SPIRITS OF FIRE Feat. TIM ‘RIPPER’ OWENS, CHRIS CAFFERY, STEVE DIGIORGIO And MARK ZONDER: Debut Album Details

SPIRITS OF FIRE Feat. TIM ‘RIPPER’ OWENS, CHRIS CAFFERY, STEVE DIGIORGIO And MARK ZONDER: Debut Album Details

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Thursday, 15 November 2018
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Frontiers Music Srl is known for building new bands/projects featuring musicians of outstanding quality and who come from unique backgrounds. After an intense brainstorming session, a dream team of renowned metal musicians including Tim "Ripper" Owens (ex-JUDAS PRIEST, ICED EARTH), Chris Caffery (SAVATAGE, TRANS-SIBERIAN ORCHESTRA), Steve DiGiorgio (TESTAMENT, DEATH) and Mark Zonder (ex-FATES WARNING, WARLORD) was born and put together under the direction of renowned Los Angeles-based producer Roy Z. (BRUCE DICKINSON, HALFORD, TRIBE OF GYPSIES). Called SPIRITS OF FIRE (after the title of one of their songs), the band has completed work on their debut album which is set for release on February 22 via Frontiers Music Srl. The music can best be described as "classic JUDAS PRIEST meets SAVATAGE." Today, SPIRITS OF FIRE has released its first video and single, "Light Speed Marching". Check it out below. Caffery said: "My influences for writing on this record were the bands that we were and are still in! I wanted to write songs that PRIEST, SAVATAGE, TESTAMENT and FATES WARNING fans would like. But I wanted them to have a personality of their own as well. To give it a vibe that was SPIRITS OF FIRE! I grew up listening to JUDAS PRIEST and spent 30-plus years working with Jon Oliva and Paul O'Neill with SAVATAGE and TSO. Many years playing Criss's music. These influences for me came naturally! Especially because I'm a fan of all of our bands! "This was the first time that I ever worked with Roy and it was so much fun. I have been a huge fan of his work for a long time. He's written music, played on, and produced some of my favorite metal albums ever. He had a difficult job bringing this all together and I can't think of anyone that would have been a better producer and co-worker for this album!" Added Owens: "I always just sing to the song, whatever I feel it should be. It's like a character thing! I like layers! This music is really perfect for me and in my natural wheel house. I like to sing all over the place and change it up and this all happens on this album. This is just the start of an amazing band, I mean sky is the limit and I actually can't wait to record the next album, because this one is so great and perfect." Zonder stated: "I am the kind of player that plays what I think fits best with the music. With SPIRITS OF FIRE, the music was more aggressive and hard hitting which I really liked. Again, I tried to be very mindful of the song and the vocals, but tried to add parts that were interesting and creative for the listener." "Spirits Of Fire" track listing: 01. Light Speed Marching 02. Temple Of The Soul 03. All Comes Together 04. Spirits Of Fire 05. It's Everywhere 06. A Game 07. Dispensable 08. Meet Your End 09. Never To Return 10. The Path 11. Alone In The Darkness

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MEGADETH's DAVE MUSTAINE Is 'Fighting' To Get Another Metal Category Added To GRAMMY AWARDS

Array ( [post_title] => MEGADETH's DAVE MUSTAINE Is 'Fighting' To Get Another Metal Category Added To GRAMMY AWARDS [post_content] => MEGADETH leader Dave Mustaine says that he is "fighting" to get another heavy metal category added to the Grammy Awards. In an effort to continuously evolve its Grammy Awards process, The Recording Academy announced in April 2011 that it had restructured the Grammy categories across all genres and fields, bringing the total number of categories to be recognized at the 54th Grammy Awards in 2012 to 78 from 109. As a result, instead of separate "Best Metal" and "Best Hard Rock" performance prizes, there is now a single "Best Metal Performance" award. In addition, "Metal" remains one of the 70 or so categories that aren't televised during the performance-heavy broadcast. Mustaine, who landed his first-ever Grammy back in 2017 when he took home the trophy for "Best Metal Performance" for the title track of MEGADETH's latest album, "Dystopia", told the San Francisco's 107.7 The Bone radio station that heavy metal "deserves" to have another category at the annual event. "I joined the Grammy chapter out in Nashville to address that exact thing," Mustaine said (hear audio below). I joined the Grammy chapter because we have one metal category and I think they've got a dozen polka categories. I stopped going to the Grammys because you'd have to sit through, like, 30 Latin jazz records, and then you'd have to sit through another 30 jazz Latin records. And it's, like, 'What?' So a couple of years ago, the guy that produced our record 'Th1rt3en', Johnny K, and a couple of other guys at the Grammys tried to get another [heavy metal] category, and they were so close, but it failed. And I called them up and I said, 'We're doing this.' So 2020, we're fighting — we're getting all of the metal labels that we know, we're trying to get them all together to petition the Grammys to give us another metal category." He added: "My record was one of the Top 25 records of the year worldwide for Universal. Don't tell me that we don't deserve another category." MEGADETH's "Dystopia" nod marked the band's twelfth Grammy nomination in the "Metal" category (including nominations in the discontinued "Best Hard Rock/Metal Performance" category). Even so, Mustaine told The Columbus Dispatch in a 2017 interview that he won't be fully satisfied until he has a Grammy with his own name on it. "As crazy as I am, I was thinking about the Grammy the other day and [how] it was given to MEGADETH," he said. "I was thinking it would surely be a lot better if it was given to Dave Mustaine and not to MEGADETH. I guess you've got to keep the fire burning." MEGADETH is currently working on the follow-up to "Dystopia" for a 2019 release. The band will support OZZY OSBOURNE on the next North American leg of the BLACK SABBATH singer's "No More Tours 2" in May, June and July 2019.

[post_excerpt] => MEGADETH leader Dave Mustaine says that he is "fighting" to get another heavy metal category added to the Grammy Awards. In an effort to continuously evolve its Grammy Awards process, The Recording Academy announced in April 2011 that it had restructured the Grammy categories across all genres and fields, bringing the total number of categories to be recognized at the 54th Grammy Awards in 2012 to 78 from 109. As a result, instead of separate "Best Metal" and "Best Hard Rock" performance prizes, there is now a single "Best Metal Performance" award. In addition, "Metal" remains one of the 70 or so categories that aren't televised during the performance-heavy broadcast. Mustaine, who landed his first-ever Grammy back in 2017 when he took home the trophy for "Best Metal Performance" for the title track of MEGADETH's latest album, "Dystopia", told the San Francisco's 107.7 The Bone radio station that heavy metal "deserves" to have another category at the annual event. "I joined the Grammy chapter out in Nashville to address that exact thing," Mustaine said (hear audio below). I joined the Grammy chapter because we have one metal category and I think they've got a dozen polka categories. I stopped going to the Grammys because you'd have to sit through, like, 30 Latin jazz records, and then you'd have to sit through another 30 jazz Latin records. And it's, like, 'What?' So a couple of years ago, the guy that produced our record 'Th1rt3en', Johnny K, and a couple of other guys at the Grammys tried to get another [heavy metal] category, and they were so close, but it failed. And I called them up and I said, 'We're doing this.' So 2020, we're fighting — we're getting all of the metal labels that we know, we're trying to get them all together to petition the Grammys to give us another metal category." He added: "My record was one of the Top 25 records of the year worldwide for Universal. Don't tell me that we don't deserve another category." MEGADETH's "Dystopia" nod marked the band's twelfth Grammy nomination in the "Metal" category (including nominations in the discontinued "Best Hard Rock/Metal Performance" category). Even so, Mustaine told The Columbus Dispatch in a 2017 interview that he won't be fully satisfied until he has a Grammy with his own name on it. "As crazy as I am, I was thinking about the Grammy the other day and [how] it was given to MEGADETH," he said. "I was thinking it would surely be a lot better if it was given to Dave Mustaine and not to MEGADETH. I guess you've got to keep the fire burning." MEGADETH is currently working on the follow-up to "Dystopia" for a 2019 release. The band will support OZZY OSBOURNE on the next North American leg of the BLACK SABBATH singer's "No More Tours 2" in May, June and July 2019.
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Decide filter: Returning post, everything seems orderly :MEGADETH's DAVE MUSTAINE Is 'Fighting' To Get Another Metal Category Added To GRAMMY AWARDS

Array ( [post_title] => MEGADETH's DAVE MUSTAINE Is 'Fighting' To Get Another Metal Category Added To GRAMMY AWARDS [post_content] => MEGADETH leader Dave Mustaine says that he is "fighting" to get another heavy metal category added to the Grammy Awards. In an effort to continuously evolve its Grammy Awards process, The Recording Academy announced in April 2011 that it had restructured the Grammy categories across all genres and fields, bringing the total number of categories to be recognized at the 54th Grammy Awards in 2012 to 78 from 109. As a result, instead of separate "Best Metal" and "Best Hard Rock" performance prizes, there is now a single "Best Metal Performance" award. In addition, "Metal" remains one of the 70 or so categories that aren't televised during the performance-heavy broadcast. Mustaine, who landed his first-ever Grammy back in 2017 when he took home the trophy for "Best Metal Performance" for the title track of MEGADETH's latest album, "Dystopia", told the San Francisco's 107.7 The Bone radio station that heavy metal "deserves" to have another category at the annual event. "I joined the Grammy chapter out in Nashville to address that exact thing," Mustaine said (hear audio below). I joined the Grammy chapter because we have one metal category and I think they've got a dozen polka categories. I stopped going to the Grammys because you'd have to sit through, like, 30 Latin jazz records, and then you'd have to sit through another 30 jazz Latin records. And it's, like, 'What?' So a couple of years ago, the guy that produced our record 'Th1rt3en', Johnny K, and a couple of other guys at the Grammys tried to get another [heavy metal] category, and they were so close, but it failed. And I called them up and I said, 'We're doing this.' So 2020, we're fighting — we're getting all of the metal labels that we know, we're trying to get them all together to petition the Grammys to give us another metal category." He added: "My record was one of the Top 25 records of the year worldwide for Universal. Don't tell me that we don't deserve another category." MEGADETH's "Dystopia" nod marked the band's twelfth Grammy nomination in the "Metal" category (including nominations in the discontinued "Best Hard Rock/Metal Performance" category). Even so, Mustaine told The Columbus Dispatch in a 2017 interview that he won't be fully satisfied until he has a Grammy with his own name on it. "As crazy as I am, I was thinking about the Grammy the other day and [how] it was given to MEGADETH," he said. "I was thinking it would surely be a lot better if it was given to Dave Mustaine and not to MEGADETH. I guess you've got to keep the fire burning." MEGADETH is currently working on the follow-up to "Dystopia" for a 2019 release. The band will support OZZY OSBOURNE on the next North American leg of the BLACK SABBATH singer's "No More Tours 2" in May, June and July 2019.

[post_excerpt] => MEGADETH leader Dave Mustaine says that he is "fighting" to get another heavy metal category added to the Grammy Awards. In an effort to continuously evolve its Grammy Awards process, The Recording Academy announced in April 2011 that it had restructured the Grammy categories across all genres and fields, bringing the total number of categories to be recognized at the 54th Grammy Awards in 2012 to 78 from 109. As a result, instead of separate "Best Metal" and "Best Hard Rock" performance prizes, there is now a single "Best Metal Performance" award. In addition, "Metal" remains one of the 70 or so categories that aren't televised during the performance-heavy broadcast. Mustaine, who landed his first-ever Grammy back in 2017 when he took home the trophy for "Best Metal Performance" for the title track of MEGADETH's latest album, "Dystopia", told the San Francisco's 107.7 The Bone radio station that heavy metal "deserves" to have another category at the annual event. "I joined the Grammy chapter out in Nashville to address that exact thing," Mustaine said (hear audio below). I joined the Grammy chapter because we have one metal category and I think they've got a dozen polka categories. I stopped going to the Grammys because you'd have to sit through, like, 30 Latin jazz records, and then you'd have to sit through another 30 jazz Latin records. And it's, like, 'What?' So a couple of years ago, the guy that produced our record 'Th1rt3en', Johnny K, and a couple of other guys at the Grammys tried to get another [heavy metal] category, and they were so close, but it failed. And I called them up and I said, 'We're doing this.' So 2020, we're fighting — we're getting all of the metal labels that we know, we're trying to get them all together to petition the Grammys to give us another metal category." He added: "My record was one of the Top 25 records of the year worldwide for Universal. Don't tell me that we don't deserve another category." MEGADETH's "Dystopia" nod marked the band's twelfth Grammy nomination in the "Metal" category (including nominations in the discontinued "Best Hard Rock/Metal Performance" category). Even so, Mustaine told The Columbus Dispatch in a 2017 interview that he won't be fully satisfied until he has a Grammy with his own name on it. "As crazy as I am, I was thinking about the Grammy the other day and [how] it was given to MEGADETH," he said. "I was thinking it would surely be a lot better if it was given to Dave Mustaine and not to MEGADETH. I guess you've got to keep the fire burning." MEGADETH is currently working on the follow-up to "Dystopia" for a 2019 release. The band will support OZZY OSBOURNE on the next North American leg of the BLACK SABBATH singer's "No More Tours 2" in May, June and July 2019.
[post_date_gmt] => 2018-12-15 16:17:06 [post_date] => 2018-12-15 11:17:06 [post_modified_gmt] => 2018-12-15 16:17:06 [post_modified] => 2018-12-15 11:17:06 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://385e41dec59eaed54df47b1151c8563e [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/megadeths-dave-mustaine-is-fighting-to-get-another-metal-category-added-to-grammy-awards/ [syndication_item_hash] => e5f62194d893743fac43c1356720e9a7 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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BRUCE DICKINSON: 'Joining IRON MAIDEN Was The World's Biggest Roller Coaster'

Array ( [post_title] => BRUCE DICKINSON: 'Joining IRON MAIDEN Was The World's Biggest Roller Coaster' [post_content] => IRON MAIDEN singer Bruce Dickinson was recently interviewed by the Belgian media outlet RTBF. You can now watch the chat at this location. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On joining IRON MAIDEN after playing with SAMSON: Bruce: "Well, let me see… If you can imagine, I was playing for… playing striker for a third-division Walloon local football team, and the next minute, they say, 'You're playing for Barcelona and your partner's gonna be Lionel Messi.' 'Oh…' [Laughs] 'I guess I'd better practice then." On how he managed to keep his feet on the ground after first joining IRON MAIDEN and playing his show with the band: Bruce: "Never mind my feet on the ground, I couldn't even open my eyes for the first five songs, I was so terrified to look at the audience. I was just, like, 'I know they're out there somewhere.' But I was the singer, and therefore you're gonna take it on; that's it. That's your job. And, obviously, I was working with some old material at first, but we pretty quickly were working with new material for 'The Number Of The Beast' album, and it was obviously… My voice enabled the band to write a completely different dimension of material. And that's what made things an awful lot easier. 'Cause I didn't have to reinterpret old stuff. I had new material to work with. And then we did some preliminary shows, just to go somewhere where people wouldn't really see too much of us. We went down to Italy for five shows, and it was the first time I'd ever done a concert outside of the United Kingdom — ever. So I had no experience of that at all. So that was really interesting. You have a very steep learning curve. But I was lucky I learned pretty quickly, and then rapidly made a nuisance of myself. I did warn my manager when I joined the band — he's still the manager of IRON MAIDEN, Rod Smallwood — I did warn him; I said, 'I am gonna be a pain in the ass. You know that, don't you?' And he said, 'Yeah, it's kind of why we want you. Because we want somebody who's gonna contribute with ideas.' And, of course, by the time we got to the next album, 'Piece Of Mind', we already had a Number One album. 'Piece Of Mind', I did a lot of writing, and 'Powerslave'. Joining IRON MAIDEN was the world's biggest roller coaster. Except that most roller coasters, you go down, then you go up, then you go down. This one just went down for five years. I mean, non-stop, one big adrenaline rush for five years. [It was] quite something." On whether it was difficult for him to integrate into IRON MAIDEN: Bruce: "No, to be honest with you, it wasn't, because… When I joined, I remember going the first day to rehearse… The first day when I went to do the tryout, for auditioning for them, it was in a rehearsal place. The old singer was still with them; they still had two more shows to do with him. So I thought, 'Well, the atmosphere's gonna be a little bit strange.' 'Cause, obviously, he didn't know, but everybody else did know that he was gonna be fired. I wasn't terribly comfortable with it. My 'singers union card'… [Laughs] I was, like, 'Ahhh…' But I turned up. And Steve [Harris], the bass player, he didn't turn up till later. But I turned up, and I knew Clive [Burr], the drummer, and Dave [Murray, guitar] I knew, and Adrian [Smith, guitar] I knew. And so we just started playing old DEEP PURPLE songs, which we all knew. And then we played a bunch of other songs that we all knew. And suddenly we discovered that we all liked the same music, we all knew the same music, we all loved the same music… The atmosphere was fantastic. And then Steve turned up. And we went, 'Hey, we've been buzzing away. What should we do?' And they'd asked me to learn four songs. Well, they only had two albums. I learned all the songs. So, I said, 'Well, what songs do you wanna do?' And we basically almost played both albums back to back. And Steve was, like, 'Wow! When do we start?' So there was no problem at all." Dickinson joined IRON MAIDEN in 1981, replacing Paul Di'Anno, and made his recording debut with the band on the 1982 album "The Number Of The Beast". He quit the band in 1993, pursuing several solo projects, and rejoined in 1999. Dickinson, who turned 60 in August, has several other interests beyond music. He is a licensed commercial pilot and owns an aviation company. He has also done some acting and brewed beer. [post_excerpt] => IRON MAIDEN singer Bruce Dickinson was recently interviewed by the Belgian media outlet RTBF. You can now watch the chat at this location. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On joining IRON MAIDEN after playing with SAMSON: Bruce: "Well, let me see… If you can imagine, I was playing for… playing striker for a third-division Walloon local football team, and the next minute, they say, 'You're playing for Barcelona and your partner's gonna be Lionel Messi.' 'Oh…' [Laughs] 'I guess I'd better practice then." On how he managed to keep his feet on the ground after first joining IRON MAIDEN and playing his show with the band: Bruce: "Never mind my feet on the ground, I couldn't even open my eyes for the first five songs, I was so terrified to look at the audience. I was just, like, 'I know they're out there somewhere.' But I was the singer, and therefore you're gonna take it on; that's it. That's your job. And, obviously, I was working with some old material at first, but we pretty quickly were working with new material for 'The Number Of The Beast' album, and it was obviously… My voice enabled the band to write a completely different dimension of material. And that's what made things an awful lot easier. 'Cause I didn't have to reinterpret old stuff. I had new material to work with. And then we did some preliminary shows, just to go somewhere where people wouldn't really see too much of us. We went down to Italy for five shows, and it was the first time I'd ever done a concert outside of the United Kingdom — ever. So I had no experience of that at all. So that was really interesting. You have a very steep learning curve. But I was lucky I learned pretty quickly, and then rapidly made a nuisance of myself. I did warn my manager when I joined the band — he's still the manager of IRON MAIDEN, Rod Smallwood — I did warn him; I said, 'I am gonna be a pain in the ass. You know that, don't you?' And he said, 'Yeah, it's kind of why we want you. Because we want somebody who's gonna contribute with ideas.' And, of course, by the time we got to the next album, 'Piece Of Mind', we already had a Number One album. 'Piece Of Mind', I did a lot of writing, and 'Powerslave'. Joining IRON MAIDEN was the world's biggest roller coaster. Except that most roller coasters, you go down, then you go up, then you go down. This one just went down for five years. I mean, non-stop, one big adrenaline rush for five years. [It was] quite something." On whether it was difficult for him to integrate into IRON MAIDEN: Bruce: "No, to be honest with you, it wasn't, because… When I joined, I remember going the first day to rehearse… The first day when I went to do the tryout, for auditioning for them, it was in a rehearsal place. The old singer was still with them; they still had two more shows to do with him. So I thought, 'Well, the atmosphere's gonna be a little bit strange.' 'Cause, obviously, he didn't know, but everybody else did know that he was gonna be fired. I wasn't terribly comfortable with it. My 'singers union card'… [Laughs] I was, like, 'Ahhh…' But I turned up. And Steve [Harris], the bass player, he didn't turn up till later. But I turned up, and I knew Clive [Burr], the drummer, and Dave [Murray, guitar] I knew, and Adrian [Smith, guitar] I knew. And so we just started playing old DEEP PURPLE songs, which we all knew. And then we played a bunch of other songs that we all knew. And suddenly we discovered that we all liked the same music, we all knew the same music, we all loved the same music… The atmosphere was fantastic. And then Steve turned up. And we went, 'Hey, we've been buzzing away. What should we do?' And they'd asked me to learn four songs. Well, they only had two albums. I learned all the songs. So, I said, 'Well, what songs do you wanna do?' And we basically almost played both albums back to back. And Steve was, like, 'Wow! When do we start?' So there was no problem at all." Dickinson joined IRON MAIDEN in 1981, replacing Paul Di'Anno, and made his recording debut with the band on the 1982 album "The Number Of The Beast". He quit the band in 1993, pursuing several solo projects, and rejoined in 1999. Dickinson, who turned 60 in August, has several other interests beyond music. He is a licensed commercial pilot and owns an aviation company. He has also done some acting and brewed beer. 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Decide filter: Returning post, everything seems orderly :BRUCE DICKINSON: 'Joining IRON MAIDEN Was The World's Biggest Roller Coaster'

Array ( [post_title] => BRUCE DICKINSON: 'Joining IRON MAIDEN Was The World's Biggest Roller Coaster' [post_content] => IRON MAIDEN singer Bruce Dickinson was recently interviewed by the Belgian media outlet RTBF. You can now watch the chat at this location. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On joining IRON MAIDEN after playing with SAMSON: Bruce: "Well, let me see… If you can imagine, I was playing for… playing striker for a third-division Walloon local football team, and the next minute, they say, 'You're playing for Barcelona and your partner's gonna be Lionel Messi.' 'Oh…' [Laughs] 'I guess I'd better practice then." On how he managed to keep his feet on the ground after first joining IRON MAIDEN and playing his show with the band: Bruce: "Never mind my feet on the ground, I couldn't even open my eyes for the first five songs, I was so terrified to look at the audience. I was just, like, 'I know they're out there somewhere.' But I was the singer, and therefore you're gonna take it on; that's it. That's your job. And, obviously, I was working with some old material at first, but we pretty quickly were working with new material for 'The Number Of The Beast' album, and it was obviously… My voice enabled the band to write a completely different dimension of material. And that's what made things an awful lot easier. 'Cause I didn't have to reinterpret old stuff. I had new material to work with. And then we did some preliminary shows, just to go somewhere where people wouldn't really see too much of us. We went down to Italy for five shows, and it was the first time I'd ever done a concert outside of the United Kingdom — ever. So I had no experience of that at all. So that was really interesting. You have a very steep learning curve. But I was lucky I learned pretty quickly, and then rapidly made a nuisance of myself. I did warn my manager when I joined the band — he's still the manager of IRON MAIDEN, Rod Smallwood — I did warn him; I said, 'I am gonna be a pain in the ass. You know that, don't you?' And he said, 'Yeah, it's kind of why we want you. Because we want somebody who's gonna contribute with ideas.' And, of course, by the time we got to the next album, 'Piece Of Mind', we already had a Number One album. 'Piece Of Mind', I did a lot of writing, and 'Powerslave'. Joining IRON MAIDEN was the world's biggest roller coaster. Except that most roller coasters, you go down, then you go up, then you go down. This one just went down for five years. I mean, non-stop, one big adrenaline rush for five years. [It was] quite something." On whether it was difficult for him to integrate into IRON MAIDEN: Bruce: "No, to be honest with you, it wasn't, because… When I joined, I remember going the first day to rehearse… The first day when I went to do the tryout, for auditioning for them, it was in a rehearsal place. The old singer was still with them; they still had two more shows to do with him. So I thought, 'Well, the atmosphere's gonna be a little bit strange.' 'Cause, obviously, he didn't know, but everybody else did know that he was gonna be fired. I wasn't terribly comfortable with it. My 'singers union card'… [Laughs] I was, like, 'Ahhh…' But I turned up. And Steve [Harris], the bass player, he didn't turn up till later. But I turned up, and I knew Clive [Burr], the drummer, and Dave [Murray, guitar] I knew, and Adrian [Smith, guitar] I knew. And so we just started playing old DEEP PURPLE songs, which we all knew. And then we played a bunch of other songs that we all knew. And suddenly we discovered that we all liked the same music, we all knew the same music, we all loved the same music… The atmosphere was fantastic. And then Steve turned up. And we went, 'Hey, we've been buzzing away. What should we do?' And they'd asked me to learn four songs. Well, they only had two albums. I learned all the songs. So, I said, 'Well, what songs do you wanna do?' And we basically almost played both albums back to back. And Steve was, like, 'Wow! When do we start?' So there was no problem at all." Dickinson joined IRON MAIDEN in 1981, replacing Paul Di'Anno, and made his recording debut with the band on the 1982 album "The Number Of The Beast". He quit the band in 1993, pursuing several solo projects, and rejoined in 1999. Dickinson, who turned 60 in August, has several other interests beyond music. He is a licensed commercial pilot and owns an aviation company. He has also done some acting and brewed beer. [post_excerpt] => IRON MAIDEN singer Bruce Dickinson was recently interviewed by the Belgian media outlet RTBF. You can now watch the chat at this location. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On joining IRON MAIDEN after playing with SAMSON: Bruce: "Well, let me see… If you can imagine, I was playing for… playing striker for a third-division Walloon local football team, and the next minute, they say, 'You're playing for Barcelona and your partner's gonna be Lionel Messi.' 'Oh…' [Laughs] 'I guess I'd better practice then." On how he managed to keep his feet on the ground after first joining IRON MAIDEN and playing his show with the band: Bruce: "Never mind my feet on the ground, I couldn't even open my eyes for the first five songs, I was so terrified to look at the audience. I was just, like, 'I know they're out there somewhere.' But I was the singer, and therefore you're gonna take it on; that's it. That's your job. And, obviously, I was working with some old material at first, but we pretty quickly were working with new material for 'The Number Of The Beast' album, and it was obviously… My voice enabled the band to write a completely different dimension of material. And that's what made things an awful lot easier. 'Cause I didn't have to reinterpret old stuff. I had new material to work with. And then we did some preliminary shows, just to go somewhere where people wouldn't really see too much of us. We went down to Italy for five shows, and it was the first time I'd ever done a concert outside of the United Kingdom — ever. So I had no experience of that at all. So that was really interesting. You have a very steep learning curve. But I was lucky I learned pretty quickly, and then rapidly made a nuisance of myself. I did warn my manager when I joined the band — he's still the manager of IRON MAIDEN, Rod Smallwood — I did warn him; I said, 'I am gonna be a pain in the ass. You know that, don't you?' And he said, 'Yeah, it's kind of why we want you. Because we want somebody who's gonna contribute with ideas.' And, of course, by the time we got to the next album, 'Piece Of Mind', we already had a Number One album. 'Piece Of Mind', I did a lot of writing, and 'Powerslave'. Joining IRON MAIDEN was the world's biggest roller coaster. Except that most roller coasters, you go down, then you go up, then you go down. This one just went down for five years. I mean, non-stop, one big adrenaline rush for five years. [It was] quite something." On whether it was difficult for him to integrate into IRON MAIDEN: Bruce: "No, to be honest with you, it wasn't, because… When I joined, I remember going the first day to rehearse… The first day when I went to do the tryout, for auditioning for them, it was in a rehearsal place. The old singer was still with them; they still had two more shows to do with him. So I thought, 'Well, the atmosphere's gonna be a little bit strange.' 'Cause, obviously, he didn't know, but everybody else did know that he was gonna be fired. I wasn't terribly comfortable with it. My 'singers union card'… [Laughs] I was, like, 'Ahhh…' But I turned up. And Steve [Harris], the bass player, he didn't turn up till later. But I turned up, and I knew Clive [Burr], the drummer, and Dave [Murray, guitar] I knew, and Adrian [Smith, guitar] I knew. And so we just started playing old DEEP PURPLE songs, which we all knew. And then we played a bunch of other songs that we all knew. And suddenly we discovered that we all liked the same music, we all knew the same music, we all loved the same music… The atmosphere was fantastic. And then Steve turned up. And we went, 'Hey, we've been buzzing away. What should we do?' And they'd asked me to learn four songs. Well, they only had two albums. I learned all the songs. So, I said, 'Well, what songs do you wanna do?' And we basically almost played both albums back to back. And Steve was, like, 'Wow! When do we start?' So there was no problem at all." Dickinson joined IRON MAIDEN in 1981, replacing Paul Di'Anno, and made his recording debut with the band on the 1982 album "The Number Of The Beast". He quit the band in 1993, pursuing several solo projects, and rejoined in 1999. Dickinson, who turned 60 in August, has several other interests beyond music. He is a licensed commercial pilot and owns an aviation company. He has also done some acting and brewed beer. [post_date_gmt] => 2018-12-15 15:06:20 [post_date] => 2018-12-15 10:06:20 [post_modified_gmt] => 2018-12-15 15:06:20 [post_modified] => 2018-12-15 10:06:20 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://854748eeef18b5bac8258dc17aaa5ae2 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/bruce-dickinson-joining-iron-maiden-was-the-worlds-biggest-roller-coaster/ [syndication_item_hash] => 27f47f425632d60685e54b375999e19d [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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STONE TEMPLE PILOTS Play Rare Acoustic Concert For Charity In Norwood, Massachusetts (Video)

Array ( [post_title] => STONE TEMPLE PILOTS Play Rare Acoustic Concert For Charity In Norwood, Massachusetts (Video) [post_content] => STONE TEMPLE PILOTS played a rare acoustic concert last night (Friday, December 14) at the Norwood Space Center in Norwood, Massachusetts. Fan-filmed video footage of the show can be seen below (courtesy of YouTube users "jimmy shine" and "shawnbrennan1"). All proceeds from the evening benefited Music Drives Us, a charity founded by Ernie Boch, Jr. 13 years ago. Money raised by Music Drives Us is earmarked for music and art education in the six New England states. Boch told Business Jet Traveler about his decision to launch Music Drives Us: "Studies show that if kids take music when they’re young, it makes them more communicative, less violent, better at math, better at learning a second language, and socially more astute. Music can literally rewire the brain. Because of all the budget cuts and all the economic stress on towns, school systems have suffered. The first thing that goes is the music program, so I created a foundation to try and keep music in the schools." STP's self-titled seventh studio effort was released in March and is the band's first with new singer Jeff Gutt. Gutt made his live debut with the band in November 2017 in Los Angeles. Asked how much freedom he had during the songwriting process for STONE TEMPLE PILOTS' new album, Jeff told WGRD: "It was full freedom, but I felt the responsibility of making sure it was an STP record at the end of the day. 'Cause my whole thing was helping them continue their journey. And I feel like it was less about me; it was more about honoring [late STONE TEMPLE PILOTS singer] Scott [Weiland] and honoring [late STONE TEMPLE PILOTS and LINKIN PARK singer] Chester [Bennington] and everyone that has ever been involved in STP and making sure that it just kept going the way it should."

[post_excerpt] => STONE TEMPLE PILOTS played a rare acoustic concert last night (Friday, December 14) at the Norwood Space Center in Norwood, Massachusetts. Fan-filmed video footage of the show can be seen below (courtesy of YouTube users "jimmy shine" and "shawnbrennan1"). All proceeds from the evening benefited Music Drives Us, a charity founded by Ernie Boch, Jr. 13 years ago. Money raised by Music Drives Us is earmarked for music and art education in the six New England states. Boch told Business Jet Traveler about his decision to launch Music Drives Us: "Studies show that if kids take music when they’re young, it makes them more communicative, less violent, better at math, better at learning a second language, and socially more astute. Music can literally rewire the brain. Because of all the budget cuts and all the economic stress on towns, school systems have suffered. The first thing that goes is the music program, so I created a foundation to try and keep music in the schools." STP's self-titled seventh studio effort was released in March and is the band's first with new singer Jeff Gutt. Gutt made his live debut with the band in November 2017 in Los Angeles. Asked how much freedom he had during the songwriting process for STONE TEMPLE PILOTS' new album, Jeff told WGRD: "It was full freedom, but I felt the responsibility of making sure it was an STP record at the end of the day. 'Cause my whole thing was helping them continue their journey. And I feel like it was less about me; it was more about honoring [late STONE TEMPLE PILOTS singer] Scott [Weiland] and honoring [late STONE TEMPLE PILOTS and LINKIN PARK singer] Chester [Bennington] and everyone that has ever been involved in STP and making sure that it just kept going the way it should."
[post_date_gmt] => 2018-12-15 13:57:54 [post_date] => 2018-12-15 08:57:54 [post_modified_gmt] => 2018-12-15 13:57:54 [post_modified] => 2018-12-15 08:57:54 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://0ad6b70fa2b4f800ece117a8e1c28bb2 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/stone-temple-pilots-play-rare-acoustic-concert-for-charity-in-norwood-massachusetts-video/ [syndication_item_hash] => edd8570f9326923ac3dcd9b89b5b0bdb ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Replacing images : - ON STONE TEMPLE PILOTS played a rare acoustic concert last night (Friday, December 14) at the Norwood Space Center in Norwood, Massachusetts. Fan-filmed video footage of the show can be seen below (courtesy of YouTube users "jimmy shine" and "shawnbrennan1"). All proceeds from the evening benefited Music Drives Us, a charity founded by Ernie Boch, Jr. 13 years ago. Money raised by Music Drives Us is earmarked for music and art education in the six New England states. Boch told Business Jet Traveler about his decision to launch Music Drives Us: "Studies show that if kids take music when they’re young, it makes them more communicative, less violent, better at math, better at learning a second language, and socially more astute. Music can literally rewire the brain. Because of all the budget cuts and all the economic stress on towns, school systems have suffered. The first thing that goes is the music program, so I created a foundation to try and keep music in the schools." STP's self-titled seventh studio effort was released in March and is the band's first with new singer Jeff Gutt. Gutt made his live debut with the band in November 2017 in Los Angeles. Asked how much freedom he had during the songwriting process for STONE TEMPLE PILOTS' new album, Jeff told WGRD: "It was full freedom, but I felt the responsibility of making sure it was an STP record at the end of the day. 'Cause my whole thing was helping them continue their journey. And I feel like it was less about me; it was more about honoring [late STONE TEMPLE PILOTS singer] Scott [Weiland] and honoring [late STONE TEMPLE PILOTS and LINKIN PARK singer] Chester [Bennington] and everyone that has ever been involved in STP and making sure that it just kept going the way it should."

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Decide filter: Returning post, everything seems orderly :STONE TEMPLE PILOTS Play Rare Acoustic Concert For Charity In Norwood, Massachusetts (Video)

Array ( [post_title] => STONE TEMPLE PILOTS Play Rare Acoustic Concert For Charity In Norwood, Massachusetts (Video) [post_content] => STONE TEMPLE PILOTS played a rare acoustic concert last night (Friday, December 14) at the Norwood Space Center in Norwood, Massachusetts. Fan-filmed video footage of the show can be seen below (courtesy of YouTube users "jimmy shine" and "shawnbrennan1"). All proceeds from the evening benefited Music Drives Us, a charity founded by Ernie Boch, Jr. 13 years ago. Money raised by Music Drives Us is earmarked for music and art education in the six New England states. Boch told Business Jet Traveler about his decision to launch Music Drives Us: "Studies show that if kids take music when they’re young, it makes them more communicative, less violent, better at math, better at learning a second language, and socially more astute. Music can literally rewire the brain. Because of all the budget cuts and all the economic stress on towns, school systems have suffered. The first thing that goes is the music program, so I created a foundation to try and keep music in the schools." STP's self-titled seventh studio effort was released in March and is the band's first with new singer Jeff Gutt. Gutt made his live debut with the band in November 2017 in Los Angeles. Asked how much freedom he had during the songwriting process for STONE TEMPLE PILOTS' new album, Jeff told WGRD: "It was full freedom, but I felt the responsibility of making sure it was an STP record at the end of the day. 'Cause my whole thing was helping them continue their journey. And I feel like it was less about me; it was more about honoring [late STONE TEMPLE PILOTS singer] Scott [Weiland] and honoring [late STONE TEMPLE PILOTS and LINKIN PARK singer] Chester [Bennington] and everyone that has ever been involved in STP and making sure that it just kept going the way it should."

