EXCERPTS FROM EDDIE’S INTERVIEW WITH VIVIAN CAMPBELL POSTED ONLINE, GUITARIST DISCUSSES HIS CANCER DIAGNOSIS AND DIO

Viviancampbell-306 Guitarist Vivian Campbell (Def Leppard, Thin Lizzy, Dio) was a guest on the June 14th edition of Eddie’s Friday Night Rocks show, which airs on Q104.3 in New York City. Portions of the interview appear below as transcribed by blabbermouth.net.

Trunk: How’s it going for you, because, for people who haven’t followed the story all that closely, I was very sorry to hear the news that you announced earlier this week that you have been diagnosed with cancer. So how are you doing?

Vivian Campbell: I am doing very well, all things considered. I’ve got to say the treatment is going great. And I am looking forward to getting out and doing some shows this summer with Leppard and Last In Line.

Trunk: Well, you know, I was telling the audience, Vivian, before you called in earlier in the show, that I remember talking to you about six, eight weeks ago, we spoke on the phone, because you’ve been wanting to come on That Metal Show for a long time. And I remember talking to you; you were doing the [Las] Vegas residency [with DEF LEPPARD] at the time. And you were like, “I can’t do it this time, I’ll explain soon. There’s something going on.” I assume this is what was going on, right?

Vivian Campbell: Indeed. I think it’s a legitimate excuse.

Trunk: Yeah, absolutely I’d say so.

Vivian Campbell: But yeah, I’m looking forward to getting on That Metal Show sometime in the future, if you still want me.

Trunk: Yeah, of course we do. But tell me how this happened in terms of when you found out about it, what exactly is going on and what your symptoms were.

Vivian Campbell: I have Hodgkin’s lymphoma; it’s a kind of blood cancer. And what alerted me to the fact that something was amiss was, pretty much exactly a year ago, we were in rehearsals for the Def Leppard summer tour and I developed this cough and it just wouldn’t go away. Some days it was more pleasant than others, but for the most part, I was coughing 24/7, and I just went to a few doctors and they couldn’t diagnose what was going on until they actually had a look at my chest and realized that I had enlarged lymph nodes. So I got my diagnosis, actually, just before we started, when we were in rehearsal for the Vegas shows this past March and April. And as soon as those shows were finished, I started my chemotherapy treatment, so I’m just over two months into the chemo and is going remarkably well. I’ve got to say I feel so much better, actually, since the first chemo treatment. I stopped coughing and I definitely feel like I have a lot more energy as a result of that. So obviously, there’s a lot of side effects from doing chemo, as I’m sure a lot of your listeners know. Which is one thing that’s actually really resonated with me as a result of going public with this is how many other people suffer from cancer of different shapes and forms, you know. It’s unfortunately a very prevalent disease.

Trunk: Yeah.

Vivian Campbell: Anyway but I’ve been very, very touched by all the love and support I’ve had via my Facebook page and via the Def Leppard Facebook page and the Last In Line page. So it’s good to know you’re not alone.

Trunk: Yeah, I thought it was good that you did go public with it, because I think that others that are going through it could kind of maybe find, you guys could find some mutual strength and very much a community. I mean, you’re right it’s way too common. I mean, both of my parents are cancer survivors and it’s, you know, I mean, there’s hardly anybody that anybody knows that hasn’t dealt with it directly or an immediate relative. So I think that I would assume that it’s good to kind of reach out to the community and talk to other people that are fighting the same things you are and different experiences they’re having with whatever the treatment would be.

Vivian Campbell: Well, certainly. You can gather a lot of strength from that, you know. For me, I did kind of want to not go public with it at first, because it is a weird kind of thing. You’ve got to kind of learn to deal with it on your own terms before you can address the rest of the world about it. So, you know, I feel very comfortable going public about it. For the first couple months, I even tried to keep it from my children, because they were still in school and doing exams and stuff and I didn’t want to add to their concerns. But after a while, it’s inevitable that you, you know, something’s going on and you have to kind of come out with it and kind of explain what the situation is. But I’m very comfortable with it. I’m very comfortable with the treatment. I’m very comfortable with how my body is reacting to it. Obviously, it’s done a number on my hair, so I’m a bit more Joe Satriani these days. I’m hoping that means I’m going to play even more notes like Joe.

Trunk: Well, that’s the least of your worries. That could always come back, you know.

Vivian Campbell: Yes, indeed. So, you know, but it’s all good you know. I have no issues with [any of it]; I’m perfectly at peace with it all.

Trunk: Struggling with a cough, which you said was your major symptom, I mean, that had to wreak havoc on you in DEF LEPPARD because, as everybody knows, with the harmonies in that band, and you’re a big part of that singing, it must have interfered at times with the live show, right?

