eddie400 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 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.


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:


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



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.


AceFrehley600 Eddie Trunk interviewed KISS guitarist Ace Frehley for his podcast. Quotes from the interview, courtesy of, 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:


joeperry400 As previously reported, Aerosmith guitarist Joe Perry will be releasing his autobiography, Rock: My Life In and Out of Aerosmith, on October 7th (Simon & Schuster; Hardcover; $27.99).

Joe Perry shares—with total candor and without apology—what life is like as the lead guitarist and co-head writer of Aerosmith. Both a study in brotherhood and solitude, in Rocks Perry reflects on the people who stood beside him during the highs and lows as he and Aerosmith skyrocketed into a world of fame and utter excess. Before he was one half of the “Toxic Twins,” Perry was a science-obsessed kid who dreamed of becoming a marine biologist. His loving, supportive parents encouraged his curiosity and sent him to Vermont Academy where his love for rock and roll grew. Before long, he was skipping class to play guitar and ultimately dropped out because he refused to cut his hair. Not long after, he met Steven Tallarico in a New Hampshire restaurant and the two quickly recognized their shared love of music. In 1970, Perry, Tom Hamilton, and the newly-dubbed Steven Tyler moved to Boston, and alongside Joey Kramer and Brad Whitford formed the Aerosmith we know today. The band signed with Columbia Records in 1972.

In Perry’s own words, Rocks tells the whole story—“the loner’s story, the band’s story, the recovery story, the cult story, the love story, the success story, the failure story, the rebirth story, the re-destruction story, and the post-destructive rebirth story”— of what came to pass over the next five decades and details the perks and perils that go hand-in-hand with an extreme rock and roll lifestyle. With over 100 photographs showing Perry’s life on- and off-stage, “[ROCKS] will strike gold with every Aerosmith fan”

Perry will also be embarking on a book tour. The dates can be viewed below. Our very own Eddie Trunk will be hosting the first date on the tour and it will be recorded for his podcast. Admission is and free first come first served.

Joe Perry book tour dates:

New York, NY Barnes & Noble in Union Square on Tues. 10/7 @ 7:00PM (Eddie Trunk hosting)
Ridgewood, NJ Bookends on Wed. 10/8 @ 7:00PM
Boston, MA Brookline Booksmith at The Coolidge Theatre on Thurs. 10/9 @ 6:00PM
Boston, MA Guitar Center on Boylston Street on Fri. 10/10 @ 6:00PM
Framingham, MA The Paper Store on Sat. 10/11 @ 2:00PM
Chicago, IL The Standard Club on Mon. 10/13 @ 11:30AM
Chicago, IL Guitar Center in Arlington Heights on Mon. 10/13 @ 3:00PM
Cleveland, OH The Rock & Roll Hall Of Fame on Tues. 10/14 @ 12:00PM
Los Angeles, CA Barnes & Noble at The Grove on Wed. 10/15 @ 7:00PM
San Francisco, CA Guitar Center on Van Ness Avenue on Thurs. 10/16 @ 6:00PM
San Francisco, CA Book Passage at The San Francisco Ferry Building on Fri. 10/17 @ 6:00PM
Phoenix, AZ Changing Hands Bookstore on Sat. 10/18 @ 6:00PM
Phoenix, AZ Guitar Center in Scottsdale on Sun. 10/19 @ 2:00PM
Los Angeles, CA Book Soup on Mon. 10/20 @ 7:00PM @ 7:00PM

Some themes touched on in the book:

*Perry wanted to be a marine biologist as a child, but undiagnosed ADHD that was neither understood nor treated made school hard. He dropped out of the prestigious Vermont Academy his senior year because he refused to cut his hair and went to work in a local factory.

*Although left-handed, Perry plays guitar as a righty because the instruction record that came with his first guitar (a $12.95 Silvertone student model) told him to hold the guitar neck in his left hand and strum with his right. Perry still wonders what type of guitarist he would be if he had not conformed to playing right-handed.

*Perry admits he is not 100% sure what happened the night he walked away from Aerosmith other than that his then-wife Elyssa Jerret threw a glass of milk at Tom Hamilton’s wife after an argument. Tyler blamed Perry for the incident, citing his inability to keep Elyssa on a short leash. Perry left the band that night. In his absence from Aerosmith, The Joe Perry Project was born.

*Perry and Tyler have co-written countless Aerosmith songs together. In April 2009, Perry had an itch to write and called Tyler. Tyler agreed to come over, but ultimately blew him off several times. Perry later found out Tyler had flown to England to audition for Led Zeppelin. Perry was told by people on the inside, including Jimmy Page, that the tryout was “shambolic.” Like his audition for Led Zeppelin, Tyler also never told his Aerosmith bandmates about his gig with American Idol until it was a done deal.



Slashtophat400 Slash has confirmed a story in Paul Stanley’s autobiography, where the KISS frontman told the former Guns N’ Roses guitarist to “go f–k yourself.”

It appears in Stanley’s book Face The Music: A Life Exposed and details the incident which occurred prior to the release of Guns N’ Roses’ Appetite For Destruction.

Stanley had been touted to produce the band’s debut offering and offered to put Slash in touch with BC Rich to get him free guitars. But trouble between the two started shortly after, when Slash, unhappy at the band’s sound at a small LA club, asked Stanley to step in behind the mixing desk.

Following the performance, the pair fell out, with Slash accusing Stanley of meddling with their sound and later made derogatory comments in the press about the Stanley’s appearance.

Months later, Slash phoned Stanley about the offer of free guitars – and the KISS singer/guitarist lambasted Slash, angrily saying “go f–k yourself.”

Stanley says in the book: “You want me to help you get guitars after you went around saying all that shit about me behind my back? One thing you’re going to have to learn is not to air your dirty laundry in public. Nice knowing you, go f–k yourself.”

