70 Cheap Trick
Rick’s alright, Robin’s alright, they just seem a little weird…
F E AT U R E S
38 Joe Bonamassa ,VWKHUHPRUHWROLIHWKDQJXLWDUV"7KH EOXHVĦURFNPDHVWURLVÀQGLQJRXWWKDW WKHUHMXVWPLJKWEH$QGKLVFRXQWGRZQ WRH[LWLQJWKHJDPHKDVDOUHDG\EHJXQ«
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54 Aerosmith :DQWWRNQRZKRZ$HURVPLWKEHFDPH $PHULFD·VKRWWHVWURFNEDQGLQWKH PLGĦ·V":DONWKLVZD\«
64 2018: The Year In Rock 2XUFRXQWGRZQRIWKHÀQHVWDOEXPV UHOHDVHGWKLV\HDUDVVHOHFWHGE\ 3ODQHW5RFN·VFUDFNVTXDGRIZULWHUV DQGSUHVHQWHUV
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80 T H E C O V E R S T O RY
Iron Maiden $VDVDOXWHWRRXU¶%DQG2I·ZH WDNHDZDONWKURXJK(DVW/RQGRQZLWK 6WHYH+DUULVWRUHYLVLWWKHPHVV\ELUWK RIWKH%ULWLVKPHWDOOHJHQGV3OXVWKH EDVVLVWDQG0DLGHQIURQWPDQ%UXFH 'LFNLQVRQWDNHXVEHKLQGWKHFXUWDLQ IRUWKHH[FOXVLYHLQVLGHVWRU\RI ¶7KH/HJDF\2I7KH%HDVW·WRXU PLANET ROCK
U P F R O N T
Jimi Hendrix The guitar legend through the lens of Baron Wolman.
30 Alice Cooper Itâ€™s only The Coop getting up WRQRJRRGZLWKIHOORZZLOGÄ¦H\HG Michigan maverick Iggy Pop!
Inglorious Exclusive: Nathan James on his band â€™s dramatic split and their future plansâ€¦
Von Hertzen Brothers Brother Mikko picks six songs that salute that eternal goal of peave and love, man.
They donâ€™t like it up â€™em: Lemmy sees the point.
Kris Barras 0HHWWKHIRUPHUFDJHÄ¦Ã€JKWHUDQG sometime Supersonic Blues Machine PDQVHWWLQJWKHURFNZRUOGRQÃ€UH Plus: Those Damn Crows.
Fish The Hairy Bikers present Rockâ€™nâ€™Roll Cookery, IHDWXULQJ)LVKDQGÄ§ZKDW HOVH"Ä§KLVPRXWKZDWHULQJ seafood linguine recipe.
Spirit Of Radio Planet Rockâ€™s presenters share their favourite Iron Maiden stories and give us the skinny on whatâ€™s steaming right now.
Tom Morello The Rage Against the Machine and Audioslave guitar hero shares with us his worldly wisdom.
Full Metal Jacket This issueâ€™s featured denim FXWÄ¦RÉ²DQGWKHWDOHVRIORYH loss and metal woven into its DOHÄ¦VWDLQHGIDEULF
Queen Brian May and Roger Taylor revisit their most majestic moments GXULQJ3ODQHW5RFNUDGLRÂ·VDFWLRQÄ¦ packed Xmas schedule.
Lemmy At home with the late MotÃ¶rhead mainman and his dodgy Nazi nicknacks.
R EO Speedwagon Kevin Cronin on WKHPDJQLÃ€FHQW.HHS On Loving You.
B A C K
25 Albums You Must Hear Right Now! Includingâ€¦ Greta Van Fleet, Smashing Pumpkins, Chris Cornell and moreâ€¦
Unsung That 1981 album by UFO that you never play is actually quite good, donâ€™cha knowâ€¦
Live Wire Live spectacular with Glenn Hughes and John Fogerty doing their things.
Crossword Fill in the squares to win a whole lot of Iron Maiden swag.
112 Books & DVD Steven Wilson, Led Zep, AC/DCâ€¦ 4
T H E
118 The Buyersâ€™ Guide Pearl Jamâ€™s back catalogue rated.
Who The Hell Are These Guys? Recognise this wild bunch? Maybe you were one of them!
Showtime Your guide to December and Januaryâ€™s hottest rocking nights out. Purple haze: Glenn Hughes live, page 120.
GIANANDREA TRAINA, DIRK GÃ–TZ, ROBERT SUT TON, GET TY
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not another fuckinâ€™ hat!â€? Odd to think that DORQJÄĽIRUJRWWHQÂśVYDULHW\KDOOMRNHZDVWKHRULJLQDOLQVSLUDWLRQ EHKLQG WKH OHJHQGDU\ KHDY\ PHWDO LFRQ ZKLFK JUDFHV WKLV LVVXHÂśV FRYHU(GGLH7KHÂś(DGKDVEHHQ,URQ0DLGHQÂśVPDVFRWVLQFHWKHLU HDUOLHVWJLJVLQ/RQGRQÂśV(DVW(QGVRLWVHHPHGRQO\DSSURSULDWHWR SXWKLPIURQWDQGFHQWUHLQRXUWULEXWHWRRXU%DQG2I$ORQJÄĽ VLGHRXUÄĽSDJHWULEXWHWR%ULWDLQÂśVJUHDWHVWPHWDOEDQGZHEULQJ \RX FKRLFH DUWLFOHV RQ -RH %RQDPDVVD $HURVPLWK &KHDS 7ULFN +DOHVWRUPDQGPRUHDQGDFKDQFHWRZLQRXU7RSDOEXPVRIWKH \HDU:HOOLWÂśVDOPRVW&KULVWPDVLQQLW" $VZHHDVHLQWRWKHIHVWLYHVHDVRQZHÂśGDOVROLNHWRLQYLWH\RX SOHDVHWRORJRQWRZZZSODQHWURFNFRPVXUYH\WRVKDUH\RXUYLHZV RQWKLVPDJD]LQHDQGKRZ\RXÂśGOLNHWRVHHLW GHYHORS LQ IXWXUH <RXU IHHGEDFN ZRXOG EH PRVW YDOXHG DQG KXJHO\ DSSUHFLDWHG 6HH \RX EDFNKHUHIRULVVXHLQ-DQXDU\ÂŤ
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Matt Turner &21 7 5 ,%8 7 25 6 Phil Alexander, Paul Anthony, Jason Arnopp, Stevie Chick, Alice Clark, Ian Danter, George Garner, Del Gentleman, Caren Gibson, Loz Guest, Ross Halfin,Paul Harries, Dave Harrington, James Hickie, James Mackinnon, Dave McLaughlin, James McNair, Andrew Perry, Darren Redick, Nick Ruskell, Amit Sharma, Cathi Unsworth, Marco Vittur, Paddy Wells, Wyatt Wendels, Lois Wilson, Ian Winwood, Rod Yates, Simon Young Group Managing Director, Advertising Abby Carvosso Music Director Joel Stephan Classified Sales Executive Philip Nessfield Production Manager Carl Lawrence Ad Production Controller Helen Mear Chief Executive Paul Keenan Group Managing Director Rob Munro-Hall Managing Director Patrick Horton Managing Editor Danielle Oâ€™Connell
This monthâ€™s Iron men includeâ€Ś
Head of Marketing Fergus Carroll
Jason Redwood is an LA-rooted artist, working mostly in embroidery. He is inspired by music and art from the â€™60s to the 2040s, and when not creating works of embroidery he spends most of his time trying to raise a human being. See his â€˜Eddieâ€™ embroidery on page 80.
Gianandrea Traina is a Londonbased photographer whose work has been internationally published. He creates engaging images across the photographic spectrum, and shot Kris Barras in this issue. Follow his most recent project on Instagram @the_atomic_lens_project
Dirk Oliver GĂśtz is a Germanbased photographer. In 1989 German Metal Hammer offered him a job as a photographer and editor, and within a year Dirk was the principal photographer. His photograph of Lemmy at home in LA is on page 18.
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MARCO VIT TUR, DIRK GĂ–TZ
Tom Spencer is a West Londonbased musician/artist. He makes rockâ€™nâ€™roll lifestyle-inspired stained glass panels, under the banner tattooglass.com, and he is also the singer/guitarist in The Professionals. His work can be seen on the front cover of this issue.
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t n o r Upf NEWS, V
UGH O H T M O D AN IEWS AND R
Mojo man: Jimi Hendrix, Travelodge Motel, San Francisco, February 2, â€™68.
May This Be Love THE BIG PICTURE
Rare Jimi Hendrix images collated in stunning new photo anthology.
LEGENDARY US photographer Baron Wolman LVSUHVHQWLQJHYHU\IUDPHRIÂ¿OPKHHYHUVKRWRI-LPL Hendrix in a special hardcover book to be published LQGHSHQGHQWO\LQ-LPL+HQGUL[Ä¥ will feature all 442 images taken by Rolling Stone magazineâ€™s former chief photographer across his four encounters with the guitar god. The deluxe book will also feature archive material, reprinted Rolling Stone SURÂ¿OHVRI+HQGUL[DQGDQHZLQWHUYLHZZLWK:ROPDQ â€œTo this day, I still believe it was impossible to take DEDGSKRWRRI-LPL+HQGUL[Â´KHWHOOV3ODQHW5RFNÂ³, hope that this book demonstrates his many sides. Quiet DQGYHU\WKRXJKWIXORÉ±Ä¥VWDJHKHZDVDPDQSRVVHVVHG RQÄ¥VWDJHE\LQYLVLEOHDUWLVWLFSRZHUV that drove him to make music, to entertain, and to perform. Â³+HDULQJKLPSOD\ZDVLQÂ¿QLWHO\ H[KLODUDWLQJÂ´KHDGGVÂ³,KRSHWKDW you can feel that emotion in my SKRWRJUDSKVÂ´
For more info on this strictly limited edition title go to I N D I E G O G O.CO M and search Jimi Hendrix.
STAINED CLASS Artist Tom Spencer reveals the story behind this issueâ€™s bespoke Maiden cover.
Offski: Nathan James (bottom left) bids adieu to Parkinson (top), Lowe (top right) and Eriksson (right).
Nathan James reveals truth behind shock Inglorious split and looks to the future.
O N O C T O B E R 2 5 , just one week after announcing a January 25 release date for his bandâ€™s third album Ride To Nowhere, Inglorious frontman Nathan James revealed that guitarists Andreas Eriksson and Drew Lowe plus bassist Colin Parkinson had left the band. The news came as a shock to fans RIWKH/RQGRQÄĽEDVHGTXLQWHW not least because all three musicians were heavily involved LQWKHZULWLQJRIWKHIROORZÄĽXS to Inglorious II, and had spoken about their excitement at the prospect of premiering the new songs on the bandâ€™s planned 10
UK and European dates in January and February. â€œI didnâ€™t see this coming at all,â€? James admits, speaking exclusively to Planet Rock. â€œIt was a big surprise to me, and a really odd time for the guys to choose to do this. Everyone whoâ€™s heard the new album thinks itâ€™s our best work to date, so honestly it seems a bit silly to walk away now. But peopleâ€™s lives and personal situations change. There are people having babies, people getting married, people moving houseâ€Ś and as a result, they donâ€™t feel like they can commit fully to the band. â€œItâ€™s a shame,â€? he continues, â€œbecause weâ€™ve got so much JUHDWVWXÉąOLQHGXSIRUDQG those guys wonâ€™t get to reap the rewards of the hard work they
put into the record. But itâ€™s their choice, and I respect that.â€? James has already recruited ÄĽ\HDUÄĽROGJXLWDUSURGLJ\'DQQ\ Dela Cruz, formerly the bandâ€™s guitar tech, to replace Eriksson, and will announce a new bassist and guitarist imminently. ,QJORULRXVZLOONLFNRÉąWKHLUQHZ album campaign at the Engine Rooms in Southampton on -DQXDU\DVVFKHGXOHG â€œIâ€™m really excited about starting this new chapter,â€? says James. â€œDanny is one of my EHVWIULHQGVKHÂśVKDUGÄĽZRUNLQJ young and hungry and I love his attitude. I wish Colin, Drew and Andreas the best, theyâ€™re very talented individuals. No one should worry about our IXWXUHWKHQHZOLQHÄĽXSZLOO blow people away.â€? $QLQÄĽGHSWKLQWHUYLHZZLWK Nathan James will appear LQLVVXHRI3ODQHW5RFN PDJD]LQHRQVDOHRQ-DQXDU\
When most magazines wish to display a stained-glass window as a cover image, they would turn to an illustrator. Planet Rock, however, is not most magazines, and so we commission London artist Tom Spencer to produce a unique, bespoke window for the cover, referencing the artwork of Iron Maidenâ€™s ďŹ rst four albums. â€œThe original sketch ends up as my cutter guide for the glass shapes,â€? says Spencer, who specialises in making rockâ€™nâ€™roll-inspired art, and also fronts The Professionals, featuring former Sex Pistols drummer Paul Cook. â€œItâ€™s then used as the grid to build the panel, and the cut glass pieces are painted on. These then go in a kiln. Then I build it, using lead, solder and cement.â€? To see more of Tom Spencerâ€™s work visit www.tattooglass.com
Split vote: â€œRod Stewart parodyâ€? Plant in â€™1968.
10 Things We Learned About Led Zeppelin On Tour An encyclopaedic new book offers an embarrassment of Led Zeppelin memorabilia, facts and pub trivia.
third show, in Horslunde, Denmark in 1968, included The Ladybirds, a group of topless, VLQJLQJJRÄĽJRGDQFHUVÄŚÂłLQKRWSDQWV white boots and little elseâ€? apparently.
Not everyone was a Robert Plant fan. Early live reviews described the budding vocalist as ÂłD5RG6WHZDUWSDURG\Â´ ÂłDEHDXWLIXOEXWEDG VLQJHUÂ´DQGÂłDGHPHQWHG 6KLUOH\7HPSOHÂ´
Before Zeppelinâ€™s summer 1970 performance at the
%DWK)HVWLYDOODWHÄĽDUULYLQJ bassist John Paul Jones was ferried to the site by Hellâ€™s Angels to ensure the show began on time. Natural porn billers: The Lady Birds and (above) Linda Lovelace.
