SLAYER's DAVE LOMBARDO: Pro-Shot Footage Of GUITAR CENTER's 'Drum Off' Performance

Guitar Center TV has uploaded professionally filmed video footage of SLAYER drummer Dave Lombardo's January 8, 2010 performance at Guitar Center's Drum Off finals at The Music Box, Henry Fonda Theater in Hollywood, California. You can see it in three parts below.

SLAYER guitarist Kerry King joined PHILM — the Los Angeles-based experimental post-hardcore triumvirate featuring Lombardo (SLAYER), guitarist/vocalist Gerry Nestler (CIVIL DEFIANCE), and bassist Pancho Tomaselli (WAR) — on stage at Guitar Center's Drum Off finals to perform the SLAYER classic "Raining Blood".

Guitar Center's Drum Off finals is the culmination of the world's largest drum competition. Hosted by Stephen Perkins (JANE'S ADDICTION), the show was headlined by an eclectic, jazz-infused project from Steve Smith (VITAL INFORMATION, JOURNEY), whom Rolling Stone magazine named one of the greatest drummers of all time. Other performers included a rare collaboration by Gavin Harrison (of British prog-rockers PORCUPINE TREE) and Simon Phillips (who has played with and alongside artists including Mick Jagger, Brian Eno and Jeff Beck, among others). Kicking off the evening was a special collaborative performance from two of Guitar Center's Drum-Off alumni — Cora Coleman-Dunham (PRINCE) and Tony Royster Jr. (JAY Z) — alongside hip-hop/R&B drum icons Nisan Stewart (50 CENT, JAMIE FOXX) and Trevor Lawrence Jr. (EMINEM, DR. DRE, HERBIE HANCOCK) before the five finalists took the stage to compete for the title of Guitar Center's Drum-Off champion.

Continuing its support of aspiring artists, Guitar Center, the world's largest musical instrument retailer, is on the hunt to select America's next great undiscovered drummer in a nationwide competition: Guitar Center's Drum-Off. The live competitions, consisting of more than 4,000 drummers spanning more than 850 competitions nationwide, culminate in this final event. Five of the country's best are competing for the coveted title of Drum-Off Champion and a grand prize package valued at over $40,000. 

Source: Blabbermouth

JAMEY JASTA Talks Solo Album In New Video Interview

Hot Topic recently conducted an interview with Jamey Jasta of HATEBREED and KINGDOM OF SORROW. You can now watch the chat below.

Jamey Jasta's debut solo album, "Jasta", sold around 4,000 copies in the United States in its first week of release to debut at position No. 133 on The Billboard 200 chart. The CD landed at position No. 1 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

"Jasta" was released in North America on July 26 via eOne Music and in Europe one day earlier through Century Media Records.

"Jasta" track listing:

01. Walk That Path Alone
02. Mourn The Illusion
03. Screams From The Sanctuary
04. Nothing They Say
05. Anthem Of The Freedom Fighter
06. Something You Should Know (feat. Phil Labonte of ALL THAT REMAINS)
07. Set You Adrift
08. Enslaved, Dead or Depraved (feat. Randy Blythe of LAMB OF GOD)
09. With A Resounding Voice (feat. Tim Lambesis of AS I LAY DYING)
10. The Fearless Must Endure (feat. Zakk Wylde of BLACK LABEL SOCIETY)
11. Heart Of A Warrior (feat. Mike Vallely)
12. Death Bestowed (feat. Mark Morton of LAMB OF GOD)

During an interview with Metal Assault, Jamey stated about his solo album, "It's just more of the thrash and rock element in it. I think there's a lot more clean singing than I'm used to doing. It's a lot of stuff that I recorded for other artists, but it ended up sounding cool so I just left it in there. My engineer was really liking the stuff that I was doing. I still have a lot of guest parts on there — Randy Blythe from LAMB OF GOD, Zakk Wylde, Phil Labonte [of ALL THAT REMAINS], Tim from AS I LAY DYING, Mark Morton from LAMB OF GOD — so it's just like a fun project before we do the next HATEBREED album."

"I did all of it by myself, except for the guest parts. I did it all throughout 2008, 2009 and 2010 so it was fun to go back, listen to those old tracks and go, 'These are still good, let's release them!' I'm just very lucky that I'm in a position to be able to do this and I'm grateful that the eOne label is giving it such a great push."

When asked if the release of his solo album will impact songwriting for the next HATEBREED CD, Jamey replied, "No, not at all. Actually that's why I wanted to get it out now because the next HATEBREED album is going to be short, to the point and brutal, and there will be no melody. This is my one chance to kind of get it out of the system."

Regarding whether he plans to tour behind the solo material, Jamey said, "I don't see myself doing a lot of touring for this at all. I'd like to, but I really want to focus on getting HATEBREED out for the rest of the year. We'll be going to South America, Australia, then we'll do Europe and the States again so it's going to be a lot of touring. Plus the only time to see KINGDOM OF SORROW is this summer on the Rockstar Energy Drink Mayhem Festival. That is the only time you'll see me and Kirk [Windstein, KINGDOM OF SORROW guitarist] together because DOWN is going to be busy, CROWBAR will be busy, and HATEBREED too. So this is it."

 Source: Blabbermouth

FIREWIND: Ten Songs Written For Next Album

EspyRock conducted an interview with rhythm guitarist and keyboard player Bob Katsionis of Greek melodic metallers FIREWIND at the U.K. installment of the Sonisphere festival, which was held July 8-10, 2011 at Knebworth House. A couple of excerpts from the chat follow below.

EspyRock: I know right now you're working on new material and I've been talking to some bands about the control over the creative aspect of music and how important they feel it is to control that side of the music and let the business side of the things be handled by others. One thing that is noticeable with FIREWIND releases is that you change often from self-producing to bringing someone in to produce but even then you still have a strong hand in that side of things so what do you think brings better results?

Bob Katsionis: This is actually tricky because we were actually thinking about having someone else come in to take a look at our sound because we want others' opinions, but Gus [G., guitar] and I have a pretty certain idea of what we want to do with the music. Gus lays all the guidelines and I have a lot of technical knowledge, so it is pointless at times to have someone come in and say "do this and do that" when we are pretty sure about what we are doing. I think this is why we have somewhat of an original sound but, of course, it's not the most original sound ever like SYSTEM OF A DOWN.

EspyRock: But you can always tell it is FIREWIND when you hear it.

