Glenn Hughes says Ritchie Blackmore invited him to be part of the recent Rainbow shows – but he refused his former colleague’s offer.

The ex Deep Purple bassist and vocalist, who shared the band’s microphone duties with newcomer David Coverdale in the 1970s, explains that he didn’t want to be part of a 21st-century lineup featuring relatively unknown singer Ronnie Romero.

And he’s also confirmed that Black Country Communion will release their reunion album in May next year.

Asked about Blackmore’s three Rainbow appearances, which took place in June, Hughes tells Hard Rock Haven, “He asked me to do it with him. And I said ‘no’ because he wanted to, funny enough, he wanted to use an unknown singer.

“I said, ‘It’s not me. It’s not me to do that.’ I’ve done that with David, and it was good. I don’t want to do it again. I said very eloquently, ‘No thank you. I really would like to see you, but I can’t do this at the point where I am right now.’”

Black Country Communion this year confirmed they’d get back together following a split in 2012 partly caused by Hughes and guitarist Joe Bonamassa failing to agree on touring plans.

Hughes reports the follow-up to Afterglow will be recorded between January 3rd and 11th, then released on May 21st and continues, “I’m not going to say we’re touring, because I don’t have a schedule of that.

Joe and I have decided we would like to play some shows, but there’s nothing booked because I’m going to be busy next year and so is he.

My first priority is my band. I’d love to play with Black Country – but let’s be real. You just never know. Funny thing is, now Black Country are getting back together and I’m solo. It’s really what I want to do. It’s the first thing for me now.”

He’s continuing work on a solo album, set to feature Red Hot Chili Peppers drummer Chad Smith in a guest role. Hughes says, “It’s heavy in content lyrically and it’s musically heavy, but it’s got a lot of groove. I think it’s quite dramatic and there’s a lot of light and shade. But the emphasis is really heavy grooves, and that’s what I write.”

additional source: Classic Rock via

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Zakk Wylde has announced a select number of meet and greet appearances surrounding the launch of Wylde Audio. Fans will have a chance to meet the metal icon in-store and test out his new line of Wylde Audio guitars and more. Join Guitar Center and Wylde Audio for a special in-store appearance with the legendary guitarist.

Wylde chose to join forces with Guitar Center on a new line of guitars from his new company because he admired their commitment to encouraging new talent and supporting musicians of all skill levels and genres. Wylde’s new line of masterfully crafted guitars includes three unique models (Odin, Viking and Warhammer) that are available at Guitar Center stores and online. To celebrate, the former Ozzy Osbourne guitarist and Black Label Society founder is heading out on the road this September to meet with fans at select Guitar Center stores across the country.

Don’t miss your chance to meet with one of hard rock’s most influential guitar players.

Zakk Wylde recently debuted a new music video for his latest single Sleeping Dogs featuring Slipknot/Stone Sour frontman Corey Taylor. The track has gone on to become the most successful active rock radio single of Wylde’s career reaching as high as #22 in the U.S. and #11 in Canada. Directed by long time collaborator Justin Reich, the video can be seen below.

Zakk Wylde is currently on the tail end of a a U.S. and Canadian tour in continued support of his new LP, Book Of Shadows II which will come to an end at The Fonda Theater in Los Angeles this Friday, September 3rd. Tickets are on sale now here, including VIP upgrades in all markets. Tyler Bryant & The Shakedown and Jared James Nichols will serve as support.

Wylde will continue touring through the end of October, this time with Zakk Sabbath serving as support for Clutch. Zakk Sabbath includes himself, bassist Blasko (Ozzy Osbourne, Rob Zombie) and drummer Joey Castillo (Danzig, Queens Of The Stone Age) performing only Black Sabbath songs. Click here for more info.

Zakk Wylde Guitar Center meet and greet dates:

Sept. 8th at 6pm: Guitar Center Phoenix
Metro Square, 2750 W Peoria Ave, Phoenix, AZ 85029

Sept. 10th at 2pm: Guitar Center Arlington
721 Ryan Plaza Dr, Arlington, TX 76011

Sept. 12th at 6pm: Guitar Center Nashville
One Hundred Oaks Mall, 721 Thompson Ln, Nashville, TN 37204

Sept. 14th at 6pm: Guitar Center Rockville
12401 Twinbrook Pkwy, Rockville, MD 20852

Sept. 16th at 6pm: Guitar Center Union Square
25 W 14th St, NYC, NY 10011

Sept 18th at 2pm – Guitar Center San Francisco
1645 Van Ness Ave, San Francisco, CA 94109

Free to the public and limited capacity – arrive early.

