Whitesnake continues to revisit its multi-platinum career as it remixes some of its biggest hits for a new collection, Greatest Hits, which was made available on May 6th on digital and streaming services.
Whitesnake founder and lead singer David Coverdale had 16 tracks remixed and remastered for this collection. He explains: “We’ve definitely expanded on the original Greatest Hits, took them all out of the sonic time capsule of the ’80s and ’90s, and brought them up to date, sound-wise … as always, we have the original albums for those who consider them holy relics.”
Keyboardist Derek Sherinian (Dream Theater, Sons Of Apollo),who also appeared on Whitesnake’s recent Red, White And Blues trilogy, adds Hammond organ to more than half the songs on the collection. His scorching contributions can be heard on the Number One smash Here I Go Again, Fool For Your Loving, You’re Gonna Break My Heart Again and more. New performances by former Whitesnake guitarist Adrian Vandenberg can also be heard on The Deeper The LoveandJudgement Day”from the 1989 album Slip Of The Tongue.
Along with those new additions, Coverdale also went back to the vault to unearth vintage performances by guitarist John Sykes that didn’t appear on the original recordings, including a solo on Slide It In and rhythm guitar on Give Me All Your Love.
Greatest Hits focuses extensively on three blockbuster albums the band released during the 1980s: 1984’s Slide It In (double platinum), 1987’s Whitesnake (eight times platinum),and 1989’s Slip Of The Tongue(platinum). But the collection goes deeper with songs like Sweet Lady Luck, a B-side on the 12-inch single for The Deeper The Loveand Forevermore, the title track from the band’s 2011 album.
Greatest Hits CD/Blu-ray track listing:
“Greatest Hits” CD/Blu-ray track listing:
1. Still Of The Night 2. Here I Go Again 3. Is This Love 4. Give Me All Your Love 5. Love Ain’t No Stranger 6. Slide It In 7. Slow An’ Easy 8. Guilty Of Love 9. Fool For Your Loving 10. Judgment Day 11. The Deeper The Love 12. Now You’re Gone 13. You’re Gonna Break My Heart Again 14. Sweet Lady Luck 15. Crying In The Rain 16. Forevermore
Scorpions, one of the most iconic and influential hard rock bands of all time, will return to North America on the Rock Believer world tour with special guests Whitesnake on the David Coverdale-fronted outfit’s farewell tour.
Fresh off of their sold-out Sin City Nights Las Vegas residency, Scorpions will begin the two-month-long Live Nation-produced run of dates on August 14th in Toronto, with additional concerts in Los Angeles, Detroit, Chicago, Dallas, and Denver, among others. In addition to Whitesnake, Swedish band Thundermother will be joining the tour.
Tickets go on sale to the public on May 13th at 10 a.m. local time on Ticketmaster.com. Scorpions Rock Zone fan club members will have exclusive, first access to tickets starting May 10th at 10 a.m. local time.
Scorpions frontman Klaus Meine said, “After the amazing start we’ve had with our residency in Las Vegas, it’s about time to come back for a real tour to rock the U.S. like a hurricane again. We can’t wait to see all you rock believers out there.”
Coverdale added, “Once again it’s time to feel the sting of the Scorpions and the bite of the Whitesnake. Can’t Wait!!!”
