mickmarshat400 Motley Crue guitarist Mick Mars was assaulted on stage after an audience member climbed onstage during the band’s performance in Canada on April 4th.

The chronically ill musician, who suffers from a disease that makes it difficult for him to move, was knocked down by a person who also grabbed singer Vince Neil and struggled with security men.

Mars, who was celebrating his 62nd birthday, later reported his personal guard Rhyno had suffered two broken ribs.

Crue were performing their song Primal Scream when an audience member made it onstage. He ran straight into Mars, sending him to the ground, before making contact with Neil.

The show was stopped as techs restrained the attacker, with bassist Nikki Sixx looking on in concern – and apparently kicking the “fan” – as two roadies picked Mars off the floor and helped him walk off. Drummer Tommy Lee shouted, “What the fuck is wrong with you, you fucking idiot?” Neil then told the crowd, “We might be back,” before disappearing. After a delay they returned and finished the show. Watch the video over at TMZ.

Mars was diagnosed with ankylosing spondylitis at the age of 19 – the incurable genetic condition causes the spine to fuse together, making it difficult to move.

Last year he told Classic Rock Revisited “It’s one of those things that I call an inconvenience. I have days that are worse than others and there is always some amount of pain with my hips.

There are some things that are not so cool, but there is one thing that is cool: I ended up bent. I can always see my guitar. If I’d been straight then I would not be able to see myself play.”

Yesterday he tweeted, “Thank all of you for your concerns about me being knocked down last night. I’m alright; nothing broken. My bodyguard Rhyno got two busted ribs.”


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Good to be back home. Made it back from M3 last night. If you follow on Twitter or check my Twitter feed you will see many photos I just posted with more to come. It was a pretty crazy 2 weeks with Golden Gods, M3, and of course the new TMS tapings which are now done and start airing June 1. We will discuss it all and much more live tonight from 6-10P ET / 3-7 Pacific on SiriusXM channel 39 Trunk Nation (Hair Nation). Also Ratt singer Stephen Pearcy will drop by around 6:30P ET and we will take calls for him. Tons to catch up on over the next week, we will get into some of it tonight for sure! Way too many stories to type, and I suck at typing!


Less than 3 weeks away from this years Rocklahoma which I am thrilled to once again be hosting. See you all in Pryor very soon!


If you follow on Twitter you know that last Thursday I did indeed sit and talk with Gene Simmons to clear the air with him face to face about exactly what I have said about Kiss as a fan and what my feelings are, cutting out the insane and inaccurate accounts usually posted on the internet. Gene was cool enough to invite me in his booth to sit and chat for about 10 minutes and clear the air to some degree. I did not back down from my own personal thoughts about what the band is doing, just relayed them ACCURATELY to Gene since the 99% of positives from the last 30 years as a Kiss fan that I have said and done are of course NEVER acknowledged anywhere. As I have also stated MANY times I have NO issue with Tommy or Eric in the band. My issue is and always has been with the fact that they are not their own personalities and for me I choose not to see it. But the whole thing has become so silly and blown out of proportion by a hyper sensitive few that it felt good to sit with Gene man to man and explain this clearly (something I asked Paul to do the last time I ever spoke with him and never happened). Gene claimed he has no issue at all with me and is very happy doing what he is doing, and then in typical Gene fashion started quoting how good business is LOL. I explained to Gene if he has no issue he should come back on my shows where his fans want to see and hear him and have a respectful discussion. He said he would not rule it out and as has always been the case my door is open to all past and present members of the band. I honestly don’t know anyone who loves every single thing any band they ever loved has done, and I pride myself on giving my honest opinion when asked.I have no idea if anything will change but I’m glad I was able to sit with Gene, who I have known a long time and who also loves to speak his mind, and have a discussion. I may not be a fan of what the band currently does but respect their right to do it and Gene’s willingness to sit and chat like two adults.

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Greetings from Maryland and the start of day 2 of the M3 Festival. Caught Kix and WASP last night here and both bands sounded strong. Full house and the weather is great. Music is about to start for the day and night here shortly so look forward to a long rockin day with many bands and friends. The TMS and radio support here is just amazing so thank you all!