Vivian Campbell: It did, actually. It was difficult, because, you’re right, we’re singing, we’re on the mic every song, so I actually had to keep turning and looking at [drummer] Rick Allen, and people, I think, were thinking maybe I was just rocking out with Rick, but I was actually coughing up a lung the whole time. It was very uncomfortable and it just got worse and worse towards the end of the tour last summer. And it was kind of pretty bad when I was in Vegas too. I mean, I had some things that were more tolerable than others. But a lot of people noticed it too. I know I wasn’t fooling anyone with it. I’m glad that that part is gone at least. I can breathe a lot easier now, and now I’m essentially dealing with the chemo and not with the cancer. I’m pretty sure I’ve knocked the shit out of the cancer at this stage. It’s just dealing with the side effects of chemo, you know.

Trunk: Viv, did this, and of course, we’ll talk about a few other things as well, but was there any history of this in your family at all?

Vivian Campbell: No, this is an idiopathic disease. There’s no rhyme nor reason for getting it. It strikes anyone. It doesn’t have anything to do with your lifestyle or your diet or your ethnicity or your genetic makeup or anything. In fact normally it strikes people younger — usually in their 20s and their 30s. So there’s no reason for it at all; it just kind of was a random thing.

Trunk: Yeah, I think that’s what I learned about cancers, because there’s some that are obviously hereditary. Like my dad is a colon cancer survivor, so as a result I get screened every three years, just because that is something that’s very hereditary. My mom survived a very rare form of leukemia, and when that happened, the doctors were, like, “No, it’s completely random, so you don’t have to worry about it; there’s no screening for that.” So you learn a lot about this, whether directly through you coming forward or just having experiences with it, that I imagine help you. What was your… When you got this news, were you floored? How did you handle it?

Vivian Campbell: No, I wasn’t floored. I knew something was wrong, and I was just glad to find out what it was, to be honest, you know. I was glad that there was finally an explanation. Obviously, when your doctor says you’re going to finish six months of chemo, you immediately think that’s probably not going to be fun. But now I’ve taken it in my stride. It’s a bump in the road. It is what it is. It could be a lot worse, you know, and there’s a lot worse cancers out there and I was very, very lucky to find it very early so it’s just a question of riding out the treatment. It’s actually been good for me in a lot of ways. It’s been a very humbling experience, and it kind a helps you recalibrate and put the focus on what’s important in life.

Trunk: What exactly is the treatment? I mean, are you taking injections or do you have to go to the hospital on a regular basis? What are you doing exactly?

Vivian Campbell: Yeah, yeah. I go to my doctor’s office approximately every two weeks and they hook me up and drip chemo into me for about two or three hours.

Trunk: And is it — have you had real — besides the hair loss, have you had really — what are the major side effects? You being sick to your stomach and things like that?

Vivian Campbell: Yeah. It’s uncomfortable. It hasn’t been debilitating for me, you know, which is why I’m able to go on tour with LEPPARD and with LAST IN LINE this summer, because it’s not anything that brings me to my knees, where I am puking 24/7 or anything like that. I do have moments of discomfort and nausea, bone pain and tiredness and stuff, but it’s nothing that’s affected, or at least I haven’t let it affect my daily life. You know, I’m sitting here having a beer, to be honest. And I’ve had a full day. I’ve been up since seven this morning and being out and doing this and that and the other. So it’s — I really haven’t let it impinge on my lifestyle too much. But maybe that’s just me; I’m just an ignorant cunt when it comes to that shit.

Trunk: I was going to say, is that almost more of a mental outlook? I mean, I know that this stuff can be a really brutal to deal with in terms of the treatments, but it sounds to me almost like your mental disposition, going into it, is, like, “Well I’m going to take this down, I’m going to not miss a beat playing with the band and I’m even going to have a beer on the weekend.” It sounds like that’s probably pretty healthy in terms of your mental approach.

Vivian Campbell: I do think so, yeah. It definitely starts in the mind, and I’m not of the mindset that I’m about to be sick, and I certainly have no intention of dying anytime soon.

Trunk: And they’re telling you that the prognosis to cure this I think I read in your online statement was about 80 percent, right?

Vivian Campbell: Well, yeah. I mean if you’re going to have a cancer, it’s the one to get. It’s over 80 percent cure rate, especially when you catch it early, like I did. It didn’t get to the bone marrow or anything like that, you know. So I’m really not at all concerned about it, you know. It’s just a question of dealing with the side effects of chemo, as far as I’m concerned.

Trunk: So tell me about the touring plans then, because I don’t know if DEF LEPPARD has anything scheduled for America, but what is your next move as far as playing?

