Jimmy Geurts of the Sarasota Herald Tribune spoke with iconic drummer, Carmine Appice, highlights from the interview appear, below.

Herald Tribune: What do you have planned for your Cooking with Rock Stars concert and filming here?

Carmine Appice: I’m going to play with Pat Travers, Pat is a guy that I work with. I have a new album out called Carmine Appice Guitar Zeus, and on that album I have all these great guitar players, and Pat is one of them. With Pat, we share my song that I wrote, and played with Rod Stewart, Da Ya Think I’m Sexy? We’re gonna play that song, one from my group Cactus and one song from Beck, Bogert & Appice….

Herald Tribune: As you mentioned, you’ve worked with Travers a lot over the years. How did that partnership come about?

Carmine Appice: When I first met Pat, I was playing with Ted Nugent and we were on tour together, Pat was the opening act. Pat’s drummer Sandy Gennaro is a good friend of mine, so I hung out with Pat a lot. Through the years, we’ve just connected and connected. And in the early 2000s, I had a record deal with a German label, we did the first album with Rick Derringer, me and Tim Bogert. Rick was born again at the time and he brought that to the music, so when the second album came up, the label said, “We don’t want to use Rick, we want you to use somebody else.” So I thought about Pat. I called Pat and asked him if he wanted to do this album with me. We did it, and we ended up doing two records.

So we’ve been friends for a long time, so when this thing came along, John Campbell asked me, “Do you have anybody else you could think might want to do that? We’re in Florida.” I said, “Well, you should call Pat.” We called Pat and Pat said, “Yeah, I’ll do it.” He wanted me to play, so I said, “Why don’t I just play with Pat? Pat’s got his little trio down there, we can use his bass player, it should be easy.” So that’s what ended up happening.

Herald Tribune: Led Zeppelin’s first North American tour was opening for Vanilla Fudge. What was that experience like, getting to introduce them to that audience?

Carmine Appice: Well, we knew Jimmy Page at the time. He was with the Yardbirds and we’d done some gigs with the Yardbirds with Vanilla Fudge. So our manager and their manager were friends, we had the same attorney, we were on the same label. So we got the record well in advance to hear it because they said, “Do you guys want these guys to open up for you?” We could’ve said no, but we were nice guys and said, “Yeah, Jimmy Page’s band, sure, they sound great.” I love John Bonham’s drumming on the first record.

We didn’t need them on the first gig, we’d already sold out by the time they were added. But our agent was their agent and he told the promoter, “Look, I’ll tell you what, you pay half and Vanilla Fudge will pay half,” because we were the headliners. In those days as a headliner, we were making five, six, seven thousand a night, not like headliners today. And they opened up for us, people were yelling, “Bring the Fudge on,” but in general they had a good reaction. And they continued on from there. Six months later, we did gigs with them and it was equal bill, that’s how big they got so fast. It was a lot of fun those days, because everything was new.

Herald Tribune: Bonham was among the drummers who’ve considered you an influence. How does that feel? 

Carmine Appice: There were drummers like John Bonham, Ian Paice from Deep Purple, Roger Taylor, Neil Peart. You can tell by all these guys that use gongs. I brought the gong into rock and then Bonzo brought it in with Led Zeppelin, Carl Palmer had gongs, everybody had gongs, it became like a staple. The two China cymbals on a boom stand, I brought that in and even in Spinal Tap, you had a gong and two Chinese cymbals. It became like this is the rock set-up, so stuff that I did caught on, and a lot of drummers used it. There’s guys that went through my drum book, I wrote a drum book as well and it was very successful. Guys like Slipknot’s drummer, he went through it, the female drummer that was in Motley Crue for a minute went through it. Dave Weckl went through it, even Andrew Dice Clay went through the book. It’s crazy.

Read more at the Herald Tribune.

Also, listen to Carmine’s track, This Time Around,  featuring performances by Yngwie Malmsteen and dUg Pinnick, here.

