Kings of concert posters: Frank Kozik

First in a series on rock artists who shook up the modern-rock underground
By Peter Lindblad

Frank Kozik Unsane
Guzzard 1995 Concert
Poster The Whiskey
Hollywood S/N

Often shockingly bloody and unapologetically violent, the grisly album art for New York City noise-rock merchants Unsane was never for the faint of heart.

Seeing two cuddly bears, one carrying a bucket of PCP, on a concert poster promoting the band's 1995 show at the Whiskey in Hollywood with openers Guzzard and Lowercase in what looks like an otherwise innocent scene from an illustrated children's book certainly subverts expectations. Artist Frank Kozik is notorious for doing that.

Born in Spain and raised during the reign of fascist dictator Franco, before his family settled in California, Kozik has parlayed his delightfully twisted world view, fearless cultural commentary and incredibly bold use of color and clashing textural elements into worldwide fame. His works are highly sought-after by collectors.

Until Kozik arrived on the scene, the art of making concert posters had, for all intents and purposes, gone the way of the dodo bird. Many believe it was Kozik – his Unsane poster one of hundreds he's made over the years – who was responsible for bringing it back from the dead. (To view a really good selection of his works you can check out prints available for purchase on eBay: Frank Kozik Posters

Zeni Geva Original
Concert Poster by
Frank Kozik S/N

In his zeal to spread the word about the early '80s underground punk scene in Austin, Texas, where he was stationed while in the Air Force, the self-taught Kozik's first forays into the world of rock art involved making black-and-white fliers for friends' bands and splashing them all over telephone poles. Soon, people began taking notice of his provocative, in-your-face designs and unique treatment of , noting how the oddly compelling imagery made subtle and not-so-subtle cultural statements.

Eventually, Kozik moved on to developing the vivid and almost surreal silkscreen concert posters that gained him world-wide fame, creating artwork for the likes of Green Day, The White Stripes, Neil Young and Nirvana and lesser-known acts such as Hammerhead and others, and then going on to direct various music videos, including Soundgarden's "Pretty Noose."

Hammerhead Liquor Bike
1996 Original Concert Poster
by Frank Kozik X/N

After moving to San Francisco in 1993, Kozik established his own record label, Man's Ruin Records. Most of the posters and album art he produced back then were hand silkscreened and numbered at his studio. More than 200 singles and full-length albums were designed and released by Kozik – among them a Sex Pistols record and the first Queens of the Stone Age single.

In 2001, he shuttered Man's Ruin and moved on to other artistic pursuits, including throwing himself into the exploding art toy movement. He has designed more than 500 different limited-edition figures. Living in San Francisco today, Kozik also designs products and campaigns for a wide range of major companies. But, it's his wildly imaginative concert poster artwork – with pieces ranging in price from as little as $12 all the way up to $500 and beyond – that are his crowning achievements.

Here are some examples of his best work:

Groove Merchant 1997 Original
Silkscreen Gig Poster by
Frank Kozik 9737 S/N

Frank Kozik Man's Ruin Records
The Hammer of the Gods 1996
Concert Poster S/N

Butthole Surfers Pigface Bad Livers
1991 Original Concert Poster
by Frank Kozik 

Smashing Pumpkins Garbage 1996
Original Concert Poster by
Frank Kozik S/N

Soundgarden 1996 Mesa, Arizona Gig Poster
by Frank Kozik 9654 S/N

CD Review: American Head Charge – Tango Umbrella

CD Review: American Head Charge – Tango Umbrella
Napalm Records
All Access Rating: A-

American Head Charge - Tango
Umbrella 2016

War of Art came out in 2001, generating widespread critical acclaim and establishing a beachhead for the industrial-metal juggernaut American Head Charge in a nu-metal scene just starting to unravel. Then, it all began to fall apart.

Substance abuse and vicious infighting, often actually spilling out on to the stage, stopped their dysfunctional advance dead in its tracks, however, as did the death of guitarist Bryan Ottoson. Resurrected in 2013, the Minneapolis collective toured extensively and put out an EP titled Shoot, before readying the incendiary and cinematic Tango Umbrella, due for release via Napalm Records.

A diverse, tumultuous and ominous set of screaming, elaborately conceived tracks that traffic in the raging, disciplined riffs and unsettling electronic malignancy of Ministry and the mind-blowing array of innovative vocal treatments of Faith No More, Tango Umbrella also swims in the moody, progressive currents of Tool on the expansive and menacing "Sacred" and the surging "Down and Depraved," before spiraling downward into the dark, watery vortex of "Antidote." Adrenaline shoots through the veins of a rampaging "I Will Have My Day," setting a furious, breathtaking pace, while the burbling bass and slashing guitars of a thrilling, anxiety-ridden "Prolific Catastrophe" build compelling drama and the action-packed "Suffer Elegantly" goes 100 miles per hour, until downshifting into slower, heavier grooves, like those that grip "Perfectionist."

What American Head Charge has done here with album No. 4 is engineered, if not a miraculous recovery, then at least a stunning reversal of fortune. It's been a rocky road to get to this point. Hopefully, all their troubles are behind them.
– Peter Lindblad

The 'Sacred' works of Magnum

Bassist Al Barrow talks about the making of prog-metal legends' new album
By Peter Lindblad

Magnum is Tony Clarkin, Bob Catley,
Mark Stanway, Al Barrow and
Harry James

Tony Clarkin never rests it seems.

The mastermind behind the long-running U.K. progressive-metal powerhouse Magnum is always working on new material, and bassist Al Barrow marvels at his bandmate's industrious nature, as well as his creative ingenuity.

"I admire each and every time I read Magnum lyrics," said Barrow, the band's bassist since 2001. "He seems to be able to pull the most imaginative images to put them to the music. I have for years been writing my own material but yet to have anything that even comes close to what he does."

Magnum's latest record Sacred Blood "Divine" Lies (Read a review of it here: http://backstageauctions.blogspot.com/2016/02/short-cuts-dream-theater-magnum-steven.html ) arrived in late February via the Steamhammer/SPV label with a batch of strong, soaring melodies, rugged riffs that never fail to satisfy and theatrical vocals that treat Clarkin's words with the sincere reverence they're due. Balancing forceful, driving rockers like the churning title track and the stirring anthem "Crazy Old Mothers" with the occasional ballad, Sacred Blood "Divine" Lies displays Magnum's might and awesome majesty with aplomb.

