Showing posts with label Rob Zombie. Show all posts
Showing posts with label Rob Zombie. Show all posts

Origins of Ace Frehley

Ex-Kiss guitarist reunites with Paul Stanley on new album, leaks version of Cream's "White Room"
By Peter Lindblad

Ace Frehley - Origins Vol. 1 2016
Ace Frehley and Paul Stanley have KISS'd and made up, or so it seems. Not that there ever was much of a feud, at least according to Frehley.

"We've always been friends," said Frehley, in talking to Rolling Stone magazine about recording with Stanley again, as they did on Frehley's upcoming album of cover songs Origins Vol. 1, slated for an April 15 release. "The press seems to amplify negativity. I guess it makes good copy."

Some, if not all, of the rancor that sullied the band's 2014 induction into the Rock And Roll Hall Of Fame must have subsided somewhat, as the two joined forces to remake Free's hit "Fire and Water," marking the first time they've collaborated since the KISS 1998 reunion album Psycho Circus. Frehley has announced a release date and track listing for Origins Vol. 1, featuring re-imagined versions of 12 classic songs that influenced the legendary former KISS guitarist. It's the follow-up to 2014's Space Invader, which at the time had been his first album in five years. The record debuted at No. 9 on the Billboard Top 200 chart, making it the highest charting KISS-related solo project ever, propelling Frehley back to the Top 10, a place he hadn't visited since Psycho Circus.

Today, Rolling Stone magazine debuted Frehley's new version of Cream's "White Room," which can be heard here: http://www.rollingstone.com/music/news/ace-frehley-announces-new-lp-white-room-cover-paul-stanley-reunion-20160210. Faithful to the original, Frehley's take on "White Room" flashes an orgy of wah-wah guitar effects behind strong, clearly articulated vocals and powerful drumming. Capturing the psychedelic whirl of the original, Frehley brings the song out of its late-'60s haze and reintroduces it to a more contemporary audience, enhancing its melodic character.

Stanley is just one of the big-name guests appearing on Origins Vol. 1. Slash and Frehley trade leads on Thin Lizzy's classic "Emerald," while Lita Ford sings and playing lead on The Troggs' staple "Wild Thing," and Rob Zombie guitarist John 5 plays guitar alongside Ace as he sings his classic KISS composition "Parasite" for the very first time. The two also give their rendering of Jimi Hendrix's "Spanish Castle Magic," with Frehley finally doing his KISS Alive I mainstay "Cold Gin" with Pearl Jam's Mike McCready also on guitar as Ace as sings. 

"White Room" is also an iTunes instant gratification track, meaning fans who pre order the LP on iTunes will receive the Cream cover song instantly. Pre-orders for physical versions can be made here:  http://www.amazon.com/Origins-Vol-1-Ace-Frehley/dp/B01BMS3MS0/ref=sr_1_1?ie=UTF8&qid=1455188080&sr=8-1&keywords=ace+frehley+origins+vol.+1. Go here for digital versions: https://itunes.apple.com/us/album/origins-vol.-1/id1083108066

The track listing for Origins Vol. 1 can be found below:

1. White Room (Cream)
2. Street Fighting Man (Rolling Stones)
3. Spanish Castle Magic (Jimi Hendrix) *John 5
4. Fire and Water (Free) *Paul Stanley
5. Emerald (Thin Lizzy) *Slash
6. Bring It On Home (Led Zeppelin)
7. Wild Thing (The Troggs) *Lita Ford
8. Parasite *John 5 (KISS)
9. Magic Carpet Ride (Steppenwolf) 
10. Cold Gin *Mike McCready (KISS)
11. Till The End Of The Day (Kinks)
12. Rock and Roll Hell (KISS)

Ace and crew will be active on the road in 2016. Three weeks worth of tour dates in the U.S. have been announced, including two nights at the B.B. King Blues Club in New York City. His band features Richie Scarlet (rhythm guitar and vocals), Chris Wyse (The Cult) on bass and vocals, and Scott Coogan (Nikki Sixx's Brides of Destruction) on drums.

Tour dates are below:

2/26 - Houston, TX - Scout Bar
2/27 - San Antonio, TX - Fitzgerald's
2/28 - Dallas, TX - The Bomb Factory 
3/2 - Tempe, AZ - Marquee Theatre
3/4 - San Miguel, CA - The Ranch
3/5 - Beverly Hills, CA - Saban Theatre
3/6 - Las Vegas, NV - Brooklyn Bowl - Las Vegas
4/1 - Ponte Vedra, FL - Ponte Vedra Concert Hall
4/2 - Clearwater, FL - Capitol Theatre
4/3 - Sunrise, FL - Markham Park - Rockfest 80's
4/5 - Atlanta, GA - Variety Playhouse
4/7 - Danville, VA - Carrington Pavilion
4/9 - New Hope, PA - Havana New Hope
4/11 - New York, NY - BB King's Blues Club
4/12 - New York, NY - BB King's Blues Club
4/13 - Huntington, NY - The Paramount
4/15 - Wilkes Barre, PA - The F.M. Kirby Center
4/16 - Poughkeepsie, NY - The Chance



John 5 and his monster's ball

Rob Zombie guitarist ready to hit the road with The Creatures, Doyle
By Peter Lindblad
John 5

John 5 has always had a thing for monsters.