SCORPIONS North American tour dates with WHITESNAKE:
Aug. 21 – Toronto, ON – Budweiser Stage Aug. 24 – Quebec City, QC – Centre Videotron Aug. 27 – Montreal, QC – Bell Center Aug. 30 – Detroit, MI – Pine Knob Music Theatre Sep. 1 – Rosemont, IL – Allstate Arena Sep. 5 – Atlantic City, NJ – Borgata Casino* Sep. 7 – Belmont Park, NY – UBS Arena Sep. 9 – Mashantucket, CT – Foxwoods Casino* Sep. 12 – Hollywood, FL – Hard Rock Live Sep. 14 – Tampa, FL – Amalie Arena Sep. 17 – Houston, TX – Toyota Center Sep. 19 – El Paso, TX – Don Haskins Center Sep. 21 – Tulsa, OK – BOK Arena Sep. 24 – San Antonio, TX – Freeman Coliseum Sep. 27 – Dallas, TX – American Airlines Center Sep. 29 – Denver, CO – Ball Arena Oct. 1 – San Diego, CA – Viejas Arena Oct. 4 – Los Angeles, CA – The Forum Oct. 7 – Fresno, CA – Save Mart Center Oct. 9 – Portland, OR – Moda Center Oct. 13 – Spokane, WA – Spokane Arena Oct. 15 – Tacoma, WA – Tacoma Dome Oct. 18 – Oakland, CA – Oakland Coliseum Oct. 21 – Las Vegas, NV – Mandalay Bay
* Scorpions only
Scorpion’ latest album, Rock Believer, was released on February 25th.
Last July, Whitesnake announced that it had enlisted Croatian singer/multi-instrumentalist Dino Jelusick for its upcoming tour. Jelusick is a member of multi-platinum selling band Trans-Siberian Orchestra and was previously part of Dirty Shirley (with George Lynch), Animal Drive and recorded with many others. The 29-year-old Dino has been singing, touring and recording since the age of five. Other than being a vocalist, his main instrument are keyboards but he also plays bass, guitar and drums. He finished music academy and did theater work.
Whitesnake had been touring in support of its latest album, Flesh & Blood, which was released in May 2019 through Frontiers Music Srl.
Greg Prato of Vintage Rock spoke with Def Leppard guitarist Vivian Campbell, highlights from the interview appear below.
Vintage Rock: How much are you looking forward to the start of The Stadium Tour?
Vivian Campbell: You won’t believe how much I’m looking forward to it. And I’m pretty sure the rest of the guys feel the same way…We’re very anxious to get back to work…We are going to probably focus on the new album more than people may expect us to. And that wasn’t initially the plan, but I think we were very enthused by the response that the record has gotten…
…And the label is hot on the record — they were very enthusiastic about it, they’re very excited about it. And that’s genuine — that’s not just them blowing smoke up our ass. We can genuinely tell that…if you strategically put these songs in the set — in the right place and in the right way — they could actually come across. So, you never know. There’s just a general feeling that it’s appropriate to actually focus on some new music for this tour.
Vivian Campbell: It’s certainly different in the way we recorded it. We didn’t see each other at all — it was entirely remote…But I immediately started to panic, because I’m a Luddite — I have a hard time with technology, and I didn’t have any sort of home recording setup. So I had a very quick, very steep learning curve with regard to technology. I spent a lot of time on the phone talking about how this stuff worked and I had to buy some more gear. That was difficult, and I had a little anxiety at first but it got easier. And then I came to appreciate the other side of the equation — that it’s actually a lot better to work that way for me because there is no pressure of having anyone looking over my shoulder. And as a guitarist, I really appreciated that…I feel it’s probably some of my best playing, and I feel the same is true with [guitarist] Phil.[Collen] And I think we all really appreciated being able to work on that sort of schedule.
But having said that, I don’t think it’s the kind of thing that the band could have done on the first or second album…[to] make a record this way remotely. But we have so much road under our wheels. We’ve made so many records…I think kind of really set us up and enabled us to be able to deliver a record of this quality by doing it remotely.
Vintage Rock: What are some of your favorite tracks on the album?
Vivian Campbell: …[bassist Rick] Sav[age] has a couple of songs on the record that that bookend the album — the first song and the last song [Take What You Want (see lyric video below) and From Here to Eternity]. I really like those songs in particular. I like a lot of the record — there’s nothing on the record I don’t like. But the Sav songs, for whatever reason…I think it’s because he’s a mad Queen fan, and his songs may seem simple at times, but there’s parts in them that are very, very, very complicated. And as a musician, I think I appreciate that.
Vintage Rock: Is it true you used your black Les Paul from back in the Dio days on this album?
