As the excitement for the upcoming debut album by Metal Allegiance continues to grow, the album pre-order launches tomorrow via iTunes worldwide. The self-titled album contains appearances by Philip H. Anselmo, Charlie Benante, Chuck Billy, D. Randall Blythe, Rex Brown, Ron “Bumblefoot” Thal, Phil Demmel, David Ellefson, Alissa White-Gluz, Matthew K. Heafy, Gary Holt, Jamey Jasta, Chris Jericho, Andreas Kisser, Misha Mansoor, Mark Osegueda, Tim “Ripper” Owens, dUg Pinnick, Mike Portnoy, Troy Sanders, Cristina Scabbia, Alex Skolnick, Steve “Zetro” Souza and Ben Weinman. Fans can go to iTunes and all orders will receive an instant download of the recently released track, “Can’t Kill The Devil.” The song features Chuck Billy on vocals; Alex Skolnick, Phil Demmel & Andreas Kisser on guitars; David Ellefson on bass; and Mike Portnoy on drums.
The standard edition CD of Metal Allegiance will feature the 9 original songs. A digipak edition will be available that features an all-star tribute to Ronnie James Dio with a cover of his classic song “We Rock” as well as a 45 minute behind-the-scenes documentary on the making of the album. A double vinyl version will also be available that will feature all 10 songs. Physical CD bundles are available through the Nuclear Blast store.
Metal Allegiance recently announced that they will be having a record release concert on September 17th in New York City at the Best Buy Theater. The show, presented by D’Addario, will feature the following confirmed participants: Frank Bello (Anthrax), Charlie Benante (Anthrax), Chuck Billy (Testament), David Ellefson (Metal Allegiance/Megadeth), Alissa White-Gluz (Arch Enemy), Gary Holt (Slayer/Exodus), Scott Ian (Anthrax), Mark Menghi (Metal Allegiance), Mark Osegueda (Death Angel), Mike Portnoy (Metal Allegiance/The Winery Dogs), Troy Sanders (Mastodon), Alex Skolnick (Metal Allegiance/Testament) along with a few special guests. Space Born Killers have been tapped to open the show. Tickets for the show are $25.00 and can be purchased via Axs.com by clicking here.
Metal Allegiance will be airing weekly webisodes every Wednesday up until the album’s release date. The webisodes offer fans an inside look at the creation of Metal Allegiance and the unique collaboration by hard rock and heavy metal’s most notable performers. The first webisode features a look at album opener “Gift Of Pain” and webisode #2 showcasing “Let Darkness Fall” can both be seen below.
Stemming from an initial idea in 2011, Metal Allegiance was born as a way to unite a collection of hard rock and heavy metal’s most notable musicians in a setting born under one ideal- a love of music and performing. In 2015, that ideal still holds true and has become the foundation for everything Metal Allegiance; furthered with the release of the upcoming debut album. While the lineup may change, the passion, the energy and the emotion all remain the same. Metal Allegiance is more than just a record or a concert, it’s an experience and a lifestyle.
Caught Deep Purple last night in NJ at Bergen PAC. Solid set. They jammed a little much for my tastes, but when you have the caliber of players that are in this band it is still amazing to hear. There were just a few major songs “Woman From Tokyo”, “Knockin At Your Back Door”, and a couple others that would have been cool to hear in place of some of the longer jam segments. But then again Purple has always been about jamming to some degree as well as brilliant playing and songs. Steve Morse in his nearly 20 years in the band has really fit perfectly into the bands fabric. I wasn’t so sure if it worked when he first joined but now it clearly does. Blackmore ain’t coming back any time soon to Deep Purple (likely never!) and I honestly can’t think of a better guy now to handle guitar in this band. Ian Gillen’s voice sounded very strong for a guy who I think is 70? He isn’t singing “Child In Time” anymore but there were times I thought he almost could with a few of the screams he did let out. Whenever you get a chance to see the icons it’s a treat, especially when they can still deliver, and Purple can. A shame this band doesn’t get the same reverence in the U.S. than in other parts of the world, and to me they are the #1 snub by FAR currently by the R&R HOF!
My new podcast is up now and features an all new interview with Alex Lifeson of Rush! It is free and available worldwide via www.podcastone.com or on Itunes. Just search The Eddie Trunk Podcast. Alex discusses the bands future and more!
Happy 50th birthday to my old friend (and author of the forward to my 2nd book) Slash! Welcome to the club pal!
Be sure to visit ET’s Box Office on this site under Live & On The Air to enter to win free tickets to many shows including Mayhem at Jones Beach next week.
