Fan-filmed video footage of QUEENSRŸCHE's August 31 performance at Farm Rock in Wauconda, Illinois can be seen below (courtesy of YouTube user "Ron Davis").
In a recent interview with Pop-Break.com, QUEENSRŸCHE drummer Scott Rockenfield was asked how the band managed to stay positive and successfully bounce back from spending much of the past two years embroiled in a legal battle with the group's former singer, Geoff Tate, over the rights to the QUEENSRŸCHE name. "The conflict started years ago, but prior to it, when we were all still working together in the 'old band,' so to speak… we had been in a dark place for a long time," he said. "It wasn't going well, the years were stacking up on us, we weren't making the music that we were passionate about and were being forced to do a lot of things that we didn't want to do. We weren't being allowed to play all of the music that we wanted to play live, and to give our fans what we thought was important. The darker the hole we kept falling into, the faster we wanted to get out of it. That's what happens, you kind of hit the bottom of a hole, and there's only one way to go: up and out of there. I guess my point with all of that is rolling forward to the present right now and what we've had to go through the past couple of years… it was a huge defining moment, you know? In the end, it was exactly what we needed to do and now we just feel so good about where we're at. It was meant to be; it was the right decision. We're happier, the fans are happier, they're certainly enjoying the music we play live, and have certainly given us great feedback on the record we put out last year. So overall, everything worked out really well. The morale, for us, just kind of became perfect. I mean, the second we transitioned and got Todd [La Torre, vocals] in the band, the morale just went through the roof for us, you know? There was no weird dark clouds for us, and we just don't have that anymore. We're really close to each other. We have the same common interests, we're energetic, and we're happy! We're all working together as a team, and it's not just one person saying, 'you have to do it like this,' it's all of us making the decisions together and making the music together. Long story short: the morale is really high, we're having a great time, and we all really know what we want to do and why we want to do it. I think that's why the fans like what we're doing now — they can see that we're happy and that we're being honest again."
Scott also spoke about what fans can expect to hear on QUEENSRŸCHE's follow-up to last year's self-titled album, tentatively due in early 2015 via Century Media. "Our old sound was kind of our thing, and I think we just found what QUEENSRŸCHE was good at, and we really wanted to do that [on 'Queensrÿche']. I think it really bought us back to the essence of some of that old material that we did together. It was honest material, and I think that record was one of the most honest records we've made. It really shows just 'us' all around, and our fans' response and the press's response… people all over the world listened was happy, and it was quite overwhelming! So, I think it's a great thing, for us to find that. As for what's coming next, I don't really have a defined answer for you because we never really know. We tend to not really define it until it's done, but we've been working on it quite a bit, so it will soon kind of lay itself out. But it's going to be us… it's just going to be us. It's gonna be what we do in the best fashion possible. I think you can say that there will be a lot of the elements from the last record in it. The energy and the chemistry and the honesty and the unity… all of that stuff will be in it, and hopefully the icing on the cake will be that we wrote really great songs and people enjoy what they listen to. I don't think they're not going to, to be honest. We're really good salesmen now because we feel so good about it! [laughs] Now we just have to do it! I think we'll have it done within the next four to six months, after we get through putting it all together and stuff. It's a great blessing, and it's really a lot of fun for us."
QUEENSRŸCHE's self-titled album sold around 13,500 copies in the United States in its first week of release to land at position No. 23 on The Billboard 200 chart. The record arrived in stores on June 25, 2013 via Century Media Records.
"Queensrÿche" marked the debut release from the lineup comprised of La Torre (vocals; ex-CRIMSON GLORY), Michael Wilton (guitar), Parker Lundgren (guitar), Eddie Jackson (bass) and Scott Rockenfield (drums).
Seven years after he reactivated the band, frontman and founder Billy Corgan is thinking about putting the SMASHING PUMPKINS to sleep again. According to The Pulse Of Radio, Corgan told the Chicago Tribune in a new interview that the response to the band's two upcoming album will play a big role in deciding the PUMPKINS' future. He explained, "When this [new album] process is over, I'm either going to bail on this ship for good, like 'I'm done,' or I'm going to have a new ship to sail on."
Corgan admitted it's been hard to get fans to pay attention to new music from the group, saying, "How do you say, 'I still matter'? How do you say, 'How does one of my contemporaries get treated like a contemporary artist, and how do I get treated like I'm supposed to play 'Siamese Dream' for the rest of my life?' At some point you've got to fight this fight or go away."
Corgan has said ever since bringing the band back to life in 2007 that he did not want the PUMPKINS to be a nostalgia act. "To go back under the SMASHING PUMPKINS name engendered a lot of people expecting us to be nothing more than a reunion band, playing its greatest hits, and with a fan base not particularly keen to listen to the new music," he said. "What I try to tell people that get caught up in the reunion kind of concepts — like where are the original members and stuff like this — the band was founded on an idea that it must be progressive and it must always be moving forward."
The first of the two new PUMPKINS albums, "Monuments For An Elegy", is expected out in early 2015, while the second, "Day For Night", will follow later in the year.
The SMASHING PUMPKINS initially went on hiatus in 2000 after 12 years and six albums. Corgan revived the group in 2007 and has released three albums since then. He remains the only original member of the band.
Marilyn Manson's new studio album "is prepared for landing," according to the latest tweet from the shock rocker.
Marilyn Manson's most recent full-length album, "Born Villain", his eighth overall, debuted in the Top 10 on The Billboard 200 chart. The CD earned Manson his fourth Grammy nomination at the 2013 Grammys in the Best Hard Rock/Metal Performance" category for the album's lead single, "No Reflection".
Manson has been cast in a recurring role in the hit FX series "Sons Of Anarchy". Manson will play Ron Tully, a "white supremacist prison shot-caller" who Charlie Hunnam's character, "Sons Of Anarchy" president Jax, uses to expand his power base during the show's seventh season.
Manson has been steadily working his way into television in the past couple of years, making appearances on Showtime's "Californication", the Sundance Channel's "Wrong Cops" and HBO's "Eastbound & Down", along with voicing a demonic character on ABC's "Once Upon A Time".
The shock-rocker made his TV scoring debut in April with the song "Cupid Carries A Gun", heard on the new WGN series "Salem".
Manson told The Hollywood Reporter that the song "was the last track we just finished for my new album," adding "I liked the themes of 'Salem'. It looks at the witch trials without being cliche like most modern films."