Zeppelin played Stairway To Heaven live for the
ÂżUVWWLPHDW%HOIDVWÂśV Ulster Hall in 1971. Âł,WIHDWXUHGVRPHQLFHÂżQJHUÄĽVW\OHZRUNÂ´ reckoned the man from Melody Maker.
Guitarist Jimmy Page
once turned up two hours late IRUDFRQFHUWLQ6DQ)UDQFLVFR DIWHULQVLVWLQJRQĂ€\LQJ8QLWHG $LUOLQHVZLWKÂłUHJXODUSHRSOHÂ´ rather than taking Zeppelinâ€™s private jet.
Rival Sons will release their sixth studio album, Feral Roots, on January 25. The 11-track album will emerge via long-time producer Dave Cobbâ€™s imprint Low Country Sound/Atlantic. The Nashville quartet begin their European tour in Newcastle on January 31.
Porn star Linda Lovelace,
of Deep Throat fame, introduced Led =HSSHOLQRQÄĽVWDJHDWDVSULQJGDWH in Los Angeles.
In the pre-mobile phone era,
Zeppelin informed promoter Bill Graham WKH\ÂśGFDQFHOOHGDQXSFRPLQJ86WRXUE\ KLULQJDVN\ZULWHUWRGDXEÂł%LOO&DOOÂ´RYHU8WDK ZKHUHKHZDVZKLWHÄĽZDWHUUDIWLQJRQKROLGD\
The Whoâ€™s wildman drummer Keith MoonPDGHKLVÂżQDO
Zeppelinâ€™s June 1980 gig in Nuremberg was cut short
Lynyrd Skynyrd will play their last-ever UK concerts in June. Status Quo will support the legendary Florida rockers on the four-date arena tour, which commences on June 26 at Glasgowâ€™s SSE Hydro Arena.
DSSHDUDQFHRQÄĽVWDJHLQ$PHULFDDW Zeppelinâ€™s 1977 gig at the LA Forum. He played timpani during the encore and tried WRVLQJ(GGLH&RFKUDQÂśV&Âś0RQ(YHU\ERG\ before being led away from the mic by 5REHUW3ODQW
when drummer John Bonham collapsed RQÄĽVWDJH7KHRÉˇFLDOH[SODQDWLRQZDVWKDW heâ€™d contracted a stomach problem after ÂłHDWLQJEDQDQDVEHIRUHWKHVKRZÂ´
Celebrity guests at Led Zeppelinâ€™s 2007 reunion
FRQFHUWDW/RQGRQÂśV$UHQD included Mick Jagger, Noel Gallagher, Paul 0F&DUWQH\3ULVFLOOD3UHVOH\/XOX0DULO\Q Manson and John Bonhamâ€™s mum, -RDQ6KHZDVWKHUHWRVHHKHU grandson, Jason, on the drums. EVE N I NGS WITH LE D Z E PPE LI N: T H E CO M P L ET E CO N C E R T C H R O N I C L E
by Dave Lewis & Mike Tremaglio is published by Omnibus Press.
Aerosmith frontman Steven Tyler has become a priest. â€œI went online â€“ 80 bucks and I became a Father,â€? the newly ordained Universal Life Church minister told gossip website TMZ. â€œGod knows, Iâ€™ve been a mother for so long!â€?
TE L L U S WHAT YO U TH I N K O F P L AN ET R O C K MAGA Z I N E AN D WI N ÂŁ250! G O TO P L AN ETR O C K.CO M / S U R VEY
Led Zeppelinâ€™s supports act at their
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Kris Barras Warrior Soul
+HWXUQHGWRKLVKREE\PL[HGPDUÄĽ â€œ I T M AY sound strange but WLDODUWVWRÂżOOWKHYRLGE\KH WKHUHDUHVLPLODULWLHVEHWZHHQÂżJKWÄĽ ing and being in a band,â€? Kris Barras KDGWXUQHGSURIHVVLRQDOÄŚKLVÂżUVW ÂżJKWLQ%DWKKHZRQLQXQGHUWZR tells Planet Rock. â€œThereâ€™s the minutes. DGUHQDOLQHDQGEXWWHUĂ€LHVEHIRUH Âł)LJKWLQJZDVDQDGUHQDOLQH taking the stage with both, then the WKLQJÂ´KHVD\VÂł,JRWDPDVVLYHEX]] DFWXDOSHUIRUPDQFHWKHQWKHFRROÄĽ GRLQJLWÄŚLWZDVLQFUHGLEOH<RXÂśUH LQJGRZQDIWHU)URPÂżJKWLQJ, XQGHULQFUHGLEOHDPRXQWVRISUHVÄĽ learned a lot about audiences, and VXUH<RXSXWDIRRWZURQJ\RXGRQÂśW KRZWRNHHSWKHPLQWHUHVWHGDQG, just lose, you can lose your teeth. learned a lot about how to keep my %XW,WKULYHRQSUHVVXUHÂ´ nerves under control and to get my +HSOLHGKLVWUDGHLQ7KDLODQG ERG\WRZRUNIRUPHÂ´ 'HYRQÄĽERUQ%DUUDVÂśÂżUVWORYHZDV ÄŞÂłEUXWDOUHDOO\WRXJKÂ´ÄŤDOVR/DV 9HJDVÄŞÂłWKDWZDVPRUHJODPRURXVDV always music, though. Aged six his youâ€™d get to go to pool parties with GDGERXJKWKLPKLVÂżUVWJXLWDUDQG DFWRUVDQGVSRUWVSHUVRQDOLWLHVÂ´ÄŤ+LV DWQLQHKHZDVMRLQLQJKLVIDWKHU ELJJHVWÂżJKWWRRNSODFHLQ RQÄĽVWDJHLQKLVFRYHUV 6LQJDSRUHLQIURQWRIDQ band. â€œAround the pubs â€œIN MARTIAL ÄĽVWURQJFURZG$IÄĽ LQWKH6RXWKÄĽZHVWRI ARTS, IF YOU ter a decade, having won England,â€? he says, â€œplayÄĽ PUT A FOOT RXWRIWRXUQDPHQWV ing Deep Purple, the WRONG, YOU KHUHWXUQHGWRPXVLFÂł, Stones. My dad was my CAN LOSE IHOW,ÂśGDFKLHYHGHYHU\ÄĽ ÂżUVWPXVLFKHUR+LV YOUR TEETH.â€? WKLQJ,FRXOGDQGVWDUWHG hero was Gary Moore, ZULWLQJVRQJVDJDLQ, so he naturally then wasnâ€™t sure where it would lead.â€? became mine. Gary Moore introÄĽ ,WXOWLPDWHO\OHGWRWKHUHFRUGLQJ duced me to the blues. Everything RIWKH',<EOXHVRILucky 13 in 2016, started there.â€? WKHQÂśVIROORZXSWKH-RVLDK- Soon Barras was helming his own 0DQQLQJÄĽSURGXFHGThe Divine And EDQGWHDFKLQJPXVLFSHUIRUPDQFH Dirty,DKLSÄĽVKDNLQJPL[RIEOXHV at college and running his own KHDY\ULÉˇQÂśDQGJRVSHOKROOHU UHFRUGVKRSLQKLVKRPHWRZQRI Earlier this year, Barras also got 7RUED\$IWHUWKHÂżQDQFLDOFUDVKRI WRIURQW6XSHUVRQLF%OXHV0DFKLQH 2002, the shop went belly up and he RQWRXUÂł*HWWLQJWRVWDQGRQÄĽVWDJH ZDVGHFODUHGEDQNUXSWÂł,ZDVGHYÄĽ ZLWK%LOO\)*LEERQVZDVDPD]LQJ, astated,â€? he says. â€œBut it made me determined to OHDUQHGVRPXFKÂ´+HKDVDOUHDG\ VWDUWHGZULWLQJKLVQH[WDOEXPÂł, never have to rely donâ€™t like putting up barriers,â€? he on anyone VD\VÂł$VZLWKWKHODWHVWDOEXP,OLNH again.â€? both the divine and the dirty.â€? LISTEN TO:
THE DIVINE AND
DIRTY (ALBUM, 2018)
WANT MORE NEW ROCK? Check out T H E N E W R O C K S H OW with W YAT T , every Monday at 10pm, exclusively on Planet Rock Radio.
Bruise brother: Kris Barras, London, October 2018.
Cage ďŹ ghter-turned-rocker, Kris Barras has battled his way to the forefront of the British blues scene. Letâ€™s get ready to rumble! W O R D S : A L I C E C L A R K
The Planet Rock Interview
Birds of a feather: Bridgend heroes Those Damn Crows.
ONES TO WATCH Three more Wyatt Wendels-approved acts to keep an eye on.
Gin Annie Built around cousins Dave Foster (vocals) and Byron Garbett (guitar), Wolverhampton quintet Gin Annie deal out gritty highoctane hard rock with punchy melodies and killer hooks. Their debut album, 100% Proof, due for release on January 25. Find out more at: www.ginannie.com
Those Damn Crows
unexpected swell in their eveningâ€™s takings. Âł:HGLGDVKRZZLWK 0DVVLYH:DJRQVDWWKH%RGHJD LQ1RWWLQJKDPÂ´VD\V6KDQH â€œand little did we know that GUXPPLQJIRU%XOOHW)RU0\ 'LJE\ZDVZDWFKLQJRXUVHW 9DOHQWLQHXQWLOODWHODVW\HDU After the show, he bought our \RXÂśGLPDJLQHWKDWWKHLU merch but we had no idea who connection to one of Britainâ€™s KHZDV7KHQZHJRWDFDOOIURP biggest metal bands would kick RXUPDQDJHUVD\LQJKHZDQWHG open more than a few doors to sign us.â€? WRR1RWVRVD\VWKHVLQJHU 7KHSODQLWVHHPVLVWRWDNH Âł7KH%XOOHWOLQNZDVPRUHRI WKHLUULÉąVWRWKHZKROHZRUOG a hindrance as far as the Âł:HÂśUHZULWLQJPDWHULDOIRU LQGXVWU\ZDVFRQFHUQHGÂ´KH our second album H[SODLQVÂł7KHER\V and have a few had some contacts â€œTHE BULLET killer shows lined ZKHQZHÂżUVW FOR MY up with Skindred started out, but it VALENTINE DQG0DVVLYH:DJÄĽ wasnâ€™t until we took ons, then a tour control of our band LINK WAS A with Stone Broken again that we HINDRANCE.â€? HDUO\QH[W\HDUÂ´ gained some 6KDQHVD\VÂł:H momentum and the LQGXVWU\FDPHWRXV0RRVHDQG admire how far Stone 3DGJHÄŞ7KRPDV%)09 Broken have come, JXLWDULVWÄŤJDYHXVDORWRIDGYLFH and thatâ€™s something 7KH\ZHUHRXUIULHQGVÂżUVW that we know we EHIRUHWKH\EHFDPHURFNVWDUV can do too.â€? and that hasnâ€™t changed.â€? :DWFK7KRVH 7KHEDQGUHFHQWO\UHLVVXHG Damn Crows their exhilarating hard rock WDNHĂ€LJKW debut, The Murder And The LISTEN TO: THE Motive, via Earache. A chance MURDER AND PHHWLQJZLWKODEHOERVV'LJE\ THE MOTIVE (ALBUM, 2018) 3HDUVRQOHGWRDGHDOÄŚDQGDQ
Bridgendâ€™s own high-ďŹ‚ying birds look to spread their wings over the whole world. WORDS: SIMON YOUNG
THEREâ€™S A tattoo parlour on Bridgendâ€™s Nolton Street just eight minutes from the WRZQÂśV3HQÄĽ\ÄĽ%RQWUDLOZD\ station. Among the usual requests for pocket watch and rose designs, thereâ€™s been a recent upswing in demand for FURZÄĽWKHPHGWDWWRRV$UWLVWV DWWKHVKRSFRÄĽRZQHGE\7KRVH Damn Crows drummer Ronnie Huxford, reckon thereâ€™s been around 60 or so people prepared to show that their love for the band extends to PRUHWKDQD7ÄĽVKLUW Âł7KH\UHFHQWO\WDWWRRHGD FOLHQWZLWKRXUEDQGORJRÂ´VD\V frontman Shane Greenhall. â€œItâ€™s WUXO\DPD]LQJKRZRXUEDQG and music is resonating with so PDQ\SHRSOHÂ´ 7KH&URZVÄŚZKRVHOLQHÄĽXS LVFRPSOHWHGE\,DQÎź6KLQHUÂś 7KRPDVÄŞJXLWDUÄŤ/OR\G:RRG ÄŞEDVVÄŤDQG'DYLG:LQFKXUFK ÄŞJXLWDUÄŤÄŚKDYHHDUQHGWKHLU reputation as local heroes in WKHLU6RXWK:DOHVWRZQWKDQNV to an unrelenting work ethic. :LWK6KLQHUÂśVEURWKHU0RRVH
deVience You might recognise deVience frontman Giovanni Spano from his starring role in the acclaimed Bat Out Of Hell musical, or perhaps from his recent stint in The X Factor. Either way, his London-based melodic hard rock band look set to shine in 2019. Find out more at: www.devience.com
Hands Off Gretel Fronted by the charismatic Lauren Tate, South Yorkshireâ€™s HOG drink deep from the well of â€™90s grunge and alternative rock. Current single S.A.S.S. is a riotous tangle of bubblegum riffs and rebel girl swagger. Find out more at: www.handsoffgretel.co.uk
Oh crumbs: Hands Of Gretel.
