torsdag 31 mars 2011

Idag höjer vi glaset för Angus!

Den gamle skolpojken fyller 56 idag.

Nu är hjälpen här för trötta småbarnsföräldrar!

Som förälder har man haft de där tillfällena då barnet skrikit oavbrutet och inget har hjälpt, men nu finns ett botemedel i form av Satyricon.

Van fucking Halen!


Here's what I can add to the current rumours...
Yes, the album is all but done and it appears mixing is underway, but once again, my source (who has been with me all through this) is sticking with the story that the majority of the album was recorded in 2010 with producer Ross Hogarth. John Shanks was called in to help David Lee Roth arrange and record the vocals and put the whole thing together.
I'm told that Eddie has played most of the bass parts, but will likely not be credited on the album for that.
My source also tells me that one of his contacts heard one track with the working title of Lift. It was described as having "a Van Hagar flavor to it" and that "Dave's vocals were done in a very low baritone key."
Lastly, I heard from a venue in Europe that they were offered a mid-year date for a Van Halen with Ozzy Osbourne tour package. I can't confirm that in any way, but take it as yet another rumour to consider.
That's all until next time...

Ytterligare en Foo ute!

Inte lika bra som "Rope", men den växer.

Gör som Nancy Reagan: Just say no!

Tja, Steven Adler är åter nykter. För 107:e gången. Minns när han var här för första gången med sitt band och hur han under intervjun satt och dreglade oavbrutet. Dock trevlig och tillmötesgående. Men herrejävlar vilket liv!
Gillar hans inramade Zeppelintavla i bakgrunden.


onsdag 30 mars 2011

Lyssna på Creedy stomp!

Pearl Jam släpper ju nya deluxeutgåvor av "VS" och "Vitalogy". Lyssna på instrumentala bonusspåret "Creedy stomp" nedan. Faktiskt riktigt bra.

Creedy stomp och hela albumen här

Nörderi på hög nivå!

Älskar klipp som detta. Har alltid tyckt att deras "Dynasty tour" var riktigt tuff. Må hända inte deras starkaste period musikmässigt, men showen var "over the top" och scenbygget ursnyggt.


tisdag 29 mars 2011

Kan inte släppa låten...

Vet inte hur många gånger jag återkommit till denna danska dynamiturladdning de senaste åren? En fullkomligt formidabel käftsmäll som funkar varje gråtris vardag.

Give me Van Halen or...

"The Van Halen News Desk ( was the first to report last December that Van Halen were set to record a new studio album with Grammy Award winning producer John Shanks. In January, Shanks confirmed this via his Twitter account.

Today, respected Metal Show host, Eddie Trunk, tweeted that he heard gossip from a “reliable source” that the “VH album is close to done and will come out this year. Label TBD” This matches up perfectly with what we heard from a trusted source at the beginning of March – that the recording process is going great and the band is starting to mix the new tracks. Also, from another reliable source of ours today, we hear that this Fall is the most probably time that the album will be released and a tour will begin.

Get ready, everybody…the Van Halen juggernaut is gearing up!"

Ser fram emot plattan. Är det bara i närheten av "Me wise magic" kan det faktiskt bli bra. Dock inte riktigt säker på att Shanks är rätt man för jobbet.

Bra VH-story i senaste Classic Rock!

I senaste Classic Rock bjuds det på en trevlig artikel om Van Halens "1984" och inspelningen av detta album, som kom att bli Diamond Daves sista med bandet. Kul bilder på den fyraårige killen som satt som modell för ängeln på omslaget, visas också.
Dessutom avslöjas det att en ny bok om bandet är på gång.
Ynka 39 pix på Pressbyrån just nu.

Chad snackar med Haegg!

Chad Bowar på metal snackar med den skäggigaste svensken vi har att erbjuda, nämligen herr Haegg i Amon Amarth.
Kortare intervju på länk nedan.

Amon Amarth här


måndag 28 mars 2011

Har ni fest eller?

Conny Bloom och gänget bjuder på festligheter.

Inte återförening för pengarna!

Från kommande MOJO via Grungereport: “It’s not a cash-in…we didn’t reform & then do a world tour followed by a rushed studio album.” “There’s something out of control that happens when we start to play…it’s indescribable, hard to put your finger on, but it has to be there. And sometimes there’s too much of it.”

Upprop för Angus!


Johan på AC/DC Machine vill få svensk bio att visa kommande nyutgåvan av "Let there be rock" på en riktig biograf. Skriv på namninsamlingen nedan! Namninsamling här


lördag 26 mars 2011

Intervju med Carmine Appice i King Kobra!

King Kobra är tillbaka och för andra gången får jag tillfälle att snacka med Carmine Appice. Jag ringde upp honom i Paul Shortinos hem i Las Vegas och fick en trevlig pratstund om bl a kommande plattan, åren med Rod Stewart, turnerandet med Ozzy och varför King Kobra aldrig riktigt lyfte från marken på 80-talet