Bob Katsionis: Exactly. You always know it is FIREWIND when it has these riffs and these keyboards and this can only happen if you produce your own band. So now we're at a turning point that we think maybe we shouldn't do something that sounds like an "Allegiance" part four, maybe we should bring in someone else who can say "Let's try this and that," and why not?! We're on our seventh album.

EspyRock: How is the new material coming along that you have been working on?

Bob Katsionis: It has been coming along well. I can tell you that we have around ten new songs so far which we are working very hard on and we trade files with one another every day. We still don't know what is going to happen, but we know there is going to be a change, whether it has a little more pop or death metal to the sound or whatever. We all have this feeling that we will need to change something and explore what is going on because we had people calling us "power metal," but people don't know what power metal is. We know what power metal is because we grew up with it but people just gave us a tag and then others followed. We want to do music in our own style and to do that maybe the arrangements will change or maybe the production will change but whatever happens we will release another good album with good songs.

EspyRock: From that point of maybe having to introduce more pop or death metal, what would you actually like to hear being brought into the FIREWIND sound if you feel it needs that change?

Bob Katsionis: I don't know, and it is hard, because we are five different people with three songwriters, so it is hard to determine which way it will turn. I know in my mind but I cannot think of the way to describe it right now. [laughs] Ahh, it is on my tongue, but I wish I could describe it [laughs], I just cannot think of the correct words, but I suppose, in a way, a little more rock. We just really want to release good songs, that is the main goal, and I don't want to throw in all of my influences as I'm a DREAM THEATER fan and stuff like that. I don't want to take my influences and put that into the band because it is useless. A lot of bands do it when they say, "Let's play like this band," and nothing good happens as you just sound like something that has already come and passed you by. I don't know where it will end but we also feel a little pressure right now because a lot of heads have turned to FIREWIND because of Ozzy, he has helped turn heads to FIREWIND, and we have to make sure that this is a very good album.

Source: Blabbermouth

Black Gives Way to Blue - Alice In Chains

Antes de mais nada, nos posicionemos sobre a história da banda. O Alice In Chains se formou no final dos anos 80, na junção de ex-bandas de Layne Staley (vocais) e Jerry Cantrell (guitarras e vocais). A banda ainda incluía Mike Starr (baixo) e Sean Kinney (bateria). Rapidamente gravaram um EP de sucesso que os levou a gravar o primeiro disco, "Facelift". O álbum demorou a decolar, mas com a ajuda dos singles "Man In The Box" e "Sea Of Sorrow", alcançou o sucesso e ajudou a banda a obter um lugar na turnê "Clash Of The Titans", que traziam 3 dos Big Four: Anthrax, Megadeth e Slayer. Após a turnê, a banda retornou ao estúdio, com a intenção de gravar um novo álbum, mas acabou gravando faixas acústicas que acabaram se tornando o EP "SAP". Em 1992, a banda entraria em estúdio novamente para gravar seu maior sucesso: "Dirt". Foram escalados para abrir para Ozzy Osbourne e de sua banda conseguiram seu novo baixista: Mike Starr (faleceu recentemente, em março deste ano) saiu e foi substituído por Mike Inez. Novamente no estúdio em 1993, a banda gravou um segundo EP acústico, "Jar Of Flies", que conseguiu a façanha de ser o único EP a alcançar o topo da parada americana. A banda deveria excursionar com o Metallica e o Suicidal Tendencies, mas foi impedida graças ao vício em heroína de Staley. Começava aí uma longa história de abuso de drogas pelo vocalista Layne Staley, que eventualmente causaria sua morte em 2002.

A banda lançou mais um disco de estúdio em 1995, homônimo (a capa é um cachorro sem uma das patas), que conseguiu estrear no topo da parada. Neste disco, Cantrell começou a assumir os vocais em diversas canções. Não houve turnê para este disco, provavelmente devido ao estado avançado de dependência química de Staley. A banda optou por lançar um álbum acústico ("MTV Unplugged") no ano seguinte, de grande sucesso, e ainda fez quatro apresentações abrindo para alguns shows da reunião da formação original do Kiss. Sem totalmente terminar, a banda entrou em hiato indefinido, e o fim pareceu se confirmar em 2002, quando o vocalista Layne Staley foi encontrado morto em seu condomínio, duas semanas depois da overdose fatal (só pra constar, ele não morreu com 27 anos, e sim com 34). Os membros da banda se dispersaram: Jerry Cantrell partiu para uma carreira solo; Mike Inez tocou com Slash, Black Label Society e chegou a ser bem cotado para substituir Jason Newsted no Metallica (Robert Trujillo acabou ficando com o cargo); e Sean Kinney formou alguns projetos de pouca importância.

Em 2005, a banda se reuniu para apresentações beneficentes para o tsunami que devastou boa parte da Ásia. No ano seguinte, tocaram em homenagem às irmãs Wilson, do Heart. Nesta apresentação, eles tocaram com seu futuro novo vocalista/guitarrista: William DuVall, ex-Comes With The Fall (nunca ouvi falar...). A banda resolveu fazer uma turnê de reunião com DuVall, e o sucesso e a resposta positiva dos fãs acabaram levando a banda a gravar um novo disco, que foi lançado em setembro de 2009 e conseguiu excelentes resultados em termos de vendas (mais de 500.000 discos, na atual época de vacas esqueléticas do mercado fonográfico), além de ter sido muito bem recebido por fãs e crítica especializada.

O disco foi produzido por Nick Raskulinecz, que também já produziu discos do Foo Fighters, Rush, Death Angel e Deftones. As gravações ocorreram no período de outubro de 2008 a março de 2009. Os estúdios utilizados foram Studio 606, Northridge, California e Henson Studios, Los Angeles, California. Após as mixagens e masterização, a banda liberou o single "A Looking In View" em junho de 2009; em agosto, o segundo single, "Check My Brain", saiu. O álbum foi lançado no dia 25 de setembro de 2009 e alcançou a quinta posição na parada americana, segundo a Wikipedia. Um terceiro single ainda seria lançado, "Your Decision", em novembro do mesmo ano. Do ponto de vista de composições, o álbum foi quase que inteiramente composto por Jerry Cantrell, com algumas colaborações dos demais integrantes nas canções "Last Of My Kind" e "A Looking In View".

Vamos às minhas impressões, faixa por faixa:

1 - All Secrets Known - a abertura do disco traz uma canção moderada, bem ao estilo da banda. Os primeiros versos da música parecem anunciar o renascimento da banda: "Broke, a new beginning... Time, time to start living life". Um novo começo, hora de viver novamente, e é isto que a banda tentou com este novo disco. Talvez esta canção não seja merecedora de abrir um disco de tamanha qualidade, mas não é de todo ruim.

