September 30, 2010

Why We Love Bill Ward

A conversation amongst pals Jeb and drum lord Mr Bill Ward

Jeb: Recently, you have admitted there is a whole library of Sabbath material that has never come out.

Bill: That is true.

Jeb: Are we talking finished songs?

Bill: The tapes were made in early 2001 before we went on tour. We were in England and we just recorded a bunch of stuff. We rehearse in Wales, which we have done for over 30 years. We wrote a whole record. We have loads and loads of riffs. I have 60 cassette tapes right here in my house and we have everything else on file back in Great Briton. Some of the tracks are finished with lyrics.

Jeb: You are sitting on a goldmine.

Bill: I know. I wish we could record an album. Things have just stopped. I never push on it. I don’t know how each -- all of us try to be respectful of where each of us are at. It is that kind of a deal.

Jeb: You can tell me if I am off base but I would guess it would all be up to Ozzy at this point.

Bill: I don’t think that is off base at all. A lot of it would depend on Ozzy wanting to do it. I think all of us want to be okay with doing it as well. We would all have to believe it was the right thing to do. I have reservations about it. There is some scrutiny in there. I can’t quote Tony and Geezer but I think they would have to consider it very carefully.

Jeb: Would you be interested in playing with Black Sabbath with a vocalist other than Ozzy?

Bill: No, I could not do that. I couldn’t do it in the past and that is one of the reasons why I left. I can’t do it without Oz. It just does not feel right.

Jeb: Does it ever get frustrating that Sabbath is not out there?

Bill: It is frustrating. On the last tour we did, we all worked so hard. I became frustrated and a little bit angry and disappointed at the end of the touring period because the band was sounding so hot. It made no sense to me to stop at the last gig. My chops were tight with Geezer and Tony. I was just learning what I had forgotten! I felt that I could go on for years but we had to stop and pull the plug. That is where commercialism comes in over musicism. However, we still sounded great and we were having a blast and I just wanted to go on. We could have gone around the world. Those were just my expectations and I could understand things from a business point of view but it was kind of sad.

Jeb: Tell me what Aston is and what is like there.

Bill: Aston is in the North side of Birmingham. Birmingham is on par with Pittsburg or Detroit. It is full of industry. They make cars, guns, bullets and all kinds of metal stuff. It is a really big industrial place. During the Second World War, the German’s knew what was going on in Aston so it was blitzed. Growing up in Aston, there were a lot of buildings that were blown up but not demolished. When I was growing up, I would walk out of my door and there were all these green fields for two or three blocks that were filled with these structures that were left over from the war. It was all I knew growing up so I thought it was fantastic. It was a very rough and ready area. People from Aston were very strong. They would place a high value on how their homes looked. The front doors of their houses were immaculately polished. On any given Saturday night, however, any Astonion worth his salt would turn around and smack the crap out of you. It was pretty bad, really.

One of the tracks on Beyond Aston is called “The Dark Half Hour.” In order to be in a gang when we were kids, one of the initiations was to walk down this sewer. It was absolutely terrifying as a youngster. It was about a half an hour long. I was initiated into a gang after I had finished walking through there. The river runs through it very swiftly as well. It was pretty fucking stupid stuff. It was black down there.

Jeb: Did you think that you were going to leave Aston or did you think you would stay around and work in the factories?

Bill: We were all destined to go to the factories. The guiding light for me was Elvis Presley. My brother is four years older than me so he was the main influence in my life when I was a youngster. I got to hear all these Cds--- Listen to me. Not Cds, 45’s. I listed to Little Richard and Elvis and everyone else. I was also very into my mother and fathers music which was American Big Band music. This music was played in some combination everyday. When I heard “Jailhouse Rock” something connected with me. I connected to it like some sort of magnet. I knew I wanted to sing and play in a rock n’ roll band. I was already playing drums. I started playing drums when I was five years old. My mother played piano and my father sang so the drummer who lived on the corner would bring his kit over on the weekend and we would have a party. Everyone would get together on Saturday night and have a really good time. There were lots of kegs of booze. They were still celebrating the end of the war. There was a real closeness with families and friends because we had lost so many people. The next day everyone was either still drunk or hung-over so I would come downstairs early and start learning what drums were. That was really my instruction on the drums. By the time I was eight or nine years old, I was already defined within myself. I knew I was going to be a drummer.

Jeb: Tony was the first member of Sabbath you knew.

Bill: Tony and I came together out of different bands. We started playing together when we were 15. Tony is only a couple of months older than I. We started playing in different band and when we were 18 and we met Geezer and Oz.

Jeb: When did you play with Mythology?

Bill: I was 18. It would have been around 1967. In ‘68 we got with Tony and Geezer. The first band we ever played in that got the most work was a band I was in with some school friends. Tony came into that band and he was so good. I thought he would just stay for a day and then tell us we were all crap. He was one of the best players in Birmingham and he was only 16.

Jeb: Did you work in the factories?

Bill: I left school when I was 15 and I worked for exactly six months in a factory. I left at Christmas time and I got part time jobs and such. I kept the part time jobs till I could not do them anymore. Everybody got gigs back them. We played as many as three gigs a night. We would open up in one ballroom at 6:30 and then we would go open up another ballroom or club at 9:30. We did that all the time. In the end, I could not work anymore. I was just too tired. A lot of times we didn’t get any money for the gigs. Any money we did get we put into petrol for the van or we would buy guitar strings or drum sticks.

Jeb: What do you remember about the first gig you played with the Polka Tulk Blues Company?

Bill: The first gig I can remember playing with them was at the ballroom in Carlisle. There was a really bad fight after the gig but other than that it was great. It was a magical night. We were a six-piece when we went up but we were a four-piece when we came back. That night we became Black Sabbath. We had a slide guitar player and a saxophone. Over the weekend, we let them know that it was not working. It was 200 miles up and 200 miles back. At the time, they took the news well. They were like, “Fuck you” and moved on. Back then there were live bands everywhere.

Jeb: This is a cheap question that you have heard a million times but was the name Black Sabbath really taken off a movie poster?

Bill: It came from Geezer. We always considered him the cleverest one in the band. He saw the Boris Karloff movie and suggested that name. We were writing the song first. We wrote the song and then we decided that it would be a pretty good name for the band. Before that, we were called Earth. We found out there was another band called Earth so we had to change it.

Jeb: In 1969 Flower Power was still pretty big. Didn’t you think Black Sabbath might be the wrong name to choose? Maybe a little radical?