The Reich Stuff
Lemmy Kilmister WHERE: Hollywood, California WHEN: May 1992 WHO:
â€œ I WO R K E D for the German edition of a UK rock magazine FDOOHG5RFN3RZHUÂ´UHFDOOVSKRWRMRXUQDOLVW'LUN*|W]ZKRÂżUVW encountered Lemmy in 1989. â€œIn May â€™92, while on another assignment LQ/$,DUUDQJHGWRWDNHVRPHVKRWVDW/HPP\ÂśVSODFHÄŚZKLFKZDVQÂśW VRPHSRVKURFNVWDUPDQVLRQEXWDUDWKHUVKDEE\WZRÄĽEHGURRPĂ€DWRQ WKHÂżUVWĂ€RRURIDQXQDVVXPLQJDSDUWPHQWEXLOGLQJ â€œLemmy, being a seasoned strategist, had chosen this place wisely when he had moved from England to Hollywood two years before,â€? KHDGGVÂł,WZDVPHUHO\ÂżYHPLQXWHVDZD\IURPKLVIDYRXULWHZDWHULQJ hole, the Rainbow Bar And Grill, which meant he could walk there. He didnâ€™t have a driverâ€™s licence.â€? GĂśtz recalls getting out of a cab and twigging immediately which Ă€DWZDV/HPP\ÂśVÄŚLWKDGDVLJQRXWVLGHVD\LQJÂł$JHDQGWUHDFKHU\ZLOO always overcome youth and skillâ€?. MotĂśrheadâ€™s leader opened the door a few inches, peeped through the gap and beckoned him in. â€œThat was easier said than done,â€? laughs GĂśtz, â€œthe place was so heavLO\FUDPPHGZLWKDOOVRUWVRIVWXÉąIURPSRUQPDJD]LQHVWR1D]L memorabilia that it looked as if someone had thrown a hand granade LQWRDKXJHĂ€HDPDUNHW/HPP\JXLGHGPHWKURXJKWKHFKDRVWR a worn sofa, handed me a beer and started to play me some rough versions from the latest MotĂśrhead album, March Ă–r Die. â€œI was getting nervous and carefully tried to change the subject towards taking some shots. I knew that Lemmyâ€™s mood could change quickly, should I irritate him. And getting thrown out with no pictures wasnâ€™t exactly my idea of a successful photo shoot.â€? (YHQWXDOO\*|W]IRXQGVRPHVSDFHRQWKHĂ€RRUWRVHWXSKLVOLJKWV and took this evocative portrait. â€œThe acoustic guitar on his lap spares \RXIURPVHHLQJZKDW/HPP\ZDVZHDULQJIXUWKHUGRZQÄŚWKHWLJKWHVW ÂżWWLQJSDLURIFXWÄĽRÉąVKRUWV,WZDVQÂśWDSUHWW\VLJKWÂ´
Haus and home: keen historian and WW II memorabilia collector Lemmy in residence, May 1992.
Upfront Sauvignon blanc, something crisp and dry. Iâ€™m no wine expert, but theyâ€™re safe bets.
Mr Derek Dick whips up a culinary feast ďŹ t for a Beatle, a poetic genius, a master chef and a green-ďŹ ngered TV host. What food would you cook on a good night in? Well, the lucky problem I have is that my wife is a really brilliant cook, but I do get to make my own little specials now and again. I might go with a seafood linguine, a mixture of octopus, squid, salmon, prawns, white ÂżVKZKDWHYHU,FDQJHWP\KDQGVRQ
A shore thing: Fish out of water.
ÄŚDUHDONHWWOHRIÂżVKVRWRVSHDN Iâ€™d get those cooked in a nice creamy sauce with paprika, sea salt, black pepper and a touch of garlic. I live near the coast, and thereâ€™s a couple RIJUHDWÂżVKPRQJHUVQHDUXVÄŚ&ODUN Bros in Musselburgh is HVSHFLDOO\JRRGÄŚVRZHDOZD\V JHWDPD]LQJIUHVKÂżVK0\ZLIH bakes fantastic homemade bread, so Iâ€™d serve it with that, and we grow all our own vegetables in our garden, so maybe a nice organic salad too. No dessert as weâ€™re not dessert people. What would you drink? I think itâ€™d go well with a nice dry white wine, perhaps a Riesling, or something from the Alsace area. 2UD*UQHU9HOWOLQHURUD&KDEOLVRU
How to make seafood linguine: paprika, organic salad, white ďŹ sh, prawns, salmon, octopus, plate.
Who would be your dream guests for a night in? Weâ€™ve got an amazing big table at KRPHZKLFKVLWVDERXWSHRSOHVR thereâ€™s plenty of space for guests. One person I always wanted to meet, but whoâ€™s sadly left us now, is Anthony Bourdain, the chef, as Iâ€™ve read most of his books. My current production manager worked on his last programmes, she was the production manager RQKLVÂżQDOVKRZIURP%HUOLQ and it was terrible to hear of his GHDWK,WKLQNÄŞZULWHUJDUGHQHU 79SUHVHQWHUÄŤ0RQW\'RQLVDQ interesting guy, and Iâ€™d like to pick his brains. John Lennon would be great too, I loved his character and the way he thought and wrote. And maybe Dylan Thomas. Whatâ€™s the best night in youâ€™ve ever had? 7KDWÂśVDGLÉˇFXOWRQHDVWKHUHÂśVEHHQ so many great nights over the years. When my band are up rehearsing in the studio that my wife and I live in, we have some excellent evenings. I like when the story boxes get opened and everyone is chipping in. And I like big meals with the whole family gathered round too, thatâ€™s always a bit special. Iâ€™ve obviously got Italian blood in me somewhere! Present on Sunday mornings from 10am to 12pm. Repeated every Tuesday night from 7pm. F I S H tours the UK in December. His new EP, A Parley With Angels, is out now. T H E H A I RY B I K E R S
T H E H A I RY R O C K S H OW
I L L U S T R AT I O N : M A X I M I N
ROCKâ€™Nâ€™ROLL COOKERY WITH FISH
I N T E RV I E W : PAU L B R A N N I G A N
The Hairy Bikers Present...
OCCASIONALLY Iâ€™LL HEAR THE OPENING CHORDS OF KAYLEIGH IN A RESTAURANT AND THINK, AWWW, FUCK, NO!
What music would you listen to? A bit of Frank Sinatra and Dean Martin, Iâ€™m old school in that way. Maybe some Van Morrison too, something laidback and not too intrusive. And not my own music. Occasionally Iâ€™m in a restaurant and Iâ€™ll hear the opening chords of ÄŹ0DULOOLRQÂśVKLWVLQJOHÄ.D\OHLJK and Iâ€™ll think, â€œAwww, fuck, no!â€? Although even thatâ€™s not as annoying as when someone interrupts a quiet GLQQHUZLWKP\ZLIHWRJHWDVHOÂżH Thatâ€™s the height of rudeness.
Speed kings: REO Speedwagon, with Kevin Cronin (top).
HOW I WROTE... KEEP ON LOVING YOU
Iâ€™M SORRY, BUT THIS IS NOT A SONG TO PLAY AT YOUR WEDDING.
EHVWVRQJVFRPHIURPIRUPH0\ÂżUVW marriage ended so I think it isnâ€™t too KDUGWRÂżJXUHRXWZKRLWZDVDERXW, think she knew it was about her too. I never thought it was going to break the band. There were times with other songs when I thought, This is the one. But nothing had happened, so when Keep On Loving <RXKLWÄŹWKHVRQJUHDFKHG1XPEHU on the US Billboard Hot 100 in 0DUFKÄLWZDVDQDPD]LQJ moment. The amount of love and support that came our way was DPD]LQJWRR2XUOLYHVFKDQJHG immediately. It was a rollercoasterâ€Ś and not all good. There was no time to take it all in, to enjoy it, because we were too busy actually doing it. But all these years later we still get to play that song in front of an audience, and we still get to hear everyone singing it back to us. That is beautiful. Iâ€™m a lucky guy.â€? R E O S P E E DWAG O N â€™s The Early Years
I N T E RV I E W : A L I C E C L A R K
sometimes with no intention or expectation something magical happens. You just always have to be ready. It started out as a soft piano ballad, but when I took it into UHKHDUVDO*DU\ÄŹ5LFKUDWKÄSOXJJHGKLV guitar into a stack of Marshall amps and cranked it up to 11 and gave it a crunch and a power. Suddenly I knew what the song would sound like. All of my songs are chapters of my H[SHULHQFH,ÂżQGVRQJZULWLQJYHU\ I T WA S the turning cathartic. Itâ€™s my way of working point for us. Weâ€™d been through feelings Iâ€™m troubled by. I am breaking even, the always shocked by the amount of perennial underdogs in people who come up to me and say some ways, just waiting in line for they chose Keep On Loving You as that one song to come along. That their wedding song, or played it for one song was Keep On Loving You. WKHLUÂżUVWGDQFH,ÂśPWKLQNLQJ'LG It came to me at four in the they actually listen to the lyrics? â€œYou morning. I woke up with the sound of played dead, but you never bled/ the opening piano chords in my head. Instead you laid still in the grass, all I stumbled into my tiny home studio coiled up and hissinâ€™â€?. Iâ€™m sorry but and started playing those chords, and this is not a song to play at your as I played them, the lyrics wedding! and melody just came to me. I was no angel but the WRITER Kevin Cronin Songwriting is an unpredictÄĽ lyrics are a representation of RELEASED able art. Sometimes you are the hurt, anger, frustration November 4, determined to write and and betrayal I felt at that 1980 nothing happens, and moment. Thatâ€™s where the
REO Speedwagon frontman Kevin Cronin on how a disintegrating marriage inspired a deďŹ nitive â€™80s soft rock classic.
50 YEARS WITH
ZZ TOP L
E R T
WITH SPECIAL GUEST
FRIDAY 12 JULY 2 0 1 9 THE SSE ARENA, WEMBLEY LONDON LIVENATION.CO.UK | TICKETMASTER.CO.UK
Z Z T O P. C O M f T A LIV E NATION PRESENTATION BY ARRANG EM EN T W IT H IT B
IRON MAIDEN AND ME... SPIRIT OF RADIO
A selection of Planet Rock presenters share their latest tips and Maiden memories.
PAUL ANTHONY The best thing Iâ€™ve heard recently:
0RRUH%OXHV)RU*DU\Ä§$7ULEXWH 7R*DU\0RRUH by Bob Daisley And Friends. It does exactly ZKDWLWVD\VRQWKHWLQZLWK JXLWDUJUHDWV6WHYH/XNDWKHU -RKQ6\NHVDQG'RXJ$OGULFK vocalists Glenn Hughes and Danny Bowes and loads more teaming up with Garyâ€™s former EDQGPDWHV%RE'DLVOH\'RQ Airey and Neil Carter. The best thing Iâ€™ve seen recently: The Bohemian
Rhapsody biopic at the cinema. $OOULJKWWKHUHPD\EHRQHRU WZRFKURQRORJLFDOGLVFUHSDQFLHV but overall it totally embraced the legacy of one of this countryâ€™s most successful bands and the legendary Freddie 0HUFXU\:DWFKDQGHQMR\EXW be warnedâ€¦ youâ€™ll laugh and youâ€™ll cry! My Iron Maiden memory: Way too many to mention! In April 2016 I had the honour and SOHDVXUHRIUHFRUGLQJ producing and mixing WKH%Ä¥VLGHRIWKHLU Empire Of The &ORXGVÄ¥LQFK SLFWXUHGLVF0DLGen
Bowling Maiden over: (clockwise) Darren Redick and Wyatt Wendels with Bruce, Paul Anthony interviews Steve Harris.
9R\DJHZLWK%UXFH and Nicko. Then in -XQHWKHVDPH\HDU heading back from their headline appearance at 'RZQORDGLQ3DULV ,Ã€HZLQWR'RQLQJWRQ on board Ed Force 2QHWKHLUIXOO\ ORJRHGSLORWHGE\ none other than Bruce himself!
orchestra behind adding to the lush soundtrack.
The best thing Iâ€™ve heard recently:
Those Damn Crowsâ€™ Blink Of An Eye is a VWDQGÄ¥RXWWUDFNIURPWKHLU debut album 0XUGHU$QG 7KH0RWLYH. Their shows supporting Stone Broken in 2019 will be DPXVWÄ¥VHH
My favourite Iron Maiden memory: My mates and I sat
around at someoneâ€™s house listening to the Mission From Â¶$UU\DUJXPHQWRQWKHÄ¥LQFK of 2 Minutes To Midnight and pissing ourselves laughing at Nickoâ€™s rage!
The best thing Iâ€™ve seen recently: Steve
Hackett at the /RQGRQ3DOODGLXP a quite brilliant talent playing such gorgeous music all QLJKWZith an
LOZ GUEST The best thing Iâ€™ve heard recently:
Thumbs up: Bradley Cooper and Lady Gaga in A Star Is Born.
The crushing new track from Slipknot. Itâ€™s called All Out Life and itâ€™s hilariously good. It actually made me laugh ZKHQ,Â¿UVWKHDUGLWWKDWNLQG of nervous laughter you get when youâ€™re a bit excitable.
The best thing Iâ€™ve seen recently: I have
to say Red Dead Redemption 2 on the Xbox One/ PS4. Iâ€™m a massive gamer and Iâ€™ve seen a lot of landmark games over the years, but this thing is just incredible. The VFDOHWKHVWRU\ÄĽWHOOLQJWKH characters, the action and the world that Rockstar Games have created is simply staggering. Itâ€™s my new mistress. My favourite Iron Maiden memory: My favourite Iron
0DLGHQÄĽUHODWHGPHPRU\LVPH saying to my mother, â€œI saw Bruce Dickinson on the tube the other dayâ€?, to which she replied, â€œOoooh, I love Bargain Huntâ€Śâ€? If itâ€™s not one thing, itâ€™s your motherâ€Ś
DARREN REDICK The best thing Iâ€™ve heard recently: Yes
)HDWXULQJ$5:ÄŚ/LYH$W7KH $SROORKDVEHHQP\JRÄĽWRDOEXP recently. Good as it is, I donâ€™t know why they felt it necessary to add crowd noise. Everyone knows we Yes fans are bit more EHDUGÄĽVWURNH\WKDQVFUHDP\ these days. The best thing Iâ€™ve seen recently: A Star Is Born with
/DG\*DJDDQG%UDGOH\&RRSHU is great. Double Redick WKXPEVÄĽXSRQWKLVÂżOP&RRSHU based his character on Eddie Vedder and guess what? He looks and sounds a lot like Eddie Killer Queen: the Bo Rhap biopic.
9HGGHU/DG\*DJDLV fantastic too. My favourite Iron Maiden memory: ,WÂśVDWRVVÄĽXSEHWZHHQ
two good ones. One was sitting in a booth at the Astoria 2 in /RQGRQZLWK%UXFH'LFNLQVRQ as he demonstrated a few of his party tricks following his gig ZLWK5RE+DOIRUGDQG*HRÉą Tate as The Three Tremors. He FDQZKDFNKLVÂżQJHUWKURXJKD beer coaster! You try it! There was also the time he rode his bicycle up to Planet Rock for an interview. There was something very endearing in his rock godliness arriving in the humblest way.
