Eric Carr: The Fox Exposed

An interview with author Greg Prato on his new book about the former KISS drummer

By Peter Lindblad

A fox found his way into the KISS chicken coop in 1980, and his name was Paul Charles Caravello. That was his birth name. The rock world knew him better as Eric Carr.

It was Carr who replaced Peter Criss on drums after the man in the cat makeup defected from KISS when tensions arose over Criss’s reported substance abuse issues. Until then, Carr was a relative unknown, performing odd jobs and playing in long-forgotten bands from 1966 to 1980 that did mostly cover songs, including CellArmen, SMACK and Flasher.

Encouraged by fellow Flasher Paul Turino, Carr auditioned for KISS after Criss’s departure. It’s been reported that while sitting outside the audition room and waiting for his turn, the members of KISS walked by Carr without their makeup on. Few outside the band’s inner sanctum had ever seen such a sight.

Carr’s audition was a rousing success. In fact, stories have circulated that Carr thought the rest of KISS played “awful” in the tryout, and that because he knew their songs inside-out, it was Carr who had to, on occasion, tell the rest of the band what to play.

Carr was eventually hired, but it took a while to come up with the perfect stage persona for the newest member of KISS. After giving “the Hawk” a go, Carr and company settled on “the Fox,” having also changed his name from Caravello to Carr in joining KISS. His coming-out party came during a 1980 episode of “Kids Are People Too.” Then it was time to go live, with Carr playing his first KISS concert at New York City’s The Palladium in July of that year.

Immediately, Carr made an impression with a heavier, more punishing drum sound than Criss had brought to KISS originally. Perhaps, in hindsight, it was Carr’s misfortune to make his initial appearance with KISS on record with Music From “The Elder.” A huge curveball from a glam band known for balls-out, hook-filled rock and roll and campy, over-the-top theatrics, KISS’s 15^th album was an attempt at serious art-rock that was a reach for the band and confused just about everybody used to the rollicking hard rock that made the band famous. Carr had a chance to show off his musical chops, not only on drums but also by playing guitar, bass guitar and keyboards. But, the album was panned by pretty much the entire free world.

As it turned out, The Elder was just a bump in the road as KISS rebounded in spectacular fashion with Creatures of the Night, which saw KISS morph into a powerful, sleek heavy metal machine. The engine was Carr, who later was able to show off his singing prowess in overdubbing lead vocals – something he also did live on seminal KISS songs “Black Diamond” and “Young and Wasted” – to the classic KISS ballad “Beth” for the greatest-hits collection Smashes, Thrashes & Hits. Carr survived through the infamous KISS unmasking phase, and played on five more albums of original material, always hoping to take on a bigger role with the band.

Working with another KISS newcomer, guitarist Bruce Kulick, Carr was instrumental in creating the track “Little Caesar” in 1989 for the Hot in the Shade album, playing bass and drums on the song and writing the music for it. Darker days were coming, however. In March, 1991, Carr began coughing up blood and feeling heavy in his chest. Initial diagnoses didn’t detect anything serious, but later, it was determined that Carr had contracted heart cancer. Surgeries were conducted to remove tumors from his heart and lungs, and by July, he was feeling well enough to go to Los Angeles to play drums in the video for “God Gave Rock and Roll To You.” There was a brief remission, and Carr made an appearance at the MTV Video Music Awards with KISS in September. It was his last with the band.

At age 41, after beating back an aneurysm, Carr died of a brain hemorrhage. Carr being one of the most accessible and fan-friendly members KISS has ever had, it seemed only fitting that his funeral would be open to the public. A new book from author Greg Prato about Carr and KISS’s 1980s period reveals much about Carr and his time with the hottest band in the world. 

What made you want to write a book about Eric Carr?

Greg Prato: The majority of Kiss books that have been released over the past 15 years or so seemed to have little to do with the group’s 1980s/non-make-up era, and certainly not that much on the true story of Eric Carr. Kiss’s 1982 album, Creatures of the Night, I feel is one of the greatest Kiss albums of all-time (and one of the greatest heavy metal albums of all-time, too), and a major reason why the album sounds as heavy has it does is largely due to Eric’s mammoth drum sound. There were also always a lot of questions surrounding what Eric’s relationship with the other members of Kiss was like during the last year of his life (as well as his standing in the band), when he was struggling with cancer. We’ve heard Gene Simmons and Paul Stanley’s side of the story here and there over the years, and I felt it was time to hear the other side of the story, as well, so I got in touch with many people who knew Eric personally. So ... that’s how “The Eric Carr Story” book came about.