For more information about Book of Shadows II, please go here.



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Jeff Pilson. Courtesy photo

While bassist Jeff Pilson admits that money is the motivator for Dokken’s classic lineup reunion, he insists that the band also wants to redeem themselves after years of bad press.

Though the bassist agrees with drummer Mick Brown and vocalist Don Dokken that money is the main incentive for their run of comeback shows, he still wants to do a “great job” for the fans’ sake.

He tells My Global Mind, “Because bands look like they are having a fun time up on stage, it seems like it’s the easiest job in the world or not really a job at all.

Most fans would say, ‘Why can those guys just get it together and play. It looks like fun.’ Obviously it’s more than that – it’s the time you spend together practicing and in negations making it all happen.

I will say that the notion that we are doing it just for the money – of course we doing it for the money. We are getting well paid and that’s great.”

Pilson adds, “Honestly, I don’t really look at it like that – I look at it as getting paid is a nice thing and this is a chance to put a positive spin on a band that got a lot of negative press. Now it’s just about going out there and kicking some butt and doing a great job, not to get all caught up in the controversy that we usually get.

Japan has always been great for us and I’m really just looking forward just going out and doing the music and playing with these guys.”

Pilson also recalled the last time the original Dokken lineup played together in 1997, when they were supporting Alice Cooper. He says the night ended on a “horrible note” after old tensions had resurfaced between frontman Dokken and guitarist George Lynch – resulting in the pair almost “getting into a fight” on the bus.

Pilson explains, “George’s son had to come between them. It got nasty and ugly – it was very unfortunate.

I think extreme tension is destructive and that’s what ultimately brought about the end of the band. I don’t think extreme tension was creative in any way whatsoever. I think it cut off a lot of the potential that we had.

I’m hoping we can do this with a better attitude – and I think we will.”

Recently, Brown admitted that Dokken and Lynch had begun snapping at each other ahead of the dates.

Dokken’s only planned US show is Sioux Falls Badlands in South Dakota on September 30th, followed by six Japanese dates in October. They’ll then revert to the current formation featuring Dokken, Brown, Jon Levin and Chris McCarvill.

Classic Dokken lineup tour dates

Sep 30: Sioux Falls Badlands, SD
Oct 5: Osaka Namba Hatch
Oct 6: Fukuoka Civic Hall
Oct 8: Tokyo Loud Park Festival
Oct 10: Hiroshima Blue Live Hiroshima
Oct 11: Aichi Zepp Nagoya
Oct 12: Tokyo Zepp Diversity


additional source: Classic Rock via

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Anthrax - 2015

Anthrax has released the video for song Monster At The End from their new album, For All Kings. Watch video at Fangoria.

The original concept was to have four still photographers placed strategically on a Florida set while the five members of Anthrax performed their new song live. Each photographer would hold down his camera’s shutter button continuously for the near-four minute-long song, capturing a steady stream of hundreds of still images.

“Hey, it might have been a great idea,” laughed video director Jack Bennett, “but holding down the shutter button on a still camera for that long a time? All we would have ended up with were four jammed cameras!”

Shooting the entire video with Super Sharp HD video still cameras, Bennett wanted an animated, staccato-feel to the flow of the individual images. “Video shutter speeds are faster and more reliable than anything we could have done manually, and we wanted as big a pool of still images to choose from as we could get.”

In post-production, Bennett went through the footage frame by frame and hand-picked the still images he wanted to animate – hundreds of them. Rather than print the video at 24 frames per second, he animated movement of the band members using the still images, creating a jagged, crude motion. “We didn’t want fluidity, we wanted the video to have more of a comic book feel to it, like flipbook animation.”

This also allowed Bennett to hang on the band members’ individual movements to accentuate the power of their playing, such as the strength in Charlie Benante’s drum hits, or Scott Ian’s strumming or Frank Bello’s rhythm.

And then the real fun began.

Bennett and his crew went one step further, taking a cue from the legendary Walt Disney animators of the 1920s and 1930s, who used the technique of rotoscoping, the art of painstakingly hand-painting individual cels to embellish a primary image.

Employing the fundamentals of rotoscope, Bennett has peppered the video with monsters, tattoos that come alive, explosions, popping eyeballs, speech bubbles, morphed images, and nods to the influence of ‘Creepshow.’ There’s even a frame or two of The Skull King, the evil character from Anthrax’s Blood Eagle Wings music video that Bennett also directed. Actor Justin Michael Terry, who played The Skull King, is The Runner in Monster At The End.

