CD Review: U.D.O. – Decadent

CD Review: U.D.O. – Decadent
AFM Records
All Access Rating: B+

U.D.O. - Decadent 2015

Udo Dirkschneider is, once again, spoiling for a fight. Lined up in his crosshairs on Decadent, album No. 15 from his long-running post-Accept band of battle-scarred, traditional metal warriors, are greedy, cigar-chomping fat cats given to spitting on the less fortunate.

Waging class warfare with torrential, tight-fisted riffs, galloping rhythms and growling, impassioned, teeth-gnashing vocals, U.D.O. takes on corruption and Capitalism run amok, questioning whether societies with such wide divides between the rich and poor can, or even should, survive.

On point and on message, the team of Udo, Mattes and Fitty Wienhold – the same threesome that produced the titanic Steelhammer release a year ago – have a clear vision for Decadent. The thrashing toxic waltz of a racing "House of Fake" snarls and lashes out, while the rugged, down-and-dirty groove of "Breathless" is a caged animal pacing impatiently. An uprising of big hooks and bass thumping that sounds like cannons going off, "Pain" is melodically tumescent, its growth unchecked as riff blitzkriegs "Speeder" and the philosophical "Meaning of Life" – fast-fingered guitar leads flying underneath the tumult – carry the fight with focused aggression.

Oddities like the bi-polar, deliciously sinister and heavy "Mystery" and a directionless acoustic number entitled "Secrets in Paradise" are strangers in this land of U.D.O., but Decadent rarely deviates from its righteous path of honest indignation and designing sharp-clawed metal constructs that are so familiar, yet so undeniably compelling. Though a somewhat less powerful statement of purpose than Steelhammer, Decadent has more to say and it does so in a more varied manner. still slamming its battering ram of a head against the wall and hoping for the betterment of human kind. Let's hope U.D.O. won't ever water down its ideals or its sonic assault.
– Peter Lindblad

Short Cuts: Saga, U.D.O., Michael Sweet

CD Review: Saga – Sagacity
earMusic/Eagle Rock Entertainment
All Access: B+

Saga -Sagacity 2014

"These are the days of the improbable," sings Saga's Michael Sadler in "The Further You Go," suggesting perhaps that modern technological advancements are the stuff of miracles.

Just in case they don't lead to the fulfillment of mankind's hopes and dreams, Saga hedges its bets with this piece of sage advice: "Might want to leave a trail of crumbs for the future." Likewise, with Sagacity, the Canadian progressive-rock code breakers' newest album, Saga looks forward, while holding fast to past triumphs.

Engineering some of the most innovative and intricately layered arrangements of their career, Saga combines Ian Crichton's brilliant guitar riffs and sparkling solos with the dazzling keyboard theatrics of Jim Crichton and Jim Gilmour on a collection of songs that trades some of the powerful immediacy of 20/20, their last LP, for deeper, richer sonic experiments and unpredictable melodic movements, such as those found in shape-shifting pieces "Vital Signs," "Luck" and "It Doesn't Matter Who You Are." While the funked-up, heavy grooves and muscular guitars of opener "Let It Slide" have a metallic edge, the bulk of Sagacity is not so straightforward, showing more devotion to the more imaginative, maze-like designs of "Don't Forget to Breathe" and "The Further You Go" – all of it produced to sound as clean and clear as of Saga's recordings, each song a city of tomorrow unto itself.

Throw in a nine-track bonus disc with thrilling, expansive live renditions of classics such as "Wind Him Up," "On the Loose," "Mouse in a Maze" and "Humble Stance," and the topical, thought-provoking Sagacity – exploring themes of modern alienation in age of social media, the satirical, customer-service lament "Press 9" being a prime example, even if it does feel utterly disposable – is a pretty good value for your prog-rock dollar. http://www.eagle-rock.com/

CD Review: U.D.O. – Live From Moscow
AFM Records
All Access: A- 

U.D.O. - Steamhammer:
Live from Moscow 2014

It's a new era for U.D.O., and the revamped lineup, missing Udo Dirkschneider's longtime collaborator Stefan Kaufmann, delivered the goods on 2013's sizzling Steamhammer, a thunderous expression of Udo's vision of what traditional metal is supposed to sound like.

