Bryan Reesman of GRAMMY.com spoke with Judas Priest band members Rob Halford, Glenn Tipton and Ian Hill, along with producer, Tom Allom, about the band’s Screaming for Vengeance album, which is celebrating its 40th anniversary. Excerpts from the interview appear, below.

“[Some people] didn’t know they were metalheads until they heard Priest,” [Rob] Halford tells GRAMMY.com.

GRAMMY.com: I was listening to the album again fully, and the lyrics are very relevant today. I listen to Electric Eye and Screaming For Vengeance and that dark vision resonates with modern events.

Glenn Tipton: Yes, that’s true. It wasn’t done intentionally. A lot of what we play is very current.

Rob Halford: I remember when I was writing the lyrics for Electric Eye. And, of course, this was before the internet. I was reading about spy satellites and the way that our privacy was going to be more and more difficult to hold on to. That was enough for me to get my brain cells going for a lyric that is so appropriate 40 years later, more so than ever…

GRAMMY.com I heard that You’ve Got Another Thing Comin’ was assembled rather quickly and was possibly the last song recorded?

Tom Allom: They had this idea with the riff and everything, which I think Glenn mostly came up with. “Let’s try and run it through” and I was in the process [of mixing]. It wasn’t the last song [to be done] because I was checking out the drum sound. I had the drums all miked up ready to go, and they wanted to run through the track. So they set the guitars and the bass up in front of the drums and they ran it through without headphones. The guitars were turned down with the overdrive turned on quite high for the crunch.

I recorded this run through, and I said, “Well, you’re not gonna get a better take on that.” And they wanted to redo all the guitars and do the usual stuff and have the big ambient side on the guitars. I think I let Glenn overdub one other rhythm guitar a little. I remember it as clear as daylight. They might remember it differently. Then, Rob went through two or three lyric changes and melody changes. I have to say, I’m not always right, but I bloody well was on that occasion.

Rob Halford: It was a cool track, but we had no idea that it was going to blow the doors off of rock ‘n’ roll radio in America.

GRAMMY.com: Priest previously had dueling guitars and big guitar harmonies in the ‘70s, but this was the first album that they noted who did what solo in the liner notes. And Glenn and K.K.’s signature interplay really gelled here.

Tom Allom: I felt like it was great rivalry between them to outdo each other. They both were trying to play things that they couldn’t play, and they went on working on them until they could. It was that rivalry that made the guitars so bloody brilliant. I can particularly remember Glenn starting to come up with a solo and he was struggling with it. He would work on it for days, if necessary, until he could play it.

Obviously, we were able to punch in mistakes and all that, but these were the analog years. By the time they perfected it, they would go out and play that track live, no trouble at all. That was very good to see.

GRAMMY.com: There’s just something about that interplay that was unique. Sometimes their styles would meld together and mirror each other a bit.

Tom Allom: When they were both playing rhythm guitar on a track and they were essentially playing the same thing, because their styles were different it made the sound really big. The intonation was different from each of them, and that difference made it bigger than if one of them was playing the part and then double tracking it. They each created a different vibe off their instrument.

GRAMMY.com: Screaming was the second album that the group recorded in Ibiza, along with the previous Point Of Entry and subsequent Defenders Of The Faith. You guys were this dark, gritty band from Birmingham and here you were having fun in the sun. Why did that work for you?

Ian HIil: Multiple distractions [laughs]. It fitted perfectly with Tom Allom’s style, the laid back, take your time over it, patience with it — all of that. If you were in the studio, and you’d been at something all day, there’s no point in continuing to try and do it. Go off and play a round of golf, go swim in the pools, and then come back to it. You’ll come back with a different attitude. It was perfect for Tom and for ourselves really. You’ve got to be in the right frame of mind. Ibiza is one of those places….Around the edges, it’s very commercialized, but you get to the interior of the island, it’s like stepping back 200 years, you know? He just gave us that little bit of leeway. A little bit of leisure, if you like. It put us in a great frame of mind.

