aerosmith640 Greg Prato of the Long Island Pulse spoke with Aerosmith bassist Tom Hamilton. Portions of the interview appear below.

Long Island Pulse: Forty years later, how do you view Toys in the Attic?

Tom Hamilton: That one was really a moment of inspiration for us. Our second album, Get Your Wings, we were under a lot of pressure from the label because they weren’t happy with how our first album [Aerosmith] did. So, we got to that project and made a better album. When it came time to do Toys in the Attic, I think we all really wanted to step up and make a statement. The band was really getting good and our producer, Jack Douglas, was someone that we had a lot of faith in—he was becoming a great producer. Everybody just really wanted to go and kick ass. If you look at the changes between Get Your Wings and Toys in the Attic, you can see how much better we were at making records and writing songs.

Pulse: How are you doing with your throat cancer?

TH: Good. My doctor thought I was pretty much done with the cancer that I had in ’06 and then it came back a few years later. I was faced with losing my way of life…if not my life. But there’s a guy here in Boston that Adele referred to [Steven Zeitels], who does novel surgeries and was able to do a procedure that got the cancer out of my throat without having to ruin the rest of it. I just saw him the other day and he said, “You beat this one. You can keep coming to see me if you want, but I don’t think you need to worry about this cancer coming back.” I said, “I’ll come back to see you every six months from here until eternity, if it’s alright with you!”

Pulse: This is also Pulse’s Art & Music issue. Do you collect art?

TH: I do have some nice artwork that my wife and I have accumulated over the years. One of the first things we bought was from some dealer on Central Park West. We were in our twenties and had no idea what we were doing. We were just referred to this guy by a friend, who said, “They have a Georgia O’Keeffe.” So we have a little watercolor by Georgia O’Keeffe. With just a few gestures, she created something that when you first look at it, it seems abstract, but then you realize exactly what it is. It’s a picture of a woman bending down to pick up a flower.

Read more at the Long Island Pulse.



rush400pix Brian Hiatt of Rolling Stone reports:

For years, Rush had an uneasy relationship with an oft-skeptical rock press. So fans got to know the band members’ diverse personalities largely from live shows, tour books, videos and drummer Neil Peart’s own prose. But as the band proved this month in their first-ever Rolling Stone cover story, they’re great profile subjects in a classic rock & roll mode, more than willing to get candid and irreverent. Here are some highlights more from their cover-story:

There’s a reason there are few, if any, unreleased songs from Rush’s studio sessions:

“That’s not how we’ve ever worked,” says Alex Lifeson. “The album is what it is. ‘We’re going to do eight songs. So let’s do those eight songs and concentrate on them and devote all of our time to them.’ Why would you write 20 songs and pick the 12 best? Does that mean that the other eight are just bullshit? You were wasting your time!”

Rush sometimes make up songs about crew members in their soundchecks:

“I provide the lyrics,” says Lifeson. “We had one that was great a few tours ago, actually quite a while ago, called Sex Boy. And it was this kind of cheesy, Euro-trash, electronic music.”

Lifeson originally planned to give a real speech instead of his infamous “blah blah blah” moment at Rush’s Rock and Roll Hall of Fame induction:

“I was going over my written speech on the way over,” says Lifeson, “and thinking, ‘My brain doesn’t remember anything. It’s going to be awful. Might as well get up and just go blah blah blah. Oh! Wait a second!’ We were sitting at our tables and everyone else was doing their thing, and I told my wife. I didn’t tell anybody else, And Quincy Jones got up and gave his speech, which was a very long speech, but sincere. She leaned over to me during that speech and said, “And you’re going to go, ‘blah blah blah?'” And I said, ‘Stop it, you’re making me nervous!’ When we were walking up on stage, that was really when I committed to it. I thought, “Ok, I’m going to do it. This could be terrible. But I’m going to do it.” I think it was OK. I don’t know. I’m glad I did it, though. It’s the fucking Rock and Roll Hall of Fame! You should be irreverent, rather than thank your lawyer and your accountant and all that bullshit.”

While Rush were recording 1989’s Presto, Peart announced that he was going to quit touring:

“It was still possible then to foster the illusion that you could make a living without touring,” says Peart. “So I came to the guys and I said, ‘You know what? Let’s make records, no touring, I’m done with all that.’ But then the more I thought about it, the true test of a musician and especially of a band is performing live. The band we are was made by live performance. We built our own relationship, we built our relationship with fans, we built our tightness, our chops, from touring. So after much wrestling in my own mind I came to the realization that if I’m going to call myself a musician, if I want us to be a vital band, then I’m going to have to perform live.”