Barrow talked to All Access about the new album, as well as his indoctrination into Magnum – also singer Bob Catley, drummer Harry James and keyboardist Mark Stanway – after his stint in Hard Rain, a melodic hard-rock spinoff formed after Magnum split in 1996, in this in-depth interview.

Magnum - Sacred Blood "Divine"
Lies 2016

When Tony Clarkin presented the band with the songs he’d written for this record, what was your impression of them? Did the material seem different or special in any way?

Al Barrow: It`s a bit of weird process. Not that it`s bad in anyway, but when we hear the first rough ideas of the songs they are very disjointed, no vocals as such, just rough drum patterns off a drum machine and guid guitars and a few keys … maybe a chorus if we are lucky. You can get a vibe from it, but it really is too early to say wether it`s gonna be a huge album or not. We have worked this way for many years and we trust in the evolution of the process. There will always be a song that will hit you straight away, but this changes as the writing process continues and develops. There are so many massive changes to be done from the initial renderings of the early song ideas. I know that Tony was excited about the ideas for this new album right from the start and that always lights a fire amongst the band. We are always excited about creating new music that we enjoy and we hope others will enjoy also.

Are you privy to the process of selecting songs for a particular album or is that completely in Tony’s hands? And if so, how are the songs for recording sessions introduced to the rest of the band? Does a meeting take place where all of you go over everything?

AB: Tony will collect maybe 30 ideas he has worked on. He will then bring them to the main studio to transfer into Pro Tools. He will work on them a bit more and replace guide guitars with more guitars that have been run through his cabs and amps. This way he gets a better feel for what will work or not as the case may be. There is not meeting as such. It`s generally Bob, Tony, myself and Sheena Sear, the engineer, in the studio most days. Only when the songs have got to a reasonable stage will Tony say, okay, lets shelve those, keep those or put them in the "maybe" folder. Then he will concentrate on about 15 songs or so.

Describe what it was like recording this album. In what ways has the process gotten easier for what you do in the band since when you first joined in 2001?

AB: Lot`s of tea making by Bob (laughs). Tony is in the studio with Sheena getting the tracks up and ready for about 10 a.m. I arrive about 11 and chat to Tony about ideas, what we have seen on TV or the web and then may discuss artwork and plans for mercy and tours. Bob will arrive around midday. Tony will go over with Bob what we have discussed or done in the studio that morning. As we now use Pro Tools instead of tape the process is much more streamlined and easier to work with. Some things Tony and Bob will have taken home to listen to the night before will be looked at again for any changes they feel might be needed. Tony will continue to put down guide melody lines either with guitar or keyboards. Occasionally if Bob is unavailable Tony may get me to sing a few guide vocal tracks just so we can move along and to see if a melody he has in mind will work. Then Bob will replace it later. When it comes to recording the bass parts we spend a while getting the bass rig set just right and fine-tuning the sound to get close to what we want. To be honest, with the gear I use now it's pretty much plug and play. I use Warwick amps and on this album I also used TC Electronic amps and cabs. So we like to mix it up a little.

Were there any unexpected obstacles that cropped up in the making of this record?
AB: No, not really. We have been doing this a while. If anything the obstacles we seem to get [have to do with] running order and the final mixes. Sometimes it's hard to separate yourself. I have a few days away and then come back and with fresh ears I can sometimes point out things that may pass the rest of the guys by. Sometimes you have to step back.

How do approach adding your bass parts to a Magnum record? Has that changed in any way over the years? 

AB: Not at all really. As I say, we have been doing this for a while so it's a situation we feel comfortable in. We have a good idea of our parts before going in the studio to record our parts. Tony wants to hear the basics first. What he gave us as guide. That way we can spend a few days putting down what we have rehearsed in our own studios. So it all comes together. So we get a good mix of what Tony wants and what we want to add. He gives us a lot of scope and time to do what we want. But to be honest with you Tony has a good idea from the start, so I don't tend to deviate too much from the roots. Magnum is not a band that has complex bass lines. It's the song that is important here, not being all freaky with bass lines, etc. 

What qualities do you admire most about your colleagues in Magnum?

AB: They have been there, done it all. They have the T-shirt and pretty much written the book on how to tour and write albums that stand up over the years. These guy have stories that would make Lemmy look like a virgin nun, but as they say, "What happens on tour stays on tour!" Those days have since gone, and these days it`s more professional and relaxed. It`s all about giving the fans the best show possible.

I also like that they are all talented in their own way, but as a band [they] show [their] strengths. I have always been told there is no bigger band member than the band itself. Some of us have bigger members though!

Tour artwork for Magnum's
upcoming 2016 trek

Do you think this is the most dynamic record Magnum has recorded since you’ve been in the band? What previous Magnum records does it remind you of?

AB: Absolutely! I have said it with every album I have been involved in. I believe that completely. We have stepped up to the bar and surpassed it each time. This has a lot to do with what the members bring to the band. But ultimately it's down to Tony writing another stunning album. It is its own entity. Obviously as the band [members] and the songwriter and production team are the same there will be some similarities. But I find with each album there is a progression to another level. Another story to write, a new sonic avenue to explore. With each album for me personally this has to be the best bass sound I have recorded … grittier and more upfront than any other album. This pleases me a lot, but it sits in the track well. It`s down to great production.  

The chart performances in some European countries of recent Magnum releases have been pretty eye-opening. Why do you think Magnum’s newer material is resonating with fans?

AB: Thats something you would have to ask them, but we have a great social media page and the interaction between the band and fans is great. We see them say what they think; they get the chance to ask the band questions, etc. I think this helps build a very personal feel between the band and fans. After all the music is very close to their hearts. It deserves a good interaction from us.

So from reading the pages it seems we are hitting the nail on the head most of the time. The new album has been so well-received. Of course, there will always be the few that will constantly harp on about Storytellers No. 2 or Wings of Heaven No. 2. But why as musicians would you want to repeat something that you have done already? We are in a band to create new and exciting music –something that floats our boat first, then we just hope it floats others.

We never want to rest on our laurels and not be tribute to ourselves. It's well documented Tony and Bob wish to always move forward and try something new. I bet if they did a new album that sounded like Storytellers we would get slagged for not pushing boundaries and playing safe to a formula we felt would sell … selling out almost – becoming a tribute to ourselves.

I am not saying that Magnum wish to forget their past. They are very aware of why fans got into the band to start. But we are a bunch of guys who want to create. We hope that fans understand that.

Are there specific bass parts on this album that really pushed you or challenged as a musician?

