Michael Larsson of ColdSpell

by Alex Barbieri
Staff Writer

Kyoji Yamamoto is one of the most popular and influential guitarists you probably never heard of. As the founding member of seminal Japanese bands BowWow and Vow Wow, Kyoji was one of the first guitarists to use the “touch” tapping technique. He is also the musician that Lars Ulrich of Metallica sought out after playing to 26,000 fans in Tokyo.

In between gigs, from his home in Japan, Kyoji graciously answered some questions about his brilliant new instrumental CD, The Life Album, having a few too many with Metallica, touring with KISS in Japan in their heyday and why, despite his many accomplishments, he remains so down to earth and approachable.

HRH: Kyoji, congratulations on The Life Album, an amazing collection of instrumental guitar songs. Tell us about making it: What inspired the songs? Where was it recorded? What are some of your proudest moments on it? Will it be released in the U.S.?

KYOJI YAMOMOTO: Thank you. As you can see from the title, I wanted to express one’s life through music. I recorded it in my private studio. It took years to complete it, since I composed the songs, played all the instruments and mixed and mastered it myself. It is an instrumental album. I love dramatic and touching music. I’m sure you will understand it with your heart.

It is inspired by my family, friends and my own life. It is my life and could be your life, too. You can feel as if you are watching a movie of your life when you listen to it through. My proudest moments are tracks 7 through 10. (“Talking To Myself,” “Deep Inside,” “Sunset Horizon” and “Heavenly.”) It is like a suite. I have received many emails from people saying that they couldn’t stop shedding tears. The last song “Heavenly” is about one’s death. Death’s image is not good generally, but I thought there must be something like hope and I tried to express that.

I don’t have a record deal for this album in the U.S. yet, but you can order it through the Internet at CD Japan.

HRH: You have been called the most famous guitarist in Japan, yet you are very approachable and down to earth. Why is that? What keeps you grounded in life?

KY: Whenever I see the rock stars who try to make themselves look bigger over others, I always think they should take it easy and relax. It’s true that rock music has got an image of “Do what you want—who cares?!” But you should not get the meaning wrong. You must not hurt people for your freedom. You can do anything you like musically, but you are ordinary people before being musicians.

I think “The sense of balance” is one of the most important things in my life. I like to be a very natural and ordinary person off stage. I have experienced high tides and low tides many times, and I know how wonderful relationships with people can be. I think you should have a sense that we are all equal—beyond borders, religions and generations.

HRH: Your tone and playing is so emotional. Do you feel that you speak through your guitar and that music is the universal language?

KY: I think emotion—in other words, feeling—is the most important thing when you play music. I always try to make every single note “live.” I don’t think I have particular words to say by guitar, but I talk with my soul and squeeze my emotion out by playing. Those notes are literally LIVING! And there is no language barrier. It is absolutely universal.

HRH: Take us back to 1977. You’re in BowWow, and opening for KISS in Japan in their heyday. What did you think of them? What were they like? Any crazy stories you share?

KY: We were the opening act for KISS in Kiss ‘77 and ’78, as well. They were just fantastic. To be honest, before playing with them, I didn’t think they were that good. But, I was totally knocked out by their performance on the very first night!! They were always more than great, always perfect!! Except one night when BowWow’s drummer stumbled over a cable by accident and a big magnesium (flash pot) did not exploded (laughs).

They were always kind to us and permit us to use their P.A. system as loud as we like. I heard some interesting stories from their fans, but I shouldn’t tell you (laughs). They had more than enough pleasure of everything, but they never lost the power once they got on stage. It was amazing!

HRH: In an interview, you stated that BowWow at the Reading Festival in 1982 was the most exciting day of your life. Why was that? What other bands played on that bill?

KY: BowWow were just an opening act and it was our first time playing in the U.K. When we started to play, the audience was lying on the grass drinking beer. But, as the songs proceeded, the applause got louder and louder and they stood up. And at the end, it became like our own concert with 50,000 people.

We couldn’t believe it, since we didn’t think anyone knew who BowWow was, and we played just around noon. They kept calling us back on stage even as the next band set up their gear. Then I went back on stage, by order of the promoter, and did a “call and response” thing with the audience until they settled down. It was a most exciting day!

HRH: You have said that you love to jam with other musicians. Who have you met and played with over the years? What is your favorite style of music to jam to?

KY: One night at a jam in Roppongi, Tokyo, Japan, it was Zakk Wylde on vocals, Stevie Salas (George Clinton’s band) and me on guitars, and the drummer and bassist from Zakk’s band. We played great together!

I’ve also jammed with Carmine Appice, T.M Stevens (heavy metal funk bassist of Shocka Zooloo) and John Wetton (Asia). A jam with (Whitesnake bassist) Neil Murray just before he joined Vow Wow was awesome!

I also played with Uli Jon Roth for his Japanese tour. We played his songs, Hendrix songs, Scorpions songs and Japanese traditional songs together. Unforgettable memory!!!

In Japan, I’ve recently jammed with fusion musicians such as Kazumi Watanabe and Issei Noro (Casiopea). I like jamming any style of music as long as you can hear myself, you know what I mean? (Laughs).

HRH: In 2003, Lars Ulrich and Robert Trujillo of Metallica, after performing for thousands in Tokyo, jumped in a cab to a small club, and jammed with you until the early morning hours. Describe that night: What was the club like? What did you talk about? What songs did you play? What were you all drinking?

KY: I met Metallica back in the ‘80s. I was sitting in the dressing room of the Marquee Club in London. Suddenly, all the members of Metallica came in singing an old BowWow song! I was really surprised. They said they used to copy and play our songs and they knew about us very well.

The next time I met them was in 2004 when they toured in Japan. Lars asked his staff to find my phone number, and he called me to go out for a drink. We drank three bottles of wine at the bar on the top of the beautiful hotel in Shinjuku. Then went to the hotel where they were staying. I met the other members there and talked for a while and I suggested we go to the bar where we can jam.

Lars and Rob came with me. There were about 10 people drinking quietly. Then suddenly we started a jam session along the bass line that Rob started. We were so drunk. Metallica had a big concert the next day. It seemed like they were all right, but I was not (laughs).

HRH: Do you know Akira Takasaki of Loudness? What do you think of his playing? Have you ever played together? What is he up to these days?

KY: Yes, I know him very well. Actually I knew him when he was in the band called Lazy before Loudness. He’s got a great technique and his own sound. We have played together in some rock festivals. He still plays in Loudness and toured in Europe this summer.

HRH: Give us your first thought that comes to mind on the following names and words:
Guitar: A vital organ for me. When I was a kid, I was so stressed and sometimes became violent. But when I started playing guitar, all the bad feelings were gone. I think various emotions came out through my guitar. I’m thankful to my guitars.

Metal: Gives me a thrill and power. I like to stay calm, but sometimes I’m dying to need metal!

Japan: Beautiful country and beautiful people, but useless politicians.
United States: Power!

The Music Business: I don’t want be involved so much. But, I need to be involved I guess.

Your Fans: Thanks for supporting me for so many years!! I love you all, really!

HRH: Do you have any thoughts on the passing of Ronnie James Dio?

KY: He was one of the best rock singers in the world. I heard his voice for the first time on Rainbow’s first album. I was very impressed by his powerful, beautiful and dignified voice. I met him in an Indian restaurant in the U.K by coincidence. He was with his wife and he was very calm and tender. We lost an irreplaceable treasure.

HRH: Tell us something we don’t know about Kyoji Yamamoto.

KY: I am known as a hard rock guitarist. Of course I love hard rock, but I love all good music and I’ve been making many different kinds of music you don’t know about. I have introduced some and will introduce more of my works on my Facebook page. So, please check it out at http://www.facebook.com/kyoji.yamamoto.

HRH: Your son, Maoki, is also a musician. What instrument does he play? Is he following in your footsteps? Does he have a CD we can check out?

KY: He plays drums and keyboards. He is more interested in jazz fusion and modern classical stuff. He’s still a high school boy and there is no CD released, however he played in my solo concert when he was 15. You can see it on YouTube.

HRH: Is there anything else you would like to say to your fans and the Hardrock Haven audience?

KY: Hi everybody! Probably most of you don’t know me at all, but if you give me even three minutes to listen to my music, it would be more than a pleasure for me!! I’m sure you wouldn’t regret it. Please just click the YouTube links below to hear “Alone” or “Mother Ocean.”

HRH: Kyōji, arigatōgozaimasu. Thank you for taking the time to answer these questions. It has been an honor and a pleasure. All the best and please stay in touch!

KY: Do Itashimashite (You’re welcome.) Thanks for having me on this wonderful website.

Friend Kyoji Yamomoto on Facebook at http://www.facebook.com/kyoji.yamamoto
Watch the video for “Alone” on YouTube: http://www.youtube.com/watch?v=TkkTnYAK9X8

Watch the live video for “Mother Ocean” on YouTube: http://www.youtube.com/watch?v=lrU116D9AT0.

Order The Life Album on CD Japan.

Order The Essential Kyoji Yamamoto (compilation album) on Amazon.

Jaime St. James of Black N Blue

December 16, 2010 by Publisher

by Alex Barbieri
Staff Writer

Black ‘N Blue is back! Lead singer Jaime St. James — aka “The Saint” — took time out from final mixing of their long-awaited new album to discuss the future of Black ‘N Blue, as well as some choice memories from his 30-plus years singing in a long-haired rock ‘n roll band. Direct from Los Angeles, say hi to Jaime St. James …

HRH: Jaime, I’ve been a long-time Black ‘N Blue fan and there are a lot of us anticipating the new BNB album. Is Hell Yeah! finally finished? Why did it take so long and when will it be released?

JSJ: I did four years with Warrant; Jeff “Woop” Warner lost his studio; we changed record labels mid-stream and needed to record three new tunes for the new label … it goes on and on.

HRH: Is the new album in the classic Black ‘N Blue style? What previous BNB album would you most compare it to? Can you give us some song titles to whet our appetites?

JSJ: It is classic Black ‘N Blue. That’s all we do! It’s all the old records rolled into one, as I hear it. Songs like “Target,” “Fools Bleed,” “Monkey,” “Angry Drunk Son Of A Bitch” and “Falling Down” to name a few are part of a great piece of work that we are very proud of.

HRH: I (almost) played at Rocklahoma back in 2008. The storm hit right before we were to start. But seeing BNB live earlier that day was one of the highlights of that weekend for me. Are you guys playing live in support of Hell Yeah!? Any shows confirmed yet?

JSJ: Yes, we will be supporting the Hell Yeah! release. We have just confirmed shows in Denver at Casselman’s and Club Red in Phoenix in March. We have some festival shows lined up too, but can’t announce ‘em yet.

HRH: Looking back at the ‘80s, what are some standout memories of the following periods:

HRH: Living with the band and playing clubs in Los Angeles in 1982 and 1983.

JSJ: Great time in my life. The Sunset Strip was on fire and we were part of the fuel. All of BNB and our crew lived in a house at 1538 Martel, just off Sunset Blvd. and we ruled! We trashed that place in honor of our greatness.

HRH: Recording your first album with Dieter Dierks in Germany.

JSJ: One minute, you’re hanging at the Troubadour and the next you pack a bag for three months in Germany—it was our dream come true! Dieter was cool and helped us very much.

HRH: Writing and recording Without Love with Bruce Fairbairn in Vancouver.

JSJ: Don’t forget Bob Rock! I still love that record and it should have made us huge. We recorded across the hall from Loverboy and that is why I sang most of the background vocals on” Lovin’ Every Minute Of It,” a Mutt Lang tune.

HRH: Writing and recording In Heat and Nasty Nasty with Gene Simmons.

JSJ: Love Gene. Most of the songs on those records were f’ing great … a few blew.

HRH: What was your favorite live gig of your musical career? Your favorite recorded song and vocal?

JSJ: Opening for KISS at Madison Square Garden. Favorite BNB song: “Strange Things.” Favorite vocal: “Miss Mystery.”

HRH: How did the nickname, “The Saint” come about?

JSJ: The guys just used to call me that—it came about naturally.

HRH: How do you feel about Tommy being a member of KISS? Is it weird seeing someone you grew up with in that position?

JSJ: I’m goddamn proud of him and he is excellent in KISS.

HRH: Is there any chance that BNB will tour with KISS in the future? Would Tommy do double duty in both bands?

JSJ: Book it! But chickens will blow watermelons out of there ass before that will happen!!

HRH: Black ‘N Blue toured with Dio in the past. Can you share some memories of Ronnie and do you have any thoughts on his passing?

JSJ: Ronnie was a very nice man and an amazing singer. He is horribly missed.

HRH: Tell us something we don’t know about Jaime St. James. What do you do besides sing in Black ‘N Blue? If you could say something to the world, what would it be?

JSJ: I was born to play rock ‘n roll and I do it. I have never taken a music lesson in my life, yet I have written some pretty cool tunes. I play drums and guitar well enough to write and I have been given a gift so I roll with it. I don’t have any kids so when I die, this is what I leave behind—my songs.

HRH: Jaime, thank you for the interview and for all the happiness and great memories your music has created over the years. All the best and please stay in touch!

For more information on Jaime St. James and Black ‘N Blue, go to http://www.jaimestjames.com/

Jesse James Dupree of Jackyl

December 13, 2010 by Publisher

4 Comments

Deb Rao
Staff Writer

It is has been a blockbuster year for Jackyl. I was able to catch the band in action this year in May on Memorial Day weekend in St. Louis and after all these years, Jackyl still put on a dynamic live show. Riding high on the current release, When Moonshine And Dynamite Collide, Jackyl has just released their second single from the album entitled, “Just Like A Negro.”

“Just Like A Negro” features a special collaboration with Hall of Fame artist DMC from Run DMC. If that wasn’t enough, DMC will be joining Jackyl onstage on their current Winter tour. Singer Jesse James Dupree is also the producer of Full Throttle Saloon, which airs on truTV, which kicked off on November 17th and airs every Wednesday. For more info on Jackyl visit www.jackyl.com.

In this exclusive interview for Hardrock Haven, Jesse James Dupree discusses the making of their current hit album When Moonshine And Dynamite Collide, working with DMC, and current winter tour which kicked off in Kansas City on Nov. 24 with a sold out performance.

HRH: Jesse, Thank you for checking in with Hardrock Haven. Jackyl is kicking off their winter tour in Kansas on Nov. 24. I hear that DMC will be joining you onstage for the tour. How honored are you to have DMC perform with you?

JESSE: Yes, what an honor it is. He is in the Rock And Roll Hall of Fame and he has created so much of an opportunity for people in the hip-hop world. It is awesome to be playing with him.

HRH: Are you going to be performing a bunch of new songs off of your new album, When Moonshine And Dynamite Collide?

JESSE: Absolutely, we are going to be doing songs off of the new album, songs that everybody expects to hear and some surprises in there.

HRH: Awesome. How did this all transpire working with Darryl?

JESSE: He actually heard the track and called me and said,”Hey I want part of this.” So we put it together and he has been out with us since August.

