DIO CANCER FUND PRESENTS $100,000 TO HOUSTON’S M.D. ANDERSON CANCER CENTER, FUNDS WILL FURTHER RESEARCH IN GASTRIC CANCER DEVELOPMENT AND PROGRESSION

diotandupchecksept2014_1_638 The Ronnie James Dio Stand Up and Shout Cancer Fund, founded in memory of the late heavy metal singer, last week presented a check for $100,000 to the M.D. Anderson Cancer Center in Houston. This donation is the second installment in a commitment to fund gastroesophageal cancer research spearheaded by Dr. Jaffer A. Ajani, Professor, GI Medical Oncology, who treated Ronnie James Dio at the Center for the last six months of his life. The Fund’s initial donation of $117,000 in December of 2010 served as seed money that allowed Dr. Ajany to receive additional grant monies as well as several National Cancer Institute (NCI) grants with a total amount of $10 million.

Several members of the Dio Cancer Fund’s board of directors Scorpions, Corey Taylor and Tenacious D. It has sold over 80,000 units since its release on April 1st. The Fund’s annual awards Gala this year doubled as a preview listening party for the album, generating additional revenues. travelled to Houston to personally deliver the check and tour the hospital and the gastric cancer research facilities. This year, the Dio Cancer Fund has been the beneficiary of funds generated from the worldwide release and sale by Rhino Records of the Dio tribute album This Is Your Life featuring Dio songs-from his tenures with Rainbow, Black Sabbath and his own band Dio-performed by some of metal music’s biggest names, among them Anthrax, Halestorm, Rob Halford, Metallica, Motörhead, Glenn Hughes, Scorpions,
Corey Taylor and Tenacious D. It has sold over 80,000 units since its release on April 1st. The Fund’s annual awards Gala this year doubled as a preview listening party for the album, generating additional revenues.

A privately funded 501C3 charity organization dedicated to cancer prevention, research and education, the Ronnie James Dio Stand Up and Shout Cancer Fund has already raised more than $800,000 in its short history. Interviewed about the gift to M.D. Anderson, Wendy Dio, widow of the late singer and Fund President/Founder, said that her husband’s cancer treatment at the world-renowned cancer center “gave him hope, and the most important thing for a cancer patient is to have hope.”

Several members of the Dio Cancer Fund board of directors travelled to Houston to present the $100,000 check and to tour M.D. Anderson Cancer Center. From left: Dio Cancer Fund board members Dean Schachtel, Sheila Melody and Dio Cancer Fund President Wendy Dio; Dr. Shumei Song, Assistant Professor, GI Medical Oncology-Research, and Dr. Jaffer A. Ajani, Professor, GI Medical Oncology, M.D. Anderson Cancer Center; board member William Wegner, Dio Cancer Fund Chairman Tim Murch, board member Sharon Weisz and Dio Cancer Fund Medical Director Sandeep Kapoor, M.D.

Gastric cancer often remains a silent killer because of its vague symptoms that often mirror less serious maladies. Sadly, gastric cancer has been on the rise over the past decade and funding for research to stop this deadly disease is grossly inadequate. Dr. Ajani and his team’s research is based in the idea that there are cells called “signaling cells” that help determine the life cycle of a cell. Sometimes, these cells “misfire” and direct cells to multiply and propagate into cancer. The research is aimed at identifying these signals and suppressing them or altering their signal in order to avoid development into cancer.

Dr. Sandeep Kapoor, who was Ronnie Dio’s general doctor and serves as Medical Director of the Dio Cancer Fund, has been working closely with Dr. Ajani’s team of researchers for the past four years. “The best part of providing direct support to Dr. Ajani’s research at the MD Anderson Cancer Center,” he says, “is that the seed money from the Dio Cancer Fund is leveraged to obtain multimillion dollar grants from the government to expand the research and, hopefully, put an end to this deadly disease.”

To learn more about the Ronnie James Dio Stand Up and Shout Cancer Fund or to make a donation, please visit www.diocancerfund.org.

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NEW BAND, RATED X, FEATURING VOCALIST JOE LYNN TURNER, DRUMMER CARMINE APPICE, BASSIST TONY FRANKLIN AND GUITARIST KARL COCHRAN, TO RELEASE THEIR SELF TITLED DEBUT ALBUM ON NOVEMBER 11TH

carmineappiceandjoelynnturnerband400 Frontiers Music Srl, the Italian-based label known for embracing new music from legendary Rock artists, returns with another impactful project: Rated X. Set for release in the Europe on November 7th and in North America on November 11th, the album features all new songs built upon a classic Hard Rock foundation, with a distinctly contemporary edge.

Rated X was formed at the suggestion of Frontiers President Serafino Perugino, who mentioned to singer Joe Lynn Turner that a band of highest caliber musicians should be assembled to create an album of classic Hard Rock music. Turner, the former lead vocalist for both Rainbow and Deep Purple and a solo artist in his own right, agreed, and the search for the right players was on. Carmine Appice, who already had a relationship with Frontiers, was on board immediately. A true percussion icon, Appice’s resume is one that Rock legends are made of: Vanilla Fudge, Cactus, Ozzy Osbourne, Rod Stewart, Blue Murder, King Kobra and others.