This song also appears on Appice’s, Carmine Appice Guitar Zeus, album.

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In May, poker powerhouse PokerStars asked 1000 of its European customers which song they liked the best from a list of songs. It came down to two choices – Lady Gaga’s Poker Face and Motörhead’s Ace of Spades, and it is no gamble to say that …Spades not only won, but crushed Lady Gaga’s 2009 smash-hit. With “…Spades having enjoyed huge success in 1980 before establishing itself as the anthem of a rock movement and lifestyle, this was not only a victory for Motörhead, it was a victory for the sheer strength of rock’n’roll music.

Three and a half years after Lemmy Kilmister has passed, the world still mourns the loss but Motörhead is more than alive. Rock magazines worldwide have stories about Motörhead in their issues on a regular basis, paying tribute to one of the legendary bands of all times. The iconic band shirt is still the most sought after merchandise item proudly worn by fans, friends and fellow musicians.

Years end polls in music magazines show the influence Lemmy and his band Motörhead had, the band made a big impact and the footprints they left are huge.

Readers Polls have them ranked up high again after these years:

Rock Hard, Germany 

In the category ‘favorite musician’ Lemmy left everyone behind and was voted with a huge gap between him and the rest to No 1 and captured No 2 for personality of the year 

Favorite band:  Motörhead No 4

Deaf Forever, Germany 

Personality of 2018: Lemmy Kilmister No 6

Favorite band: Motörhead No 3

Rocks, Germany 

Favorite band of all times: Motörhead No 8

Metal Hammer, Germany 

Personality of the year: Lemmy Kilmister No 4

Best band all times: Motörhead No 3

Best song of all times: Ace Of Spades No 8 

So once again, crank up the volume to both listen to, and feel the vibes of this iconic, legendary band! They were Motörhead and they played rock’n’roll, but now it is the public playing their legendary music with enthusiastic abandon, ensuring that Motörhead are alive and kicking in 2019.

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Original KISS guitarist Ace Frehley has released a music video for Mission To Mars. The clip is entirely animated by artist Christopher Fequiere, a first for Frehley. Chock full of KISS fandom easter eggs, this video is the second music video that we’ve seen from Frehley’s critically acclaimed Spaceman album. Mission To Mars follows the release of Rockin’ With The Boys,which was released last year.

He told the Houston Press, regarding the song:, “I’ve been a sci-fi fan since I was a kid, and when I joined KISS, we all had to come up with characters, so I invented the Spaceman. So, I’ve had a fascination with sci-fi and astronomy and space travel from a young age, so it all makes sense to me. I believe eventually were going to colonize Mars and go further.”

Spaceman was released on October 19th through eOne. Former KISS bandmate Gene Simmonsco-wrote two tunes on the record, Without You I’m Nothing and Your Wish Is My Command, the latter of which also features Simmons‘s bass playing.

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Paul Brannigan of Kerrang! spoke with the Prince of Darkness, Ozzy Osbourne, portions of the interview, appear below.

Kerrang!: When you look back at your childhood in Birmingham, do you remember it as a happy time in your life?

Ozzy Osbourne: No. No, I wasn’t a very happy child at all. I had three older sisters and two younger brothers and it was tough for us. I always dreamt of better things. We never went on holidays, we never had a car… we had a bathroom, which was pretty fortunate compared to other families on our street, and I often wonder how my dad afforded that. He was a hard-working guy, and so was my mum. My father used to say, ‘You’ve got to get a job with a trade and a pension, and bring your pay cheque home.’ My kids don’t know what it was like. I’ll say to them, ‘When I was young, if you wanted something, like a bike, you had to get a paper round, or whatever, and save up. You didn’t go to your dad and say, ‘I’d like a new bike’ and have him say, ‘Oh, just charge it to my account.’ It was a different world.

Kerrang!:In 1970, Paranoid became a Top 10 single for Black Sabbath. Did you enjoy being a pop star for a moment?

