No sleep 'til heaven ... for Lemmy

A tribute to a fallen legend
By Peter Lindblad

R.I.P. Lemmy Kilmister

Nobody really believed that Lemmy Kilmister was actually indestructible. He was human after all. His recent death only serves to sadly drive that point home like a knife plunged straight into the heart of rock 'n' roll.

A kind of mythological figure, Motorhead's leader of the pack and former Hawkwind space-rock astronaut only seemed impervious to the Grim Reaper because he could guzzle bottles of Jack Daniels at a time, take as many drugs – never heroin, of course – as he liked and have as much sex as humanly possible with a multitude of partners.

None of that made him especially heroic, although, if blessed with an iron constitution like Lemmy's, who wouldn't want to experience such uninhibited and unfettered debauchery, if only for just a month or a week? Alas, all most of us can do is live vicariously through someone like Lemmy, someone who embodied the rock 'n' roll lifestyle and happily indulged in its all-you-can-eat buffet of vices. We needed the larger-than-life Lemmy in that strip club. We needed Lemmy knocking back enough booze to kill a horse and apologizing for nothing. Live free or die. No compromise. That made him rock's greatest anti-hero, untouchable and cool and immune to the judgement of self-righteous arbiters of morality. He ate sacred cows whole and spit out the bones. He had his own moral code, his own fashion sense – he wore "daisy dukes" shorts for god's sake and he wore the hell out of them – and interests outside of music that some might find distasteful. Lemmy didn't care what anybody else thought. That was his super power, and it made him bulletproof, as least when it came to criticism.

They made a movie about him, of course. How could they not? It was called "Lemmy," it came out in 2010 and if you haven't watched it, go and do so immediately. It was a revelation, and it showed that behind that tough, fearsome exterior was a generous soul, a proud father and a staunch, if unconventional, feminist. Not everything about it painted Lemmy in a good light, but he wouldn't have wanted some whitewashed version of the truth anyway. This was Lemmy, warts and all, and you couldn't help but love him. In the end, he emerged a beloved figure, a mentor even to some artists and to others a loyal friend for life. Nobody seems to have a bad word to say about him, and the outpouring of affection and adoration – things he abhorred by the way – since his passing has been a flood of biblical proportions. Punks and metal heads may not agree on everything, but they do find common ground on this: Lemmy and Motorhead were the genuine article, the band he fronted an exhilarating juggernaut of violence and speed and he played thunderous bass with reckless abandon, like an old moonshiner fleeing Johnny Law down treacherous country back roads. And if you didn't want to come along for the ride, so be it. There were no hard feelings on his part.

Incredibly candid and matter-of-fact about his own extraordinary, swashbuckling exploits in the movie "Lemmy," its namesake had nothing to hide and very few, if any, regrets, making it plain to anyone that this was a man who lived life on his terms. Artistically, he was no different. In a tweet following Lemmy's death, Alter Bridge's Myles Kennedy called him a "rebel poet," and that's fitting. His lyrics were searing in their honesty. They were philosophical and funny, and the furiously filthy, punk-metal nastiness of Motorhead, delivered with such volcanic intensity and ungodly volume, roared like the bikes of the Hell's Angels, providing the perfect vehicle for his defiant point of view. It was good, honest rock 'n' roll, just like the early stuff from the '50s that he loved. And don't forget that Lemmy also sang lead on Hawkwind's brilliant "Silver Machine" and served as a roadie for Jimi Hendrix. His story has many chapters, and all of them are utterly fascinating.

Lemmy leaves behind a slew of great Motorhead albums, such as Overkill, Bomber, Ace of Spades and the full-throated live LP No Sleep 'Til Hammersmith, and the band's most recent output – including this year's Bad Magic and 2013's Aftershock – could absolutely hold its own against the classics. Whether there was a will or not, everyone gets an inheritance from Lemmy, be it in the form of great music or the example he set. Think about it. How many of us desperately want to be truly free? And how many of us are so tied down with responsibilities that it becomes an impossible dream? Lemmy had mastered existence.

And even though he probably would be horrified at the thought of being put up on a pedestal or considered some kind of role model, there are lessons to be learned from Lemmy, especially for the next generation of musicians. Don't chase trends. Play to your strengths. Be true to yourself and your artistic vision. Honor the past, but don't be a slave to it. Be unique and be real. All are somewhat esoteric ideals, and it's harder than it sounds to stick to any of them. Lemmy did, and he was a legend because of it. And even though he had no use for religion, if there is a heaven, they should make welcome him with open arms at those pearly gates. The parties would be legendary.