Appice’s former Blue Murder bandmate and bassist, Tony Franklin (best known for his work with The Firm, Jimmy Page, Paul Rodgers, David Gilmour, Kate Bush, and Whitesnake), signed up next. After a lengthy search for the right guitarist, they settled on long-time Turner collaborator Karl Cochran, who has also worked with Ace Frehley, and worked in the past with Joe Lynn Turner on his solo albums.

“I believe we wanted to keep it a bit retro with a modern edge,” says Turner. “The songs are classic rock, but then that’s an understatement. They are what they are; and they transformed as we went along recording. So, all in all, we are very happy to finish the record and finally able to get it out to the public. Everyone in this band is a true individual and stylist. When you put it all together, you have Rated X.”

The debut album, simply titled, Rated X, is remarkable in that it sounds like a band that has worked together as a unit for years. The songs are powerful and the performances are tight and innovative. Frontiers in-house producer, Alessandro del Vecchio, not only handled studio production but added keyboards on several tracks. Pat Regan (Mr Big, Deep Purple, Gotthard, Kiss, Doro) mixed the album.

Says Carmine Appice, “With his help in coming up with the song ideas and working together with the band I believe we came up with the sound from the late 70s -80s. To me, it sounds like Blue Murder with Joe Lynn Turner singing. Having Tony and myself as the rhythm section and with the heavy guitars, it gives the record a Blue Murder-vibe. Then, adding Alessandro on keys gave us a bit of the Deep Purple thing. It all works together and I loved playing each song.”

Watch the EPK below:

Rated X track listing:

Get Back My Crown
This Is Who I Am
Fire And Ice
I Don’t Cry No More
Lhasa
Devil In Disguise
You Are The Music
Peace Of Mind
Maybe Tonight
On The Way To Paradise
Our Love Is Not Over
Stranger In Us All

Preorder Rated X at Amazon.

For more information about Rated X, please visit facebook.com/RatedXRocks.

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BUCKCHERRY GUITARIST KEITH NELSON SAYS U2’S FREE ALBUM GIVEAWAY “TELLS PEOPLE MUSIC ISN’T WORTH ANYTHING”

buckcherry400 Buckcherry guitarist Keith Nelson says U2’s deal with Apple has devalued music and made it harder for bands who still rely on record sales.

The group’s Songs Of Innocence was automatically downloaded free to over 500 million iTunes accounts last week, reputedly costing the technology giant $100m – but Nelson says it sends out the wrong message.

He tells Northwest Music Scene, “I think music has been devalued in the eyes of the consumer, to the point where a band like U2 decides to just give its music away and basically tell people their music isn’t worth anything. That’s a bummer because I know what it takes to write a meaningful record and get it into consumers’ hands. They’ve sent a message to everyone that music is free, and that’s disturbing. It’s easy to do that when you’re a multi-millionaire and money isn’t something you worry about. But, when you’re a working band and you count on every dollar, it’s disappointing to see someone do that.”

Meanwhile, the UK Entertainment Retailers Association has slammed the U2 giveaway, saying it’s as damaging as piracy and called the promotion a “failure” after fewer than 7000 CDs from the group’s back catalogue sold after the stunt.

ERA Chairman Paul Quirk said, “This promotion is a failure on so many levels. It devalues music, it alienates the majority of people who don’t use iTunes and it disappoints those who prefer to shop in stores. Giving away music is as damaging to the value of music as piracy and those who will suffer most are the artists of tomorrow. If one of the biggest rock bands in the world are prepared to give away their new album for free, how can we expect the public to spend £10 ($16.25 U.S. dollars) on an album by a newcomer?”

Last month, Buckcherry released their Fuck EP on August 19th.

additional source: classicrockmagazine

ACE FREHLEY ANNOUNCES TOURING LINEUP, FALL TOUR DATES TO BE ANNOUNCED NEXT WEEK

Acefrehley400 Hot off the heels of the monster debut of Space Invader Ace Frehley has announced his touring lineup for the first leg of tour dates, his first U.S. shows in four years, which will be announced next week.

Frehley says, “I can’t wait to hit the road again with this new lineup. I’ll be performing Ace classics as well as songs off my new CD Space Invader for the enjoyment of the fans. Let There Be Rock!”

The 2014 Rock and Roll Hall of Fame inductee has tapped none other than Richie Scarlet, who rode shotgun performing rhythm guitar and vocal duties on Ace’s Trouble Walking album from 1989, and will do so again on stage. Ritchie toured with Ace in 1984 and 1985 and periodically from 1989 through 1995 and was also known for touring with Sebastian Bach.