Vivian Campbell: Yeah, I did. Ever since I started doing the Last in Line…when I do Last in Line recordings and live shows, I use that guitar exclusively — because it just seems appropriate. Because that was the guitar I did Holy Diver with. So, I have sort of rekindled my relationship with it. And then for this record — recording at home — I essentially used four different guitars. But I did most of the solos…in fact, I think I did all of the solos maybe on that particular Les Paul — the Dio one. But the other guitars I used was another Les Paul — the custom shop Viv Campbell model that they made in 2018, and I have a ‘66 Fender Telecaster that I used, and I used my blue Tom Anderson 1988 Stratocaster on a few things. Those were the four guitars that I used.
Vintage Rock: Is there a story behind how and when you obtained that Les Paul?
Vivian Campbell: When I first started playing, Rory Gallagher was my first guitar hero, first album I had, first concert I saw. And Rory was famous for his old, beat up Stratocaster. So, at first I wanted a Stratocaster — but I couldn’t afford one. Because I was only twelve or thirteen at that time. But at that time, I worked every summer, every school holiday, every weekend — ’cause I was “a guitar kid,” I wanted to save up money to buy guitars, effects pedals and stuff and guitar strings. By the time I had saved enough money to buy a proper guitar, I had fallen under the influence of Thin Lizzy and their guitar players, Brian Robertson and Scott Gorham. And in particular, an Irish guitarist who had been through Thin Lizzy a bunch of times — Gary Moore. Gary I would say was my ultimate, ultimate guitar hero. He’s a guy that shaped my playing more than anyone else. He was famous for playing that Peter Green Les Paul [aka “Greeny,” now owned by Metallica’s Kirk Hammett] — the guitar that Peter Green had given him.
So, I wanted a Les Paul, and I had gone to my local mom and pop guitar shop. And this is Ireland in the late 1970s — you don’t have Guitar Center…So, I ordered a gold Les Paul Standard. And I waited for months and months and months and months and months to come and show up. And then one Friday afternoon, I went into the shop on my way back from school, and they said, “Well…good news and bad news. The good news is we finally got a Gibson Les Paul. The bad news is it’s not a Standard.” It was a wine red Deluxe [1977]. The Deluxe was a little bit cheaper than the Standard, so that was a good thing, too. But Scott Gorham from Thin Lizzy played a Les Paul Deluxe at that time, so I thought, “Well, if it’s good enough for someone of that caliber, it’s certainly good enough for me.” So, I ended up buying the guitar.
I didn’t like the color and I never liked shiny guitars. Because of my Rory Gallagher influences, I like guitars that have patina. So, I took it home that night and I took sandpaper to it, and I took off all the shine — all the varnish. And then within a month or two I took it to someone to put humbuckers in it and to repaint it black — the color that it is today. And I basically changed every facet on that guitar — all the hardware, changed everything. Y’know, the machine heads, the nut, the jack plate, the bridge, the frets, the pickups…every aspect of it. It’s all been “hot-rodded” over the years. So, that guitar meant a lot to me. It was the guitar I really learned how to play on. That’s when I really became a decent guitar player — was when I got that. I really invested in playing it and that was the guitar I used in Sweet Savage, that was the guitar I used for the Holy Diver album and tour. So, I consider it the most valuable instrument I have. And it’s also the only one I know this serial number to.
Vintage Rock: You just mentioned Dio — after you left, was there ever any possibility of you and Ronnie getting back together or talking?
Vivian Campbell: I’d like to clarify — I was fired from Dio. I did not leave Dio. And that’s a bit of an urban myth, because all these decades after, a lot of people are under that misconception thinking that I left the band. I never wanted to leave Dio. I was fired in the middle of a tour. But I was a squeaky wheel. I was the one who was trying to get Ronnie to uphold his promises and be true to his words, and it didn’t work out. So, I don’t think there was ever any chance that we were gonna work together again.