Lifeson was disappointed after he spent some time listening to a college radio station recently:

“It was all this contemporary music geared for that audience, and it was so disappointing listening to it. Really weak songwriting, insipid vocals and productions. It was really discouraging. I was sorry to hear that. You’re waiting for something to happen, musically. You’re waiting for some great thing. Like every generation or every decade seemed to have that big thing that carried it through. There’s nothing now, at least in rock.”

Lee originally wanted to be a guitarist:

“I had this attitude that nobody chooses to be a bass player,” he says. “The rest of the band decides that you’re gonna be the bass player – and that’s how it was for me. I was playing guitar in a basement band and our bass player’s mother wouldn’t let him play in the band anymore, so we had no bass player. So they all looked at me and said, you play bass. I said, well I don’t have a bass. They said, well go ask your mother if she’ll lend you some money. My mom loaned me 30 bucks, I worked it off in her variety store on Saturdays and I bought my Canora bass and that’s how it started for me. And then I fell in love with the idea of being a bass player ’cause nobody wanted to be a bass player.”

Read more at Rolling Stone.



eddie-trunk400 On June 27th, 2015 Rockbar opened its doors to some of the finest guitar players in the San Jose, California Bay area. Contestants got to show their talents on guitar and battle Satan Guitar Soul Collecting Fury for a grand prize of cool stuff and guitar glory celebrity rockers and guitar Gods were on hand to judge the guitar competition, lending there insight and expertise in all there respected areas.

The judging panel consisted:

1. Jake E. Lee Badlands, Red Dragon Cartel and Ozzy Osbourne.
2. Eddie Trunk That Metal Show.
3. Susan Cramer Owner of Rockbar Theater.
4. Warren DeMartini Ratt.
5. Craig Locicero SpiralArms and Forbidden
6. Erin Grupp Co-Owner of Rockbar Theater

Contestant had to prove there chops in front of the judges and then see if they can compete with Satan and his Demon band. In standard “Devil could care less style” Satan did everything he could to trip up the contestants by changing genres, speeds and styles on the fly.

Warren DeMartini was quoted saying “Putting guitar players to the test on different genres and the ability to jam and create on melodies on the move is something missing from todays playing, so it was great to see guitar players having to think on their feet”

Those guitarist able to make through the maze of shredding go on to the head to head competition with Satan. Till finally the winner is crowned and Satan lays down his guitar and walks off stage in defeat!

Jake E Lee was on hand to say “ I was looking for guitar players to not just get up there and play fast but to hold that one note with feeling, conviction and vibrato”

As guitar players hit the stage to prove themselves it became more evident that the talent on the stage of the local Bay area guitar players was in high form and the judges has there work cut out for them.

Eddie Trunk noted that the “Demon Rock Off at Rockbar was a great showcase for emerging guitar talent. It was competitive while also supportive and encouraging to the various players and a hell of a lot of fun! Great event in a great venue that I was proud to be a part of”.

50 contestants entered and over the course of the night were widdled down to one!!! Bobby Connally was crowned the VICTOR!! Able to hold his own through 15 different genre changes thrown at him as well as on his own solo performances!!

Rockbartheater plans on hosting another Demon Rock Off event this January 2016. Guitar players get practicing…


billward300 Estranged Black Sabbath drummer Bill Ward says he never stops listening back to his recorded work – and wishes he could improve certain aspects. The most famous example, he says, is Black Sabbath’s Iron Man, from 1970 album Paranoid.

Ward, who released his solo album Accountable Beasts in April, says he still frets over the final product whenever he hits the studio.

Ward tells LA Radio Sessions, “I like to be really sure that we’ve got everything. Did we do it right? Have we got everything? Does it sound okay? Once I feel like I’ve reached that place, I don’t have any problem with letting it go.

However, it is true to say that I still am listening to mixes. Probably the most famous one is the bass-drum sound on Iron Man. I’m still not happy with the f–king bass-drum sound. But, I let it go. I have let it go. But it’s, like, that bass-drum sound, I wanted it to be so much bigger and better.”

additional source:


geofftate's operationmindcrimeband2015-640 Operation: Mindcrime, Geoff Tate’s version of Queensryche, is proud to announce their upcoming debut album, The Key, on September 18th. To hear a sampling of four songs from the album, watch a trailer below:

The first full song from the album will be released in the coming weeks.