On bass and vocals Chris Wyse from Queens, N.Y. will man the post. Previously recording with Ozzy Osbourne and playing on Mick Jagger’s 2001 solo album, Chris is well known as the bass player from The Cult since 2006. Chris can also be heard on Frehley’s new release, Space Invader on select tracks. He also covers bass duties in his current band, Owl.

Finally, Scot Coogan will be behind the drum kit for Frehley’s upcoming tour. An Ace Frehley touring band veteran in his own right, Scott was also a member of Nikki Sixx’s Brides of Destruction recording and touring band in 2004 and Lita Ford’s touring drummer in 2012.

Ace Frehley recently made history with his new album, which debuted at #9 on the Top 200 Chart in its week of release. The LP scored the highest charting position of ANY Kiss solo album ever, and marks Frehley’s first return to the Top 10 since KISS’ 1998 Pyscho Circus reunion album. Internationally, Space Invader has debuted #1 on the Independent Chart and #16 on the Top 200 Chart in Canada, Top 40 in Switzerland and Sweden, and hit a historic benchmark for the first time ever as a solo artist in Germany.

Space Invader, Frehley’s first studio album in five years, has also received praise from critics. Rolling Stone wrote, “Gene Simmons has claimed Ace Frehley doesn’t deserve to wear KISS’ Kabuki clown paint, but the former Spaceman’s first solo LP in five years says otherwise,” while the Associated Press hailed, “…the original KISS lead guitarist has recorded his best solo album since his groundbreaking self-titled album in 1978.” Paste also confirmed, “Space Invader is a good rock album, and it’s an even better guitar record.”

Frehley stopped by The Tonight Show prior to his album release to sit in with legendary house band The Roots to perform his classic hit New York Groove. Watch it here.

GUITAR WORLD PREMIERES EXODUS BONUS DVD TRAILER -“BLOOD IN, BLOOD OUT”+ BONUS DVD DUE OCTOBER 14TH

exoduspiccollage640 Watch the Making-Of Blood In, Blood Out Part 1 featuring guitarist & songwriter Gary Holt and Part 2 footage featuring Lee Altus, courtesy of Guitar World, below.

Fans who pre-order Blood In, Blood Out on iTunes will receive an instant Salt The Wound download. Click here to order your copy. A lyric video for Salt The Wound can be viewed here. Blood In, Blood Out will be officially released on October 14th.

Track listing for the deluxe digi-pak version of Blood In, Blood Out:

1 – Black 13 (featuring Dan the Automator)
2 – Blood In, Blood Out
3 – Collateral Damage
4 – Salt The Wound (featuring Kirk Hammett)
5 – Body Harvest
6 – BTK (featuring Chuck Billy)
7 – Wrapped In The Arms Of Rage
8 – My Last Nerve
9 – Numb
10 – Honor Killings
11 – Food For The Worms

Bonus DVD includes:
Blood Upon The Goat making-of footage
• Behind-the-scenes tour footage
• Footage from Kirk Hammett’s Fear FestEVIL After Party at this year’s San Diego Comic-Con

The digital version of Blood In, Blood Out will include the digital bonus track Angel Of Death (Angel Witch cover).

The album’s Japanese edition includes the Protect Not Dissect bonus track featuring Rat from The Varukers/Discharge.

Exodus will head out with fellow metal titans Slayer and Suicidal Tendencies on a U.S. tour this November sponsored by Scion. This “destined to be legendary” tour launches on November 11th with two shows at The Fox Theater in Oakland, California. The 26-show trek includes nine headlining off-dates with additional performances to be announced soon. Tickets are on sale now via the links on the official Exodus Facebook page.

Due to the overwhelmingly demand, Exodus VIP Experience packages are now available for the entire tour through SLOtix.com. Visit the site for tour package details.

All Exodus VIP Experience attendees will be included in a giveaway for either an autographed Gary Holt signature guitar or an Exodus guitar. At the end of the tour, Gary Holt will personally call the winner himself to announce that they’ve won!

Exodus in North America with Slayer & Suicidal Tendencies:

11/11 – The Fox Theater – Oakland, CA (2nd show added!)
11/12 – The Fox Theater – Oakland, CA
11/14 – The Forum – Inglewood, CA
11/15 – Comerica Theatre – Phoenix, AZ
11/17 – Coca Cola Bricktown Events Venter – Oklahoma City, OK
11/18 – ACL Live at the Moody Theater – Austin, TX
11/19 – Verizon Theatre at Grand Prairie – Grand Prairie (Dallas), TX
11/21 – Hard Rock Café/Hard Rock Live – Orlando, FL
11/22 – The Tabernacle – Atlanta, GA
11/23 – The Fillmore – Charlotte, NC (Exodus Only)
11/24 – Empire – North Springfield, VA (Exodus Only)
11/25 – Washington Avenue Armory – Albany, NY
11/26 – Sands Bethlehem Event Center – Bethlehem, PA
11/28 – The Palladium – Worcester, MA
11/29 – Wellmont Theatre – Montclair, NJ
11/30 – Tower Theater – Upper Darby (Philadelphia), PA
12/2 – Agora Theatre – Cleveland, OH
12/3 – Madison Theatre – Covington, KY (EXODUS ONLY)
12/4 – Egyptian Room at Old National Centre – Indianapolis, IN
12/5 – The Fillmore Detroit – Detroit, MI
12/6 – The Venue at Horseshoe Casino – Hammond, IN
12/7 – Aftershock – Merriam, KS (Exodus Only)
12/8 – Gothic Theatre – Denver, CO (Exodus Only)
12/9 – Pub Station – Billings, MT (Exodus Only
12/10 – The Hop – Spokane, WA (Exodus Only)
12/11 – Studio Seven – Seattle, WA (Exodus Only)
12/12 – Hawthorne Theater – Portland, OR (Exodus Only)