Ronnie’s wife, Wendy, right up until the day he died, she was his manager — and she never saw me as being of any value to Ronnie. She always thought I was just a guitar player and I was easily replaceable. I think Ronnie knew a little better. So, I think if Ronnie and I had met each other without Wendy, and we’d gone to the pub and we’d had a pint of beer and talked through our differences, yeah, I think we could have worked together again and it would have been great. But as long as Wendy was controlling his career, that was never going to happen.
Vintage Rock: Do you regret never getting the opportunity to make amends with Ronnie before his passing?
Vivian Campbell: Yeah. Y’know, we both said ugly things about each other in the media — which is never a good idea. But you get goaded into these things. And everyone makes these mistakes. That was unfortunate. But Ronnie was a complicated guy — like everyone. When people ask me, “What’s so-and-so like?”, it’s hard to summarize the human experience in a couple of sentences. I mean, we’re all complicated beings – we have good days and we have bad days. We have good attributes from our personalities and we have negative ones. And Ronnie was complicated. We had days when he and I got along really well, and there were days where I thought he was a total a-hole…and I’m sure he thought exactly the same about me. But the one thing that we did good together was we could make music together.
I always found it a very strained relationship because of…and I will own most of the responsibility for that, because I was very bashful around Ronnie. Because I was 20 years old and I’d been listening to Ronnie in Rainbow and Sabbath for years before I ended up being in a band with them, and finding myself in the studio in LA, and just in this whole surreal, very different environment that I’d known before. And being in a band with this guy whose albums I’d been listening to since I was about thirteen years old. So, I just had this strange sort of deference towards him — where he was a rock star, in my opinion. Plus, he was so much older than me. You almost wanted to call him “Mr. Dio.” I didn’t, but I kind of felt like it. Like, I probably should be more respectful in that regard. So, it was a little bit strange to have that sort of relationship. I never felt quite comfortable around him. The only time I did was when we were playing music.
Vintage Rock: Looking back, what are your favorite Dio tracks that you played on?
Vivian Campbell: Gosh…I was never particularly fond of the Sacred Heart album..But every time I do hear something, I think, “Wow. I did play pretty good on that.” The first two albums, the environment in which they were made was much more healthy. So, I’m definitely more familiar with those.
I mean, I like the solo in in The Last In Line — that the title track of that album — I think that’s a well-constructed solo. Obviously, I’m proud of the solo in Rainbow In The Dark, but I wouldn’t say that’s a well-constructed solo — because that was a first take and I didn’t know what I was doing. But I think I got really lucky with it. There’s different aspects of other solos on the early Dio records that were like pulling teeth…and others were really easy to do. Don’t Talk To Strangers I think is a particularly strong solo…
Vintage Rock: Before you mentioned Rory Gallagher and Gary Moore as influences. Did you ever get the opportunity to meet either of them?
Vivian Campbell: Yes, I did meet Rory…and I actually got to meet him as a fan backstage. He was one of those guys who would literally stand there and sign every last autograph ‘til whatever time in the morning. So, he was very, very gracious — he signed my concert stub.
So then, in later years, I actually got to meet Rory in the mid 1980s, a few years before his death. A guitar magazine asked me to interview him as a peer to peer sort of thing, so I got to meet him at LA, which was a real treat. I got to play the Strat — which was more difficult than I had anticipated, because he used heavier strings. But he was just a lovely, lovely really down to earth human being. And no pretense of being a star or celebrity — he was just like an old school blues musician. Just loved to play the music and loved the lifestyle.
I met Gary Moore under very strange circumstances one time — and it didn’t go well. That certainly would be one to file under the headline of “never meet your heroes.” I had been asked about four or five months before Phil Lynott passed away…Jimmy Bain — the bass player in Dio — was really close with Phil Lynott. They were good friends. But I’d known Phil also…I didn’t know him terribly well — I wouldn’t consider him a peer — but he was very supportive of Sweet Savage, and got on stage with us a few times and jammed with us.