DVD Review: Queen – A Night At The Odeon, Live At Hammersmith '75

DVD Review: Queen – A Night At The Odeon, Live At Hammersmith '75
Eagle Rock Entertainment
All Access Rating: A

Queen - A Night At The Odeon,
Live At Hammersmith '75 2015

Fog machines on full blast, the stage at the grand old Hammersmith Odeon was immersed in clouds of billowing smoke. Colorful lights circled about, as Queen strutted and preened through the bombastic epic "In the Lap of the Gods ... Revisited" like luminous peacocks in satin suits.

And when they were done, blue balloons and festive streamers fell from the rafters on an ecstatic audience begging for more. Even the toy sex doll seen surfing the crowd seemed to want an encore. And she got one.

Far from spent, on Christmas Eve in 1975, Queen – riding high on the chart-topping success of "Bohemian Rhapsody," celebrating its 40th anniversary this year – re-emerged, vamping through their take on "Big Spender" and then careening into a raw, raucous medley of old-time rock 'n' roll covers based around Elvis Presley's "Jailhouse Rock." A heady celebration, indeed, this performance, filmed beautifully for the U.K. TV show "The Old Grey Whistle Test," was as memorable and glorious as any for Queen, and it has now been released by Eagle Rock Entertainment in various formats as "A Night At The Odeon, Live At Hammersmith '75."

Along with a full CD, DVD and Blu-ray package complete with a never-before-seen "second encore" of "Seven Seas of Rhye" and "See What A Fool I've Been," there are separate DVD and Blu-ray versions with other bonus material. Guitarist Brian May and drummer Roger Taylor reminisce about being broke and riddled with self-doubt, how wonderful the night in question was and what made this particular period in Queen history so transformative, when the album A Night At The Opera was soaring in popularity, with "Old Grey Whistle Test" presenter Bob Harris in a nostalgic and revealing 22-minute documentary. That's included with rare and rather dodgy, but still vital, footage of Queen on their much-ballyhooed 1975 tour of the Far East playing "Now I'm Here," "Killer Queen" and "In the Lap of the Gods ... Revisited" in the release's "Live at Budokan" segment.

In stark contrast, the vintage video imagery of the triumphant Hammersmith Odeon gig is sumptuous, capturing with superb camera work all the bluster, theatricality and assured brilliance of a band on fire. May's harmonic, echo-laden solo turn during "Brighton Rock" is truly mesmerizing and that great tone of his bites your ear lobe throughout, while Taylor's drumming is controlled fury and John Deacon's bass work becomes the elastic glue that holds it all together. Not surprisingly, though, it's Freddie Mercury who steals the show, his voice so pure and his expression fierce and unabashedly dramatic, while his piano playing displays both an incredibly deft touch and an ability to pound keys into submission when so moved.

Honest-to-God hits are hard to come by in an interesting set list that reflects Queen's position then as relative up-and-comers, but small portions of the lively, bouncing romp "Killer Queen" and the ominously powerful "The March of the Black Queen" are bookended by the lovely intro and outro of "Bohemian Rhapsody." Just for kicks, they tack on a vaudevillian bit of "Bring Back That Leroy Brown" to the back end of this neat and tidy little medley that is entertaining. For openers, Queen charges right into an uplifting, soaring "Now I'm Here" and follows by staging a cinematic, expansive "Orge Battle," before tenderly treating "White Queen (As It Began)" like the elegant maiden she is and getting swept up in the dizzying frenzy of "Keep Yourself Alive" and "Liar."

Here is a young, hungry Queen feeling its oats, buoyed by its recent success and eager to show off its exquisite song craft, dazzling chops and the audacious showmanship of Mercury. What a night it was.
– Peter Lindblad

Chastain's Leather Leone bleeds for metal

Singer reunites with '80s heavy metal favorites
By Peter Lindblad

Chastain is David T. Chastain, Leather Leone,
Mike Skimmerhorn and Stian Kristoffersen

Leather Leone is back where she belongs, fronting the blazing '80s heavy metal outfit Chastain.

The namesake of guitar wizard David T. Chastain, the band was cobbled together in 1984 by Shrapnel Records President Mike Varney, who was looking for a vehicle to shine a spotlight on the CJSS shredder's instrumental prowess, as well as Leone's fiery, powerhouse vocals.