AB: No, not really. I mentioned that the bass lines in Magnum are very simplistic and just support and enhance the song. This is the most important part. If I want to go play all up the dusty end and give Frank Zappa a run for his money then I will find another project to work on. Now when it comes to backing vocals … that's another story. Tony pushes me and Bob to the max. He gets me singing notes I did not think I could ever hit. It`s always fun as they sit there laughing at me trying to hit some of the notes. Ye ye Im just here for entertainment's value (laughs).

You were in Hard Rain, and that led to you becoming a member of Magnum. At the time, what were your hopes for Hard Rain and then Magnum? Was the transition difficult?

AB: Hard Rain was fun, but it just didn't have the backing or the prestige of what Magnum had. It was a lot of fun to record and tour, but I think it was a stepping stone back to where we are now. There were no issues with the transition at all. It was just a follow-on for me. Of course I was happy to get the call, but it all felt very natural.

Did you expect that Magnum would reform during those days? If so, when did it become apparent to you that things were headed in that direction?

AB: I was alway hoping in someway. Just in the fact that having the Magnum name would allow us to play more shows in bigger venues. Hard Rain had some stunning songs and we approached it in a very different manner. As I mentioned it's all a lot more of a professional approach these days. Less time in the pub and more time in the studio and rehearsals. I think we had the balance wrong on that. Now Magnum are on the ball, tighter and more polished than ever before.

Talk about designing the artwork for Breath of Life and Brand New Morning. Did you feel any pressure when working on them to articulate exactly what Magnum wanted?

AB: I had no idea. Me and Tony would just sit down and try to come up with ideas. It was very early days for me with design. Computers were all new to me, so I was learning as Tony was telling me what he wanted. I have to say I learned a lot, but I prefer to leave those covers well in the past. I can't look at them.

We work very closely with Rodney Matthews these days. We have swapped from time to time who gets the front covers. I think he has excelled this time on Sacred Blood.

You come from a family of musicians. What was your upbringing like and how did it influence you to do it for a career?

AB: My older brother was actually the drummer in Hard Rain. Rob had played for many years and was asked to step in when Kex Gorin was unable to continue. He recorded the second Hard Rain album When The Good Times Come with us. My younger brother is also a drummer and lives in Canada playing sessions for local bands. He has probably the quickest feet of any drummer I have ever seen play. He is crazy talented. He does not play so much these days but still keeps his hand in from time to time. My older sister is a singer and has also sang on Magnum albums and also sings in a Journey/Toto band.

Again extremely talented and has been very inspiring to me over the years. They had been doing it for years before I got to the point I wanted to be a pro musician.

Tony’s talked about how hard it is to write hard rock songs, as opposed to ballads. Can you feel how difficult a song’s creation was when you hear it for the first time?

AB: I can only speak from a personal point of view when it come to writing songs ... I have learned from (Tony), though. He has some formulas in some areas, but even he says himself he has no idea how you write a song. Each album for him is a massive uphill struggle. To find something new and fresh after all the albums he has produced, just not to repeat your own ideas must be so hard. He still says he has something to say, but it's how you say it and make the connection from something that is personal to him and others.

One thing I know he hates is when people ask him to explain his lyrics. He's been better in the last few years. But he likes the music to speak for itself.

Magnum have some stunning ballads. Tony has said writing ballads is easier, but the hard part is trying to talk about love, loss and heartbreak in a new way. That's the trick!

What excites you most about being in Magnum these days?

AB: Pretty much everything. At this point I have just gotten back from a trip out into the mountains in Tennessee. I got an email on my phone telling me the mid-week chart placements in the UK. It was probably the most bizarre feeling. Feeling so far away from everything I am used to, out in the middle of the mountains trying not to get eaten by bears – yes, there are bears here – and seeing how well Magnum's new album had sold. We only hope that this gives us a lift and gets the promoters to sit up and take notice and start booking us into more cities around the world. The fans are there. We will be there to play for them if the promoters will take the chance and book us.

It`s a very exciting time tight now. I am looking forward to getting on the road with the boys and playing some of the new album live. What's not to like?

Thanks for taking the time to ask some questions today and we hope to see lots of you on the next tour. Cheers for now. Al Barrow. Play it live , play it loud. Live your dreams!

Short Cuts: Dream Theater, Magnum, Steven Wilson

CD Review: Magnum – Sacred Blood "Divine" Lies
Steamhammer/SPV
All Access Rating: A-

Magnum - Sacred Blood
"Divine" Lies 2016

Forever inhabiting and exploring the more progressive terrain of hard rock and heavy metal, the good ship Magnum forges ahead, its old parts still in good working order. Dependent on the prolific songwriting of Tony Clarkin, brilliant instrumental chops and the emotional, expressive delivery of singer Bob Catley, Magnum's dramatic power reaches critical mass on the worldly, dynamic and engaging – if at times overly sentimental – Sacred Blood "Divine" Lies. Here's where an uplifting, heavenly ballad such as "Your Dreams Won't Die" can soothe nerves put on edge by the menacing undercurrents and tightly drawn guitar figures of a title track destined to become a Magnum classic. Where the bracing stomp and racing heartbeat of "Princess In Rags (The Cult)" propels a grandiose scheme, the rousing anthem "Crazy Old Mothers" seeks adventure and renewed vitality and finds both in spades. The divine and the sacred are found here.

CD Review: Steven Wilson – 4 1/2
Kscope
All Access Rating: A

Steven Wilson - 41/2 2016

Most of 4 1/2 comprises disparate scraps left over from the critically acclaimed Hand. Cannot. Erase., as progressive-rock auteur Steven Wilson seamlessly pieces together a lush, celestial quilt of a six-song EP that holds together remarkably well. Moments of blossoming transcendence emerge from immersive instrumentals like "Year of the Plague," but it's the well-crafted, flowing melodies of "My Book Of Regrets," interrupted by a jazzy eruption and dissolving into a spacious, dreamy interlude, and "Happiness III" that worm their way into listeners' memories and set up permanent residences. A live recording of the Porcupine Tree favorite "Don't Hate Me," further manicured in the studio, closes this brief chapter in Wilson's creative arc with its haunting grace and sense of desperation, as Wilson and Ninet Tayeb exchange lovely male-female vocal retorts in a duet full of world-weary, heartfelt yearning. Mini-LPs like this are rarely essential. This one is an exception.

