Last In Line honor Jimmy Bain with video releases

Dio tribute band deals with the death of legendary bassist
By Peter Lindblad

The artwork for Last In Line's
upcoming release 'Heavy Crown'

What an extraordinary musical resume Jimmy Bain built over his 68 years on this earth, not only as bassist for Dio and Rainbow during their glory days but also as a co-writer for some of Dio's most memorable songs.

He was going to add to his enviable legacy with the Dio tribute band Last In Line, but his death over the weekend brought everything to a screeching halt, leading surviving members to push for the early release of a pair of videos for songs from the project's upcoming debut album Heavy Crown.

That seems fitting, as Bain was evidently chomping at the bit for the world to hear what Last In Line was about to unveil.

In a statement on social media recently Bain's Dio and Last In Line bandmate guitarist Vivian Campbell wrote, "Jimmy was immensely proud of our new album and his input to it was immeasurable. We will continue to celebrate his life through music." Campbell added that he was indebted to Bain, who gave him his first big break in the music industry.

Formed in 2012 to pay homage to the work of late singer Ronnie James Dio, Last In Line gathered together Bain, Campbell and drummer Vinny Appice – all of whom played on the Dio album of the same name. Going out and playing vintage Dio material and keeping the spirit of their old friend alive was the mission, but then the threesome began writing their own stuff. They later brought in singer Andrew Freeman to round out the group. Last In Line was performing on Def Leppard's "Hysteria On The High Seas" cruise when Bain passed away. Saddened by his loss, the remaining members have issued a new lyric video for "Blame It On Me" and a proper music video for "Starmaker," with their debut LP Heavy Crown slated for a Feb. 19 release on Frontiers Music SRL.

Both songs are slow burners, with "Blame It On Me" taking shape as a methodical, steady march with gradually developing hooks that wrap listeners in a sleeper hold. Heavy beats drop like cinder blocks from the sky, as Bain stomps and smolders, Freeman's vocals sound positively sinful and Campbell's riffs hit like a punch to the solar plexus, before a melodic passage hints at redemption. In the lyric video for the track, a nicely arranged slide show of images of Last In Line members seems haunting given the circumstances, dredging up nostalgic emotions and wistful remembrances. The confessional tone of the lyrics only adds to the sense of melancholy.

The lyric video for "Blame It One Me" can be seen below:

In similar fashion, "Starmaker" stalks like a predator, as Bain's seductive groove locks in with Appice's weighty thud, Freeman emits a soulful and bluesy wail and Campbell's guitar attack is tough, menacing and sharp. It's as if Altar Bridge had taken to channeling Dio-era Black Sabbath. There's just enough modern pop-metal sheen to shine a light in what is, otherwise, a trip to the dark side of fame. A straight performance video, filmed with good definition and drained of color, the imagery captures the gritty personality and cohesiveness of a quartet that was just beginning to realize its potential. See the video for "Starmaker" below:

As for Bain's legacy, his contributions to rock, though mighty, came mostly in a supporting role, rather than a lead. Still, he left his mark, despite issues with substance abuse. It's not just that he served as bassist for both Rainbow – enlisted by Ritchie Blackmore for the second version of the band that made Rising –and Dio, though that would be enough to qualify him for metal and hard rock sainthood for some. He was integral to the success of both iconic groups, serving as their steely, but flexible, backbone.

There was also a short three-year stint with Wild Horses, the group that boasted ex-Thin Lizzy guitarist Brian Robertson and produced two albums over that span. Robertson then went on to join Motorhead, while the versatile Bain lent his talents to recordings by Roy Harper, Gary Moore and Kate Bush and later worked with close friend Phil Lynott on his two solo LPs. Oh, and Bain also played keyboards, and in a bit of '80s Cold War rock 'n' roll intrigue, as the story goes, he was secretly recruited by German metal legends The Scorpions to play bass on their smash hit album, Love At First Sting.

