A teaser clip for Black Sabbath’s forthcoming DVD, Gathered In Their Masses, can be viewed below.
The DVD will contain live footage from the band’s tour in support of its long-awaited reunion album, 13, which was released June 11th.
In just four weeks, Rob Zombie’s Great American Nightmare–the ultimate Halloween music and horror event–will open its doors at FEARPlex in Pomona, just outside Los Angeles. Check out an exclusive video for a preview of the most exciting and horrifying attractions from Rob Zombie below.
Rob Zombie’s Great American Nightmare will be held every Thursday, Friday, Saturday and Sunday from October 10th-November 2nd. Rob Zombie’s Great American Nightmare will feature 15 nights of music, culminating with a November 2 headlining performance by Rob Zombie himself. This bone-chilling experience will combine the most advanced haunted house attractions with a not-to-be-missed music festival from top artists in the realms of hard rock/metal, rock alternative, EDM, and Latin music. Each Thursday night will feature rock alternative music, Fridays EDM, most Saturdays will feature hard rock/metal, and most Sundays will be Latin music focused.
In addition to Rob Zombie, Great American Nightmare music performances will include: 3OH!3, 45 Grave, Andrew W.K., Beware Of Darkness, Blaze Ya Dead Homie, Blood On The Dance Floor, Butcher Babies, DirtyLoud, Dirtyphonics, DJ Bl3nd, Doctor P, Duane Peters, Eagles Of Death Metal, Emilie Autumn, Evol Intent, Fei-Fei, Ghost Town, Goldfinger, HeavyGrinder, Kottonmouth Kings, Metalachi, Mod Sun, One More Time (Daft Punk Tribute), Ozomatli, Powerman 5000, Reel Big Fish, TSOL, Terravita, The Dickies, The Used, The Vandals, Twiztid, Vampires Everywhere, Wallpaper, William Control, Winds Of Plague, and Zomboy. One night will also feature pro-wrestling sensations Lucha Libre USA.
Please visit www.GreatAmericanNightmare.com for more details and the full list of music performances by date.
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 Superbeasto 2009 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.
Fullerton, California’s The Slidebar has partnered with Rob Zombie’s Great American Nightmare to host the Rob Zombie’s Great American Nightmare Battle Of The Bands live local music showcase this September and October. Unsigned talent will have a chance to compete for a chance to play the Monster Energy Main Stage on one night of Rob Zombie’s Great American Nightmare. To enter the competition, bands should email slidebarvenuebooking@yahoo.com by September 13th, 2013. Each entry should include: Band Name, Genre, Facebook Page, Twitter, Contact Name, and Contact Email. Bands will be chosen from these entries to perform at the weekly battles, each featuring five bands. Also visit the SlideBLOG at www.SlidebarFullerton.com for more details.
Fan filmed footage of Black Sabbath’s entire Irvine, California can be viewed below.
The August 28th show’s set list was:
1. War Pigs
2. Into The Void
3. Under The Sun/Every Day Comes And Goes
4. Snowblind
5. Age Of Reason
6. Black Sabbath
7. Behind The Wall Of Sleep
8. N.I.B.
9. End Of The Beginning
10. Fairies Wear Boots
11. Rat Salad
12. Iron Man
13. God Is Dead?
14. Children Of The Grave
Encore:
15. Paranoid
A week after announcing seventeen U.S. dates for the fall, Slayer announced today (September 9th) the addition of seven Canadian concerts as well as a date in Seattle. These added shows are in bold below, and are part of Slayer’s first North American tour in two years.
Slayer – Tom Araya/bass vocals, guitarist Kerry King, drummer Paul Bostaph, and guitarist Gary Holt, who continues to fill in for the late founding member Jeff Hanneman – will have Gojira and 4ARM support on all dates.
Tickets for these newly-added dates go on sale beginning this Friday, September 13th. Log onto www.slayer.net for a complete on-sale dates and ticketing information.
Slayer’s Fall 2013 North American tour is as follows:
October:
22 Sullivan Sports Arena, Anchorage, AK
25 The Joint at Hard Rock Hotel & Casino, Las Vegas, NV
28 Hollywood Palladium, Hollywood, CA
30 Events Center @ San Jose State, San Jose, CA
November
1 WAMU Center, Seattle, WA
3 Stampede Corrall, Calgary, AB
4 Shaw Center, Edmonton, AB
5 Praireland Park Center, Saskatoon, SK
7 MTS Center, Winnipeg, MB
8 Myth, Minneapolis, MN
10 FunFunFun Fest, Austin, TX
12 Bayou Music Center, Houston, TX
13 South Side Ballroom, Dallas, TX
15 Aragon Ballroom, Chicago, IL
16 The Fillmore, Detroit, MI
17 LC Pavilion, Columbus, OH
19 The Fillmore, Washington, D.C.
20 Stage AE, Pittsburgh, PA
21 Ricoh Colibsum, Toronto, ON
23 CEPSUM/University of Montreal, Montreal, QC
24 Pavilion de la Jeunesse, Quebec, QC
26 Oakdale Theatre, Wallingford, CT
27 Theatre @ MSG, New York, NY
29 Susquehanna Bank Center, Camden, NJ
30 Tsongas Arena, Boston, MA
 the addition of seven Canadian concerts as well as a date in Seattle. These added shows are in bold ... )
Glenn BurnSilver of the Phoenix New Times spoke with Black Sabbath and Heaven And Hell guitarist Tony Iommi about Sabbath’s classic sludgy sound, their new album, the future of the band and Bill Ward. Portions of the interview appear below.