Some people might not be aware of the career Eric had before joining KISS and what other jobs he held during that time. Does the book delve much into his early days as a musician with Flasher, SMACK and Cellarmen?

GP: Yes, the first chapter is comprised of Eric’s sister, Loretta Caravello, recounting Eric’s early years, which included him working such jobs as a stove repairman, as well as playing in bands. And this chapter covers many of his pre-Kiss bands.

Speaking to some of the people who knew Eric best, what did they tell you about Eric’s audition for KISS?

GP: Both Bill Aucoin and Loretta had some cool stories about this part of Eric's life – Loretta talks about being present when Eric got the call from Bill to set up a tryout, and Bill talks about how the tryout went. It was Eric’s easygoing personality that gave him the edge over the other drummer hopefuls – the clincher being when he asked Ace, Gene, and Paul to autograph a copy of Unmasked that he had brought along to the tryout.

It was difficult coming up with a KISS persona for Eric. What did you find out about how “The Fox” came about?

GP: Originally, Eric's make-up/costume design was to resemble a hawk, but it came out looking too much like Big Bird from “Sesame Street”! The Fox make-up/costume design was a last minute creation by Eric and Bill, supposedly the night before the Ace-Eric-Gene-Paul line-up was going to play its debut show at the Palladium in NYC (which we learn in the book was attended by Eddie Trunk and Anthrax’s Charlie Benante!). After the show, Bill suggested Eric refine the make-up design a bit, and by the time the group launched their European tour shortly thereafter, Eric's official “fox design” was in place.

How did Eric feel about replacing Peter Criss, and did he find it easy to fit in with the rest of the band?

GP: I remember once seeing an interview with Gene Simmons, in which he claims that Eric actually called Peter to ask if he was OK with him replacing him, and that Peter gave him his blessing to do so. Eric seemed to fit in well with the band from the get-go, and as a fan, I can’t recall another replacement member of a well-known band that was as instantly and widely accepted as Eric was in Kiss.

How close was Eric to Bruce Kulick, and what does Bruce remember most about Eric?

GP: Eric and Bruce were very close. When I spoke to Bruce’s brother, Bob Kulick, for the book, he explained it as Gene and Paul being “two peas in a pod,” and Eric and Bruce being “two peas in another pod” – meaning that since Gene and Paul were original members, they were calling all the shots. Since Eric and Bruce were replacement members, they didn't have as much of a say in Kiss' decision making, and that after a few years, Eric had an issue with it.

Interestingly, Eric’s first album with KISS was Music from “The Elder,” an LP that was so different from anything else in KISS’s catalog. One of the subplots to the book is KISS’s ‘80s period. How comfortable was Eric in helping usher in this new era for KISS?

GP: Eric and Ace made their opinions known that they thought an indulgent concept album was not the way to go at that point in their career. And they were absolutely right. It’s too bad they didn't release Creatures of the Night at that time, because I think that is the type of album that Kiss fans were clamoring for in 1981 (I know I was!). Many fans seem to feel that Creatures was the first Kiss album in which Eric’s talents shined through, and I wholeheartedly agree.

In talking to some of the people close to Eric, what was he most proud of during his time with KISS? And what did they think he brought to the band that wasn’t there before?

GP: I think he was proud of his drum sound on Creatures, and although it wasn’t a strong seller upon its initial release, and the fact that over the years, many fans went on to consider it one of Kiss’s best albums (and in my mind, without question the best album Kiss issued in the ‘80s). He also seemed to be proud of the Kiss songs that he helped co-write over the years, probably most notably the song "Little Caesar" off Hot in the Shade, which he co-wrote and also sang lead vocals on. I also think he brought a much more hard rock/heavy metal style of drumming to Kiss – whereas Peter Criss was more of a traditional rock ‘n’ roll style drummer.

When did it become apparent to those around Eric that he was really struggling health-wise?

GP: There are conflicting reports – some people I interviewed said that he was experiencing discomfort towards the end of the “Hot in the Shade” tour (which wrapped up in late 1990), while some say it wasn’t until 1991. Similar to Ronnie James Dio’s current cancer battle, it appeared as though Eric had beaten cancer at one point, but it ultimately returned more aggressively, and eventually claimed his life.

What did you find out about Eric that you didn’t know before in researching his life?

GP: Both Loretta and Eric’s girlfriend, Carrie Stevens, explained what he was like away from the wild world of Kiss, which is pretty cool. And I also didn’t know that Eric tended to struggle with his role in Kiss (regarding not being an original member, and being on salary), which is discussed in greater detail by those close to the band at that time.

