kkdowning Adrian Peel of Digital Journal spoke with former Judas Priest guitarist K.K. Downing. Excerpts from the story appear below.

On his new business venture:

“Don’t laugh, but I’m just about to release Metal For Men and Metal Pour Femme, which is a new line of fragrances, and I’m going to be selling that internationally. Do you know Planet Rock? In the UK I’ll be selling that initially through Planet Rock, through the national radio station. That’s something else I’ve thought of in my sleep. Don’t ask me why! You see these people do a fragrance from the pop world and stuff like that, but nobody’s actually catering for rock and metal fans, so I thought I’d solve the headache of what to buy for Christmas type-of-thing…”

Discussing releasing a solo album:

“Well I think about it all the time, I do… I’m thinking that when all this dies down a little bit, even if I’m 65, 66 – it doesn’t matter. I mean you look at The Rolling Stones, The Who and everybody can still put their hand to their instrument and be creative. So I’m not ruling anything out at any time…It may well be an instrumental album. I could do it, but at the moment I’ve just got to finish what I’ve started, really, is what I think. But it won’t be too long. I would’ve thought by the end of next year, I’ll find a clearing and I would like to work with some chosen musicians.”

Explaining why he left Judas Priest:

“I felt that a lot of the spark wasn’t there – for whatever reason – anymore on stage. I felt that I had it, but I felt it wasn’t what I originally signed up for… I always thought that Judas Priest should have been a high-energy outfit and ultra-sharp, but I wasn’t enjoying it as much on stage as I should have been. All that traveling and living out of a suitcase and spending so much time in planes, vans, cars and trains, you have to really enjoy the concerts. You have to musically get on a high and that carries you through, but if you’re not enjoying it like you should, then it becomes a lot of hard work because you’ve still got to do the interviews and be pushed and pulled around the place.”

Does regret his decision to leave the band?:

“I don’t regret leaving because, to me, I thought that it had run its course. I miss what we had, but I don’t particularly miss what we had become when I left… You can look at You Tube and see Judas Priest playing at the US Festival, or at Live Aid, and I miss being at the pinnacle of the band. I miss that energy and youthfulness and just delivering all of that up. You become a certain age and I think that I would have been happy if, as I said, I was enjoying the shows. There’s disagreements with how things should be done and I thought if I’m outnumbered then it’s time to go…But I suppose we did fantastically well. I mean 40 years is great and I commend the guys for going back out. I was just watching a bit of their first concert of the tour in Rochester, New York, and it was great. Band sounded good and I’m happy that they continue.
I sent an email saying ‘good luck with the new tour, guys’ to the management office. I do wish them well and I commend them highly for being out there and carrying on the legacy.”

Read more with K.K. at Digital Journal. Additionally, Downing, will be donating some of the proceeds from his forthcoming fragrances to the Teenage Cancer Trust.

For more information about K.K., please visit his official website.



viviancampbell'slastinlinebanadpic640 Frontiers Music Srl is pleased to announce the signing of Last In Line, featuring original Dio members, Vivian Campbell, Vinny Appice, Jimmy Bain and Claude Schnell, along with vocalist Andrew Freeman.

When he left Black Sabbath in early 1982 to form his own band, the late, great Ronnie James Dio took powerhouse Black Sabbath drummer, Vinny Appice with him.

Ronnie knew that he wanted a European flavor to balance-out the band, so he asked his former Rainbow bandmate and Scottish native, bassist Jimmy Bain to join him. In turn, Jimmy recommended a young Irish guitarist, Vivian Campbell to complete the line-up. When the four of them met and played for the first time in a North London rehearsal room in September 1982, the magic was evident and the classic Dio band line-up was born.

Between 1983 and 1985, in quick succession, that line-up wrote, recorded and toured the first three Dio albums. Widely considered to be the crown jewels of the Dio catalogue, Holy Diver, Last In Line and Sacred Heart went on to sell millions as the band, now reinforced by keyboard player, Claude Schnell, played to audiences worldwide.

By 1985, however, trouble was brewing and the fabric of the band had started to unravel. Beginning with Vivian Campbell’s firing during the Sacred Heart tour, one by one the other original band members left the fold and slowly the magic was lost.