Making more mayhem on SOA. And...the new album is prepared for landing. Fasten your seat belts.— Marilyn Manson (@marilynmanson) September 2, 2014
Making more mayhem on SOA. And...the new album is prepared for landing. Fasten your seat belts.
SLAYER has returned to the studio to resume recording its new album for a tentative early 2015 release. Helming the sessions is Terry Date, who previously worked with the band on the song "Implode", which was made available as a free download as a "thank you" to the band's fans for their continued support following SLAYER's surprise performance at this past April's Revolver Golden Gods awards in Los Angeles.
New photos from the studio can be seen below.
SLAYER's next CD will be released on Nuclear Blast Records through the band's own label imprint, closing out a 28-year relationship with Rick Rubin and American Recordings. It will also be SLAYER's first album without the group's co-founding guitarist Jeff Hanneman, who passed away in May 2013 from alcohol-related cirrhosis of the liver. He is credited for writing many of SLAYER's classic songs, including "Angel Of Death" and "South Of Heaven".
"I never go online and see what people are talking about because people are ten foot tall behind a computer screen, you know?!" SLAYER guitarist Kerry King told ARTE Concert at last month's Wacken Open Air festival in Wacken, Germany. "But, you know, a lot of [the reaction to 'Implode'] was positive, a lot of people said, 'For anybody that was worried about what SLAYER was gonna sound like post-Hanneman, don't worry about it.'"
He continued: "I know people are gonna think that [we can't make another quality album], people are gonna expect us to fail because it's the first record without Jeff; I get it. But I'm also very proud of what of we've done so far towards new material. It's fast, the slow stuff's heavy. I mean, it's… Everything that people liked SLAYER for in the past is on this record."
Joining King and bassist/vocalist Tom Araya during the sessions for SLAYER's new album are returning drummer Paul Bostaph, who replaced Dave Lombardo last year, and guitarist Gary Holt (also of EXODUS), who has been filling in for Hanneman on tour for the past four and a half years.
Bostaph was SLAYER's drummer from 1992 until 2001 and recorded four albums with the band — the gold-certified "Divine Intervention" (1994), the 1996 punk covers album "Undisputed Attitude", "Diabolus In Musica" (1998), "God Hates Us All" (2001) that received a Grammy nomination for "Best Metal Performance", as well as the DVD "War At The Warfield" (2001), also certified gold. In addition to SLAYER, Bostaph has been a member of FORBIDDEN, EXODUS, SYSTEMATIC and TESTAMENT.
Original SLAYER drummer Dave Lombardo was effectively fired from SLAYER after sitting out the band's Australian tour in February/March 2013 due to a contract dispute with the other members of the group. Filling in for him was Jon Dette (TESTAMENT, ANTHRAX).
Swiss social television channel Joiz recently conducted an interview with legendary guitarist Slash. You can now watch the chat below.
Slash will release his new album, "World On Fire", on September 15. The former GUNS N' ROSES guitarist and his backing band, MYLES KENNEDY & THE CONSPIRATORS, recorded 17 songs for the follow-up to 2012's "Apocalyptic Love". Among the tracks on the record are "Shadow Life", "Automatic Overdrive", "Wicked Stone", "Bent To Fly", "Battleground" and the title track, which also serves as the set's first single.
Slash told Music Radar about the new CD, "I wrote the majority of the music when I was on the 'Apocalyptic Love' tour. You know, just sitting around in dressing rooms and hotel rooms for a year, I accumulated all these ideas. Then in September  I sat down and went through everything I'd recorded on my voice memo on my phone and picked out about 20 different ideas then we went into pre-production in October and just started jamming. We were there for a couple of months, holed up in Mates rehearsal studio in Los Angeles. There was the whole writing process then once we had all the songs down we rehearsed the shit out of it, and then we brought the producer, Mike Baskette, in. And so we went through another phase of fine tooth-combing everything and getting the arrangements together. Myles came down and started working on his vocal parts… and by the time we were done with all that we were ready to go in and just bang the stuff out. It was a very quick process in the studio."
He continued: "The one thing about this record is that it was almost like it wrote itself, it was very effortless. And that happens very rarely, when there's a certain energy that carries the creative process and it's almost like you're not in control of it and you just ride that wave. That's how this record was. I can't think of any outside influence other than just going with this creative flow."
Slash also spoke about the musical chemistry between him and his bandmates, telling Music Radar: "I think basically everyone's a great rock 'n' roll player. They're real rock musicians at heart — deep down. So when we get together, we've built up a certain chemistry. We started out with a certain kind of chemistry and we're just evolving from there. At this point, everybody feels very comfortable just being themselves and doing what it is that they do best. It's just an unsaid, natural synergy that happens. For example, this is probably one of Brent's [Fitz, drummer] best records as a player, being able to do all the things he wanted to do. And the same with Todd [Kerns, bass] and the same for me. But having such a great rhythm section means I have to really fuckin' put together some great guitar bits on top of it. The other thing that's cool is Mike Baskette was great. One of the reasons why I really wanted to work with him was he just loves guitars and it's rare to get anyone who brings any ideas other than the ones you bring to the table as far as sounds and tones or anything like that. And that's a limitation: you can only do as much as you know how to do in the studio and sometimes you really need to work with an engineer who knows something in the recording studio that you don't know. That's what Mike brought into it. He was so enthusiastic about getting guitar sounds. He would put as much time into that as I could possibly put it in — sometimes more so. It was really inspiring. I haven't had that in a long, long time."
Slash released his first self-titled solo effort in 2010. On that album he employed a different vocalist on each track, before settling on ALTER BRIDGE member Kennedy for both touring and eventually recording.
"Apocalyptic Love" earned Slash his two first-ever No. 1 U.S. rock radio hits with "You're A Lie" and "Standing In The Sun".
The former GUNS N' ROSES member and Rock And Roll Hall Of Fame inductee is taking his band on the road this summer for both headlining dates and a tour with AEROSMITH.
The Front Row Report recently conducted an interview with SEVENDUST guitarist John Connolly. You can now listen to the chat in the YouTube clip below.
SEVENDUST's new acoustic album, "Time Travelers & Bonfires", sold around 15,000 copies in the United States in its first week of release to debut at position No. 19 on The Billboard 200 chart. The CD was made available on April 15 via 7Bros. Records, in conjunction with ADA Label Services.