His youthful infatuation with old horror movies continues unabated to this day, and the kid in him still worships at the clawed, platform-soled feet of KISS, whose Kabuki-inspired make-up and carnivalesque stage theatrics never fail to amaze and delight the ex-Marilyn Manson and Rob Zombie guitarist, known for creating his own creepy facial masks.

In a matter of days, John 5 and his band The Creatures – with Rodger Carter and Ian Ross – will kick off the "Mad Monster Tour" with a special show in Ramona, Calif., on Nov. 4. To get tickets, go to www.john-5.com. Some of the dates will be supported by Doyle, the band led by former Misfits member Doyle Wolfgang Von Frankenstein.

Remarkably versatile, with audacious fluency in a variety of genres – having recorded everything from bluegrass and country to Flamenco music and metal, rock and pop – John 5 is a demon on guitar, an incredibly smooth player whose speed is almost supernatural. Along with scoring the Rob Zombie film "The Lords of Salem," John 5 has collaborated with a wide range of artists, working alongside everyone from Ricky Martin to Rod Stewart, David Lee Roth and Lynyrd Skynyrd, in addition to his more well-known gigs with Manson and Zombie.

Since 2004, John 5's burgeoning solo career has yielded eight diverse studio albums spotlighting his virtuoso skill. On "The Mad Monster Tour," John 5 and company will be promoting an upcoming greatest hits album, paired with a live DVD of John in concert. Three brand-new singles will be released, a series that began this month. Recently, John 5 took time out to talk about the tour, how the new Rob Zombie material is coming along and a career that has taken him further than he ever thought possible. (Tour dates follow the Q&A).

How did the tour with Doyle and his band come about and what are you looking forward to most about it?
J5: Well, I always thought Doyle was like a real-life superhero, and I just really think he’s amazing. He looks like a real-life superhero, like he could fly over a building and knock it down. You know, he’s got the guitar and he grabs it, and he’s a great, great musician. So, I always wanted to do something with him; he was my first choice for someone I wanted to do a tour with. And I just said, “Hey, are you available around this time?” And he said, “Yes,” so it came together pretty easy and we start the fourth in Ramona, Calif., which is the San Diego area. And then it’s the Whisky in L.A. So it’s going to be a blast running through these shows, because it’s all my crazy instrumental stuff and it’s crazy and it’s fun, and we’ll just go nuts.  

Mad Monster Tour poster
When were you introduced to the Misfits and what were your initial impressions?
J5: Well, it was, like for everybody, just a natural thing. Everybody loves the Misfits and punk rock. Everybody was just into them. It was just the thing. It was just how it was. And I loved the horror-rock thing. I’m so into that as well. So it’s just the perfect fit and yeah, with Alice Cooper and The Misfits and Ozzy, I love that stuff. It’s fun. It’s a blast. And KISS, of course. KISS, yeah. It was like monsters with guitars, and when I was 7 years old, I was just blown away. This was just the greatest thing ever.

Reading your bio, you talked about where you grew up and being the lone rock kid, but did you have friends who felt the same way?
J5: Oh sure. I was always the one that had the stuff. Like, I had the first Van Halen when it came out, KISS Love Gun … I was that kid that had the stuff. So I think I showed it to a lot of people, but I remember someone bringing over Kill ‘Em All by Metallica. I listened to that, and I go, “Oh, wow!” I remember having times in my life where friends brought over music, and I remember it. I remember it so vividly, because it made such an impression on me.

Was there one that made the biggest impression?
J5: Well, obviously, KISS and Van Halen, because I remember I got the KISS album in the early years when I was super young. I think Love Gun had just come out. And I was shocked because I loved that Monsters of Filmland magazine. And then I loved The Monkees and “Hee Haw,” but when I saw the monsters of guitars in KISS, I was blown away. I was just like, “Oh my God. Here we go.” So it just changed my life, and then I remember my guitar teacher brought over Van Halen I, and it was just another epiphany. It just changed my life completely.

Kirk Hammett I know has a massive horror collection. Do you collect horror movie memorabilia?
J5: No, mostly I just collect guitars … Telecasters. I’m really into that kind of thing, really into loving my “Teles,” but there’s so much. I mean I have a lot of horror stuff, but it’s mostly stuff people have given me. And I like that stuff from the early- and mid-‘60s and ‘70s, when the monster boom really, really happened. So I like a lot of that stuff. And you know fans give me stuff, so I have quite a collection, but nothing, nothing, nothing in the world of Kirk Hammett, of course.

Have you ever seen his collection?
J5: I haven’t, but me and Kirk talk, and he’ll tell me stuff, and I’m like, “Jesus,” you know? And he always says, “You’ve got to stop over and check it,” and all that stuff. Hopefully, one day I’ll get there.     


