost that day? Here was a kid barely into his 25th year of life with so much promise ahead of him – so much life to live and so much music to make. He wanted to marry Jodi [Raskin], buy a house, go back to school, make solo records, take lessons and teach. He was taken from us before he could even begin his life. I can’t think of anything more tragic than that.