The Atlanta band — Lajon Witherspoon (vocals), Morgan Rose (drums/vocals), Clint Lowery (guitar/vocals), John Connolly (guitar/vocals) and Vince Hornsby (bass/vocals) — recorded "Time Travelers & Bonfires" at Architekt Studios in Butler, New Jersey (where they recorded their previous "Black Out The Sun" album). It is a collection of brand new songs, along with re-recorded SEVENDUST classics. Newly re-recorded songs include "Black", "Gone", "Denial", "Karma", "Trust" and "Crucified". Six brand new songs have also been written and recorded for the acoustic album. It's not the first time SEVENDUST has explored their acoustic side. Their critically acclaimed "Southside Double-Wide" live acoustic album was released in 2004.
"People liked ['Southside Double-Wide'] so much and have asked for so many years for us to do it again that we had a meeting and said, 'Hmm, why don't we do an acoustic album and see what happens," Witherspoon told Billboard.com.
"We went in full guns blazin', man," he added. "It was serious work. It was a serious project. We wanted to come different and bring the different sound and still have that acoustic element there but give it some salt, too, and keep it in that SEVENDUST vein that we're still gonna be able to have a good time and stand up and jump around and not do it in the same vein people are normally used to."
DEEP PURPLE bassist Roger Glover was interviewed on a recent edition of the weekly two-hour classic hard rock and metal show "Noize In The Attic" (web site). You can now listen to the program using the widget below. (Note: The Glover interview begins around the 32-minute mark.) A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).
On whether DEEP PURPLE would consider performing the entire "Perfect Strangers" album live to celebrate the LP's 30th anniversary:
"No. We did it once; we did it with 'Machine Head' some years ago. It was an American tour; we didn't do it anywhere else. But it kind of reinforces that 'classic rock' chain around our necks, which we don't get in the rest of the world, it's only in America. 'Cause radio deems that you are that, and that's that. In the rest of the world, we don't have that moniker."
On whether he still enjoys performing the DEEP PURPLE classics like "Smoke On The Water":
"Absolutely. First of all, we don't do an act; we're not some kind of carnival act. It's musicians playing music. It's always a different interpretation slightly every night. And we know people enjoy it, and we enjoy it. I think if we did all new material, we'd… I don't know what would happen, actually. I don't know. But we enjoy playing it anyway. As [current DEEP PURPLE guitarist] Steve Morse once said, 'If 'Smoke On The Water' was a button you could press that made the audience go nuts, you'd wanna press it.'"
On whether he misses former DEEP PURPLE guitarist Ritchie Blackmore:
"Yeah, we were friends. Yeah. I mean, 'miss' maybe isn't the right word, but certainly they're not all bad feelings. Some of the best and worst things happened to me because of Ritchie, but at least there were the best. He's a wonderful, wonderful guitarist, writer, character… It's not all doom and gloom. We got on really well for years. You know, that's him. I'm happy he's happy."
On whether he would be open to having all the former DEEP PURPLE members up on stage at the band's eventual Rock And Roll Hall Of Fame induction ceremony:
"No. No. That would be a nightmare, in my humble opinion. We're kind of ambivalent about [the Hall Of Fame]; we don't care about it that much. If they do [induct us], then they're at least 20 years too late as far as I'm concerned. They should have done it when [former DEEP PURPLE keyboardist] Jon [Lord] was still alive when it probably would have had a bit more meaning. Yeah, we were never that fashionable a band. In fact, one of the jurors [was quoted as saying] that DEEP PURPLE are just one-hit wonders. It's also an American institution, it's not a world institution, so if we do or if we don't, it's actually no big deal to us. But if we do, and we do decide to accept it — which, again, is up in the air; we might just say, 'Forget it.' It would mean more for the fans and for the family, who wanna be proud of us. And I think Ian Gillan [DEEP PURPLE singer] and I differ slightly. He says Steve's been in the band 20 years… But I think Ritchie deserves to be there. [The right] thing, if we ever do it, would be to have both of them there, if that’s possible. What's the reason we're there? The reason we're there is because of what happened in the early '70s. And just having everyone on stage is gonna be a bit of a mess. I don't know. I don't have the answer to that, really.
According to The Independent, LED ZEPPELIN has collaborated with British fashion designer Paul Smith to produce a series of limited-edition scarves, to be sold in-store and online from October 23.
The artwork of LED ZEPPELIN's first three releases — "Led Zeppelin", "Led Zeppelin II" and "Led Zeppelin III" — has been reinterpreted on three different scarves, each measuring 1.5 by 1.5 meters.
A photographic weaving technique had to be applied for the largely monochromatic "Led Zeppelin", with the red detail being added using a fine fil coupe yarn. Four high-quality yarns were combined to produce the eight colors of the bright "Led Zeppelin II" image, while the psychedelic "Led Zeppelin III" has been recreated using a combination of boucle and merino wool.
The scarves will be available to purchase exclusively from PaulSmith.co.uk and Paul Smith Albemarle Street in London.
On October 28, LED ZEPPELIN will release deluxe editions of its 1971 album, "Led Zeppelin IV", and its 1973 follow-up, "Houses Of The Holy".
SURVIVOR lead singer Jimi Jamison has died of an apparent heart attack. He was found at home around 1 a.m. Monday morning by his son. The musician was 63 years old.
Jamison served as SURVIVOR's lead singer from 1984 until 1988, recording three albums with the band, 1984's "Vital Signs", 1986's "When Seconds Count" and 1988's "Too Hot To Sleep". Jamison rejoined SURVIVOR in 2000 for another six years.
Family attorney Jeff Ward released the following statement:
"This afternoon renowned musical performer and lead singer of SURVIVOR Jimi Jamison passed away at his home in Memphis, Tennessee.
"Jimi was a friend to everyone he met. He was a loving father and grandfather and was always a person who valued people more than anything else.
"The family has asked for privacy during this extremely difficult time.
"In lieu of any demonstrations of sympathy, the family has requested that donations be made to Jimi's favorite charity, St. Jude's Children's Research Hospital."
Often referred to as one of the American top rock vocalists, Jamison was the singer with TARGET, COBRA and SURVIVOR, apart from being an accomplished solo artist on his own.
Jimi performed backup vocals on recordings by ZZ TOP, Joe Walsh and numerous other recording artists. Billy Gibbons refered to Jimi as the fourth member of ZZ TOP and Casey Kasem, on his nationally syndicated radio show "American Top 40", called Jimi Jamison "The Voice." Among Jamison's best-known performances are "Burning Heart", from the "Rocky IV" movie, which hit No. 2 on the Billboard chart, "High On You" (No. 8), and "The Search Is Over" (No. 4).