Losing such a vital organ as Kaufmann, a dual threat as a musician and songwriting partner, put U.D.O.'s long-term health in doubt. Working closely with bassist Fitty Wienhold in Kaufman's absence, while bringing aboard young and hungry guitar-shredding transplants Andrey Smirnov and Kaspari Heikkinen, only seemed to invigorate the former front man for Accept, however. And now, with this electrifying two-CD/DVD live release under their belt as well, U.D.O.'s prognosis is excellent.

A 10:52 version of "Mean Machine," with its dynamic drum and guitar solos, highlights Steamhammer: Live in Moscow, recorded with perfectly mixed sound in a place that's always warmly embraced U.D.O. Hard-nosed, brass-knuckled maulers "King Of Mean," "Stay True" and "Burning Heart" sound even tougher and more aggressive in this setting, as does the surging, fully engorged title track, while the dark, enthralling melodies and tight hooks of "Future Land," "Cry of a Nation" and "Never Cross My Way" come into sharper focus, as U.D.O. galvanizes its flock. Worship the head-banging riffs, witness in awe the scintillating dual-guitar dogfights and let Udo's gravelly growl send shivers down your spine. This is U.D.O. at their best. http://www.afm-records.de/

CD Review: Michael Sweet – I'm Not Your Suicide
Big3 Records
All Access: A-

Michael Sweet- I'm Not Your Suicide 2014

Now an author, too, Stryper's Michael Sweet goes solo on I'm Not Your Suicide, and from the heavy, serrated riffing and wailing vocals of opener "Taking On the World Tonight," it's clear Sweet has some inner demons to exercise.

Just as his autobiography, "Honestly: My Life and Stryper Revealed," pulled no punches and candidly copped to a surprising array of weaknesses, I'm Not Your Suicide is at once defiant and strong, but also emotional and raw. And where Stryper's glorious last album, No More Hell to Pay, was, in all respects, a satisfyingly heavy, if more straightforward, juggernaut of Christian metal, I'm Not Your Suicide showcases Sweet's wonderful diversity and creativity as a songwriter.

On this, his seventh full-length studio effort of melodic hard rock, Sweet's ever-evolving mastery of melody and pop songcraft is on full display, as uplifting sermons like "The Cause," the title track and "All That's Left (For Me To Prove)" soar on emboldened, sweeping choruses, like the one that also raises the riff-mongering "Taking On the World Tonight" to such dramatic great heights. And if it's great hooks you're looking for, "Anybody Else" has a bag full of them. Never has Sweet's songwriting seemed this organic or soulful, and that's especially prevalent in the album's rousing vocal treatments, so well-plotted and yet completely free of artifice. So is the introspective ballad "This Time," Sweet baring his soul to the world and yearning for salvation.  

Not one, but two, nicely rendered covers of Neil Young's world-weary classic "Heart of Gold," one featuring an engaging duet with Electra Mustaine, perhaps reveal a folk influence that, prior to this release, had rarely manifested itself previously in Sweet's work, as does the countrified "Country Home." Guest spots from Chris Jericho, Doug Aldrich, Tony Harnell and Kevin Max give rise to the notion that Sweet is tired of being pigeonholed. I'm Not Your Suicide makes damn sure that'll never happen again. http://www.big3records.com/
– Peter Lindblad

CD Review: Stryper - No More Hell to Pay

CD Review: Stryper - No More Hell to Pay

Frontiers Records

All Access Rating: B+

Stryper - No More Hell to Pay 2013

Onward go these Christian heavy-metal soldiers, trudging off again to a war they've been fighting since their inception in 1984. Stryper's missionary work is never done, and on No More Hell to Pay, their eighth studio album, they unapologetically proselytize for Jesus as they always have. 

It's forgivable, given that it's pretty well established that for Stryper this religious fervor was never meant to be a gimmick. This is who they are, for better or worse, and if nothing else, at least they're not Jehovah's Witnesses.

Begrudgingly, the metal community, not known for being tolerant of religion and Christianity in particular, came to respect Stryper, even as cynics derided their black-and-yellow outfits and their teased hair. Trading in their bumble-bee spandex for black denim and t-shirts, Stryper's look is edgier and not so glamorous these days. The same goes for their sound. 