I wanted to talk about other stuff going on with you, and you have a greatest hits album coming out. Did you ever think you’d have a greatest hits album and what goes into making one? Is there more to it than people think?
J5: Well, yeah. What it is really is just a collection of my favorite songs. Not one of them was a hit, but it’s a collection of my favorite songs that I’ve recorded over my catalog of doing instrumental stuff and the fans’ favorite songs. So I put them all together, and then I put a DVD with it, which is so cool. The DVD’s really great, and I’m going to be selling that at the shows, so people at the shows will be able to get the CD and DVD. And then after the tour you’ll be able to buy it on my website, and also it’ll be on iTunes, but you won’t be able to get the DVD, obviously.
  
So much has happened over the span of your life to bring you to this point, but I wanted to ask you, where does the open-mindedness with music come from? Because you do country, you do all kinds of things. Does that come from your family?
J5: You know, for some reason, I’ve always appreciated someone who does something really, really well. And it could be someone that rides a bike and is a bike expert, or juggles or … I just always appreciate someone who does something so well, because I know how much dedication and practice it takes. So when I hear some Western swing music or bluegrass music or great, great, great, great horns, I’m like, “Wow! That’s amazing.” So I appreciate all of that stuff. I’m so inspired by anyone who does something really, really well and who is an expert and at the pinnacle of what they do. And I totally, totally appreciate that. So that’s where I think a lot of that interest comes from, that they can actually … you know, the greats. I just am really influenced by people like that.

Is there a style of music you haven’t worked with yet that maybe you’d like to?
J5: You know, jazz is such a huge thing, but I’ve never really studied, studied, studied jazz. I don’t know why. It just hasn’t bitten me yet, but it will. I will get into it. I think I really love the really super, super fast, aggressive stuff. Like the bluegrass stuff is so fast, you know. It’s like Slayer with no distortion. It’s crazy with bluegrass. And then the same thing with flamenco music, it’s a Spanish style of music. It’s so fast, you know? It’s like Slayer on acoustic. It’s that kind of thing, and I really enjoy that stuff, but also I’d like to get into jazz at some point, I believe.

Could you do a bluegrass version of “Welcome to the Violence”?
J5: Well, that might be tough (laughs). Yeah, that’s possible.

What impresses you most in a guitarist or a live performer?
J5: Someone that is fluid and clean and no effort. It’s just like drinking a bottle of water. It’s effortless, and there’s a small amount that are really effortless. If you ever see a classical violinist or piano player, it’s just effortless, you know? I appreciate that, but I also appreciate any guitar player also getting up there on the stage and doing a great job, because it’s a lot of work and a lot of stress and a lot goes into it.

What goes into your live performances? You’ve got the makeup and everything going on. What’s the day of a performance like for you?
J5: Well, the whole day is about the performance. The whole thing is prepping. It’s getting your fingers warmed up, it’s doing meet-and-greets and meeting people, and making sure everything is right. Sound checks … the day all leads up to the show. It’s very important. I just want to give fans the best show we can, so it’s just playing, warming up, making sure the playing is right, getting ready and giving the best show we can. It’s very important to us with Rob just getting just a great show together, and then we always talk about the show after the show – make sure this is right, that is right, how we could make it better. So, it’s great. It’s a great life. I cannot complain. 

I was reading about your history and you were robbed in L.A. when you first moved there. Did you ever come close to giving it up?
J5: No, no … never did. I was so determined and I was so driven and determined. Just imagine, you get to L.A. when you’re young. I was so young. I didn’t know anything, and then the first night I got all my money stolen. I didn’t know what to do. I was lucky I knew one other person, and anybody else; most people would have just gone home and said, “Let me try this in another couple of years.” But no, I was so driven.  

By the same token, was there a moment when you felt, “I’ve finally made it”? Or were there many moments like that?
J5: I mean, yeah. You know, I’m just happy to be playing guitar and making a living, but I never wished to be a known guitar player. I just wanted to be a session musician, and this is all just an incredible, incredible gift, because it was too far away. I never really thought I’d be able to do this, because it was just so like wishing you were Superman or something. It just seemed so unbelievable. So I really appreciate it and love it, because it just happened. I’m so happy it happened, because it was never my goal, it was never my thing to become a famous rock guitar player.

What influenced you most as far as stage shows and how you make up your face? Was it a love of KISS or was it more than that?
J5: I use myself as the audience and what the audience would like to see. I think the audience wants to see a show, they want to see a … it’s called entertainment. So they want to be entertained, and it’s just if you put on a show like that – meaning you’re not going to walk around the streets like that, but if you’re onstage, you’ve got to give them something to look at. And when we go into our dressing rooms, we’re in our normal clothes, there’s a couple of camera flashes and stuff like that, but when we come out of our dressing rooms, when we’re all made up, you can hardly see where you’re walking because there are so many flashes, because we’re all made up. Would you want a picture with Ace Frehley with his make-up off or in his whole get-up? You’d want it in his whole get-up. So that’s why. It’s just a couple things I think about to say, “Okay. This is what make sense,” because some people take a different course about it.

Why does it work so well between you and Rob?
J5: I don’t know. It’s hard to explain. I really look up to him a lot, because he does so much. Now a lot of people can do a lot of things, but to finish them and to make them really great, that’s the hard thing. And that’s what he does. Whatever he starts, he finishes, and I really like that. He’ll start something and then he’ll finish it. And that’s what I really like. He’s always finished it, and I really respect that. We really enjoy the same things. We love the Universal Monsters. We have such a love for those Universal Monsters, those monster movies, so that’s a great thing. We both have the same hobbies. We love music and movies, so it’s just like being in a band with your best friend. It’s amazing.   