Bill: We were all in a band that we wanted to be in and it was a great way of releasing anger. I look back now and I realize that we were really angry kids. We gave no quarter to the audience. We didn’t care. We had an attitude of ‘who gives a fuck.’ There was a lot of defiance. It was nothing for us to interact with the audience with violence. The way that early punk is remembered was really going on in Black Sabbath -- especially in England. Ozzy would often end up in a fight right off the stage.

Jeb: Was it a reaction to the music?

Bill: It was definatly different. Hendrix and Cream were very masterful but we were different. The energy we had went onto the stage with us. I put all of my heart and soul into one gig. Everything in my life was put into one gig.

Jeb: It is a long way from “Jailhouse Rock.”

Bill: True.

Jeb: Was it just piss and vinegar or did you know you were changing rock music forever?

Bill: We didn’t know that. John Lennon said that once that on the inside of the band he didn’t know what was really going on. I just knew I was in a really high energy rock band. It suited my character and my emotions just fine. I was the healthiest I have ever been. I could act out my frustrations and my anger. I think I had the best drumming job in the world. It is very physically demanding and you have to be physically fit. At the same time you can go absolutely completely berserk and there were no ramifications. The energy was just sensational. People reacted to it in all kinds of ways.

Jeb: Was Geezer really into Black Magic?

Bill: I don’t know because I don’t know what we all did behind closed doors. We started to have our own rooms when we started having hit records. Before that, we all stayed in the same room. We even slept in the same beds! We were always playing jokes on each other. Sometimes we would have deep philosophical conversations about the occult or religion. We had these conversations and we looked into these things.

Jeb: Any rituals?

Bill: No but lots of ghostly appearances. There is nothing where I am aware of where we sat down and chanted. Other people did. We had a lot of people visit us who chanted. They would visit us in our hotels and they would sit down and light candles and chant. That sort of thing went on all the time.

Jeb: Were you laughing or were you scared?

Bill: Sometimes we were scared but sometimes we were just like, “Oh no, not again.” We used to see it all the time from town to town. When you have seen it a few times it is not that exciting. Sometimes it was a bit scary. It didn’t take long to learn how to sniff out the more radical ones. They are very outspoken and very dangerous. They were quite likely to bring injury. To be honest with you, I am not knocking Jesus or anything but what I am going to say is a bit controversial. My biggest fear out of all my years of touring with Black Sabbath were the men and women who were connected with what we used to call Jesus Freaks. I found some of the people that represented Jesus to be far more radical than just about anybody else.

Jeb: I remember this group that used to stand in front of the arenas dragging a cross. You could not get through them without them getting in your face.

Bill: It got to be pretty hairy. The more radical groups were pretty frightening. You never knew what would happen. All kinds of strange things happened. In Sabbath’s life, death threats were not unusual. A lot of parents thought we were the anti-Christ. Marilyn Manson gets all of that now. I don’t know if you want to say that death threats became the norm. But they were not startling like, “Oh my God!” It was more like, “Hmm, okay.” We just took it in like we would take anything else in.

Jeb: Were there any close calls?

Bill: On a couple of occasions there were.

Jeb: What made Tony leave to join Jethro Tull?

Bill: We were starting to find out more about ourselves. We had some pretty good songs under our belt. We doing some good gigs and the band sounded great. Ian Anderson saw us and he had his eye on Tony. He invited Tony to come play on the gig they had with the Stones. Tony went down there for a few days and then he had enough and he came back. He let us know what he had discovered. He told us Tull worked really hard. He passed his enlightenment onto us. He got pretty straight with us and told us that we had to practice hard and work hard.

Jeb: So it was not going to be a permanent Tull gig for Tony?

Bill: Oh no, they were looking at Tony as a permanent fixture. Tony was writing his own music and he had a sound with Sabbath. He went with Jethro Tull as it was a little bit of a temptation. We were a young band and we may never have gotten a break. Tony would be better at telling this story. We were all sad and we missed him but we wished him the best and we wanted him to go for it. Going for better opportunities was part of the music scene. These days I don’t subscribe to that point of view. Back then, being young, it was big deal.

Jeb: You must have been elated when he came back so soon.

Bill: We were happy as shit. He came back with a lot to teach us. He absorbed a lot in a very short time. He reported his findings very well.

Jeb: So Sabbath grew up.

Bill: We pulled harder. I have always thought that my best teachers in music are Ozzy, Tony and Geezer. The neat thing with Black Sabbath was that watching them grow made me work that much harder. Tony would play a blistering solo live and that would make me become better than I was the day before.

Jeb: Warner Brothers finally signed you.

Bill: We had a meeting with Joe Smith set up and they had already taken on the band. We found out that Warner Brothers was going to take us on in America. We were just focusing on Sabbath-mania. By 1969, we were a major breaking act in Britain. We went to California and we met Joe Smith and he liked us. We were signed.

Jeb: Within a year the first album was out.

Bill: It only took two days to make the first album. The second one took seven days. It was just ridiculous.

Jeb: Management must have loved your recording budget.

Bill: Oh man yeah.

Jeb: It is a little different than Beyond Aston.

Bill: It has only taken 11 more years. It just gets ridiculous. You get more finite and more sensitive when you are older.

Jeb: Was the song “The Warning” a remake?

Bill: Ansley Dunbar actually wrote that song. We bumped into Ansley on the road all the time back then.

Jeb: Do you have any idea who the girl is on the cover of the first album?

Bill: I don’t have a fucking clue. I don’t think anybody does. Ozzy probably does by now.

Jeb: Was it a publicity stunt to release the first album on Friday the 13th?

Bill: I don’t believe it was. We were all happy about it. Friday the 13th is one of our happy days. That day just feels good to me. I think it is because it is technically supposed to be bad luck but we just saw it the other way. We saw it as good luck. I don’t know where that all came from but we already thought it was a great day and it just so happened it came out on the same day. If we had a gig and there was thunder and lightening then you could bet we were going to kick ass. We would literally look outside and see what the weather was like. We would watch and go, “It is going to be a good night tonight.”

Jeb: What were the differences between the USA and the culture in England concerning how Black Sabbath was taken.

