Origins of Ace Frehley

Ex-Kiss guitarist reunites with Paul Stanley on new album, leaks version of Cream's "White Room"
By Peter Lindblad

Ace Frehley - Origins Vol. 1 2016

Ace Frehley and Paul Stanley have KISS'd and made up, or so it seems. Not that there ever was much of a feud, at least according to Frehley.

"We've always been friends," said Frehley, in talking to Rolling Stone magazine about recording with Stanley again, as they did on Frehley's upcoming album of cover songs Origins Vol. 1, slated for an April 15 release. "The press seems to amplify negativity. I guess it makes good copy."

Some, if not all, of the rancor that sullied the band's 2014 induction into the Rock And Roll Hall Of Fame must have subsided somewhat, as the two joined forces to remake Free's hit "Fire and Water," marking the first time they've collaborated since the KISS 1998 reunion album Psycho Circus. Frehley has announced a release date and track listing for Origins Vol. 1, featuring re-imagined versions of 12 classic songs that influenced the legendary former KISS guitarist. It's the follow-up to 2014's Space Invader, which at the time had been his first album in five years. The record debuted at No. 9 on the Billboard Top 200 chart, making it the highest charting KISS-related solo project ever, propelling Frehley back to the Top 10, a place he hadn't visited since Psycho Circus.

Today, Rolling Stone magazine debuted Frehley's new version of Cream's "White Room," which can be heard here: http://www.rollingstone.com/music/news/ace-frehley-announces-new-lp-white-room-cover-paul-stanley-reunion-20160210. Faithful to the original, Frehley's take on "White Room" flashes an orgy of wah-wah guitar effects behind strong, clearly articulated vocals and powerful drumming. Capturing the psychedelic whirl of the original, Frehley brings the song out of its late-'60s haze and reintroduces it to a more contemporary audience, enhancing its melodic character.

Stanley is just one of the big-name guests appearing on Origins Vol. 1. Slash and Frehley trade leads on Thin Lizzy's classic "Emerald," while Lita Ford sings and playing lead on The Troggs' staple "Wild Thing," and Rob Zombie guitarist John 5 plays guitar alongside Ace as he sings his classic KISS composition "Parasite" for the very first time. The two also give their rendering of Jimi Hendrix's "Spanish Castle Magic," with Frehley finally doing his KISS Alive I mainstay "Cold Gin" with Pearl Jam's Mike McCready also on guitar as Ace as sings. 

"White Room" is also an iTunes instant gratification track, meaning fans who pre order the LP on iTunes will receive the Cream cover song instantly. Pre-orders for physical versions can be made here:  http://www.amazon.com/Origins-Vol-1-Ace-Frehley/dp/B01BMS3MS0/ref=sr_1_1?ie=UTF8&qid=1455188080&sr=8-1&keywords=ace+frehley+origins+vol.+1. Go here for digital versions: https://itunes.apple.com/us/album/origins-vol.-1/id1083108066

The track listing for Origins Vol. 1 can be found below:

1. White Room (Cream)

2. Street Fighting Man (Rolling Stones)

3. Spanish Castle Magic (Jimi Hendrix) *John 5

4. Fire and Water (Free) *Paul Stanley

5. Emerald (Thin Lizzy) *Slash

6. Bring It On Home (Led Zeppelin)

7. Wild Thing (The Troggs) *Lita Ford

8. Parasite *John 5 (KISS)

9. Magic Carpet Ride (Steppenwolf) 

10. Cold Gin *Mike McCready (KISS)

11. Till The End Of The Day (Kinks)

12. Rock and Roll Hell (KISS)

Ace and crew will be active on the road in 2016. Three weeks worth of tour dates in the U.S. have been announced, including two nights at the B.B. King Blues Club in New York City. His band features Richie Scarlet (rhythm guitar and vocals), Chris Wyse (The Cult) on bass and vocals, and Scott Coogan (Nikki Sixx's Brides of Destruction) on drums.