Carmine: Niclas, how are you? That´s my son´s name!Cool! I´m good. How are you Carmine?
Carmine: I´m good. Sweden huh?
Yeah! Stockholm!
Carmine: I´ve heard it´s cold!
Yeah it is! Shitty weather!
Carmine: I´m in Vegas, at Paul Shortino´s house. It´s beautiful here.
I actually interviewed you and Pat Travers backstage seven years ago at a place called Fasching in Stockholm.
Carmine: Right, right!
What made you put the band together again?
Carmine: Well, it was just something that was really just an accident, you know. What we did was, David Michael Philips actually came to LA one day and we were just having a cup of coffee and we went to see my buddy Pat Regan who was mixing the Keel album and he was doing it for Frontiers Records and Paul Shortino was on that album producing Ron Keel´s stuff, so basically we were just listening and Pat said “Hey, you guys should maybe get King Kobra back together and a do a record for Frontiers?” and I said “That´s an interesting idea!”. I was working with this manager Alan and he said “Yeah, I think I can put together a deal!”, so started negotiating that and while he was doing that, I was talking to the rest of the guys in the band about doing it and everybody agreed to doing it. Before, I talked to Marcie Free about doing it and the word to me was that se didn´t want to do it. I said that if I was gonna do it, I´d like to play some live shows and we were hassling over releasing a video too. I have this video from Acapulco (1986) and she didn´t want it released and it was a bit of a hassle, so we didn´t release it. There was a bit of a bad flavor left in the atmosphere. But I said “If we do this release would you wanna do some gigs?” and she said “No, I don´t want to do any gigs! I don´t want to be like a freak show!”, so I said “Ok, that´s fine!”. I had in my head that we need to get a new singer, so while we were there talking to Pat, he said that Paul Shortino was doing some stuff for the Keel album and I said to David “You know, Paul is a great singer! I don´t know if you know him?” and he said “Well, I don´t really know him.” And I said “Well, I´ve known him for a very long time and he´s a great singer. I did a project with him when we were on the bus for 14 hours and we did nothing but sing all kinds of songs like from The Beatles to The Temptations and Paul was able to sing anything. We should probably call Paul and we need someone with a name I would think, to replace the original.”. So I called Paul and he was totally into it and now we had the singer and the band and Alan was working on the record deal and he finally got the record deal together and it was all put together.
This new album, it´s quite heavy in its places. Did you produce it yourselves?
Carmine: Yeah, me, Paul and David basically produced it. Michael Voss mixed it and he´s doing the new Michael Schenker album and he´s done Paul Shortino´s album and Gary Barden´s album and it´s all like a family. Paul sang the backgrounds on Michael Schenker´s dvd that Michael Voss mixed and he produced and mixed Paul Shortino´s album and he also did Gary Barden´s album and while I was on tour this summer Gary was telling me, and played me the album, how great Michael Voss was and then Paul said that Michael wanted a shot at mixing the King Kobra record and I was on the road with Michael Schenker and he was doing Schenker´s album too, so it´s like a family. (laughs) This guy is coming up everywhere, so he must be good. We gave him a song called “Monsters and heroes”and I´d like to send it to you. It´s not on the album and what it is is it´s a tribute to Ronnie James Dioand it´s a really, really great song and all the money that´s being made from it goes to Ronnie´s cancer fund, so I´m just trying to promote it. Classic Rock Magazine are gonna put it on their website, so if you can do anything like that, it would be great.
Carmine: So we gave him that song to mix first to see how it goes and he sent back a tremendous mix and I said “Wow, this guy´s really good!” and then we worked out a deal and gave him the whole album to mix and he did a tremendous job.
All the guys in the band, have you all stayed in touch over the years? I remember you mentioned that Johnny Rod had been in jail back and forth.
Carmine: Yeah that´s right and he´s still as crazy as ever. He was in jail and he was married to a doctor and there were drug problems. Johnny´s a bad boy. Crazy as ever still, ok! But we found him. I had a number on him and I called him and he called me back. He would call me every six months anyway, to see what was going on. He´s an Italian boy, you know, as much as I hate to say it. (laughs) Mick I knew how to get a hold of, because when I did that King Kobra album in 2000, I had put Mick on there and David I always knew how to get a hold of, so it wasn´t that difficult really to find everybody.
What was it like sitting down and writing songs together again? Was it easy or hard?
Carmine: It was very easy, because what we did first of all, was that me and David brought out tapes that we had from 1984 and 1985. We had songs that we never put on the first album, like “Top of the world”, “You make it easy”, “Midnight woman”, and “Screaming for more”. These were songs that we actually started writing in the 80´s and Frontiers made it really specific to me that they didn´t want an album like “Hollywood trash”, which was a more modern sounding album, they wanted and 80´s classic King Kobra sound. I talked to David and Paul and said “Maybe we should bring out some of these tapes that we have?”. The first meeting was me, Paul and David and we came to Vegas to Paul´s studio and we had these tapes and went over the songs and decided on which songs we were gonna go for and then David said that he had some ideas and Paul and I had some ideas. And believe it or not, but we did this whole album over the Internet. How about that! Everyone lives in a different town. Johnny lives in St Louis, I´m in LA, Mitch is in Fresno, Paul´s in Vegas and David´s in Phoenix so it´s really hard to say “Ok, let´s get together and jam!” and the budgets for today´s recording isn´t that much, so we would eat up the entire budget just on travel. We decided that David would come to Vegas and it would be like a middle ground from LA to Phoenix. We would put the songs together and then e-mail them to each other and put everything together. That´s how we did it. I came out to Paul´s house a couple of times. He´s got a great house and his wife Carmen is great and I have my own little room and the studio is right across the hallway, so we get up and walk into the studio and then we put all these things together. We would send David some ideas and he would then put those ideas down on a Pro Tool session with a click and send it to us and then me and Paul would write a lot of lyrics and melodies and put all that together, then we´d send it back to David and then he might change something. Sometimes David would send us a guitar and a drum machine and we would cut and paste it the song together the way we heard it rather than the way he played it to us. ”Monsters and heroes” was like that. Then when he sent me all the tracks, we went into a studio here, an analog studio, so we did the drums analog and then bounce them into Pro Tools and after we did that we sent them back to David and he would put rhythm guitars on and Johnny Rod moved to Vegas so we put the bass on in the same analog studio and that´s why it sounds so good. Then we sent that to Mick and he did his parts and sent it to Paul and Paul did all the vocals and I came back out here and we did background vocals and everything at Paul´s house. Finished it up with percussion and everything and then sent it all to Michael Voss who mixed it. Unbelievable! But it doesn´t sound like that. It sounds like we´re all in the same room.
Do you have any memory of why those songs were left off the album back ten?
Carmine: Yeah, we were working with Spencer Proffer and he didn´t think they were good enough, but I disagreed with him. I thought they were very good songs and now they come to life on this album and everyone´s agreeing with me.
Cool! Back when the band was first put together, the idea of the rest of the band being blonde and you having black hair, was that you?
Carmine: That was me, yeah! I came up with that idea when I was on tour with Ozzy. Mötley Crüewas opening up for us and they had three guys with black hair and Vince Neil had blonde hair and I thought “That´s a cool concept!” and I said “You know what, if I ever do a heavy rock group of this era, I was thinking about doing it all blondes which would be vivid and me being the black haired one!”. So after I got fired from Ozzy (laughs) which I did… when Sharon´s departing words were, “Your name is too big! You need to start your own band!”, I took her advice. I started King Kobra and I had this whole concept of finding really good looking guys that the chicks would like and play really great, sing really great, because a lot of those bands in the mid 80´s couldn´t play. They sucked!Thye just had a good image, but they could not play! I´ve always come from a playing aspect first. If you can play and then you have a great image, that´s it! For me it was like finding good looking guys, younger guys, break them in the business and make sure that they´re great players and I think that I found that with everybody in King Kobra. Mark Free was a great singer, Johnny Rod was a great bass player and great performer and the same with Mick and David. David was a great songwriter and had songwriting abilities in his own right. The “Home street home” thing we did, which was the first rock/rap song that was ever done, was penned a lot by Mick and I wanted to put that on the second album because I wanted to attach both worlds, the rap world and the rock world. Unfortuneately Capitol Records failed us on many levels and because of them it didn´t go, but right after that they came up with Aersomith/Run DMC track and they went “Oh, the first time you ever mix rock and rap!” and I said “No, we had a six months jump on you there!”. But anyway, having that band together… it was a great band and that´s why getting the actual band members together was a good idea because we play really well together and with David back in the picture, he was the key writer. Between the two of us, we put the King Kobra sound down. My drums and his guitars and structures of chords and stuff created the sound on “Ready to strike” and “Breakin´out” and you can hear it on “King Kobra III” like in “Redline” and “Mean street machine”. That was me and David.
Who came up with the Kobra sign? I remember a buddy of mine bought the first album and we saw the video for “Hunger” and then we went around and did the Kobra sing all the time.
Carmine: (laughs) I came up with that! It was all my thing! These guys were brand new and they didn´t know what they were doing. All the creative stuff, the blonde hair and the whole thing came from me and this was around the time that Dio started doing the Dio sign and I said “Well, that´s a cool idea. Maybe we should have a Kobra sign?”. I came up with that and we used to get all the audience doing that at the gigs, which was great. Then again, Capitol failed. If we would´ve become a really huge band, that thing would probably have gone further. Like the Dio sign now is the president of the rock signs. They do it in rap, they do it everywhere. Like Rod Stewart started that haircut and the raspy voice or Jeff Beck with the haircut. Ronnie Dio started that sign and it´s gone all the way, so that´s why. We tried to do a Kobra sign to rival what Ronnie was doing.
You went out with KISS. Was that your first major tour?
Carmine: Well, I would say yes. First major long tour. We had done some other gigs, like with Ted Nugent for a couple of weeks and odd gigs with Queensryche and Iron Maiden, but not on a tour basis. We did do a tour with Autograph. But that was our first major tour and our only major tour and it was awesome! They actually gave us that tour because Gene and Paul were friends of mine and our manager, Alan, used to work for Aucoin management, so they did us a favor. They put us on the tour and actually paid us. I think they paid us 2 or 3000 dollars a night, which they didn´t have to do but they were friends and did that for us and it was an awesome tour. It was a wild tour because instead of renting a bus I went out and bought a mobile home, a RV, because a bus is like 25000 dollars a month and it´s crazy! So instead of using the tour support for that, we would use it to try and promote the band and with buying a motor home, you put ten grand down and you have a 300 dollar a month payment, so we did that instead and after a couple of years of using it, it started breaking down a lot and it used to break down a lot on this KISS tour. Every time we would end up making it to the next gig, KISS and their crew would cheer us “Ah, you guys made it!”, because a lot of times the motor home broke down and we ended up being on the side of the road and we had this truck too, so some of us would jump in the truck and we´d get there and the other ones would have to get a rented van and wait for them to deliver it and you´d get there just in time to go on. It was crazy! But it was a great tour and we had a lot of fun with KISS and they had a lot of fun with us.
I just found a clip on YouTube of an in store appearance you guys did in 86 in McAllen, Texas. Was that on the KISS tour?
Carmine: Eeeehhh, it probably was. It was either the KISS tour or the gigs we did with Ted Nugent. (I later found out that it wasn´t on the KISS tour since King Kobra played their final gig with KISS on April 8 and the in store appearance is listed as April 22. Editor´s note)
Did you do a lot of stuff like that, back in those days?
Carmine: Yeah, we did a lot of stuff! You know what else was going on at that time, the movie Spinal Tap. I didn´t like the movie because I was living it. I was living it with King Kobra. In my career I was playing arenas and big theaters from 67 up until Ozzy´s days and then right after that I started the King Kobra stuff and I´m in a mobile home driving around with these young guys and we´re hitting these clubs and these small theatres and you can´t find the stage and it was totally Spinal Tap. It was driving me crazy and I couldn´t even look at this movie. Paul was in that movie and he played Duke Fame.
Carmine: And now we´re saying that Duke Fame is singing with King Kobra. (laughs)
Duke Fame who played the Enormo dome!
Carmine: Yeah, exactly! In those days it was hard for me to deal with it.
Like you mentioned, you toured with Autograph. Are two of those guys dead?
Carmine: They might be, I don´t know. I didn´t hear about that.
I just recently read that. I believe Steve Isham is dead though.
Carmine: I just saw Steve, the lead singer, at a department store in the Valley. He´s working with Spencer Proffer which is funny. Proffer does music for movies.
Cool! How did you get the “Never say die” song in the “Iron eagle” movie?
Carmine: That was my friend Duane Hitchings who was with me on “Do ya think I´m sexy”and “Young turks” and I got him into writing with Rod Stewart. He did “Infatuation” and together we wrote songs for Alice Cooper. He was well into his song writing thing and his partner Jake Hooker was also a manager and he managed Edgar Winter and Jake Hooker co wrote “I love rock and roll”, so Duane and Jake wrote this song for “Iron eagle” and Duane was involved in the production of the second King Kobra album. I brought him in as a co producer, because Spencer Proffer didn´t have time to do it and I was like “Ok, I´ll do it with Duane!”, so we brought Duane in and he brought in the opportunity to do this “Iron eagle” song and that was great because we did the song and then we went and did the video with Lou Gosset Jr and we became friends with Lou Gosset and we spent three or four days on the set and we had this thing going where they made it look like we cut our hair off and we really didn´t. We cut our hair a little shorter so we could put it up so it would look like it was cut off and after looking at that video and everything and Mark Free becomes a woman. (laughs) They used him as the weak link and the wimp and in his life he wanted to be a woman. It was nuts! So when I listen to music and lyrics he wrote, everything has changed for me. But when he left the band, he left because he wanted to sing what I call wimpier music. King Kobra with this new album is heavy rock and that was what we were all about and he was all about that and then he started changing into where he wanted to be more like Survivor, you know, and that wasn´t really what we wanted and that´s why he left.
The second album “Thrill of a lifetime” was a bit more commercial.
Carmine: Yeah, because that´s what Capitol Records said to us, “Look, we don´t know how to sell these albums, these heavy rock albums as good as we can sell singles, so we need a load of singles and we want you to give us one side of the album with singles and the other side you can do what you want to do. We need the singles in order to do anything with this or we´re not gonna give you the budget for the second album! We´re not gonna do it unless you do this!” so I said “Well, we have to do it then!”. We tried to put together some cool kind of songs that were lighter, which was what Mark Free loved. I can´t even remember the songs that we did, but that´s what happened and that´s why. The record company didn´t know how to sell us and in the end they still didn´t know how to sell us. I know why, because the A&R guy that we had was originally the radio guy. Ray Tusken was an amazing radio guy and he was the one that broke every act that Capitol had in those days. Then they promoted him to A&R so they had nobody running the radio. They didn´t know how to sell the rock. After our second album came out and they did nothing about it, even with the KISS tour they couldn´t do nothing, they put him back on radio and he started working with Poison and Poison used to open up for us. Poison took our whole image. If you look at Poison on the first album, they were very similar to King Kobra and next thing you know Ray Tusken broke them open and as far as I´m concerned they weren´t that great of a band. (laughs) Being honest, they had a good image and a good show, but as far as music, c´mon1 Rikki Rocket couldn´t even play in those days. CC was the best thing in the band. Bret Michaels was not a great singer and the bass player was almost invisible, but they had a cool image and they broke them. Ray went back to doing what he does best. We were quite pissed off at that, I gotta tell you. (laughs) I mean, there were a lot of bands that came out in the mid 80´s or late 80´s and they were horrible! It was all about the video they could make, but most of them couldn´t play! They had drummers that couldn´t play and guys that were just posers, so when we came out with Blue Murder in 89 and we were doing 70´s kind o stuff and people were digging it, but that´s another story.
Since you worked with Rod Stewart, the song “Do ya think I´m sexy”, do you still get a lot of royalties from that one?
Carmine: Oh yeah! It was a huge song! Definitely the biggest song of his career.
Did you know when you wrote it, that it could be something?
Carmine: No. When we wrote it… Rod was the kind of guy who would keep his eye on the charts. “The Rolling Stones are number one this week with Missing you! I want a song like Missing you!”, so that´s what “Do ya think I´m sexy” was supposed to be and it was when we first recorded it. It was done with three guitars, bass and drums and keyboard and it sounded really rock. It had huge big drum sounds on it and then Tom Dowd, the producer, kept adding to it. He put a 42 piece orchestra on it, he put David Foster on it, Tom Scott on it and Linda Lewis singing high harmony version of the string line and then Duane Hitchings was on it. Before you know it, we had two 24 tracks full of music! 48 tracks of music and that´s why when we they mixed it, the drum sound is thin and small and there was so much stuff on it that it started sounding like a disco record, but I guess that´s what he was going for, because in 78, that´s what was big. And you know what, I can´t complain. It went to number one in every free country in the world.
When was the last time you saw Rod?
Carmine: I saw him a year ago when Jeff Beck was playing in LA and Rod came and sang “People get ready”, which I was involved in the making of also, which I never got credit for and that´s another story. (laughs) With Rod… when you´re in his camp and you´re playing with him and everything´s cool and he´s a nice guy and great to work with, but when you´re out of the camp, you´re out of the camp! When I heard he had cancer I gave him a call “Hey dude, I´m so sorry!” and he never called back. Then when I saw him that day I said “Hey Rod, I called you a bunch of times!”. He used to call back when he had his other assistant, a guy named Malcolm that I used to know and he passed away. Then he had his secretary Amanda and she was fine. She would give him messages and sometimes if I called she´d get him on the phone, but since she´s gone he´s got his nephew there and he doesn´t really know me. So I said “Rod, I called you a few times! Did you get my message?” and he goes “No!”. “Well, are you around tomorrow?” and he said “Yeah!”, “Well, I´ll give you a call!”. And I wanted to give him a version of “Do ya think I´m sexy” that I did with Pat Travers where it was done heavy. I wanted to show him that because he keeps saying it´s a disco song and it´s all about the arrangements. I wanted to show him how you can rockify this song and sometimes he does it twice in shows so why not do it differently the second time. I called him the next day and of course he didn´t answer and I never heard from him. But what are you gonna do? But when I saw him he came over and gave me a hug. It´s just a different level of… he´s on a different level of superstardom. He plays these 20000 seat places and sell them out. When I was with him we did six nights at these places.
You mentioned earlier the Ozzy/Mötley tour. What do you remember from that, since it´s quite infamous these days, especially with Mötley Crüe going bananas on that tour? Did you take part in all the shenanigans that went on?
Carmine: I was on it only for the first six or eight weeks of it, but the thing that I do remember is that they started this thing which was called “The no fun tour”, because Sharon wouldn´t let anybody backstage.
Yeah, I know!
Carmine: So they had this limp penis as the mascot and they would draw this everywhere and they would write “No fun tour 1983” because Sharon wouldn´t let any groupies backstage. I used to go hang out with them. I used to like Tommy and I´ve got some funny stories about Tommy. He would do this thing where he would twirl his stick and then he hit the cymbal and grab it with his arm and I said “Hey dude, where did you get that from?” and he said “I got it from John Bonham!” and I told him he got it from me. “ I did it first in 1968 with Vanilla Fudge and the John got it from me and passed it on to you!” and he didn´t believe me So I said “When we go back to LA, I´ll show you some videos!”. So I showed him some videos of Vanilla Fudge on the Ed Sullivan show, before Led Zeppelin was even out, of me doing that stuff on TV for 50 million people and the a year later doing it with my big drums, the same drums that I got John Bonham where the end of “Shotgun” was very similar to “Rock and roll”, so when he heard that he said “When did you do this? That´s just like Rock and roll!” and I said “Yeah, I did that five years before Rock and roll came out!”. And he was like “Dude, I can´t believe it!”. We became good friends on that tour. It was rough for Ozzy, because they were going for the throat, they were ready to kill and ready to blow Ozzy off the stage every night and they did it a bunch of times. I would be doing press every day and master classes and I get on stage and I´m fired up to go and I say “Ozzy, let´s go man! Mötley Crüe just kicked ass and we´re gotta kick their ass!” and Ozzy would go “Oh, I´m bloody knackered!” and I was like “What do you mean you´re knackered? C´mon man, let´s get some energy going!” and I was trying to fire him up. I don´t know if it was from drinking or his wife working him too hard doing press all day, I don´t know. But I gotta say that the band we had was an awesome band. Bob Daisley and jake E Lee and myself, we were killing!
Yeah, killer stuff! Back to King Kobra. Any tour plans or festivals?