Was it God telling them they needed to get heavier? If so, the Almighty had the right idea. Living in the shadows, No More Hell to Pay is grittier than past Stryper offerings, with beefy, Goliath-sized riffs streaked with dirt and the strongest songwriting ever attributed to Michael Sweet and the disciples. Toggling between mid-tempo crunch and enticing crawls, Stryper has channeled its inner Accept or Judas Priest, forging melodies that have a firm grip and filling No More Hell to Pay to the brim with meaty, satisfying hooks. Tracks like the punishing "Legacy" and the stomping "Marching into Battle" are surprisingly aggressive, while "Sticks and Stones" slithers menacingly and Sweet and Oz Fox take their axes to the sharpening stone and grind away on "Water into Wine." 

All of them, though, bow to what becomes a powerful anthem of a title track, where slow-burning riffage sticks in your craw and a wind-swept chorus signals a redemptive change in fortunes, a theme near and dear to Stryper's heart. Mostly foregoing speed in favor of heft, Stryper, nevertheless, rips through "Saved By Love" like a righteous twister, and perhaps predictably, they give a euphoric reading of the old Doobie Brothers' hit "Jesus is Just Alright," which makes some of the embarrassingly ham-handed lyricism found throughout No More Hell to Pay easier to swallow. It's not all cringe-worthy or hackneyed, as there's always been a sincerity and sense of purpose in their writing that's refreshing and unusual in the world of metal, but then comes a chorus crafted around the old "sticks and stones may break my bones" mantra that shakes your faith in Stryper, even if its spirited attitude is admirable. 

Still, like Jesus throwing the money changers out of the temple, Stryper has driven away its more pop-oriented inclinations for No More Hell to Pay. This seems to be the kind of music they've wanted to make all along. More comfortable than ever in their own skin, Stryper has come out swinging against their critics, landing haymaker after haymaker, with Sweet's trademark vocal wailing and the technically brilliant guitar fireworks of Sweet and Fox throwing caution to the wind. And their backing harmonies are as golden as ever. While they may advocate a peaceful "turn the other cheek" philosophy, with No More Hell to Pay they've shown themselves to be tougher than anybody thought. http://www.frontiers.it/

- Peter Lindblad

CD Reviews: U.D.O. – Mean Machine and Man and Machine

U.D.O.

Mean Machine: Anniversary Edition

AFM Records

All Access Review: A-

U.D.O.

Man and Machine: Anniversary Edition

AFM Records

All Access Review: B+

U.D.O. - Mean Machine Anniversary Edition 2013

Cutting the cord with Accept proved to be more difficult than Udo Dirkschneider imagined. In 1987, this short, stocky, powder keg of a singer announced his separation from a metal band that’s always been “balls to the wall.” Intending to go solo, he assembled a band of mercenary gunslingers to make his new project, U.D.O., the scourge of true German heavy metal.

Parting ways on the friendliest of terms, the two parties divorced. Only Udo wasn’t quite prepared to go it alone right away with his new playmates, seeing as how his former Accept songwriting partners created and crafted the content for U.D.O.’s debut LP, Animal House, which sounded a lot like classic Accept – intense, aggressive, engorged with testosterone and defiant, with just a hint of melody to sweeten the deal and hooks galore.

Interestingly, by the time U.D.O. set about recording their sophomore outing, Mean Machine, Dirkschneider had sent packing three-fourths of the original U.D.O., leaving only guitarist Mathias Dieth to forge ahead with Dirkschneider and newcomers Andy Susemihl on guitar, Stefan Schwarzmann on drums and Thomas Smuszynski on bass. This time, the remaining members of Accept stayed out of it. With fresh troops having arrived, U.D.O. was ready was battle.

U.D.O. - Man and Machine Anniversary Edition 2013

Their first salvo was 1988’s Mean Machine, a solid, workmanlike effort propelled by brawny riffs, searing guitar solos, hard-nosed, pulverizing rhythms, shouted backing vocals and Udo’s menacing wildcat howl. Part of a massive 2013 reissue campaign initiated by AFM Records to unearth U.D.O.’s entire back catalog – meant to coincide with U.D.O.’s 25^th anniversary – Mean Machine was included in the second wave of re-releases that hit U.S. shores on Feb. 12, along with Animal House, Faceless World and Timebomb. And it may be the best of the bunch.

