Monte Pittman: To the Third Power

Guitarist talks new album, Madonna and Prong

By Peter Lindblad

Monte Pittman and group - 2014

Monte Pittman hit the jackpot. Having moved to Los Angeles in his mid-20s to teach guitar, the native Texan, in short order, became Madonna's guitar teacher, having been introduced by the man she was dating at the time, famed British director Guy Ritchie, also a student of Pittman's.

Within a month, Pittman was playing alongside Madonna on the "David Letterman Show," her performance coinciding with promotion for her album, Music. That was only the start of their working relationship, as Pittman went on to provide guitar for all of Madonna's five tours since then, the first being the 2001 Drowned World Tour.

That, in and of itself, would make Pittman the envy of any struggling musician trying to find work in the field, let alone all the perks, such as performing in some of the biggest venues and music events in the world, including the 2012 Super Bowl. Then, along came Prong.

Joining the alternative-metal attack dogs, Pittman played bass and guitar for Prong on the raging albums Scorpio Rising and Power of the Damager, as well as the live effort 100% Live. Prong and Madonna couldn't be more different, of course, but that doesn't really concern Pittman. He's enjoyed both experiences immensely.

These days, though, Pittman's focus is on his burgeoning solo career, christened by 2009's sonorous acoustic vessel, The Deepest Dark. It was a successful debut, hitting No. 1 on the Best Selling Acoustic Albums list at CD-Baby.com. A Kickstarter campaign helped Pittman record the follow-up, 2011's grungy rocker Pain, Love & Destiny. On CD Baby, that one kicked up a fuss, reaching No. 1 on its Rock Album and Pop Album charts, while also cracking the Top 10 Albums list as well.

Now comes The Power of Three, Pittman's most metallic offering yet. Together with drummer Kane Ritchotte and bassist Max Whipple, as well as Flemming Rasmussen, who helped Metallica achieve thrash nirvana with Master of Puppets, Pittman and company went to Copenhagen, Denmark, to map out and execute a hard-driving record, one that often gnashes its teeth in the most savage manner possible, while still leaning on well-crafted melodies.

In this wide-ranging e-mail interview, Pittman talked about his extraordinary career and a record that promises to soon make him a household name in the world of heavy metal, Madonna or no Madonna.

Before recording The Power of Three, did you have an idea in mind of what kind of album you wanted to make? 

Monte Pittman: Yes. I knew exactly what I wanted it to be like. We recorded the album in the order you hear it. We got off the plane and recorded "A Dark Horse." The last song we recorded was "All Is Fair In Love And War." I set out to make an album that would have been my favorite album when I got my first guitar.

There are a lot of heavy riffs and really satisfying thrash elements to this record, especially with "A Dark Horse," but there's also a song like "Everything's Undone," which has a good, strong melody as well. Was it important for you to make a diverse record?

MP: I like a variety of different music and different bands. I think it all comes from what's fun to play on the guitar. If you don't have a good melody, then you may not have a song. I usually make sure that the song can work on the acoustic. You hear everything a little differently that way and may pick up a new idea on the way.

Talk about the making of both "A Dark Horse" and "Everything's Undone." Did those songs evolve in different ways?

MP: After I finished Pain, Love, & Destiny, I was sitting outside by the fire and the lyric "A Dark Horse you've been having nightmares for years about" came to me. That was the beginning. I wrote a majority of "A Dark Horse" probably at the end of 2004. I didn't know where it would go. It wasn't a Prong song. I thought one day I'll make a heavy album just for fun or something. When I started seeing the big picture with making The Power Of Three, I started looking at it again. Then I pieced it all together on an acoustic. Sometimes when I write, I'll hang on to something for a while. If I still like the song later on, then I know I might have something. "Everything's Undone" was written when I got my first prototype for my signature Jarrell MPS guitar. Those guitars are very inspiring to play.

Monte Pittman has played
guitar for Madonna and Prong

Was there a song on the record that ended up sounding much different than you originally intended? And does that happen a lot for you, or do you have them mapped out so well beforehand that they end up being exactly what you thought they'd be?

MP: No. I put a lot of work in the demos, and I knew what I wanted everything to be. Once Flemming started in on it, I handed the keys over to him and it became his baby. On "All Is Fair In Love And War," we left room to be in the moment while recording. So I guess that one would be the most different. The original main riff for "Missing" was more like Cannibal Corpse at first. That song is all written from the Enigmatic scale. 

How did you hook up with Flemming Rasmussen for this record and what was his biggest contribution to the album?

MP: I met him on a day off in Copenhagen while on tour. We stayed in contact and would get together when I came back into town. We would say, "One day we should work together on something." We did an acoustic EP in one day the last time I was on tour in Copenhagen on a day off. He had been helping me with my demos, and he sat me down and said I need to concentrate on the heavy songs I was writing. So I did. Flemming was going to produce my Pain, Love, & Destiny album, but our schedules didn't match. Flemming had several massive contributions to the album. He had us all record together at the same time. When you hear the album, that's us playing in the same room at the same time recording all analog. He would always get us in the right frame of mind. Flemming has done a little of everything ... Metallica, Rainbow, Cat Stevens and Morbid Angel. I like that he's done different kinds of albums.

Talk about the choice of cover art for The Power of Three. Why is it special for you?

MP: My friend Kevin Wilson, who runs Sacred Tattoo in New York, suggested I check out Cam Rackam. Kevin has a gallery in his shop where artists do exhibits. Cam had a painting of Charon that I was blown away by, so I went with that one. Megan Massacre was going to do the album cover, but she's one of the best tattoo artists on the planet. She was too busy. She wound up buying the original painting of Cam's also! 

Do you see this record as a progression from Pain, Love & Destiny or a shift into different territory?

MP: It's a natural progression. Sometimes I write for what I don't have, and I needed some faster/heavier songs. On Pain, Love, & Destiny, I would sneak in some heavy parts as fills going into a chorus. My song, "(I Am) The Black Rabbit" isn't too far from where the material for The Power Of Three is.

You left Longview, Texas, at age 24 and headed for Los Angeles, where you ultimately became a guitar teacher. How tough a decision was that for you and what was attractive about teaching guitar?

MP: I taught as an apprentice under my teacher, Robert Browning. I love teaching. I keeps everything fresh in my head. When you teach, you have to know it in a different way than just being able to play it.

As the story goes, your third student was Guy Ritchie, the British filmmaker. And then you started teaching guitar to his wife at the time, Madonna. What do you remember about meeting each of them for the first time, and what were they like as students?

MP: They were just dating at the time. They were both great to me. They treated me like family. They would learn everything I gave them to learn. Luckily for me, Madonna was just releasing her Music album, and there was a lot of acoustic guitar on there.

Monte Pittman released an
acoustic record in 2009 called
The Deepest Dark

You've been playing with Madonna and helping write songs for her for a long time now. In working with her, and teaching her Pantera riffs, what would fans of hard rock and heavy metal find most surprising about what she's like as an artist?

MP: Most people will say they admire her work ethic and that she's always pushing the boundaries. Madonna has something for everyone. Even the most diehard metal heads will usually point out at least one song they like. Even if you don't like that style of music, you can't deny "Open Your Heart" or "Ray Of Light" or "Secret" aren't great songs.

Is the approach to that kind of songwriting different from the creative process for your own solo work? If so, what's different about it?

MP: Not in the situations I've been in. It usually comes from playing your guitar and coming up with an idea.

When you were asked to play with Madonna, what was your reaction? 

MP: I was excited! She has always been super cool to me. She hadn't toured in seven years, so it was an exciting time to be in that position. 

You worked with Prong on Scorpio Rising and Power of the Damager, co-writing songs and playing guitar, adding backing vocals and some bass work. And those were great Prong records. You also played guitar on the Prong live album 100% Live. What did you find most rewarding about you're experience with Prong?