Geoff Tate’s Operation: Mindcrime features band members:

Kelly Gray on guitars (Queensrÿche)
Scott Moughton on guitars
John Moyer on bass (Disturbed, Adrenaline Mob)
Randy Gane on keyboards
Simon Wright on drums (AC/DC, Ronnie James Dio)
Brian Tichy on Drums (Whitesnake/David Coverdale, Billy Idol)
With special appearances from David Ellefson (Megadeth), Mark Daily, and Scott Mercado.



genesimmons640 Gene Simmons’ son, Nick Simmons, wrote an article about his father for Vice magazine. Excerpts from the feature appear below.

Patton Oswalt has a routine about the first time he ever realized one of his parents was full of shit. “When you’re growing up, up to a certain point, no matter what an adult says it’s just gospel,” he says, “and then there’s that first thing where you go, ‘I think that’s fuckin’ bullshit.'” For most of us, I imagine, that moment happens early.

For me, it hit well into my teens. And the realization was a lot harder to swallow.

…This epiphany came to me in high school, when I started learning about drugs. My father prides himself (read: brags about it to anyone who asks) on never smoking, drinking, or getting high in his life—save for one incident when some “special” brownies were mistaken for… well, normal brownies.

He is still, to this day, profoundly anti-drug. Perhaps due to stressful encounters with drug addicts in the rock n’ roll scene of the 70s and 80s, he resents drug addicts as people. In his experience, they made his life, and his work, more difficult than they should have been.

…he does believe in harsh drug laws, and he has no sympathy for drug addicts. From talking at length with him about it, I know now that this often-misunderstood resentment is not a reaction to real, tragic, medical victims of drug addiction. He resents more the people they were when they made that first choice: the choice to do that first hit, plunge the first needle, to take the first snort. He cannot empathize with that first decision to gamble with what is, in his immigrant’s eyes, a life in the land of opportunity. He believes the responsibility lies with the drug addict for trying it first, knowing everything we know in this age of information. To take that risk is to forfeit his sympathies.

…It was during one of these situations that I realized that I disagreed with my father…I knew people who smoked pot. Most people I knew drank. But I could not bring myself to conclude, as he did, that any negative health impacts of those choices were deserved. Life is risk, after all. I realized that I don’t believe marijuana and alcohol should be treated the same as heroin and cigarettes.

…Whether you agree or disagree with my opinion on drug use is irrelevant—the larger point is that he taught me a more valuable lesson, in disagreement, than he had ever taught me when we agreed: that no belief is sacrosanct. He taught me, accidentally, that our heroes can be wrong…Once I caught sight of this chink in the armor, the rest fell away easily. He was no longer Superman to me.

Read the whole piece at Vice.




Motor Sister, the band featuring Jim Wilson (Mother Superior), Scott Ian (Anthrax), Joey Vera (Armored Saint), John Tempesta (The Cult) and Ian’s wife Pearl Aday, have released a video for Beg Borrow Steal. Watch it below.

The group came about in 2013 as part of Ian’s 50th birthday celebrations. He wanted to jam some songs by one of his favorite bands, Mother Superior.

The collaboration led to them forming Motor Sister, who earlier this year released debut album Ride, which is made up of covers of Mother Superior tracks.

On recording the album Ian said, “We love Mother Superior, this kick-ass three-piece rock band from LA. They’ve been gone for about seven years. My birthday present to myself was, I cherry picked my 12 favorite Mother Superior songs, I put a band together, and we played a concert in the jam room in my house for 20 of our friends, who are really into Mother Superior. The vibe in the room was so good. We crushed it.”

To watch the video for the song Fork in the Road, click here. To learn more about the band and their album Ride, please go here.

Motor Sister will be playing at the Regency Ballroom in San Francisco tomorrow (June 26th) and Motorhead’s Motorboat 2015 tour in September.


additional source:


eddietrunk640 Ruben Mosqueda of Oregon Music News spoke with our very own Eddie Trunk. Excerpts from the interview appear below.

OMN: Who has been your biggest influence in getting you into rock radio?