Eric seemed to be really open and engaging with KISS fans. Did you include any stories of Eric’s interaction with fans in the book?

GP: Bruce talks about how great Eric’s interaction was the fans in the book. And none other than Eddie Trunk (one of the co-hosts of “That Metal Show” on VH-1 Classic) tells a very cool story in the book about he and his friends meeting and hanging out with Eric on the “Lick It Up” tour. Also, the director of the “Tale of the Fox” DVD, Jack Sawyers, has a few cool stories about hanging out with Eric as a fan (and then later becoming friends with him).

How do you think Eric wanted to be remembered?

GP: As probably one of the more underrated members of Kiss, and the fact that his drumming was a HUGE reason why Creatures of the Night kicks ass (and has held up so great over the years). And his talents stretched beyond just drumming, as evidenced by his songwriting and singing skills. He also seemed to be a really approachable person – something that seems uncommon with a member of one of rock’s biggest bands.

What’s purported to be one of the last interviews with KISS manager Bill Aucoin is part of the book. What did he remember of his time with Eric and how did he view KISS’s ‘80s period?

GP: Yes, I conducted what very well could be the last interview that Bill Aucoin ever did – as it was only a few months before his passing. He had some great recollections about the band (there are 2 chapters early in the book that serve as “Kiss History Lessons,” which tell an abbreviated version of the band’s ‘70s history, to set the story of ‘80s Kiss). Something I learned about Bill was that he never saw a Kiss concert with them not wearing make-up, as he believed that they should have stuck with the make-up and costumes through it all. And although he was no longer Kiss’ manager when Creatures was released, he does go on record saying that it is a great Kiss album. I agree!

To read a few sample chapters (and find ordering info) from “The Eric Carr Story” visit http://stores.lulu.com/gregprato.

A look back at the early days of MTV with author Greg Prato

By Peter Lindblad

What an insane notion it was. Playing music videos on television, 24 hours a day – who in the world was going to watch something like that? Might as well have a channel devoted just to cooking food …oh, wait. Never mind.

MTV came into being on Aug. 1, 1981. Doctored images of the Apollo 11 moon landing, with a flag sporting the MTV logo, ushered in a new age in music history, even if hardly anybody in the country took notice early on. After all, the only cable system in America that had it was in northern New Jersey, and viewers, who, ironically, got to see The Buggles’ “Video Killed the Radio Star” as MTV’s first video, initially numbered about a few thousand. Of course, things would change dramatically in the next few years.

Artists and their management teams would come to see MTV as the ultimate promotional tool to sell records. And stars such as Van Halen, Duran Duran, Men At Work, Judas Priest, Madonna and scores of others embraced the new medium, making entertaining, and oftentimes high-concept, video art to accompany their latest singles. And people – lots of them – did watch. Incredibly, viewers found it hard to turn away from MTV. They would sit in front of it for hours on end. They wanted their MTV, as Dire Straits would make abundantly clear in the biggest hit song of their career.

 MTV had turned the music industry on its collective head, and in Michael Jackson, it found its king. Nobody made better use of MTV’s potential than the man who created Thriller and became one of the biggest-selling artists of all-time. But somewhere along the way, MTV changed. No longer much of a music channel, MTV now caters to the lowest common denominator with some of the trashiest reality TV on the air.

Coming along to save us from what MTV has become is author Greg Prato, whose new book, “MTV Ruled the World: The Early Years of Music Video,” details the halcyon days of a television channel and its VJs that impacted pop culture in ways its creators couldn’t possibly have ever imagined. Prato talked about the book in a recent interview.

To read samples of the book and for information on how to order the book, visit http://stores.lulu.com/gregprato.

What were the expectations at the beginning for MTV? The channel’s use of Apollo 11 moon landing footage seems to indicate that there was a sense, even then, that it was going to change the world.

Greg Prato: I think that the people that were putting together the channel really had no idea that MTV was going to be as successful and eventually create as big a change in the music industry that it would. In fact, during MTV's first year or so, there was talk that it may be taken off the air, because it wasn't making enough money (in fact, it was losing money). It wasn't until 1983 (two  years after first going on the air) that the channel was a success financially. This is discussed in my book, as well as the subject of the Apollo moon landing footage, and how they almost weren't allowed to use it!

One of the sources interviewed for the book is Nina Blackwood, one of the original MTV VJs. How did she and the other VJs get hired for MTV? Does she remember if being a VJ came naturally to her or the others or did it seem like something completely foreign to them?