With Dio, Bain co-wrote legendary songs "Rainbow in the Dark" and "Holy Diver," and helped pen other tracks for Dio records The Last in Line, Sacred Heart, Intermission, Dream Evil and Killing The Dragon. World War III arrived, pairing Bain with vocalist Mandy Lion, but that project was cut short, and Bain returned to Dio for the making of 2000's Magica.

More recently, however, Bain became involved in Last In Line, and that apparently was a labor of love for an artist who'd battled demons and still made an impact on the lives of his bandmates and fans.

Heart Of Storm merges dance and rock

Supergroup convenes to back Russian ballet

Heart Of Storm is a live mix of
rock music and Russian Ballet.

Take the glitzy bravado and loud bluster of a rock concert, pair it with the athletic beauty of Russian ballet and it all adds up to Heart Of Storm.

A unique artistic and cultural experience, Heart Of Storm will make its premiere in Los Angeles on Friday, July 24, and Saturday, July 25, at the Orpheum Theatre.

As for the all-star band that will be accompanying the dancers live, it'll feature many familiar names, including keyboardist Derek Sherinian (Dream Theater), drummer Gregg Bissonette (Ringo Starr, Electric Light Orchestra), guitarist Doug Aldrich (Whitesnake, Dio) bassist Tony Franklin (The Firm, Jimmy Page, Paul Rodgers), Brent Woods (Warrant, Sebastian Bach), and saxphonist Brandon Fields (Tower Of Power, George Benson).

They teamed up with talented young Russian-Korean choreographer Stas Tsoy to tell the tale of a young major named Storm as he travels the labyrinthian depths of life, death and love with stunning visuals and powerful, and oftentimes symphonic, music. The dancing talent spans the Bolshoi Theatre, Swan Lake and the Nutcracker. Visit www.redrockballet.com for more information. To get tickets to the show, go to tickets@redrockballet.com.

Sherinian, Bissonette, Aldrich and Franklin took time out to talk about the project in this interview:

When did the whole idea for Heart Of Storm evolve from? What sparked it for you?
Derek Sherinian: The creator Alex Semenov approached me in late 2013 to produce and play on a rock instrumental record. Alex decided to have choreographed ballet performing live along witha rock band, he found Stas Tsoy, a talent Russian-Korean choreographer, and this sounded like an exciting, unique opportunity to me.

What was your vision for this artistically? What message do you guys want to get across? What should people walk away with?
Doug Aldrich: Artistically, I thought this was a cool fusion of arts, and I wanted an opportunity to push myself in some new directions after Whitesnake. This was really something interesting and obviously with a great bunch of friends that also happen to be at the top level as musicians. I hope to have people walk away feeling happy to see and hear something fresh that is a new idea.

Derek Sherinian: Heart Of Storm is Alex Semenov's vision. My job is to help him see his vision through on the musical end.

Tony Franklin: Heart Of Storm is part rock show, part Russian ballet – with a killer band, featuring top-name rock musicians – and world-class Russian ballet. "Storm" is the main character, and the storyline follows his tumultuous journey of love, anger, jealousy and death. But this is not just a dance show with accompanying rock music. Both the band and ballet are interwoven into a unique, powerful and emotional performance. I've never seen anything like it.

How did the idea of fusing the music with ballet come about? How did you create the songs to fit with the ballet choreography?
Derek Sherinian: The music was written first, and then the dancing was choreographed afterwards.

Doug Aldrich: Music has always been in ballet I guess, but this is a fresh approach that the composer felt would be more intense and fit well with the choreography. It could possibly reach a new audience that might otherwise skip ballet. I myself have never been to a ballet, but now I'm interested. The Red Rock Ballet is made up of very talented young dancers from Russia.