WYAT T WENDELS The best thing Iâ€™ve heard recently: Iâ€™m
really liking the new Rival Sons single. They really have crafted a sound and production sound you know youâ€™ll always get, which is great if youâ€™re a fan. Really looking forward to the new album early next year. The best thing Iâ€™ve seen recently: Shinedown on their
recent UK tour. Theyâ€™ve been just brilliant on what is essentially an intimate tour for them compared with their US status. The sound, the light show, the songsâ€Ś just great! My favourite Iron Maiden memory: Iâ€™ve many but Iâ€™ll go
IRUWKHHDUOLHVWRQH0\ÂżUVWÄĽHYHU gig. December 11, 1988, Wembley Arena on the Seventh Sonâ€Ś WRXU,ZDVMXVWDZLGHÄĽH\HG teenager with no idea what to expect but it blew me away. H EAR TH E GANG AN D A W H O L E L OT M O R E :
7XQHLQWR3ODQHW5RFN5DGLR $YDLODEOHYLD'$%RQOLQHÄŤYLD KWWSZZZSODQHWURFNFRPOLYHÄŹ RQ79YLD6N\ÄŤFKDQQHOÄŹ 9LUJLQ0HGLDÄŤFKDQQHOÄŹ )UHHVDWÄŤFKDQQHOÄŹRURQ\RXU PRELOHYLDWKH3ODQHW5RFNDSS VISIT: W W W. P L A N E T R O C K . C O M F O R M O R E I N F O R M AT I O N
Who: UFO Where: GĂśta
Lejon, Stockholm, Sweden When: December 5, 1979 The ďŹ rst garage rock band I was in was called Burn. I was 14 years old and we were fans of bands like Deep Purple, Thin Lizzy, Kiss and UFO. In 1979, me and the other guys in the band decided to buy tickets to the UFO concert at the GĂśta Lejon theatre in Stockholm, a two-hour trip by train from our hometown in Bergslagen â€“ which Iâ€™d never left before without my parents. Me and my friends stayed at a cheap hostel and the other guys, who were older, went out to buy beer before the concert. I remember drinking it for the ďŹ rst time and it tasted awful! It would take a few more years before I got around to liking itâ€Ś We arrived at the theatre and heard Phil Mogg doing his soundcheck. I started to get really excited and hoped they would play my favorite song, Love To Love from the Lights Out album. This was during their Strangers In The Night tour so the set list was built on the classic live album released earlier that year. UFO rocked like heroes and, yes, they also played Love To Love. My ďŹ rst gig was complete. Who could ask for a better present on my 15th birthday?
Kaj Roth Orebro, Sweden 6HQG\RXUÂś0\)LUVW*LJÂˇ PHPRULHVWRM A I L @
Danny Bowes Presents
POCKET MONEY PICK The ďŹ rst record you bought with your own money. This issue: PR reader Allan Twiname on Scorpionsâ€™ Blackout. I was a late starter when it came to music. The only albums my parents played regularly were Bill Haley, Ray Charles and the soundtrack to Thatâ€™ll Be The Day. But at school, some friends of mine would tape their albums and let anyone who was interested have a listen. I got a blank tape and gave it to one of the friends. A couple of days later I was handed my tape back. Mind. Blown. Highway To Hell on one side, 1984 on the other. What an introduction! From that point I knew I needed rock music, and a decent stereo to go with it. I saved everything I could until the day ďŹ nally arrived. I bought my ďŹ rst stereo. Now I needed something to play on it. But what? I went into the Woolworths in Castle Douglas and down the racks. One album cover jumped out at me straight away. A band I hadnâ€™t heard of before, and one of the coolest covers. I rushed home and put it on straight away. And from the ďŹ rst notes of Blackout that was me, hooked on Scorpions, hooked on loud guitars and hooked on vinyl!
Hear T H U N D E R frontman DA N N Y B OW E S on P L A N E T R O C K HYHU\6XQGD\IURPÄŚSP 2UWKHUHSHDWRQ7KXUVGD\IURP ÄŚSP(DFKZHHNKHEULQJV\RX a P OCKET M ON EY PICK
THE EMAIL THAT MEN DO YOUR LET TERS PRINTED! INCLUDES YOUR RIFFINGS ON BOTHERSOME GIG-CHAT TERERS, SHOVING M O R E L E D Z E P I N T O T H E M A G A N D P R U D I S H LY P L A C E D S T A R S H A P E S … M A I L @ P L A N E T R O C K . C O M
YOU HAUNT ME, YOU TAUNT ME I’m sure I am not alone in this gripe but I am getting sick to death with constant, inconsiderate chatting at gigs. I went to see Glenn Hughes in Southampton a few weeks ago and had to move around the venue at least half-a-dozen times to try and escape people who thought that we had all come to listen to them shout at each other, rather than listen to the legend that is Mr Hughes. I’m not sure what is most incredulous, the fact that they’d pay over 30 quid to just come and talk all through the gig or that they don’t seem to care that they are talking through what the rest of us have paid over 30 quid to listen to. It makes me so angry. I’ve tried asking people to stop but no one appears to like being told what to do these days. I ask people to keep it down and they tell me to fuck off. I really wouldn’t want have to resort to anything more forceful and at 6’ 5” and 19 stone I am more than capable. But here’s the thing, I wouldn’t be that rude or inconsiderate, it’s not what decent people do. I guess my only option is not to go to any more gigs, which unfortunately is what I’ve decided to do. I’ve got Saxon, Blackberry Smoke, The Temperance Movement and UFO to come and that will be it. I will retire along with Phil Mogg Graham Andrews, via email
I KNOW YOU’D HAVE GONE INSANE…
Hell’s teeth, how much more Led Zeppelin must you shove at us? Didn’t you celebrate their 50th anniversary back in issue 6? Did we really need another 10 soddin’ pages on the most over-rated rock band of all time in ‘Zepptember’ too? How about you remove your heads from Jimmy Page’s arse and write about some bands that would actually beneﬁt from some coverage? Move on! Stewart Enstoll, via email
Were you guys deliberately trying to wind us up with that ’DC Top 40? No Money Talks? No Put The Finger On You? No Go Down? Anyone can list the greatest hits! And I don’t know ANYONE who thinks that Problem Child is the best ’DC song! Rosie forever! Bifter, via email
I’VE GOT NOWHERE TO CALL MY OWN KK Downing: bitter much? That interview (issue 10) was wild! The guy is a legend, a proper metal god, but given that he walked out on Priest why should he feel entitled to saunter back in just because poor Glenn Tipton is ill? That’s not how the real world works! Fascinating interview, and well done to your writer Mark Blake. Erin Tulton, Coleraine
Calm down, Bifter, it was just a nice way to celebrate the group’s back catalogue via a genuine poll of the mag’s ’DC heads.
YOU DAMAGED MY MIND AND MY SOUL
At the risk of sounding a little rude, at the best of times there are plenty of massive tits in your magazine – usually it’s the lead singer or the guitarist in the band – but please enlighten me as to what happened on page 74 of the AC/DC issue, where one of Nazareth’s stripper friends appears to have her nipples covered with modesty-preserving stars (albeit see-through) From coldheartdman’s while the other one instagram: “Don’t often buy rock magazines doesn’t. Do you think anymore but when the we’re children or cover matches your arm something and you kinda have to…” might be corrupted by the sight of some perfectly natural and wholesome ‘Bristols’? Please, don’t be so prudish, then seemingly bodge up the job. Cyril Blaze, via email
I’M HAPPY IN MY STRANGE NEW WORLD Brilliant to see Faith No More given their due in your pages
– and not before time. I remember just how awesome they sounded the ﬁrst time I heard We Care A Lot – and how different from all the poodle-haired spandex schlock rubbish (Poison, Mötley Crüe, etc) that surrounded them. Although I always did prefer Chuck Mosley to Mike Patton, FNM were one of the most kick-ass bands I have ever seen live. The other being their contemporaries, Jane’s Addiction, who were, if possible, even more far out in the boundaries they pushed. On that tip, is there any chance of PR taking a similar trip down manic memory lane to celebrate the Nothing’s Shocking album of 1988 and its astonishing cover art that was actually a sculpture made by Perry Farrell himself? I am sure there are more than enough good stories surrounding that release, the lyrical inspiration of Ted, Just Admit It being only one of them. Norah Perry, via email Congratulations to Howard Thorpe, the only PR reader to correctly identify that the mystery act in issue 10 were LA hard rockers KK Wilde.
INSTAGRAM, GET TY
DON’T YOU CARE WHO YOU LET IN
Shut it!: the hot new giggoing accessory.
A LIVE NATION, MJR GROUP AND TRIPLE G PRESENTATION BY ARRANGEMENT WITH UNITED TALENT AGENCY AND ROCK PEOPLE MANAGEMENT IN ASSOCIATION WITH PLANET ROCK
SATURDAY 06 APRIL
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FULL METAL JACKET Planet Rock listeners show us their colours.
S TAT U S Q U O
DAT E O F B I R T H : 1981
â€œStatus Quo were the acceptable face of rock to my parents because they appeared on Top Of The Pops. I saw them at Hammersmith Odeon on the â€™81 tour and also saw the 1+9+8+2 tour, which I think was their ďŹ rst â€˜farewellâ€™ tour!â€?
W H E R E F O U N D : The Chilterns
W H E N R E T I R E D : 1988
Âł0\MDFNHWZDVPRVWO\KDQGÄĽHPEURLGHGE\ P\JLUOIULHQGDWWKHWLPHÂŤXQWLOVKHOHIWPH KDOIZD\WKURXJKWKHRainbow RisingSLHFHÂ´ VD\V35UHDGHU-RQ7KHREDOGÂł%XW\HDUV ODWHUZHDUHEDFNWRJHWKHUDQGPDUULHG DQGVKHZDVGHOLJKWHGWKDW,VWLOOKDG LW,I\RXORRNFORVHO\\RXFDQ VWLOOVHHÎź/L]-RQÂśZULWWHQ RQWKHVKRXOGHUV IURPWKH HDUO\GD\VÂ´
â€œA friend of mine, Niall, was a massive UFO fan and he introduced me to them. I think this patch came from a little stall called Star Spot in Chatham in Kent, which weâ€™d visit every couple of weeks. I saw UFO at Ramblinâ€™ Man a few years back, and theyâ€™d still got it.â€?
â€œThis was the ďŹ rst piece of embroidery on the jacket: my mum helped with me with it. I recall once playing Permanent Waves in English class at school and we discussed the alliteration in Freewill. I ďŹ rst saw Rush in 1983, at Wembley Arena, but fell out of love with them a bit when they went a bit too electronic.â€?
AC / D C
WH ITE S NAKE â€œThis was Lizâ€™s favourite band at the time. We saw them together in 1983 at Hammersmith Odeon. Embarrassingly, I recall once sporting white leg warmers and white leather boots to try to imitate David Coverdaleâ€™s fashion sense. But I never had the hairâ€Ś and Iâ€™ve even less of it now!â€?
R A I N B OW â€œI really admire Ritchie Blackmore as a musician but it always seemed like his management style left something to be desired! I didnâ€™t actually see Rainbow play until last year at the Stone Free festival. That was a surreal experience. Iâ€™m glad I could ďŹ nally tick them off the list, but I wish Iâ€™d seen them 30 years earlier.â€?
Donâ€™t be shy. Raid that wardrobe, shed or loft and email us a photo of your old colours to appear in the next issue of Planet Rock. Contact: firstname.lastname@example.org.
â€œI never got to see â€™DC with Bon [Scott], sadly, as I ďŹ rst tuned in on Back In Black and For Those About To Rock... I saw them at Donington in the Monsters Of Rock days, and caught them again a few years ago on the Axl/â€™DC tour. I thought Axl did a pretty good job and he deserves a lot of credit for stepping in and helping out.â€?
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Whisky A Go-Go, Los Angeles
I N T E RV I E W : PAU L B R A N N I G A N
PHOTO: JAMES FORTUNE
I L L U S T R AT I O N S : C W B
June 15, 1974
I N 1 9 6 9 , when the Alice Cooper band moved to Detroit, we played a gigantic festival called the Saugatuck Pop Festival, and backstage I remember someone saying to me, â€˜The Stooges are gonna come on.â€™ I was like, Whoâ€™s that? Iâ€™d never heard of them. The guy just said, â€˜Youâ€™ll seeâ€¦â€™ We were used to playing with bands like The Doors and Love in LA, but The Stooges came on and here was this guy with no shirt on and no pants on, just in his underwear, with peanut butter all over him, standing out in front of 150,000 people, going crazy. Back then I used to always say WKDW,KDGQRSUREOHPJRLQJRQÄ¥VWDJH after anybody, I knew what we could do. But when I saw Iggy I said, Oh boy, I just found my nemesis! I was thinking, Well, this is going to be interesting, because now I had to go RQÄ¥VWDJHDQGJHWWKDWDXGLHQFHEDFN After that, neither Iggy or I really wanted to go on after the other. The Detroit scene was probably the best rockâ€™nâ€™roll scene anywhere in the world at that time. An artist like Donovan would not have gone over in Detroit. Savoy Brown were big there, and Fleetwood Mac when they were a blues band, and The Kinks and The Yardbirds: those were the bands PLANET ROCK
'HWURLWORYHGÄ¦ORXGLQÄ¥\RXUÄ¥IDFH rock bands. And then we had the MC5 and The Stooges. I really loved Iggy and The Stooges. I thought they were the greatest thing ever. We got on so well. Our theatre ZDVGLÉ±HUHQWWKDQWKHLUWKHDWUHWKHLU theatre was the most punk thing Iâ€™d ever seen in my life. They were pure Detroit. Musically, they werenâ€™t The <DUGELUGVEXWWKH\ZHUHVRHÉ±HFWLYH with the three chords they played, and Iggy was such a great frontman. It was just raw sex and anger. Goodness knows what we were on when that photo was taken, it could have been anything. Back then weâ€™d do whatever was around at the time, and probably do it to excess. But weâ€™d still be very functional. Those were GLÉ±HUHQWWLPHV:LOGWLPHV Iâ€™d still consider Iggy a friend. About 10 years ago he and I did a movie together called Suck, a vampire movie that was really fun to make. One day I sat next to him on a plane, and I talked to him for about 15 minutes and got absolutely no reaction at all. I thought he was mad at me. Finally his girlfriend tapped me on the shoulder and she goes, â€˜Alice, Iggy is deaf in that ear, he hasnâ€™t heard a word you said.â€™ All those years hanging out and I had no idea! Listen to N I G H TS W I T H every week night on Planet Rock. Monday nights at 7pm 7XHVGD\Ä¦)ULGD\SP
HERE WAS THIS GUY WITH NO SHIRT ON AND NO PANTS ON, WITH PEANUT BUTTER ALL OVER HIM...