CD Review: Dream Theater – The Astonishing
Roadrunner Records
All Access Rating: B+

Dream Theater - The Astonishing 2016

Even those with voracious appetites for all things Dream Theater might find The Astonishing to be a lot to digest. Bulging at the seams with 34 tracks spread across two CDs, interspersed with quite a bit of filler, it might be the progressive-metal institution's most theatrical and ambitious undertaking, its grand compositions artfully emboldened and fleshed out by an orchestra and choir conducted by David Campbell. A cinematic concept album touching on themes similar to Rush's magnum opus 2112, The Astonishing imagines a future where the oppressed revolt against a totalitarian regime going to extremes to control the masses, but there is also a refreshing romantic element to the story. The sweeping majesty of "2285 Entr'acte" opens Disc 2 with dramatic force, whereas the passionate urgency and motoring drive of both "Moment of Betrayal" and "My Last Farewell" seem engulfed in a violent energy and "Dystopian Overture" blackens into an ominous storm cloud gathering strength, just before the innocent longing and immaculately conceived songcraft of "The Gift Of Music" let in the light. Settle in, because it's going to take some time to fully appreciate and comprehend what Dream Theater has accomplished here.

CD Review: Rich Robinson – Paper, Llama Blues

CD Review: Rich Robinson – Paper
Eagle Rock Entertainment
All Access Rating: B+

CD Review: Rich Robinson – Llama Blues
Eagle Rock Entertainment
All Access Rating: A-

Rich Robinson - Paper reissue 2016

Now that it appears the Black Crowes ' divorce is final, guitarist Rich Robinson can focus all of his attention on reviving a solo career that began in 2002, the year he started recording Paper.

Ultimately released two years later, Paper – the colorful cover art painted by Robinson himself – was an engaging, if occasionally messy, pastiche of different genres, effortlessly blending country, blues, soul, pop and psychedelia in a Southern-fried rock meal rich in diversity, skillful songwriting and tasty, tantalizing guitar licks to savor long after devouring them.

Kept in a New Jersey storage facility, along with his gear, the 2-inch master tapes for Paper were mangled by Hurricane Sandy's wrath, but there was a silver lining. With Robinson initiating a reissue campaign through Eagle Rock Entertainment for all of his solo outings – preparing the way for a new studio album due out this spring – came an opportunity to record new vocals, do some remastering and alter the sequencing for Paper. The results of those efforts, including three previously unreleased tracks from the 2004 sessions, are found on this reconfigured package due to drop Feb. 26, along with 2013's Llama Blues EP. New versions of Through a Crooked Sun and the Woodstock Sessions will see the light of day on April 15.

As for Paper, the warm sound of this expanded reissue is washed clean of impurities, allowing the full instrumentation, pristine vocals and the buffed chrome-plated sparkle of Robinson's electric guitar tone to shine through on the rollicking opener "Know Me," while giving a slightly serrated edge to the sunny, laid-back funk of "Enemy" and its strutting, tougher cousin "Stand Up." Even the Exile On Main Street murk of "Words Of The Chosen," an instrumental carried by gently rolling rhythms, has a certain clarity to it, while the crawl and stomp of "Yesterday I Saw You" and the smoldering distortion of "Places" assume pleasing and clearly defined shapes.

Falling from wistful '60s pop ("Walking By Myself") into a deep country blues hole ("Forgiven Song") as a mournful violin saws away, Paper somehow manages to avoid betraying its "south of Mason-Dixon line" heritage, that down-home twang rarely leaving Robinson's beguiling guitar work. More amorphous and less cohesive are the piano-based "Baby" and "Cause You're With Me," two drifting, worn-out tracks whose lovely parts never seem to coalesce into actual songs. The grand, Southern gothic vibe and undulating rhythms of "Answers," however, are more congruous and structured, making for a wholly realized offering that seems haunted by Townes Van Zandt.

Rich Robinson - Llama Blues
reissue 2016

Llama Blues was originally supposed to pair nicely with Through a Crooked Sun, its traditional blues feel echoing that album's "Fire Around." Limited to 1,000 CDs, Llama Blues became a cult favorite – can it really boast of being so if it's only three years old? – of Robinson's fans and it, too, is back on the market.

Robinson's distorted singing adds grit and honky-tonk attitude to an organic and thoroughly authentic – doing without any kind of slavish imitation – set of four songs that build small shrines to the ghosts of the Mississippi Delta. Wild harmonica blares through the Stones-y stutter of "By the Light of the Sunset Moon," while Robinson deftly massages subtle slide guitar into a stomping "Look Through My Window" and a slow burning, drawn-out "Broken Stick Crown." Stay for "Run Run," a brooding closer with a stripped-down aesthetic that's earthy and hard, but full of integrity.

While Paper is somewhat long and you wish it was the more charismatic Chris Robinson singing on these records rather than his somewhat subdued brother, both albums are well worth revisiting. Though not as immediately rewarding or as transcendent as the best stuff from the Crowes' catalog, their charms stick around for a while and make good company.
– Peter Lindblad

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

CD/DVD Review: Onslaught – Live At The Slaughterhouse

CD/DVD Review: Onslaught – Live At The Slaughterhouse
AFM Records
All Access Rating: A

Onslaught - Live At The
Slaughterhouse 2016

Presumably, Onslaught didn't actually perform at places where dead animals are processed into meat. Although a screaming abattoir might provide the horrifically ideal live atmosphere for catching a show from these veteran U.K. thrash-metal savages.

Presenting ample video and audio proof of life, the violent and energetic AFM Records release Live At The Slaughterhouse draws from two highly visceral, staggeringly brilliant gigs in Bristol and London to comprise a package that completely erases the memory of the Neil Turbin debacle of 2014 and smacks of Venom's blackened anger, while siphoning off gallons of Slayer's crazed intensity. Throwing around big, heavy hooks like brawny longshoreman even while thrashing about everywhere as if in the throes of the nastiest demonic possession, Onslaught blows the doors off their hinges here. Vocalist Sy Keeler rages with Satanic fury throughout, singing of "spitting blood in the face of God" as the rest of Onslaught explodes and engages in the predatory tempo shifts of a seething "Killing Peace." Furious charges "Chaos Is King" and "Let There Be Death" set a scorching pace, before the exotic wailing of "Children Of The Sand" signals the thrilling rise of a massive, cinematic epic that comes on like ... well, a surging sand storm gathering strength.