Carmine: We´re talking about it now and Adam, the manager, is talking to people and trying to see what we can get going, but you know, King Kobra was never big. We were bigger in the press than we were in actual sales, because of my manager Alan who knew how to manipulate press to make it look bigger than it was and that´s what he did with KISS and then the album sales caught up with the image. We never had that luxury because the label flaked out on us, so we had a big image and a lot of press and people knew us, but there wasn´t a lot of record sales. What´s happening now, to do a comeback, the numbers for King Kobra to come out and do a festival is really not enough to even warrant the plane flights, you know. The plan is to… we´re talking now about doing a bunch of shows in some major cities and it´s not gonna be any money making ventures, but more promotion.
Is Rocklahoma on for this year?
Carmine: I guess it is. I haven´t heard anything about us doing that, but as I said, the manager´s working on stuff. He´s original plan was to get the record out, get some good reviews and get the buzz out then try and book some of the festivals versus trying to book them when there´s no buzz going on. we´re gonna do a video this week for probably “Turn up the party” and “Live forever”. Then we´ll see where it goes. Hopefully we can sell enough records and do enough to warrant another record.
I just found out today that Black N´Blue are releasing their new record on Frontiers as well.
Carmine: Unbelievable! Frontiers has become the 80´s staple. Every band that was ever out in the 80´s is now on Frontiers and all these bands were on different labels. These guys have taken on everybody. I´ve got friends of mine that think Frontiers is mafia money. (laughs) They sign everybody, but they sell like 5 or 6000 of every record worldwide and how do they make their money back?
But they did good with the latest Journey album, I believe. I think they sold nearly a million copies of it.
Carmine: Oh, I didn´t know that! Well, they´ll probably do ok with the Whitesnake record.
You guys should play Sweden Rock!
Carmine: Yeah, we should play that. I would think for sure that they would want King Kobra, but their offer was ridiculous. They couldn´t even pay for the flights and Frontiers don´t do tour support. I think we were offered like 3 grand, so it just doesn´t pay. I thought for sure because with Cactus they offered us a good amount of money. But all those festivals are offering the same amount of money and we can´t do that, unless someone wants to lose money and I don´t want me to lose money. I lost 150 grand on the last run in the 80´s and I´m done with that. This is all for fun now. I´m not saying we have to make a lot of money, but we need to make something because there´s nobody there to take the deficit.
I understand. Thanks a lot Carmine and good luck with everything!
Carmine: Thank you and if you need anything let me know!
Här hittar ni Monsters and heroes
Senaste från Rollins!

Den här veckan är Henry ute på vägarna i sitt hemland och begrundar musik kopplad till årstiderna.

Henry här

ISE tillbaka!

Nicke Andersson:

”In Concert! är Imperial State Electrics nya mini-album. Inspelad i studion! Albumet innehåller sex låtar tagna från setlistan till vårt nyligen genomförda korståg genom Europa. Jag håller mina egna kompositioner högt, men betydelsen av vårt rock’n’roll-arv kan inte understrykas nog. Chuck Berry, The Runaways, The Beatles, Raspberries, Little Willie John & The Easybeats. Låtarna blev snabbt en stor del av Imperial State Electrics show. Nu kan du höra dom hemma – direkt från studion! Helgerån eller hyllning? Du bestämmer. Jag tycker att det blev svinbra!”

Med tanke på hur bra dessa låtar framfördes live kan "In concert" inte bli annat än ett givet köp och en framtida partyhöjare.

Släpps via Sound Pollution 29/4.


tisdag 22 mars 2011

Vill. Läsa. Nu.

Jag gillar mycket av det som Strauss skriver. Den nya boken "Everyone loves you when you´re dead" bådar åtskilliga timmar av njutbar läsning.
LA Weekly bjuder på ett litet utdrag, visserligen inte hårdrockrelaterat men ändå. Och på Amazon finns 49 recensioner att läsa. 45 av dessa ger boken full pott.

Utdrag här

Folkliga recensioner på Amazon här

Rollins hyllar the Stooges.

Förra veckans krönika dök upp först nu. Gamle Henry hyllar the Stooges med all rätt.

Rollins här

Om Slitz läsare hade haft pejl på läget!

Svenska Backdraft är bara ett av oändligt många band som förtjänar titeln "Sveriges bästa rockband" oändligt mycket mer än Adept.
Gå nu in och lyssna på låten "Idiot" från kommande "This heaven goes to eleven"!

Lyssna här

Åh herregud avliva mig nu!

Snodde bilden från IJustCantHateEnough. Att ett band som Adept bli utsett till Sveriges bästa rockband säger allt om de pajaser som läser Slitz. Musiksmak lika usel som hockeyspelare.
Jag tror att jag går och vomerar nu.

Dagens tidningsurklipp!

