Yes sets release date for 'Heaven & Earth'

Prog-rock giants have big summer tour planned

Yes - Heaven & Earth 2014
Among the world’s most influential, ground-breaking, and respected progressive rock bands, Grammy Award winning, YES are proud to announce they will release their  new studio album,HEAVEN & EARTH, July 22 on Frontiers Records. Having sold nearly 40 million albums in a career that has so far spanned more than four decades, HEAVEN & EARTH sees YES continuing with its tradition of symphonic progressive rock that remains timelessly fresh and innovative.HEAVEN & EARTH is available now for pre-order on Amazon here:http://smarturl.it/YES_Amz_Preorder.

HEAVEN & EARTH contains eight new tracks, each of which boasts the unique musicianship and craftsmanship that have come to be known as “the YES sound.” YES’ distinctive layered music, swirling arrangements, brilliant vocals and harmonies are all in abundance. HEAVEN & EARTH is an album sure to please both long-time and new YES fans. For HEAVEN & EARTH, YES teamed up with legendary Grammy Award winner, Roy Thomas Baker (Queen, The Cars, Guns N’ Roses, Foreigner, Smashing Pumpkins, Alice Cooper, etc.), who handled the production and Billy Sherwood (Toto, Paul Rodgers, Air Supply, etc.) who mixed the album. Also onboard is long-timeYES artist, the world-renowned Roger Dean, who again brings his masterful artistic creativity to the album’s cover art and packaging.

Tracklisting for Heaven & Earth:
1. Believe Again
2. The Game
3. Step Beyond
4. To Ascend
5. In A World Of Our Own
6. Light Of The Ages
7. It Was All We Knew
8. Subway Walls

To coincide with the release of HEAVEN & EARTH, the multi-platinum progressive rock band--bassist CHRIS SQUIRE, guitarist STEVE HOWE, drummer ALAN WHITE, keyboardist GEOFF DOWNES and singer JON DAVISON – announced in March they’ll launch their 35-date summer tour featuring YES performing, in their entirety, 1971’s groundbreaking album FRAGILE for the first-time ever and a repeat performance from last year’s tour of 1972’s CLOSE TO THE EDGE, followed by an encore of the band’s greatest hits.

The album FRAGILE is considered to be their U.S. breakthrough album peaking at #4 on theBillboard Album charts in the U.S. The RIAA-certified double platinum album has sold over two million copies and features YES’ hit single “Roundabout” and other classics likeLong Distance Runaround” and “Heart of the Sunrise.” It also marks the band’s first collaboration with artist Roger Dean on cover art, who has designed many of the band’s album covers and logos. The band’s album CLOSE TO THE EDGE  widely regarded as one of the greatest progressive rock albums ever recorded--was on the U.S. charts for 32 weeks, peaking at #3. A Rolling Stone review noted, “Yes’ colors are subtle, almost imperceptible tints, but the main strokes are bold and thick, applied with sureness and natural instinct.” Inspired by Siddhartha and their “state of mind” at the time, the Gold-certified album featuring epic suites such as “Close To The Edge” and “You And I” was named one of the “100 Greatest Guitar Albums of All Time” by Guitar World (2006). Track listings for both albums listed here: http://www.smarturl.it/qcbcnm.

Spend “An Evening with YES” this summer in the following cities:
DATE


CITY

VENUE
Tue
7/8

Boston, MA

Blue Hills Bank Pavilion
Wed
7/9

New York, NY

Radio City Music Hall
Fri
7/11

Wallingford, CT

Toyota Oakdale Theatre
Sat
7/12

Westbury, NY

NYCB Theatre at Westbury
Sun
7/13

Newport, RI

Newport Yachting Center
Tue
7/15

Washington, DC

Warner Theatre
Wed
7/16

Hampton, NH

Hampton Beach Casino Ballroom
Fri
7/18

Salamanca, NY

Seneca Allegany Casino
Sat
7/19

Philadelphia, PA

Tower Theater
Sun
7/20

Munhall, PA

Carnegie Music Hall
Tue
7/22

Rochester Hills, MI

Meadow Brook
Wed
7/23

Northfield, OH

Hard Rock Live Northfield Park
Fri
7/25

Madison, WI

Overture Hall
Sat
7/26

Chicago, IL

Copernicus Center
Mon
7/28

Nashville, TN

Ryman Auditorium
Tue
7/29

Louisville, KY

Louisville Palace
Wed
7/30

Atlanta, GA

Symphony Hall
Fri
8/1

Hollywood, FL

Seminole Hard Rock Live
Sat
8/2

St. Petersburg, FL

Mahaffey Theater
Sun
8/3

Orlando, FL

Bob Carr Performing Arts Centre
Tue
8/5

Houston, TX

Bayou Music Center
Wed
8/6

Grand Prairie, TX

Verizon Theatre at Grand Prairie
Thu
8/7

Kansas City, MO

Arvest Bank Theatre at The Midland
Sat
8/9

Denver, CO

Paramount Theatre
Mon
8/11

Tucson, AZ

Rialto Theatre
Tue
8/12

Mesa, AZ

Ikeda Theatre at Mesa Arts Center
Wed
8/13

Albuquerque, NM

Legends Theater at Route 66 Casino
Fri
8/15

Las Vegas, NV

The Joint at Hard Rock Hotel & Casino
Sat
8/16

Anaheim, CA

City National Grove of Anaheim
Mon
8/18

San Diego, CA

Humphrey’s Concerts By the Bay
Tue
8/19

San Jose, CA

City National Civic
Thu
8/21

Tulalip, WA

Tulalip Amphitheatre
Fri
8/22

Grand Ronde, OR

Spirit Mountain Casino
Sat
8/23

Lincoln, CA

Thunder Valley Casino Resort
Sun
8/24

Los Angeles, CA

Greek Theatre

YES is proud to provide special show packages, which include near-stage seating, a meet and greet with the band, exclusive limited-edition gifts from YES, and much more. For more information on prices, on-sale dates and to purchase YES packages/tickets, go to www.yesworld.com.

CD Review: Crowbar – Symmetry in Black

CD Review: Crowbar – Symmetry in Black
eOne Music
All Access Rating: A-

Crowbar - Symmetry in Black 2014
There's a stirring in the sludge. Three years dormant, following 2011's crunching return to form Sever the Wicked Hand, Crowbar, bloodied but unbowed, has surfaced from metal's filthy, oily muck to binge on the thickest, most engorged riffs possible and purge the eOne Music release Symmetry in Black, their 10th album.

And while it's unmistakably Crowbar, there's surprising diversity here, as well as a sonic richness that has the texture and feel of black velvet soaked in tar. Every move is deliberate on the sludge-metal juggernaut that is the well-designed Symmetry in Black, with its complex, slowly evolving grooves and subtle tempo changes, as well as expertly wound ropes of twin guitar. Symmetry in Black surges and churns with intensity of purpose and unimaginable power, the crawling brutality of "The Foreboding," the crushing weight of "Reflection of Deceit" and the building tsunami that is "A Wealth of Empathy" seemingly capable of flattening whole cities.