The propulsive, sulfuric boils, venomous tonality and diabolically clever leads emanating from the ferociously feral guitars of Nige Rockett and Leigh Chambers crack the whip on vigorous, blazing sonic rampages "The Sound Of Violence" and "Rest In Pieces," while "66 'Fucking' 6" rides a dark, ominous melody and the creepy music-box intro to "Destroyer Of Worlds" seems to perfectly build hair-raising anticipation for the riot of hell-spawned, warring riffs that awaits. And there's a tinge of regret in Keeler's voice as he ushers in "In Search of Sanity" by disclosing he hasn't sung the song with the band since the late '80s, but after Onslaught relentlessly and fiercely pounds it into smoldering rubble, the wait seems well worth it. There really is no rest for the wicked.
– Peter Lindblad

CD Review: Anvil – Anvil Is Anvil

CD Review: Anvil – Anvil Is Anvil
Steamhammer/SPV
All Access Rating: B+

Anvil - Anvil Is Anvil 2016

Leave it to Anvil to record a wickedly playful, heavy-metal sea shanty about pirate mythology. Heaving to and fro, like a massive, creaking ship tossed about by stormy seas, "Daggers and Rum" – rife with stereotypes as it is – flies the Jolly Roger with a knife between its rotten teeth and a black heart that lusts for treasure.

It would make a fine drinking song if nothing else, and as Anvil always seems fond of history and a good gimmick – who doesn't get a childish chuckle from seeing Steven "Lips" Kudlow play a guitar with a vibrator? – the steady, relentless march of "Daggers and Rum" could be another "15 Men On a Dead Man's Chest" for a new generation. At the very least, it's an unexpectedly theatrical and fun opening to the Steamhammer/SPV release Anvil Is Anvil, a good, satisfying meal of simple, meat-and-potatoes metal from the resilient underdog trio of Kudlow, Robb Reiner and new bassist Chris Robertson.

Hard to believe it's been eight long years since the rockumentary "Anvil! The Story of Anvil" brought them temporary fame that quickly faded. Anvil Is Anvil does feature moments of inspired performances, creative vitality and focused intensity and drive, as Reiner's impressive drumming again steals the show. Still, despite the high-energy attack of "Up, Down, Sideways," the strong, sure hooks and rugged AC/DC-style riffs of "Ambushed," the thrashing excitement of "Fire on the Highway" and the raw horsepower of "It's Your Move" – a Motorhead-like rave-up that serves as an homage to the late Lemmy Kilmister and his former band – Anvil Is Anvil's flagging, pedestrian midsection and the unwillingness of these shaggy old dogs to learn new tricks make it unlikely legions of new members will flock to join the Metal Pounders' Union.

Nevertheless, Anvil is worth rooting for, the self-deprecating humor of the cover being one reason. Another has to do with their willingness to tackle controversial subjects head on, as they rumble and grind through "Gun Control" like tanks and skewer religious justification for war and hate without mercy on an otherwise flaccid "Die For a Lie." This is Anvil, for better or worse, still as capable of delivering blazing, rip-roaring metal anthems as they are of falling flat on their faces.
– Peter Lindblad                                                      

Absolutely Prong

Alt.-metal frontman talks new album, Glenn Danzig, great crossover LPs and touring
By Peter Lindblad

Prong's Tommy Victor

The road hasn't always been kind to Tommy Victor and Prong. And being in a gritty, uncompromising alternative-metal outfit can be a crushing grind.

Victor has seen it all and lived to tell about it in his 30 barnstorming years as Prong's frontman, having also served on punk and metal's front lines as a sound engineer at the legendary New York City music club CBGBs in the late '80s and played alongside other musical agitators, such as Rob Zombie, Ministry, Marilyn Manson, Trent Reznor and Glenn Danzig.

These are better days for the battle-tested Victor, as a re-energized Prong – with Jason Christopher on bass and Art Cruz on drums – gets set to unleash the blistering X – No Absolutes via the SPV/Steamhammer label. In the last four years, Prong, more prolific than ever, has been on fire, releasing a string of critically acclaimed studio albums such as 2012's Carved Into Stone,  2014's Ruining Lives and the punk covers album Songs From The Black Hole in 2015, in addition to the Official Bootleg – Unleashed in the West LP, which gave Victor and company a chance to re-make some the band's classic songs.

X – No Absolutes is as vital and ferocious as any of them, an incendiary record that's remarkably fluid and fast, while refusing to tone down the violence of its heady mix of hardcore, thrash, hard rock and metal, even as more melodic elements seep in. With a massive touring schedule on the horizon, Victor recently discussed the new record, along with a host of other topics, in this candid e-mail interview.  

With Songs From the Black Hole, you covered a pretty diverse set of classic punk and rock songs. Did the making of that album have any impact on the creative process that brought about X – No Absolutes?

Tommy Victor: I didn't notice during but looking back, yes. Especially with the vocals on X- No Absolutes. I had to interpret several different vocalists on Songs From The Black Hole. That may have broadened my eventual approach on the new record. Covering Neil Young's "Cortez The Killer" was motivational for me. That was a vocal challenge for me and Chris Collier and I built a method in making that vocal happen on Songs From The Black Hole and that definitely carried into X – No Absolutes.

　

In what ways do you feel you're getting better as a songwriter, and how do they manifest themselves on the new record?

TV: I think I've become a better collaborator. I'm improving there. And in the area of figuring out the puzzle of arranging songs, I have different methods these days. Steve Evetts helped me on that big time. I like getting together with another writer or two and getting feedback and making adjustments. without killing oneself doing it. We worked at a very fast pace on this record, as with Ruining Lives. I don't like overworking songs anymore. The impact of the lyrics waters down and the riffs dry up!

Prong seems to be enjoying a rebirth in recent years, with Carved Into Stone and Ruining Lives having a real palpable vitality to them – not that past efforts didn't have that as well. Still, do you feel there's something about your most recent work that has a different creative spark or a new urgency to it?

TV: Some of that transfers into the business side of things. This really started when we signed with SPV. They want consistent records and so does management, so I feel like I'm obliged to deliver to the best of my ability. It's weird when you are given a short amount of time to get things done. I think that may create that urgency that you are speaking of. I think it goes in line with this sort of music. We really haven't had time or money to overthink things. I've also gotten real lucky with having Art and Jason, Chris Collier, Steve Evetts and Erie Loch in this mix. They've really saved Prong's ass.

Prong - X - No Absolutes 2016

It seems that X – No Absolutes has more elements of thrash and hardcore than those records, even as some songs sound more melodic than ever. Was there more of a tendency to play up those elements on this record?

TV: Prong is ever attempting to find its formula, as well as keeping an eye on the successful elements of past recordings. I must say this No Absolutes record is the most stealth record I've ever been involved with. We went into this like a well-oiled machine. The old songs are so beaten into us after so much touring. And Chris Collier and I have this amazing working arrangement that has been building since Ruining Lives. So we simply seem to have been given this instinct on what Prong should be in 2016. It's nothing designed on paper. It all comes from the gut these days.