Vivian Campbell: I’m leaving for France on Wednesday morning. We have a brief European run of shows, starting at Hellfest in France next Friday, a week from today. So that’s the first show, and then we have four shows in Spain, arena shows that were going with WHITESNAKE in Europe. And then we have three shows in Scandinavia. That’s one in Norway and two in Sweden. And then I’ve got to fly back to L.A. to do a chemo treatment for a day and a half. And then I fly up to Canada to rejoin the band. Two shows in Canada, and we have to on the East Coast of America and that’s it for LEPPARD for this summer.

Trunk: Wow. So you really feel good enough and confident enough that you’re going to be able to handle all that travel and doing that stuff?

Vivian Campbell: I am 100 percent confident I can do it. Yes.

Trunk: Wow. That’s remarkable, man. Good for you. And then I know that we had Rick Allen, he’s coming up on “That Metal Show”. We had him in there this season and he was telling me that he and the band had an absolute blast with that Vegas residency and kind of let us to believe that there might be more of that coming somewhere down the line, I guess.

Vivian Campbell: Well, it was a lot of fun. I’d say the most fun part of it was being DEAD FLAT BIRD, being own opening act, because we could get out there and just — there were no rules as regards to what DEAD FLAT BIRD played, so we were playing some really early LEPPARD stuff.

Trunk: All the stuff that I probably pestered everybody to hear.

Vivian Campbell: Exactly, yeah. I mean, that was great. It’s very refreshing for us to play something other than “Pour Some Sugar On Me”, you know. You can understand yourself. I mean, we’re sort of between a rock and a hard place. We have to play the hit songs, and we’re very fortunate that the band has those hit songs to play, but, you know, it’s a lot more fun for us to get out there and do something obscure. So we got to do that, which was a lot of fun. And, actually, to break the show up into two parts was very theatrical too, so that adds a lot to the excitement level for us.

Trunk: When I saw online some of the songs you guys were doing, ’cause if people didn’t understand what happened. DEF LEPPARD came out as their own opening act when they did their residency in Vegas and you played all these deep tracks, early tracks, obscure tracks. And when I saw that stuff coming through online, I mean, I was so pissed that I didn’t get there to see it, because I was dying seeing that setlist. But the way Rick made it sound, it probably will happen again at some point, so that would be good to see.

Vivian Campbell: I would hope so, yeah.

Trunk: Have you guys talked about or work on any new music yet?

Vivian Campbell: We’ve done a lot talking about it, that’s for sure. And we even done a little work on it. Yeah, we started a song when we were in Vegas. It’s just difficult to get us altogether. As you know yourself, we’re kind of scattered geographically in terms of where we all live, and it’s difficult to get us all on the same page at the same time. And when we do get together or work, it’s always for another purpose other than specifically to do a record. I mean, we haven’t scheduled time to do that for many years. And at this stage, we are long, long, long overdue having some new music. It’s kind of embarrassing, actually, but we’ve started something at least.

Trunk: Well, you’re an Irishman living in Los Angeles and Joe’s [Elliott, vocals] an Englishman living in Ireland. So I would think that you would be, if anything, pushing to either do the record in L.A. or in Ireland so you could go home for a little bit.

Vivian Campbell: Well, I certainly rather do it in Ireland. I’m not in L.A. by choice. I mean, I’m here because my children live here. And as soon as they go to college, I’m getting out of [Los Angeles]. I’m not saying I’m going to go back to Ireland specifically but yeah, L.A. is a strange spot, as you know. Home is where you make it and, you know, that’s where my kids are. But yeah, we have, in the past when DEF LEPPARD did actually make albums, it is geographically beneficial for us to record it in Ireland, for one reason or another.

Trunk: Yeah, and I saw a documentary on THIN LIZZY and they went into Joe’s house with Scott [Gorham, THIN LIZZY guitarist] when they were remixing some of that stuff and I saw in the video Joe looks like he has a nice setup there.

Vivian Campbell: He certainly does, yeah.

Trunk: It wouldn’t be a bad place, it doesn’t look like, that’s for sure. Let me ask you one more thing on another topic here, Viv, before I let you go. You mentioned LAST IN LINE, which, for those that don’t know, you’re going to go out with Jimmy Bain [bass] and Vinny Appice [drums] and a singer and do material from the first two DIO records, which, of course, you were a huge part of. Where does that stand? What’s the progress report there?

Vivian Campbell: Well, we actually had intended to do a three-week European tour incorporating a lot of festivals, but because of my chemo treatment schedule, we’ve had to curtail that seriously. So as it happens, I mean, we’re fitting shows between my treatments so we can only manage to do four shows. They’re going to be in the U.K. actually. Well, the first one is in Northern Ireland, in my hometown of Belfast, on August 8. So basically we have three shows, three club shows and one festival date in the second week of August.