MP: Thank you! I would say the most rewarding thing is being able to help put one of my favorite bands ever back together. Live, Tommy Victor would let me start "Another Worldly Device" since that's one of my favorite songs. I learned a lot of things that come in handy now with my own band from playing in Prong.

Do you have a favorite Prong album of those two?

MP: Power Of The Damager I guess. I played bass on that one minus a couple guitar solos. We stayed out at Sonic Ranch outside of El Paso and at Al Jourgensen's house making that one, so we had a great time making it. I started doing background vocals with that and that helped open the door to me singing on my own.

You did an acoustic solo record as well, with 2009's The Deepest Dark. Did you have to approach that differently than other projects?

MP: That was my first solo release. I made it just acoustic guitar and vocals so I could recreate it anywhere. That's what started it all. The Deepest Dark was going to be the soundtrack for a film but that never happened. That's one of the reasons I didn't release it before. I wasn't ready yet. Going back and forth between Prong and Madonna took up all my time.

You've done so much in music. Do you have a favorite moment from your days with Madonna or Prong that is really special to you or unusual?

MP: Playing events like Live 8 and Live Earth. That's a great bonus playing with Madonna. Live 8 was Pink Floyd's last show. Getting to watch them rehearse and soundcheck the day before was something I'll never forget. I happened to be one of the only people around with them backstage at the end of the night, so I got to see them all say bye to each other. Also, I got up onstage with Paul McCartney for "Hey Jude." He invited people up from all the bands for the finale. At Live Earth, I joined Spinal Tap to play "Big Bottom." They invited anyone who could play bass to join them. With Prong, there were so many great times on the road. Shows with Anthrax, Type O Negative, and Soulfly ... it was never a dull moment.

What are your hopes for The Power of Three and what are your plans for the coming weeks, months and years?

MP: To get this out there to every pair of ears that will listen. I'm working on booking some shows now that I'll announce soon. I've got enough material written for the next two albums, and I'll keep writing as I go along. I'm putting the team together still and finding the right people to keep pushing this forward.

Video Review: Korn's 'Spike in My Veins'

New Korn video addresses privacy, cult of celebrity

By Peter Lindblad

Korn - The Paradigm Shift

Orwellian paranoia runs rampant in Korn’s new video for “Spike in My Veins,” which premiered this week at rollingstone.com. And the Nu Metal revolutionaries attempt to make the case that privacy is being eroded in this age of the 24-hour news cycle and Internet overstimulation with their own version of the Ludovico technique, that horrifying aversion therapy that Malcolm McDowell’s character undergoes in “A Clockwork Orange.” Korn’s treatment is far less violent, but almost as disturbing.

Rather than setting out to make its audience impotent, there’s a sense that Korn is sounding an alarm with a bombardment of images that haven’t yet exceeded their expiration dates in the public’s ever-shrinking consciousness. There’s Seahawks’ cornerback Richard Sherman yelling into the camera after the Super Bowl. There’s Justin Bieber and then there’s Justin Bieber again, with his smiling mug shot and a scene of him in tough-guy mode wanting to fight all comers while being pushed into a limo. Tongue stuck out in full twerk, Miley Cyrus, like Bieber, is everywhere, as are egomaniacal rapper Kanye West and disgraced Toronto mayor and noted party guy Rob Ford, dancing without a care in the world and caught by a surreptitious camera making insane threats to do somebody bodily harm.

There are a lot of puzzle pieces that beg for context in "Spike in My Veins," but it's not long before it starts to make sense. All those scenes of cops in riot gear beating people up and press conferences of government officials shamelessly trying to counter the very serious accusations of NSA whistleblower Edward Snowden suggest totalitarianism isn’t just a Russian or a Third World problem. Although it's not the wildly creative game-changer "Freak on a Leash" was, it’s a fairly effective statement put forth by Korn and director David Dinetz, as well as his creative team at Culprit Creative – the idea being that our obsession with celebrity and scandalous media firestorms are preventing us from confronting very immediate and devastating attacks on privacy in this country, just as junkies avoid reality by shooting up.

Quick cutaways lend the thought-provoking video a sense of urgency, hammering home the sense that it is well past time for action and that apathy is more dangerous than ever. What is being spiked in our veins is not heroin. It’s the constant stream of salacious garbage the media spews like vomit that's dulling our senses. Of course, this sort of thing has been done before. Public Enemy, U2, Ministry … the list of artists who have made similar socio-political indictments through the medium of video is lengthy to say the least. But, if nothing else, at least Korn is staying up on current events.

And they are growing more adept at building tension in tracks like “Spike in My Veins,” as the verses simmer to a roiling boil here, thankfully lacking the momentum-killing down-tuned silliness and irritating vocal histrionics of Korn's past. With its explosive, shattering chorus, strong grooves and thick riffs, “Spike in My Veins,” off the critically acclaimed album The Paradigm Shift, crashes into your living room with the kind of raw emotion and intensity that children of the Korn feed off. Still, as far as the video goes, it's mostly just Korn performing in front of a wall of TVs, even if the parade of familiar cable news touchstones is smartly arranged and edited to both incite and excite. And for those wanting some stunning visual effects to go with their sensory overload, the “Matrix”-like effects that make an octopus of Jonathan Davis’s wheeling arms are pretty bitchin’. Keanu Reeves thinks so, too. 

CD Review: Monte Pittman – The Power of Three

CD Review: Monte Pittman – The Power of Three

Metal Blade Records

All Access Rating: B+

Monte Pittman - The Power of Three 2014

Diehard fans of alternative-metal misanthropes Prong know who Monte Pittman is, and so does Madonna. If nothing else, Monte Pittman has connections, but that's only part of his story.

Leaving his Texas home behind, Pittman headed for Los Angeles to set up shop as a guitar teacher. Quite by chance, his third student was British filmmaker Guy Ritchie, then-husband of the Material Girl. In short order, Pittman became Madonna's instructor, which led to him joining her onstage at a "David Letterman Show" promotional performance tied to the release of her album Music and then becoming a full-fledged member of her touring lineup beginning with the 2001 Drowned World Tour, not to mention his guitar work on every one of her records since then.

That's all well and good, but it's not exactly metal. Teaching her to play Pantera riffs ... that's metal. There's actually video evidence of it on YouTube. When it comes to gaining street cred with the metal community, however, bringing six-string savagery to Prong on the hard-hitting Scorpio Rising and Power of the Damager, two of their most ferocious studio albums, as well as the band's blazing concert manifesto 100% Live, would more than do the trick. And they say politics makes strange bedfellows.

As a solo artist, Pittman has gravitated from the full-bodied acoustic meditations found on 2009's The Deepest Dark to the brooding grunge of 2011's Pain, Love & Destiny. His latest album, The Power of Three, finds Pittman and co-conspirators Kane Ritchotte (drums) and Max Whipple (bass) raging through 10 tracks of aggressive, boot-stomping thrash-metal and straightforward metallic groove-mongering suffused with strong melodic currents. "Blood Hungry Thirst" is all of that and then some, while the hard-charging "A Dark Horse," with its shadowy, sinister acoustic intro knitted together by Pittman's fingers, "Missing" and "Delusions of Grandeur" tear the roof off The Power of Three with furious riffs and heart-pounding speed, leaving just enough room for Pittman to reel off spectacularly frenzied solos.

Enlisting recording guru Flemming Rasmussen, who was at least partly responsible for the white-hot intensity and epic swells of Metallica's Master of Puppets, Pittman left no doubt about his intentions. The Power of Three was going to be a lethal killing machine, with burly production that didn't simply cater to a guitar hero's whims and able to stick to the militaristic tautness of Helmet. There's plenty of Pittman's dynamic shredding to go around, but the drums – Ritchotte's cymbals crashing and rippling in little blurs – and bass are just as assertive, with Pittman's reedy vocals sounding disembodied, almost like a younger Ozzy or Fu Manchu's Scott Hill.

