OVERKILL POST CLIP FOR “SHINE ON”

Overkill have released an official video for the song, Shine On, from their new album, The Grinding Wheel, which was released on February 10th. Watch the clip below.

To listen to other songs from, The Grinding Wheel, click on the highlighted song titles:

Goddamn Trouble
Mean, Green, Killing Machine (lyric video)
Our Finest Hour (lyric video)

The Grinding Wheel track listing:

1. Mean, Green, Killing Machine
2. Goddamn Trouble
3. Our Finest Hour
4. Shine On
5. The Long Road
6. Let’s All Go To Hades
7. Come Heavy
8. Red White And Blue
9. The Wheel
10. The Grinding Wheel

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NEW BOOK “SHREDDERS! THE ORAL HISTORY OF SPEED GUITAR (AND MORE)” OUT NOW, READ AN EXCERPT HERE

Author Greg Prato’s new book Shredders! The Oral History Of Speed Guitar (And More) recalls the guitar shredding phenomenon, and tells the story of the world’s fastest guitar players.

With a foreword by Rush’s Alex Lifeson and an afterword by former Scorpions guitarist Uli Jon Roth, it includes chapters on the likes of Eddie Van Halen, Randy Rhoads, Yngwie Malmsteen, Shrapnel Records, Stevie Ray Vaughan and many more.

In the excerpt below, courtesy of Classic Rock, KISS guitarist Bruce Kulick talks about the enormous impact of the great Eddie Van Halen:

“The first time I heard Eddie Van Halen, I was absolutely floored. I was also petrified. Here’s a guy who clearly understood very, very passionate lyrical lead playing. I didn’t know immediately that he was a fan of Eric Clapton—who is one of my biggest influences. But I guess that’s kind of why I responded to his playing, and it didn’t really matter if he was going to play very fast—which he could, and that was the intimidating part of his talent. And of course, some of the tricks—between the divebombs or the Floyd Rose whammy bar things and then all the finger tapping. So he really turbocharged the kind of rock lead guitar playing that I loved, and he made me have to ‘up my game.’

But I was really, really freaked out when I heard it, because it was so good, and yet so different and unique to me. Certainly, by the time I got the opportunity to work with KISS [in 1984], and especially, I remember the conversation when Paul Stanley said, ‘We’re sending Mark St. John home. You’re the new lead guitarist.’ Which I kind of felt was headed in that direction, after about eight weeks on the road with them. He said, ‘I want you to be competitive with all the guitar players, and do all the things that are popular now with guitar.’ Which is great. It was a good thing from the time that I heard Eddie and from the time I actually had the opportunity to work with KISS, I did bravely move into that territory…

…Once I got over the fear and I started to embrace some of the stuff, and I was actually really influenced by the trickery that I would do with KISS, when I had a solo on Crazy Nights [at the beginning of the song No No No] and I’m doing a whole little hammer-on piece. And no, it wasn’t Eruption, but it had elements of Eddie’s fancy guitar playing, that took lead playing to another level. I’m still a huge fan, and everything I said about the Eric Clapton connection, I was kind of aware of, but recently in one of the guitar magazines, they shared some audio of Eddie being interviewed and playing note-for-note Crossroads. And it was unbelievable to hear it, because you could still hear that fiery kind of guitar player Eddie is, but he’s still playing it ‘Eddie-style’ but he had all the phrasing of Clapton and all the vibrato down, and that’s why he’s still at the top of the game.

He was one of the guys that all the lead guitar and approach that I want to use came from—guys like Clapton, Beck, and Hendrix. I always need to mention those guys, because they were such a big influence for me growing up. And of course, there’s Leslie West, and the solo that Paul Kossoff does in All Right Now—these are all things that are so important for lead guitar playing. But when it came to going further in time, Eddie Van Halen was the one to take it to the next level, and turbo-charged it.

For me, the Sammy Hagar version of Van Halen really gave the band an opportunity to stretch out in ways I don’t think they ever could have done with David Lee Roth. I’m actually a fan of both versions of the band, but where I’ll hear many people just want to know about the David Lee Roth era, I don’t agree with that. In fact, in some ways, I think some of the stuff they accomplished with Sammy gave more facets of styles of music and let them explore more musical territory. I don’t think Eddie’s playing changed, it just put him now in another landscape, that was even bigger and broader. But again, I don’t want to take away from what they did initially, because his guitar was huge, the songs were amazing—I still get off on hearing Panama.

But when I think of some of the material that I love from the Hagar version of Van Halen, you had a singer who could really reach high notes—and powerfully. Sammy is just an incredible singer…But I thought that the songwriting was able then to be more mature. It wasn’t always tongue-in-cheek, even though they’d have fun with the songs. The element of keyboards—which I had no problem with, even though some people may have thought it was crazy—obviously, they experimented with Jump already, but I think they developed incorporating that in their sound much more so during the Sammy Hagar time.