[post_excerpt] => STONE TEMPLE PILOTS played a rare acoustic concert last night (Friday, December 14) at the Norwood Space Center in Norwood, Massachusetts. Fan-filmed video footage of the show can be seen below (courtesy of YouTube users "jimmy shine" and "shawnbrennan1"). All proceeds from the evening benefited Music Drives Us, a charity founded by Ernie Boch, Jr. 13 years ago. Money raised by Music Drives Us is earmarked for music and art education in the six New England states. Boch told Business Jet Traveler about his decision to launch Music Drives Us: "Studies show that if kids take music when they’re young, it makes them more communicative, less violent, better at math, better at learning a second language, and socially more astute. Music can literally rewire the brain. Because of all the budget cuts and all the economic stress on towns, school systems have suffered. The first thing that goes is the music program, so I created a foundation to try and keep music in the schools." STP's self-titled seventh studio effort was released in March and is the band's first with new singer Jeff Gutt. Gutt made his live debut with the band in November 2017 in Los Angeles. Asked how much freedom he had during the songwriting process for STONE TEMPLE PILOTS' new album, Jeff told WGRD: "It was full freedom, but I felt the responsibility of making sure it was an STP record at the end of the day. 'Cause my whole thing was helping them continue their journey. And I feel like it was less about me; it was more about honoring [late STONE TEMPLE PILOTS singer] Scott [Weiland] and honoring [late STONE TEMPLE PILOTS and LINKIN PARK singer] Chester [Bennington] and everyone that has ever been involved in STP and making sure that it just kept going the way it should."
[post_date_gmt] => 2018-12-15 13:57:54 [post_date] => 2018-12-15 08:57:54 [post_modified_gmt] => 2018-12-15 13:57:54 [post_modified] => 2018-12-15 08:57:54 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://0ad6b70fa2b4f800ece117a8e1c28bb2 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/stone-temple-pilots-play-rare-acoustic-concert-for-charity-in-norwood-massachusetts-video/ [syndication_item_hash] => edd8570f9326923ac3dcd9b89b5b0bdb [faf_featured_image] => 85125 [faf_process_image] => 85125 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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MARTY FRIEDMAN Is 'Completely Fine' With 'Little Inaccuracies' On His New Live Album

Array ( [post_title] => MARTY FRIEDMAN Is 'Completely Fine' With 'Little Inaccuracies' On His New Live Album [post_content] => Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently appeared on "The Official Danko Jones Podcast". The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On whether his new double live album, "One Bad M.F. Live!!", was inspired by KISS: Marty: "In a lot of respects. I think KISS's two live albums, and the albums that are in between those two live albums, are just such a stamp on the history of music and influenced so many people that have made important contributions to music in the world that it can't be overstated. When it came time to do a live album, of course I wanted some of the things that are on those two albums — mainly being a fold-out so you can clean the stems and seeds of your pot in the middle of it. Now that pot's legal everywhere, I find out that they don't have stems and seeds anymore, so it was all for nothing. I wanted that in there and if you look at the back cover of the album, it's got four squares just like 'Alive II'. Just the basic feel of the performance — everybody has solos on the record. If you see, 'Oh, it's Marty Friedman,' you might think it's just one guitar player soloing out, but my thing is it's a band — it's so much like a band. On the album you can really see [that]. Everyone quite outshines me, to be honest. There's drum solo, bass solo, other guy guitar solo and I'm soloing all over the place. It's really a wild, intense night all over, but it's a very equal band-type of feeling. It's kind of an old-school live album feeling. I was definitely going for that. The audience is definitely in the cast of characters on the record. They play a big part in the record and do a lot of participation with us, singing along even though there's no words, and doing a lot of great audience stuff. As a kid, we didn't have DVDs to actually watch the concerts. When you listen to the live album, your imagination takes you to this place, this venue, that all kinds of crazy shit's going on — bombs are going off and everybody's just having a wild time. Your imagination runs wild, and I wanted that feeling on the record... I wanted to document how cool I think my band is at this point, and that's basically what it was — a very typical show on tour. It came out really good. The only songs I really cut out were songs that were on a previous live album that I did in 2007, in almost KISS fashion. When they did 'Alive II', they didn't put any of the songs that were already released on 'Alive!'. I didn't want to repeat too much. The pace of the live show was the top priority." On whether he felt any pressure after deciding to record the album in its entirety at a single show, rather than as a composite of multiple performances: Marty: "The first second you start playing, you're like, 'Oh, this is what I've been doing every day for the last X number of weeks. I'll just do it again.' About halfway through the first song, you forget that it's anything different from any other show. I was really more concerned about any kind of equipment failure that might possibly mar an otherwise really good performance. I'd rather leave a bad performance on tape than have an awesome performance that gets ruined. That would really piss me off... It's kind of stupid-sounding, but sometimes magic happens, and you really love that one moment, and for that moment not to actually make it to people's ears, that really, really grates on you. Unless it's a serious train-wreck, which can happen — our music has got a lot of twists and turns in it — but unless it's a serious train-wreck, usually, I'm completely fine with any little inaccuracies. Sometimes, the inaccuracies are better than what I was intending to do in the first place, so I'm cool with that, but I really hate when there's a technical difficulty that prevents something cool that was about to happen. That gets my goat." On how he ended up using one of Slash's guitar picks while recording MEGADETH's "Rust In Peace": Marty: "I was recording 'Rust In Peace', and Mike Clink was producing. He had just finished GUNS N' ROSES. I was having trouble on one of the rhythm guitar parts — they're really quite tricky — and I saw a Slash guitar pick on the console. I'm like, 'Let me try this pick.' [I] nailed the thing in one take with Slash's pick. The mojo is somehow... Whether or not it's who our absolute hero is, it's irrelevant. It's people we respect and admire, and we hopefully will get a little bit of magic from it, and lo and behold, the magic comes sometimes." "One Bad M.F. Live!!" was released on October 19. The album was recorded in Mexico City on April 14 during the final concert of Friedman's world tour in support of his 2017 album "Wall Of Sound", which debuted on Billboard's Heatseekers chart at No. 12. Joining Friedman on "One Bad M.F. Live!!" are his bandmates Kiyoshi on bass, Jordan Ziff (RATT) on guitar and Chargeeee on drums. Friedman will kick off an American tour in support of the album in San Diego, California on January 23. The Texas-based "super metal" group IMMORTAL GUARDIAN will open.

[post_excerpt] => Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently appeared on "The Official Danko Jones Podcast". The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On whether his new double live album, "One Bad M.F. Live!!", was inspired by KISS: Marty: "In a lot of respects. I think KISS's two live albums, and the albums that are in between those two live albums, are just such a stamp on the history of music and influenced so many people that have made important contributions to music in the world that it can't be overstated. When it came time to do a live album, of course I wanted some of the things that are on those two albums — mainly being a fold-out so you can clean the stems and seeds of your pot in the middle of it. Now that pot's legal everywhere, I find out that they don't have stems and seeds anymore, so it was all for nothing. I wanted that in there and if you look at the back cover of the album, it's got four squares just like 'Alive II'. Just the basic feel of the performance — everybody has solos on the record. If you see, 'Oh, it's Marty Friedman,' you might think it's just one guitar player soloing out, but my thing is it's a band — it's so much like a band. On the album you can really see [that]. Everyone quite outshines me, to be honest. There's drum solo, bass solo, other guy guitar solo and I'm soloing all over the place. It's really a wild, intense night all over, but it's a very equal band-type of feeling. It's kind of an old-school live album feeling. I was definitely going for that. The audience is definitely in the cast of characters on the record. They play a big part in the record and do a lot of participation with us, singing along even though there's no words, and doing a lot of great audience stuff. As a kid, we didn't have DVDs to actually watch the concerts. When you listen to the live album, your imagination takes you to this place, this venue, that all kinds of crazy shit's going on — bombs are going off and everybody's just having a wild time. Your imagination runs wild, and I wanted that feeling on the record... I wanted to document how cool I think my band is at this point, and that's basically what it was — a very typical show on tour. It came out really good. The only songs I really cut out were songs that were on a previous live album that I did in 2007, in almost KISS fashion. When they did 'Alive II', they didn't put any of the songs that were already released on 'Alive!'. I didn't want to repeat too much. The pace of the live show was the top priority." On whether he felt any pressure after deciding to record the album in its entirety at a single show, rather than as a composite of multiple performances: Marty: "The first second you start playing, you're like, 'Oh, this is what I've been doing every day for the last X number of weeks. I'll just do it again.' About halfway through the first song, you forget that it's anything different from any other show. I was really more concerned about any kind of equipment failure that might possibly mar an otherwise really good performance. I'd rather leave a bad performance on tape than have an awesome performance that gets ruined. That would really piss me off... It's kind of stupid-sounding, but sometimes magic happens, and you really love that one moment, and for that moment not to actually make it to people's ears, that really, really grates on you. Unless it's a serious train-wreck, which can happen — our music has got a lot of twists and turns in it — but unless it's a serious train-wreck, usually, I'm completely fine with any little inaccuracies. Sometimes, the inaccuracies are better than what I was intending to do in the first place, so I'm cool with that, but I really hate when there's a technical difficulty that prevents something cool that was about to happen. That gets my goat." On how he ended up using one of Slash's guitar picks while recording MEGADETH's "Rust In Peace": Marty: "I was recording 'Rust In Peace', and Mike Clink was producing. He had just finished GUNS N' ROSES. I was having trouble on one of the rhythm guitar parts — they're really quite tricky — and I saw a Slash guitar pick on the console. I'm like, 'Let me try this pick.' [I] nailed the thing in one take with Slash's pick. The mojo is somehow... Whether or not it's who our absolute hero is, it's irrelevant. It's people we respect and admire, and we hopefully will get a little bit of magic from it, and lo and behold, the magic comes sometimes." "One Bad M.F. Live!!" was released on October 19. The album was recorded in Mexico City on April 14 during the final concert of Friedman's world tour in support of his 2017 album "Wall Of Sound", which debuted on Billboard's Heatseekers chart at No. 12. Joining Friedman on "One Bad M.F. Live!!" are his bandmates Kiyoshi on bass, Jordan Ziff (RATT) on guitar and Chargeeee on drums. Friedman will kick off an American tour in support of the album in San Diego, California on January 23. The Texas-based "super metal" group IMMORTAL GUARDIAN will open.
[post_date_gmt] => 2018-12-15 13:20:24 [post_date] => 2018-12-15 08:20:24 [post_modified_gmt] => 2018-12-15 13:20:24 [post_modified] => 2018-12-15 08:20:24 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://5757a253f2bc68ee3a0fe1648315ae86 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/marty-friedman-is-completely-fine-with-little-inaccuracies-on-his-new-live-album/ [syndication_item_hash] => 212a9ddb150ee9e47fb49b1873de3b41 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :MARTY FRIEDMAN Is 'Completely Fine' With 'Little Inaccuracies' On His New Live Album

Array ( [post_title] => MARTY FRIEDMAN Is 'Completely Fine' With 'Little Inaccuracies' On His New Live Album [post_content] => Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently appeared on "The Official Danko Jones Podcast". The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On whether his new double live album, "One Bad M.F. Live!!", was inspired by KISS: Marty: "In a lot of respects. I think KISS's two live albums, and the albums that are in between those two live albums, are just such a stamp on the history of music and influenced so many people that have made important contributions to music in the world that it can't be overstated. When it came time to do a live album, of course I wanted some of the things that are on those two albums — mainly being a fold-out so you can clean the stems and seeds of your pot in the middle of it. Now that pot's legal everywhere, I find out that they don't have stems and seeds anymore, so it was all for nothing. I wanted that in there and if you look at the back cover of the album, it's got four squares just like 'Alive II'. Just the basic feel of the performance — everybody has solos on the record. If you see, 'Oh, it's Marty Friedman,' you might think it's just one guitar player soloing out, but my thing is it's a band — it's so much like a band. On the album you can really see [that]. Everyone quite outshines me, to be honest. There's drum solo, bass solo, other guy guitar solo and I'm soloing all over the place. It's really a wild, intense night all over, but it's a very equal band-type of feeling. It's kind of an old-school live album feeling. I was definitely going for that. The audience is definitely in the cast of characters on the record. They play a big part in the record and do a lot of participation with us, singing along even though there's no words, and doing a lot of great audience stuff. As a kid, we didn't have DVDs to actually watch the concerts. When you listen to the live album, your imagination takes you to this place, this venue, that all kinds of crazy shit's going on — bombs are going off and everybody's just having a wild time. Your imagination runs wild, and I wanted that feeling on the record... I wanted to document how cool I think my band is at this point, and that's basically what it was — a very typical show on tour. It came out really good. The only songs I really cut out were songs that were on a previous live album that I did in 2007, in almost KISS fashion. When they did 'Alive II', they didn't put any of the songs that were already released on 'Alive!'. I didn't want to repeat too much. The pace of the live show was the top priority." On whether he felt any pressure after deciding to record the album in its entirety at a single show, rather than as a composite of multiple performances: Marty: "The first second you start playing, you're like, 'Oh, this is what I've been doing every day for the last X number of weeks. I'll just do it again.' About halfway through the first song, you forget that it's anything different from any other show. I was really more concerned about any kind of equipment failure that might possibly mar an otherwise really good performance. I'd rather leave a bad performance on tape than have an awesome performance that gets ruined. That would really piss me off... It's kind of stupid-sounding, but sometimes magic happens, and you really love that one moment, and for that moment not to actually make it to people's ears, that really, really grates on you. Unless it's a serious train-wreck, which can happen — our music has got a lot of twists and turns in it — but unless it's a serious train-wreck, usually, I'm completely fine with any little inaccuracies. Sometimes, the inaccuracies are better than what I was intending to do in the first place, so I'm cool with that, but I really hate when there's a technical difficulty that prevents something cool that was about to happen. That gets my goat." On how he ended up using one of Slash's guitar picks while recording MEGADETH's "Rust In Peace": Marty: "I was recording 'Rust In Peace', and Mike Clink was producing. He had just finished GUNS N' ROSES. I was having trouble on one of the rhythm guitar parts — they're really quite tricky — and I saw a Slash guitar pick on the console. I'm like, 'Let me try this pick.' [I] nailed the thing in one take with Slash's pick. The mojo is somehow... Whether or not it's who our absolute hero is, it's irrelevant. It's people we respect and admire, and we hopefully will get a little bit of magic from it, and lo and behold, the magic comes sometimes." "One Bad M.F. Live!!" was released on October 19. The album was recorded in Mexico City on April 14 during the final concert of Friedman's world tour in support of his 2017 album "Wall Of Sound", which debuted on Billboard's Heatseekers chart at No. 12. Joining Friedman on "One Bad M.F. Live!!" are his bandmates Kiyoshi on bass, Jordan Ziff (RATT) on guitar and Chargeeee on drums. Friedman will kick off an American tour in support of the album in San Diego, California on January 23. The Texas-based "super metal" group IMMORTAL GUARDIAN will open.

[post_excerpt] => Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently appeared on "The Official Danko Jones Podcast". The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On whether his new double live album, "One Bad M.F. Live!!", was inspired by KISS: Marty: "In a lot of respects. I think KISS's two live albums, and the albums that are in between those two live albums, are just such a stamp on the history of music and influenced so many people that have made important contributions to music in the world that it can't be overstated. When it came time to do a live album, of course I wanted some of the things that are on those two albums — mainly being a fold-out so you can clean the stems and seeds of your pot in the middle of it. Now that pot's legal everywhere, I find out that they don't have stems and seeds anymore, so it was all for nothing. I wanted that in there and if you look at the back cover of the album, it's got four squares just like 'Alive II'. Just the basic feel of the performance — everybody has solos on the record. If you see, 'Oh, it's Marty Friedman,' you might think it's just one guitar player soloing out, but my thing is it's a band — it's so much like a band. On the album you can really see [that]. Everyone quite outshines me, to be honest. There's drum solo, bass solo, other guy guitar solo and I'm soloing all over the place. It's really a wild, intense night all over, but it's a very equal band-type of feeling. It's kind of an old-school live album feeling. I was definitely going for that. The audience is definitely in the cast of characters on the record. They play a big part in the record and do a lot of participation with us, singing along even though there's no words, and doing a lot of great audience stuff. As a kid, we didn't have DVDs to actually watch the concerts. When you listen to the live album, your imagination takes you to this place, this venue, that all kinds of crazy shit's going on — bombs are going off and everybody's just having a wild time. Your imagination runs wild, and I wanted that feeling on the record... I wanted to document how cool I think my band is at this point, and that's basically what it was — a very typical show on tour. It came out really good. The only songs I really cut out were songs that were on a previous live album that I did in 2007, in almost KISS fashion. When they did 'Alive II', they didn't put any of the songs that were already released on 'Alive!'. I didn't want to repeat too much. The pace of the live show was the top priority." On whether he felt any pressure after deciding to record the album in its entirety at a single show, rather than as a composite of multiple performances: Marty: "The first second you start playing, you're like, 'Oh, this is what I've been doing every day for the last X number of weeks. I'll just do it again.' About halfway through the first song, you forget that it's anything different from any other show. I was really more concerned about any kind of equipment failure that might possibly mar an otherwise really good performance. I'd rather leave a bad performance on tape than have an awesome performance that gets ruined. That would really piss me off... It's kind of stupid-sounding, but sometimes magic happens, and you really love that one moment, and for that moment not to actually make it to people's ears, that really, really grates on you. Unless it's a serious train-wreck, which can happen — our music has got a lot of twists and turns in it — but unless it's a serious train-wreck, usually, I'm completely fine with any little inaccuracies. Sometimes, the inaccuracies are better than what I was intending to do in the first place, so I'm cool with that, but I really hate when there's a technical difficulty that prevents something cool that was about to happen. That gets my goat." On how he ended up using one of Slash's guitar picks while recording MEGADETH's "Rust In Peace": Marty: "I was recording 'Rust In Peace', and Mike Clink was producing. He had just finished GUNS N' ROSES. I was having trouble on one of the rhythm guitar parts — they're really quite tricky — and I saw a Slash guitar pick on the console. I'm like, 'Let me try this pick.' [I] nailed the thing in one take with Slash's pick. The mojo is somehow... Whether or not it's who our absolute hero is, it's irrelevant. It's people we respect and admire, and we hopefully will get a little bit of magic from it, and lo and behold, the magic comes sometimes." "One Bad M.F. Live!!" was released on October 19. The album was recorded in Mexico City on April 14 during the final concert of Friedman's world tour in support of his 2017 album "Wall Of Sound", which debuted on Billboard's Heatseekers chart at No. 12. Joining Friedman on "One Bad M.F. Live!!" are his bandmates Kiyoshi on bass, Jordan Ziff (RATT) on guitar and Chargeeee on drums. Friedman will kick off an American tour in support of the album in San Diego, California on January 23. The Texas-based "super metal" group IMMORTAL GUARDIAN will open.
[post_date_gmt] => 2018-12-15 13:20:24 [post_date] => 2018-12-15 08:20:24 [post_modified_gmt] => 2018-12-15 13:20:24 [post_modified] => 2018-12-15 08:20:24 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://5757a253f2bc68ee3a0fe1648315ae86 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/marty-friedman-is-completely-fine-with-little-inaccuracies-on-his-new-live-album/ [syndication_item_hash] => 212a9ddb150ee9e47fb49b1873de3b41 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

FAF deciding on filters on post to be syndicated:

ACE FREHLEY Talks Politics: 'If You're An American And A Patriot, You Should Get Behind Your President'

Array ( [post_title] => ACE FREHLEY Talks Politics: 'If You're An American And A Patriot, You Should Get Behind Your President' [post_content] => Former KISS guitarist Ace Frehley recently appeared on the "Juliet: Unexpected" podcast. The full conversation can be streamed below (interview starts at the 3:11 mark). A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On working from home: Ace: "The last three or four records I've done, pretty much I've done from my home studio, so I don't have to leave the house. I can engineer myself, but most of the time, I use an engineer, because I don't want to worry about the levels and pressing buttons and stuff. I want to focus on what I'm doing, whether it be a lead vocal or a lead solo. On this last album ['Spaceman'], my creativity somehow, some way hit a high note, and I don't think there's a throwaway song on the whole record... A lot of albums, you get two or three great songs and the rest of them are okay. I think every song on this album is really good." On appreciating his fans: Ace: "The fans are the people who put me where I am. The fans are the reason why I'm living in an estate with a Bentley and a Jaguar... I always keep in mind when I'm recording an album what my fans would think of it. Look what happened with KISS with 'The Elder'. During the course of that whole album, I was telling Bob Ezrin, our producer, and Gene [Simmons] and Paul [Stanley] that I think this is the wrong album for this time period, and that was our biggest flop." On whether he still gets excited prior to an album's release: Ace: "I still get excited. Sometimes, I feel just like a little kid. The great thing about being in the music business is you never really get old. I still feel like I'm in my twenties. The music business keeps your mind young, and a couple of face lifts later..." On how his writing style has evolved over the years: Ace: "My formula for recording hasn't changed very much from my first solo album, but I definitely feel I'm more creative now. I'm able to step back as a producer and look at things outside the box... I would say 90 percent of the rock guitar players in the world probably don't know how to read music. It's all about feel. If it sounds good, do it. The way I write is, I just come up with a chord progression and then try to weave a melody around it, and write the lyrics, and boom — you've got a song." On his formative years: Ace: "I grew up in a household where my mom, dad, brother and sister all played piano, so I was surrounded by music. I used to sing in the church choir, so I developed the idea of melody singing hymns in church." On what would make him agree to participate in KISS's "End Of The Road" farewell tour: Ace: "The only way I would consider coming back is [if] I took over Tommy's [Thayer] place. He took over my place — a character that I invented. He's pretty much going through the motions, but the only way I would consider going back is to replace Tommy and regain my throne. Number two, I'd like a big paycheck because I think I deserve it... I don't think Paul [and Gene] are going to make me an equal partner. I quit a long time ago and I was an equal partner at that juncture. Since then, those guys have been running the show, and they're control freaks, so they're always going to run the show from now until the end of time. On the last reunion tour, I was a paid musician — a hired gun in a sense — even though on stage, we all looked like it was one for all and all for one." On Simmons, Stanley and sobriety: Ace: "I think Paul and Gene, when I left the group the last time and I was strung out on drugs and alcohol, they probably thought I was just going to fade away and maybe O.D. or disappear. What happened was I got sober, and I came back stronger and bigger than ever... They were right about a lot of things. Today, I have no tolerance for being around drunk people. I put those guys through hell, if I do say so myself. I get it, but it took a while for me to understand." On whether his sobriety was a catalyst for his recent decision to replace members of his solo touring band: Ace: "Yeah. At least one of them was missing flights every other show, and the playing started to deteriorate. I don't have the tolerance. I'm an established superstar, so if you want to play with me, you've got to play by the rules or you're not going to be around." On politics: Ace: "I hate politics. I don't like talking politics, and I don't think politics and music mix. I really frown on musicians who get up on a platform and start talking about the president or complain about... I just don't think it belongs. I'm an entertainer. There's no reason to bring up politics. Let me play my guitar and write songs and entertain people. That's my job... Let me say this about Trump. Whether you love him or hate him, if you're an American and you're a patriot, you should get behind your president. He was elected. We live under the Constitution of the United States, and you're supposed to support your president. Love him or hate him, you're supposed to support him, or go move to another country... Being American, we have the right to free speech, and I'm all for everybody putting their two cents in on everything. But when musicians or actors get really verbal and jump on a bandwagon against our government, I don't agree with that." Frehley's latest solo album, "Spaceman", was released on October 19 via eOne. On December 9, Frehley celebrated the 40th anniversary of his acclaimed 1978 solo debut by performing the album in its entirety for the first time at the New Jersey Kiss Expo 2018.

[post_excerpt] => Former KISS guitarist Ace Frehley recently appeared on the "Juliet: Unexpected" podcast. The full conversation can be streamed below (interview starts at the 3:11 mark). A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On working from home: Ace: "The last three or four records I've done, pretty much I've done from my home studio, so I don't have to leave the house. I can engineer myself, but most of the time, I use an engineer, because I don't want to worry about the levels and pressing buttons and stuff. I want to focus on what I'm doing, whether it be a lead vocal or a lead solo. On this last album ['Spaceman'], my creativity somehow, some way hit a high note, and I don't think there's a throwaway song on the whole record... A lot of albums, you get two or three great songs and the rest of them are okay. I think every song on this album is really good." On appreciating his fans: Ace: "The fans are the people who put me where I am. The fans are the reason why I'm living in an estate with a Bentley and a Jaguar... I always keep in mind when I'm recording an album what my fans would think of it. Look what happened with KISS with 'The Elder'. During the course of that whole album, I was telling Bob Ezrin, our producer, and Gene [Simmons] and Paul [Stanley] that I think this is the wrong album for this time period, and that was our biggest flop." On whether he still gets excited prior to an album's release: Ace: "I still get excited. Sometimes, I feel just like a little kid. The great thing about being in the music business is you never really get old. I still feel like I'm in my twenties. The music business keeps your mind young, and a couple of face lifts later..." On how his writing style has evolved over the years: Ace: "My formula for recording hasn't changed very much from my first solo album, but I definitely feel I'm more creative now. I'm able to step back as a producer and look at things outside the box... I would say 90 percent of the rock guitar players in the world probably don't know how to read music. It's all about feel. If it sounds good, do it. The way I write is, I just come up with a chord progression and then try to weave a melody around it, and write the lyrics, and boom — you've got a song." On his formative years: Ace: "I grew up in a household where my mom, dad, brother and sister all played piano, so I was surrounded by music. I used to sing in the church choir, so I developed the idea of melody singing hymns in church." On what would make him agree to participate in KISS's "End Of The Road" farewell tour: Ace: "The only way I would consider coming back is [if] I took over Tommy's [Thayer] place. He took over my place — a character that I invented. He's pretty much going through the motions, but the only way I would consider going back is to replace Tommy and regain my throne. Number two, I'd like a big paycheck because I think I deserve it... I don't think Paul [and Gene] are going to make me an equal partner. I quit a long time ago and I was an equal partner at that juncture. Since then, those guys have been running the show, and they're control freaks, so they're always going to run the show from now until the end of time. On the last reunion tour, I was a paid musician — a hired gun in a sense — even though on stage, we all looked like it was one for all and all for one." On Simmons, Stanley and sobriety: Ace: "I think Paul and Gene, when I left the group the last time and I was strung out on drugs and alcohol, they probably thought I was just going to fade away and maybe O.D. or disappear. What happened was I got sober, and I came back stronger and bigger than ever... They were right about a lot of things. Today, I have no tolerance for being around drunk people. I put those guys through hell, if I do say so myself. I get it, but it took a while for me to understand." On whether his sobriety was a catalyst for his recent decision to replace members of his solo touring band: Ace: "Yeah. At least one of them was missing flights every other show, and the playing started to deteriorate. I don't have the tolerance. I'm an established superstar, so if you want to play with me, you've got to play by the rules or you're not going to be around." On politics: Ace: "I hate politics. I don't like talking politics, and I don't think politics and music mix. I really frown on musicians who get up on a platform and start talking about the president or complain about... I just don't think it belongs. I'm an entertainer. There's no reason to bring up politics. Let me play my guitar and write songs and entertain people. That's my job... Let me say this about Trump. Whether you love him or hate him, if you're an American and you're a patriot, you should get behind your president. He was elected. We live under the Constitution of the United States, and you're supposed to support your president. Love him or hate him, you're supposed to support him, or go move to another country... Being American, we have the right to free speech, and I'm all for everybody putting their two cents in on everything. But when musicians or actors get really verbal and jump on a bandwagon against our government, I don't agree with that." Frehley's latest solo album, "Spaceman", was released on October 19 via eOne. On December 9, Frehley celebrated the 40th anniversary of his acclaimed 1978 solo debut by performing the album in its entirety for the first time at the New Jersey Kiss Expo 2018.
[post_date_gmt] => 2018-12-15 12:41:36 [post_date] => 2018-12-15 07:41:36 [post_modified_gmt] => 2018-12-15 12:41:36 [post_modified] => 2018-12-15 07:41:36 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://b696b485416590883b74623117c9c267 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/ace-frehley-talks-politics-if-youre-an-american-and-a-patriot-you-should-get-behind-your-president/ [syndication_item_hash] => 7f64d7bffcbd6ee7d79eb5eaae1c04b6 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :ACE FREHLEY Talks Politics: 'If You're An American And A Patriot, You Should Get Behind Your President'

Array ( [post_title] => ACE FREHLEY Talks Politics: 'If You're An American And A Patriot, You Should Get Behind Your President' [post_content] => Former KISS guitarist Ace Frehley recently appeared on the "Juliet: Unexpected" podcast. The full conversation can be streamed below (interview starts at the 3:11 mark). A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On working from home: Ace: "The last three or four records I've done, pretty much I've done from my home studio, so I don't have to leave the house. I can engineer myself, but most of the time, I use an engineer, because I don't want to worry about the levels and pressing buttons and stuff. I want to focus on what I'm doing, whether it be a lead vocal or a lead solo. On this last album ['Spaceman'], my creativity somehow, some way hit a high note, and I don't think there's a throwaway song on the whole record... A lot of albums, you get two or three great songs and the rest of them are okay. I think every song on this album is really good." On appreciating his fans: Ace: "The fans are the people who put me where I am. The fans are the reason why I'm living in an estate with a Bentley and a Jaguar... I always keep in mind when I'm recording an album what my fans would think of it. Look what happened with KISS with 'The Elder'. During the course of that whole album, I was telling Bob Ezrin, our producer, and Gene [Simmons] and Paul [Stanley] that I think this is the wrong album for this time period, and that was our biggest flop." On whether he still gets excited prior to an album's release: Ace: "I still get excited. Sometimes, I feel just like a little kid. The great thing about being in the music business is you never really get old. I still feel like I'm in my twenties. The music business keeps your mind young, and a couple of face lifts later..." On how his writing style has evolved over the years: Ace: "My formula for recording hasn't changed very much from my first solo album, but I definitely feel I'm more creative now. I'm able to step back as a producer and look at things outside the box... I would say 90 percent of the rock guitar players in the world probably don't know how to read music. It's all about feel. If it sounds good, do it. The way I write is, I just come up with a chord progression and then try to weave a melody around it, and write the lyrics, and boom — you've got a song." On his formative years: Ace: "I grew up in a household where my mom, dad, brother and sister all played piano, so I was surrounded by music. I used to sing in the church choir, so I developed the idea of melody singing hymns in church." On what would make him agree to participate in KISS's "End Of The Road" farewell tour: Ace: "The only way I would consider coming back is [if] I took over Tommy's [Thayer] place. He took over my place — a character that I invented. He's pretty much going through the motions, but the only way I would consider going back is to replace Tommy and regain my throne. Number two, I'd like a big paycheck because I think I deserve it... I don't think Paul [and Gene] are going to make me an equal partner. I quit a long time ago and I was an equal partner at that juncture. Since then, those guys have been running the show, and they're control freaks, so they're always going to run the show from now until the end of time. On the last reunion tour, I was a paid musician — a hired gun in a sense — even though on stage, we all looked like it was one for all and all for one." On Simmons, Stanley and sobriety: Ace: "I think Paul and Gene, when I left the group the last time and I was strung out on drugs and alcohol, they probably thought I was just going to fade away and maybe O.D. or disappear. What happened was I got sober, and I came back stronger and bigger than ever... They were right about a lot of things. Today, I have no tolerance for being around drunk people. I put those guys through hell, if I do say so myself. I get it, but it took a while for me to understand." On whether his sobriety was a catalyst for his recent decision to replace members of his solo touring band: Ace: "Yeah. At least one of them was missing flights every other show, and the playing started to deteriorate. I don't have the tolerance. I'm an established superstar, so if you want to play with me, you've got to play by the rules or you're not going to be around." On politics: Ace: "I hate politics. I don't like talking politics, and I don't think politics and music mix. I really frown on musicians who get up on a platform and start talking about the president or complain about... I just don't think it belongs. I'm an entertainer. There's no reason to bring up politics. Let me play my guitar and write songs and entertain people. That's my job... Let me say this about Trump. Whether you love him or hate him, if you're an American and you're a patriot, you should get behind your president. He was elected. We live under the Constitution of the United States, and you're supposed to support your president. Love him or hate him, you're supposed to support him, or go move to another country... Being American, we have the right to free speech, and I'm all for everybody putting their two cents in on everything. But when musicians or actors get really verbal and jump on a bandwagon against our government, I don't agree with that." Frehley's latest solo album, "Spaceman", was released on October 19 via eOne. On December 9, Frehley celebrated the 40th anniversary of his acclaimed 1978 solo debut by performing the album in its entirety for the first time at the New Jersey Kiss Expo 2018.