Ozzy Osbourne: Oh yeah! I mean, none of us set out to be pop stars or rock stars, but it was all an experience. Obviously we hoped we’d be successful, but we didn’t really want to be a regular Top Of The Pops band, we didn’t want to sell out to that point. That was never going to be our world. When Paranoid was in the charts alongside all these awful pop songs, you’d think, ‘How the f–k has this happened?’ We could have chosen to write pop songs, but we wanted to write music with a bit of grit and a bit of substance, rather than (sings‘I love you, you love me…’. All we ever wanted was to write music that we liked.

Kerrang! When you left Black Sabbath, were you scared that it might be the end of your career?

Ozzy Osbourne: Of course I was. There was no challenge anymore with Sabbath at the time, we’d all outgrown each other. But it’s like being married to a woman and falling out of love, and thinking, ‘I no longer want to be with her… but what if I meet someone who’s worse than her?’ It’s a very big decision to just go, ‘F–k this!’ I actually left, and then went back, and then they fired me, so I thought, ‘Okay, well, I’ve no f–king choice now.’ I remember being in Le Parc Hotel [in Los Angeles], thinking, ‘Well, this is it, I’m f–king done now.’ I went back to England and bought a wine bar with my now ex-wife, but ended up drinking more than I was selling. And then I met up with Sharon [Osbourne – Ozzy’s wife and manager], and the rest is history. Looking back, it was good for them and it was good for me. They needed a new singer and I needed a new band.”

Kerrang!: As your manager, Sharon obviously had great faith that you could become a solo star. But did you believe in yourself as much as she believed in you?

Ozzy Osbourne: Probably not. But then Randy Rhoads came along and it was a match made in f–king heaven. Randy was phenomenal, a great guy and a wonderful musician and he really helped me as a singer. He’d hear me humming a melody around the house and go, ‘Is that yours?’ and we’d work together to build a song out of it. With Sabbath, it worked the other way. Tony would come up with an amazing riff and I had to put a vocal on top of it, which wasn’t always comfortable for me, because I had to bend to what the band wanted.

Kerrang! You’ve played with some incredible guitar players in your career, from Randy to Jake E Lee through to Zakk Wylde. What makes a great guitar player in your eyes?

Ozzy Osbourne: Someone who can f–king play, for a start. Back in the day, auditions used to drive me f–king mental. The first 50 people who’d show up would only be there because they wanted to meet you, and then maybe if you were lucky you might find someone decent among the next 50. I used to get the guys in my band to make a shortlist, otherwise I’d have to sit through 900 guitar players, and usually all kinds of weirdos. I remember one guy saying to me, ‘I do a great solo standing on my head.’ So I said, ‘I don’t need a f–king acrobat!.”

Kerrang!: You were quoted last year as saying that you didn’t really enjoy the final Black Sabbath tour. Assuming that was an accurate quote, what didn’t you like about it?

Ozzy Osbourne: I didn’t like the fact that [original Sabbath drummer] Bill Ward wasn’t there, for a start. People put that down to me, but it wasn’t me, honestly. We [Sabbath] didn’t have the f–king time to hang around, we had to get going, but I’m sorry it didn’t work out with Bill. Tommy [Clufetos, Ozzy’s drummer, who played with Sabbath on their farewell tour] did great, but the four of us started this, and it should have been the four of us ending it. Those final gigs in Birmingham were bittersweet because you think of how far we came, and how much we did, and it would have been good to have shared that together. Maybe one day there’ll be one last gig, I don’t know.

Kerrang! Is a new Ozzy Osbourne album a possibility in 2020?

Ozzy Osbourne: I’d like to make one, but the truth is that people don’t buy records anymore. I’d like to make one just for the hell of it, and I imagine Zakk would be into the idea too, because he’s a force of nature and a great guitar player, so we’ll see.

Read more at Kerrang!

Ozzy recently announced rescheduled No More Tours 2 2020 UK and European dates, click here to view the itinerary.