Trunk: Have you guys rehearsed?

Vivian Campbell: A little bit, not a lot.

Trunk: I was just wondering for you, how did it feel to revisit music that is 30 years old and such a huge part of how people discovered you as a player? But for a long time you kind of moved away from that and embracing it again and did you have to relearn and re-listen to it to remember what you actually did?

Vivian Campbell: I actually did, yeah. I didn’t listen to those records for decades, for one reason or another. So yeah, I literally had to go in and relearn it. I specifically want to play my guitar solos as they were on the record, or as close to as possible, because that’s the way that people have been listening to it for 30 years. So it’s going to be in people’s DNA, and that’s what people are going to want to hear. So it has been a bit challenging for me to go back and relearn my original guitar solos, because even when I was with DIO, I don’t think I ever played them exactly the same live. I was always a bit haphazard with regard to how I approach recording guitar solos. So they’re a bit sporadic, they’re a bit challenging to relearn. But it’s been good for me. It’s been a really good exercise and I’m getting back into playing my guitar again, which I would blame on THIN LIZZY. The stint I did with LIZZY in 2011 really kind of reignited my passion for shredding again. So that’s kind of what led to me calling Jimmy Bain and Vinny Appice and Claude Schnell to see if they wanted to get together and play. So it’s been fantastic. I mean the first time we actually got in there and play together it sounded really, really, really tight like it was 90-something percent there. We could have done a gig that night, you know. It just kind of comes back to you.

Trunk: And the all important question is tell everybody about the singer because he’s got some big shoes to fill.

Vivian Campbell: Yeah. We have this great singer name of Andrew Freeman. When I called Vinny and Jimmy and Claude to get together and play, I mean, it was literally just to do that. Like, “Hey do you want to get together and jam?” And we booked a rehearsal room on an afternoon somewhere in the valley here in L.A. and went out and played. And while we were there, Vinny actually said, “Hey, I know this great singer. He lives nearby. His name’s Andrew Freeman. He sang in LYNCH MOB when I played with George Lynch.” And I said, “Well, give him a call see what he’s doing.” So Andy actually came down that very afternoon, that first afternoon we were playing, and he just walked in and he set up his little iPad, he had his lyrics on it and he just started singing. And it gave me goose bumps. He doesn’t sound like Ronnie, he doesn’t have that tonality and very few people do. And in a way, I’m grateful that he doesn’t, because I think it would’ve been weird to try to have a Ronnie clone. But he certainly has the same power in his voice and he has the same passion and he certainly has a similar range, so he can hit the notes and he brings his own twist to it. So hearing Andy sing, and just playing with those guys again, it kind of — we sat down afterwards and we all said well let’s take this a stage further. Let’s go out and do a gig or something. So one thing kind of led to another and we’re talking about doing a tour. Then we decided to call it LAST IN LINE and here we are. We’re actually going ahead and doing it.

Trunk: Viv, you know, it’s no secret, and of course, it spilled out many times publicly that you and Ronnie had differences when Ronnie was still alive. And I wonder, what has been the reaction from the fan base? Have you gotten a sense of, you know, I’m sure there’s a degree of people that agree that those albums you were a part of are the definitive albums — I do, for one — but, obviously, look at it a little bit cross-eyed, saying, “Well, this guy kind of distanced himself and had this kind of sparring with Dio and now Ronnie’s gone, and now he’s going to go out and embrace it. I mean, how do you answer that and what is your feelings about that?

Vivian Campbell: Well, as far as I can gauge, I mean, opinion is kind of impassioned one-way or the other, which is good. I mean, I’d rather people cared than didn’t care. I mean, people either seem to be very passionately in favor of it or very passionately against it, you know. There’s very few in between. For those you actually embrace the music for what it was, I mean, those songs were not only recorded and played by Vinny and Jimmy and myself, but they were also written by us. You know, I think a lot of people forget that that we were very, very much a creative part of those records. And I think people have to approach it with an open mind. I do regret a lot of the things I said about Ronnie, and I’m sure if Ronnie were alive today, he would sit down with me and have a beer and shake my hand and that he would probably apologize for wishing me dead. It was an unfortunate situation. I wanted to distance myself from that music and from that organization, because I was very unceremoniously fired from that band. And then, in the years afterwards, it was portrayed by Ronnie and Wendy Dio that I had turned my back on the band, that I had left the band, which couldn’t be further from the truth. I was fired in the middle of a tour for only asking that Ronnie and Wendy fulfill a promise. Actually, Ronnie fulfill a promise; Wendy knew nothing about it.

Trunk: Can you reveal what that promise was?

