Since the classic line-up of Dokken has been in the news lately, I thought I would revisit an older release, which I have discussed before, but would like remind you of, again.

Back in 1995, when hard rock and metal was out fashion, Dokken released a CD/DVD called One Live Night. It encompasses acoustic performances of many of the band’s “hits.” What makes this such a underrated, hidden gem is that it highlights the vocal talents of both bassist Jeff Pilson’s and drummer Mick Brown.

I have decided to include their solo vocal performances, as well as great version of one my favorite Dokken songs It’s Not Love (unfortunately, I could not find the video of this performance, only the audio). I would encourage all Dokken fans to purchase this DVD (or CD), as I believe it really showcases all of their individual talent. Plus, the band’s vocal harmonies are really magnified in this set. Please enjoy.

Dana 🙂

To purchase Dokken’s One Live Night DVD, please go here and for the CD, here.

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Slash featuring Myles Kennedy & The Conspirators will return this fall with their as-yet-untitled third studio album. The group-Slash (Guitar), Myles Kennedy (Vocals), Brent Fitz (Drums), TODD KERNS (Bass & Vocals) and Frank Sidoris (Guitar & Vocals)–has entered the studio with producer Michael “Elvis” Baskette (Alter Bridge, Iggy Pop, Incubus). Expect the group to announce a full North American tour for the fall.

“I’m excited about the new stuff we put together for this next record; it’s got some cool songs and it’s got a great live feel.” explains Slash. “I’ve been working with Myles, Brent and Todd for about 8 years now. It’s been an amazing ride so far; as a band we continue to get better which is great. With the addition of Frank since the World On Fire tour, I feel we have hit a great, creative stride which I definitely think shows on this next record.” Slash adds, “Guns N’ Roses will be headlining European festivals this summer, it’s going to be a 110% performance and a huge blast. I love doing European fests and this is the first time we’ve done any proper festivals over there on the Not In This Lifetime Tour. It’s indescribable to explain these shows. I’m looking over and seeing Axl, Duff and Dizzy whom I’ve known forever, but it also feels like an entirely new experience with Richard, Frank and Melissa. It’s like being in a new band, except there’s a chemistry that is established from days of old, so it’s a natural thing that’s always been there.”

For more information on Slash featuring Myles Kennedy & The Conspirators, visit:

Official Website

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In October 2016, the classic lineup of Dokken-Don Dokken (vocals), George Lynch (guitar), Jeff Pilson (bass) and Mick Brown (drums)-reunited to play the Loud Park festival in Japan. Fortunately for fans outside of Japan, cameras were there to capture the performance and now Frontiers Music Srl is set to issue Return To The East Live 2016 on April 20th. In addition to the Japanese performance, this set will feature footage from the classic lineup’s only U.S. show in September 2016 at Badlands in Sioux Falls, South Dakota.

The band has released a video for a new song written specifically for this tour/release, entitled It’s Just Another Day, watch it below.

To watch a live performance of In My Dreams, from this release, please click here.

Return To The East Live 2016 will be available in the following formats:

* CD/DVD* Blu-Ray
* Collector’s Box (CD/DVD + T-Shirt) [Comes with XL tee in the U.S., L tee in EU] * 2xLP Standard 180g Black Vinyl
* 2xLP Limited Edition 180g Green Vinyl (Exclusive to Frontiers’ U.S. Store – Limited to 150 worldwide)
* 2xLP Limited Edition 180g Red Vinyl (Exclusive to Frontiers’ EU Store – Limited to 150 worldwide)
* MP3 (audio only)

If the release wasn’t amazing enough, the package includes a brand-new studio track, It’s Just Another Day, and two acoustic re-workings of classic tracks.

Don Dokken says, “After 25 years, it was great to reunite with George and Jeff and Mick and do a couple shows for the fans. We hope you like this album and video. There’s a lot of great bonus footage of us having fun, so enjoy it.”

Pilson adds, “I’m so thrilled this piece of the Dokken story is hitting the streets. What a magical experience it has been and this CD/DVD captures a lot of that wonderful manic energy that has always made Dokken so vital! I remain extremely grateful to have been a part of such a vibrant voice in the world of heavy rock. Thanks to the fans and to George, Don and Mick for being the musicians, writers and friends that you are!”