In what ways were your experiences with Marilyn Manson and Rob similar?
J5: Well, they’re both two different animals, of course. With Manson, it’s different every day and every night, so you never really know what’s going to happen. With Rob, everything is scheduled – we’re going to meet here, we’re going to do this and we’re going to do that, and we’re going to be on the bus and here we go. So, with Manson, you don’t know if we’re going to be backstage until three in the morning and if we’ll make it in time for the next show. It was that kind of thing. You know, both are amazing artists, both are amazing performers, so that’s how they’re similar.

Did that chaos with Marilyn translate to the live show and make that a different experience?
J5: Absolutely. Sometimes, we’d play only three songs and we’d be done. Sometimes you wondered how long you were going to play. 

What was your greatest moment with Marilyn and then with Rob?
J5: Well, that’s really, really tough. You know, the greatest moment between those two, there’s some many, great, great, great moments that have happened with both bands. Getting a No. 1 record with Manson, that was a great moment. Doing the "MTV Video Music Awards," that was a great moment. That was my very first gig with Manson. Getting awards and getting to play all these great places, and then having your friends at these great moments, and getting to travel the world and playing the greatest venues, having great records that come out and having these great friendships that will last forever. There are so many great moments, you can’t just limit it to one, because there are so many and I’m lucky for that. 

Of all the projects you’ve done, was there ever one you went into thinking, “I don’t know about this,” and then it turned out to be a better experience than you thought?
J5: Well, no, because I tend to be pretty careful about what I take on. You know, I’m very, very careful about the reputation of my name, so it’s not like I’ve ever gotten into a situation where I'm like, ”How am I going to get out this?” No, I’ve never done that. 

I know so many people have helped you along the way. Rudy Sarzo played a big role in helping your career. What do you remember most about meeting him that first night?
J5: Well, meeting Rudy helped me tremendously. He introduced me to Irving Azoff, who is a master in the music business, and a manager of record people and taught me this, that and the other thing about the business ... He let me into his home. He helped me out, and he’s a wonderful, wonderful talent, and taught me a lot of things. So I owe a lot to Rudy Sarzo.

And you’ve stuck with people and worked with them over your entire career, like your producer Bob Marlette.
J5 : Yes. You know, it’s funny. Everybody I’ve worked with I’m pretty much still in contact with. Everyone … because they’re good people, and I never leave anything on a bad note, where it’s like, “Screw you!” So it’s good, because you see everybody because it’s such a small, small world, and you don’t think you being in this world of, “Oh, I’ve seen this person. I’ve seen this person. I’ve seen this person.” It’s wonderful, and I’m so happy that I don’t have any bad blood.

You’ve worked with some amazing guitar players, too, including Lita Ford. That must have been a blast for you.
J5: Yeah, it was a blast. I see her every once in a while and she’s such a great, great, great talent. And she’s a great songwriter, great performer and singer … luckily, I had the privilege to play with her and play some songs with her. I really respect her. She’s great.

Probably underrated as an artist …
J5: Oh sure, she’s great. And she’s been doing this forever. I mean, The Runaways? Come on … just awesome. She’s so great. And then all of her solo stuff – what a career.

How did you get this band The Creatures together?
J5: Well, I was recording my instrumental stuff. I had recorded so many records, but I never played live shows. The drummer that I use said, “You should do some live shows.” And I said, “Well, it’s tough. The Zombie schedule is so busy,” but I said, “I’d love to do it. We’re going to have to get somebody. Let’s do it. Let’s do some shows.” I was really nervous because I’ve never done these kinds of shows. I didn’t know if people would show up, I didn’t know if people were going to care, I didn’t know anything about it. But we went out there, and it was such a huge success, and I was so happy. It just really changed my life, and we just said, “All right. Let’s do this.” And it’s so much fun. I’m so happy that the drummer, Rodger Carter, kind of pushed me to do this. And it was wonderful. It really changed my life.

Does it continue to evolve, this project you’ve got?
J5: Yeah, absolutely. We’re doing another tour starting in November … we’re just going to keep doing it, keep doing it, and whenever I have time away from Zombie, I’ll be able to do this.

What did you enjoy most about working on the last record working with Rob? Was it different from any other records you worked on with Rob? Or did you like the songs better and do you think he’s underrated as a songwriter?
J5:  Well, the record we have coming out with Zombie now, that will come out next year, it is so good. We went up to his place, and it is very secluded, and there’s nothing out there. There are no distractions – really, really a great place to make great music, and you really have the time to live with it. And that’s what I think is very important, because you have the time to say, “Oh, let’s change this or make this better, or I can play it like this.” And I think that’s important, because a lot of bands they do these records and they have to deliver them at a certain time. We took our time and this record that’s going to be coming out … I mean, the songs are amazing. It’s great, it’s heavy and it’s just … you know, I was a Zombie fan before being in the band and this one’s going to be great that’s coming out.