Vivian Campbell: Well, when we first met on the very first night that the DIO band formed, it was in a rehearsal studio in north London in October 1982. And it was Ronnie and myself and Jimmy and Vinny, and we hung out and we played. And that was the birth of the band. And Ronnie kind of explained to us that he didn’t want to be a solo artist, he wanted to have a band, but he was going to call it DIO for a number of reasons. Number one, for name recognition because he was a celebrity, he was a star. Obviously, number two, he had an existing record deal at the time and he kind of explained to us that he wanted us all to contribute creatively, which we did. And he explained to us that by the third album, that through our blood sweat and tears, that it would be an equitable situation. And I just held him to that promise come the third album. Apparently, the promise was forgotten, so the result of that was I was fired. And that really did hurt me a lot, because I did give blood sweat and tears for that band. I wrote those songs with Ronnie, I gave it some of my best years and I worked for nothing, practically. I worked for less than our road crew. Anyone who was in that band at that time will tell you that our road crew got paid more than the band did, because we believe that we were working toward something that had been promised to us. So it was an unfortunate situation, and it really, really hurt me. So for many, many years I wanted nothing to do with the music. I wanted nothing to do with Ronnie or Wendy Dio. And as a result of that, I did lash out and I did say some things that perhaps were a little bit harsh.

additional source: blabbermouth.net

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JEFF HANNEMAN’S WIDOW DISCUSSES THE SPIDER-BITE INCIDENT AND HOW IT LEAD TO THE GUITARIST’S DOWNFALL

hannemanguitarworld Kathryn Hanneman, the wife of late Slayer guitarist Jeff Hanneman, is interviewed in August 2013 issue of Guitar World magazine. An excerpt from the article appears below.

In January 2011, an incident occurred that many would later assume was the cause of Jeff Hanneman’s death but wasn’t.

Jeff was bitten on his right arm by an insect that was carrying a flesh-eating disease called necrotizing fasciitis. Reports circulated that it was a spider that bit Jeff, but that was never confirmed. Whatever bit him, it was enough send the guitarist’s life into a tailspin.

“Jeff had been visiting a friend in the L.A. area,” says Kathryn, his wife of 24 years. “He was in the Jacuzzi one night relaxing, and he had his arm over the side, and he felt something, like a bite or a prick. But of course he didn’t think anything of it. He came home about a week later, and he was pretty well lit when he came through the front door. He wasn’t feeling well, and he just wanted to go upstairs and go to sleep.

Before he did he said, ‘Kath, I need to show you something, even though I really don’t want to.’ And he took off his shirt, and I just freaked out when I saw his arm. It was bright red and three times the normal size. I said, ‘Jeff, we need to go now. We need to get you to the ER.’ But all he wanted to do was go to bed and sleep, and I knew that I was trying to rationalize with a very intoxicated person. So there was nothing I could do that night. But the next morning I convinced him to let me take him in. He didn’t have a lot of strength, but I was able to get him into the car.

When we got to the hospital in Loma Linda, they took one look at him and they immediate[ly] knew what it was, so they took him right in. Jeff told me to go home because we both knew he’d be there for hours and neither of us thought it would be a life-or-death situation.

About three or four hours later, Jeff called me and said, ‘Kath, it’s not good. They may have to amputate. I think you need to come back here.’ When I got there, Jeff was on the stretcher waiting to go into surgery, and the doctor put it in perspective for me. He said, ‘I need you to see your husband. He may not make it.’ The doctor looked at Jeff and told him, ‘First I’m going to try to save your life. Then I’m going to try to save your arm. Then I’m going to try to save your career.’ And looking at Jeff on that stretcher and possibly saying goodbye, knowing that I may never see him again…”—she pauses—“…was one of the hardest moments of my life.”

The next few days for the Hannemans could only be described as nerve-wracking. Jeff was in the ICU in an induced coma after the initial surgery and breathing through a tube, his arm, for the most part, intact. Doctors attempted to remove the breathing tube at one point, but Jeff was unable to breathe on his own. Finally, after about the fourth day, the tube was removed and Jeff was breathing again. Her husband was alive, but as soon as they removed the bandages from Jeff’s arm, Kathryn knew the road to recovery would be long.

“I’ll never forget it—I couldn’t believe what I was seeing,” she recalls. “All I could do was look up at the doctor and say, ‘How the hell do you fix this?’ And he said, ‘You know, Mrs. Hanneman, you’d be very surprised.’ And at that moment I had all the faith in the world that this doctor could fix his arm.”

Back home soon afterward, Jeff could begin the process of rehabilitating his arm in the hopes of regaining his ability to play guitar. The next few weeks saw more surgeries, staples and multiple grafts using skin from his left thigh. Wound-care suction devices were on hand to draw out the infection and help the skin grafts take. Physically, Jeff’s arm was on the mend. Emotionally, however, he was struggling. Depression was setting in.