Hyfsat nördigt, men sådana här gamla klipp från musikhistoriens stora bankvalv är alltid lika roliga och intressanta.
Fyra år senare röstades de fram som USA´s mest populära band i en undersökning av Gallup.


lördag 19 mars 2011

Grohl står upp för sin musik!

“It’s every band’s right, you shouldn’t have to do fucking Glee,” Grohl told THR. “And then the guy who created Glee is so offended that we’re not, like, begging to be on his fucking show… fuck that guy for thinking anybody and everybody should want to do Glee.”
“And it’s just like, Dude, maybe not everyone loves Glee. Me included.”

“Forget it – the Superbowl is an absurd circumstance. It would be better to do a pay per view and play a full set ‘Live from Ground Zero’ when the World Trade Centre rises up from the ashes."

Rock AAA har lagt upp en läsvärd intervju med forne Gunsmanagern Alan Niven, där han bl a nämner att en återförening självfallet är oundviklig.

fredag 18 mars 2011


Bobby Blotzer med Jim Clayton

"Tales of a Ratt" 2010

Ratt var tillsammans med Mötley Crüe ett av de där tidiga LA-banden jag fastnade för som en oskuldsfull tonåring i början av 80-talet.
Länge pratade sångaren Stepehen Pearcy om sin kommande bok "Rat tales", men nu visade det sig att trummisen Blotzer hann före, vilket antagligen inte gjort herr Pearcy glad. Dessutom är ju tieln väldigt like Pearcys tänkta titel. Med tanke på vad som berättas om de andra bandmedlemmarna i "Tales of a Ratt", torde det vara en något tryggt stämning när det här gänget ses tillsammans. Medlemmarna Pearcy, DeMartini och Croucier sågas både en och två gånger jäms med fotknölarna.
Boken är dock en kul historia och bjuder på mängder av roliga och även tragiska händelser i Blotzers och bandet Ratts liv. Allt avhandlas i någorlunda kronologisk ordning även om det hoppas fram och tillbaka lite här och där.
Att Blotzer inte är en författare är givet, men medförfattaren Clayton är kanske inte heller riktigt slipad i det gebietet heller. Boken är fullkomligt nerlusad med stavfel, syftningsfel, grammatiska fel och konstiga styckeindelningar. Det är ytterst konstigt att lämna ifrån sig en produkt som denna, då intrycket är att ingen överhuvudtaget korrekturläst något av det som skrivits. Flertalet namn i boken är grovt felstavade. Yngwie blir Inva och Hughes/Thrall blir Hughes/Thrawl. Lägg därtill svartvita bilder av genomgående usel kvalitet.
Det hela känns som ett projekt som slängts ihop på väldigt kort tid och som sedan gjort att boken blivit allmänt amatörmässig i sitt utförande.
Bäst är väl de stories som handlar om bandets uppgång, de tragiska händelserna som ledde fram till Robbin Crosbys död, samt Blotzers ärlighet i att berätta om alla diverse sidojobb han fått syssla med för att överleva när bandet legat på is. Tröttsammast är hans loja syn på rattfylla, hans eviga tjatade om diverse exfruar och exflickvänner och det faktum att även Blotzer, som så många andra rockstjärnor, mest framstår som ett stort barn.
Sammantaget ändå en ganska underhållande läsning på sina ställen, men ljusår från något större mästerverk inom rockbiografigenren.

"You´re like Bill Gates from 20 years ago!"

Mycket Foo Fighters, men de är ju ett förbannat kul band och Dave Grohl kan vara något av det roligaste som stått på en musikscen.
Intervju med norka Lydverket nedan, där de bl a hånar ett av världens mest ondsinta band, Creed.

Foo på Lydverket här

Hail Jerry!

Det mästerliga y-barnet Jerry Cantrell fyller idag 45!

"It's Dumb and Dumber meets Truth or Dare."

Grohl och company pratar med The Hollywood Reporter om deras egen dokumentär "Back and forth".
Sprillans nytt från Napalm Död!

Decibel Magazine bjuder på en helt ny låt med Napalm Death, "Legacy was yesterday".

Lyssna via Metal Sucks här


torsdag 17 mars 2011

Nära skjuter ingen hare...

Ryan Roxie lanserar nu The Big Rock Show på skvallertidningen Aftonbladet och det kommer säkert fungera bra. Själv var jag löst inblandad i detta projekt under 5 sekunder. Jag gjorde en provfilmning tillsammans med Linnea Olsson (SvD), men sedan blev det beslutat att panelen endast skulle bestå av tjejer. Känner mig dock lite glad över att bli påtänkt.


"Aftonbladet storsatsar på hårdrock - lanserar webb-TV-program och specialsajt
Aftonbladet inleder landets största journalistiska satsning på hårdrock. Den 23 mars är det premiär för webb-tv-programmet Big Rock Show och nya specialsajten Nöjesbladet Hårdrock.
- Hårdrock är den nya schlagern! Aftonbladet ska självklart vara den naturliga nyhetskällan för alla hårdrockfans, säger Klas Lindberg, Aftonbladets nöjeschef.

• Big Rock Show är ett halvtimmeslångt magasinsprogram som sänds en gång i veckan under åtta veckor i Aftonbladet Webb-TV.
• Nöjesbladet Hårdrock är en specialsajt med nyheter, recensioner och intervjuer med artister inom metal och hårdrock.

Big Rock Show leds av Ryan Roxie, f d gitarrist i Alice Coopers band, och sänds på engelska. I programmen medverkar en panel med rocktjejer som intervjuar rockstjärnor, synar skandaler, levererar skvaller och pratar trender. Varje program gästas av Aftonbladets experter Mattias Kling och Joacim Persson. Det blir också en hel del nostalgi i form av TV-inslag från hårdrockens verkliga storhetstid på 70-talet.

- Eftersom det länge saknats ett program om hårdrock tror jag Big Rock Show har en stor potential, även internationellt. Det här är det första webb-TV-programmet som tar hårdrocken på allvar, säger Fredrik Lindén, programchef Aftonbladet TV.

Parallellt med Big Rock Show lanseras sajten Nöjesbladet Hårdrock. Där kan läsarna bland annat följa Mattias Klings hårdrocksblogg och de hetaste bandens turnébloggar. Mustasch och Bullet inleder, och följs till sommaren av In Flames. Då blir det också livebevakning av Sverigekonserterna med band som Metallica, Slayer, Iron Maiden, Ozzy Osbourne och Slipknot.

- Hårdrocken är på stadig frammarsch och något av det folkligaste vi har. Därför intensifierar vi nu vår redan goda bevakning, säger Klas Lindberg.

Big Rock Show är den första av fyra annonsfinansierade produktioner som Aftonbladet TV lanserar under våren. Programmet sponsras av hårdrockfestivalen och tidningen Sweden Rock, post- och näthandelsföretaget, energidrycken Rockstar Energy Drink och instrumentbutikskedjan 4Sound. Big Rock Show är utvecklat av Ryan Roxie och TV-producenten Patrik Hambraeus och produceras av Veranda Film."

Japanska Boris uttalar sig.

Den japanska trion Boris uttalar sig nu om de tragiska händelserna i Japan, samtidigt som man meddelar att albumreleaserna skjuts upp.

”Vi i Boris vill uttrycka våra kondoleanser för alla som har gått bort på grund av den senaste tidens jordbävnings- och tsunamikatastrofer,
och vi vill ge våra allra djupaste sympatier till alla de som har haft en tuff tid. Våra tankar och böner är med dem.”

”Alla Boris medlemmar, familjer och personal är i trygghet nu. Tack så mycket för alla snälla ord och omtänksamma meddelanden.”

Bandet meddelar också att releaserna av de två albumen ”Attention Please” och den helt nya ”Heavy Rocks” skjuts upp till den 27/5.

Nya klipp från "Back and forth"!

Grungereport har lagt upp tre nya klipp från den kommande dokumentären.

Klippen hittas här

Dagens iOfferköp!

Dubbelcd med blandade demos. Allt från tidiga Bullfrog Bheer till Rock and roll over och soloalbumen från 78.

Audiencerecording från Indianapolis 840706. Big rock på så många olika sätt.


onsdag 16 mars 2011

Metal Sludge kör 20 frågor med Vains of Jenna!

Personligen har jag aldrig förstått mig på bandet, men Metal Sludge är ju alltid lite småroliga. Denna gång är det basisten JP White som ställs mot väggen.

Sludge frågar här

Böööörmingham metal!

Birmingham Museum & Art Gallery kommer under kommande sommar visa en utställning som säkert kommer att få det att vattnas i flertalet headbangers munnar.
Utställningen kallas för "Home of metal" och kommer innehålla mängder med riktigt intressanta föremål av alla de slag. Ett exempel är ovanstående klädesplagg som Rob Halford slängde på sig 1976 . Bandet hade inte riktigt hittat sin läderstil då. En svart variant kan Rob ses bära på baksidan av "Sad wings of destiny".
Kika in på hemsidan och frossa i alla übercoola promoposters, biljetter, skivomslag, foton, klädesplagg mm som kopplas till Birminghamband som Zeppelin, Sabbath, Priest och Napalm Death.

Home of metal här

Reign in beer!

Är du irländare och gillar öl, är det här tröjan för dig! Med andra ord är hela Irland möjliga köpare.
Saint Patrick´s Day firas imorgon på en pub nära dig.

Slayer säljer tröjan här


Det känns som om den svenska marknaden svämmar över av death metal i alla möjliga konstellationer. Ett av de mer intressanta i raden av alla band är västkustrockarna Deathening.
Death och thrash blandas upp med mer melodiösa stycken och ibland är gitarronanerandet i klass med allas vår Yngwie.
Inte är Deathening på något vis nytt och revolutionerande i en genre som ofats går lite på tomgång, men det finns flertalet spår som får en att dra på smilbanden lite extra. Breaket i "Hate spawn" är inte dumt alls och jag finner mig själv sittandes nickande i en tyst och stillsam headbanging i stolen här hemma.
Titeln, som må få många att dra paralleller till mindre nogräknade p-filmer, har faktiskt inget alls med sex att göra, vilket bara det känns ytterst befriande.
Deathening har alldeles säkert en framtid och bör kollas upp om du har minsta lilla intresse för svensk death metal.