What is the story of Heart Of Storm? Tell us about the production and look of the show.
Tony Franklin: The Orpheum Theater is the perfect setting. In the Broadway Theater District of Los Angeles, it has a long history dating back to the 1920s. The list of artists who've performed here is remarkable, including Judy Garland, the Marx Brothers, Ella Fitzgerald, Duke Ellington, Little Richard, Stevie Wonder – the list goes on. "American Idol" and "Amerca's Got Talent" are also filmed here. The Orpheum stage has been transformed to accommodate the unique Heart Of Storm production. The lights, the setting, the sound and performances are all fine-tuned to express the broad array of emotions of the storyline. I'm really excited to be part of Heart Of Storm.

Doug Aldrich: I was so immersed in learning the material that I didn't really know much about the story at first. But once we started to run the show together, it all made sense ... The look seems to be heavy ... very edgy, but with classic ballet feel in spots. In other places, it probably pushes the limit a bit.

Can you elaborate on the band's chemistry? What's the dynamic like?
Derek Sherinian: Everyone in this band is not only incredible musicians, but incredible people as well. Tony Franklin and Gregg Bissonette are hands down the nicest rhythm section in rock! I am truly blessed to be working with such a great team of people across the board.

Doug Aldrich: Derek is our fearless leader and has put together a very diverse bunch of people to perform the music. I know Derek has been working on this for some time. Then I happened to be in Moscow for a day, and I got a phone call from Brent Woods saying that he and Derek were out at a party in town and asked if I wanted to join (laughs). I was asleep and jet-lagged, so I didn't go, but a few months later Derek started to think about this production and called me to play. I have to say, it's been a huge amount of work for me to get up to speed, but we had so much fun that time has flown by. We are all very different people, so it feels unlike any project I've been in. Gregg and Brent secretly coordinated wardrobe the entire time showing up with the same shit and shoes or whatever ... tony is truly one of the nicest people you could ever meet. His playing is just astouding ... so giant. Like all the guys I reckon. Brandon has just blown me away ... with horns and flutes!! He has been very patient wiht his as he has not had to deal with a band this loud. But he seriously shreds if that can be deemed a compliment from me. Derek is that bad boy dude with chops that will back it up. Derek and Brent are serious gearheads, which, of course, I can relate to. Derek has more gear than just about anyone I know ... I get it. There is always more room for something new. Brent plays so awesome. I'm really glad to work with him. He is playing solos as well, but also doing acoustic work, which is very important with a ballet. Gregg is joking around all the time ... always, but he is just an insanely talented player. He, like all the guys, has played with the best of the best, 'cause they are that good.

Gregg Bissonette: The band chemistry is awesome. I've been a fan of all of these musicians for many years and have played with everyone before except Brent Woods, but now he's my new best friend. The first day I showed up for rehearsal, I was wearing a red Foo Fighters shirt and black jeans and Brent was wearing a red shirt and black jeans. Everyone commented on it, so each morning we decided to mess with the others by calling ahead of time and wearing the same colors. It took them a while to figure it out, and they thought we were on the same wave length, but they quickly caught on. We all take the music seriously, as a drummer in the band you have two-man jobs: the tempo and controlling the dynamics ... bringing it way down and way up when you need to. Brandon is one of the world's greatest sax players and I've played with him at the Baked Potato Jazz club in L.A., on his solo albums, and we were in the house band for the Latin Grammys a few years ago. I was in a band with Derek called Jughead, which my brother, Matt Bissonette (Elton John's bassist) and Ty Tabor (King's X) were also in. Derek and I played in Italy with Yngwie Malmsteen and Deep Purple, that's where I played with Doug Aldrich as well. Tony Franklin and I have played a ton together over the years and have been great pals for 20 years. We played years ago on a movie called Endless Summer 2. It was a surf movie. We've done a million albums together and toured all over the world. Derek is the glue that brought us all together. He is a great guy, a fantastic musician, and a wonderful producer and band leader. The music we are playing with Heart Of Storm is written so well that it lends itself to having a lot of dynamics, (playing at different musical volume levels). It's very passionate music and when everyone sees the dancers and storyline, they will love it and see that it's all brilliantly connected.