30 years after the recording of Holy Diver, and without trying to replace the singular sound that was Ronnie’s voice, the original band have started playing the songs they created together again. Joined by the passionate, powerful and unique voice of vocalist Andrew Freeman, Vivian Campbell, Vinny Appice, Jimmy Bain and Claude Schnell have united under the name of their classic album, Last In Line, to perform and tour their original songs again.

When any group of musicians write and record together, they create a sound that becomes uniquely theirs. Last In Line brings to life those early, classic Dio albums in a way that only they know how. In a way that only they can.

Frontiers plans to release the new recording in the spring of 2015.



AC/DC have released their first official band photograph to feature new guitarist Stevie Young. Young is the nephew of Malcolm Young, who he replaced in the band when Malcolm, 61, was confirmed as having been diagnosed with dementia.

The photo has been released a week after AC/DC were in London to film a video for their new track Play Ball. Drummer Phil Rudd missed the video shoot due to a “family emergency” and he is also absent from the new photograph. Rob Richards of Shogun filled in for Rudd at the video shoot.

AC/DC wiill release their 16th album, Rock Or Bust on December 2nd ahead of a 2015 world tour. To read more about Rock Or Bust and to view the track list, please click here.


additional source: Classic Rock Magazine


paulstanley400 KISS frontman Paul Stanley was recently a guest on “The Joe Rogan Experience,” where he discussed his former bandmates drummer Peter Criss and guitarist Ace Frehley implying that they carried “a lot of resentment” over the fact that some of the other members of the band were more “focused” and “driven” to succeed than they were, which ultimately led them to sabotage their careers.

“It’s very difficult to move forward when two of the people are, at times, like flat tires,” Stanley explained [as transcribed by Blabbermouth]. “It becomes more of a problem when their reason for being is to foil and to throw off track what you’re trying to do. So, at some point, it really became more about trying to disrupt what we were trying to do with no regard to whether or not what they wanted to do was right or wrong; they just wanted, ‘Let’s screw Gene [Simmons] and Paul. So we’ll say no, and they’ll say yes.’ So it really became very, very, very difficult.”

Stanley claimed that he was in favor of splitting the band’s finances evenly in the early years, but that things changed once Ace and Peter started putting less effort into the group, leaving Paul and Gene to take over. This, in turn, caused a rift between the bandmembers, necessitating a change in the group’s lineup.

When asked why he thinks Ace and Peter were seemingly so intent on working against their bandmates, Stanley said, “I think self-sabotaging comes into it, because, I think, that’s been something that’s run through parts of their lives. But I also think that there was a lot of resentment. And, honestly, I don’t believe in resenting people for what they can do that you can’t. if you’re lucky enough to have people around you who can do what you can’t, make them your best friend. Everybody can’t be the best at what they do, but you can benefit from being around those people. So, look, I never wanted or expected anybody in the band to do necessarily the same amount of work that I did, but I expected them to give a hundred percent. I was all for splitting things evenly in the original lineup of the band up until those guys departed the first time, but you have to give your best.”

He continued, “I think [our] focus and drive and determination and seeing the whole picture and wanting this to be as good as it could be, as opposed to falling back on, ‘It’s rock and roll.’ Well, rock and roll is no excuse for mediocrity, and rock and roll is no excuse for not doing your job. If somebody says, ‘Oh, my playing is rock and roll.’ No, that’s just bad. You know, there’s bad and then there’s rock and roll…Look, it’s a long time ago, and it’s kind of like talking about a girlfriend or wife you had a long time ago and trying to disseminate what went wrong. At some point it really doesn’t matter.”

Stanley says that ego clashes and disagreements over songwriting credits contributed to creating an unhealthy environment and he makes no apologies for taking charge of the group.

“I don’t know the mentality that wants to sabotage what ultimately benefits you,” Stanley said. “Look, if you’re in a band that’s doing great and you’re not the primary songwriter and the primary singer, well, you should revel in what you have. You know, the idea of equality… Some have to be more equal than others. Everybody can be in car together, but somebody’s gotta drive. We’re all going in the same direction. But when people reach the point of saying, ‘Well, I want an equal amount of songs.’ Well, do we leave off ‘Strutter’ so we can put your song on, or do we leave off ‘Detroit Rock City’? It doesn’t work like that. I don’t believe that there’s any birthright or that we should expect a quota in anything. We get what we deserve, and somebody has to decide that.”