Do you remember hearing White Zombie for the first time? What did you think of them?
J5: Well, yeah, it was seeing the video of “Thunder Kiss ’65” … yeah, that was rad. It was the look, it was the sound and it was just cool. It was just something that you saw that made you say, “That’s got something special to it.” So, yeah, it was just a great, great, great thing.

"The Mad Monster Tour" dates:
Nov. 4 – Ramona, CA @ Ramona Mainstage
Nov. 5 – Los Angeles, CA @ Whiskey A Go Go**
Nov. 6 – Las Vegas, NV @ Count's Vamp'd**
Nov. 7 – Phoenix, AZ @ Marquee Theater**
Nov. 8 – Ventura, CA @ Discovery**
Nov. 10 – San Francisco, CA @ DNA Lounge**
Nov. 12 – Orangevale, CA @ Boardwalk**
Nov. 13 – Fresno, CA @ TBD
Nov. 18 – San Antonio, TX @ Sam's Burger Joint
Nov. 19 – Dallas, TX @ Trees
Nov. 20 – Tyler, TX @ Click's
Nov. 21 – Houston, TX @ Scout Bar

** Dates with Doyle

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




Best of 2013 in Hard Rock and Heavy Metal – Part 1

The number of this beast is 20, as in top 20
By Peter Lindblad

There are many questions left unanswered from the year of our Lord 2013. 

One of them being, what exactly is an "Earth Rocker" and, as a follow-up question to Clutch, how do they differ from normal, everyday rockers? Also, why Summon the Faithless, Lord Dying? Is something nefarious afoot? 

And what about Monster Magnet's Last Patrol? Should we read anything into that title? And should you engage in a transaction with a Venomous Rat Regeneration Vendor, what are you actually purchasing? Zombie rodents? Would you buy such a thing from a man named Rob Zombie?

To say the least, hard rock and heavy metal had its share of scary, off-the-wall characters making ridiculously powerful music in 2013. Ozzy even sounded semi-coherent as three-fourths of the original Black Sabbath came back from the grave with a vengeance. As ill as he's been, Lemmy still barreled through Aftershock like a man possessed by demons, which is just the way Lemmy likes it. And former Hanoi Rocks frontman Michael Monroe showed everyone he's full of just as much piss and vinegar as guys half his age.

So, here we present the best metal and hard rock records of 2013 in this four-part series, counting down from 20 and headed toward No. 1. 

Amon Amarth - Deceiver of the Gods 2013
20. Amon Amarth: Deceiver of the Gods – Maybe this Norse metal thing has finally run its course with death metal Vikings Amon Amarth. Even the gods are wondering if its time Amon Amarth gave it a rest. Still, the gory Deceiver of the Gods, with its mighty blend of traditional melodic metal forms and good old fashioned thrash, is a mammoth production, a big boiling kettle of massive riffs, hairy vocal bellows and roiling rhythms that swings precariously to and fro, constantly spilling its contents over the edge. And Amon Amarth worshippers lapped up every drop.

Lord Dying - Summon the Faithless 2013
19. Lord Dying: Summon the Faithless Stirring up a sea of sludge, coating it in crusty distortion and fashioning it into menacing shapes defined by crunching riffs and hardened grooves, Lord Dying staked its claim to Black Sabbath's throne as the masters of doom metal. Made of pure evil, Summon the Faithless is that shadowy figure of an album hiding around the corner, waiting to snatch whoever happens to walk by with a myriad of rusty hooks that could give whoever hears it tetanus. Make sure you're up on all your shots.

Rob Zombie - Venomous Rat Regeneration
Vendor 2013
18. Rob Zombie: Venomous Rat Regenerator Chaos reigns supreme in the circus world of Venomous Rat Regenerator, where demented bartender Rob Zombie and partner John Five whip up a lethal cocktail of hot, grinding industrial-metal riffage, hard-hitting dance beats and complete auditory madness. If any asylum could ever be described as "fun" or having a "party-like atmosphere," this is it. The inmates are running Venomous Rat Regenerator, inviting all manner of freaks, and they are throwing the bash of the century.

Saxon - Sacrifice 2013
17. Saxon: Sacrifice Saxon sacrificed nothing on its last album. The grizzled New Wave of British Heavy Metal veterans mixed in some thrash stomp and made some of the toughest, most durable rock of their career. Wrecking-ball riffs and beautifully intertwined dual-guitar salvos each find their space on Sacrifice, which also incorporates touches of folk instrumentation on an otherwise hard-nosed, blue-collar epic that packs quite a wallop.

Vista Chino - Peace 2013
16. Vista Chino: Peace – Peace sells, and it should be bought by the truckload. Heavy and languid, with a wonderfully homegrown, hazy stoner-metal aesthetic hanging in the air, Peace could have sounded inert, stuck in a past where too many Kyuss fans choose to live. It doesn't. Rather, Vista Chino moves in mysterious and intoxicating ways. Instead, it's seductive, like an older brother daring you to smoke pot for the first time, and earthy, as if early Sabbath spent more  time in hippie communes, as opposed to graveyards. In a word, it sounds "natural," which is something that can't be said anymore for Queens of the Stone Age, that other Kyuss-related band. 