Deceptively intricate and relentlessly heavy, "Walk With Knowledge Wisely," "Shaman of Belief" and "Teach the Blind to See" – the incisive and evocative lyrics plumbing the depths of the human psyche – creep around aural dungeons, as a tortured, roaring Kirk Windstein tears his larynx to shreds, until Crowbar springs an ambush, racing ahead with trash-like rage, unleashing monstrous rogue waves of guitars or taking slight detours that almost reluctantly reveal themselves. 

On occasion, Crowbar turns expansive and melodic, drifting into celestial territory with the lonely and dreamy, yet still dark and unsettling, "Amaranthine," but they cannot contain their larynx-shredding rage, and it finds purchase in the blistering thrash-metal of "Ageless Decay." Windstein and his sinister henchmen Matthew Brunson (guitar), Tommy Buckley (drums) and Jeff Golden (bass) walk confidently through the shadow of death and embrace evil, lowdown tunings like an old friend, still worshiping at the altar of Black Sabbath but changing their incantations and exploring other aspects of their heritage. Black is their color.
– Peter Lindblad


Hatriot: New centurions of thrash

Steve "Zetro" Souza puts Exodus behind him, looks ahead with Hatriot
By Peter Lindblad


Steve "Zetro" Souza of Hatriot
Steve "Zetro" Souza was there at ground zero. The Bay Area thrash-metal scene was exploding in the early 1980s, and Souza was right in the middle of a fiery musical conflagration, singing like demon for Legacy, the band that evolved into Testament, and recording their first demo with them.

"We thought every city had a scene like ours," said Souza. "Looking back on it in hindsight it was magical."

Three years after Legacy was founded, Souza came to a crossroads in his career. He was offered the chance to become lead vocalist for another Bay Area thrash outfit. He couldn't turn it down, and in 1986, he joined Exodus.

To his credit, Souza didn't just abandon his old Legacy mates. It was Souza who introduced them to his replacement, Chuck Billy. 

As for Souza, who's often been compared to AC/DC's Bon Scott, he was about to embark on an amazing thrill ride, with plenty of ups and downs. With Exodus, he sang on five records before the band disbanded, lending his uniquely evil, flesh-ripping caterwaul to 1987's Pleasures of the Flesh, 1989's Fabulous Disaster, 1990's Impact is Imminent, 1991's Good Friendly Violent Fun and 1992's Force of Habit

There have been other bands. Dublin Death Patrol, Tenet, AC/DZ – Souza's been with them all, teaming with Billy in Dublin Death Patrol. More than anything, though, Souza would like to see another project of his really take off, and that endeavor is the furious, all-consuming Hatriot, a band that includes his sons Cody (bass) and Nick (drums), and phenomenal young guitarist/composer Kosta "V,"  as well as second guitarist Miguel Esparza.

In April, Hatriot released its volcanic second album, the Massacre Records release Dawn of the Centurion, a burning slab of old-school thrash that sticks to the basics – made it fast, make it loud, make it devastatingly brutal and leave a beautiful melodic corpse. Hot riffs, charred black, hold hands with pummeling beats and crushing bass maneuvers, as scary, impassioned and crazed lyrics are recited in sinister fashion to those who cannot deny their dark thoughts. 

Recently, Souza talked about Hatriot's plans for world domination, the new record and his days with Exodus in this revealing interview. 

Hatriot - Dawn of the Centurion 2014
When you first formed Hatriot, what did you want to do with it and does Dawn of the New Centurion match that vision?
Steve "Zetro" Souza: I honestly wasn't looking to do a new band at my age, but I met Kosta Varvatakis and was so impressed with his guitar abilities that I felt this was something I needed to do. The world needs new guitar heroes and new rock stars, so I felt I needed to make another serious run in metal and help showcase this kid's talents. In that regard I'd say it definitely matches my vision. Dawn of The New Centurion has some of the best guitar playing in thrash metal, and what people need to know is all the music and arrangements come from Kosta. He is a f**king monster when it comes to thrash metal, and is the perfect writing partner for me. He creates the riffs, and I put words to them.

What do you like most about working with Kosta "V" and where does he rank with other guitarists you've worked with?
SZS: He is right up there with all the greats. I have been very fortunate to work with a lot of amazing guitarists in my career, and Kosta is right there with them. I think the biggest difference is back in the early days of thrash there were a lot less people doing it. In the early '80s when I was jamming with Legacy, I had Alex Skolnick and Eric Peterson on guitar, and they were f**king amazingly good.  Then in Exodus it was Gary (Holt) and Rick (Hunolt), who went down in history as a great thrash guitar tag team. Kosta is right there on their skill level, but now there's a shredder in every neighborhood in the world. It's not as big of a deal as it was in the early days. It's a lot more difficult to make a name for yourself. If it was still 1988, Kosta Varvatakis would be a household name in metal.  Hopefully he still will be in this day and age. He is certainly good enough.

Steve "Zetro" Souza, formerly of Exodus
In making this album, was there a point at which you thought, "This is really something special?"
SZS: I knew it was going to be special before we ever recorded the first note. The thing with Hatriot is we are constantly writing material and working on new stuff, so by the time we go in and record a record we have the material fully worked up and ready to go. At that point it's just a matter of executing it in the studio, and capturing the best vibe possible. I knew it was really special when we were doing the demo recordings and pre-production. 

Vocally, was this album different for you in any way?
SZS: For the most part it was business as usual for me. I have a signature sound that fans expect from me, so I don't try and stray from that too much, but there are some more brutal vocal parts at times on this record. We experimented with some gang shouts and death-metal vocals just to add dynamics.  Then, of course, I do a lot of screaming when the song calls for it. It's all about what the song needs to be effective.

"Superkillafragsadisticactsaresoatrocious" and "Silence in the House of the Lord" are really heavy, hard-charging songs, as is "World Funeral." That's probably my favorite section of the record. Is there a particular sequence of songs on Dawn of the New Centurion where they just seem to fit together really well for you?
SZS: I did all of the sequencing for the album, as I do on all the records. I just want the album to have a flow to it, with dynamics, so it keeps the listener on edge. Lots of albums these days are so predictable, and it makes it where the listener gets bored with the record after one or two listens. I like the Hatriot records to have those dynamics that made the early thrash records so great. I think we achieved that with this album.

Steve "Zetro" Souza with son Cody
Hatriot is a bit of a family affair. How do you make that work?
SZS: It's really not as complicated as people think. My sons grew up around the music business, so they have an idea as to how things work. I am dad when I need to be with them, but most of the time we are band mates and good friends, the same way any other band operates. Most dads would give anything to have a common interest with their kids, and the fact that I get to be in a band with two of mine makes it all worth it. The only downside is we don't really get a separation between business and family, but for the most part having them in the band is all positive. I'm really enjoying it.