[post_excerpt] => Former KISS guitarist Ace Frehley recently appeared on the "Juliet: Unexpected" podcast. The full conversation can be streamed below (interview starts at the 3:11 mark). A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On working from home: Ace: "The last three or four records I've done, pretty much I've done from my home studio, so I don't have to leave the house. I can engineer myself, but most of the time, I use an engineer, because I don't want to worry about the levels and pressing buttons and stuff. I want to focus on what I'm doing, whether it be a lead vocal or a lead solo. On this last album ['Spaceman'], my creativity somehow, some way hit a high note, and I don't think there's a throwaway song on the whole record... A lot of albums, you get two or three great songs and the rest of them are okay. I think every song on this album is really good." On appreciating his fans: Ace: "The fans are the people who put me where I am. The fans are the reason why I'm living in an estate with a Bentley and a Jaguar... I always keep in mind when I'm recording an album what my fans would think of it. Look what happened with KISS with 'The Elder'. During the course of that whole album, I was telling Bob Ezrin, our producer, and Gene [Simmons] and Paul [Stanley] that I think this is the wrong album for this time period, and that was our biggest flop." On whether he still gets excited prior to an album's release: Ace: "I still get excited. Sometimes, I feel just like a little kid. The great thing about being in the music business is you never really get old. I still feel like I'm in my twenties. The music business keeps your mind young, and a couple of face lifts later..." On how his writing style has evolved over the years: Ace: "My formula for recording hasn't changed very much from my first solo album, but I definitely feel I'm more creative now. I'm able to step back as a producer and look at things outside the box... I would say 90 percent of the rock guitar players in the world probably don't know how to read music. It's all about feel. If it sounds good, do it. The way I write is, I just come up with a chord progression and then try to weave a melody around it, and write the lyrics, and boom — you've got a song." On his formative years: Ace: "I grew up in a household where my mom, dad, brother and sister all played piano, so I was surrounded by music. I used to sing in the church choir, so I developed the idea of melody singing hymns in church." On what would make him agree to participate in KISS's "End Of The Road" farewell tour: Ace: "The only way I would consider coming back is [if] I took over Tommy's [Thayer] place. He took over my place — a character that I invented. He's pretty much going through the motions, but the only way I would consider going back is to replace Tommy and regain my throne. Number two, I'd like a big paycheck because I think I deserve it... I don't think Paul [and Gene] are going to make me an equal partner. I quit a long time ago and I was an equal partner at that juncture. Since then, those guys have been running the show, and they're control freaks, so they're always going to run the show from now until the end of time. On the last reunion tour, I was a paid musician — a hired gun in a sense — even though on stage, we all looked like it was one for all and all for one." On Simmons, Stanley and sobriety: Ace: "I think Paul and Gene, when I left the group the last time and I was strung out on drugs and alcohol, they probably thought I was just going to fade away and maybe O.D. or disappear. What happened was I got sober, and I came back stronger and bigger than ever... They were right about a lot of things. Today, I have no tolerance for being around drunk people. I put those guys through hell, if I do say so myself. I get it, but it took a while for me to understand." On whether his sobriety was a catalyst for his recent decision to replace members of his solo touring band: Ace: "Yeah. At least one of them was missing flights every other show, and the playing started to deteriorate. I don't have the tolerance. I'm an established superstar, so if you want to play with me, you've got to play by the rules or you're not going to be around." On politics: Ace: "I hate politics. I don't like talking politics, and I don't think politics and music mix. I really frown on musicians who get up on a platform and start talking about the president or complain about... I just don't think it belongs. I'm an entertainer. There's no reason to bring up politics. Let me play my guitar and write songs and entertain people. That's my job... Let me say this about Trump. Whether you love him or hate him, if you're an American and you're a patriot, you should get behind your president. He was elected. We live under the Constitution of the United States, and you're supposed to support your president. Love him or hate him, you're supposed to support him, or go move to another country... Being American, we have the right to free speech, and I'm all for everybody putting their two cents in on everything. But when musicians or actors get really verbal and jump on a bandwagon against our government, I don't agree with that." Frehley's latest solo album, "Spaceman", was released on October 19 via eOne. On December 9, Frehley celebrated the 40th anniversary of his acclaimed 1978 solo debut by performing the album in its entirety for the first time at the New Jersey Kiss Expo 2018.
[post_date_gmt] => 2018-12-15 12:41:36 [post_date] => 2018-12-15 07:41:36 [post_modified_gmt] => 2018-12-15 12:41:36 [post_modified] => 2018-12-15 07:41:36 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://b696b485416590883b74623117c9c267 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/ace-frehley-talks-politics-if-youre-an-american-and-a-patriot-you-should-get-behind-your-president/ [syndication_item_hash] => 7f64d7bffcbd6ee7d79eb5eaae1c04b6 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Watch Former GUNS N' ROSES Drummer STEVEN ADLER Perform 'Sweet Child O' Mine' In Detroit

Array ( [post_title] => Watch Former GUNS N' ROSES Drummer STEVEN ADLER Perform 'Sweet Child O' Mine' In Detroit [post_content] => Fan-filmed video footage of former GUNS N' ROSES drummer Steven Adler performing the band's classic song "Sweet Child O' Mine" last night (Friday, December 14) at the Diesel in Chesterfield, Michigan can be seen below (courtesy of Howie Herula). Adler's current solo band includes Ariel Kamin, the singer of Argentinian GN'R tribute band SON OF A GUN. Kamin replaced Constantine Maroulis of "American Idol" and "Rock Of Ages" fame, who was the vocalist for ADLER'S APPETITE for a dozen or so dates this past May, including an Australian tour. In addition to Adler and Kamin, the latest version of ADLER'S APPETITE features guitarist Michael Thomas and bassist Tanya O Callaghan. Steven previously played with Ariel when the drummer joined SON OF GUN on stage in November 2016 in Buenos Aires, Argentina to perform several GN'R classics, including "You Could Be Mine" and "Welcome To The Jungle". ADLER'S APPETITE FEATURING CONSTANTINE MAROULIS celebrated the 30th anniversary of GN'R's classic debut album by performing "Appetite For Destruction" in its entirety on the aforementioned Australian tour. Back in April, when Constantine was first announced as the new frontman of ADLER'S APPETITE, Steven said: "GUNS N' ROSES are the biggest rock band in the fuckin' world now, and since the guys don't want me to play with them and I love these songs and I'm so proud of them ... now I finally have a singer who can compete with the young Axl Rose."

'Sweet Child Of Mine' from last night. Ari totally nails the vocals. He's better than Axl when Axl was good. What a great find for this band !!

Posted by Howie Herula on Saturday, December 15, 2018

Thank you Diesel Concerts Detroit for a great show!!! You guys ROCK!!!#tourlife #naturalhigh

Posted by Steven Adler on Saturday, December 15, 2018

Steven Adler of Guns N' Roses live TONIGHT at Diesel Concerts Detroit w/sg Redemption Road, Kougaran, HeadrusH DetroiT,...

Posted by Diesel Concerts Detroit on Friday, December 14, 2018
[post_excerpt] => Fan-filmed video footage of former GUNS N' ROSES drummer Steven Adler performing the band's classic song "Sweet Child O' Mine" last night (Friday, December 14) at the Diesel in Chesterfield, Michigan can be seen below (courtesy of Howie Herula). Adler's current solo band includes Ariel Kamin, the singer of Argentinian GN'R tribute band SON OF A GUN. Kamin replaced Constantine Maroulis of "American Idol" and "Rock Of Ages" fame, who was the vocalist for ADLER'S APPETITE for a dozen or so dates this past May, including an Australian tour. In addition to Adler and Kamin, the latest version of ADLER'S APPETITE features guitarist Michael Thomas and bassist Tanya O Callaghan. Steven previously played with Ariel when the drummer joined SON OF GUN on stage in November 2016 in Buenos Aires, Argentina to perform several GN'R classics, including "You Could Be Mine" and "Welcome To The Jungle". ADLER'S APPETITE FEATURING CONSTANTINE MAROULIS celebrated the 30th anniversary of GN'R's classic debut album by performing "Appetite For Destruction" in its entirety on the aforementioned Australian tour. Back in April, when Constantine was first announced as the new frontman of ADLER'S APPETITE, Steven said: "GUNS N' ROSES are the biggest rock band in the fuckin' world now, and since the guys don't want me to play with them and I love these songs and I'm so proud of them ... now I finally have a singer who can compete with the young Axl Rose."

'Sweet Child Of Mine' from last night. Ari totally nails the vocals. He's better than Axl when Axl was good. What a great find for this band !!

Posted by Howie Herula on Saturday, December 15, 2018

Thank you Diesel Concerts Detroit for a great show!!! You guys ROCK!!!#tourlife #naturalhigh

Posted by Steven Adler on Saturday, December 15, 2018

Steven Adler of Guns N' Roses live TONIGHT at Diesel Concerts Detroit w/sg Redemption Road, Kougaran, HeadrusH DetroiT,...

Posted by Diesel Concerts Detroit on Friday, December 14, 2018
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Decide filter: Returning post, everything seems orderly :Watch Former GUNS N' ROSES Drummer STEVEN ADLER Perform 'Sweet Child O' Mine' In Detroit

Array ( [post_title] => Watch Former GUNS N' ROSES Drummer STEVEN ADLER Perform 'Sweet Child O' Mine' In Detroit [post_content] => Fan-filmed video footage of former GUNS N' ROSES drummer Steven Adler performing the band's classic song "Sweet Child O' Mine" last night (Friday, December 14) at the Diesel in Chesterfield, Michigan can be seen below (courtesy of Howie Herula). Adler's current solo band includes Ariel Kamin, the singer of Argentinian GN'R tribute band SON OF A GUN. Kamin replaced Constantine Maroulis of "American Idol" and "Rock Of Ages" fame, who was the vocalist for ADLER'S APPETITE for a dozen or so dates this past May, including an Australian tour. In addition to Adler and Kamin, the latest version of ADLER'S APPETITE features guitarist Michael Thomas and bassist Tanya O Callaghan. Steven previously played with Ariel when the drummer joined SON OF GUN on stage in November 2016 in Buenos Aires, Argentina to perform several GN'R classics, including "You Could Be Mine" and "Welcome To The Jungle". ADLER'S APPETITE FEATURING CONSTANTINE MAROULIS celebrated the 30th anniversary of GN'R's classic debut album by performing "Appetite For Destruction" in its entirety on the aforementioned Australian tour. Back in April, when Constantine was first announced as the new frontman of ADLER'S APPETITE, Steven said: "GUNS N' ROSES are the biggest rock band in the fuckin' world now, and since the guys don't want me to play with them and I love these songs and I'm so proud of them ... now I finally have a singer who can compete with the young Axl Rose."

'Sweet Child Of Mine' from last night. Ari totally nails the vocals. He's better than Axl when Axl was good. What a great find for this band !!

Posted by Howie Herula on Saturday, December 15, 2018

Thank you Diesel Concerts Detroit for a great show!!! You guys ROCK!!!#tourlife #naturalhigh

Posted by Steven Adler on Saturday, December 15, 2018

Steven Adler of Guns N' Roses live TONIGHT at Diesel Concerts Detroit w/sg Redemption Road, Kougaran, HeadrusH DetroiT,...

Posted by Diesel Concerts Detroit on Friday, December 14, 2018
[post_excerpt] => Fan-filmed video footage of former GUNS N' ROSES drummer Steven Adler performing the band's classic song "Sweet Child O' Mine" last night (Friday, December 14) at the Diesel in Chesterfield, Michigan can be seen below (courtesy of Howie Herula). Adler's current solo band includes Ariel Kamin, the singer of Argentinian GN'R tribute band SON OF A GUN. Kamin replaced Constantine Maroulis of "American Idol" and "Rock Of Ages" fame, who was the vocalist for ADLER'S APPETITE for a dozen or so dates this past May, including an Australian tour. In addition to Adler and Kamin, the latest version of ADLER'S APPETITE features guitarist Michael Thomas and bassist Tanya O Callaghan. Steven previously played with Ariel when the drummer joined SON OF GUN on stage in November 2016 in Buenos Aires, Argentina to perform several GN'R classics, including "You Could Be Mine" and "Welcome To The Jungle". ADLER'S APPETITE FEATURING CONSTANTINE MAROULIS celebrated the 30th anniversary of GN'R's classic debut album by performing "Appetite For Destruction" in its entirety on the aforementioned Australian tour. Back in April, when Constantine was first announced as the new frontman of ADLER'S APPETITE, Steven said: "GUNS N' ROSES are the biggest rock band in the fuckin' world now, and since the guys don't want me to play with them and I love these songs and I'm so proud of them ... now I finally have a singer who can compete with the young Axl Rose."

'Sweet Child Of Mine' from last night. Ari totally nails the vocals. He's better than Axl when Axl was good. What a great find for this band !!

Posted by Howie Herula on Saturday, December 15, 2018

Thank you Diesel Concerts Detroit for a great show!!! You guys ROCK!!!#tourlife #naturalhigh

Posted by Steven Adler on Saturday, December 15, 2018

Steven Adler of Guns N' Roses live TONIGHT at Diesel Concerts Detroit w/sg Redemption Road, Kougaran, HeadrusH DetroiT,...

Posted by Diesel Concerts Detroit on Friday, December 14, 2018
[post_date_gmt] => 2018-12-15 12:30:07 [post_date] => 2018-12-15 07:30:07 [post_modified_gmt] => 2018-12-15 12:30:07 [post_modified] => 2018-12-15 07:30:07 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://1855317658c740a13e3cf48a7d2b6240 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/watch-former-guns-n-roses-drummer-steven-adler-perform-sweet-child-o-mine-in-detroit/ [syndication_item_hash] => 52fd761bbf2addb721ff60a64f4d55bd [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

FAF deciding on filters on post to be syndicated:

TOBIAS FORGE Says METALLICA Has Been 'So Supportive' Of GHOST: They're 'Basically Mentors'

Array ( [post_title] => TOBIAS FORGE Says METALLICA Has Been 'So Supportive' Of GHOST: They're 'Basically Mentors' [post_content] => GHOST frontman Tobias Forge recently spoke with Angel Orozco of American Forces Network. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how "unmasking" has affected him: Tobias: "It hasn't changed that much. As long as I'm on tour, and for as long as I've been on tour, the everyday life routines hasn't [sic] changed much, because after most shows, there's always been people around the bus. For the most part, I've always tried to find time to go out and sign stuff. I've just sort of made the assumption that if there was 1000 people at the show and 50 people waiting outside, I'm assuming that 950 people just don't care that much. Nowadays, if it's 3000 people at the show and there's 100 people outside, I'm assuming that the majority of people, they don't really care. I hope it's not because they thought the show sucked or anything, but I just think people in general don't really care that much. I don't feel as thought having my anonymity a little bit destroyed is going to change the perception and how people choose to consume GHOST. You might like it; you might go to the show; you might have the record; but it sort of ends there. It's just a night out — it's fun, you buy a shirt and you go home, and next week, you're going to see something else. I know several well-known artists that are definitely regarded as clandestine and mysterious without having to hide their faces nor hide their names, but still, you don't really know much about them. I think it's all about how you choose to publicly profile yourself. In the pace that I am profiling myself, I don't stand a chance to match whatever we're doing with GHOST, because frankly, I'm not as interesting." On the fact that a band with largely Satanic lyrical themes has developed such a large following: Tobias: "I think that people are coming [for] the entertainment value of it, not necessarily from the philosophical — to whatever extent there is a straight philosophical message that isn't already in line with your classic sort of liberal message of rock 'n' roll, rather than the opposite of good — if that is people's perception of what Satanic is. I think most people there that are drawn to rock 'n' roll music know better than that. There will always be, I guess, a room within media, a room within mainstream and certain forums that we will never be welcome in, but I don't think it's necessarily just the image — it's just that we are not a country/pop act with a Christian image, so there will always be certain confines that are shut out for a band that sounds like us." On latest album, "Prequelle": Tobias: "Whether or not it was our heaviest record, I don't know — [but] theme-wise, in terms of honesty and in terms of a personal gallery and insight, a lot more insight than people think, it's definitely the heaviest record thematically. But I can make a heavier record in terms of if you want a heavy metal record." On the group's latest single, "Dance Macabre": Tobias: "[It's] very hope-infusing, I guess, even though it's theoretically about the last night on Earth. If you want to be on a more positive outlook, it's about grabbing opportunity and trying to seize the night, I guess, and try to make the best out of the little time we do have." On touring with METALLICA: Tobias: "[I'm] very stoked. All of us grew up listening to METALLICA, and they're definitely one of my absolute favorite bands, and very much one of the reasons why I'm doing this. Of course, it means a lot. They've gone from being very far-away idols to over the years becoming basically mentors. They've been so supportive. We've played with them before, but never a consecutive tour like that, so to be able to do a full-on European stadium tour, that's a huge endeavor." "Prequelle" was released in June. The album recently received a Grammy nomination for "Best Rock Album," while its first single, "Rats", was nominated for "Best Rock Song". The group previously won the 2016 "Best Metal Performance" Grammy for the song "Cirice". GHOST will support METALLICA on a 25-date European tour that kicks off on May 1 in Lisbon, Portugal. The initial North American leg of the group's current "A Pale Tour Named Death" will wrap up on Saturday (December 15) with a performance at the Barclays Center in Brooklyn, New York.

[post_excerpt] => GHOST frontman Tobias Forge recently spoke with Angel Orozco of American Forces Network. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how "unmasking" has affected him: Tobias: "It hasn't changed that much. As long as I'm on tour, and for as long as I've been on tour, the everyday life routines hasn't [sic] changed much, because after most shows, there's always been people around the bus. For the most part, I've always tried to find time to go out and sign stuff. I've just sort of made the assumption that if there was 1000 people at the show and 50 people waiting outside, I'm assuming that 950 people just don't care that much. Nowadays, if it's 3000 people at the show and there's 100 people outside, I'm assuming that the majority of people, they don't really care. I hope it's not because they thought the show sucked or anything, but I just think people in general don't really care that much. I don't feel as thought having my anonymity a little bit destroyed is going to change the perception and how people choose to consume GHOST. You might like it; you might go to the show; you might have the record; but it sort of ends there. It's just a night out — it's fun, you buy a shirt and you go home, and next week, you're going to see something else. I know several well-known artists that are definitely regarded as clandestine and mysterious without having to hide their faces nor hide their names, but still, you don't really know much about them. I think it's all about how you choose to publicly profile yourself. In the pace that I am profiling myself, I don't stand a chance to match whatever we're doing with GHOST, because frankly, I'm not as interesting." On the fact that a band with largely Satanic lyrical themes has developed such a large following: Tobias: "I think that people are coming [for] the entertainment value of it, not necessarily from the philosophical — to whatever extent there is a straight philosophical message that isn't already in line with your classic sort of liberal message of rock 'n' roll, rather than the opposite of good — if that is people's perception of what Satanic is. I think most people there that are drawn to rock 'n' roll music know better than that. There will always be, I guess, a room within media, a room within mainstream and certain forums that we will never be welcome in, but I don't think it's necessarily just the image — it's just that we are not a country/pop act with a Christian image, so there will always be certain confines that are shut out for a band that sounds like us." On latest album, "Prequelle": Tobias: "Whether or not it was our heaviest record, I don't know — [but] theme-wise, in terms of honesty and in terms of a personal gallery and insight, a lot more insight than people think, it's definitely the heaviest record thematically. But I can make a heavier record in terms of if you want a heavy metal record." On the group's latest single, "Dance Macabre": Tobias: "[It's] very hope-infusing, I guess, even though it's theoretically about the last night on Earth. If you want to be on a more positive outlook, it's about grabbing opportunity and trying to seize the night, I guess, and try to make the best out of the little time we do have." On touring with METALLICA: Tobias: "[I'm] very stoked. All of us grew up listening to METALLICA, and they're definitely one of my absolute favorite bands, and very much one of the reasons why I'm doing this. Of course, it means a lot. They've gone from being very far-away idols to over the years becoming basically mentors. They've been so supportive. We've played with them before, but never a consecutive tour like that, so to be able to do a full-on European stadium tour, that's a huge endeavor." "Prequelle" was released in June. The album recently received a Grammy nomination for "Best Rock Album," while its first single, "Rats", was nominated for "Best Rock Song". The group previously won the 2016 "Best Metal Performance" Grammy for the song "Cirice". GHOST will support METALLICA on a 25-date European tour that kicks off on May 1 in Lisbon, Portugal. The initial North American leg of the group's current "A Pale Tour Named Death" will wrap up on Saturday (December 15) with a performance at the Barclays Center in Brooklyn, New York.
[post_date_gmt] => 2018-12-15 12:10:07 [post_date] => 2018-12-15 07:10:07 [post_modified_gmt] => 2018-12-15 12:10:07 [post_modified] => 2018-12-15 07:10:07 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://d685d9c9825e9a3455616d799da335ae [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/tobias-forge-says-metallica-has-been-so-supportive-of-ghost-theyre-basically-mentors/ [syndication_item_hash] => d50a2b6f78a59a6f645e61c114162af3 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :TOBIAS FORGE Says METALLICA Has Been 'So Supportive' Of GHOST: They're 'Basically Mentors'

Array ( [post_title] => TOBIAS FORGE Says METALLICA Has Been 'So Supportive' Of GHOST: They're 'Basically Mentors' [post_content] => GHOST frontman Tobias Forge recently spoke with Angel Orozco of American Forces Network. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how "unmasking" has affected him: Tobias: "It hasn't changed that much. As long as I'm on tour, and for as long as I've been on tour, the everyday life routines hasn't [sic] changed much, because after most shows, there's always been people around the bus. For the most part, I've always tried to find time to go out and sign stuff. I've just sort of made the assumption that if there was 1000 people at the show and 50 people waiting outside, I'm assuming that 950 people just don't care that much. Nowadays, if it's 3000 people at the show and there's 100 people outside, I'm assuming that the majority of people, they don't really care. I hope it's not because they thought the show sucked or anything, but I just think people in general don't really care that much. I don't feel as thought having my anonymity a little bit destroyed is going to change the perception and how people choose to consume GHOST. You might like it; you might go to the show; you might have the record; but it sort of ends there. It's just a night out — it's fun, you buy a shirt and you go home, and next week, you're going to see something else. I know several well-known artists that are definitely regarded as clandestine and mysterious without having to hide their faces nor hide their names, but still, you don't really know much about them. I think it's all about how you choose to publicly profile yourself. In the pace that I am profiling myself, I don't stand a chance to match whatever we're doing with GHOST, because frankly, I'm not as interesting." On the fact that a band with largely Satanic lyrical themes has developed such a large following: Tobias: "I think that people are coming [for] the entertainment value of it, not necessarily from the philosophical — to whatever extent there is a straight philosophical message that isn't already in line with your classic sort of liberal message of rock 'n' roll, rather than the opposite of good — if that is people's perception of what Satanic is. I think most people there that are drawn to rock 'n' roll music know better than that. There will always be, I guess, a room within media, a room within mainstream and certain forums that we will never be welcome in, but I don't think it's necessarily just the image — it's just that we are not a country/pop act with a Christian image, so there will always be certain confines that are shut out for a band that sounds like us." On latest album, "Prequelle": Tobias: "Whether or not it was our heaviest record, I don't know — [but] theme-wise, in terms of honesty and in terms of a personal gallery and insight, a lot more insight than people think, it's definitely the heaviest record thematically. But I can make a heavier record in terms of if you want a heavy metal record." On the group's latest single, "Dance Macabre": Tobias: "[It's] very hope-infusing, I guess, even though it's theoretically about the last night on Earth. If you want to be on a more positive outlook, it's about grabbing opportunity and trying to seize the night, I guess, and try to make the best out of the little time we do have." On touring with METALLICA: Tobias: "[I'm] very stoked. All of us grew up listening to METALLICA, and they're definitely one of my absolute favorite bands, and very much one of the reasons why I'm doing this. Of course, it means a lot. They've gone from being very far-away idols to over the years becoming basically mentors. They've been so supportive. We've played with them before, but never a consecutive tour like that, so to be able to do a full-on European stadium tour, that's a huge endeavor." "Prequelle" was released in June. The album recently received a Grammy nomination for "Best Rock Album," while its first single, "Rats", was nominated for "Best Rock Song". The group previously won the 2016 "Best Metal Performance" Grammy for the song "Cirice". GHOST will support METALLICA on a 25-date European tour that kicks off on May 1 in Lisbon, Portugal. The initial North American leg of the group's current "A Pale Tour Named Death" will wrap up on Saturday (December 15) with a performance at the Barclays Center in Brooklyn, New York.

[post_excerpt] => GHOST frontman Tobias Forge recently spoke with Angel Orozco of American Forces Network. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how "unmasking" has affected him: Tobias: "It hasn't changed that much. As long as I'm on tour, and for as long as I've been on tour, the everyday life routines hasn't [sic] changed much, because after most shows, there's always been people around the bus. For the most part, I've always tried to find time to go out and sign stuff. I've just sort of made the assumption that if there was 1000 people at the show and 50 people waiting outside, I'm assuming that 950 people just don't care that much. Nowadays, if it's 3000 people at the show and there's 100 people outside, I'm assuming that the majority of people, they don't really care. I hope it's not because they thought the show sucked or anything, but I just think people in general don't really care that much. I don't feel as thought having my anonymity a little bit destroyed is going to change the perception and how people choose to consume GHOST. You might like it; you might go to the show; you might have the record; but it sort of ends there. It's just a night out — it's fun, you buy a shirt and you go home, and next week, you're going to see something else. I know several well-known artists that are definitely regarded as clandestine and mysterious without having to hide their faces nor hide their names, but still, you don't really know much about them. I think it's all about how you choose to publicly profile yourself. In the pace that I am profiling myself, I don't stand a chance to match whatever we're doing with GHOST, because frankly, I'm not as interesting." On the fact that a band with largely Satanic lyrical themes has developed such a large following: Tobias: "I think that people are coming [for] the entertainment value of it, not necessarily from the philosophical — to whatever extent there is a straight philosophical message that isn't already in line with your classic sort of liberal message of rock 'n' roll, rather than the opposite of good — if that is people's perception of what Satanic is. I think most people there that are drawn to rock 'n' roll music know better than that. There will always be, I guess, a room within media, a room within mainstream and certain forums that we will never be welcome in, but I don't think it's necessarily just the image — it's just that we are not a country/pop act with a Christian image, so there will always be certain confines that are shut out for a band that sounds like us." On latest album, "Prequelle": Tobias: "Whether or not it was our heaviest record, I don't know — [but] theme-wise, in terms of honesty and in terms of a personal gallery and insight, a lot more insight than people think, it's definitely the heaviest record thematically. But I can make a heavier record in terms of if you want a heavy metal record." On the group's latest single, "Dance Macabre": Tobias: "[It's] very hope-infusing, I guess, even though it's theoretically about the last night on Earth. If you want to be on a more positive outlook, it's about grabbing opportunity and trying to seize the night, I guess, and try to make the best out of the little time we do have." On touring with METALLICA: Tobias: "[I'm] very stoked. All of us grew up listening to METALLICA, and they're definitely one of my absolute favorite bands, and very much one of the reasons why I'm doing this. Of course, it means a lot. They've gone from being very far-away idols to over the years becoming basically mentors. They've been so supportive. We've played with them before, but never a consecutive tour like that, so to be able to do a full-on European stadium tour, that's a huge endeavor." "Prequelle" was released in June. The album recently received a Grammy nomination for "Best Rock Album," while its first single, "Rats", was nominated for "Best Rock Song". The group previously won the 2016 "Best Metal Performance" Grammy for the song "Cirice". GHOST will support METALLICA on a 25-date European tour that kicks off on May 1 in Lisbon, Portugal. The initial North American leg of the group's current "A Pale Tour Named Death" will wrap up on Saturday (December 15) with a performance at the Barclays Center in Brooklyn, New York.
[post_date_gmt] => 2018-12-15 12:10:07 [post_date] => 2018-12-15 07:10:07 [post_modified_gmt] => 2018-12-15 12:10:07 [post_modified] => 2018-12-15 07:10:07 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://d685d9c9825e9a3455616d799da335ae [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/tobias-forge-says-metallica-has-been-so-supportive-of-ghost-theyre-basically-mentors/ [syndication_item_hash] => d50a2b6f78a59a6f645e61c114162af3 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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TOMMY THAYER Promises 'The Bombastic Show KISS Has Always Been Famed For' On 'End Of The Road' Tour

Array ( [post_title] => TOMMY THAYER Promises 'The Bombastic Show KISS Has Always Been Famed For' On 'End Of The Road' Tour [post_content] => Tommy Thayer has told Australia's Hysteria Magazine that KISS's upcoming "End Of The Road" farewell tour will be "the biggest" one the band has ever done "in terms of production." It will be "a whole new thing for KISS," the guitarist said. "It's just gonna be the bombastic show KISS has always been famed for." Thayer also confirmed that "End Of The Road" will indeed be KISS's last tour. "None of us is going to be around forever," he said. "A band like KISS is different to THE [ROLLING] STONES or Paul McCartney even — KISS is a whole different animal. There's physicality to it that has to be there, and, honestly, where Gene [Simmons] and Paul [Stanley] are at, they want to do this tour now while they still can do it in top form even though they're not getting any younger either, but we can still go out and kick some ass though. "Who knows what could happen in a few years?" he continued. "The wheels could fall off. But in rock music, all these bands we all love and grew up with, everybody's getting old, so bands have to decide what they want to do. "KISS is timeless — the logo, the brand, the whole look, the imagery. That'll always sustain itself. The thing that's ending now for this band is being a touring band. I don't think there's any definitive plan." In September, KISS announced its "End Of The Road" farewell tour on NBC's "America's Got Talent", and a month later, the band revealed the first set of dates and cities in North America, produced by Live Nation. International markets were announced simultaneously. The first North American leg of "End Of The Road" will launch January 31 in Vancouver, British Columbia, Canada at Rogers Arena and will hit an additional 43 cities. [post_excerpt] => Tommy Thayer has told Australia's Hysteria Magazine that KISS's upcoming "End Of The Road" farewell tour will be "the biggest" one the band has ever done "in terms of production." It will be "a whole new thing for KISS," the guitarist said. "It's just gonna be the bombastic show KISS has always been famed for." Thayer also confirmed that "End Of The Road" will indeed be KISS's last tour. "None of us is going to be around forever," he said. "A band like KISS is different to THE [ROLLING] STONES or Paul McCartney even — KISS is a whole different animal. There's physicality to it that has to be there, and, honestly, where Gene [Simmons] and Paul [Stanley] are at, they want to do this tour now while they still can do it in top form even though they're not getting any younger either, but we can still go out and kick some ass though. "Who knows what could happen in a few years?" he continued. "The wheels could fall off. But in rock music, all these bands we all love and grew up with, everybody's getting old, so bands have to decide what they want to do. "KISS is timeless — the logo, the brand, the whole look, the imagery. That'll always sustain itself. The thing that's ending now for this band is being a touring band. I don't think there's any definitive plan." In September, KISS announced its "End Of The Road" farewell tour on NBC's "America's Got Talent", and a month later, the band revealed the first set of dates and cities in North America, produced by Live Nation. International markets were announced simultaneously. The first North American leg of "End Of The Road" will launch January 31 in Vancouver, British Columbia, Canada at Rogers Arena and will hit an additional 43 cities. [post_date_gmt] => 2018-12-15 11:54:08 [post_date] => 2018-12-15 06:54:08 [post_modified_gmt] => 2018-12-15 11:54:08 [post_modified] => 2018-12-15 06:54:08 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://0fc2f26fb215e8ca17c56ffe9399d371 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/tommy-thayer-promises-the-bombastic-show-kiss-has-always-been-famed-for-on-end-of-the-road-tour/ [syndication_item_hash] => 6a75c848e5ad69e74d95328c59188551 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :TOMMY THAYER Promises 'The Bombastic Show KISS Has Always Been Famed For' On 'End Of The Road' Tour

Array ( [post_title] => TOMMY THAYER Promises 'The Bombastic Show KISS Has Always Been Famed For' On 'End Of The Road' Tour [post_content] => Tommy Thayer has told Australia's Hysteria Magazine that KISS's upcoming "End Of The Road" farewell tour will be "the biggest" one the band has ever done "in terms of production." It will be "a whole new thing for KISS," the guitarist said. "It's just gonna be the bombastic show KISS has always been famed for." Thayer also confirmed that "End Of The Road" will indeed be KISS's last tour. "None of us is going to be around forever," he said. "A band like KISS is different to THE [ROLLING] STONES or Paul McCartney even — KISS is a whole different animal. There's physicality to it that has to be there, and, honestly, where Gene [Simmons] and Paul [Stanley] are at, they want to do this tour now while they still can do it in top form even though they're not getting any younger either, but we can still go out and kick some ass though. "Who knows what could happen in a few years?" he continued. "The wheels could fall off. But in rock music, all these bands we all love and grew up with, everybody's getting old, so bands have to decide what they want to do. "KISS is timeless — the logo, the brand, the whole look, the imagery. That'll always sustain itself. The thing that's ending now for this band is being a touring band. I don't think there's any definitive plan." In September, KISS announced its "End Of The Road" farewell tour on NBC's "America's Got Talent", and a month later, the band revealed the first set of dates and cities in North America, produced by Live Nation. International markets were announced simultaneously. The first North American leg of "End Of The Road" will launch January 31 in Vancouver, British Columbia, Canada at Rogers Arena and will hit an additional 43 cities. [post_excerpt] => Tommy Thayer has told Australia's Hysteria Magazine that KISS's upcoming "End Of The Road" farewell tour will be "the biggest" one the band has ever done "in terms of production." It will be "a whole new thing for KISS," the guitarist said. "It's just gonna be the bombastic show KISS has always been famed for." Thayer also confirmed that "End Of The Road" will indeed be KISS's last tour. "None of us is going to be around forever," he said. "A band like KISS is different to THE [ROLLING] STONES or Paul McCartney even — KISS is a whole different animal. There's physicality to it that has to be there, and, honestly, where Gene [Simmons] and Paul [Stanley] are at, they want to do this tour now while they still can do it in top form even though they're not getting any younger either, but we can still go out and kick some ass though. "Who knows what could happen in a few years?" he continued. "The wheels could fall off. But in rock music, all these bands we all love and grew up with, everybody's getting old, so bands have to decide what they want to do. "KISS is timeless — the logo, the brand, the whole look, the imagery. That'll always sustain itself. The thing that's ending now for this band is being a touring band. I don't think there's any definitive plan." In September, KISS announced its "End Of The Road" farewell tour on NBC's "America's Got Talent", and a month later, the band revealed the first set of dates and cities in North America, produced by Live Nation. International markets were announced simultaneously. The first North American leg of "End Of The Road" will launch January 31 in Vancouver, British Columbia, Canada at Rogers Arena and will hit an additional 43 cities. [post_date_gmt] => 2018-12-15 11:54:08 [post_date] => 2018-12-15 06:54:08 [post_modified_gmt] => 2018-12-15 11:54:08 [post_modified] => 2018-12-15 06:54:08 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://0fc2f26fb215e8ca17c56ffe9399d371 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/tommy-thayer-promises-the-bombastic-show-kiss-has-always-been-famed-for-on-end-of-the-road-tour/ [syndication_item_hash] => 6a75c848e5ad69e74d95328c59188551 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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ASKING ALEXANDRIA Releases Animated Music Video For 'Vultures'

Array ( [post_title] => ASKING ALEXANDRIA Releases Animated Music Video For 'Vultures' [post_content] => ASKING ALEXANDRIA has released an animated music video for its latest single, "Vultures". The song is taken from ASKING ALEXANDRIA's self-titled fifth studio album, which was released in December 2017 via Sumerian Records. The disc marks the group's first full-length effort with singer Danny Worsnop since he rejoined ASKING ALEXANDRIA in the fall of 2016. The "Vultures" clip was directed by T.G. Hopkins, with animation from Bento Box Entertainment. The video follows a challenging, dark and bleakly honest narrative that perfectly accompanies the lyrical theme of the song. As blood drips from the puncture wounds of the hooks that attach strings to his hands and feet, Worsnop's bruised and beaten animated alter ego is manipulated by an ominous puppeteer claw through dimly lit streets, past terrifying headphone-clad pedestrians as he laments, "Everywhere I look, these vultures burn the life right out for me." ASKING ALEXANDRIA guitarist Ben Bruce told Rock Sound about "Vultures": "'Vultures' is one of my favorite tracks on the album and there's a cool story behind it. I actually wrote it back in 2014 right after 'From Death To Destiny' came out and I showed it to Danny and he wrote the lyrics. It was at a time when there was so much turmoil in the band. It was right before everything exploded. As I've said, it spirals from the drugs and the alcohol and the industry constantly telling us to stay relevant and not have time off because there's a band right behind you. We would say, 'We need time off. We have been touring 340 days a year for the last two years.' We've been polled as one of the hardest-working musicians after Justin Bieber but the difference is he is flying around in a private jet and we're rolling round in a bus. So shit hit the fan, as everyone knows, and that saw the departure of Danny. That's what 'Vultures' is about. It's about everyone in suits behind the scenes pulling the strings. It addresses the inner struggle that we faced. It's a sad song. It's very raw and it's very honest and it's very open. I think it's one of the most beautiful songs on the record. It's this record's 'Moving On'. It was the last thing that Danny and me wrote together before his departure and it was the first thing that we recorded when he joined ASKING again. Danny came back and said, 'Every day that I've been away from ASKING ALEXANDRIA, I thought about this song. I haven't been able to get it out of my head. This can't be the end because we haven't put this song out.' When he came back, he sang that song from start to finish in one take and that's the take we used on the record." During his time away from ASKING ALEXANDRIA, Worsnop pursued a more traditional hard rock sound with his other project, WE ARE HARLOT, while ASKING ALEXANDRIA recruited a new singer, Denis Shaforostov, and released a fourth album, "The Black". Danny also issued a country-tinged solo album, "The Long Road Home", last year via Earache Records. ASKING ALEXANDRIA will join SHINEDOWN and PAPA ROACH for the "Attention Attention" tour in early 2019.