Tour dates are below:

2/26 - Houston, TX - Scout Bar

2/27 - San Antonio, TX - Fitzgerald's

2/28 - Dallas, TX - The Bomb Factory 

3/2 - Tempe, AZ - Marquee Theatre

3/4 - San Miguel, CA - The Ranch

3/5 - Beverly Hills, CA - Saban Theatre

3/6 - Las Vegas, NV - Brooklyn Bowl - Las Vegas

4/1 - Ponte Vedra, FL - Ponte Vedra Concert Hall

4/2 - Clearwater, FL - Capitol Theatre

4/3 - Sunrise, FL - Markham Park - Rockfest 80's

4/5 - Atlanta, GA - Variety Playhouse

4/7 - Danville, VA - Carrington Pavilion

4/9 - New Hope, PA - Havana New Hope

4/11 - New York, NY - BB King's Blues Club

4/12 - New York, NY - BB King's Blues Club

4/13 - Huntington, NY - The Paramount

4/15 - Wilkes Barre, PA - The F.M. Kirby Center

4/16 - Poughkeepsie, NY - The Chance

DVD Review: Slash – Live at the Roxy 25.9.14

DVD Review: Slash  –- Live at the Roxy 25.9.14
Eagle Rock Entertainment
All Access Rating: B+

Slash and Myles Kennedy
and the Conspirators - Live
at The Roxy 25.9.14

While plundering and pillaging the Sunset Strip in the '80s, the hurricane of debauchery and gritty rock 'n' roll that was Guns 'N Roses had occasion to roll through the famed Roxy Theatre, just as it had torn through places like the Troubadour and the Whisky a Go Go.

They say you can never go home again, but Slash and his band, The Conspirators, featuring Myles Kennedy, did just that last fall, slamming into the Roxy again like a Category-5 storm five years after the cozy, intimate club played host to their first-ever gig together. A powder keg of a concert DVD, "Live at the Roxy 25.9.14" – coupling rich, robust sound with dramatic camera work that puts viewers right in the middle of the crowd and shoots the action from well-chosen angles – captures them in all their blazing glory, just inches away from fans hanging on every nasty, dirty riff and searing lead.

Trading the thrilling unpredictability and reckless danger of Guns 'N Roses' salad days for tidy professionalism and sobriety, Slash whips his charges through a sweaty, rip-roaring set of old favorites and new material that spans the legendary guitarist's entire career. Ballsy, swaggering, full-throttle rockers like "Rocket Queen," highlighted by Slash's dynamic, smoldering soloing, and "Nightrain" get a vigorous workout, as do "Sweet Child O' Mine" and "Paradise City," an exhilarating encore that shakes the rafters. Frenzied and full of piss and vinegar, "You're Crazy," where bassist Todd Kerns admirably takes over singing duties, stands out among the four bonus tracks on "Live at the Roxy 25.9.14" – which includes an electrifying take on "Stone Blind" from Slash's latest LP – but it's Kennedy who shines on the vicious kiss-off "You're a Lie" and a swinging "Back From Cali," his clarion voice cutting through the raucous din.

And for Slash, for this performance, the opportunity to show off his acoustic Spanish guitar licks during a rousing "Anastasia" is one he couldn't possibly turn down, and it's a beautiful moment, as its mix of infectious riffs and classical elements soar in this environment. Available in multiple formats from Eagle Rock Entertainment, including an innovative Bit Torrent bundle, a three-LP set and a two-CD version, as well as a DVD, "Live at the Roxy 25.9.14" catches Slash and company on a celebratory night, their cohesion, skilled chops and energy making up for the nagging feeling that maybe this particular collection of musicians is growing too comfortable, too complacent, too satisfied with itself and what it's already achieved. Maybe the next album will push the envelope a bit. If not, at least Slash and the boys seem capable of producing good rock 'n roll, and these days, that's nothing to take for granted.
– Peter Lindblad

Slash about to set the 'World on Fire'

New album from ex-GNR guitarist and the Conspirators due out Sept. 16

Slash Featuring Myles Kennedy &
The Conspirators - World on Fire 2014

SLASH and his bandmates Myles Kennedy and The Conspirators will release their new album WORLD ON FIRE on Sept. 16 via SLASH’s own label Dik Hayd International distributed through Caroline.