HRH: That is great. I saw the band in St. Louis in May. There seemed to be a whole new generation of fans at the concert.

Jesse; Yes, it is not only cool to see the fans that have come out to see us for the past 15 years but the people that bring their kids and younger people. I think there is resurgence in straight up rock and roll. I have found in the past couple of years. We have been loving every bit of it.

HRH: The new single is out, “Just Like A Negro.” Would you say it refers back to the era of the blues? A lot of people don’t realize that without the blues there would not be rock and roll.

JESSE: Yes, If you have seen the video between the private and public link there is over 32,000 plays in a couple of weeks time. It is great to have the response to the video, if you watch the video it explains the concept of the song. Check out the video here: http://www.youtube.com/watch?v=5TMO9A7uccw

HRH: It seems kind of deja’ vu with you working with Darryl. In 1986, DMC worked with another rock artist Aerosmith in “Walk This Way.” It was great the way the way hip-hop and metal combined. What are your thoughts on DMC and the collaboration with Aerosmith on “Walk This Way”?

JESSE: Darryl talks about how cool it was to work with Aerosmith. I think he is getting another whole new experience out of working with us because he loves the message in this song.

HRH: It has been eight years since your last release. Tell us about the writing process for “When Moonshine And Dynamite Collide.” Was it done collectively or did you write the lyrics by yourself?

JESSE: A lot of the stuff I have been writing for a while. It just all come together organically. We played these songs live. We had a chance to road trip them. I think that really helped in the process of deciding in what goes on the record.

HRH: Do you have any favorite tracks on the album?

JESSE: I love one through twelve. I really love the title track when “Moonshine And Dynamite Collide.” I think it is a great song.

HRH: How would you describe the sound on this album? It seems like you stick to your successful formula of southern blues-rock. Would you say it has your signature stamp on it?

JESSE: I think it sounds just like Jackyl. I don’t know how much more like Jackyl it could sound.

HRH: You are in the second season of producing your own TV show Full Throttle Saloon on truTV?

JESSE: I have been very fortunate and diverse to do a lot of different things not only television but on the record business side of things. It is rewarding to be able to step outside of your box.

HRH: I heard that at one of your performance at Sturgis you jumped out of a cannon?

JESSE: I didn’t jump out of the cannon; I was shot out of it!

HRH: That must have been an experience?

JESSE: It was one hell of an experience. It was the biggest adrenaline rush I ever had.

HRH: Over the past 20 years. How do you feel that Jackyl has evolved as a band?

JESSE: We have become comfortable in our own skin in what we are. We are a rock and roll band that is based on the fundamentals in which rock was created on.

HRH: Do you have any favorite bands of today that you listen to?

JESSE: I like a lot of the new stuff that is out now. The Shinedown record is a great record. Black Stone Cherry are good guys. My son Nigel Dupree is out there tearing it up.

HRH: Jackyl is currently out on the road. What are your touring plans for next year? Any European plans in the works?

JESSE: Right now we don’t have any plans for Europe. I would love to have us booked over there.

HRH: What would you say the highlight of 2010 has been for you?

JESSE: Working with DMC was great. The debut of the TV show last Wednesday night. It comes on every Wednesday night on truTV. Having the new album out is the Top 3 things.

HRH: You have worked with a lot of great people over the years. What was it like working with Brian Johnson of AC/DC?

JESSE: As you can imagine it was a huge deal for us. AC/DC was such an influence on us. Not only being a fan but to be able to work with him was really cool.

HRH: Actually, you showcase your bluesy roots on the song Janis Joplin song Mercedes Benz.

JESSE: That was something that just kind of happened, I left it on the CD.

HRH: Any plans for a solo album in 2011?

JESSE: I don’t know? Right now I am just focusing on here and now.

HRH: Jesse, Thank you for taking time out of your schedule for this interview. Anything else that you would like to say about the tour?

JESSE: It is something you got to see! C’mon out. I hope you all grab the album, enjoy learn the words and come out and get out and see the show.

JACKYL FALL TOUR DATES CONFIRMED:
11/24 in Kansas City, MO @ Midland Theatre.
11/25 in Louisville, KY @ Phoenix Hill.
11/26 in Traverse City, MI @ Ground Zero.
11/27 in Flint, MI @ Machine Shop.
12/2 in Council Bluffs, IA @ Whiskey.
12/3 in Green Bay,WI @ The Club at Tom, Dick, & Harry’s.
12/4 in Libertyville, IL @ Austins.
12/10 in Cincinnati, OH @ Bogarts 96 Rock X-Mas Show.
12/5 in Tailgaters – Bolingbrook, IL

Karl Demata: Studio Report

December 13, 2010 by Publisher

Alissa Ordabai
Staff Writer

Something intriguing and unusual is brewing down in Oxford, UK, the town where, according to the classic, “clever men know all that there is to be knowed”. Guitarist Karl Demata – best known for adding a raunchy hard-rock edge to sprawling soundscapes of UK prog-rockers Crippled Black Phoenix – is currently putting finishing touches to his first solo album. And this record is guaranteed to do more than get praise from classic rock and hard rock fans. It will also show that the new generation of European musicians can not only draw lessons from the early days of blues-rock and hard rock, but can also use this knowledge inventively to convey modern realities.

“I suppose the root of my music is what made me start playing guitar in the first place: the late Sixties – early Seventies stuff like Cream, Rory Gallagher, early Zep, early Purple, Mountain, the Allman Brothers,” says Demata. “That’s the stuff I grew up with even before teenage angst took over with its long musical detours. I suppose I am trying to recreate that sound and that attitude but with a more contemporary approach.”

He goes on to explain how playing blues in pubs and clubs during his down-time from touring with Crippled Black Phoenix has over time turned into a recording project: “Me and Chris [Heilmann, bassist] have been jamming and playing together for years,” Demata says. “Rather than hang out somewhere and get drunk, we’d go play in small venues and pubs, and jam on both acoustic and electric guitars to the tunes of Howlin Wolf or Elmore James all the way to more contemporary stuff. Then more recently I found some time to work more on songwriting, we tried a couple of original songs during local gigs and got some amazing feedback. Merijn [Royaards, drums] joined in and I also started working with playwright / novelist Chris Hood. We wrote most of the lyrics together.”

The unvarnished demo quality of the material – due to be released in spring 2011 – betrays its early blues influences with gritty assurance, right from the opener “Barefoot Walking Blues”. On the one hand it rushes to expose Demata’s Delta influences, but on the other hits you with a ballsy hard rock punch akin to that of early Cream and Taste.

But far from limiting himself with preconceived notions, Demata is making personal use of what has been received. While his songwriting can imitate his Sixties heroes perfectly, it can also take the tradition into an unchartered zone, as on another standout “Failing Design”. Here the song structure is pure late Sixties Americana, but Demata’s vision takes these multilayered transfigurations of the blues into the terrain of early hard rock. Hypnotic, shadowy glow of his slide work is part blues, part – dashed dreams of the West Coast psychedelia, part – insights from the same source Led Zeppelin were mining back in 1969.

“I believe you should listen to the songs you are creating, as they will tell you what they are all about, rather than forcing them in one direction or another,” Demata explains when asked about his approach. “I never had a preconceived idea of what a song should be about.” This willingness to experiment has certainly produced the biggest highlight of the record – an eerie, haunted track called “Cross the Mountain”, where Demata’s etheral slide guitar floats over a hypnotic groove, showing how inspired reading of age-old patterns can create an independent reality beyond which there are no models or references. British blues personage Hugh Flint of John Mayall & the Bluesbreakers fame guests here on percussion – a symbolic endorsement for the newer generation to continue exploring the genre which Flint himself has given his entire career to developing.

The recording activity for this album has been sporadic – stop and start work at the snug, compact Warehouse Studio in Oxford which in the end, despite all the interruptions, resulted in a coherent, unified album about to undergo the final mixing stage. The studio’s pressure-free atmosphere contributed to letting the music develop organically and allowed Demata to experiment with expanding his stylistic ground. Venturing into the territory of folk-rock balladry, he covers a little-known 1983 Dylan outtake “Blind Willie McTell”, and then explores the genre further on original tracks “Never Come Around” and “The Day You Put Me Down”. Those are moody, stripped-down story-songs – deceptively low-key – but chilly detachment of Demata’s voice and his perfectly phrased, detailed guitar work manage to convey the special kind of heartache at the centre of this style.

Unusual for the current British rock scene, but at the same time traditional – this is how this still unfinished record comes through, and Karl Demata knows all about being both. On the one hand this is a deeply personal, intelligent album where the form meets the substance, and on the other – it’s full of genuine American grit and love for traditional American forms. “People tell me the album sounds very American,” he says. “We’ll see what that means exactly, if anything.”

Whatever indeed this could mean in 2010, the “sounding American” remark has always been taken by European blues musicians as a compliment – an acknowledgement of musical knowledge, authenticity, and instrumental skill. But curiously, while displaying all three of these qualities, Demata’s album also puts traditional American forms back into the context of contemporary life. It could be the muscular hard-rock bite that he adds to his material, or the ability to cut through formulas and clichés to put his own vision through his writing. Whatever it is, here is one convincing lesson in how to uphold the tradition, and at the same time stay true to your own realities.

Marc Chandler of Fools Faith

December 5, 2010 by Publisher

4 Comments

by Franco Cerchiari
Staff Writer

In the world of music, there is one universal fact – keep your fans wanting to hear more. While certainly touring and public appearances can keep rabid fans at bay until the next release, in the world of rock and metal, – keep the music coming. In response to this, Connecticut’s own rockers Fools Faith will soon release the follow up to the sensational Undone, with Sinister F.

Hardrockhaven.net staff writer Franco Cerchiari recently had the opportunity to speak with his friend, Fools Faith drummer Marc Chandler and what it took to make Sinister F a reality, as well as what the band has been doing since Undone and his take on the music world around us.

Always outspoken, never hesitant to speak his mind but genuinely a decent guy, Marc has always been known to speak candidly with Hardrockhaven, and the resulting interview is no exception.

HRH: Thank you Marc for taking time in speaking with us here at Hardrockhaven.net. Let’s begin by asking, what has been going on in the Fools Faith camp since the release of Undone? And what can we expect to see coming from the band?

Marc: Well after releasing Undone not much of anything was going on until shortly after the last time we spoke. In April of 2009 everything changed as we won a global contest sponsored by digital music provider Airplay Direct that kept us quite busy throughout the remainder of ’09 well into 2010. We literally played non-stop beginning in May straight into late winter where we subsequently began the recording process for the next album. As things stand at the moment we’re somewhat on a hiatus until the next album is complete. We’ll occasionally do a random show but we’re not actively seeking anything until it’s done and wrapped.

HRH: With the new CD, any variations from what we heard on Undone? Undone was an incredible mix of metal with some cool, almost progressive keyboards, so will there be any change in the sound, vibe or feel with the new CD?

Marc: Absolutely there will be a number of changes especially our overall sound. What most people are not aware of is the fact that on Undone close to 95% of the lead guitar work was from our former guitarist Bill DiNapoli while John really just dropped bits and pieces in to spice up the overall tracks. (Bill left the band shortly after the final tracks were recorded but just short of mixing and mastering) Once John came aboard full time we listened back and decided it was too time consuming to re-record all the leads so we just dropped some of Johns flavor in here and there which in reality brought so much more out of each song. Going into this new album there was a change not only in our sound but in our vibe, feel and emotion.

HRH: Tell us about the songs on the new CD. Any tracks come to mind that you think will immediately connect with your fans? As you know, music is the most sincere form of expression on the planet. From a band’s music we, as the listener should be able to feel the same anger, hate and passion that the songwriter felt as he was writing the song. Any tracks on your new release do just that?

Marc: Trying to gauge what will connect with people is a difficult as picking the winning lotto numbers. We just write from the heart and hope that each song strikes a chord where the listener can relate in some way to an experience of their own or have an understanding of what the song is trying to convey. There are certainly times where we’ll go “this is the part where people will just go nuts” but in all honesty our songs are not written for the listeners reaction or for that matter their benefit. We write what we feel and hope for the best.

HRH: There have been a few what I consider to be true “masterpiece” releases thus far in the world of music. To name just a few, Stevie Wonder’s 1976 Songs in the Key of Life, Pink Floyd’s 1973’s Dark Side of the Moon and Led Zeppelin’s 1970 Led Zeppelin III. What do you think goes into the recording of a masterpiece, such as one released by The Beatles, Cream, or Queen? Or do you think it makes a difference that bands like those mentioned have a “leg up,” because music was their full time job?

Marc: Well the best example I could give of a masterpiece album would be Guns and Roses Appetite for Destruction. In my opinion that album is the definition of a “masterpiece” simply because every single song stands on its own and there’s not a bad apple in the bunch. AFD was the right album, at the right time handled perfectly by their label. Situations like that are few and far between evidenced by the fact that it’s been 23 years since we’ve seen anything like it in music. Think about it, “Welcome to the Jungle“, “It’s So Easy,” “Nightrain,” “Out ta Get Me,” “Mr. Brownstone,” “Paradise City,” “My Michelle,” “Think About You,” “Sweet Child o’ Mine,” “You’re Crazy,” “Anything Goes” and “Rocket Queen” all on the same album!! That’s like a greatest hits release yet all these great songs are on a debut album no less.

Other examples would be:

Pink Floyd The Wall
Kiss Alive
Queensryche’s Operation: Mindcrime
Bon Jovi Slippery When Wet
Metallica Master of Puppets
Megadeth Peace Sells…
Nirvana Nevermind and even Dave Matthew Under the Table and Dreaming are all great examples as well.

I don’t believe any of these bands had a set formula to record a masterpiece, they just went into the studio and began cranking out what they believed would be another album yet the stars aligned and presto, magic was created. I certainly do not believe any band because they play music for a living has an advantage over a band that doesn’t. A pro band can record a hundred albums and still never create that “masterpiece” yet any band in any garage or basement right now could be in process of doing just that.

HRH: Having asked that, allow me to ask this – when one hears of Fools Faith’s influences, (many of whom have recorded amazing releases) and those influences which can be heard on Undone, does it make you, as a fan of those influences, want to work harder on making the next release even better than the one before? And does that love for your influences drive you to bring the level of playing to new heights?

Marc: It really isn’t a conscious decision. We just create music no differently than they did and hope it’s accepted in the same regard. I think every musician shows their influences in different ways yet the toughest thing to do is to balance that with originality to a point where the influence doesn’t outshine the originality.

HRH: As a drummer myself, I know of the rhythm the drums can generate to drive a track forward. Or, conversely, drag a track down. As the band’s drummer, what motivates you to drive that track forward? Is it a style? A feeling that the track gives off? Or is it some particular tracks “grab” you and make you want to push that track further and further ahead?

Marc: What and how I play is in direct relation to the mood and feel of the song. Don’t get me wrong, there are certain songs I get caught up in and push the tempo perhaps a wee bit more for what the song would dictate but eventually I’m brought back down to earth and hopefully lock back into a more respectable feel and groove.