[post_excerpt] => ASKING ALEXANDRIA has released an animated music video for its latest single, "Vultures". The song is taken from ASKING ALEXANDRIA's self-titled fifth studio album, which was released in December 2017 via Sumerian Records. The disc marks the group's f... [post_date_gmt] => 2018-12-15 11:25:57 [post_date] => 2018-12-15 06:25:57 [post_modified_gmt] => 2018-12-15 11:25:57 [post_modified] => 2018-12-15 06:25:57 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://fe433f3b5da30c3353bdae0584a3d8d1 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/asking-alexandria-releases-animated-music-video-for-vultures/ [syndication_item_hash] => e29f527e0c59098d0e125faefb6561cd ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :ASKING ALEXANDRIA Releases Animated Music Video For 'Vultures'

Array ( [post_title] => ASKING ALEXANDRIA Releases Animated Music Video For 'Vultures' [post_content] => ASKING ALEXANDRIA has released an animated music video for its latest single, "Vultures". The song is taken from ASKING ALEXANDRIA's self-titled fifth studio album, which was released in December 2017 via Sumerian Records. The disc marks the group's first full-length effort with singer Danny Worsnop since he rejoined ASKING ALEXANDRIA in the fall of 2016. The "Vultures" clip was directed by T.G. Hopkins, with animation from Bento Box Entertainment. The video follows a challenging, dark and bleakly honest narrative that perfectly accompanies the lyrical theme of the song. As blood drips from the puncture wounds of the hooks that attach strings to his hands and feet, Worsnop's bruised and beaten animated alter ego is manipulated by an ominous puppeteer claw through dimly lit streets, past terrifying headphone-clad pedestrians as he laments, "Everywhere I look, these vultures burn the life right out for me." ASKING ALEXANDRIA guitarist Ben Bruce told Rock Sound about "Vultures": "'Vultures' is one of my favorite tracks on the album and there's a cool story behind it. I actually wrote it back in 2014 right after 'From Death To Destiny' came out and I showed it to Danny and he wrote the lyrics. It was at a time when there was so much turmoil in the band. It was right before everything exploded. As I've said, it spirals from the drugs and the alcohol and the industry constantly telling us to stay relevant and not have time off because there's a band right behind you. We would say, 'We need time off. We have been touring 340 days a year for the last two years.' We've been polled as one of the hardest-working musicians after Justin Bieber but the difference is he is flying around in a private jet and we're rolling round in a bus. So shit hit the fan, as everyone knows, and that saw the departure of Danny. That's what 'Vultures' is about. It's about everyone in suits behind the scenes pulling the strings. It addresses the inner struggle that we faced. It's a sad song. It's very raw and it's very honest and it's very open. I think it's one of the most beautiful songs on the record. It's this record's 'Moving On'. It was the last thing that Danny and me wrote together before his departure and it was the first thing that we recorded when he joined ASKING again. Danny came back and said, 'Every day that I've been away from ASKING ALEXANDRIA, I thought about this song. I haven't been able to get it out of my head. This can't be the end because we haven't put this song out.' When he came back, he sang that song from start to finish in one take and that's the take we used on the record." During his time away from ASKING ALEXANDRIA, Worsnop pursued a more traditional hard rock sound with his other project, WE ARE HARLOT, while ASKING ALEXANDRIA recruited a new singer, Denis Shaforostov, and released a fourth album, "The Black". Danny also issued a country-tinged solo album, "The Long Road Home", last year via Earache Records. ASKING ALEXANDRIA will join SHINEDOWN and PAPA ROACH for the "Attention Attention" tour in early 2019.

[post_excerpt] => ASKING ALEXANDRIA has released an animated music video for its latest single, "Vultures". The song is taken from ASKING ALEXANDRIA's self-titled fifth studio album, which was released in December 2017 via Sumerian Records. The disc marks the group's f... [post_date_gmt] => 2018-12-15 11:25:57 [post_date] => 2018-12-15 06:25:57 [post_modified_gmt] => 2018-12-15 11:25:57 [post_modified] => 2018-12-15 06:25:57 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://fe433f3b5da30c3353bdae0584a3d8d1 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/asking-alexandria-releases-animated-music-video-for-vultures/ [syndication_item_hash] => e29f527e0c59098d0e125faefb6561cd [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Listen To First New CANDLEMASS Song Featuring Returning Singer JOHAN LÄNGQVIST

Array ( [post_title] => Listen To First New CANDLEMASS Song Featuring Returning Singer JOHAN LÄNGQVIST [post_content] => "The Omega Circle" , a brand new song from Swedish doom metal legends CANDLEMASS, can be streamed below. The track is taken from the band's 12th album, "The Door To Doom", which will be released on February 22, 2019 via Napalm Records. The disc unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world-class doom metal that relies on slow mammoth riffing. "The Door To Doom" features newly returned singer Johan Längqvist, who recently replaced CANDLEMASS's frontman of the past six years, Mats Levén. Also appearing on the record is none other than BLACK SABBATH's Tony Iommi, who contributes a guest solo to "Astorolus - The Great Octopus". Commented Iommi: "CANDLEMASS are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I'd contribute to a track which sounded pretty good so I thought, 'Why not?'" Added Edling: "We feel very honoured that Tony Iommi said yes to play the solo on 'Astorolus'. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally, this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it gave me chills down the spine! I'm still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!" "The Door To Doom" track listing: 01. Splendor Demon Majesty 02. Under The Ocean 03. Astorolus - The Great Octopus (feat. Tony Iommi) 04. Bridge Of The Blind 05. Death's Wheel 06. Black Trinity 07. House Of Doom 08. The Omega Circle Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Messiah Marcolin. CANDLEMASS's most recent full-length album, "Psalms For The Dead", came out in 2012 via Napalm Records. It was the last CANDLEMASS album recorded with singer Robert Lowe, who left the band just days before its release. CANDLEMASS is: Leif Edling: Bass Mats "Mappe" Björkman: Guitars Jan Lindh: Drums Lars "Lasse" Johansson: Guitars Johan Längqvist: Vocals Photo by Anders Pålsson

[post_excerpt] => "The Omega Circle" , a brand new song from Swedish doom metal legends CANDLEMASS, can be streamed below. The track is taken from the band's 12th album, "The Door To Doom", which will be released on February 22, 2019 via Napalm Records. The disc unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world-class doom metal that relies on slow mammoth riffing. "The Door To Doom" features newly returned singer Johan Längqvist, who recently replaced CANDLEMASS's frontman of the past six years, Mats Levén. Also appearing on the record is none other than BLACK SABBATH's Tony Iommi, who contributes a guest solo to "Astorolus - The Great Octopus". Commented Iommi: "CANDLEMASS are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I'd contribute to a track which sounded pretty good so I thought, 'Why not?'" Added Edling: "We feel very honoured that Tony Iommi said yes to play the solo on 'Astorolus'. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally, this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it gave me chills down the spine! I'm still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!" "The Door To Doom" track listing: 01. Splendor Demon Majesty 02. Under The Ocean 03. Astorolus - The Great Octopus (feat. Tony Iommi) 04. Bridge Of The Blind 05. Death's Wheel 06. Black Trinity 07. House Of Doom 08. The Omega Circle Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Messiah Marcolin. CANDLEMASS's most recent full-length album, "Psalms For The Dead", came out in 2012 via Napalm Records. It was the last CANDLEMASS album recorded with singer Robert Lowe, who left the band just days before its release. CANDLEMASS is: Leif Edling: Bass Mats "Mappe" Björkman: Guitars Jan Lindh: Drums Lars "Lasse" Johansson: Guitars Johan Längqvist: Vocals Photo by Anders Pålsson
[post_date_gmt] => 2018-12-15 11:13:38 [post_date] => 2018-12-15 06:13:38 [post_modified_gmt] => 2018-12-15 11:13:38 [post_modified] => 2018-12-15 06:13:38 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://13a0c5f73cb3a4a3ce16ca65c7767414 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/listen-to-first-new-candlemass-song-featuring-returning-singer-johan-langqvist/ [syndication_item_hash] => 75f8420da7966c5b84b7c523a148ed1b ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Replacing images : - ON "The Omega Circle" , a brand new song from Swedish doom metal legends CANDLEMASS, can be streamed below. The track is taken from the band's 12th album, "The Door To Doom", which will be released on February 22, 2019 via Napalm Records. The disc unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world-class doom metal that relies on slow mammoth riffing. "The Door To Doom" features newly returned singer Johan Längqvist, who recently replaced CANDLEMASS's frontman of the past six years, Mats Levén. Also appearing on the record is none other than BLACK SABBATH's Tony Iommi, who contributes a guest solo to "Astorolus - The Great Octopus". Commented Iommi: "CANDLEMASS are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I'd contribute to a track which sounded pretty good so I thought, 'Why not?'" Added Edling: "We feel very honoured that Tony Iommi said yes to play the solo on 'Astorolus'. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally, this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it gave me chills down the spine! I'm still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!" "The Door To Doom" track listing: 01. Splendor Demon Majesty 02. Under The Ocean 03. Astorolus - The Great Octopus (feat. Tony Iommi) 04. Bridge Of The Blind 05. Death's Wheel 06. Black Trinity 07. House Of Doom 08. The Omega Circle Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Messiah Marcolin. CANDLEMASS's most recent full-length album, "Psalms For The Dead", came out in 2012 via Napalm Records. It was the last CANDLEMASS album recorded with singer Robert Lowe, who left the band just days before its release. CANDLEMASS is: Leif Edling: Bass Mats "Mappe" Björkman: Guitars Jan Lindh: Drums Lars "Lasse" Johansson: Guitars Johan Längqvist: Vocals Photo by Anders Pålsson

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Decide filter: Returning post, everything seems orderly :Listen To First New CANDLEMASS Song Featuring Returning Singer JOHAN LÄNGQVIST

Array ( [post_title] => Listen To First New CANDLEMASS Song Featuring Returning Singer JOHAN LÄNGQVIST [post_content] => "The Omega Circle" , a brand new song from Swedish doom metal legends CANDLEMASS, can be streamed below. The track is taken from the band's 12th album, "The Door To Doom", which will be released on February 22, 2019 via Napalm Records. The disc unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world-class doom metal that relies on slow mammoth riffing. "The Door To Doom" features newly returned singer Johan Längqvist, who recently replaced CANDLEMASS's frontman of the past six years, Mats Levén. Also appearing on the record is none other than BLACK SABBATH's Tony Iommi, who contributes a guest solo to "Astorolus - The Great Octopus". Commented Iommi: "CANDLEMASS are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I'd contribute to a track which sounded pretty good so I thought, 'Why not?'" Added Edling: "We feel very honoured that Tony Iommi said yes to play the solo on 'Astorolus'. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally, this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it gave me chills down the spine! I'm still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!" "The Door To Doom" track listing: 01. Splendor Demon Majesty 02. Under The Ocean 03. Astorolus - The Great Octopus (feat. Tony Iommi) 04. Bridge Of The Blind 05. Death's Wheel 06. Black Trinity 07. House Of Doom 08. The Omega Circle Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Messiah Marcolin. CANDLEMASS's most recent full-length album, "Psalms For The Dead", came out in 2012 via Napalm Records. It was the last CANDLEMASS album recorded with singer Robert Lowe, who left the band just days before its release. CANDLEMASS is: Leif Edling: Bass Mats "Mappe" Björkman: Guitars Jan Lindh: Drums Lars "Lasse" Johansson: Guitars Johan Längqvist: Vocals Photo by Anders Pålsson

[post_excerpt] => "The Omega Circle" , a brand new song from Swedish doom metal legends CANDLEMASS, can be streamed below. The track is taken from the band's 12th album, "The Door To Doom", which will be released on February 22, 2019 via Napalm Records. The disc unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world-class doom metal that relies on slow mammoth riffing. "The Door To Doom" features newly returned singer Johan Längqvist, who recently replaced CANDLEMASS's frontman of the past six years, Mats Levén. Also appearing on the record is none other than BLACK SABBATH's Tony Iommi, who contributes a guest solo to "Astorolus - The Great Octopus". Commented Iommi: "CANDLEMASS are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I'd contribute to a track which sounded pretty good so I thought, 'Why not?'" Added Edling: "We feel very honoured that Tony Iommi said yes to play the solo on 'Astorolus'. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally, this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it gave me chills down the spine! I'm still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!" "The Door To Doom" track listing: 01. Splendor Demon Majesty 02. Under The Ocean 03. Astorolus - The Great Octopus (feat. Tony Iommi) 04. Bridge Of The Blind 05. Death's Wheel 06. Black Trinity 07. House Of Doom 08. The Omega Circle Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Messiah Marcolin. CANDLEMASS's most recent full-length album, "Psalms For The Dead", came out in 2012 via Napalm Records. It was the last CANDLEMASS album recorded with singer Robert Lowe, who left the band just days before its release. CANDLEMASS is: Leif Edling: Bass Mats "Mappe" Björkman: Guitars Jan Lindh: Drums Lars "Lasse" Johansson: Guitars Johan Längqvist: Vocals Photo by Anders Pålsson
[post_date_gmt] => 2018-12-15 11:13:38 [post_date] => 2018-12-15 06:13:38 [post_modified_gmt] => 2018-12-15 11:13:38 [post_modified] => 2018-12-15 06:13:38 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://13a0c5f73cb3a4a3ce16ca65c7767414 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/listen-to-first-new-candlemass-song-featuring-returning-singer-johan-langqvist/ [syndication_item_hash] => 75f8420da7966c5b84b7c523a148ed1b [faf_featured_image] => 85140 [faf_process_image] => 85140 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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SOILWORK Vocalist Says New Drummer BASTIAN THUSGAARD Was 'A Big Part' Of 'Verkligheten' Album

Array ( [post_title] => SOILWORK Vocalist Says New Drummer BASTIAN THUSGAARD Was 'A Big Part' Of 'Verkligheten' Album [post_content] => SOILWORK frontman Björn "Speed" Strid recently spoke with United Rock Nations. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On the three-and-a-half year gap between the group's 2015 release, "The Ride Majestic", and forthcoming album, "Verkligheten": Björn: "I think the main reason was that we did so much touring for 'The Ride Majestic'. We did two European tours, three North American tours, all the festivals, South America, Australia and Japan, and that sort of left us a little bit drained in the end. We needed some time off before we could approach the songwriting process for the next album. I think it was only natural." On drummer Bastian Thusgaard, who came aboard after Dirk Verbeuren joined MEGADETH: Björn: "A good thing was that he was already touring with us when Dirk jumped off, because Dirk was only supposed to fill in for Chris Adler for a month, and then he became the permanent drummer, so we basically just continued touring with Bastian. We [got to] know him very well, both musically and also on a personal level, so I think that's good that we got to know him that well before we approached the songwriting for the next album. He's been a big part of it, and he's definitely put his own mark on this album and done some really amazing things. I don't think people are going to be disappointed at all — I think they will be happily surprised. It sounds fantastic." On why the group chose to title their new album in Swedish: Björn: "This was a title that I came up with a couple of years ago that David [Andersson, guitars] sort of cracked the idea of. At the time, it didn't seem like... I don't know, it just seemed weird. When we wrote this album, it just sounded extremely Scandinavian, especially with all the melancholy melodies running through the album. It just seemed like the perfect title. It looks good, and it also connects lyrically. In Sweden, it means 'reality.' The lyrics, some of them are socially realistic, and some of them are very filled with skepticism, so I think there is that contrast in there — either face reality or you try to decide whether you can escape reality. That's always a constant battle, so it was a very fitting title." On the album's musical direction: Björn: "I think we wanted to stray away a little bit from the sort of groove-based, bouncier riffs. We wanted to be sort of straightforward. The riffing reminds me a little bit of classic heavy metal, but also the early days of SOILWORK mixed up with 'The Living Infinite' stuff — that sort of sound that we found through that album. I think we wanted to have a little bit more of a stump on this album, if that makes any sense — less groove-based, very Scandinavian and sort of cold in a way, but still very empowering." On whether his work with THE NIGHT FLIGHT ORCHESTRA influenced the material he wrote for the album: Björn: "Hard to say. For me and David, it's two very separate things. It's totally different expressions, but of course, you take your sense for melody with you wherever you go, so it's hard to ignore. But it's still very separate, and the switch is easy for us. Maybe [I can] understand that some people can make some references melody-wise, but at the same time, it is because people now have a reference. Before, when there was no NIGHT FLIGHT ORCHESTRA, we still had a lot of melodies, and SOILWORK sometimes was influenced by classic heavy metal or even pop music. It's nothing new; it's just that people now have a reference." "Verkligheten"SOILWORK's 11th album, and first with Thusgaard — will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive "Underworld" EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print. SOILWORK will embark on an extensive European co-headlining run with labelmates AMORPHIS in January. Support on the trek will come from NAILED TO OBSCURITY and JINJER.

[post_excerpt] => SOILWORK frontman Björn "Speed" Strid recently spoke with United Rock Nations. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On the three-and-a-half year gap between the group's 2015 release, "The Ride Majestic", and forthcoming album, "Verkligheten": Björn: "I think the main reason was that we did so much touring for 'The Ride Majestic'. We did two European tours, three North American tours, all the festivals, South America, Australia and Japan, and that sort of left us a little bit drained in the end. We needed some time off before we could approach the songwriting process for the next album. I think it was only natural." On drummer Bastian Thusgaard, who came aboard after Dirk Verbeuren joined MEGADETH: Björn: "A good thing was that he was already touring with us when Dirk jumped off, because Dirk was only supposed to fill in for Chris Adler for a month, and then he became the permanent drummer, so we basically just continued touring with Bastian. We [got to] know him very well, both musically and also on a personal level, so I think that's good that we got to know him that well before we approached the songwriting for the next album. He's been a big part of it, and he's definitely put his own mark on this album and done some really amazing things. I don't think people are going to be disappointed at all — I think they will be happily surprised. It sounds fantastic." On why the group chose to title their new album in Swedish: Björn: "This was a title that I came up with a couple of years ago that David [Andersson, guitars] sort of cracked the idea of. At the time, it didn't seem like... I don't know, it just seemed weird. When we wrote this album, it just sounded extremely Scandinavian, especially with all the melancholy melodies running through the album. It just seemed like the perfect title. It looks good, and it also connects lyrically. In Sweden, it means 'reality.' The lyrics, some of them are socially realistic, and some of them are very filled with skepticism, so I think there is that contrast in there — either face reality or you try to decide whether you can escape reality. That's always a constant battle, so it was a very fitting title." On the album's musical direction: Björn: "I think we wanted to stray away a little bit from the sort of groove-based, bouncier riffs. We wanted to be sort of straightforward. The riffing reminds me a little bit of classic heavy metal, but also the early days of SOILWORK mixed up with 'The Living Infinite' stuff — that sort of sound that we found through that album. I think we wanted to have a little bit more of a stump on this album, if that makes any sense — less groove-based, very Scandinavian and sort of cold in a way, but still very empowering." On whether his work with THE NIGHT FLIGHT ORCHESTRA influenced the material he wrote for the album: Björn: "Hard to say. For me and David, it's two very separate things. It's totally different expressions, but of course, you take your sense for melody with you wherever you go, so it's hard to ignore. But it's still very separate, and the switch is easy for us. Maybe [I can] understand that some people can make some references melody-wise, but at the same time, it is because people now have a reference. Before, when there was no NIGHT FLIGHT ORCHESTRA, we still had a lot of melodies, and SOILWORK sometimes was influenced by classic heavy metal or even pop music. It's nothing new; it's just that people now have a reference." "Verkligheten"SOILWORK's 11th album, and first with Thusgaard — will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive "Underworld" EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print. SOILWORK will embark on an extensive European co-headlining run with labelmates AMORPHIS in January. Support on the trek will come from NAILED TO OBSCURITY and JINJER.
[post_date_gmt] => 2018-12-15 11:00:23 [post_date] => 2018-12-15 06:00:23 [post_modified_gmt] => 2018-12-15 11:00:23 [post_modified] => 2018-12-15 06:00:23 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://150f2e0d3238515e33c07294153c0e09 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/soilwork-vocalist-says-new-drummer-bastian-thusgaard-was-a-big-part-of-new-album-verkligheten/ [syndication_item_hash] => 121572bb93a89f27743e2b1462b2a4ab ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Replacing images : - ON SOILWORK frontman Björn "Speed" Strid recently spoke with United Rock Nations. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On the three-and-a-half year gap between the group's 2015 release, "The Ride Majestic", and forthcoming album, "Verkligheten": Björn: "I think the main reason was that we did so much touring for 'The Ride Majestic'. We did two European tours, three North American tours, all the festivals, South America, Australia and Japan, and that sort of left us a little bit drained in the end. We needed some time off before we could approach the songwriting process for the next album. I think it was only natural." On drummer Bastian Thusgaard, who came aboard after Dirk Verbeuren joined MEGADETH: Björn: "A good thing was that he was already touring with us when Dirk jumped off, because Dirk was only supposed to fill in for Chris Adler for a month, and then he became the permanent drummer, so we basically just continued touring with Bastian. We [got to] know him very well, both musically and also on a personal level, so I think that's good that we got to know him that well before we approached the songwriting for the next album. He's been a big part of it, and he's definitely put his own mark on this album and done some really amazing things. I don't think people are going to be disappointed at all — I think they will be happily surprised. It sounds fantastic." On why the group chose to title their new album in Swedish: Björn: "This was a title that I came up with a couple of years ago that David [Andersson, guitars] sort of cracked the idea of. At the time, it didn't seem like... I don't know, it just seemed weird. When we wrote this album, it just sounded extremely Scandinavian, especially with all the melancholy melodies running through the album. It just seemed like the perfect title. It looks good, and it also connects lyrically. In Sweden, it means 'reality.' The lyrics, some of them are socially realistic, and some of them are very filled with skepticism, so I think there is that contrast in there — either face reality or you try to decide whether you can escape reality. That's always a constant battle, so it was a very fitting title." On the album's musical direction: Björn: "I think we wanted to stray away a little bit from the sort of groove-based, bouncier riffs. We wanted to be sort of straightforward. The riffing reminds me a little bit of classic heavy metal, but also the early days of SOILWORK mixed up with 'The Living Infinite' stuff — that sort of sound that we found through that album. I think we wanted to have a little bit more of a stump on this album, if that makes any sense — less groove-based, very Scandinavian and sort of cold in a way, but still very empowering." On whether his work with THE NIGHT FLIGHT ORCHESTRA influenced the material he wrote for the album: Björn: "Hard to say. For me and David, it's two very separate things. It's totally different expressions, but of course, you take your sense for melody with you wherever you go, so it's hard to ignore. But it's still very separate, and the switch is easy for us. Maybe [I can] understand that some people can make some references melody-wise, but at the same time, it is because people now have a reference. Before, when there was no NIGHT FLIGHT ORCHESTRA, we still had a lot of melodies, and SOILWORK sometimes was influenced by classic heavy metal or even pop music. It's nothing new; it's just that people now have a reference." "Verkligheten"SOILWORK's 11th album, and first with Thusgaard — will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive "Underworld" EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print. SOILWORK will embark on an extensive European co-headlining run with labelmates AMORPHIS in January. Support on the trek will come from NAILED TO OBSCURITY and JINJER.

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Replacing images : - ON SOILWORK frontman Björn "Speed" Strid recently spoke with United Rock Nations. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On the three-and-a-half year gap between the group's 2015 release, "The Ride Majestic", and forthcoming album, "Verkligheten": Björn: "I think the main reason was that we did so much touring for 'The Ride Majestic'. We did two European tours, three North American tours, all the festivals, South America, Australia and Japan, and that sort of left us a little bit drained in the end. We needed some time off before we could approach the songwriting process for the next album. I think it was only natural." On drummer Bastian Thusgaard, who came aboard after Dirk Verbeuren joined MEGADETH: Björn: "A good thing was that he was already touring with us when Dirk jumped off, because Dirk was only supposed to fill in for Chris Adler for a month, and then he became the permanent drummer, so we basically just continued touring with Bastian. We [got to] know him very well, both musically and also on a personal level, so I think that's good that we got to know him that well before we approached the songwriting for the next album. He's been a big part of it, and he's definitely put his own mark on this album and done some really amazing things. I don't think people are going to be disappointed at all — I think they will be happily surprised. It sounds fantastic." On why the group chose to title their new album in Swedish: Björn: "This was a title that I came up with a couple of years ago that David [Andersson, guitars] sort of cracked the idea of. At the time, it didn't seem like... I don't know, it just seemed weird. When we wrote this album, it just sounded extremely Scandinavian, especially with all the melancholy melodies running through the album. It just seemed like the perfect title. It looks good, and it also connects lyrically. In Sweden, it means 'reality.' The lyrics, some of them are socially realistic, and some of them are very filled with skepticism, so I think there is that contrast in there — either face reality or you try to decide whether you can escape reality. That's always a constant battle, so it was a very fitting title." On the album's musical direction: Björn: "I think we wanted to stray away a little bit from the sort of groove-based, bouncier riffs. We wanted to be sort of straightforward. The riffing reminds me a little bit of classic heavy metal, but also the early days of SOILWORK mixed up with 'The Living Infinite' stuff — that sort of sound that we found through that album. I think we wanted to have a little bit more of a stump on this album, if that makes any sense — less groove-based, very Scandinavian and sort of cold in a way, but still very empowering." On whether his work with THE NIGHT FLIGHT ORCHESTRA influenced the material he wrote for the album: Björn: "Hard to say. For me and David, it's two very separate things. It's totally different expressions, but of course, you take your sense for melody with you wherever you go, so it's hard to ignore. But it's still very separate, and the switch is easy for us. Maybe [I can] understand that some people can make some references melody-wise, but at the same time, it is because people now have a reference. Before, when there was no NIGHT FLIGHT ORCHESTRA, we still had a lot of melodies, and SOILWORK sometimes was influenced by classic heavy metal or even pop music. It's nothing new; it's just that people now have a reference." "Verkligheten"SOILWORK's 11th album, and first with Thusgaard — will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive "Underworld" EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print. SOILWORK will embark on an extensive European co-headlining run with labelmates AMORPHIS in January. Support on the trek will come from NAILED TO OBSCURITY and JINJER.

SOILWORK Vocalist Says New Drummer BASTIAN THUSGAARD Was 'A Big Part' Of 'Verkligheten' Album

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Array ( [post_title] => SOILWORK Vocalist Says New Drummer BASTIAN THUSGAARD Was 'A Big Part' Of 'Verkligheten' Album [post_content] => SOILWORK frontman Björn "Speed" Strid recently spoke with United Rock Nations. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On the three-and-a-half year gap between the group's 2015 release, "The Ride Majestic", and forthcoming album, "Verkligheten": Björn: "I think the main reason was that we did so much touring for 'The Ride Majestic'. We did two European tours, three North American tours, all the festivals, South America, Australia and Japan, and that sort of left us a little bit drained in the end. We needed some time off before we could approach the songwriting process for the next album. I think it was only natural." On drummer Bastian Thusgaard, who came aboard after Dirk Verbeuren joined MEGADETH: Björn: "A good thing was that he was already touring with us when Dirk jumped off, because Dirk was only supposed to fill in for Chris Adler for a month, and then he became the permanent drummer, so we basically just continued touring with Bastian. We [got to] know him very well, both musically and also on a personal level, so I think that's good that we got to know him that well before we approached the songwriting for the next album. He's been a big part of it, and he's definitely put his own mark on this album and done some really amazing things. I don't think people are going to be disappointed at all — I think they will be happily surprised. It sounds fantastic." On why the group chose to title their new album in Swedish: Björn: "This was a title that I came up with a couple of years ago that David [Andersson, guitars] sort of cracked the idea of. At the time, it didn't seem like... I don't know, it just seemed weird. When we wrote this album, it just sounded extremely Scandinavian, especially with all the melancholy melodies running through the album. It just seemed like the perfect title. It looks good, and it also connects lyrically. In Sweden, it means 'reality.' The lyrics, some of them are socially realistic, and some of them are very filled with skepticism, so I think there is that contrast in there — either face reality or you try to decide whether you can escape reality. That's always a constant battle, so it was a very fitting title." On the album's musical direction: Björn: "I think we wanted to stray away a little bit from the sort of groove-based, bouncier riffs. We wanted to be sort of straightforward. The riffing reminds me a little bit of classic heavy metal, but also the early days of SOILWORK mixed up with 'The Living Infinite' stuff — that sort of sound that we found through that album. I think we wanted to have a little bit more of a stump on this album, if that makes any sense — less groove-based, very Scandinavian and sort of cold in a way, but still very empowering." On whether his work with THE NIGHT FLIGHT ORCHESTRA influenced the material he wrote for the album: Björn: "Hard to say. For me and David, it's two very separate things. It's totally different expressions, but of course, you take your sense for melody with you wherever you go, so it's hard to ignore. But it's still very separate, and the switch is easy for us. Maybe [I can] understand that some people can make some references melody-wise, but at the same time, it is because people now have a reference. Before, when there was no NIGHT FLIGHT ORCHESTRA, we still had a lot of melodies, and SOILWORK sometimes was influenced by classic heavy metal or even pop music. It's nothing new; it's just that people now have a reference." "Verkligheten"SOILWORK's 11th album, and first with Thusgaard — will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive "Underworld" EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print. SOILWORK will embark on an extensive European co-headlining run with labelmates AMORPHIS in January. Support on the trek will come from NAILED TO OBSCURITY and JINJER.

SOILWORK Vocalist Says New Drummer BASTIAN THUSGAARD Was 'A Big Part' Of 'Verkligheten' Album [post_excerpt] => SOILWORK frontman Björn "Speed" Strid recently spoke with United Rock Nations. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On the three-and-a-half year gap between the group's 2015 release, "The Ride Majestic", and forthcoming album, "Verkligheten": Björn: "I think the main reason was that we did so much touring for 'The Ride Majestic'. We did two European tours, three North American tours, all the festivals, South America, Australia and Japan, and that sort of left us a little bit drained in the end. We needed some time off before we could approach the songwriting process for the next album. I think it was only natural." On drummer Bastian Thusgaard, who came aboard after Dirk Verbeuren joined MEGADETH: Björn: "A good thing was that he was already touring with us when Dirk jumped off, because Dirk was only supposed to fill in for Chris Adler for a month, and then he became the permanent drummer, so we basically just continued touring with Bastian. We [got to] know him very well, both musically and also on a personal level, so I think that's good that we got to know him that well before we approached the songwriting for the next album. He's been a big part of it, and he's definitely put his own mark on this album and done some really amazing things. I don't think people are going to be disappointed at all — I think they will be happily surprised. It sounds fantastic." On why the group chose to title their new album in Swedish: Björn: "This was a title that I came up with a couple of years ago that David [Andersson, guitars] sort of cracked the idea of. At the time, it didn't seem like... I don't know, it just seemed weird. When we wrote this album, it just sounded extremely Scandinavian, especially with all the melancholy melodies running through the album. It just seemed like the perfect title. It looks good, and it also connects lyrically. In Sweden, it means 'reality.' The lyrics, some of them are socially realistic, and some of them are very filled with skepticism, so I think there is that contrast in there — either face reality or you try to decide whether you can escape reality. That's always a constant battle, so it was a very fitting title." On the album's musical direction: Björn: "I think we wanted to stray away a little bit from the sort of groove-based, bouncier riffs. We wanted to be sort of straightforward. The riffing reminds me a little bit of classic heavy metal, but also the early days of SOILWORK mixed up with 'The Living Infinite' stuff — that sort of sound that we found through that album. I think we wanted to have a little bit more of a stump on this album, if that makes any sense — less groove-based, very Scandinavian and sort of cold in a way, but still very empowering." On whether his work with THE NIGHT FLIGHT ORCHESTRA influenced the material he wrote for the album: Björn: "Hard to say. For me and David, it's two very separate things. It's totally different expressions, but of course, you take your sense for melody with you wherever you go, so it's hard to ignore. But it's still very separate, and the switch is easy for us. Maybe [I can] understand that some people can make some references melody-wise, but at the same time, it is because people now have a reference. Before, when there was no NIGHT FLIGHT ORCHESTRA, we still had a lot of melodies, and SOILWORK sometimes was influenced by classic heavy metal or even pop music. It's nothing new; it's just that people now have a reference." "Verkligheten"SOILWORK's 11th album, and first with Thusgaard — will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive "Underworld" EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print. SOILWORK will embark on an extensive European co-headlining run with labelmates AMORPHIS in January. Support on the trek will come from NAILED TO OBSCURITY and JINJER.
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NEIL FALLON Says Bands Citing CLUTCH As An Influence Is 'The Ultimate Flattery'

Array ( [post_title] => NEIL FALLON Says Bands Citing CLUTCH As An Influence Is 'The Ultimate Flattery' [post_content] => Prior to CLUTCH's performance in Vienna, Austria on December 8, vocalist Neil Fallon spoke with Mulatschag TV. The full conversation can be viewed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On his lyrics: Neil: "You have to take liberties with the truth. I've always kind of approached lyrics as storytelling, because it's easier to do that night after night after night as opposed to lyrics that are strictly emotional. If I had to sing some emotionally-based thing, I think that would get pretty boring. My life has been so fortunate in a lot of ways that it doesn't make for good material. I've been pretty lucky, so I think that's why I gravitate toward fiction. I like a certain level of privacy. Nowadays, it seems people want to put everything out there publicly, and I kind of yearn for the days of when people knew the fine art of keeping it to yourself... I love writing lyrics, but at the same time, it can also be the most frustrating thing. But when the idea finally does come, it's very rewarding. Sometimes, it sort of seems like it's feast and famine. If I sit down and say, 'Okay, I'm going to write a song right now,' it never happens, but if I'm sitting in my car in traffic, that's when the ideas come, when you're not thinking, not trying. As much as I think iPhones are a digital leash, it's good to have something to be able to talk into really, really quickly. It's almost like a journal in some ways. It's always a learning process, and I don't think there's ever a point where you figure it out — like, 'Oh, this is what I need to do.' It's always a struggle." On the song "Barbarella": Neil: "I wouldn't have written those lyrics that way when I was 20. I saw that song as sort of like, there's 'X-Ray Visions' and then 'Firebirds' are part one and two, and 'Barbarella' is part three, where it's 20 years later and the same character is then trying to impart this wisdom to his son — like, 'Don't be like I was,' which is very familiar trope in a lot of ways." On the 1968 Jane Fonda film of the same name: Neil: "I remember seeing it when I was a teenager. When I came up with the idea of the [song], I said, 'I should watch the movie before I finish writing the lyrics.' I only got about 40 minutes into it and I had to stop, it's so bad. She's gorgeous and beautiful, but the movie is atrocious... There seemed to be a lot of movies when they started filming and they didn't even have a script. They just thought the LSD would write it for them. Usually, those movies aren't very good. You still at the end of the day have to have a good plot." On other bands citing CLUTCH as an influence: Neil: "That's, I think, the ultimate flattery. Sure, having shows is great. Putting out records is great. But when someone says, 'I wrote a song,' or, 'Your influence is now part of what I do,' that's kind of like immortality in a way. But it's also very humbling. You realize you're just a very small drop in a big ocean, and if you can ripple out somehow, that's great — that's priceless." On not having a "big hit": Neil: "Sometimes, I think the worst thing that could happen to a band is to have that one huge song, especially right at the beginning of their career, because then they have to live up to that, or they expect that. With us, we just have a whole slew of songs, and people have their favorites. It allows us to change up our setlists. If there's anything that comes close to it, it would be 'Electric Worry', and we play that pretty much every night for that reason, but there's also another 16 songs that we change up." On touring with PANTERA: Neil: "It was us and NEUROSIS and PANTERA on their 'Great Southern Trendkill' tour. These places were enormous. A lot of times, the crowd wasn't too crazy about us, and we kind of had an attitude like, 'Okay, if you don't like us, we're going to make you hate us.' Sometimes, we would sit on a riff for 15 minutes, just out of spite. In hindsight, that wasn't a very cool move. We should have tried a different approach. But when we rolled through towns the next time, there was a lot of fans there... [Backstage,] it was pretty nuts, and we kind of steered clear of it as much as we could because we're pretty low-key. I don't think we could compete with their level of after-show raging." CLUTCH's latest album, "Book Of Bad Decisions" was released in September. The record sold 26,000 copies in America during its first week of availability, giving the group their third consecutive Top 20 album on the Billboard 200. "Book Of Bad Decisions" was recorded at Sputnik Sound studio in Nashville, Tennessee with producer Vance Powell. The album cover was designed by renowned photographer Dan Winters.