Bill: In Europe, the audience didn’t know how to take us at first but it didn’t take long for them to warm up to us. In America there was much more fear toward us. Unfortunately, there is what I have called an underbelly in America where one can be outrageous and that outrageousness can go into the inner sanctum of the American’s morals. Other countries don’t react like that. In America, it because a very loud thing. If one can be outrageous enough here then one can climb the ladder so to speak. I think it boils down to the fact that American’s love football so much! They like to see that in everything. They love the razzmatazz.

I am attracted to America for many reasons but one of the biggest is it’s razzmatazz. I love the chrome. A lot of times there is nothing behind the chrome but I still love the chrome. Sometimes I think there is a real vulnerability in American that I have never seen in any other country. It is like a blind side. I see it clearly everyday. I see it in my wife and in my daughter. I see it in the news and I see it in the government. There is just a naivety that is very sensitive. It is really a good thing. When 9/11 happened I was so fucking angry. I could see the gentle naivety in everyday Americans change. If you go blow something up somewhere else it is different. But to see it here, I felt that somebody had kicked a child. I felt somebody had kicked a child very, very badly.

Jeb: Growing up in Aston with the war torn building, you knew how shitty people could be but growing up here we have never seen these things first hand.

Bill: Keep in mind that in Great Britain everyone was brought up with terrorism. We have been at war with Ireland and the IRA for a long time. Terrorist acts are nothing knew in Great Briton. We have learned to live with shit like that.

Jeb: I wondered how you could say we are naïve because we are a strong and powerful country but you are correct in what you said and it is a very interesting perspective.

Bill: I was very angry. This is my country too as I live here. I just look at that and I realize how delicate it was here. How dare they do that. I didn’t mean that America was weak because everyone knows America can kick ass.

Jeb: When Sabbath was touring was the chrome a bit over the top?

Bill: In the 70’s we loved it here. There are a lot of things in America that don’t happen anywhere else in the world because it is such an extreme place. We would wonder if everyone was crazy here. The students tried to get into the campus and the riot squads would come out and everything. Things are either so left or right. There is no down the middle with these people. I have only seen these kinds of extremes in America. In England things are taken more calmly. America is the Wild West. I am right in the middle of it and I love it.

Jeb: You never got tired of all the Black Sabbath bashing?

Bill: We were trying to say this is what our band is and we defended ourselves from the beginning. We took an interest in our own artwork and the band photographs that were taken. We may not have done the best job in the world but we did the best we could. We went through the suffering of bad management. Once that was over, we basically tried to run our own affairs.

Jeb: I heard that your management company literally owned everything that was Black Sabbath.

Bill: It was terrible. It was a mess. So many bands back then just got taken to the cleaners. In the 80’sand 90’ some bands actually started making money.

Jeb: You had to come to your own realization that you were generating millions of dollars and you were not rich.

Bill: Sabbath was an incredibly naïve band and we trusted in our friendships. Once we understood that money had gone astray then we were out of there. It came to a head around Sabbath Bloody Sabbath. On the next album we were writing songs that pertained to our management like “The Writ.” It took a while for us to figure it all out.

Jeb: At what point along the way did the booze and the drugs get out of hand?

Bill: Speaking for myself, I crossed the line when we were trying to do what became Heaven & Hell. It started out as another album with all the original members. I crossed the line at that time. Ozzy was asked to leave. I could not curtail my drinking and using at that point. It was just ridiculous at that time. I have no knowledge of recording that album. I was completely and totally gone during that album. I have no memory of making the record. I listen to it and I know it is me drumming but I can’t remember anything.

Jeb: Just to clarify, Heaven & Hell was not a seven day recording process; it took a long time to get done.

Bill: It did. The only thing I can remember was that Tony would just nod at me. He was really gentle during that album. He would try to get me to where I was going. That is all I remember.

Jeb: It is a great album. I know you don’t care for it but the fans love it.

Bill: It was not a good time at all. I think what enhanced the blackouts during that time was the fact that my mother passed away. Also, Ozzy was not there. I was in grief over Ozzy even though I didn’t realize that I was missing him. He was my number one friend. Oz and me were close like brothers. We were broke out of the same mold.

Jeb: How did you pull yourself off the dope?

Bill: I didn’t really. I came off the road from the Heaven & Hell tour because my addictions were so strong at the time that the most important thing to me was getting high. It had reached such a point that I was just out of it all the time. I didn’t know what was going on. I was completely fucked up, period. Booze became the most important thing in my life. It was more important than my children, my wife and even myself. I went on a downward spiral in 1980. By the time 1983 came I had already been in several detoxes. It was getting worse and worse all the time. On January the 2nd or the 3rd 1984, I finally relinquished and went into a hospital; this was after my final suicide attempt. I could not stand the idea of being sober. I had over a year sober at the time of my suicide attempt but I couldn’t stand being sober so I decided to kill myself.

Jeb: You were sober a year and tried to kill yourself?

Bill: I started getting sober in 1981. I would go a month or two and then drink again and then do the same thing over and over. If you add it up then it would have been about a year. On January 22, 2004, I celebrated my 20th year without any drinking and dope.

Jeb: How does it feel?

Bill: It feels great but I have been feeling great for a long time. I do a lot of working with others and I get great benefits from that. I can talk about it.

Jeb: You would have been around 35 years old and you played in a famous rock band and you were loved by millions. How could you have even thought about killing yourself?

Bill: Booze had become the number one thing in my life. I had crossed the point. Booze and dope was the most important thing in my life and was even more important than my life. I had been in and out of places trying to be sober. I lost all hope. I had no hope whatsoever in staying sober. I never thought I would be sober. I also did not know that I suffered from uniqueness and I didn’t know that I suffered from self-pity. I had all this stuff buried inside of me. Once night after drinking and being full of self-pity, I decided that I could not stay sober and decided to kill myself. Being between the sober world and the drunk world is where I found nothing but a black void. I found that black void to be where I am most vulnerable. It is like there is nothing there. It is just black and it is fucking terrible.

Jeb: You tried to kill yourself when you were with Sabbath didn’t you?

Bill: I only tried two other suicide attempts and they were all after Heaven & Hell. My suicide attempts didn’t start till after I left the band.

Jeb: Wasn’t it difficult to say in the world of music and stay sober?

Bill: It was. I had done the 1983 Sabbath album Born Again with Ian Gillan. That was my first sober album. I am really proud of that album. I remember playing on it.

Jeb: The lyrics to Trashed fit.

Bill: I got the opportunity to see Ian Gillan at the time. Ian helped to keep me sober. I was just grateful that I didn’t have to go through what he was going through at the time. As much as I love him…

Jeb: Born Again was not as accepted by some Sabbath fans the way that Heaven & Hell was.