Forging straight ahead, with the emphasis on power, violence and excitement, Mean Machine practically spits nails, offering a series of vicious, bloody-knuckled traditional metal attacks like the electrifying “Don’t Look Back,” “Dirty Boys” and “Break the Rules” – these brawls of blistering hard rock, where lead pipes and chains are perfectly acceptable weapons and Udo is orchestrating the fighting with his feral utterances and ferocious delivery. Simmering with tension, “Streets of Fire” explodes into thunderous choruses, while “We’re History” goes on a curb-stomping spree of metal riffage that effectively, and in no uncertain terms, ends a relationship built on lies. A dark, melancholic ballad, “Sweet Little Child” floats in on tendrils of piano and makes for wonderful, almost Gothic drama, but it’s only a short layover of tenderness and mercy before the sonic crunch of “Catch My Fall” bites down hard.

Like the rest of them, Mean Machine gets a graphic makeover and comes with a bit of bonus material. In this case, it is packaged with a live version of “Break the Rules” that is meaner and nastier than the original, plus the video for the song of the same title. Meanwhile, Man and Machine, initially put out in 2002, is not nearly as raw as Mean Machine, but it is a more polished, if less consistent, piece of work. Augmented by a punishing concert version of the title track and a remix of Udo’s original duet with Doro Pesch on the dream-like “Dancing with an Angel,” this cringe-inducing astral projection of softly melodic incandescence, Man and Machine begins with the pummeling, dystopian industrial nightmare of a title track and and its high points are more glorious than those of Mean Machine.

Sweeping epics “Like a Lion,” “Animal Instinct” and the exotic “Unknown Traveller” build on the instrumental grandeur of Led Zeppelin and the roaring emotions of power metal, while a churning, meaty “The Dawn of the Gods” growls and snarls with primal, animalistic fervor. Along with Solid, No Limits, and Holy, the re-released Man and Machine arrived in late January in the first batch of reissues, representing U.D.O.’s later period. Why some of these anniversary editions feature more bonus tracks than others is puzzling, and you wish each album would include liner notes that might shed additional light on the inner workings and history of U.D.O., although at least Man and Machine has a plethora of behind-the-scenes, studio photos of bassist Fitty Weinhold, drummer Lorenzo Milani, and guitarists Igor Gianola and Stefan Kaufmann, both of whom recently announced their departures from U.D.O.

Some of these records have been out of print for a while now, and while U.D.O. hasn’t really distinguished itself from Accept over the years in any meaningful way, it’s nice to have them back. Still, had more thought been put into the packaging of each reissue, the word “essential” might apply here. (www.afm-records.de)
  –    Peter Lindblad

CD Review: U.D.O. - Live in Sofia

CD Review: U.D.O. - Live in Sofia

AFM Records

All Access Review: A

U.D.O. - Live in Sofia 2012

Any examination of Udo Dirkschneider’s metal heart would have to conclude that it’s as healthy as it was a quarter of a century ago, when he started his titanic post-Accept project U.D.O. Pumping furiously, even after all these years, it is the engine that still drives U.D.O., and when the band that bears his name storms the capitol of Bulgaria on the occasion of this concert recording, it seems as if it could explode from his barrel chest at any second – not that such a calamity would silence the indestructible Udo, still one of the most electrifying frontmen metal has ever seen or heard.

Unwilling to concede the upper hand to his former band, even with the roll Wolf Hoffmann and the boys have been on of late, releasing not one, but two nearly flawless, riff-heavy mazes of old-school metal, U.D.O. stakes its claim as Germany’s most potent power-metal force with a relentless, devastatingly heavy double CD/DVD live package, titled Live in Sofia, that celebrates the band’s 25^th anniversary. Initiating the launch sequence of a massive U.D.O. reissue campaign slated for 2013, Live in Sofia is a visceral, thrilling document, enlivened by a roaring crowd lending its full-throated support and unified chants to what is an absolutely ferocious performance from U.D.O. Intense and breathtaking from the first note, Live in Sofia only adds to the fiery mythology of Udo, the well-chosen, 23-track playlist working as a survey of the veteran singer’s long and storied career, its choice of songs running the gamut of Accept classics and U.D.O.’s most flammable material.