New supergroup Revolution Saints unveils first video

Group features former and current members of Whitesnake, Night Ranger, Journey
By Peter Lindblad

Forming supergroups seems to be all the rage these days, with Revolution Saints being the latest to make some noise in the form of a new video released today for the song "Turn Back Time," which we have to believe has nothing to do with Cher.

Comprised of former Dio/Whitesnake guitarist Doug Aldrich, Night Ranger's Jack Blades and Journey drummer Deen Castronovo, Revolution Saints is due to release their self-titled first album on Feb. 24 in the U.S., and it promises to be one hotly anticipated dose of soaring, uplifting melodic hard rock.

The brainchild of Frontiers Records President Serafino Perugino, Revolution Saints will spotlight the lead vocal talents of Castronovo, with Blades on bass and helping out with some singing. And then there's Aldrich, whose fiery, bluesy guitar should add plenty of electricity to what is already a pretty potent lineup.

So, without further ado, here are the Revolution Saints doing "Turn Back Time." Let us know what you think:

For more on the Revolution Saints and their initial shot across the bow, check out this electronic press kit:

CD/DVD Review: Dio – Live in London: Hammersmith Apollo 1993

CD/DVD Review: Dio – Live in London: Hammersmith Apollo 1993

Eagle Rock Entertainment

All Access Rating: A-

Dio - Live In London: Hammersmith
Apollo 1993

Four years after the death of Ronnie James Dio left the heavy metal community in a state of profound mourning comes "Live in London: Hammersmith Apollo 1993," the first-ever video release of a professionally shot classic concert from, what was at the time, a newly reconfigured Dio touring the Strange Highways album.

Looked at by some as the start of a downward spiral for Dio and applauded by others as a much-needed change of lyrical scenery, Strange Highways was made with new parts, as the legendary singer and longtime collaborator Vinny Appice, having left Black Sabbath after Dehumanizer, revived Dio with former Dokken bassist Jeff Pilson, new guitar slinger Tracy G and Warrant keyboardist Scott Warren in tow.

Gone were the trappings of medieval fantasy that had fired his imagination in the beginning, as Dio started exploring matters of a more contemporary nature. Not everyone was onboard with the shift in emphasis, but at the Hammersmith Apollo on this December 12, 1993 evening, Dio made amends to those who accused him of heresy. Raining down fire and brimstone as only he can with his extraordinary vocal firepower, Dio led the band on a blazing march through his gloriously sinister past and a defiant charge into the band's then-current material, breathing fresh life into the churning title track, the dark and impossibly heavy "Hollywood Black" and a ferocious version of "Jesus, Mary & the Holy Ghost."

Without the distractions of mechanical dragons and castle ruins cluttering up the stage, Dio brawls with favorites from his Sabbath days, attacking "The Mob Rules," "Children of the Sea" and "Heaven and Hell" with vim and vigor. The heightened drama of "The Last in Line" soars, while the powerhouse anthems "We Rock" and "Stand Up and Shout" throws their fists in the air and race recklessly ahead. Mystical and melodic, "Don't Talk to Strangers" is both pretty and poisonous, while the gnarled hooks and animalistic growls of "Holy Diver" and "Rainbow in the Dark" raise the dead.

More than capable as a guitar shredder, Tracy G rips through hot-wired solos and wrenches tough, smoldering riffs from his instrument, as Pilson and Appice pound away rhythmically, their teamwork during Appice's drum solo causing seismic tremors. Edited to capture the breathtaking pace and excitement of a band playing with urgency, passion and energy, the crystal-clear "Live in London: Hammersmith Apollo 1993" boasts stellar camera work, shooting from a wide range of angles and with an innate sense of when to go close on Dio and his talented henchmen and when to pull back and gauge the crowd's reactions. Add a vintage "Hanging with the Band" featurette that provides an enjoyable glimpse into life backstage before and after the performance, and the package becomes even more vital.