But anyway, long story short, Jimmy had said that Phil was looking for a guitar player to record some demos with for a solo album. This wasn’t Thin Lizzy, this was to be a Phil Lynott solo album. So, I went to London for about a week in 1985. I remember the original Live Aid was on — I remember watching it on TV at Phil’s house. So I went there, and like I said, this was several months before he passed away from basically a heroin overdose. So, Phil was just very, very distant. I couldn’t understand a word he was saying — he was mumbling, he was in cold sweats. His wife and kids had left him and he was living in this house. He had this minder guy — a driver guy — who was looking after him, and a couple of Swedish au pairs. I mean, it was really bizarre, kind of strange, surreal rock star stuff. And I was just like, “What the hell is going on?”
So anyway, I was in Phil’s house, and then one morning I came down to the kitchen to make a cup of tea and I walked into the kitchen and Gary Moore was in the kitchen…in Phil’s house. It was totally unexpected. I don’t know if he had a key or if the door just wasn’t locked or whatever. So I walk into Phil Lynott’s kitchen and everyone else is still sleeping, and Gary Moore is standing there. And he had come round to check up on Phil. And he obviously felt that I was part of this whole…y’know, I was enabling him to be doing what he was doing. He thought that I was complicit in Phil’s drug addiction — which, obviously, I wasn’t. I mean, I’ve never done heroin in my life nor would I want to. I knew nothing about it. But Gary was not friendly. I was like, “Oh Gary, what kind of strings do you use? Blah blah blah.” And he wasn’t having any of it. He was like, “Where’s Phil?” “I think he’s still asleep. I haven’t seen him.” “Well, tell him I was here. Tell him to call me.” But it was definitely cold. He was not friendly towards me. But I don’t blame him — Phil was his friend and he thought that I was one of those people that was enabling Phil’s demise just because I happened to be there. So, that was unfortunate.
Vintage Rock: How are you doing health-wise? (Campbell revealed in 2013 that he was diagnosed with Hodgkin’s lymphoma)
Vivian Campbell: Good, thank you. It’s ongoing. I still have to do maintenance, but I’ve been very fortunate — I have good doctors and I live in an era when there is a lot of options, good options, and a lot of new things coming along. So, I’m hoping to get on another trial for CART (a type of cell therapy), so I’m just waiting for a trial to open. And hopefully after this summer’s tour I’ll get a chance to do something like that. But it’s good. I mean, it’s not something I’ve ever spent a lot of time fretting over. It’s all part and parcel of the process.
Def Leppard’s forthcoming new album, Diamond Star Halos, will be released on May 27th and can be pre-ordered here.
The band will be hitting the road, starting June 16th in Atlanta, with the rescheduled The Stadium Tour, along with Mötley Crüe, Poison and Joan Jett and the Blackhearts, see the entire schedule below.
June:
16 Atlanta, GA Truist Park 18 Miami, FL Hard Rock Stadium 19 Orlando, FL Camping World Stadium 22 Washington, DC Nationals Park 24 Queens, NY Citi Field 25 Philadelphia, PA Citizens Bank Park 28 Charlotte, NC Bank of America Stadium 30 Nashville, TN Nissan Stadium
July:
2 Jacksonville, FL TIAA Bank Field 5 St. Louis, MO Busch Stadium 8 Chicago, IL Wrigley Field 10 Detroit, MI Comerica Park 12 Hershey, PA Hersheypark Stadium 14 Cleveland, OH First Energy Stadium, Home of the Cleveland Browns 15 Cincinnati, OH Great American Ball Park 17 Milwaukee, WI American Family 19 Kansas City, MO Kauffman Stadium 21 Denver, CO Coors Field
August:
5 Boston, MA Fenway Park 6 Boston, MA Fenway Park 8 Toronto, ON Rogers Centre 10 Orchard Park, NY Highmark Stadium 12 Pittsburgh, PA PNC Park 14 Minneapolis, MN U.S. Bank Stadium 16 Indianapolis, IN Lucas Oil Stadium 19 Houston, TX Minute Maid Park 21 San Antonio, TX Alamodome 22 Arlington, TX Globe Life Field 25 Glendale, AZ State Farm Stadium 27 Inglewood, CA SoFi Stadium 28 San Diego, CA Petco Park 31 Seattle, WA T-Mobile Park
September:
2 Vancouver, BC BC PlaceSunday 4 Edmonton, AB Commonwealth Stadium /Stade du Commonwealth 7 San Francisco, CA Oracle Park 9 Las Vegas, NV Allegiant Stadium
Singer Robert Mason (Warrant, The End Machine, former Lynch Mob), along with guitarist Ira Black (Metal Church, Lizzy Borden), bassist Chuck Wright (Quiet Riot, Giuffria) and drummer Johnny Kelly (Type O Negative, Kill Devil Hill and Danzig) have joined forces to cover Ozzy Osbourne‘s, I Don’t Know, which can be seen below.