Bill: I thought it was a very good album. It was personally the most challenging album I ever did. That was in 1983. As soon as the album was finished, I wanted to reward myself. I also had anticipatory fear about touring. I didn’t tell anybody about it. I chose to drink at that time as a reword and because of the fear. I was asked to go back with Sabbath in 1984 but I already knew that it was not going to work for me. It did not work with me with Ronnie James Dio and it did not work with Ian Gillan -- even though I have a great relationship with both of those men. Something different happened. When I left in 1983, I was full of shame. In 1984, I did the rehearsals and I played pretty good but deep in my heart I knew it was the end for me. I got honest and I told everybody. I left the greatest band that I had ever been in and I left the greatest guys I had ever known. I had nowhere to live. I was living on somebody’s couch. That was my home. They used to take me to rehearsals and I would come back. It was just like walking off the cliff. I had no support at the time and I had a couch where I lived. Now, I am so proud of that decision. Tony and Geezer knew that was it. I knew that I wanted to move on.

Jeb: You got sober pre-Aerosmith.

Bill: I only knew a few people in the business who were sober. I wanted to go back to Sabbath because it felt safe and it felt like home. I knew I could play the songs and I knew I could earn money but I also knew that I had to take another road. I had to take a longer and harder road. I had to make sure that I took care of myself first.

Jeb: Did you put another band together?

Bill: In 1985, I played with some younger guys. I started writing songs. I was tempted so many times to pick up with the Sab’s but my allegiance to Oz was very strong. I made a decision to never be a part of Black Sabbath unless Ozzy was in the band. I never went back as much as I wanted to. It got very cold and very scary. Sometimes there was no income at all. I knew I would have to work my own way out of it. I started doing that by making music. I feel like I have been working my way out of whatever that place was for sometime now. It has been an incredible journey.

Bill: I went through a lot of pain. In 1983, I left in shame. In 1984, I left with my head up high. These guys -- Black Sabbath -- reformed several years ago and we did the Ozzfest. I have never read a single word that says we are not going to do that again. I feel like I am on permanent standby. I can still play pretty good for me. We went out and toured for a few years and I had an absolute blast and I was totally sober. In fact, right in the middle of the whole thing a lot of guys on the tour who were having problems started coming to me. I am the wise old man now!

Jeb: Will Sabbath tour again?

Bill: By no means has Sabbath broken up. If they have, nobody told me. I am still in a place where I want to go tour. I don’t have any fear anymore.

Acid King "Bad Vision" Video

 Some days i cant go without listening to some Acid King. It goes great with pizza too. Why this band never got bigger is besides me.

Revocation "Reanimaniacs" Video

Revocation has checked in from the road with the following update: go check em out if you don't know who they are, they are quality heavy metal.

"Hey what's up guys? Dave here, checking in from the road. So far the dates with Despised Icon and Misery Index have been awesome. Every show has been packed with kids losing their minds and it's been killer seeing DI and Mi shred it every night. We just released a brand new video for the song 'ReAniManiacs,' we hope you guys all dig it. It contains footage from this past years whirlwind of gigs, including our Japanese tour, our CD release show and some other backstage/behind the scenes footage.
"You can check it out exclusively on Jackson's website here, and while you're on the site be sure to sign up for their new contest. They're giving away a brand new Warrior guitar, so don't miss out on the chance to get a free axe! See you on the road!"

Click Here To Watch The Video

Florida Satanists Deicide Return Lock up The Rabbits

Florida Satanists Deicide are heading back on the road. Hide your daughters laptop and lock up your rabbit's, and other creatures.The Florida death metal legends have announced a new headlining tour they have coined the "God Is Dead – To Hell With God Tour." The tour is scheduled for February and March of 2011 and will also feature Belphagor, Blackguard, Neuraxis and Pathology.The tour hits major US and Canadian cities.

Here is the full routing:
Feb. 15 – Atlanta, GA – The Masquerade
Feb. 16 – Charlotte, NC – Tremont Music Hall
Feb. 17 – Raleigh, NC – Volume 11
Feb. 18 – Philadelphia, PA – The Trocadero
Feb. 19 – Rochester, NY – Montage Music Hall
Feb. 20 – Worcester, MA – The Palladium
Feb. 21 – New York, NY – The Gramercy Theatre
Feb. 22 – Quebec City, QUE – Imperial de Quebec
Feb. 23 – Montreal, QUE – Cafe Campus
Feb. 24 – London, ONT – Music Hall
Feb. 25 – Toronto, ONT – Opera House
Feb. 26 – Chicago, IL – Reggie Rock Club
Feb. 27 – Detroit, MI – Blondie's
Feb. 28 – Louisville, KY – Headliner's Music Hall
Mar. 01 – Tulsa, OK – Marquee
Mar. 02 – Denver, CO – Bluebird Theater
Mar. 04 – Seattle, WA – El Corazon
Mar. 05 – Portland, OR – Hawthorne Theatre
Mar. 07 – Las Vegas, NV – Cheyenne Saloon
Mar. 08 – Los Angeles, CA – Key Club
Mar. 09 – San Diego, CA – Brick By Brick
Mar. 10 – Tempe, AZ – Clubhouse

Why Is Devin Townsend In A Tunnel?

Devin Townsend lets you into his world for an update on his upcoming release. Who doesn't like recording sounds in tunnels? Devy can just about express himself better than many metal musicians today. His honest love of music, not just Thrash or Hardcore and his production skills are also highly regarded. Devy Is indeed a very strange man to say the least. He is capturing atmosphere in a tunnel. Utilizing sound like this or methods like this are not new to Devy.

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The Red Chord On Drugs

Greg and Gunface are nice lads. The Red Chord posse have been going strong for years. You were just getting your new fix of Dillenger or while you were just getting out of your Korn phase, they were grinding your tits off. Eat up asshole

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Resin Monsters Cough Are Not Happy

COUGH Sigilim Luciferi

Crossing an ocean and more than a few international borders in pursuit of the almighty riff has taken up a bit more time than I'd expected, but after a European metal-induced hiatus of sorts, Grim Kim is back to spread the good word about the best bands you've never heard of. I've settled into a lovely little flat in North London (which, oddly enough, looks a helluva lot like my usual West Philly stomping ground) and am comin' atcha fully armed with a slew of deliciously dirty new bands to shove down your throats. Ironically enough, this first-ever European edition of Revelations of Doom focuses on an American band, from the very same East Coast that I (usually) call home. This one's for the old guard – the true sludge freaks, the dedicated doom 'heads, and the diehard amplifiers worshippers out there. Sit back, light up, and get ready for some pain.