Available on DVD, Blu-ray and as a two-CD set from Eagle Rock Entertainment, "Live in London: Hammersmith Apollo 1993" is also impressive sonically, a fitting tribute to an artist whose work will live on well after his passing.
– Peter Lindblad

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

CD/DVD Review: Dio – Finding the Sacred Heart – Live in Philly 1986

CD/DVD Review: Dio – Finding the Sacred Heart – Live in Philly 1986

Eagle Rock Entertainment

All Access Rating: A-

Dio - Finding the Sacred Heart -
Live in Philly 1986 2013

Trying to recreate Stonehenge onstage didn’t work out all that well for Spinal Tap. Undeterred by such a brutally funny cautionary tale, Dio had something bigger and more impressive in mind for the spectacular staging of 1986’s “Sacred Heart” tour, and he got the math right.

Under the watchful gaze of a massive, animatronic dragon, Dio frolicked night after night among medieval ruins, a steady barrage of pyrotechnics and state-of-the-art laser displays, with drummer Vinny Appice perched dangerously atop a thick, 15-to 20-foot column of fake stone. A crystal ball with a hologram of Dio talking of magic, rainbow bridges and epic quests appears just before they start the dramatic journey through “Sacred Heart.” And when that portion of the show arrives where the dearly departed Ronnie James Dio, light sword in hand, does battle with the mechanical beast, opening its chest to reveal a heart made of lasers, even Nigel Tufnel, Derek Smalls and David St. Hubbins would have to bow to the creator of this theatrical monstrosity.

Philadelphia was one of the stops on the tour’s second leg, the one where guitarist Craig Goldy replaced Vivian Campbell, who played such an integral role in the making of Holy Diver and The Last in Line. Having already formed a bond with Dio and his wife, Wendy, from his days in Rough Cutt, Goldy was the ideal fill-in. He knew the songs backwards and forwards and the juggernaut known as Dio, having lost none of its potency, invaded the Spectrum on June 17, 1986 looking to once again conquer a territory that had always loved him and become its king of rock ‘n’ roll – with the cameras rolling, of course.

The original film of his coronation has been faithfully restored, and considering its age, the visuals are remarkably vivid, warm and visceral, preserved in a package of treasures titled “Finding the Sacred Heart – Live in Philly 1986.” This riveting performance is out on DVD, Blu-ray, CD and as a double LP, released via Eagle Rock Entertainment, and seeing a younger Dio energized and full of life is at once terrifically inspiring and emotionally crushing. Ever the showman, his clarion voice is melodic and passionate, cutting like a razor through smoke, walls of power chords, pounding drums and swinging rhythms. And he draws blood in this performance, as does the band.

Drawing from his days in Black Sabbath and Rainbow, as well as the first three Dio albums, the set list is a movable feast of classic metal. Dio, Appice, Goldy, bassist Jimmy Bain and keyboardist Claude Schnell breathe fire as they tear through medleys of “The Last in Line,” “Children of the Sea” and “Holy Diver,” as well as one consisting of “Rock ‘n’ Roll Children,” “Long Live Rock ‘n’ Roll” and a particularly combustible, full-throttle drive through “Man on the Silver Mountain,” with venomous glee. Closing the night with a violent rendering of “We Rock,” Dio was just as relentless in attacking “King of Rock & Roll” and “Like the Beat of a Heart,” while taking pains to emphasize the sweet pop-metal hooks of “Hungry for Heaven” and the dark beauty of “Don’t Talk to Strangers,” just before it transitions into a blazing inferno of rock. And they kick out the jams in “Heaven and Hell,” turning it from a slow-building dirge into something more aggressive and angry. 

Flashier than Campbell and out to prove something to a fan base that wasn’t all that accepting of him initially, the confident Goldy plays with a chip on his shoulder, and his ingenious, scissoring solos and torrential, serrated riffing are electrifying. Appice is a locomotive on drums, and Bain, always the glue of this outfit, tenaciously holds down that low end like a smiling pit bull, while Schnell combines the muscular thrust of Jon Lord with the synthesizer swirls of a Keith Emerson in galvanizing flourishes. Aside from Bain, they all take a solo turn, and while Schnell’s is somewhat less compelling, the others are dynamic and thrilling.