PNT: I have to wonder about that development of that original sound. A few early songs have a bluesy and progressive sound–but how did the heavy, sludgy sound materialize? Did you stumble on it by accident?
Iommi: The sound I was after in the first place was to have something powerful. Something to create some tension. We used to work on trying to get the sound as big as we could. I think because of my accident it made me play a different way anyway. I had to work on playing chords a different way and playing as big as I could. That’s really what it was, working on enhancing the sound. And when we all played together, the way Geezer would bend his notes the same as I do, and it makes the sound fuller.
PNT: That made it darker, heavier?
Iommi: I wanted it to be that way. When we first started, we were playing jazzy blues stuff. Once we started getting down to really writing our own stuff, that’s when the sound came about really. I wanted to create the same vibe as a horror film. It’s got tension and these evilly things going on. I wanted to do that with music and I came up with these notes that were evil [laughs].
PNT:Why do you think people took to it? Did it make their hair stand up on their arms, or maybe give them that evil thrill? Or was it just so different?
Iommi: It was unlike anything else around at that time. It was just different and people latched on to it. That’s what we wanted. Not all people–some people hated it–but it was a matter of building up the people who liked it and making more of them. There were a lot of people when we first came out who really did slag us and hated what we did.
PNT: OK, back to the future. How is playing together–recording together–after so many years of tension and not being in the studio? The last album with the original lineup was in 1978… Ozzy was booted out in 1979…
Iommi: Tensions? The tensions over the years have mainly been about business. It’s not been personal at all. We always got on well on a personal level. It’s been going really good.
It’s just a different attitude now. When we got back together to record this album everybody had a different attitude toward what we were doing this time. We wanted to make an album together. We all really appreciated each other and respected each other. That’s really the only way to go into it–a full band commitment–and everybody was ready to put everything into it.
We did try back 12 years ago, and nobody could settle on it then. It wasn’t the right time, there were to many things going on. Ozzy was doing MTV, so it just didn’t work then. We weren’t going to do it until everybody was fully committed, and that was this time. Rubin was interested in doing the album [in 2001]. We played him some tracks but that’s as far as we got with it. We pulled the plug on it. We never got into the studio. We’d just played him some tracks.
PNT: Any of these songs on 13 holdovers from the 2001 sessions?
Iommi: We totally just abandoned those. It was not a good memory, so we just scrapped them.
PNT: Where’s [drummer] Bill [Ward}? I know all of you have worked together on and off since that 1997 reunion, but is Bill even able to perform right now?
Of course–we were hoping Bill was going to do it. When we first got together, Bill was involved.
Iommi: It was Bill who pulled the plug, it wasn’t us. Bill decided on his own he didn’t want to do this, because he didn’t like things the way it was. But we still don’t know exactly what that was, because Bill won’t exactly talk to us about it. He got his lawyers to talk with our lawyers, and it went that way instead of talking to the band personally.
It got to be a silly situation. It would have been nice to have had Bill on the album, but it was getting too complicated. It had been after a year of this stuff, and we just had to get on with it.
PNT: Given how well this is going, and the success of the record, will we see more of this Black Sabbath in the future?
Ioomi: We’re not looking at like that. We’re looking at in the moment. Unfortunately, we have to work around my treatments. I’m still having treatments for the cancer. I have to go back to England every seven or eight weeks, and I have to come off the road while my system adjusts. Then we go back on the road.
It’s all been very new to me. I didn’t know how it was going to work. I haven’t done a tour since I was ill. Maybe a couple of shows, but I haven’t done a day on, day off, day on, day off tour. I have to treat my life quite differently than I did five years ago. So we don’t plan things too far down the road since I don’t know how I’m going to be after this tour.
Read more at the Phoenix New Times.
source: phoenixnewtimes.com
Sebastian Bach has told fans he was offered Vince Neil’s job in Motley Crue in 1992, but he turned it down because he believed he’d be better off staying in Skid Row.
The band made the decision to replace Neil after their relationships broke down. In the end they hired John Corabi, who recorded the acclaimed 1994 self-titled album with them before record label pressure brought Neil back three years later-leaving Corabi suicidal.
But now Bach, who split with Skid Row in 1996, has said he was in line for the role.
A fan recently asked on Twitter if he’d been “considered to replace Vince in Motley,” to which the vocalist responded: “Not considered. Asked.”
After a request to clarify who approached him, he confirmed it was Motley Crue themselves. Then he was asked: “Why didn’t you take it?”
He wrote, “The short answer is that I actually thought at the time this band, Skid Row, was better. Gee, I sure know how to pick ‘em.”
source: classicrockmagazine.com