Additional shows will be announced soon.

Tickets are on sale now through links on the official Exodus Facebook page.

AllACCESS.COM FEATURES “TEN QUESTIONS WITH EDDIE TRUNK,” READ IT HERE

eddie400 AllAccess.com has conducted a “10 questions” interview with Eddie Trunk. It appears in its entirety below:

1. When did you get into radio and can you give us your radio history?

Eddie: I started in radio right out of high school with one of the first-ever specialty shows focused on hard rock music at WDHA. For me it was always about finding ways to share the music I loved with more people. As a result I worked in a record store, worked for a record label, was a freelance writer … anything I could do to spread the word. I’ve done regular format on all the stations I worked for, but always maintained by own show doing my mix as well. Having that creative outlet has always been extremely important to me. It’s what’s given me my following and helped launch everything I’ve done since, including my TV career on VH1 Classic. I was at DHA part-time from ’83-’94. Then I went through the tunnel to NYC to Q104.3 when it was an Active Rock station doing weekends. From there I went to WNEW ’98-’02 working a variety of formats and re-launching my own hard rock show on weekends. I remained and even expanded and became a syndicated show when WNEW flipped to FM Talk, for a couple years the only music based show on the station. After the Opie & Anthony stunt took the station down, I went back to Classic Rock Q104.3 in 2002 which has remained my flagship ever since. The show is heard on the station Friday nights 11p and is the only outlet for hard rock and metal in New York City.

2. What radio stations and personalities did you listen to when you were growing up?

Eddie: Radio for me was always about being honest with the audience, sharing opinions, engaging them. I grew up listening to WDHA as a kid and that shaped my music tastes greatly and my interest in radio. But the only real personality who impacted me was Howard Stern. When he came on the air in NYC I heard a guy for the first time that wasn’t a fake, was willing to say he didn’t like something, was willing to talk about his issues, his problems with his career, etc. I remember one day back when he played music he backsold a record and said he didn’t like the song. It hit me like a ton of bricks! Wow, you don’t have to be a phony and pretend you like every song!? I do a totally different style of radio obviously with my focus being music, but far and away Howard was the guy who influenced me that you can be more real and transparent. Not everyone will like it, but it carries you so much further in the end and is much more freeing and creative.

3. You’ve had a reputation as an expert on Hard Rock and Heavy Metal, which ultimately culminated in your Radio specialty shows. What Hard Rock and Metal bands influenced you growing up?

Eddie: The first time I ever heard distorted guitars was The Raspberries Go All The Way as a little kid on AM radio in my parent’s car. That was a game changer and they were my first favorite real rock band. Then a couple years later in 1976 my friend introduced me to an album called Destroyer by a band called KISS. After that like many I was consumed with the band and they became everything to me. From there, Aerosmith, Sabbath, Van Halen, AC/DC … much of the usual ’70s-based hard rock of the time. But Kiss was the big gateway into that.

4. Can you give us the specifics of how the Eddie Trunk Rocks radio show originated?

Eddie: I was working in a record store across the street from DHA as a kid out of high school in 1982. The owners and PD of the station would often drop by the store and I would always tell them about these metal records I loved and how they should be playing them. They didn’t know what to do with metal but did know we were selling it. The manager of the record store had a pirate radio station in his basement. One night I went to his house and he helped me make a demo. Next time the DHA brass (Mark Chernoff was my first PD) came in I gave them the tape and asked if I could come by late at night and play some of the metal we were selling.That’s how the show was born. Many think it is one of the first ever hard rock/metal specialty shows. The show has changed names many times as it has evolved and moved around, but that is how and where it all started. It’s also interesting because although it is still very much a hard rock/metal show, it is more rooted in deep cuts from classic artists and new music from artists that have that vibe. Metal has become so splintered in so many directions and much more extreme. Everyone has a different definition. I don’t do the extreme stuff. Mostly classics that are often very underplayed as well as new artists that connect to that sound.

5. For those who haven’t heard the show, give us some highlights of special features and music you feature on the show on a weekly basis?