Eddie Trunk: First and foremost I got into radio because I felt that hard rock and metal bands were being marginalized. I didn’t feel that their music was being given the proper attention or respect that it should have. My mission as soon as I got out of high school was change that.

As far as personal influences I don’t think I’ve had any aside from let’s say Howard Stern. I heard him back when he was on radio still playing music. I remember hearing him playing a song and coming out of the song he said something like “That was the new song by—- and I think that sucks! I was asked to play that by the station programmer.” I couldn’t believe that someone could be honest like that on radio? I’ll never forget hearing that. I also love his interview style and how he’s able to pull things out of people during an interview. I really respect that.

OMN: One of your pet peeves is the inability for some of your listeners to utilize Google and having them ask the most basic of things regarding whatever bands they are calling in about. What are some of your other pet peeves?

Eddie Trunk: Well certainly that is one of them. The biggest one is when people ask me about a band and they have no idea that the band never went away and that the band is still active making music and touring. The truth is that there are a lot of bands out there that are struggle. They are struggling to sell tickets and struggling to sell records. For example when someone comes up to me and asks “Eddie whatever happened with Tom Kiefer?” That makes me crazy because Tom’s been out touring for the past two years in support of his fantastic solo album. If you care about Tom Kiefer get online and find out more about what he’s doing. That’s something that’s always amazed me.

The other thing that really amazes me is the fact that people don’t know how That Metal Show works. People seem to think that I can make any artist magically appear on the show—they have this false sense that I control everything. People really think that I’m the beginning or end on whether something can happen or not. They don’t understand that I work for a network—they own it, they control it and they dictate it. While I do have a big role in the show at the end of the day I have a boss too. If it were up to me we’d be doing the show every day but that’s just not reality. As far as guest bookings go they have no idea how that works! I get it everyone wants to see their favorite band on there but it’s just not that simple.

OMN: Van Halen issued a Roth live record. They limited the amount of appearances to Ellen, Jimmy Kimmel and they just did The Billboard Awards. Kimmel was probably the best fit but the others were questionable. Stern was really pushing for Van Halen to come on his show which I feel would have been a brilliant move. The band sounds great on the album but Roth doesn’t sound that great. Roth sounds like he does at the present time though. What do you make of this whole Van Halen thing?

Eddie Trunk: They are extremely selective they will do one to two things. If you noticed the things they chose to do are extremely safe. On none of those platforms will they be asked a tough question. None of those platforms will they be asked about why they don’t work with Michael Anthony. On none of those platforms will they be asked about anything that is remotely controversial or meaty in anyway. They were all fluff pieces there’s nothing edgy about those appearances. Artists like Van Halen will do a major platform like that to go on and sell their album and get out. They don’t want to go on to a show where people are big fans and they will ask them tough questions.

There are bands like that; KISS is another band like that too. They’ll run anything that will ask them a question. They’ll go on CNN and sell their album even though that’s not where their fan base is. There are people like that are very sensitive and want to control everything and that’s just the way that it is.

OMN: There’s an influx in America of cruises and festival do you think they are getting to the point where they are becoming diluted? Do you foresee them not being so special in the near future?

Eddie Trunk: I think that’s a very, very, very valid concern. I really do. Not just cruises, but also the festivals in general. If you look at the festivals that just wrapped up most of them had about 80% of the same bands in the line-up. To me a festival used to be about “Oh my God, that’s a destination I have to get there. I have to be at that and I have to travel there.” Now festivals are practically in your backyard. At the present they are flourishing and that’s great. If people don’t watch out how they’re done and how many they do; they can get to the point of burn out and the economy won’t sustain it and it’ll fall by the wayside. The same with cruises; there’s some that are doing very well and there are others that will take a swing and fail.

Read more at Oregon Music News.



deeppurple640 Deep Purple bassist Roger Glover writes:

“One band, two crowds, two countries—a tale of two cities indeed. From Germany’s Wacken Open Air Festival, one of the biggest metal festivals in the world and a city unto itself, to Japan and the stately Nippon Budokan, the most revered venue in Tokyo. Each has its own distinct personality.

Wacken is a success story beyond par, starting out humbly by two friends in a field in rural Germany and becoming one of the best organized and attended metal festivals… ever. We were most impressed by the facilities, security, backstage, camping… in fact the whole production was superb.

As was the crowd, an awesome sight from the stage, generating a palpable sense of occasion. In the sunset, we were treated to a great welcome from the sea of tattoos and black leather facing us.