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Spread Eagle is back and will release their first album in over 26 years, Subway To The Stars on August 9th through Frontiers Music SRL. The first single, and video,Sound Of Speed, can be viewed below.
“Our primary intention was to go back to the egg. Not to the debut album, but even before then. When we were unsigned, rehearsing in the East Village NYC and just putting our first songs together. We worked every day and night on our dream. We were a gang and no one could tell us we couldn’t accomplish something. That’s when we were at our rawest and nastiest and the intensity was completely off the meter. Of course, you can nevertruly go back in time, everyone learns and evolves; however, I wanted to remember that feeling of writing razor riffs in those basement spaces in 1989, then add it to current experiences,” says founder and bassist Rob De Luca on what fans can expect.
On first single Sound of Speed, De Luca continues, “We wanted something that had a strong sense of propulsion. After that verse riff popped out, the chorus and other sections flowed effortlessly. From very early on in the writing process, I felt this should be the song to reintroduce Spread Eagle. I was happy that Frontiers had that exact same vision for it. As I said above, it invokes the spirit of our inception with some additional skills that we’ve learned.”

Subway To The Stars tracklist:

1. Subway To The Stars
2. 29Th Of February
3. Sound Of Speed
4. Dead Air
5. Grand Scam
6. More Wolf Than Lamb
7. Cut Through
8. Little Serpentina
9. Antisocial Butterfly
10. Gutter Rhymes For Valentines
11. Solitaire

Spread Eagle is:

Ray West – Lead Vocals
Rob De Luca – Bass, Vocals
Ziv Shalev – Guitars
Rik De Luca – Drums, Percussion

Stream the single & pre-order the album at:

A limited amount of signed copies of the album available for pre-order here: 

For more information, please visit:

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I have added some more pictures from my visit to the Met. On some of these instruments I have documentation, as per the museum, others I do not. But, I felt these needed to be seen (especially Stevie’s strat). Enjoy.

View part one of my post, here.

Jimmy Page:

Acoustic guitar: Sovereign H1260 Harmony Company Chicago Ca: 1962 Flat spruce top with round sound hole, mahogany back, sides and neck, rosewood fingerboard 25 inch scale, natural finish. Electric Guitar: 3021 Danelectro Co, Neptune NJ 1961 semi hollow body; tempered Masonite top and back, polar neck, core and sides, rosewood fingerboard 25 inch scale, black finish; two single-coil pickups; three way selector switch, two concentric volume and tone controls; bridge replaced Leo Quan Badass Bridge. Amplifier Cabinets:Marshall Amplification PLC, London 1969 Wood, metal, plastic. Amplifier Cabinets: Orange Music Co. London, Ca:1969 Wood, metal, plastic Amplifier Heads: One Super Bass and two 1959 Super Leads Marshall Amplification PLC, London 1969 wood, metal, plastic, 100 watts

Above appears Jimmy Page’s full Led Zeppelin-era rig, which he has used in different combinations since 1969 for live performances, and studio recordings. The arrangement is a reconstruction of how it happened onstage with Led Zeppelin.

The acoustic guitar is one of Page’s main songwriting instruments. He used it to compose material on the first four Led Zeppelin albums, to record the majority of Led Zeppelin III (1970), and to record the acoustic parts of Stairway To Heaven. It remains in use today.

Page bought the electric guitar from London’s Selmer Shop in 1963 for his session recording work and first played it live in 1967 with the Yardbirds on his instrumental piece White Summer. He used it in “Celtic Tuning,” the alternate tuning with strings tuned to DADGAD with Led Zeppelin on When The Levee Breaks, In My Time of Dying, Kashmir and Black Mountain Slide. Page’s Super Bass head, custom modified by Tony Franks, was Page’s primary amp for Led Zeppelin’s concerts and recordings.

Some may, or may not, be pictured: Effect Pedal Clyde McCoy wha-wha Vox, Dartford, Kent United Kingdom Ca: 1969 Metal, plastic. rubber, rocking pedal enclosure. Vox Tone Bender Fuzz Professional MkII Sola Sound, London Ca; 1966-67 Metal, plastic, “Level” (volume) and “Attack” (fuzz) controls. Theremin Sonic Wave I.W. Turner Inc. PortWashington, NY Late 1960’s.