His solo career started in 1991 with the release of "When Love Comes Down", followed in 1999 by "Empires", the album which included the theme "I'm Always Here" for "Baywatch". In 2008 Jamison teamed up with the other former SURVIVOR bandmate Jim Peterik, who wrote and produced for him the acclaimed album "Crossroads Moment". On the heels of this superb release, Jimi toured Europe a few times, culminating with an appearance at the popular Firefest in the UK in 2011.
Jamison's final solo album, "Never Too Late", came out in 2012.
Damian J. Cousins of Myglobalmind webzine recently conducted an interview with JUDAS PRIEST bassist Ian Hill. A couple of excerpts from the chat follow below.
Myglobalmind: What is the writing recording process for JUDAS PRIEST in 2014, as opposed to earlier years? What was the studio vibe with Richie [Faulkner, guitar], who also writes?
Ian: It was great. Richie slotted straight in. Where Ken [former JUDAS PRIEST guitarist K.K. Downing] left off, he fit in seamlessly like he'd always been there. We did the "Epitaph" tour, and when we started it, Richie was a talented colleague, and by the end of the tour, we got to know the bloke and he's a friend as well. Which is always a good factor for the writing process. The recording was in the same format as when we did "Nostradamus" and no different, really. As far as being different from the early days, the differences are unbelievable. Everything went down on a reel-to-reel tape [laughs], if any of the young people even know what that is. Back then we played live as a band and the basic tracks would be myself and rhythm guitars, drums, and a guide vocal. And we'd keep playing the song 'till everybody was happy with each part. And then the lead breaks and whatever production would go on. You had a finite amount of tracks. Even with a tight level of recording, you had 48 at most, and that was really pushing it. With digital now, the amount of tracks is infinite, which is a major difference. Plus, you can do it individually. Every time you play a tape, it starts to degenerate and lose sound quality. With digital, that's not an issue, so we can afford to take our time and play our parts until it actually seamlessly fits into the track. And I'm not just talking about playing it right. If you nail your parts, you can listen back and see if there's room for improvement. So you end up with a very polished album at the end of the day.
Myglobalmind: How happy are you with the response "Redeemer Of Souls" has been getting? There's a lot of "best album since 'Painkiller'" talk and high praise of that nature.
Ian: Well, we knew we've got a good album. We have 13 songs on the standard album. We haven't had 13 songs on an album ever, I don't think, unless it was a double album. But when we recorded, the material was such that we couldn't really drop any of it. We knew we had a decent album on our hands, but we've been really surprised and flattered at the chart positions we've been achieving, you know? I think it's our highest chart position in the States ever. And it seems to have echoed throughout. Wherever albums have sold, it's been doing record business, which is great news. It's nice to see we've still got something to offer after all these years.
Myglobalmind: In all the years of playing with the mighty PRIEST, what sticks out to you most about being in this band?
Ian: The thing is, it's been so long, it's a part of me now; I think it's part of all of us. It's not so much what's great about being in the band, more so of being terrified of it stopping. It's like a drug. We're all fans of the band at the end of the day. And we were talking about slowing down, which is what "Epitaph" was all about, not touring as often, and when we do it, it'll only be two or three shows a week. Next thing you know, we're back on a regular PRIEST tour and nobody batted an eyelid or said, "Wait a minute. Aren't we supposed to be slowing down?" Everybody is just as excited as we were 30 years ago. I look back on my career with a great sense of gratitude, really. It's a privilege to be able to do something you love for all these years and make a living at it. I'm a very lucky person.
Read the entire interview at Myglobalmind.
Fredrik Polback of classic rock program "Radio Fireball" (Twitter) in Jönköping, Sweden recently conducted an interview with MR. BIG guitarist Paul Gilbert. A couple of excerpts from the chat follow below.
On the new MR. BIG record, "... The Stories We Could Tell", which will be released on September 19 in Europe and September 23 in North America via Frontiers Music Srl:
"It rocks. It got some great grooves. Eric [Martin, vocals] is amazing on it, he really sings well. Some great harmonies. I love all my guitar solos. There are some great rhythm parts. But it's hard to describe. I think you just have to put it on and start nodding your head and singing along.
"Every MR. BIG album is an event. This one was not as live (as previous MR. BIG album 'What If'), more put together in the studio because of everybody's schedule. Billy [Sheehan, bass] was on tour, Eric's been doing a lot of shows. When anybody was in town, we recorded as much as possible. It still came together really well. If I'm playing live with somebody or if I'm just hearing the recording and playing along with them that way, I can still connect. So I had a good time."
On Pat Torpey's health (it was recently announced that the drummer has been diagnosed with Parkinson's disease):
"Pat's actually doing a lot better. He's dealing with a serious disease and it's certainly been difficult for him and for us. We try to support him as much as we can. Along with the physical part of the disease comes the mental part and that actually noticed the most. He was just down. It was very difficult for him to deal with it. But recently he's been much more up. He's been happier and I hope that his work with us cheers him up. He's learning how to deal with this new challenge in his life and I think he's dealing with it better and better so I'm really proud of him."
On the tensions in MR. BIG in the past:
"You could take any four people, no matter how wonderful they are, and if you make them live together on a tour bus for eight years and don't give them any time off, after a while everybody gonna start going crazy. We worked really hard in those early days. We all loved the band and we wanted to establish the band in the world. We hardly ever took a vacation. If anything, we just needed a break."
On the vibe in MR. BIG today:
"It's fantastic. We just did a bunch of photo sessions, and a couple of days ago, we were in the studio to do a couple of background vocals together and had a great time. We've experienced so much. We can always remember things that happened to us on tour. We just start laughing. It's nice to have that depth of shared experience."
On his new solo album, "Stone Pushing Uphill Man", a guitar-oriented instrumental record on which Paul covers some of his favorite songs, including "Back In The Saddle" by AEROSMITH and "Why Can't We Do It On The Road" by THE BEATLES:
"I was doing a lot of teaching on my online guitar school and I started to use vocal melodies as a way of teaching my students. To be able to do that, I had to learn them myself. And I was really enjoying it. It was very interesting to work on the vocal part and try to play it on guitar. It was very enjoyable, because I never had a problem with how high the vocal was. If I try to sing something, my voice isn't high enough to hit the high notes. But with the guitar, it's easy. I just had to get some of the expression that a vocalist has, and that was a challenge. I enjoyed it so much, so I though I'd keep going."