Betyg: 3/5

Q&A med The Deadists!

Tunga riff från Göteborg, kan det vara något? Visst kan det vara det! Detta band bestående av fem individer har nyligen släppt sin andra EP, "Time without light" och eftersom jag gillar att ställa frågor till folk, föll det sig inte bättre än att Markus (trummor) i The Deadists fick sätta sig ner och besvara några väl utvalda spörsmål.
Håll till godo!

Presentera bandet!

Joacim Axelsson Stjernkrans - Sång
Markus Bolechowski Franklin - Trummor
Paul Freeman - Bas
Peter Aldby - Gitarr
Anders Ek - Gitarr

Markus: Vi är fem personer med varierande bakgrund och härkomst, som för ungefär tre år sedan förenades genom ett gemensamt intresse för tung, gitarrbaserad musik. Samtliga har tidigare varit, eller är nuvarande aktiva i andra band. Bland dessa kan The Process, World of Metal, East Bay Radiation, Slaveyard och Age of Woe nämnas. Det är egentligen inte konstigare än så.

När och hur började det hela?

Markus: Egentligen började allting någonstans runt millennieskiftet. Anders och jag (Markus) var klasskamrater på gymnasiet och började spela ihop under namnet Sebulba. Det började försiktigt med någon cover (förmodligen någon låt av Tool eller Alice in Chains), men ganska snart kom eget material. Ytterligare medlemmar dök upp och vi började spela ute lite grann i Göteborgsområdet. Det var lite spretigt, musikaliskt sett till en början. Som de tonåringar vi var visste vi inte riktigt vilken typ av musik vi ville spela och det kunde bli någon sludge-dänga, följt av en poppig grunge-hit när vi uppträdde. Det, i kombination med den allmänna strulighet som ingår i att vara ung, ledde till en mängd medlemsbyten och konflikter. Någonstans i den härvan kom Peter in, som jag kände sedan tidigare genom gemensamma band och besatte andregitarren. Men så stod vi där utan sångare eller basist. Peter berättade om en engelsman på lagret där han jobbade, som pratade om att han hade musikalisk abstinens sedan flytten från England. Paul kom in i bandet med ett skickligt basspel, men framför allt med en stor väska full med effektpedaler, tillverkade i olika källare i Storbritannien. För att hitta en sångare satte vi till slut in en annons på en musiksajt. Det gav oss en hel del roliga förslag och sångprover, men det tog ett tag innan Joacim hittade oss. När han väl dök upp i repan var det aldrig något snack om saken. The Deadists var en helhet och kunde börja jobba igen.

Berätta lite om arbetet bakom nya plattan?

Markus: Bakom inspelningen av TWOL ligger en lång ganska jobbig process. Efter vår första inspelning (som gjordes 2007 i Grand Recording Studios - samma som TWOL är inspelad i) kom vi mer eller mindre på oss själva med att vi inte var nöjda med det vi hade producerat. Av de sex låtarna vi spelat in var det bara en som kändes representativ för oss som band (Blizzard of Nails, som finns med som bonusspår på den fysiska versionen av TWOL). Det berodde nog till stor del på att vi hade bråttom med att komma in i studion och prestera, när vi väl hade hittat en stabil besättning, och därför inte lade så mycket tid på att skriva nytt material tillsammans inför inspelningen. Konsekvensen blev att vi inte spelade live på det släppet över huvud taget, eller brydde oss om att kontakta bolag i någon större utsträckning, för att få distribution. Därefter följde ett hårt arbete med att godkänna eller kassera gamla riff vi tänkt använda, samt att skriva nytt material. Det blev någon sorts trial-and-terrorverksamhet i åtminstone ett halvår innan vi kände att alla var nöjda med vart vi var på väg musikaliskt. Vi lade också ned mycket tid på att hitta ett eget sound. Där spelade Pauls förkärlek för effektpedaler och gamla brittiska förstärkare en stor roll. Nu ska vi inte göra en massa reklam här, men vi kan säga att utan tillverkare som D.A.M. Pedals och Matamp hade vi inte låtit som vi gör idag. När grundpelarna väl var nedbankade i repan tog det sedan ytterligare en tid att skriva ihop material till den nya inspelningen. Det tog tid, men det viktiga är att vi är nöjda med slutresultatet. Vi snackar ju i alla fall inte Chinese Democracy-tid.

Något roligt minne från inspelningen?

Markus: Själva inspelningen gick väldigt lugnt och sansat till. Sven, som arbetade med oss i studion, sprider liksom ett lugn omkring sig, så några spexiga upptåg fanns det inte utrymme för. En rolig grej var i och för sig när vi skulle soundchecka trummorna och Sven upptäcker ett konstigt rassel i golvpukan. Markus upptäcker då att det ligger ett gäng döda bananflugor i botten av pukan, så det blir som en maracas när de studsar på resonansskinnet. Ingen fattade riktigt hur de hade kommit in där. Det var ju bara att skruva av skinnet och tömma ut dem i trädgården. Vi städade inte så ofta i vår gamla replokal...

Hur går låtskrivandet till i bandet?

Markus: Oftast går det till så att Anders kommer med några bra riff till replokalen, som vi sedan gemensamt bygger ihop till en låt. Ibland blir låten färdig snabbt, ibland tar det ett tag och ibland lägger vi halvfärdiga låtar i malpåse för att återvända till dem några månader senare. Alla i bandet bidrar i den kreativa processen, men Anders har de senaste åren intagit rollen som låtskrivare mer och mer. Vad gäller texterna sköter Joacim det på egen hand, vilket vi andra är mycket nöjda med.

Vilka skulle ni säga är era största influenser?

Markus: Personliga preferenser inom bandet kan variera en del. Vi har rätt stor ålderspridning i bandet. Markus lyssnar till exempel mest på HC och punk, medan Joacim i stort sätt bara har Pantera-plattor i bilen. Men om vi pratar om de influenser vi har gemensamt, och som vi själva tycker genomsyrar det vi gör så måste i alla fall dessa inkluderas: Black Sabbath, Entombed, Hawkwind, Kylesa, High on Fire, Black Cobra, Melvins och Kyuss. Inga överraskningar där alltså...

Några roliga minnen från spelningar ni gjort?

Markus: Nu låter vi ju lika tråkiga som Kiss, antagligen, men vi kan inte komma på något extraordinärt roligt som har hänt. Det är mest klassiska prylar som att någon drar två strängar första låten, cymbalstativ som välter, eller att någon överförfriskad snubbe hoppar upp på scenen och vrålar något i micken. Vi behöver helt enkelt komma ut och lira mer, så vi får något roligt att berätta. Fråga oss igen om ett år!

Berätta lite om tanken bakom omslaget?

Markus: Vi visste ganska tidigt vilken känsla vi ville förmedla med omslaget. Samtidigt ville vi undvika uppenbara genrestereotyper. Vi letade länge bland olika grafiker och konstnärer innan vi till sist hittade Pavel Petkevic konst på internet. Hans bildspråk förmedlade den tyngd och atmosfär som vi sökt och efter att ha tagit kontakt med honom gick han med på att formge omslaget. Vi är väldigt nöjda med resultatet och känner att det på ett bra sätt kompletterar ljudupplevelsen.

Vem kom på bandnamnet och vad är storyn?

Markus: Bandnamnet är Pauls skapelse, men det finns tyvärr ingen spännande historia bakom. När vi väl hade fått en stabil line-up i bandet som vi ville jobba vidare med kändes det också aktuellt med ett nytt namn. Paul hade ett litet lager med bandnamn som han tänkt ut sedan tidigare och The Deadists kändes som ett bra namn i förhållande till den typen av musik vi ville spela och vilken känsla vi vill att den ska förmedla. Lite senare var det någon i bandet som fick reda på att även Grateful Deads hardcorefans kallar sig "deadists", men det tar vi fullständigt avstånd ifrån...

Någon respons från utlandet?

Markus: Vi har fått en mängd positiva recensioner från utländska webzines och bloggar, såväl som en del radiotid. Framförallt från Storbritannien och Holland, men i stort sett från hela Europa och Nordamerika. Det är jäkligt kul att människor på så många olika platser kan uppskatta det vi gör. Det ger oss extra motivation till att skriva nytt material och att komma iväg utanför Sverige och spela, samtidigt som man känner sig ganska liten när man inser hur stor världen är och hur snabbt allt rör sig. På det stora hela är det väldigt positivt att det idag är så pass enkelt att sprida sin musik. Hur stora är oddsen att en snubbe i Kanada, som sänder piratradio från sin morsas källare, skulle ha plockat upp oss för 15 år sedan? Det är fantastiskt att sådana möjligheter finns. Vi vill ju att så många som möjligt ska få chansen att höra oss.

Hur ser gigplanerna ut för närmsta tiden?

Markus: Vi jobbar just nu på att komma ut och spela till sommaren och hösten. Kanske även något enstaka gig under våren. Vi har ju fortfarande inte spelat ute så mycket på EP:n, så det är en målsättning. Det är osäkert om vi kommer utanför Sveriges gränser, än så länge, men ett tiotal gig ska vi försöka hinna med innan snön börjar falla igen till hösten. Det är bara för de som är intresserade att hålla ett öga på vår blogg ( Så fort något blir klart kommer det att synas där. Ett superinofficiellt rykte säger förresten att The Deadists kanske dyker upp på Sweden Rock i sommar, men det är som sagt superinofficiellt.

Har ni nytt material på gång?

Markus: Förutom att leta spelningar är det precis vad vi håller på med just nu. Vi skriver material inför nästa släpp, vilket bör bli en fullängdare. I dagsläget har vi drygt hälften av materialet som skulle krävas mer eller mindre färdigskrivet, men vi vill gärna kunna välja och vraka när vi väl ska in i studion. Inför inspelningen av TWOL hade vi åtminstone två ytterligare låtar färdigskrivna, som vi valde att kasta och som har känts helt passé sedan dess. Det finns alltså ingen risk att de som kommer på våra spelningar i vår/sommar bara får se oss spela igenom EP:n och sedan gå av scen - det finns mer att visa upp.