Festival crowds are unique because most people are there for the occasion itself rather than for any particular band. For us that is always a welcome challenge and a chance to connect with many who may never have seen us before. But the real stars are all in the audience. Thank you, Wacken.

By way of contrast, the Budokan is a temple of peace (except for the infamous occasion when all the seating was destroyed). Made in Japan was partially recorded there and we’ve played there many times since. For such a large space, the acoustics are excellent; this special building never ceases to impress.

On this particular evening, we came in at the back door, climbed the cool, marble staircase and entered the familiar dressing room. Feeling like we’re the only people in the building, it’s hard to believe there’s even an audience out there.

But there is, young and old, sitting patiently or chatting quietly—the embodiment of civility. It’s almost like the respectful hush one might find in a cathedral. But they’re here to rock. And rock they do. They may be quiet while they’re waiting, but they are far from shy during the show. They gave us an unforgettable evening. Thank you, Tokyo.”

From the Setting Sun… (In Wacken) has been filmed by 9 HD cameras at Wacken Open Air Festival 2013. For the first time in Deep Purple’s history, the band will release a 3D version of their performance on Blu-ray, filmed at Wacken.

…To the Rising Sun (In Tokyo) has been filmed by 12 HD cameras at Nippon Budokan, Tokyo in April 2014.

The audio of both shows has been mixed in Hamburg, Germany by Eike Freese and Alex Dietz (Heaven Shall Burn) with the supervision of Roger Glover.

From the Setting Sun… (In Wacken) and …To The Rising Sun (In Tokyo) will be made available on 2CD+DVD, DVD, Blu-ray (Tokyo performance), and Blu-ray 3D (Wacken performance) on September 18th on earMUSIC.




dougpinnick Greg Prato of Bravewords spoke with King’s X singer/bassist Doug Pinnick about a select number of shows the band will be playing this month and other topics. Highlights from the interview appear below.

BraveWords: How did these King’s X dates come up?

Doug Pinnick: Our booking agent just calls us every now and then, and says, ‘Hey, we’ve got some offers. Do you want to play?’ And we get back to him and say ‘Yes’ or ‘No’ – it’s pretty simple. [Laughs]

BraveWords: Will more dates be added?

Doug Pinnick: I hear some more are being added – I got an email this morning from our manager, asking for approval of a couple more weekends. So I guess we’re setting up and going to do some shows now. We’ve got the Texas run, and then we’ve got the east coast run, and think we’ve got something else coming too now.

BraveWords: Which songs would you like to see included in the setlist?

Doug Pinnick: For me, the songs have to be tailored around my voice, because the older I get, the lower my voice gets, and I can’t sing a lot of the old songs. Basically, if we can sing them, then we’ll do them. But if I can’t sing them, then we have to pass them. It’s just getting to that point now, because I’m 64, and my voice is just not working like it used to – I can’t sing Over My Head like I was 20, y’know?

BraveWords: How is Jerry doing, health-wise?

Doug Pinnick: Jerry’s doing great. It’s so funny that everybody is worried about him, but he’s been healed up for a long, long time now. He’s doing fine.

BraveWords: Is there any talk of a new King’s X studio album?

Doug Pinnick: We actually committed to a new record. We don’t know when we’re going to do it yet, but everyone says, ‘OK. Let’s go forward.’ So that’s all I can tell you at the moment. I don’t know when, but we’re planning on doing a record – finally I’ve got everybody to say, ‘Let’s do it’.

BraveWords: Looking back at all the King’s X albums, which one would you say was the most overlooked?

Doug Pinnick: Overlooked? All of them – are you kidding? [Laughs] Y’know, I don’t know, because I don’t really know what people like and what they didn’t. And I don’t look at record sales, because we never sell a lot of records anyway. So I have no clue what would be overlooked. When I talk to fans, everybody has their favorite, and it’s one of all ten of them. I don’t know, everybody has their favorites – I wouldn’t know myself, personally.

BraveWords: What about as far as upcoming solo projects?

Doug Pinnick: I’ve got a Jimi Hendrix tribute record I’m doing right now with a couple of people, which is a lot of fun, and I plan on doing my solo record within the year, and plan on a new KXM record – we’ve been talking about trying to do something in September with that, Ray [Luzier] and George [Lynch]. And my Grinder Blues band will hopefully do some shows and do another album, also.

Read more at Bravewords.