“I couldn’t get Jeff to go to rehab or therapy,” Kathryn says. “I think he was letting the visual of his arm get to his emotions, and it was messing with his mind. It was hard to keep him upbeat at that point.

I think he thought he could do this on his own—that he would just to go rehearsal and play, and that that would be his rehab. But I think he started to learn, once he tried rehearsing, that he wasn’t playing up to his ability and that he wasn’t able to play guitar at the speed he was used to. And I think that really hit him hard, and he started to lose hope.”

To order the August 2013 of Guitar World magazine, please click here.

source: guitarworld.com

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BLACK SABBATH TOP THE BILLBOARD 200 CHART

blacksabbath2 Keith Caulfield of Billboard reports:

Almost 43 years after Black Sabbath debuted on the Billboard 200 chart, the iconic rock band earns its first number one album this week with the arrival of 13. The set starts at No. 1 with 155,000 copies sold, according to Nielsen SoundScan.

13 is the band’s 23rd chart entry, and first studio album with singer Ozzy Osbourne since 1978’s Never Say Die!. The new release is only the group’s second top 10, following 1971’s Master of Reality, which reached number eight. Sabbath made its Billboard 200 debut the week of August 29th, 1970 with its self-titled album.

13‘s launch of 155,000 is also easily the biggest sales week for the band since SoundScan started tracking sales in 1991. Their previous best frame came when the live set Reunion reached number 11 in 1998.

Front man Osbourne has yet to tally a solo number one album, despite seven top 10 titles. He’s gone as high as number three, with 2007’s Black Rain. Black Sabbath’s debut this week also beats Osbourne’s best solo SoundScan-era sales frame, when his 2001 album Down to Earth landed at number four.

Read more at Billboard.

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source: billboard.com


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OZZY OSBOURNE ADMITS THAT HE WAS “PISSED OFF” THAT HIS DRUMMER TOMMY CLUEFETOS DID NOT GET THE SABBATH GIG

blacksabb2013 Gary Graff of Billboard reports:

The drummer issues on Black Sabbath’s new album, 13, apparently ran deeper than co-founder Bill Ward’s decision to drop out of the reunion over what he said were contractual issues.

Tommy Clufetos, the drummer in Sabbath frontman Ozzy Osbourne’s own band, was targeted to take over the stool, but producer Rick Rubin ultimately selected Rage Against The Machine’s Brad Wilk — which Osbourne tells Billboard left him “pissed off.”

“The way it was dealt with wasn’t very fair on Tommy. Rick Rubin just didn’t want to work with him for reasons I don’t know. He’s a great drummer, and he’s been with me for awhile now and I just felt that nobody discussed the decision about Brad to me, and it’s not fair to Tommy. Tommy was promised the album… It’s not because he was my drummer and my ego wanted him. It was just the fact the way it was dealt with. It just got me a bit, it got me pissed off about it. It’s alright now. He’s a great drummer. I don’t know what the problem was.”

Osbourne does, however, feel that Wilk “did a good job. I don’t have anything bad to say. He’s a very nice guy.”

Via e-mail, Rubin explained that “Brad is a muscular drummer with great feel and understands the groovy nature of their music — Rage Against the Machine is a groovy rock band, not a metal band — so it was worth a try. When they played together the first time, it was obvious he would do a great job in the seat Bill left vacated. Bill’s a great drummer and I’m sure it would have been an amazing album with him. We all wanted him to participate.”

Red Hot Chili Peppers drummer Chad Smith — who’s played on Rubin-produced sets by the Dixie Chicks, Kid Rock, the Avett Brothers, Jake Bugg and the upcoming solo debut by Sugarland’s Jennifer Nettles — says he was also hoping for a shot on “13.”

“When Rick didn’t call me for the Black Sabbath thing, I gave him a hard time about it,” Smith says. “I was like, ‘Come on!’ He’s like, ‘No, I got Brad Wilk from Rage playing on that.’ I had to tell Brad I was a little jealous, a little drummer envy that he was playing with Sabbath. But I heard the record. It’s really good, fuckin’ heavy as fuck. Brad did a great job, I have to say. He did a great job. The band’s swingin’.”

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source: billboard.com

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FOR THE ONCE IN A LIFETIME ULTIMATE HALLOWEEN EVENT, ROB ZOMBIE PRESENTS THE “GREAT AMERICAN NIGHTMARE”

zombieamernigtmarew Groundbreaking musician and filmmaker Rob Zombie will unleash his Great American Nightmare on Los Angeles this Halloween season. This bone-chilling experience will combine the most advanced haunted house attractions with a not-to-be-missed music festival from top artists in hard rock, alternative, EDM, and more, every Thursday, Friday, Saturday and Sunday from October 10th through November 2nd, 2013 at the Fairplex FEARplex in Pomona, CA, just outside Los Angeles.