2 - Check My Brain - aqui sim temos todo o potencial da banda elevado à eneésima potência. Um riff matador de introdução que conduz a canção durante todo o tempo. Os vocais compartilhados de Cantrell e DuVall serão uma constante no disco, e o forte refrão faz desta uma das melhores músicas do disco. O solo traz a marca registrada de Cantrell, contido e ao mesmo tempo de grande qualidade.

3 - Last of My Kind - outra que começa moderada, esta é a primeira com vocal dedicado de William DuVall. Ele não entrou para substituir Layne Staley, e sim para completar a sonoridade da banda com outra voz, complementar à de Jerry Cantrell, e para trazer também uma guitarra base. Esta canção é outro destaque do disco, e vai num crescente até explodir no refrão. Cantrell nos traz outro belíssimo solo, ainda melhor que o anterior.

4 - Your Decision - mais uma bela canção de base acústica da banda, que costuma gostar mesmo desta sonoridade - vide seus EPs "SAP" e "Jar of Flies". E como estes registros, esta música também tem muita qualidade. Pequenos trechos elétricos complementam-a, transformando esta canção em outro grande destaque do disco.

5 - A Looking in View - o primeiro single do disco traz bastante peso, lembrando a todos que o Alice In Chains sempre foi uma banda de heavy metal, sem essa de classificá-los de grunge. Os vocais de Cantrell são complementados novamente pelos de DuVall, um trabalho que se destaca nesta canção. Aliás, confesso que não entendi quando alguns que resenharam este disco na época de seu lançamento disseram que a voz de DuVall parece com a de Staley. Não vejo semelhança. Vale para mim o que falei acima, DuVall veio para completar a banda, em termos vocais e guitarra base.

6 - When The Sun Rose Again - outra canção acústica, esta parece ter saído das sobras do "Jar of Flies". Nenhum problema, a canção tem suas qualidades. Mas aguarde até a próxima canção...

7 - Acid Bubble - esta começa bem arrastada, para ir crescendo com seu peso lentamente. De repente, uma quebra e um riff poderoso entra e toma conta da canção, transformando-a. DuVall canta os versos do refrão com grande intensidade, como se incendiado pelo riff que transformou a canção. E a música volta naquele ritmo arrastado e pesado, até trazendo um suave solo de Cantrell. Até que o fantástico riff volte e incendeie mais uma vez a canção. Para mim, outro grande destaque do disco!

8 - Lesson Learned - esta é uma canção que se encaixa perfeitamente no clássico estilo de heavy metal que o Alice In Chains desenvolveu pelos seus discos. Com um refrão de melodia cativante, ela também se destaca neste disco de grande qualidade.

9 - Take Her Out - esta aqui, por outro lado, parece a continuação da música de abertura, em termos de ser moderada e de estar em um patamar abaixo das outras canções. Depois de tantos destaques, uma ou outra música acaba sendo ofuscada, não tem jeito.

10 - Private Hell - esta música parece transbordar uma intensidade dramática, da forma como é executada e cantada - especialmente no refrão. A canção se destaca também no solo super pessoal de Cantrell, e no vocal que conduz a música. Parece até que nos anuncia que o disco está chegando a seu fim...

11 - Black Gives Way to Blue - esta canção tem um clima triste, quase de velório, mas tem um porquê. É uma linda homenagem do Alice In Chains ao seu amigo, ex-companheiro de banda, Layne Staley, que acabou sucumbindo ao abuso das drogas. A letra traz versos de tristeza pela perda do grande vocalista que Staley foi: "The emptiness of tomorrows... Haunted by your ghost" (o vazio dos amanhãs... assombrado pelo seu fantasma). Participação super especial de Elton John, que adiciona um belo piano à música. Esta homenagem encerra de maneira triste mas brilhante este grande disco do Alice In Chains.

Fonte: Whiplash

Iron Maiden: ‘Faremos pelo menos mais um disco’, diz Bruce

O IRON MAIDEN fará ‘pelo menos mais um disco’ – mas está planejando ater-se a seu testado e aprovado molde de Heavy Metal para gravá-lo.

Falando com o [jornal britânico] Daily Star, o professor de história, piloto comercial e frontman da maior banda de rock pesado do mundo, BRUCE DICKINSON, confirmou que os planos estão feitos para o sucessor de ‘The Final Frontier’ de 2010, que foi o décimo – quinto disco de estúdio da veterana banda.

Entretanto, ele admitiu que o grupo está ciente dos ‘limites’ do que eles podem fazer musicalmente e descartaram qualquer colaboração absurda com alguém do hip-hop, comentando:

“Não somos o tipo de banda que poderia dizer: ‘Hey, vamos fazer um disco com Kanye West’ porque isso não interessaria aos fãs do Maiden de maneira alguma.”

Dickinson acrescentou que a banda por muitas vezes entra em atrito para discutir idéias para material novo, concluindo:

“Tentamos manter as coisas em um nível equilibrado. Sendo ingleses, nós ainda temos alguma reserva quando estamos comunicando idéias um para o outro. Se nós nos abraçássemos, teríamos que ir direto para a ‘rehab’”.

Chegou-se a pensar que a banda abandonaria a música após o lançamento de ‘The Final Frontier’, com o guitarrista Adrian Smith afirmando em 2008 que eles sempre só tiveram esperança de gravar 15 discos. Entretanto, um ano depois, ele disse que tinha havido uma mudança na postura do grupo e que eles estavam propensos a continuar.

O IRON MAIDEN está atualmente no meio de um trecho pelo Reino Unido e pela Irlanda de sua turnê mundial ‘Final Frontier’. O grupo deve encerrar essa jornada com dois grandes shows na O2 Arena de Londres nessa sexta e sábado [5 e 6 de agosto].

Fonte: Lokaos

Não Tem Bolso que Aguente: Reedição de ‘Achtung Baby’ custará MIL Reais

Os fãs do U2 podem esperar mais de um tipo de apavoro nesse próximo Halloween. As reedições de aniversário do seminal disco de 1991 da banda, ‘Achtung Baby’ serão lançadas no dia 31 de outubro e os fanáticos pela banda vão ter que meter a mão no bolso se quiserem levar pra casa a “Über DeLuxe Edition”.