Brazil's Wikimetal podcast recently conducted an interview with guitarist/vocalist Richie Kotzen (THE WINERY DOGS, MR. BIG, POISON). You can now listen to the chat using the SoundCloud widget below.
When Richie Kotzen plays his guitar, you know it's him. The guitar virtuoso, singer and songwriter possesses an inimitable style that's both instantly recognizable and immediately striking. This unique style courses through "The Essential Richie Kotzen", a career retrospective collection set for release September 2 on Loud & Proud Records. It encompasses this iconic talent's entire career of his most essential work and includes two CDs of classic material, acoustic performances, bootleg material and two brand new songs ("War Paint" and "Walk With Me"), and a DVD of music videos, acoustic performances and bootleg material. A three-song sampler, including the two new songs along with "Lie To Me", is being serviced to rock radio stations later this month.
Kotzen personally curated "The Essential Richie Kotzen" from his 18 solo albums in order to give listeners the most comprehensive, cohesive and concise introduction to his extensive body of work. "I've really changed and grown as an artist and as a person," he says. "I hand-selected songs so newcomers can get into my music and learn who I am as a recording artist."
"War Paint" builds from an opening bluesy riff into a bombastic chorus punctuated by Kotzen's gravelly delivery and impeccable lead playing. He explains, "It was a challenge to make a studio recording sound like a live band with only one musician playing all the instruments. I think I accomplished that on this track." At the same time, "Walk With Me" sees Kotzen evolving once more and incorporating a Theremin, an antique electronic instrument, into an emotive and engaging anthem. "There was a specific sound I was hearing in the song," he reveals. "I realized it was a Theremin, so I bought one. I spent a couple of weeks learning it. I used that where the lead guitar would normally go. It was a really rewarding departure for me."
With his guitar styles ranging from rock, blues, jazz and fusion to pop and soul, Richie Kotzen has built a remarkably diverse 20-year career as a guitarist, singer and songwriter. During that span, Kotzen toured with his trio extensively outside the United States, building a loyal fan base and selling out shows throughout Europe, Latin America, and Japan. In 1996, Fender guitars honored him with not one, but two signature model guitars. His signature model Telecaster is available worldwide and continues to be a top seller for the brand. In 2006, Kotzen received one of his biggest personal honors when THE ROLLING STONES chose him to open up a string of Japanese shows, placing him in front of some of his biggest crowds to date. He has not only built an incredibly successful solo career, but has also found himself writing, recording and playing live with a variety of different artists, including jazz legends Stanley Clarke and Lenny White. He currently plays guitar and fronts the band THE WINERY DOGS with bassist Billy Sheehan and drummer Mike Portnoy (the band's self-titled debut album debuted at #27 on The Billboard 200 chart).
With his 20th full-length solo album on the horizon for 2015 as well as countless gigs, Richie Kotzen's legacy is only continuing to expand. "When you perform, record or write, you go to a different place," he concludes. "It's another world. I love hearing people react to the music and lyrics. That's the ultimate reward."
"The Essential Richie Kotzen" track listing:
01. War Paint *
02. Walk With Me *
03. Love Is Blind
04. Go Faster
05. Fooled Again
06. OMG (What's Your Name?)
07. Help Me
08. Bad Situation
09. Lie To Me *
11. You Can't Save Me
12. Doing What The Devil Says To Do
13. Remember (reprise)
* previously unreleased *
01. What Is (2014)
02. High (2014)
03. Change (2014)
04. Special (2014)
05. Paint It On (acoustic version)
06. Holding On (acoustic version)
07. Until You Suffer Some (Fire And Ice) (acoustic version)
08. The Road (acoustic version)
09. Regret (original demo version)
10. Damaged (original demo version)
01. Walk With Me (2014)
02. Paying Dues (2009)
03. 24 Hours (2011)
04. Larger Than Life (2009)
05. Losing My Mind (2005)
06. Help Me (2012)
07. Chase It (2008)
08. Player (2011)
09. The Shadow (2011)
10. My Angel (2011)
11. I Would (2008)
The third in a series of video blogs featuring footage from the recording sessions for the fourth album from Los Angeles theatrical rockers BLACK VEIL BRIDES can be seen below. Due on October 28, the follow-up to the band's third CD, last year's "Wretched And Divine: The Story Of The Wild Ones", was helmed by producer Bob Rock, whose resume includes albums by METALLICA, MÖTLEY CRÜE, THE CULT and many others.
Asked how BLACK VEIL BRIDES approached the writing process for the new CD, BLACK VEIL BRIDES singer Andy Biersack told U.K.'s Rock Sound: "One of the most interesting things about working with Bob Rock this time was that he requires weeks and weeks of pre-production, just writing and jamming together.
"I knew that the guys in my band are very talented musicians, but we've never taken the time to sit in a room facing each other, and continuously write for weeks on end — there was just a small mic in the middle of the room, and Bob would orchestrate us. If something came up that we liked, we'd try to cut a demo of it just from that. The idea is that if you write all together, you'll find great material, and know it from the ground up.
"When you're doing stuff the way we were previously, it's very difficult to go back and adjust, because the elements are all built simultaneously. This has given us a chance to do something organic, to know the songs a lot better. So heading into the studio, with twelve or fifteen songs that we feel strongly about, is a new experience. Through writing in advance, I feel like we've found our definitive sound. It's a lot more heavy, traditional rock 'n' roll than anything we've done before."
Regarding whether that was the band's aim from the start, Beirsack said: "More than anything, even before we found out that Bob was interested in doing it, we wanted to make a return to the darker, heavier material — in tone at least. We touched on that with the first record, but weren't as mature songwriters back then; I don't think we've ever truly executed the sound we've wanted to have as a band.
"We've always evolved, and I've always been excited about everything we've done, but this was something all of us have wanted to do.
"If we'd have been as good songwriters five years ago, the record we would have made then would have sounded a lot like this new one. That was an exciting notion, going back to the things we talked about when starting the band together. It's a return to the things we really love. Bob was a great fit for that. So many of the records that influenced us or that we loved growing up were produced by him. It was something we'd been talking about for the last year, and when we found out Bob was interested, it was a nice coincidence."
Asked if Bob played a role in the songwriting process, Biersack said: "We've picked up a lot of things about the songwriting process from him, how to really structure a song.
"There's no way this record won't be fantastic to me. I feel like through doing this, I've learned so much about what it is what we do, what we've been trying to do for the last half-decade. It helped that Bob is one of the sweetest, easiest to work with, most insightful people I've ever met. When you talk about nice people: he's a Canadian who lives in Hawaii. [laughs] I can't imagine anyone with a nicer disposition, let alone someone so talented."
