lemmy-kilmister640 [Note: This interview was conducted prior to Motorhead’s August 27th concert in in Salt Lake City, Utah. That show ended after only four songs because frontman Lemmy Kilmister told the crowd he was finding it difficult to breathe. This follows reports from Los Angeles on August 22nd, where some fans said the 69-year-old appeared unsteady on his feet.]

Greg Prato of Bravewords spoke with Motorhead frontman Lemmy Kilmister. Highlights from the interview appear below.

BraveWords: First off, how are you doing health-wise?

Lemmy Kilmister: I’m alright. I’m not as strong as I used to be, but I’m alright.

BraveWords: Have you had to alter your lifestyle over the past few years?

Lemmy Kilmister: Yes, I’ve stopped eating children. [Laughs]

BraveWords: What about as far as smoking and drinking?

Lemmy Kilmister: I don’t think that’s any of your business. I don’t think that’s really relevant.

BraveWords: Let’s discuss the new album, Bad Magic.

Lemmy Kilmister: A lot of it came really easy. I was lucky. [Laughs]

BraveWords: Would you say some of your favorite Motorhead albums have come the easiest, or were they difficult to get just right?

Lemmy Kilmister: Both ways. We record all different ways, too. Sometimes, we get the drums first, but apart from that, anything goes.

BraveWords: Could you give an example of a Motorhead album that was hard to get right?

Lemmy Kilmister: Another Perfect Day took the longest. But that was Brian Robertson.

BraveWords: I am happy to see Motörhead is headlining some of the biggest venues ever in the US on the upcoming tour. How does it feel that the band is probably bigger than ever here in the US?

Lemmy Kilmister: “Oh, we’ve been trying long enough. I’ve been here for 21 years. God almighty, we should have been playing [large venues] ages ago.” [Laughs]

BraveWords: What do you feel is the most underrated Motorhead album?

Lemmy Kilmister: Oh, all of them, really. After Another Perfect Day, we didn’t have a hit for about ten years. There was a lot of good stuff that went under the bridge, and everybody missed it.

BraveWords: Do you prefer the state of the music industry now, or when you were first coming up in the ’70s?

Lemmy Kilmister: Somewhere in the middle, actually. Because I came up in the ’60s first – I was in a couple of bands in the ’60s. That was miserable, because if you were into recording you had to carry this huge suitcase with a tape recorder around with you. It was just hopeless. Then the ’60s got slightly better, but the ’70s was the best. Because we discovered cassette players and all that stuff. It became a lot more quick and a lot more efficient.

BraveWords: What is the biggest misconception about Lemmy Kilmister?

Lemmy Kilmister: I don’t know. You’d have to ask them.

Read Lemmy’s entire interview with Bravewords here.

Listen to Electricity from Bad Magic below.




alicecoopehollywoodvamplogo640 Hollywood Vampires, the supergroup featuring Johnny Depp, Alice Cooper, Joe Perry, and others have released am audio video for their cover version of The Who’s, My Generation. Listen to it below.

The band recently announced that it will be playing only two shows Stateside at the Roxy, on the fabled Sunset Strip, on September 16th and 17th. Joining Cooper, Perry and Depp at those shows will be bassist Duff McKagan and drummer Matt Sorum.

Hollywood Vampires album will be released on September 11th. Pre-order a copy here.

Hollywood Vampires track listing:

1. The Last Vampire
2. Raise The Dead
3. My Generation
4. Whole Lotta Love
5. I Got A Line
6. Five To One/Break On Through
7. One/Jump Into The Fire
8. Come And Get It
9. Jeepster
10. Cold Turkey
11. Manic Depression
12. Itchycoo Park
13. School’s Out/Another Brick In The Wall Pt. 2
14. Dead Drunk Friends

* The Last Vampire

Narration: Sir Christopher Lee
Keyboards and Sound Design: Johnny Depp, Bob Ezrin and Justin Cortelyou