Glenn Tipton: It worked because we never record in the metropolis [for any album]. We can write anywhere. It felt relaxed there. We were left alone so we just got on with the album, and that brought us back again.

Rob HalfordThere were a number of things that took us there. But it’s magical. We still have this beautiful relationship with everything Spanish. It’s very much like a Shangri-La, you know? For artistic purposes, it can be just a fantastic place to generate ideas, whether you’re a musician or a painter, or whatever it might be. For creative people, there’s just something magical about the island.

Tom Allom: We behaved ourselves in the studio. Pretty much. [Laughs] Ibiza has always been a party island. Orlando wasn’t a party place.

GRAMMY.com: You recorded in Ibiza and then mixed in Florida, correct?

Tom Allom: We did that album in two halves. We did the first half in Ibiza. Then there was a management split and a lot of angst going on on the management front. We actually didn’t reconnect for about three months and we finished off tracking the album at Bee Jay Studios in Orlando. And then we mixed it all in Bayshore Studio in Miami, which was where I was living by that time. And I liked the studio. We mixed it down there. So we recorded it in two different places, in two different eras almost. When I listen to it, I still can’t quite remember which tracks were recorded in Ibiza and which were recorded in Florida.

We left Ibiza not quite knowing when we were going to reconvene. It was a bit of a strange time. I just moved to Florida shortly before I went back to London. My mother died. Their managers split up. Then we reconvened in Florida. It’s actually extraordinary that it turned out as well as it did really because it was a bit fragmented.

GRAMMY.com: Tom came from a totally different social background than you guys did. What is it about him that you worked with him for a decade? He wasn’t a working class guy from the Midlands, he was a little more “posh.”

Rob HalfordHe’s just a beautiful guy. He’s a wizard in the control room. He knows what he’s talking about. He gave us and still gives us confidence when we work together. We will listen to what he has to say, and he was always full of great ideas. He was an accomplished musician himself as far as being able to play the piano and pick up the notes. All of the great things that producers should be able to do.

Ian Hill: He’s got a great feel for music, Tom. He’s probably the best in the business. Tom is a beautiful man at heart, he really is. Although we come from different ends of the social spectrum, we did gel with him pretty quickly. The first time we met him [in 1979], we were all thinking who the hell is this? He was this very plummy-voiced, obviously upper middle class lad who didn’t know anything about heavy metal. About an hour later in the pub, we’ve had a few drinks and were getting on like a bonfire. And it went from there. The first thing he did was mixed the Unleashed In The East live album. He did a tremendous job on that, and then we carried on from there [for nearly a decade].

Glenn Tioton: When we first met him it gelled straight away. The formula worked instantly. His talent shone through. When we’ve worked on box sets [and other releases] since I’m amazed at how much Tom did do for us.

Tom Allom: I’ll tell you, I went to a posh school, a private school. And then somehow I got a place at university. I wasn’t that academic. But I ended up at the University of St. Andrews except it wasn’t in St. Andrews. I went for engineering, and the engineering faculty was in Dundee, Scotland. And Dundee, Scotland is and was a very rough town, really rough. I lived there for three years. Then, I got a job in a recording studio when I finished university proper.

I don’t think I could’ve done that job if I had come straight from school. I had learned some rough edges, and I was confident [with Priest] because I could think, “Okay, you guys are from Birmingham, but I have lived three years in Dundee which makes Birmingham look like bloody Bond Street in London.” And it didn’t bother me that they thought I was posh. By the time we’d finished doing the Unleashed album [in 1979], we were getting along really well. Rob liked working with me, and I think they all did really. That’s why they asked me to do British Steel. And by then they got over the fact that I was posh.

GRAMMY.com: Were you surprised by how MTV embraced the band at the time?

Glenn Tipton: Yes, a bit. Bands like Judas Priest were not usually featured on MTV, but I think our music crossed the point and was acceptable for MTV. [At a later point] we even knocked Madonna off the No. 1 spot.

GRAMMY.com: Are you still cool with the fact that Screaming is considered to be the definitive Priest album?