“We used a lot of stop-motion effects as well as other special and visual effects in the same way as was done in the original Exorcist film,” Bennett added. “We even added a little bit of grain, some dust and some scratches just to give it that analog feel.”

As the music video unfolds, the frame rate increases, giving the band members more and more fluid movements until the final chorus when the video is full-on 24-frames per second. “You could watch this video one frame at a time,” Bennett added, “and probably not find everything we did.”

“The Monster at the End video takes us back to our love of comics and horror,” said Anthrax’s Charlie Benante. “We’ve always loved the ‘Creepshow’ movies and wanted something like that for this video. Jack is easy to work with, all we did was perform the song, he did the real work with the editing and achieving the look that we wanted.”

Bennett wraps the video with one more surprise, an unexpected ending that goes to show that in the end, there’s a little bit of the monster in all of us.

To watch videos/lyric videos for other songs off of For All Kings, please click the highlighted song titles:

Zero Tolerance
Blood Eagle Wings
Breathing Lightning
Evil Twin

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Joseph Hudak of the Nashville Scene spoke with our very own Eddie Trunk about the Rock N’ Roll Hall Of Fame. The brief interview appear below in its entirety.

Nashville Scene: Are you surprised they asked you to become a voter?

ET: Yeah, pretty much. There has been some dialogue with those guys over the last few years about doing something and possibly getting involved in their boards and committees, because they are aware of how vocally against it I was. I’ll give them credit: They could have easily swept me away, but at least they did listen, and they did want to try to do something to get my voice involved.

Nashville Scene: How’d it happen?

ET: It was really Tom Morello who got me in there. Tom has been a voter for a little while and is a friend. There are a few times over the last few years that Tom has called me up and asked me some questions about bands that I think should have gone in, or should this person be inducted if this band goes in. Things like that. Tom finally said, “Hey, why don’t we just try to get him in?” One day I got a call from the Hall of Fame, and they said, “Tom Morello gave us your information, and said he thought you’d be good to be on the voting panel. Are you interested?” My initial reaction was to tell them to go to hell. But then I was like, “Well, that’d be kind of stupid. Because if I’m sitting here railing against this thing, and now I have an opportunity to make a difference, that would be counterproductive.”

Nashville Scene: So who deserves consideration next year?

ET: When it comes to heavy metal, I think Judas Priest is the second-most important band to Black Sabbath. You can make a case for Def Leppard, for Foreigner, for Motörhead and Lemmy, when you’re talking about influence. Talking about ’70s music, Foreigner, Journey, Boston, The Cars — so many of these bands have still been ignored. And Thin Lizzy. When you start dabbling in the ’80s, you look at Def Leppard, Bon Jovi, Mötley Crüe. If Guns N’ Roses went in first time, first ballot, really off the strength of [Appetite for Destruction], you gotta say to yourself, “How is Def Leppard or Bon Jovi not in that conversation?” I have my passions, but I know well enough to separate my personal tastes versus what makes sense. People were surprised that on this year’s ballot I voted for Chicago. I don’t crank up Chicago records, but when I look at that ballot, they absolutely deserved to be in. I take the responsibility very seriously.


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Stryper vocalist Michael Sweet is back with a new solo album and he appears to be having the time of his life. Sweet has teamed up with Loudwire to exclusively bring you the new video for Radio, a track that is taking a fun jab at some of his peers and is featured on his One Sided War album. Watch it below.

Sweet tells us, “I wrote the song Radio based on my history in country music and on what seems to be a surge of rock stars trying to become country stars. I’m a metal head at heart and always will be, but I’ve had the opportunity to write with some of the best writers in Nashville (Blair Daly, Bruce Wallace, Luke Laird) and I’ve learned how talented these guys are and how serious they take their job. Just as metal is a life style, country is as well and you have to live it, not just wake up one morning and decide you’re gonna be a country star and have the respect of the country world.”

He continues, “I grew up with country music, played on my dads country songs (he cowrote a No. 11 country song in 1976 called I Don’t Want To Have To Marry You) and I know and respect the country music world. This song and video is having a little fun with all the guys that think they can just throw on a cowboy hat, some cowboy boots, move to Nashville and become country stars. It’s just not that simple and that’s just not reality. The same would apply to country stars trying to become metal heads. Kind of funny when you think about it. Country music, just like rock, is a lifestyle rich with history and authenticity and each genre should be treated with great respect. You can’t fake it. You can try, but the fans will see right through it.”

Sweet released One Sided War on August 26th through Rat Pak records.

In related news, Stryper has announced their 30th Anniversary To Hell with the Devil Tour, to read more details, and to view their tour itinerary, please click here.

MichaelSweetone sidedcover500


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