"Wretched And Divine: The Story Of The Wild Ones" came out in January 2013 and featured the Top 15 rock radio single "In The End".
Biersack has launched a side project called ANDY BLACK, which he described as a "fun and artistic way for me to try something that musically I wouldn't want to force into BLACK VEIL BRIDES." In an interview with Kerrang! magazine, Biersack explained how the "dark wave" project came into being, saying, "My whole life, I've loved '80s synth and goth rock like THE SISTERS OF MERCY and DEPECHE MODE. My biggest love has always been the music BLACK VEIL BRIDES make, but that doesn't mean I don't listen to or enjoy other things."
Metal Wani's William Richards and Sairaj Kamath conducted an interviw with former FEAR FACTORY drummer Raymond Herrera. You can now listen to the chat in the YouTube clip below.
Asked if he has heard the two FEAR FACTORY albums — 2010's "Mechanize" and 2012's "The Industrialist" — that were recorded after his departure from the band and what he thought of them, Herrera said: "I thought 'Mechanize' was really good, actually. I thought Gene [Hoglan] did a great job [playing drums on the record]. It was probably a little too thrashy for me, but for the most part, I think, from the interviews, it sounded like they were kind of trying to kind of recapture the 'Demanufacture'  feeling, so I think they did a pretty good job doing that. ['The Industrialist'] I didn't like at all. I was really surprised that they used a drum machine [on the album], because I actually had thought about us doing that back when we did [2004's] 'Archetype'. I played around with the idea of possibily trying to record… or doing the album on a drum machine rather than me having to play it, but every time we did it, it came out really, really stale. Our demos were always with a drum machine, but it always sounded incredibly stale."
He continued: "I would have loved to hear Gene on that record ['The Industrialist']; I think it would have been way better… I was really surprised that they went down the drum-machine route, because, like I said, we tried to do that, like, 12 years ago, and it didn't sound very good. We were able to come up with a couple of workarounds, but at the end of the day, it just doesn't sound the same, it just doesn't feel the same. Unfortunately. I wish it did. 'Cause it would have a been a lot easier for me over the years than having to learn all the songs that I would program… I mean, originally, most of the FEAR FACTORY drum parts were programmed on a drum machine, then I had to learn them, then I had to play them live. So it would have been way easier for me to just program them and not have to learn them and not have to play them. So, yeah, they kind of cut a lot of corners doing that, and I think there's been a lot of backlash about it too.
"[Using a drum machine] makes it [lot] easier [during the] recording [process], 'cause you don't have to deal with setting up drums, getting drum sounds, your compressions, all your mics, you don't have to worry about editing… any of that stuff. So, I mean, it saves you a lot of time and a lot of money, but it doesn't sound very good, unfortunately. Like I said, I tried to do that a long time ago, so… As soon as you start to play a lot of the faster stuff… If you play really slow — like more 1-2 beats and more rock stuff — you can get away with doing it with a drum machine, 'cause it's not as noticeable. But if you start playing faster, it's very noticeable."
Asked if he can foresee himself and former FEAR FACTORY bassist Christian Olde Wolbers ever reuniting with FEAR FACTORY for a new album and tour, Raymond said: "I don't see that happening. I doubt it. I don't think it'll happen. I thnk there's too much… How can I say? There's too much water under that bridge. But who knows? I guess you can never say no, right?! But there are no plans to do that, that's for sure."
In a 2012 interview with ReGen Magazine FEAR FACTORY guitarist Dino Cazares defended the band's decision to embrace drum-machine technology completely on "The Industrialist". He said, "The songwriting process was much quicker, much more efficient, much more cost effective.
"Obviously, a band like FEAR FACTORY has always embraced the technology from the beginning — we've always been open about it, we've always talked about it. We've always talked about guys like [producer] Rhys Fulber helping us out, ever since 'Fear Is The Mindkiller', which was after 'Soul Of A New Machine'. We've embraced all that.
"Most people are saying, 'Them using drum programming is no different. It doesn't really sound any different.' You know what I mean?! They can expect it from a band like FEAR FACTORY. Again, it's very cost effective.
"The way music is going today, a lot of people don't make much money anymore, unless you're a big radio band or something like that. But for metal bands like us, we make most of our money just on touring and selling merchandise. And the record company is not giving much advances anymore. So you have to find ways to cut corners, financially, to try and save money. But this is nothing new for us, again, at the same time, 'cause when me and Burt [C. Bell, vocals] first did our first demo back in 1990, it was with a drum machine. . . So it's nothing new for us. We started that way. . . And then it wasn't until we met Rhys Fulber when we did the remix album, 'Fear Is The Mindkiller', which was in 1992, and that was when we were like, 'OK, Rhys can afford all this technology. Let's bring it in, let's embrace it, let's use it.' And ever since then, we've always gotten criticized for it. Because most metal fans, they just don't… At the time, back in 1992, it was not really well known in metal to do that kind of [stuff]… I'll put it this way: it wasn't really spoken about. I mean, bands have used other members and other stuff, samplers and stuff like that, to do certain things, but it was never talked about, they never brought it to anybody's attention. We embraced it and that has has kind of always been our concept."
Jeb Wright of Classic Rock Revisited recently conducted an interview with SKID ROW bassist Rachel Bolan. An excerpt from the chat follows below.
Classic Rock Revisited: Are you satisfied with SKID ROW's legacy, or do you think you're still making it?
Rachel: A little bit of both. I am really proud of what we've accomplished. Every time I think we've hit our absolute peak something else comes up. It could be a show that is so amazing, or you get booked to play at a huge festival where you play in front of a half a million people. [The Przystanek Woodstock festival in Poland] will be the biggest show we will ever play in our career. I think that is safe to say. We played Hellfest a few weeks ago in France and we were on in the middle of the day, and we were a little bummed out about it. We went out, and there were sixty thousand people there! After the show we were thrilled, as we could not even see the end of the crowd. We were wondering what a half a million people will look like.
Classic Rock Revisited: If it was just about money, then you would tour with [former SKID ROW singer] Sebastian Bach. Everyone points the finger at you as to why this won't happen…
Rachel: Well, there are a couple of things. We've been offered money. It's not as much as people would think, but we've been offered money to do it. I think us not doing it kind of says that it is not about money as to why we are not doing it. I am not patting myself on the back, but with our past success, I have plenty of money. I am more about being happy at what I do. As far as everyone pointing the finger at me, that came from one person. We are all individuals. If they wanted to do it, then I am sure I would have heard about it by now, as they are my best friends. It is what it is, and certain people say certain things, and you've just got to sit back and laugh.