* Raise The Dead

(Johnny Depp, Bruce Witkin, Tommy Henriksen, Alice Cooper, Bob Ezrin, Rob Klonel)
Vocals: Alice Cooper
Guitars: Johnny Depp, Tommy Henriksen, Bruce Witkin
Drums: Glenn Sobel
Bass: Bruce Witkin
Background Vocals: Alice Cooper, Tommy Henriksen, Bob Ezrin

* My Generation

Vocals: Alice Cooper
Guitars: Johnny Depp, Tommy Henriksen
Bass: Bruce Witkin
Drums: Zak Starkey
Background Vocals: Tommy Henriksen,

* Whole Lotta Love

Vocals: Brian Johnson, Alice Cooper
Guitars: Joe Walsh, Johnny Depp,
Orianthi, Tommy Henriksen, Bruce Witkin
Harmonica: Alice Cooper
Drums: Zak Starkey
Bass: Kip Winger
Programming: Tommy Henriksen
Backing Vocals: Alice Cooper, Tommy Henriksen

* I Got A Line

Vocals: Alice Cooper, Perry Farrell
Guitars: Joe Walsh, Johnny Depp, Tommy Henriksen, Bruce Witkin
Drums: Abe Laboriel Jr.
Bass: Kip Winger
Background Vocals: Perry Farrell, Tommy Henriksen, Bob Ezrin

* Five to One/Break On Through

Vocals: Alice Cooper
Guitars: Robby Krieger, Johnny Depp, Tommy Henriksen
Drums: Abe Laboriel Jr.
Farfisa: Charlie Judge
Bass: Bruce Witkin

* One/Jump Into The Fire

Vocals: Alice Cooper, Perry Farrell
Guitars: Robby Krieger, Johnny Depp, Tommy Henriksen, Bruce Witkin
Drums: Dave Grohl
Bass: Bruce Witkin
Keyboard: Bob Ezrin, Bruce Witkin
Programming: Tommy Henriksen

* Come And Get It

Vocals: Paul McCartney, Alice Cooper
Guitars: Joe Perry, Johnny Depp
Piano: Paul McCartney
Drums: Abe Laboriel Jr.
Bass: Paul McCartney
Background Vocals: Johnny Depp, Alice Cooper, Abe Laboriel Jr., Bob Ezrin

* Jeepster

Vocals: Alice Cooper
Guitars: Joe Perry, Johnny Depp, Tommy Henriksen,
Drums: Glenn Sobel
Bass: Bruce Witkin
Programming: Tommy Henriksen
Background Vocals: Bob Ezrin

* Cold Turkey

Vocals: Alice Cooper
Guitars: Joe Perry, Johnny Depp, Tommy Henriksen
Drums: Glenn Sobel
Bass: Bruce Witkin
Programming: Tommy Henriksen
Background Vocals: Alice Cooper, Tommy Henriksen

* Manic Depression

Vocals: Alice Cooper
Guitars: Joe Walsh, Johnny Depp, Tommy Henriksen
Drums: Zak Starkey
Bass: Bruce Witkin
Piano: Bob Ezrin

* Itchycoo Park

Vocals: Alice Cooper
Guitars: Johnny Depp, Tommy Henriksen
Drums: Glenn Sobel
Bass: Bruce Witkin
Programming: Tommy Henriksen
Background Vocals: Alice Cooper, Tommy Henriksen, Bob Ezrin

* School’s Out / Another Brick In The Wall Pt. 2

Vocals: Alice Cooper, Brian Johnson
Guitar: Slash, Joe Perry, Johnny Depp, Tommy Henriksen, Bruce Witkin
Drums: Neal Smith
Bass: Dennis Dunaway
Background Vocals: Kip Winger, Bob Ezrin

* Dead Drunk Friends

(Johnny Depp, Bruce Witkin, Tommy Henriksen, Alice Cooper, Bob Ezrin)
Vocals: Alice Cooper
Guitars: Johnny Depp, Bruce Witkin,
Drums: Glenn Sobel
Programming: Tommy Henriksen
Bass: Bruce Witkin
Piano: Bruce Witkin, Bob Ezrin
Background Vocals: Alice Cooper, Johnny Depp, Tommy Henriksen, Bruce Witkin, Bob Ezrin

The name “Hollywood vampires” references a loose collective of rockers, including Cooper, John Lennon, Harry Nilsson and Keith Moon, who got together in the early Seventies and drink on the Sunset Strip at the Rainbow.


brucedickinson400 Jon Blistein of Rolling Stone reports:

Iron Maiden’s Bruce Dickinson will take the helm onstage and in the air next year when the metal outfit embarks on a six-continent world tour, flying in a Boeing 747-400 Jumbo Jet piloted by the singer himself.