HRH: To be sure, Undone was proof solid that Fools Faith is a true metal band – when was it that the members of the band came together and said collectively as a group, “we want to be a metal band.” At any time, was there a chance that the band would go toward another genre?

Marc: Well the one thing I’ve never heard us being defined as is a “metal band” but I can understand how at times we can be confused with one. We never sat down and tried to define what type of band we would be because we simply got together to do what we love to do. As far as switching genres is concerned to this day I personally couldn’t define exactly what genre we fit into to begin with so I can’t imagine that’s a conversation we’d ever need to have. We are who we are however if you put a gun to my head and asked me what genre of music we fit into the only answer I could give would be we’re a Rock band with the ability to sound like whatever we choose.

HRH: Tell us about the songwriting for the new CD, Marc. Who was involved in it? Did each band member have the opportunity to give their ideas for certain tracks? Or like in some bands, there is one principal songwriter, and each member using/playing the music already presented to him/her.

Marc: The creative process for this CD was no different than any other we’ve done. We all had a hand in the writing process once the initial melody was established. To be fair Joe, Andy or John would create the basis for the song and it would flow from there. I do not think in the years we’ve been together I have contributed an ounce of the initial melody or riff to any song we’ve written but I’ll certainly put my stamp on it once the ball starts rolling. Where the lyrics are concerned that responsibility usually starts and ends with Joe however there have been times where we’ve offered different lyrical ideas that worked better.

HRH: John Bonham, Bobby Rondinelli, Randy Castillo, Cozy Powell, Carmine Appice, Carl Palmer, Eric Singer and Ginger Baker to name just a few, but what happened to the thundering drum solos of yesteryear? Who today inspires you? Any one drummer that stands out?

Marc: As a drummer I can appreciate a solo however anything longer than say 3 minutes becomes nothing more than musical masturbation. There are certain drummers that can pull off longer solos simply because they are drumming monsters but for the most part it becomes boring rather quickly. If you’ve ever noticed, the “solo’ sections during any concert is when people head to the bar for a refill or the bathroom to drain for the pending refill! I’m usually much more impressed with drumming within the context of a song rather than soloing and sometimes the best drumming is the most simplistic. Personally I’m just not into the whole look at me type of playing and truth be told in my entire professional drumming career I’ve played 1 solo and that was over 23 years ago!
My inspirations start and end with John Bonham & Buddy Rich for a number of different reasons however I’m never above plagiarizing others to suit my needs. (LOL…..)

HRH: Illegal downloading – without question the most supreme form of stealing from an artist. What can be done? Or is something that has come with the times? What changes do you see happening to make music more accessible to the fans? Or is there a time coming that you as a musician say, “Well at least our music is being heard.”

Marc: *Sigh* – THIS subject has always been a sore spot with me yet the reality is that as long as the internet exists the ability to fully protect ones music has expired. Technology being what it is dictates that artists have to become more creative in distributing their music and maximizing that opportunity to collect on their creations. Conversely with the creation of the internet the ability for others to access your music in an instant is endless. The internet has made it possible for artists to have their music heard worldwide where just a few short years ago it would have taken years or been downright impossible for a band to get its music heard outside of their local area. The internet & (legal) downloading in general is without question the best way for an artist to be heard and in some if not most cases found now. Years ago it was fanzines and countless dollars in mailings of demos to create your own exposure whereas now one uploads their creations and bam, everyone has the opportunity for discovery.

HRH: Let’s get back to your new CD. “Change of Direction,” was a haunting almost brooding track with some incredible acoustic guitars. Tell us the story of that track.

Marc: It’s a relationship song pure and simple. I normally hate to describe what a song is about or what it stands for as I like to leave it all out there for interpretation. I think the minute you put the true meaning of a song out there all ability to make it your own is gone. No 2 people read into something the same yet the story and meaning within this song is fairly easy to decipher.

HRH: How do you mix your love for music for the fact that “life happens.” And despite knowing the mortgage has to be paid, kids attended to and professions made a priority, is there ever a time when you look around and say, “Why can’t we be the next Led Zeppelin,” or have the one break out release that will make music my full time job.

Marc: I don’t believe there’s an artist out there that doesn’t ask themselves that exact question yet it also takes a supreme amount of dedication to make the balance between life and ones dreams work. One of the greatest assets an artist can have is the support of our loved ones. They are the reason we’re able to continue to chase our dreams.

HRH: If it does to the inevitable conclusion that your band will only become your one passionate “hobby, “does that ever get you down?

Marc: Honestly, no it doesn’t. I simply love to play and more so to play for an audience. The reality I face all the time is that at my age my drumming has to become secondary or a “hobby” if you will because I have those responsibilities as we all do. Until I make a living playing music it is technically a hobby although my passion for it hasn’t changed nor will it.

HRH: How will you decide what tracks from this new release and previous releases will make it on to your concert play list.

Marc: We change our set list every time we play so that’s a difficult question to answer. What I can say is that there will be more stuff from the new album in there and maybe a fewer older more obscure songs. The fact is that we’ve beaten some of the songs from Undone into the ground live and the likely hood of them remaining as “regulars” is slim at best. I’d love to go back into our older catalog of songs and maybe pull a few from there as well as perhaps making changes to others to use as we need.

HRH: Who in Fools Faith gathered everyone together and said, “Ok guys, it’s time to make a new CD.” Who started that conversation, and how did that originally go over?

Mar: We never have had that conversation as we’ve been cycling as a band since day 1. It’s been write, record, gig right from the start. As far back as 1995 when Joe, Andy and I started playing together it’s been that way. Since then we’ve released more than just “Undone” together so at this point it’s more of a natural progression than a planned action.

HRH: Two things people realize when seeing a band in concert – first, the band wants to play, and be at the venue and second, the band wants the fans to have a good time and be part of the musical experience. So let me ask this – is giving the fans the concert of their lives the same as a store clerk giving the best they can in customer service?

Marc: First and foremost the band has to be enjoying what they’re doing because the fans can instantly sense if the band even wants to be there. If the band is enjoying what they’re doing the fans will follow. There are always going to be people who simply will never be satisfied no matter what you do but if that’s what you concentrate on it detracts from the ones who love every minute of what you’re doing.

HRH: 30 years from now you are telling your grandkids about Fools Faith – what are you going to tell them?

Marc: Providing I live so long I would tell them that their Grandfather was blessed with a talent that provided him the opportunity to touch other people’s lives and affect their emotions. How that talent afforded me the opportunity to meet great people from all walks of life that I may not have met otherwise and most importantly it gave me the opportunity to make people smile and enjoy themselves.

HRH: What to you about music is important? And do you think we are losing sight on what music is today?

Mar: What is important to me about music is everything that is wrong with music and the business in general today. (Drags out the soapbox…)
The “sight” of what music is today is a tragedy. What passes as “popular” music today is frightening because it’s not “music” anymore. It’s repetitive melody wrapped around programmed beats with heavily altered or “fixed” vocals that is making stars out of less than deserving performers and more often than not these “stars” are having material handed to them rather than creating it themselves. Pre-fab entertainment is what seems to excite the general populace and that is a frightening realization for those of us who have paid our dues. There are so many talented bands and performers out there that we’ll never know of or hear from. Every major market has that radio station that plays the same 12 songs in rotation for weeks on end yet there are millions of songs written every day. Songs we’ll never hear because that band or performer isn’t “marketable” enough to generate what the record companies only seem to concentrate on anymore, profit margins. Whatever will sell is all that matters yet look at bands from years past that had they been judged on their first album they never would have had an opportunity for a 2nd. Had they been judged solely on their appearance would they have even been given a shot at making it? The music business is no longer about the music and hasn’t been for a long time, then again they don’t call it the music business or the business of music for nothing.

HRH: If you had no financial limitations, the finest in audio engineering available and absolutely no time constraints, what musically would you create within the confines of Fools Faith that would set the bar by which all other metal bands would be judged? What about what you are doing now would be any different than what you have done in the past? Undone was a fantastic release, but any changes you would have made to it? Or how about with future releases?

Marc: To a certain extent we are already in a place with no time constraints because having our own studio affords us whatever time we need to create what we do. To set the bar, so to speak, is subjective at best. The minute you believe you’ve set some sort of bar you find that someone else set it better before you. I can’t think of anything we would or could have done differently because where we were prior is why we are where we are today. Timing is everything and considering one cannot control time things have a way of playing themselves out regardless. Either you’re destined for greatness or you’re not. As long as you enjoy or enjoyed the ride the decisions you’ve made were the right ones.

HRH: Music in schools – it seems more and more school’s choirs and bands are being cut from a child’s curriculum. Do you think that we are creating a world where a child is not being taught the joy of sound and music and gaining a love for gathering within a group and feeling what it is that music can bring? Tell us Marc, how will that (if at all) change a child’s perspective on the world around him or her?

Marc: The Arts have traditionally been the sacrificial lamb when cuts need to be made in the education system and speaking from first-hand experience it’s something that will continue regardless. From the day I entered school until I graduated I was a part of the music program in each school I attended and the one common thread throughout were the constant cuts made which cost each program greatly. Music programs will always have to a large degree be self-sufficient because the schools would rather invest their money into a losing football program than a winning music program. My junior year of high school our football team was horrible yet they were afforded whatever they needed meanwhile our marching band covered every one of our own expenses and went on to win the state championship in our class while the football team won a total of 1 game the entire season. Education politics as usual!

HRH: Having been your friend for as long as I have, I can say that from hearing your music, reading your blog and listening to your words, one thing is certain -“Fools Faith is indeed about the music.” Anything you would add to that?

Marc: Nope, that about sums it up in a nutshell.

HR: True or false – to be a good musician you need to listen to yourself as if you were hearing it through the ears of your fans?

Marc: FALSE! To be a good “musician’ you need to practice your ass off and be willing to sacrifice almost everything for your craft. The worst trap any musician can fall into is writing music to please their fans because of the fact that no matter what you write someone inevitably will not like it. Taste is one of the most subjective arguments and no 2 person’s tastes are the same so to not write for yourself first is the biggest mistake a musician can make.

HRH: From every sentiment, whether it is from first kiss to divorce, rock and metal have always found a way to express life’s best and worst. How do you as a songwriter convey what you may be feeling?

Marc: We simply write from the heart and go from there.

HRH: Given a choice which would you rather play the most colossal of stadiums or the smallest of venues? In which one do you think you would feel the most comfortable?

Marc – Given a choice, a smaller yet not the smallest of venues is the way to go however the stadium shows are clear indications you’ve made it. The stadium and large venue gigs lack that feeling of intimacy where the crowd is up against the stage right in your face. As a performer, at least it’s this way for me, you can feed off the direct energy of that closeness yet feeding from 15,000 to 100,000 people isn’t bad either!! (Or so I’ve heard)

HRH: How will you work with promoters to get Fools Faith music out to the public? And as time wears on do you think that there will be a difference in how promoters work with the artists? How about how the labels work with the artist?

Marc: I’m willing to work with in every way any promoter who is willing to work with our best interests in mind. We’re not doing what we do for anyone’s benefit or happiness but our own to start so as a promoter if you’re more concerned with making a venue owner or manager happier than we are no thanks. In theory a good promoter should need no prompting or direction, they know from the beginning what needs to be done and gets on it. I shouldn’t have to tell a promoter what to do; they should be telling me what needs to be done to help them reach our mutual ultimate goal.

HRH: Do I think there will be a change in how promoters work with artists? No, nothing will or should change in promoting as the definition of promotion hasn’t changed in years. What has changed is the quality of the promoter.

Marc: As to how labels will work with artists is an oxymoron because the larger labels usually dictate as opposed to “working with” their artists. When a band reaches a status where a “major” label is involved they’re no longer in control of their own destiny or in some cases final decisions. The “indie” labels usually are willing to work with their artists because when the artist benefits so does the label as opposed to the majors who always benefit before the artist and rightfully so. They are the ones who finance the recordings, tours, promotion, etc but it also places the band into a “slave” type atmosphere where they’re beholden to the label and their whims because of that debt alone.

HRH: Which would you rather – produce a CD by yourself, or have the name of a huge label behind you?

Marc: Well because we already produce our own albums a huge label behind us could only be a benefit provided we capitalize on what that label can do for us. The financial benefits of a large label certainly change a lot of things however if the product is lacking the label benefits are useless and in the long run can cost a band dearly.

HRH: 2010 was a horrible year for metal with the deaths of Avenged Sevenfold drummer Jimmy Sullivan, Slipknot bassist Paul Grey, Gotthard vocalist Steve Lee, Type O Negative front man Pete Steele and of course the passing of the true voice of metal, the master, Ronnie James Dio. Any words of memoriam you would like to share?

Marc: Yea, 2010 has been a shitty years for musicians and yet what cannot be forgotten is the fact that 2 of those deaths were to a certain extent preventable.

Of those mentioned I only had the opportunity to meet one and that was Pete Steele back in early 1994. I was playing with these cats out of Brooklyn and we recorded a few demos at a studio owned by a friend of Pete’s. He happened to come in one weekend and stayed and chatted for a few hours like a regular guy. No star attitude, nothing. Just another guy, who just happened to play in one of the biggest bands at the time. He was an imposing figure who was as nice as could be. He kept joking that if his drummer ever bolted he would give me a call but obviously that never happened.
To lose Ronnie James Dio was like a loss of a part of my childhood. Ronnie was always there throughout my life and to know I’ll never have the opportunity to see or hear him live again is without question saddening. He was without argument the greatest voice the Rock world will ever know. There are great rock vocalists like Paul Stanley & Steven Tyler still left but the void left by RJD’s passing is one that will never be filled. R.I.P!

HRH: If you were a promoter, what would you do different when dealing with artists than how perhaps your band has been treated in the past?

Marc: As a promoter I would do everything in my power to put as many asses into the seats as possible so the band has the optimum opportunity to showcase their music.

HRH: Tour plans? Any upcoming shows that you can let the fans of the band know about?

Marc: There is nothing immediate in the works for touring or for shows. Our only focus right now is getting the next album done. Once it’s done we’ll begin the next stage of planning.We never seem to be at a lack for gigs but to continue to play and plan future shows only distracts from our goal of finally finishing this album and getting it out there.

HRH: Thank you again Marc for speaking with us here at Hardrockhaven.net. Fools Faith rocks, and we wish you all the best. Any final things you would like to add?

Marc: Once again many thanks to everyone at HRH and yourself for your constant support and interest in Fools Faith!!

Patrick Kennison of Heaven Below

December 5, 2010 by Publisher

http://www.facebook.com/pages/Heaven-Below/70819759934

by Alex Barbieri
Staff Writer

Born from the ashes of The Union Underground, Heaven Below is singer and songwriter Patrick Kennison’s comeback statement and artistic vision of what a rock ‘n f****in’ roll band should be: badass look, well-crafted songs, pro musicianship and a high energy live show. And he swears by B.C. Rich guitars. Kick back and crack a cold one as Kennison checks in with Hardrock Haven on what’s up with Heaven Below,

HRH: Patrick, first off thank you again for signing the poster and CD for my 15-year-old niece, Emily. How is the EP doing and how have the shows been in support of it?