Classic Rock Revisited: Johnny [Solinger, current SKID ROW singer] has had to put up with a lot of shit. You have all survived the anti-fans out there…
Rachel: You have the purists that are scared of change. That is why we called the album "Thickskin"... the first one with Johnny. You have to have thick skin. You know what's funny, Jeb? We had about 85% supporters, especially outside of the United States. People like SKID ROW music and they welcomed Johnny in. I am on the inside and it is not as bad as people would think.
Read the entire interview at Classic Rock Revisited.
Former SLAYER and current PHILM drummer Dave Lombardo was interviewed by Guima Drum druing his current Brazilian clinic tour. You can now watch the chat below.
In a recent interview with Brazil's Portal 7, Lombardo was asked if he has any plans to ever get back together with the members of SLAYER. He replied: "I have no plans. I mean, they can knock on my door, but I don't know if I'll answer. [Laughs]"
Lombardo continued: "I don't know. Right now I'm focused on my new band, I'm focusing on my drum clinics, writing music, on staying creative. And I just stay focused and don't let what happened in the past bother me or in any way inhibit my progress with the future."
Lombardo was effectively fired from SLAYER after sitting out the band's Australian tour in February/March 2013 due to a contract dispute with the other members of the group. Filling in for him was Jon Dette (TESTAMENT, ANTHRAX).
Lombardo told "Let There Be Talk" podcast about the musical chemistry of the original SLAYER lineup: "I appreciate the nucleus of the band. Like [John] Bonham. When Bonham was part of [LED] ZEPPELIN. When his son [Jason] took over, oh my God. C'mon. Really? I have respect for Jason and for what he's done, but when he put a double-bass pedal on a single bass drum, that just blew it for me. It's, like, 'Really, dude? Your dad was about single bass.'
"There is a certain magic — just like with SLAYER, just like with AC/DC with Bon Scott — there's a certain magic when you have those musicians and nobody could replace that. Nobody. That's it. You can't. Yeah, SLAYER's new drummer [Paul Bostaph], yeah, a lot of fans like him. But there's that magic. It's chemistry. It's like when you meet a girl and you two get along really well, and it's like a chemistry; it's something special. Same thing with the band: you get these four guys, [and] they may hate each other, but on stage, there's magic. And that's what's missing, I personally believe."
PHILM will release its sophomore album, "Fire From The Evening Sun", on September 16 (one day earlier internationally) via UDR. The band's lineup is completed by guitarist/vocalist Gerry Paul Nestler (CIVIL DEFIANCE), and bassist Francisco "Pancho" Eduardo Tomaselli (WAR).
Tracey Donaldson of The Rock FM radio station in New Zealand recently conducted an interview with AC/DC drummer Phil Rudd. You can now listen to the chat at this location.
Rudd released a solo album, "Head Job", on August 29 via Universal Music Australia. The official lyric video for the CD's first single, "Repo Man", can now be seen below.
Over the past 20 years or so amidst spending time drumming for Australia's favorite rock export AC/DC, running a studio and a restaurant, racing cars, flying helicopters and a bit of farming in the land of the long white cloud; Melbourne-born drummer Phil Rudd has been quietly writing an album's worth of songs.
From the rollicking first single "Repo Man", a gentle reminder about karma; to the rocking title track "Head Job", which does not have intimate connotations but is a play on words about going to the pub to commiserate with your mates about someone doing your head in… from the upbeat dirgy groove of "Bad Move" to the relationship-driven "Crazy"; Rudd has delivered a very personal album "about the shit that goes on," as the great man himself said.
Perhaps with the exception of "40 Days & 40 Nights", these songs were more inspired by everyday personal experiences in life rather than being about touring the globe with the world's biggest rock band.
Citing influences ranging from Ringo Starr and FREE/BAD COMPANY's Simon Kirke, to MOUNTAIN's Leslie West and AC/DC bandmates Malcolm and Angus Young, these songs and lyrics are all very special to Rudd and when talking about the release of this album which has had such a long gestation, he said, "I'm very happy for it to finally make its way out there and for people to hear it!"
The songs were penned primarily by Rudd with the assistance of Allan Badger and Geoffrey Martin — musicians Phil met on the local scene, which he says "turned out to be a great musical partnership." "Badge" and Martin also perform vocals, guitars and bass on the album, with Rudd sitting in the producer's seat. The tracks came together over a period of time recorded at several locations including the studio that Rudd built himself not far from his restaurant Phil's Place in Tauranga, New Zealand.
"I hope everyone thinks this is a great album from start to finish because that's the idea," Rudd told Triple M. "We didn't put anything on there that we didn't like. There's no filler. There's plenty of Phil, but no filler."
Rudd joined AC/DC in 1974. He had previously played with Angry Anderson in BUSTER BROWN and left that band to join the COLOURED BALLS with Lobby Loyde.
When AC/DC bassist Mark Evans left the band in 1977, Rudd became the only Australian-born member of AC/DC.
Rudd exited AC/DC in 1983 and was replaced by Simon Wright, then Chris Slade. When Slade left in 1993, Rudd rejoined the band.
According to Noise11.com, Rudd moved to Tauranga, New Zealand in 1983 and has lived there ever since.
Jacky BamBam of Philadelphia's 93.3 WMMR radio station recently conducted an interview with CINDERELLA guitarist Jeff LaBar. You can now listen to the chat using the audio player below.
LaBar's solo video for the song "No Strings" was directed by James Erdman and features drummer Matthew Arnn, Jeff's son, guitarist Sebastian LaBar, and bassist Jasmine Cain.
"No Strings" was recorded with TESLA drummer Troy Luccketta and was mixed by CINDERELLA drummer Fred Coury. It is taken from Jeff's solo debut, "One For The Road", which was released on August 26 through Rat Pak Records. The CD was recorded in Nashville, Tennessee with longtime friend and noted engineer Ronnie Honeycutt, and was mixed and mastered by Chris "The Wizard" Collier (KXM, LYNCH MOB, LITA FORD).
"I wrote 'No Strings' following my first marriage and subsequent divorce," LaBar tells Ultimate Classic Rock. "The relationship was awesome; the breakup, not so much."
Jeff's first solo release highlights both his songwriting and guitar-playing abilities. It is also the first of two seven-song offerings of classic, hard rock style material that will be released via Rat Pak.