Hur skulle ni sälja in er till någon som inte känner till er?

Markus: Det beror väl lite på vem som frågar. Den enkla utvägen skulle vara att beskriva det vi gör som tung, svängig hårdrock, med vissa sjuttiotalsvibbar. Det är en ganska svår fråga att svara på egentligen. Någonstans fastnar man mellan klassiska klyschor som "groovigt" och "energisk live-akt" och de här Close-up-beskrivningarna "Tänk er en motorbåt som körs av Geezer Butler, med LG Petrov och en ung Josh Homme som matroser, som kraschlandar på en strand där Hawkwind har beachparty och Lemmy grillar kött åt Mastodon etc". Det bästa sättet att hantera det är att ha en bra bandare med sig i alla lägen och sätta på EP:n så fort någon vill veta hur vi låter.

The Deadists på MySpace här


tisdag 15 mars 2011

Idag för 35 år sedan!

Den 15:e mars 1976 släpptes det album som väldigt många KISS-fans håller högst, "Destroyer". Personligen har jag alltid tyckt att det varit deras bästa skapelse och själva har bandet många gånger hävdat att detta album är deras bästa och jämfört andra album med det.
2006 var det 30 år sedan släppet och då var det några fyndiga personer som spred ut ovanstående pressrelease och under några sekunder var jag i sjunde himlen och hann lovorda bandet flera gånger om för ett sådant intressant skivsläpp. Dock visade det sig vara ett första april skämt.

Diverse demoversioner i bra kvalité hittas här

Q&A med svenska Deathening!

Det svenska gänget Deathening har nyligen släppt sin debut och då kunde det ju passa bra med lite frågor och svar om bandet.
Pär, Pål och Arnold tog sig tid att komma fram till svaren.

När och hur började det hela?

Pål: Jag och Arnold gick ljudingenjörsutbildningen i Piteå 95-97 där vi använde den mesta studiotiden till att spela in metal. Vi influerade varandras musiksmak ganska mycket eftersom vi musikaliskt kommer från olika håll. Jag var väldigt inne på dödsmetall från början av 90-talet och tidig 70-talshårdrock medan Arnold var mer inne på annan hårdrock och thrash. Sedan dess har vi lagt ganska mycket tid på att göra inspelningar med olika band i olika stilar. Samarbetet har bland annat resulterat i Supraload (”Hype Divine”, 2005) där Arnold både sjunger och spelar trummor och Murderplan (”Let’s Roll”, 2008). Parallellt med Murderplan och därefter kände vi att vi ville göra något som var mer organiskt, mer baserat på tidig döds och med mer sväng. Vi började då fila på dom första utkasten till vad som sen blev Deathening. Jag kontaktade Kalle ganska omgående eftersom jag visste att han skulle kunna leverera exakt den sång jag var ute efter och efter ungefär 2 sekunder tackade han ja till att bli vår sångare. Sen fylldes det på med Niklas som både jag och Arnold spelat med i flera år.

Pär: Sist in var jag, men hade knappast tillåtit att någon annan fått jobbet.

Berätta lite om arbetet bakom nya plattan?

Pål: Trummorna spelades in i Sound Industry som är Arnolds studio i Mölndal efter att vi jammat fram alla formerna på låtarna. Sen trackades all gitarr i min studio och sången i Mission Hall Studio, där också halva mixen gjordes. Sen är slutmixen gjord på King Edward Filmproduktion i Malmö. Det har varit en ganska lång process, som det alltid är när man inte har någon deadline, och perfektionister som vi är ville vi att inget skulle lämnas åt slumpen. Man är ju dessutom extra petig när det gäller ens eget band. Att vi inte hade någon deal när plattan väl var färdig gjorde också att vi höll på inspelningen kanske onödigt länge. Till slut gav jag upp tanken på att jag är musiker och inte säljare och startade Rakamarow Records, vilket gav en oväntad boost och energi åt alltihop. Nu kör vi så det ryker!

Något roligt minne från inspelningen?

Pål: Jag kommer aldrig att glömma när Kalle gjorde sina absolut sista sångpålägg. Han hade sparat dom sista två eller tre långa, långa höga skriken till sist och när väldigt trött efter att ha attackerat mikrofonen en hel dag gick in för att lägga det absolut sista laddade han 200% och gjorde världens fetaste skrik...och tog ut sig totalt! Helt grymt! Han låg sen i fosterställning med migrän i studiosoffan och lär ha däckat direkt han kom hem. Lyssna på 3:17 in i The Earth Is Flat – man kan nästan höra hur han avlider, haha!

Hur går låtskrivandet till i bandet?

Pål: Det brukar börja med att jag har ett lager av riff och halvgenomtänkta låtdelar som vi testar till trummor. Plötsligt hittar man något som funkar och då brukar vi spela in det. I detta fallet hade vi ungefär en vecka under vilken låtarna växte fram ur lösa riff. När man står där och jammar brukar riffen komma till en ganska naturligt. Jag blir alltid otroligt kreativ bara av att komma in i studion och plugga in. Försöker att inte ha låtarna för färdiga innan vi börjar testa tillsammans, utan bara ett ganska tomt skelett som vi bygger på. Man kan säga att jag skrivit hela plattan, men sen adderas det efter hand idéer från alla håll.

Vilka skulle ni säga är era största influenser?

Pär: Influenserna är dödsmetall som den lät på den tiden när syntljuden var strängt tillsagda att hålla sig till låtarnas intron, samt snirkliga skrytriff från 70-talet.

Pål: Gammal döds är ju det bästa jag vet så det finns en massa idéer som har sitt ursprung därifrån, medvetet och omedvetet. Man har ju lyssnat miljarder timmar på plattorna som Carcass, Napalm, Gorefest, Dismember, Entombed, At the Gates osv. gjorde för ungefär 20 år sedan, och den nostalgi som man förknippar med dessa gamla plattor påverkar ju ens låtskrivande än idag. Vare sig man vill eller inte.

Några roliga minnen från spelningar ni gjort?

Pär: När den bakfulle bondungen till bassist skulle försöka navigera till Sticky Fingers i centrala Göteborg senast med föga hjälp från Kalle Kartläsare. Efter 40 minuter inklusive en vända i tunneln och en tur till Hisingen så körde duon till studion i Möndal i stället.

Pål...och vi andra fick bära ditt as till 35 kilos bastopp... Allvarligt talat så är det inte ofta jag fått så många positiva kommentarer och ryggdunkningar från helt okända människor i publiken efter gig som efter de spelningar vi gjort med Deathening. Det är riktigt kul och musiken verkar tilltala folk från alla läger, inte bara dödspubliken.

Berätta lite om tanken bakom omslaget?

Arnold: Började som en ploj på en avsats utan för vår replokal i Malmö...

Pål: När vi hade plåtat bandet fick jag en idé när jag såg en mur, så det var bara för fotografen till att packa upp kameran igen och ta några snabba kort på oss när bara huvudena stack upp. Satte sen ihop det mest på skoj, men efter hand kom bilden att bli ganska go och alla gillade den så... Bilden är ju kan jag tycka precis som musiken – och texterna för den delen – vi går in för fullt och sparar inte på krutet, men med en stor portion självdistans och ironi. Pretentiös metal (eller musik över huvud taget) är inte min grej, därmed inte sagt att det inte finns en allvarlig underliggande ton i allt Deathening gör. För min del är det ganska meningslöst att skriva en splattig text utan att den betyder något annat än just blod och död. Det finns alltid en underliggande mening.

Pär: Det skall vara tufft men behöver inte vara så där norskt skitnödigt. Perfekt balans!

Vem kom på bandnamnet och vad är storyn?

Pål: Jag kom på det. Det är en pina varje gång man ska skaka fram ett nytt bandnamn. Långa listor skrivs och sedan söker man efter dom man gillar på nätet...upptäcker att det redan finns eller att det betyder något konstigt...så får man börja om från början till slut var det där! Responsen har varit minst sagt blandad. Antingen: ”...helt grymt! Jag kan inte fatta att ingen kommit på det tidigare!!!”, eller ”...det måste va slut på bandnamn...”. Det går tydligen inte omärkt förbi i alla fall och vi gillar det.

Någon respons från utlandet?

Pål: Holländare verkar gilla det bäst. Senast 89/100. Tyskarna är ganska glada också.

Hur ser gigplanerna ut för närmsta tiden?

Arnold: Nästa inbokade gig är på KB i Malmö den 20/5. Vi jobbar lite på att lira på några festivaler runt om i sommar, ev också en mindre turné sen i höst. Inget är dock spikat än.

Pål: Ja det är lite avbrott vad gäller gig just nu eftersom Arnold åker på turné som tekniker till Hardcore Superstar och Kalle ska hinna bli pappa. Men från maj drar vi på för fullt igen och försöker boka in så mycket vi kan.

Har ni nytt material på gång?

Arnold:Tanken är väl att vi ska gå in så snart som möjligt in i Sound Industry Studio i Göteborg och börja bli kreativa...

Pål: Absolut! Det finns alltid massor av idéer som bara ligger och väntar. Det gäller ju att hålla uppe kreativiteten hela tiden. Skulle vara dumt att inte köra på med en gång. Jag hoppas att vi kan börja skriva i studion under sommaren och eventuellt komma med något nytt i slutet av året.

Hur skulle ni sälja in er till någon som inte känner till er?

Pål: En blandning av gammal döds och thrash som både gungar och går fort. Uppblandat med melodiska partier och brutal sång. Snyggt brutalt hela vägen och fullt av detaljer som man kanske inte upptäcker till en början. Knepiga vändningar och udda harmonier.

Pär: Deathening är för den som tycker att dödsmetall skall låta som en traktor och inte som ett rymdskepp men ändå inte har något emot lite schyssta refränger.

Deathening på MySpace

Senaste Traderaköpet!

En trevlig liten dubbelcd bestående av alternativa versioner av flertalet av deras stora hits samt en liveinspelning från Danmark 1976. Mumma för själen!


måndag 14 mars 2011

Svagaste låten!