GP: Nina was living in Los Angeles at the time, and she read about job openings at a new music video channel in a trade paper. She was actually already hosting a local music television show, so she had some experience going into it beforehand. I also interviewed another original VJ for the book, Alan Hunter, who was an actor looking for work at the time. He happened to bump into MTV head Bob Pittman at a picnic in Central Park a few months before the channel was to be launched (Aug. 1, 1981) and got a tryout that way. It seems like it took a while for the VJs to get the hang of it, as Nina explained that at first they were told to follow scripted things to say, but after people thought they came off as too stiff, they were given more room to improvise.

What decisions went into the programming for MTV? Was there any real plan at the start or was the channel taking whatever videos it could get?

GP: At first, MTV played pretty much any videos that were given to them. They only had a limited amount of clips in their library and quite a few were repeated over the course of a day. Also, some record labels wanted MTV to pay them for use of their video clips at first. But when they realized it was such a great promotional tool for their artists, they were willing to hand over their clips to MTV. Early on, you certainly saw an awful lot of Rod Stewart, Pat Benatar, and Loverboy.

In talking to different artists for the book, how did they view MTV initially? Were some of them wary about this new medium? Did others embrace it early on?

GP: There is an entire chapter about this in “MTV Ruled the World” titled “Initial Impressions,” in which artists such as "Weird Al" Yankovic, Gerald Casale [of Devo], John Oates, Stewart Copeland, Marky Ramone, and Rob Halford (among others) discuss this. I think it took a while for people to fully understand the potential promotional power that MTV had, but just about everyone I spoke to said they were very intrigued by it initially. In fact, Halford talks about how he would just leave it on 24 hours a day whenever he was in a hotel room on tour around that time!

What do some of the VJs or other MTV people you interviewed remember about the launch and the planning for it? Behind the scenes, was it chaos?

GP: Yes, it was a mad dash to get everything in order before its Aug. 1, 1981 launch. And the night of the launch, they hit several technical difficulties, including the order of the VJs being jumbled up (Mark Goodman was supposed to be on first, but Alan Hunter's taped bits wound up being aired by mistake). Bob Pittman also talks about how there was a technical problem that would result in silence on the channel at various points that first night. I also interviewed a lot of "behind the scenes" people that worked for MTV for “MTV Ruled the World,” and they talked about how the set was being designed and finalized very close to the deadline, and how it was chaos leading up to the launch.

Did there come a point for everyone, or at least some of them, when it really hit them how big MTV was going to become?

GP: Yes, and there is a chapter in the book about this very thing, appropriately titled “Success!” Both Nina and Alan talk about when they would go to make promotional appearances in towns where MTV was being played (keep in mind, not all of the U.S. got MTV at the same time), and there would be mob scenes with hundreds of fans wanting to meet an MTV VJ. It was at that point that people who worked for MTV realized they had struck a nerve.

Do many of the people interviewed for the book lament what MTV has become? Are they nostalgic for what it used to be?

GP: Indeed. And guess what? Yes, you're right...there's another chapter in the book that tackles this very subject in the book! The chapter is titled “MTV Today.” The vast majority of the people who I interviewed are disappointed in what MTV has become – almost no music and all about horrible reality shows that aren't based in reality at all (just a bunch of poorly behaved idiots acting obnoxious). That said there are also a few of the interviewees who say that they think MTV is "as it should be" in 2010. I tend to wholeheartedly agree with the former opinion, however.

What lines from the book struck you as being particularly poignant or insightful about the impact MTV had on the music industry?

GP: Michael Jackson's videos for "Billie Jean," "Beat It," and "Thriller." Before those 3 videos, very few black artists were played on the channel, and MTV was getting criticized for it. But once Michael was played on the channel, then it opened the doors for a wider stylistic variety of artists – it wasn’t all about just rock n' roll anymore. Which is obviously a very good thing, as variety is the spice of life.

What did you learn about the early days of MTV that surprised you?

GP: I wasn't aware how much behind the scenes work it took to get MTV to play the Michael Jackson videos for “Thriller” – which if you think about it now, is quite funny, since Michael quickly became "the face of MTV," and probably more than any other artist, is the one you associate the most with '80s-era MTV. I also learned a lot about the behind-the-scenes filming of some of this era's most popular videos. I was lucky enough to interview such directors as Bob Giraldi (Michael's "Beat It," Lionel Richie's "Hello"), Steve Barron (Michael's "Billie Jean," Dire Straits' "Money for Nothing") and Pete Angelus (Van Halen's "Hot for Teacher" and David Lee Roth's "California Girls"), all of which had tons of great stories about what it was like on the sets of these videos and working with these artists.