Ian Hill: Oh, yeah, I do. It was the ultimate seller. I don’t think we’ve sold more of any other album, and it was a step in the right direction. After Point Of Entry being panned a little bit, we came roaring back with that one. Then, like I say, Defenders was Screaming on steroids. It took us to that peak. We could have carried on making that kind of album, but they wouldn’t have made any more progress from Defenders. Loads of other bands do that. They find their formula and they stick to it and people [like] them for it. But like I say, we’re always trying to take that step forward.

Glenn Tipton: It’s not everybody’s No. 1, but I would think its direction comes very close to what most people consider the best Judas Priest album. It is a milestone album.

Read more at GRAMMY.com.

Share : facebooktwittergoogle plus


Since 2004, acclaimed rockers Alter Bridge have been known for their memorable riffs, infectious vocal melodies and dueling guitar attack that has garnered them critical and fan acclaim around the globe. Now the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums are back with their most-aggressive collection of songs to date. The band’s seventh album Pawns & Kings is scheduled for worldwide release on October 14th through Napalm Records.

Pawns & Kings is comprised of 10 all-new epic tracks that are sure to garner the band new fans around the globe while satiating their fervent supporters that have been patiently waiting for new music from the band. Pawns & Kings found Alter Bridge reuniting with longtime collaborator and producer Michael “Elvis” Baskette to create a collection of memorable new additions to band’s impressive catalog.

From the opening riffs of This Is War to the title track album closer Pawns & Kings, Alter Bridge returns with an album of intense tracks that were born after the cycle for their last album was cut short by the global pandemic. Songs like Dead Among The Living, Silver Tongue and Holiday showcase the signature songwriting the band is known for. The album offers numerous epic adventures, with three songs clocking in over six minutes each. The opus Fable Of The Silent Son clocks in 8:29 and is the longest recorded song in the band’s catalog – a distinction held by Blackbird until now. Mark Tremonti steps out of his backing vocal role to take the lead on Stayan introspective ballad that is sure to become a fan favorite live.

The epic closing title track Pawns & Kings will be available via all digital service providers around the globe at midnight local time tonight, and a lyric video for the song can be found below.

The track listing for Pawns & Kings is:

1. This Is War                                                            
2. Dead Among The Living
3. Silver Tongue
4. Sin After Sin
5. Stay
6. Holiday
7. Fable Of The Silent Son
8. Season Of Promise
9. Last Man Standing
10. Pawns & Kings

Pawns & Kings is now available for pre-order in the following configurations here: 
-CD Digisleeve
-1 LP Gatefold Black Vinyl
-1 LP Gatefold Inkspot Black/Gold Vinyl w/Slipmat and Record Butler (Napalm mail order only, limited to 500 worldwide)
-1 LP Gatefold Marbled White/Crystal ClearVinyl (Napalm mail order only, limited to 400 worldwide)
-1 LP Gatefold Marbled Orange/Black Vinyl (Band Shop only)
-1 LP Gatefold Marbled White/Black Vinyl (Band Shop only)
-1 LP Gatefold Crystal Clear Vinyl (Band Shop only, limited to 300 only)
-Deluxe Box Set w/ CD Digisleeve, Pendant, Tote Bag, Guitar Pick tin (Napalm mail order only, limited to 700 worldwide)
-Music Cassette Brown Transparent (Napalm mail order only, limited to 150 worldwide)
-Digital Album

Pre-Order Pawns & Kings here.

Follow Alter Bridge online at: alterbridge.com, facebook.com/alterbridge, instagram.com/officialalterbridge, twitter.com/alterbridge, youtube.com/c/alterbridgeofficial, tiktok.com/@officialalterbridge, Spotify and Apple Music.

Share : facebooktwittergoogle plus


Brian Hiatt of Rolling Stone spoke with Mammoth WVH‘s Wolfgang Van Halen, excerpts from the interview appear below.

Rolling Stone: ….can expand…because it was a long, long process to get to the debut [album].