A force of nature on Chastain albums including the 1984 debut Mystery of Illusion on through Ruler of the Wasteland (1986) – both recorded for the Shrapnel label – and The 7th of Never (1987), 1988's The Voice of the Cult and 1990's For Those Who Dare, Leone returned to Chastain after a long break from music in 2013, with the LP Surrender To No One.

Released in early November, We Bleed Metal is Chastain's latest effort, and it is an all-out blitzkrieg of crunching riffs and blistering solos, rampaging drums and bass, and the vocal fury of Leone. By turns melodic and thrashing, with an appreciation for all the elements that go into making classic metal songs, We Bleed Metal – released on Leviathan Records – is more than just a declaration of allegiance to metal. It addresses heavy subject matter, such as the collapse of financial institutions, religious extremism and mankind's penchant for self-destruction, and it does so with intelligence and raw emotion. And with it comes the return of original bassist Mike Skimmerhorn and the sensational debut of drummer Stian Kristoffersen.

A power-metal legend, Leone recently discussed her comeback, the new album and her history in metal in this interview.

Chastain - We Bleed Metal 2015

Now that you've been back with Chastain for two albums, and Mike Skimmerhorn has returned for your latest record, We Bleed Metal, in what ways does this situation feel like it did in the early days and how is it different?

Leather Leone: The end product seems like we haven’t skipped a beat. The general feeling and vibe of Chastain is absolutely there. But since we all do most everything online ... the whole studio experience is gone, which is a personal loss for me. I appreciated all the feedback and sharing of musical ideas face to face.

How tough is it to balance the interests of creating new material that's in keeping with the classic elements of Chastain while also trying to be more modern?

LL: Chastain is the main songwriter and took the reins with We Bleed Metal. He has never tried to write or attempt to go in any direction. But that being said, we did work and create music together for a long time. He has a way of writing with my thoughts and vocals in mind.

What songs on this record challenged you the most vocally?

LL: In all honesty none of them come to mind. All of these tracks came together quite easy. There was a strong, magical flow for me the moment we started working with them.

A lot of the subject matter on We Bleed Metal has to do with serious issues. How does what the songs are about impact how you approach singing them?

LL: Of course it is extremely important. And since we write about a number of serious, intense situations, my vocals, I hope, reflect that. I have always been more of an aggressive vocalist. I won’t be doing any ballad records anytime soon!

Some of my favorites on the new record include "Against All The Gods," "I Am A Warrior," and "Don't Trust Tomorrow." What are the songs on We Bleed Metal that you felt were the most exciting and why?

LL: You hit it exactly. "Against all the gods" has a special place in my ears. As soon as I put that harmony on the chorus, I was hooked. The third verse just rolls off my Metal tongue!!!! This is an unusual record for me. I am stoked about all the material. Chastain did an incredible job with the mixing ,mastering, etc. And he allowed me to get my opinion in the whole story.

What brought you back to Chastain and has your return been everything you thought

it would be?

LL: My return came through the project I did in L.A. in 2011 called The Sledge Leather Project. We had put out a record called Imagine Me Alive. I had asked him for his advice on many occasions. Of course the musical conversation led back to Chastain. During my return I had continually been asked about new Chastain music. It was inevitable!

What inspires you most about working with Chastain and David in particular?

LL: It has been the same since I met him. He is a remarkable talent. He is a perfectionist. He has known me and watched me grow vocally. He knows what I can do and never settles for anything less. Musically we just fit. I consider him one of my favorite teachers. And we love f**king METAL!!!!!

With Rude Girl, everything seemed to be coming together for you. You were sharing stages with Megadeth and Suicidal Tendencies. You had a big record deal with Columbia. Why did it not continue?

LL: It’s the same ole boring story. Egos, control, youth and stupidity. It was not meant to be. I am thankful I had the experience. What a training ground!!!

David has said this is the most "shredtastic" album since the era of The 7th of Never. Would you agree and if so, is that what you were hoping for as well?

LL: Yes, I would agree. Yes, I was hoping for him to go off on We Bleed Metal. Again, this was one of those spaces in time that just worked!

If you had a chance to do one Chastain album in its entirety live on tour, what would it be?

LL: Mystery of Illusion ... that material would rock now. With modern production and my vocals to day!!!! I hear it in my head

What for you was your most gratifying experience with the early days of Chastain?

LL: Live shows ... without fail something always goes wrong, but that audience fuel

drives me. Metal in the house!! And also, now with the passage of time, those crazy little metal records meant so much to so many of you. It is a true honor to be held so respectfully in the metal community!