[post_excerpt] => Prior to CLUTCH's performance in Vienna, Austria on December 8, vocalist Neil Fallon spoke with Mulatschag TV. The full conversation can be viewed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On his lyrics: Neil: "You have to take liberties with the truth. I've always kind of approached lyrics as storytelling, because it's easier to do that night after night after night as opposed to lyrics that are strictly emotional. If I had to sing some emotionally-based thing, I think that would get pretty boring. My life has been so fortunate in a lot of ways that it doesn't make for good material. I've been pretty lucky, so I think that's why I gravitate toward fiction. I like a certain level of privacy. Nowadays, it seems people want to put everything out there publicly, and I kind of yearn for the days of when people knew the fine art of keeping it to yourself... I love writing lyrics, but at the same time, it can also be the most frustrating thing. But when the idea finally does come, it's very rewarding. Sometimes, it sort of seems like it's feast and famine. If I sit down and say, 'Okay, I'm going to write a song right now,' it never happens, but if I'm sitting in my car in traffic, that's when the ideas come, when you're not thinking, not trying. As much as I think iPhones are a digital leash, it's good to have something to be able to talk into really, really quickly. It's almost like a journal in some ways. It's always a learning process, and I don't think there's ever a point where you figure it out — like, 'Oh, this is what I need to do.' It's always a struggle." On the song "Barbarella": Neil: "I wouldn't have written those lyrics that way when I was 20. I saw that song as sort of like, there's 'X-Ray Visions' and then 'Firebirds' are part one and two, and 'Barbarella' is part three, where it's 20 years later and the same character is then trying to impart this wisdom to his son — like, 'Don't be like I was,' which is very familiar trope in a lot of ways." On the 1968 Jane Fonda film of the same name: Neil: "I remember seeing it when I was a teenager. When I came up with the idea of the [song], I said, 'I should watch the movie before I finish writing the lyrics.' I only got about 40 minutes into it and I had to stop, it's so bad. She's gorgeous and beautiful, but the movie is atrocious... There seemed to be a lot of movies when they started filming and they didn't even have a script. They just thought the LSD would write it for them. Usually, those movies aren't very good. You still at the end of the day have to have a good plot." On other bands citing CLUTCH as an influence: Neil: "That's, I think, the ultimate flattery. Sure, having shows is great. Putting out records is great. But when someone says, 'I wrote a song,' or, 'Your influence is now part of what I do,' that's kind of like immortality in a way. But it's also very humbling. You realize you're just a very small drop in a big ocean, and if you can ripple out somehow, that's great — that's priceless." On not having a "big hit": Neil: "Sometimes, I think the worst thing that could happen to a band is to have that one huge song, especially right at the beginning of their career, because then they have to live up to that, or they expect that. With us, we just have a whole slew of songs, and people have their favorites. It allows us to change up our setlists. If there's anything that comes close to it, it would be 'Electric Worry', and we play that pretty much every night for that reason, but there's also another 16 songs that we change up." On touring with PANTERA: Neil: "It was us and NEUROSIS and PANTERA on their 'Great Southern Trendkill' tour. These places were enormous. A lot of times, the crowd wasn't too crazy about us, and we kind of had an attitude like, 'Okay, if you don't like us, we're going to make you hate us.' Sometimes, we would sit on a riff for 15 minutes, just out of spite. In hindsight, that wasn't a very cool move. We should have tried a different approach. But when we rolled through towns the next time, there was a lot of fans there... [Backstage,] it was pretty nuts, and we kind of steered clear of it as much as we could because we're pretty low-key. I don't think we could compete with their level of after-show raging." CLUTCH's latest album, "Book Of Bad Decisions" was released in September. The record sold 26,000 copies in America during its first week of availability, giving the group their third consecutive Top 20 album on the Billboard 200. "Book Of Bad Decisions" was recorded at Sputnik Sound studio in Nashville, Tennessee with producer Vance Powell. The album cover was designed by renowned photographer Dan Winters.
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Decide filter: Returning post, everything seems orderly :NEIL FALLON Says Bands Citing CLUTCH As An Influence Is 'The Ultimate Flattery'

Array ( [post_title] => NEIL FALLON Says Bands Citing CLUTCH As An Influence Is 'The Ultimate Flattery' [post_content] => Prior to CLUTCH's performance in Vienna, Austria on December 8, vocalist Neil Fallon spoke with Mulatschag TV. The full conversation can be viewed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On his lyrics: Neil: "You have to take liberties with the truth. I've always kind of approached lyrics as storytelling, because it's easier to do that night after night after night as opposed to lyrics that are strictly emotional. If I had to sing some emotionally-based thing, I think that would get pretty boring. My life has been so fortunate in a lot of ways that it doesn't make for good material. I've been pretty lucky, so I think that's why I gravitate toward fiction. I like a certain level of privacy. Nowadays, it seems people want to put everything out there publicly, and I kind of yearn for the days of when people knew the fine art of keeping it to yourself... I love writing lyrics, but at the same time, it can also be the most frustrating thing. But when the idea finally does come, it's very rewarding. Sometimes, it sort of seems like it's feast and famine. If I sit down and say, 'Okay, I'm going to write a song right now,' it never happens, but if I'm sitting in my car in traffic, that's when the ideas come, when you're not thinking, not trying. As much as I think iPhones are a digital leash, it's good to have something to be able to talk into really, really quickly. It's almost like a journal in some ways. It's always a learning process, and I don't think there's ever a point where you figure it out — like, 'Oh, this is what I need to do.' It's always a struggle." On the song "Barbarella": Neil: "I wouldn't have written those lyrics that way when I was 20. I saw that song as sort of like, there's 'X-Ray Visions' and then 'Firebirds' are part one and two, and 'Barbarella' is part three, where it's 20 years later and the same character is then trying to impart this wisdom to his son — like, 'Don't be like I was,' which is very familiar trope in a lot of ways." On the 1968 Jane Fonda film of the same name: Neil: "I remember seeing it when I was a teenager. When I came up with the idea of the [song], I said, 'I should watch the movie before I finish writing the lyrics.' I only got about 40 minutes into it and I had to stop, it's so bad. She's gorgeous and beautiful, but the movie is atrocious... There seemed to be a lot of movies when they started filming and they didn't even have a script. They just thought the LSD would write it for them. Usually, those movies aren't very good. You still at the end of the day have to have a good plot." On other bands citing CLUTCH as an influence: Neil: "That's, I think, the ultimate flattery. Sure, having shows is great. Putting out records is great. But when someone says, 'I wrote a song,' or, 'Your influence is now part of what I do,' that's kind of like immortality in a way. But it's also very humbling. You realize you're just a very small drop in a big ocean, and if you can ripple out somehow, that's great — that's priceless." On not having a "big hit": Neil: "Sometimes, I think the worst thing that could happen to a band is to have that one huge song, especially right at the beginning of their career, because then they have to live up to that, or they expect that. With us, we just have a whole slew of songs, and people have their favorites. It allows us to change up our setlists. If there's anything that comes close to it, it would be 'Electric Worry', and we play that pretty much every night for that reason, but there's also another 16 songs that we change up." On touring with PANTERA: Neil: "It was us and NEUROSIS and PANTERA on their 'Great Southern Trendkill' tour. These places were enormous. A lot of times, the crowd wasn't too crazy about us, and we kind of had an attitude like, 'Okay, if you don't like us, we're going to make you hate us.' Sometimes, we would sit on a riff for 15 minutes, just out of spite. In hindsight, that wasn't a very cool move. We should have tried a different approach. But when we rolled through towns the next time, there was a lot of fans there... [Backstage,] it was pretty nuts, and we kind of steered clear of it as much as we could because we're pretty low-key. I don't think we could compete with their level of after-show raging." CLUTCH's latest album, "Book Of Bad Decisions" was released in September. The record sold 26,000 copies in America during its first week of availability, giving the group their third consecutive Top 20 album on the Billboard 200. "Book Of Bad Decisions" was recorded at Sputnik Sound studio in Nashville, Tennessee with producer Vance Powell. The album cover was designed by renowned photographer Dan Winters.

[post_excerpt] => Prior to CLUTCH's performance in Vienna, Austria on December 8, vocalist Neil Fallon spoke with Mulatschag TV. The full conversation can be viewed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On his lyrics: Neil: "You have to take liberties with the truth. I've always kind of approached lyrics as storytelling, because it's easier to do that night after night after night as opposed to lyrics that are strictly emotional. If I had to sing some emotionally-based thing, I think that would get pretty boring. My life has been so fortunate in a lot of ways that it doesn't make for good material. I've been pretty lucky, so I think that's why I gravitate toward fiction. I like a certain level of privacy. Nowadays, it seems people want to put everything out there publicly, and I kind of yearn for the days of when people knew the fine art of keeping it to yourself... I love writing lyrics, but at the same time, it can also be the most frustrating thing. But when the idea finally does come, it's very rewarding. Sometimes, it sort of seems like it's feast and famine. If I sit down and say, 'Okay, I'm going to write a song right now,' it never happens, but if I'm sitting in my car in traffic, that's when the ideas come, when you're not thinking, not trying. As much as I think iPhones are a digital leash, it's good to have something to be able to talk into really, really quickly. It's almost like a journal in some ways. It's always a learning process, and I don't think there's ever a point where you figure it out — like, 'Oh, this is what I need to do.' It's always a struggle." On the song "Barbarella": Neil: "I wouldn't have written those lyrics that way when I was 20. I saw that song as sort of like, there's 'X-Ray Visions' and then 'Firebirds' are part one and two, and 'Barbarella' is part three, where it's 20 years later and the same character is then trying to impart this wisdom to his son — like, 'Don't be like I was,' which is very familiar trope in a lot of ways." On the 1968 Jane Fonda film of the same name: Neil: "I remember seeing it when I was a teenager. When I came up with the idea of the [song], I said, 'I should watch the movie before I finish writing the lyrics.' I only got about 40 minutes into it and I had to stop, it's so bad. She's gorgeous and beautiful, but the movie is atrocious... There seemed to be a lot of movies when they started filming and they didn't even have a script. They just thought the LSD would write it for them. Usually, those movies aren't very good. You still at the end of the day have to have a good plot." On other bands citing CLUTCH as an influence: Neil: "That's, I think, the ultimate flattery. Sure, having shows is great. Putting out records is great. But when someone says, 'I wrote a song,' or, 'Your influence is now part of what I do,' that's kind of like immortality in a way. But it's also very humbling. You realize you're just a very small drop in a big ocean, and if you can ripple out somehow, that's great — that's priceless." On not having a "big hit": Neil: "Sometimes, I think the worst thing that could happen to a band is to have that one huge song, especially right at the beginning of their career, because then they have to live up to that, or they expect that. With us, we just have a whole slew of songs, and people have their favorites. It allows us to change up our setlists. If there's anything that comes close to it, it would be 'Electric Worry', and we play that pretty much every night for that reason, but there's also another 16 songs that we change up." On touring with PANTERA: Neil: "It was us and NEUROSIS and PANTERA on their 'Great Southern Trendkill' tour. These places were enormous. A lot of times, the crowd wasn't too crazy about us, and we kind of had an attitude like, 'Okay, if you don't like us, we're going to make you hate us.' Sometimes, we would sit on a riff for 15 minutes, just out of spite. In hindsight, that wasn't a very cool move. We should have tried a different approach. But when we rolled through towns the next time, there was a lot of fans there... [Backstage,] it was pretty nuts, and we kind of steered clear of it as much as we could because we're pretty low-key. I don't think we could compete with their level of after-show raging." CLUTCH's latest album, "Book Of Bad Decisions" was released in September. The record sold 26,000 copies in America during its first week of availability, giving the group their third consecutive Top 20 album on the Billboard 200. "Book Of Bad Decisions" was recorded at Sputnik Sound studio in Nashville, Tennessee with producer Vance Powell. The album cover was designed by renowned photographer Dan Winters.
[post_date_gmt] => 2018-12-15 10:41:19 [post_date] => 2018-12-15 05:41:19 [post_modified_gmt] => 2018-12-15 10:41:19 [post_modified] => 2018-12-15 05:41:19 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://1e4f0d59473a7f82f9adcd246f416d09 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/neil-fallon-says-bands-citing-clutch-as-an-influence-is-the-ultimate-flattery/ [syndication_item_hash] => 386a7d6eab71cd8633363df8a5c8dc65 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

FAF deciding on filters on post to be syndicated:

OPETH Frontman Says Fans Can't 'Dictate' Group's Musical Direction: 'We Just Do What We Want To Do'

Array ( [post_title] => OPETH Frontman Says Fans Can't 'Dictate' Group's Musical Direction: 'We Just Do What We Want To Do' [post_content] => OPETH vocalist/guitarist Mikael Åkerfeldt recently spoke with Owais "Vitek" Nabi of Metal Wani. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how he's been enjoying OPETH's apparent time off: Mikael: "I don't think, in retrospect, that I took so much time off, because we went off tour in November last year, and after Christmas, I was already in the studio working [on] new music. I didn't get the break I wanted to have, but it was more or less self-inflicted, because I decided to go down to the studio to see what happens. Since then, we've been working, and we've been putting together this live DVD ['Garden Of The Titans: Live At Red Rocks Amphitheatre'], so it's really not so much rest, even if it's been away from the touring scene since November [of 2017]." On the motivation behind releasing "Garden Of The Titans": Mikael: "I'm not the biggest fan of live albums myself, especially not our own, so I'm not sitting around every day playing the live album, like, 'Oh, I'm so good.' But I'm hoping that there's OPETH fans out there who want to hear this and see the DVD and all that stuff. It's our fourth [live] album, and I think it's relevant because it features songs from the last three albums which we haven't recorded before. That's one of the reasons why we decided to put it out — that and the fact that we have been away since the last tour. We wanted to put something out just so people wouldn't forget about us." On playing Red Rocks Amphitheatre: Mikael: "I thought [of] U2. That was the first thing that popped into my head when somebody mentioned Red Rocks — 'That's where U2 did the 'Under A Blood Red Sky' album.' Not that I'm a big U2 fan at all, but I knew about the place. There's certain venues around the world that you've heard about, and Red Rocks was, I would say, in the subconscious, I think it was on the bucket list that we wanted to play. It was also one of those unreachable venues because it's so special, and I figured they would never let a band like us play there — but that's also what I thought about the Sydney Opera House and what I thought about Radio City Music Hall in New York, Royal Albert Hall in London. This was one on the bucket list, and I was really happy that we were given the opportunity to play there, and also to make a recording of that night. It was a special night, and I'm really happy that we have it on film now, like proof that we've been there." On the DVD's visual presentation: Mikael: "To me, it's almost like live DVDs or TV shows these days, it's like they're made for children with ADHD. There's so many cuts. It's so much information all the time — so many angles — and I'm used to, like, '60s, '70s films where there's long camera takes, that type of stuff. That's my personal favorite. But seeing that we are not one of the more animated bands on stage — we basically just stand there playing the songs — you have to kind of make it a little bit interesting, so I figured maybe that's a good way to make it not as dull. Also, because it was a windy evening — it was freezing cold and windy — I think it makes it more exciting, and it makes it look more turbulent, exactly as it was and how it felt for us." On the evolving perception of the band's decision to move away from their progressive death metal roots: Mikael: "I can't dictate the rules of what type of music is good or what type of music people should listen to, but you have to also put it in reverse. Even if we've got fans who like a specific record or a specific string of albums that we've done, they cannot in turn dictate the rules to us of what we should do, because we just do what we want to do. I don't want to compare myself to any other artist, but the artists that I like the most are the ones who developed. I'm not the same guy that I was when I was 19. There are many similarities, but I'm not the same. I've gone through the motions with my own consummation of music and I've developed and widened my taste in music, and it would be strange if I didn't let that infiltrate the sound of the music that I write. In retrospect, I think some of these albums that we put out that got a lot of criticism — bad criticism, like [2011's] 'Heritage', for instance — with time I have met people and you see when we play songs from there now, it's different to what it was when we played it back then. When we played 'The Devil's Orchard' when the album had just come out, people were like, 'What the hell is this?' Now, it's just a song that they like. Some people — I understand not all of them, but some people have embraced 'Heritage', while in the beginning, maybe they thought that they would never play that album again. What happened in the end is that we have fans who come to the show from all fans of life. It's not just metal fans — it's rock fans, prog rock fans or whatever. Some people like this era of the band; some people like that era of the band; some people like everything. That's a good position to be in for me. That's how I am. There was a point in my life where I figured I will never listen to soft music — I will only listen to extreme grindcore, and that's it. Obviously, that wasn't true, because in the end, I discovered Joni Mitchell, and I discovered classical music and jazz music, and now, it doesn't matter what genre it is. If it's good music, I like it. I want to be in a band, in a musical environment that pushes for that — that pushes for musical expression regardless of the genre, and musical freedom. That's how I perceive things, and ultimately for me, as a musician, I am the best judge of what I should do." On the status of OPETH's next album: Mikael: "I don't want to rush things. I want to make sure that the music that we have is fantastic. I don't want to [settle for] anything less than fantastic. Once we feel, 'Okay, this is a great, great album,' then we'll record it." On whether OPETH plans to commemorate the upcoming 20h anniversaries of "Still Life" and "Blackwater Park": Mikael: "I know that fans love those things, and our manager loves those things, because those shows are a good financial thing, to be honest. I'm going to be completely honest — I don't like those kind of things. We've done that stuff, and I'm not saying I disliked it, but I don't like the idea of going out and playing an album. I'm sure we're going to do it again, and if you go to one of those shows, you might look at me thinking, 'Maybe it looks like he doesn't like it,' and part of that is true, but once I'm up there, it's okay — it's always okay. But it feels a bit like a nostalgia act, and I want to be relevant. I want to play those old songs, but I don't only want to play old songs. I want to play from all the albums." "Garden Of The Titans: Live At Red Rocks Amphitheatre" was released on November 2 via Moderbolaget Records / Nuclear Blast Entertainment. OPETH's latest studio album, "Sorceress", came out in 2016.

[post_excerpt] => OPETH vocalist/guitarist Mikael Åkerfeldt recently spoke with Owais "Vitek" Nabi of Metal Wani. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how he's been enjoying OPETH's apparent time off: Mikael: "I don't think, in retrospect, that I took so much time off, because we went off tour in November last year, and after Christmas, I was already in the studio working [on] new music. I didn't get the break I wanted to have, but it was more or less self-inflicted, because I decided to go down to the studio to see what happens. Since then, we've been working, and we've been putting together this live DVD ['Garden Of The Titans: Live At Red Rocks Amphitheatre'], so it's really not so much rest, even if it's been away from the touring scene since November [of 2017]." On the motivation behind releasing "Garden Of The Titans": Mikael: "I'm not the biggest fan of live albums myself, especially not our own, so I'm not sitting around every day playing the live album, like, 'Oh, I'm so good.' But I'm hoping that there's OPETH fans out there who want to hear this and see the DVD and all that stuff. It's our fourth [live] album, and I think it's relevant because it features songs from the last three albums which we haven't recorded before. That's one of the reasons why we decided to put it out — that and the fact that we have been away since the last tour. We wanted to put something out just so people wouldn't forget about us." On playing Red Rocks Amphitheatre: Mikael: "I thought [of] U2. That was the first thing that popped into my head when somebody mentioned Red Rocks — 'That's where U2 did the 'Under A Blood Red Sky' album.' Not that I'm a big U2 fan at all, but I knew about the place. There's certain venues around the world that you've heard about, and Red Rocks was, I would say, in the subconscious, I think it was on the bucket list that we wanted to play. It was also one of those unreachable venues because it's so special, and I figured they would never let a band like us play there — but that's also what I thought about the Sydney Opera House and what I thought about Radio City Music Hall in New York, Royal Albert Hall in London. This was one on the bucket list, and I was really happy that we were given the opportunity to play there, and also to make a recording of that night. It was a special night, and I'm really happy that we have it on film now, like proof that we've been there." On the DVD's visual presentation: Mikael: "To me, it's almost like live DVDs or TV shows these days, it's like they're made for children with ADHD. There's so many cuts. It's so much information all the time — so many angles — and I'm used to, like, '60s, '70s films where there's long camera takes, that type of stuff. That's my personal favorite. But seeing that we are not one of the more animated bands on stage — we basically just stand there playing the songs — you have to kind of make it a little bit interesting, so I figured maybe that's a good way to make it not as dull. Also, because it was a windy evening — it was freezing cold and windy — I think it makes it more exciting, and it makes it look more turbulent, exactly as it was and how it felt for us." On the evolving perception of the band's decision to move away from their progressive death metal roots: Mikael: "I can't dictate the rules of what type of music is good or what type of music people should listen to, but you have to also put it in reverse. Even if we've got fans who like a specific record or a specific string of albums that we've done, they cannot in turn dictate the rules to us of what we should do, because we just do what we want to do. I don't want to compare myself to any other artist, but the artists that I like the most are the ones who developed. I'm not the same guy that I was when I was 19. There are many similarities, but I'm not the same. I've gone through the motions with my own consummation of music and I've developed and widened my taste in music, and it would be strange if I didn't let that infiltrate the sound of the music that I write. In retrospect, I think some of these albums that we put out that got a lot of criticism — bad criticism, like [2011's] 'Heritage', for instance — with time I have met people and you see when we play songs from there now, it's different to what it was when we played it back then. When we played 'The Devil's Orchard' when the album had just come out, people were like, 'What the hell is this?' Now, it's just a song that they like. Some people — I understand not all of them, but some people have embraced 'Heritage', while in the beginning, maybe they thought that they would never play that album again. What happened in the end is that we have fans who come to the show from all fans of life. It's not just metal fans — it's rock fans, prog rock fans or whatever. Some people like this era of the band; some people like that era of the band; some people like everything. That's a good position to be in for me. That's how I am. There was a point in my life where I figured I will never listen to soft music — I will only listen to extreme grindcore, and that's it. Obviously, that wasn't true, because in the end, I discovered Joni Mitchell, and I discovered classical music and jazz music, and now, it doesn't matter what genre it is. If it's good music, I like it. I want to be in a band, in a musical environment that pushes for that — that pushes for musical expression regardless of the genre, and musical freedom. That's how I perceive things, and ultimately for me, as a musician, I am the best judge of what I should do." On the status of OPETH's next album: Mikael: "I don't want to rush things. I want to make sure that the music that we have is fantastic. I don't want to [settle for] anything less than fantastic. Once we feel, 'Okay, this is a great, great album,' then we'll record it." On whether OPETH plans to commemorate the upcoming 20h anniversaries of "Still Life" and "Blackwater Park": Mikael: "I know that fans love those things, and our manager loves those things, because those shows are a good financial thing, to be honest. I'm going to be completely honest — I don't like those kind of things. We've done that stuff, and I'm not saying I disliked it, but I don't like the idea of going out and playing an album. I'm sure we're going to do it again, and if you go to one of those shows, you might look at me thinking, 'Maybe it looks like he doesn't like it,' and part of that is true, but once I'm up there, it's okay — it's always okay. But it feels a bit like a nostalgia act, and I want to be relevant. I want to play those old songs, but I don't only want to play old songs. I want to play from all the albums." "Garden Of The Titans: Live At Red Rocks Amphitheatre" was released on November 2 via Moderbolaget Records / Nuclear Blast Entertainment. OPETH's latest studio album, "Sorceress", came out in 2016.
[post_date_gmt] => 2018-12-15 10:27:09 [post_date] => 2018-12-15 05:27:09 [post_modified_gmt] => 2018-12-15 10:27:09 [post_modified] => 2018-12-15 05:27:09 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://19a59763089a06deb1c235ea823760af [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/opeth-frontman-says-fans-cant-dictate-groups-musical-direction-we-just-do-what-we-want-to-do/ [syndication_item_hash] => e2be82aa69616df74becc3c03b27a345 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :OPETH Frontman Says Fans Can't 'Dictate' Group's Musical Direction: 'We Just Do What We Want To Do'

Array ( [post_title] => OPETH Frontman Says Fans Can't 'Dictate' Group's Musical Direction: 'We Just Do What We Want To Do' [post_content] => OPETH vocalist/guitarist Mikael Åkerfeldt recently spoke with Owais "Vitek" Nabi of Metal Wani. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how he's been enjoying OPETH's apparent time off: Mikael: "I don't think, in retrospect, that I took so much time off, because we went off tour in November last year, and after Christmas, I was already in the studio working [on] new music. I didn't get the break I wanted to have, but it was more or less self-inflicted, because I decided to go down to the studio to see what happens. Since then, we've been working, and we've been putting together this live DVD ['Garden Of The Titans: Live At Red Rocks Amphitheatre'], so it's really not so much rest, even if it's been away from the touring scene since November [of 2017]." On the motivation behind releasing "Garden Of The Titans": Mikael: "I'm not the biggest fan of live albums myself, especially not our own, so I'm not sitting around every day playing the live album, like, 'Oh, I'm so good.' But I'm hoping that there's OPETH fans out there who want to hear this and see the DVD and all that stuff. It's our fourth [live] album, and I think it's relevant because it features songs from the last three albums which we haven't recorded before. That's one of the reasons why we decided to put it out — that and the fact that we have been away since the last tour. We wanted to put something out just so people wouldn't forget about us." On playing Red Rocks Amphitheatre: Mikael: "I thought [of] U2. That was the first thing that popped into my head when somebody mentioned Red Rocks — 'That's where U2 did the 'Under A Blood Red Sky' album.' Not that I'm a big U2 fan at all, but I knew about the place. There's certain venues around the world that you've heard about, and Red Rocks was, I would say, in the subconscious, I think it was on the bucket list that we wanted to play. It was also one of those unreachable venues because it's so special, and I figured they would never let a band like us play there — but that's also what I thought about the Sydney Opera House and what I thought about Radio City Music Hall in New York, Royal Albert Hall in London. This was one on the bucket list, and I was really happy that we were given the opportunity to play there, and also to make a recording of that night. It was a special night, and I'm really happy that we have it on film now, like proof that we've been there." On the DVD's visual presentation: Mikael: "To me, it's almost like live DVDs or TV shows these days, it's like they're made for children with ADHD. There's so many cuts. It's so much information all the time — so many angles — and I'm used to, like, '60s, '70s films where there's long camera takes, that type of stuff. That's my personal favorite. But seeing that we are not one of the more animated bands on stage — we basically just stand there playing the songs — you have to kind of make it a little bit interesting, so I figured maybe that's a good way to make it not as dull. Also, because it was a windy evening — it was freezing cold and windy — I think it makes it more exciting, and it makes it look more turbulent, exactly as it was and how it felt for us." On the evolving perception of the band's decision to move away from their progressive death metal roots: Mikael: "I can't dictate the rules of what type of music is good or what type of music people should listen to, but you have to also put it in reverse. Even if we've got fans who like a specific record or a specific string of albums that we've done, they cannot in turn dictate the rules to us of what we should do, because we just do what we want to do. I don't want to compare myself to any other artist, but the artists that I like the most are the ones who developed. I'm not the same guy that I was when I was 19. There are many similarities, but I'm not the same. I've gone through the motions with my own consummation of music and I've developed and widened my taste in music, and it would be strange if I didn't let that infiltrate the sound of the music that I write. In retrospect, I think some of these albums that we put out that got a lot of criticism — bad criticism, like [2011's] 'Heritage', for instance — with time I have met people and you see when we play songs from there now, it's different to what it was when we played it back then. When we played 'The Devil's Orchard' when the album had just come out, people were like, 'What the hell is this?' Now, it's just a song that they like. Some people — I understand not all of them, but some people have embraced 'Heritage', while in the beginning, maybe they thought that they would never play that album again. What happened in the end is that we have fans who come to the show from all fans of life. It's not just metal fans — it's rock fans, prog rock fans or whatever. Some people like this era of the band; some people like that era of the band; some people like everything. That's a good position to be in for me. That's how I am. There was a point in my life where I figured I will never listen to soft music — I will only listen to extreme grindcore, and that's it. Obviously, that wasn't true, because in the end, I discovered Joni Mitchell, and I discovered classical music and jazz music, and now, it doesn't matter what genre it is. If it's good music, I like it. I want to be in a band, in a musical environment that pushes for that — that pushes for musical expression regardless of the genre, and musical freedom. That's how I perceive things, and ultimately for me, as a musician, I am the best judge of what I should do." On the status of OPETH's next album: Mikael: "I don't want to rush things. I want to make sure that the music that we have is fantastic. I don't want to [settle for] anything less than fantastic. Once we feel, 'Okay, this is a great, great album,' then we'll record it." On whether OPETH plans to commemorate the upcoming 20h anniversaries of "Still Life" and "Blackwater Park": Mikael: "I know that fans love those things, and our manager loves those things, because those shows are a good financial thing, to be honest. I'm going to be completely honest — I don't like those kind of things. We've done that stuff, and I'm not saying I disliked it, but I don't like the idea of going out and playing an album. I'm sure we're going to do it again, and if you go to one of those shows, you might look at me thinking, 'Maybe it looks like he doesn't like it,' and part of that is true, but once I'm up there, it's okay — it's always okay. But it feels a bit like a nostalgia act, and I want to be relevant. I want to play those old songs, but I don't only want to play old songs. I want to play from all the albums." "Garden Of The Titans: Live At Red Rocks Amphitheatre" was released on November 2 via Moderbolaget Records / Nuclear Blast Entertainment. OPETH's latest studio album, "Sorceress", came out in 2016.

[post_excerpt] => OPETH vocalist/guitarist Mikael Åkerfeldt recently spoke with Owais "Vitek" Nabi of Metal Wani. The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On how he's been enjoying OPETH's apparent time off: Mikael: "I don't think, in retrospect, that I took so much time off, because we went off tour in November last year, and after Christmas, I was already in the studio working [on] new music. I didn't get the break I wanted to have, but it was more or less self-inflicted, because I decided to go down to the studio to see what happens. Since then, we've been working, and we've been putting together this live DVD ['Garden Of The Titans: Live At Red Rocks Amphitheatre'], so it's really not so much rest, even if it's been away from the touring scene since November [of 2017]." On the motivation behind releasing "Garden Of The Titans": Mikael: "I'm not the biggest fan of live albums myself, especially not our own, so I'm not sitting around every day playing the live album, like, 'Oh, I'm so good.' But I'm hoping that there's OPETH fans out there who want to hear this and see the DVD and all that stuff. It's our fourth [live] album, and I think it's relevant because it features songs from the last three albums which we haven't recorded before. That's one of the reasons why we decided to put it out — that and the fact that we have been away since the last tour. We wanted to put something out just so people wouldn't forget about us." On playing Red Rocks Amphitheatre: Mikael: "I thought [of] U2. That was the first thing that popped into my head when somebody mentioned Red Rocks — 'That's where U2 did the 'Under A Blood Red Sky' album.' Not that I'm a big U2 fan at all, but I knew about the place. There's certain venues around the world that you've heard about, and Red Rocks was, I would say, in the subconscious, I think it was on the bucket list that we wanted to play. It was also one of those unreachable venues because it's so special, and I figured they would never let a band like us play there — but that's also what I thought about the Sydney Opera House and what I thought about Radio City Music Hall in New York, Royal Albert Hall in London. This was one on the bucket list, and I was really happy that we were given the opportunity to play there, and also to make a recording of that night. It was a special night, and I'm really happy that we have it on film now, like proof that we've been there." On the DVD's visual presentation: Mikael: "To me, it's almost like live DVDs or TV shows these days, it's like they're made for children with ADHD. There's so many cuts. It's so much information all the time — so many angles — and I'm used to, like, '60s, '70s films where there's long camera takes, that type of stuff. That's my personal favorite. But seeing that we are not one of the more animated bands on stage — we basically just stand there playing the songs — you have to kind of make it a little bit interesting, so I figured maybe that's a good way to make it not as dull. Also, because it was a windy evening — it was freezing cold and windy — I think it makes it more exciting, and it makes it look more turbulent, exactly as it was and how it felt for us." On the evolving perception of the band's decision to move away from their progressive death metal roots: Mikael: "I can't dictate the rules of what type of music is good or what type of music people should listen to, but you have to also put it in reverse. Even if we've got fans who like a specific record or a specific string of albums that we've done, they cannot in turn dictate the rules to us of what we should do, because we just do what we want to do. I don't want to compare myself to any other artist, but the artists that I like the most are the ones who developed. I'm not the same guy that I was when I was 19. There are many similarities, but I'm not the same. I've gone through the motions with my own consummation of music and I've developed and widened my taste in music, and it would be strange if I didn't let that infiltrate the sound of the music that I write. In retrospect, I think some of these albums that we put out that got a lot of criticism — bad criticism, like [2011's] 'Heritage', for instance — with time I have met people and you see when we play songs from there now, it's different to what it was when we played it back then. When we played 'The Devil's Orchard' when the album had just come out, people were like, 'What the hell is this?' Now, it's just a song that they like. Some people — I understand not all of them, but some people have embraced 'Heritage', while in the beginning, maybe they thought that they would never play that album again. What happened in the end is that we have fans who come to the show from all fans of life. It's not just metal fans — it's rock fans, prog rock fans or whatever. Some people like this era of the band; some people like that era of the band; some people like everything. That's a good position to be in for me. That's how I am. There was a point in my life where I figured I will never listen to soft music — I will only listen to extreme grindcore, and that's it. Obviously, that wasn't true, because in the end, I discovered Joni Mitchell, and I discovered classical music and jazz music, and now, it doesn't matter what genre it is. If it's good music, I like it. I want to be in a band, in a musical environment that pushes for that — that pushes for musical expression regardless of the genre, and musical freedom. That's how I perceive things, and ultimately for me, as a musician, I am the best judge of what I should do." On the status of OPETH's next album: Mikael: "I don't want to rush things. I want to make sure that the music that we have is fantastic. I don't want to [settle for] anything less than fantastic. Once we feel, 'Okay, this is a great, great album,' then we'll record it." On whether OPETH plans to commemorate the upcoming 20h anniversaries of "Still Life" and "Blackwater Park": Mikael: "I know that fans love those things, and our manager loves those things, because those shows are a good financial thing, to be honest. I'm going to be completely honest — I don't like those kind of things. We've done that stuff, and I'm not saying I disliked it, but I don't like the idea of going out and playing an album. I'm sure we're going to do it again, and if you go to one of those shows, you might look at me thinking, 'Maybe it looks like he doesn't like it,' and part of that is true, but once I'm up there, it's okay — it's always okay. But it feels a bit like a nostalgia act, and I want to be relevant. I want to play those old songs, but I don't only want to play old songs. I want to play from all the albums." "Garden Of The Titans: Live At Red Rocks Amphitheatre" was released on November 2 via Moderbolaget Records / Nuclear Blast Entertainment. OPETH's latest studio album, "Sorceress", came out in 2016.
[post_date_gmt] => 2018-12-15 10:27:09 [post_date] => 2018-12-15 05:27:09 [post_modified_gmt] => 2018-12-15 10:27:09 [post_modified] => 2018-12-15 05:27:09 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://19a59763089a06deb1c235ea823760af [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/opeth-frontman-says-fans-cant-dictate-groups-musical-direction-we-just-do-what-we-want-to-do/ [syndication_item_hash] => e2be82aa69616df74becc3c03b27a345 [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

FAF deciding on filters on post to be syndicated:

Original MOTÖRHEAD Drummer PHIL 'PHILTHY ANIMAL' TAYLOR's LITTLE VILLAINS Album To Receive Posthumous Release

Array ( [post_title] => Original MOTÖRHEAD Drummer PHIL 'PHILTHY ANIMAL' TAYLOR's LITTLE VILLAINS Album To Receive Posthumous Release [post_content] => Fans all over the globe will be able to experience the distinctive and ferocious talent of late Phil "Philthy Animal" Taylor one more time. LITTLE VILLAINS, who were formed in 2006 by MOTÖRHEAD's legendary drummer as well as James Childs (AVON, AIRBUS) and Owen Street of desert rockers WAXY and sludge unit VAILS, have revealed the first and hotly anticipated details about their upcoming album, "Philthy Lies". Set for a release on March 29, 2019, Philthy's music will shine on in true Motörspirit with his exceptional performance on "Philthy Lies", proving his explosive drum techniques were more than intact many years after his departure from MOTÖRHEAD. Despite personal circumstances preventing the band from ever breaking out, the group decided that the music deserves to be heard as a testament to the late founding member, when LITTLE VILLAINS signed to Heavy Psych Sounds and will be represented by James, Owen and the very capable AIRBUS drummer Chris Fielden to continue the group's legacy and grow. "Philthy Lies" is a half hour slice of a rock 'n' roll dream cake, and a true gem for any MOTÖRHEAD and heavy rock genre collection. All album tracks were recorded at Unit A Studios in Palm Springs, California in February 2007. "Philthy Lies" was produced and engineered on two-inch tape by James A Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. To give a first appetizer, LITTLE VILLAINS have shared the cover artwork and track listing, as well as the track "What On Earth". "Philthy Lies" track listing: 01. What On Earth 02. Attack 03. Traitor 04. Running Around 05. Water Under The Bridge 06. In The Head 07. Enemy 08. Got To Grips 09. I Am Dying 10. Get Out Taylor died on November 11, 2015 of liver failure. He was 61 years old. Taylor played in MOTÖRHEAD from 1975 to 1984 and again from 1987 to 1992. He appeared on the band's debut album, "On Parole", and played on a further ten albums, including 1979's "Bomber", 1980's "Ace Of Spades", and 1982's "Iron Fist". Taylor contributed to MOTÖRHEAD's 1992 album "March Or Die" but departed the band during the recording process. The album was completed by drummers Tommy Aldridge and the band's most recent sticksman, Mikkey Dee.