Driving home to NJ tomorrow. Look forward to it after a couple weeks on the road. Live on SiriusXM channel 39 for Trunk Nation 6-10P ET Monday. MUCH to cover and catch up on from TMS, Golden Gods, M3 and more. Just an FYI M3 this year is not on TV, as many have asked about. Also on the radio show Monday Stephen Pearcy will be in studio with me aprox 6:30P ET.


Rocklahoma just around the corner and next up for me on the festival circuit. See you soon in OK!

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OzzyOsbourneShhh Ozzy Osbourne spoke with Mojo magazine about original drummer Bill Ward’s decision not to participate in the band’s reunion.

The drum tracks on Black Sabbath’s first LP with Ozzy since 1978, 13, were recorded by Rage Against The Machine’s Brad Wilk while Osbourne’s touring drummer Tommy Clufetos filled the seat during Sabbath’s three shows last year and is currently on the road with the band in Australia.

According to, Ozzy explains Ward’s absence to Mojo, “I guess it’s to do with finances or something. But there was also another side to it. When Bill came along, we all had to ask, ‘Can he do an hour-and-a-half, two-hour gig? Can he cope?’ My suggestion was that we run through a set and see how he got on because he was so out of condition and the drummer is the most demanding job in the whole band. We looked at Bill, and he couldn’t remember what the fuck we were doing. But he didn’t come clean and say, ‘I can’t cut this gig, but can we work something out, guys, where I’ll come on but with another drummer backing me up?’ Or, ‘I’ll come and play a few songs.’ That would have been cool.”

He continued, “I get where he’s coming from, though. His pride was hurt and I get it. I really do get it. The guy will always be a dear, dear friend and a brother to me, but … He can’t be surprised that he didn’t get the gig. … You know them yellow fucking stick-on memo notes? He had them all over his fucking drums. I was like, ‘What the fuck’s that for, Bill?’ He said, ‘I can’t remember what I’m doing.’ I go, ‘How are you gonna remember out of those 500,000 bits of paper stuck all over your kit, which one you’re looking at, Bill?’ (He said) ‘I’ll know.’ Ah, OK great. I’m not gonna give Bill a hatchet job, but at the same time we haven’t got the patience to deal with it.”

Read more in latest edition of Mojo Magazine.


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Jeff_Hanneman_Live1_lo Slayer guitarist Kerry King led a tribute to his “fallen brother” Jeff Hanneman at the Revolver Golden Gods awards on April 2nd, bypassing the usual moment of silence for something a bit more appropriate.

“I thought ‘should I do a moment of silence?’ Fuck no. This is the Golden Gods man,” he told the crowd. “Jeff fucking Hanneman, he played in Slayer. He does not want a fucking moment of silence, he wants a moment of fucking noise.” The audience cheered and King added, “We’ve gotta fist-raise it up. Drink-raise it up and tip one back to our fallen brother.” Zakk Wylde, who joined King on stage because they were presenting the best live band award, started the chant of “Slayer, Slayer, Slayer.”

Hanneman died earlier in the day of liver failure, two years after he contracted necrotizing fasciitis — most likely from a spider bite — a quick-progressing disease that literally eats away at skin tissue.

Anthrax also paid tribute along with Pantera’s Phil Anselmo on stage to perform his band’s This Love but tagged it with the intro to Slayer’s Raining Blood.”

“I’d like to dedicate this song to Jeff Hanneman,” Anselmo said before launching into the medley with Scott Ian and company. “In a token in the spirit that it’s given.”

Watch (Slayer tribute is at 6:00):

additional source: billboard

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blacksabb2013 Mojo Magazine spoke with producer Rick Rubin about working with Black Sabbath on their latest album, 13. Portions of the interview appear below.

Q: When it came to working with Black Sabbath, what was your biggest challenge?

A: When I started working with them, they really hadn’t worked together in such a long time and, because they’ve had such success in their career over the years, it was almost a case of red light fever. There was an anticipatory anxiety among different members of the band and they were worrying about whether [the music] would be any good, and whether they were up to the task. The history and myth of Sabbath loomed large and everybody really wanted to do it justice. No one wanted to do it just for the sake of it. The idea was that we were only going to do this as long as this was going to be as good an album as they’ve ever made.