He continued: “The key to a great band or any great situation is doing what’s best for the situation, not what’s best for you. I don’t have to be right, I just wanna see the right thing happen. So if you’re more tied up in the ego gratification or in the control factor… I honestly don’t mean to control anything, but I do have a point of view, and I guess I’ve earned my place at this juncture. But everybody gets a chance to state their views, and hopefully they are always with the best intentions, and I think that’s the way the band works now. We have a drummer [Eric Singer] who doesn’t like to take a solo, and this guy could play a better solo with one hand than most drummers could play with every limb of their body. So it’s all for one and one for all.”

In other KISS news, The Pulse Of Radio reports that “Love Gun: Deluxe Edition” will be made available on October 27th. The two-disc CD features the original 1977 album, along with a bonus disc featuring assorted demos and live tracks.

Vintage Vinyl describes the release as “the first disc includes a remastered version of the original album while disc two has demos, three live performances from a 1977 Lakeland, Florida concert and an interview with Gene Simmons. A rarity for any expanded edition of an album, the deluxe edition includes a glimpse into Paul Stanley’s creative process on Love Gun (Teaching Demo) with Stanley talking through the various chords of the song.”

Love Gun: Deluxe Edition track list:

Disc 1 (Original Album):

I Stole Your Love
Christine Sixteen
Got Love For Sale
Shock Me
Tomorrow And Tonight
Love Gun
Almost Human
Plaster Caster
Then She Kissed Me

Disc 2 (Demos, Interviews & Live)

Much Too Soon (Demo)
Plaster Caster (Demo)
Reputation (Demo)
Love Gun (Teaching Demo)
Love Gun (Demo)
Gene Simmons Interview (1977)
Tomorrow And Tonight (Demo)
I Know Who You Are (Demo)
Love Gun (Live 1977)
Christine Sixteen (Live 1977)
Shock Me (Live 1977)



eddievanhalen2400 After nearly three years in development, EVH is pleased to announce the launch of the 5150III 1×12 50-watt combo amplifier. This is not your average 1×12 combo by any stretch. In line with Eddie Van Halen’s legacy, this 1×12 is a true game changer, making players swear they’re standing in front of a half-stack.

The EVH 5150III® 1×12 is an all-tube combo amp, featuring three channels of pure 5150-III high performance tone (clean, crunch and lead). Fitted with a single 12-inch Celestion®, 16-ohm speaker and powered by seven JJ ECC83 (12AX7) preamp tubes and two JJ 6L6 power tubes, it also features front-panel adjustable power output from 50 watts down to one watt. The adjustable power feature is especially useful in achieving “fully cranked” sounds while maintaining reasonable overall volume levels.

Features include a single input, rear-panel selectable output impedance (4, 8 or 16 ohms), versatile controls (gain, low, mid, high, volume, master presence, rear-panel master resonance, power level, reverb), built-in DSP reverb, rear-panel MIDI input and preamp output, two rear-panel parallel speaker outputs, rear-panel effects loop and headphone jack (mutes power amp), and four-button footswitch (controls all three channels and reverb).

Top-notch construction features a custom-shaped birch cabinet with special and exclusive internal baffling, vintage-style chicken-head control knobs, red jewel, plastic top strap handle and casters. A fitted cover is optional. Available in Black and Ivory.

For more information, go to



foofighters640 On October 14th, Dave Grohl and the Foo Fighters began a weeklong residency at the Late Show With David Letterman. Last night, they were joined by Zac Brown for a cover of Black Sabbath’s War Pigs. Watch the performance below.

The band residency with Letterman is to promote their upcoming “love letter to the history of American music,” Sonic Highways, which will be released on November 10th.

In Black Sabbath news, singer Ozzy Osbourne announced back in September that the band will began working on its final album in early 2015.

additional source:


Gene-Simmons400 Seems like KISS frontman Gene Simmons is no fan of reality show competitions where judges coddle contestants rather than being honest.