The decade of the '80s was such an amazing period for heavy metal. What are your favorite memories of that time, and for you, was it enjoyable or was there a downside?

LL: Just to be privileged enough to be part of it. For me it is disappointing that Chastain never broke to become a big band. I left things out of my hands and decisions were made that I would have done differently. To be able to create music at anytime that people enjoy and are inspired by is a true gift.  Love the '80s!!!!

Taking such a long absence from the music business, what did you miss most about it and what didn't you miss?

LL: I missed being in the core of new music. I missed meeting and performing for all of you. I didn’t miss having to stay in unbelievable shape to pull off doing live music nightly!!

In making all the albums you did with Chastain, was there one that stood out as being more fun or artistically satisfying than the others, and by the same token, which one was the most difficult?

LL: For me when we recorded Voice of the Cult I had a sense that I had found my stride. My experience had kicked in and I felt I knew what I was doing. I remember being onstage and thinking I got this. It all became very easy. It is a true comment I have heard from many artists, much better to never stop!

What do you see as the next step for Chastain?

LL: You would have to ask David.

A second life for Fleetwood Mac's 'Tusk': Reassessing the band's most controversial LP

'Tusk' gets deluxe reissue treatment, new video platform celebrates Fleetwood Mac
By Peter Lindblad

Fleetwood Mac - Tusk

Fair or not, there is a tendency to think of 1979's Tusk as "Fleetwood Mac's folly," the messy result of insane hubris, too much cocaine and frayed nerves, not to mention a whole lot of inner turmoil.

Trying to follow up Rumours, one of the biggest-selling records of all-time, can make an already dysfunctional band do crazy things. That includes blowing $1 million on making a record. They even convinced the University of Southern California marching band to play on the euphoric, wildly original, poly-rhythmic free-for-all that is the title track.

In desperation, they pulled out every trick they could think of, and their experimental approach – borrowing elements from emerging genres such as punk and new wave – seems entirely logical in hindsight. After all, how do you top Rumours? And, going one step further, how do you even attempt it with a band that doesn't seem to want anything to do with each other? There was no blueprint to follow. There were no case studies to review, except maybe that of The Beatles, who went off the deep end a little with 1968's The White Album, after engineering their masterpiece, Sgt. Pepper's Lonely Hearts Club Band. So forgive Fleetwood Mac if they were feeling somewhat desperate.

Assailed by critics upon its release as incoherent, self-indulgent and unfocused, Tusk took its lumps, but over time, those initial assessments gave way to more glowing commentary. Nikki Hirsch is the senior vice president for ZUUS Media, who is releasing an exclusive music video collection of Fleetwood Mac's most popular hits. ZUUS launched its Fleetwood Mac channel Dec. 3, providing a platform for viewing all of Fleetwood Mac's videos, as well as those of Stevie Nicks. The timing coincides with the release of reissued, deluxe versions of Tusk released Dec. 4 by Warner Bros. Records with a treasure trove of bonus material.

"Fleetwood Mac's Tusk is a legendary rock record – a double-LP with an experimental flavor and distinct, disparate songwriting, which (Fleetwood Mac bassist) John McVie used to say sounded like three separate solo artists," said Hirsch. "Despite these nuances, when it was first released in '79, the album was surprisingly met with harsh criticism for underselling in comparison to the band's previous album, Rumours. Perhaps it's because of this diss that the album is considered highly underrated by critics and fans alike. When Warner announced the deluxe re-release of Tusk, replete with previously unreleased material, we jumped at the opportunity to create a special artist collection channel to celebrate the band and album."

Listened to with fresh ears, Tusk doesn't seem all that weird today, although the bounding energy and oddball, manic exuberance of "The Ledge," "What Makes You Think You're The One" and "That's Enough for Me" – where a wired-to-the-gills Lindsey Buckingham takes center stage – can be jarring. It's as if these songs themselves were doing lines of coke in the studio, especially when juxtaposed against the stream of mellow, folky pop gold flowing from Christine McVie's "Honey Hi," "Never Forget" and "Brown Eyes," as well as the spectral beauty of Nicks' "Sisters of the Moon" and the breathtakingly beautiful "Sara."

Despite its excesses and strange hyperactivity, Tusk's up-tempo numbers have a bright, buoyant charm and surprising immediacy, while its well-crafted, soft-rock gems glow luminously, and while it's not an album that has a easy, logical sequence, it holds together pretty well – even if there wasn't much esprit de corps among the troops. Since then, hatchets have been buried, and this version of Fleetwood Mac, the one that couldn't stand to be around each other as Tusk was being birthed, is peacefully coexisting, even flourishing on its most recent "On With The Show" world tour. And those who want the full Fleetwood Mac experience will find a lot to like about ZUUS' new venture.