Lyrically, what topics, including gun rights, did you want to address on Dawn of the New Centurion?
SZS: I have always been drawn to the darker side of life, and that's where my lyrics go every time. On this record I have songs about corrupt world leaders, a "cabin in the woods" killer, the end of the world, and the entire human race going insane. There's plenty more in there, too. It's a sick and twisted record, the same way our debut record was lyrically. It's a f**king heavy metal album!

What made the early Bay Area thrash scene so special, especially when you started with Legacy, and do you ever think something like that will happen again?
SZS: It will never happen again. People try to recreate that time, but if you weren't there you missed it.  It was a very special time in heavy metal history because it was a natural thing, and not fabricated. It was not manufactured by the record business and exploited at that point in time. The scene in the Bay Area at the beginning was a very tight knit one. All the bands would support each other, and there was something happening every night of the week. It wasn't just a weekend thing. You might go see Exodus do a show on a Tuesday night, and the Metallica guys would be there hanging out. That kind of thing happened all the time. So it was a very exciting era for thrash, even though we didn't realize it at the time.

Reflecting on your time in Exodus, was it a difficult decision to join the band?
SZS: To be honest, I really had to think on it for a few days when I was asked to join in 1986. I had so much time and energy invested in Legacy that I hated to throw that all away, but at the same time, Exodus was on another level in the eyes of the metal scene. They had a record out and people around the world knew of the band.So I knew it was a great opportunity for me, and I decided to go for it. The fans didn't embrace me at first, and it was a lot of work to win them over. It wasn't until the success of Fabulous Disaster that I really felt like Exodus was my baby. By that point the fans were on my side.

Artistically or career-wise, what was the most gratifying experience you had with Exodus?
SZS: I know it sounds cliche, but the whole ride was amazing, even the bad times. I wouldn't trade it for anything. For specifics I'd say the "Headbangers Ball" tour that we did with Anthrax and Helloween was a definite highlight. The tour we did with Black Sabbath was amazing because I became friends with Ronnie Dio. How fucking metal is that? The most gratifying overall would be the tour cycle for the Fabulous Disaster record. We were full-fledged rock stars at that point. Media hounded us and fans were rabid. It was a whirlwind, and we had amazing shows during that record cycle. That was definitely the peak of the Exodus success during the glory days of thrash.

In what ways have your experiences with Hatriot mirrored those you had with Exodus and in what ways are they totally different?
SZS: Similarities? For starters there is the youth factor. The ages of the band guys in Hatriot ranges from 19 to 25. You can add two of them together, and it doesn't even make one of me! So that's a similar thing to the early days in Exodus. We were young and hungry for it back then. Nobody was a lazy rock star at that point. We also had a cycle in Exodus that we use in Hatriot: make a record, then go on the road, then immediately do another record, then back on the road, etc. With that method we never lose momentum. The biggest differences between the two bands are big ones. First off, there's no real music industry anymore. Not like the big machine of the old days. Everything is independent now, which is a cool thing, but there's not a lot of resources like back in the day. There's no buying on tours and getting on MTV. It's not a huge thing like it was. Another big thing is the technology of today.  From recording albums to networking with fans on social media, technology has leveled the playing field. There's no half million dollar records now. We do records for ten grand. There's no passing out flyers outside a club. It's all done on Facebook. I hate a lot of that sh*t, but that's where we are today as a society. 

What are your hopes for Hatriot?
SZS: I hope to make this thing as big as it can be. My days in Exodus will always be wonderful memories for me, but I am hoping to add another chapter to the book with Hatriot. I don't want to just be known as the "former singer of Exodus." I want this to stand on its own. I'm 50 years old, but I have a lot more metal left in me.

First impressions: Ace Frehley's "Gimme A Feelin'"

KISS guitarist releases ace first single from 'Space Invader'
By Peter Lindblad

Ace Frehley - Space Invader 2014
Ace Frehley hasn't been shy about expressing his feelings lately, especially when it comes to KISS and the kerfuffle surrounding their rather awkward and unsatisfying Rock and Roll Hall of Fame induction.

Putting all that behind him, the ex-KISS guitarist debuted a new single last week titled "Gimme a Feelin'" in anticipation of Frehley's upcoming new album Space Invader, ready for launch this summer on eOne Music. Click the link below to take a listen:

http://www.rollingstone.com/music/news/hear-ace-frehleys-kiss-like-new-gimme-a-feelin-premiere-20140529

The Ken Kelly rendered, sci-fi artwork for the record has already been released and is included here for your viewing pleasure.

Known for his work in the sword and sorcery and fantasy realms, it was Kelly who created the cover art for 1976's Destroyer and 1977's Love Gun, and the painting, with its rich hues, colored smoke and metallic space ship design, is almost as striking as his more famous pieces.

Ace Frehley - Gimme A Feelin'
As for the swaggering, rough-and-tumble "Gimme A Feelin'" – already available via iTunes, while Space Invader can be pre-ordered through Amazon – it's got all the trashy, bump-and-grind strut of the New York Dolls, but it's clothed in a more modern hard-rock suit. Built around a strong guitar riff that grabs and refuses to let go, "Gimme A Feeling" revs its engines at the beginning like Motley Crue's "Girls, Girls, Girls" and gives Frehley plenty of room to reel off a variety of agile, sharp-as-a-switchblade solos, the song growing increasingly desperate in its search for sexual gratification.

A piece of rollicking, vintage '70s New York City rock 'n' roll that's caked in grit and full of swagger, "Gimme A Feelin'" could be a museum artifact in this day and age, but it shouldn't be kept behind velvet ropes. "Gimme A Feelin'" finds Frehley confident, reinvigorated and ready to take on all comers, swinging big hooks like a heavyweight champ. About to arrive, with nine originals and a cover of Steve Miller's "The Joker," Space Invader may prove that Frehley is, indeed, back in a New York groove.

Slash about to set the 'World on Fire'

New album from ex-GNR guitarist and the Conspirators due out Sept. 16

Slash Featuring Myles Kennedy &
The Conspirators - World on Fire 2014
SLASH and his bandmates Myles Kennedy and The Conspirators will release their new album WORLD ON FIRE on Sept. 16 via SLASH’s own label Dik Hayd International distributed through Caroline.

The group revealed the cover artwork for WORLD ON FIRE designed by American contemporary artist Ron English today. Featuring the blazing title track as the first single – arriving at radio Friday, June 13th   the disc marks SLASH’s third solo album and second one with his band featuring MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass). (See a Q&A with SLASH and MYLES KENNEDY below)

For WORLD ON FIRE, SLASH and his band tapped Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus) to produce. Among the 17 songs is an instrumental--a powerful new turn for the band. WORLD ON FIRE is the follow-up to 2012’s Apocalyptic Love which debuted at #4 on the Billboard Top 200 chart and earned SLASH two No. 1 U.S. rock radio hits his first-ever solo--with “You’re A Lie” and “Standing In The Sun.” SLASH officially began recording as a solo artist with his self-titled 2010 debut album which employed a different vocalist on each track of his first album including Ozzy Osbourne, Fergie and Myles Kennedy among others.