Wolfgang Van Halen: There was a lot of work. I didn’t know who I was before it started. I didn’t know what it was going to be. I just knew I had this dream of pulling a Dave Grohl and doing an album all on my own – you know, recording everything, writing everything. And I wasn’t sure if I could do it. I didn’t know if I could sing. But my producer [Michael “Elvis” Baskette], when he heard me sing a couple demos, he was like, “You’ve got this.” In general, I’m a very self-doubting person. I’ve been raised for half my life, with everyone – outside of my inner circle of people who are kind to me, and family and friends – vehemently hating me and trying to convince me that I’m not good enough. And I won’t lie. That, at a young age, really gets in your head. And I’ve had my trust abused throughout my life, in many different episodes with a handful of different people that have really shaken me up in different ways. And I’m still working through some of that, and a lot of that sort of fallout from those incidents in my life has resulted in me having a really poor opinion on myself. And it’s really difficult to kind of pick yourself up and get anything done. 

Rolling Stone: That must make it all the more triumphant that you got the album out and went on tour and got a great reception.

Wolfgang Van Halen: Yeah, it’s an amazing feeling. When you really look at everything that we’ve done in the past year, it’s kind of crazy for a new rock band in 2021. So I’m really proud of the whole team. It’s really amazing.

Rolling Stone: When you were talking about negativity, you mean online, right?

Wolfgang Van Halen: Yeah. You know, it’s hard. You know, I spend my life trying to get, you know … You want people to like you, you think you’re a nice person, you know, and then all these people who don’t know you have decided the person that you are because of who your parents are and what you do. We’ve become such  a cynical place where everything is judged first. It’s who can get the most cynical hot take, rather than, you know, actual kindness. It’s a very unkind world out there in many aspects.

Rolling Stone: It’s easy to forget that you were just a teenager facing online hate for replacing an original member of Van Halen.

Wolfgang Van Halen: It’s a thing that we can’t escape in this internet age, and I don’t know, I just get really tired of it. It’s like, “Don’t you guys have anything better to do?” Yeah, that’s why I just make jokes back at the s–t…

Rolling Stone: And what were the betrayals of trust you’re referring to?

Wolfgang Van Halen: I don’t want to call people out or anything, but I’ve had people in my family steal from me. I’ve had people who I thought I was friends with, end up taking advantage of me in the end. I’ve had people I’ve been in a relationship with, abuse that trust. Cheat on me, steal from me. If you listen to the lyrics on the first Mammoth album, it’s like everything I write is directed at this amalgamation of people who took advantage of me.

Rolling Stone: What are some of the sort of peak experiences along the way over this past year?

Wolfgang Van Halen: Starting it up with opening for Guns [N’ Roses] was just being thrown into the fire in a really exciting way. Having the third show ever be at Hershey Park in front of a sea of people was something I’ll never forget. I can’t thank the whole Guns crew enough. I think that was 28,000 and change.

Rolling Stone: You started playing a heavy new song called I Don’t Know at All on tour. Will that be on the next album?

Wolfgang Van Halen: Most likely. I really like it. I don’t know if it’ll be a single or anything. But it’s a song idea that was left over from the first album. There’s about seven or 10 ideas left over that were written around that time. And since then, I’ve written many, many more. So there’s a lot to pick from.

Discussing music he likes: …I f–king love Meshuggah. Meshuggah is, like, my favorite band. And Jimmy Eat World is also one of my favorite bands. There’s nothing I hate more than gatekeeping in music, you know, or just gatekeeping in general.

Rolling Stone: What’s the timetable on the next album?

Wolfgang Van Halen: Not a specific timetable, really. But more than anything, I just want to be able to take the process and squash it down a bunch. 

Rolling Stone: So you’re aiming to release next year?

Wolfgang Van Halen: I’m aiming for that. Absolutely. I want it to come out next year.

Rolling Stone: There was apparently some kind of Van Halen tribute attempted that involved your uncle [Alex Van Halen] and Joe Satriani. What can you say about that?