Eddie: I play about two new songs an hour from either a new artist or a new song from a classic artist. There is so much great new music out from established artists and it bothers me how little attention it gets. As a music fan and former A&R guy too, it bummed me out. I love people hearing that stuff when it works. I also give news and opinion around all the music. People love hearing honest opinions and relevant news and stuff that stimulates them if they agree or not. Everyone is in so many directions now you would be amazed at how few people know a band like Iron Maiden has made four studio albums the last 10 years or so, or that Judas Priest just put out a new one.I also do a popular feature called The Underground Classic, which highlights a song from an obscure or forgotten artist and I provide an update on what they are up to. I also feature artist interviews. I recently launched a very successful podcast so sometimes I pull 10 minutes from that for the radio show and then if people want to hear the full in-depth hour, I send them to the podcast which is free. For stations that prefer things more music-intensive, it helps and the listeners who want a long interview can grab it when they want. I end every show with a ballad. It’s the only one I play in the entire show and a good transition into whatever the station is running after me. Being flag-shipped from a major station like Q104.3 that doesn’t play music as hard as I do, it helps to end with something like Love Song from Tesla instead of having them go back into regular format after if I ended with Slayer!

6. How is the music chosen on Eddie Trunk Rocks? How much input do you have with the music?

Eddie: 100%. I do it all. Always have. I produce and program the show myself from day one. There were very brief times in its 31-year history that a PD or MD wanted to be involved, but they quickly check out and let me go. The whole reason I do the show is my love of this music so it makes no sense to not control what I play. I’m not saying I know it all by any stretch, but in this area I have met very few who know this stuff like I do. That being said, I am also not dumb. I know there needs to be balance with the lesser-known stuff I play and I play tons of major artists, but just not the hits. Why would I? Makes no sense to do a specialty show and play the same thing the station does all the time anyway. I never understood that. So I’ll play AC/DC, but not You Shook Me All Night Long. I’ll play Metallica, but never Enter Sandman. I’ll play Ozzy, but never Crazy Train. I don’t need to ever hear most of those songs ever again as great as they are. And when I play deeper stuff or new stuff I always set it up and sell it a bit so people know what they are hearing. My greatest frustration is PDs who don’t get that this is a specialty show and for three hours a week it’s okay to find a place to give your audience something just a bit different. They will tell me how they love That Metal Show but won’t air my radio show, even though That Metal Show was born from my radio show in many ways! I have no problem following the rules if asked to do a regular shift, but for my show it has to be me. I also think with the influx of streaming and everyone walking around with 2,000 songs on demand in their phones it’s more vital than ever to do some different stuff that becomes appointment listening for the audience. I think my show serves that.

7. After doing your radio show on Rock stations in the past, what’s your take on current Rock music? Is it as good now as it was 10 years ago or even in the ’80s and ’90s?

Eddie: New music is extremely important and all decades had good and bad stuff. Just like the ’80s, the ’90s ate itself alive with copycat bands and it became oversaturated. Working for an Active Rock station doing regular format in the ’90s, there were a ton of bands all sounding like Pearl Jam. You knew that would end eventually, too. It’s all cyclical for sure. I really love the movement going on now that is getting back to great vocals and big riffs. I am more encouraged by new bands now than I have been in a very long time. Rival Sons, Kyng, Monster Truck, Farmikos, Scorpion Child and many others I have been really into. It is just disturbing for me to see how little some of it is worked and embraced. I also hate the way it is delivered. I still love CDs. Call me old school but when a physical package shows up in my mail, I am much more likely to get around to listening to it and looking at it then one of a million e-mails that want you to download from countless players and formats. It’s very frustrating. CDs still rule for me and since they are still digital, I can also rip them into my systems. I see delivery and lack of real follow through as a major issue in trying to break new music. Since labels are so sparse now, most use indies. Don’t get me wrong, I love some of the indie guys, but let’s be honest, after their retainer ends it’s on to the next. Artist development is in trouble and that hurts our Classic Rock in 20 years.

8. As a follow-up to the last question, how well has Rock Radio incorporated Metal music into the mix? Are you pleased with the amount of Metal you hear on Rock Radio today?

Eddie: No. It is still marginalized and not given the airplay or respect it deserves. This Summer I spent a tremendous amount of time on the road. I was in cities with no outlet at all for new rock music or anything but classic rock. I also heard some really great stations, too, doing some different things that were encouraging. Every market finds what works for them. I’m not looking to take over anyone’s drive time with my show. Only asking for three hours a week and see what happens. It’s lasted 31 years, so I have to think I’m doing something okay.
I also think some of the stereotypes that come with metal don’t help. People always ask me why I don’t look or act like a metal guy and I love that. I never felt the need to have the hair, tats and leather vest. If that’s your trip, great, but SO many more people love this music and don’t rock the “uniform.” And if more knew that and I can be an example for that, maybe it can help grow it some in certain circles.

9. How much does Eddie Trunk Rocks use social media to interact with its listeners?

Eddie: Tons. I’m just at 200K on Twitter and that I use the most. I was never a big Facebook guy but I do have a page and post there from time to time. But I love the immediate back and forth with Twitter. I also do a live satellite radio show and recently launched a podcast; social media is a great way to talk to the audience. Like anything, you can’t let it sway you too much, but it is useful for sure and a direct line to your fans. My website www.EddieTrunk.com has been around a long time and is the hub for everything I do, but also broader than that with music news, comments and more.