Det är verkligen oerhört intressant hur smaken kan variera människor emellan. James Greene Jr på Crawdaddy analyserar "Rooster" och menar att det är plattans svagaste skapelse. Personligen har jag alltid hållt just denna låt som en av de starkaste.

Läs om Rooster här


lördag 12 mars 2011

Hail Steve!

Den gamle Maidebasisten fyller idag hela 55 bassträngar!

Foos coverplatta!

(Steve Gullick)

Samma vecka som "Wasting light" kommer ut släpper bandet även en coverplatta på Record Store Day den 16:e april.
Helt klart intressanta låtval. Dessutom släpper de sin egen dokumentärfilm "Foo Fighters: Back and forth".

1. "Band on the Run" (Paul McCartney & Wings)
2. "I Feel Free" (Cream)
3. "Life of Illusion" (Joe Walsh)
4. "Young Man Blues" (Mose Allison)
5. "Bad Reputation" (Thin Lizzy)
6. "Darling Nikki" (Prince)
7. "Down in the Park" (Gary Numan)
8. "Baker Street" (Gerry Rafferty)
9. "Danny Says" (The Ramones)
10. "Have A Cigar" (Pink Floyd)
11. "Never Talking to You Again" (Hüsker Dü)
12. "Gas Chamber" (Angry Samoans)
13. "This Will Be Our Year" (The Zombies)

Lite om innehållet i filmen här

Foo Archive här


fredag 11 mars 2011

Intervju med Brian "Robbo" Robertson!

Den gamle Lizzygitarristen har snickrat ihop sitt första soloalbum med hjälp av en hel hög svenska musiker och det låter faktiskt ganska bra.
Jag fick nyligen nöjet att ringa upp Robbo och prata om bl a allt arbete kring plattan, hans svenska musiker, hans favorit bland Lizzyplattorna, senaste versionen av Thin Lizzy, champagne med Jeff Beck och om den omdiskuterade fejkheten på "Live and dangerous".

Brian: Niclas, how are you?

I´m good! How are you?

Brian: I´m pretty cool!

How did you hook up with this bunch of Swedes and how long ago was it?

Brian: This bunch of Swedes? It sounds like a cookery program! Ian Haugland, I´ve known him for a lot of years, so he´s a good friend and over the years I´ve realized that he is a pretty amazing drummer. There´s a difference between what he plays with me and what he does with Europe. In Europe he has to be fairly straight because of the songs and the way they play, but I knew a long time ago that he´s a lot more mental than that. (laughs) It was a no brainer to get him plus he´s a real good friend. As far as the bass player´s concerned, Nalley Påhlsson, I also knew that Ian had been working a lot with him on sessions and whatever and so you´ve got a great rhythm section there and they´re both outstanding musicians and they work so well together. So there´s your rhythm section right there! Leif Sundin I´ve known for years and I´ve toured with him in several different bands, with John Norum and what not. John and I used to tour together quite a bit, so I knew his vocals inside out and he was exactly the right person for it. Liny is different! She joined the fold, so to speak, because she was in Polar studios where we recorded everything and she was in the studio next door to us. She just walked into our control room one day when we were playing stuff back and said “Do you mind if I sit down and have a listen?” and I said “No, no, sit down!”. She loved the songs and I said to her “You know what? I´ve been standing outside your control room listening to your album and I really like your stuff as well and I´d really like you to sing on this!”. She said yes and I said “Well ok, I´ll tell you what! You sing on this and I´ll play guitar on your album!”. So that´s what we did. I played guitar for her and she did the vocals for me. So there you have the whole band!

Yeah, I was wondering about Liny Wood. I didn´t know of her, but I checked out her website and saw this very tattooed girl.

Brian: Yeah, she did one on me as well. She´s got “I love Liny” on my arm here. We had dinner one night and she has this little tattoo machine and said “Do you want a tattoo?” and I said “Yeah, go on then!”. (laughs) She´s indelibly printed on my arm now. Like I said, it´s a bit of a family. Liny is very talented and she´s got a very special voice, she really does.

Her voice is great and that was actually one of the first thing I noticed when I listened to the album. Her voice suits the music perfectly.

Brian: I always had it in mind with a girl on a sort of second lead vocal, because that´s the way the songs came to me when I was arranging and producing them. It´s just really cool that she just walked in and introduced herself and she´s like my big sister now. She looks after me and she´s a good lady. I´ve actually done a video with her for her new single and I play her boyfriend, (laughs) which I don´t think her boyfriend is too happy about. (laughs)

Cool! She´s out on tour with Alannah Myles now, isn´t she?

Brian: Well, it´s two weeks away from that.

The album then, were there a lot more stuff written than what´s on the album?

Brian: Yeah! We´ve still got a plastic bag full of cassettes. We´re already actually thinking about the next album. I´ve got the bug back! We´re thinking about it as we speak. It´ll be the same line up in the band. I won´t work with anybody else.

Did you have any other titles floating around or did “Diamonds and dirt” come right away?

Brian: No, but the original title of the album was “Bollocks”! (laughs) No, I´m just kidding! “Diamonds and dirt” is such a strong title and it´s such a strong song and it´s very much now, in my personal life. I changed the lyrics around a little bit, rewrote them, but it´s very much now with me. There was nothing else on the album… I mean, “Diamonds and dirt” is such a strong title.

All these cassettes in the plastic bag, how far back do they go? Is there stuff from way back in the early 70´s up till now?

Brian: No… a lot of it is from maybe early 80´s up till late 90´s. There´s a range there on the album… I don´t know what´s left in the plastic bag. There might be some stuff from early 70´s, I don’t know. I just haven´t listened to all of them, so I don´t really know what´s there.

So you don´t have any clue if there´s any Thin Lizzy stuff laying around?

Brian, No, I doubt whether there´s any Thin Lizzy stuff there. There might be some stuff that I put forward to Lizzy at some point in time, but I very much doubt it. I think it´s probably mostly solo stuff.

All those cassettes, are they full songs or just riffs?

Brian: As I said, I haven´t really listened to what´s left, but the stuff that we´ve used, there were lyrics and stuff although I changed it around to my personal situation, because all the songs are about bleeding women being such pains in the arse, (laughs) as are men. But like I said, we haven´t listened through to everything. We have a lot of stuff recorded in Stockholm when we had our own studio which are not in the plastic bag, but we´ve got that on 24 track and that stuff we have to look at and a lot of that is riffs and acoustics and stuff. There´s quite a wealth of material, but as I said, Sören and I are setting up a little studio over here anyway, so we´ll probably do some fresh writing as well.

What was the idea behind recording “It´s only money”, “Running back” and “Blues boy”? Was it just because you wanted to re record them and give them a different sound?

Brian: Let´s take it from the top, ok! “It´s only money”, when it was originally recorded we were stuck straight in the studio for three months, which is no time what so ever. We´d only just got together and there was a lack of material. The producer, Ron Nevison, wasn´t quite on the case. I was young and it was my first album and I wasn´t piping up and saying what I should´ve been saying. I felt “What a great riff!”, but it was a bit lame. I mean, it was alright for 1974, but it´s such a strong riff that you could take it out of 1974 and make it now and that´s basically what we did. The guitar sounds better, the drums sound better! My playing is a hell of a lot better and the production is… god, 10 times better! I played it live for 10 or 15 years anyway, with John Norum and Leif Sundin. They knew the song anyway. As far as “Running back” concerned, I didn´t actually play on the original at all.

Yeah, I know!

Brian: I walked out. I had an argument with Phil over it. I wanted to record a blues and I sat in the studio at the piano and played boogie piano and he stopped it and went “No, we´re not doing that!”, so we had an argument and I ran off to the pub and Scott did it. My idea was a blues thing, because I thought it was a really good song. The lyrics were great and I thought it lent itself to the blues, but he (Phil) obviously didn´t think so. He wanted to do it pop, so we had a bit of a clash there and then when we came around to discussing what we were gonna put on the album (Diamonds and dirt) and what we were gonna rehearse, Sören and I had a small discussion about it and initially I wasn´t really up for it because I hate the fucking song. (laughs) I really hate it! I cannot listen to it! But I still think it´s a good song, so what I did was I took it and stripped it back to blues. I changed the timing of it because as you probably know, on “Jailbreak” it´s a shuffle and on my album it´s 4 on the floor straight along the line, so that kind of worked. I thought “Yeah, that´s cool!” and we did it in rehearsals and it was like “Yeah, this is fun!”. I think probably at the end of one day´s rehearsal I said to the boys “Let´s try a slow version of it!”, a bit like Little Feat, slightly out of time and rough and ready, so the boys and me started playing and we played it about four or five times in this little rehearsal studio and we had such fun with it that I thought “Well, why not put two versions of it on the album? Nobody puts two versions of one song on an album!”. First I thought it was a bit weird, but then “Yeah, let´s do that then!”. (laughs) So we did and that´s how it all came about.

What about the Jim White track?

Brain: He he he, yeah I love it! That was a bit of a weird one, yeah. One of my brainstorms. I love Jim White´s albums and I think he´s totally bizarre.

Yeah, he´s cool!

Brian: He´s way cool even though he is a Christian! (laughs) I only found that out later. It was a choice between that one and “Handcuffed to a fence in Mississippi”.

Oh man, that´s such a cool song!

Brian: Yeah, it´s a great song isn´t it? Me and Sören was throwing it back and forth and we said “Ok, we´ll go for this one, because I can make that riff a lot heavier!” and how the vocals came about was that I had no intention of doing vocals at all, but Sören and Chris Laney tricked me into this one. I had intended to get some American in to do the rap thing, because I didn´t think a Scottish rap was really on the card. But obviously I had to do a guide vocal for who ever came in because very few people are gonna be hearing about Jim White, are they? He´s totally left field, so if I got somebody in to do it, they would have to have a guide vocal so I went in and did the guide vocal myself, but they recorded it and played it back to me when I went in to the control room and I thought “Hmmm, it´s not that bad!”. It took me a few days to get used to it, because you know yourself when you hear your voice on a tape, even just speaking, you hate it. So it took me a couple of days to sort of agree with the two boys. That´s what we went with, just that one take and that was it!