Following are song titles for WORLD ON FIRE:
“World on Fire”
“Shadow Life”
“Automatic Overdrive”
“Wicked Stone”
“30 Years to Life”
“Bent to Fly”
“Stone Blind”
“Too Far Gone”
“Beneath the Savage Sun”
“Withered Delilah”
“Battleground”
“Dirty Girl”
“Iris of the Storm”
“Avalon”
“The Dissident”
“Safari Inn”
“The Unholy

SLASH and Myles Kennedy and The Conspirators have announced additional solo dates in between their summer tour with Aerosmith. The group will preview new songs for fans on the trek which kicks off Thursday, July 10 at Nikon at Jones Beach Theatre in Wantagh, NY (see the full itinerary below).  

Special ticket packages include: amazing seats (Level 1 tickets), an exclusive autographed SLASH lithograph, a digital download of the new SLASH album WORLD ON FIRE and a merchandise voucher worth $50, redeemable in the SLASH Exclusive Online Store. For all packages, visit: http://slashonline.com/tour.

Check out the exclusive behind-the-scenes documentary SLASH’s “Real To Reel” at:www.slashonline.com. The innovative online series documented the entire in-studio recording process from the first day of recording to the last; the multi-segment fly-on-the wall series follows Slash and The Conspirators from pre-production at NRG Studios in Los Angeles to Studio Barbarossa in Florida, as they write, play, create and record WORLD ON FIRE from start to finish.

Slash featuring Myles
Kennedy and the
Conspirators
SLASH and MYLES KENNEDY talk about the album and the forthcoming tour dates in this Q&A:

WORLD ON FIRE marks your second album with your band MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass). How do you feel the dynamic between the four of you has evolved?
SLASH:  We had a natural chemistry from the very beginning. The longer we have been together the more it has blossomed. And because of all the touring and the different situations we have been thrown into as a band and as players, we have all subconsciously learned from that. It shows up when we’re writing and when we’re recording. It’s sort of an unsaid thing, but I can sense it. It’s a natural evolution for a bunch of musicians in a band together.
MYLES: Over the last four years we have definitely evolved into a band. Utilizing Todd's vocal prowess and Brent's ability as a multi-instrumentalist definitely highlights what the Conspirators are capable of. I feel like it adds to what Slash and I do as songwriters. Not to mention they are both a big part of the arrangement process. Todd even brought in a cool progression that we used for the verses in “Shadow Life” and he added an great intro to “The Dissident” which is really fun.

What are the biggest differences between the last album Apocalyptic Love and the new album WORLD ON FIRE?
SLASH: The biggest difference is that the band has also has naturally evolved with so much touring and all of these different things. There’s a difference in musicianship that shows on this record and the songwriting skills especially.
The other difference is the fact that we recorded both albums live, but we kept the first one (Apocalyptic Love) just live.  That was it. There was no over-dubs or layering or any kind of studio techniques.  With WORLD ON FIRE I wanted to do guitar harmonies and double up parts and just create sounds. It’s a little more produced record in that sense.
MYLES: We didn't spend as much time fine-tuning arrangements as a unit during the Apocalypticsessions.  I think that’s part of the reason this record sounds as cohesive as it does. Slash spent a lot of time with Todd and Brent working on arrangements while I was on tour with Alter Bridge late last year. When I got off the road, I met up with them in LA so they could get a feel for how the songs felt with vocals. Another difference is that Slash played all the guitars on WORLD ON FIRE. During the Apocalypticsessions I sang and played guitar which was fun, but it definitely cut into the amount of time I had to focus on lyrics, etc. Not playing guitar on WORLD ON FIRE gave me additional time to fine-tune lyrics and melodies which improved the songs in the end. I'm very happy with how it turned out.

For WORLD ON FIRE you teamed up with producer Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus). What do you feel he brought to the table?
SLASH: Elvis is very conscious about guitar and guitar tones as well as drums, bass and vocals. For me, it is important to work with somebody who is very dialed-into guitar sounds. In this particular day and age it’s a rarity to find someone who really understands guitar sounds.  Elvis is an extremely hard-worker. I consider myself a hard worker as well as Myles. He was somebody that, over the course of making the record, gave me an even more of an extra push in some moments. So he brought out the best in me as well as Myles and the drums and everything. He was a pleasure to work with.
MYLES: Elvis is brilliant. It's the fifth record I have had the pleasure of recording with him. His ability to get the best out of a rock band is pretty special. He always seems to be aware of what the fans want to hear from an artist. He did a great job documenting Slash's tone and sound. I remember the first time I heard the solo for “Battleground”--I was blown away. Elvis captured the sonic hallmarks that made Slash's playing resonate with me 25 years ago. Elvis is hands-on with every element of the recording process. From the arrangements to the final mix, he is relentless at making sure that the record is everything it should be and more.

Did you guys experiment with any new sounds with the production?
SLASH:  Yes and no. The whole record sounds new compared to the last album. Yes we did do a lot of tonal and EQ and guitars. I can’t say we were looking to break ground with new technology, because we did this to tape. But from a tonal and equalization point of view, we definitely broke a lot of new ground.
MYLES: That would be a question for Elvis or Slash. I can definitely hear some new approaches that I haven't heard on the last two records.

What makes “World on Fire” the perfect single choice?
SLASH:  I think there’s a lot of singles on the record, but it’s a good kick-off song. It’s up-tempo, aggressive, it’s a fun song. I love the whole world on fire, larger-than-life kind of vibe that the title and lyrics have.
MYLES: It's got a certain intensity and drive that made it a compelling choice for the lead-off track.

In what ways are we all suffering from a World on Fire?
SLASH: To be literal about it, we have the global warming thing. But that’s not the catalyst for the title. “World on Fire” is more of a tongue-in-cheek, positive, fun thing-- it has a lot of sexual connotations in the actual song itself. It’s a euphemism for going a little bit crazy and pulling out all the stops.
MYLES: “World On Fire” isn't necessarily a profound statement about where we are as a planet. It's about living life to the fullest....carpe diem. Some might perceive the track as carnal in nature, but the idea of seizing the moment and doing what makes you happy is the overall theme. Then again, it's not up to me to dictate what a song will mean to everyone. All I can do is tell you what was going through my head as the lyrics were being written.

What are a couple of other songs that you feel are highlights for you right now?
SLASH:  When doing a record I hate to identify with any one particular song or two particular songs. It’s not like the record is written with one great song and the rest are filler. They all mean as much as the others. There are a few songs that are very different than what we did on the last record. There’s a song called “The Unholy” which was influenced by my work in film. There’s another song called “Thirty Years to Life” which is a little bit of a departure. There’s another song that sticks out in my mind called “The Dissident” that’s a little bit unpredictable compared to stuff that people would expect from us.