Q: As a student of Sabbath’s music, what is the high point in their career as far as you’re concerned?

A: To me it’s the first four albums. All have different high points. The reason Album One was so important conceptually to play it to them is because it was how they started it. It was closest to their roots because even Black Sabbath got influenced by Black Sabbath. If a song like Paranoid became very successful for them then after that you started hearing more of their albums rooted in the Paranoid idea and maybe less in jazz, blues and the psychedelic stuff that was part of that whole picture at first.

That’s what’s important about Black Sabbath: people think of them as heavy metal but really they’re pre-heavy metal. They have more in common with Cream and Led Zeppelin than they do with Iron Maiden. So the goal was to get that sort of breadth and depth in the record so that it had what you want from Sabbath but it showed the wider spectrum of what made them special. Clearly Metallica is influenced by Black Sabbath but if [13] ended up sounding like a Metallica record, even a great Metallica record, then we’d failed. It was like bringing back all those colors that the bands in their wake haven’t touched on.

It’s the big picture of Black Sabbath that I feel is actually best reflected on that first album. It really is. Even when they were listening to it, when I played it for them – after they’d stopped asking why I was doing that – they were surprised about how eclectic it was and how jammy it was, how much it felt like a performance which, if they’d played it the next night, may not have sounded the same as that. It really was much more a jazz-inspired, interactive jam.

Q: When you started on the project Bill Ward was still involved.

A: Absolutely.

Q: How did you feel when he wasn’t?

A: I would love Bill to have been involved and that was always the intention. When he decided not to be it really took everyone by surprise. It was a case of ‘What do you want to do? We have all these songs but what’s the process going forward?’ The band said that they wanted to continue. Then it was a question of trying to find a drummer who could allow them to continue to do it.

Q: You suggested Ginger Baker as a replacement at one point…

A: I did. He was on the list I submitted to them. Certain people were dismissed outright by the band based on having dealt with them on the past or the baggage. It wasn’t always about drumming ability.

I’ll tell you what the deal was. He was on my list because I wanted to get someone who had grown up in the same world as them and who jammed the way they did and there aren’t many of those people left. Most of them are dead. But I was asking: who grew up listening to the same music as them? Who played in bands where they jammed back then? It’s a very different thing from the way hard rock and heavy metal drummers play today. That’s the kind of drummer I was looking for.

Q: You also suggested Brad Wilk. Why?

A: Of all the people I heard them play with Brad had the best feel. I got chills when I heard him play with them. There were some other very good drummers [that tried out] but there wasn’t that emotional connection or that tension that you need musically speaking. To me every great band has emotional side. When it really works in a band there’s a tension that builds in the players. It’s not anything they even know about in some cases but it’s there. It’s the way each person in the band hears the same groove and the way one person in the band moves forward on the groove while the other moves back on the groove. That’s what makes a great band, that’s what makes The Rolling Stones sound like The Rolling Stones, that’s what makes AC/DC sounds like AC/DC where Malcolm Young pushes in a way where Phil Rudd lays back. The relationship between the guitar playing and the drumming is what creates this tension in the music and makes it really exciting. When Brad played with Sabbath you could feel that there was something pulling them. He had that emotional connection, or that tension that you need musically speaking. It’s difficult to explain, but there’s a feeling.

Q: According to Geezer there was an eleventh hour reshuffle in terms of the lyrics. Why?

A: Ozzy wasn’t happy from the beginning with the lyrics he had, and historically Geezer always wrote the lyrics on the Black Sabbath albums. It was as much a combination of Ozzy not being happy with the lyrics and Geezer having so much to offer lyrically. He wrote amazing lyrics on the album. It really was a mutual decision. It wasn’t me saying, These lyrics are shit, it was Ozzy saying ‘I don’t like these lyrics, we need to get Geezer to write some more.’

Q: Coming back to the record itself, so now that it’s finally finished, how does 13 measure up in terms of Sabbath’s previous work?

A: It feels like pure Black Sabbath. It scratches that Black Sabbath itch and it evokes the same feelings as those other [early] albums. I can’t wait for you to hear it.

Read more at Mojo Magazine.


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