[post_excerpt] => Fans all over the globe will be able to experience the distinctive and ferocious talent of late Phil "Philthy Animal" Taylor one more time. LITTLE VILLAINS, who were formed in 2006 by MOTÖRHEAD's legendary drummer as well as James Childs (AVON, AIRBUS) and Owen Street of desert rockers WAXY and sludge unit VAILS, have revealed the first and hotly anticipated details about their upcoming album, "Philthy Lies". Set for a release on March 29, 2019, Philthy's music will shine on in true Motörspirit with his exceptional performance on "Philthy Lies", proving his explosive drum techniques were more than intact many years after his departure from MOTÖRHEAD. Despite personal circumstances preventing the band from ever breaking out, the group decided that the music deserves to be heard as a testament to the late founding member, when LITTLE VILLAINS signed to Heavy Psych Sounds and will be represented by James, Owen and the very capable AIRBUS drummer Chris Fielden to continue the group's legacy and grow. "Philthy Lies" is a half hour slice of a rock 'n' roll dream cake, and a true gem for any MOTÖRHEAD and heavy rock genre collection. All album tracks were recorded at Unit A Studios in Palm Springs, California in February 2007. "Philthy Lies" was produced and engineered on two-inch tape by James A Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. To give a first appetizer, LITTLE VILLAINS have shared the cover artwork and track listing, as well as the track "What On Earth". "Philthy Lies" track listing: 01. What On Earth 02. Attack 03. Traitor 04. Running Around 05. Water Under The Bridge 06. In The Head 07. Enemy 08. Got To Grips 09. I Am Dying 10. Get Out Taylor died on November 11, 2015 of liver failure. He was 61 years old. Taylor played in MOTÖRHEAD from 1975 to 1984 and again from 1987 to 1992. He appeared on the band's debut album, "On Parole", and played on a further ten albums, including 1979's "Bomber", 1980's "Ace Of Spades", and 1982's "Iron Fist". Taylor contributed to MOTÖRHEAD's 1992 album "March Or Die" but departed the band during the recording process. The album was completed by drummers Tommy Aldridge and the band's most recent sticksman, Mikkey Dee.
[post_date_gmt] => 2018-12-15 09:47:02 [post_date] => 2018-12-15 04:47:02 [post_modified_gmt] => 2018-12-15 09:47:02 [post_modified] => 2018-12-15 04:47:02 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://d56ba278016fe3d2e244bb8a0e97a641 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/original-motorhead-drummer-phil-philthy-animal-taylors-little-villains-album-to-receive-posthumous-release/ [syndication_item_hash] => 4a0d36ff3589e7fae499c428a08a734a ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Replacing images : - ON Fans all over the globe will be able to experience the distinctive and ferocious talent of late Phil "Philthy Animal" Taylor one more time. LITTLE VILLAINS, who were formed in 2006 by MOTÖRHEAD's legendary drummer as well as James Childs (AVON, AIRBUS) and Owen Street of desert rockers WAXY and sludge unit VAILS, have revealed the first and hotly anticipated details about their upcoming album, "Philthy Lies". Set for a release on March 29, 2019, Philthy's music will shine on in true Motörspirit with his exceptional performance on "Philthy Lies", proving his explosive drum techniques were more than intact many years after his departure from MOTÖRHEAD. Despite personal circumstances preventing the band from ever breaking out, the group decided that the music deserves to be heard as a testament to the late founding member, when LITTLE VILLAINS signed to Heavy Psych Sounds and will be represented by James, Owen and the very capable AIRBUS drummer Chris Fielden to continue the group's legacy and grow. "Philthy Lies" is a half hour slice of a rock 'n' roll dream cake, and a true gem for any MOTÖRHEAD and heavy rock genre collection. All album tracks were recorded at Unit A Studios in Palm Springs, California in February 2007. "Philthy Lies" was produced and engineered on two-inch tape by James A Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. To give a first appetizer, LITTLE VILLAINS have shared the cover artwork and track listing, as well as the track "What On Earth". "Philthy Lies" track listing: 01. What On Earth 02. Attack 03. Traitor 04. Running Around 05. Water Under The Bridge 06. In The Head 07. Enemy 08. Got To Grips 09. I Am Dying 10. Get Out Taylor died on November 11, 2015 of liver failure. He was 61 years old. Taylor played in MOTÖRHEAD from 1975 to 1984 and again from 1987 to 1992. He appeared on the band's debut album, "On Parole", and played on a further ten albums, including 1979's "Bomber", 1980's "Ace Of Spades", and 1982's "Iron Fist". Taylor contributed to MOTÖRHEAD's 1992 album "March Or Die" but departed the band during the recording process. The album was completed by drummers Tommy Aldridge and the band's most recent sticksman, Mikkey Dee.

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Decide filter: Returning post, everything seems orderly :Original MOTÖRHEAD Drummer PHIL 'PHILTHY ANIMAL' TAYLOR's LITTLE VILLAINS Album To Receive Posthumous Release

Array ( [post_title] => Original MOTÖRHEAD Drummer PHIL 'PHILTHY ANIMAL' TAYLOR's LITTLE VILLAINS Album To Receive Posthumous Release [post_content] => Fans all over the globe will be able to experience the distinctive and ferocious talent of late Phil "Philthy Animal" Taylor one more time. LITTLE VILLAINS, who were formed in 2006 by MOTÖRHEAD's legendary drummer as well as James Childs (AVON, AIRBUS) and Owen Street of desert rockers WAXY and sludge unit VAILS, have revealed the first and hotly anticipated details about their upcoming album, "Philthy Lies". Set for a release on March 29, 2019, Philthy's music will shine on in true Motörspirit with his exceptional performance on "Philthy Lies", proving his explosive drum techniques were more than intact many years after his departure from MOTÖRHEAD. Despite personal circumstances preventing the band from ever breaking out, the group decided that the music deserves to be heard as a testament to the late founding member, when LITTLE VILLAINS signed to Heavy Psych Sounds and will be represented by James, Owen and the very capable AIRBUS drummer Chris Fielden to continue the group's legacy and grow. "Philthy Lies" is a half hour slice of a rock 'n' roll dream cake, and a true gem for any MOTÖRHEAD and heavy rock genre collection. All album tracks were recorded at Unit A Studios in Palm Springs, California in February 2007. "Philthy Lies" was produced and engineered on two-inch tape by James A Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. To give a first appetizer, LITTLE VILLAINS have shared the cover artwork and track listing, as well as the track "What On Earth". "Philthy Lies" track listing: 01. What On Earth 02. Attack 03. Traitor 04. Running Around 05. Water Under The Bridge 06. In The Head 07. Enemy 08. Got To Grips 09. I Am Dying 10. Get Out Taylor died on November 11, 2015 of liver failure. He was 61 years old. Taylor played in MOTÖRHEAD from 1975 to 1984 and again from 1987 to 1992. He appeared on the band's debut album, "On Parole", and played on a further ten albums, including 1979's "Bomber", 1980's "Ace Of Spades", and 1982's "Iron Fist". Taylor contributed to MOTÖRHEAD's 1992 album "March Or Die" but departed the band during the recording process. The album was completed by drummers Tommy Aldridge and the band's most recent sticksman, Mikkey Dee.

[post_excerpt] => Fans all over the globe will be able to experience the distinctive and ferocious talent of late Phil "Philthy Animal" Taylor one more time. LITTLE VILLAINS, who were formed in 2006 by MOTÖRHEAD's legendary drummer as well as James Childs (AVON, AIRBUS) and Owen Street of desert rockers WAXY and sludge unit VAILS, have revealed the first and hotly anticipated details about their upcoming album, "Philthy Lies". Set for a release on March 29, 2019, Philthy's music will shine on in true Motörspirit with his exceptional performance on "Philthy Lies", proving his explosive drum techniques were more than intact many years after his departure from MOTÖRHEAD. Despite personal circumstances preventing the band from ever breaking out, the group decided that the music deserves to be heard as a testament to the late founding member, when LITTLE VILLAINS signed to Heavy Psych Sounds and will be represented by James, Owen and the very capable AIRBUS drummer Chris Fielden to continue the group's legacy and grow. "Philthy Lies" is a half hour slice of a rock 'n' roll dream cake, and a true gem for any MOTÖRHEAD and heavy rock genre collection. All album tracks were recorded at Unit A Studios in Palm Springs, California in February 2007. "Philthy Lies" was produced and engineered on two-inch tape by James A Childs with Unit A's owner Robbie Waldman assisting the session. Recently, James has carefully carved the record's sound to maximum justice from the original tapes from mix to master, and it is some of his best work to date. To give a first appetizer, LITTLE VILLAINS have shared the cover artwork and track listing, as well as the track "What On Earth". "Philthy Lies" track listing: 01. What On Earth 02. Attack 03. Traitor 04. Running Around 05. Water Under The Bridge 06. In The Head 07. Enemy 08. Got To Grips 09. I Am Dying 10. Get Out Taylor died on November 11, 2015 of liver failure. He was 61 years old. Taylor played in MOTÖRHEAD from 1975 to 1984 and again from 1987 to 1992. He appeared on the band's debut album, "On Parole", and played on a further ten albums, including 1979's "Bomber", 1980's "Ace Of Spades", and 1982's "Iron Fist". Taylor contributed to MOTÖRHEAD's 1992 album "March Or Die" but departed the band during the recording process. The album was completed by drummers Tommy Aldridge and the band's most recent sticksman, Mikkey Dee.
[post_date_gmt] => 2018-12-15 09:47:02 [post_date] => 2018-12-15 04:47:02 [post_modified_gmt] => 2018-12-15 09:47:02 [post_modified] => 2018-12-15 04:47:02 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://d56ba278016fe3d2e244bb8a0e97a641 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/original-motorhead-drummer-phil-philthy-animal-taylors-little-villains-album-to-receive-posthumous-release/ [syndication_item_hash] => 4a0d36ff3589e7fae499c428a08a734a [faf_featured_image] => 85151 [faf_process_image] => 85151 ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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SHINEDOWN Singer: 'We're Never Gonna Phone An Album In'

Array ( [post_title] => SHINEDOWN Singer: 'We're Never Gonna Phone An Album In' [post_content] => Brent Smith has told "The Morning Blaze" in a new interview that SHINEDOWN never approaches the making of its albums with the intention of topping its previous releases. "We try not to compare anything and put it in the idea of, 'I need to beat the last record that we did,'" the singer said. "The way that we look at is we're never gonna phone an album in, just like we're never gonna phone in writing a song. But the fact of the matter is we don't wanna write the same record over and over again, and we definitely don't write the same song over and over again. So I think, for us, it's more about looking at where we are at the time and deciding what direction we need to go in." He continued: "One of the things we did differently on [SHINEDOWN's latest album, 'Attention Attention'] was we didn't even consider any other producers. We've had some great teachers over the years — male and female — but it was time for us to do it ourselves. So we did the album in-house. And Eric Bass, who is our bass player, who is way more than just a bass player, he took the reins and he took the position. A lot of people may not know this, but Eric is the producer of 'Attention Attention'. He also is the main engineer of the record and he mixed the album. "We had been getting closer and closer to being able to really look at the big picture here and let him do the entire record," Brent added. "'Cause he's actually done other songs that… 'Cause he is the producer and he engineered the song 'Diamond Eyes'; he was also a songwriter on that. He engineered and he produced the song 'Cut The Cord', which was the first single off of 'Threat To Survival'. And he's done a number of other songs in a single mentality. But it was time for him to take on an entire record, and he was the right guy for the job. He had a good quote about it too… He said, 'I'd rather go crazy making it myself rather than watch someone else go crazy trying to make it.'" "Attention Attention", SHINEDOWN's sixth studio album, debuted at No. 1 on the Top Rock Albums chart back in May. The follow-up to 2015's "Threat To Survival" tells the story of a character who starts out defeated and slowly overcomes pain and personal struggles and becomes confident at the end. The album also lyrically touches upon Smith's former drug addiction and Bass's depression. SHINEDOWN will embark on a U.S. headlining tour in February. Support on the trek will come from PAPA ROACH and ASKING ALEXANDRIA. Photo credit: Jimmy Fontaine

[post_excerpt] => Brent Smith has told "The Morning Blaze" in a new interview that SHINEDOWN never approaches the making of its albums with the intention of topping its previous releases. "We try not to compare anything and put it in the idea of, 'I need to beat the last record that we did,'" the singer said. "The way that we look at is we're never gonna phone an album in, just like we're never gonna phone in writing a song. But the fact of the matter is we don't wanna write the same record over and over again, and we definitely don't write the same song over and over again. So I think, for us, it's more about looking at where we are at the time and deciding what direction we need to go in." He continued: "One of the things we did differently on [SHINEDOWN's latest album, 'Attention Attention'] was we didn't even consider any other producers. We've had some great teachers over the years — male and female — but it was time for us to do it ourselves. So we did the album in-house. And Eric Bass, who is our bass player, who is way more than just a bass player, he took the reins and he took the position. A lot of people may not know this, but Eric is the producer of 'Attention Attention'. He also is the main engineer of the record and he mixed the album. "We had been getting closer and closer to being able to really look at the big picture here and let him do the entire record," Brent added. "'Cause he's actually done other songs that… 'Cause he is the producer and he engineered the song 'Diamond Eyes'; he was also a songwriter on that. He engineered and he produced the song 'Cut The Cord', which was the first single off of 'Threat To Survival'. And he's done a number of other songs in a single mentality. But it was time for him to take on an entire record, and he was the right guy for the job. He had a good quote about it too… He said, 'I'd rather go crazy making it myself rather than watch someone else go crazy trying to make it.'" "Attention Attention", SHINEDOWN's sixth studio album, debuted at No. 1 on the Top Rock Albums chart back in May. The follow-up to 2015's "Threat To Survival" tells the story of a character who starts out defeated and slowly overcomes pain and personal struggles and becomes confident at the end. The album also lyrically touches upon Smith's former drug addiction and Bass's depression. SHINEDOWN will embark on a U.S. headlining tour in February. Support on the trek will come from PAPA ROACH and ASKING ALEXANDRIA. Photo credit: Jimmy Fontaine
[post_date_gmt] => 2018-12-14 18:00:10 [post_date] => 2018-12-14 13:00:10 [post_modified_gmt] => 2018-12-14 18:00:10 [post_modified] => 2018-12-14 13:00:10 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://e43c374b85c600cac9e884c0af739bdb [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/shinedown-singer-were-never-gonna-phone-an-album-in/ [syndication_item_hash] => 125edf428819ea6631f245a61f4726ca ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :SHINEDOWN Singer: 'We're Never Gonna Phone An Album In'

Array ( [post_title] => SHINEDOWN Singer: 'We're Never Gonna Phone An Album In' [post_content] => Brent Smith has told "The Morning Blaze" in a new interview that SHINEDOWN never approaches the making of its albums with the intention of topping its previous releases. "We try not to compare anything and put it in the idea of, 'I need to beat the last record that we did,'" the singer said. "The way that we look at is we're never gonna phone an album in, just like we're never gonna phone in writing a song. But the fact of the matter is we don't wanna write the same record over and over again, and we definitely don't write the same song over and over again. So I think, for us, it's more about looking at where we are at the time and deciding what direction we need to go in." He continued: "One of the things we did differently on [SHINEDOWN's latest album, 'Attention Attention'] was we didn't even consider any other producers. We've had some great teachers over the years — male and female — but it was time for us to do it ourselves. So we did the album in-house. And Eric Bass, who is our bass player, who is way more than just a bass player, he took the reins and he took the position. A lot of people may not know this, but Eric is the producer of 'Attention Attention'. He also is the main engineer of the record and he mixed the album. "We had been getting closer and closer to being able to really look at the big picture here and let him do the entire record," Brent added. "'Cause he's actually done other songs that… 'Cause he is the producer and he engineered the song 'Diamond Eyes'; he was also a songwriter on that. He engineered and he produced the song 'Cut The Cord', which was the first single off of 'Threat To Survival'. And he's done a number of other songs in a single mentality. But it was time for him to take on an entire record, and he was the right guy for the job. He had a good quote about it too… He said, 'I'd rather go crazy making it myself rather than watch someone else go crazy trying to make it.'" "Attention Attention", SHINEDOWN's sixth studio album, debuted at No. 1 on the Top Rock Albums chart back in May. The follow-up to 2015's "Threat To Survival" tells the story of a character who starts out defeated and slowly overcomes pain and personal struggles and becomes confident at the end. The album also lyrically touches upon Smith's former drug addiction and Bass's depression. SHINEDOWN will embark on a U.S. headlining tour in February. Support on the trek will come from PAPA ROACH and ASKING ALEXANDRIA. Photo credit: Jimmy Fontaine

[post_excerpt] => Brent Smith has told "The Morning Blaze" in a new interview that SHINEDOWN never approaches the making of its albums with the intention of topping its previous releases. "We try not to compare anything and put it in the idea of, 'I need to beat the last record that we did,'" the singer said. "The way that we look at is we're never gonna phone an album in, just like we're never gonna phone in writing a song. But the fact of the matter is we don't wanna write the same record over and over again, and we definitely don't write the same song over and over again. So I think, for us, it's more about looking at where we are at the time and deciding what direction we need to go in." He continued: "One of the things we did differently on [SHINEDOWN's latest album, 'Attention Attention'] was we didn't even consider any other producers. We've had some great teachers over the years — male and female — but it was time for us to do it ourselves. So we did the album in-house. And Eric Bass, who is our bass player, who is way more than just a bass player, he took the reins and he took the position. A lot of people may not know this, but Eric is the producer of 'Attention Attention'. He also is the main engineer of the record and he mixed the album. "We had been getting closer and closer to being able to really look at the big picture here and let him do the entire record," Brent added. "'Cause he's actually done other songs that… 'Cause he is the producer and he engineered the song 'Diamond Eyes'; he was also a songwriter on that. He engineered and he produced the song 'Cut The Cord', which was the first single off of 'Threat To Survival'. And he's done a number of other songs in a single mentality. But it was time for him to take on an entire record, and he was the right guy for the job. He had a good quote about it too… He said, 'I'd rather go crazy making it myself rather than watch someone else go crazy trying to make it.'" "Attention Attention", SHINEDOWN's sixth studio album, debuted at No. 1 on the Top Rock Albums chart back in May. The follow-up to 2015's "Threat To Survival" tells the story of a character who starts out defeated and slowly overcomes pain and personal struggles and becomes confident at the end. The album also lyrically touches upon Smith's former drug addiction and Bass's depression. SHINEDOWN will embark on a U.S. headlining tour in February. Support on the trek will come from PAPA ROACH and ASKING ALEXANDRIA. Photo credit: Jimmy Fontaine
[post_date_gmt] => 2018-12-14 18:00:10 [post_date] => 2018-12-14 13:00:10 [post_modified_gmt] => 2018-12-14 18:00:10 [post_modified] => 2018-12-14 13:00:10 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://e43c374b85c600cac9e884c0af739bdb [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/shinedown-singer-were-never-gonna-phone-an-album-in/ [syndication_item_hash] => 125edf428819ea6631f245a61f4726ca [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

FAF deciding on filters on post to be syndicated:

SLASH Says Rock And Roll Became 'Dull And Boring' But 'Seems To Be Turning Over A New Leaf'

Array ( [post_title] => SLASH Says Rock And Roll Became 'Dull And Boring' But 'Seems To Be Turning Over A New Leaf' [post_content] => In a brand new interview with Billboard Radio China, Slash spoke about the fact that urban music (which includes hip-hop, rap, and R&B) has, for the first time in history, usurped rock and roll as the world's favorite genre. Asked if he thinks rock is a bit of a "hiding period" right now, the GUNS N' ROSES guitarist said: "I get asked this question pretty often. And far be it from me to have the answers. "When VELVET REVOLVER came out, there was definitely a movement that started in the early to mid-'90s that held up all the way through the end of that decade and went into the millennium. And so we came out and there was tons of new rock and roll bands. And they weren't 'nu metal' and they weren't indie bands, but there was definitely this kind of indie-esque feel to them. And I think one of the reasons that VELVET REVOLVER was as successful as it was had a lot to do with [singer] Scott Weiland, because he was still a holdover from that kind of thing, with [STONE TEMPLE PILOTS], that came from the '90s and blah blah blah. Anyway, but it was all cool. And then, as we got down the line, it seemed that rock sort of got… More than anything, the commercial approach to rock and roll that the industry forces on bands, or forces people to think that this is how they have to go about it to succeed, and it just turns into this generic mishmosh that manages to get on the radio but doesn't really turn anybody on, and it's just dull and boring and people start looking elsewhere. And I think that was, really, what happened to the industry, as far as rock and roll is concerned, after 2006 up until just recently. But it seems to be turning over a new leaf right now. So I'm really interested to see where it goes over the next few years, 'cause there's a lot of really hungry young rock and roll bands getting together right now that I'm aware of. And, obviously, GRETA VAN FLEET have done amazingly well and made everybody perk up and go, 'Oh, wow!' Now there's people out there looking for young, teenage rock and roll bands to sign. So it's interesting. If you watch everything as it develops in real time, it's really, really boring and shit takes what seems like forever. But if you're not paying attention, all of sudden, you'll turn around and go, 'Oh my God! Something just changed.' And it's just a constant state of ebbs and flows of rock and roll in this business." SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS' latest album, "Living The Dream", was released in September via Slash's own label Snakepit Records, in partnership with Roadrunner Records. "Living The Dream" is Slash's fourth solo album, and third with Slash and his bandmates Myles Kennedy (vocals), Brent Fitz (drums), Todd Kerns (bass and vocals) and Frank Sidoris (guitar and vocals). The artwork was created by renowned visual artist Ron English. [post_excerpt] => In a brand new interview with Billboard Radio China, Slash spoke about the fact that urban music (which includes hip-hop, rap, and R&B) has, for the first time in history, usurped rock and roll as the world's favorite genre. Asked if he thinks rock is a bit of a "hiding period" right now, the GUNS N' ROSES guitarist said: "I get asked this question pretty often. And far be it from me to have the answers. "When VELVET REVOLVER came out, there was definitely a movement that started in the early to mid-'90s that held up all the way through the end of that decade and went into the millennium. And so we came out and there was tons of new rock and roll bands. And they weren't 'nu metal' and they weren't indie bands, but there was definitely this kind of indie-esque feel to them. And I think one of the reasons that VELVET REVOLVER was as successful as it was had a lot to do with [singer] Scott Weiland, because he was still a holdover from that kind of thing, with [STONE TEMPLE PILOTS], that came from the '90s and blah blah blah. Anyway, but it was all cool. And then, as we got down the line, it seemed that rock sort of got… More than anything, the commercial approach to rock and roll that the industry forces on bands, or forces people to think that this is how they have to go about it to succeed, and it just turns into this generic mishmosh that manages to get on the radio but doesn't really turn anybody on, and it's just dull and boring and people start looking elsewhere. And I think that was, really, what happened to the industry, as far as rock and roll is concerned, after 2006 up until just recently. But it seems to be turning over a new leaf right now. So I'm really interested to see where it goes over the next few years, 'cause there's a lot of really hungry young rock and roll bands getting together right now that I'm aware of. And, obviously, GRETA VAN FLEET have done amazingly well and made everybody perk up and go, 'Oh, wow!' Now there's people out there looking for young, teenage rock and roll bands to sign. So it's interesting. If you watch everything as it develops in real time, it's really, really boring and shit takes what seems like forever. But if you're not paying attention, all of sudden, you'll turn around and go, 'Oh my God! Something just changed.' And it's just a constant state of ebbs and flows of rock and roll in this business." SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS' latest album, "Living The Dream", was released in September via Slash's own label Snakepit Records, in partnership with Roadrunner Records. "Living The Dream" is Slash's fourth solo album, and third with Slash and his bandmates Myles Kennedy (vocals), Brent Fitz (drums), Todd Kerns (bass and vocals) and Frank Sidoris (guitar and vocals). The artwork was created by renowned visual artist Ron English. [post_date_gmt] => 2018-12-14 17:05:55 [post_date] => 2018-12-14 12:05:55 [post_modified_gmt] => 2018-12-14 17:05:55 [post_modified] => 2018-12-14 12:05:55 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://43048380d9e4e1e8ab7c220d2defe8d5 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/slash-says-rock-and-roll-became-dull-and-boring-but-seems-to-be-turning-over-a-new-leaf/ [syndication_item_hash] => d82f0c059a346a5de7f230d1c357660c ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

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Decide filter: Returning post, everything seems orderly :SLASH Says Rock And Roll Became 'Dull And Boring' But 'Seems To Be Turning Over A New Leaf'

Array ( [post_title] => SLASH Says Rock And Roll Became 'Dull And Boring' But 'Seems To Be Turning Over A New Leaf' [post_content] => In a brand new interview with Billboard Radio China, Slash spoke about the fact that urban music (which includes hip-hop, rap, and R&B) has, for the first time in history, usurped rock and roll as the world's favorite genre. Asked if he thinks rock is a bit of a "hiding period" right now, the GUNS N' ROSES guitarist said: "I get asked this question pretty often. And far be it from me to have the answers. "When VELVET REVOLVER came out, there was definitely a movement that started in the early to mid-'90s that held up all the way through the end of that decade and went into the millennium. And so we came out and there was tons of new rock and roll bands. And they weren't 'nu metal' and they weren't indie bands, but there was definitely this kind of indie-esque feel to them. And I think one of the reasons that VELVET REVOLVER was as successful as it was had a lot to do with [singer] Scott Weiland, because he was still a holdover from that kind of thing, with [STONE TEMPLE PILOTS], that came from the '90s and blah blah blah. Anyway, but it was all cool. And then, as we got down the line, it seemed that rock sort of got… More than anything, the commercial approach to rock and roll that the industry forces on bands, or forces people to think that this is how they have to go about it to succeed, and it just turns into this generic mishmosh that manages to get on the radio but doesn't really turn anybody on, and it's just dull and boring and people start looking elsewhere. And I think that was, really, what happened to the industry, as far as rock and roll is concerned, after 2006 up until just recently. But it seems to be turning over a new leaf right now. So I'm really interested to see where it goes over the next few years, 'cause there's a lot of really hungry young rock and roll bands getting together right now that I'm aware of. And, obviously, GRETA VAN FLEET have done amazingly well and made everybody perk up and go, 'Oh, wow!' Now there's people out there looking for young, teenage rock and roll bands to sign. So it's interesting. If you watch everything as it develops in real time, it's really, really boring and shit takes what seems like forever. But if you're not paying attention, all of sudden, you'll turn around and go, 'Oh my God! Something just changed.' And it's just a constant state of ebbs and flows of rock and roll in this business." SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS' latest album, "Living The Dream", was released in September via Slash's own label Snakepit Records, in partnership with Roadrunner Records. "Living The Dream" is Slash's fourth solo album, and third with Slash and his bandmates Myles Kennedy (vocals), Brent Fitz (drums), Todd Kerns (bass and vocals) and Frank Sidoris (guitar and vocals). The artwork was created by renowned visual artist Ron English. [post_excerpt] => In a brand new interview with Billboard Radio China, Slash spoke about the fact that urban music (which includes hip-hop, rap, and R&B) has, for the first time in history, usurped rock and roll as the world's favorite genre. Asked if he thinks rock is a bit of a "hiding period" right now, the GUNS N' ROSES guitarist said: "I get asked this question pretty often. And far be it from me to have the answers. "When VELVET REVOLVER came out, there was definitely a movement that started in the early to mid-'90s that held up all the way through the end of that decade and went into the millennium. And so we came out and there was tons of new rock and roll bands. And they weren't 'nu metal' and they weren't indie bands, but there was definitely this kind of indie-esque feel to them. And I think one of the reasons that VELVET REVOLVER was as successful as it was had a lot to do with [singer] Scott Weiland, because he was still a holdover from that kind of thing, with [STONE TEMPLE PILOTS], that came from the '90s and blah blah blah. Anyway, but it was all cool. And then, as we got down the line, it seemed that rock sort of got… More than anything, the commercial approach to rock and roll that the industry forces on bands, or forces people to think that this is how they have to go about it to succeed, and it just turns into this generic mishmosh that manages to get on the radio but doesn't really turn anybody on, and it's just dull and boring and people start looking elsewhere. And I think that was, really, what happened to the industry, as far as rock and roll is concerned, after 2006 up until just recently. But it seems to be turning over a new leaf right now. So I'm really interested to see where it goes over the next few years, 'cause there's a lot of really hungry young rock and roll bands getting together right now that I'm aware of. And, obviously, GRETA VAN FLEET have done amazingly well and made everybody perk up and go, 'Oh, wow!' Now there's people out there looking for young, teenage rock and roll bands to sign. So it's interesting. If you watch everything as it develops in real time, it's really, really boring and shit takes what seems like forever. But if you're not paying attention, all of sudden, you'll turn around and go, 'Oh my God! Something just changed.' And it's just a constant state of ebbs and flows of rock and roll in this business." SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS' latest album, "Living The Dream", was released in September via Slash's own label Snakepit Records, in partnership with Roadrunner Records. "Living The Dream" is Slash's fourth solo album, and third with Slash and his bandmates Myles Kennedy (vocals), Brent Fitz (drums), Todd Kerns (bass and vocals) and Frank Sidoris (guitar and vocals). The artwork was created by renowned visual artist Ron English. [post_date_gmt] => 2018-12-14 17:05:55 [post_date] => 2018-12-14 12:05:55 [post_modified_gmt] => 2018-12-14 17:05:55 [post_modified] => 2018-12-14 12:05:55 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://43048380d9e4e1e8ab7c220d2defe8d5 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/slash-says-rock-and-roll-became-dull-and-boring-but-seems-to-be-turning-over-a-new-leaf/ [syndication_item_hash] => d82f0c059a346a5de7f230d1c357660c [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) )

FAF deciding on filters on post to be syndicated:

MARTY FRIEDMAN On MEGADETH's 'Risk': 'Everybody Involved With It Was Doing The Best That They Possibly Could'

Array ( [post_title] => MARTY FRIEDMAN On MEGADETH's 'Risk': 'Everybody Involved With It Was Doing The Best That They Possibly Could' [post_content] => Former MEGADETH guitarist Marty Friedman has no regrets about the band's "Risk" album, saying that the controversial record was created "with the best of intentions." Issued in 1999, "Risk" received a mixed response from critics and alienated hardcore MEGADETH fans due to its departure from the band's heavy thrash metal roots to a more commercial, pop rock sound. The album debuted at No. 16 on the Billboard chart and was later certified gold for selling half a million copies in the United States. During an appearance earlier this week on SiriusXM's "Trunk Nation", Friedman was asked how he looks back on "Risk" nearly 20 years after its release. "Well, I think anything that needed to be said from me about that was probably said at the time," Marty said. "I haven't even thought about that since then, so I couldn't give you an intelligent answer. I'm barely thinking about what I did yesterday, much less back then." He continued: "I'm sure whatever it was at the time that it happened, everybody involved with it was doing the best that they possibly could — I'm sure of that — because that is something that's happened on every record before that and every record since that and every record I'm doing now. "When you're doing it, you're doing the absolute best that you can. And pretty much if you look at any press of any record, when it comes out, what the people are saying right then, right at that time, that's what it is. And then, depending on the results of that, people's stories change, but at the time, you're doing the best that… You really, really, really believe in that — everybody believes in it — and then that's it. So I definitely wouldn't even begin to think of whatever specifics were going on back then — it's just the farthest thing from my mind — but I can assure you that anything was done with the best of intentions and the hardest work. And everybody was just trying to do their best." MEGADETH mainman Dave Mustaine recently said that "Risk" was the result of him "capitulating" to Friedman's "desires to be more of an alternative band." He told SiriusXM's "Trunk Nation LA Invasion: Live From The Rainbow Bar & Grill": "We kept slowing down and slowing down and slowing down. If that record would have been called THE DAVE MUSTAINE PROJECT and not MEGADETH, I think it would have been successful. People wanted a MEGADETH record. They didn't wanna see Dave bending over backwards to keep Marty Friedman happy, 'cause Marty wanted us to sound like fucking DISHWALLA." In early 2015, Friedman stepped away from a planned reunion of MEGADETH's "Rust In Peace" lineup — also featuring drummer Nick Menza — because he didn't feel inspired to re-team with his one-time bandmates. He later explained: "I think anyone that has something as good as 'Rust In Peace' in their history doesn't want to revisit it unless you are going to top it. I didn't see any reason to mess with that. I didn't see a reunion being what it could be and what the fans deserved. If I were to revisit that, there would have to be a reason for me to do that beyond, 'Let's go back and do it again.' That's not a good enough reason." [post_excerpt] => Former MEGADETH guitarist Marty Friedman has no regrets about the band's "Risk" album, saying that the controversial record was created "with the best of intentions." Issued in 1999, "Risk" received a mixed response from critics and alienated hardcore MEGADETH fans due to its departure from the band's heavy thrash metal roots to a more commercial, pop rock sound. The album debuted at No. 16 on the Billboard chart and was later certified gold for selling half a million copies in the United States. During an appearance earlier this week on SiriusXM's "Trunk Nation", Friedman was asked how he looks back on "Risk" nearly 20 years after its release. "Well, I think anything that needed to be said from me about that was probably said at the time," Marty said. "I haven't even thought about that since then, so I couldn't give you an intelligent answer. I'm barely thinking about what I did yesterday, much less back then." He continued: "I'm sure whatever it was at the time that it happened, everybody involved with it was doing the best that they possibly could — I'm sure of that — because that is something that's happened on every record before that and every record since that and every record I'm doing now. "When you're doing it, you're doing the absolute best that you can. And pretty much if you look at any press of any record, when it comes out, what the people are saying right then, right at that time, that's what it is. And then, depending on the results of that, people's stories change, but at the time, you're doing the best that… You really, really, really believe in that — everybody believes in it — and then that's it. So I definitely wouldn't even begin to think of whatever specifics were going on back then — it's just the farthest thing from my mind — but I can assure you that anything was done with the best of intentions and the hardest work. And everybody was just trying to do their best." MEGADETH mainman Dave Mustaine recently said that "Risk" was the result of him "capitulating" to Friedman's "desires to be more of an alternative band." He told SiriusXM's "Trunk Nation LA Invasion: Live From The Rainbow Bar & Grill": "We kept slowing down and slowing down and slowing down. If that record would have been called THE DAVE MUSTAINE PROJECT and not MEGADETH, I think it would have been successful. People wanted a MEGADETH record. They didn't wanna see Dave bending over backwards to keep Marty Friedman happy, 'cause Marty wanted us to sound like fucking DISHWALLA." In early 2015, Friedman stepped away from a planned reunion of MEGADETH's "Rust In Peace" lineup — also featuring drummer Nick Menza — because he didn't feel inspired to re-team with his one-time bandmates. He later explained: "I think anyone that has something as good as 'Rust In Peace' in their history doesn't want to revisit it unless you are going to top it. I didn't see any reason to mess with that. I didn't see a reunion being what it could be and what the fans deserved. If I were to revisit that, there would have to be a reason for me to do that beyond, 'Let's go back and do it again.' That's not a good enough reason." [post_date_gmt] => 2018-12-14 14:09:43 [post_date] => 2018-12-14 09:09:43 [post_modified_gmt] => 2018-12-14 14:09:43 [post_modified] => 2018-12-14 09:09:43 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://19b1634c772a2fb50668cdba91faec10 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/marty-friedman-on-megadeths-risk-everybody-involved-with-it-was-doing-the-best-that-they-possibly-could/ [syndication_item_hash] => Array ( [0] => 3ea47525fa89becc4a2b55a6956822bd ) ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) [post_name] => marty-friedman-on-megadeths-risk-everybody-involved-with-it-was-doing-the-best-that-they-possibly-could-2-2 )