In this environment, when music is viewed as more disposable than ever, do you think "Cut And Dry," which is really intense, has a chance to be thought of in the same way as other Prong classics, such as "Snap Your Fingers, Snap Your Neck?" 

TV: I don't know to be honest. Prong was very dialed in on the preparation for Cleansing. And I think we were dialed in even more on this record. It was a whole different time back then. Prong was newer and fresher. On the other hand I think legacy bands can make some waves these days too.

Talk about the production of your most recent records, the ones released since 2012. Do you think they sound better than past efforts? And if so, in what ways has the production improved or been able to capture what the band is all about and how has Chris Collier helped this time around?

TV: I've touched on this in previous answers.I liked Steve Evetts' mix on Carved Into Stone and Ruining Lives. But I wanted a more full-throttle attack on this new one. Chris is a younger dude. He doesn't come from the analogue era, so he really doesn't care about being vintage and I wanted that for this new Prong record. That's why I've been sort of moving him up to the role of producer for Prong starting with his work on tracking Ruining Lives. Then I pulled him into tracking vocals and mixing Songs From The Black Hole. So with two records of experience in all facets of making a records with Prong, I had him co produce, engineer, mix and master X – No Absolutes. As a co-producer, I simply have to make a few key decisions on how to get a record done efficiently and of course within time and budget. Chris took the role most commonly thought of as production. He guided all the tracking and made technical decisions along the way. A lot of that is really under the title of engineering, but Chris also had a lot of input on all the aspects of making the record – from guitar overdubs to guitar positioning, phrasing, solos, and tunings. Drum parts, arrangements and, of course, sounds. He was the ears on the vocal performances as well. He's amazing.He's really a top notch dude.

Prong is Tommy Victor, Art Cruz
and Jason Christopher

"Do Nothing" could almost be described as a ballad, and the intro to "With Dignity" features some lovely piano work. In what ways do you think X – No Absolutes expand the template for Prong?

TV: I wanted some real "songs" on the record and that was the basis for getting those tracks together. Here's where Erie Loch came in. I had worked with Erie on this industrial Primitive Race record and was blown away by his talent. He wrote the basic music for those songs and Chris and I developed the treatment. Art and Jason came in with their parts after that. I guess it is about expansion. But it's really not anything too different than what Prong was trying to do on Rude Awakening, Cleansing and even the last five records. I didn't want to completely abandon that aspect of Prong. Not many bands are doing this sort of thing and that therefore sets us apart. I never quite feel comfortable with being just a thrash band or metalcore or whatever. These days my biggest priority is getting those vocal hooks together. And writing current, biting lyrics. The music is really a backdrop for that in a lot of ways. That's sort of what I mean by classic "songwriting." Its just not all about the riff and technical proficiency to me anyhow.

You've been really busy lately, with recording and touring extensively. Has the schedule taken its toll or do you feel revitalized by all this work?

TV: I got real burnt out after the Danzig/Superjoint/Prong tour. I had to get revitalized by doing other things like hiking and really just taking it easy. As usual, one gets bored with the simple life and now I feel like doing shows again. I'll get sick of that and be itching to make a new record. I've been through this cycle so many times. I try not to get scared and try to live in the moment and just appreciate life.

What's the biggest lesson you learned as a sound man at CBGBs back in the '80s?

TV: I don't know if what I learned there applies to today's age. Back then it was important to be involved in the scene. I was right in the middle of it. For many years, I was a club kid. And I played in bands, hung out in clubs and then worked in a club. My whole life was centered down in the art scene of the Lower East Side. If I didn't do that, I wouldn't have had any juice to make the music business a career. Today everything is online. You don't really have to be "out there" making the sacrifices and earning street cred.

While known as a punk club, there were many crossover bands that played there that incorporated thrash, metal and post-punk. Did you have a sense at some point that the club was broadening its horizons? And do you feel that part of the club's history has been sufficiently told?

TV: Not to be an ass but based on your question, it's obvious that the club's history has not been sufficiently told. That place started out as a country,blue grass and blues bar. And it always welcomed music of any style. Yes "punk" bands like Blondie and the Ramones came out of there, but it was always eclectic with its music. Hardcore punk only existed there on Sunday afternoons. Then it would transform back into allowing art-rock bands, noise bands, acoustic artists, pop bands, funk groups – whatever – to come in. If you're talking strictly hardcore matinees, yes they would do thrash there occasionally, but it wasn't popular.

What was the most enjoyable part of your fairly recent tour with Danzig and Superjoint Ritual, and in what ways has Glenn Danzig influenced what you do?

TV: The fact that I got it done was the most rewarding aspect of the tour. It was tough doing double duty. Playing a rushed Prong set, then a long Danzig set was nerve-racking. Then I had to jump in the Prong van and do our own shows or support for Superjoint on Danzig days off. It was definitely the hardest tour I had ever done.

The main attribute of Glenn Danzig that I have appreciated over the years is his dedication to who he is. He's got big balls. He's totally committed to what he does and really doesn't care what others think.

What was the hardest tour Prong ever did, and by the same token, what was the best one?

TV: We've had some brutal tours. I must say, most of the tours we did back in the day were just not fun. There was too much pressure on us all the time and we were easily jealous of other bands. I really don't have that many good memories. I like this lineup. Or maybe it's the fact that I'm less of a little brat these days that I can somehow get along with people better. We've had some great runs recently. The last Songs From The Black Hole tour in Europe was stellar.

Has your approach to making records or the process of doing so changed at all over the years?

TV: Again I've touched on that. I really didn't have a clue what was going on years ago, and I still don't really. I just think I'm a little more trusting these days. All music is a gift. The songs or ideas that you think you come up with aren't really yours, they come from The Universe. I trust in these gifts and just make them happen now. I can't afford to question every little thing I do anymore. I just roll with a lot of things. 

What are you most proud of with regard to your career? 

TV: Not to act like some guru or something, but I try to avoid pride like the plague. It's too dangerous for a person like me. I'll start believing bullshit about myself and start treating people badly. Everything I have has been given to me, especially when it comes to Prong. Based on my attitude, this should have been dead in the dirt a long time ago. So actually the best moment for me in my career is right now, doing this interview with you. Everything else is bullshit. Who cares? The past is the past, it doesn't exist anymore.