The group revealed the cover artwork for WORLD ON FIRE designed by American contemporary artist Ron English today. Featuring the blazing title track as the first single – arriving at radio Friday, June 13^th –  the disc marks SLASH’s third solo album and second one with his band featuring MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass). (See a Q&A with SLASH and MYLES KENNEDY below)

For WORLD ON FIRE, SLASH and his band tapped Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus) to produce. Among the 17 songs is an instrumental--a powerful new turn for the band. WORLD ON FIRE is the follow-up to 2012’s Apocalyptic Love which debuted at #4 on the Billboard Top 200 chart and earned SLASH two No. 1 U.S. rock radio hits his first-ever solo--with “You’re A Lie” and “Standing In The Sun.” SLASH officially began recording as a solo artist with his self-titled 2010 debut album which employed a different vocalist on each track of his first album including Ozzy Osbourne, Fergie and Myles Kennedy among others.

Following are song titles for WORLD ON FIRE:

“World on Fire”
“Shadow Life”
“Automatic Overdrive”
“Wicked Stone”
“30 Years to Life”
“Bent to Fly”
“Stone Blind”
“Too Far Gone”
“Beneath the Savage Sun”
“Withered Delilah”
“Battleground”
“Dirty Girl”
“Iris of the Storm”
“Avalon”
“The Dissident”
“Safari Inn”
“The Unholy”

SLASH and Myles Kennedy and The Conspirators have announced additional solo dates in between their summer tour with Aerosmith. The group will preview new songs for fans on the trek which kicks off Thursday, July 10 at Nikon at Jones Beach Theatre in Wantagh, NY (see the full itinerary below).  

Special ticket packages include: amazing seats (Level 1 tickets), an exclusive autographed SLASH lithograph, a digital download of the new SLASH album WORLD ON FIRE and a merchandise voucher worth $50, redeemable in the SLASH Exclusive Online Store. For all packages, visit: http://slashonline.com/tour.

Check out the exclusive behind-the-scenes documentary SLASH’s “Real To Reel” at:www.slashonline.com. The innovative online series documented the entire in-studio recording process from the first day of recording to the last; the multi-segment fly-on-the wall series follows Slash and The Conspirators from pre-production at NRG Studios in Los Angeles to Studio Barbarossa in Florida, as they write, play, create and record WORLD ON FIRE from start to finish.

Slash featuring Myles
Kennedy and the
Conspirators

SLASH and MYLES KENNEDY talk about the album and the forthcoming tour dates in this Q&A:

WORLD ON FIRE marks your second album with your band MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass). How do you feel the dynamic between the four of you has evolved?

SLASH:  We had a natural chemistry from the very beginning. The longer we have been together the more it has blossomed. And because of all the touring and the different situations we have been thrown into as a band and as players, we have all subconsciously learned from that. It shows up when we’re writing and when we’re recording. It’s sort of an unsaid thing, but I can sense it. It’s a natural evolution for a bunch of musicians in a band together.

MYLES: Over the last four years we have definitely evolved into a band. Utilizing Todd's vocal prowess and Brent's ability as a multi-instrumentalist definitely highlights what the Conspirators are capable of. I feel like it adds to what Slash and I do as songwriters. Not to mention they are both a big part of the arrangement process. Todd even brought in a cool progression that we used for the verses in “Shadow Life” and he added an great intro to “The Dissident” which is really fun.

What are the biggest differences between the last album Apocalyptic Love and the new album WORLD ON FIRE?

SLASH: The biggest difference is that the band has also has naturally evolved with so much touring and all of these different things. There’s a difference in musicianship that shows on this record and the songwriting skills especially.

The other difference is the fact that we recorded both albums live, but we kept the first one (Apocalyptic Love) just live.  That was it. There was no over-dubs or layering or any kind of studio techniques.  With WORLD ON FIRE I wanted to do guitar harmonies and double up parts and just create sounds. It’s a little more produced record in that sense.