"ZUUS' strategy with our artist collection channel platform is to provide an expertly curated viewing experience for fans, where they can enjoy continuous play-out of an individual artist's official music videos, live performances and additional content in one place," said Hirsch. "In our Fleetwood Mac channel, we feature the band's official music videos for classics like "Big Love" and "Little Lies," along with Stevie Nicks' live version of "Landslide," and additional collaborations and videos from Mick Fleetwood and Lindsey Buckingham. When Fleetwood Mac fans visit the channel on ZUUS, they will be able to re-experience the band in a unique, engaging way."

As for Tusk itself, it was released in 1979 as a double-album and it climbed to No. 4 on the U.S. album charts on the strength of hits like "Sara," "Think About Me," and the title track. The new reissues are available as a Deluxe Edition (5-CD/2-LP/1-DVD-A, $119.98), an Expanded Edition (3-CD, $24.98), and a single disc of the newly remastered original album ($11.98). Digital versions will also be available.

The Tusk (Deluxe Edition) is packed with five CDs, including the remastered original album, an alternate version of the complete album made up of session outtakes, most of which have never been released, as well as an additional selection of singles, demos and remixes, including an outtake of "Think About Me," an early version of "That's Enough For Me" called "Out On The Road," plus several incarnations of "I Know I'm Not Wrong."

Want Tusk-related live stuff? This lavish release also includes two discs loaded with 22 unreleased performances from the band's 1979 "Tusk" tour with selections from concerts in London, Tucson, and St. Louis. It includes live versions of album tracks like "Sara, "Over And Over" and "Save Me A Place," as well as favorites like "Landslide," "You Make Loving Fun," "Rhiannon," "Don't Stop" and "Go Your Own Way." The collection also boasts a 5.1 surround mix of Tusk on DVD-Audio and vinyl of the original album on 2-LPs, and it's housed in an elegant box similar to the Rumours Deluxe Edition, with extended liner notes boasting new interviews with all the band members in a well-appointed booklet. This has to be one of the most impressive reissue treatments of the year.

TUSK: DELUXE EDITION (5-CD/2-LP/1-DVD)

Track Listing

Disc One: Original Album Remastered

1. "Over & Over"

2. "The Ledge"

3. "Think About Me"

4. "Save Me A Place"

5. "Sara"

6. "What Makes You Think You're The One"

7. "Storms"

8. "That's All For Everyone"

9. "Not That Funny"

10. "Sisters Of The Moon"

11. "Angel"

12. "That's Enough For Me"

13. "Brown Eyes"

14. "Never Make Me Cry"

15. "I Know I'm Not Wrong"

16. "Honey Hi"

17. "Beautiful Child"

18. "Walk A Thin Line"

19. "Tusk"

20. "Never Forget"

Disc Two: Singles, Outtakes, Sessions

1. "Think About Me" (Single Remix)

2. "That's All For Everyone" (Remix)

3. "Sisters Of The Moon" (Remix)

4. "Not That Funny" (Single Remix)

5. "Sara" (Single Edit)

6. "Walk A Thin Line" (Song #3 - 03/13/79)

7. "Honey Hi" (Alternate Version - 10/18/78)

8. "Storms" (Alternate Version - 11/30/78)

9. "Save Me A Place" * (2nd Version -10/10/78)

10. "Never Make Me Cry" (Version - 04/17/79)

11. "Out On The Road" (aka "That's Enough For Me" - Demo - 12/19/78) *

12. "I Know I'm Not Wrong" - Lindsey's Song #1 (Demo)

13. "I Know I'm Not Wrong" * (10/10/78 Version)

14. "I Know I'm Not Wrong" * (11/3/78 Version)

15. "I Know I'm Not Wrong" * (4/25/79 Version)

16. "I Know I'm Not Wrong" * (8/13/79 Version)

17. "I Know I'm Not Wrong" * (1/23/79 Version)

18. "Tusk" (Demo - 01/15/79) *

19. "Tusk" "Stage Riff" (Demo - 01/30/79)*

20. "Tusk" (Outtake Track - 02/01/79)*

21. "Tusk" (Outtake Mix - 01/23/79) *

22. "Tusk" (USC Version - 06/04/79) *

Disc Three: The Alternate Tusk

1. "Over & Over" (04/02/79) *

2. "The Ledge" (03/13/79)