Muscles clenched and veins popping, as he seethes with rage and emits spine-tingling screams and animalistic growls, Udo means business every time he opens his mouth, spearheading this invasion of overwhelming sonic weaponry. Setting the attack-dog riffs of lid-lifter “Rev-Raptor” on an audience eager to riot, U.D.O. then rolls into an inferno of guitars in “Dominator,” which dies out just before the shark-like thrashing of “Thunderball” begins and the snarling, sinister menace of the slow-burning “Leatherhead” grows hot – Udo prowling through the thrilling mob violence of each track like a hungry predator. And amazingly, we’re only four songs in, with such adrenaline-fueled action as the rampaging “Break the Rules” and “Two Faced Woman” – both of them boasting tight, clawing hooks – still to come.

A warrior for traditional metal, dressed in his familiar military fatigues, Udo tips his cap to Accept’s glory days by whipping his renegade charges through grinding, writhing versions of “Metal Heart” and 11:10 of the ubiquitous rock-and-roll monolith “Balls to the Wall” – this after sharpening their knives in “Screaming for a Love – Bite,” a prickly nugget of pop-metal poison ivy. Udo can’t escape his past, but then again, why would he want to?

As with U.D.O.’s “Vendetta” and “Man and Machine,” the surging dynamics and crushing power chords of Accept’s “Princess of the Dawn,” co-opted at Sofia by a tighter-than-leather U.D.O., testify to the rugged, fierce instrumental prowess of both bands. On the other hand, the darkly melodic “I Give as Good I Get,” the dramatic sweep of “The Bogeyman” and Stefan Kaufmann’s unexpectedly atmospheric electrical storm “Kokopelli” – basically, 11:27 of interesting and diverse guitar soloing – speak to U.D.O.’s versatile musicianship. Passion and precision are U.D.O.’s calling cards, and Live in Sofia is the kind of controlled burn that U.D.O. excels at. There’s nothing excessive about Live in Sofia. Trimmed of fat, parts are played with calculating brutality, and yet is it fair to call U.D.O. regimented? Maybe that’s the right word after all, although there seems to be a mandate for the pack of rabid dogs known as Kaufmann, Igor Gianola (guitar), Fitty Wienhold (bass) and Francesco Jovino (drums) to make their own statements as vociferously as they can, even as they work up a frothing lather as a lean, mean unit. Udo would accept nothing less.

-            Peter Lindblad

The best of 2012 ... so far (Part 1)

Picking the finest metal, hard rock releases of the half year

By Peter Lindblad

If this were a physical examination, the patients known as hard rock and heavy metal would get a clean bill of health. 2012 has witnessed a flurry of fine rebound albums from the reinvigorated likes of Fear Factory, Slash, Rush, Prong, and Kreator – to mention a few. No one is writing them off anymore. Even Van Halen returned from a long self-imposed exile to prove to everyone that Eddie was still God and that nepotism can work, even if they do have incredibly bad taste in first singles – “Tattoo”? Really?

There’s a new half a super group called Kill Devil Hill that’s fusing Pantera grooves with Black Sabbath’s gothic dirges and churning out wickedly melodic metal. For so long, Whitechapel has been chained to a radiator in the grim, dingy basement known as deathcore, but with their latest hate-filled self-titled missive, they have blasted their way out of their restraints and moved on to more adventurous sonic exploration. Cattle Decapitation has scared everybody out of their wits with some of the most uncompromisingly brutal music in recent memory, and progressive-metal architects Gojira have given the French – the French, of all people – a reason to get excited about their musical export business.

And there’s more to come. Testament is going back to its Dark Roots of the Earth, Dying Fetus hasn’t been aborted and The Deftones are reportedly set to release a record this fall. Strap yourself in folks. 2012 is going to be a white-knuckle ride, and a crash is inevitable. As for the first half of the year, I’ve compiled my Top 10, which is subject to change. The first five (Nos. 10-6), included here, are just a taste.  



Fear Factory - The Industrial 2012



10. Fear Factory: The Industrialist – Jackhammer industrial beats and raging vocals swim in the deep, toxic pool of disturbing dystopian visions, crushingly heavy guitars, and cinematic soundscapes of what may be Fear Factory’s most ambitious concept record yet. Fascinating alien melodies probe and prod a sound that is at once cavernous and claustrophobically condensed, with Dino Cazares constructing a Byzantine labyrinth of densely layered guitars under the imaginative lyrics and righteous bellowing of Burton C. Bell.