And when Pittman chooses, he displays an affinity for generous hooks and wide-sky choruses, such as the ones in "Everything's Undone," the best song the Foo Fighters never wrote, and the even more expansive, billowing "End of the World." Rich in melody, these are the exceptions, as Pittman and company would rather sink their teeth into gnarled, mauling riffs, like those found on "Away From Here" and "Before the Mourning Son." That's where the power of this threesome really lies, the only problem being that it's pretty standard-issue stuff. There's nothing truly original here, just some intriguing variations in tempo, a thick, heavy sound, riffs to die for and a tightness that other bands would do well to emulate. http://www.metalblade.com/us/
– Peter Lindblad

CD Review: Boston – Life, Love & Hope

CD Review: Boston – Life, Love & Hope

Frontiers Records

All Access Rating: B+

Boston - Life, Love & Hope 2014

Tom Scholz doesn't like to be rushed. In his never-ending quest for aural perfection, Scholz sure takes his own sweet time making records, holed up in that state-of-the-art studio of his worrying himself to death over every little detail. Remember those eight long years between Don't Look Back and Third Stage?

It's no wonder then that each successive Boston album sounds more pristine than the last, clean almost to the point of being antiseptic. And while he knows how to make those transcendent melodies sparkle, relationships, on the other hand, aren't so easy for him to control.

Life is messy, as evidenced by Brad Delp's suicide and the always-simmering tensions between original members of Boston, including the prodigal Barry Goodreau. The product of months and months of writing and recording, Life, Love & Hope, released via Frontiers Records, is the first studio album from Boston in a decade, and it finds Boston struggling to retain its signature elements and, at the same time, evolve into something new. Even for Scholz, that's a long time between records, but, of course, a lot has happened in that time, starting with the tragic loss of Delp, one of classic-rock's most angelic singers.

Not surprisingly, for all its maturity, production clarity and graceful artistry, Life, Love & Hope is missing some of the pop euphoria of Boston past, although opener "Heaven On Earth," the title track and "Someone (2.0)" are the kind of grand melodic fountains of soaring rock guitar, breezy synthesizer harmonies and vocal weavings that Scholz and company patented so long ago. And they, along with the brilliant burst of silvery power-pop that is "Someday" rescue Life, Live & Hope from adult-contemporary hell, which is where it's headed with mid-tempo schmaltz like "You Gave Up on Love (2.0)" and "The Way You Look Tonight."

Shoved to the front of the mix like never before, even at the expense of Boston's trademark electric guitar hooks, the singing on Life, Love & Hope is spectacular, as Scholz combines his lead vocals with those of bassist Kimberly Dahme, David Victor, new sensation Tommy DeCarlo and Delp, his contributions provided posthumously. A record that is both familiar and unnervingly different, meditating deeply on heartbreak, loss and the belief of better days ahead, Life, Love & Hope at times feels emotionally heavy, especially on exquisitely crafted, if somewhat overwrought, ballads "If You Were in Love" and "Love Got Away" and the elaborately constructed "Didn't Mean to Fall in Love."

Lush strings, rich Spanish acoustic guitar plucking, compressed-air keyboards and found sounds, such as the black helicopters portending a sinister conspiracy in the clunky, lifeless "Sail Away," are integrated seamlessly throughout Life, Love & Hope, as Scholz seeks to broaden Boston's palette to accommodate a more progressive, even contemporary, approach. There is still a place for earnest, big-hearted arena-rock anthems in Boston, though, with Scholz building multilayered sonic orgasms for aging ears. But this is a new Boston, grappling with adult issues while holding onto to the last vestiges of its youthful naivete.
– Peter Lindblad

Inside Crystal Viper's 'Possession' with Marta Gabriel

Polish power metal act unleashes new concept album
By Peter Lindblad

Crystal Viper has just released its album 'Possession'

Marta Gabriel doesn't want to spoil anything, so she's been careful not to give too much away when talking about the story of Julia.

Suffice it to say, she goes through a lot one night, and the latest album from Poland's Crystal Viper wraps her spellbinding tale in darkly epic, thundering metal that thrashes with rage one moment and glows with heavy, melodic incandescence the next.

A concept album in the tradition of Mercyful Fate's Melissa, Possession is the cinematic sixth studio album – they've put out a brace of singles, along with a compilation album and a live LP, as well – from this pulverizing power metal militia. Formed in 2003, Crystal Viper is led by the multi-talented Gabriel, who wrote all the music and lyrics for Possession. Bart Gabriel (Burning Starr, Sacred Steel) produced the record, which included 50 screams submitted by Crystal Viper fans in the final mix.

All the trappings of traditional metal, from its blindingly fast tempos to its beguiling passages of shape-shifting melody, are found on Possession, as it bears a resemblance to the work of Ronnie James Dio and Judas Priest, but it undoubtedly gets its black atmospheres from influences like Bathory and King Diamond's old musical haunt. And Michal Oracz, famed for his design work with Polish board games and role-playing games, did the cover art.

It's an ambitious package, with vocal contributions from Jag Panzer's Harry Conklin and Desaster's Sataniac, especially considering all the fashion design – she has a clothing line called Thunderball Clothing – and studio session work Gabriel does outside of Crystal Viper. Gabriel talked in depth recently about Crystal Viper's new record and all the other irons she has in the fire in this e-mail interview. 

Crystal Viper - Possession 2014

This is a concept record with a story that revolves around a young girl named Julia, and it's an incredibly cinematic tale. Tell us about Julia and how you developed her character.

Marta Gabriel: I wouldn't say I developed Julia's character in some special way, as the story basically tells what happened "around" Julia, during one night, on Friday [the] 13th. But I can tell you Julia is reincarnation of the witch named Sarah, and you could meet Sarah on our previous album Crimen Excepta...

Is this the most ambitious record Crystal Viper has ever made?

MG: I don't know, [it's] hard to say. We never plan anything. When we have enough good new songs, we do an album, that's all. We never think, "We should do this, or we should do this." We love writing, playing, and recording heavy metal. We prefer to act, not talk.

"Evil" is a topic that comes up a lot on the record, and there seems to be this inner struggle in Julia between innocence and succumbing to darkness or becoming possessed. How much do you relate to the character of Julia and what she's going through?

MG: Struggle between innocence and being possessed? Not really. Our story has a pretty unexpected twist. Let me keep the secret: if I would tell you what Possession is about, then it would be like telling people how the movie they are going to watch will end. But I can tell you another thing: if you will carefully analyze the front cover artwork of our new album, and you will listen to the album and read the lyrics, you will find out that almost every single song is represented on this picture.

What makes these themes of possession and evil such interesting subjects for you to write about and how did the story take shape?

MG: It's hard to answer this question, as the album, well, it's not really about "possession." At least not kind of the "possession" everyone expect. It's not [a] typical ghost / exorcism story. It has an unexpected twist and goes into themes and subjects no one would expect from a band like us.

In making this record, it seems that you wanted it to be darker, sort of blending traditional melodic metal with classical music, the thrash influences of a Metallica and the blacker epics of somebody like Mercyful Fate or Bathory. Was it the story that drove you to do that or did you simply like the idea of experimenting with all those different elements?

MG: Both yes and no. First of all, all members of Crystal Viper are die hard metal fans. All of us collect records, we go out to see other bands, we travel to see bands on festivals and so on. And everyone in Crystal Viper has different personal favorites, different tastes. All these tastes and personal influences melted together make what Crystal Viper is all about. So I can say that yeah, we are a heavy metal band, but I could list many, many thrash, black, and even death metal acts as our favorite acts, or influences. But you are right, Mercyful and Bathory are right there, between bands we all love.