10. Can you give us a handful of Metal bands to watch for in the next year or two?

Eddie: My favorite band right now is called Farmikos. They are led by former Ozzy guitarist Joe Holmes. He’s a brilliant player and it’s heavy, dark music. Also like Soundgarden meets Sabbath meets Alice In Chains with monster guitar. They have some stuff on iTunes with an album coming. I also like Kyng. Their second album is out … young guys, great riffs and singing. I wouldn’t be surprised if Mastodon was poised for a big breakthrough at commercial Rock radio. They have made a very accessible album with some great hooks. And Rival Sons, more on the hard rock side, is really cool. They already made a big splash in the U.K. So much good stuff out there. After 31 years, it is still my biggest thrill to have an outlet to share some of it with people, which was what it was always about and still is.

Bonus Questions:

You’ve authored two books, Eddie Trunk’s Essential Hard Rock & Heavy Metal and a Volume 2 edition last year. How have these books been received?

Eddie: Amazingly well, thank you. The second one happened because the first was such a success and my publisher asked for a sequel. These are not autobiographies or tell-alls. Really just great photos and stories with some of my favorite bands and bands I think are important. There are so many lengthy autobiographies out there these days I think these books really connected with people on a different level. I hear from many that have looked at my playlists or given them to people as a guide to get into the music. It’s amazing how books live forever, too. I am still selling as much of the debut as the new one three years on and still do signings regularly for both. It’s been a great thing and I hope to do more down the line. I’m lucky that because of my radio show, and even more so the success of That Metal Show; people know me and have an immediate interest, which is obviously a huge plus.

HATEBREED ANNOUNCE WINTER TOUR WITH HEADLINER BLACK LABEL SOCIETY

blacklabeltour640 Hatebreed announces Winter tour with headliner Black Label Society and other supporting act Butcher Babies. The tour kicks off December 28th in Spokane, WA and tickets will go on sale Friday, September 19. Prior to this tour, Hatebreed will be heading out to South America, Europe and the UK with Napalm Death and Volbeat (tour dates below).
Hatebreed lead vocalist Jamey Jasta comments, “Playing with Zakk is always a good time and we hardly ever get to play some of these cities so we’re excited to hit the road with our Ozzfest alums!”

Hatebreed’s last album, The Divinity of Purpose, (Razor & Tie), was released in January 2013 to rave reviews the world over. The album debuted at #20 on the Billboard Top 200 in its first week marking the band’s highest career album chart entry to date.

Hatebreed is Jamey Jasta (vocals), Chris Beattie (Bass), Wayne Lozinak (Guitar), Frank Novinec (Guitar) and Matthew Byrne (Drums).

Hatebreed Tour Dates w/Napalm Death:

September 26 – Rio de Janeiro, Brazil – Circo Voador
September 27 – Sao Paulo, Brazil – Caricoa Club
September 28 – Curitiba, Brazil – Music Hall
September 30 – Buenos Aires, Argentina – Vorterix
October 1 – Santiago, Chile – Teatro Caupolican
October 3 – Bogota, Columbia – Teatro Las Vegas
October 5 – Mexico City, Mexico – Jose Cuervo Salon
October 24 – Tucson, AZ – Rialto*
October 25 – San Bernardino, CA – Knotfest+

November 6 – Enschede, Netherlands – Poppodium Atak (Hatebreed only)
November 7 – Aalborg, Denmark – Metal Fest+
November 8 – Chemnitz, Germany – Arena
November 9 – Hannover, Germany – Capitol
November 10 – Wiesbaden, Germany – Schlachthof
November 11 – Genf, Switzerland – Le’Usine
November 12 – Ludwigsburg, Germany – Rockfabrik
November 13 – Bochum, Germany – Matrix w/Volbeat
November 14 – Nottingham, UK – Rock City (Sold Out)
November 15 – Glasgow, UK – Barrowlands (Sold Out)
November 16 – Manchester, UK – Academy
November 17 – London, UK – Roundhouse
November 18 – London, UK – Underworld (Hatebreed only – Sold Out)
November 19 – Portsmouth, UK – Pyramid
November 20 – Norwich, UK – UEA
November 21 – Paris, France – Trabendo (Hatebreed only)
November 22 – Torhout, Belgium – De Mast (Hatebreed only) w/Back Label Society
December 28 – Spokane, WA – Knitting Factory Concert House
December 29 – Vancouver, BC – Commodore Ballroom
December 30 – Kelowna, BC – Kelowna Community Theatre
December 31 – Calgary, AB – Flames Central
January 2 – Edmonton, AB – Shaw Conference Centre
January 3 – Regina, SK – Convention Hall – Arts Centre
January 4 – Winnipeg, MB – Burton Cummings Theatre
January 5 – Thunder Bay, ON – The Community Auditorium
January 7 – London, ON – London Music Hall
January 8 – Toronto, ON – Kool Haus
January 9 – Montreal, QC – Metropolis
January 10 – Syracuse, NY – F Shed At the Market
January 12 – Reading, PA – Reverb
January 13 – Portland, ME – State Theatre
January 14 – Hartford, CT – Webster Theater
January 16 – Royal Oak, MI – Royal Oak Music Theatre
January 17 – Columbus, OH – The LC Pavilion
January 18 – Charlotte, NC – The Fillmore
January 20 – Oklahoma, OK – Diamond Ballroom
January 22 – Omaha, NE – Sokol Auditorium
*w/Back Label Society
+Festival Hatebreed Links