PATRICK KENNISON: Anytime, we love making fans early on. The EP has been consistently selling even after we wrapped up our “Horns ‘N Halos” tour last month. The shows were killer. The radio support we’ve been getting really affected the tour in a positive way. To commemorate and thank everyone, we released a free Digital Time Capsule on www.heavenbelow.com.

HRH: The band’s management advised HB to release an EP to help stand out from the throng of modern rock bands vying for the public’s attention. Do you think the strategy has paid off?

PK: I really think it did. It kept songs from getting overlooked. But I must admit, had I known the reaction and response would be this good, I would have been tempted to release it as a proper full length. Hindsight 20/20. No regrets.

HRH: “When Daylight Dies” really is akin to Evanescence with male vocals. How did Ben Moody become interested in producing the song, and what was it like to work with him in the studio?

PK: I met Ben through Marty ‘O Brien, bassist extraordinaire. I played on Ben’s solo album and one day I played him my demo for “When Daylight Dies.” He pulled the car over after the song played and insisted that he produce it. I thought he was joking. Several days later he’d put a 32-piece orchestra in it and booked us in a killer studio. The guy is a mad genius in the studio.

HRH: How did the dissolution of The Union Underground fuel your drive to form and succeed with Heaven Below?

PK: I realize most people view The Union Underground as a successful band, and we were. But, the band was cut short by cliché pitfalls which led to me ending it. It was frustrating but it had to be done. I realized it was time for me to step up my position as an artist and please myself first. Business-wise, it was a priceless lesson.

HRH: What are your musical goals for Heaven Below over the next few years, and how do you define success in music and life?

PK: Musically I just want to make ourselves happy. Luckily that seems to show through our songs and live performance. I think people pick up on that, even if some of the songs may sound like they come from an angry place. It’s our therapy. I define success simply by being fortunate enough to play and release music on our terms. Now that the “invisible carrot” as I call it, has been removed (industry gatekeepers), music is now up to the people that matter most — the artist and the fans.

HRH: Take us through a day in the life of Patrick Kennison. What time do you wake up? Go to sleep? What do you do besides Heaven Below?

PK: Lately I’ve been going to bed really late because we’re working on new material all night. We have a killer rehearsal room in Hollywood as well as our own home studios. I can be found in one of those most of the time writing and recording. HB consumes nearly all of my time. I got Netflix on my Xbox but I have to force myself to watch movies and play games on it. But when I do, it’s a great release. I heard the new ‘God of War’ came out for Xbox and my PSP. I better investigate after recording.

HRH: Any interesting stories you can share during the recording of the EP? What adult beverages would be found in Heaven Below’s studio?

PK: Of course working with Ben was killer. One of the nights we were recording, Jesse got pretty drunk after his tracks, so we parked his car somewhere off the premises so that when he woke up the next morning, he’d think it was towed. Turns out a girl from another band that he’d dumped or blown off rehearsed next door and saw his car and wrote obscenities all over it with her lipstick. He was mighty confused the next morning. Wish he’d got pictures of her and the car.

Jesse and I love those overpriced fancy beers. A Blue Moon sounds so good right now!!! Of course, Jagermeister is really good to us. (Literally. Jagermeister sponsors Heaven Below. – Ed.) It’s like a beast you can’t tame!!! We even have our own drink: Jager, pineapple juice and a splash of Sprite = “The Heaven Below Sunrise.” Looks gross, tastes great. Just like us!!!!

HRH: You proudly play B.C. Rich guitars. Give us some details on your guitar and rig, and why you love B.C. Rich so much.

PK: Ever since my U/U days, B.C. Rich has supported what I do. I have a killer little collection with some rare one off models. I even own the last guitar Bernie Sr. (founder of B.C. Rich guitars) made before he passed. It’s stamped and dated in the guitar. It is the best sounding and looking guitar I own. I turned Jesse on to them and he now loves ‘em too. He’s got a Kerry King 7-string Warlock and a 7-string Stealth. I have several 7 and 6-string Mockingbirds, a 7-string Warlock, an Archtop Tele Meegs that’s really rare. I even have a Double Neck Bitch on the way like the one Lita Ford played in that old Ozzy/Lita video (“Close My Eyes Forever.”) Check out www.bcrich.com/artists to see Jesse and I in action. We’ll also be at the B.C. Rich and Dean Markley booths at the NAMM Show in January.

HRH: You have said that Iron Maiden’s “Powerslave” tour was your first big rock concert. How did that show affect your desire to become a musician and play in a band?

PK: It was unbelievable. I had no idea concerts were like that. The ones I went to after that paled in comparison. There are really no words to describe how it changed me. I begged my parents for a guitar after that show. They delivered on my 12th birthday and I never looked back.

HRH: What bands and albums are you currently listening to, and who are your favorites of all time?

PK: Lately I’m getting into old stuff I didn’t understand as a little kid. Stuff my older brothers and sister liked. Rush, Thin Lizzy, UFO, etc. There is some killer music in there that blows me away. As for recent releases, I love Muse, the new Accept — insanely killer album — and Avenged Sevenfold, to name a few. My all time faves are still Alice in Chains, Nine Inch Nails, Metallica, Priest, Maiden, even Cheap Trick.

HRH: If you could choose any musicians, dead or alive, who would be in your dream band, and what instruments would they play?

PK: I’ll go with dead, so I have something to look forward to when I die. My vocalist would be my friend Dave Williams from Drowning Pool. I cherish the memories I have with him on and offstage. On bass would be Cliff Burton, of course. Dimebag would have to be on lead guitar. Jimmy “The Rev” Sullivan would be on drums. I guarantee we would make the best music metal heads have ever heard!!!!

HRH: Do you have any thoughts on the passing of Ronnie James Dio? Any memories you would like to share?

PK: I feel like it’s life’s cruel joke to take the nicest and most talented away from us, but the legacy he left can never be topped. I never got to see him perform, but I’ve always enjoyed the Dio-era Sabbath much more than the Ozzy era. I realize how influential the Ozzy stuff is, but the Dio era is so fucking cool and dark.

HRH: Is there anything else you would like to say to your fans and the Hardrock Haven audience?

PK: Thank you for supporting new music like us and for everyone who has been requesting “When Daylight Dies” on their local radio station. We have an exclusive unreleased version of the song available as a free download on www.heavenbelow.com to show our appreciation. We’re as excited as all of you to get this band louder and further.

HRH: Patrick, thank you so much for your time and generosity. All the best to you and the band. Please keep us posted on what’s going on with Heaven Below!

PK: Absolutely. You know I will!!!

Watch the Heaven Below promo video on YouTube. http://www.youtube.com/user/HeavenBelowMusic

Order the Heaven Below EP on Amazon. http://www.amazon.com/Heaven-Below/dp/B0040T7FHS/ref=sr_1_6?ie=UTF8&qid=1287693921&sr=8-6

Visit Heaven Below online at:

http://heavenbelow.com/

http://www.myspace.com/heavenbelowmusic

http://www.twitter.com/heavenbelow

Interview with Jess Harnell, Chuck Duran and Alexander Track of Rock Sugar

December 1, 2010 by Managing Editor

by Alex Barbieri
Staff Writer

It’s hard to be original in hard rock, but Los Angeles-based Rock Sugar has managed to create something unique in Reimaginator, a collection of ‘70s and ‘80s rock and pop songs re imagined by the band. Listen to singer Jess Harnell, guitarist Chuck Duran and drummer Alexander Track — three of the funniest and coolest guys in metal — as they share memories of the past year, their goals for the future, and a celebrity impression or two.

Watch Jess and Chuck discuss the origin of Rock Sugar on YouTube.
http://www.youtube.com/watch?v=6njlE44jwDk

Visit the official home of Rock Sugar.
http://www.rocksugarband.com/Default.aspx

Dave Benedict of Default

November 30, 2010 by Publisher

by Deb Rao
Staff Writer

As the holiday season fast approaches, the winter concert season is kicking into full gear. One of the top bands to emerge onto the music scene Hinder is hitting the road with support act Vancouver’s DEFAULT.

DEFAULT first burst onto the music scene in 1999 and have a fairytale story that most bands can only dream about. Default consists of Dallas Smith (Vocals), Jeremy Hora (Guitar), Dave Benedict (Bass), and Danny Craig (Drums).

Discovered by Nickelback’s Chad Kroeger, DEFAULT is destined to end this year on a high note. With the release of Come And Goes, DEFAULT is hitting the concert trail with HINDER. The anticipated tour kicked off on Nov. 17. In this exclusive interview for Hardrock Haven, bassist Dave Benedict gives Hardrock Haven all the details surrounding the tour and new album.

HRH: Dave, Thank you for checking in with Hardrock Haven. I understand that DEFAULT will be heading out on the road with HINDER on Nov.17. The tour kicks off in Cleveland. Tell us about the upcoming trek.

DAVE: Well it is going to take us through Middle America and end in Oklahoma City where Hinder is from so it should be a great show to end on. We are all really looking forward to the tour, as it has been 5 years since we have toured the States.

HRH: DEFAULT has just released their latest CD entitled, Comes And Goes. Tell us about the song-writing process.

DAVE. We did a lot of the writing in Jeremy’s basement with our producer Bob Marlette and did all the demoing there too before heading to L.A. To record at Henson studios where we did the last recording.

HRH: Comes And Goes was produced by Bob Marlette who has work with Ozzy and Shinedown. How did he help guide the band in the studio and help you achieve the sound that you wanted on Comes And Goes?

DAVE: Like I said we did the last recording with Bob so we are now past the awkward first date stage so to say, he knows us and what we are looking for as far as an album goes. His goal this album was to really get the passion out of Dallas’s performance and as you can hear they did an amazing job at it.

HRH: How does it compare to The Fallout?

DAVE: It doesn’t. It is 10 years and three albums since. We are all different people and have been through 10 years of life since. How can we compare to something that was so long ago. If there is an answer to that it would have to be that there is the four same guys trying to make the best possible music that we can. Same thing we tried to do on the first album but with a little more experience.

HRH: DEFAULT first got together in 1999. How do you think the line-up has evolved over the years?

Dave: the line- up has not changed but maybe our topic of conversation has. It went from boobs, beer and poop humor to diaper genie’s and baby formula.

HRH: One of the fairy tales stories behind DEFAULT is that Nickelback singer Chad Kroeger helped discover the band? How did this factor all come into play in the launching of DEFAULT?

DAVE: Well the band had a demo and took it to Chad and he immediately brought the band into the studio and recorded the bulk of what is The Fallout except for “Wasting My Time,” “Live A Lie” and “Sick And Tired” that were recorded by Rick Perasher. Chad also took Deny to C-Fox our local radio station and entered it into the local seeds competition which played the song in regular rotation gaining interest in record companies such as TVT, Atlantic, Universal and Roadrunner records. Not to mention touring with them helped a lot as well.

HRH: Were you a huge fan?

DAVE: Of Nickelback? No I would not say that I was a huge fan but I liked them and respected what they did, but since I have become a massive fan of what they have accomplished and how far they have come as a band and yes now I consider myself a huge fan!

HRH: How would you best describe the band’s sound?

DAVE: I have always described us as honest rock and roll. What you hear is what we are.

HRH: DEFAULT hail from Vancouver. How would you describe the Canadian music scene?

DAVE: It is only getting stronger with bands like Hail The Villain and My Darkest Days. Boarders mean nothing. Music means everything.

HRH: As a bass who are some of your influences?

Dave: My biggest influences have to be most of all Flea as I named my first-born child after him. Zari… Figure it out if you are as big of a Chili’s freak as me.

I would also have to say that Gene Simmons, Victor Wooten, Les Claypool and Kyle Kyle are among others.

HRH: Is there anything else that you would like to say about the upcoming tour and album?

DAVE: It has been way to long since we have toured the States and we are very excited to jump that boarder and come see all you freaks! See you soon!!!

For more information, check out Default’s official website at:

www.defaultonline.com

Hinder/Default Tour Dates:
WEDNESDAY 11-17 CLEVELAND, OH HOUSE OF BLUES
THURSDAY, 11-18 LIBERTYVILLE, IL AUSTIN’S SALOON
FRIDAY, 11-19 CINCINNATI, OH BOGARTS
SATURDAY, 11-20 PONTIAC, MI THE CROFOOT
TUESDAY, 11-23 KALAMAZOO, MI STATE THEATRE
WEDNESDAY, 11-24 DES MOINES, IA VAL AIR BALLROOM
FRIDAY, 11-26 LITTLE ROCK, AR THE VILLAGE
SATURAY, 11-27 MIAMI, OK BUFFALO RUN CASINO
MONDAY, 11-29 DALLAS, TX PALLADIUM BALLROOM
TUESDAY, 11-30 HOUSTON, TX WAREHOUSE LIVE
WEDNESDAY, 12-01 CORPUS CHRISTI, TX BREWSTER STREET
FRIDAY, 12-03 FT STEWART, GA HUNTER ARMY AIRFIELD
MONDAY, 12-06 HARTFORD, CT WEBSTER THEATER
WEDNESDAY, 12-08 BALTIMORE, MD RAMS HEAD LIVE
FRIDAY, 12-10 POUGHKEEPSIE, NY THE CHANCE
SATURDAY, 12-11 ALLENTOWN, PA CROC ROCK
SUNDAY, 12-12 SAYREVILLE, NJ STARLAND BALLROOM
SATURDAY, 12-18 OKLAHOMA CITY, OK DIAMOND BALLROOM

Joey Concepcion of Chaos Embrace

November 23, 2010 by Publisher

6 Comments

by Alex Barbieri
Staff Writer

There are some well-known hot beds of metal on the planet: Los Angeles and Sweden, to name a few. Add Connecticut to the list — the home of 19-year-old guitar wunderkind, Joey Concepcion. If you haven’t heard Joey yet, you will. He’s currently recording his debut album with his band Chaos Embrace with Obsession/ex-Loudness front-man, Michael Vescera producing. Hard rock world, say hello to Joey Concepcion.

HRH: Joey, what’s up brother? Great to talk to you. How is the recording of the Chaos Embrace album going, and when will we get a chance to hear it?

JOEY CONCEPCION: Hi, Alex! It’s going great, man. I’m really loving how it’s sounding. I think it’s gonna be very different to what’s out there now. I just posted five new tracks on our MySpace page and we are currently shopping for a label!

HRH: How would you describe the style of Chaos Embrace, and what is it like working with producer Michael Vescera?

JC: I would say it’s kinda like melodic hard rock, with some new and old school influences. I am a big fan of lots of different music, like Arch Enemy and Firewind. I wanted to go for a really heavy sound, but with melodic vocals. I love the Lynch Mob Revolution record and I think this project was very influenced by that.
Working with Michael Vescera is an amazing experience. I’m a big Yngwie and Loudness fan and I love Mike’s voice a lot with those bands, plus we’re from the same neck of the woods. Mike has an amazing ear and really knows what to do in the studio. I totally recommend others work with him.