3. "Think About Me" (02/18/79) *

4. "Save Me A Place" (10/18/78) *

5. "Sara" (03/10/79)

6. "What Makes You Think You're The One" (02/24/79) *

7. "Storms" (06/02/79) *

8. "That's All For Everyone" (10/20/78) *

9. "Not That Funny" (05/19/79) *

10. "Sisters Of The Moon" (11/12/78) 11. "Angel" (04/02/79) *

12. "That's Enough For Me" (09/29/78) *

13. "Brown Eyes" (with Lindsey & Peter Green, 09/20/78) *

14. "Never Make Me Cry" (02/08/79) *

15. "I Know I'm Not Wrong" (11/02/78) *

16. "Honey Hi" (10/11/78) *

17. "Beautiful Child" (10/09/78) *

18. "Walk A Thin Line" (04/06/79) *

19. "Tusk" (07/19/79) *

20. "Never Forget" (06/29/78) *

Disc Four: Tusk Tour Live I

1. Intro (Wembley, 06/26/80)

2. "Say You Love Me"(Wembley, 06/26/80)

3. "The Chain" (Wembley, 06/20/80)

4. "Don't Stop" (Wembley, 06/27/80)

5. "Dreams" (Wembley, 06/20/80)

6. "Oh Well" (Wembley, 06/20/80)

7. "Rhiannon" (Tuscon, 08/28/80)

8. "Over And Over" (St. Louis, 11/05/79)

9. "That's Enough For Me" (Wembley, 06/21/80)

10. "Sara" (Tuscon, 08/28/80)

11. "Not That Funny" (St. Louis, 11/05/79)

12. "Tusk" (St. Louis, 11/05/79)

Disc Five: Tusk Tour Live II

1. "Save Me A Place" (St. Louis, 11/05/79)

2. "Landslide" (Omaha, 08/21/80)

3. "What Makes You Think You're The One" (St. Louis, 11/05/79)

4. "Angel" (St. Louis, 11/05/79)

5. "You Make Loving Fun" (Wembley, 06/20/80)

6. "I'm So Afraid" (St. Louis, 11/05/79)

7. "World Turning" (Wembley, 06/22/80)

8. "Go Your Own Way" (Wembley, 06/22/80)

9. "Sisters Of The Moon" (Wembley, 06/22/80)

10. "Songbird" (Wembley, 06/27/80)

All live tracks previously unreleased

TUSK: DELUXE EDITION (3-CD)

Track Listing

Disc One: Original Album Remastered

1. "Over & Over"

2. "The Ledge"

3. "Think About Me"

4. "Save Me A Place"

5. "Sara"

6. "What Makes You Think You're The One"

7. "Storms"

8. "That's All For Everyone"

9. "Not That Funny"

10. "Sisters Of The Moon"

11. "Angel"

12. "That's Enough For Me"

13. "Brown Eyes"

14. "Never Make Me Cry"

15. "I Know I'm Not Wrong"

16. "Honey Hi"

17. "Beautiful Child"

18. "Walk A Thin Line"

19. "Tusk"

20. "Never Forget"

Disc Two: Singles, Outtakes, Sessions

1. "Think About Me" (Single Remix)

2. "That's All For Everyone" (Remix)

3. "Sisters Of The Moon" (Remix)

4. "Not That Funny" (Single Remix)

5. "Sara" (Single Edit)

6. "Walk A Thin Line" (Song #3 - 03/13/79)

7. "Honey Hi" (Alternate Version - 10/18/78)

8. "Storms" (Alternate Version - 11/30/78)

9. "Save Me A Place" * (2nd Version -10/10/78)

10. "Never Make Me Cry" (Version - 04/17/79)

11. "Out On The Road" (aka "That's Enough For Me" - Demo - 12/19/78) *

12. "I Know I'm Not Wrong" - Lindsey's Song #1 (Demo)

13. "I Know I'm Not Wrong" * (10/10/78 Version)

14. "I Know I'm Not Wrong" * (11/3/78 Version)

15. "I Know I'm Not Wrong" * (4/25/79 Version)

16. "I Know I'm Not Wrong" * (8/13/79 Version)

17. "I Know I'm Not Wrong" * (1/23/79 Version)

18. "Tusk" (Demo - 01/15/79) *

19. "Tusk" "Stage Riff" (Demo - 01/30/79)*

20. "Tusk" (Outtake Track - 02/01/79)*

21. "Tusk" (Outtake Mix - 01/23/79) *

22. "Tusk" (USC Version - 06/04/79) *

Disc Three: The Alternate Tusk

1. "Over & Over" (04/02/79) *

2. "The Ledge" (03/13/79)