CD Review: Rob Zombie – Venomous Rat Regeneration Vendor


Rob Zombie – Venomous Rat Regeneration Vendor
Zodiac Swan Records/T-Boy Productions/UMe
All Access Rating: A-

Rob Zombie - Venomous Rat
Regeneration Vendor 2013
Translated from some weird lost language that only Rob Zombie understands, “Ging Gang Gong De Do Gong De Laga Raga” probably has some fiendishly obscene meaning, especially considering that in the pummeling chaos of the track – off his latest album, the awesomely titled Venomous Rat Regeneration Vendor – he’s heard exhorting anyone within earshot to “rally round the girl with the skull on her ass.” Either that or Zombie has suddenly begun speaking in tongues.

Another seething, all-consuming cauldron of mind-bending heavy metal riffage, dizzying dance beats, industrial brutality, electronic unease and Zombie’s demented fantasies all mashed together, Venomous Rat Regeneration Vendor might be his most visceral and entertaining album to date. Amplified by massive, full-throated production values, it’s an aural carnival of cartoonish horror and rip-roaring debauchery, with mean, explosive rock ’n’ roll freak shows like “Behold, the Pretty Filthy Creatures!,” “White Trash Freaks,” “Lucifer Rising”  and “Trade in Your Guns for a Coffin” getting right up in your face and spitting in it. They roar out of the speakers like runaway freight trains. At the controls, Zombie is the mad conductor, but it’s his equally demented assistant, that clever boy John 5, who churns out riff after heady riff, each one more insanely dynamic and unexpectedly potent than the last and seemingly packed with enough dynamite to blow a mile-wide hole in a mountain of rock.

While Venomous Rat Regeneration Vendor is capable of generating awesome power, Zombie and his evil henchmen aren't satisfied with simply throwing their impressive weight around, even though the stomping opener “Teenage Nosferatu Pussy” is one of the heaviest tracks ever committed to a Zombie record. Updating The Doors’ “The Wasp (Texas Radio and the Big Beat)” for the new millennium, the swinging “Dead City Radio and the New Gods of Supertown” – thrown around by swirling organ and crushed under the heel of Five’s grinding guitars – swaggers like a drunken cad, spilling his drink and eyeing up easy girls. And then there’s something insidiously infectious sweeping through “Rock and Roll (in a Black Hole)” like a full-on pandemic, the spare electronic beats giving way to a raging, head-spinning cyclone of raucous metal energy.

Again, Zombie loves to draw the most ludicrously evil images with words, including this little nugget of wisdom from “White Trash Freaks”: “She’s a Warhol painting heading west/I love Ringo across her breast/covering a nasty pitbull scar/life ain’t shit/if you ain’t a star.” And he relishes taking on absurd new identities, like “dirty pig alley Dan” and “King Kong raisin bran” in “Ging Gang Gong De Do Gong De Laga Raga.” A literary Salvador Dali, Zombie’s writings often sound as if they are the product of terrifying acid trips. He does come down to sleepwalk his way through a rather nondescript and tepid reading of Grand Funk Railroad’s “We’re an American Band,” but the rest of Venomous Rat Regeneration Vendor is a delicious descent into madness, a hell ride of crazed, breathtaking intensity and almost manic mood swings. Buy a ticket to the show. You won’t ask for a refund. (universalmusicenterprises.com)
– Peter Lindblad

Metal Evolution - "Shock Rock"

Metal Evolution - "Shock Rock"
Sam Dunn
VH1 Classic


All Access Review: A

Along with his similarly desensitized boyhood chums, a teenaged Sam Dunn took great delight in poring over the violent, gore-splattered imagery that bled all over the lyrics of death metal titans like Cannibal Corpse. The heavy metal-obsessed filmmaker waxes nostalgic for such warped innocence in his acclaimed documentary “A Headbanger’s Journey.” As someone with a strong stomach for such horrific scenes of human depravity and sick fantasies, it takes something truly frightening and unsettlingly dark to scare Dunn out of his wits. Des Moines, Iowa, mental ward escapees Slipknot had that effect on him.

On his way to the Midwest to interview Slipknot co-founder Shawn Crahan, otherwise known as Clown, during “Shock Rock,” the latest installment of his “Metal Evolution” series on VH-1, Dunn reveals how “terrified” of Slipknot he was the first time he saw them live. Intensely chaotic onstage, with an angry, relentlessly bleak nihilistic streak lyrically, Slipknot’s grotesque masks and matching uniforms, hellish growls, aggressive, multi-dimensional percussion and borderline psychotic stage shows make KISS seem cuddly by comparison. In fact, Monte Conner, A&R guy at Roadrunner Records, a regular on “Metal Evolution,” recounts how Clown would inhale deeply while holding a decomposing crow to his nose and breathe in all the evil and blackness that bird represented before shows. The stench often made him vomit, according to Conner, and sometimes, he would throw up in his mask and continue wearing it while playing whole concerts with that awful smelling spew in his face. Holy God, how do you top that?