Return To The East Live 2016 Track listing:


1. It’s Another Day (new studio track)
2. Kiss Of Death
3. The Hunter
4. Unchain The Night
5. When Heaven Comes Down
6. Breakin’ The Chains
7. Into The Fire
8. Dream Warriors
9. Tooth And Nail
10. Alone Again (intro)
11. Alone Again
12. It’s Not Love
13. In My Dreams
14. Heaven Sent (acoustic studio bonus track)
15. Will The Sun Rise (acoustic studio bonus track)


1. Tooth And Nail
2. Unchain The Night
3. When Heaven Comes Down
4. Breakin’ The Chains
5. Into The Fire
6. Alone Again
7. It’s Not Love
8. Paris Is Burning
9. Kiss Of Death
10. The Hunter
11. Dream Warriors
12. In My Dreams
13. Behind The Scenes

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Keith Caulfield of Billboard reports:

Rock band Judas Priest debuts at No. 5 on the Billboard 200 albums chart with Firepower — marking the group’s highest charting album ever. The album surpasses the group’s previous chart high, logged when 2014’s Redeemer of Souls debuted and peaked at No. 6…

Firepower — the act’s 18th studio effort — bows with 49,000 units earned in the week ending March 15th, according to Nielsen Music. Of that sum, 48,000 were in traditional album sales — the act’s best sales frame since 2005’s Angel of Retribution bowed with 54,000 copies sold. Judas Priest’s bow was bolstered by sales generated from a concert ticket/album sale redemption offer in association with the band’s tour that began on March 13th.

Firepower and Redeemer of Souls are the veteran band’s only top 10 efforts, though the act has been charting since 1978 with Stained Class (No. 173). The group collected its first top 40 set in 1980 with British Steel (No. 34) and its first top 20 effort with 1982’s Screaming for Vengeance (No. 17).

The new album was ushered in by the single Lightning Strike, which has so far peaked at No. 21 on the Mainstream Rock Songs airplay chart. It’s the band’s highest charting single on the tally since way back in 1982, when their classic hit You’ve Got Another Thing Comin’ peaked at No. 4.

Here’s a look at Judas Priest’s history on the Billboard 200 chart:

Title, Peak Position, Peak Date

Stained Class, No. 173, April 22nd, 1978
Hell Bent for Leather, No. 128, April 28th, 1979
Unleashed in the East (Live in Japan), No. 70, Nov. 10th, 1979
British Steel, No. 34, July 12th, 1980
Point of Entry, No. 39, May 23rd, 1981
Screaming for Vengeance, No. 17th, Oct. 30, 1982
Defenders of the Faith, No. 18, Feb. 25th, 1984
Turbo, No. 17, April 26th, 1986
Live, No. 38, July 11th, 1987
Ram It Down, No. 31, June 18th, 1988
Painkiller, No. 26, Nov. 3rd, 1990
Metal Works ’73 – ‘93, No. 155, June 5th, 1993
Jugulator, No. 82, Nov. 15th, 1997
Demolition, No. 165, Aug. 18th, 2001
Angel of Retribution, No. 13, March 19th, 2005
Nostradamus, No. 11, July 5th, 2008
A Touch of Evil: Live, No. 87, Aug. 1st, 2009
Redeemer of Souls, No. 6, July 26th, 2014
Firepower, No. 5, March 24th, 2017


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Former Exodus singer Rob Dukes has teamed up with former Hades members Dan Lorenzo and Jimmy Schulman and former Overkill drummer Ron Lipnicki in a project that has yet to be named.

Lorenzo stated, “Ron’s first recording was Hades DamNation CD in 2001. About a year after that Hades stopped recording when Ron got cancer. When Ron was undergoing chemo he told me he wanted to record some old KISS songs just for fun. That became the impetus for me to actually record three solo CDs in 2003 and 2004. A few years later I introduced Ron to Overkill’s Bobby Blitz at my Super Bowl party. Blitz and I did The Cursed Room Full of Sinners together and Ron went on to tour and record with Overkill for a decade.”

Lipnicki followed, “I’ve loved KISS since I was a kid. They are the reason I cut my mom’s broomstick into drumsticks and started bashing garbage cans. When I was sick Dan, Jimmy and all the Hades guys would come over to my place and we would hang out and listen to KISS and Sabbath and Dan got me a ton of cool music from Metal Blade Records. We always talked about recording some of our favorite KISS tunes. It was very uplifting when going through something like that (cancer) and it does keep you young.” Regarding his recent departure from Overkill, Lipnicki went on to say, “I left Overkill due to work. It was tough to juggle a day job and travel all the time. I had some great times and made some great music with the guys. They taught me so much. I’m forever grateful. I have enough stories to last a lifetime.”