A creative collaboration between masters of the macabre Rob Zombie and preeminent haunted house producer Steve Kopelman, the fully immersive haunted house experience will feature three attractions based on Zombie’s own horror films: Lords Of Salem, Total Black Out, The Haunted World Of El Superbeasto 3D, and Haunt Of 1,000 Corpses. The shocking–and sometimes disturbing–fright attractions will offer a three-dimensional experience with animatronics and effects, a maze that is the ultimate definition of claustrophobia and fear, sudden chills and startling thrills, and salacioushumor that will make one scream with fright and laughter.

As if these sinister attractions weren’t enough, Rob Zombie’s Great American Nightmare will also feature 15 nights of music from top national and regional artists in the indie/punk, EDM, metal, rock and Latin genres including Andrew WK, BL3ND, Blood On The Dance Floor, Dirtyloud, Dirtyphonics, Doctor P, Emilie Autumn, Evol Intent, Fei-Fei, Goldfinger, Heavygrinder, Kottonmouth Kings, Metalachi, One More Time, Ozomatli, Reel Big Fish, Terravita, The Used, Twiztid, William Control, Zomboy, and many more.

In addition to music, one special night will also feature the outrageous pro wrestling sensations Lucha Libre USA. Look for details about the music performance schedule–including additional major headlining acts–to be announced on June 29th and visit www.GreatAmericanNightmare.com for details.

“This is it! The ultimate badass Halloween experience! No one will walk away disappointed,” says Zombie. “I am thrilled to bring The Great American Nightmare to California and begin a reign of bloody terror!”

The FEARplex for Rob Zombie’s Great American Nightmare will include 150,000 square feet of horror and entertainment and is not geared towards young children or the faint of heart. Patrons should be prepared for maximum scares!

At Rob Zombie’s Great American Nightmare, patrons will sequentially enter three different attractions, each completely different in look, theme and effects:

Lords Of Salem In Total Black Out: This harrowing attraction–based on Zombie’s 2012 The Lords Of Salem independent horror film–is designed to twist the mind. It will accentuate some senses while limiting others. Fear of the dark, claustrophobia, and fear of the unknown will be preyed on as the visitor attempts to traverse this sixty-degree maze.

The Haunted World Of El Superbeasto 3D: Utilizing Chromadepth glasses, this innovative attraction will take the patron right into the middle of the irreverent world of Rob Zombie’s El Superbeasto2009 animated exploitation musical horror comedy film based on the comic book series of the same name. The attraction’s unique surprise entrance, brilliant colors, sudden chills and startling thrills, and salacious humor will make one scream with fright and laughter.

Haunt Of 1,000 Corpses: This terrifying attraction pays homage to the 10-year anniversary of the exploitation horror film House Of 1,000 Corpses, directed by Rob Zombie. This extreme, traditional haunted house will take visitors on a walking journey through a recreation of the film’s “Museum of Monsters & Madmen” along with an expanded “Murder Ride,” confronting notorious serial killers along the way. This high impact, highly detailed attraction will use state of the art animatronics, video effects, costuming, sound, scents and lights.

“Having produced haunted attractions for over 30 years, I have never been more excited about a project than I am with The Great American Nightmare. To produce an event with partners like Rob Zombie, Kevin Lyman, John Reese and Andy Gould is a dream come true. This no-holds-barred first year event is destined to change the haunted house landscape for years to come and I am ecstatic to be a part of it,” says Nightmare producer Steve Kopelman.

The Great American Nightmare Monster Midway will offer outdoor screenings of classic horror films, a DJ, food vendors, beer, wine and spirits, and much more, with freak show characters roaming throughout the grounds each night.

Nightmare music co-producer Kevin Lyman admits, “Rob Zombie’s Great American Nightmare is going to be so terrifying, you won’t catch me in any of the three haunted houses! For those of you who are scaredy cats like me, there will be plenty of other attractions that are guaranteed to entertain, including a special concert each night.”

Great American Nightmare is one of the most exciting projects I have ever been associated with,” says Nightmare music co-producer John Reese. “The opportunity to work with the genius that is Rob Zombie is awe inspiring. This is set up to be one of the CAN’T MISS EVENTS OF THE YEAR!”