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Decide filter: Returning post, everything seems orderly :MARTY FRIEDMAN On MEGADETH's 'Risk': 'Everybody Involved With It Was Doing The Best That They Possibly Could'

Array ( [post_title] => MARTY FRIEDMAN On MEGADETH's 'Risk': 'Everybody Involved With It Was Doing The Best That They Possibly Could' [post_content] => Former MEGADETH guitarist Marty Friedman has no regrets about the band's "Risk" album, saying that the controversial record was created "with the best of intentions." Issued in 1999, "Risk" received a mixed response from critics and alienated hardcore MEGADETH fans due to its departure from the band's heavy thrash metal roots to a more commercial, pop rock sound. The album debuted at No. 16 on the Billboard chart and was later certified gold for selling half a million copies in the United States. During an appearance earlier this week on SiriusXM's "Trunk Nation", Friedman was asked how he looks back on "Risk" nearly 20 years after its release. "Well, I think anything that needed to be said from me about that was probably said at the time," Marty said. "I haven't even thought about that since then, so I couldn't give you an intelligent answer. I'm barely thinking about what I did yesterday, much less back then." He continued: "I'm sure whatever it was at the time that it happened, everybody involved with it was doing the best that they possibly could — I'm sure of that — because that is something that's happened on every record before that and every record since that and every record I'm doing now. "When you're doing it, you're doing the absolute best that you can. And pretty much if you look at any press of any record, when it comes out, what the people are saying right then, right at that time, that's what it is. And then, depending on the results of that, people's stories change, but at the time, you're doing the best that… You really, really, really believe in that — everybody believes in it — and then that's it. So I definitely wouldn't even begin to think of whatever specifics were going on back then — it's just the farthest thing from my mind — but I can assure you that anything was done with the best of intentions and the hardest work. And everybody was just trying to do their best." MEGADETH mainman Dave Mustaine recently said that "Risk" was the result of him "capitulating" to Friedman's "desires to be more of an alternative band." He told SiriusXM's "Trunk Nation LA Invasion: Live From The Rainbow Bar & Grill": "We kept slowing down and slowing down and slowing down. If that record would have been called THE DAVE MUSTAINE PROJECT and not MEGADETH, I think it would have been successful. People wanted a MEGADETH record. They didn't wanna see Dave bending over backwards to keep Marty Friedman happy, 'cause Marty wanted us to sound like fucking DISHWALLA." In early 2015, Friedman stepped away from a planned reunion of MEGADETH's "Rust In Peace" lineup — also featuring drummer Nick Menza — because he didn't feel inspired to re-team with his one-time bandmates. He later explained: "I think anyone that has something as good as 'Rust In Peace' in their history doesn't want to revisit it unless you are going to top it. I didn't see any reason to mess with that. I didn't see a reunion being what it could be and what the fans deserved. If I were to revisit that, there would have to be a reason for me to do that beyond, 'Let's go back and do it again.' That's not a good enough reason." [post_excerpt] => Former MEGADETH guitarist Marty Friedman has no regrets about the band's "Risk" album, saying that the controversial record was created "with the best of intentions." Issued in 1999, "Risk" received a mixed response from critics and alienated hardcore MEGADETH fans due to its departure from the band's heavy thrash metal roots to a more commercial, pop rock sound. The album debuted at No. 16 on the Billboard chart and was later certified gold for selling half a million copies in the United States. During an appearance earlier this week on SiriusXM's "Trunk Nation", Friedman was asked how he looks back on "Risk" nearly 20 years after its release. "Well, I think anything that needed to be said from me about that was probably said at the time," Marty said. "I haven't even thought about that since then, so I couldn't give you an intelligent answer. I'm barely thinking about what I did yesterday, much less back then." He continued: "I'm sure whatever it was at the time that it happened, everybody involved with it was doing the best that they possibly could — I'm sure of that — because that is something that's happened on every record before that and every record since that and every record I'm doing now. "When you're doing it, you're doing the absolute best that you can. And pretty much if you look at any press of any record, when it comes out, what the people are saying right then, right at that time, that's what it is. And then, depending on the results of that, people's stories change, but at the time, you're doing the best that… You really, really, really believe in that — everybody believes in it — and then that's it. So I definitely wouldn't even begin to think of whatever specifics were going on back then — it's just the farthest thing from my mind — but I can assure you that anything was done with the best of intentions and the hardest work. And everybody was just trying to do their best." MEGADETH mainman Dave Mustaine recently said that "Risk" was the result of him "capitulating" to Friedman's "desires to be more of an alternative band." He told SiriusXM's "Trunk Nation LA Invasion: Live From The Rainbow Bar & Grill": "We kept slowing down and slowing down and slowing down. If that record would have been called THE DAVE MUSTAINE PROJECT and not MEGADETH, I think it would have been successful. People wanted a MEGADETH record. They didn't wanna see Dave bending over backwards to keep Marty Friedman happy, 'cause Marty wanted us to sound like fucking DISHWALLA." In early 2015, Friedman stepped away from a planned reunion of MEGADETH's "Rust In Peace" lineup — also featuring drummer Nick Menza — because he didn't feel inspired to re-team with his one-time bandmates. He later explained: "I think anyone that has something as good as 'Rust In Peace' in their history doesn't want to revisit it unless you are going to top it. I didn't see any reason to mess with that. I didn't see a reunion being what it could be and what the fans deserved. If I were to revisit that, there would have to be a reason for me to do that beyond, 'Let's go back and do it again.' That's not a good enough reason." [post_date_gmt] => 2018-12-14 14:09:43 [post_date] => 2018-12-14 09:09:43 [post_modified_gmt] => 2018-12-14 14:09:43 [post_modified] => 2018-12-14 09:09:43 [post_status] => publish [comment_status] => closed [ping_status] => closed [guid] => tag:www.blabbermouth.net://19b1634c772a2fb50668cdba91faec10 [meta] => Array ( [enclosure] => Array ( [0] => ) [syndication_source] => BLABBERMOUTH.NET [syndication_source_uri] => http://www.blabbermouth.net [syndication_source_id] => http://www.blabbermouth.net/feed.rss [syndication_feed] => http://www.blabbermouth.net/feed.rss [syndication_feed_id] => 2 [syndication_permalink] => http://www.blabbermouth.net/news/marty-friedman-on-megadeths-risk-everybody-involved-with-it-was-doing-the-best-that-they-possibly-could/ [syndication_item_hash] => Array ( [0] => 3ea47525fa89becc4a2b55a6956822bd ) [faf_process_image] => ) [post_type] => post [post_author] => 3 [tax_input] => Array ( [category] => Array ( [0] => 6 [1] => 12 ) [post_tag] => Array ( ) [post_format] => Array ( ) ) [post_name] => marty-friedman-on-megadeths-risk-everybody-involved-with-it-was-doing-the-best-that-they-possibly-could-2-2 )

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Attach Id ( 6195 ) not integer for post_thumbnail 6197