ALICE COOPE R
Lost boys: Alice and Iggy, possibly plotting Motor City mischief.
Hippy sheik: the Von Hertzen Brothers with Mikko VH (centre).
(Whatâ€™s So Funny â€™Bout) Peace, Love, and Understanding
(on Armed Forces, US edition, 1979)
You never saw this song on MTV, and it really wasnâ€™t played much on radio either, but for some reason it got played during our school discos, and WKHSXQFKOLQHDOZD\VVWXFNZLWKPH :KHQ1LFN/RZHZURWHWKLVWKH hippy movement was fading away DQGSXQNZDVLQIDVKLRQEXWKHZDV saying, â€œDonâ€™t ridicule those guys, whatâ€™s so funny about peace and love?â€? Itâ€™s actually a good idea. Iâ€™ve always been a hippy, and that line UHDOO\VWUXFNDFKRUGZLWKPH,WÂśV such a great song.
PEACE AND LOVE Von Hertzen Brothers frontman Mikko on positive hippy vibes, the best VHS rock docs and Lennon lyrics to woo girls with.
LENNY KRAVITZ Let Love Rule
JOHN LENNON Imagine (on Imagine, 1971)
If youâ€™re considering songs about SHDFHDQGORYH,GRQÂśWWKLQN\RXFDQ ignore this song. Itâ€™s one thatâ€™s always 32
been close to my heart. When I was 15, 16, I used to write out these lyrics to girls and theyâ€™re such poignant words even today. We called our current album War Is Over, and that ZDVYHU\PXFKLQĂ€XHQFHGE\/HQQRQ NLQGDUHPLQGLQJSHRSOHWKDWZHVWLOO QHHGWRÂżQGSHDFHIXOVROXWLRQVWRWKH problems weâ€™re facing.
(on Let Love Rule, 1989)
This album came out in 1989, just as I started high school. This was SUHÄĽJUXQJHDQGWKHUHZDVDNLQGD hippy thing going on in our school. I spent that summer in Los Angeles ZLWKP\IULHQG6DPL.XRSSDPlNL whoâ€™s now the drummer in our band and was then studying at the Music Institute in Hollywood, and we played this constantly while driving around /$,WUHDOO\GLGIHHOOLNHWKHZKROH world was in front of us.
WATCHING THE VIDEO FOR BROTHERS IN ARMS GAVE ME GOOSEBUMPS.
PINK FLOYD Us And Them (on The Dark Side Of The Moon, 1973)
Dark Sideâ€Ś is maybe the best album of all time for me personally, one of WKHELJJHVWPLOHVWRQHVLQURFNKLVWRU\ $VDNLG,MXVWOLNHGWKHVRQJZLWKRXW WKLQNLQJWRRPXFKDERXWLWEXW during my adolescence I realised that it was written during the Vietnam War DQGLWZDVDUHDOO\WKRXJKWÄĽSURYRNLQJ song, questioning the narrative. Itâ€™s OLNHZKRLVWKHPZKRLVXVZK\ are we seeing the world in this ZD\"$VDNLG,XVHGWRSOD\ piano, and this was one of my favourite songs to play. Itâ€™s a beautifully crafted piece of art. Poignant words: Lennon.
DIRE STRAITS Brothers In Arms (on Brothers In Arms, 1985)
If thereâ€™s one guitar player I admire DVDVWRU\WHOOHULWÂśV0DUN.QRSĂ€HU heâ€™s a genius when it comes to conveying a story without words. When cable TV came to Finland DQGZHÂżQDOO\VDZ079WKLVZDVRQH of the videos I remember most, it had such strong, powerful visuals to WDNHLQDVDNLG,ZHQWDQGFKHFNHG out the video again when I was researching for this and it brought EDFNVRPDQ\PHPRULHV it gave me goosebumps.
JOE COCKER With A Little Help From My Friends
(on Live At Woodstock, 2009)
Growing up in Finland, not many families had a VHS player, and there were very few movies you could get. 2QHZDVWKH:RRGVWRFN FRQFHUWÂżOPVRZHZDWFKHG those over and over again. I GRQÂśWNQRZZKDW-RH&RFNHU WRRNEHIRUHJRLQJRQÄĽVWDJH but he was 110 per cent committed to the song. Itâ€™s the best song in the movie, with the idea we need to come together to face our problems. VO N H E R T Z E N B R OT H E R S
tour the UK in December, starting with their appearance at Planet Rockstock on December 2. Their War Is Over album is out now.
TERO AHONEN, GET TY
Six songs about...
MY GUIDE TO LIFE
TOM MORELLO T H E RAG E AGA I N S T T H E M AC H I N E A N D AU D I O S L AV E G U I TA R G E N I U S O N E XO T I C DA N C I N G , B R U C E S P R I N G S T E E N , S TA R T R E K , B E I N G I N JA I L A N D I N S P I RAT I O N A L B O O K S A B O U T RA B B I T S .
Aim high :LWKÄŹQHZVRORDOEXPÄThe Atlas Underground I wanted to create a sonic conspiracy RIDUWLVWVRIGLÉąHUHQWJHQUHV ethnicities, ages to forge a new kind of rockâ€™nâ€™roll, one WKDWFRPELQHV0DUVKDOOÄĽVWDFNV fury with huge EDM drops. There were no barriers. Let songs ďŹ nd their own path Each song on the album came WRJHWKHULQDGLÉąHUHQWZD\*DU\ Clark Jr and I jammed for three hours at my house and from that I forged a WKUHHÄĽDQGÄĽDÄĽKDOIÄĽPLQXWHVRQJ7KHQ Marcus Mumford and I Skyped over 34
Screw you if you are not on board Youâ€™ve got to like what you like and be at peace with yourself. Whether thatâ€™s being a Kiss fan, a black heavy PHWDOJXLWDULVWD6WDU7UHNIDQÄŚ youâ€™ve got to be who you are, even if it isolates you. Star Trekâ€™s got HYHU\WKLQJWKHVFLÄĽÂżH[FLWHPHQWDQG DKXPDQLWDULDQKHDUW,WKDGWKHÂżUVW interracial kiss. It was put together during the Cold War and has got a Russian and a Vulcan getting on harmoniously on the bridge. It painted a picture of what the world could be one day if we got our shit together. I had a cameo in Star Trek Insurrection, I was a Sonâ€™a. Donâ€™t be afraid to meet your heroes I toured with Bruce SpringÄĽ steen over six years as a part of the E Street Band, got to play with him at Pete Seegerâ€™s 90th birthday concert. Bruceâ€™s commitÄĽ ment to excellence is well known but his open mindedness is also inspiring. We were playing Perth and the night before I visited Bon Scottâ€™s grave. I went to the hotel bar after
and said to Bruce, â€œWill the circle of the E Street Band ever intersect the circle of AC/DC for us to play a song tomorrow?â€? Bruce went to his room and later that night texted me: â€œYes, Highway To Hellâ€?, and we played this incredible version. Always have your kidsâ€™ back The lesson I learned from my mum was to give unconditional love, to make your child realise that no matter what happens youâ€™ll always love them and that they can always come home. Youâ€™ve got to recognise your children are not your pets, they are indepenÄĽ dent of you, they have souls and GHVWLQLHVGLÉąHUHQWWR\RXUV\RXÂśYH just got to help them be the people they are meant to be through empathy, kindness and determination. Jail sucks Thereâ€™s this romantic notion about going to jail but let me tell you, being in jail really sucks. And Iâ€™m lucky, Iâ€™ve only been in for a short time. But you have to put your soul where your mouth is sometimes, and put yourself at risk. . Read Richard Adamsâ€™ Watership Down â€œWhat? You want me to read a book about rabbits?â€? But itâ€™s so much more than that: itâ€™s about friendship, VROLGDULW\VWUXJJOHÄŚWKHZKROHRIOLIH is in this book. I go back to it every other year, never tire of it. The Atlas Underground is out now via BMG.
TO M M O R E L L O â€™ S
The rent is not going to pay itself ,GLGVRPHFUXPP\MREVÄŚWHOHVDOHV selling garbage bags, I was an exotic dancer. The Commodoresâ€™ Brick House will get you a long way to paying the rent.
YOUR CHILDREN ARE NOT YOUR PETS. THEY HAVE SOULS AND DESTINIES DIFFERENT TO YOURSâ€Ś
a number of weeks playing acoustic guitars, which were then brought to OLIHE\-RVKÄŹ&DUWHUÄRI3KDQWRJUDP %DVVQHFWDUDQG,KLWRQDULÉąDQGVHQW it to Killer Mike and Big Boi to write WKHLUDQWLÄĽSROLFHEUXWDOLW\SRHWLF diatribe. My role on The Atlas UndergroundZDVQRWWKDWRIVRQJÄĽ writer or guitar player but of curator.
I N T E RV I E W L O I S W I L S O N
Follow your own North Star There was a time when Iâ€™d do anything to be a rock star. I had these insane Jheri curls, I wore spandex, had a bandana tied around my thigh, I was aiming for the black David Lee Roth look, but was more like Lionel Richie at the time of Dancing On 7KH&HLOLQJ:KHQP\ÂżUVWEDQGJRW signed, we did everything the record company told us to do and we failed miserably. The day we were dropped I vowed Iâ€™d never play another note of music I didnâ€™t believe in. So whether it was Rage Against The Machine, Audioslave, Prophets of Rage, The Nightwatchman, I followed my vision and let the chips fall as they may.
This machine kills fascists: Morello in Rage Against The Machine pomp.
Motor-bicycle race: the Argentinian CHiPs chaps, aka FRiTAs, larking with Queen, ’81.
Don’t Stop Me Now! ON PLANET ROCK
Queen duo share the secrets behind the songs in Xmas radio special.
Q U E E N ’ S B R I A N M AY and Roger Taylor cheerfully admit that they had no clue what bandmate John Deacon was trying to achieve when the bassist wrote the band’s “immortal” 1980 hit single Another One Bites The Dust. “It’s fair to say we had no idea what on earth he was doing when he started this,” says May, as the Queen duo talk through the stories behind their greatest hits in a Queen special to be broadcast on Planet Rock radio over the Christmas holidays. “It’s one of Deaky’s masterpieces. I guess it’s part of the strength of the band WKDWZHKDGVRPDQ\GLɱHUHQW LQÀXHQFHV7KLVLVDGLUHFWLRQLQ which Roger and I never would have gone, unless we were coerced, and it just turned out to be brilliant.” Taken from the band’s eighth studio album, The Game, Another One Bites The Dust “IT WAS became Queen’s MICHAEL second US Number 1 JACKSON WHO single, topping the SUGGESTED charts for three weeks WE RELEASE in October 1980. IT. I THOUGHT “We weren’t going to HE WAS NUTS!” release it as a single,” admits Taylor. “It was actually Michael Jackson who suggested we release it. I thought he was nuts!” Queen’s Rockblock special will be aired as part of Planet Rock radio’s festive programĥ ming. Other highlights of the season will include a Led Zeppelin special, and a WZRĥKRXUμ+DLU\&KULVWPDV¶VKRZIURP WKH+DLU\%LNHUV/LVWHQLQWR3ODQHW5RFN in December for more details.
This shot of Queen in Argentina is taken from Neal Preston’s stunning photo book, Exhilarated And Exhausted. Available at R E E L AR T P R E SS.CO M
THE PLANET ROCK INTERVIEW AS THE HARDEST-WORKING MAN IN MUSIC,
JOE BONAMASSA HAS ALWAYS BEEN HAPPIEST LETTING HIS GUITAR DO THE TALKING. BUT NOW THE BLUES MAGUS FINDS HIMSELF AT A CROSSROADS, WITH SOME BIG DECISIONS TO MAKE… INTERVIEW
MARK BLAKE. PORTRAIT
ROSS HALFIN JOE BONAMASSA BOR N
May 8, 1977 New Hartford, New York OCCU PATION
Singer Guitarist YEAR S ACTIVE
1989 – Present ASSOCIATE D ACTS
Black Country Communion Beth Hart Mahalia Barnes Bloodline
The road to Redemption: (clockwise from top left) as â€˜Smokinâ€™ Joeâ€™ in early band Bloodline; with Beth Hart in Amsterdam, 2013; with hero BB King in 1989; rocking out on-stage with Black Country Communionâ€™s Glenn Hughes; young Joe; BBC; (centre) Sinead Burgess.
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a game plan from the start.
According to the internet I am. [One wild online estimate places Bonamassaâ€™s net worth at $20 million.] Iâ€™m fortunate to make a living playing guitar, but Iâ€™m not getting all the money. On this tour we have a world-class band and 30 people in trucks and buses â€“ itâ€™s blindingly expensive. Iâ€™m not complaining â€™cos thatâ€™s the nature of the business. Also, weâ€™re in the Opera House and U2 is over at the Arena tonight. Imagine what those cats are paying. Theyâ€™d laugh if they heard me complain about my expenditure. If you could go back in time, what would you say to your 12-year-old self?
I wouldnâ€™t say anything, because my 12-year-old self would not be considering doing anything other than what he was doing. Back then, I was off playing gigs at weekends [around Pennsylvania and Western New York as Smokinâ€™ Joe Bonamassa] and making money. No intervention or committee thinking would have changed my mind. Even if Santa Claus showed up down the chimney and said, â€œHo! Ho! Ho! No presents for you until you change your ways,â€? Iâ€™d have said, â€œScrew you!â€? This was my personal choice. It must have been strange being around other kids when you were already a professional musician.
