Been getting many questions about my old friend Ace Frehley lately. As usual there seems to be a great deal of misinformation out there. So here are some facts:
I am not working with Ace as a producer or in any capacity on a new album. I did suggest a studio and possible producer to him WHEN he wants to do a new album to check out, and I know he did. He had interest from a label for a new album but no idea where he stands with that. Nothing imminent as far as I know.I have always helped Ace when he has asked, simple as that.
I did NOT tell Ace he shouldn’t reunite with old Frehley’s Comet band members. As a matter of fact I never discussed this with him at all. Reunions of any kind happen generally for one reason, because they will mean more people and mean more money. If a promoter truly feels a reunion with former members of the band will move the needle and there is enough demand maybe it will happen. But I have not discussed this with Ace at all!
Ace is NOT homeless. The house in the news lately he does not live in. He has lived in Southern California for a couple years now. Not NY.
All I know is that there was some talk of maybe some live shows soon and maybe an album at some point. When I know anything more I will let you know. Thanks!
Foreigner guitarist Mick Jones spoke with Matt Wardlaw of Ultimate Classic Rock about producing Van Halen’s 5150, the band’s first album with Sammy Hagar on vocals. Portions of the interview appear below.
UCR: Walking into the Van Halen situation, what was that like? Because obviously, they had [been] working up until that point with Ted Templeman for all of the previous records. Besides knowing you as a songwriter, how comfortable was that to walk into that situation where you were the new guy?
Jones: I go a long way back with Sammy Hagar, since he was in Montrose. He picked me up at the hotel and we were driving up to Eddie’s studio and we were talking about the old days and finally he said, “I’ve got to tell you Mick, all of that was wild and crazy and all of that sort of thing,” but he said, “We are just about to walk into another dimension of that.” [Laughs] And I said, “What?”
He said, “I wasn’t going to tell you earlier, but you’d better get ready for some crazy sh– now.” I went, “Whoa . . . ” and I’d been around and seen a lot, you know. But it was pretty crazy up there. It lived up to its title. It was a challenge, because they had a lot of the stuff that they had been writing and it was a new writing partnership with Sammy and Eddie and they were just coming down from the split with David Lee Roth. It was a big time . . . a lot of different things were happening and a lot of emotions were flying around. It was kind of exciting [but] it was [also] scary, thinking, ‘Well, what can I do for this band?’
As you said, Ted Templeman had done all of the albums up to that point, and Donn Landee was the engineer who was running Eddie’s studio and he’d done every album they had done and here was I, walking in from a completely different place in a way and stepping in [with a] “Who’s this guy?” kind of thing. I got that feeling at the beginning from Donn Landee. He wasn’t particularly thrilled to see me, I don’t think. Granted, I got into the thing and I started to really listen to the songs, and I helped with the arrangements and I helped with the structure of the songs, and I worked a lot with Sammy on his vocals.
I think that’s if anything, one of my specialties in production is working with vocalists. I was able to bring him up to where he needed to be to front that band. We went through some crazy times. The engineer locked himself in the studio for a day and threatened to burn the tapes. It was a real standoff, you know? It was touch and go whether the tapes were going to survive. It all ended up great and everybody ended up [being] really cool and happy with what had happened, but it was pretty exhausting. It all paid off in the end.
UCR: Did your influence help on some of the tracks like Love Walks In or Dreams that were on the power ballad territory side of things that they hadn’t done before?
Jones: Yeah, I worked a lot on the arrangements and the vocal performances and helping [them] just to find the melodies a bit, especially on Dreams and Love Walks In. I put my advice and my suggestions in where I felt they merited them. I don’t know if you could have gone in with an approach of, “Oh, I want to change all of this,” which I think would have been disastrous. But I worked on the sound quite a bit with and eventually ended up being good friends with Donn Landee, who is a great engineer.
I think we improved the sound of the drums for example. I think it’s probably one of the best sounds that they’ve had on an album, on that album. And as I said, [I focused on] just using my suggestions where I thought they were needed and useful, not trying to just sit there and constantly coming out with ideas. I think it was a balance of letting the band do its thing and then just putting the glue in there a bit to make it coherent and to make it as good as it could be.