Thanks for all the comments regarding my last blog on the touring business. Good to see the feedback and thoughts.
Heart Of Storm–the internationally acclaimed one-of-a-kind live rock concert and Russian ballet experience–will make its premiere in Los Angeles on Friday, July 24th and Saturday, July 25yh at the Orpheum Theatre, 8pm (842 S. Broadway Los Angeles, CA 90014).
In celebration of its U.S. debut, Heart Of Storm is offering fans the chance to view these shows with complimentary tickets, only on July 24 and July 25. For complimentary tickets email: tickets@redrockballet.com.
In this in-depth interview below, Heart Of Storm’s Derek Sherinian [keyboardist]and Gregg Bissonette [drummer], Doug Aldrich [lead guitar] and Tony Franklin [The Firm, Jimmy Page, Paul Rodgers] discuss how the show was born, its evolution from premiering in Europe last year in Mayto kicking off its U.S. debut this Friday and Saturday in Los Angeles and what fans can expect when they come to see this one-of-a-kind rock concert and ballet experience.
Q: When did this whole idea for Heart Of Storm evolve from? What sparked it for you?
Derek Sherinian: The creator Alex Semenov approached me in late 2013 to produce and play on a rock instrumental record. Alex decided to have choreographed ballet performing live along with a rock band, he found Stas Tsoy a talented Russian-Korean choreographer and this sounded like an exciting, unique opportunity to me.
Q: What was your vision for this artistically? What message do you guys want to get across? What should people walk away with?
Doug Aldrich: Artistically, I thought this was a cool fusion of arts and I wanted an opportunity to push myself in some new directions after Whitesnake. This was really something interesting and obviously with a great bunch of friends that also happen to be at the top level as musicians. I hope to have people walk away feeling happy to see and hear something fresh that is a new idea.
Derek Sherinian: Heart Of Storm is Alex Semenov’s vision. My job is to help him see his vision through on the musical end.
Tony Franklin: Heart Of Storm is part rock show, part Russian ballet–with a killer band, featuring top name rock musicians–and world class Russian ballet. ‘Storm’ is the main character, and the storyline follows his tumultuous journey of love, anger, jealousy and death. But this is not just a dance show with accompanying rock music. Both the band and ballet are interwoven into a unique, powerful and emotional performance. I’ve never seen anything like it.
Q: How did the idea of fusing the music with ballet come about? How did you create the songs to fit with the ballet choreography?
Derek Sherinian: The music was written first, and then the dancing was choreographed afterwards.
Doug Aldrich: Music has always been in ballet I guess, but this is a fresh approach that the composer felt would be more intense and fit well with the choreography. It could possibly reach a new audience that might otherwise skip ballet. I myself have never been to a ballet, but now I’m interested. The Red Rock Ballet is made up of very talented young dancers from Russia.
Q: Can you elaborate on the band’s chemistry? What’s the dynamic like?
Derek Sherinian: Everyone in this band is not only incredible musicians, but incredible people as well. Tony Franklin and Gregg Bissonette are hands down the nicest rhythm section in rock! I am truly blessed to be working with such a great team of people across the board.
Doug Aldrich: Derek is our fearless leader and has put together a very diverse bunch of people to perform the music. I know Derek had been working on this for some time. Then I happened to be in Moscow for a day and I got a phone call from Brent Woods saying that he and Derek were out at a party in town and asked if I wanted to join. Haha. I was asleep and jetlagged so I didn’t go, but a few months later Derek started to think about this production and called me to play. I have to say, it’s been a huge amount of work for me to get up to speed, but we had so much fun that time has flown by. We are all very different people so it feels unlike any project I’ve been in. Gregg and Brent secretly coordinated wardrobe the entire time showing up with the same shit and shoes or whatever… Tony is truly one of the nicest people you could ever meet. His playing is just astounding… so giant. Like all the guys I reckon. Brandon has just blown me away…with horns and flutes!!! He has been very patient with us as he has not had to deal with a band this loud. But he seriously shreds if that can be deemed a compliment from me. Derek is that bad boy dude with chops that will back it up. Derek and Brent are serious gearheads which of course I can relate to. Derek has more gear than just about anyone I know…. I get it. There is always more room for something new. Brent plays so awesome. I’m really glad to work with him. He is playing solos as well, but also doing acoustic work which is very important with a ballet. Gregg is joking around all the time… always, but he just an insanely talented player. He like all these guys has played with the best of the best cause they are that good.