Much like Athens, Georgia, the unassuming little burg called Richmond, Virginia has emerged as an epicenter of sorts for modern metal and hardcore. While most of you are already familiar with some of her more well-known sonic offspring (Lamb of God, Municipal Waste, Cannabis Corpse) it's RVA's lesser-known, underground bands that kids should really be losing their shit over, whether it be Bastard Sapling (who put out the single best demo recording of 2007),  Battlemaster, Inter Arma, Ravn, or the subject of this edition of Revelations of Doom – Cough. Weedeater. Electric Wizard. Iron Monkey. Grief. Corrupted. Eyehategod. Sleep. Buried at Sea. Sourvein. It's easy enough to drop names and draw comparisons to other like-minded and undoubtedly inspirational bands, but doing so would render a great disservice unto Cough. Their latest full-length, Sigillum Luciferi, sees the band in a very, very dark place indeed – they're caught dragging the waters of a polluted river of human misery, and everything's coming up corpses. Their debut full-length is a down-tuned masterpiece of harrowing, nihilistic sludge, bathed in feedback and slower than time. I also high;y suggest some high grade kush for your skullcap. The strings on the guitars seem to seep resin somewhere deep into the hole. We all know that familiar hole. The hole Cough emotes is crucial to observe. Desperate, raw-throaty vocals, lurching riffs, and crushing heaviness are the hallmarks of this release, though once in awhile, Cough slyly throw in a few spacey, tranced-out moments that, for just a split second, allow you to imagine a feeble beam of sunlight cutting through the filth and carving out an iota of breathing room, before the omnipresent muck sucks you back down into the blackness. Yeah, they're that kind of band.

Slipknot Backstage Special Huddle

An exclusive look at a scene from the documentary portion of Slipknot's upcoming live DVD, (sic)ness - in stores September 28th, featuring one of the bands final performances together.

There will be 3 special screening of the director’s cut in NYC, LA, and Chicago on Monday 9/27.  Clown will be in attendance at the NYC showing and fans at that showing will all receive a free exclusive Slipknot poster, autographed by Clown Himself. Paul R.I.P

Click Here To Watch The Video

Chick Shows Girls How To Be Hot

By Arnalda Palmer

Every now and then I like to peruse the interwebs and look for all the ways that I can truly be a metal chick. Luckily, I stumbled upon the above video that adequately teaches me how to look like one. I just marveled through out the video and was so ecstatic to find such an erudite demonstrator.
I don't know why it never occurred to me that a "chick" who is a metalhead should look like a tacky whore. This whole time, why did I avoid the beauty section at Family Dollar? 

So many "metal concert thing" that went by and I didn't have my skull adorned with polyester multi-colored hair clip-on extensions. Alas, my face wasn't painted with Crayola markers. Oh, classic Megadeth T-shirt? I'm putting you through the paper shredder. Also, I have to now glue a cool zipper on the side of all my pants and "hardware" to my boots. I'm thinking an array of nuts, bolts, a monkey wrench, my modem, a capuchin, some bananas… ok now I'm getting carried away.
I really hope to see this girl at the next show I go to. So that I can thank her. And then shove my hand down her throat, pull out her lung meat and asphyxiate her face in it. That would be another way for her to look metal and she wouldn't need blush for it either.


September 29, 2010

Overkill Hailed First Thrash Band

If the name Overkill is foreign to you, you are not metal. Plain and simple. A Metal band for now over 30 years and counting, there is nothing you can say about the strength and determination to keep a band going that long, with as many member changes and label problems. Veterans of the NY Thrash scene, basically THE first NY thrash band, bow down.

You guys (that is DD Verni and you) have been plodding away with Overkill for nearly thirty years now. Would you say that still makes sense?

30 years!, Why do journalists keep adding years....1985 for Feel the Fire.DD and I met in 1981. I think the demographic has obviously changed, as many of the fairer sex enjoy the "heavy stuff". But originally it was a man's world "in the pit".

Like I said, nearly thirty years.  A lot of bands would have called it a day after a lot shorter period and after all you've been through. Especially after you suffered a stroke on stage. So, what keeps you guys, and especially you, going?

I'm waiting for a heart's the only thing missing. Seriously, I do think that if one finds something they love, in my case never feels like work. It feels like LIFE, and an interesting one at that. Keep it heavy, and the rest will follow.

Over that period of time would you say the band has changed a lot musically? Or is it just slight changes from album to album so that the fans know what to expect?

We are what we are metalband...recognizable…heavy...committed. I think that in a world of change, deception and uncertainty, we are constant, honest and certain.

Talking about change, how do you regard the current thrash scene? Would you say that a revival is going on with a lot of new bands emerging and the old guns reuniting, and people like you still going on? What are your thoughts on reunions of bands such as Onslaught, Death Angel, Exodus, Defiance, Blessed Death, Sacred Reich? And how do you view the new crop such as Bonded by Blood, Municipal Waste, Evile, Suicidal Angels, Fueled By Fire?

I think healthy would be the word for the day...I'm not so big on reunions, as it is money fuelled in many cases, but bands like Exodus, in my opinion have always been there, and always had something to offer. The new breed is necessary to carry the proves that the scene has transcended generations, and had the value that many of us thought as far back as 1982.

Since we are on the subject of thrash. Have you seen the finished Get Thrashed product yet (of course my first question is a direct quote from that documentary)? And what are your thoughts on what Rick Ernst has brought across?

Saw it...a great documentary on how it was, and some great opinions...loved the Exodus segments...and much of what was said by those in the scene but not playing in bands. Again it proves the value of the genre....and Rick depicted it in an honest, forthright way....Hats off!!!!!!

Although Get Thrashed hasn't seen an official DVD release in 2007 another documentary (which was originally intended as just some bonus material for Get Thrashed) has. Rat Skates: Born In The Basement by your original drummer Rat Skates. I was really pleasantly surprised to see that original guitarist Robert Pisarek was even featured (somehow people tend to have forgotten about him in Overkill) But since the entire documentary is from Rat's point of view I would really like to know your perspective on the things he puts forward there.