A edição ‘louca/ridícula/você-tá-tirando-com-a-minha-cara’ de ‘Achtung Baby’ inclui as seguintes iguarias:

Uma caixa grande… o disco original de ‘Achtung Baby’, seu sucessor, ‘Zooropa’ de 1993 [o que é um pouco estranho, porque com certeza eles vão querer ordenhar mais leite dessa teta em uma edição DeLuxe de ‘Zooropa’ daqui a dois anos]…4 CDs com lados B, demos, e sobras de estúdio..um DVD do home video ‘Zoo TV: Live From Sidney’, um documentário inédito intitulado ‘From the Sky Down’ do diretor Davis Guggenheim [‘Uma Verdade Inconveniente’], todos os vídeos promocionais de ‘Achtung Baby’ em DVD com bônus, 5 singles de 7” prensados em vinil transparente, 16 litografias, um livro de 84 páginas com capa dura, uma cópia da revista do U2, a ‘Propaganda’, 4 distintivos, adesivos e pra cair o cu da bunda, um par de óculos tipo ‘moscão’ igual ao de Bono na época.

Isso tudo pode ser seu apenas £385.99…cerca de 1000 reais [sem IOF, anuidade de cartão de crédito, frete ou taxas de alfândega].

Para a ralé, pros que pegam busão e comem marmita, também vai haver uma versão ‘vale-transporte’ Super DeLuxe [todos os CDs e os DVDs, o livro, os adesivos e as litografias], um Box set de vinil [4 LPs transparentes com um libreto de 16 páginas], uma edição DeLuxe com 2 CDs [essa com um disco bônus de lados B e raridades] e, já que você ainda não tinha mesmo, o disco original de 1991 sem nada.

Por favor, lembre-se de que esta mesma banda acaba de terminar a turnê mais lucrativa da história deste planeta antes de você queimar seu suado dinheiro em um disco de 20 anos de idade.

Fonte: Lokaos

Entrevista com B.B King

 

Essa entrevista foi dada ao  Paulo Cavalcanti, ele trabalha para a revista RollingStone, e ela foi publicada na edição 42.

O lendário bluesman recorda nomes do blues e do jazz e ainda fala do amigo Eric Clapton

Como o senhor se sente ainda rodando o mundo e tocando o blues? 

Bem, eu já pensei em me aposentar, eu até cheguei a anunciar isso há alguns anos, mas eu pensei: na verdade não preciso me aposentar. Enquanto tiver forças e saúde, eu vou estar no palco. Além disso, tenho uma banda formidável, a melhor que você pode imaginar. Essa gente precisa de trabalho. Eles têm que trabalhar, isso me motiva a trabalhar também! Moro em Las Vegas, mas ninguém vai ver o B.B. King espreguiçando numa cadeira ao redor de uma piscina!

Como foi a sua descoberta do blues? 

É engraçado, porque existe a lenda de que as pessoas ouviam o blues no campo de algodão, mas não foi o meu caso. Minha primeira exposição ao verdadeiro blues foi ouvindo o estilo no fonógrafo de uma tia. Era sempre uma ocasião especial ir para a casa dela, quando eu era adolescente, e ouvir discos de 78 rotações de Blind Lemon Jefferson, Lonnie Johnson e Mississippi John Hurt. Eles eram meus ídolos, na verdade ainda são.

Como foi seu envolvimento com a música gospel? 

É, eu quase me tornei um cantor gospel! Quando eu era garoto, minha mãe me levava a uma igreja no Mississippi. Hoje eu sei que era um truque dela, ela queria muito que eu me tornasse pregador. Isso nunca foi minha intenção, mas eu observava muito o pregador, ele também tocava guitarra, ele era um showman. Aprendi muita coisa com ele. Eu cantei e toquei guitarra em quartetos de música gospel por um certo tempo. Viajamos por todo o sul, mas, quando chegou a hora de gravar, rumamos para Memphis, já que lá existiam os melhores estúdios do sul dos Estados Unidos.

O senhor diz que ter ido para Memphis foi um ponto de virada em sua carreira…

Sim, definitivamente, minha carreira efetivamente nasceu lá. Memphis era o lugar para onde a música que eu conhecia e amava convergia. Por lá passavam os melhores artistas de country, blues, gospel e jazz. Eu visitei a cidade pela primeira vez depois da Segunda Guerra, senti o ambiente e voltei para o Mississippi, para me preparar melhor. Lá tinha muita gente boa no ramo, a competição era dura, principalmente na Beale Street, a “Broadway do blues”. O tempo que trabalhei lá como DJ serviu para conhecer muita gente, o que me ajudou muito a me profissionalizar. E foi graças a um senhor chamado Sam Phillips [produtor e fundador da Sun Records] que as coisas começaram a acontecer. Ele produziu alguns dos meus primeiros discos e graças a ele aprendi a me movimentar no estúdio, buscar o melhor de mim e da minha guitarra. Deixei minha marca na música de Memphis. Anos depois, conheci lá em Memphis o jovem Elvis Presley, que confessou ser meu fã. Eu não sabia que tinha tantos garotos brancos que rota ouviam o blues!

Fora o gospel, você também sempre teve uma forte ligação com o jazz. Como é isso?

Eu acho que na verdade eu sou um trompetista frustrado [risos]. Em minhas primeiras gravações usei um naipe de metais e eu mantenho isso até hoje, gosto do som de trompetes e saxofones se misturando à minha guitarra e complementando minha voz. Minha primeira grande influencia, antes mesmo de outros nomes do gospel e do blues, foi Louis Armstrong. Eu conheci todos os grandes nomes do jazz, como Benny Goodman, Duke Ellington e Count Basie, eles foram verdadeiros exemplos. Aprendi com eles como ser um bom músico e também tudo o que você precisa saber sobre disciplina e profissionalismo. Ter ouvido as gravações da orquestra do Benny Goodman nos anos 40 foi outro momento importante para mim. Charlie Christian era o guitarrista da banda de Goodman, foi um músico que influenciou toda uma geração.

O seu álbum de maior vendagem é Riding with the King (2000), que gravou com Eric Clapton. Como foi trabalhar com Clapton?

Eu sempre fiquei surpreso quando nos anos 60 todos esses jovens músicos ingleses diziam que eu era o mestre deles. Quando eu conheci Eric Clapton, ele não tinha nem 20 anos. É o maior guitarrista do rock e toca blues como ninguém. Foi uma boa experiência fazer esse disco, não seria nada mal repetir a dose.Riding with the King ganhou disco de platina, ainda está vendendo.

O que significa o blues para o senhor?

Não acho que o blues seja diferente de qualquer outro tipo de música. Eu nunca ouvi música de que eu não gostasse. Desse jeito, também nunca iria tocar música que não me dissesse nada. O blues não é tristeza, não é pobreza, ele deve ser tocado em salas sinfônicas. Para mim, é um aprendizado, um estilo de viver e é como eu ganho meu sustento. Acho que melhoro a cada dia nesse ofício que é tocar o blues.