The quartet filmed the video as part of the David Z FoundationAll-Star Fundraiser, which took place last March. [Dana’s note: However, I only became aware of this video now].
As previously reported, The David Z Foundation will be presenting, Live United Live, featuring Stone Temple Pilots,Steven Adler, King’s X AND ZO2. The event is scheduled for July 30th at the Spyglass Ridge Winery in Pennsylvania, to read more details, click here, and to purchase tickets, please go here.
The David Z Foundation is a 501(c)3 non-profit organization created in memory of David Zablidowsky, bass player for Trans-Siberian Orchestra and Adrenaline Mob. The foundation is dedicated to transforming lives through the magic of music.
Andy Greene of Rolling Stone spoke with the Metal God and Judas Priest frontman, Rob Halford, about the band’s forthcoming induction into the Rock N’ Roll Hall of Fame. Excerpts from the interview appear below.
Rolling Stone: What does this [induction] mean to you on a personal level?
Rob Halford: It’s a validation, more than anything else, of the importance and the relevance of Judas Priest. Fifty years we’ve been doing this. To have this opportunity as we continue to celebrate our 50th anniversary is just a beautiful thing. It couldn’t have happened at a better time.
It’s definitely a validation of…the importance of heavy metal music. I’ve been championing the need for more heavy metal in the Hall of Fame. You look at the list of people that have been in since the Hall started in 1986: “They’re not metal, they’re not metal, they’re not metal …”
Rolling Stone: It’s basically Black Sabbath, Metallica, Deep Purple, and now you guys.
Rob Halford: That’s it. I guess that’s better than nothing. I’ll tell you what, since you mention those great friends of ours. To be in the company, the prestigious hall of artists, characters, and influencers, all of these wonderful people … it’s the real deal, man. I can’t really describe it in words…Words are great. Words are good. Expressions, emotions … but what really matters is sitting in front of your stereo with your headphones on and listening to the music.
I’ll tell you what’s particularly extra sweet is this statement that we’re getting inducted as Musical Excellence. I love that. I didn’t expect that. When you investigate what they mean by that, it’s another great statement about this band and the music we’ve been making for five decades.
Rolling Stone: The rock-critic establishment didn’t get metal for a long time even though the fans have always loved it. Why do you think that was?
Rob Halford: I’ve said forever that metal has always been perceived by the academia of rock & roll … we’re the underdogs. We’re the black sheep of the rock & roll family. That certainly doesn’t appear to be the case now. I think with Priest being put in the Hall and you see the extraordinary list of people that have been inducted, hundreds of people, yes, we matter. We’re important. We have something to say. It’s a reference to the millions and millions and millions of metal fans around the world that adore this kind of music.
Rolling Stone: You sure got a lot of votes in the fan vote.
Rob Halford: I just put a couple of things on social media thanking the fans for that. This would never have happened without them. All of us in the Hall of Fame, our foundation is built on our fan base. Our fans have kept us in that spotlight. Our fans have kept the focus on us. We make the records, we make the tours, but you’re nothing without your fans. You have to acknowledge and respect and send the love back to the fans.
Rolling Stone: They decided to take in you, Les Binks, K. K. Downing, Ian Hill, Dave Holland, Glenn Tipton, and Scott Travis. Did they make the right calls there?