Who? I can't validate it...I wasn't involved in the making of that DVD, nor was DD...I think if you put the 4 originals in a room...I am speaking of Bobby Gustafson on guitar, you would hear 4 similar, yet different versions of what happened. The core of what was done, why this whole thing of ours existed over 2 decades is the song writing...and the development of non professionals into professionals. The decision of full time, life long commitment, makes this interview possible. The documentary is well done, and Rat is a talented film maker, but it was truly "self-serving", as well as a forum for 1 man's opinion, and complaint. I think the reason Rob Pisarek is rarely brought up as a founding member, is because we were a cover band at the time, there were few originals written....and none of them made it to a studio. It would be non productive to speak of how well he covered songs as well as uninteresting and invalid. The incorporating of Bobby was the start of Overkill as the world knows it....and that is what is important.

You mentioned earlier, DD and you are the two only original members still in the band, what were the reasons for the others to leave the band (as far as you can remember of course) Dan Spitz probably being the one who gained most of his fame after leaving you guys for another New York thrash band.

Danny to Anthrax...hmmm, money?

Most left of their own accord....even Rat Kundrat (Rat Skates), " I can't take it! it's not what I want!". Others for family, Marino, Gant; Comeau to sing with Annihilator; Cannivano to race bikes; Sid was discontent. Bobby and DD wouldn't work together. So it was primarily the decision of the individual who is now gone. No big rules in Overkill... I think the proof is the side projects...Speed Kill...The Bronx, and the Cursed. You live once, live your what makes you happy...and always add a little chaos.

The last three years saw the release of studio album 14 or 15 which was generally well-received by both press and fans alike and in my opinion saw a return to a thrashier sound by you. What are your thoughts on Immortalis?

Good record in the truest is cohesive, as if all the songs are necessary to create the impact. This was an art form as I grew up....Black Sabbath Vol IV; Machine Head; Stained Class; Ace of Spades...full albums...not just a collection of songs.
The writing as per normal...starting with DD & ending with me...but we had much more time...almost 2 years to complete it...I think the time is the "X" factor.

I have heard some people around me say that Overkill is like the AC/DC or Motörhead of thrash, releasing albums that generally sound alike. According to them it might be a good thing to not record any more and to solely focus on touring. Have you ever considered such a thing to be an option or was that just a dumb question ?

No...though quite a compliment...touring is my motivation, but we don't want that heart attack too soon.

Thanks for taking to the time to answer these questions. I hope you are aware of your contribution to Heavy Metal. Is there anything you'd like to add as your final words?

Stop by and say hello...looking forward to heading east again, I have always collected great memories from there....the people...the cities.... the SHOWS! Look for me...I'll be the guy sweating his ass off.

Killswitch Singer Howard Knocks up Porn Slut?

We’re utterly clueless and behind the times on this news, we are too busy rolling blunts and debating on whether new Domino's pizza is really new (which it is), but we figure it is such a fantastic read that it warrants some level of exposure. Apparently, there’s been some Twitter drama concerning pornstar Allie Foster and KILLSWITCH ENGAGE frontman Howard Jones.
The juicy deets in a nutshel
  • Howard Jones had to leave KILLSWITCH ENGAGE’s tour due to “personal reasons”?
  •  Allie Foster has a baby bump that is alleged to be Howard Jones‘ of KILLSWITCH ENGAGE’s child 
  • Allie Foster does not like the attention: “No further posts, and all Allie Foster accounts WILL BE DELETED (Facebook, Myspace, Twitter) as I do not plan on ever going back.” 
  • Allie Foster supposedly quit porn: “To clear up a few things, I quit porn awhile ago. I haven’t been posting on ANYTHING. I am pregnant, but I’ve been working a NORMAL job.”
Quite frankly, we don’t care one iota what really happened,  but lets be honest, it’s one hell of a story if it were true. Hopefully your cock was covered in triple wrap. Besides all porn whores are looking for rich rock stars. Howard has some cheese. Nice tits on the whore too.


Ever since the early 1980s, Yngwie has been pushing the limits of guitar, and influencing countless other players in the process. And he continues to impress to this day, as evidenced by his forthcoming album, “Relentless”, the highly anticipated follow-up to 2008’s critically acclaimed “Perpetual Flame” (Yngwie’s first album for Rising Force Records).
The second Yngwie CD to feature ex-JUDAS PRIEST and ICED EARTH singer Tim “Ripper” Owens, “Relentless” contains over 60 minutes of “incredibly complex, kick-ass arrangements,” according to a press release.

“This title truly is the right one for this album,” explains Yngwie. “I mean, after all these years, some kind of force is driving me to create something that totally surpasses everything I’ve done before. I tried to capture the raw energy of a live performance, yet push myself to the most demanding level of playing and composing to harness that elusive magic that can’t just be switched on. All the way out, caution to the wind, but disciplined performances was what I went for. Maybe I did it too, check it out!”

“Relentless” will feature the following tracks:
Look At You Now
Shot Across the Bow
Adagio B Minor Variation
Caged Animal
Critical Mass
Into Valhalla
Enemy Within
Caprici Di Inferno

Malmsteen released the “Raw Live” DVD on June 29. According to a press release, the set “provides an unprecedented and unique look at the rise of a guitar god. Spanning from 1981 through 1999 and encompassing extremely rare footage of Yngwie’s early years in Sweden, this video displays the infancy of Yngwie’s prodigious skills well prior to his first worldwide album and travels through Yngwie’s masterful career, including his masterful performances from his first solo albums, ‘Rising Force’‘Marching Out’, and‘Trilogy’. Also included in this unique video are never-released behind-the-scenes footage of Yngwie and newly shot personal touches of Yngwie which open up the viewer to a side of the guitar maestro which is rarely seen by the public.”

At War

AT WAR, one of the first metal bands to be considered “war metal,” is back with its latest release, Infidel. It’s a major middle finger toward al-Qaeda and the like. Its raw, dirty brutality is an honest attempt at a comeback, and AT WAR is not just riding on the laurels of the retro thrash scene. The Virginia Beach trio had been on a 15-plus-year sabbatical, then started playing again in 2006 at the beginning of the thrash metal resurgence.

In 1983, AT WAR was an up-and-coming speed/thrash metal band. But they virtually disappeared after their sophomore release Retaliatory Strike in 1988. The renewed interest in the band and the reviews for Infidel couldn’t please vocalist/bassist Paul Arnold more.

What made At War re-form? 