HRH: How old were you when you started playing guitar? Who or what got you into hard rock and metal music?

JC: I started playing when I was 11. Guns N’ Roses and Metallica influenced me a lot at first, and the guitar teacher I had at the time got me into a lot of really great music. Also, my parents, definitely.
HRH: Has your dad, Joe Concepcion, been a big influence on your musical career?

JC: Yes I think so. My Dad has been such a big support to me and he loves music a lot, too, and got me interested in playing too. He’s a bass player. I love my Dad.

HRH: You were recently in the Sam Ash music store’s “Best in Shred” competition. How did you finish and what did you enjoy most about it?

JC: I won the store finals, so the next step is that I go to the Sam Ash in New York City for the next round and compete there. I played Steve Vai’s “Blue Powder” for my last performance, and that song is really, really tough to play. I love (Vai’s album) Passion and Warfare. It’s influenced so many musicians, and is definitely one of my all-time favorite guitar records. I just went in to have fun and see where the contest takes me and I hope it carries on! Haha!

HRH: Take us through a day in the life of a teenage guitar hero. What time do you wake up? What do you eat for breakfast? Are you up late? Do you practice and write a lot?

JC: I usually wake up around 10 a.m. or 11 a.m. I play guitar really late, so I don’t always get up that early, ha-ha. Sometimes, I eat breakfast. I have tea in the morning. I practice and write a lot. I wanna make sure I always have material that I can use for new songs.

HRH: What type of guitar and effects do you play? Do you have any endorsements you’d like to talk about?

JC: I have a lot of different guitars at the moment. I just started working with master guitar luthier, Buddy Blaze, on a custom guitar for me. He’s the best and has built for the best! I use a lot of Super Strat type guitars. I use a lot of weird effects sometimes. Steve Vai has been a big Influence on that. Usually when I play solos, I like to have a little delay. That’s where George Lynch’s comes in, too. I have a Morley Bad Horsie 2 Contour Wah. I play Madison Amps and D’addario Strings. I like Planet Waves Cable Straps and other products they have. I also like Dimarzio pickups, Modtone Pedals and use the Floyd Rose® Tremolo System a lot.

HRH: What bands and albums are you currently listening to, and who are your favorites of all time?

JC: I’ve been currently listening to Opeth a lot. They are very unique how they can be very mellow and melodic and still be very heavy. I also like Arch Enemy and Nevermore. My music taste has such a wide range. I love a lot of the ‘80s metal stuff like Skid Row, Whitesnake, Dokken and Lynch Mob. I’m a huge fan of Racer X and Paul Gilbert. He is incredible! Probably one of my all time favorites!

HRH: What are your musical goals, and how would you define success in music and life?

JC: My goal is to someday travel all over the world and play everywhere with my band, and get my music across everywhere. It’s my dream and passion. I wanna develop fans everywhere and hopefully tour. I think whatever your dream and your goal is, you have to chase it with all of your heart and if you believe in yourself, you can do anything. Happiness is the most important thing, and I think that is success.

HRH: Give us your first thought that comes to mind on the following names and words:

HRH: Guitar.

JC: Love forever.

HRH: Metal.

JC: Passion and how it makes you feel better and pumps you up.

HRH: Idols.

JC: Paul Gilbert, Steve Vai, George Lynch, Jason Becker, John Petrucci.

HRH: The Music Business.

JC: Very tough but still try your hardest to accomplish that goal.

HRH: Your Dad.

JC: The Best Dad, with big support and love.

HRH: Do you have any thoughts on the passing of Ronnie James Dio?

JC: I think it is very sad, and is such a tremendous loss to the metal community. I loved his voice and his music and he will be missed all over the world, and his music will without a doubt carry on.

HRH: Tell us something we don’t know about Joey Concepcion.

JC: I love running and working out.

HRH: Do you give guitar lessons, and if so, how can someone get in touch with you?

JC: Yes, I do! I work at Route 1 Guitars in Milford, CT. You can call and book for a lesson at (203) 783-9828.

HRH: Is there anything else you would like to say to your fans and the Hardrock Haven audience?

JC: I hope people like my music and keep checking us out for updates on new stuff! And keep rockin’! \m/

HRH: Joey, thanks so much, brother. It was great to catch up with you. We’re looking forward to hearing your new album. All the best and please stay in touch!

JC: Thanks, Alex! I had an awesome time! Keep rockin’ HRH! \m/

Friend Joey Concepcion on Facebook at www.facebook.com/people/Joey-Concepcion/1563367138

Watch Joey shred on YouTube: http://www.youtube.com/watch?v=WmYraH277Fo&feature=related

Listen to new Chaos Embrace on their MySpace page. http://www.myspace.com/537690671

Listen to “Out of Time” with Michael Vescera on vocals on Joey’s Myspace page: http://www.myspace.com/joeyconcepcionguitar

Henrik Bath of Darkwater

November 18, 2010 by Managing Editor

by Derric Miller
Staff Writer

Lead singer/guitarist Henkrik Bath of Darkwater checked in with Hardrock Haven to discuss the creation of their brand new studio album Where Stories End; why they titled it thusly; specific songs like “Breathe” and “Into the Cold;” the making of the video for “Breathe;” upcoming tour plans and if we will see them in the States this year; the addition of ex-Pain of Salvation bassist Simon Andersson; and a whole lot more.

Darkwater is one of the most talented Heavy Metal bands out there, and Where Stories End picks up right where Calling the Earth to Witness left off. Tune in now to get to know the singer behind your new favorite band, and pick up Where Stories End immediately thereafter.

Online: http://www.myspace.com/darkwaterofficial

(If the embedded player doesn’t populate, click here to stream the interview in a stand alone player.)

Jesse Damon of Silent Rage

November 7, 2010 by Publisher

by Alex Barbieri
Staff Writers

L.A. AOR gods Silent Rage are stirring again. Lead singer and songwriter Jesse Damon took a break in the studio to talk about his upcoming solo album, the Rage’s plans for 2011, what we can all learn from Gene Simmons and whose chest is on the cover of their melodic rock masterpiece, Don’t Touch Me There.

HRH: Jesse, thanks for taking a moment and giving the Hardrock Haven audience an update on what you and SR are up to. Is there a new Silent Rage album in the works?

JESSE DAMON: It’s my pleasure to talk to Hardrock Haven about the latest news from the Rage camp. We are performing one more date this year on Nov. 20 in Los Angeles with Gilby Clarke and Little Caesar on the same bill. We’re also writing new material and stockpiling songs, but first on the agenda is to record two bonus tracks for our Don’t Touch Me There CD reissue, plus have it remastered. Then we plan to continue recording for a possible fifth studio album. No word as to a tentative release date or record label involved yet. One thing I can say is that we’ve been talking about having Paul Sabu (Alice Cooper, David Bowie, Shania Twain, John Waite, Heart) involved with producing it. We’re also planning a short trip to Europe for a festival in Italy, along with a string of dates in several countries Feb. 2011. We’ll be issuing a press release soon.

HRH: You’re halfway through recording the new Jesse Damon solo album, as well. Do you have a title yet, and are the songs a different style and sound than Silent Rage?

JD: No I don’t have a title yet. I left off from where I was at with my last CD, Rebel Within. It’s an extension of that album or a part two, if you will, and yes I think it does sound close to Silent Rage material. I have a lot of songs in my head and only so many can make it on to a Silent Rage album, so I record some of the other songs that could very well have been slated for an SR album.

HRH: You’ve said you like to go camping. Does nature inspire your songwriting?

JD: Absolutely, I love to go camping in the mountains, on a cove at a lake, or at the ocean shoreline. Being outside in the elements inspires me to write and motivates a lot of creativity, and sometimes literal stories and lyrics.

HRH: Who is in Silent Rage now and do you plan on playing live? Does the band have a following in Europe and Asia? What is the hard rock scene like in other parts of the world?

JD: The three original founding members EJ Curse, Mark Hawkins and myself, and our drummer Rodney Pino who’s been performing and recording with us since 2002. Yes, as I said before we are planning a Europe trip next year, along with more live dates in the states in 2011. Yes, we have a fanbase in parts of Europe — predominantly in the U.K., Italy and Germany, but it continues to grow. When we went to Switzerland last year, we picked up more fans, as well as in Japan when Frontiers Records licensed our last studio album “Four Letter Word” there in 2009.

HRH: Looking back at ’89, what was it like to write and record with Gene Simmons? Is he very directive in the studio? What did you learn from him about music and life that has stayed with you and you can pass on to fellow musicians?

JD: It was the best of times and it went by very fast. To meet Gene, then work with him as our record label president, personal manager, co-songwriter, and eventually with KISS was an eye opening experience of which you listened and took in all you could from Gene’s advice, experience and stories. He has a lot of them. He has definite directions at times and a lot of ideas in the studio. He wanted me to push myself so I’d never fall into settling for less than I knew I could do. He always told me to come prepared and to deliver the goods. You have to have an arsenal of ideas when working as an artist in the studio as well as co-writing a song with somebody like Gene Simmons. He was bold and straight forward, but also like-able and generous in nature when it came to advice, business decisions and life in general. I wouldn’t have traded that experience for anything! He’d say, ‘Jesse, enjoy the moment, here’s to the good life.’

HRH: How did the name Silent Rage come about? Was it inspired by the name Quiet Riot?

JD: Was it inspired by the name Quiet Riot, yes… and Led Zeppelin, Black Sabbath, Iron Butterfly, etc. We started out as a band called Rage and within a few years we found out there was an east coast Rage band with an album in the works, so we wanted to make it better and add something to it such as Silent, without losing all of our fan base we had worked hard to build up as Rage.

HRH: Ok, whose chest is on the cover of Don’t Touch Me There, and did he become popular with the ladies after the album came out?

JD: That would be EJ Curse’s chest on the cover of DTMT. EJ has always been very popular with the woman, he’s a blessed man!

HRH: What are some of your wildest memories of the late ‘80s Sunset Strip scene? What is your favorite live gig of your musical career?

JD: I remember seeing all these people running down the street after a semi flat bed truck with Dokken jammin’ on it loud as hell in full regalia and back-line. Silent Rage had just finished performing a concert at the Whiskey A Go Go on the Sunset Strip and I thought, what the hell is all the commotion about as I stepped outside the front door of the Whiskey. All of a sudden, this wave of hundreds of people were coming at me and I got caught up in the mess. Before I knew it, I was right in front of The Roxy watching Dokken perform “It’s Not Love” (for the video shoot). It turned out to be pretty damn cool!

As for what was my favorite gig of my musical career, I’d have to say opening up for Black Sabbath at the New York Palladium to 8,500 screaming fans!

HRH: Give us your first thought that comes to mind on the following names and words:

Gene Simmons: Unique achiever, great eye for marketing.
Paul Sabu: Mentor, great ear for music
Bob Ezrin: Creative talent, with natural ability.
Melodic rock: My fave.
The music industry: A dog- eat-dog kinda world.
Silent Rage fans: Loyal, fanatical, and very kind people.

HRH: What music are you listening to lately, and is there a book you’ve read recently and would recommend?

JD: I love the blues, so occasionally I’m listening to Eric Clapton, Johnny Winter and Stevie Ray Vaughn. Because of my love for the blues, I like listening to some country artists as well like Keith Urban, Tim McGraw, Toby Keith, Trace Atkins, Gretchen Daniels, Carrie Underwood — all the hitmakers, ‘cause you learn a lot from them and their songwriting. But of course, I like some contemporary and classic rock mixed in, from Stone Temple Pilots to Nickelback, Ratt and Whitesnake, and of course Sabbath and Kiss!

HRH: Do you have any thoughts on the passing of Ronnie James Dio? If so, any memories you’d like to share.

JD: I miss Ronnie James Dio. I got to see Heaven & Hell at the Forum in Los Angeles a couple years back and he was great to see and watch and listen to. What a nice gentleman. I also met him briefly at Los Angeles International Airport. He was coming in from Russia and I was heading to England. I walked up and said hi and we exchanged pleasantries, a handshake, smile and a laugh or two. I asked him how the fans were in Russia, and he said they couldn’t have been nicer. He wished me well for England and good luck, and I said, ‘Thanks, Ronnie!’

HRH: Tell us something we don’t know about Jesse Damon. What do you want to say to the world?

JD: I also have a big in interest in Hollywood set lighting. I’m a third generation union member of I.A.T.S.E. Local 728. My Grandpa was the Set Lighting Chief Department Head at Desilu/ Paramount Studios in Hollywood. My Dad and brother were also set lighting technicians, best boys and gaffers in their careers. As for me, I’ve managed to hold a tandem career in both music and set lighting for over thirty years!

HRH: Thank you, Jesse, for your time and openness. We’re looking forward to hearing your new solo album and new Silent Rage. Stop by anytime and keep us posted.

JD: Thanks Alex for your kindness and support for not only my career, but for all AOR melodic rock in general! See ya on the road all you rebels!!!

Visit the official Jesse Damon website at http://www.jessedamon.com/

Friend Jesse Damon on Facebook at http://www.facebook.com/people/Jesse-Damon/652523872

Rex Brown

November 1, 2010 by Publisher

by Alissa Ordabai
Staff Writer

“Success or no success, for me to play great stuff that I couldn’t have played on another record, gives me a chance to broaden my horizons a bit,” Rex Brown says when describing his new project The Arms of the Sun. “I’ve been blessed with two great bands and it’s come around full circle. I think that the more people you jam with, the more insightful and more spiritual your music becomes to you.”

From playing jazz at high school, to being captivated by the Beatles, the Doors and 70s rock in his late teens, to becoming one of the founding fathers of a new genre of heavy metal, to playing country music in his spare time – Brown has always been driven by things that lay outside the box – something which gave him confidence to experiment and allowed him go beyond the routine. While he says that metal as a genre at times seemed limiting to him, you suspect that this, in the end, turned out to be a good thing, inspiring Brown to venture outside of existing methods, and to contribute to taking Pantera as a band – and metal as a whole – onto a new plane in early 90s. This open-minded approach, as this writer would later find out, drives Brown as a musician to this day.

While Pantera’s legacy still resonates throughout the contemporary music scene, Brown is the first one to emphasize how much Pantera’s music is different from that of Down, and how both are different from The Arms of the Sun. But while The Arms of the Sun is still very much a new venture for Brown (and the one for where he is still shopping around for a record deal) Down has been an on-going concern for 15 years now – with three critically acclaimed studio records behind their collective belt.

A new live CD / DVD package titled Down VI: The Diary of a Mad Band has been released earlier this month, and presents the band from a different angle – at its rawest, most uncompromising, warts-and-all best, faithfully relaying the vibe and the feel of a hearty, vigorous, hard-hitting Down show. Recorded during the band’s 2006 European tour, it presents its tracks in chronological order – a song from each show as the tour goes on – starting in Hamburg, Germany, and ending in Donnington, UK.