Slash - Apocalyptic Love 2012



9. Slash, Featuring Miles Kennedy and the Conspirators: Apocalyptic Love – On the heels of a scintillating live album, Slash lays down some of the slinkiest, most infectious grooves of his career, with knock-down, drag-out brawls like “You’re A Lie,” “Standing in the Sun,” “No More Heroes” and “One Last Thrill” capturing at least some the grit and dangerous energy of Appetite for Destruction. Providing a thrilling foil to Slash’s smoking, snaky leads is singer Myles Kennedy, whose spine-tingling vocals circle high above the fiery rock ‘n’ roll crashes Slash and The Conspirators gleefully orchestrate. Axl can have the Guns ‘N Roses name. Slash doesn’t need it.

Prong - Carved into Stone 2012

8. Prong: Carved into Stone – In full gallop, with smoke blowing out of its nostrils, “Eternal Heat” charges hard out of the gate, setting the blistering pace and aggressive tone for what is surely one of the most punishing records of Prong’s career. Seething with rage, Carved into Stone abandons industrial rigidity for a thicker, fuller sound that takes a baseball bat to society’s sick head and beats it bloody with violent, bare-knuckled poetry. Urgent and restlessly creative, Carved into Stone is a heat-seeking missile that’s locked onto its target and that target is you. Get ready to be blown apart.

Over Kill - The Electric Age 2012

7. Over Kill: The Electric Age – Relentless from beginning to end, The Electric Age spits fire and rages against the dying of their light – with apologies to poet Dylan Thomas – by tossing this exceedingly vicious and extraordinarily tight thrash-metal Molotov cocktail right in the face of a dogma that believes extreme music is entirely a young man’s game. Rarely has Over Kill sounded so dangerous and desperate, as rampaging drums, searing guitars, and the venomous, teeth-gnashing vocals of Bobby “Blitz” Ellsworth propel these grizzled, gasoline-guzzling East Coast veterans on a high-octane journey through an urban wasteland of garbage-strewn dark alleys and lawless streets.

Accept - Stalingrad 2012

6. Accept: Stalingrad – Thankfully, Wolf Hoffman didn’t empty his bag of riffs on 2010’s Blood of the Nations, considered by many as the best metal album of that year. A worthy successor, the storming Stalingrad is one scorching meat grinder of a track after another – thanks to Hoffman’s rugged, gnarly guitars and the sweaty toil of a band that’s regained its hunger – and singer Mark Tornillo’s balls-to-the-wall screams are winning over converts who swore they’d never accept an Accept without Udo Dirkschneider. 

Powerline: The Resurrection

Founded in 1985, Powerline began as an undergound hard rock/heavy metal mag, distributed mostly in record stores worldwide. As it evolved a few years later, it embraced more commercial hard rock

 (the popular genre at the time was classified as “hair bands”) and the mag was distributed as a high-gloss publication on American newsstands with a circulation of over 100K.

By 1992 the party was over. The magazine became defunct (for various reasons). The staff went onto other jobs. And the name gathered dust. Until now.

Resurrected online, Powerline covers hard rock/heavy metal music in general (truly From Glam to Slam!), as well as reminisce about the old days in the form of time-capsuled articles and experiences.

Backstage Auctions sat down with Pat Prince to talk about all things hard rock and heavy metal, the new online version of Powerline and the industry in general.

How did you start Powerline? And why?
I grew up reading magazines like CREEM and Kerrang! But I then became obsessed with seeking out and collecting metal fanzines – I loved Bob Muldowney's Kick Ass monthly and Metal Rendezvous — and the pure excitement of discovering new metal bands. Powerline was really born out of my love for fanzines and the metal underground but also my frustration of not being able to get enough of my photographs published in the metal press. I'd been sneaking my 35mm camera into metal clubs like L'amour in Brooklyn for years and taking photos of all the latest bands. Finally, in 1985, I figured I'd take my photographs and put them next to my ramblings about the bands I loved, so I started Powerline with a typewriter, pasteboards, and veloxes from my photographs. And, at first, I dropped off copies to sell in all the record stores in the tri-state area that carried metal. It progressed from there.