Add in an informative featurette, narrated by Dio, on the elaborate stage show,  the original video of “Rock ‘n’ Roll Children,” two thoughtful interviews with late singer – one from the Sacred Heart period and one of more recent vintage – and in-depth, Malcolm Dome-penned liner notes and the fully loaded “Finding the Sacred Heart – Live in Philly 1986” becomes a comprehensive look at one of the most ambitious tours in metal history. 

 – Peter Lindblad

Rudy Sarzo - A Man with a Story to Tell

Rudy Sarzo

For over 25 years Rudy has been playing bass and recording hits with Ozzy, Quiet Riot, Whitesnake, Dio and Blue Oyster Cult, just to name a few. In the early 80s he was a member of Ozzy Osbourne's band, playing alongside the legendary Randy Rhoads and then later with Quiet Riot. Moving into the late 80s, Rudy landed a spot with Whitesnake, where he remained until the mid 90s and then in 1997 reunited with Quiet Riot. In 2004 he became a member of Dio and also plays with Blue Oyster Cult when his schedule permits.

His recordings with all of these artists combined have sold over 30 million copies and when you add up all the tours and videos he did to support those albums it's no wonder that Sarzo's career as a bass player, earned him the reputation of an accomplished musician. Sarzo is also involved with the Rock and Roll Fantasy Camp as a camp counselor and can be seen on the new reality show currently featured on VH1 Classic.

Rudy's latest project, "Off The Rails: Aboard the Crazy Train in the Blizzard of Ozz" is his personal account of his friendship on and off the road with Randy Rhoades and Ozzy Osbourne.

Sarzo has put several iconic pieces in the Rock Gods 'n Metal Monsters Auction from the Whitesnake and Dio era. One of the pieces is a denim jacket that he wore on stage and in various official videos while playing with Whitesnake and another rock relic is a studded cross shirt that he wore while performing with Dio. Both of these items are very well documented and photographed. All of Rudy's items can be easily found in the auction by doing a quick search of the auction catalog.

'87 - '88 Whitesnake Era

The auction event, aptly titled the "Rock Gods and Metal Monsters Auction", is a not-to-miss opportunity for fans and collectors around the world to own an authentic piece of one of the most significant genres of music history. The auction, which will be held on-line at www.backstageauctions.com starts on October 31, 2010 and will run through November 7, 2010. A special preview of the entire auction catalog is available now for viewing.

Artist Links
Rudy Sarzo Official Website 
Facebook
Myspace

Backstage Auctions Announces All Star Line Up for the Rock Gods and Metal Monsters Auction

The auction will showcase over 400 exceptionally  rare  pieces of rock memorabilia, featuring members of such legendary groups as Pantera, Ministry, Quiet Riot, Dio, White Zombie, Whitesnake, Alcatrazz, Queensryche, Ozzy and more, direct from the private collections of notable rock and metal icons from the past 3 decades.

Houston, TX - October 5, 2010 – Backstage Auctions is proud to present the "Rock Gods and Metal Monsters Auction", an unprecedented hard rock and heavy metal online auction event. "Almost every item being offered in the auction is "iconic memorabilia" and is easily identifiable to a specific artist or band," explains Backstage Auctions founder Jacques van Gool.

Fully Signed by Pantera Members
Dimebag Darrell Washburn

The auction, which is scheduled to go live on Halloween, features amazing pieces direct from the private collections of Al Jourgensen, Rudy Sarzo, Graham Bonnet, Scott Rockenfield, Kip Winger and John 5, just to name a few. "When we designed the hard rock and heavy metal themed auction, we really tried to build an event that was not only unique but give fans and collectors access to pieces of rock history that were equally rare and one of kind and we have definitely achieved that goal," says Jacques. The auction catalog features over 50 Gold and Platinum records awards, guitars, stage props, artist stage worn apparel, master recordings, rare concert posters, original artwork, photos and the list goes on and on.