Rob Halford: Absolutely, yes. Absolutely. In terms of ticking the boxes of how long you’ve got to be in, and this, that, and the other, yes. Whoever has been attached and related to Judas Priest has had a role to play. I think the significance of the way they’ve chosen these particular musicians is correct.
Rolling Stone: A lot of bands play with ex-members at the Hall of Fame. Are you open to performing with K.K. Downing and Les Binks?
Rob Halford: Absolutely. As I said before, you’ve got to push aside anything that gets in the way. You’ve got to remove the emotional clutter and just reference this great celebration. Otherwise, if you don’t do that, and you leave the building, a couple of years later you’ll go, “What the hell? Why didn’t we do that?” It’s a few hours, but those few hours last forever.
We’ve seen it time and time again with the Rock Hall. “She’s coming, he’s not coming, why isn’t he coming? He said this, and he said that.” All this drama. The music matters. It’s all about the music. It’s all about the Rock N’ Roll Hall of Fame induction.
Rolling Stone: There tends to be a big all-star jam at the end of the night. Are you able to imagine a scenario where Judas Priest is playing alongside Pat Benatar and Duran Duran and Carly Simon and Dolly Parton?
Rob Halford: I was onstage last weekend with Larry the Cable Guy [Laughs]. It was at Alice Cooper’s blast for his great institution the Solid Rock Foundation. If I could stand alongside my buddy Larry and sing “roll, baby, roll” [from the Doors’ Roadhouse Blues], I can certainly stand next to Dolly Parton on my left and Lionel Richie on my right.
Rolling Stones: What other metal bands do you hope to see get into the Hall of Fame in the future? The Iron Maiden fans are quite crazed about them not getting in yet.
Rob Halford: That would be my first shout-out. Motörhead deserve to be in, even posthumously. Are Scorpions in?
Rolling Stone: Nope.
Rob Halford: Well, Scorpions … and I don’t want to get into the differences between metal and hard rock. As far as I feel, it’s who deserves. And I’d have to have a think on others.
Rolling Stone: What else do you hope to accomplish now that you’re finally in the Hall of Fame?
Rob Halford: The music drives you. We’re making another record. We started tracking. This last tour was probably the only one we ever did where we weren’t supporting new music. Pretty much every other tour we’ve done since [our 1976 LP] Sad Winds of Destiny has been to reinforce, “This is the music we’re making now.” That’s what’s next. There really is no end in sight…
…This is almost my 71st trip around the sun. I’ve got my health. I’ve got my band. I’ve got my fans. I’ve got my metal. That’s it for me. I’m just relishing every single moment and opportunity that life is providing.
As mentioned above, Judas Priest recently wrapped up their 50 Heavy Metal Years North American tour on April 13th in Ontario, Canada. The band is currently working on recording their next album and guitarist Glenn Tipton has described it as both “what every fan would want to hear,” as well as, “a bit experimental.”
With the KISS Kruise XI selling out in record time earlier this year, Sixthman and KISS have added a second week to the 2022 sailing beginning October 24th-29th from Los Angeles to Cabo San Lucas and Ensenada, Mexico. This will be another unforgettable KISS Kruise experience featuring a brand new lineup and adding to KISS’ final onboard performances.
Fans who already secured their cabin for October 29th – November 3rd can double down on the KISS Kruise fun and become a two-timer by sailing on both weeks and receive an exclusive laminate, an exclusive signed item by KISS, happy hour with the band, and a specialty two-timer t-shirt.
This past February, KISS announced that Kiss Kruise XI would be their “last performance onboard.”
As has been the case on all the previous cruises, fans will get to see the band’s unmasked acoustic and electric shows and engage in activities with the band members.
KISS also recently announced a string of tour dates in May, click here for more information.
, along with guitarist Ira Black (Metal Church, Lizzy Borden), bassist Chuck Wright (Quiet Riot, Giuffria) and drummer Johnny Kelly ... )