MYLES: We didn't spend as much time fine-tuning arrangements as a unit during the Apocalypticsessions.  I think that’s part of the reason this record sounds as cohesive as it does. Slash spent a lot of time with Todd and Brent working on arrangements while I was on tour with Alter Bridge late last year. When I got off the road, I met up with them in LA so they could get a feel for how the songs felt with vocals. Another difference is that Slash played all the guitars on WORLD ON FIRE. During the Apocalypticsessions I sang and played guitar which was fun, but it definitely cut into the amount of time I had to focus on lyrics, etc. Not playing guitar on WORLD ON FIRE gave me additional time to fine-tune lyrics and melodies which improved the songs in the end. I'm very happy with how it turned out.

For WORLD ON FIRE you teamed up with producer Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus). What do you feel he brought to the table?

SLASH: Elvis is very conscious about guitar and guitar tones as well as drums, bass and vocals. For me, it is important to work with somebody who is very dialed-into guitar sounds. In this particular day and age it’s a rarity to find someone who really understands guitar sounds.  Elvis is an extremely hard-worker. I consider myself a hard worker as well as Myles. He was somebody that, over the course of making the record, gave me an even more of an extra push in some moments. So he brought out the best in me as well as Myles and the drums and everything. He was a pleasure to work with.

MYLES: Elvis is brilliant. It's the fifth record I have had the pleasure of recording with him. His ability to get the best out of a rock band is pretty special. He always seems to be aware of what the fans want to hear from an artist. He did a great job documenting Slash's tone and sound. I remember the first time I heard the solo for “Battleground”--I was blown away. Elvis captured the sonic hallmarks that made Slash's playing resonate with me 25 years ago. Elvis is hands-on with every element of the recording process. From the arrangements to the final mix, he is relentless at making sure that the record is everything it should be and more.

Did you guys experiment with any new sounds with the production?

SLASH:  Yes and no. The whole record sounds new compared to the last album. Yes we did do a lot of tonal and EQ and guitars. I can’t say we were looking to break ground with new technology, because we did this to tape. But from a tonal and equalization point of view, we definitely broke a lot of new ground.

MYLES: That would be a question for Elvis or Slash. I can definitely hear some new approaches that I haven't heard on the last two records.

What makes “World on Fire” the perfect single choice?

SLASH:  I think there’s a lot of singles on the record, but it’s a good kick-off song. It’s up-tempo, aggressive, it’s a fun song. I love the whole world on fire, larger-than-life kind of vibe that the title and lyrics have.

MYLES: It's got a certain intensity and drive that made it a compelling choice for the lead-off track.

In what ways are we all suffering from a World on Fire?

SLASH: To be literal about it, we have the global warming thing. But that’s not the catalyst for the title. “World on Fire” is more of a tongue-in-cheek, positive, fun thing-- it has a lot of sexual connotations in the actual song itself. It’s a euphemism for going a little bit crazy and pulling out all the stops.

MYLES: “World On Fire” isn't necessarily a profound statement about where we are as a planet. It's about living life to the fullest....carpe diem. Some might perceive the track as carnal in nature, but the idea of seizing the moment and doing what makes you happy is the overall theme. Then again, it's not up to me to dictate what a song will mean to everyone. All I can do is tell you what was going through my head as the lyrics were being written.

What are a couple of other songs that you feel are highlights for you right now?

SLASH:  When doing a record I hate to identify with any one particular song or two particular songs. It’s not like the record is written with one great song and the rest are filler. They all mean as much as the others. There are a few songs that are very different than what we did on the last record. There’s a song called “The Unholy” which was influenced by my work in film. There’s another song called “Thirty Years to Life” which is a little bit of a departure. There’s another song that sticks out in my mind called “The Dissident” that’s a little bit unpredictable compared to stuff that people would expect from us.

You’re touring with Aerosmith this summer for the “Let Rock Rule” tour. It feels like true rock is needed more than ever in a very pop-driven landscape. How do you guys feel about this?