About the album, Jeff states: "This record is written about parts of my life since the heydeys of CINDERELLA... and there is a lot more where that came from!"
The song "Ode To Page" is Jeff's acoustic tribute to LED ZEPPELIN guitarist Jimmy Page. Other tracks set to appear on "One For The Road" are "Asking For A Beating", "Muse", "Hello Or Goodbye", "Nightmare On My Street" and "One For The Road".
Tracks on the CD range from classic, early CINDERELLA-style hard rock, to groove-laden blues rock and really captures the magic and spirit of the genre that Jeff helped create.
In a June 2013 interview with Legendary Rock Interviews, LaBar stated about his upcoming solo album: "The way it started was, I've been threatening to do a solo album or years and at the end of [the summer 2012] CINDERELLA tour, my tour manager Larry Morand and my wife Debi called me on it. They said, Look, Tom's [Keifer, CINDERELLA frontman] solo album is coming out this spring, he'll probably tour on it through the summer. Now is the time, Jeff. It's time to get in the studio and start putting your money where your mouth is.' So, that's what I've been doing."
Asked how the direction of his solo material is different from what he has done with CINDERELLA, Jeff said: "The first song I recorded could have been a CINDERELLA song, I think, but you know when you get guitar players putting out solo records, from what I've seen, they are very self-indulgent in terms of guitar playing or even sometimes, they're instrumental records. Mine is self-indulgent in the sense that it will cover a lot of different types of music. The first song I did is called 'No Strings' and like I said, it's a rock song, it could be a CINDERELLA song. The second song I recorded is a total blues waltz/shuffle. The latest song I've done is almost like a FLEETWOOD MAC-type ballad. I've also written a slow, chunky metal song, a blues slide song and a flat-out metal burner, fast song so I think I am really trying to explore all of my different influences. It's all me singing and playing everything but drums."
Asked if he enjoys singing, Jeff said: "Absolutely, I've been singing all my life. Since I started playing guitar at the age of nine or ten, I was also singing, sitting in my bedroom with [LED] ZEPPELIN and BEATLES songbooks. I didn't just learn how to play the songs I loved, but I learned how to sing 'em too. I actually started out as a drummer and aspired to be a guitar player, and then when I became a guitar player, I aspired to be a singer. [laughs] I got the chance to do a lot of background vocals over the years in CINDERELLA, but make no mistake, I see myself and believe in myself as a singer."
Fan-filmed video footage of THE AGONIST's entire August 15 performance at the Summer Breeze festival in Dinkelsbühl, Germany can be seen below.
THE AGONIST will release its new album, "Eye Of Providence", on November 11 in North America (one day earlier internationally) via Century Media. The band's first CD with new vocalist Vicky Psarakis was recorded at The Grid studio in their hometown with producer Chris Donaldson (CRYPTOPSY). Vicky joined THE AGONIST as the replacement for Alissa White-Gluz, who left the band to focus on her new gig as the frontwoman of ARCH ENEMY.
THE AGONIST released a two-song digital single on April 29 via Century Media. These tracks were the first to feature Psarakis.
Commented THE AGONIST guitarist Danny Marino: "Creating this album has been an amazing experience so far.
"Vicky has breathed new life into the songwriting process and we are so excited to share these first two tracks with the world!
"The songs on this album represent a culmination of the past 10 years, as well as a new beginning for THE AGONIST. We're also thrilled to be back in the studio with our old friend and longtime engineer Chris Donaldson.
"We can't thank our fans enough for their ongoing support in this new and exciting chapter of THE AGONIST!"
THE AGONIST's third album, "Prisoners", debuted at No. 19 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
THE AGONIST 2014 is:
Vicky Psarakis - Vocals
Danny Marino - Guitar
Chris Kells - Bass
Simon McKay - Drums
Pascal "Paco" Jobin - Guitar
Current HELLYEAH drummer Vinnie Paul Abbott has denied that there is any bad blood between him and his former PANTERA bandmates, claiming that he is "just not interested" in reconnecting with singer Philip Anselmo and bassist Rex Brown.
Asked by Metal Blast if he would consider reuniting with Anselmo and Brown, with guitarist Zakk Wylde (BLACK LABEL SOCIETY, OZZY OSBOURNE) standing in for Vinnie's late brother, "Dimebag" Darrell Abbott, Vinnie once again rejected the idea, explaining, "Ah, man, I'm happy with doing what I'm doing here. PANTERA had 14 amazing years, and without my brother being here to be a part of it, it would be a travesty, man. I'm just not interested in it at all."
Pressed if he thinks the bad blood that exists between him and his former bandmates can be put to rest eventually, Vinnie replied: "To me, there's no bad blood at all. It's like when you get a divorce from somebody, there's a reason why you got a divorce. You don't have to stay in touch with that person, you don't have to fucking see that person, or do anything with them. I'm just not interested."
Vinnie Paul recently told Germany's EMP Rock Invasion that it is "not right at all" for fans to continue to clamor for a PANTERA reunion. He explained, "People are selfish, man. They want what they want; they don't care what you want. And it's unfortunate that people go, 'Oh, wow, man, they can get Zakk Wylde to jump up there on stage and it's PANTERA again.' No, it's not, you know. It's not that simple. If Eddie Van Halen was to get shot in the head four times next week, would everybody be going, 'Hey, man, Zakk, go play for VAN HALEN. Just call it VAN HALEN.' You see what I'm saying? I mean, it's really selfish for people to think that, and it's stupid. It's not right at all."
Vinnie added, "They call it a reunion for a reason. It's called bringing the original members back to what it was. So there's a lot of these things that they call reunions that aren't really reunions. They've got one dude from the band floating around in them, you know. That's not a true reunion. With PANTERA, it'll never be possible."
PANTERA broke up in 2003 due to an ongoing rift between Anselmo and the rest of the band.
Dimebag was shot and killed by a crazed gunman while performing with his and Vinnie's post-PANTERA act DAMAGEPLAN at a Columbus, Ohio rock club in December 2004.
Vinnie and Philip's got even more acrimonious when Vinnie indirectly blamed Philip for Dimebag's death, suggesting that some remarks the vocalist had made about Dimebag in print just weeks earlier might have incited Dimebag's killer.
Vinnie and HELLYEAH are touring in support of their latest album, "Blood For Blood", and will head out on a North American tour later this month as guests of FIVE FINGER DEATH PUNCH and VOLBEAT.