The answer is … well, probably, you don’t. Although circus performer Danny Vomit, also interviewed for “Shock Rock” to provide commentary on how freak shows may have influenced shock-rock theatrics, cautions that somewhere some kid is dreaming up something even more appalling, it’s hard to imagine anything more assaulting to the senses than Slipknot or Marilyn Manson. Even the godfather of the genre, Alice Cooper, admits in the most recent episode of “Metal Evolution” that it’s probably impossible to shock anybody these days, and Rob Zombie concurs. And now that people are so anaesthetized to violence that we’ve gotten to the point where “Faces of Death” passes for entertainment, what’s left? Forget trying to shock people, says Cooper. That’s pretty impossible now. It all comes down to providing them an imaginative show, according to Cooper, who equates his own elaborately bloody stage show these days with Cirque du Soleil.

Dunn pretty much leaves it at that in what is quite possibly the best episode of the “Metal Evolution” series. “Shock Rock” has it all – controversy, a fascinating history, lively debate, and unflinching social commentary. There’s the gutsy Little Richard, strutting his gender-bending fashion sense and blatant homosexuality in the Deep South of the late 1950s, which earns the undying respect of one Lemmy Kilmister of Motorhead. Next up is the campy horror show of Screamin’ Jay Hawkins, complete with still shots of him arising from his coffin and vintage clips of him performing “I Put a Spell on You.” Perhaps more surprising, however, is how much crazy, manic footage there is of The Crazy World of Arthur Brown doing “Fire,” and Iron Maiden’s Bruce Dickenson admitting to copping much of his onstage persona from Arthur, who emerged from the psychedelic safe house of Paris in the ‘60s with wild ideas about confrontational performance art and challenging music – all of which Brown, with a red stripe of makeup running across his face, discusses in great detail with Dunn. That connection that Dunn establishes between Brown and heavy metal is a fascinating one and Dunn displays a deft touch in making it. There’s nothing heavy-handed about his storytelling technique; he’s a natural when it comes to interviewing, and the editing work that he and partner Scott McFadyen, who co-directs and co-produces “Metal Evolution,” keeps everything flowing naturally.

Not forgotten in the story of “Shock Rock” are Alice Cooper and KISS, of course. The infamous chicken incident is dissected with Alice, who goes on to regale Dunn with rehashed tales of how the band was banned in certain countries and how the “bad” publicity they received actually served to increase the band’s popularity – all with the help of former band mates Dennis Dunaway and Neal Smith. Whole books have been written about KISS’s makeup and the genesis of the band’s outrageous stage craft. Somehow, Dunn manages to squeeze all the essential information about KISS, as it relates to the subject at hand, while segueing into KISS’s gradual morphing from every parent’s nightmare into a somewhat more innocuous, family-oriented act that saw children arriving at shows made up as their favorite KISS character. While Criss bemoans the increasing commercialism that enveloped KISS, Frehley talks about having to tone down the sexual congress he used to perform with his guitar every night and reluctantly back off on his cursing. This is where things take a turn for the really, really weird.

With KISS having become sort of a kid-friendly cartoon, a shock-rock void developed. Nobody was testing the boundaries of good taste and social convention. Then along came Marilyn Manson. Taking on conservative Christian values with a fierce intelligence and a brutally tortured, gothic aesthetic that seemed to bring to life the inner workings of a serial killer’s scrambled mind, Manson and his deranged crew put on a stage show that was like some fascist S&M rally in a dystopian nightmare. When things got too real, though, as they did when responsibility for the Columbine massacre was placed squarely on Manson’s shoulders, this sinister creature went on MTV and took umbrage with the media for its ghoulish, uncaring coverage of the tragedy and the grief and sadness of those it affected the most. Interestingly, Manson’s one-time co-conspirator, Daisy Berkowitz, criticized Manson’s reaction, basically calling him out for being soft. That, combined with the bizarre, intensely personal stories of Clown and Slipknot, makes the second half of “Shock Rock” the most compelling television produced so far by Dunn.

“Shock Rock” alternates from lighthearted kitsch to serious debate on its effects on society and whether rock music could ever produce anything that could be considering “shocking” ever again. Again, it must be difficult to keep this train on the tracks, to maintain focus on the role “shock rock” plays in the evolution of heavy metal. And yet, Dunn does it, even while occasionally detouring into ancillary subject matter that would threaten to derail less talented filmmakers. Over and over, Dunn and McFadyen stitch together interviews, vintage live footage, still photography and any other ephemera he can get his hands to effortlessly tell a story that deserves this kind of exhaustive study. The world of heavy metal owes him a debt of gratitude.

Peter Lindblad

Metal Evolution - Shock Rock
Watch the Full Episode - Here and Now! 


Nothing Keeps John 5 of Rob Zombie Down; The Show Must Always Go On!

On the eve of a Rob Zombie show this past summer, John 5 broke his foot and initially feared that he wouldn't be able to do the show. A quick trip to the hospital and a cast later, John was good to go. For John 5 fans you know that "taking it easy on stage" would prove to be a challenge, but he managed to do the full show, including the "smashing of the guitar", which is the one featured here. The guitar is broken in several places but is complete and was signed by John on the chrome pick guard.