You’re touring with Aerosmith this summer for the “Let Rock Rule” tour. It feels like true rock is needed more than ever in a very pop-driven landscape. How do you guys feel about this?
SLASH:  I am a Rock n’ Roll guy. The music business has become a pop-oriented sort of thing and all of the different music genres have become pop. I love the fact that I am doing Rock n’ Roll and have always done the same thing from a very heartfelt place. Aerosmith has represented that to me ever since I was kid. The two of us going out there and doing this big tour and holding that banner and doing it as sincerely as it can be done is something that I can be proud of.

MYLES: Though rock is not the force that it once was in America, it still has a loyal fan base that always seems to continue regardless of what popular culture deems as the "cool thing." It's great because you go to a rock show and you know folks aren't there because they are following trends, they aren't fair weather fans, they’re following their heart and listening to music that they love. People have been saying rock is dead for years but the reality is that it just falls out of favor with pop culture from time to time. The rock fans are still out there and that's why a tour like this is so important.

SLASH featuring Myles Kennedy and the Conspirators tour dates are as follows:

DATE

CITY
VENUE
*
Wed
9-Jul
Hampton Beach, NH
Hampton Beach Casino Ballroom

Thu
10-Jul
Wantagh, NY
Nikon at Jones Beach Theatre

Fri
11-Jul
Ottawa, ON, Canada
Ottawa Bluesfest (non-headlining)

Sun
13-Jul
Kitchener, ON, Canada
McLennan Park

Wed
16-Jul
Mansfield, MA
Xfinity Center
*
Sun
20-Jul
Northfield, OH
Hard Rock Live

Tue
22-Jul
Cincinnati, OH
Riverbend Music Center

Fri
25-Jul
Tinley Park, IL
First Midwest Bank Amphitheatre
*
Sat
26-Jul
N. Kansas City, MO
Harrah's N. Kansas City - Voodoo Lounge

Wed
30-Jul
Inglewood, CA
The Forum
*
Fri
1-Aug
Scottsdale, AZ
Talking Stick Resort & Casino - Ballroom

Sat
2-Aug
Las Vegas, NV
MGM Grand Garden Arena

Fri
8-Aug
Stateline, NV
Lake Tahoe Outdoor Arena At Harvey’s

Wed
13-Aug
Concord, CA
Sleep Train Pavilion
*
Fri
15-Aug
Coquitlam, BC, Canada
Hard Rock Casino - Vancouver

Sat
16-Aug
George, WA
The Gorge Amphitheatre

Tue
19-Aug
Denver, CO
Pepsi Center

Fri
22-Aug
Dallas, TX
American Airlines Center

Mon
25-Aug
The Woodlands, TX
The Cynthia Woods Mitchell Pavilion

Thu
28-Aug
Atlanta, GA
Phillips Arena
*
Fri
29-Aug
Hollywood, FL
Seminole Hard Rock Hotel & Casino

Sun
31-Aug
Atlantic City, NJ
Boardwalk Hall

Wed
3-Sep
Newark, NJ
Prudential Center

Sat
6-Sep
Bristow, VA
Jiffy Lube Live

Tue
9-Sep
Clarkston, MI
DTE Energy Music Theatre

Fri
12-Sep
Sydney, NS, Canada
Open Hearth Park
* Indicates Headlining Shows.


CD Review: California Breed – California Breed

CD Review: California Breed – California Breed
Frontiers Records
All Access Rating: A

California Breed - S/T 2014
Take a good, long drink of California Breed's "Sweet Tea." Savor every drop of its lusty, infectious charm and swing in rhythm to riffs as confident and assertive as a fashion model strutting down a runway. And when finished, sit back, reflect for a moment and wonder why the hell this isn't the hottest thing on radio right now. 

Deliciously lascivious, with hooks like claws, the first single from a new power trio consisting of legendary vocalist/bassist Glenn Hughes, brawny drummer Jason Bonham and precocious guitar savant Andrew Watt can stop traffic. It's the sexiest song Hughes has ever recorded, and on California Breed's sensational debut Frontiers Records release, this great hunk of burning, soulful, '70s-style hard rock revived for a new millennium in desperate need of the good stuff, his singing is wild, untamed and utterly captivating. 

Thank producer David Cobb (Rival Sons, Shooter Jennings and others) for capturing Hughes' vocals live and making him sound positively feral at times when he's screaming to high heaven in moments of pure ecstasy and Bonham is banging away on the drums, bashing them with great energy and gusto. And then there's Watt, this throwback to an age where diverse musical chops mattered, when a man's solos could soar, could sting and could also soothe and his muscular riffs were always honest, genuine and completely organic.

The past is the past, though, and although the spirited, transcendent rock 'n' roll of Led Zeppelin and Mountain inform the music of California Breed, as does the Southern soul of the Stax Records roster, this material has a fresh vitality, born of unfettered creativity and a healthy respect for simple songwriting that comes straight from the heart, the gut and the genital region. 

Just as there is a stirring in the loins of "Sweet Tea," raw anger spills from "Spit You Out," another specimen of Watt's tough, down-and-dirty riffage also found stomping through the grounds of "The Way." Immersed in colorful, spinning psychedelia, the chorus of "Chemical Rain" is dazzling, while the thrilling R&B wail of "Midnight Oil" builds to a fever pitch, as Hughes emphatically pleads, "Let it burn," perhaps taking a match and a can of gasoline to past regrets. He's even more convincing on the deeply personal primal scream "The Grey," as well as the vulnerable, but ultimately uplifting, "All Falls Down," these redemption songs growing bolder and more daring by the second.

Hands down, Hughes has wrapped up any vocal performance of the year award that's out there, and in California Breed, he may have found his salvation.
– Peter Lindblad


Ethan Brosh joins 'Drum Wars'

Young guitarist picked to play with Appice brothers

Burgeoning heavy-metal guitar hero Ethan Brosh is about to get in the middle of a spectacular musical battle royal called Drum Wars.

Guitarist Ethan Brosh playing live
Chosen for his extraordinary technical brilliance, Brosh will join legendary sibling drummers Carmine and Vinny Appice on stage for two Drum Wars extravaganzas in New York, including dates in Poughkeepsie on June 20 and two shows the next night at New York City's famed Iridium venue.

All this coming on the heels of a CD release event for Brosh's remarkable new instrumental album "Live the Dream" on May 31 at The Hard Rock Cafe in Boston.

"I am honored to be joining two of the biggest drumming legends for a few shows!" exclaims Brosh. "Carmine and Vinny Appice have been in some of rock's biggest groups. Both have influenced generations of drummers. I've been to one Drum Wars concert and loved the intensity and craziness that goes on throughout the whole show!"

Brosh is thrilled at the prospect of playing alongside a vast assemblage of supremely skilled musicians and tackling material he's loved for years. And there's another reason why these shows are important for him.