Yes, I had a hard time relating to people my own age or younger. Itâ€™s the same now. In what way?
If Iâ€™m with a mixed group of people, say 10 years younger, I can have a hard time carrying on a conversation. Thatâ€™s never been my strong suit. If you were into BB King when your peers were listening to, say, Vanilla Ice, there must be big gaps in your pop culture knowledge?
Probably. I was born in 1977 so my cognitive years were between 1984 and 1990. In the â€™80s you were inundated with Madonna and Michael Jackson on the pop side, or hair metal â€“ anything from Van Halen 40
through Poison â€“ on the rock side. Of course, there was also Stevie Ray Vaughan, Robert Cray, Eric Claptonâ€Ś Not many of your classmates were listening to that stuff, though.
No. I remember when Clapton put out that record [1992â€™s Unplugged] and won every Grammy going, including Best Spanish Spoken Word or whatever (laughs). A guy at school came up to me and said, â€œWhat do you think of that new song, Layla, by Eric Clapton?â€? He was referring to the acoustic version (plays the riff). I said, â€œActually that song was originally done in 1970.â€? And no one believed me. But thatâ€™s the problem with having a one-track mind, ever since I was very young. Have you changed?
No. Iâ€™m just thinner, I have a driverâ€™s licence and Iâ€™m slightly more mature.
Youâ€™re from the home of the blues, but you love the British and Irish take on that music: Free, Zeppelin, Rory Gallagher, etc.
i l D
li i c l , ii ic l i c l p i c , ii l i lil i i li il (laughs) i c . T l p i i i i i p R S ,R Pl ,S M i P lR i pi . T pp c i i i illi.
WKH WKLUVW\ ÄĽ\HDUÄĽROG PETE WAY %RQDPDVVD ZDV SOD\LQJ ZLWK Youâ€™ve actually worked with Paul Joe rehearsed with Rodgers, was it hard to suppress EOXHVÄĽURFN HQVHPEOH %ORRGOLQH UFO in 1996, and your inner fanboy? DORQJVLGH(ULQ'DYLVÄŞVRQRIMD]] bassist Pete Way JLDQW 0LOHVÄŤ DQG :D\ORQ .ULHJHU I p c , I turned the 20-yearW KHR VSULQJ RI7KH RRUV5REE p l i c i , old whiz kid onto Paul ORRGOLQH ZHUH P HDQW W R EH Kossoff with a mix tape i p pl li i %RQDP DVVD V EDFNLQJ JURXS EXW of Free songs. â€œThe ďŹ rst i W KH\ ZHQWURJXHGXPSHG6P RNLQÂś track was Iâ€™m A Mover,â€? l (whispers), I donâ€™t remember. So Bonamassa recalls, imagine me going to Paul Rodgers, -RH DQGW RRNKH W DOWHUQDWLYH URFN â€œand I was blown away.â€? â€œHey, when you were recording Tons Of URXWHLQVWHDGÄŚZLWKRXWPXFKVXFÄĽ Sobs i ic p i FHVVDVLWWXUQHGRXW H li ,W S iW l 5R\:LVHPDQ %ORRGOLQHÂśV KDQGOHU VWXFN l c . , , ZLWK WKHLU UHMHFWHG JXLWDULVW DQG RYHUVDZ KLV c i il I i ici i . WUDQ VIRUPDWLR Q LQW R DQ DUHQDOOLQJ DU WW LV Who have you asked? 1RWKLQJZDVOHIW R FKDQFH W WKRXJK ZLWK I i Ji V c I :LVHPDQ HVVHQWLDOO\ DFWLQJ DV %RQDPDVVDÂśV
ROSS HALFIN, JOE BONAMASSA, GET TY
You must be pretty rich by now.
ll.N c i i i , i l .I c l i p ci l ic , i i .Li ,I l i pl i l i l ili c i .I cl l i l, I .
huge Fabulous Thunderbirds fan I said, â€œHey Jimmy, that white Strat you used to play? Is that because you wanted to be like Cliff Gallup in Gene Vincent And His Blue Caps and all those other cats?â€? And he went, â€œEr, yes, I guess I did.â€? Sometimes the mystique we put on our favourite music is more interesting than the truth. We donâ€™t always want to know the truth. Thereâ€™s a great song called Self-inďŹ‚icted Wounds on the new record. How easy do you ďŹ nd it writing your own material?
I donâ€™t consider myself a good songwriter. I consider myself a bloke who watches good songwriters and, like a clock, twice a day it works out and I get it right â€“ like with Self-inďŹ‚icted Wounds. You have to write some real shit songs to get some good ones. Everybody has their share of misses. Do you ever worry you might be a bit too proliďŹ c?
Probably. Our model has been to make a record when you feel like making a record. Every time we put one out, our fans are nice enough to buy it, until they donâ€™t (laughs). But until that dayâ€Ś Why have you released so many live albums?
Weâ€™ve done a lot of live records based on venues and places weâ€™ve played, but also because the songs develop on the road. I love live records, because theyâ€™re the moment of truth for any artist. Although these days you canâ€™t count on whatâ€™s live and whatâ€™s not. There might be someone behind the curtain, like the fucking Wizard Of Oz.
â€œWHAT MAKES ME GREAT AT MY JOB MAKES ME SHIT AT OTHER THINGS.â€? there are other great musicians who just want to get off it.
Or they just hated the fucking rollercoaster to begin with. Thatâ€™s OK too. We decided a long time ago to control our own destiny. Thatâ€™s been our strategy and it works for us, but may not work for others. Look at someone like Bobby Tench, who sang on those two great Jeff Beck records [Rough And Ready and Jeff Beck Group]. He had one of the best voices of the â€™70s. What happened? Why arenâ€™t we talking about Bobby Tench these days?
WALNUTS Joe hates the things. â€œI donâ€™t know anyone who likes walnuts,â€? he protests. â€œNobody in the world ever says, â€˜Oh man! I wish Planters would put more walnuts in this jar of mixed nuts.â€™â€?
Joe Bonamassa joined Glenn â€˜The Voice Of Rockâ€™ Hughes, Jason â€˜Son Of Johnâ€™ Bonham and Dream Theaterâ€™s Derek Sherinian to form thunderÄĽ ing hard rock â€˜supergroupâ€™ Black Country Communion. There have been four BCC albums to date. In KHUHOHDVHGWKHÂżUVWRIWKUHH records made with Los Angeleno VLQJHUÄĽVRQJZULWHU%HWK+DUW
What are your favourite live albums that donâ€™t have a wizard behind the curtain?
BB Kingâ€™s Live At The Regal and Blues Is King, which I like better than Live At The Regal, because itâ€™s kind of unknown. Also Humble Pieâ€™s Performance: Rockinâ€™ The Fillmore. I donâ€™t think there was ever a better male rock singer than Steve Marriott. You could ask the best â€“ like Glenn Hughes or Robert Plant â€“ and theyâ€™ll tell you Marriott in his prime was untouchable. He should have been a household name.
Is fear of success in music more common than people think it is? You seem very happy being on this rollercoaster, but
Youâ€™ve collaborated with a lot of other artists. Whatâ€™s the appeal?
I like mixing it up. Thereâ€™s no point in me fronting another band when I have a perfectly good solo band, so I like to get up with other artists, play my guitar and not have to worry about being the guy. A lot of people see me on-stage with Beth or Black Country and ask why Iâ€™m not wearing the suit. I tell them, because thatâ€™s the other guy. Iâ€™m just here, being the sideman, thereâ€™s no pressure. How does Black Country Communion work? Does one of you send the initial email or make the call â€“ â€œWant to make a record?â€?
Yes. For the last record [2017â€™s BCCIV] I made the call. I reached out to them, and before that it tended to be a combination of [producer] Kevin Shirley and myself. We ask ourselves: do we have time? Does it make sense? Youâ€™ve said that some of your solo fanbase donâ€™t get Black Country Communion?
Itâ€™s not for everyone. Black Country Communion is on the fringes of what I do solo. Iâ€™m cut from that Brit blues-rock cloth, so itâ€™s not a stretch for me, as I grew up with Ritchie Blackmore, Beck, Page and Clapton. Some people get it and some just donâ€™t get it. Thatâ€™s ďŹ ne. By far, though, the most successful collaboration I do is with Beth Hart, probably because thatâ€™s closer to what I usually do on my own. Whatâ€™s the longest youâ€™ve ever gone without playing the guitar?
Six months, in my late teens when I lost my record deal and didnâ€™t have any prospects. I felt ďŹ ne for that six months. We just had a month off between the summer run and this tour and I didnâ€™t play much. Real life comes into it, and suddenly you ďŹ nd yourself thinking, â€œShit I got to go to the bank and do this and do that,â€? and before you know it youâ€™re watching NetďŹ‚ix all the time.
In a way your career approach is the antithesis of someone like Marriottâ€™s. He suffered with bad management and substance abuse.
Yeah, but you canâ€™t blame it all on that, because thereâ€™s a lot of successful junkies with bad managers out there. Itâ€™s more complex than that. I think fear of success affects some people.
Along the way, Bonamassaâ€™s also found WLPH WR SOD\ JXLWDU IRU H[ÄĽ5DLQERZ YRFDOLVW Joe Lynn Turner, Ozzy Osbourne and Europe, and record 2RK<HDÄ§7KH%HWW\'DYLV6RQJERRN ZLWK 0DKDOLD %DUQHV ÄŞWKH YRFDOLVW GDXJKWHU RI $XVVLH URFN UR\DOW\ -LPP\ÄŤ 7KDWÂśV MXVW D selection of his side projects, making you wonder if there arenâ€™t more than 24 hours in Joe Bonamassaâ€™s day.
Do you enjoy not working?
Communing: Glenn Hughes and Bonamassa launch BCC, 2010.
I enjoy being at home now more than I did ďŹ ve years ago, I think, â€™cos Iâ€™m older. When you come off the merry-go-round, even for a minute you go, Hey, this isnâ€™t so bad. But at the end of the day I chose this life. Iâ€™m also not sure I believe it when people say they have this perfect balance of career and family life. On paper it
MY KIND OF BLUES The best of Joe Bonamassa, by Joe Bonamassa.
Suits you sir: JB at London’s Royal Albert Hall on May 4, 2009.
BL ACK LUNG HEARTACHE
(on Dust Bowl, 2011)
“This is still one of my best,” offers Bonamassa. A marching blues built around a slinky four-note guitar ﬁgure (think: a swamp-rock take on David Gilmour’s signature intro to Shine On You Crazy Diamond), this also ﬁnd its composer in the grip of whisky-induced romantic turmoil. “Diamonds and pearls/Ya that kinda girl/you size me up to break me down/While you’re sippin’ on your Crown Royal”.
(on Dust Bowl, 2011)
Bonamassa plays the role of the rural dweller depicted on the cover of the Dust Bowl album. This hard-working man of the soil is worn down by poverty and old Mother Nature (“I’ve shed many tears/Seems I can’t shed no more”), while Joe and his band whip up a biblical tempest of heavy-footed Zeppelin-style blues.
THE VALLEY RUNS LOW
(on Blues Of Desperation, 2016)
ASKING AROUND FOR YOU (on You & Me, 2006)
MOUNTAIN TIME – LIVE (on Live From The Royal Albert Hall, 2009)
“The ﬁrst thing I’ll do before I meet my maker, I’m gonna ask around for you,” declares Bonamassa at the start of this graceful orchestrated number. The string section soars and sweeps before the boss breaks free with an explosion of stinging, sustained notes. “Apparently, this song gets played at both weddings and funerals,” he reveals. “It celebrates both sides of life.”
Originally on Bonamassa’s 2002 release, So, It’s Like That, the boss favours this slower-paced take. Bonamassa’s on suspenseful, unhurried form, letting the guitar do the talking on an ode to a girl who’s “wild as eagles, sweet as honeysuckle”. “There are two different versions,” he explains, “and we’ve just bought this slow one back. People love it.”
SLOE GIN (on Sloe Gin, 2007)
Composed by premier-league producer Bob Ezrin and top-drawer arranger Michael Kamen for Rocky Horror Picture Show star Tim Curry, this gut-wrenching blues later became Joe B’s calling card (though he swaps Curry’s 18-rated lyric “I’m so fucking lonely” for the more family-friendly “I’m so damn lonely”). “This was the ﬁrst song anybody heard of me. It really connected with people on a bigger level.”
THE BALL AD OF JOHN HENRY (on The Ballad Of John Henry, 2009)
“I have to include it,” says Joe, “as I’m ﬂattered to get 25-year-olds coming up to me saying they learned to play guitar from hearing John Henry.” This modern twist on Mississippi John Hurt’s ode to the hammer-wielding African-American folk hero distills the essence of Bonamassa: dextrous guitar runs, battering-ram drums and a lyric loaded with pain and heartache.
A charming country-blues co-written with Californian singer-composer James House (the brains behind hits for a bunch of country artists, including Dwight Yoakam). A trio of female backing singers add a gospel touch as Bona-massa serenades the girl of his dreams (“I’m gonna wait/’Til I hear her calling”), though she’s forever slightly out of reach.
(on Redemption, 2018) Bonamassa’s soul searching reaches breaking point on this fabulous, haunted blues. Is it the sound of his troubled subconscious? “It’s my favourite song on the new record,” he declares. Composed in Cuba during a pre-gig reconnaissance trip (“It never materialised, the place was a little shady”), the Earth-moving guitar solo at 4:04 might just be Bonamassa’s Comfortably Numb-style best yet.
Minor fret: Joe Bonamassa with some of his treasured axes, at home in Los Angeles, May 2011.
looks like a combination of, I dunno, [the 1950s US family sitcom] Ozzie And Harriet meets the Osbournes, but in real life? Iâ€™m not so sure. Other than NetďŹ‚ix, what do you do on your days off?
(Long pause and much twanging) My hobby is collecting guitars (laughs), which I know is a stupid extension of what I do. Thatâ€™s ridiculous. Youâ€™ve not really stopped working, have you?
No. I really have not stopped. Thereâ€™s a reason why I have made so many albums. But what happens when you do stop is you start to see ďŹ ssures and cracks in not just yourself but your relationship with others, and you think, â€œMan, Iâ€™m not as good a human being as I would like to be.â€? Are you in a relationship now?