"Why Can't You Listen?" is one of my favorites, along with "Voices in My Head" and "Mark of the Horned One." They're all really heavy, but you incorporate a lot of diverse influences and interesting changes in mood and texture. When writing songs, especially with this record, how do you balance that desire to be aggressive with fleshing out melodies and wanting songs to take on different characteristics?

MG: It's all about the story that I'm going to say in a song. Possession is a concept album. It's one big story told in all songs, one after another. So at the beginning I had to sketch the story, and then I was writing songs to build atmosphere around them. It was like painting a picture with sounds. You know, you can't do for example a fast and funny-sounding song about let's say killing or something epic. It would make no sense, unless you want to say the story from, I don't know, some maniac's perspective. Writing concept albums is maybe a bit harder than writing normal albums, but it's great fun for me. It's like doing a movie without pictures, without vision. You need to make sure the sounds, the melodies, and atmosphere of the songs go side by side with the story. I'm a great fan of movies, especially classic horrors, so this is the real reason of doing concept albums.

You wanted your fans to be involved in this record. How did you come with the idea to have them send in their screams and bring them into the recording?

MG: We love our fans. The truth is if there would be no fans, there would be no music at all, no heavy metal and no Crystal Viper. I'm not sure who exactly come out with this idea. It came out on one of our band meetings. We thought it would be something cool to do something special, something unique – you know, everyone can buy a CD or a t-shirt, but how often can you find your name in the album booklet, and say, "Hey, it's me!" when you listen to some song? I think it's really cool.

How would compare the playing on this record to that of past Crystal Viper records? Would you say the band as a whole is progressing as musicians?

MG: All musicians learn their whole life. If you are a musician, and you come to a point when you start to think you already know everything, it means you should start doing something else and quit playing. So with this in mind, I'm sure everyone's playing on each next Crystal Viper album is a little better.

Inviting vocalists Harry Conklin of Jag Panzer and Sataniac of Desaster certainly adds fascinating contrast to "Fight Evil With Evil" and "Julia Is Possessed." What made you pick those two singers in particular to appear on the record, and as for your own vocal treatments, was there anything different about Possession that made it challenging?

MG: Yes, we have Harry Conklin from Jag Panzer and Satan's Host, and Sataniac of Desaster on our album. We always try to invite members of other bands to be special guests on our album; it's already kind of tradition for us. We invite people we respect and like. This time it was Harry and Sataniac from Desaster. They are great guys, talented musicians, and it was great pleasure and honor to work with them. So everyone, if you don't know Desaster or Harry's bands – Jag Panzer, Satan's Host and Titan Force, check them out. They are f**kin' awesome and metal to the bone. Challenging? I don't know, for sure there were easier and harder parts to sing. Maybe most challenging was to put right emotions into singing, as with a concept album you actually tell the story.

You are also an in-demand session player. Has working on others' records influenced what you wanted to do with Crystal Viper?

MG: I wouldn't say so. I mean I love working with other bands and with other musicians, as I learn all the time. I'm like a sponge, I absorb everything. But I wouldn't say working with other bands had influence on what I do with Crystal Viper. We rather have an own path to follow.

You've recorded with power metal acts like Sabaton and Majesty, as well as Witch Cross. What was the most memorable thing about those experiences?

MG: Every single opportunity of working with other bands and artists is absolutely wonderful and memorable. I couldn't list only one. It's great when bands invite me to sing or to play with them. It shows the unity of the metal bands.

Tell us about your clothing line, Thunderball Clothing. What are the designs like and what was it that made you want to get into fashion?

MG: When I started to play on stage with my band, I couldn't find clothes I like in stores, so I started to make clothes for myself, and later for my bandmates. From time to time my friends were asking me if I could create something for them, and later, from one word to another, strangers started to ask me about custom clothes, as they've seen something cool that I've made for others. As there were more and more requests, I decided to open my own company, and create a clothing line, Thunderball Clothing. I think I found another amazing way in my life, as designing and making clothes is [the] next opportunity to make an art, which of course is inspired by music.

As a woman in metal, do you think the genre is becoming less of a man's world and that female artists are gaining more power?

MG: I will tell you like this: if someone doesn't like or doesn't accept female fronted acts, then well, it's not really my problem. Everyone has personal taste. I personally like a lot of female fronted acts, or even all female bands, like for example Rock Goddess, Warlock, Acid, Blacklace or Chastain, or even several of these modern female-fronted acts, such as Nightwish or Within Temptation. If I like someone's music I don't think if it's male or female singing or playing. I'm not really paying attention if there are more or less female artists. I do my own thing.

You decided to cover the Riot classic "Thundersteel." What made you decide to remake that song and what approach did you want to take toward doing it?

MG: We always wanted to record cover version of "Thundersteel,"as it's one of the greatest heavy metal songs ever written. We were just waiting for the right moment. And recording it as the bonus track for [the] new album was a perfect match, because when you will see all lyrics from the new album – with "Prophet Of The End" being the last song – and you know [the] lyrics of "Thundersteel," you will find out that "Thundersteel" can be taken as the song about something that got revealed in "Prophet Of The End." We are actually in touch with Riot members, and they were between first persons who heard it – they like it very much, so it's a big honor! One trivia here: when we were recording this cover, we tried to mix both versions, the original demo version which was recorded by Narita (Mark's other band he had in 1985) and [the] version that everyone knows from the Riot album.

Where does Crystal Viper, and, in particular, Marta Gabriel, go from here?

MG: I won't surprise you here: writing, composing, and recording lot of music – not only for Crystal Viper, as I have million other projects in mind as well! And yeah, doing next clothes for Thunderball Clothing!

Thoughts on the Grammys, Pete Seeger and Motley Crue

A look at a tumultuous week in music

By Peter Lindblad

Pete Seeger died this week at 94

Pete Seeger died, Motley Crue submitted their retirement papers and the Grammys spit on hard rock and heavy metal once again, incurring the wrath of Nine Inch Nails mastermind Trent Reznor. It's been a hell of a week in music. 

And let me just start off by saying that I really hemmed and hawed about writing this, mostly because to do so would give the Grammys credence they don't deserve. I didn't watch it. I haven't watched since probably high school, and I don't plan on watching them in the near future. They have so little to do with music I enjoy that I'm just not interested in them in any way, shape or form.

But then, Seeger passed away, and not long after, Motley Crue finally said what they've been hinting at for a long time, that they'd decided to call it a day. Finding a way to connect all three huge news stories seemed like a good way to kill an afternoon.

So, the world mourns the death of the banjo-playing Seeger, who could someday qualify for sainthood. A folk singer and political activist who stood up for the working man, he was willing to go to prison rather than kowtow to the tyrannical witch hunt of Sen. Joe McCarthy and his House Committee on Un-American Activities. Into his nineties, Seeger railed against injustice at every turn, was a man of principles and sang simple, unadorned songs of rare, rustic beauty, always with an eye toward a better future for the country he loved and its people, especially the downtrodden. 

Motley Crue officially retires

And then there's Motley Crue, who never really cared about the downtrodden as they were partying past sun up and sleeping with anything with a pulse. Terrors of the Sunset Strip in their salad days, these glam-metal hellions lived the "sex, drugs and rock 'n' roll" ethos to the fullest extent possible, and almost didn't actually live to tell about it. They've shouted at the devil, extolled the virtues of their favorite strip clubs and indulged in just about every vice known to man. And their music is loud, rebellious, dirty and played with a street-fighting swagger that, from the very beginning, tapped into suburban teenage longing for danger and excitement. 

It didn't hurt sales that they surrounded themselves with scantily clad women in videos and onstage, set off a scary amount of pyrotechnics in concert and rode fast motorcycles and cars. Boys on the cusp of manhood tend to go in for that sort of thing.

The wreckage resulting from their misdeeds being common knowledge, Motley Crue wanted to put on a show. Seeger aimed to change the world. Both never wanted to be told what to do, and when institutions and authorities tried, they balked at attempts to shut them up. Musicians and artists, at least the good ones, are like that. 