What happened that caused the departures of some of those early VJs? Was there a point for them at which they could see things changing for MTV from its early mission?

J.J. Jackson, Nina Blackwood, Mark Goodman
Martha Quinn and Alan Hunter

GP: It seems like there were conflicting versions of this, as you'll discover in my book. Some people that I spoke to claim that MTV would take a stance that the VJs were the "face of the channel" one moment, and then the next moment, [they] would say that MTV was bigger than the VJs. Many of the VJs were also being offered other work at the height of MTV's initial wave of success (roles in movies, offers to host other TV shows) and had to turn them down at the behest of MTV. Also, the VJs realized the writing was on the wall at the first-ever “Video Music Awards” in 1984, when the VJs were not the event's hosts (Dan Aykroyd and Bette Midler were) and were only given small spots on the show. For me as a viewer, I always say that MTV started to lose its luster for me when the original VJs started to leave – around 1985-1986. It just wasn't the same, as then MTV's playlists got more formatted, video budgets become astronomical, and videos required musicians to act and recreate “Raiders of the Lost Ark.”

Click here for Information: MTV Ruled the World: The Early Years of Music Video

Vinny Appice: The John Lennon Connection

Vinny Appice: The John Lennon Connection
By Peter Lindblad

Going to high school was a drag for Vinny Appice. Absolute drudgery it was for the future Black Sabbath drummer, sitting in class listening to teachers drone on and on about subjects that bored him to death.

His only salvation was that in the evening hours the 16-year-old Appice could slip into a whole other world that was far beyond anything his classmates could imagine.

Holding down his end in a nine-piece rock band with full horns that also dabbled in funk and jazz, Appice was part of a group that was managed by the Record Plant Studios in New York City. It was called BOMF and Jimmy Iovine was their producer.

“So we used to rehearse upstairs at the Record Plant,” recalls Appice. “We had our room. And we’d be up there every night, like the boys’ club, hanging out. At night we’d rehearse and write songs.”

As it just so happened, at the time, Iovine was also working quite a bit with John Lennon in the same facility. Eventually, Appice would cross paths with the former Beatle.

“One night they needed handclaps, so Jimmy said, ‘Hey guys, come on down here. We need handclaps,’” said Appice. “All right. There were nine of us, so it was easy. And we get down there, and there’s John Lennon and Elton John in the control room, so we did handclaps on ‘Whatever Gets You through the Night’ for that song. Those handclaps are me and my band. So we left. We didn’t get to meet them, but I guess John said, ‘Who the heck is that? Who are those guys?’ We’d just done handclaps. ‘Oh … they rehearse upstairs. I’m producing them.’ That’s what Jimmy said. So, a couple of days later, [Lennon] came and hung out – came up to the rehearsal room, watched us play. He liked the band, and he’d come in. We’d smoke pot with him and shit. He actually always wanted coke, but I didn’t do that. But I always had good pot. And we smoked some joints with him, we played pool, we hung out.”

The story doesn’t end there. Later, Lennon would ask the band to back him during a TV performance, and they did three videos with Lennon, all of which appear on “The John Lennon Video Collection” released in 1994.

“So we played at The Hilton, the New York Hilton,” remembers Appice. “We had outfits made, we went to get fitted for them with him and a van… the whole week was us getting prepared for the show, hanging out with him. And then he asked us to do a bunch of videos, and we did that. And then … he produced the owner’s wife in the studio. She had eight songs to record. He was the producer. We were the band. So we worked with him as a producer, too, which was amazing. And we wound up playing live ‘Imagine’ and ‘Slipping and the Sliding.’ So we got to play that with him. So it was pretty cool. It was an amazing time.I was going to high school. I was doing that at night. I would hang out with him, and then the next day, I’d be in school, not paying attention.”

It being the 30^th anniversary of Lennon’s tragic death, Appice can’t help but think back to what was going on in his own life back when the world was still in mourning over what had happened. And again, Appice found himself linked to one of popular music’s biggest icons.

Black Sabbath was in the midst of its tour supporting Heaven and Hell, the doom-metal architects’ first LP with Ronnie James Dio taking the place of Ozzy Osbourne. Original drummer Bill Ward had left the band, and Appice was called to fill in without much time to rehearse for an outdoor show in Hawaii. If ever there was a trial by fire, this was it, but Appice held up his end of the bargain.