Fonte: Lailet

Resgatando tempos dracônicos

O Paradise Lost lança Draconian Times MMXI no dia 5 de novembro, via Century Media Records. O DVD traz o registro de um show realizado em Londres, no The Forum, além de documentário da turnê, filmado pelo baixista Steve Edmonson e entrevista sobre o clássico álbum com o produtor Simon Efemey. De bônus, os dois vídeos promocionais do mais recente trabalho, Faith Divides Us – Death Unites Us.

O tracklist da apresentação é o seguinte:

01. Enchantment
02. Hallowed Land
03. The Last Time
04. Forever Failure
05. Once Solemn
06. Shadowkings
07. Elusive Cure
08. Yearn For Change
09. Shades Of God
10. Hands Of Reason
11. I See Your Face
12. Jaded
13. Faith Divides Us, Death Unites Us
14. True Belief
15. One Second
16. Say Just Words
17. Rise Of Denial
18. As I Die

Fonte: Van do Halen

Led Zeppelin and Black Sabbath’s Jam Session Remembered by Bill Ward

Black Sabbath drummer Bill Ward has opened up about the legendary “Black Zeppelin” studio jam, which featured his band performing together with three members of Led Zeppelin in the studio. Depressingly, he maintains that nobody thought to press “record” on that fateful day.

“It only happened on one occasion… and I think it was in the mid-’70s,” Ward tells BackPage. “I don’t remember what album we were working on — but it all started when Bonzo comes into the studio and sits down at my drum kit and starts playing ‘Supernaut.’ That was one of our songs he really liked.”

He goes on to recount how Bonham enjoyed the heck out of playing on Ward’s two-bass drum setup while leading Sabbath’s frontline — Ozzy Osbourne, Tony Iommi and Geezer Butler — through a 45-minute session with help from his own bandmates, Robert Plant and John Paul Jones, periodically yelling out ‘Supernaut!’ to punctuate the fun.  (Apparently Jimmy Page was off conjuring magic somewhere else.)

Sabbath’s original drummer also credits the tragedy of Bonham’s death with helping him clean up his own addictions: “I’ve always thought of his death as a signal for me that, ‘if you don’t shape up, Bill, you will be the next one drowning in beer or overdosing.’

Anyway, back to more positive thoughts. Can you imagine if this studio meetup had happened in today’s smartphone, YouTube obsessed era? Some engineer probably would have had it tweeted video footage within an hour! Well, at least we can get a glimpse of what this Sabbath / Zeppelin pairing might have sounded like with this, possibly the most awesome mashup that has ever been created: Wax Audio’s ‘Whole Lotta Sabbath.’

Source: Ultimateclassicrock.com

BIOHAZARD: New Album Title, Artwork Unveiled

Seminal New York City hardcore/metal band BIOHAZARD has set "Reborn In Defiance" as the title of its tenth studio album, due on September 23 via Nuclear Blast Records.

The band's first new studio CD in six years and the first with the original lineup — Evan Seinfeld (vocals, bass), Billy Graziadei (guitar, vocals), Danny Schuler (drums) and Bobby Hambel (guitar) — since 1994's "State of The World Address" was produced by Toby Wright, who has previously worked with KORN, SLAYER, MÖTLEY CRÜE, KISS, FEAR FACTORY, IN FLAMES, STONE SOUR and OZZY OSBOURNE, among others.

A song from the album, "Reborn", can now be streamed at this location.

Seinfeld left BIOHAZARD in June after the new CD was completed and was temporarily replaced by Scott Roberts, who played on the band's 2005 "Means To An End" album and has been part of the BIOHAZARD extended family since.

Commented guitarist/vocalist Billy Graziadei: "When we got back together in 2008, we erased the last memory of BIOHAZARD in people's heads and replaced it with a new kick-ass memory of what BIOHAZARD was all about back in the day.

"People heard we used to fuck shit up, but being back together again as the original BIOHAZARD gave us a chance to re-write history. Now we're doing it once again with a brand new album.

"Our new album, 'Reborn In Defiance', is everything I love about BIOHAZARD but more....in 2011! 100% ass-kicking in every way.... See you in the pit!"

In a recent interview with Sweden's Metalshrine, Graziadei stated about the departure of Evan Seinfeld, "It dropped like a bombshell. It kind of came up from left field. We finished tracking the [new BIOHAZARD] record in late February and really didn't have much contact with him that much. Everything was through management and I was working on the mix with [producer] Toby [Wright] and some additional overdubs and different ideas and some piano and keyboard stuff. Then a couple of weeks ago he calls up and says, 'I can't do it anymore!' He's got a bunch of personal stuff and it's mostly secret. But it's personal between… it's what's going on in his life, but he made a decision and we weren't happy about it, but we made our decision to continue and keep going. It would be great if he was here and I know he's proud of the record and as happy as it came out as we are. We were all there and made it together and focused equally on it, but rather to let it die out, we said, 'You know what? Fuck it! We're all psyched and happy and even though things are different it doesn't mean much has changed!' The heart and soul of the band is still intact and we're gonna continue."

When asked about how bassist/vocalist Scott Roberts, who played on the band's 2005 "Means To An End" album, is working out as Evan's temporary replacement, Billy said, "He's great! He was the guy [that joined BIOHAZARD] after Bobby [Hambel left]. It took us a long time to find him, but we knew him and he filled in for us at the last minute, but he stepped up and did it. It was a tough obstacle to overcome but we did it. We played Download [festival in England], which was cool and the next day we played the Metal Hammer boat and that was a phenomenal show! All the kids were like, "Wow!" and even the editors of the magazine were like… and they've been doing this for ten years and in the past three of four years with ANTHRAX and HELLYEAH and they were like, 'Nobody's rocked the boat like you guys did!' It was cool! What happens in the future when I go home, we'll sort that out."

FaceCulture recently spoke to Billy Graziadei about "Reborn In Defiance". You can now watch the chat in six parts below.

Source: Blabbermouth

Kings of Leon Urge Caleb Followill to Enter Rehab

"Sources say band members are concerned about frontman's drinking problem".

 

Though the Kings of Leon have canceled the remainder of their summer tour through the United States due to frontman Caleb Followill suffering from "vocal issues and exhaustion," an insider close to the band has told Us Weekly that the real reason for the cancelation is to do with the singer's drinking problem. "They are trying to get Caleb to go to rehab," the source says. "[That's why] they ended up canceling the whole tour. He drinks like a fish."