Dates and venues are still being finalized for the 2016 trek, which will be in support of the group’s upcoming double LP, The Book of Souls, out September 4th. Iron Maiden will kick off the tour in the United States in late February before flying to Mexico and Central America in early March, where they’ll perform their first concert in El Salvador. They’ll also hit South America that month before returning to the U.S. and Canada for shows through early April.

…Iron Maiden are leasing the 747 through Air Atlanta Icelandic and Dickinson — an avid amateur pilot — is currently training for his license to fly the four-engine jet. In a statement, the singer gushed about the 747’s size and speed — “it is marginally faster o.85 MACH and the range of around 7000 [nautical miles] (13,000 km)” — and noted that the band plans to make a few internal modifications and give the jet a fresh paint job, featuring, of course, their famed mascot Eddie.

Read more at Rolling Stone.



buckcherry2015-640 Buckcherry have released a video for the song, Tight Pants, from their forthcoming new album, Rock N’Roll, which was released on August 21st through F-Bomb records. Watch the video below.

Last week, Todd revealed that the song Tight Pants was influenced by Aerosmith. To read more about this, and to see the album track list, go here.

To watch a video for the song, The Madness, please click here.

Buckcherry tour dates:


28 Starland Ballroom Sayreville, NJ
29 New York State Fair Syracuse, NY


9 Neighbrhood Theatre Charlotte, NC
10 Ziggy’s Wilmington, NC
12 The Concourse at The International Knoxville, TN
15 Ground Zero Traverse City, MI
16 The Machine Shop Flint, MI
18 District Square Kalamazoo, MI
19 Stout Ale House Menomonie, WI
20 Wooly’s Des Moines, IA
29 Brewster St. Ice House Corpus Christi, TX
30 Scout Bar Houston, TX


2 Hard Rock Casino Sioux City, IA
3 Three Hills Event Center w/ Saving Abel Nebraska City, NE
4 Singers Hays, KS
29 Mosaic Place w/ Bret Michaels Moose Jaw, Canada
31 Deerfoot Inn & Casino Calgary, Canada


4 The Watering Hole Green Bay, WI

To purchase tickets, visit Buckcherry’s Facebook page.


georgelynch400 Leslie Michele Derrough of Glide Magazine spoke with guitarist George Lynch. Portions of the interview appear below.

Glide: What song in your career would you say was the most difficult to transfer to the live stage from the recording?

Lynch: Probably Mr. Scary because it has so many guitars on it. What I’ve done in more recent years is sometimes I’ll have a guitar tech that is actually a guitar player play the rhythm part offstage, play one of the rhythm parts, and it really makes a huge difference. And if I don’t have that I’ll run a tape of just me playing the rhythm guitar so that I can play all the lead stuff on top of it and it sounds like the record. Cause really, if I just play the lead parts and there’s no rhythm parts happening live, it doesn’t sound very good (laughs). And I can’t do both at the same time, it’s physically impossible.

Glide: I asked this question of Jeff Pilson (former Dokken bassist, vocalist) a few years ago so I want to ask it to you as well: You two have been friends a very long time. What have you learned from him as a musician and what do you think you’ve rubbed off on him?