Since Powerline started as a fanzine. How much did the editorial content change upon hitting the newsstand?
After I teamed up with my friend Mike Smith in 1988, we merged the essence of the fanzine with the more popular hard rock/ metal acts of the time like Ozzy, Motley Crue, Bon Jovi, Skid Row, etc. It was really a great combination because it covered everything. Soon we were able to hire renowned metal journalists like Mick Wall (a favorite of mine from Kerrang!). And the graphics and quality became really fantastic. Some might of seen it as a sell out. But it was really an evolution.

What was your favorite issue to put together?
Each issue had its own great experience. But I would have to say the Metallica issue, September 1989. I was into Metallica from the very beginning of their existence but by the time I started Powerline in 1985, Metallica became too big to get access to. Finally, we were able to get an exclusive interview and make it a cover story, with great color live shots.

What was the strangest interview you've done?
L.A. Guns. It was in a hotel room in New York City and the band had their rock star hats on. They were rude and seemingly drunk out of their minds. My questions were repeated back at me and answered in a nonsensical manner. Steve Riley was laying on the bed and bouncing a rubber ball off the walls and giving me a juvenile play-by-play of it. I had brought Powerline t-shirts to give the band and Phil Lewis stood up and said sarcastically, 'Oh, great, t-shirts.' He picked one up and rubbed his crotch with it and then threw it across the room. Up to that moment Powerline had been a big promoter of LA Guns — not that that demanded my respect, but it certainly hurt witnessing this kind of behavior. I walked out of the room with Riley, Lewis, and Kelly Nickels in a laughing/giggling fit. I had loved Lewis' singing since he was in the UK band Girl, but I thought 'F*ck you. I don't care who you are.' The PR woman finally directed me to Tracii Guns' room. And walking in, you can clearly tell Tracii was in the middle of getting hardcore stoned. It was like walking into a hash den. But, completely opposite of his bandmates, Guns was one of the coolest musicians I've had the pleasure to meet. That's why when people ask me nowadays which faction of LA Guns I support — Tracii Guns' L.A. Guns or Phil Lewis' L.A. Guns — it becomes quite an easy question to answer.

How is the metal genre different than it was when you started Powerline?
Today's metal now has standardized extremities — it seems too forced at times. I like all kinds of metal for its musical value but I don't agree with this way of thinking. You don't have to be extreme to be intense.

Is it harder for a metal band to be recognized nowadays?
Metal seems to be making a comeback. Genres can be cyclical as far as popularity. But hard rock and heavy metal will always be there. It was very hard for metal bands to get recognized in the early - to mid-'80s— which made it seem more exciting, actually.

How are Metal fans/collectors unique? Do you collect metal memorabilia?
When you listen to a genre exclusively, you like to think that your music is the most unique, and its followers are the most enthusiastic. And there are some aspects of it that are unique. But, basically, fans and collectors are the same all over, no matter the genre. After being the editor of Goldmine I certainly realized that!
A lot of my favorite memorabilia, unfortunately, has been lost over the years. I had almost all the metal demos from the '80s, including Metallica's. And the heavy metal demos of the '80s were the most fun to collect and trade. It was a world onto itself — almost a secret society. And, unlike today's MP3s, bands wanted you to trade demos -- get the music out there. I'm glad I experienced it. The demos from bands like Malice and Mercyful Fate were better than a lot of the stuff that made it onto their studio albums. Brilliant stuff that you'd could only hear if you were part of that scene. And then you had bands like Surgical Steel that you can only hear on demo tape. It's a moment in time that you really can't recapture.

Why did you resurrect Powerline as a Web site?
I listen to all kinds of music now, but I had missed Powerline and the music it cherished being an important part of my life. Plus I got kind of sick of bands like Korn being seen as the face of heavy music. What about bands like Saxon, Riot, Accept, Raven and the hundreds of other great bands from the '80s — the ones that started it all?! They deserve the most respect!

What are Powerline's future plans?
To have Powerline conitnue to represent vintage Hard Rock/Heavy Metal bands. I love the idea of turning kids onto all that old school stuff for the first time. Kind of like how Kerrang! turned me onto it in the early '80s.

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