Kings of Leon were forced to cut short a concert in Dallas on Friday when Followill abandoned the stage after telling the crowd "I'm gonna go backstage and I'm gonna vomit, I'm gonna drink a beer."

A second source told US Weekly "It's true. Caleb's drinking is out of control and they are trying to get him into rehab. It's a dark demon he's been fighting for awhile."

Though bassist Jared Followill hinted at major issues in the band in a series of tweets over the weekend, the Kings of Leon's representative is sticking with the exhaustion story, and told Us Weekly that the band "look forward to getting back on the road at the end of September." The band may be reluctant to address Caleb Followill's apparent drinking problem because that information could lead to major financial and legal hassles regarding the cancellation of the tour.

Source: Rolling Stone

LOSNA: “um excelente registro metálico” – Roadie Crew

A temática etílica, ainda que lembre o Tankard em certos aspectos, soa diferente, com um teor alcoólico ainda maior, sem o clima mais festeiro promovido pelos alemães. No geral é um álbum que agradará em cheio os fãs do gênero, já que apresenta todos os elementos necessários para criar um excelento registro metálico.”

Fonte: Metalmedia

As melhores músicas com mais de sete minutos

Os editores e leitores da revista Rolling Stone elegeram em 2007 as cinquenta melhores músicas do rock com mais de sete minutos de duração. Entre outros listados, Beatles, Black Sabbath, Metallica e Guns N´Roses.

A lista foi publicada em ordem alfabética pelo nome do artista/banda e não por ordem de importância.

In Memory of Elizabeth Reed - The Allman Brothers Band
Bela Lugosi's Dead - Bauhaus
B-Boy Bouillabaisse - The Beastie Boys
Hey Jude - The Beatles
War Pigs/Luke's Wall - Black Sabbath
Tender - Blur
Bel Air - Can
Pictures of You - The Cure
Station to Station - David Bowie
Layla - Derek & the Dominoes
The End - The Doors
Sad-Eyed Lady of the Lowlands - Bob Dylan
Maggot Brain - Funkadelic
The Message - Grandmaster Flash
Jesus of Suburbia - Green Day
Estranged - Guns N' Roses
Isn't It a Pity? - George Harrison
In-A-Gadda-Da-Vida - Iron Butterfly
Three Days - Jane's Addiction
Scenes from an Italian Restaurant - Billy Joel
Funeral for a Friend - Elton John
In the Court of the Crimson King - King Crimson
All My Friends - LCD Soundsystem
When the Levee Breaks - Led Zeppelin
Free Bird - Lynyrd Skynyrd
Autobahn - Kraftwerk
One - Metallica
Chloe Dancer/Crown of Thorns - Mother Love Bone
Oh, Comely - Neutral Milk Hotel
Blue Monday - New Order
We're In This Together - Nine Inch Nails
Champagne Supernova - Oasis
Sheep - Pink Floyd
Purple Rain - Prince
Can't You Hear Me Knockin' - The Rolling Stones
Svefn-g-englar - Sigur Ros
The Sprawl - Sonic Youth
Jungleland - Bruce Springsteen
I Am the Resurrection - Stone Roses
Frankie Teardrop - Suicide
Marquee Moon - Television
What Goes Around Comes Around - Justin Timberlake
Heroin - Velvet Underground
Only in Dreams - Weezer
Ball & Biscuit - The White Stripes
Won't Get Fooled Again - The Who
Spiders (Kidsmoke) - Wilco
Starship Trooper - Yes
Cortez the Killer - Neil Young
Willie the Pimp - Frank Zappa

Fonte: Whiplash

Alice Cooper - Welcome 2 My Nightmare

 

Welcome 2 My Nightmare, novo álbum de Alice Cooper sai ainda este ano via Universal Music. O trabalho foi produzido por Bob Ezrin e conta com as seguintes faixas em sua versão normal:

01. I Am Made Of You
02. Caffeine
03. The Nightmare Returns
04. A Runaway Train
05. Last Man On Earth
06. The Congregation
07. I'll Bite Your Face Off
08. Disco Bloodbath Boogie Fever
09. Ghouls Gone Wild
10. Something To Remember Me By
11. When Hell Comes Home
12. What Baby Wants
13. I Gotta Get Outta Here
14. The Underture

Edições especiais ainda trarão músicas bônus.

DevilDriver: ‘Paul Stanley que se foda’

 

DEZ FAFARA do DEVILDRIVER recentemente compartilhou sua experiência com Paul Stanley, do Kiss, como uma resposta a um fã que perguntou se Dez poderia dar uma ouvida na banda do tal.

“Eis porque eu nunca dou ‘Minha Opinião’ sobre bandas sem contrato com gravadoras”, começa Dez. “Um dia, no trabalho antes deu jamais ter um contrato, Paul Stanley entrou – SIM, do Kiss e eu disse a ele que eu estava numa banda chamada COAL CHAMBER e que estávamos prestes a assinar com a [gravadora] Roadrunner Records.”

De acordo com Dez, Stanley disse a ele para “Ficar naquele emprego”, e que “NINGUÉM nunca faz sucesso – somente em raros casos. Dois dias depois eu assinei com a RR e nunca me arrependi! Então não, eu não vou lhe dar minha opinião sobre seu lance, mas direi o seguinte: ‘Acredite em você mesmo’, ignore TODO MUNDO que disser que ‘Você NÃO PODE, não vai ou não deveria ser músico, e siga seu SONHO!”

“Apenas tenha cuidado com o que você DESEJA! E, ah sim, eu vou dizer aqui e nós acabamos de tocar com o KISS seis dias atrás: FODA-SE O PAUL, “Dez acrescenta. “Só o que interessa é meu ídolo GENE; GENE a máquina do DEMÕNIO! Ensaie, toque, durma em qualquer sofá – faça qualquer coisa e todas as coisas para que sua música veja a luz do dia.”

Fonte: Lokaos

SEPULTURA: More Footage Of Stand-In Drummer Available

Video footage of Brazilian/American thrashers SEPULTURA performing the song "Roots Bloody Roots" last night (Monday, August 1) at Stadtsaal in Lendorf, Austria with guest drummer Amilcar Christófaro from TORTURE SQUAD can be seen below. The concert was originally scheduled to take place on July 27 but had to be postponed because the band's drummer, Jean Dolabella, was suffering from muscle pain in his arms.