“Yeah, on the first tour, until I learned those songs, it was a bit mechanical for me until I got the parts right, and then didn’t have to think about it and play it with feel,” said Appice. “So yeah, it became better and better.”

Out of the blue, Warner Bros. contacted Sabbath about doing a song for the soundtrack to the animated sci-fi movie “Heavy Metal.” During a break in the tour, Sabbath, with Appice in tow, took the opportunity to record the song “Mob Rules.”

“We had a couple of days off, somewhere,” said Appice. “And on those days off, we went to John Lennon’s house in England, and he had a studio in there. Ringo owned it at the time, but it was where John [did] Imagine. And it was right after John got shot, too. And it was weird going there. We stayed there for three days, and that’s when we wrote ‘Mob Rules’ and we recorded it there. So after we finished everything and listened back, obviously, it was a really strong song, a good song, and it came together well, and it was really cool. Everybody that brought the band together was like, ‘Oh, this is going to work with Vinny.’ And that reinforced it a little bit for everybody that, yeah, this could work. It’s not just playing a tour and playing the parts that Bill played. That was a turning point for us, becoming more of a band.

The specter of Lennon seemed to haunt Appice. Lennon’s death, in October of 1980, had occurred just a couple months prior to Sabbath’s session at his former house.

“And years ago, I played with John Lennon. I used to work with him,” emphasized Appice. “It was weird winding up … I actually met Lennon and hung out with him and knew him somewhat and then he got shot and now we’re in his house and I got assigned his room. Because you stay in rooms there, and on the front of the room, it said ‘John and Yoko.’ So I got his room, but I didn’t stay in it. I was afraid. I was a kid. I don’t know if I’d stay in it now either with somebody who just got killed, but it was an amazing house. And it was amazing to be a part of anything Beatles. Very cool experience.”

Most recently, Appice was part of Heaven and Hell, the new name given the classic Dio-fronted Black Sabbath lineup. Fans can see and hear Heaven and Hell, for all intents and purposes done now after the death earlier this year of Ronnie James Dio, one more time on CD and DVD versions of Heaven and Hell’s “Neon Nights: 30 Years of Heaven and Hell” that capture the band’s fiery live performance at the Wacken Open Air Festival in Germany on July 30, 2009. 

CD / DVD Review: Heaven & Hell "Neon Nights: 30 Years of Heaven & Hell"

CD / DVD Review: Heaven & Hell "Neon Nights: 30 Years of Heaven & Hell"

Eagle Vision/Armoury Records

All Access Review: A-

Ozzy Osbourne was gone, and this time, he wasn’t coming back, at least not until the “all is forgotten” reunions that would, perhaps inevitably, come years later. Black Sabbath had moved on with Ronnie James Dio, but not everyone was ready to welcome the new vocal sorcerer with open arms.

As Dio remembers it, in an interview included with the new Heaven & Hell live DVD, crowds that came to the first shows featuring the reconstituted Sabbath lineup greeted him not with a pleasant “hello,” but with middle fingers pointed straight at him. Acceptance would come grudgingly, as fans started to realize that it was Dio who was helping usher in a period of restoration for Sabbath, the 1981 classic, fire-and-brimstone LP Heaven & Hell letting all know that a slumbering heavy-metal giant, wracked by substance abuse, personal problems and creative dissension, had awakened.

The world of metal is still in mourning Dio’s death, having lost one of its most spellbinding voices and imaginative lyricists earlier this year. On July 30, 2009, the Dio-period Sabbath, now christened Heaven & Hell, performed at the famed Wacken Open Air Festival in Germany, still riding high on the warm reception, from fans and critics alike, given their deliciously evil 2008 comeback album The Devil You Know. They had lost none of that old black magic, as the new “Neon Nights: 30 Years of Heaven & Hell” DVD and its companion CD so poignantly bears out.

Time stood still that night as Heaven & Hell, consisting of Dio, guitarist Tony Iommi, bassist Geezer Butler and drummer Vinny Appice, bulldozed and bludgeoned its way through a set of well-chosen numbers from their glorious, and somewhat underappreciated, past. From the opening instrumental “E5150,” only on the DVD version, Heaven & Hell crash headlong into the violent brutality of “Mob Rules,” before steering their ship straight into the massive rogue wave of riffs and melodic undertow that is “Children of the Sea,” making it sound as epic and majestic as ever, and coming out the other end on the shores of some distant land as rampaging marauders in an especially mean version of “I.”