SLASH:  I am a Rock n’ Roll guy. The music business has become a pop-oriented sort of thing and all of the different music genres have become pop. I love the fact that I am doing Rock n’ Roll and have always done the same thing from a very heartfelt place. Aerosmith has represented that to me ever since I was kid. The two of us going out there and doing this big tour and holding that banner and doing it as sincerely as it can be done is something that I can be proud of.

MYLES: Though rock is not the force that it once was in America, it still has a loyal fan base that always seems to continue regardless of what popular culture deems as the "cool thing." It's great because you go to a rock show and you know folks aren't there because they are following trends, they aren't fair weather fans, they’re following their heart and listening to music that they love. People have been saying rock is dead for years but the reality is that it just falls out of favor with pop culture from time to time. The rock fans are still out there and that's why a tour like this is so important.

SLASH featuring Myles Kennedy and the Conspirators tour dates are as follows:

	DATE		CITY	VENUE
*	Wed	9-Jul	Hampton Beach, NH	Hampton Beach Casino Ballroom
	Thu	10-Jul	Wantagh, NY	Nikon at Jones Beach Theatre
	Fri	11-Jul	Ottawa, ON, Canada	Ottawa Bluesfest (non-headlining)
	Sun	13-Jul	Kitchener, ON, Canada	McLennan Park
	Wed	16-Jul	Mansfield, MA	Xfinity Center
*	Sun	20-Jul	Northfield, OH	Hard Rock Live
	Tue	22-Jul	Cincinnati, OH	Riverbend Music Center
	Fri	25-Jul	Tinley Park, IL	First Midwest Bank Amphitheatre
*	Sat	26-Jul	N. Kansas City, MO	Harrah's N. Kansas City - Voodoo Lounge
	Wed	30-Jul	Inglewood, CA	The Forum
*	Fri	1-Aug	Scottsdale, AZ	Talking Stick Resort & Casino - Ballroom
	Sat	2-Aug	Las Vegas, NV	MGM Grand Garden Arena
	Fri	8-Aug	Stateline, NV	Lake Tahoe Outdoor Arena At Harvey’s
	Wed	13-Aug	Concord, CA	Sleep Train Pavilion
*	Fri	15-Aug	Coquitlam, BC, Canada	Hard Rock Casino - Vancouver
	Sat	16-Aug	George, WA	The Gorge Amphitheatre
	Tue	19-Aug	Denver, CO	Pepsi Center
	Fri	22-Aug	Dallas, TX	American Airlines Center
	Mon	25-Aug	The Woodlands, TX	The Cynthia Woods Mitchell Pavilion
	Thu	28-Aug	Atlanta, GA	Phillips Arena
*	Fri	29-Aug	Hollywood, FL	Seminole Hard Rock Hotel & Casino
	Sun	31-Aug	Atlantic City, NJ	Boardwalk Hall
	Wed	3-Sep	Newark, NJ	Prudential Center
	Sat	6-Sep	Bristow, VA	Jiffy Lube Live
	Tue	9-Sep	Clarkston, MI	DTE Energy Music Theatre
	Fri	12-Sep	Sydney, NS, Canada	Open Hearth Park
* Indicates Headlining Shows.

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. 

CD Review: Slash "Slash Live" Featuring Myles Kennedy

CD Review: Slash "Slash Live" Featuring Myles Kennedy
Made in Stoke 24/7/11
Armoury Records
All Access Review: A-

Slash has always had a soft spot in his Jack Daniels-soaked heart for Stoke on Trent, England. Getting back to the place where he grew up has proven more difficult than the rock god imagined, however. A long way away from the boozy, debauched madness and danger of the Sunset Strip club scene that spawned Guns N’ Roses, Stoke, as it is more commonly referred to, has nowhere near the reputation for hedonism and lawlessness that Slash’s other hometown has. At one time it was an industrial city, and it still boasts a booming pottery business. Well, maybe “booming” isn’t the right word, but you get the idea: this is a town that rock ‘n’ roll forgot. If “Mr. Brownstone” ever visited, he’d die of boredom.