Dukes fronted Bay Area thrash legends Exodus for nine years until they reunited with Steve Souza in 2014. “Dan Lorenzo and me became friends about 10 years ago. I always knew who he was from his playing in Hades. We got together with Mark Strigl and John Ostronomy and Ron from Overkill and played a cover of Snowblind by Sabbath for Talking Metal (see below). It was fun. So we reconnected and talked about doing some more songs. We both love doing cover songs. So we decided to do a few more and then work on some original stuff which we started and as we go along we track songs we like. Dan’s a huge KISS fan so that was what he picked to play, and I picked another Sabbath tune and we are having fun. The original stuff is really cool. I’ve been working on new Generation Kill music and it’s nice to take a break from that and play a few covers. I got together with the Exodus guys awhile back and played a show in San Francisco and it was cool to sit and talk. We buried some bad feelings and moved on, it was a love fest. And the show was awesome.”

Lorenzo continued, “After Blitz and I did The Cursed release I really didn’t play much music for the next ten years until I stumbled upon the song The Opposition by the band Ancient VVisdom. Long story short, I started writing with Ancient VVisdom vocalist Nathan Opposition who lives in Cleveland. We had two short rehearsals in Nathan’s basement and ended up getting signed by the Italian doom metal label Argonauta Records for our band called Vessel Of Light. Vessel Of Light just finished recording our 2nd album for Argonauta and I really fell in love with recording music again. After Nathan and I finished our new Woodshed album I asked Ron and Jimmy if they wanted to jam some Vessel Of Light songs in NYC. Whenever Ron, Jimmy and I jam we always end up playing old Kiss songs. So we recently booked some recording time at JROD Productions in New York. We recorded KISS’ God of Thunder and Calling Dr. Love. I sang Calling Dr. Love and I asked Rob Dukes if he wanted to sing God of Thunder and maybe try to write some original music together. As of now we are writing originals as well as recording some old Black Sabbath and KISS songs just for fun.”

God of Thunder with Dukes, Lorenzo, Lipnicki and Schulman can be

      heard here

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Ruben Mosqueda of spoke with Little Caesar frontman Ron Young. Highlights from the interview appear below. The production on [your EP] Name Your Poison was handled by Joe Hardy who is known for his work with ZZ Top and Steve Earle. How did you land him to work on that material?

Young: Well, we were fans of his work so that was one reason we got him. The thing with working with guys like Jimmy Iovine or John Kalodner is that when you’re linked to them, people will take your calls. [laughs] They don’t want to piss off powerful guys in the industry. So we sent Joe some demos and he checked them out. If you remember back at that time there weren’t a lot of “bluesy” rock bands that had the support of the record label. It was more of the “hair metal” kind of thing and he wasn’t a fan of that stuff.

Joe as you said worked with ZZ Top and Steve Earle and there was no way a guy like that was going to work with bands like Poison or Warrant. We wanted him to do the debut record but we actually wound up working with Bob Rock as a compromise between us and John Kalodner; it turned out to be a slick sounding record.

We went to Memphis at Ardent [Studios] to meet with Joe and he was just a super good guy. Joe totally got the band and he was super fun to work with, but Geffen [Records] didn’t care for what we had come up with. So they had decided that they would “let” us put out an EP from the material that we had recorded. The Name Your Poison was a totally contrived thing, man. We were trying to follow Guns N’ Roses; we’ll put out an EP on Metal Blade [Records] and make it look like it’s “organic.” It wasn’t. [laughs] It was totally contrived. [laughs] We felt that this was a great opportunity to introduce the band then we’d follow it up with the debut album. I can’t imagine that you [the band] selected Bob Rock to produce the album? At that point he was best known for his work on [Motley Crue’s] Dr. Feelgood and [The Cult’s] Sonic Temple.

Young: We wanted a guy like Joe Hardy, that was more us.

We were about ½ done tracking the Little Ceasar record when Dr. Feelgood went to number one and it went from Bob Rock making a “Caesar record” to Caesar making a “Bob Rock record.” We had these big fights over what the record was sounding like and it wasn’t what we wanted.