Lynch: I think we work together well because we’re different animals in our approach. We approach music from two polar opposite places. Jeff is very learned and knows music theory and understands music theory and is a multi-instrumentalist. He’s a, what do you call it, a jack-of-all-trades and a master of all trades. And I’m more of just a one trick pony. I mean, I do what I do and it’s just spontaneous and improvisational, kind of from the heart and the head all at the same time. And I think that makes for an interesting mix. He’s able to take things maybe I’ll start out with and go, “Oh man, that’s bad ass, that’s a great riff.” And he’s able to take it and polish it and add to it and make it right. Then he also challenges me to think outside my normal box where I have to kind of think a little bit harder about putting things together intelligently, because he’s putting together things right. He has a musical mind as far as arranging instrumentation and theory. So it forces me to try and raise the bar and come up to his level. At the same time, I think he appreciates the spontaneity of what I do. And it makes for a good creative pairing. We have wonderful chemistry.

Glide: This is what he told me about you. He said, “He made me really want to pursue an honest course in music. He’s very true to his soul when he writes and works.”

Lynch: You know, we have a bromance thing and we both love each other a lot and been through a lot together. We love getting together and hanging and working on music because it’s the process, really. We’ll put out a record and maybe achieve some commercial success, maybe not, but it’s really the process that we love so much, the creative process that we’ve been doing since the eighties. It’s just cathartic and beautiful and we create this beautiful music together that comes out of nothing and it’s great and very rewarding. We live down the street from each other but we’re both incredibly busy so it’s hard to find the time but every year or every two years we try to make time to do some sort of project together. And the project that is on the table right now is possibly a Dokken reunion, but of course that comes and goes every couple of years (laughs) so who knows. But we’re talking again about that but if that doesn’t happen we may do another T&N-style record but with Michael Sweet.

Glide: Who was the first real rock star you ever met?

Lynch: If I’m remembering correctly, it was Ritchie Blackmore. Me and my friends, I think we had taken a bus up to Hollywood or something. It’s been a long, long time ago but somewhere in Hollywood on Sunset Boulevard or something. He was with some friends, obviously older guys and stuff, and we were just like younger and we were all scared and wanted to introduce ourselves and I pulled the short straw. So I was the one that had to go up and say hi and I was really nervous. And it didn’t go so well. They kind of laughed me away and it was kind of hurtful so I went back and told my friends what happened and I felt dejected. But then Ritchie came over. He felt bad and he came over and sat down with us and started talking to us. Pretty cool.

Glide: How has your relationship with the guitar changed over the years?

Lynch: I think my number one problem with guitar playing is that it’s a discipline that I have not been responsible enough in pursuing the academic part of it. In other words, you know, the discipline of practicing every day and practicing in a methodical way; the hard nuts and bolts of becoming a better technician. It’s very easy to rely on the fact that, oh, I have a sound and a style and kind of do my thing. It’s pretty easy to rely on that and get lazy. And I tend to do that and I’ve got to stop doing that. It’s not just the matter of having a guitar in your hands for a lot of hours a day, it’s a matter of actually applying yourself constructively to get better, to learn more, and I feel guilty about that, that I don’t do a better job at that.

Read more at Glide Magazine.

Lynch Mob’s latest album, Rebel, was released on August 21st through Frontiers Music SRL. To listen to songs from the album, click on the highlighted song titles.

Jelly Roll
Automatic Fix



TonyMacAlpine400 Guitarist Tony MacAlpine has had to postpone his upcoming tour of Asia and Australia. In a statement, he said that he and his doctors believe he has colon cancer.

Yesterday (August 24th), MacAlpine posted the following on his Facebook page:

“Last week I was taken to the hospital with severe stomach pains. Following blood work, multiple MRI scans and various procedures, medical doctors discovered a large mass in my intestine, and it seems likely that we are dealing with cancer. My doctors have advised me that this will need to be dealt with immediately, and I am scheduled for surgery this week. Recovery from this surgery will take a month – right when I was scheduled to tour the Australasian region. Providing all goes well, it is our understanding I should be well enough to perform on the coming European tour.”

MacAlpine added that they are looking to reschedule the tour and gave refund information. He concluded by saying that he’s “determined to make these dates up, and rock your city soon!”