Hatebreed on the web:

hatebreed.com
facebook.com/hatebreed
twitter.com/hatebreed

ALICE COOPER “RAISE THE DEAD-LIVE FROM WACKEN” DVD TO BE RELEASED OCTOBER 21ST

AliceCoopertophat Small but fine record label “UDR- Home of Legends” lives up to one’s name again with another new and hot signing and upcoming release of Alice Cooper, a true icon, a great performer – simply a legend.

With Raise The Dead – Live From Wacken the label is also starting a new live series of legendary Wacken performances. When Alice learned about the purpose behind it, he was very happy to be one the first to participate and support the Wacken Foundation.
The Wacken Foundation is a non-profit organization, supporting the new blood of hard rock/heavy and metal music. For every sold DVD/CD 1 Euro will be contributed to the Wacken Foundation.

Alice Cooper – not much has to be said about this incredible artist whose career spans five decades by now. He has been named one of the world’s most beloved entertainers. He is credited with helping to shape the sound and look of heavy metal and has been described as the artist who first introduced horror imagery to Rock N’ Roll, and whose stagecraft and showmanship have permanently transformed the genre. The ‘Godfather of Shock Rock’ has inspired many other artists due to his theatrical stage performances; for example: KISS, Marilyn Manson and even Ozzy Osbourne – just to name a few.

Raise The Dead will be available as DVD + CD Digipack. The DVD contains 22 songs from the Wacken concert and bonus material shows an interview with the man himself. The double CD has the complete concert. BluRay Amaray (Full HD). FSK 12, running time 75 min plus another 20 min of interview.

Alice Cooper Raise The Dead – Live From Wacken track list:

1. Hello Hooray
2. House of Fire
3. No More Mr Nice Guy
4. Under My Wheels
5. I’ll Bite Your Face Off
6. Billion Dollar Babies
7. Caffeine
8. Department of Youth
9. Hey Stoopid
10. Dirty Diamonds
11. Welcome To My Nightmare
12. Go To Hell
13. He’s Back (The Man Behind The Mask)
14. Feed My Frankenstein
15. Ballad Of Dwight Fry
16. Killer
17. I Love The Dead
18. Break On Through
19. My Generation
20. I’m Eighteen
21. Poison
22. Schools Out / Another Brick In The Wall

aliicecooperwakendvd640

SINGER BLAZE BAYLEY SAYS HE WAS “SAD” THAT HE NEVER GOT THE CHANCE TO MAKE A THIRD IRON MAIDEN ALBUM

Saxon Perform At Shepherds Bush Empire In London Greg Prato of Songfacts spoke with former Iron Maiden singer Blaze Bayley. Excerpts from the interview appear below.

Songfacts: Looking back, how would you say that you write your best songs?

Blaze Bayley: I’m not sure if this is the best way, but what I’ve tried to do is gather together enough interesting words that could be lyrics or titles, and I try and gather together melodies. When things pop into my head, I put them on my dictaphone or record them somewhere.

What I’ll try and do is have a book with at least 30 ideas for lyrics for songs. Then I’ll sit down with a guitarist or I’ll sit down at my keyboard and I’ll start coming up with things and we’ll try very hard to match the lyric to the emotion of the music. And that’s the way I feel it’s best for me. What I’m searching for is those moments where the music and the lyric are totally together and they’re like one thing. It’s not the words on the music, it’s one thing. Those are the most triumphant moments, and I’ve had a couple of those. Stare at the Sun from the Silicon Messiah album. That fits together so well, the lyrics and the music, much by accident. So that’s what I’m trying to do, really. But I never say I only do things this way. Sometimes, somebody I’m working with will come up with a couple of riffs on the guitar, and it might nudge me in a direction and I can come up with a new lyric very quickly that I’m pleased with.

And other times, it’s work and it’s using my technique and it’s okay. Sometimes it’s hours and hours of fiddling around with things and catching syllables and repeating and repeating to get things to make sense and actually fit together. And if you’re lucky, then you get a real result. So that’s the way I generally approach it.

I don’t cut anything off. Before I get in and start looking for the songs for a new studio album project, I like to have a lot of lyrics available, a lot of ideas for words. That’s when I feel most comfortable and relaxed, and I try to match up those words with the music. But, you know, they sometimes start with the music first and I’ll just come up with the lyrics.