The band’s gritty energy and stamina, juxtaposed with brooding, overcast moments indeed take the music miles away from the Pantera vibe. If anything, this record shows that not only metal as a genre, but also individual musicians can grow, mature and change, at the same time illustrating the fact that – if sincere – the true core of any musical personality always retains its inimitable character. Down is not Pantera, and their expanded emotional range is not only the result of the passage of time, but of the band’s ability to see and function beyond the pre-set rules and outside of what many have before considered their members’ comfort zone.

This willingness to experiment and to broaden one’s horizons is what takes Rex Brown even further. The dichotomy between Down’s raw-edged energy and more traditional stance Of The Arms of the Sun, which is rooted in the classic rock (and which Brown likes to describe as “Beatles on acid”) presents an interesting, contrasting angle from which to consider Brown both as a bass player and as a rock personality of his generation.

Brutality versus introspection, dejection versus poetic-ism, and strong temperament versus rational insight are all equally telling when you follow his career up until now. This, as well as details of the new Down live release became just some of themes of this writer’s interview with the legend. Astute, insightful, and invariably fun, Rex Brown remains one of the best interviewees a rock journalist can wish for – straight and honest, but never forsaking his penchant for an occasional wicked joke.

Hardrock Haven: Rex, thank you for agreeing to do this interview with us, we really appreciate your time. And congratulations on the release of the new live CD / DVD package.

Rex Brown: Thank you.

HRH: Are you happy with the way this release has turned out?

RB: Yes, but I am also frustrated because we wanted it to come out about a year ago. That’s the only thing. The politics of the business really stepped on this thing, but we are happy to have it out. It’s a true-to-fact piece of work. Every little thing that we do is kind of chronicled on there, and it’s for a real die-hard fan.

HRH: It’s interesting you say it’s true-to-fact, because I was just going to ask you about the touching-up that this live material has undergone in the studio. How much, if at all? Because to me it sounded like none, like the live atmosphere was so perfectly captured, with all the rough edges and the live vibe so accurately preserved.

RB: It’s harder to get that sound in the studio than you would think. For most live bands it’s really hard to get a real live sound like they have on stage on the record. So this comes pretty close to it. Other than that, like I said, we are really glad to have it out. We try to make records as live as possible, that’s our forte. But it’s kind of hard to beat when you have this, when you have to top this. So there you go.

HRH: What was the criteria for selecting material for this CD and the DVD? Because you have mentioned in other interviews that you had tons of footage from that tour. How have you decided which song from a particular show would make it to the album?

RB: It was basically Pepper going through all the songs. We played 21 times and finding the best ones basically, and then putting it in a chronological order, so it sits with were we are going. We tried to get the best take out of each scene. It takes a painstakingly long period of time when you listen to the set list and select the song that sits out. It really took a lot of effort and time listening, and this is what Pepper has done in the studio, he’s really good.

HRH: As American musicians, how did you see Europe on that tour? Did all the different audiences in different cities stand out for you and shown their own character? Could you, for example, with your eyes closed, tell, “Oh, this is a German audience”, or, “This is an English crowd”?

RB: No, not really. Every place that we played was kind of different in the way that the crowds interact. Of course, if you are playing in Germany at some of the beer halls, it’s just non-stop – you close your eyes and you get hit by a beer. Or a beer can. Or a beer bottle. Or whatever. It was our first trip as a band over, so it was enlightening in terms of performance – not knowing what would go on with the audience. And that was the fun of it. We kicked ass every night, but we had to start walking, and we did little baby-steps first to get to were we are in the video where it really matters. So different places, different people, and, for example, in Amsterdam it’s a little more laid back, very much laid back, which is fine, because the place is [inaudible] rock anyway, for a better word.

It’s just chronicles of what we’d done in that year of VI, and it was like an old rusty car that you build for the road, and all of a sudden it turns into a Hot Rod, you know? And that’s what we’ve built it into.

HRH: Do you ever get surprised when you are listening back to what has been recorded live? Are there moments when you are listening back to live material, and think, “Oh, I didn’t expect that from myself”, or, “I didn’t know there was this aspect to my character”. Does that ever happen?

RB: Nah. Because we’ve done it all our loves, do you know what I’m saying? It’s still with us. We are trying to give it the best we can. There are certain shows when we go, “Wow, that was really magical,” or, “That one really sucked,” but the ones in between are us trying to find the magic. When the magic really kicks in on stage, it’s truly powerful.

HRH: But what elements, do you think, need to come together for a great live show to happen?

RB: It depends on the mood of the band, on the mood of the singer, on the crowd – how long they have been sitting out there waiting, are they all drunk having sat there waiting all day, or are they fresh – just got the club and just had a couple of beers. Because we feed off the crowd. And the crowd feeds off of us. It’s an interplay that I think works really well with this band. We feed off of that, and if they give us the attention that we want, we go back and forth. And if not, we start making fun of the fun-looking dudes in the front row.

HRH: Ha-ha!

RB: We do! Like, “Look at that dude with the hair-cut, look at that dude!” – “Which one are you talking about?” – “That goofy-looking dude in the second row!” So we add a little humour to it, and that’s how you make it more fun for yourselves – the goofy-looking bastard in the fucking front row! (Laughs).

HRH: Are you yourself a fan of music DVDs? Are there bands or artists whose live performances you like to watch on your screen at home?

RB: Yes, I have a bunch of old stuff that I like listening to. There is one in particular that stands out – Tom Petty was playing at the Fillmore, he was paying 24 nights in a row in 1996, and this is like the 21st show or something like that, and it’s magical, just incredible how he commands the crowd. Then, of course, I’ve got all the Zeppelin stuff – that’s a given.

HRH: Let’s talk a bit about your other band – The Arms of the Sun. It has been announced that Vinnie Appice has joined you on the drums. How did that come about and how long have you known each other?

RB: He joined for about 30 minutes.

HRH: Oh!

RB: We decided yesterday that it’s not going to happen and we are going to use the original drummer that we had here. Vinnie and I are working on another project in LA, another heavy kind of project, I can’t really throw up the names yet. It’s really good stuff. Vinnie was going to play. I said to him: “I need some help on this. I need a drummer, if you would come down and see if it would work.” And so he came down and it really took a lot for him to… It’s really not his cup of tea. I talked to Vinnie yesterday and he bowed out gracefully out of the whole thing. But he is such and nice guy. We are really good buds and we thought we’d do the best for all parties involved.

HRH: But you have 12 tracks recorded already – that’s what you’ve been saying in your other interviews, and you are also planning to take the record on the road and hopefully come to England. When do you expect that to happen?

RB: As soon as I get a deal.

HRH: Are you shopping around for a deal at the moment?

RB: Shopping as we speak. So it will probably be next year sometime. I would like to come to England and play there first.

HRH: We’d love to see you up here.

RB: I want to break it over there before I break it in the States. We are going to devise a plan and see what happens. It’s really good stuff, I really worked hard on it, and it took a long time. I had to re-mix it twice, so I put a lot of heart, a lot of soul, and a lot of money (Laughs) into it. But it’s killer and I’m really proud of it.

HRH: How long did it take you to write the material – to go from initial snippets of musical ideas to the finished album?

RB: We did it in stages. Some of the stuff was for production music that we did. It wasn’t a project for me, but I’ve been asked if I had any material that I wanted to put on a soundtrack, or any songs to use on whatever, and I was like, “No, but I have a band and here are some of the songs.” We started picking songs out with the singer / songwriter I’ve been jamming with and we used it for production music, some of the songs. Some of the songs on the record are going to be used also, but a lot of it is for TV, movies, and other media. And so we took that and all of a sudden it started becoming a band sound, and became this monster that just started rolling. We came back and wrote five more tracks, it was really cool. I can’t emphasise how cool it is. We had five more songs, and my next door neighbour has a state-of-the-art studio next door to my house, so it was just me waking up, having a cup of coffee, going to hear what he was doing. Waking up every day, walking next door to see what was going on. So this is my first real production credit.

HRH: When you first started The Arms of The Sun, could you anticipate or predict your audience in advance?

RB: No, not really. The songs were just so good, that’s what it is. Just the songs that are really, really good.

HRH: How do song ideas come to you? Do you have to set a mood, lock yourself in a room, or do they come to you as you go about your daily business?

RB: Usually the singer has everything down as far as what the melody is going to be. There is one song I wrote – all the harmonies and everything, the main track – that I helped him out with. It just came naturally, we were sitting in a studio, and I said, “Well, give me some lyrics and I will come up with something.” I’ve done it with Crowbar before and it worked out really well. That way when the singer is stuck and is freaked out because he can’t figure out what he wants to sing there, you can always just bring some ideas to the table: “OK, let’s try THIS and see what it will turn into.” A lot of the stuff that I do is arrangement stuff. I’m pretty good at arranging material and stuff like that. I think when I get a good song riff, I always put it down on the guitar, like if I was sitting here right now and something came to me, I’d sit with my acoustic next to me and put it down that way. And then put it down to my Pro-Tools here.

HRH: But you’ve always had wide musical interests outside of metal – from playing jazz at school to the Beatles, and the Doors, and 70s rock, and country music. Did you ever feel stylistically limited during the Pantera days playing just heavy metal?

RB: I think so. I think it was one of those forbidden rules – you can’t go play with anybody else. And Phil stepped out of that picture when he started playing with Down, and it just started from there. Once I got out of the band, I really started playing different stuff. Down sounds nothing like Pantera. Just because Phil is singing isn’t the reason why it should sound anything like it. The music is totally different. I’ve been blessed with two great bands and it’s come around full circle. I am playing some of the parts on this stuff that I would never had a chance to play anywhere else. It’s more melodic, more sing-along-ish, but at the same time heavy on the bottom, it just gives me full circle being a musician, and that’s really what it’s all about. Success or no success, just for me to play with these guys and to have the opportunity to play some really great stuff that I couldn’t have played on another record gives me a chance to broaden my horizon a bit, and I’ve been very blessed. I think that the more people you jam with, the more insightful and more spiritual your music becomes to you.

HRH: Do you think that being a rock bass player as a profession has changed in any fundamental way since the time when you were growing up? Not in terms of recording technology, or changes in the industry, or distribution, but in terms of pure craft. Do you think there are more expectations now from rock bass players, or less, or has it changed in any big way?

RB: There’s a lot less. I think it’s less than there is anything. I think that there is only a handful of us left that are really original and do what we do. Mike Inez has been very true to his bass, I think Rob Trujillo is exceptional… I’m trying to think… You know, there are a lot of other bands, and I hate singling out people, those are just a few who really… We are all around the same age, you know? We grew up on the same kind of stuff, and there are a lot of other kids who are trying to get it, but just not getting it – playing along with the guitar the whole time, when you can’t play with the guitar the whole time. You can base your roots around that, but you can’t play with the guitar the whole time. And that’s what a lot of bass players do these days, and that’s what I didn’t do. One thing I made sure that I didn’t do in Pantera, even though there was a lot of it, but that was just because that was the main riff. But there are other parts where you hear me and Vinnie playing against Dime.

HRH: What would be your advice to anyone who is starting out these days?

RB: Just get a really good drummer. This is something that you got to have. Someone who can keep a really good beat and someone who enjoys the same music that you do. And just stick it out. It’s not an easy business.

HRH: Talking about Vinnie, do you ever see yourself on the same stage again?

RB: I never say never, but I don’t ever think so, no. The world is crazy, the world is just insane. So maybe there is something down the road, but right now I really don’t think so. You never know – tomorrow is another day. Today – no. Tomorrow – maybe.

Mike Trash of The Erotics

October 28, 2010 by Managing Editor

by Derric Miller
Staff Writer

Guitarist/vocalist Mike Trash of The Erotics checked in with Hardrock Haven to talk about their brand new CD Today the Devil Tomorrow the World; specific songs like “Anything” and “She Sucks the Life;” upcoming tour plans; the video for “Today the Devil Tomorrow the World;” and a whole lot more.

The Erotics are one of those bands you should have been a fan of 5 years ago, but it’s not a bad idea to start now. Tune in now to hear what the hubbub is all about, and pick up their new album immediately thereafter.

Online: http://www.eroticrocknroll.net/

(If the embedded player doesn’t populate, click here to stream the interview in a stand alone player.)

Ricky Phillips of STYX

October 26, 2010 by Publisher

by Deb Rao
Staff Writer

One of the greatest hard rock bands that helped define the classic rock era Styx is currently performing on The Grand Illusion/Pieces Of Eight Tour performing both albums track by track in their entirety. Catchy melodies, power ballads, and a combination of progressive rock, and stellar musicianship are Styx’s strongest forte. Styx emerged out of the Chicago area inspiring many hits including, “Lady,” “Babe” and ”Come Sail Away.”

In 2010, there seems to be a whole new generation of fans discovering the band for the first this. This prompted the re-recording of six of the bands greatest hits in a new album release available at the bands concerts entitled REGENERATION, VOLUME 1. The EP also contains one new song entitled “Difference In The World.”

Hardrock Haven had the privilege of speaking with Styx bassist Ricky Phillips after the opening night of The Grand Illusion/Pieces Of Eight Tour. In this exclusive interview Ricky gives the readers a detailed look into the making of one of the most anticipated tours of the season.

HRH: Ricky, Thank you for checking in with Hardrock Haven. Styx recently kicked off The Grand Illusion/Pieces Of Eight Tour. How did opening night go? What were some of the highlights?

Ricky: The highlights were remembering the songs. (Laughter) We are actually doing a lot of material in the set that we haven’t played in ages, and some stuff that Styx that has never performed. We have got such a comfortable place in our set where we are running around jumping off the drum riser, summersaults all kind of crazy stuff onstage. Now all of a sudden we got to stop and think there are moments when I got lead boots and I am just standing there going oh my God what is next? But it gives it a great energy. I have to say last night’s show had such an undercurrent of intensity that we talked about afterwards that we got offstage. There is a very cool vibe. There is a different type of audience coming to this. More of the audio file type of audience and we like that. It is fun to see and fun to feel. It is not so immediate of people just jumping up and down and rocking out for no apparent reason. It is people who are checking it out and us out in the process. It was a great show and good fun.

HRH: Do you find there is a whole new generation of Styx fans out there? Does it feel like you are performing the hits all over again for the first time with the new audience attending the concerts?

Ricky: Some of them yes. Some of the immediate gratification songs, I would say like ”Come Sail Away” and “Fooling Yourself”, you say oh yeah. Some of the stuff is a slow burn and it pulls you in. You are right, there is sort of the Styx army building over the years who have discovered the band . Some of them through their parents or grandparents and also some of them just in a search of music and what became before. It is kind of the same way I discovered Howling Wolf and Albert King and a lot of the people through the British musicians that was re-introduced back to the Americans back in the 60s. So whatever way they get there as long as they get there. It is fun to look at and see young faces in the crowd.

HRH:What inspired the band to play these albums back to back in their entirety?