3. "Think About Me" (02/18/79) *

4. "Save Me A Place" (10/18/78) *

5. "Sara" (03/10/79)

6. "What Makes You Think You're The One" (02/24/79) *

7. "Storms" (06/02/79) *

8. "That's All For Everyone" (10/20/78) *

9. "Not That Funny" (05/19/79) *

10. "Sisters Of The Moon" (11/12/78)

11. "Angel" (04/02/79) *

12. "That's Enough For Me" (09/29/78) *

13. "Brown Eyes" (with Lindsey & Peter Green, 09/20/78) *

14. "Never Make Me Cry" (02/08/79) *

15. "I Know I'm Not Wrong" (11/02/78) *

16. "Honey Hi" (10/11/78) *

17. "Beautiful Child" (10/09/78) *

18. "Walk A Thin Line" (04/06/79) *

19. "Tusk" (07/19/79) *

20. "Never Forget" (06/29/78) *

*Denotes previously unreleased

For more information, please visit FleetwoodMac.com/Tusk

Ordering information links

Physical:

• Deluxe (5CD/2LP/1DVD) - http://smarturl.it/TuskDeluxe

• Expanded (3CD) - http://smarturl.it/Tusk3CD

• 2015 Remaster (1CD) - http://smarturl.it/TuskCD

Digital:

• Deluxe - http://smarturl.it/TuskDL

• Expanded - http://smarturl.it/TuskExpandedDL

• 2015 Album Remaster - http://smarturl.it/TuskRemasterDL

R.I.P. Scott Weiland

Eulogizing the former Stones Temple Pilot, Velvet Revolver singer 
By Peter Lindblad

Scott Weiland 

The more callous among us are not surprised. Some will even go so far as to casually say, "I thought he was already dead," and in doing so, will not spill a drop of that milk of human kindness Shakespeare wrote about so eloquently in "Macbeth."

Scott Weiland's troubled life has ended, his well-documented battles with his addictions are over. Many are just waking up to the news that he died in his sleep and have expressed their sadness via social media.

Tributes are pouring in, and he is deserving of them, as Weiland was one of the last true rock stars, handsome, fashionable and debonair with a wild streak a mile wide and a riveting, charismatic stage presence. Not to mention that he had a commanding, confident voice capable of delivering the songs and poetry of Stone Temple Pilots and Velvet Revolver with an assured air of someone who wanted all eyes and ears on him, but didn't need it. He was like a rock 'n' roll matador. Jesus, the guy even sang through a megaphone.

Weiland was no shrinking violet, which was actually refreshing. He sought the spotlight onstage at a time when many of his contemporaries were trying to flee it. And ironically enough, it was the onset of grunge – the very movement that made him a star – that seemed to foster a sense of guilt and shame for chasing fame and fortune. Weiland wouldn't have any of that. He dressed to attract attention. He dated beautiful women. He was damn sexy! Which seems like a terribly inappropriate thing to say now, but he was.

And, at the same time, he was at least partly responsible for making music that deeply touched people. Classic songs like "Plush," "Interstate Love Song," "Big Empty," "Wicked Garden," and"Vasoline" are proving to have real staying power, as does Velvet Revolver's "Slither." Their surreal, evocative lyrics left the door wide open to interpretation. Where some see them as nonsensical and shallow, others find sensuality, imaginative metaphors and interesting puzzles, as well as thoughtful ruminations about death, deceit, confusion and love in classics.

Is he a tragic figure? That's always a tricky question when it comes to those with self-destructive tendencies. We still don't know the actual cause of death. Those who cling tightly to the notion that "it's better to burn out than fade away" might believe that Weiland was the poster boy for such a philosophy. Then again, he was 48, not 27 – which seems to be the age when rock stars of a similar bent shuffle off this mortal coil. So, if he did indeed burn out, it was a very slow burn.

To those closest to him, however, such talk is horribly crass and offensive. It trivializes his life. All they care about is that he is gone and they are grieving the loss of their friend or their family member, no matter how difficult the relationship. To the rest of us, the fans, another great artistic voice has been silenced and somebody we felt close to, who somehow understood us even though we'd never met, is never coming back. So, yes, he is a tragic figure in that he died too young and had more to give. Rest well, Scott. "Where ya going to tomorrow?" None of us truly knows.