Touring the world over, in marauding fashion, with Guns N’ Roses, Velvet Revolver and his own solo projects, Slash, the sleaziest of sleaze-rock merchants – and that’s a compliment, by the way – has never had the chance to perform his special brand of gritty, street-level, electrified blues and bare-knuckled, STD-infected hard rock for the home folks in Stoke. When hitting the road in support of his all-star studded, 2010 solo release Slash, one of the most expressive and technically proficient guitarists of our time made damn sure Stoke was on the schedule. And, as luck would have it, there was a big, ornate venue – historic Victoria Hall – waiting to welcome Slash’s rock ‘n’ roll circus to town.

Recorded and filmed for posterity, the sold-out show, which took place only months ago, has been documented as a double CD and a two CD-DVD package, and it’s a feast for the eyes and ears. The sound is intensely vivid, matching the visceral performance Slash and company pull out of that grimy black top hat of his. The secret weapon here is vocalist Myles Kennedy, the Alter Bridge singer whose alley-cat phrasing and switchblade tonality bear more than a passing resemblance to one Axl Rose. Joined by bassist/backing vocalist Todd Kerns, drummer Brent Fitz and guitarist/support vocalist Bobby Schneck, Kennedy and Slash take the audience down memory lane, evoking memories of Guns N’ Roses’ salad days with a roaring, white-hot version of “Nightrain” that’s as thrilling and scary as a night of horrors in a crack house. Slash’s guitar has never sounded so lean and mean, spitting venom and bile with every note, and his band slithers through every tight, sharp-as-broken-glass hook. Played with wild abandon and dynamic vigor, “Nightrain” leaves the audience breathless, and it almost ruins Made in Stoke 24/7/11 for everything else that comes after it because it is so gripping and deliciously nasty. But, hold on everyone. Slash and his band have miles to go before they call it quits.

One of a handful of Guns N’ Roses favorites on Made in Stoke 24/7/11, “Nightrain” almost makes one forget how rugged and soulful the riff-heavy opener, “Been There Lately,” off Slash’s Snakepit’s second LP, Ain’t Life Grand, is. It pops the cork on Made in Stoke 24/7/11 so dramatically that you can’t help but salivate over what’s to come. And Slash still has plenty of gasoline left in the tank by the time the meaty riffs of “Mean Bone,” also off Ain’t Life Grand, and the solar-powered soul of “Back from Cali,” picked from his latest effort, arrive. Digging back into Guns N’ Roses’ misanthropic catalog, Disc 1 lets it bleed with a rough-and-ready “Rocket Queen” setting up the raging epic “Civil War,” before the bands lays into “Nothing To Say,” “Starlight” and “Promise” – all from Slash – with relish and stabs swords into this mighty sonic bull to finish it off.

Not done by a long shot, Slash and his musical outlaws inject the heart of “Doctor Alibi” with a shot of adrenaline to jumpstart Disc 2, and the track off Slash slams headlong into the growling thrash- metal monster “Speed Parade” that lies in wait. Given the Aerosmith treatment, with its slide guitar and Kennedy’s world-wise singing, “Beggars & Hangers On” plays with the toys in Joe Perry’s attic, while “Patience” breaks tattooed hearts and “Sweet Child O’ Mine” pines for innocence with a revitalized crowd loudly singing along. Still, it’s Velvet Revolver’s “Slither” that steals the show on a Disc 2 that’s slightly more subdued than its predecessor. After the band is introduced, they rip into a powerful display of furious riffage and satisfying, face-down-in-the-gutter hooks that ignites an audience on the verge of storming the stage. And that’s before the blistering “Paradise City” threatens to blow the roof off the place with that song’s riotous conclusion, giving Slash and the boys a chance to finally take their leave.

Though there are brief moments when the driven, manic energy subsides, Made in Stoke 24/7/11 is mostly an all-out assault of fearless, gutsy rock ‘n’ roll. Slash’s solos are piercing, transcendent and wonderfully agile, proving once again that his hands haven’t lost a lick of speed or nimbleness. He remains a sublime talent, and Made in Stock 24/7/11 is a homecoming not only for Slash, but also those fans of his who haven’t given up hope that, one day, he’ll be back to conquer a music world that desperately needs his fire and recklessness, even if he is clean and sober and no longer the wild poster child of sin and degradation we all wanted to party with back in the day.  