Gregg Bissonette: The band chemistry is awesome. I’ve been a fan of all of these musicians for many years and have played with everyone before except Brent Woods, but now he’s my new best friend :). The first day I showed up for rehearsal, I was wearing a red Foo Fighters shirt and black jeans and Brent was wearing a red shirt and black jeans. Everyone commented on it, so each morning we decided to mess with the others by calling ahead of time and wearing the same colors. It took them a while to figure it out and they thought we were on the same wave length, but they quickly caught on :).We all really take the music seriously, as a drummer in the band you have two man jobs: the tempo, and controlling the dynamics… bringing it way down and way up when you need to. Brandon is one of the world’s greatest sax players and I’ve played with him at the Baked Potato Jazz club in L.A., on his solo albums, and we were in the house band for the Latin Grammys a few years ago. I was in a band with Derek called Jughead which my brother Matt Bissonette (Elton John’s bassist) and Ty Tabor (Kings X) were also in. Derek and I also played in Italy with Yngwie Malmsteen and Deep Purple, that’s where I played with Doug Aldrich as well. Tony Franklin and I have played a ton together over the years and have been great pals for 20 years. We played years ago on a movie called Endless Summer 2. It was a surf movie. We’ve done a million albums together and toured all over the world. Derek is the glue that brought us all together. He is a great guy, a fantastic musician, and a wonderful producer and band leader. The music we are playing with Heart of Storm is written so well that it lends itself to having a lot of dynamics, (playing at different musical volume levels). It’s very passionate music and when everyone sees the dancers and storyline, they will love it and see that it’s all brilliantly connected.
This hybrid rock concert fused with stunning, young Russian ballet talent–spanning the Bolshoi Theatre, Swan Lake and the Nutcracker–inherits the tradition of classical ballet, while charting new territory into live, emotional theater. Heart Of Storm is an explosive and theatrical rock ballet extravaganza. Watch a clip below.
Queensryche will be releasing their second album with frontman Todd La Torre, entitled Condition Human, on October 2nd through Century Media Records.
Guitarist Michael Wilton has said of the recording, “The label are very positive and happy about it. I know that a lot of people are really anticipating this, so stay tuned and you won’t be disappointed.”
Motley Crue guitarist Mick Mars says he feels like “the most unpopular person on the planet” – but he aims to change that with his solo career.
He insists he has a lot to prove once the veterans bow out with their final show on New Year’s Eve. And his first releases are likely to be an album and a book that focuses on his own take on his career, following 2001 Crue bestseller The Dirt.
Mars tells Classic Rock’s Dave Ling, “It’ll be a hard rock record, but it’s tough to categorize. It’s not metal. It’ll make your hair fly back in the breeze.”
He says of the book, “It won’t be anything like The Dirt. After 30 years of being suppressed, I’m going to be bringing out a lot of shit.”
The guitarist doesn’t think any of his family read the first title. Asked why not, he replied, “When I was sick, everyone but my parents abandoned me. I’m talking about my siblings – I was begging for help and basically they told me to go f–k myself. I haven’t seen any of my family in 11 or 12 years, except for my son.”
He still has a point to prove musically too. “I feel like I’m the most unpopular person on the planet. Everyone says I can’t play the guitar – I’d like them to know that I can. Nobody can play like Jeff Beck. Nobody can play like Jimi Hendrix, though a lot of people try. And nobody can play like me.”
He has to focus on music because his ankylosing spondylitis makes his other interests, like driving and golf, too difficult to follow. “I can’t drive my car any more, or hop on my bike,” he says. “I can’t go out for a putt. So the answer is nothing. Music is all I do.”
But Mars insists he can persevere to prove his points. “I was driven to make it in the music world. And to this day I will not give up on anything.”
The full interview appears in the current edition of Classic Rock, on sale now in print, digital and via TeamRock+.