Wolfgang Van Halen: What I can say is that there was an attempt at doing something. But, you know, I don’t like to speak negatively about people, but there are some people that make it very difficult to do anything when it comes to Van Halen. After being in Van Halen for a long time, I really have strived to have an environment where there is no walking on eggshells and  there is no personality that you have to deal with. It’s just guys having fun making music and just having a good time. But, you know, from my time in Van Halen, there was always some stuff that gets in the way from just making music and having a good time. And, I think, that’s what happened. 

Rolling Stone: Let’s see, how can we decode that?…

Wolfgang Van Halen: I would love to just sit here and say everything and say the truth. There are plenty of interviews my dad did, where he straight up just said everything. And people hated him for it and thought he was lying. So I could just say s–t, but people have already decided how they feel about things, facts or not. So I can say the facts. But that may not align with how certain people feel. I know how Van Halen fans get. They are very motivated by which specific people they like in the band. And it’s just not worth it. Just, we made an attempt, and some people can be hard to work with, and made it not happen.

Rolling Stone: When you say “we,” what would your involvement have been in this?

Wolfgang Van Halen: When it comes to Van Halen, and decision-making overall and what Van Halen does, it’s Al, and then I’m there and supportive. You know, I basically help make the decisions that dad would be there to make, because I’m in there in his stead. 

Rolling Stone: So basically, you gave your blessing to this attempt that didn’t work out.

Wolfgang Van Halen: It didn’t even get to that point. It was in such an early stage that it never even got off the ground.

Rolling Stone: Too bad.

Wolfgang Van Halen: Yeah, no, I would really like to do something for Pop.

Rolling Stone: So to get this straight, was this going to be a tour or a single concert? There’s a lot of confusion.

Wolfgang Van Halen: It was not a tour.

Rolling Stone: So it was a one-off tribute concert. And even on that, they couldn’t get together?

Wolfgang Van Halen: Right, surprise. Look at anything that’s happened with Van Halen. And look how things have fallen apart. You know?  The fact that in my tenure, in Van Halen, we managed to do three tours, put an album of original material and a live album out is a f–king miracle.

Rolling Stone: There’s been a tremendous amount of confusion out there on this tribute thing.

Wolfgang Van Halen: People love to pin every decision Van Halen has ever made on Dad. But Al’s the brain. Al has been the guy forever. He’s the dude. When it comes to Van Halen, Dad just wanted to play guitar. But, you know, Al’s mentality, and it’s the mentality that Van Halen took for the entirety of its band, is that there’s nothing worth talking about, unless it’s happening. So, the reason that nothing has been talked about from Van Halen, the official channels, is because nothing’s happened. And I know how that will stir people up and piss them off, but that’s how the operation is run.

Rolling Stone: When Robert Plant wouldn’t tour with Led Zeppelin, they auditioned all kinds of singers, including Steven Tyler. But just because they jammed a couple of times, doesn’t mean anything really came of that.

Wolfgang Van Halen: Not at all. And just because one person [former Metallica bassist Jason Newsted] decided to talk about it when they weren’t supposed to, it f–ked everything up.

Rolling Stone: Was that really what f–ked it up?

Wolfgang Van Halen: That wasn’t the end of it, actually. It was already not happening.

Rolling Stone: And if someone were to assume that the main problem was a certain singer with three initials, what would you say to that?

Wolfgang Van Halen: I would say “Do your research on the history of Van Halen, and come to your conclusions.”

Rolling Stone: We joked last year about how you had to save rock & roll, and weirdly, now it looks like it’s kind of coming back in the mainstream, from Olivia Rodrigo to Harry Styles to the pop-punk revival.

Wolfgang Van Halen: You know, Demi Lovato just came out with a pop-punk song. F–kin’ Machine Gun Kelly switched genres. It’s what’s in. I don’t know if it’s just being used as a facade or if they’re just kind of copping on the scene to look cool. But, at the same time, they’re playing the music and that could open up the doorway to other things. It really does seem like rock-based music, or at least guitar-bass-drums-style music, is coming back into the limelight. That’s pretty cool.