“You can’t sugarcoat s–t, pardon me. You can mentor anyone you like, but it’s a waste of time if they don’t have the goods intrinsically,” Simmons told The Hollywood Reporter at MIPCOM where he’s launching his new reality format Coliseum from Sierra/Engine Television.

Simmons is putting his own spin on the TV competition show genre by getting tough on contestants. Why? Because the music industry, like life itself, is cutthroat.

“Your qualification for being on this show is you can sing in the shower? Is that it, without paying any dues or writing songs or any stagecraft?” he questioned. Coliseum sees Simmons, who recently entered the Rock and Roll Hall of Fame, challenging contestants to form rock bands with a winning musical voice and performance.

The KISS bassist will motivate evolving acts before they perform in front of an audience. “We want to open the trap doors of life and get tough. There will be heartbreak, and people are going to cry and their dreams will be shattered, just like in real life,” he said.

Simmons understands what leads singing competition show judges to nurture talent, rather than offer harsh and honest evaluations. “TV shows are fantasy because they’re selling soap suds. It’s family entertainment, it’s primetime, the kids are there, and they [broadcasters] don’t want to get too realistic,” he said.

But Coliseum will prize image over voice when judging talent. “We want to create superstars, not just singers that get record deals,” Simmons said. The other twist is that Coliseum will mix and match artists that contend on the show to find the perfect musical act.



RivaSonsl640 California rockers Rival Sons appeared on the Late Show With David Letterman on October 9th performing their song Open My Eyes from their album Great Western Valkyrie. Watch their performance below.

Rival Sons released Great Western Valkyrie, their fourth album, on June 6th.

Rival Sons on the web:

Official Website


weiland Greg Prato of Songfacts spoke with former Stone Temple Pilots and Velvet Revolver singer Scott Weiland. Excerpts from the interview appear below.

Songfacts: How would you say that you write your best songs?

Scott Weiland: Well, this album is different, the current one that I’m working on with the band. In the past, writing alone, I’ve written much more eclectic records. It’s more obscure music. The two big bands that I’ve played in up to this point, Velvet Revolver and STP, are known for big, D-tuned power riffs, power chords, and big sound. So it’s different.

When I was writing with STP and Velvet Revolver, it was kind of the same thing: One of the guys would have a song idea and we’d kind of suss it out with the band and then I’d write my melodies and then write my lyrics to the melodies. And as a solo artist, I kind of felt free to go off and explore all different styles of music that I’ve been interested in over my lifetime and find some sort of cosmic melting pot for it. That was fun, but it was more difficult to bring that to the stage, because it meant we had to have more players and a lot of effects.

We’d bring in loops and stuff – the loops that we created for the album, we’d bring them out live. Which was fun, but I think for a lot of the STP and Velvet Revolver fans, it was kind of a stretch for them to wrap their heads around because they were very left-of-center records, 12 Bar Blues [1998] and Happy in Galoshes [2008]. This is much more of an indie-sounding record, but it still is very much a rock and roll record. There’s big, fuzzy riffs and it’s cool. It’s a whole new experience.

Songfacts: What was the lyrical inspiration behind the STP song, Dead and Bloated?

Scott: It’s not really about anything. It’s just stream-of-consciousness words. I mean, at the age of 21, 22, I didn’t have a whole lot of life experiences. So it’s more about the vibe, the angst and that kind of a thing, as opposed to actual life experiences.

Songfacts:…what about the STP song Creep, what do you remember about the lyrical writing of that song?

Scott: That’s just the idea of being a young person somewhere, caught between still being a kid and becoming a young man. It’s that youth apathy, that second-guessing yourself, not feeling like you fit in.

Songfacts: And what about Slither from Velvet Revolver?

Scott: That song, what was that song about? Just got done performing it. The lyrics are about a relationship. “When you look you see right through me, cut the rope, fell to my knees, born and broken every single time.” It’s just feeling not right in a situation.

Read more at Songfacts.



EddieTrunkpodcastpic400 Eddie’s podcast with Aerosmith guitarist Joe Perry is now available for download. The interview can be obtained at iTunes and PodcastOne.

This interview was conducted at Joe Perry’s book signing in New York City on October 7th. To read details about Joe Perry’s biography, please click here and to see pictures from his Manhattan book signing, click here.