Not surprisingly, critics have differing opinions about the bodies of work left they've accumulated. Not that Vince Neil cared one jot about what they had to say about Crue's music. Rightly, after the announcement was made that Crue was going to dissolve their long-lasting partnership after one last tour, Neil declared that Crue is, and always was, a "fan band," that they didn't make music for critics or to garner awards. Of course, every band the critics hate has to say that. 

Still, there's more than just a kernel of truth in that statement. Crue's fashion sense was something out of the movie "The Warriors" or Adam Ant's nightmares, but their songwriting, especially those bad-boy ballads, certainly had an audience, and a big one at that. In that way, Crue was a band of the people, and the salt-of-the-earth Seeger was nothing if not a man of the people, critics be damned.

As for the Grammys, there are some people they just don't care for. And Sunday night's telecast of the awards proved that they would rather not have anything to do with hard rock and heavy metal. Sure, Black Sabbath won the award for "Best Metal Performance," and it's hard to gripe about the nominees in that category, but wouldn't it have been nice to see Sabbath perform or even simply just accept their award? The point's been made by many that Metallica and Lang Lang doing "One" was an inspired pairing, even if it didn't come off all that well, and as others have also remarked, Metallica didn't put out any new music this year. 

So, what were they doing there? Did somebody with some pull say, "Hey, Metallica … that's a band I've heard of. Let's get them on." Isn't that why Foo Fighters are always the default setting when the Grammys want somebody to represent hard rock, but they also want a band that's sort of non-threatening and that everybody kind of likes? 

And then there are the "in memoriam" snubs of Slayer's Jeff Hanneman and Iron Maiden's Clive Burr. In Hanneman's case, the oversight is unforgivable, considering Slayer's five Grammy nominations and wins in 2007 and 2008, and Hanneman's songwriting contributions to Slayer. Burr is also more than deserving of recognition as well. Jesus, he was in Iron Maiden for God's sake. Both bands have racked up millions in record sales, and really, that's all the Grammys care about, isn't it? Just to be fair here, I heard they also forgot about The Dyvinyls' Chrissy Amphlett, which makes you wonder, who didn't they leave out?

Trent Reznor had a few choice words
for Grammy organizers

Anyway, seeing as how they cut to an ad and rolled credits while Trent Reznor and members of the Foo Fighters and Queens of the Stone Age performed the finale, Reznor, in no uncertain terms, let them have it in an angry tweet, as is customary these days. Grammy Executive Producer Ken Ehrlich apologized … sort of, noting that the show was going long and they did manage to run all but 1:20 of it. Okay, but what about all the other stuff you didn't do?

Eddie Trunk gives the Grammys a bit of pass when arguing who's more disrespectful of hard rock and heavy metal, the Grammys or the Rock and Roll Hall of Fame. It's not that the people behind the Grammys are doddering old fools who don't know any better. I just simply don't believe that. After being the butt of so many jokes about Jethro Tull getting the heavy metal Grammy Metallica should have won, they had to have learned from that mistake. 

If it is ignorance on their part, it's willful ignorance. They don't want to present the award for "Heavy Metal Performance" during the actual telecast because they never wanted to include such a category in the first place. The circumstantial evidence of that is overwhelming.

At the end of the day, it's pointless to get all worked up about the Grammys. I realize that. Most right-thinking people do, too. Style has always trumped substance with that show, and in all likelihood, it always will, and who needs an awards show for music anyway? On the other hand, why not speak out about it? Why not try to get them to change their ways? What's that saying about all evil needs to triumph is for good men to do nothing? 

All right, maybe that doesn't exactly apply here, but then again, perhaps it's long past time for the Grammys to get it right. With the state the music industry is in right now, it can't afford to shun a rather large segment of consumers. Pete Seeger wouldn't do it on principle, and Motley Crue wouldn't do it because it just doesn't make sense from a business perspective. 

CD Review: Red Dragon Cartel – Red Dragon Cartel

CD Review: Red Dragon Cartel – Red Dragon Cartel

Frontiers Records

Red Dragon Cartel - S/T 2014

All Access Rating: B+

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

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

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

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

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

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

CD/DVD Review: Ted Nugent – Ultralive Ballisticrock

CD/DVD Review: Ted Nugent – Ultralive Ballisticrock

Frontiers Records

All Access Rating: A- 

Ted Nugent - Ultralive Ballisticrock 2013

Ted Nugent makes some people … well, uncomfortable. More than that, actually, Nugent, so willing to fan the flames of controversy every chance he gets, inspires outright hatred from the Left and utter devotion from the Right, and there's hardly any middle ground to walk. Whether for or against him, it's hard deny the Nugent's messianic passion, be it for hunting, the Constitution or hot-blooded American rock 'n' roll and R&B. 

A believer in the "no guts, no glory" ethos, Nugent goes for the throat on "Ultralive Ballisticrock," which is about as good a description as any for this thrilling double CD/DVD lightning bolt from Frontiers Records. The "balls to the wall" energy of this recording is off the charts. Words like "soul" and "spirit" are invoked in what amounts to a fiery sermon on the need for getting back to what is primal, what is unspoiled and what is real about screaming guitars, propulsive bass and blasting-cap drums coming together to create a life-affirming racket. This is communion for Ted, and everybody can eat of his body or drink of his blood, or they can leave well enough alone. 

Invoking the image of Christ is not without precedent when it comes to Nugent. Who can forget that iconic image of Ted in nothing but a loin cloth and all that frizzy hair spilling out all over the place. It certainly comes to mind when watching or listening to this recording Nugent performing in 2011 alongside Derek St. Holmes on rhythm guitar/vocals, Greg Smith of Rainbow fame on bass and Mick Brown (Dokken) on drums at Penn's Peak in Jim Thorpe, Pennsylvania.

Cussing up a storm, they launch into bubbling proto-metal boils "Free For All," "Wango Tango," "Just What the Doctor Ordered" and "Wang Dang Sweet Poontang" on the first disc like a pack of wild dogs, with mangy, tenacious riffs chomping at the bit and Nugent, perfectly at ease in the spotlight, tearing off savage, biting solos that attack like hungry predators and are as sharp as knives used to field dress a deer. There is no letting up on Disc 2, where the sonic powder keg that is "Motorcity Madhouse" simply explodes, sending chords and notes everywhere like emptied shell casings. Snarling and pacing back and forth, Nugent and crew turn "Cat Scratch Fever" into a caged animal that is too dangerous to ever be released, while the slithering grooves of "Stranglehold," that great, almost hypnotic riff sounding more vicious than ever, coil around simmering rhythms like smoke.

Want to know the origins of stoner metal? It all starts here, and when these versions climax, they do so with volume and emotion. Let's not forget that Nugent absolutely worships the MC5, and those all-consuming, fiery stage shows they used to kick out in hard-scrabble Detroit left an impression on a burgeoning young talent who saw a bit of himself in them. What storming rhythmic section support he has, too, with Brown's full-on percussive hammering and Smith's bass providing thunder and relentless momentum.

The sound is magnificent, cooking both the fat and lean sinew of Nugent's performance into a tasty dish, and it is vividly filmed with multiple cameras that seem to stalk and gravitate toward each member of the band at just that right moment when they are ready for their close-ups. Nugent isn't getting older. He's becoming more intensely driven, and that's a good thing for rock 'n' roll.
– Peter Lindblad

DVD Review: George Thorogood & the Destroyers – Live at Montreux 2013

DVD Review: George Thorogood & the Destroyers – Live at Montreux 2013

Eagle Rock Entertainment

All Access Rating: B

George Thorogood & The Destroyers -
Live at Montreux 2013

Before every gig, George Thorogood listens for that "buzz," that growing murmur of excitement that runs through a crowd before a hotly anticipated show. When it goes away, "George is gone," says Thorogood, talking in the third person in a brief, but endearing, interview shoved into a new concert release from the blues-rock delinquent that documents his first-ever performance at the prestigious Montreux Jazz Festival on CD, Blu-ray and DVD.