Rolling Stone: Maybe you did it.

Wolfgang Van Halen: Rock & roll is saved! Sorry, Gene [Simmons]! [Laughs.]

Read more at Rolling Stone.

Share : facebooktwittergoogle plus


As previously reported, guitarist Zakk Wylde (Black Label Society, Ozzy Osbourne, Zakk Sabbath), and drummer Charlie Benante (Anthrax), will be joining Pantera bandmembers Phil Anselmo and Rex Brown, on a reunion/tribute tour.

Wylde recently discussed his participation while speaking to Matt Pinfield and Jose Mangin of Danny Wimmer Presents at this weekend’s Inkcarceration Music & Tattoo Festival in Mansfield, Ohio. He said (as transcribed by blabbermouth.net), “When Vinnie [Paul Abbott] was still alive, when the fellows were all talking about doing it, I just always told ’em, I said, ‘Of course I would… If you asked me, why would I not do it? I’m gonna honor [Darrell] Dime[bag] Abbott .’ It could be like Noel Redding and Mitch Mitchell asking Eric Clapton if he would go out and honor Jimi [Hendrix] and Eric playing Jimi’s stuff and singing Jimi’s songs and they’re going out as the ‘Jimi Hendrix celebration.’ And he’s gonna honor his buddy and he’s gonna play his songs. I think it’s a beautiful thing. It’s like when we do the Dimebash [events in honor of Dimebag], it’s a celebration of Dime’s greatness. It’s a Pantera celebration — that’s what it is… You’re celebrating Vinnie and Dime’s greatness and you’re celebrating all the mountains that Pantera conquered and crushed.”

He continued, “”Obviously, it’s not Pantera. Pantera is those four guys — it’s Phil, Rex, Dime and Vinnie. But it’s just like when [Led] Zeppelin went out with Jason Bonham [son of late Led Zeppelin drummer John Bonham] playing, it was phenomenal. It told Jason, I was just, like, ‘Dude, you crushed it, man.’ It’s a great thing just to hear them play that music again.”

Wylde added, “I’m beyond honored to be a part of it.”

Here the entire interview, below.

For more details about this tour, please go here.

Share : facebooktwittergoogle plus


Brothers Joel, and Ryan O’Keeffe, of Airbourne, who were appearing at the Download Festival, spoke with eonmusic.co.uk, highlights from the interview appear below.

Eonmusic: Joel, you were spotted dashing through the crowd to catch Wayward Sons earlier; did you enjoy them?

Joel: Yeah, Wayward Sons, they were great. Yeah, I heard them on. To be honest, I had never heard of the band before, but backstage I was walking out of the shower – here’s a rock ‘n’ roll thing; Steve Harris just walked past, and I’m coming out of the shower and I go; “I’m not even properly dressed, I can’t say“g’day”! – I keep walking, and then I hear these riffs coming from the stage, and I thought; “f–k, I’ve got to get changed quick”, and then I went out and watched their set, and now I’m already following them on Spotify and everything. I’m into the band. I mean, I’d heard of the name, but I’d never actually heard of the band. One of the great things about festivals used to be, and it still is, where you discover bands.

Eonmusic: It’s been three years since the release of the Boneshaker album; how did that cycle go for you?

Joel: Oh yeah. We were halfway through a tour and then the whole thing [the COVID 19 pandemic] hit, but we played a lot of places beforehand.   

Ryan: Yeah, we got out there on the tour, we did Australia at the end of the year in 2019, and we’ve picked things up where we left off and I’m actually pretty happy with the whole thing. And now we’re getting ready to do an end of the year tour and then another album. Soon we’ll be making another record.

Eonmusic: You’re now five albums into your career; the band has done a lot of work to get where you are now.

Ryan: Five albums! F–kin’ hell!