It’s a breathless beginning, and it only gets better from there. A punishing “Bible Black” is followed by an even heavier “Time Machine” and their latest crushing missive from the depths of hell, “Fear,” with Dio giving it his all and Iommi roaming his way through a tight, fluid little solo that packs a big punch. All of this is captured in crystal-clear video and rich sound, cameras sweeping over and around the action like fighter jets, providing wide views of both the colorfully lit stage – with a giant fiery cow’s skull above the fray – and the endless throng of people gathered at Wacken to get a glimpse of a band that was not at all ready for the grave. The editing is smooth and seamless, putting to good use the wonderful variety of camera angles to emphasize the band’s still potent musicianship – Appice’s thundering drum solo and the beautifully framed close-ups on Iommi and Butler blazing away are not be taken lightly, especially true with the mesmerizing sonic adventure Iommi takes listeners on prior to the raging “Die Young” – and its flair for the dramatic.

As an epitaph, this is as good as it gets, even if it’s difficult to make out what Dio is saying between songs and you can’t help but miss perhaps the greatest achievement of this Sabbath lineup, “Sign of the Southern Cross.” They make up for it, though, with a soaring “Heaven & Hell” that stampedes to a wonderfully chaotic meltdown.

Choosing between the two, the DVD – and its 13 songs, compared to 11 on CD, both including a nice color booklet with a few photos and a well-written history of Dio’s time with Sabbath – is the way to go here, though the CD is an aurally magnificent recording. Actually seeing onscreen this timeless foursome, still breathing fire, live again and enjoying the moment, is priceless, and 30^th anniversary interviews with all four members, conducted by venerable metal media king Eddie Trunk, are full of great behind-the-scenes war stories from the past and the kind of wry humor that always comes as a surprise from four men known for some of the gloomiest, most horrifically doom-laden music ever conceived.

-Peter Lindblad

DVD Review: Jackson Brown "Going Home"

DVD Review: Jackson Brown "Going Home"
Eagle Vision
All Access Review:  B+

In the basement of his house, there are stacks of unopened boxes everywhere. Jackson Browne walks through it in one of the scenes from “Going Home,” saying into a camera he’s always had a place like this in just about every place he’s ever lived – be it a garage or even an otherwise empty living room. Somewhat sheepishly, the legendary artist admits he’s just never been able to figure out what to do with it all, and so there this stuff sits, closed up to the world and a mystery to it owner.

As for Browne, the singer-songwriter is an open book in “Going Home,” a scrapbook of memories and live performance clips – some of it fantastic vintage material – that makes up the recently reissued video biography that the Disney Channel originally broadcast in 1994. A long time in coming, this re-release is a beautifully edited, heartfelt look at the career of one of the most enduring artists to emerge from the Seventies singer-songwriter boom.

The concert material, both from Browne’s glorious past (the rousing closer “Running On Empty”) and his more recent 1990s’ resurgence, is seamlessly and artfully melded together, especially on the classic “Doctor My Eyes,” for a nostalgic and timeless document of his ability to recreate his richest songs in a live setting. A horde of rare home-movie footage, from little pieces of backstage and rehearsal room jams to snippets of private conversation and a piece that shows Browne with Graham Nash and Bonnie Raitt on an airplane talking about the horrors of nuclear waste dumping, fleshes out the tale and reveal much about Browne’s offstage personality. Going further afield, a variety of interviews with David Crosby, David Lindley, Don Henley and others, including Browne himself, dig deeply into Browne’s politics and his artistry. And all of it is pieced together so professionally that it doesn’t feel as fragmented or awkward as it could, which is sometimes the case with such documentaries.

The glue that holds everything together is the richly filmed 23-song concert – featuring cuts like “World in Motion,” “All Along the Watchtower,” “The Pretender,” and a host of others, culled mostly from 1993’s I’m Alive album – from the Nineties that is a simply magical, nuanced performance that speaks to that hauntingly melodic quality that pervades Browne’s best work. Watching Browne and Lindley play “Lives in the Balance” with Crosby and Nash is at first a funny little interlude of friends joking around, but then it grows into something that is particularly moving and inspiring, and the wonderful interplay of vocals is mesmerizing.

What we get from “Going Home” is the good stuff. The bad, in particular the troubling domestic violence episode between Browne and Daryl Hanna that happened around the time of this film, is not addressed here, and perhaps this is not the venue for that sordid affair, though it feels like an opportunity was missed to put that matter into perspective. Still, this is a celebration of Browne the songwriter and the activist, the poet who articulates matters of the heart with great sincerity, humanity and passion, and the friend, the band mate and the performer who is as smart as anybody in the room and an artist of inestimable talent.