Agreed, this by itself would be a prestigious memento for any collector. After all, John 5 is one of today's absolute premier guitar players; period! Owning one of his very few 'battle axes' is plenty reason to draw envy and admiration but why stop here? To make this lot unparalleled, John has added the cast for his broken foot that he got prior to the Raleigh show and supported him for the remainder of the tour. The cast too has been signed.

John 5 Smashed Fender and Cast for his broken foot.
Whether you're a John 5 admirer or a guitar aficionado, you're not going to find anything like this ever again. Talk 'bout a true one-of-a-kind item....it doesn't get any more authentic than this!

And speaking of Zombie, the Rock Gods 'n Metal Monsters Auction is also featuring the private collection of former White Zombie manager Walter O'Brien. There are over a dozen White Zombie pieces including RIAA records awards, passes, posters and super cool limited edition Super-Charger Heaven colored 7 inch single.

White Zombie
La Sexorcisto: Devil Music
RIAA Gold
Walter O'Brien Collection
The auction, which is scheduled to go live on Halloween, features amazing pieces direct from the private collections of Al Jourgensen, Rudy Sarzo, Graham Bonnet, Scott Rockenfield, Kip Winger, Bobby Rondinelli, Bob Nalbandian and Walter O'Brien, just to name a few. "When we designed the hard rock and heavy metal themed auction, we really tried to build an event that was not only unique but give fans and collectors access to pieces of rock history that were equally rare and one of kind and we have definitely achieved that goal," says Jacques van Gool, Backstage Auctions founder. The auction catalog features over 50 Gold and Platinum records awards, guitars, stage props, artist stage worn apparel, master recordings, rare concert posters and the list goes on and on.

"While this is a stellar line-up of artists, we are still adding headliners to the event, which is exciting.  It will be interesting to see who makes the final auction catalog" says van Gool. 

From Walter O'Brien's
Personal Collection
The event, aptly titled the “The 2010 Rock Gods and Metal Monsters Auction”, is a not-to-miss opportunity for fans and collectors around the world to own an authentic piece of one of the most significant genres of music history.

 The auction, which will be held on-line at www.backstageauctions.com starts on October 31, 2010 and will run through November 7, 2010. A special preview of the entire auction catalog will be available to view beginning Sunday, October 24.


Backstage Auctions Announces All Star Line Up for the Rock Gods and Metal Monsters Auction

The auction will showcase over 400 exceptionally  rare  pieces of rock memorabilia, featuring members of such legendary groups as Pantera, Ministry, Quiet Riot, Dio, White Zombie, Whitesnake, Alcatrazz, Queensryche, Ozzy and more, direct from the private collections of notable rock and metal icons from the past 3 decades.

Houston, TX - October 5, 2010 – Backstage Auctions is proud to present the "Rock Gods and Metal Monsters Auction", an unprecedented hard rock and heavy metal online auction event. "Almost every item being offered in the auction is "iconic memorabilia" and is easily identifiable to a specific artist or band," explains Backstage Auctions founder Jacques van Gool.
Fully Signed by Pantera Members
Dimebag Darrell Washburn

The auction, which is scheduled to go live on Halloween, features amazing pieces direct from the private collections of Al Jourgensen, Rudy Sarzo, Graham Bonnet, Scott Rockenfield, Kip Winger and John 5, just to name a few. "When we designed the hard rock and heavy metal themed auction, we really tried to build an event that was not only unique but give fans and collectors access to pieces of rock history that were equally rare and one of kind and we have definitely achieved that goal," says Jacques. The auction catalog features over 50 Gold and Platinum records awards, guitars, stage props, artist stage worn apparel, master recordings, rare concert posters, original artwork, photos and the list goes on and on.

"It's not an every day event that you can stand behind and grab on to Al Jourgensen's infamous "skull and bones" microphone stand which he used extensively on many Ministry shows and rehearsals. The historical relevance of that one piece in the rock community is well documented," says Jacques.

Equally impressive is the private collection of Concrete Management co-founder, Walter O'Brien which features a jaw dropping collection of RIAA record awards presented to him while managing Pantera and White Zombie. On a more personal level, Sarzo and Bonnet have both offered up vintage "rocker apparel" that they wore on stage, during photo shoots and really cool music videos.

Ministry's Marshall Amp & Case
C-U-LATOUR 2008
The auction wouldn't be complete without a few guitars, drum kits, stage props and handwritten lyrics. Amazing pieces that Scott Rockenfield of Queensryche, John 5 of Rob Zombie and Kip Winger have pulled out of their personal collections are sure to get quite a bit of activity during the auction.

"While this is a stellar line-up of artists, we are still adding headliners to the event, which is exciting.  It will be interesting to see who makes the final cut," says van Gool.  

The event, aptly titled the “Rock Gods and Metal Monsters Auction”, is a not-to-miss opportunity for fans and collectors around the world to own an authentic piece of one of the most significant genres of music history. 

The auction, which will be held on-line at www.backstageauctions.com starts on October 31, 2010 and will run through November 7, 2010. A special preview of the entire auction catalog will be available to view beginning Sunday, October 24

Auction Registration: VIP All Access


Additional Photos: 
Walter O'Brien: Pantera Records Awards
Scott Rockenfield / Queensryche: Drum Kit

For additional information: Backstage Press & Media