What would you say are your five favorite crossover albums and why?

TV: I like early ones like Corrosion Of Conformity's Animosity. That was groundbreaking and it had all that great Sabbath overtones. Suicidal Tendencies' Join The Army. Its just so damn noisy and violent. Agnostic Front's Cause For Alarm has some great NYHC with thrash. Leeway's Born to Expire has classic crunch picking,with the CroMags style approach. Sheer Terror Just Can't Hate Enough because it's dark and dangerous.

There's that question they give in job interviews about, "Where do you think you'll be in five years?" Do you have a sense yet of what you'd like to do with Prong in that time?

TV: I'm not on a job interview! Maybe I will be in five years!

Short Cuts: Primal Fear, Megadeth, Pagan's Mind

CD Review: Megadeth – Dystopia
T-Boy Records/UMe
All Access Rating: A

Megadeth - Dystopia 2016

Incendiary socio-political commentary comes with the territory with thrash-metal titans Megadeth. So do gnarly, complex guitar riffs and leads that defy the onset of arthritis, explosive displays of technical instrumental brilliance and a pervasive sense of impending menace, as well as the occasional lineup change. Newcomers Kiko Loureiro (guitars) and Chris Adler, still the drummer for Lamb Of God, hopped aboard after the departures of Chris Broderick and Shawn Drover, and the jaw-dropping results of this personnel reshuffling can be found on the breathtaking Dystopia, a buzzing hive of insanely ambitious and meticulously orchestrated, yet absolutely furious, activity that reminds us why Megadeth still matters ... a lot, especially to guitar aficionados. Aside from the dizzying array of squealing, careening solos found all over this record and the frenzied overlapping guitars that close the title track's wild ride, there are tastefully executed classical acoustic intros that begin the otherwise seething and hard-hitting "Look Who's Talking" and "Conquer Or Die." Tight hooks crop up in "The Emperor" and the fast, punk-infused "Foreign Policy" opens up the throttle. The heavy thrum, thundering drive and darting movements of "The Threat Is Real" make it an instant Megadeth classic, while the ominous and dense "Poisonous Shadows" is beautifully wrapped in melancholic strings, before bleeding out with a delicate and darkly stylish piano outro. This is elevated thrash, capable of precise, surgical guitar strikes executed with such fluency that they feel almost futuristic, yet Megadeth still possesses a mean streak a mile wide, as the punishing malevolence of "Post American World" and "Lying In State" so brutally declares. Dystopia charts a course for thrash-metal's brave new world.

CD Review: Primal Fear – Rulebreaker
Frontiers Music srl
All Access Rating: A-

Primal Fear - Rulebreaker 2016

That old saw about life being all about balance has a lot of truth to it. Primal Fear likes to apply that same philosophy in making records, as their sonic rampages often grow into snarling beasts soon soothed by stretches of melodic wonder and magic. Such is the tradeoff on the well-produced Rulebreaker, album No. 11 and the dynamic, crushing follow-up to 2014's Delivering The Black. Offering a little bit of everything, as some hard-charging, high-voltage thrash ("Angels Of Mercy") gets mixed in with hammering bursts of power-metal glory, a grand, orchestral prog epic ("We Walk Without Fear") and more traditional metal grit (see the NWOBHM throwback that is the title track), Rulebreaker finds the German metal machine – led by ex-Gamma Ray singer Ralf Scheppers and bassist/vocalist Mat Sinner – administering a good, satisfyingly heavy bashing a rugged "The End Is Near," with its full-bodied, sneering vocals, and getting downright nasty on "Bullets & Tears," both songs flexing thick, muscular grooves. And when an opportunity arises for Primal Fear to hit the accelerator, they floor it on the slamming anthem "In Metal We Trust," long before the ascending magnificence of power ballad "The Sky Is Burning" is realized with a jaw-dropping chorus. Rulebreaker is classic Primal Fear, sometimes a bit too straightforward, but also full of vitality and blazing energy.

2 CD/DVD Review: Pagan's Mind – Full Circle: Live At Center Stage
Steamhammer/SPV
All Access Rating: A-

Pagan's Mind - Full Circle:
Live at Center Stage 2015

Pagan's Mind has become a fixture at the ProgPower USA festival, the 2003 edition of the event serving as the band's coming-out party. On Sept. 11, 2014, the progressive-metal powerhouse made history there, performing its sophomore album Celestial Entrance in its entirety, along with an additional set of what they call "True Norwegian Hard-Hitting In-Your-Face Space Metal" centered around the sweeping, epic instrumental "Full Circle" – its watery passages and wide-ranging emotions making for a gripping listen. All of it is included in a new live release, out in various formats, including a spectacular 2 CD/DVD set. Intricate metallic riffing abounds, as Pagan's Mind comes off as a Scandinavian version of Dream Theater on the crunching, yet gracefully melodic, "Entrance Stargate," " ... Of Epic Questions" and "Dimensions of Fire," with dramatic keyboards swirling about or taking on a vaporous quality. The gorgeous piano waterfall of "Back to the Magic of Childhood I: Conception" gives way to a maze of riffs and tempo changes in its companion piece "Back to the Magic of Childhood II: Exploring Life," and the stirring gallop of "Dreamscape Lucidity" rouses the masses, later sent into paroxysms of delight at the lightning-fast soloing and grumbling riffs of "Eyes Of Fire." Meanwhile, the dramatic surges and quicksilver tempo changes of "Intermission" are carried out with aplomb, and "Live Your Life Like a Dream" rides a lovely current of melody. With a theatrical singer that, at times, emotes like Iron Maiden's Bruce Dickinson, Pagan's Mind offers enchantment and wonderfully expansive journeys, even if they occasionally take all-too-similar paths. Still, this Pagan's Mind release would be a terrible thing to waste.
– Peter Lindblad

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.

David Bowie and me

Five occasions when the 'Thin White Duke' left me gobsmacked
By Peter Lindblad

David Bowie - The Rise And Fall of Ziggy
Stardust And The Spiders From Mars

A rare shopping trip at Kmart used to be a big deal to a wide-eyed innocent living in the relatively isolated environs of northwest Wisconsin in the 1970s and '80s.

It was an opportunity to rifle through a bargain bin of cassette tapes to strike gold at the low, low price of three for $10, and on one particular day, there was one nugget that shined above all the rest. How David Bowie's The Rise and Fall of Ziggy Stardust and The Spiders From Mars ended up there I'll never know, but it was the deal of the century, at least to me. To an awkward teen struggling to fit in socially at a school that still seemed foreign, even though I'd been attending it for five years after moving from another state, finding it was a spiritual and musical awakening. Although at the time, the fact that it had "Suffragette City" on it was enough to warrant its purchase.