Page used this theremin, an electronic instrument known for it’s eerie-sounding tones, with one of his Echoplex EP-3 tape delays to create the soundscapes in Led Zeppelin’s Whole Lotta Love and No Quarter.

Dragon: Electric Guitar Telecaster Fender Electric Instrument Manufacturing Co, Fullerton, CA 1959, painted by Jimmy Page. Ash body, maple neck, rosewood fingerboard, 25-and-a half inch scale, clear coated finish with hand-painted design, two single-coil pickups, three-way selector switch, volume and tone controls Violin Bow: 20th century wood and horsehair. Shirt: Ca: 1967 Textile Super 1960T Coronado: Amplifier Valco, Chicago 1959 Wood, metal, plastic, textile, tremolo section with rate and intensity controls.

Jimmy Page received this guitar by Jeff Beck and used it for his 1967 work with the Yardbirds, playing with a violin bow on experimental versions of Led Zeppelin’s Dazed and Confused. After the Yardbirds disbanded, he used it to record all of Led Zeppelin (1969). Page hand painted the dragon design on the body and replaced the white pickguard with transparent acrylic over silver-gray diffraction film. The guitar was later stripped by a well-meaning friend, but Page restored the design in 2018.

Jimi Hendrix:

Electronic Guitar Fragment: Stratocaster Fender Electric Instrument Manufacturing Co, Fullerton, CA, painted by Jimi Hendrix 1967 Alder, chrome, plastic, spray paint, hand-painted design in nail polish.

This guitar fragment comes from the Stratocaster that Jimi Hendrix destroyed in a ritualized sacrifice at the Monterey Pop Festival on June 18th, 1967. After playing the instrument, he dropped to his knees and squirted lighter fluid on it before setting it ablaze, picking it up, and smashing it. Following the Who to close out the festival, Hendrix was determined to outdo their high-octane set, which concluded with Pete Townshend and Keith Moon decimating their instruments

Stevie Ray Vaughan:

Number One: Composite Stratocaster Fender Electric Instrument Manufacturing Co, Fullerton, CA Ca: 1963. Contoured alder body, maple neck, rosewood fingerboard, 25-and-a half inch scale, sunburst finish, three single-coil pickups, three-way pickup selector. one volume and two tone controls, lefty vibrato bridge.

Stevie Ray Vaughan, one of the key drivers of the 1980s blues revival, use Number One as his main instrument throughout his career. Vaughan acquired the Stratocaster, built from a 1963 body with 1962 neck and a 1959 pickups, from Ray Henning’s Heart of Texas music store in 1974 and modified it with black pickguard featuring his initials. Inspired by Jimi Hendrix and Otis Rush, Vaughan added a left vibrato. He played this guitar on his albums with Double Trouble and with his brother Jimmy Vaughan, and he likely used it on David Bowie’s Let’s Dance in 1982, made after the two met at the Montreal Jazz Festival.

Keith Richards:

Les Paul Custom: Electric Guitar Gibson Guitarr Corp, Kalamazoo Michigan Carved Mahogany body and neck, ebony fingerboard. 24
and-a-half inch scale; black finish with hand-painted design, three PAF humbucking pickups, three-way selector switch, two volume and tone controls, Bigsby B7 vibrato

After the Rolling Stone’s infamous drug arrest in February 1967, the band took a break from performing, and at some point Keith Richards decorated this guitar using paint pens, creating colorful abstract design on the body and silver stars on the controls. The instrument appeared in the Jean-Luc Godard film Sympathy for the Devil (1968), which explores the song’s writing and recording process during Beggars Banquet sessions. It was also used in The Rolling Stones Rock and Roll Circus (1968, released on film 1996).

The Beatles:

Paul McCartney:

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