Ricky: A lot of the credit goes to Charlie Brusco our manager. We have been doing a lot of shows. We are on the road 280 days a year. He figured we needed something to spice it up for us. Even though we have a 2 hour set or 70 minute set, we change up what material goes with that format. He could see us getting to a point where we needed to do something a little bit different. We do get a lot of fan mail people requesting this song or that song . The sweet spot seems to be The Grand Illusion or Pieces Of Eight albums. He said why don’t we do this. This is a new concept this is a theater tour. Why don’t we do Grand Illusion take an intermission come back and do Pieces Of Eight that simply. Nobody said anything, we just kind of looked around the table and thought that is a great concert cool idea. Other bands have done it. I remember Cheap Trick doing three nights at the House Of Blues in LA each night with a different album. So it was a very cool thing. What we are trying to do is recreate the album experience and bring the album experience where you bring the album experience where you play a A side and a B side in such a way that it is sequenced. We are playing it exactly in order of the album. The live show is normally put together very differently. You start with an opening big number and you build your set back up to a frenzy till the end of the encores. When you released the album, you stack heavy on the front side because you want people to hear songs that you feel are your best songs and so they will buy the album. So we will come out on “Grand Illusion” and open with “Grand Illusion” and then go straight into “Fooling Yourself”, and “Come Sail Away.” Big songs on the front side and then it gets a bit introspective and works towards that last song on the A side where you walk over and flip the vinyl over and you start the new experience of the side B. It is tricky. It is a whole different way of listening. It is a whole different experience. It is a different way of going through each catalog from both records. For us it is as different as was it was the audience.

HRH: Tell us about the stage show? It is elaborate or are you just concentrating on the music?

Ricky; I don’t really want to give away the stage show. There are a couple of things that we are doing I can’t see because I concentrating on what is coming up next. There is a lot of vocals and things coming up next. It is not just bombastic music hitting the audience over the head. There are those moments where it chills way down and because a little more of a moodiness that comes to the show. There are different plateaus and different levels. I think for the theater it has been a sit down audience for one night I think it has proven so far to be very interesting. It is kind of just like going to the theater. It stresses the theater format.

HRH: In 1977 the breakthrough album The Grand Illusion hit the airwaves. Then the following year you had Pieces Of Eight and all of the hits including “Renegade.” How would you say those albums differ musically in style?

Ricky: I think that Grand Illusion is an album that is very well put together. Opening with Grand Illusion and kind of building up this different time signatures and complexity rhythms that develop in a song. Although it may appear to be a very melodic song there is a long going on. Each song seems to graduate to the next up until the last song which is the grand finale. It is very well put together. There is a lot of thought put into the creation of Grand Illusion. Then as you see as you see as you go into Pieces Of Eight a little more looser format a little bit more the performance of the musician. The songs get a little bit more looser in the sense the musicianship that is displayed takes it to another level. I always think about when I saw The Beatles perform “She Loves You” to Sgt. Pepper. Where is gets a little bit crazier even though there is great production and great techniques used it starts to get “Wow” these guys are serious. It is kind of that progressive.

HRH: Styx has a brand new album Regeneration, Volume One. Six songs that are re-corded and one brand new song entitled,” Difference In The World.” Tell us what you were striving for in the studio when you were recording the six hits that are going to be displayed on the new album?

Ricky: I think what we were striving for is not to change the songs. That wasn’t the reason for going in and doing Regeneration. It kind of came out of Guitar Hero and Rockband wanting tracks from us for our games. You go back and try and find the original recordings and you wonder does the record label have them? Are they in storage? When you find them are they in good enough shape to be played. Some of these things have to be baked. There is a process where they seriously have to be heated up before they can get a playoff. They try to digitally try and record what is left and the tape disintegrates basically. So there was an actual reason for us re-doing them. And then we thought we do get fan mail from some of the younger fans who say wow we come and see this power packed band and we go buy the records and we don’t sound the same like the same band. Well some of the people are not the same. But we do respect highly the original recordings. They were meticulously put together with great due respect, we are not trying to come up with new licks or new arrangements nothing like that. It is basically, the band as musicians they mature They get better, and recording techniques get better. So we are just trying to get good representations of the band today playing those tracks. “Difference In The World” which is a new track that Tommy Shaw wrote, I am a huge fan of that song. When Tommy first wrote it, he played it for me and I flipped. I said dude that has got to be a Styx song. I didn’t want him sending it off to another artist or having them have a hit with it or be in a movie if it wasn’t us playing it. Everyone else seemed to agree. The next thing I knew it was going to be a bonus track or a piece of new information on Regeneration.

HRH: Well the release is perfect timing for the new fans and it also showcases the evolution of the band too. Do you agree?

Ricky: Yes, exactly and that was specially the point.

HRH: How would you say Styx has evolved since the heyday?

Ricky: I was first onstage with Styx in 1979 and they were a strong unit then. I was in a band called The Baby’s and they were always a strong unit. It is basically things just changed. For something to thrive and stay alive and to get better and to grow there has got to be change within. Some of those elements have changed and some of those happen to be members. Unfortunately Johnny, the drummer for Styx passed away John Panozzo. Todd Sucherman came in. He was also a Chicago drummer. He was also voted World’s best rock drummer in Modern Drummer in the readers poll last year. All of the people who have come in Lawrence Gowan who came in on keyboards who is a huge star in Canada was basically one of those magical finds in a magical fit to come and fill the keyboard spot and also be able to sing the way he does and perform the way he does. He has got his own bevy of fans. He is a dynamic performer and singer. Each of them who have come in, I don’t want to take away anyone who has come before in the band because there is great respect for anyone who has been in Styx. The way it is formed, the way it has grown and the way it is now is an a place where it is probably at it’s highest intensity. We are tough on each other. We are a band of brothers but we care enough about the music to always discuss it at the end of the night. If something isn’t right or a tempo isn’t right we jump on it then and there. With that in mind and with that intent the band has been able to grow and flower.

HRH: It is amazing. I can’t tell you how many times I have heard “Babe” on the radio this week. What would say the secret of the longevity of Styx is?

Ricky: I think any good song. I think if you are 17, 18 or 19 and a song comes out on the radio and reflects a relationship you are in or reflects your life and the melody repeats itself where you can hang on to it and it grows and grows and grows. There are certain songs that just land at the right time. I was a huge Led Zeppelin fans and remember buying Physical Graffiti and played it once. I said what the hell happened to my band? It is terrible. Well it ended up becoming my favorite album of all time. There was so much meat to it. It took a second, third or fourth listen. There is so many ways of things growing and becoming as big as they may become. I think that every generation has its music and sound. There are very subtle differences. Sure you might be able to take a song and play a song from the 60′s with an 80′s type production and boom it becomes a hit if it is good song within. But there is a lot of color that goes in to creating records. That is one of the things that is kind of cool about this experience that we are doing right now with Grand Illusion/Pieces Of Eight Tour. We are re-visiting those things and maybe just us playing them updates the songs just a bit. We are not trying to it is not intentional. It is just the development and growth within a band.

HRH: How long will this tour run? Will it go into next year? Will you add another leg to it? Do you think?

Ricky: I think it is too soon to tell to be honest. It could happen. We were going to do eight shows and now it grew to 22 and we said stop. We need some time off. We need some time off. We have already been out and did three tours this year. Now we are adding this fourth one. We need a break. Everybody needs to go back to their families and chill a bit. I do believe if this 22 run of the theaters catches on and people seem to like it, we will do it again at some point.

HRH: You are such an established bass player. You have also performed with The Baby’s, Bad English, Coverdale/Page. What were some of the highlights from those days?

Ricky: Well, I think The Baby’s days were a pure time in music. There has always been trends but it wasn’t so cookie cutter of the bands from the ’60s and ’70s didn’t sound like the next. The ’80s began to get homogenized. The Babys was a band that we were all trying to be Humble Pie and The Rolling Stones. We were all little brothers of what became before and we spit it out in our style. We loved fashion and we loved good tumble rock and roll songs. We loved Led Zeppelin. When Bad English came along we were at a time when bands had the same haircuts and clothing designers. All songs sort of sounding similar. Productions styles were similar. But in Bad English we were all accomplished musicians. That is kind of how we came together. A couple guys from Journey, a couple guys from The Baby’s. we were trying to be more of a musical band. Then to get radio airplay in those days, you kind of had to be the flavor of the month. The record tried to pressure you to do tracks. What we would do we would record all the songs the record company would throw at us. We tried to beat them by writing songs. They would all fall to the wayside. generally, it would come down to the bands material. But that was something a real battle that every band had to follow in those days to get airplay and to keep a record deal. Then when the Coverdale/Page thing came along that came out of Bad English touring with Whitesnake. We were the same management as well. David said I hear from management that you guys are splitting up and I am going to be doing this project with Jimmy Page. It might be a super group it might be just the two of us we don’t know? Would you be interested in working with us? So that is how my involvement in that project started. At the end of the four or five month period all of a sudden I had a plane ticket and I was flying to a little mountain in Vancouver, Canada where we ended up cutting the record. That just a great time for me because I was a huge Led Zeppelin fan and became a huge fan of David Coverdale. I had been a fan of his since he was in Deep Purple. I had never seen the process of what it was like to work with a guy like Jimmy Page in the studio in production and writing and creating arrangements. I played all of the keyboards on our demos. Most of my keyboard parts ended up getting copied and performed by more proficient keyboard players for the record. I was deeply invested in that project from the very beginning. I learned a lot of stuff from both David and Jimmy. We had a blast.

HRH: Is there anything else that you want to say about the Styx Grand Illusion/Pieces Of Eight Tour? I know you are hitting the area up in Lowell, Mass at the Tsongas Arena on November 3rd.

Ricky: Yes, we are just looking forward to everybody coming out and checking out this experience. If you want something that you may not expect. A little something different, a introspective but still exciting and fun and a lot of hits. C’mon out because it is maybe a one time thing. We don’t know at this point. But if anything to gauge it on such as the first show, it has proven to be a little bit bigger than we expected. We are having a blast doing it.

Paul Shortino

October 19, 2010 by Managing Editor

4 Comments

by Alex Barbieri
Staff Writer

Singer Paul Shortino—one of the iconic voices of the ‘80s Los Angeles metal scene—spoke to Hardrock Haven about his “Secret” desires for the new King Kobra album; his personal memories of living and recording with Ronnie James Dio; the new KK song, “Monsters & Heroes;” and a whole lot more.

Look for the new King Kobra album on Frontiers Records January 2011 and visit the official Paul Shortino web site at http://paulshortino.com.

(If the embedded player doesn’t populate, please click here to stream the interview in a stand alone player.)

Andy Brewer of Taddy Porter

October 19, 2010 by Publisher

by Deb Rao
Staff Writer

Hot off the heels of performing this Summer at Rock On The Range and most recently opening for Slash this Fall, Stillwater, Okla. quartet Taddy Porter are putting the “classic” back in Metal. If you are a huge fan of guitar solos, you will love this band. Taddy Porter has a sound reminiscent of Lynryd Skynyrd meets the Black Crowes. On June 29, Taddy Porter released their debut self-titled album with first single “Shake Me” landing at Number 3 on Active radio. The band’s latest single “Big Enough” was dropped Sept. 21.

I had the opportunity to talk with singer Andy Brewer when he was in Boston with his band Taddy Porter performing at the House Of Blues opening for Slash. The South has risen again and it is good to see guitar solos once again taking over the radio airwaves. Hardrock Haven is proud to present an exclusive interview with Andy Brewer, lead singer of Taddy Porter.

HRH: Andy, Thank you for checking in with Hardrock Haven. We first met in Boston at your show at the HOB. The band recently kicked off a Fall tour with Slash in Toronto. What was it like performing in Toronto?

ANDY: It was our first time to ever be in Canada. We got such a great reaction from the crowd and we have never been there before. I hate to say it, but they have a stronger love for rock and roll music maybe? The shows have been amazing. Unfortunately, we only have two more shows with Slash. The shows have been sold out. It has been a great crowd. Our style of music is very similar with big guitar solos and long hair and stuff. It is great to play in front of a crowd that loves Slash.

HRH: The bands second single dropped on Sept. 21 called “Big Enough.” Tell us about the song.

ANDY: We are excited about it. It conveys more of a message than “Shake Me” did which was a good time more of a song. “Big Enough” is more of expression as a band. The song starts of about a girl who only feels better when she cries. It is pretty much saying try something different. Are you big enough to try something like love? Are you big enough to try and talk to somebody and get out of your comfort zone sort of thing.

HRH: How would you describe the song-writing process for this album? Do you write all the lyrics?

ANDY: I write the lyrics. Whenever it comes to riffs and things. It is shares between all of us. Sometimes it is me, or Joe, or Kevin. Once we get a pretty good solid idea of what we want to do. We will pretty much run with it. That is when we come together and iron out the tough spots. Something it is Joe just riffing. Sometimes it is just me singing a melody that we turn into a guitar riff. Sometimes it is just the rhythm that Joe and Kevin come up with. There is a bunch of different ways that we get our songwriting done.

HRH: What is it like having two brothers in the band?

ANDY: It is funny, we are getting used to it now. They will fight with each other more than with any of us because they are brothers. Whenever they get into their little tiffs, I like to call them. It just sounds like a bunch of kids arguing sometimes. Sometimes it is just funny to listen to them. Joe and I will play the peacemaker. It never causes any big problems. We haven’t had any fistfights yet. Knock on wood. It is funny because bands like Oasis and Kings Of Leon have brothers in the band and The Black Crowes. Those guys were the main writers in the band and they had such rivalry. It is spread out evenly with us. There is no overbearing. It works.

HRH: I heard the great response from the audience when you performed in Boston. Taddy Porter is putting the classic back in metal with huge guitar solos. I can hear some definite Led Zeppelin roots. Who are some of your influences?

ANDY: We get compared to The Black Crowes a lot. Led Zeppelin, at any time in the day I will put on Led Zeppelin Two. I have never got tired of it. I am a big fan of Free with Paul Rogers and Humble Pie. These bands kind of started this energetic rock music. I have modern influences like Wolf Mother, Jet. Bands like that we really dig.

HRH: Taddy Porter was recently voted band of the month by Gibson. Was this an honor for you?

ANDY: It was great being recognized for playing our music. It started out as a hobby. We are very happy. We can’t wait to start playing some new guitars by Gibson and sample their products.

HRH: I read that Mets pitcher Mike Pelfrey uses one of your songs for a warm-up. Are you a huge baseball fan?

ANDY: I am a huge baseball fan. I grew up playing baseball. Baseball has been in my family for a long time. My grandfather was a pitcher for the Dodgers. My dad is actually a pitching coach in the Mets organization. I play college baseball. I had a chance to play minor league baseball but I decided to go a different way and I am glad I did because I wouldn’t be able to talk to you now.

HRH: ,Yes, and you are touring the world. The band is heading home for a big show in Tulsa on Nov. 27 at Cains Ballroom.

ANDY: Yes, they have it every year in Tulsa. It is called the Cancer Sucks. It is raising money for the charities around Oklahoma. It is awesome; I have been going to do that for a while. Now we have the chance to headline the show. We are glad to be going home.