Tickets for Rob Zombie’s Great American Nightmare are available starting at only $30 beginning Saturday, June 29th at www.GreatAmericanNightmare.com. Each ticket includes access to all haunted house attractions, concerts and midway activities. Tickets will also be available for purchase onsite at the Rockstar Energy Drink Mayhem Festival San Bernardino show at San Manuel Amphitheater (June 29th) and during the Los Angeles County Fair at Pomona Fairplex (August 30-September 29). VIP packages will also be available for purchase at www.GreatAmericanNightmare.com.

Hours for Rob Zombie’s Great American Nightmare will be 6:30 PM until 11:00 PM on Thursdays and Sundays, 6:30 PM until 1:00 AM on Fridays and Saturdays.

The Fairplex is located at 1101 W. McKinley Avenue in Pomona, CA, centrally located in the heart of Southern California. The Fairplex is also home to the LA County Fair, the largest county fair in the world.

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EDDIE TRUNK DISCUSSES “THAT METAL SHOW,” AND WHAT NEW BANDS HAVE PIQUED HIS INTEREST

zrock_eddietrunk_cast_mini_gallery_ Paige Montgomery of L.A. Music Blog spoke with Eddie about That Metal Show, his favorite TMS guests and what new bands are on his radar. Portions of the interview appear below.

L.A. Music Blog: [That Metal Show] hit record numbers with the Season 12 premiere. What do you attribute to the show getting such high viewership this season?

Eddie: I think that mainly it was because people were missing the show so much. We were off the air for the longest period of time without new episodes before these new shows started a few weeks ago, and I think that played a big part in it. You know the old saying that absence makes the heart grow fonder? I think that’s what it was. Even though the show was still on countless times as repeats, I think people started to get really frustrated because there were no new shows.

If it was up to me, we’d be doing them every night, but it’s not. It’s up to the network, and they control the budgets and they control those decisions. So unfortunately we don’t do these shows nearly as often as I wish that we would. We [also] have a whole new set and a relaunch of the show that I think a lot of people were curious about. And Jason Newsted was a great first guest. He’s a guy that hasn’t been on TV in a long time, and I think he was a great way to reintroduce the show, too.

L.A. Music Blog: After reflecting back on 100 episodes, is there any single interview or show that sticks out as your favorite or most memorable?

Eddie: There’s certainly a few. I think one of the greatest shows we ever had was Brian Johnson of ACDC because, needless to say, he’s the singer in one of the biggest bands in the world, but he also is just a great guy. No B.S. about him — what you see is what you get.
Sammy Hagar and Michael Anthony are a couple guys who are always a blast to do interviews with. I love the real people. And what I mean by that is I love artists that don’t come with this certain air about them, that don’t come with their guard up, that say “Don’t talk to me about this” or “Stay away from this.” They want to come, they get the spirit of the show, they want to mix it up and have some fun with you, and they’re not so hypersensitive that you can’t say this or say that.

Rob Halford is always great. The late Ronnie James Dio, of course, who was one of my great friends, was always great as well. Lars Ulrich is always great. The other big stuff that comes to mind immediately is Steve Harris, who had eluded me for a long time, and we finally got on. The icons of the genre that we deal with. I mean, any time you’re sitting next to them and you’re lucky enough to have them on the show, it’s really special.

L.A. Music Blog:” I know that you’re all about the classics. Do you also pay attention to the new, more up-and-coming bands in the genre?

Eddie: I’ll tell you what — I do, actually. And there’s a number of bands that I really like that are new bands. I think that what people sometimes forget is that our show is on VH1 Classic. Sometimes people overlook the second word in that: classic. The entire network is based on classic artists and classic music — that’s exactly what it’s built on. You wouldn’t go to ESPN Classic or a classic rock station to hear new bands, so we can’t feature that much new stuff on the show, but that doesn’t mean that any of us don’t like new music.

If anyone has ever listened to my radio show over the 30 years I’ve done it, new music is an incredibly important part of what I do. That being said, in the show, we have many ways that we feature new bands. As a matter of fact, in this new season we have Ben from the Dillinger Escape Plan on, and we’ve got Johan from Amon Amarth on. We’re doing this new feature called Metal Modem” where we’re incorporating them in, so we find our ways to talk about, when and where we can, new music. But we also have to be conscious that we work for a network called VH1 Classic, and at the end of the day, most people want to see the icons of the world.

There are plenty of new bands that I like, and if you watch the show we find many ways to at least get these bands mentioned, even if it’s just wearing their t-shirt. It’s funny when I hear people say, “Why don’t you have obscure bands on?” And my answer to that is obscure doesn’t exactly equal TV ratings. Obscure is not something a TV executive wants to hear. It has to be a balancing act. But there’s new stuff that I like. There’s this band out of Canada called Monster Truck, and I like this band out of LA that I first mentioned on the show two years ago called Rival Sons.

Read more at L.A. Music Blog.

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