But Eddie’s guitar was huge, the playing was great, the songwriting was terrific, there’s so many amazing songs. I thought they sounded incredible. There was no downside. Some bands, you change the singer, the whole dynamic gets ruined. And here, it became a whole other animal, that was pretty incredible. I remember seeing them live—going with Eric Carr to see them—and backstage after the show, they’re sitting there eating lobster and steak. [Laughs] They were always very cool with us. I have a lot of respect for those guys.”

Shredders! The Oral History Of Speed Guitar (And More) is available now from all good bookstores and online retailers.

additional source: teamrock.com

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LIVE PERFORMANCE VIDEO OF PUNKY MEADOWS AND FRANK DIMINO PERFORMING “TOWER” POSTED ONLINE

Punky Meadows and Frank DiMino of Angel came together for the first time in over 30 years to perform Tower at the Backstage Bar and Billiards in Las Vegas, on March 8th, 2017.

Just finished playing Backstage Bar and Billiards in Vegas and Frank Dimino came to the show jumped up on stage and we played the Tower,” says Punky. “It felt just like it did in Angel. The band kicked ass and Frank felt it and sang his ass off. We didn’t miss a beat and the fans went crazy!! We blew the roof off the house. It was really awesome to jam with Frank again!!” Watch below.

Remaining Punky Meadows tour dates include:

April 21st at The Chance (Poughkeepsie) and April 29th at BB Kings (New York City).

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JUDAS PRIEST ENTER THE STUDIO WITH LONG TIME PRODUCER TOM ALLOM

Judas Priest have announced that they entered the studio to begin recording their long-awaited follow-up to 2014’s Redeemer Of Souls. The band’s longtime producer Tom Allom, acclaimed British knob-twiddler Andy Sneap and engineer Mike Exeter.

Allom produced every Priest release from Unleashed In The East (1979) through Ram It Down (1988), along with several live records since then. As a young engineer, he also worked on the first three Black Sabbath records under producer Rodger Bain.

During a January 2017 appearance on Trunk Nation, Eddie Trunk’s show on SiriusXM,singer Rob Halford discussed (as per blabbermouth.net) the songwriting process for the band’s new record, stating, “Yeah, everything’s coming together great. We’re excited to be making new material.

As you know, whenever we go out to play, we like to say that we’re there for not only the reason to see our wonderful fans again but to show off what we’re doing. And that’s what we’re doing right now — we’re hard at work, and it’s all coming together great.”

Halford also confirmed that there is no set-in-stone timetable for the release of the next album. “You know, there is no rush,” he said. “There is no rush. We feel great. We’re very happy, we’re very confident, we’re very excited. And so, yeah, we’re working with our label and with promoters, and there’s a lot of stuff going on behind the scenes.”

He continued “When we go out, we want it to be good — we want it to be good, we want it to be well planned, we wanna make sure that everybody’s happy.”

On February 3rd, the band released a remastered version of Turbo as a three CD reissue. Read more, here.

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*UPDATED* KXM POST VIDEO FOR “THE SKY” AND A BEHIND THE SCENES OF THE MAKING OF “SCATTERBRAIN” AND “BREAKOUT”

KXM, the band featuring dUg Pinnick of King’s X on vocals/bass, George Lynch of Lynch Mob/Dokken on guitars and Ray Luzier of Korn on drums, has released a new video for the song, The Sky, from their forthcoming album, Scatterbrain, which be released on March 17th. Watch it below.

To view other titles from this release, click on the highlighted song titles:

Breakout
Scatterbrain

The band also posted a behind scenes look at the making of the record, which can be viewed below.

Recorded over the span of ten days, every song on Scatterbrain was the result of a musical jam from all three members playing together in the same room.

Ray Luzier explains on the process, “We wanted to use the same formula as the 1st KXM record, book studio time, come in fresh every day with a new idea & run with it and not over think anything.” George Lynch described the sessions as Record-topia, “We showed up in the studio, camped out with a bunch of gear and let the tape roll. Just like the first album, no pre-production, no rehearsal, no pre-written songs.” dUg Pinnick adds, “The vibe was like a bunch of old friends having fun creating music like the previous record, nothing but fun!”

The track listing for Scatterbrain is:

1. Scatterbrain
2. Breakout
3. Big Sky Country
4. Calypso
5. Not a Single Word
6. Obsession
7. Noises In The Sky
8. Panic Attack
9. It’s Never Enough
10. True Deceivers
11. Stand
12. Together
13. Angel

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