Ozzy Osbourne tells Metal Hammer that he is very proud of Black Sabbath’s new album, 13.
“I’ve not been this happy about an album in years,” says Osbourne. “I’m not trying to sell my home – if this record was just OK, I’d fucking say it. But honestly, hand on heart, it’s one of the best things I’ve done in my entire life.”
Ozzy also offers some thoughts on the situation surrounding original Sabbath drummer Bill Ward, who ruled himself out of the band’s reunion last year.
“It would have been great to have Bill – all of us said that,” adds Ozzy. “But you can’t expect someone of Bill’s age to be as agile as he used to be. He’s had heart attacks. If he’d turned up and played like he used to, or nearly as well, maybe we’d have worked something out…But we decided that if we were ever going to do this fucking album, you’ve got to be on the case. It got to the point where we said, ‘Are we just going to sit and wait for him to get off his fucking arse or what?’ We had to decide – we couldn’t just keep the fans waiting any fucking longer.”
Welcome to a brand new station bringing you Eddie Trunk Rock (my weekly FM show) starting this Saturday at Midnight! Great to be on KCAL Riverside CA. Go to www.KCALFM.com for more and to listen online.
Back live on Q104 and SiriusXM this Friday/Monday. Talk about Rocklahoma and more.
Bonzo Bash in Englewood at Bergen PAC this Saturday. Check this show out, really killer. See you there. Last free tix this Friday on Q104.3 show at 11P ET.
ALL NEW That Metal Show kicks off this Saturday finally on VH1 Classic at 11P ET with Jason Newsted as the guest. I’ll likely be live tweeting during it so follow @EddieTrunk
Thanks to Time Out NY for including me in this tribute to NYC metal:
Hope everyone had a great holiday weekend. Just back from hosting another Rocklahoma and it was a blast as usual. This years was the best attended one yet, and had a great mix of new and old school fans and bands. The weather was great also. Most importantly we raised a bunch of money for local charities and the folks recovering from the tornado in Moore OK. In guitar auctions alone I was able to get 50K from the stage, not to mention the other charitable stuff that went on. Really great generous people and if you follow on Twitter you saw the photos and stats of the money made on the items I auctioned. As usual with festivals I am running in many directions and can’t see every band or every song, but from what I did see I was most impressed by Alice In Chains (first time seeing them with Will, who was great!), Ratt (great to see them again, so many great songs), Korn (not a huge fan but respect their intensity and Ray Luzier is a beast drummer), Cheap Trick (amazing as always, Zander unlike anyone else still this great at this age, even Korn was side stage watching and rocking), Bullet For My Valentine (really good mix of heavy with good vox too). If I didn’t mention the band I didn’t see them or they just weren’t standouts. Just about all the bands I saw really did a great job and the crowd was awesome at around 30K a day strong. Thanks to Rocklahoma for having me host once again. An honor to do this every year. Thanks to the incredible fans in OK and thanks to the Hard Rock Casino Tulsa for the great accomodations. Can’t wait for 2014 already!
Eddie Trunk appears in Time Out New York‘s story about NYC Metal 2013.
When asked what defines NYC metal? Eddie replied,” “As someone who has been a fan, supporter and personality for 30 years in this market for hard rock and metal, the place that screams NY metal more than anything is the now defunct club L’Amour in Brooklyn. From my earliest years seeing shows, I would venture to Bay Ridge from my home in NJ, over two bridges, getting home at 4am, just to hang and see the many great bands that played there. There was such a grit about L’Amour, but also a great sense of community with fellow metalheads. There was a point where I think the club became almost bigger than some of the bands that played there. Anthrax, Overkill, White Lion, Type O Negative and many others with area roots literally broke out of that club. L’Amour was as NY as metal got and I miss it almost every day.”
photo: Krista Schlueter
See the rest of Time Out New York‘s story on NYC Metal 2013 including Anthrax, Saint Vitus, Ross the Boss, among others, please clicking here.