Hearing a preening Bowie at his bitchiest exclaim, "Wham, bam, thank you ma'am" was pretty suggestive stuff for a sheltered preacher's kid looking for a little excitement and finding loads of it in the glam rock glitter bomb that was, perhaps, the late musician's finest hour. It was a song that begged to be played over and over, at the expense of every other cut on the album, and every listen was a shocking encounter and a teasing invitation to explore worlds way beyond my understanding. It wouldn't be the last time Bowie, whose death the world is still grieving, did something that shook me to my core. There are at least four others that stand out:

Meeting Ziggy Stardust And The Spiders From Mars: Others might point to the "Berlin Trilogy" of Low, Heroes and Lodger as more innovative and groundbreaking, and the '80s commercial success of the stylish Let's Dance sparks warm memories, but The Rise And Fall Of Ziggy Stardust And The Spiders From Mars brought about, in me, a revolution.

It was the gateway drug to punk and new wave for an altogether unfashionable, shy, clumsy and risk-averse small-town boy scared, but also excited, by what that album represented. Not that I was at all aware of any of it at such a tender age (being around 14 at the time), but the sexual ambiguity, the gender-bending, the depressed rock star undergoing an existential crisis and the idea of a "Starman" wanting to come and meet us, " ... but he thinks he'd blow our minds" actually did blow my mind. It was all too much for someone weaned on '70s progressive rock and Led Zeppelin, Black Sabbath and The Scorpions, and other tamer arena-rock acts.

Others obviously had a different experience, but it wasn't easy to fall for an album that challenged cultural norms so aggressively. It was audacious, arty and raw, with an androgynous, glam-rock swagger on the completely exhilarating "Suffragette City," which was raucous and fun. But, there was hard-bitten desperation and anxiety in the air of "Hang On to Yourself." A mental breakdown was coming in "Ziggy Stardust," and despair permeated "Rock 'n' Roll Suicide."

Nevertheless, the swooning beauty of "Moonage Daydream" and sweeping majesty of "Starman" – along with the the intoxicating resignation of "Five Years" – gradually eased the tension of the rest of the recording, and over time came acceptance, which grew into an undying romance with its overarching concepts, its incisive social commentary, its broad imagination and its wild, timeless vitality. I'm still madly in love with it.

Ashes to Ashes ... Major Tom's a junkie?!: Wading through hours of bad TV just to get to late-night music shows was a weekly ritual. "Friday Night Videos," anyone? The MTV generation had it so goddamn easy. Every so often, however, there was a reward for such perseverance. Bowie's video for "Ashes to Ashes" made the tough slog worth it. When it at first it popped up, it seemed disturbing, and surreal, but still utterly captivating. It was a continuation of the Major Tom story, and things had taken a very dark turn indeed for the intrepid astronaut. (Check out the behind-the-scenes making of the video below)

As skies blacken, Bowie, dressed as a French clown, walks along a deserted beach talking with an old woman. Joined by worshipers in orthodox religious garb, he leads a funereal procession ahead of a bulldozer and the scene is awash in solarised colors. Elsewhere, he's imprisoned in a padded room and plugged into a spaceship.

In a matter of minutes, the stunning visual feast had taught us all more about symbolism than four years of college-level literature and poetry classes. Innovative and artistically daring, the "Ashes To Ashes" video was breathtaking, a strange, melancholy dream world constructed by otherworldly creatures obsessed with themes of mortality and alienation. Or, maybe it was just being weird for the sake of being weird. Whatever the case, it left an impression and haunted my dreams for years.  

Glass Spiders: 1987 saw Bowie and his poofed-up pompadour attempting to pull off one of the biggest, most theatrical tours ever conceived, "The Glass Spider Tour." Initially, critics were not kind in their assessment, calling it pretentious and overblown. And it probably was. The costs associated with it were exorbitant. There were dancers, a dazzling array of colored lights, projected visuals and stage props, and the whole set-up was designed to look like a enormous spider.

Thanks to a high school and college friend, who was quick to buy us tickets, I was able to see one of the shows at Milwaukee's Marcus Amphitheater. It was the only time I ever saw Bowie, and it was an amazing, jaw-dropping spectacle. Completely over-the-top, the staging was ridiculous, and yet, it was also utterly brilliant. You couldn't take your eyes off it. Rarely have the worlds of theater and music collided in such an ambitiously artistic tour de force. It was a blazing supernova, accompanied by a great setlist. And it also revived the career of Peter Frampton, while confronting conventional notions of what a rock 'n' roll concert was supposed to be and spitting right in their tight, puckered faces.

"Saturday Night Live" – Dec. 15, 1979: Out in America's Heartland, nobody knew who Klaus Nomi was. David Bowie's appearance on "Saturday Night Live" on this particular date changed all that. A cabaret performer with an incredible, operatic voice, Nomi's legend was growing in New York City's underground, when Bowie plucked him from obscurity for a fiercely avant-garde coming-out party on national television that nobody expected.

With startling facial features, makeup and vivid costumes, Nomi and fellow New York performance artist Joey Arias were visually arresting backing up Bowie, who performed three songs. After a stirring rendition of "The Man Who Sold The World," Bowie dressed up in a skirt and heels for a "TVC 15" off Station To Station and when they closed with Lodger's "When You're A Boy," Bowie had morphed into a living marionette, with oversized arms that moved. Crackling with electricity, this outing was shock therapy, a carefully orchestrated attempt to cause the anesthetized masses some discomfort and make them squirm in their easy chairs. Mission accomplished.

The End: Blackstar came out two days before Bowie's death, a parting gift from one of the most influential and daring artists of this, or any, generation. It became Bowie's first No. 1 album, debuting at the top spot on the Billboard 200.

The video that accompanied "Lazarus," with a blinded Bowie levitating off what appears to be a hospital bed in an antiseptic, sparsely furnished room, is soothing and disquieting at the same time. The last time a video this affecting came along, Johnny Cash was reinterpreting Nine Inch Nails' "Hurt" with stark instrumentation and confessing to sins and mistakes with trembling sincerity, all in the hope that redemption and salvation lay ahead in the next life. Like Cash, Bowie seems to be looking for closure as he clings to life, and he does it in such an elegant, understated manner that you can't help but wish him well on his journey into the afterlife and wave goodbye (the video's director talks about Bowie's last hurrah below).