Really interesting reading some of Kerry King’s comments about the current Mayhem tour (now in the news section) which features Slayer and King Diamond as headliners. The owner of the festival had made some comments about how difficult it is to keep viable metal acts that draw on a bill while also keeping costs down. He also made some comments about metal and the fans saying some of the artists have gotten “fat and bald and scared off girls” (not like girls were ever the driving force in this genre of metal!). Kerry is one of the most unfiltered people I have ever known in this business. He simply speaks his mind and always did. The tour is clearly struggling to draw and Kerry’s latest comments were basically saying it was not booked correctly. Was really interesting to see the leader of the headlining band on a Summer package tour being this honest. This all speaks to a bigger disturbing trend I can’t quite figure out. MANY bands at all levels being booked in venues they shouldn’t be in. I don’t know if it’s a by product of too many venues, too many bands on the road, or just too many bands over touring (a huge issue I think and a by product of no money from record sales), but every day I am scratching my head about concert bills I am hearing about at all levels in venues they should not be in. It doesn’t take a genius to figure out Slayer (now half original) and King wouldn’t be a big amphitheater draw. It’s not a knock on any act, it’s just common sense. But promoters are in a tough spot. They need these festivals and branded tours to go out, but they also can’t got to the next level of talent booking because it would destroy the tickets being affordable. I get that. What I don’t get is club acts in theaters, theater acts in arenas, etc. I would much rather see a band in a setting with a vibe and packed house full of energy than an arena curtained in half or half empty. Or a show that is “papered”, the industry term for giving away a ton of tickets just to make money on beer sales and get bodies in the room. You have no idea how many shows I am asked to help “paper” all the time because they are stiffing. It’s not the artists fault for the most part. It really falls on the agents and promoters to know what they are buying and know if people will care. There is no amount of marketing anyone can do if people don’t want to see a band or have seen them too often. And although a largely papered show may give the appearance of people in the building, it is also easy to feel in the room since most are indifferent because they got in for free. It’s a catch 22 in some ways. Bands need to tour because tickets and merch are pretty much their primary income, but too many tour too much and as a result their draw has been shot. You’re seeing it at the festival level as well. There are a ton of them now, many with very similar bills. Something the organizers of Download in the UK (a huge yearly event) recently discussed as an emerging issue in the business. The idea of a festival was to be a special destination gig. Now they are everywhere. A rock themed cruise used to be unique, now there are many of all genres. It’s just massive over saturation and will impact the little guys more, because the big super acts will for the most part always be able to sell.
Which leads to the next question; what happens when the super acts are done? AC/DC, likely the last tour I would think. As it is there was no real tour, more special scattered stadium dates. Brian is 68? Aerosmith? Tyler as great as he is is 68 and now looking toward country. Sabbath, likely done as far as touring but maybe another run? Van Halen? Anything can happen and it was surprising to read in a recent Billboard article the current tour has been a bit soft in some places selling tickets (apparently ticket prices an issue here as well). Rush? Pretty much done touring. Kiss? Believe what you want but they haven’t been a headline arena act in the US since 2000. Which is why they have co-headlined sheds (and a huge difference between sheds and arenas by the way) for the most part here. Regardless they are likely near the end for what’s left of the original band. Motley? Done in a few months. And they got a huge pop playing the Farewell card and wisely had a name legend opening all the dates. Priest? Said they were done, pulled a reverse, and are hanging in a bit more. But they have not been a full arena headline in a long time here. Maiden? Maybe the biggest global metal act along with Metallica. New album coming and dates in 2016, but these guys are not getting younger and Bruce already had a major health scare and we don’t know yet how he will recover from it. Bon Jovi? Like them or not a massive global stadium act even with just 3 original members. How much more does Jon want to work in his early 50s and with other interests? Where are the next true headliners?
Metallica is erratic as far as how much they play and making new music. But that actually may work to their favor since they far from over tour. You have to hope bands like A7X, FFDP, etc, continue to grow. Foo Fighters are clearly the biggest rock act out there right now and cross over to many genres appealing to rock and metal fans. But outside of Foos, and what Metallica has left in the tank, we really need to hope some of these emerging guys warming up in the bullpen can graduate to the big big leagues. Which leads to an even bigger question. Is that even possible now the way the music is and the way it’s consumed? For a while it was trying to sell downloads. Now that seems to be abandon in favor of just hoping people LISTEN to the music. That’s what streaming is. Don’t even own it, give us nothing, just listen to it! So music has become so devalued today that I wonder if that translates and stagnates an artists potential to even become huge again? This is all just out loud thinking and I welcome your comments and thoughts here. But one thing that does bother me (besides the lack of regard for physical ownership of music) is seeing artists booked in venues they have no business being in, and people saying; “look, I told you rock was dead”. Nobody’s rooting for this stuff more than me. But we have to hope there is a new generation to carry the flag and people embrace new artists they are hearing that they like so the next generation of rock and metal fans has something to celebrate. We are at the tail end of what’s left of the golden era of rock and metal from the 70’s and the 80’s. As for 90’s guys? Foos rule that pack and Pearl Jam are certainly alive and more than well. Soundgarden still viable, but not that consistent as far as playing. AIC? Same deal. Pumpkins and Manson? Currently co headlining sheds. Foos and Pearl Jam the biggest from that era. So where are we at 10 years from now? I wonder and curious what you guys think? Let’s hope there is a kid in his garage somewhere right now with a guitar that has the answer..
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