Commented SEPULTURA guitarist Andreas Kisser: "We are having a great time in Europe, but our drummer, Jean Dolabella, had an injury on his arm due to a muscle stress. He couldn't play the [original Lendorf] gig and we had to cancel the show. We thought about options for drummers to do some shows while Jean could have time to recover, therefore we wouldn't have to cancel any more shows. We were very lucky, 'cause on that same day, [we got in contact with] the band from Brazil TORTURE SQUAD, a great thrash group that are conquering their space outside the country. They are here for a tour and SEPULTURA and TORTURE SQUAD had two festivals to play together. Amilcar Christófaro is a great drummer and huge SEPULTURA fan, he knows a lot from our early stuff, and when we talked to him he was ready to help us. We already did four shows with him and is going really great; he's amazing playing our stuff.

"We were stunned by the situation and very thankful to Amilcar and TORTURE SQUAD for this.

"This is an historical event for everybody involved and the show must go on!!!

"Thanks you very much, Amilcar, you fucking rule!!!"

SEPULTURA's new album, "Kairos", sold around 2,500 copies in the United States in its first week of release.

SEPULTURA's previous CD, "A-Lex" — the group's first LP to be recorded without either of the founding Cavalera brothers (Max and Igor; on guitar/vocals and drums, respectively) — opened with around 1,600 units back in January 2009.

"Kairos" (an ancient Greek word signifying a time in between, a moment of undetermined period of time in which something special happens) was released in Europe on June 24 and in the United States on July 12 via Nuclear Blast Records. The artwork for the CD was created by Erich Sayers, a Los Angeles-based freelance digital artist and photographer whom SEPULTURA first met at the band's concert at the House Of Blues in West Hollywood, California. 

Source: Blabbermouth

Original Kiss Guitarist Ace Frehley to Release ‘No Regrets’ Memoir in November

 

Original Kiss guitarist Ace Frehley will launch his memoir ‘No Regrets’ Nov. 1 through Gallery Books, a division of Simon and Schuster. Frehley, known to many as “Space Ace” due to his iconic makeup and astronomical attire, plans to “kiss and tell” in this 288-page chronicle that flashes back across four decades.

Joining Gene Simmons, Paul Stanley and Peter Criss in 1973, Frehley and his Les Paul guitar made up one quarter of the Kiss sensation that would launch it’s very own Army and become a household name. Kiss has sold over 100 million records worldwide, and though Frehley first departed the band in 1982 (returning for a few years in 1996) his fans remain loyal. Ace has managed to have a successful solo career that finds him recording, touring and making appearances to this day.

“I should’ve been dead a dozen times by all rights. All the nonsense that I’ve gone through, I’m just happy to be alive. It’s like everyday is a bonus for me. I feel like I’m in a really good place and my energy levels are at an all-time high. I’m feeling healthy and everything is very positive,” Frehley stated after being sober for sixteen months in 2008.

Still clean today, Ace has partnered with co-author Joe Layden, who recently was involved with Megadeth founder Dave Mustaine’s autobiography, to help him narrate his somewhat blurred past. Frehley also credits his bodyguards for remembering many of the incidents that he would’ve otherwise forgotten.

Source: Ultimateclassicrock.com

Meat Loaf desmaia pela segunda vez em menos de uma semana

Em show realizado em New Jersey no ultimo domingo, Meat Loaf desmaiou após se sentir mal. Três dias antes o cantor também havia desabado, dessa vez no palco, durante apresentação em Pittsburgh. Agora, a queda aconteceu logo após o fim da apresentação e a conseqüência foi ainda mais séria. Meat Loaf, que sofre de asma, precisou de oxigênio artificial para conseguir se reanimar. Após dez minutos, o músico se recompôs.

Fonte: Van do Halen

Fly, on your way...

 

Bruce Dickinson falou com o blog Lonely Planet sobre sua outra atividade: piloto de aviões comerciais.

Por que um cara que vendeu 85 milhões de discos resolveu arrumar um emprego como piloto comercial?

Queria experimentar colocar as mãos em algo maior que meu aviãozinho particular. Infelizmente, não posso ter meu aeroporto e um jumbo privado, como John Travolta, então pensei em arrumar um trabalho no meio. Mas nunca esperei voar em linhas aéreas, queria algo menor. Mas há dez anos, consegui e aqui estou, como capitão.

O que você mais gosta na vida de piloto?

Você está em um lugar diferente, é mantido vivo por esse pequeno casulo de alumínio, motor de pistão e combustível. É uma besta mecânica e você tem que cuidar de tudo. Tem horas que se pensa: “Eu não deveria estar aqui! Isso é um milagre”. Ainda tenho essa sensação cada vez que me aproximo de um avião. Há algumas manhãs horríveis em que temos que voar. Acordamos uma da manhã, quando ninguém está de pé. Está frio e tudo é coberto por gelo. Mas estamos ali.

Alguma similaridade com cantar no Iron Maiden?

Quanto estou voando, não me dou ao luxo de colocar os pés para cima e ficar sonhando. Sempre há algo a se fazer. É a mesma coisa quando se está em frente a cem mil pessoas. Corro no palco durante duas horas e ainda tenho outras coisas a fazer. Tenho 30 páginas de letras passando pela minha cabeça e preciso interagir com a platéia. Nem dá para ficar admirando e pensando o quanto aquilo é legal.

Fonte: Van do Halen

Novidades e Mudanças

Em bate-papo com o Brave Words, Eric Singer falou sobre os próximos passos do KISS e comparou a situação atual do mercado da música com o passado.

A quarta parte de KISSology: Deve sair antes do Natal. Terá em torno de doze horas de filmagem. Tommy Thayer está trabalhando nisso, não sei exatamente o que será incluído. Ainda é preciso comprar os direitos sobre algumas aparições. Mesmo que seja uma música no David Letterman ou Jay Leno, temos que pagar, pois o programa é deles. Mas o que sei é que KISSology IV retoma exatamente de onde o outro parou, seguindo a ordem cronológica. Também terá alguma filmagem mais antiga que andaram encontrando. O que eu sei é que o show que fizemos no Cobo Hall, em Detroit, no ano de 2009, estará lá.

O novo disco: Terminaremos nos próximos meses. O plano é lançar no início do ano que vem, com uma nova tour, novo palco e talvez novas roupas. Não vamos descansar em 2012.