What a strange thing it is to see Thorogood & the Destroyers playing such nasty, low-down favorites as "One Bourbon, One Scotch, One Beer" and "Move It On Over" in such a stylish and pristinely modern venue. A dingy, ramshackle juke joint with a tiny stage that smells of piss, smoky BBQ and stale beer would seem more appropriate. Good old George, trying to be as PG as possible, considering there were kids in the room, seems right at home, though, smiling and joking with the crowd about what's in the cup he's drinking from and playfully proclaiming a youngster to be the "future of rock 'n' roll." 

Bandana wrapped around his head, soaking up all that perspiration, Thorogood expresses how grateful he is to be playing at the vaunted festival, and for the most part, he and his band repay the organizers' faith in him with a solid, if not unforgettably rowdy, run through a slew of Thorogood's contributions to the '70s and '80s classic-rock canon. The boozy, snaky crawl of "I Drink Alone," the malicious stutter of a growling "Bad to the Bone" and the simmering boil of their pounding version of Bo Diddley's "Who Do You Love?" are deliciously fatty cuts of rocking blues, while a swaggering "Move It On Over" swims in Thorogood's ravenous and dirty slide guitar.

As expected from Thorogood, there are heaping helpings of it found everywhere on "Live at Montreux 2013," and the always rebellious Thorogood shakes some action with real energy in "Night Time" and a raucous "Rock Party," all of which sets the stage for the good and sweaty treatment they give to red-hot closer "Madison Blues," as well as their rough handling of Johnny Cash's rollicking "Cocaine Blues."

More of that rawness and vigor would be welcome on the vibrant "Live at Montreux 2013," professionally shot to focus on Thorogood's devilish charisma and the way his guitar snarls and noisily saws through timber with a roar that sometimes muted. The rest of his band gets its due camera time, as well, but it's Thorogood everybody wants to see and the filmmakers realize this. Perhaps its the ham-handed lighting, which floods Thorogood and the band at times in deep hues of blue and red, or the completely unnecessary backing images of flames and skulls, among other rock 'n' roll cliches, that make it seem as if they're missing some of that gruffness and edgy attitude that's made them barroom bards of hard living from their 1977 self-titled debut onward.

After all, what would Elmore James and Hound Dog Taylor think of such a glitzy stage show? Still, it's a joyous occasion for Thorogood and friends, and they do perform with wonderfully bad intentions, their playing, as always, fairly sharp and often quite lively. Thorogood still knows how to coax sinful, whisky-flavored sound from those six strings, all the while paying respectful homage to the John Lee Hookers and other blues men that inspired him. The buzz hasn't disappeared, although it is a little more faint than it used to be. http://www.eagle-rock.com/
– Peter Lindblad

Guitar master Ethan Brosh unleashes 'Live the Dream'

Ethan Brosh 2014

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

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

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

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

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

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

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

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

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

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

Below is the track listing for Live the Dream:

Track listing:

1. Live the Dream

2. Forbidden Pleasure

3. Bottomless Pit

4. Knock on Wood

5. Space Invaders

6. Suspicious Exchange

7. Rude Awakening

8. Dawn of an Old Era

9. Clean Slate

10. Silver Lining

11. Up the Stairway

12. When Picks Fly

13. Crying Moon

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

Nashville Pussy – Up the Dosage

Nashville Pussy – Up the Dosage

Label: Steamhammer/SPV
All Access Rating: A-

Nashville Pussy - Up the Dosage 2014

"The South's Too Fat to Rise Again" may be the greatest song title in history. And "Hooray for Cocaine, Hooray for Tennessee" isn't too shabby either. Yes, Nashville Pussy is at it again, offending the humorless and churning out morally repugnant, 190-proof Southern rock grain alcohol spiked with so much sleazy punk attitude that it could cause blindness, if ingested in mass quantities. 

That's a small price to pay for energetic, shit-kicking rock 'n' roll this ballsy. The black sheep of this white trash family, guitarist/vocalist Blaine Cartwright, says of Up the Dosage that, "This is our Back in Black!" And he isn't just whistling "Dixie." Taking a cue from AC/DC, they aim for simplicity on the rowdy Up the Dosage, packing it to the brim with solid, hot-wired riffing and degenerate songwriting born with a swagger. Political correctness be damned, this souped-up Nashville Pussy are as funny and raunchy as ever, as Cartwright details a sordid, booze-impaired tryst with a high-spirited pregnant women who's "meaner than shit, hotter than Hell" in the Rolling Stones-y, Let It Bleed-era "Before the Drugs Wear Off," featuring a tasty boogie-woogie style piano that channels the spirit of Ian Stewart. 

Then there's the hilarious ode to masturbation that is the high-octane, rip-roaring "Rub it to Death," its turbo-charged, muscular guitars threatening to tearing themselves away from the bones of such mean, cocksure hooks, just like those found in the pulse-pounding "Spent" and an accelerated, utterly infectious "The South's Too Fat to Rise Again." This is Nashville Pussy, the fast version, and like Motorhead, they play rock 'n' roll – unrepentant, dirty and with a taste for drugs and everything tawdry.

Cartwright's wife, guitarist Ruyter Suys, goes for the throat on Up the Dosage, her solos sounding like a hail of gunfire. That's her singing on the hit-and-run blast of gutsy psycho-billy known as "Taking it Easy," and she is a commanding presence. It helps to have sound that is richer and more vibrant than past efforts, and for that, sound engineer Brian Pulito is to be commended. Ultimately, though, it's Nashville Pussy's mix of metallic crunch and ZZ Top's bluesy nastiness, so prevalent on the title track and mid-tempo drawls "Till the Meat Falls Off the Bone" and "White and Loud," that makes Up the Dosage such a tasty meal, even if the cook probably spit in the food.
– Peter Lindblad

It’s only rock and roll, but Backstage Auctions likes it

By Susan Sliwicki ~ Goldmine Magazine

Jacques and Kelli van Gool of Backstage Auctions

Although we’ve never met Jacques van Gool’s mom, we suspect that she’s pretty cool. When the future rock and roll auction house owner opened his birthday gift in 1973, he found the turntable he’d been hoping for — but no records to play on it. So, his mom walked with him to a nearby record shop. “I’m standing there with my mother, and I’m looking in the window, and the first album that caught my eye was Black Sabbath,” van Gool recalls. “So we went in and bought Black Sabbath’s second album.”

Of course, it didn’t take long for his parents to tell him to turn his record player down. “Pretty much the same day,” he admits. “I remember my mother coming home one day with a fairly big box, and she said, ‘Here, please use this.’”

Inside was a set of huge, funky headphones.

“With the headphones, I could literally crank it up to the point that by the time I was done playing the record, my ears would literally ring,” he recalled.

Admittedly, that move may not have been the best thing for van Gool’s hearing. But it built his appreciation for the music and the artists who produced it, particularly heavy metal. So in all, it makes sense that he eventually chose to open an auction house that specializes in selling music and related memorabilia. van Gool and his wife, Kelli, operate Backstage Auctions, which marks its 10th anniversary this year. Kelli van Gool shared her perspectives on the music collecting industry with Goldmine.

GOLDMINE: What’s the history of Backstage Auctions? What prompted you to start the business, what led to your choice to pursue the niche of consigning large items directly from artists and industry professionals, vs. simply offering collectibles at large?