CD Review: Monster Magnet – Cobras And Fire (The Mastermind Redux)

CD Review: Monster Magnet – Cobras And Fire (The Mastermind Redux)
Napalm Records
All Access Rating: A-

Monster Magnet - Cobras And Fire
(The Mastermind Redux) 2015

After tinkering with 2013's Last Patrol a year ago and slapping a fresh coat of psychedelic aural paint on what was already a mind-blowing record, Dave Wyndorf and Monster Magnet figured why not have another go at 2010's The Mastermind. 

In need of rehabilitation, The Mastermind was a rather uneventful walk in the park compared to more adventurous sonic journeys taken over the years by these stoner-metal visionaries. Given a second chance, they hold nothing back on Cobras And Fire (The Mastermind Redux), sending it screaming through space in a vehicle fueled by powerful drugs.

While slow-burning versions of "Hallucination Bomb" and "Time Machine' crawl across an expansive, alien soundscapes like lost scorpions and celestial voyages "Gods and Punks" and "The Titan" – a hypnotic instrumental – all float on, the apocalyptic firestorm "When The Planes Fall From The Sky" and blinding supernova "Ball of Confusion" engage in all-out attacks on the senses, pushing forward with more urgency as these massive doses of heavy psychedelia bring on terrifying lysergic trips. Even more unsettling, as an undercurrent of menace drifts beneath solar-powered guitar effects in the title track, Wyndorf advises, "You gotta trust your mastermind," and he does it so seductively you begin to wonder if you've been tricked into unknowingly clucking like a chicken for the last hour under his orders.

Taking liberties with The Mastermind, Monster Magnet heightens the drama of "Watch Me Fade" with swirling organ, making like The Doors meets Screaming Jay Hawkins. However, the most explosive choruses are triggered in "She Digs That Hole," as the pent-up, throbbing tension of its verses is finally freed. Doomsday drums, lonely piano and grumbling bass lines are found throughout Cobras And Fire (The Mastermind Redux), as freakish, howling storms of guitars and keyboards become spectacularly colorful backdrops for Wyndorf's lurid, space-rock tales of vengeance, lust and armageddon – gripping stuff from a master storyteller. Trust in Monster Magnet. They almost never let you down.
– Peter Lindblad

CD Review: Chastain – We Bleed Metal

CD Review: Chastain – We Bleed Metal

Leviathan Records

All Access Rating: B+

Chastain - We Bleed Metal 2015

The old gang is almost back together. Only drummer Fred Coury, better known from his days with Cinderella, remains a no-show.

Surrender to No One, issued in 2013, saw the welcome return of iconic female power-metal vocalist Leather Leone to the Chastain fold, and now, the band has reunited with original bassist Mike Skimmerhorn for its latest Leviathan Records release We Bleed Metal, an album that unabashedly relives past glories while wrestling with how to become relevant in 2015.

All the familiar talismans of Chastain's '80s heyday are present, from Leone's all-encompassing wail and wrathful expression giving the lash to David T. Chastain's fiery and diverse guitar shredding fury. Coexisting uncomfortably, for whatever reason, there is palpable tension between the two forces, which usually results in electrifying metal with neoclassical underpinnings, especially when propelled forward by the battering drums of Stian Kristofferson (Pagan's Mind, Firewind). Occasionally, though, they seem to be rebelling against each other as if Chastain is undergoing an attempted coup. Still, thought-provoking lyrics that press such hot-button topics as religious extremism, financial collapse and mankind's appetite for self-destruction would keep We Bleed Metal in the 24-hour news cycle if CNN and other networks of its ilk ever deigned to acknowledge traditional metal's existence. But, that's a conversation for another day.

In the here and now, there is a fire-and-brimstone rallying cry for marginalized headbangers in a soaring, stampeding title track, and nasty, rugged, snaking riffs that bring thunder and lightning to the darkened skies of "Don't Trust Tomorrow," "Against All The Gods" and "I Am A Warrior." Heavier still is "Search Time for You," a lumbering, mysterious trudge with Middle Eastern adornments that runs out of steam, but the bruising, ravenous "Evolution of Terror" and "The Last Ones Alive" – where a beautifully rendered acoustic intro succumbs to hellish brutality – resuscitate We Bleed Metal with acrid, smoky breath. With three-fourths of its original lineup intact, the current version of Chastain follows familiar paths through dense, scary woods of riffing, animalistic howls and pounding rhythms, always staying true to its mission. To deviate now would seem to be a disingenuous, desperate grab for attention.
– Peter Lindblad