It actually started in 2006. Shawn (Helsel) and I remained friends through all this. We were in contact with each other all the time. We had all taken different paths and were occupied by things of a more personal nature. We started getting a little amount of contact from people to play out or to record something new. We started talking about it and things just fell together, and Shawn had a place to rehearse. We started rehearsing and people started hearing that we were actually rehearsing, and we started getting invited to do festivals and other things. It just kind of snowballed from there.

Was it because of the renewed interest in thrash? 

I’m absolutely sure that was it. But we weren’t really aware of (the resurgence) until we started rehearsing again. We just wanted to do it again. And then we found out that there were these young thrash bands getting back together in the Bay area and other places. Then we started figuring out when we put up a MySpace page that it was out again and we just went apeshit!

What led to the band’s sabbatical, and what did all the members of At War do musically during the break? 

I think it was around ‘92 or ‘93 that we played our last show. The whole music scene was changing around that time. Grunge was the flavor of the month, and it seemed like overnight the interest in extreme metal’s bottom fell out. At the same time we were up for a renewed contract with New Renaissance and a new album. They were trying to cut the budget while we were trying to get more money to do a better record. We thought we put in our time and that we deserved it. We just lost contact with them and decided that if we weren’t going to do it right, then we weren’t going to do it. And we attempted half-heartedly to find another label and we started drifting away from the band. I had a young daughter and we’d been out for months prior to that and I wasn’t around much, so I needed some time off. Musically, we didn’t do a whole lot. Shawn had formed a band that I sang for … just a local band. Dave our drummer took off with a cover band. That’s kind of where things drifted the most. We never officially called it quits or said “OK that’s it, let’s break up.”

In the ’80s you were an up-and-coming band but never really got much recognition. Do you feel that with the release of Infidel you will start to get the respect you deserve? 

We did get a pretty healthy level of respect and had a pretty wide fan base. Some people think that we’re a new band. In fact, to a lot of people we are. Having the Internet … people thought we were a new band until they started looking into us and found out we’ve been inactive mostly. But then there were the old-school people who knew about us who heard we put out this new record. I think things could have been done differently in the ’80s and we could have gotten a lot more respect and notoriety. Things could have been different, but we’re not going for self-pity.

Infidel has an old-school vibe mixed with punk. But it also has that German thrash influence. Was it a conscience effort to remain true to your original sound? 

Keep in mind, for 15 years, I wasn’t involved in the music scene. I was heavily into bowhunting and wildlife photography. I wasn’t in the music scene at all. The way things were recorded or the way things were musically in general, we were completely unaware of. It’s like we crawled out from under a rock in a time machine. We wanted to record an album. For us, it wasn’t about being rock stars, we just wanted to do something for ourselves. If this was the last album we ever to do, I wanted to make sure we didn’t cut any corners and that we didn’t bullshit around and did everything that we know how to do. We only did what we knew to do when we started writing songs. A lot of bands in the late ’80s and early ’90s, everyone was searching around for new things to do with metal. We even fell into that a little bit with some of the stuff we had written for the third album, which never got released. First and foremost, we’re going to play songs that we like. If we love them, then that’s all that matters. When it came to recording the album, our first choice was Alex (Perialas) because we love what he did with “Retaliatory Strike.” We trusted him. We weren’t trying to come up with a retro-sounding album. We used the techniques that worked great back then, and we’re really happy with the way it came out.

How pleased are you with the reviews of “Infidel” and the renewed interest in the band? 

I’m very pleased. I’d say 90% of the reviews I’ve seen have been overwhelmingly positive. No matter what you do, there’s always going to be haters out there, for whatever reason. We’re going to expect that. But it’s been so little. Most people who listen to the album hear it the same way we do. Great songs, great-sounding record, doesn’t have a lot of in-the-box type of recording methods that most bands are so used to these days because it’s all they know. And when they hear it, they ask themselves, “Why does this album sound different?” It’s real musicians, playing real instruments, in a real studio. It’s not a bunch of stuff that’s manufactured. What you’re hearing is the “real deal.”

The warfare theme is still dominant on Infidel, but do consider yourself war metal? 

I’ve been asked that a lot. Back in ‘84 when we first signed up with ASCAP, we had named our publishing company War Metal Music. I’m not going to take any credit for the moniker, but I think we were probably the first people to actually use it. As far as the genre, I never thought of it being that way, and I didn’t even know there was a war metal genre until two or three years ago. For us, the war theme kind of came into play as a result of our upbringing. The reason we love metal is because of the aggression. And what’s more aggressive than war? Shawn, Dave (Stone) and I are all huge WWII movie buffs, and when I was a baby the Vietnam War was going on. Plus the fact we all hunt, we all have guns and wear camouflage. It all kind of fell into place. It kind of worked its way into the theme of the band. The reason the band is called At War is not because of war itself, it’s really a state of mind. We were at war with … we were sick and tired of people who bitch, whine and moan about things and don’t do anything about it. If you’ve got a problem, get out there and attack the problem, declare war on the problem. At war with whatever problems you have in life.

The cover art of “Infidel” as well as the song “Want You Dead” are strong statements. You seem to stand behind everything you do. You aren’t trying to be diplomatic are you? 

Absolutely not. The song “Want You Dead,” it’s not purporting a political viewpoint, it’s purporting a fact. If anyone reads the facts about Islamic extremism, for me I’m just speaking the truth. Extremists want anybody that’s not them to be dead. And that’s a fact. The song is not trying to persuade, it’s just speaking the truth. And anyone who wants to say otherwise, it’s just not true. That’s all the song is saying. It’s just saying that people need to wake up and realize you cannot negotiate with people who think this way. It’s a religious mindset to them. They feel that the only society is one without you in it. If you’re not with them, you’re against them. That’s what’s caused all the turmoil in the last 10 years … that type of thinking.

Any closing comments? 

I want to thank all the fans and you, Kelley, for this interview. And everyone who’s been supporting all forms of extreme metal over the years. When we played in Europe, Germany especially, along with Japan and Mexico for that matter, the thing that strikes me the most is how different it is in the States compared to there. In the States, metal seems to be so fragmented in your little groups. If you’re a death-metal guy, it’s got to be death metal or it sucks. If you’re a thrash guy, it’s got to be thrash metal or it sucks, and so on. If you go to European festivals, you feel support from every form of metal there is, be it NWOBHM or math metal, you name it. The crowd down front, cheering people on. I’d like to see more of that as a country. I think the fragmentation makes it harder in the entire metal industry in this country for bands and music to become more prolific. The last thing we need is to have in-fighting within metal. We need to support the whole thing. That’s what I’d like to see.