Alright! How did you hook up with Chris Laney?

Brian: He was the house engineer at Polar studios and he´s now playing rhythm guitar for me as well. I gave him one of my Les Pauls and told him to plug it through a Marshall. For his band he uses like… I don´t know, some weird amps and distorting guitars, but I told him “If you´re gonna play with me you´re gonna have to have a Les Paul and you´re gonna have to put it through a Marshall!”. I brought one of my Les Pauls over from England and he´s totally in love with it! I don´t know if I´ll ever get it back. (laughs)

As I understand it, there´s no proper our planned since it´s kind of hard to get the band together?

Brian: Yeah, you´re the first guy I´ve spoken to that´s actually said that first. But yeah, because everybody´s so busy on their own projects. It´s bit of a nightmare to be honest, so really what we´re looking at is… and I´ve already been asked several times why I don´t get other musicians because there are so many good musicians in Sweden, but I´m not just prepared to go out without the “family”. We´re all so close and we are such individual musicians. Every one of them has their own strength that they brought to my album and it wouldn´t be right to go and do that and I certainly wouldn´t want to do that. I´ve already done one live gig with them and they were totally brilliant on that, so I know how they can play live and I already know how they can play in the studio and I know them as people so it would be really stupid for me to go out as Brian Robertson and a backing band. That´s so lame! I didn´t even want to call the album Brian Robertson. I was trying to think of something else, a band name so everybody´s involved, but I guess it has to be the way it is. But that doesn´t mean to say that I have to take out musicians I didn´t play with. I mean, could you imagine to get this across to other musicians? As I say, great musicians over here, but you don´t have that same feeling. We´re all way too close all of us and that comes across when you play live.

As I understand it, you were asked to take part in this latest version of Thin Lizzy?

Brian: Yeah, but I was too busy at the time. It was right in the middle of the album and I did have a phone call from Scott´s manager from America and it was put to Sören and I that they wanted to put the classic Lizzy line up together with Scott and me and Brian Downey. I really don´t spoke to Brian Downey in Dublin about it actually and as I said, I´m a bit busy with this but the door is open. Then the manager Adam called me up in Stockholm and what was put out was that it would be the classic line up and a bit later on I find out that Darren´s in on keyboards and that was immediately red flags with me, because that started me thinking “So, I´m gonna have to play Renegade and Thunder and lightning!” and there´s no way I´m gonna do that! I´m not playing on anything I didn´t play on in the first place. And now there´s six of them. (laughs) But as I say, I was too busy at the time anyway to take anything serious on and obviously the most important thing to me is my album. All you do with Lizzy is you play old tracks. There´s no new stuff there and after Lizzy I moved on. Two Wild Horses albums, Motörhead and gof knows how many different sessions with how many different people, so I actually haven´t been standing still and it kind of might have been a step back. It would´ve been nice for the nostalgia value, but not at the expense of me moving on. Having said that, Vivian´s gone back to Def Leppard at the end of this and I don´t know. I might get a call! (laughs) The door´s open if they´re prepared to discuss stuff. I´m certainly not prepared to be playing with Darren, as much as I love Darren, but he wasn´t in the band with me and I don´t see why we need keyboards to play “The boys are back in town”. It just doesn´t make any sense to me and not something I would be prepared to do.

Have you heard them live or seen any of the YouTube clips?

Brian: No, I haven´t actually. I´ve read some reviews and apparently some of the people have been saying good things and that they´re really tight. I would expect them to be tight. Downey´s in there and he´s one of the best drummers ever and Marco Mendoza and Vivian is a great player, you know. No bad comments about them but I´ve heard they´re tight, they´re good, but they just don´t have the spirit of the thing, which is inevitable when Phil isn´t there. What are you gonna do, the man´s dead!

True! Looking back on the Lizzy albums you did, is there one album that stands out more to you, that means more?

Brian: I think they´re all shit! (laughs) No, I´m kidding! My favorite studio album is actually “Johnny the fox” and I know that´s not everybody´s opinion, but I like it. The arrangements and such. The “don´t believe a word” solo is completely off the wall and apparently I did this… one guy years back said “How did you come up with the pentatonic in that solo?” and I said “Pentatonic? You mean alcoholic?”. Jesus! You don´t think about the classical training and all that when you´re putting down guitar solos! (laughs) Pentatonic scales, that´s hilarious! But then again you´ve got “Live and dangerous” and that´s always gonna be there.

I´ve read in several places that…

Brian: Oh my god, here we go!

That there was a lot of touch ups done in the studio. Any truth in that?

Brian: No, no truth what so ever! It´s bollocks! This all comes from Tony Visconti and I don´t know quite where his head´s at or what drugs he´s been taking. He claims there´s something like 75 % overdubs. What the fuck! There´s absolutely no way, right! I didn´t touch any guitars, I don´t think! That I can remember anyway. I think I did a couple of backing vocal lines and I think Phil might have overdubbed one little bit of bass, Scott a couple of little guitar bits and backing vocals and that is it. If you think about it logically and this is why I don´t understand Tony, he´s a producer for Christ sake and a very good one… knowing the volume that I play live, forget about the rest of the band ok, I have always been a very, very loud guitar player and if you recorded something in those days live, you´ve got all the mikes set up there and all the vocal mikes are open and the drum mikes are all open, how can you possibly cut that out without it going over the drum mikes and without my guitar going over the vocal mikes? You can´t do it! I mean, you cannot overdub a whole album like that! You just can´t do it! You´ll have all this ghost shit in the background and if you listen to “Live and dangerous” it´s very, very crisp. The other part of it is this and I really want Tony Visconti to explain this one to me. When we were mixing the album, there was a version of “Still in love with you” in which the solo was absolutely deadly. A lot better than the one that´s on the record. We couldn´t use that take of it. Why? Because Phil had accidently left his fazer on which was set fast, so it was just going “blub, blub, blub!”, so Tony, please explain to me “How come you overdubbed Phil´s bass when you couldn´t give us the best version of that song, because it was bleeding over the microphone?” It doesn´t make any sense what so ever! As much as I love Tony, I really don´t know where his head´s at on this one. I really don´t. I haven´t seen him in years. I haven´t seen him since I did the David Bowies sessions with him and that was weird as well. I think he was starting to get a little bit weird on that one. (laughs) No, I don´t really understand this and the fact is that it´s absolute nonsense and if you listen to Brian Downey or Scott, they´ll tell you exactly the same. Three members of the band. But you know what, I really don´t care because if we could´ve overdubbed and we had to, then I probably would´ve! If we had one good song and there was a cock up in the middle and if I could´ve gone in and done that cock up and redone it and made it sound cool, then I would´ve done it! I don´t see anything wrong with that, but the fact remains that we didn´t! End of story.

Alright! When did you pick up the guitar? How old were you?

Brian: Well, I started on piano and cello at about 8, so I was probably around 11 or 12.

Do you still play the piano?

Brian: Yeah, I do all the keyboards on the album except for a couple of tracks we´re we´ve got a boogie player.

At that age and growing up, who were your influences and did you have any guitar heroes?

Brian: Yeah, Peter Green from Fleetwood Mac! He was my main influence to be honest. I´ve had a few more since, like Jeff Beck. I just saw him in Stockholm. We hadn´t met in about 25 years. I met him in the rehearsal studios when I was writing the Motörhead album and we had a few good night together. But it as real cool. We went backstage and had a big hug and a couple of bottles of champagne (laughs) and then we ended up singing and he was playing guitar in the dressing room and Narada Michael Walden, his drummer, we ended up doing this sort of Motown thing. It was really weird actually, but really cool to see him again.

One last thing. I read that for your first gig with Motörhead, you came in with an orange jump suit, is that true?

Brian: No, it wasn´t an orange jump suit! What the fuck! I don´t know what´s going on with this Motörhead shit. They always get it wrong! I used to go on stage… and this has nothing to do with it… I didn´t audition for the band! I flew out and joined them in Canada or I joined them in New York and the first gig was in Canada, but I had this sort of orange pair of combat trousers and I had just them on and nothing on top. (laughs) It was too hot! Listen, if you stand under that Bomber and it´s coming down with the lights, you are fried! This is why I was wearing the loose combat trousers and no top. It just seemed a lot easier.

When was the last time you saw Lemmy? Have you seen him recently?

Brian: No, I haven´t seen him in ages!

Have you seen the movie?

Brian: No, I haven´t seen that either. I kind of keep in touch a little bit with Philty. He´s so cool and I love him to death! I love Lemmy! There´s no animosity between any of us, you know. We did the album and we did the touring and one year was enough for me. (laughs) That was harder than four years with Thin Lizzy. Those boys won´t stop, you know what I mean. But I enjoyed it, I´ve gotta say.

Before Gary Moore passed away, had you seen him lately?

Brian: No, we did that Dublin gig with him which is on dvd. That was the last time I saw him. I don´t know what year that was?

I think it was 2006.

Brian: Five years ago. The thing with Gary was that he was a bit of a loner and I´ve still got three numbers for him in my goddamn phone. He rarely called us as a mate. He called you up when he wanted you to do something and I guess he didn´t have an awful lot of friends. He kept himself fairly insular. He could´ve called me and Sören up any time if he was feeling down or whatever and we would always talk to him.

Since you´re not gonna tour, what´s the plan now? Are you just gonna keep writing for the next album?

Brian: Yeah, we´ll get whatever gigs we can and we haven´t set the studio up yet, so the equipment is just sitting there and we need to get it all wired up and what not, so I guess we´re gonna start looking at it and obviously we´ll go through what´s left of the tapes and the other stuff that we did in our own studio, have a plan of action and go for the next album.

Is that one gonna be on SPV as well?

Brian: Well, we´ve only done one album for them. It depends on how this album does. I don´t know. It seems to be doing alright. We might go the same route as we did before and get it done down at Polar and the give it to SPV. Obviously they´re gonna be the first people that we contact about another album, but it all depends on how this one goes, but Sören and I ain´t gonna stop anyway!

Cool! It´s been a pleasure talking to you Brian! Congrats on the album and I really love the title track!

Brian: Oh, that´s really kind of you! Thank you!