Sometimes it’s inspiration, sometimes it’s technique. When you get those inspired moments, that’s great.

It’s crafting it like a sculpture. I think of it like a sculpture: If you get the block of stone, contained within that is something beautiful, so you want to take away enough to leave what’s beautiful, and you don’t want to take away too much. You don’t want to work on it too much so that the beauty becomes small and ineffective, because it’s not big and majestic anymore.

Songfacts: How would you describe how the songwriting worked in Iron Maiden?

Blaze: Well, that’s where I learned so much from Steve Harris. He’s just great. No music was written before I started recording The X Factor, so Steve said, “I don’t care who has the ideas that go on the album, they’ve just got to be great ideas.”

So, it doesn’t matter who writes the song, it just has to be a great song. That’s reassuring. I got quite a few of my ideas onto a work with Steve or with Janick Gers that became part of The X Factor. The first single from The X Factor was my lyrics for Man on the Edge.

In some situations, Steve likes to come along with a completed idea – he’ll have something in his mind that he really wants a certain way. I’ve learned since working with Steve a lot more about how to get that idea from your mind into the recording and into the arrangement. Whereas before, it would be very hit-and-miss. “Why didn’t this idea turn out so well and that one did? And why didn’t this song sound anything like my idea and this one did?” Working with Steve Harris and seeing the way he puts things together, that really helped.

And the other thing is self-censorship. There’s not a lot of second guessing with Iron Maiden. It’s, “Does this feel good? Does this make sense? Does this move you?” Then “It’s good, that’s it.” We don’t think about it anymore, we’ll do it. Generally speaking, it’s trusting your instincts and your gut feeling. Working in Iron Maiden gave me so much confidence, because things that I thought were right actually were right, and things that I wasn’t quite sure of didn’t make it.

I came up with Man on the Edge, I thought it was a very good idea. Steve said, “Yes, this is a good idea.” So that’s a huge boost from someone who’s written some of the all-time classic songs.

When I worked on one of the ones that we did together, The Edge of Darkness, which is based on the Apocalypse Now movie, it didn’t really have a chorus as such. Well, there’s quite a few Iron Maiden songs that don’t have conventional chorus or conventional fallouts, but they make sense as musical pieces. We call them “songs” as a convenient name. That was a big part of the experience in Iron Maiden.

So there’s a collaborative thing there, which we did on Virus. And I collaborated with Steve on Futureal and another couple of songs. There’s also en element of, “Bring in something that’s done and see what people make of it and if it’s good enough to get everybody’s attention and make them feel good.” So that’s what it was like.

One of the sadnesses of my life, a twinge of sadness, is I was working on the lyrics and melodies for a third Iron Maiden album when they fired me. So a lot of those ideas that I was going to use on a third Iron Maiden album are actually on my Silicon Messiah album: Stare at the Sun, Ghost in the Machine, Born as a Stranger, The Launch. A lot of the ideas I’d already got on my dictaphone or got lyrics sketched out, then I didn’t get the chance to work with the guys.

But I’m so proud of my Silicon Messiah album. It turned out great. I put that level of satisfaction that I have with that to the experience I had with Iron Maiden songwriting and with everything I learned there. I never doubted myself after that like I may have done before. Now if I feel it’s good, I’ll follow that idea through.

Read more at Songfacts.

ACE FRHELEY ON TOMMY THAYER: “HE’S JUST A GUY UP THERE COPYING ME”

AceFrehley600 Eddie Trunk interviewed KISS guitarist Ace Frehley for his podcast. Quotes from the interview, courtesy of blabbermouth.net, appear below.

Frehley discussing what he thinks about current KISS guitarist Tommy Thayer wearing his makeup:

“[Tommy is] not Ace Frehley by any stretch of the imagination, number one. Number two, what bothers me the most is that I know the new fans that KISS are getting don’t know it. A lot of people that see Tommy up there think he’s the original guy that created the makeup, that wrote great songs and wrote all those solos that he’s performing, but he’s not. He’s just a guy up there copying me and trying to move like me and trying to sing like me and trying to play like me. And that’s what bothers me the most. I mean, the real hardcore fans know. But the new fans, a lot of them don’t know.”

On the fact that he played with drummer Eric Singer who was wearing Peter Criss’ Catman makeup:

That was okay. I mean, Eric’s such a solid drummer, he’s a pleasure to play with, because you know the beat’s always gonna be there.” When asked if it was weird seeing someone else play in Criss’ makeup Ace said, “Well, you know, I don’t see as good as I used to, so when I look back, I can’t tell the difference. [laughs] Just like a lot of fans don’t know…I can’t tell you how many times I get phone calls and people say,’ Hey, Ace, I heard you’re playing here, I heard you’re playing there. Can you get me tickets?’ I go, ‘I’m not in the band anymore.’ Some people, still, are oblivious to that whole thing.”

To listen to Eddie’s podcast with Ace Frehley, please click here.

additional source: blabbermouth.net