Joel: Oh, it’s been definitely like a big 747 taking off very slowly. Like, we’ve gone everywhere, around and around; and everything gets a bit bigger, a bit bigger, each time when we do it. We’ve always, even when we started our band, we were sitting on the lounge room floor deciding what our band name would be when we were kids, like, we knew then that we didn’t want to be a band that went up too quick. We wanted to be a band that just rises, slowly rises.

Eonmusic: Are you planning on having the new album out before [touring]; what can you tell us about that?

Ryan: After this tour, which will be closing up Boneshaker we’ll then begin to make the next one.

Joel: Yeah, we’re going to America, South America, first. We did make an executive decision during lockdown not to be too focused on trying to make rock and roll songs that make you feel very good in an environment where you’re depressed and you’re being held down by the man. But yeah, we’re looking pretty good.

Ryan: We wanted to see people again and play to crowds again before we even think about it; that’s what we’ve always done.

Joel: The first record was like that, yeah.   

Eonmusic: When you’re at home, do you still play, like take out the guitar and play along to AC/DC albums?

Joel: Oh yeah, you just crank away some AC/DC riffs or whatever. I learn a few riffs from some other people, like, I was learning some Rolling Stones songs. I never really sat down to do it, and it was fun, just to learn like Keith’s tuning; ‘Keef’, sorry, not ‘Keith’!   

Eonmusic: What’s happening next for Airbourne?

Ryan: We’re touring until Christmas.

Joel: We’re flying home Christmas day.

Ryan: And then, to make the record, it’ll be coming down to picking a producer, picking a studio, giving us some time to put together what we have, but more importantly, the riffs that we’re making out here, now. This is how we wanted to do it; we wanted to make a record when we’re rockin’, and there’s people, and the crowd is there, and then, we come offstage and throw down this and that, and put it all together. So hopefully it’ll be released sometime late next year.

Eonmusic: That’s the Airbourne ethos isn’t it; it’s all about the party and the rock and roll.

Ryan: And just people; that’s the one thing that lockdown stopped.

Joel: Never change it, mate. The bands we grew up listening to all played here when it was Monsters of Rock, and they haven’t changed. That’s how it is.

Read more at eonmusic.

Airbourne’s North American tour is set to begin on September 9th in New York and wraps up on October 11th in Los Angeles, see their entire tour itinerary, here.

Share : facebooktwittergoogle plus


As previously reported, Pantera‘s surviving members are hitting the road for a long-hyped reunion tour in 2023.

Now Billboard reports, that joining vocalist Phil Anselmo and bassist Rex Brown will be joined by guitarist Black Label Soiciety fronmtman, and Ozzy guitarist, Zakk Wylde along with Anthrax drummer Charlie Benante.

The foursome will reportedly be headlining a number of major festivals across North America and Europe and staging some of their own headline concerts, a source close to the group tells Billboard.

The lineup has been given a green light by the estates of the band’s founders, Vincent “Vinnie Paul” Abbott and “Dimebag” Darrell Abbott, as well as Brown.

Wylde has long been the consensus fill-in for “Dimebag” Darrell due to his relationship with the Abbott brothers and his success and stature in hard rock and heavy metal.

Wylde was close friends with both “Dimebag” Darrell, who was murdered in 2004 while performing on stage during a show with his band Damageplan in Columbus, Ohio, and Vinnie, who died in 2018 from health complications related to heart disease. Prior to “Dimebag” Darrell’s murder, Wylde played several shows with Damageplan for MTV’s Headbangers Ball tour and performed the second guitar solo on the band’s song Reborn.

Wylde is scheduled to tour Europe this summer with Osbourne on his No More Tours 2 outing for approximately seven weeks between early May and mid-June. Originally announced in 2018, the tour was twice delayed due to health issues affecting Osbourne and then rescheduled two other times because of COVID concerns.

Benante’s relationship with Pantera dates back to the mid-1980s, prior to Anselmo joining the group.

Artist Group International will book Pantera’s North American dates, with Dennis Arfa and Peter Pappalardo as the responsible agents. The band is managed by Scott McGhee of 1 Degree Music Entertainment.

Share : facebooktwittergoogle plus

1 4 5 6 7 8 816