"It's not an every day event that you can stand behind and grab on to Al Jourgensen's infamous "skull and bones" microphone stand which he used extensively on many Ministry shows and rehearsals. The historical relevance of that one piece in the rock community is well documented," says Jacques.

Equally impressive is the private collection of Concrete Management co-founder, Walter O'Brien which features a jaw dropping collection of RIAA record awards presented to him while managing Pantera and White Zombie. On a more personal level, Sarzo and Bonnet have both offered up vintage "rocker apparel" that they wore on stage, during photo shoots and really cool music videos.

Ministry's Marshall Amp & Case
C-U-LATOUR 2008

The auction wouldn't be complete without a few guitars, drum kits, stage props and handwritten lyrics. Amazing pieces that Scott Rockenfield of Queensryche, John 5 of Rob Zombie and Kip Winger have pulled out of their personal collections are sure to get quite a bit of activity during the auction.

"While this is a stellar line-up of artists, we are still adding headliners to the event, which is exciting.  It will be interesting to see who makes the final cut," says van Gool.  

The event, aptly titled the “Rock Gods and Metal Monsters Auction”, is a not-to-miss opportunity for fans and collectors around the world to own an authentic piece of one of the most significant genres of music history. 

The auction, which will be held on-line at www.backstageauctions.com starts on October 31, 2010 and will run through November 7, 2010. A special preview of the entire auction catalog will be available to view beginning Sunday, October 24. 

Auction Registration: VIP All Access

Additional Photos: 

Walter O'Brien: Pantera Records Awards

Rudy Sarzo: Concert worn Shirt,  Dio

Scott Rockenfield / Queensryche: Drum Kit

John 5 / Rob Zombie: Broken Guitar and Personal Ankle/Foot Cast 

Graham Bonnet: Jail Shirt for the Alcatrazz "Island in the Sun Video"

Grey Daisy Original Watercolor by Marilyn Manson

For additional information: Backstage Press & Media

Metal the next big thing in rock auctions

Goldmine Magazine

By Susan Sliwicki

Al Jourgensen's Buck Satan

Backstage Auctions is betting on the universal appeal of metal music and memorabilia among fans worldwide for its next auction. The Rock Gods and Metal Monsters Auction preview runs Oct. 24-30; the auction runs Oct. 31 to Nov. 6. 

“Heavy metal is a lifestyle, and it shows in everything; it shows in the clothes you wear, the car you drive, the haircut you have, the concerts you go to, the music you listen to, the friends that you have,” Jacques van Gool of Backstage Auctions said. 

When it comes to business, make no mistake. Van Gool has done his homework. Just because metal music has never really seen the light of day in the mainstream media doesn’t mean it lacks a following. Van Gool cited the massive number of Web sites and magazines dedicated to heavy metal worldwide, as well as a plethora of heavy-metal festivals and legions of incredibly loyal fans who follow their favorite acts on social media platforms such as Facebook, MySpace and Twitter. 

“You have to go a little bit underground for this. I don’t see Fox News or CNN wasting their time saying Al Jourgensen of Ministry is going to put 100 items in a heavy metal auction, because they wouldn’t know what to do with that kind of news. But at the same time, the official Ministry database has 250,000 registered users, so, I’m going to forget about the Foxes and CNNs of the world. All that matters is that 250,000 Ministry fans know about it.” 

The market for heavy metal memorabilia is probably healthier than that of any other musical genre, he added. 

“Metal just doesn’t go away. It doesn’t die. Fans won’t allow it,” van Gool said. “The market for memorabilia from bands that are considered part of the New Wave of British Heavy Metal, such as Judas Priest, Iron Maiden, Def Leppard and Motorhead, remains strong worldwide, van Gool said. 