I have had the same girlfriend [Australian singersongwriter Sinead Burgess] for four years and I love her dearly. But (longer pause, even more twanging) Iâ€™ve ended up at a point where I am constantly on the go. You donâ€™t know what youâ€™re chasing, but youâ€™re chasing something â€“ the next show, the next record â€“ because thatâ€™s how youâ€™re programmed. And ultimately you wake up one day and think, â€œJesus Christ, how many more guitars do I need?â€? And you realise youâ€™ve become a part-time alcoholic and a part-time obsessive compulsive guitar collector. When did you start feeling like this?
Thatâ€™s how I found myself at the tail-end of making this album. Looking back, some of the songs written before this grand self-realisation were almost a cry for help. It was my sub-conscious speaking. You canâ€™t ignore the subconscious. I realised, â€œHoly crap! I am 41 years old, and this behavioural pattern is unsustainable.â€? I had to throw this shit down or I was going to hit a brick wall. Letâ€™s go back to the bit about being a â€œparttime alcoholicâ€?.
I was probably drinking too much earlier this year and I just stopped. It wasnâ€™t court mandated. It wasnâ€™t mea culpa â€“ to weasel myself out of trouble when something offensive I said on Twitter went viral: â€œOoh, sorry, I was drinking too much.â€? No, If that ever happens itâ€™s not alcohol, just me being cranky. The thing is, Iâ€™ve never done a drug in my life, but I probably indulged too much in other areas. My thing is never going onstage and giving less than 100 per cent. But when you ďŹ nd yourself hitting the bar after the show and youâ€™re prioritising that, remember who put you there are the fans. So you owe them.
How easy is it to stay sober on tour, though?
Ultimately, I canâ€™t abuse myself, and still show up at 8 oâ€™clock and hit the notes. Some people can fucking gargle GoldschlĂ¤ger all night, smoke like a chimney and then wheel themselves out on-stage and its perfect. But thatâ€™s somebody elseâ€™s constitution â€“ not mine. If you want to know whatâ€™s in front of me right now, thereâ€™s a tray of vegetables, some hummus, a couple of bottles of water and some non-alcoholic beers. The party has no intention of starting here in Copenhagen tonight.
If you had a kid, would you encourage them to play the guitar?
â€œWILL I BE DOING THIS IN 10 YEARS? IF I HAVE ANY FUCKING SAY, NO...â€?
Not a chance. I think music is very important. It enriches lives, it helps people cope, helps people become more well-rounded and better in school. But as far as recommending a career â€“ no. Itâ€™s a very difďŹ cult and unsettled business, especially now. Iâ€™ll say this â€“ and you can use it as a soundbite â€“ when I walk away from the music business and guitar playing, thatâ€™s it, I will probably not play anymore.
L I T T L E OV E R A W E E K L AT E R ,
Really? and Joe %RQDPDVVDLVDERXWWRSHUIRUPLQ(VFKÄĽ The way I look at it, youâ€™re either in or youâ€™re out. OK, VXUÄĽ$O]HWWH /X[HPERXUJ $QRWKHU GD\ maybe Iâ€™ll sit on the couch and blow through a yachtrock version of Ballad Of John Henry for old timeâ€™s DQRWKHUGUHVVLQJURRPDQGSUHVXPDEO\ sake. But my plan is when I retire is to take the same PRUH KXPPXV DQG QRQÄĽDOFRKROLF EHHUV ,Q passion and drive that made we do this thing and put WZRGD\VKHÂśOOEHSOD\LQJWKH8.DQGE\WKH it into something else. WLPH \RX UHDG WKLV SHUIRUPLQJ DQ\ZKHUH EHWZHHQ 2WWDZD DQG What is that something else? 7XFVRQ$UL]RQD (Long pause) I donâ€™t really know. %RQDPDVVD KDV SOD\HG JLJV DOO OK. But will you still be doing this RYHUWKHZRUOGÄŞÂł,QGLDZDVVWUDQJH in, say, 10 yearsâ€™ time? EXW FRROÂ´ KH YHQWXUHVÄŤ 1H[W RQ If I have any fucking say in my life at all KLV FRQFHUW ZLVKÄĽOLVW DUH 6RXWK â€“ no. In the next three or four weeks Iâ€™ll $IULFD DQG &KLQD 7RGD\ KH VWLOO BRUCE HORNSBY pass the 30-year mark of doing this. KDV KLV JXLWDUVHFXULW\ EODQNHW RQ Bonamassa describes Some musicians have their ups and KLVODSEXWLWÂśVTXLHWHUWKDQLWZDV himself as â€œthe biggest downs and their late-career resurBruce Hornsby fan LQ&RSHQKDJHQ7REHJLQZLWKLWV gence, but Iâ€™m not sure thatâ€™s on the on Planet Earthâ€? and RZQHUDOVRVRXQGVPRUHVXEGXHG cards for me. I donâ€™t want to sit around
Iâ€™ve just read one of your tweets â€“ â€œpolitics is a cesspoolâ€? â€“ but as a globe-trotting American, you must be asked to comment on politics all the time?
recommends his live album, Here Come The Noisemakers, to all non-believers: â€œIf I wasnâ€™t this guy, Iâ€™d be running Bruceâ€™s fan club and sending our bumper stickers.â€?
Yeah, all the time. But there are two things. One, I have my political views and theyâ€™re not what you think. [Bonamassa doesnâ€™t answer when I tell him I have no idea what his political views might be.] And, two, America as a country is so divided, itâ€™s really 50/50. So when I go out in front of, say, 2,500 people I have to consider that 1,250 people hate Trump and 1,250 think heâ€™s a saint â€“ and thatâ€™s in any state in America. Regardless of what I think, I have to remember Iâ€™m not selling what I think. A big part of my job is to offer escapism from all that. A lot of musicians would say you should voice your opinions.
Yeah, I know, and a lot of musicians are up their own ass. People donâ€™t need to hear what I think about politics. (Starts strumming) The last thing the world needs is yet another idiot chiming in about politics on Twitter. You know, I am no different from the cashier at Tesco. So imagine youâ€™re at the checkout and Iâ€™m your guy. Youâ€™ve got a roast chicken, some Doritos, a bottle of cheap Chardonnayâ€Ś Have you been looking at my shopping list?
â€ŚSome soya beans and some fucking, I dunno, mushy peas. Imagine I start scanning your groceries and suddenly launch into a tirade about Brexit. What would you say? Yeah, â€œShut the fuck up!â€? My view on politics is like that. Iâ€™m the guitar-playing equivalent of the cashier boy. Shut up and play your guitar, Joe.
waiting for stuff to become nostalgia. In fact, I know Iâ€™m not a lifer. But, hey, there might be an act two, but with me doing something else. Ten years from now, people might say, â€œI donâ€™t understand why Joe Bonamassa gave it all up to start a pumpkin patch.â€?
H E R E A R E N O I S E S LQ WKH GUHVVLQJ URRP
RWKHUWKDQWKHWDOHQWDQGKLVLGO\WZDQJLQJ JXLWDU 7KHUHÂśV D VRXQGFKHFN SHQGLQJ :KDWHYHU PLVJLYLQJV %RQDPDVVD PD\ KDYHDERXWWKLVOLIHWKH\GLVDSSHDUZKHQWKH KRXVH OLJKWV JR GRZQ Âł, HQMR\ ZKDW , GR , HQMR\HYHU\QLJKWÂ´KHLQVLVWVÂł,WÂśVDQKRQRXU DQG D SULYLOHJH DQG , RZH WKH SHRSOH SHUFHQWRIP\FRPPLWPHQWÂ´ %RQDPDVVDVD\VKHÂśOONQRZZKHQLWÂśVWLPH WRKDQJXSWKHJXLWDUIRUJRRGZKHQLWÂśVWLPH IRUPRUH1HWĂ€L[Âł7KHPLQXWH,IHHOOLNH,ÂśP O\LQJRQDZKROHVDOHEDVLV,ÂśOOTXLWÂ´KHVWDWHV HPSKDWLFDOO\ Âł3ROLWLFLDQV FDQ JHW DZD\ ZLWK WKDWDQGJDUQHUPRUHVXSSRUWDQGSRSXODULW\ ,KDYHDKLJKHUPRUDOVWDQGDUGÂ´ ,V-RH%RQDPDVVDÂżQDOO\PDNLQJDSROLWLFDO VWDWHPHQW"+HZRQÂśWEHGUDZQÂł/LVWHQLI\RX VHHPHVHOOLQJSXPSNLQVWKUHHIRUDGROODU WKHGD\DIWHU+DOORZHHQ\RXÂśOONQRZP\ WLPHKDVFRPHÂ´KHODXJKV J O E B O N A M AS SA â€™s Redemption is out now
on Mascot/J&R Records.
Finger buffet: Lzzy Hale channels her inner Joan Jett, backstage at Birmingamâ€™s O2 Academy, September 24, 2018.
ON THE ROAD
BAD REPUTATION Fronted by the iconic Lzzy Hale, H A L E S T O R M have spent 21 years building a cross-Atlantic audience for the singerâ€™s raw, confessional songs exploring female sexuality and desire. Planet Rock joins the Pennsylvania hard rockers in Birmingham to uncover the secrets that have taken them to the cusp of arena stardom.
IS AN U N S E AS O N A B LY warm Monday evening in Birmingham and the weekend feels like itâ€™s years away, but inside the O2 Academyâ€™s walls everybody is cutting loose. Fists are thrown high in the air and plastic cups of beer are spilled as the crowd moves to a thrashing groove. Further back, older veterans and couÄ¥ ples with young children, some in small leather jackets, line the balcony and stairs, craning their necks to get a better look at the band. In the middle of a UK tour that sold out months in advance, Halestorm are blasting out Uncomfortable from their new album, Vicious. (DFKPHPEHURIWKH3HQQV\OYDQLDIRXUÄ¥SLHFHLV ORFNHGLQWRWKHULÉ±EXWDOOH\HVDUHÂ¿UPO\Â¿[HG RQWKHZRPDQZLHOGLQJD*LEVRQ([SORUHUDW the front. Standing tall in studded heels and a tasÄ¥ selled black leather jacket, Lzzy Hale stares GRZQ WKH Â¿UVW IHZ URZV OLNH D OLRQ H\HLQJ LWV SUH\ Â³, GR LW Â¶FRV \RX Â¿JKW LWÂ´ VKH EHOWV RXW â€œAnd I know you donâ€™t like it when I open up DQG WDON DERXW VH[Â´ )DU IURP LQWLPLGDWHG young men and women at the barrier roar their approval. Itâ€™s a far cry from the reception Halestorm UHFHLYHGDWWKHLUÂ¿UVWVKRZ â€œHonestly, we were quite the spectacle at the time, because I was 13 and my brother was Â´ /]]\ H[SODLQV LQ WKHLU GUHVVLQJ URRP D warm smile spreading beneath her tousled black fringe. Reclining on a worn leather sofa, KHU PDQQHU LV OHVV Â¿HU\ WKDQ LW LV RQÄ¥VWDJH but sheâ€™s still pumped up as she describes the fateful events of August 9, 1997. Armed with a Casio keyboard and an original ballad entitled Love Is Power, Lzzy and her drumming brothÄ¥ er Arejay took the stage for a talent show at Schuylkill County Fair. The response was somewhat less than rapturous. Â³7KH JLUO ZKR ZRQ Â¿UVW SODFH ZDV D WDSÄ¥GDQFLQJFRZJLUOÂ´VKHVD\VÂ³7KHHLJKWÄ¥\HDUÄ¥ old girl who came second place was singing a song from Little Orphan Annie. And then WKHUHÂ¶VXVDWWKLUGSODFHÂ´ She lets out a throaty laugh. â€œHonestly, we KDYHKDGVRPDQ\6SLQDO7DSPRPHQWVÂ´ T
was DOZD\V D ELW GLÉ±HUHQW 6KH knew it as early as the age of 11, when other girls at sleepovers would fawn over bubblegum hits from Backstreet Boys and TLC, then slam the eject button when Lzzy put on Holy Diver by Dio or Alice Cooperâ€™s Love It To Death. At 15, she was already playing rock shows with Arejay and getting into trouble at school for KDQGLQJ RXW FRSLHV RI +DOHVWRUPÂ¶V Â¿UVW recordings, a cassette auspiciously entitled A Forecast For The Future. LI ZAB ETH MAE HALE
Riders on the â€™storm: (main pic) Joe Hottinger and Lzzy Hale trade riffs in front of drummer Arejay Hale; (below, from left) Halestorm tour art, the Brum faithful, Joe crashes out, and L. Hale, Hottinger, Smith and A. Hale get into squad formation.