As mudanças mercadológicas: Antigamente se excursionava para divulgar um álbum. Hoje você faz um disco para poder sair em turnê. É o exato oposto. Os shows são a única fonte de dinheiro. Em 1989, quando eu estava no Badlands, vendemos 400 mil cópias do primeiro álbum e não foi o suficiente. A gravadora disse que se vendêssemos 500 mil, investiriam mais grana. Quase abrimos a tour Dr. Feelgood, do Mötley Crüe, mas o Warrant acabou conseguindo mais e ficou com a vaga. A banda ainda faria mais um disco sem minha presença. Venderam 80 mil e acabaram. Hoje, se você chega a 350 mil é um fenômeno.

Fonte: Van do Halen

Amy Winehouse Collaborator Talks Unreleased Songs, Demos

Songwriter Stefan Skarbek first met Amy Winehouse when she was 14; a few years later they co-wrote "October Song," "Do Me Good" and "Amy, Amy, Amy." Skarbek, who has also worked with Estelle, K.T. Tunstall and others, estimates he wrote a total of 25 songs with Winehouse, including five completed demos he has at home, and says they remained friends until her death on July 23rd. When Rolling Stone spoke to him, though, he was just as interested in talking about the maternal, caring Jewish grandma-type who would make him chicken soup when he was sick as he was about her musical contributions. 

Were you involved in the new music she was working on?

We were sort of going over some old songs that we’ve got – she had a little setup at home and we were just sort of writing over Skype. As a friend, I was just having a laugh with her more than anything. She had a home setup – we had about 10 songs, five of them are sort of completed.

So were the five completed songs older material you were revisiting?

Yeah, they were old songs we had, old chord progressions, stuff that has sort of lingered about that we were just fiddling with.

When were those five demos done?

The last one we did was probably two, three years ago.

What direction were the songs you did two years ago going stylistically?

I felt like she wanted to go back to this fun thing we were doing. We did songs like "Monkey Boy," which were just fun tongue-in-cheek songs. My biggest thing with her was she’d come to the studio in London and she’d always come in with some crazy story, boyfriend troubles or things like that. And I’d say something like, "Amy, Amy, Amy," and then we’d do a song called "Amy, Amy, Amy." We’d go to the zoo and then come back and write a song about monkeys. That was the extent of how it went, then I went one way, she went hers. She disappeared for a while, then came back with Back to Black.

Did you speak regularly or reconnect at some point?

She called me up when she came to L.A. to do a show at the Roxy. I hadn’t spoken to her for quite a while and then we hung out, spent a few days at Chateau Marmont. After that we were close again. She definitely went off on her journey and was exposed to a lot of fame and celebrity, and then I think the people who hung about previously became more important, the people who liked her for who she was and not because she was famous. And she was also quite into being famous, so the poor girl, there was a lot of conflict going on.

Why do you think she was conflicted?

Because she was inherently nurturing, she was a Jewish grandma. Last time I saw her she made me chicken soup 'cause I had a little cold. She probably hadn’t slept for four days and she was still making me soup and singing me songs and all that. Naturally, she was a caring, mothering person. And then her persona became an out-of-control rock star, but really she just wanted to hug and be hugged and be loved. She had a lot of that going on and she was surrounded by some pretty dodgy people at times and a lot of using people. And I think that it became hard. I think she started to ignore her maternal instinct and at times her caring side and she became her own caricature. She wanted to have a family, she wanted to be a mom, all those things.

When was the last time you actually saw her?

The last time I saw her was at her birthday party about six months ago.

And when was the last time you talked to her?

I spoke to her two days before she died.

What was your reaction when you heard about her passing?

Shocked and sad. 

When you wrote together how many songs did you write and were you in a room together?

We were in a room. Over the course of two years we probably did maybe six months of writing and we probably did about 25 songs. So we did a lot, and it was more like developing stuff. We didn’t really know what we were doing – we’d have these visions and we’d listen to lots of records and have fun. I was just listening to this song the other day that is really sad called "Ambulance Man." Grandma got ill and she sang about the ambulance taking her nan away. A lot of it was just all sketches of things. And we ended up with lots of songs they did record.

Who owns the demos you have now?

Universal.

Have you been in contact with them about the songs?

I haven’t because I think my publishers will probably do something, but I know it’s still sensitive. [But] I’m sure one of the Universal people will contact us, or my publisher will contact them and release the demos. But the first thing I did when I found out she died, I listened to one of our songs called "October Song," which was just really said. It’s about her pet bird, Ava, who died. It was just really sad because you could replace all the lyrics with Amy and it was just such a testament to her, she lived that song.

How long ago was she sent to you for the writing?

Man, this is like 2001. I probably first met her when she was 14 and then we were working over the course of a few years.

What made her so special?

Anyone saying to her, "You’ve got to do this, you’ve got to do that," she’d run a mile. She was compelled by the feeling and music, she never cared about any business. When we were initially doing things the record company would turn up and she’d sort of disappear into another room and play on the trumpet. I think that’s what was so amazing and charming about her – she knew she was the shit and she didn’t need to prove it to anyone. That became part of her magnetism and part of her appeal. When she wrote music, the best way I can describe her is she was like an owl and a porcelain doll, she was so wise, but then so young and innocent. She had the wisdom you get with an old person and then that kind of naiveté and innocence you get with a young child. I knew she was incredible – we didn’t even write lyrics, just messed around on a piano for five minutes and then she’d go in a room, come up with genius lyrics and amazing melodies. She opened the gateway to so many other artists and in my view, she changed the whole paradigm of music. I think she made it possible for Adele, for the other artists that have come through to exist and put some truth and honesty back in music again.

What happened to all the other songs you were working on?

I reached out to Matt Rowe, who I was working with and it was on his computer. He’ll probably dredge up some stuff and see if there’s anything just for nostalgia, I listen to stuff just for nostalgia at this point, these hilarious little outtakes and stuff. I’m not sure where all the other songs are. I know I’ve got a handful and there’s more that Matt has got on his computer. Once it’s not on the album you sort of forget about it. I wasn’t aware that suddenly there might be an interest in what there was.

What do you want people to know about her?

I loved her, she was someone that was ahead of her time. She had this incredible nurturing other side to her that no one has ever focused on. She was generous, she was just a good person and I think she would’ve made an amazing mother. If she hadn’t been so consumed in things she might’ve come out the other end and been a role model for lots and lots of people. That’s the thing I know her best for. Musically maybe some of the songs I’ve got will end up being released. Maybe not, I don’t know. But my biggest take on her is deep down she was a good person and she loved people. That’s something I don’t think anybody ever focused in on with her. The U.K. press is terrible for creating train wrecks, they love doing that. And it was always disappointing me to see those kind of things. Even the worst journalist in the world that says horrible things about her she wouldn’t hold anything against them. She’d make them chicken soup.

Source: Rolling Stone