HRH: Before that you are going on the road opening for Finger Eleven in October.

ANDY: Yes, all the bands we having been touring for have been huge.

HRH: Is there anything else that you want to say to the fans here at Hardrock Haven?

ANDY: Look us up. If you go to www.taddyporter.com that will direct you to all our social networks. We have numerous songs to start working on next year. Right now we are focusing on spreading the word.

HRH: Andy, Thank you again for taking time out of your busy schedule. Be sure to check out Taddy Porter on the road this October.

Visit the band @ www.myspace.com/taddyportermusic.

Fireball Ministry

October 13, 2010 by Managing Editor

by Derric Miller
Staff Writer

Rev. James Rota II of Fireball Ministry checked in with Hardrock Haven to discuss the making of their recent self-titled fourth studio album; why they went with “Butcher, Faker, Policy Maker” as the first single and video; if he likes Bowling for Soup; if videos are still a valid investment for bands; if he’s a social network geek; his work in The Company Band; tour plans; and a whole lot more.

If you aren’t a Fireball Ministry fan, then you are not a music fan. Tune in to get to know the enigmatic guitarist/frontman of Fireball Ministry, and pick up their new CD immediately.

Online: www.fireballministry.com

(If the embedded player doesn’t populate, click here to stream the interview in a stand alone player.)

Marcie Free of Unruly Child

October 12, 2010 by Publisher

by Alex Barbieri
Staff Writer

On the eve of the release of the new Unruly Child album, Worlds Collide, Marcie Free — one of the premier vocalists in melodic rock — talked to Hardrock Haven about the new album, why she feels it is divine providence that U.C. is back together, being transgender in a hard rock world, how she defines success and much more.

HRH: The new Unruly Child album, Worlds Collide is set for release Oct. 15 in Europe and Oct. 26 in the U.S. on Frontiers Records. Are you excited about it, and will we have a chance to see you and Unruly Child live at some point?

MARCIE FREE: I am extremely excited about this record. It’s a very important album for me. I have been getting sober now for over two years, and that led me to developing a close personal relationship with God, or my higher power as some people like to call it. Many wonderful miracles have been happening in my life since then. One of them was during my morning prayer one day in May 2009, shortly before Bruce Gowdy called me to ask me if I would be interested in signing with Frontiers.

That day, I realized that we are all blessed by God with certain gifts when we are born and how important it is for us to get in touch with those gifts so we can develop them and give them back to God so to speak, in order to make life more enjoyable for our fellow man and for ourselves as well. We all have them. It could be as simple as loving to knit, or work as a journalist or a librarian. Whatever it is, you do it because you love to and you are good at it because that is what God intended you to do.

I realized how incredibly gifted God made me and how selfish I had been by not using that gift. I made an oath to God that if another musical opportunity ever came along, I would take responsibility and stand up and accept it as a way of doing my part — uphold my end of the contract so to speak. I believe it is divine providence that Unruly Child are back together again after all these years.

HRH: There is a YouTube video with you signing the Unruly Child contract to Frontiers Records. Was it a difficult negotiation? What were your demands or concerns before signing on the dotted line?

MF: No, not at all. Frontiers was very fair with us, and it only took about three months as we started talking in June and were finished in late August. It would have taken a lot less had we all been living in the same country, I imagine. I hope you don’t mind, but I am not comfortable talking in public about our private or contractual affairs. Please forgive me?

HRH: The first single “Very First Time” sounds incredible, and will likely be on many hard rock fans’ top 10 of 2010 lists. You sing “Your eyes like home to silent prayers of love.” Are you religious or spiritual, and is that where the emotion in your voice and songs comes from?

MF: I am deeply spiritual, though not what I would call religious as I don’t necessarily belong to any church group. I do believe getting together with like-minded people is very important, so in that way I support the idea of a church group. As I spoke of in the beginning, I felt I was moved by my higher power to come back into music and give back what I feel God has blessed me with, as a way to show appreciation for my gift or talent. I prayed every single day and night while making this album for God to give me the inspiration, strength and courage to complete the tasks of recording it. So I suppose you could say that is where my appreciation comes from. My life has been filled with much pain and heartache (up till recent times), so it is easy for me to tap into that emotion when I need to.

HRH: In the new video for “Very First Time,” the band is seen smiling throughout the song. Does the band get along well, and are the internal relationships different from “back in the day?”

MF: I feel as if Bruce, Guy, Jay, and Larry are my brothers in rock. I love them as much as I love my own family. I would gladly sacrifice my life for theirs if I had to. When I was in the band years ago, I was still hiding and dealing with my gender issues. Having been involved in drugs and alcohol throughout my life to deal with the pain really makes a person act and feel crazy or not themselves, so yes, things have greatly changed for the better now days.

HRH: You have a rich recording history, from King Kobra to Signal to Unruly Child, two solo albums and extensive fill-in studio work. What are some of your favorite recording moments and memories?

MF: I recall a moment when I was in Berkley, California making the Signal record. I was in the studio singing the song, “You Won’t See Me Cry” while my then wife Laurie watched in the control room from behind the glass. It was a very moving experience for me. Of course there were many great times. I love being in the studio Recording our new song, “Talk To Me,” was also moving as I could hear it taking shape as I recorded it. It was if I could see the whole world reacting positively to it as I sang it.

HRH: Most people don’t know how tense things can get when recording an album. Any interesting meltdown stories in the studio?

MF: No, I cannot think of any particular meltdowns as you say. I really am a very mellow person. Although during the recording of Unruly Child’s debut record, Nate Winger did make me very angry the day he came in to do some background vocals with me. We were in the room singing when suddenly and without provocation he thought it would be funny to hit me in the leg as hard as he could, giving me an instant charley horse. He stood there laughing while I thought of how much I would like to murder him. I may have, had I had my Glock 19 with me that day. But then I wouldn’t be talking to you right now :-).

HRH: You’re one of the finest singers in melodic rock. Much like Steve Perry, you have a perfect blend of tone, control, melody and grit. How have you kept your voice in shape over the years? Any tips for other singers out there?

MF: Thank you, Alex. I quit smoking. That was probably the best thing I have done for my health and for my singing over the years. I do scales in the car while driving to and from work and drink lots of water, as the body tends to dehydrate quicker when you reach my age.

HRH: You’ve been very open about your transition and being transgender. Do you feel you have helped opened the doors of acceptance for other transgender people, as Rob Halford has done for homosexuality? Any advice for people out there struggling with their sexual identity?

MF: I hope so. In the beginning when I came out, so to speak, it was hard for me. I was already in the public eye and didn’t want to take the responsibility for being the “poster child.” Now, if I can be of hope and help to those who are suffering with transgender issues, I am honored to do so. I would plead to them to please don’t suffer in silence as I did for 40 years. There are many wonderful professional people and gender clinics out there today who are willing to help you. And please remember: With God, all things are possible. My strength lies with Him. We love, because He loved us first.

HRH: How do you define success these days, how does that definition differ from the past, and what will make Worlds Collide a success in your mind?

MF: My faith in God comes first and foremost. That is how I define success today. I didn’t have that when I was young, destroying myself with drugs and alcohol to hide my shame and agony. I call this record my gift to God because He was with me every step of the way. When you think of it in that way, how can it not be a success?

HRH: Do you have any thoughts on the passing of Ronnie James Dio? If so, any memories you’d like to share.

MF: Ronnie and I first met at a Christmas party back in 1985. Carmine Appice introduced us. I will never forget how blown away I was at how much of a kind gentleman he was. Many so called “rock stars” are not as real and down to earth as he was. He was always like that. I miss him dearly.

HRH: Anything else you’d like to promote or say to the Hardrock Haven audience?

MF: Just that we appreciate all your love and support so much. We are asking everyone to please visit us on our website, www.unrulychild.net. We will be making every effort to get this band out on the road touring the world to hopefully get a chance to meet all of you someday.

HRH: Thank you, Marcie, for the pleasure of interviewing you. You’re bringing some much-needed glamour back into the hard rock scene! I speak for many fans when I thank you for making the world a better place with your talent and strength. All the best to you and Unruly Child.

MF: You are most welcome Alex. It has been wonderful speaking with you and thank you for all the fun and interesting questions. God bless you and all the readers!

Watch Unruly Child’s new official video for “Very First Time” on YouTube. http://www.youtube.com/watch?v=m5SKtuuKAcQ.

Visit the official Unruly Child website at http://www.unrulychild.net/.

Friend Marcie Free at http://www.myspace.com/markmarciefree and http://www.facebook.com/marcie.free.

Branko Zugaj of Overlord

October 7, 2010 by Managing Editor

by Derric Miller
Staff Writer

Overlord bassist Branko Zugaj checked in with Hardrock Haven to discuss the release of the brand new album Back Into the Dragon’s Lair; the band’s history since 1983 including multiple lineup changes and being on the cusp of success but fate intervening along the way; their history on the Canadian metal scene; the band’s new lineup and upcoming new recording and tour plans; and a whole lot more.

Overlord’s new CD is on Heaven and Hell Records Lost Relic series, and like the band Ritual, you should not have missed them the first time around. Tune in now to get to know the band Overlord, and pick up their new CD immediately thereafter.

Online: www.myspace.com/overlordcanada

(If the embedded player doesn’t populate, click here to stream the interview in a stand alone player.)

The Cringe

October 5, 2010 by Publisher

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by Deb Rao
Staff Writer

Hardrock Haven is always on the lookout for new bands on the horizon. One band that caught our attention is The Cringe who hails from New York City led by singer/guitarist John Cusimano who is married to TV Personality Rachel Ray. The Cringe also has some Boston roots featuring lead guitarist James Rotondi (ex-Air, Mr. Bungle), bassist Jonny Matias (ex-Crash Moderns) and drummer Shawn Pelton.

I recently caught up with The Cringe in Foxboro, Mass. at the Showcase Live when they were opening for The Alarm. The Cringe has a classic rock sound that is reminiscent of the Foo Fighters meets The Replacements. The band recently released their 3rd album Play Thing on Listen Records produced by Steve Hardy with input from legendary producer Steve Lillywhite. The Cringe is gearing up for their tour with Blues Traveler, which kicks off in Kansas City at Harrah’s on Oct. 15. For tour dates visit www.myspace.com/thecringe.

Hardrock Haven is proud to present the unveiling of The Cringe.

HRH: Hi Guys welcome to the heart of Patriots Nation. I know the band hails from New York.

John Cusimano: Is this a Boston based club?

HRH: Yes.

John Cusimano: I will just keep quiet then! (Laughter) But Roto our guitar player is from Boston.

James Rotondi: Yes I am from the North Shore. So is Jim Plunkett still playing for The Patriots? (Laughter) Last time I was here was six months ago. I saw U2 at Gillette Stadium.

HRH: No. Tom Brady is in The Patriots! So the band is out on the road. Tonight you are opening for The Alarm. Are you excited to be here tonight? There seems to be resurgence with ’80s bands. It has been a long time since I have seen them perform.

John Cusimano: I saw them once many years ago; I have always been a fan. It is our first show with them.

James Rotondi: The Alarm sort of has a revolutionary thing. They have always been a political band. We like that. A lot of our songs have a political theme. So it is good to be with kindred spirits.

HRH: Your new album is out entitled Play Thing. I know one song was on ESPN. Tell us about the writing process for this album.

John Cusimano: This album is more collaborative of the band. A lot of times I will just lock myself in a room and kind of get lost in there and play the guitar to something that emerges to something that could have the beginnings of something to it. Then I will sit with that for a while and Roto does the same kind of thing. Then we bring our ideas to one another and sort of discuss what works and what don’t and kind of puzzle piece it all together. That is sort of how it works. The germ of the song you kind of know right away and discuss it right away.

James Rotondi: We actively argue and it is a good thing! (Laughter)

Jonny Matias: We get right into it. Everyone lays down their thing. We have four strongly opinionated people in the band. Most of the battling is down within the rhythm section.

John Cusimano: Shawn and Jonny have a Gallagher Brother relationship.

HRH: Play This is special because you had the opportunity to work with famed producer Steve Lillywhite who has worked with U2. Did he sort of guide you along the lines of what he thought was the best sound for the band?

John Cusimano: He is so ingenious. He will literally listen to something and he is so low key. He is kind of humble even though he has produced 10 of the greatest records ever. He will say why don’t you try this and it will be the simplest of suggestions and it will literally change the entire song and make it fantastic. He is a good guy. Half the band and Steve love soccer. So we have that in common.

James Rotondi: This is not only Patriots territory but also it New England Revolution. New England was the dominant team in soccer for a long time. We have fallen on hard times of late but they may come back. I want to say keep it going.

HRH: The Cringe was recently down in Austin for SXSW. What were some of the highlights?

John Cusimano: We go every year. Other than New York and Boston, Austin is one of our favorite cities. It is in the middle of very serious conservative Texas and it is just wild barbecue party town. It is a crazy town. It is the live music capital of the world. Every corner you turn is another Stevie Ray Vaughn. We love it there. Food is great, music is great.

HRH: Who are some of your guitar influences?

James Rotondi: I am pretty old school. I like Hendrix, Jimmy Page and Van Halen. But if I have to pick one guy that I most model myself after it would be Jeff Beck. He is the coolest.

John Cusimano: I love Deep Purple. Jeff Beck for me; I am not really a lead guitar player. I am more of a rhythm player. His talent is mind-boggling.

HRH: The new video you had the fans make it. I thought that was an interesting concept.

John Cusimano: We had a concert in the Highline Ballroom and we asked the fans to bring their cameras and everyone recorded this one song and we spliced it and made a video of it.

HRH: What are your future recording plans?

Shawn Pelton: We got a studio update in John’s place. We got six or seven tracks down. It is great to be able to record in nice studio. We have 24-hour access.

John Cusimano: I built a studio in my house. It is nice not to have the pressure. We go there and write some music and eat good food. We recorded Play Thing at the Power Station. It is called Avatar now.

HRH: The new single Is “No Control”.

John Cusimano: It was about a guy that I know that is out of control. I think everybody knows something like that who is spiraling out of control off the rails like a hurricane.

HRH: How would you describe the New York music scene?

John Cusimano: The New York music scene used to have such a strong identity back in the ’70s. Punk was born there and new wave. Now it is disjointed. It is such a big city, it is always thriving. It has some of the most creative people in the country. It is so fragmented but there is so much good music. Brooklyn has sort of taken over. There are a lot of great bands there. Brooklyn has a lot thriving Indie bands.

James Rotondi: New York is much bigger. There is something about New York City when you are ready to step up to the plate New York beckons. Boston is a great town and has launched a lot of great bands. Obviously you got Aerosmith, but a lot of great Indie bands like the Lemonheads. Boston had a lot of great producers. New York is a very special place.

HRH: The Cringe is gearing up for your tour with Blues Traveler on October 15 in Kansas at Harrah’s. Any closing thoughts?

James Rotondi: Look for Play Thing by The Cringe It has some deep Boston roots.

Sammy Serious of The Zeros

October 1, 2010 by Publisher