-          Peter Lindblad

  

DVD Review: Velvet Revolver "Live in Houston"

DVD Review:  Velvet Revolver “Live in Houston”

Eagle Vision

All Access Review: B+

On paper, it was a match made in heaven, or at least somewhere on the Sunset Strip. Four ex-members of Guns N' Roses – Slash, Duff McKagan, Matt Sorum and Dave Kushner – backing a slithering, swaggering, fashion-plate of a singer with a highly publicized drug problem in former Stone Temple Pilots' Scott Weiland seemed like a super group that might just rekindle the crash-and-burn, gutter-rock firestorm of Appetite for Destruction. To a large extent, the promise of this shotgun wedding went unfulfilled – that is if you were expecting Appetite … II, the Sequel.

With Contraband, Velvet Revolver came out swinging with a fairly strong debut, even if it didn’t quite provide the grit and utterly debilitating punch to the gut that Appetite did. A lack of new ideas, some rehashed guitar riffs and Weiland’s subdued sleaze all caused Contraband to fall just a bit short of expectations, which is not to say that Contraband missed the mark entirely. Gripping grooves, tough, irresistible rhythms and the occasional flashes of brilliance in Slash’s solos rescued Contraband from utter failure and gave hope that better days lay ahead for VR.

At the very least, none of the Velvet Revolver team has anything to be ashamed of in Contraband. It just wasn’t Appetite, and maybe, just maybe, it was asking too much to believe that it would be. After all, this wasn’t Guns N' Roses, and comparing the two projects is a little unfair. But, let’s be honest. From day one when this project was announced, everyone was waiting to see if VR measured up to both Guns N' Roses and the Pilots.

At the time of this writing, Weiland had returned to the Pilots, and Velvet Revolver was being coy about whether or not it had settled on a new lead singer. “Live in Houston,” a concert DVD that captures the band live in 2005, shows what the Weiland version of the band was capable of onstage.

A gutsier, sleazier, edgier Velvet Revolver emerged this night. Aside from the lamentably forced exhortations from Slash and Weiland for the crowd to abandon their inhibitions and lose themselves in all the sexual energy that a down-and-dirty rock show can muster, Velvet Revolver acquits themselves nicely, playing with vim and vigor in stomping through originals and a few covers of Guns N' Roses and Pilots tracks. They attack the heavy opener, “Sucker Train Blues,” with a pounding, frothing-at-the-mouth intensity that unrelentingly barrels on through satisfying, riff-heavy numbers like “Do it for the Kids,” the epically huge “Headspace” and an equally explosive “Crackerman.” Weiland plays the role of debauched ringleader perfectly, crawling around the stage like a predator, pouncing on monitors and pouring out sweaty vocals through a megaphone, while the band lets loose furious, bump-and-grind metal grooves. And on the Guns N' Roses classic “It’s So Easy,” Weiland sounds just as dangerous as Axl ever did. 

Captured from a variety of camera angles, Velvet Revolver sizzles live, and the quick cuts and creative image shaping add to the excitement of a live performance that tears the roof off the place, even if VR flat-lines on a weakened “Big Machine” and a boring take on “Used to Love Her” before reviving itself for “Slither,” which comes down from its atmospheric headspace to hit the streets with roaring guitars.  

Overall, “Live in Houston” is not only a cracking concert DVD, but it’s augmented by no-holds-barred, behind-the-scene footage and candid interviews that talk openly about helping Weiland get sober and how the band fought over who the lead singer would be before getting Weiland. Expertly filmed and edited, with a whole lot more to offer than just electrifying live rock and roll, “Live in Houston” finds Velvet Revolver firing round after round of tough, angry rock to a crowd eager to lap it all up. Stay tuned. Evidently, the Velvet Revolver story is far from finished.

- Peter Lindblad