-         Peter Lindblad

A Tribute to Ronnie James Dio from Vinny Appice

Famed drummer also unveils new Kill Devil Hill project and reveals what’s in his memorabilia collection


By Peter Lindblad

Tributes for Ronnie James Dio have been pouring in since the iconic heavy metal singer’s death back in May. The sense of loss throughout the metal community is still palpable, and even now, one of his closest friends and musical conspirators can hardly believe he’s gone.

“He was a leader, a father figure, a brother, musician … it was like he was going to live forever,” said Vinny Appice, who served as drummer for Black Sabbath during the Dio years and subsequently followed Dio when the singer left Sabbath in the acrimonious aftermath of Live Evil to form his own project, the hugely successful fantasy-metal outfit Dio.

Sabbath was in a state of flux when Vinny Appice joined the band in 1980. One year earlier, following the unceremonious dismissal of Ozzy Osbourne, Dio was plugged in to replace the legendary wild man as the band’s singer. Beset with personal problems of his own, bassist Geezer Butler exiled himself from Sabbath during the lion’s share of the writing sessions for Heaven and Hell, the band’s first album with Dio, with Geoff Nicholls of Quartz at the ready just in case Butler wasn’t coming back – he would eventually become Sabbath’s keyboardist, however. And then there’s the fuzzy evidence of the involvement of former Elf and Rainbow bassist Craig Gruber in Sabbath during the whole Heaven and Hell period; he left when Butler returned.

As for Appice, he had to fill the shoes of none other than Bill Ward as Sabbath’s drummer in the middle of the band’s tour backing Heaven and Hell. He had to learn the songs on the fly as Sabbath was preparing for a huge outdoor show in Hawaii. As time went on, Appice and Dio grew close, understandable considering their similar East Coast backgrounds.

“We’d always say, ‘I’ll kick you in the ass.’ He’d kick me in the ass onstage. We had the same New York attitude,” said Appice.

On the other hand, Butler and Iommi were British, born and bred. And when arguments erupted over the making of Live Evil, it was Iommi and Butler on one side and the Americans, Appice and Dio, on the other. So, when Dio left Sabbath, it was only natural that Appice would go with him, even though, according to Appice, he didn’t really take sides in the dispute and had gotten along with everybody in Sabbath.

In Dio, Appice saw something special, and it wasn’t just that magnificent voice.

“First of all, it’s just the way he sang, you know,” said Appice, when asked what it was that made Dio such a unique talent. “I’ve never been around anybody who sang like that – just soul and heart, you know. The way he sounded, the sound of his voice, and then he was just totally into his music – totally loved it. And it was just nice to be around somebody so strong. He was a great leader, and just an incredible voice. It made you feel secure. You know, if I stay with this guy, nothing’s going to happen. That’s why his death was a shock. Man, this is one of the strongest persons I’ve ever met in my life. He was a leader, a father figure, a brother, musician … it was like he was going to live forever. Or if he got sick, he’ll beat it. And that’s why it’s a shock. Man, he went down. He had so many qualities. It was so easy to be drawn to him.”

As so many people were, be they fans or fellow musicians who idolized Dio. Not surprisingly, Appice has wonderful memories of his days with Sabbath, Dio and Heaven and Hell. And, as expected, over the years, Appice has accumulated many prized mementos from those halcyon days.

“Obviously, I got gold and platinum records,” said Appice. “And then I got different things that were given to the band, one from Madison Square Garden in 1980 [that marked how the band] sold a million dollars worth of tickets, cool stuff. Years ago, you used to get a lot of swag; there were Black Sabbath bags that only the band had, Black Sabbath robes … it was like that kind of stuff, some old posters, not a lot. And Dio, I got a lot of the same kind of stuff, plaques and different things like that. There are some pictures, but that’s about it. Not a whole bunch of stuff.”

What are the pieces that mean the most to him?

“Well, all the gold records,” says Appice. “So, all the gold records and platinum records; those are priceless."

As has been reported recently, Appice has a new project going called Kill Devil Hill with former Pantera bassist Rex Brown “ … and two unknown guys – Dewey Bragg on vocals and Mark Zavon on guitar. And this stuff kicks butt. Right now it’s called Kill Devil Hill, but we might change the name, so we’re working on that right at this moment and it’ll be out next year. So there’s a lot more stuff coming along.”

And Appice isn’t closing the door on his days with Sabbath’s survivors. “We might continue. Who knows?”

Official Website Vinny Appice