The 54-year old MacAlpine rose to prominence in the mid-’80s on the strength of Edge of Insanity (1986) and Maximum Security (1987). Originally signed to Shrapnel Records, the independent label that launched the careers of guitar virtuosos like Paul Gilbert (Racer X, Mr. Big), Jason Becker (David Lee Roth) and Marty Friedman, MacAlpine had a brief stint on PolyGram in the ’90s and has featured on a few of Joe Satriani‘s and Steve Vai‘s G3 tours. Back in April, he released Concrete Gardens, his 12th studio album.

additional source:


robhalford400 Kory Grow of Rolling Stone reports:

Twenty-five years ago today, a judge ruled that heavy-metal trendsetters Judas Priest were not liable for the deaths of two young men who cited the band’s music as the reason they killed themselves. One day in December 1985, the men — Raymond Belknap, then 18, and James Vance, 20 — had spent six hours drinking, smoking marijuana and listening to the metal band’s Stained Class album, after which each man took a shotgun and shot himself. Belknap died instantly, but Vance lived, sustaining serious injuries that left him disfigured; he died three years later.

Below, Halford took some time to reflect on what was a landmark case in recorded music before he and the rest of Judas Priest readied themselves for a U.S. tour this October.

It feels like it was just yesterday, because it’s such a strong memory. I remember walking up the steps every day at the courthouse in Reno, and feeling the incredible fan support that we had every day. All the local metalheads were there, chanting and holding up signs calling for us to be exonerated. And then there was just the tension and the sadness in the courthouse, because at the heart of the matter were these two guys that lost their lives tragically. These two boys were massive Priest fans, and that made it even more heart-wrenching that this terrible combination of the night and the drugs and the booze and their state of mind turned into something quite terrible.

The case was very interesting, since it was about subliminal messages, plain and simple, and what they have the potential to do or not do. One of the first instances of the so-called “backward masking” I’d heard of was in Led Zeppelin songs. But in that case, it wasn’t subliminal, it was allegedly audible. And weren’t the Beatles accused of doing something like that?

Either way, my interpretation of subliminal messages as we presented it was how in the old days you’d go to a movie and someone would insert a frame of film that suggested you buy popcorn. But even then, it was real and it was physical, because you could take that frame and go, “Look, there it is.” You can’t do that with words, because you have to actually hear them. And then if you can hear them, then how can they be subliminal or subconscious, like in a dream?

It’s a very, very intriguing subject matter, built in psychology. But I haven’t got a clue. I’m just a f–king singer in a heavy-metal band. We were baffled by some of the things that were coming out in the courtroom.

The trial shook us up, because it came from a country that we love dearly. We’ve always had this fantastic relationship with America. To come from a place that we love so much was a shock.

Nevertheless, the case was a great opportunity for a band like Priest to show the judge and the public that was clueless about metal and rock that we had a bunch of guys who could string sentences together and be logical and intelligent and have a deep conversation in a courtroom. I think there was the misguided belief that that wasn’t going to happen. But we’re not idiots, and we never will be.

We were in court, 9 to 5, every day for a month. We stayed in some kind of facility way outside of Reno to get away from the press, so we could huddle on the weekends, switch off, cook some food, just hang out and support each other. But we had to be prepared for whatever the next week was going to hand us, because we were just a bunch of musicians. Like, “Why are we here?” We’re British metal musicians, and we’re having to defend ourselves and our music and our fans about the ridiculous, absurd accusations that we put these messages in our music designed to kill yourself. It was preposterous, absolutely ridiculous. So it was a very emotional circumstance, but the band had a wonderful defense attorney, and everybody supported us, and we got through it.

I really wanted to go over to the mother of the boy who killed himself and give her a hug, and say, “I’m sorry for the loss of your kid. Let’s go have a coffee and talk this over.” But I think the deeper end of the story was that the people who were working for her in terms of prosecution was a very tangled web, because we heard there was a kind of infiltration from the extreme, right-leaning Christian groups that were urging them to pursue the case, telling them that we were responsible. But I would have loved to have just had the opportunity just to be with that family and let common sense prevail and talk it out. But you can’t, because it’s obviously a highly charged, emotional circumstance when you’ve lost your children. You’re bound to be angry. You’re bound to be upset. You’re bound to be looking for some explanation.