"It is all backed up by a never-ending amount of talent on stage," says Brosh. "Lots of my favorite songs by Ozzy, Dio and more are played in a very cool way! I will be joining Carmine and Vinny in New York City and Poughkeepsie, NY, close to where I was born. To me, these shows will be very special. I can't wait to play these songs onstage with two of the greatest drummers in the world! I would urge anyone in the New York area not to miss these awesome shows!"

For his part, Carmine Appice is thrilled to get a chance to play with Brosh.  "Ethan is one of the best young guitar slingers of today," says Carmine. "His style techniques are awesome. Not many can play like him!" Check out Brosh's video for the song "Space Invaders" below:



Here are the Drum Wars dates:
June 20, 2014 - Poughkeepsie, NY - The Chance
June 21, 2014 - New York City - The Iridium (two shows)

Indeed, Brosh is uniquely blessed with astounding musical gifts. Not only is he a uniquely talented performer, but Brosh is also building a reputation as a first-rate songwriter, as evidenced by his newest recording, "Live the Dream." He's chomping at the bit for the world to hear it.

"Finally, on May 31st, the CD release show for 'Live the Dream' will take place at the Hard Rock Cafe in Boston!" declared Brosh. "I'm very much looking forward to having such a special show in my home town of Boston! It's been five years since my last album. I can't wait to be back on stage with my instrumental band at the Hard Rock and play this new material to some of my fans and friends so close to home! This will be a real fun night to everyone who will show up. My instrumental band is the most powerful band I've ever been in. People can expect a very intense show on the 31st! Bringing HARD ROCK back to the HARD ROCK!!!"

The buzz continues to build for Brosh, and it will undoubtedly only grow stronger with a brand new video filmed for "Space Invaders," one of the many standout tracks on "Live the Dream." Brosh's fiery shredding is on display in the clip below:

As Brosh explains, "A music video is something that has to go hand-in-hand with the music that it's associated with. It is part of the art as a whole. It is the image that will stay in the minds of the listeners for as long as they listen to that particular musical piece. When I have a music video done, I take the process almost as seriously as I take my music. A lot of time, energy and attention to detail gets into play when we shoot or edit a video."

Talking about the video's director, Seth C. Brown, Brosh was effusive in his praise.  "This video was made by Seth C. Brown, who can turn around any rushed, impossible to shoot scene with bad lighting into a beautiful work of art! I'm very proud of the new video for 'Space Invaders' and can't wait to make more videos for this record!" states Brosh.

Mixed by Max Norman (Ozzy Osbourne, Megadeth) and featuring the talents of world-class bassist Dave Ellefson, as well as the mastering expertise of Bob Ludwig (Bon Jovi, Def Leppard, Iron Maiden), "Live the Dream" is Brosh's most exciting and ambitious project to date. And the album cover painting by Joe Petagno (Led Zeppelin, Pink Floyd) is also sure to turn heads. 

Issued by Carmine Appice's label Rocker Records LLC, "Live the Dream" is available for purchase via these links:

iTunes

Amazon 


For more information, visit www.ethanbrosh.com

California Breed strips down, makes musical 'Sweet Tea'

Glenn Hughes on life with his powerful new trio
By Peter Lindblad

California Breed is Jason Bonham,
Glenn Hughes and Andrew Watt
Those still mourning the death of Black Country Communion can throw away their black armbands. California Breed has arrived.

Eager to try something different in the aftermath of Black Country Communion's breakup, legendary vocalist/bassist Glenn Hughes and drummer Jason Bonham teamed up with precocious hotshot guitarist/singer-songwriter Andrew Watt to form a trio that makes swaggering, rough-and-tumble '70s-style hard rock with earthy soul and a touch of blissful psychedelia.

Tongues have been wagging about California Breed for some time now, and the interest only intensified with the video release for the strutting, Zeppelin-like first single "Sweet Tea," a sexy, riff-heavy number with strong hooks that exudes machismo. More leaked out, as the stormy, R&B-fueled "Midnight Oil" suggested a "Gimme Shelter" for the new millennium. 

California Breed - 2014
Out now on Frontiers Records, California Breed's debut album was produced by David Cobb at his Nashville studio, and Cobb's input was crucial to cultivating a forceful new vibe for these two rock veterans and their young charge, taking those elements that made Black Country Communion such a vital breath of fresh air and packaging them into something even more intoxicating and explosive. Not only that, but he somehow coaxed a wild fervor from Hughes's vocals that's animalistic and primal.

Hanging out with his five dogs in the garden, life is good for Hughes, having come through his period of addiction clean and hungry to explore new frontiers. Hughes talked about California Breed and the making of their sensational new record in this interview, while also touching on the 40th anniversary of Deep Purple's Burn and the biggest concert event for Deep Purple Mark III, 1974's California Jam Festival.

You have to be pretty excited about the new record.
Glenn Hughes: Look, Peter, if you know anything about my career, you’ll know what I’ve done, but if we look at the albums I’ve done, starting all the way from *Cathedral all the way to now, I’ve never repeated myself. Every album has been rock … okay, rock, but slightly different in content. Although Jason and I were in Black Country Communion, we wanted this band to be different in tone and recording. Although it’s rock, it just sounds different. 

In what ways does California Breed build off what you did with Black Country Communion?
GH: Listen, I’m very white. When I was 22, I wasn’t white. I was colorful, but I wasn’t white (laughs). Look man, (Joe) Bonamassa, a gentleman – no anger, no resentment – it would have been ridiculous for Jason and I to have found a guitar player who sounded bluesy like Joe, or ridiculous to have a Hammond organ player in the band, so we stripped it down. Whoever was going to play guitar, whether it was going to be this guy or you – you know, the guys I’m talking about ... we decided, “Hmmm, that would be ridiculous, because we wouldn’t be able to tour.” So I met Julian (Lennon) at – well, I’ve known Julian for 30 years – a party last year before the Grammys. He had a party and at this party was Andrew Watt. Because Julian introduced me to Andrew, and I really liked the way he was talking, I invited him to my home to write. And when he came to my home, we wrote two songs, and Andrew Watt and Joe Bonamassa are two completely different types of guitarists. You can hear that, right?

Right, absolutely.
GH: I wanted him to sound, in a trio … I wanted it to be, for all intents and purposes, Townshend, Richards, Young – right-handed guitar players. Van Halen, Malmsteen … you know, other guys are left-handed, hammer-on dudes who are really great, but I wanted to go back to an earthy playing guitar player. We didn’t know it was going to be this kid. We didn’t know this. We didn’t know he was going to be a 22- or a 60-year-old guy … didn’t know. We just got lucky. Let’s just call it “the hand of fate” that Julian introduced me to Andrew. 