BACKSTAGE AUCTIONS: It’s was really Jacques’ passion for music and his personal hobby of collecting music memorabilia that was the driving force behind the idea. Having nearly three decades of collecting, trading and brokering memorabilia, he recognized that significant changes were occurring in the collectors market when eBay started to become a widely popular platform for selling memorabilia in the late ’90s and early 2000. Suddenly people from all over the world had access to buying and selling memorabilia through the Internet, which was awesome. However, with the good also came the bad, and the market was flooded with fakes and forgeries, and at the time, there really wasn’t a good (system of) checks and balances in place to weed out the non-authentic pieces.

We started conceptually thinking about it in early 2000 and after doing quite a bit of research, talking to friends who were big time collectors and a whole host of musician friends, we finally took the idea from concept to reality in 2003. Our business model was simple; we would work exclusively with musicians and industry professionals directly, which in turn gave collectors access to authentic pieces of music memorabilia without questioning the provenance or authenticity of any piece we would offer up for auction or for sale. For collectors, it offers a unique opportunity to purchase items that have a direct link back to the artist, and for our clients, it provides them with a professional and highly reputable selling platform to empty out their storage facilities filled with music history. Our goal when we started was stimulate and revitalize the collectors market, restore buyers’ confidence and put some much-needed integrity back into the collectibles market. Fast-forward 10 years later, and I believe that we accomplished those goals and continue to keep the thrill and excitement in collecting rock and roll memorabilia alive. After all, nothing beats owning an authentic piece of music history.

GM: Before you launched Backstage Auctions, what were your careers?
BA: Well, we both had nearly 20 years of corporate business experience before launching Backstage Auctions, and interestingly, we both started our careers in human resources. I progressed through my career in more of a strategic human resources role, with a focus in development and communications, and Jacques’ skills were focused more on the merger and acquisition side of things. Our previous careers did prove to be very beneficial when you peel down our experience and apply it to core business functions.

GM: What do you find is the hardest or most challenging part of your business? And what is your favorite part?
BA: Like with any business, developing business and securing collections is always a challenge. Our clients have very demanding schedules, especially the ones who are actively touring and recording. It’s getting the stars to align at the precise moment when we get a “yes,” and getting a “yes” can sometimes takes months on end, even years.  Probably for both me and Jacques, our favorite part is when the collections actually get delivered to our studio. It’s quite a thrill to open of a box that contains original recordings, handwritten lyrics that are decades old, or even stage-worn attire and concert-used gear. It’s history, and it’s not only our client’s history, but it’s a part of our personal history, because we grew up listening to these artists.

We also get a tremendous satisfaction when our clients actively participate in promoting their auctions. Ted Nugent played a very active role in his auction, as did Herbie Herbert, Page Hamilton, Kip Winger, Scott Ian and Charlie Benante. Social media is a very powerful tool, especially when an artist has a tremendous following. It’s a lot of fun following the interaction between the artists and their fans when the auction is live. The fans and collectors eat it up, which always have a direct impact on the auction results.

Anthrax guitarist Scott Ian adds a personal touch to one of the guitars he consigned to Backstage Auctions. The auction house, which just celebrated its 10th anniversary, focuses on acquiring lots directly from artists and music-industry insiders to ensure buyers are getting high-quality items with a direct link to artists. Photo courtesy Backstage Auctions.

GM: What’s the significance of the Backstage Auctions red star logo?
BA: Well the cliché answer would be that it represents being a star … you know, a “rock star,” and that certainly applies. We have changed our logo a bit over the years, but the constant that has never changed is the recognizable red star. Setting the business answer aside, it also has a personal meaning for Jacques and me, dating back to when we first met. So there is a little bit of us in our logo, which I personally think is cool.

GM: What are a couple of memorable experiences you’ve had through they years with Backstage Auctions? (i.e interesting consignments, fun stories about nervous consignors, etc.?)
BA: Oh, gosh, there are so many amazing stories and experiences. We are really fortunate to have worked with so many artists, producers and managers that each one has a great story I could tell. Every client is different when it comes to how involved he or she would like to be during the auction. Some track their own items and watch their personal VIP auction dashboard on the last day, while others call for updates. But a favorite story of mine is one of our clients was so excited about all the bidding on the last day, that he eventually had to leave his house and go to the movies — which, by the way, he later confessed that he didn’t even remember which movie he saw, because he was too nervous and preoccupied with the auction.

We have had so many different type of rock an roll rarities pass through our studio it’s hard to name just a few that are memorable or interesting – because they all are in their own way. But I can say that when you open a box and pick up a collection of original Jimi Hendrix acetates, KISS original recordings, amazing Led Zeppelin memorabilia or a even a concert used guitar – it’s hard to not feel humbled, nervous and excited all at the same time.

In the early days, admittedly we were probably a lot more nervous than our clients when we would go live with our auctions. We had the opportunity to work with the legendary Eddie Kramer (yes, this was truly an OMG moment). His collection was the very first “online” auction and in retrospect we were probably not as mentally prepared as we could have been because we simply underestimated the market response. Don’t get me wrong we knew it was going to “huge”, what we didn’t anticipate was it being “ginormous”. The lesson learned from that auction was we always need to be prepared for the absolutely “best” case scenario moment – you know the one that usually begins with, “I can’t even imagine – but what if….”.

We have worked with so many amazing people over the years, and quite a few of our clients have become great friends post auction activities. But I must say that for me personally Eddie Kramer is still “one” of my favorite clients, but really everyone we have worked with has been awesome.

GM: How much has changed in the business (both collecting-wise and auction-wise) since you held your first auction? What are the trends you’ve seen?
BA: Ten years seems like a long time, and it is, but there are things that simply don’t change, like the passion for collecting. That said, we do see the primary collectors group for classic rock memorabilia starting to shrink a bit, but that makes sense to us, because of the age of that group. What has been growing in popularity and is definitely a force to be reckoned with is heavy metal memorabilia. This year we will be hosting our fourth heavy-metal focused auction, and every year it gets bigger and bigger. It’s the natural progression of collecting, markets and emerging interests that drive the mayhem behind metal memorabilia collecting. Let’s be honest here. When Scott Ian of Anthrax has one of his guitars prominently featured in the annual “Warman’s Antiques & Collectibles” guide book, you know heavy-metal memorabilia is a real player in the world of music memorabilia collecting. And we love it!

Herbie Herbert's 1974  personal agenda from the Journey days.

GM: What’s it like to work with your spouse? Do you think that being married makes it easier or harder to work together, and why?
BA: Well, for us, it’s easy. But we do have separate offices in our studio. Rarely do we have to actually work together side by side. Jacques mainly focuses on client service and manages the production side of things. My focus is more keeping all the balls in the air. Sure, we have our moments but there is definitely more of an upside than a downside.

GM: Have your collecting habits changed as a result of running an auction house? If so, how? (It’s got to be hard to work with all that cool stuff and not want to take at least a few goodies home with you!)
BA: It’s interesting that you ask that, because one would easily assume that we (actually, Jacques) would still be actively collecting, but he doesn’t so much anymore. From time to time, he will purchase something, but usually because it has a personal history attached to it. As so many collectors do, they reach their summit, and Jacques reached his and was OK with it.

GM: If you could go back and do one thing differently in regards to your business, what would you choose to change, and why?
BA: Oh, there are probably things that we could have done different, but we like to look at those as teachable moments. One thing that we learned early was this is a fluid business, and over-managing the process doesn’t necessarily deliver the results you were hoping for. In 2005, we were out in San Francisco, packing up a warehouse filled with decades of memorabilia belonging to Herbie Herbert, who was the man behind Journey’s success. He gave us a piece of advice that he learned early on from his mentor Bill Graham, which was, “When you have a yes, you stop selling.” For us, that translated into when you have a “yes,” keep it simple, go with the flow and try to not over- manage the artists — they have enough of that already.