Our label took over the costs of the lawsuit for us. They understood that it wasn’t just the musicians on the line, it was the label, too. Had the judge found in favor about the so-called subliminal messages having the power to physically manifest themselves and make people to do something, the ramifications of that would’ve been extraordinary. How do you prove to somebody that there are not subliminal messages on your record when you can’t hear them in the first place? When you got into the nitty-gritty of the possible outcome, it would’ve been quite stunning.

When the verdict came in, we were relieved but also a little disappointed. The judge left the door open to some extent. He didn’t flatly say, “What the prosecution was suggesting actually did not take place.” He basically said, “Look, this is still a nebulous area, but it is my opinion that this band did not put these words onto this song and the outcome of those words created this tragedy.” So we as a band were exonerated, but the whole thing as far as what subliminal messages have the potential to do was left in limbo. It would be horrible to think that it might occur again, but you just have to wait and see.

In other Rob Halford news, we here at want to wish the Metal God a VERY HAPPY BIRTHDAY. The iconic singer will be celebrating his very special day tomorrow, August 25th.



metallicawithnewstead Damian Fanelli of Guitar World reports:

Below, check out an all-ukulele cover of Metallica’s One. It’s performed by a guy who calls his project “Ukes of Hazzard.”

“This was by far the most difficult cover I’ve done,” he says on YouTube. “It’s long, it’s intricate and devilishly fast at the end. The whole process of tabbing, learning, playing and finally editing this monstrosity took me the better part of two weeks. I’m pretty pleased with the final result. There’re still a few bits I wish I’d played a little cleaner.

“Full disclosure: I actually couldn’t pull off a clean take of the main solo, no matter how hard I tried. By the time I realized this, I had already put a lot of work into the rest of the song, so I decided to record it at 80 percent and speed it back up in post, rather than shelve the song. A cheat, for sure, but the song sounds better for it. Plus I’ve heard that Kirk Hammett has done the same thing on a few Metallica albums, so I don’t feel too bad.”

Note that Mr. “Ukes” is playing every part of the song—including bass, drums and the vocal melody—on a ukulele, and you can see him playing the various parts as the video progresses.

[Dana’s note: Thanks to Harry Taint for sharing this link with us]

additional source:


billward300 As previously reported, original Black Sabbath drummer Bill Ward was interviewed for the latest episode of Eddie Trunk’s podcast, Eddie Trunk Podcast and made a few statement’s about Black Sabbath’s latest album, 13.

Ward told Eddie, “I didn’t think [13] was successful at all. Well, in terms of live attendance, I think it’s gonna go, ’cause the band’s really well known. But I really didn’t… I was working on detachment — serious detachment — and I wanted to make sure that I went down the line and detached myself as much as possible. I had to stop loving them, because if you’re loving a dog as it’s biting you and ripping your insides out, it’s hard to love a dog that’s doing that. So, I actually stopped loving them, and I had to learn what we call detachment. So whatever they were doing, I could care less. I wasn’t interested in the f–king album 13. I’ve heard twenty bars of it — that’s all I’ve heard — and then I turned it off and said, ‘That’s a pile of shit,’ and that’s the truth. And I couldn’t care less what they were doing on tour.”

According to, after some web sites reported on the interview by using Ward’s “pile of shit” comment in the headline in reference to the “13” album, Ward took the opportunity on the latest edition of his radio show, “Rock 50“, to set the record straight. He said, “I found myself getting into trouble again this week in the press. [Laughs] Man, I just can’t seem to say the right thing without getting slaughtered by some of our friends in the press. It’s quite amazing.”

I did a nice interview with a friend of mine, Eddie Trunk, as you know, this week, and, of course, some of the contents of the interview has been taken out, and kind of out of context as well, and they are making headlines right now. NME, I believe, in Great Britain, and I think there was one in Classic Rock as well, that I called Black Sabbath’s album 13 complete shit or something like that. And it’s just, like, ‘Man…. Man…’ You know, it’s, like, ‘Ooooh…’

Let me get a couple of things straight here. I really, really love those guys. I am so passionate in my love for them. They are fantastic musicians. I never faulted their musicianship — ever. I’ve played with these guys since I was a teenager. And I just… I love them. I’m in a dispute with them.