What do you like most about working with him?
GH: So, he’s ambitious, New Yorker, very intelligent, great writer, great player, good singer – very, very strange combination these days to find a guy that could do all three. You know anything about me, you know that I love sharing the mic with other people, whether it’s Coverdale or Bonamassa, or anybody else I’m working with. I always try to tempt them to sing with me, and Andrew doesn’t have a problem with that. He’s a really good singer. And also Jason’s also a really good singer as well. And Jason and I didn’t want to make Black Country Part II; we wanted to make a brand-new bag, wanted to start all over again. Man, I don’t care what age you are. You can do whatever you want in today’s musicality. It’s not like you’re going to sell 10 million albums anymore. An album is a postcard for the tour, you know. It would have been ridiculous, Peter, for us to go get a famous guy to play in the band with us, because that famous guy has got his own band or his own repertoire to do. I just got really lucky the card that Julian dealt me that night – very, very lucky.        

Glenn Hughes says producer David Cobb
captured his vocals live for the
first time since 1969
Talk about your vocal performance on this record and what producer Dave Cobb did to bring it out of you.
GH: We knew Cobb was going to produce us six months before we went to Nashville. We got him in, because Dave is a fan of my band Trapeze. He’s also a Zeppelin fan, as you can imagine. And then I started talking to Dave every couple of weeks on the phone in Nashville, and he’s in L.A. I’d play him stuff over the phone. I wouldn’t send him any stuff on e-mail, I’d just play him stuff organically over the phone, kind of old school. He asked me, “Well, what do you want to do? Do you want to record this on to tape, or do you want to go …” And I said, “Let’s make that decision when we get to Nashville.” 

And we made that decision the morning of the session. We had a decision to go analog, and we all said sort of, “Let’s go analog.” And Dave said to me, “You got the lyrics?” I said, “I do.” He said, “You got the melodies?” I said, “I do. Yeah, yeah, I think I’ve got all the melodies and lyrics.” He said, “Good. How do you feel about Jason and Andrew cutting, and then you overdubbing later on the bass?” I said, “Sure. Where’s the microphone?” And he said, “You’re going to be in a booth, and let’s go record.” 

And basically, Peter, I sang to the tracks, and if anybody knows anything about Glenn Hughes, it’s never more than two takes of vocals for me. There are singers – I won’t name names – who have to sing 60 or 70 times on a song. I’m not that guy. Any more than three times, and it’s like a job, and I don’t want it to be a job. Trying to write songs is a really huge art form for me, and I like the spontaneity of making that first take. So long story short, we recorded the songs, and then I overdubbed the bass, and then I went to bed. And the next morning, I went to the studio and I said to Dave Cobb, “Now, I’m going to sing.” And he said, “Oh no, you’re not. You’ve already sung the album.” Now, he wasn’t tricking me. I knew I was recording, but I never actually questioned to myself whilst I was singing, “I wonder if this is good enough?” I was just singing, just singing, like The Beatles used to do in 1964 on a four-track. To me, when I sing … I mean, I write this shit, and it envelopes inside of me, and it just lives inside of me until I record it. Normally, Peter, the way I’ve been recording for the last 20 years, when I sing it for the first time, it’s normally the way I want it to be, whether it’s something I’m overdubbing later or whether it’s like it’s this instance where it’s done live. Hats off to Dave Cobb, full marks from me, two thumbs up from me – he really captured me completely live, and I want to thank him for that. 

There's a real swagger to this record, especially with "Sweet Tea." From your standpoint, is that what's missing from a lot of rock music today?
GH: Look, look, look … none of this music was written for Black Country. When Black Country disbanded privately behind the scenes in September of 2012, these songs were written … I think I came up with three, and “Sweet Tea” and “The Grey” the first week of March, and then I sent them to Andrew and then he would complete them, and then he would send me something that was obviously his, and then Jason would … and I said, “Guys, a band is a collaborative effort.” Black Country really wasn’t. I was working a lot of it alone. Joe was too busy, you know, and I understood that, but I think really bands, I don’t care what age you are, have got to collaborate. We’ve got to talk. I don’t like to call it rehearsing. Let’s go play, let’s go down to a room and play for a week. Let’s go to L.A. and play for a week. That’s the way we got this band together.   

What song came together the easiest on the record and which one was the hardest and why?
GH: I think “Sweet Tea” was … God, “Sweet Tea” … Look, Peter, I’m going to be honest with you, man. There was nothing technical about this album. When you listen to the songs, (sings a riff), it’s pushing full. We’re not Led Zeppelin, but Led Zeppelin was push and pull. This is life and shape and push and pull, and it’s breathy and it’s aggressive, it’s soulful, it’s harsh, it’s brash, it’s sensitive – it’s everything it started out for me in 1969. 

This album was written in the wind for me to record, with these two guys. It’s not me. This is what they’re saying. This is what you guys are saying. This could be the greatest Glenn Hughes moment in a long time, and that’s from working with these two fellows. It’s a really great moment. How can a guy who’s 62 sound even better than he was at 22? Hey Peter, I don’t know. I have no freakin’ ego. When I’m singing, I’m singing. I’m a singing fool. I’ll see for free and for fun, anywhere at any time. It just so happens that I’ve captured it. 

A lot of the stuff you’re asking is, “How do you sing that?” I was just going for it. Listen bro, we’d probably try to recapture it later, but not all of it, and I’d say, “Hey, can I sing that again?” And he said, “Don’t try it.” And, you know, he was right. The first take of Glenn Hughes is going to be that moment. If you go back and look at Jagger in the late ‘60s, he wasn’t f**king around, prancing around the microphone for hours. He was doing that sh*t live! That’s what Robert did on Led Zeppelin I, and (Steve) Marriott in f**king Humble Pie. I mean, this is my peer group. These are my friends, and what David Cobb did, he’s 43, he f**king captured me for the first time since 1969 completely live. 

I knew Steve Marriott really well. We’d talk as musicians, and we’d talk as friends. When he sang at Fillmore East, the last year he sang at Rockin’ The Fillmore, that to me is the greatest, and when he sang “Black Coffee,” that is like the shit – that’s live f**king singing, and I’m never going to be able to go back to doing it overdubbing again – never going to be able to do it, man. I’m sold on the way Cobb did it. Listen, man … Dave Cobb, two thumbs up, man. Got to be – not just for our record – but what he’s done for Rival Sons, and other people, he’s got to be producer of the year, man. He’s been great.

Take me through the day of your performance at the California Jam Festival. What are some of your strongest memories of that day and looking back, where does it rank as far as your career achievements?
GH: You know, man, we got there the night before and I’m really good friends with, because I come from the same part of England, Tony, Geezer, and Bill and Ozzy. We stayed up all night doing drugs and chicks and stuff the night before, and we went on after them that afternoon. But for the first time in history, that f**king festival … the festival was running early. So, of course, the problem we had with the Marshall stacks, we get up onstage and Ritchie had locked himself in the bloody trailer, and we had to go on, and there was a lot of aggression from Blackmore. 