Tygers Of Pan Tang

From the beginning of the NWOBHM movement in the late ’70s, there’s been no other band, with the exception of maybe DIAMOND HEAD, ANGEL WITCH and IRON MAIDEN, that has been at the forefront of the scene since its inception. TYGERS OF PAN TANG carry the flag of the true sound of the NWOBHM and have been together for over 30 years for a reason — for the love of making music and the NWOBHM scene in general. Before some TYGERS OF PAN TANG festival dates, original guitarist Robb Weir checked in with us at the Attic, we hailed.

After forming in 1978, did you think you would be able to carry the NWOBHM flag even to this day? 

When the band started in 1978, it was just a dream to play music and get a record deal. To still be playing and writing 30+ years later is just incredible for me personally and for the band. We have had some ups and downs as a band, but I am enjoying the Tygers now more than ever. We have a very high-energy live stage show now which is much more visual than ever before, and our last album release, “Animal Instinct,” received some fantastic reviews, all of which makes it worthwhile.

The band really seemed to be at its strongest on the first three albums. Not that I’m saying you didn’t have good material after that, but it seems like that classic NWOBHM spark was missing. Or was it the end of an era so to speak? 

There was a unity in the writing for the first three albums which created that Tygers sound. Also, with the social issues in the UK at the time, NWOBHM was perfect music for the working man who just wanted a release from the day to day struggles. The NWOBHM movement was at its highest point during those albums and so was British hard rock, so it all just came together. It was a simple process which focused on the riff and lyrics, which changed with “The Cage”. Fred (Purser) had joined the band and was a University-trained musician, so he brought a technical side to the band that was very cutting edge for the time, but just wasn’t the Tygers. Saying all that, “The Cage” was our most successful album to date even though it’s not a fans’ favourite. In 2007 when we started recording “Animal Instinct,” we wanted to get back to our roots with the Tygers sound. I think we achieved that, and if you compare that album against the first three, the signature sound continues throughout.

With various member changes, record label frustrations, break ups, poor record sales, etc. With you being the only original member, what made you want to keep the TOPT legacy alive?

Since I decided to put the Tygers back together, it has been a struggle. There was a lot of poor decision making by the management at the time and myself, which I regret to this day. Up to 2007, there was a huge focus on the fact that I was the only original member from the early days, but this now seems to be getting less of an issue. We needed to play our shows and release a product that the media and fans would respect to get that credibility back. A lot of bands suffer this stigma when all they want to do is keep their music alive and keep playing songs they love live. What I have learned, is In order to really produce good music, you need the comradery and continuity within the band that only comes through time. The present line up has been together since 2004 and that is now showing huge dividend. We have a new manager (since 2007) that takes care of all our business so we have an infrastructure for merchandise, touring, etc. So that just leaves the music and playing to the band. It’s a great weight off my shoulders. You ask why we keep this going? I believe the Tygers songs from 1980-82 are worth keeping alive and I just want to play these for anyone who wants to hear them. I also want to record music I am proud of, such as “Animal Instinct”. There is a lot left in the band yet.
How’s it feel to be on the upcoming Bridgefest 2010 bill?

We know Tony, the owner of the venue quite well and usually play warm-up shows at the Bridgehouse on our way to Europe. It’s a fantastic little venue and one bands should check out on the circuit. Tony asked us to play the festival and we were happy to oblige.

As you say 2008’s “Animal Instinct” still carries on the TOPT sound, but has a bluesy vibe especially on “Live For The Day.” This is just great stuff. What was your mindset while writing the material?

“Animal Instinct” was a band recording so you get a lot of influences in there. When I listen to the album I hear some AC/DC, Scorpions, Judas Priest, Saxon and a touch of Free/Zeppelin on the vocals. In order to get back to the spirit of early ’80s rock, we were listening to a lot of older albums and this came through in the writing/recording. As I have said in the above, we do have an overall sound though that always shadows over the influenced sounds.

Are you working on any new material and what kind of direction is it heading in?

We have started writing the new album and have a couple of demos already. The direction will be similar to “Animal Instinct” with a bit more sophistication. We are very aware that there is a new expectancy that this album has to be better than the last, so we will take our time and ensure we explore every way on every song to achieve this. In between, we will be releasing another 5- track EP to celebrate 30 years of Spellbound. I like this concept because it shows an ode to the past, I am extremely proud of the band’s past and present ,and I want to keep the past music alive because there was some great songs. There are too many bands that have forgotten their past, but the fans want to hear those songs played live, so they are as important as the new ones.

When will it be released?

We will be looking at mid 2011.

With the recent resurgence of traditional and NWOBHM bands like Enforcer, Cauldron, White Wizzard and many others. Do you feel you have something at stake or something to prove that you are still in the game, and you virtually started, or was an essential part of the whole movement?

When your fans are paying their hard-earned money for a product, then of course there is something at stake. As a musician, there is always something to prove because you want to push yourself into releasing the best possible songs you can write at the time. I think as a band up to 2007, we had become a little lazy and complacent, but our new management will not allow that at all any more. We have been asked to be more competitive when we play festivals. We used to be quite laid back but now our manager wants us to be the best band on the bill and steal the show, so we are really pushing ourselves as musicians and entertainers. The publicity from our recent performances have been fantastic, so it seems to be working.

Anybody that knows their metal, especially NWOBHM, remember you and still love the band. How’s that make you feel to know that you are still revered and are still important in the metal world?

It’s really nice to receive such attention, which is most apparent when we go abroad. We have some great fans in the UK, but our main market tends to be Mainland Europe, South America and Japan, where we sell most albums. It’s great to play festivals in Europe, as they are still true to original Rock/Metal. At the Headbangers Open Air Festival, we did a signing session that lasted 1 hour 15 minutes. The comments from the fans were great and it did show the affection people still have for the Tygers of Pan Tang.

What’s next for Tygers of Pan Tang?

We will continue releasing our concept EP CDs, we will record a new album in 2011 and still keep playing live. We are accessible to the Rock/Metal Fan to really get on board with the band and taste what it was like back in the early ’80s.

Any last words or comments?

Please check out our website and myspace site for latest news/gig dates and shop etc. If you can buy “Animal Instinct,” please do so and give it a try, you will not be disappointed, I promise.

Thanks for taking the time Robb. Safe travels