…Let’s go back to 13 for a second, so I can make it clear for the record. I heard about twenty, twenty-four bars of one track — one track — on 13, and I listened to it, and I just didn’t like it at all; I just didn’t like it. And I have that right not to like it. Recently, at the Ivor Novello Awards, where I was with Tony [Iommi] and Geezer [Butler], Geezer mentioned to me that he bought, or he downloaded, my new CD, which was Accountable Beasts. I said, ‘What did you think of the album?’ He said, ‘I love it musically, but I can’t stand it vocally.’ It just so happens that Geez doesn’t like my singing. He has that right…. He has that right not to like it. But I’m f–ked if the press is gonna slam me up the wall or come out with some pretentious bulls–t about using headlines that are completely out… You know, it’s just, like, what the f–k is all that about?

I’m just saying it from my heart, if you’re listening out there: Hey, get a clue! I really dig these people that I’m talking about, and I listened to twenty-four bars. I haven’t heard the rest of the album 13. I haven’t heard it. And I never listened to it. One of the reasons I didn’t wanna listen to it was because I felt it would be quite painful to listen to. Not musically, but emotionally, it’s quite painful to listen to something that you wanted to be part of, but were unable to be part of, because I’m fighting for some principles in my life, and that includes the way that I interact with those three guys — Black Sabbath. It’s about principles, folks. That’s all it is, okay? So when these big headlines come out like that, then… Oooh. Man! Talk about fanning the flames… Man….

Anyway, just for the record, I love Tony, I love Geezer, and I love Ozzy Osbourne, and they are great musicians. And I am letting all the Ozzy fans know that as well.”

To listen to Eddie’s podcast with Bill Ward, please click here.


billward300 Original Black Sabbath drummer Bill Ward was interviewed for the latest episode of Eddie Trunk’s podcast, “Eddie Trunk Podcast“. A few excerpts follow (transcribed by To listen to Eddie’s podcast with Bill Ward, please click here.

On why he chose to go public with his reasons for pulling out of the reunion of the original lineup of Black Sabbath:

“The first I wanted to do… I had to go public because I knew that we were being asked to sign an unsignable contract again. And I made a solemn vow to myself after the last tour that we did, which I believe was 2005, that I would never ever sign into another contract like I’d been signing into. And so, based on that criteria, we started to negotiate a contract in very, very early 2011. And all the lawyers were involved. The lawyers just didn’t show up out of nowhere. All the lawyers were involved right from the very start. And we tried to negotiate a deal for the entire year of 2011. When the turn of the New Year came, 2012, we were a given a kind of a… their marching orders, which is, basically, ‘We’ve come as far as we can…’ This is not necessarily the band, but the band’s representatives. ‘We’ve come as far as we can in the way of the contract.’ And we just went, ‘You know what? I’m just not gonna do it. I’m not going to do it. It’s as simple as that.’ So that was what primarily was going on. But there was something way more important that was going on: I was being advertised as a member of the band, and there were three or four live gigs which had my name and likeness posted on them. And so, across the Universe, I think there was one gig in America and three gigs in England, the posters were saying that the originals band was gonna be playing, and I needed to tell the truth about that. And so, that’s why I went public and I made a public statement, basically letting everybody in the fucking world know that there’d been problems with the contract, [and] that I would not be appearing. The biggest thing, for me, was I didn’t wanna be part of something which I felt was misleading to the fans. And so, that’s why we asked for my name and likeness to be removed. We asked for our name and likeness to be removed from the advertising that promoted the first three or four live gigs in 2012. That’s it. Which brings up another side issue, of course, where, as you probably may have noticed, my name and likeness has been gradually disappearing from BLACK SABBATH. And the claims, on their behalf — not necessarily the band again — but the claims have been that it was me that asked for my name and likeness to be deleted, which is a complete fucking lie and complete bullshit. I’ve never asked for anything like that. I asked for my name and likeness to be deleted from the promotional posters that could have been misleading to the fans. I don’t like misleading people, and I like to be honest and transparent. So that’s why it came out.”