We were getting ready to go up to work with Bob Rock [in Vancouver] when John Kalodner and Bob got into a fight over Blue Murder. John wanted Bob to get back into the studio with them and we just sat around with our thumbs up our asses when that got resolved. There were all of these spats and fights that delayed things… Jimmy Iovine felt that if we had John Kalodner onboard working on the project we’d improve our powerbase at the label. John started to stick his two cents in and things just went “downhill.” I clearly remember walking down the hallways of the Geffen Records offices and he was having a little listening session in his office for the first Blue Murder single. So he pulls me in there and he has all the label guys in there and they’re all bobbing their heads, the song ends and they’re all like “Oh, it sounds amazing” and this and that. Then he asks me what I think. I said, “There’s no hook!” It was like I farted in church. [laughs] He looks at me as says; “What are you talking about?! Don’t you hear those drum sounds?!” I said, “Kids don’t buy drum sounds?! I don’t know what you guys think?! I mean it sounds good, but there’s no hook!” [laughs] It was from there forward that John was really angry at me. [laughs]

We got involved with people with egos and frankly everything that could go wrong with us on the business end of things did go wrong. Our label manager got fired for masturbating on his secretary, that was two weeks into our single release. [laughs] Three weeks into our single release David Geffen sold the label. In the meantime our records weren’t on shelves, but in a Warner Brothers warehouse and the new distributor was now BMG. So, we’re on MTV and in the stores there’s no product. As a result we drop off the charts and everything comes to a grinding halt. Then a marketing guy came along and cut budgets and the final nail in the coffin was Jimmy Iovine leaving Geffen to launch Interscope Records. David Geffen asked Jimmy if he would give the distribution to him and Jimmy said “no.” So all of a sudden David hates us and Jimmy didn’t have a band. It was all of these things that happened in a period of six weeks that pulled us into the swamp.

When you get involved with guys with egos and they hit a bump in the road, they can’t recover from it and they want to bury it. For them, it easier to bury it than to try to breathe life back into it. So away we go into the toilet, it didn’t just happen to us, it’s happened to millions of other bands. Were you in favor of the label launching the Little Ceasar record with the cover of Chain Of Fools? Was it the good move or would you have gone with something else?

Young: No! [laughs] I didn’t want to record it. [laughs] It’s so funny that you brought that up. Chain Of Fools was was the first thing we played when I first put the band together. I was sitting here in L.A. I was thinking I can’t tease up my hair I don’t look good in spandex, I don’t want to lose my goatee. I wanted to find four other guys that were gritty that looked like men. [laughs] I wanted to find guys that wanted to play bluesy, soulful music which was so far removed from the “pop-metal” market that was happening at the time.

I wanted to take an Aretha Franklin song and make into a hard rock song. That’s just what we did and it stuck with us. It became our moniker. John wanted us to record it, we didn’t want to track it and then he decides to use it as the first single. It’s a great song but as a song, it’s “not a great song.” [laughs] Aretha Franklin made it a great song because she’s Aretha Franklin! John kept on saying “It worked for Van Halen, it worked for Van Halen.” I was like “John, that’s Van Halen.” It was building momentum right out of the box. We sent people the video and the single and two weeks later things just fell apart.

We were on regular rotation with Z-Rock, they loved and supported us. When our label manager began to make an effort to break us as a Top 40 band, well then Z-Rock said “F–k You” and we dropped from their rotation. I mean the label wanted to turn us into a pop band and two weeks later stations dropped us out of their rotation. As a I said the label manager got fired later for jerking off on his secretary. Needless to say, his judgment wasn’t great at that point in time.[laughs] You were a part of Manic Eden which featured Adrian Vandenberg, Rudy Sarzo and Tommy Aldridge, all who had previously played together in Whitesnake. In retrospect what do you think about that album and your time in Manic Eden?

Young: Yeah, it was basically me and the Whitesnake guys; I’m proud of that record. JVC issued it in Japan and SPV released the album about a year later. That was really weird, because I got a call from Adrian, we were acquaintances. He said he and the guys were going to do a record with James Christian from House Of Lords. They had done some demos and they didn’t think that he had the “bluesy” feel that they were going for. They wanted a more stripped down sound than they had with Whitesnake. He sent me some demos and there were some really fun songs on there. We finished the songs and we went into the studio to make the record. There was a deal with JVC in Japan and Adrian had the rights to market the record outside of Japan. Adrian thought that was a great deal since it would get the record paid for and then we’d shop it with the majors in the United States.