GM: In 10 years’ time, you have built Backstage Auctions from the ground up. Would you ever consider selling now that you are established and reputable music memorabilia auction house?
BA: That’s a very good question. We have organically grown and built Backstage Auctions in such a way that if the right buyer (individual or company) came along and expressed interest, it would definitely be an easy business transaction — especially since Jacques and I are the sole owners. That said, it would probably be emotionally difficult to hand the keys over to someone else, but at the same time it could be equally exciting. But for now, we are rockin’ in the here and now and having fun … one auction at a time.

###

Album Review: Cactus – Live in the U.S.A./Live in Japan

Album review: Cactus – Live in the U.S.A./Live in Japan

Rocker Records LLC

All Access Rating: A-

Cactus - Live in Japan 2013

Around for only a short while in the early '70s, Cactus never quite lived up to the expectations that come with being called the "American Led Zeppelin." Still, they left their mark with a greasy. blues-infused mix of hard-hitting proto-metal and full-throttle boogie-rock that served as an archetype for the likes of AC/DC, Aerosmith, the Black Crowes, Montrose and Van Halen to follow.

Always a scintillating live act that attracted big crowds during their 1969-1972 run, despite the lack of a hit album or a smash single, Cactus was one of those bands that everybody figured called it quits too soon. And maybe they're right, considering the searing rock 'n' roll heat coming off two live releases – available separately as digital downloads from drummer Carmine Appice's new label, Rocker Records LLC – from a reunited Cactus that, sadly, did not include deceased singer Rusty Day.

Cactus - Live in the U.S.A. 2013

Revived in the mid-2000s, Cactus played B.B. King's in New York in 2006 – captured on Live in the U.S.A. – as a warm-up for their triumphant appearance at the Sweden Rock Festival. It being the first time Jim McCarty, Carmine Appice and Tim Bogert – with a new lead vocalist in tow – had performed as Cactus since 1972, Live in the U.S.A. documents their return in gloriously ragged fashion. 

It's a rough-and-tumble recording, lending a sense of closeness to a sweltering atmosphere that seems as hot and sticky as any down-South juke joint – one guy can even be heard yelling out, "I can die now." Cactus does not disappoint him. This is raw stuff, with some of the nastiest guitar licks McCarty has ever produced, as Cactus, propelled by the rhythmic rumblings of Bogert's bass and Appice's drums, struts like Mountain through "Muscle & Soul" and "Evil" with a rugged bluesy drawl that's also evident in the huffing and puffing they do in the harmonica-laced "Brother Bill." They kick out the jams with "Let Me Swim," this version sweating bullets and exploding like Zeppelin's "Rock and Roll." Expressed with the confident swagger of men who realize they have nothing left to prove to anybody, their gnarled, slowed-down readings of "Long Tall Sally" and "Rock and Roll Children" are tantalizing, allowing them to mop their brows before diving headlong into the frenzied, blustery boogie of Mose Allison's "Parchman Farms," where Cactus lets it all hang out.

Bogert had retired by the time Cactus played Japan in 2012. Pete Bremy, his replacement, fills in admirably on a Live in Japan set that has a cleaner, more professional sound, but is no less combustible. "Swim" is just as feverish here, and throughout the performance, Appice's drums are punishing, McCarty's guitars are blazing and Bogert thunders away on the bass. A little bluesier, as Cactus indulges in classy renderings of "Alaska" and Willie Dixon's "You Can't Judge a Book (By Looking at the Cover)," Live in Japan finds Cactus exploring stoner-metal moods and sounds on a particularly hazy "Electric Blue" and then gnawing on the bones of a simmering pot called "One Way or Another" that threatens to boil over but never does.

Two rollicking concerts, captured at different points in the Cactus reunification, Live in the U.S.A. and Live in Japan see this reinvigorated band, which once arose out of the ashes of Vanilla Fudge, scratching and crawling its way toward fully realizing what they set out to do. The journey isn't over.
– Peter Lindblad

Original Black Sabbath catalog available digitally

Black Sabbath's '70s catalog is
now available through iTunes

Black Sabbath is finally going digital.

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

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

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

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

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

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

The reunited original Sabbath lineup, minus Bill Ward of course, will soon return to North America on its latest tour, following runs through both North and South America, Australia, Asia and Europe. 

This latest round of North American tour dates starts March 31 at Barclays Center in Brooklyn, NY, and will take the doom-metal godfathers through 10 cities in Canada, including Montreal, Ottawa, Calgary and Edmonton. The trek ends April 26 at the Hollywood Bowl in Los Angeles, CA. 

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

CD Review: Michael Schenker's Temple of Rock – Bridge The Gap

Michael Schenker's Temple of Rock – Bridge The Gap

Inakustik

All Access Review: A-

Michael Schenker's Temple of Rock - Bridge
The Gap 2014

There's only room for one high priest in this Temple of Rock, and that's guitar god Michael Schenker. Although for Schenker's new album under that moniker, the near religious experience for guitar freaks that is Bridge The Gap, he's assembled a small group of trusted heavy metal clergymen to help conduct these rock 'n' roll rituals, including his old Scorpions' mates Herman Rarebell and Francis Buchholz.

Not since 1979's seminal Lovedrive album have these three appeared on a record together, so this is, indeed, a momentous occasion. That, in and of itself, however, wouldn't be enough to recommend Bridge The Gap if it wasn't simply a marvel of dramatic song structures and synergistic guitar worship.

And it's different from Schenker's first Temple of Rock outing in 2011. A jaw-dropping spectacle of wild, blazing solos and torrential riffing, made with a loose gathering of guest stars, that sprawling record suggested that Schenker was chomping at the bit to reclaim his position as one of rock's most awe-inspiring guitarists. Though not without its moments of orgasmic six-string explosions from Schenker, who blends finesse and fury in crunching riffs and leads that can be understated and stylish or aggressive and staggeringly brilliant, Bridge The Gap feels more like a group effort, as Schenker steps back a bit, assuming less of a leadership role and becoming part of a spirited rock 'n' roll cavalry that charges forward with swords brandished and a sense that they have nothing to lose through surprisingly strong song-oriented material and barely harnessed bombast.

Out on CD, a glossy deluxe edition with a bonus track in "Faith" that's sung by Don Dokken or as a 180-gram LP, Bridge The Gap sees this united front building up a strong head of steam on "Rock n Roll Symphony" and the frenzied "Temple of the Holy," the rhythmic might of Rarebell and Buchholz – their performances generating great momentum – coming to the fore as Schenker fires off salvo after salvo of imaginative, wide-ranging fretwork. Heavy, bludgeoning intros to "Where the Wild Winds Blow" and "Horizons" set the stage for blazing sonic uprisings that build into great epics, thanks to massive synth swells from the band's secret weapon, keyboardist/guitarist Wayne Findlay. Darkly melodic, all caught up in a thicket of hooks and trudging forth with weighty, crunching steps, "Black Moon Rising" and "Dance for the Piper" find common ground with Dio's best work. And with its bounding movements and whirling neo-classical energy, "To Live for the King" sounds like latter-day Rainbow on horseback, racing to the finish in a mad dash with pulses pounding.

It's no accident that Bridge The Gap is reminiscent of Ritchie Blackmore's former band, what with Doogie White writing the record's fantasy-based, romance-obsessed lyrics and singing with his usual masculine clarity. And like Rainbow, this Temple of Rock balances traditional metal power and melodic magic, dipping back into the past for inspiration while also managing to sound current and in the "now." Although scenes of Led Zeppelin in their prime drifting off in an opium den come to mind in the mysterious and intoxicating "Shine On," And while Bridge The Gap isn't the platform for unfettered shredding that the first Temple of Rock was, Schenker doesn't take the day off.

Amid the powerhouse riffing, beautiful plumes and soaring, well-articulated leads, there is interesting activity going on underneath the surface, as if Schenker is digging a complex series of underground passages. Take time to walk through them. Schenker has sublime surprises in store for those who do. http://www.in-akustik.com/en/MuM/default.asp
– Peter Lindblad