“There were several other motivating things. One was the students. I needed to do something. It was a terrible ordeal going through that period in early 2012. There’s a lot of young guys that I know [that were] gonna come and watch me play — a lot of young drummers. And I cried for weeks, actually, on and off. I mean, I did. I was really so upset, and I felt like I was letting these guys down and letting a lot of other people down. And at the same time, I knew that I had to make a tough decision, and I had to stay by that tough decision that I was masking. I felt it was the truth, and it was the truth, and I was standing by what I felt was honest and sincere, but above everything else, I had to do this for the students. And I kept thinking to myself, and I talked to my wife, Jackie. We were talking. I said, ‘You know, if I don’t stand here, then all the drummers to come, and all the people that are gonna get fucked in this business… I’m gonna have to do something and stand for something.’ And, basically, one of the things that I was standing for was publishing — that publishing equals drumming. Because one of the things that… One of the things that was… There were certain things in the contract that disallowed publishing. So I said, ‘No. My drumming equals writing.’ I just don’t just notes or beats or whatever… I’m an enthusiastic member of that band, and I play musically, and everything counts. That was one of the issues that we were trying to get something from — not equality; equality was out the window — but something at least.”

Discussing whether he puts any responsibility for what has happened on the other members of the band:

“Some camaraderie would have been nice, but I let go of that camaraderie back when we started the first reunion. The first reunion took place without me, and one of my friends from Faith No More played drums instead. Mike Bordin… Mike’s a good kid, man. I like Mike. So I knew that it was gonna be strictly business; I already knew that going in. Camaraderie would have been nice, but nobody touches the business — nobody touches the business. And I stay out of what their personal relationships are with their management. I’ve always taken it that that’s none of my business, and that they keep that private, and I stay out of that. I wanna be respectful that those are their arrangements, and that’s that. And that’s why I’m prefacing [some of my answers by saying] ‘not necessarily the band.’ I don’t know where the sources of decisions are made, but I always preface it by… You know, Tony’s [Iommi] not the kind of guy that would sit down behind a contract and work out terms and what have you. He might — I mean, for all I know. But the kind of lawyers that they have, they definitely sit down and work out terms.”

Speaking about his recent public war of words with singer Ozzy Osbourne:

“I was painted that I was physically unable to do it, and also, I was painted as having other motives besides wanting to play with the band. I mean, I was accused of a lot of things in those statements. And I was absolutely f–king furious.”

On how much of what Ozzy has said can be attributed to Ozzy’s wife and manager, Sharon Osbourne:

“I’m not sure. It seems to me like Ozzy started out making those statements. I know that Sharon definitely dislikes me, and she has for a long, long time. And I also know that she is inside all these contractual things and these unsignable contracts and everything else. She’s right there, right in the center of everything — as are the other lawyers as well, the other representatives. But, you know, the statements were made by Ozzy, so… It’s broken up the friendship that we had; there’s no doubt about it. I mean, it f–king killed the friendship. I detached from him. And I’ve already stated what will renew our friendship. But I think the day that he amends those statements, that will be one hell of a day. I think that’ll probably happen in the next life or further down the road. I don’t think it’s gonna happen in this life. But that’s my criteria, again, and I’m gonna hold him to those statements, because I know that those statements are incorrect.”

Speaking about reuniting with Sabbth members Tony Iommi and Geezer Butler (bass) to accept the “Lifetime Achievement” award at this year’s Ivor Novello Awards in May in London, England:

“Yes, I saw them. I gave them a hug, and wished them well. And I still said the same thing… Even at the Ivor Novello Awards, the press was there asking questions, and I said, ‘Yup. I’d like to play with the band again — providing that they get a signable contract, and providing that Ozzy makes amends for his statements that he made in 2012 and 2013.’ Yeah. Hey, if you wanna get the band together, if you wanna make it happen, I’m ready to play. But I’m already busy with everything else, but I can play — I can still play in Black Sabbath.”

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