We get the record done and they were bummed out because it wasn’t some overproduced f–king Whitesnake sounding record. You have to keep in mind, that kind of stuff kept going for another 10 years, they never got the “grunge” thing there. They wanted a “classic metal” kind of thing. It was shy of gold in Japan. Once we started shopping it with the majors here in America they were like “Nah, that’s not really what we’re into anymore.” They never even heard it. They wanted nothing to do with us based on who was in the band, they didn’t think anyone was going to buy “Whitesnake with another singer.” It was incredible. Between the three other guys combined they’d sold 20 million records. No one would pick it up. I remember we had one meeting where this guy was like; “Okay guys we want to do things but we’re going to market it as Ron Young’s project, because you other guys are kinda dated.” I thought Adrian’s head was going to explode! [laughs] It went nowhere and everyone went their separate ways and did something else, because they all had families to feed. [On your new album, Eight] I love that you kept to the classic formula of 10 tracks. Records that feature over 9-10 tracks tend to be filler heavy. I didn’t find that to be the case with Eight. The tracks that made the cut, were they written specifically for this album?

Young: They were written with the new record in mind. We haven’t released a new studio album since 2012 and that was done by design. I was just tired of having the revolving guitarist in the band, we’ve had 7 guitarists in and out of the band over the years. Apache left after the first record and since then we’ve we gone through all of these guys; all great people and fantastic musicians but they do this for a living and they have other things going on. I told the guys I wasn’t going to make another studio record until we have 5 contributing members in the band. We’re fans of music and you can hear that in our music. There’s things that sound like Angus Young, Chuck Berry or Mick Ronson, we can’t help it’s who we are. At the moment I’m really digging 21 Again, Mama Tried, Vegas and Crushed Velvet.

Young: Thank you. We did this record in 22 days and they weren’t full days, our day started at like 5 pm when we got off work. We just needed to get a warm sound on this record and if you have the right producer and the band goes in knowing the arrangements of the songs there’s no reason why you couldn’t get a great sounding record in the same amount of time. If you don’t overthink it or overproduce it you’ll be fine. I think you were just describing Blue Murder.

Young: [bursts into laughter] Listen, if that works for you fine, but all I’ve ever wanted to be is a black guy in a shiny suit in 1968. If I’m a white guy then I want to be Paul Rodgers or Rod Stewart or Bon Scott who worshipped the black guys in the shiney suits in 1968…In the 80s all of that went away, everyone wanted to be Eddie Van Halen and they wanted to impress people with their prowess. We wondered what had happened to the songwriting. I mean Cherry Pie isn’t going to be remembered as a lyrically inspiring song. It was great for its time. We were and still are more old school based and we’re still working at writing “the song.” Last thing Ron, Little Caesar got to open for KISS on the Hot In The Shade Tour. What was that experience like for you?

Young: We went out with them for like 6-7 weeks through the Midwest and the Northeast. Being around Gene Simmons for six weeks was a weird exercise in observing a larger than life character control the universe. It was a lot of fun, but strange. This was pre-internet era and we were often times going on before the tickets even said the doors were open. Gene would come up to me and say stuff like “Hey man, you need to shave the goatee and drop that ‘blue collar’ s–t. You guys need to be larger than life.” What he was doing was setting us up to kick us off the tour because once Winger left the tour ticket sales went into the toilet. We replaced Winger for the rest of the tour. I think the best line was when Gene called Jimmy Iovine and said “Jimmy I need to pull your boys from the tour. They’re going over like pork chops at a bar mitzvah!” [laughs] That’s a great f–king line! [laughs] Which was untrue because as the reviews began to show up the reviewers would say how much of an honest band we were. They just wanted us off to get Winger back. They were cancelling shows because the ticket sales were so soft. Kind of ironic that Gene was pointing out the “blue collar” look and the goatee because that’s what KISS did for the following record. Gene even grew a goatee!

Young: [bursts into laughter] Dude, that was hysterical wasn’t it?! I remember running into him three months later at The Rainbow [Bar And Grill] I said “Gene, how you doing? What’s with the goatee, dude? Do you remember telling me to shave it off?!” He replied, “Well, if you can’t beat them join ‘em!” [laughs].


Little Caesar’s Eight was released on March 16th, for more information, please go here.

Little Caesar online:


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