Slash confirms most of the story, although he says things between the pair are “more or less cool now.”

He tells Hard Rock Megazine, “He said something along the lines of, ‘You shouldn’t air your dirty laundry in public, so no, I won’t help you.’ We didn’t speak for years after that. It was only until roughly 2006 that we got reacquainted when I was doing the KISS Rock Honors for VH1 and we sort of let bygones be bygones. We’re more of less cool now.”

Slash’s latest CD, World On Fire, was released on September 16th through Slash’s own label Dik Hayd International, distributed through Caroline.



deesnider400 Twisted Sister frontman Dee Snider has responded to KISS bassist Gene Simmons claim that rock is dead.

Snider writes via his Facebook:

Recently, my esteemed colleague, Gene Simmons of Kiss declared that “Rock ‘n’ Roll is finally dead.” Really?

While I have nothing but respect for Gene, he couldn’t be further off the mark. Yes, the rock ‘n’ roll “business model” that helped KISS (and my band for that matter) achieve fame and fortune is most certainly long dead and buried, but rock ‘n’ roll is alive and well and thriving on social media, in the streets, and in clubs and concert halls all over the world. And the bands playing it are more genuine and heartfelt than ever because they are in it for one reason: the love of rock ‘n’ roll.

Spend some time seeing and listening to these incredible young bands and their rabid fans and you will know that rock ‘n’ roll couldn’t be more alive. Yes, it’s not the same as it was for the first 50 years of rock’s existence, but the fire definitely still burns.

And it wasn’t some 15 year old kid in Saint Paul, Minnesota (to paraphrase Mr. Simmons) who killed the rock ‘n’ roll goose that laid the platinum egg…it was greedy, big city, record company moguls who made their own velvet noose to hang themselves with. It was they who took advantage of the consumer (and the artist for that matter) and drove them to use an alternative source of music presented to them.

For example, take the bill of goods the record industry sold the mainstream public when introducing the CD format. “We have to charge more for it, because it’s a new technology and there’s a cost to setting up the infrastructure to produce them.” The consumer believed them–it made sense–so they paid a $18.98 list price for a product they had been paying $7.99 list for previously. After all “you can’t break a CD with a hammer!” (Remember that?)

But when the infrastructure was in place and paid for in full, and the cost of producing a CD dropped to less than a dollar, did the record companies roll back the list price in kind? Not on your life. They weren’t about to do the right thing and cut their increased revenue stream. Those fat cats were enjoying their ill-gotten gains way too much.

So when the general public finally realized they were being had, and the opportunity arose for them to stick it to the man, what did they do? The same thing their Woodstock Nation, baby boomer parents had done when they had their chance…they stuck it and they stuck it good. Does anyone remember Abbey Hoffman’s “Steal this Book”, the massive selling, early 70’s hippy guide “focused on ways to fight the government, and against corporations in any way possible.” Multiply that by a googolplex.

Is it hard to make it rock ‘n’ roll? You bet. Always was, always will be. Will rockers make as much money as they did “back in the day”? Probably not. But that won’t stop them, and they’ll be motivated by a much more genuine love of the art, and great rock will continue to be produced, played and embraced by rock fans.

So in conclusion: Record company executives killed the old rock ‘n’ roll business model…and Rock ‘n’ Roll Ain’t Dead!

Dee Snider/ September 10th, 2014


rush400pix The highly-anticipated Rush 40th anniversary box set has finally been confirmed – it’s a six-disc Blu-ray collection and it will be released on November 17th.

Speculation about the product has been circulating for over a year. Now it’s been revealed that R40 will include the band’s five most recent concert movies with additional features.

A bonus disc will contain unseen material including the band’s performance at Laura Secord Secondary School, Ontario, in 1974, although full details are yet to be revealed.

The product description reads: “2014 marks the 40th anniversary of Rush’s eponymous debut album. This superb collector’s box set brings together live performances by Rush from each decade of their career, plus a bonus disc of previously unseen live material stretching from 1974 to 2013.

The six Blu-ray discs are contained in a stunning 56-page hardback book, filled with memorabilia and photographs documenting 40 years of Rush live in concert. This is the ultimate collection of Rush live performances, beautifully presented.”

R40 tracklist:

Disc 1: Rush In Rio

Bonus features: The Boys In Brazil documentary, multi-angle versions of YYZ, O Baterista and La Villa Strangiato; By-Tor And The Snow Dog animation; Anthem (1975 performance)

Disc 2: R30

Bonus features: Interviews; 10 tracks from the Anthem vault; Rush Hits St John’s feature; Alex Lifeson Artist Of The Decade interview

Disc 3: Snakes & Arrows Live

Bonus features: Oh, Atlanta authorized bootlegs

Disc 4: Time Machine 2011 – Live In Cleveland

Bonus features: Outtakes; Need Some Love live at Laura Secondary School, 1974; Anthem live in 1976

Disc 5: Clockwork Angels Tour

Bonus features: Limelight soundcheck recording; three additional tracks; Can’t Stop Thinking Big documentary; behind the scenes feature; Family Guy; Family Sawyer; The Watchmaker; Office of The Watchmaker

Disc 6: Bonus Disc

Laura Secord Secondary School 1974 – details TBC

source: classicrockmagazine


blacklabelsocietyband2013 Black Label Society have released an alternate piano version of the song, Scars, featured on the band’s latest album Catacombs Of The Black Vatican which was released in April. Watch the video below.

Black Label Society recently wrapped up a tour, but still have a few dates left on their concert calendar. The band will be at this weekend’s Aftershock Festival in Sacramento, California. Wylde will also be on board for Motorhead‘s Motorboat Cruise later this month, and the band is slated to be part of Knotfest on October 25th in San Bernardino, California.