In the past five years, van Gool has noticed younger metal fans expressing interest in the second- and third-tier bands of the NWOBHM that may sound obscure to non-metal fans. 
“From a collectible point of view, the original vinyl of these bands demands incredible, incredible amounts of dollars,” van Gool said. 

He cited original 7-inch records from Neat Records as being particularly hot with collectors. Records issued on Shrapnel or the original Metal Blade label also are popular in the U.S. 

“The very first Shrapnel album was called Metal Massacre, and Metallica is on that album, which was their first vinyl appearance before they got a record deal,” van Gool said. “In the early years, the Metal Massacre albums featured bands that were on their way to the next big thing, and everybody wants to have that.” 

The uniquely American hair metal phenomenon, which included acts like Cinderella, Poison, Motley Crue, Winger and Ratt, dominated mainstream music in the late 1980s and early 1990s, and those acts still have a strong fanbase here. However, overseas, hair metal isn’t as big of a draw as speed or thrash metal, which boasts bands like Metallica, Slayer, Testament, Exodus and Megadeth, van Gool said. 

One of the biggest “holy grail” items that collectors seek is Iron Maiden’s first 7-inch record a three-song EP called “The Soundhouse Tapes.” 

“That little 7-inch single can sell for $600, $700, which is an amazing amount of money for a single for a band that made it 30 years ago,” van Gool said. 

Autographs are another great collectible, although they are not always extremely valuable, van Gool said. 

“The great thing about most heavy metal bands is that they are, in my opinion, more approachable than most other artists you can think of,” van Gool said. “The moment you start to act like a superstar, you’re gonna lose fans. Your fans need to feel like they can associate themselves with you.” 

That means the desire to bootleg signatures isn’t as high in the metal realm as in other genres of music, he said. 

When it comes to stage-worn clothing, pristine isn’t always the most desirable state, he added. 

“The more an item shows wear and tear, the better, because the more use a piece of attire has, the more it will tell you that the artist really enjoyed wearing that piece,” van Gool said. “When you get something that has makeup on it or smudges on it or hairspray on it, or, even better, bloodstains on it, that, in my opinion, definitely adds value.” 


The focus of The Rock Gods and Metal Monsters Auction is near and dear to van Gool, who grew up listening to and collecting memorabilia from bands like Iron Maiden, Judas Priest and Saxon. 

The sense of history associated with the memorabilia featured in this auction is staggering, Van Gool said. 

“You have to look at an individual piece, and you’ve gotta think about on how many stages this microphone stand has been, or what songs were recorded through this particular guitar, or how many photos have been made of this individual wearing this shirt or boots or whatever,” van Gool said. “It’s not just a shirt that’s on a mannequin that you photograph. There’s a little bit of history in front of you.” 

The auction lots are continuing to evolve, as many of the bands are first getting off the road from the hectic summer touring season. Confirmed headliners including the Al Jourgensen collection, which features everything from amps and road cases for guitars to microphone stands, pins, jackets, rings, sunglasses, gloves, hats and boots from the early 1980s until 2008. 

“You name it, it’s in there. He even included original master recordings from the early Ministry days,” van Gool said. 

When Ministry officially retired in 2008, it played its final farewell show in Ireland. A concert poster from that last show, signed by Jourgensen, also is in the auction. 

Whether you dig autographed records, signed posters or stage-worn attire from your favorite artists, the one thing that really matters at the end of the day is a piece’s provenance, van Gool said. 

Pantera, White Zombie, Metal Church, Exodus, Mercyful Fate/King Diamond, Whitesnake, Dio, Quiet Riot, Mr. Big, Winger, Nelson, Queensryche, Alice Cooper and Rainbow also are represented, he said. 

The final auction lineup will boast about 400 lots that range from concert photos sold with negatives and full rights, to vinyl, stage-worn clothing, backstage passes, concert posters and instruments.




For more details on The Rock Gods and Metal Monsters auction visit Backstage Auctions. The auction goes live on Halloween.