1

Attach Id ( 6401 ) not integer for post_thumbnail 6403

1

Attach Id ( 6490 ) not integer for post_thumbnail 6496

1

Attach Id ( 6498 ) not integer for post_thumbnail 6500

1

Attach Id ( 6560 ) not integer for post_thumbnail 6564

1

Attach Id ( 6576 ) not integer for post_thumbnail 6578

1

Attach Id ( 6585 ) not integer for post_thumbnail 6589

1

Attach Id ( 6600 ) not integer for post_thumbnail 6602

1

Attach Id ( 6633 ) not integer for post_thumbnail 6636

1

Attach Id ( 6672 ) not integer for post_thumbnail 6674

1

Attach Id ( 6740 ) not integer for post_thumbnail 6742

1

Attach Id ( 6865 ) not integer for post_thumbnail 6867

1

Attach Id ( 6885 ) not integer for post_thumbnail 6887

1

Attach Id ( 6911 ) not integer for post_thumbnail 6917

1

Attach Id ( 6919 ) not integer for post_thumbnail 6921

1

Attach Id ( 6971 ) not integer for post_thumbnail 6973

1

Attach Id ( 7039 ) not integer for post_thumbnail 7041

1

Attach Id ( 7073 ) not integer for post_thumbnail 7075

1

Attach Id ( 7103 ) not integer for post_thumbnail 7108

1

Attach Id ( 7104 ) not integer for post_thumbnail 7107

1

Attach Id ( 7166 ) not integer for post_thumbnail 7168

1

Attach Id ( 7194 ) not integer for post_thumbnail 7197

1

Attach Id ( 7232 ) not integer for post_thumbnail 7234

1

Attach Id ( 7251 ) not integer for post_thumbnail 7260

1

Attach Id ( 7425 ) not integer for post_thumbnail 7427

1

Attach Id ( 7429 ) not integer for post_thumbnail 7431

1

Attach Id ( 7457 ) not integer for post_thumbnail 7459

1

Attach Id ( 7465 ) not integer for post_thumbnail 7467

1

Attach Id ( 7495 ) not integer for post_thumbnail 7497

1

Attach Id ( 7573 ) not integer for post_thumbnail 7575

1

Attach Id ( 7619 ) not integer for post_thumbnail 7621

1

Attach Id ( 7632 ) not integer for post_thumbnail 7634

1

Attach Id ( 7712 ) not integer for post_thumbnail 7718

1

Attach Id ( 7738 ) not integer for post_thumbnail 7740

1

Attach Id ( 7778 ) not integer for post_thumbnail 7780

1

Attach Id ( 7797 ) not integer for post_thumbnail 7799

1

Attach Id ( 7814 ) not integer for post_thumbnail 7816

1

Attach Id ( 7827 ) not integer for post_thumbnail 7831

1

Attach Id ( 7861 ) not integer for post_thumbnail 7863

1

Attach Id ( 7877 ) not integer for post_thumbnail 7879

1

Attach Id ( 7899 ) not integer for post_thumbnail 7901

1

Attach Id ( 7949 ) not integer for post_thumbnail 7951

1

Attach Id ( 7964 ) not integer for post_thumbnail 7966

1

Attach Id ( 8063 ) not integer for post_thumbnail 8066

1

Attach Id ( 8099 ) not integer for post_thumbnail 8101

1

Attach Id ( 8190 ) not integer for post_thumbnail 8192

1

Attach Id ( 8249 ) not integer for post_thumbnail 8255

1

Attach Id ( 8289 ) not integer for post_thumbnail 8291

1

Attach Id ( 8293 ) not integer for post_thumbnail 8296

1

Attach Id ( 8298 ) not integer for post_thumbnail 8300

1

Attach Id ( 8366 ) not integer for post_thumbnail 8368

1

Attach Id ( 8375 ) not integer for post_thumbnail 8377

1

Attach Id ( 8480 ) not integer for post_thumbnail 8482

1

Attach Id ( 8514 ) not integer for post_thumbnail 8516

1

Attach Id ( 8521 ) not integer for post_thumbnail 8523

1

Attach Id ( 8587 ) not integer for post_thumbnail 8589

1

Attach Id ( 8604 ) not integer for post_thumbnail 8606

1

Attach Id ( 8617 ) not integer for post_thumbnail 8619

1

Attach Id ( 8731 ) not integer for post_thumbnail 8734

1

Attach Id ( 8739 ) not integer for post_thumbnail 8741

1

Attach Id ( 8851 ) not integer for post_thumbnail 8853

1

Attach Id ( 8893 ) not integer for post_thumbnail 8895

1

Attach Id ( 8973 ) not integer for post_thumbnail 8975

1

Attach Id ( 9088 ) not integer for post_thumbnail 9090

1

Attach Id ( 9095 ) not integer for post_thumbnail 9097

1

Attach Id ( 9112 ) not integer for post_thumbnail 9114

1

Attach Id ( 9128 ) not integer for post_thumbnail 9134

1

Attach Id ( 9278 ) not integer for post_thumbnail 9280

1

Attach Id ( 9292 ) not integer for post_thumbnail 9294

1

Attach Id ( 9305 ) not integer for post_thumbnail 9307

1

Attach Id ( 9345 ) not integer for post_thumbnail 9349

1

Attach Id ( 9344 ) not integer for post_thumbnail 9351

1

Attach Id ( 9822 ) not integer for post_thumbnail 9824

1

Attach Id ( 9874 ) not integer for post_thumbnail 9876

1

Attach Id ( 9923 ) not integer for post_thumbnail 9925

1

Attach Id ( 9985 ) not integer for post_thumbnail 9987

1

Attach Id ( 10068 ) not integer for post_thumbnail 10070

1

Attach Id ( 10154 ) not integer for post_thumbnail 10156

1

Attach Id ( 10302 ) not integer for post_thumbnail 10312

1

Attach Id ( 10367 ) not integer for post_thumbnail 10370

1

Attach Id ( 10495 ) not integer for post_thumbnail 10497

1

Attach Id ( 10567 ) not integer for post_thumbnail 10569

1

Attach Id ( 10842 ) not integer for post_thumbnail 10843

1

Attach Id ( 10891 ) not integer for post_thumbnail 10893

1

Attach Id ( 10987 ) not integer for post_thumbnail 10991

1

Attach Id ( 10986 ) not integer for post_thumbnail 10990

1

Attach Id ( 11030 ) not integer for post_thumbnail 11032

1

Attach Id ( 11092 ) not integer for post_thumbnail 11099

1

Attach Id ( 11090 ) not integer for post_thumbnail 11107

1

Attach Id ( 11198 ) not integer for post_thumbnail 11200

1

Attach Id ( 11334 ) not integer for post_thumbnail 11338

1

Attach Id ( 11413 ) not integer for post_thumbnail 11415

1

Attach Id ( 11511 ) not integer for post_thumbnail 11513

1

Attach Id ( 11537 ) not integer for post_thumbnail 11539

1

Attach Id ( 11558 ) not integer for post_thumbnail 11566

1

Attach Id ( 11706 ) not integer for post_thumbnail 11708

1

Attach Id ( 11716 ) not integer for post_thumbnail 11718

1

Attach Id ( 11798 ) not integer for post_thumbnail 11800

1

Attach Id ( 11807 ) not integer for post_thumbnail 11809

1

Attach Id ( 11873 ) not integer for post_thumbnail 11876

1

Attach Id ( 11901 ) not integer for post_thumbnail 11905

1

Attach Id ( 11941 ) not integer for post_thumbnail 11943

1

Attach Id ( 12070 ) not integer for post_thumbnail 12076

1

Attach Id ( 12071 ) not integer for post_thumbnail 12077

1

Attach Id ( 12167 ) not integer for post_thumbnail 12169

1

Attach Id ( 12178 ) not integer for post_thumbnail 12180

1

Attach Id ( 12206 ) not integer for post_thumbnail 12208

1

Attach Id ( 12216 ) not integer for post_thumbnail 12218

1

Attach Id ( 12258 ) not integer for post_thumbnail 12260

1

Attach Id ( 12407 ) not integer for post_thumbnail 12409

1

Attach Id ( 12487 ) not integer for post_thumbnail 12491

1

Attach Id ( 12485 ) not integer for post_thumbnail 12490

1

Attach Id ( 12549 ) not integer for post_thumbnail 12551

1

Attach Id ( 12592 ) not integer for post_thumbnail 12594

1

Attach Id ( 12634 ) not integer for post_thumbnail 12636

1

Attach Id ( 12653 ) not integer for post_thumbnail 12655

1

Attach Id ( 12663 ) not integer for post_thumbnail 12666

1

Attach Id ( 12922 ) not integer for post_thumbnail 12925

1

Attach Id ( 12965 ) not integer for post_thumbnail 12967

1

Attach Id ( 12990 ) not integer for post_thumbnail 12992

1

Attach Id ( 13059 ) not integer for post_thumbnail 13061

1

Attach Id ( 13198 ) not integer for post_thumbnail 13200

1

Attach Id ( 13297 ) not integer for post_thumbnail 13300

1

Attach Id ( 13327 ) not integer for post_thumbnail 13329

1

Attach Id ( 13357 ) not integer for post_thumbnail 13360

1

Attach Id ( 13388 ) not integer for post_thumbnail 13390

1

Attach Id ( 13435 ) not integer for post_thumbnail 13437

1

Attach Id ( 13444 ) not integer for post_thumbnail 13446

1

Attach Id ( 13451 ) not integer for post_thumbnail 13453

1

Attach Id ( 13510 ) not integer for post_thumbnail 13512

1

Attach Id ( 13541 ) not integer for post_thumbnail 13543

1

Attach Id ( 13603 ) not integer for post_thumbnail 13611

1

Attach Id ( 13674 ) not integer for post_thumbnail 13676

1

Attach Id ( 13721 ) not integer for post_thumbnail 13723

1

Attach Id ( 13815 ) not integer for post_thumbnail 13817

1

Attach Id ( 13829 ) not integer for post_thumbnail 13831

1

Attach Id ( 13905 ) not integer for post_thumbnail 13907

1

Attach Id ( 13953 ) not integer for post_thumbnail 13955

1

Attach Id ( 13957 ) not integer for post_thumbnail 13959

1

Attach Id ( 13983 ) not integer for post_thumbnail 13994

1

Attach Id ( 14028 ) not integer for post_thumbnail 14038

1

Attach Id ( 14111 ) not integer for post_thumbnail 14113

1

Attach Id ( 14170 ) not integer for post_thumbnail 14172

1

Attach Id ( 14242 ) not integer for post_thumbnail 14244

1

Attach Id ( 14269 ) not integer for post_thumbnail 14271

1

Attach Id ( 14313 ) not integer for post_thumbnail 14324

1

Attach Id ( 14368 ) not integer for post_thumbnail 14370

1

Attach Id ( 14424 ) not integer for post_thumbnail 14430

1

Attach Id ( 14448 ) not integer for post_thumbnail 14450

1

Attach Id ( 14462 ) not integer for post_thumbnail 14463

1

Attach Id ( 14604 ) not integer for post_thumbnail 14608

1

Attach Id ( 14625 ) not integer for post_thumbnail 14627

1

Attach Id ( 14640 ) not integer for post_thumbnail 14644

1

Attach Id ( 14646 ) not integer for post_thumbnail 14648

1

Attach Id ( 14659 ) not integer for post_thumbnail 14661

1

Attach Id ( 14686 ) not integer for post_thumbnail 14697

1

Attach Id ( 14700 ) not integer for post_thumbnail 14702

1

Attach Id ( 14753 ) not integer for post_thumbnail 14759

1

Attach Id ( 14810 ) not integer for post_thumbnail 14812

1

Attach Id ( 14818 ) not integer for post_thumbnail 14820

1

Attach Id ( 14883 ) not integer for post_thumbnail 14885

1

Attach Id ( 14927 ) not integer for post_thumbnail 14929

1

Attach Id ( 14987 ) not integer for post_thumbnail 14989

1

Attach Id ( 15006 ) not integer for post_thumbnail 15008

1

Attach Id ( 15079 ) not integer for post_thumbnail 15081

1

Attach Id ( 15220 ) not integer for post_thumbnail 15222

1

Attach Id ( 15359 ) not integer for post_thumbnail 15361

1

Attach Id ( 15410 ) not integer for post_thumbnail 15412

1

Attach Id ( 15493 ) not integer for post_thumbnail 15495

1

Attach Id ( 15506 ) not integer for post_thumbnail 15511

1

Attach Id ( 15572 ) not integer for post_thumbnail 15574

1

Attach Id ( 15879 ) not integer for post_thumbnail 15881

1

Attach Id ( 15931 ) not integer for post_thumbnail 15935

1

Attach Id ( 15932 ) not integer for post_thumbnail 15936

1

Attach Id ( 16110 ) not integer for post_thumbnail 16112

1

Attach Id ( 16160 ) not integer for post_thumbnail 16163

1

Attach Id ( 16307 ) not integer for post_thumbnail 16309

1

Attach Id ( 16409 ) not integer for post_thumbnail 16411

1

Attach Id ( 16427 ) not integer for post_thumbnail 16429

1

Attach Id ( 16509 ) not integer for post_thumbnail 16511

1

Attach Id ( 16531 ) not integer for post_thumbnail 16533

1

Attach Id ( 16592 ) not integer for post_thumbnail 16598

1

Attach Id ( 16593 ) not integer for post_thumbnail 16599

1

Attach Id ( 16719 ) not integer for post_thumbnail 16721

1

Attach Id ( 16752 ) not integer for post_thumbnail 16754

1

Attach Id ( 16788 ) not integer for post_thumbnail 16790

1

Attach Id ( 16883 ) not integer for post_thumbnail 16885

1

Attach Id ( 16953 ) not integer for post_thumbnail 16960

1

Attach Id ( 17026 ) not integer for post_thumbnail 17029

1

Attach Id ( 17264 ) not integer for post_thumbnail 17266

1

Attach Id ( 17286 ) not integer for post_thumbnail 17288

1

Attach Id ( 17321 ) not integer for post_thumbnail 17323

1

Attach Id ( 17425 ) not integer for post_thumbnail 17427

1

Attach Id ( 17461 ) not integer for post_thumbnail 17463

1

Attach Id ( 17510 ) not integer for post_thumbnail 17512

1

Attach Id ( 17553 ) not integer for post_thumbnail 17555

1

Attach Id ( 17563 ) not integer for post_thumbnail 17565

1

Attach Id ( 17620 ) not integer for post_thumbnail 17622

1

Attach Id ( 17686 ) not integer for post_thumbnail 17688

1

Attach Id ( 17752 ) not integer for post_thumbnail 17754

1

Attach Id ( 17769 ) not integer for post_thumbnail 17771

1

Attach Id ( 17867 ) not integer for post_thumbnail 17869

1

Attach Id ( 17941 ) not integer for post_thumbnail 17943

1

Attach Id ( 17974 ) not integer for post_thumbnail 17976

1

Attach Id ( 17999 ) not integer for post_thumbnail 18001

1

Attach Id ( 18047 ) not integer for post_thumbnail 18049

1

Attach Id ( 18068 ) not integer for post_thumbnail 18071

1

Attach Id ( 18129 ) not integer for post_thumbnail 18132

1

Attach Id ( 18134 ) not integer for post_thumbnail 18137

1

Attach Id ( 18142 ) not integer for post_thumbnail 18144

1

Attach Id ( 18272 ) not integer for post_thumbnail 18274

1

Attach Id ( 18443 ) not integer for post_thumbnail 18445

1

Attach Id ( 18518 ) not integer for post_thumbnail 18520

1

Attach Id ( 18532 ) not integer for post_thumbnail 18534

1

Attach Id ( 18584 ) not integer for post_thumbnail 18586

1

Attach Id ( 18629 ) not integer for post_thumbnail 18631

1

Attach Id ( 18686 ) not integer for post_thumbnail 18688

1

Attach Id ( 18696 ) not integer for post_thumbnail 18698

1

Attach Id ( 18757 ) not integer for post_thumbnail 18759

1

Attach Id ( 18842 ) not integer for post_thumbnail 18844

1

Attach Id ( 19134 ) not integer for post_thumbnail 19136

1

Attach Id ( 19143 ) not integer for post_thumbnail 19145

1

Attach Id ( 19378 ) not integer for post_thumbnail 19380

1

Attach Id ( 20120 ) not integer for post_thumbnail 20122

1

Attach Id ( 20180 ) not integer for post_thumbnail 20182

1

Attach Id ( 20319 ) not integer for post_thumbnail 20324

1

Attach Id ( 20334 ) not integer for post_thumbnail 20337

1

Attach Id ( 20472 ) not integer for post_thumbnail 20474

1

Attach Id ( 20497 ) not integer for post_thumbnail 20499

1

Attach Id ( 20581 ) not integer for post_thumbnail 20583

1

Attach Id ( 20612 ) not integer for post_thumbnail 20614

1

Attach Id ( 20620 ) not integer for post_thumbnail 20626

1

Attach Id ( 20658 ) not integer for post_thumbnail 20660

1

Attach Id ( 20685 ) not integer for post_thumbnail 20689

1

Attach Id ( 20797 ) not integer for post_thumbnail 20800

1

Attach Id ( 21197 ) not integer for post_thumbnail 21199

1

Attach Id ( 21449 ) not integer for post_thumbnail 21451

1

Attach Id ( 21626 ) not integer for post_thumbnail 21628

1

Attach Id ( 21649 ) not integer for post_thumbnail 21651

1

Attach Id ( 21751 ) not integer for post_thumbnail 21753

1

Attach Id ( 21758 ) not integer for post_thumbnail 21760

1

Attach Id ( 21853 ) not integer for post_thumbnail 21855

1

Attach Id ( 21923 ) not integer for post_thumbnail 21925

1

Attach Id ( 22491 ) not integer for post_thumbnail 22493

1

Attach Id ( 22519 ) not integer for post_thumbnail 22521

1

Attach Id ( 22716 ) not integer for post_thumbnail 22718

1

Attach Id ( 22722 ) not integer for post_thumbnail 22724

1

Attach Id ( 22835 ) not integer for post_thumbnail 22837

1

Attach Id ( 22868 ) not integer for post_thumbnail 22870

1

Attach Id ( 22973 ) not integer for post_thumbnail 22977

1

Attach Id ( 22972 ) not integer for post_thumbnail 22976

1

Attach Id ( 23298 ) not integer for post_thumbnail 23301

1

Attach Id ( 23297 ) not integer for post_thumbnail 23302

1

Attach Id ( 23356 ) not integer for post_thumbnail 23358

1

Attach Id ( 23373 ) not integer for post_thumbnail 23376

1

Attach Id ( 23404 ) not integer for post_thumbnail 23408

1

Attach Id ( 23454 ) not integer for post_thumbnail 23456

1

Attach Id ( 23504 ) not integer for post_thumbnail 23506

1

Attach Id ( 23517 ) not integer for post_thumbnail 23519

1

Attach Id ( 23537 ) not integer for post_thumbnail 23539

1

Attach Id ( 23573 ) not integer for post_thumbnail 23575

1

Attach Id ( 23727 ) not integer for post_thumbnail 23729

1

Attach Id ( 23734 ) not integer for post_thumbnail 23736

1

Attach Id ( 23814 ) not integer for post_thumbnail 23816

1

Attach Id ( 24059 ) not integer for post_thumbnail 24061

1

Attach Id ( 24231 ) not integer for post_thumbnail 24233

1

Attach Id ( 24295 ) not integer for post_thumbnail 24297

1

Attach Id ( 24312 ) not integer for post_thumbnail 24314

1

Attach Id ( 24316 ) not integer for post_thumbnail 24318

1

Attach Id ( 24331 ) not integer for post_thumbnail 24333

1

Attach Id ( 24442 ) not integer for post_thumbnail 24444

1

Attach Id ( 24529 ) not integer for post_thumbnail 24531

1

Attach Id ( 24633 ) not integer for post_thumbnail 24635

1

Attach Id ( 24710 ) not integer for post_thumbnail 24712

1

Attach Id ( 24854 ) not integer for post_thumbnail 24856

1

Attach Id ( 24886 ) not integer for post_thumbnail 24888

1

Attach Id ( 24956 ) not integer for post_thumbnail 24958

1

Attach Id ( 24965 ) not integer for post_thumbnail 24967

1

Attach Id ( 25101 ) not integer for post_thumbnail 25103

1

Attach Id ( 25189 ) not integer for post_thumbnail 25191

1

Attach Id ( 25286 ) not integer for post_thumbnail 25289

1

Attach Id ( 25322 ) not integer for post_thumbnail 25324

1

Attach Id ( 25330 ) not integer for post_thumbnail 25332

1

Attach Id ( 25489 ) not integer for post_thumbnail 25493

1

Attach Id ( 25524 ) not integer for post_thumbnail 25526

1

Attach Id ( 25688 ) not integer for post_thumbnail 25691

1

Attach Id ( 25687 ) not integer for post_thumbnail 25692

1

Attach Id ( 25731 ) not integer for post_thumbnail 25734

1

Attach Id ( 25855 ) not integer for post_thumbnail 25857

1

Attach Id ( 25925 ) not integer for post_thumbnail 25927

1

Attach Id ( 25942 ) not integer for post_thumbnail 25943

1

Attach Id ( 25972 ) not integer for post_thumbnail 25974

1

Attach Id ( 26155 ) not integer for post_thumbnail 26156

1

Attach Id ( 26164 ) not integer for post_thumbnail 26166

1

Attach Id ( 26170 ) not integer for post_thumbnail 26173

1

Attach Id ( 26188 ) not integer for post_thumbnail 26191

1

Attach Id ( 26405 ) not integer for post_thumbnail 26407

1

Attach Id ( 26425 ) not integer for post_thumbnail 26427

1

Attach Id ( 26481 ) not integer for post_thumbnail 26483

1

Attach Id ( 26485 ) not integer for post_thumbnail 26487

1

Attach Id ( 26531 ) not integer for post_thumbnail 26533

1

Attach Id ( 26562 ) not integer for post_thumbnail 26564

1

Attach Id ( 26568 ) not integer for post_thumbnail 26570

1

Attach Id ( 26638 ) not integer for post_thumbnail 26640

1

Attach Id ( 26683 ) not integer for post_thumbnail 26685

1

Attach Id ( 26946 ) not integer for post_thumbnail 26948

1

Attach Id ( 26950 ) not integer for post_thumbnail 26952

1

Attach Id ( 27116 ) not integer for post_thumbnail 27118

1

Attach Id ( 27180 ) not integer for post_thumbnail 27182

1

Attach Id ( 27261 ) not integer for post_thumbnail 27263

1

Attach Id ( 27273 ) not integer for post_thumbnail 27275

1

Attach Id ( 27396 ) not integer for post_thumbnail 27398

1

Attach Id ( 27409 ) not integer for post_thumbnail 27411

1

Attach Id ( 27428 ) not integer for post_thumbnail 27430

1

Attach Id ( 27767 ) not integer for post_thumbnail 27769

1

Attach Id ( 27819 ) not integer for post_thumbnail 27821

1

Attach Id ( 27833 ) not integer for post_thumbnail 27835

1

Attach Id ( 27848 ) not integer for post_thumbnail 27850

1

Attach Id ( 28136 ) not integer for post_thumbnail 28138

1

Attach Id ( 28201 ) not integer for post_thumbnail 28203

1

Attach Id ( 28243 ) not integer for post_thumbnail 28245

1

Attach Id ( 28405 ) not integer for post_thumbnail 28392

1

Attach Id ( 28408 ) not integer for post_thumbnail 28379

1

Attach Id ( 28413 ) not integer for post_thumbnail 28385

1

Attach Id ( 28415 ) not integer for post_thumbnail 28368

1

Attach Id ( 28420 ) not integer for post_thumbnail 28362

1

Attach Id ( 28424 ) not integer for post_thumbnail 28336

1

Attach Id ( 28433 ) not integer for post_thumbnail 28339

1

Attach Id ( 28435 ) not integer for post_thumbnail 28342

1

Attach Id ( 28527 ) not integer for post_thumbnail 28529

1

Attach Id ( 28579 ) not integer for post_thumbnail 28581

1

Attach Id ( 28660 ) not integer for post_thumbnail 28662

1

Attach Id ( 28683 ) not integer for post_thumbnail 28685

1

Attach Id ( 28718 ) not integer for post_thumbnail 28721

1

Attach Id ( 28750 ) not integer for post_thumbnail 28755

1

Attach Id ( 28880 ) not integer for post_thumbnail 28882

1

Attach Id ( 28892 ) not integer for post_thumbnail 28894

1

Attach Id ( 28899 ) not integer for post_thumbnail 28901

1

Attach Id ( 29101 ) not integer for post_thumbnail 29103

1

Attach Id ( 29352 ) not integer for post_thumbnail 29354

1

Attach Id ( 29457 ) not integer for post_thumbnail 29460

1

Attach Id ( 29462 ) not integer for post_thumbnail 29464

1

Attach Id ( 29507 ) not integer for post_thumbnail 29510

1

Attach Id ( 29506 ) not integer for post_thumbnail 29511

1

Attach Id ( 29606 ) not integer for post_thumbnail 29608

1

Attach Id ( 29653 ) not integer for post_thumbnail 29655

1

Attach Id ( 29694 ) not integer for post_thumbnail 29696

1

Attach Id ( 29802 ) not integer for post_thumbnail 29804

1

Attach Id ( 29930 ) not integer for post_thumbnail 29932

1

Attach Id ( 29967 ) not integer for post_thumbnail 29969

1

Attach Id ( 29979 ) not integer for post_thumbnail 29981

1

Attach Id ( 30108 ) not integer for post_thumbnail 30110

1

Attach Id ( 30324 ) not integer for post_thumbnail 30327

1

Attach Id ( 30456 ) not integer for post_thumbnail 30458

1

Attach Id ( 30556 ) not integer for post_thumbnail 30558

1

Attach Id ( 30576 ) not integer for post_thumbnail 30578

1

Attach Id ( 30615 ) not integer for post_thumbnail 30617

1

Attach Id ( 30628 ) not integer for post_thumbnail 30637

1

Attach Id ( 30745 ) not integer for post_thumbnail 30747

1

Attach Id ( 30799 ) not integer for post_thumbnail 30801

1

Attach Id ( 30871 ) not integer for post_thumbnail 30873

1

Attach Id ( 30989 ) not integer for post_thumbnail 30992

1

Attach Id ( 31250 ) not integer for post_thumbnail 31252

1

Attach Id ( 31265 ) not integer for post_thumbnail 31267

1

Attach Id ( 31295 ) not integer for post_thumbnail 31297

1

Attach Id ( 31784 ) not integer for post_thumbnail 31786

1

Attach Id ( 31823 ) not integer for post_thumbnail 31825

1

Attach Id ( 31872 ) not integer for post_thumbnail 31874

1

Attach Id ( 31930 ) not integer for post_thumbnail 31932

1

Attach Id ( 32207 ) not integer for post_thumbnail 32209

1

Attach Id ( 32285 ) not integer for post_thumbnail 32287

1

Attach Id ( 32468 ) not integer for post_thumbnail 32470

1

Attach Id ( 32487 ) not integer for post_thumbnail 32489

1

Attach Id ( 32574 ) not integer for post_thumbnail 32576

1

Attach Id ( 32602 ) not integer for post_thumbnail 32604

1

Attach Id ( 32855 ) not integer for post_thumbnail 32857

1

Attach Id ( 32904 ) not integer for post_thumbnail 32906

1

Attach Id ( 32932 ) not integer for post_thumbnail 32934

1

Attach Id ( 33027 ) not integer for post_thumbnail 33029

1

Attach Id ( 33108 ) not integer for post_thumbnail 33113

1

Attach Id ( 33109 ) not integer for post_thumbnail 33114

1

Attach Id ( 33112 ) not integer for post_thumbnail 33116

1

Attach Id ( 33307 ) not integer for post_thumbnail 33310

1

Attach Id ( 33320 ) not integer for post_thumbnail 33322

1

Attach Id ( 33380 ) not integer for post_thumbnail 33382

1

Attach Id ( 33395 ) not integer for post_thumbnail 33397

1

Attach Id ( 33612 ) not integer for post_thumbnail 33614

1

Attach Id ( 33721 ) not integer for post_thumbnail 33723

1

Attach Id ( 33745 ) not integer for post_thumbnail 33747

1

Attach Id ( 33946 ) not integer for post_thumbnail 33948

1

Attach Id ( 33963 ) not integer for post_thumbnail 33965

1

Attach Id ( 33985 ) not integer for post_thumbnail 33987

1

Attach Id ( 33993 ) not integer for post_thumbnail 33995

1

Attach Id ( 34010 ) not integer for post_thumbnail 34013

1

Attach Id ( 34045 ) not integer for post_thumbnail 34049

1

Attach Id ( 34051 ) not integer for post_thumbnail 34053

1

Attach Id ( 34293 ) not integer for post_thumbnail 34295

1

Attach Id ( 34354 ) not integer for post_thumbnail 34359

1

Attach Id ( 34372 ) not integer for post_thumbnail 34377

1

Attach Id ( 34448 ) not integer for post_thumbnail 34450

1

Attach Id ( 34489 ) not integer for post_thumbnail 34491

1

Attach Id ( 34508 ) not integer for post_thumbnail 34510

1

Attach Id ( 34717 ) not integer for post_thumbnail 34723

1

Attach Id ( 34718 ) not integer for post_thumbnail 34724

1

Attach Id ( 34746 ) not integer for post_thumbnail 34749

1

Attach Id ( 34892 ) not integer for post_thumbnail 34894

1

Attach Id ( 35191 ) not integer for post_thumbnail 35193

1

Attach Id ( 35195 ) not integer for post_thumbnail 35197

1

Attach Id ( 35216 ) not integer for post_thumbnail 35218

1

Attach Id ( 35338 ) not integer for post_thumbnail 35340

1

Attach Id ( 35499 ) not integer for post_thumbnail 35501

1

Attach Id ( 35596 ) not integer for post_thumbnail 35598

1

Attach Id ( 35670 ) not integer for post_thumbnail 35672

1

Attach Id ( 35687 ) not integer for post_thumbnail 35695

1

Attach Id ( 35716 ) not integer for post_thumbnail 35718

1

Attach Id ( 35755 ) not integer for post_thumbnail 35757

1

Attach Id ( 35809 ) not integer for post_thumbnail 35819

1

Attach Id ( 35810 ) not integer for post_thumbnail 35820

1

Attach Id ( 35833 ) not integer for post_thumbnail 35837

1

Attach Id ( 35834 ) not integer for post_thumbnail 35838

1

Attach Id ( 35881 ) not integer for post_thumbnail 35883

1

Attach Id ( 36050 ) not integer for post_thumbnail 36052

1

Attach Id ( 36063 ) not integer for post_thumbnail 36068

1

Attach Id ( 36099 ) not integer for post_thumbnail 36108

1

Attach Id ( 36308 ) not integer for post_thumbnail 36311

1

Attach Id ( 36360 ) not integer for post_thumbnail 36363

1

Attach Id ( 36380 ) not integer for post_thumbnail 36382

1

Attach Id ( 36481 ) not integer for post_thumbnail 36483

1

Attach Id ( 36496 ) not integer for post_thumbnail 36499

1

Attach Id ( 36550 ) not integer for post_thumbnail 36552

1

Attach Id ( 36751 ) not integer for post_thumbnail 36757

1

Attach Id ( 36804 ) not integer for post_thumbnail 36810

1

Attach Id ( 37048 ) not integer for post_thumbnail 37050

1

Attach Id ( 37144 ) not integer for post_thumbnail 37146

1

Attach Id ( 37207 ) not integer for post_thumbnail 37211

1

Attach Id ( 37235 ) not integer for post_thumbnail 37237

1

Attach Id ( 37449 ) not integer for post_thumbnail 37454

1

Attach Id ( 37547 ) not integer for post_thumbnail 37549

1

Attach Id ( 37594 ) not integer for post_thumbnail 37596

1

Attach Id ( 37758 ) not integer for post_thumbnail 37760

1

Attach Id ( 37763 ) not integer for post_thumbnail 37765

1

Attach Id ( 37770 ) not integer for post_thumbnail 37772

1

Attach Id ( 37783 ) not integer for post_thumbnail 37785

1

Attach Id ( 37787 ) not integer for post_thumbnail 37789

1

Attach Id ( 37791 ) not integer for post_thumbnail 37793

1

Attach Id ( 38266 ) not integer for post_thumbnail 38268

1

Attach Id ( 38293 ) not integer for post_thumbnail 38295

1

Attach Id ( 38361 ) not integer for post_thumbnail 38364

1

Attach Id ( 38360 ) not integer for post_thumbnail 38365

1

Attach Id ( 38528 ) not integer for post_thumbnail 38530

1

Attach Id ( 38817 ) not integer for post_thumbnail 38819

1

Attach Id ( 38915 ) not integer for post_thumbnail 38917

1

Attach Id ( 39028 ) not integer for post_thumbnail 39030

1

Attach Id ( 39112 ) not integer for post_thumbnail 39114

1

Attach Id ( 39119 ) not integer for post_thumbnail 39121

1

Attach Id ( 39126 ) not integer for post_thumbnail 39129

1

Attach Id ( 39193 ) not integer for post_thumbnail 39197

1

Attach Id ( 39199 ) not integer for post_thumbnail 39201

1

Attach Id ( 39303 ) not integer for post_thumbnail 39305

1

Attach Id ( 39488 ) not integer for post_thumbnail 39490

1

Attach Id ( 39996 ) not integer for post_thumbnail 39998

1

Attach Id ( 40005 ) not integer for post_thumbnail 40010

1

Attach Id ( 40200 ) not integer for post_thumbnail 40206

1

Attach Id ( 40201 ) not integer for post_thumbnail 40207

1

Attach Id ( 40457 ) not integer for post_thumbnail 40459

1

Attach Id ( 40497 ) not integer for post_thumbnail 40499

1

Attach Id ( 40582 ) not integer for post_thumbnail 40588

1

Attach Id ( 41701 ) not integer for post_thumbnail 41703

1

Attach Id ( 41808 ) not integer for post_thumbnail 41810

1

Attach Id ( 41974 ) not integer for post_thumbnail 41976

1

Attach Id ( 42119 ) not integer for post_thumbnail 42121

1

Attach Id ( 42198 ) not integer for post_thumbnail 42200

1

Attach Id ( 42232 ) not integer for post_thumbnail 42235

1

Attach Id ( 42257 ) not integer for post_thumbnail 42261

1

Attach Id ( 42258 ) not integer for post_thumbnail 42262

1

Attach Id ( 42279 ) not integer for post_thumbnail 42281

1

Attach Id ( 42491 ) not integer for post_thumbnail 42494

1

Attach Id ( 42669 ) not integer for post_thumbnail 42673

1

Attach Id ( 42694 ) not integer for post_thumbnail 42698

1

Attach Id ( 42776 ) not integer for post_thumbnail 42778

1

Attach Id ( 42976 ) not integer for post_thumbnail 42979

1

Attach Id ( 42981 ) not integer for post_thumbnail 42984

1

Attach Id ( 43003 ) not integer for post_thumbnail 43005

1

Attach Id ( 43095 ) not integer for post_thumbnail 43097

1

Attach Id ( 43108 ) not integer for post_thumbnail 43110

1

Attach Id ( 43133 ) not integer for post_thumbnail 43135

1

Attach Id ( 43193 ) not integer for post_thumbnail 43195

1

Attach Id ( 43210 ) not integer for post_thumbnail 43213

1

Attach Id ( 43264 ) not integer for post_thumbnail 43266

1

Attach Id ( 43271 ) not integer for post_thumbnail 43273

1

Attach Id ( 43289 ) not integer for post_thumbnail 43291

1

Attach Id ( 43296 ) not integer for post_thumbnail 43298

1

Attach Id ( 43356 ) not integer for post_thumbnail 43358

1

Attach Id ( 43535 ) not integer for post_thumbnail 43537

1

Attach Id ( 43773 ) not integer for post_thumbnail 43775

1

Attach Id ( 43945 ) not integer for post_thumbnail 43947

1

Attach Id ( 44153 ) not integer for post_thumbnail 44156

1

Attach Id ( 44213 ) not integer for post_thumbnail 44215

1

Attach Id ( 44373 ) not integer for post_thumbnail 44375

1

Attach Id ( 44389 ) not integer for post_thumbnail 44391

1

Attach Id ( 44526 ) not integer for post_thumbnail 44529

1

Attach Id ( 44596 ) not integer for post_thumbnail 44598

1

Attach Id ( 44608 ) not integer for post_thumbnail 44610

1

Attach Id ( 44646 ) not integer for post_thumbnail 44657

1

Attach Id ( 44714 ) not integer for post_thumbnail 44716

1

Attach Id ( 44890 ) not integer for post_thumbnail 44892

1

Attach Id ( 44940 ) not integer for post_thumbnail 44951

1

Attach Id ( 45030 ) not integer for post_thumbnail 45041

1

Attach Id ( 45126 ) not integer for post_thumbnail 45129

1

Attach Id ( 45211 ) not integer for post_thumbnail 45214

1

Attach Id ( 45413 ) not integer for post_thumbnail 45415

1

Attach Id ( 45461 ) not integer for post_thumbnail 45464

1

Attach Id ( 45478 ) not integer for post_thumbnail 45481

1

Attach Id ( 45580 ) not integer for post_thumbnail 45582

1

Attach Id ( 45629 ) not integer for post_thumbnail 45631

1

Attach Id ( 45646 ) not integer for post_thumbnail 45648

1

Attach Id ( 45859 ) not integer for post_thumbnail 45862

1

Attach Id ( 45888 ) not integer for post_thumbnail 45890

1

Attach Id ( 45923 ) not integer for post_thumbnail 45925

1

Attach Id ( 45929 ) not integer for post_thumbnail 45931

1

Attach Id ( 46042 ) not integer for post_thumbnail 46044

1

Attach Id ( 46061 ) not integer for post_thumbnail 46064

1

Attach Id ( 46148 ) not integer for post_thumbnail 46153

1

Attach Id ( 46149 ) not integer for post_thumbnail 46152

1

Attach Id ( 46212 ) not integer for post_thumbnail 46215

1

Attach Id ( 46325 ) not integer for post_thumbnail 46327

1

Attach Id ( 46374 ) not integer for post_thumbnail 46377

1

Attach Id ( 46558 ) not integer for post_thumbnail 46560

1

Attach Id ( 46562 ) not integer for post_thumbnail 46564

1

Attach Id ( 46600 ) not integer for post_thumbnail 46602

1

Attach Id ( 46633 ) not integer for post_thumbnail 46635

1

Attach Id ( 46797 ) not integer for post_thumbnail 46800

1

Attach Id ( 46829 ) not integer for post_thumbnail 46831

1

Attach Id ( 46847 ) not integer for post_thumbnail 46849

1

Attach Id ( 47093 ) not integer for post_thumbnail 47099

1

Attach Id ( 47092 ) not integer for post_thumbnail 47098

1

Attach Id ( 47121 ) not integer for post_thumbnail 47124

1

Attach Id ( 47126 ) not integer for post_thumbnail 47128

1

Attach Id ( 47134 ) not integer for post_thumbnail 47137

1

Attach Id ( 47200 ) not integer for post_thumbnail 47203

1

Attach Id ( 47205 ) not integer for post_thumbnail 47207

1

Attach Id ( 47224 ) not integer for post_thumbnail 47226

1

Attach Id ( 47280 ) not integer for post_thumbnail 47282

1

Attach Id ( 47313 ) not integer for post_thumbnail 47315

1

Attach Id ( 47427 ) not integer for post_thumbnail 47429

1

Attach Id ( 47445 ) not integer for post_thumbnail 47449

1

Attach Id ( 47446 ) not integer for post_thumbnail 47450

1

Attach Id ( 47739 ) not integer for post_thumbnail 47742

1

Attach Id ( 47748 ) not integer for post_thumbnail 47750

1

Attach Id ( 47754 ) not integer for post_thumbnail 47756

1

Attach Id ( 47758 ) not integer for post_thumbnail 47761

1

Attach Id ( 47842 ) not integer for post_thumbnail 47844

1

Attach Id ( 47857 ) not integer for post_thumbnail 47860

1

Attach Id ( 47856 ) not integer for post_thumbnail 47861

1

Attach Id ( 48044 ) not integer for post_thumbnail 48046

1

Attach Id ( 48232 ) not integer for post_thumbnail 48234

1

Attach Id ( 48258 ) not integer for post_thumbnail 48260

1

Attach Id ( 48268 ) not integer for post_thumbnail 48270

1

Attach Id ( 48278 ) not integer for post_thumbnail 48280

1

Attach Id ( 48301 ) not integer for post_thumbnail 48303

1

Attach Id ( 48614 ) not integer for post_thumbnail 48616

1

Attach Id ( 48620 ) not integer for post_thumbnail 48622

1

Attach Id ( 48944 ) not integer for post_thumbnail 48946

1

Attach Id ( 48979 ) not integer for post_thumbnail 48981

1

Attach Id ( 49039 ) not integer for post_thumbnail 49041

1

Attach Id ( 49048 ) not integer for post_thumbnail 49050

1

Attach Id ( 49066 ) not integer for post_thumbnail 49068

1

Attach Id ( 49181 ) not integer for post_thumbnail 49183

1

Attach Id ( 49193 ) not integer for post_thumbnail 49195

1

Attach Id ( 49199 ) not integer for post_thumbnail 49202

1

Attach Id ( 49558 ) not integer for post_thumbnail 49560

1

Attach Id ( 49578 ) not integer for post_thumbnail 49580

1

Attach Id ( 49623 ) not integer for post_thumbnail 49625

1

Attach Id ( 49637 ) not integer for post_thumbnail 49639

1

Attach Id ( 49783 ) not integer for post_thumbnail 49785

1

Attach Id ( 49817 ) not integer for post_thumbnail 49819

1

Attach Id ( 49841 ) not integer for post_thumbnail 49843

1

Attach Id ( 50066 ) not integer for post_thumbnail 50068

1

Attach Id ( 50094 ) not integer for post_thumbnail 50096

1

Attach Id ( 50143 ) not integer for post_thumbnail 50145

1

Attach Id ( 50235 ) not integer for post_thumbnail 50237

1

Attach Id ( 50251 ) not integer for post_thumbnail 50253

1

Attach Id ( 50366 ) not integer for post_thumbnail 50368

1

Attach Id ( 50585 ) not integer for post_thumbnail 50587

1

Attach Id ( 50734 ) not integer for post_thumbnail 50736

1

Attach Id ( 50969 ) not integer for post_thumbnail 50973

1

Attach Id ( 51022 ) not integer for post_thumbnail 51026

1

Attach Id ( 51023 ) not integer for post_thumbnail 51027

1

Attach Id ( 51040 ) not integer for post_thumbnail 51042

1

Attach Id ( 51086 ) not integer for post_thumbnail 51088

1

Attach Id ( 51452 ) not integer for post_thumbnail 51454

1

Attach Id ( 51659 ) not integer for post_thumbnail 51661

1

Attach Id ( 51758 ) not integer for post_thumbnail 51760

1

Attach Id ( 51821 ) not integer for post_thumbnail 51825

1

Attach Id ( 51822 ) not integer for post_thumbnail 51826

1

Attach Id ( 51947 ) not integer for post_thumbnail 51949

1

Attach Id ( 51958 ) not integer for post_thumbnail 51960

1

Attach Id ( 52196 ) not integer for post_thumbnail 52200

1

Attach Id ( 52198 ) not integer for post_thumbnail 52202

1

Attach Id ( 52212 ) not integer for post_thumbnail 52214

1

Attach Id ( 52216 ) not integer for post_thumbnail 52218

1

Attach Id ( 52233 ) not integer for post_thumbnail 52235

1

Attach Id ( 52253 ) not integer for post_thumbnail 52255

1

Attach Id ( 52279 ) not integer for post_thumbnail 52281

1

Attach Id ( 52373 ) not integer for post_thumbnail 52375

1

Attach Id ( 52391 ) not integer for post_thumbnail 52393

1

Attach Id ( 52403 ) not integer for post_thumbnail 52405

1

Attach Id ( 52408 ) not integer for post_thumbnail 52410

1

Attach Id ( 52502 ) not integer for post_thumbnail 52504

1

Attach Id ( 52560 ) not integer for post_thumbnail 52564

1

Attach Id ( 52693 ) not integer for post_thumbnail 52695

1

Attach Id ( 52700 ) not integer for post_thumbnail 52703

1

Attach Id ( 52719 ) not integer for post_thumbnail 52721

1

Attach Id ( 52757 ) not integer for post_thumbnail 52759

1

Attach Id ( 52825 ) not integer for post_thumbnail 52827

1

Attach Id ( 52905 ) not integer for post_thumbnail 52908

1

Attach Id ( 53126 ) not integer for post_thumbnail 53128

1

Attach Id ( 53146 ) not integer for post_thumbnail 53148

1

Attach Id ( 53150 ) not integer for post_thumbnail 53152

1

Attach Id ( 53267 ) not integer for post_thumbnail 53269

1

Attach Id ( 53303 ) not integer for post_thumbnail 53305

1

Attach Id ( 53434 ) not integer for post_thumbnail 53436

1

Attach Id ( 53719 ) not integer for post_thumbnail 53721

1

Attach Id ( 53994 ) not integer for post_thumbnail 53996

1

Attach Id ( 54006 ) not integer for post_thumbnail 54008

1

Attach Id ( 54103 ) not integer for post_thumbnail 54105

1

Attach Id ( 54454 ) not integer for post_thumbnail 54456

1

Attach Id ( 54484 ) not integer for post_thumbnail 54486

1

Attach Id ( 54679 ) not integer for post_thumbnail 54681

1

Attach Id ( 54747 ) not integer for post_thumbnail 54753

1

Attach Id ( 54793 ) not integer for post_thumbnail 54802

1

Attach Id ( 55113 ) not integer for post_thumbnail 55115

1

Attach Id ( 55209 ) not integer for post_thumbnail 55211

1

Attach Id ( 55476 ) not integer for post_thumbnail 55478

1

Attach Id ( 55613 ) not integer for post_thumbnail 55615

1

Attach Id ( 55686 ) not integer for post_thumbnail 55688

1

Attach Id ( 55858 ) not integer for post_thumbnail 55860

1

Attach Id ( 56122 ) not integer for post_thumbnail 56124

1

Attach Id ( 56132 ) not integer for post_thumbnail 56134

1

Attach Id ( 56271 ) not integer for post_thumbnail 56273

1

Attach Id ( 56281 ) not integer for post_thumbnail 56283

1

Attach Id ( 56345 ) not integer for post_thumbnail 56347

1

Attach Id ( 56381 ) not integer for post_thumbnail 56383

1

Attach Id ( 56467 ) not integer for post_thumbnail 56469

1

Attach Id ( 56492 ) not integer for post_thumbnail 56494

1

Attach Id ( 56538 ) not integer for post_thumbnail 56540

1

Attach Id ( 56557 ) not integer for post_thumbnail 56559

1

Attach Id ( 56704 ) not integer for post_thumbnail 56706

1

Attach Id ( 56730 ) not integer for post_thumbnail 56732

1

Attach Id ( 56951 ) not integer for post_thumbnail 56953

1

Attach Id ( 57075 ) not integer for post_thumbnail 57079

1

Attach Id ( 57076 ) not integer for post_thumbnail 57080

1

Attach Id ( 57294 ) not integer for post_thumbnail 57296

1

Attach Id ( 57317 ) not integer for post_thumbnail 57319

1

Attach Id ( 57500 ) not integer for post_thumbnail 57502

1

Attach Id ( 57546 ) not integer for post_thumbnail 57549

1

Attach Id ( 57765 ) not integer for post_thumbnail 57767

1

Attach Id ( 57792 ) not integer for post_thumbnail 57794

1

Attach Id ( 57926 ) not integer for post_thumbnail 57928

1

Attach Id ( 58133 ) not integer for post_thumbnail 58135

1

Attach Id ( 58165 ) not integer for post_thumbnail 58167

1

Attach Id ( 58169 ) not integer for post_thumbnail 58171

1

Attach Id ( 58420 ) not integer for post_thumbnail 58422

1

Attach Id ( 58522 ) not integer for post_thumbnail 58524

1

Attach Id ( 58538 ) not integer for post_thumbnail 58540

1

Attach Id ( 58558 ) not integer for post_thumbnail 58560

1

Attach Id ( 58570 ) not integer for post_thumbnail 58572

1

Attach Id ( 58604 ) not integer for post_thumbnail 58606

1

Attach Id ( 58608 ) not integer for post_thumbnail 58610

1

Attach Id ( 58746 ) not integer for post_thumbnail 58748

1

Attach Id ( 58765 ) not integer for post_thumbnail 58768

1

Attach Id ( 58823 ) not integer for post_thumbnail 58825

1

Attach Id ( 59088 ) not integer for post_thumbnail 59090

1

Attach Id ( 59295 ) not integer for post_thumbnail 59297

1

Attach Id ( 59431 ) not integer for post_thumbnail 59434

1

Attach Id ( 59528 ) not integer for post_thumbnail 59532

1

Attach Id ( 59594 ) not integer for post_thumbnail 59596

1

Attach Id ( 59614 ) not integer for post_thumbnail 59616

1

Attach Id ( 59693 ) not integer for post_thumbnail 59695

1

Attach Id ( 60259 ) not integer for post_thumbnail 60262

1

Attach Id ( 60409 ) not integer for post_thumbnail 60411

1

Attach Id ( 60416 ) not integer for post_thumbnail 60418

1

Attach Id ( 60437 ) not integer for post_thumbnail 60440

1

Attach Id ( 60926 ) not integer for post_thumbnail 60929

1

Attach Id ( 60965 ) not integer for post_thumbnail 60967

1

Attach Id ( 61066 ) not integer for post_thumbnail 61068

1

Attach Id ( 61146 ) not integer for post_thumbnail 61148

1

Attach Id ( 61158 ) not integer for post_thumbnail 61160

1

Attach Id ( 61466 ) not integer for post_thumbnail 61468

1

Attach Id ( 61637 ) not integer for post_thumbnail 61640

1

Attach Id ( 61773 ) not integer for post_thumbnail 61776

1

Attach Id ( 61878 ) not integer for post_thumbnail 61881

1

Attach Id ( 61885 ) not integer for post_thumbnail 61887

1

Attach Id ( 61958 ) not integer for post_thumbnail 61960

1

Attach Id ( 62111 ) not integer for post_thumbnail 62113

1

Attach Id ( 62136 ) not integer for post_thumbnail 62138

1

Attach Id ( 62210 ) not integer for post_thumbnail 62216

1

Attach Id ( 62407 ) not integer for post_thumbnail 62409

1

Attach Id ( 62501 ) not integer for post_thumbnail 62503

1

Attach Id ( 62513 ) not integer for post_thumbnail 62515

1

Attach Id ( 62526 ) not integer for post_thumbnail 62528

1

Attach Id ( 62661 ) not integer for post_thumbnail 62665

1

Attach Id ( 62784 ) not integer for post_thumbnail 62786

1

Attach Id ( 62841 ) not integer for post_thumbnail 62844

1

Attach Id ( 63216 ) not integer for post_thumbnail 63218

1

Attach Id ( 63479 ) not integer for post_thumbnail 63483

1

Attach Id ( 63572 ) not integer for post_thumbnail 63580

1

Attach Id ( 63573 ) not integer for post_thumbnail 63581

1

Attach Id ( 63608 ) not integer for post_thumbnail 63610

1

Attach Id ( 63633 ) not integer for post_thumbnail 63635

1

Attach Id ( 63716 ) not integer for post_thumbnail 63718

1

Attach Id ( 63753 ) not integer for post_thumbnail 63755

1

Attach Id ( 63976 ) not integer for post_thumbnail 63978

1

Attach Id ( 64052 ) not integer for post_thumbnail 64055

1

Attach Id ( 64051 ) not integer for post_thumbnail 64056

1

Attach Id ( 64200 ) not integer for post_thumbnail 64203

1

Attach Id ( 64473 ) not integer for post_thumbnail 64475

1

Attach Id ( 64972 ) not integer for post_thumbnail 64975

1

Attach Id ( 64995 ) not integer for post_thumbnail 64997

1

Attach Id ( 65002 ) not integer for post_thumbnail 65005

1

Attach Id ( 65008 ) not integer for post_thumbnail 65010

1

Attach Id ( 65021 ) not integer for post_thumbnail 65023

1

Attach Id ( 65059 ) not integer for post_thumbnail 65061

1

Attach Id ( 65116 ) not integer for post_thumbnail 65122

1

Attach Id ( 65117 ) not integer for post_thumbnail 65123

1

Attach Id ( 65118 ) not integer for post_thumbnail 65124

1

Attach Id ( 65240 ) not integer for post_thumbnail 65242

1

Attach Id ( 65539 ) not integer for post_thumbnail 65543

1

Attach Id ( 65780 ) not integer for post_thumbnail 65782

1

Attach Id ( 65970 ) not integer for post_thumbnail 65974

1

Attach Id ( 66007 ) not integer for post_thumbnail 66009

1

Attach Id ( 66084 ) not integer for post_thumbnail 66086

1

Attach Id ( 66252 ) not integer for post_thumbnail 66254

1

Attach Id ( 66293 ) not integer for post_thumbnail 66295

1

Attach Id ( 66522 ) not integer for post_thumbnail 66526

1

Attach Id ( 66548 ) not integer for post_thumbnail 66551

1

Attach Id ( 66730 ) not integer for post_thumbnail 66732

1

Attach Id ( 66819 ) not integer for post_thumbnail 66821

1

Attach Id ( 66839 ) not integer for post_thumbnail 66841

1

Attach Id ( 66944 ) not integer for post_thumbnail 66946

1

Attach Id ( 66956 ) not integer for post_thumbnail 66960

1

Attach Id ( 66978 ) not integer for post_thumbnail 66982

1

Attach Id ( 67053 ) not integer for post_thumbnail 67056

1

Attach Id ( 67086 ) not integer for post_thumbnail 67088

1

Attach Id ( 67579 ) not integer for post_thumbnail 67581

1

Attach Id ( 67653 ) not integer for post_thumbnail 67655

1

Attach Id ( 67661 ) not integer for post_thumbnail 67664

1

Attach Id ( 67997 ) not integer for post_thumbnail 68001

1

Attach Id ( 68211 ) not integer for post_thumbnail 68213

1

Attach Id ( 68225 ) not integer for post_thumbnail 68227

1

Attach Id ( 68377 ) not integer for post_thumbnail 68379

1

Attach Id ( 68392 ) not integer for post_thumbnail 68394

1

Attach Id ( 68447 ) not integer for post_thumbnail 68449

1

Attach Id ( 68451 ) not integer for post_thumbnail 68453

1

Attach Id ( 68800 ) not integer for post_thumbnail 68802

1

Attach Id ( 68857 ) not integer for post_thumbnail 68859

1

Attach Id ( 68910 ) not integer for post_thumbnail 68914

1

Attach Id ( 69057 ) not integer for post_thumbnail 69060

1

Attach Id ( 69122 ) not integer for post_thumbnail 69124

1

Attach Id ( 69174 ) not integer for post_thumbnail 69177

1

Attach Id ( 69184 ) not integer for post_thumbnail 69186

1

Attach Id ( 69236 ) not integer for post_thumbnail 69238

1

Attach Id ( 69244 ) not integer for post_thumbnail 69246

1

Attach Id ( 69495 ) not integer for post_thumbnail 69498

1

Attach Id ( 69494 ) not integer for post_thumbnail 69499

1

Attach Id ( 69577 ) not integer for post_thumbnail 69580

1

Attach Id ( 69591 ) not integer for post_thumbnail 69593

1

Attach Id ( 69608 ) not integer for post_thumbnail 69610

1

Attach Id ( 69894 ) not integer for post_thumbnail 69896

1

Attach Id ( 70377 ) not integer for post_thumbnail 70381

1

Attach Id ( 70392 ) not integer for post_thumbnail 70394

1

Attach Id ( 70506 ) not integer for post_thumbnail 70508

1

Attach Id ( 70759 ) not integer for post_thumbnail 70761

1

Attach Id ( 71056 ) not integer for post_thumbnail 71058

1

Attach Id ( 71154 ) not integer for post_thumbnail 71156

1

Attach Id ( 71218 ) not integer for post_thumbnail 71220

1

Attach Id ( 71580 ) not integer for post_thumbnail 71582

1

Attach Id ( 71611 ) not integer for post_thumbnail 71613

1

Attach Id ( 71831 ) not integer for post_thumbnail 71833

1

Attach Id ( 71862 ) not integer for post_thumbnail 71865

1

Attach Id ( 71975 ) not integer for post_thumbnail 71977

1

Attach Id ( 72046 ) not integer for post_thumbnail 72048

1

Attach Id ( 72154 ) not integer for post_thumbnail 72156

1

Attach Id ( 72200 ) not integer for post_thumbnail 72202

1

Attach Id ( 72293 ) not integer for post_thumbnail 72295

1

Attach Id ( 72318 ) not integer for post_thumbnail 72320

1

Attach Id ( 72409 ) not integer for post_thumbnail 72411

1

Attach Id ( 72478 ) not integer for post_thumbnail 72480

1

Attach Id ( 72500 ) not integer for post_thumbnail 72502

1

Attach Id ( 72639 ) not integer for post_thumbnail 72641

1

Attach Id ( 72693 ) not integer for post_thumbnail 72695

1

Attach Id ( 72967 ) not integer for post_thumbnail 72970

1

Attach Id ( 73087 ) not integer for post_thumbnail 73089

1

Attach Id ( 73216 ) not integer for post_thumbnail 73218

1

Attach Id ( 73625 ) not integer for post_thumbnail 73634

1

Attach Id ( 73800 ) not integer for post_thumbnail 73802

1

Attach Id ( 73829 ) not integer for post_thumbnail 73832

1

Attach Id ( 73840 ) not integer for post_thumbnail 73842

1

Attach Id ( 74050 ) not integer for post_thumbnail 74052

1

Attach Id ( 74529 ) not integer for post_thumbnail 74531

1

Attach Id ( 74610 ) not integer for post_thumbnail 74615

1

Attach Id ( 74611 ) not integer for post_thumbnail 74617

1

Attach Id ( 74609 ) not integer for post_thumbnail 74616

1

Attach Id ( 74674 ) not integer for post_thumbnail 74676

1

Attach Id ( 74706 ) not integer for post_thumbnail 74708

1

Attach Id ( 74721 ) not integer for post_thumbnail 74723

1

Attach Id ( 74842 ) not integer for post_thumbnail 74844

1

Attach Id ( 74901 ) not integer for post_thumbnail 74903

1

Attach Id ( 74907 ) not integer for post_thumbnail 74910

1

Attach Id ( 74925 ) not integer for post_thumbnail 74927

1

Attach Id ( 75054 ) not integer for post_thumbnail 75056

1

Attach Id ( 75108 ) not integer for post_thumbnail 75113

1

Attach Id ( 75107 ) not integer for post_thumbnail 75114

1

Attach Id ( 75152 ) not integer for post_thumbnail 75155

1

Attach Id ( 75310 ) not integer for post_thumbnail 75312

1

Attach Id ( 75328 ) not integer for post_thumbnail 75330

1

Attach Id ( 75916 ) not integer for post_thumbnail 75918

1

Attach Id ( 75995 ) not integer for post_thumbnail 75997

1

Attach Id ( 75999 ) not integer for post_thumbnail 76001

1

Attach Id ( 76010 ) not integer for post_thumbnail 76012

1

Attach Id ( 76017 ) not integer for post_thumbnail 76020

1

Attach Id ( 76201 ) not integer for post_thumbnail 76203

1

Attach Id ( 76260 ) not integer for post_thumbnail 76262

1

Attach Id ( 76282 ) not integer for post_thumbnail 76284

1

Attach Id ( 76320 ) not integer for post_thumbnail 76322

1

Attach Id ( 76326 ) not integer for post_thumbnail 76328

1

Attach Id ( 76418 ) not integer for post_thumbnail 76420

1

Attach Id ( 76520 ) not integer for post_thumbnail 76522

1

Attach Id ( 76575 ) not integer for post_thumbnail 76577

1

Attach Id ( 76674 ) not integer for post_thumbnail 76676

1

Attach Id ( 76689 ) not integer for post_thumbnail 76691

1

Attach Id ( 76699 ) not integer for post_thumbnail 76701

1

Attach Id ( 76893 ) not integer for post_thumbnail 76896

1

Attach Id ( 77111 ) not integer for post_thumbnail 77113

1

Attach Id ( 77333 ) not integer for post_thumbnail 77335

1

Attach Id ( 77366 ) not integer for post_thumbnail 77369

1

Attach Id ( 77424 ) not integer for post_thumbnail 77426

1

Attach Id ( 77452 ) not integer for post_thumbnail 77454

1

Attach Id ( 77519 ) not integer for post_thumbnail 77521

1

Attach Id ( 77700 ) not integer for post_thumbnail 77703

1

Attach Id ( 77812 ) not integer for post_thumbnail 77815

1

Attach Id ( 77857 ) not integer for post_thumbnail 77859

1

Attach Id ( 77932 ) not integer for post_thumbnail 77935

1

Attach Id ( 77937 ) not integer for post_thumbnail 77940

1

Attach Id ( 78034 ) not integer for post_thumbnail 78037

1

Attach Id ( 78094 ) not integer for post_thumbnail 78096

1

Attach Id ( 78101 ) not integer for post_thumbnail 78103

1

Attach Id ( 78205 ) not integer for post_thumbnail 78207

1

Attach Id ( 78985 ) not integer for post_thumbnail 78987

1

Attach Id ( 79006 ) not integer for post_thumbnail 79008

1

Attach Id ( 79010 ) not integer for post_thumbnail 79015

1

Attach Id ( 79280 ) not integer for post_thumbnail 79282

1

Attach Id ( 79485 ) not integer for post_thumbnail 79487

1

Attach Id ( 79601 ) not integer for post_thumbnail 79603

1

Attach Id ( 79683 ) not integer for post_thumbnail 79685

1

Attach Id ( 79817 ) not integer for post_thumbnail 79819

1

Attach Id ( 79821 ) not integer for post_thumbnail 79824

1

Attach Id ( 80023 ) not integer for post_thumbnail 80025

1

Attach Id ( 80180 ) not integer for post_thumbnail 80182

1

Attach Id ( 80305 ) not integer for post_thumbnail 80307

1

Attach Id ( 80347 ) not integer for post_thumbnail 80349

1

Attach Id ( 80628 ) not integer for post_thumbnail 80630

1

Attach Id ( 80969 ) not integer for post_thumbnail 80971

1

Attach Id ( 81170 ) not integer for post_thumbnail 81172

1

Attach Id ( 81291 ) not integer for post_thumbnail 81293

1

Attach Id ( 81704 ) not integer for post_thumbnail 81706

1

Attach Id ( 81849 ) not integer for post_thumbnail 81851

1

Attach Id ( 81977 ) not integer for post_thumbnail 81979

1

Attach Id ( 82133 ) not integer for post_thumbnail 82137

1

Attach Id ( 82391 ) not integer for post_thumbnail 82393

1

Attach Id ( 82414 ) not integer for post_thumbnail 82419

1

Attach Id ( 82413 ) not integer for post_thumbnail 82420

1

Attach Id ( 82474 ) not integer for post_thumbnail 82476

1

Attach Id ( 82634 ) not integer for post_thumbnail 82636

1

Attach Id ( 82864 ) not integer for post_thumbnail 82866

1

Attach Id ( 82894 ) not integer for post_thumbnail 82896

1

Attach Id ( 83017 ) not integer for post_thumbnail 83019

1

Attach Id ( 83264 ) not integer for post_thumbnail 83266

1

Attach Id ( 83285 ) not integer for post_thumbnail 83287

1

Attach Id ( 83758 ) not integer for post_thumbnail 83760

1

Attach Id ( 83809 ) not integer for post_thumbnail 83811

1

Attach Id ( 84141 ) not integer for post_thumbnail 84143

1

Attach Id ( 84166 ) not integer for post_thumbnail 84170

1

Attach Id ( 84165 ) not integer for post_thumbnail 84169

1

Attach Id ( 84201 ) not integer for post_thumbnail 84203

1

Attach Id ( 84612 ) not integer for post_thumbnail 84614

1

Attach Id ( 84730 ) not integer for post_thumbnail 84733

1

Attach Id ( 85082 ) not integer for post_thumbnail 85084