You could see him looming toward the camera at one point. That camera cost us like $30,000, and that was a lot of f**king money. But there was aggressiveness to that performance, wasn’t there? There was a real brash, aggressiveness to … I mean, when the stage was on fire, and that shit went up, I didn’t actually see it, but it broke in places and glass blew him off the stage. It was really f**king gnarly. It was like … hey, we were pissed off. And lo and behold, it was just captured live on ABC, "Dick Clark Presents" … (laughs). So what are you going to do? And it’s like, some people say, “That’s all Glenn Hughes talks about.” No, I don’t. I don’t really talk about yesterday. You asked me the question. It was a really vital experience from a … we tried to … our contract says, “The band will go on at 11 minutes past 7 p.m. on April 6,” or something like that, and it was f**king six o’clock and it was still light. So it was one of those moments.    

Glenn Hughes in the studio
In 1974 you recorded Burn with the new Deep Purple lineup. What were studio sessions for that album like? 
GH: A weekend at a 600-year-old castle called Clearwell Castle in Gloucestershire, and it all sounds very King Arthur, doesn’t it? So we were the fucking … we were the first band to ever go to the castle environment and write. If you want to Google it, Clearwell Castle is in Gloucestershire, and it’s a haunted place. And we wrote – because Blackmore is nuts – we wrote in the f**king dungeon. You know, the song “Burn” is about a witch, and it’s like, “Well, how dark do you want to go people?” I’m having séances with Blackmore in my f**king bedroom, and the lights were f**king going off and on. It was f**king gnarly, man. You know, that band, with two new guys, me and Coverdale … that’s what they needed at that time. You know, if he couldn’t stand people after two or three years, he was going to get rid of them. So the plan was new. After Machine Head, they were selling more albums than anybody else, but that album was a crucial moment. You’ve got a guy in Coverdale who’s never actually been onstage before really, right? And then you’ve got me, the new guy who’d been playing with Trapeze like in America for three years, and it was quite interesting, wasn’t it? 

In what ways was it different from albums you'd record later with Purple? 
GH: Listen, Peter, you’ve got to remember what I talked about six minutes ago. Ritchie … it was difficult to work with Ritchie. It wasn’t so much that he was the leader. It was like, by the time we got to Stormbringer, he hadn’t really written much. He’d written “Stormbringer,” the track, and he hadn’t really written any more riffs. So me and David and [keyboardist] Jonathan [Lord] would like write a lot of the record, and I think Ritchie at this point is thinking about forming a band with Ronnie (James Dio). I think he was done. I think that my blues and soul influences, and David’s bluesy camaraderie put him off. I think he was going to the woods with his medieval costumes back then. I think he was into that Bach-influenced music. Of course, me and David are from the north of England, and grew up listening to Otis Redding. And Ritchie knew this. All the gang in Purple knew that David and I were soul fanatics, as Robert Plant and Paul Rodgers are blues fanatics. And they knew this going into it. And, of course, Ritchie really, really, really wanted to make Bach-influenced music, and he really didn’t come prepared for Stormbringer. So, after Stormbringer, he left. 

Had you ever worked with a mobile studio?
GH: That was the first time, and that was the only time.

Did you find it difficult?
GH: It was great, but it was a bit of a pain in the ass, too, to keep walking down flights of stairs from this like warehouse in Montreux, Switzerland. Look, look, Peter. Burn, after Machine Head ... we had to come up with something new and special. And you know, I’m so close to Burn, you know. I mean, I’m part of the album, so people talk about that album like, oohhh, you played and sang on Burn. Yeah, I did. Great, you know. I’m glad people like it. 

How does California Breed fit in the history of Glenn Hughes and what are you looking forward to most in working with this band again?
GH: Here’s what I want to do Peter, and this is what we couldn’t do with Black Country because of Joe and with fellow artists. I formed this band to make records, at least two albums. I look at things in two, I never look at things in one – though, sometimes I look at them in threes. I’m in this to make records, and I want to promote it. Me talking to you, I want to get on holy ground, which is the stage. I am, for all intents and purposes, a live – I’m a studio guy for sure – but I am a live singer. I am a live performer, a performer that lives and breathes the stage. So I found some guys that want to do the same, you know.   

Glenn Hughes says he's an "actor"
in the studio
How did “Midnight Oil” come about?
GH: Listen, you’re asking some really cool questions. “Midnight Oil” was written, and I called it “I Want to be Free,” and we felt, you know … we were going to cut the track, and then Cobb said to me, “There’s something with this track. It needs a little … maybe you should write a new lyric for it?” It’s the only song he said you need to write a new lyric for. I think I wrote a pretty good freedom track, you know, for “Midnight Oil.” Nobody’s asked this question, so it’s kind of an exclusive. I said, “Okay. So what are you thinking?” He said, “Well, what would you think about singing something with ‘burn’ in there?” And I said, “Well, it’s been 40 years since I’ve sung that.” Of course the tracks “Midnight Oil” and “Burn” don’t sound anything like each other. I just went … where it said, “I want to be free,” I sang (sings), “Let it burn, let it burrnnn,” instead of “I want to be free, ffrreee.” And it just made f**king sense. And then the verse where, you know, “I don’t stick aaarrrrouuund.” It was just fucking 1967, wasn’t it? Look, look. I wasn’t trying to be Jim Morrison, but I just put a different code on it. I like to think, when I’m in the studio, I become an actor. I can be this, I can be that. I am afraid. I am fucking fearful of a lot of things offstage. I’m clumsy, I’m a klutz, but when I’m in front of a microphone, you gotta get out of the way, ‘cause I know what I’m doing. It’s like fire, man. I just know. It ignites it. I’m not saying I’m the best or the worst, or whatever, I just know that if I’ve got a microphone, get away from me, get out of the way. And that means anybody, just because I know I’m going to deliver. This is what I’m supposed to do. 

You can hear that on “Spit You Out,” too.
GH: Yeah, it’s … look, Peter, I’ve been doing this for 45 years. I’ve been recording for 45 years and touring for 45 years. I don’t think I’ve ever been this excited. I don’t think so. Who would have thought this would happen now. And hopefully, it’ll help other members of my peer group who’ve taken the foot off the gas, whether they want to do this or not. I have an urgency in the sound of this album and the writing, you know. I don’t sing about fairies and goblins and dwarves. I sing about the f**king human condition. I sing about lust, I sing about hate. I sing about distrust. I sing about f**king gluttony, f**king fear, f**king resentment – all of it. You know, life, death, what happens in between. “All Falls Down” … that f**king song, Andrew and Jason said, “Why don’t you talk about that moment you almost died”? I’m going, “Do you really want me to do that?” And I did. And it turned out great. Give me a suggestion, I’ll f**king run with it. So I really love being in a room full of very creative people, and Cobb – call him the “fourth Beatle,” call him “member No. 4” – he was f**king insane! The guy deserves f**king producer of the year. Ask other people he’s worked with. They feel the same about him. I’m all about giving the producer some love.