â€œIt was one of those things where all of a sudden you get into the principalâ€™s RÉˇFHDQG\RXKDYHWRGHIHQG\RXUULJKW WRURFNÂ´JULQVWKHQRZÄĽ\HDUÄĽROGIURQWÄĽ ZRPDQ Âł(YHU\WKLQJ WKDW PDGH PH me was wrapped up in this idea that I could do this music thing. So I really became obsessed with it and it became so much more to me than a career FKRLFH HYHQ ,W ZDV VRPHWKLQJ WKDW , could say was mine. Âł,WPXVWKDYHEHHQVWUDQJHWRPHHWPHDVD teenager because I would meet people and say, Iâ€™m Lzzy Haleâ€Ś and Iâ€™m in a band called Halestorm! We made up cards and would hand them to complete strangers. I was hiding custom picks in shoes in Walmart thinking somebody who buys that shoe will see the pick and look up our band.â€? Fortunately for the siblings, their parents ZHUHPRUHVXSSRUWLYHWKDQWKHVFKRROWHDFKHUV ZKR ZDQWHG WR NQRZ ZKHUH *RG ÂżJXUHG LQ their songs. Their mother would book and GULYHWKHPWRVKRZVZKLOHWKHLUIDWKHUDWRXUÄĽ ing musician himself in the â€™80s, joined the band on bass for a spell. As memorable a sight
â€œI WAS HIDING CUSTOM PICKS IN SHOES IN WALMART THINKING SOMEBODY WHO BUYS THAT SHOE WILL LOOK UP OUR BAND.â€? DVWKLVKDUGURFNLQÂśIDPLO\EDQGPXVWKDYH been, what with Arejay performing on a homeÄĽ made rotating drum platform, it was clear the GXRÂśV DPELWLRQV H[WHQGHG EH\RQG FRYHULQJ Skid Row and Heart in bars lenient enough to let the underage pair play. $UHYROYLQJGRRURIEDVVLVWVDQGJXLWDULVWV came and went until the band relocated to PhilÄĽ adelphia and found their match with guitarist Joe Hottinger and bassist Josh Smith. Hottinger joined in 2003 through an audition; Smith D\HDUODWHUYLDEUD]HQLQWLPLGDWLRQ â€œI was in another band at the time when I ÂżUVW VDZ +DOHVWRUP SOD\ DW WKH ROG *UDSH Street pub,â€? recalls the bassist, whose neat VKLUWDQG0DUWLQLÄĽGU\ZLWFRQYH\WKHDLURIDQ XSVFDOHEDUWHQGHUÂł/]]\KRSVRÉąVWDJHGXULQJ a song, comes right up to me in the middle of the room and stares at me like sheâ€™s singing through me,â€? he says, his eyes widening at the memory. â€œSo I was like, What the fuck is this? ,W ZDV YHU\ XQH[SHFWHG DQG VRPHWKLQJ , KDG QHYHUVHHQDURXQG3KLODGHOSKLDÂ´ PLANET ROCK
ÂłEORZLQJDIHZFRZER\KDWVRÉą Â´ZKHQWRXULQJ DV PDLQ VXSSRUW IRU FRXQWU\ PHJDVWDU (ULF &KXUFKLQ 6RRQ WKHLU FORVH URFNÂśQÂśUROO SDOV LQFOXGHG &LQGHUHOODÂśV 7RP .LHIHU DQG ODWH 3DQWHUD 'DPDJH3ODQGUXPPHU9LQQLH3DXO7KHLUÂżUVW HQFRXQWHUZLWKWKHODWWHUDWDIHVWLYDOLQ'DOODV circa 2009 also proved an induction into rockâ€™nâ€™roll debauchery. Âł:H VHH 9LQQLH LQ IXOO VQDNHVNLQ RXWÂżW hat, shoes, jacket, everything,â€? Hottinger UHFDOOVZLWKDFKXFNOHÂł/LNHDPDQÄĽVQDNHVXUÄĽ rounded by his whole posse. He starts singing DVRQJIURPRXUUHFRUGDWXVDQGJRHVÎź,JRW WKUHH RI \HU UHFRUGV RQH LQ 9HJDV RQH LQ Dallas and one in my limo! Youâ€™re cominâ€™ with PHZHÂśUHJRLQÂśWRWKH&OXEKRXVHÂśÂ´ On arrival at the Pantera manâ€™s strip club, 3DXORUGHUHGWKH'-WRSOD\+DOHVWRUPÂśVÂżUVW VLQJOH,*HW2ÉąGHWDLOLQJWKHJUDWLÂżFDWLRQD ZRPDQJHWVIURPH[SRVLQJKHUVHOIWRDYR\HXU And then the strippers came out. Âł7KH IXQQLHVW WKLQJ LV LQ P\ QDLYHW\ , NQHZ,ZDVNLQGRIZULWLQJDVH[\VRQJÂ´/]]\ giggles. â€œBut it doesnâ€™t click until you watch a stripper dance to it that, Oh yeah, this is totally a stripper song!â€?
â€œWe were trying to work out how we could get him in the band,â€? chips in Hottinger. Âł,ÂśGFDOOKLPDQGVD\:HQHHG\RXWRÂżOOLQIRU a show, can you do that? Weâ€™ll give you 20 bucks and a smack on the ass!â€? Âł)LIWHHQ\HDUVODWHUDQG,ÂśPVWLOOWKHWHPSRÄĽ rary bass player!â€? laughs Josh. 7KH SDLU DQG /]]\ FUDFN XS EHIRUH /]]\ UHJDLQV KHU FRPSRVXUH DQG WKH WRQH RI KHU YRLFHVKLIWVWRFDUGVÄĽRQÄĽWKHÄĽWDEOHVHULRXVQHVV Âł-XVWWRFODULI\IURPP\SHUVSHFWLYHÄŚDQG $UHMD\ZLOOWHOO\RXWKLVWRRÄŚZHQHYHUIHOWOLNH WKLV ZDV D IRXUÄĽSLHFHÂ´ VKH VWDWHV Âł$V -RVK VR eloquently described it, we were aggressive teenagers. Our attitude was weâ€™re going to intimidate you into submission or otherwise. :HKDGDKDUGWLPHÂżQGLQJSHRSOHRXURZQDJH with a similar drive, and it really wasnâ€™t until WKHIRXURIXVZHUHMDPPLQJIRUWKHÂżUVWWLPH that my brother turns to me and says, â€˜Oh my God, this is our band.â€™ And we still have that dynamic now.â€? :LWK WKH EDQG OLQHÄĽXS VROLGLÂżHG Halestorm were cooking on gas. They were VSRWWHGVKRUWO\DIW HU LQDWDUHVLGHQF\DW legendary Greenwich Village hangout Don Hillâ€™s, leading to a deal with Atlantic Records. %RWK ÂśV VHOIÄĽWLWOHG GHEXW DQG ÂśV The Strange Case Ofâ€Ś received heavy rotation on 50
American airwaves and went gold, tapping LQWRDUHQHZHGDSSHWLWHIRUUDXFRXVDQGFDWFK\ KDUGURFNDIWHUVXFFHVVLYHZDYHVRIJUXQJHDQG QXÄĽPHWDO 7KHLU VHFRQG DOEXP DOVR VSDZQHG tKHVLQJOH/RYH%LWHVÄŞ6R'R,ÄŤZKLFKZRQD *UDPP\ DZDUG IRU %HVW +DUG 5RFN0HWDO 3HUIRUPDQFHLQ Âł$UHMD\ JRHV UXQQLQJ XS IRU WKH PLF ,ÂśP FKDVLQJ$UHMD\DQGWKHJX\VDUHUXQQLQJDIWHU PHVKRXWLQJÎź'RQÂśWIDOOÂśEHFDXVH,ÂśPZHDULQJ DGUHVVÂ´UHFDOOV/]]\RIWKHLUZLQRYHUIHOORZ QRPLQHHV ,URQ 0DLGHQ 0HJDGHWK DQG Anthrax. â€œIt was total chaos!â€? 7KHJRQJQRZKROGVSULGHRISODFHRQWKH mantlepiece in Lzzy and Joeâ€™s shared home in 1DVKYLOOH7HQQHVVHHÄŚULJKWQH[WWRWKDWWKLUGÄĽ SODFHWURSK IUR PWKH6FKX\ONLOO&RXQW\)DLU The band subsequently warmed up arenas IRU 0HJDGHWK 'LVWXUEHG DQG 6KLQHGRZQ DQGKDYHDOVRSURYHQWKH\ÂśUHXQDIUDLGRI preaching to the unconverted by
Game of cones: Lzzy gets her point across, loudly.
arenâ€™t WKHHYHU\GD\VWXÉąRI+DOHVWRUP WRXUV 2YHU WKH FRXUVH RI D KLJKO\ UHJLPHQWHG VFKHGXOH RI VRXQGFKHFNV EXV\ PHHWÄĽDQGÄĽ JUHHWVDQGJUDEELQJDELWHWRHDWIURPFDWHULQJ WRGD\ WKH ORDGHG EHHU IULGJH LQ WKH EDQGÂśV GUHVVLQJURRPUHFHLYHVOLWWOHDWWHQWLRQÄŚXQOLNH WKH VWDFN RI WRXU SRVWHUV DWRS LW SDWLHQWO\ awaiting signatures. :KHQ-RHLVQRWZDUPLQJXSKLVIDYRXULWH JXLWDU ÄŚ D VSDUNOLQJ JOLWWHUÄĽÂżQLVKHG QXPEHU DÉąHFWLRQDWHO\GXEEHGÎź6WULSSHU)DUWVÂśÄŚKHFDQ EHIRXQGGUDZLQJXSVHWOLVWVRQKLVL3DGVZDSÄĽ SLQJVRQJVLQDQGRXWWRNHHSLWLQWHUHVWLQJIRU IDQVWKDWIROORZWKHWRXU7\SHIDFHVDUHOLIWHG IURP WKH LFRQLF EDQGV RI HDFK FLW\ WKH WRXU KLWVZLWKWRQLJKWÂśVGHVLJQWDNHQIURPÄŚZKDW HOVH"ÄŚWKHJRWKLFIRQWRI%ODFN6DEEDWKÂśVHSRQÄĽ \PRXVGHEXW-RHSXVKHVKLV-HVXVORFNVRXWRI WKH ZD\ DV KH VKRZV XV VHW OLVWV IRU 6KHÉˇHOG ÄŞ'HI/HSSDUGÄŤDQG/RQGRQÄŞ6H[3LVWROVÄŤ Yet, while not evident in Birmingham, WKHSOHDVXUHVRIWKHĂ€HVKDUHDIHDWXUHRI many Halestorm lyrics, and nowhere has Lzzy been more candid about her own VH[OLIHWKDQRQWKHLUODWHVWDOEXPÂśVFHQÄĽ trepiece, Do Not Disturb. Propelled by a slithering bass groove, the song recounts a threesome the singer had in +ROODQG ÄŚ RQH RI PDQ\ VXFK HQFRXQÄĽ WHUV VKH DVVXUHV XV ÄŚ ODGHQ ZLWK WRQJXHÄĽLQÄĽFKHHN KRRNV OLNH Âł, ORYH your accent, I wonder what itâ€™ll sound like when you come.â€? I S I TS TO S T R I P C L U B S
Double vision: Lzzy applies her warpaint.
As a songwriter raised on Mick Jagger ERDVWLQJ DERXW JHWWLQJ KLV URFNV RÉą DQG Robert Plant begging somebody, anybody, to squeeze his lemon, Lzzy understandably sees no distinction when it comes to writing lyrics about her own pleasures. â€œIn my experience girls think about sex just as much as, if not more than, guys,â€? she says nonchalantly with an arch smile. â€œBut with VRQJV OLNH , *HW 2Éą , VWDUWHG JHWWLQJ DSÄĽ proached with, â€˜This is really weird.â€™ And Iâ€™m like, Well, why is it weird? Screw it, Iâ€™m gonna do it anyway! And truly, itâ€™s just an extension of me and I think anybody who has met me or spoken to me, even online, understands that. â€œItâ€™s a big reason why I decided very early on to be open with our fans, because itâ€™s honÄĽ estly easier. Itâ€™s easier to be unapologetically myself than to try and put up this facade. And, if anything, the whole rock star and being cool thing, the reason that I got into rock music is because I wasnâ€™t cool.â€? As if to emphasise this point, Arejay makes his entrance into the dressing room carrying a pressed white shirt and a pair of bright green shorts emblazoned with red popsicles. They DUHRQHRIVHYHUDOUHWLQDÄĽGDPDJLQJRXWÂżWVWKDW KH ZHDUV RQÄĽVWDJH GXULQJ WKLV WRXU$V /]]\ÂśV ORQJHVWÄĽVHUYLQJ SDUWQHU LQ URFN LW VHHPV DQ appropriate moment to ask him if his big sister is right about being uncool. â€œI donâ€™t think either of us were ever cool,â€? he chirps, hanging the clothes on a nearby mirÄĽ ror. â€œBut if being cool is trying your hardest to be the best person you can be, then, heh, yeah.â€? :KDWHYHU RQH PLJKW WKLQN RI WKHVH VHOIÄĽ HÉąDFLQJ VWDWHPHQWV FRPLQJ IURP D JURXS endorsed by Ronnie James Dio, Joan Jett and Smashing Pumpkinsâ€™ Billy Corgan, there is a grain of truth in there. What you see with Halestorm is, in fact, what you get, and it is their quiet determination that has assured their steady ascent and place in the hearts of fans around the world. With talks in play for an arena tour in their own right next year, the road ahead is still wide open. â€œI think it comes down to, Can you make a moment?â€? muses Hottinger of their appeal. â€œSomething where people go, â€˜Fuck yeah!â€™ That goes beyond genre and language. Just, â€˜Fuck \HDKÂśÂ´+HSXPSVKLVÂżVWLQWKHDLUDQGVPLOHV â€œThatâ€™s all that matters.â€?
â€œIN MY EXPERIENCE GIRLS THINK ABOUT SEX JUST AS MUCH AS, IF NOT MORE THAN, GUYS.â€? LZZY HALE
They stretch I Miss The Misery into a VPRNLQJEOXHVMDPEHIRUHLQYLWLQJRSHQLQJULÉąÄĽ URFN GXR 5HZV RQÄĽVWDJH WR FORVH WKH HYHQLQJ with a huge singalong of Hereâ€™s To Us. As the FURZG GLVSHUVHV PXOWLSOH /]]\ 0LQLÄĽ0HV dressed in leather jackets and sparkling shoes, give their ecstatic smiles. â€œThat to me is probably the coolest,â€? says Smith back in the dressing room as Arejay pushes liberal plastic cups of Jameson into open hands. â€œWe had some openers in Ireland who had female singers and they both said the same thing, that they started singing because of Lzzy. Itâ€™s crazy to see these people youâ€™re inÄĽ Ă€XHQFLQJ %XW LWÂśV IXQQ\ WRR EHFDXVH WKDW dates us a little bit, like, Oh shit! Weâ€™re old!â€? â€œIâ€™m super proud that Iâ€™ve been in this band longer than I havenâ€™t been in my life,â€? muses Lzzy. â€œMy little brother and I talk about this a lot lately, that this is kind of our legacy, man, and I donâ€™t really see an end in sight. Weâ€™ve
probably had twice the career that a lot of bands have had and weâ€™re still moving forward.â€? Bus call isnâ€™t for another 20 minutes, but there is a small crowd of fans still waiting outÄĽ VLGHWKHEDFNRIWKHVKRHER[ÄĽOLNHYHQXHDQGLW will take the band that time to make their way WKH IHHW RU VR IURP WKH$FDGHP\ÂśV ORDGÄĽLQ doors to the coach. It is now past midnight. Lzzy wraps a scarf around her head, lipstick still immaculately in place and says, â€œThe way I see it, everybody IHHOVWKDWHOHFWULFLW\ZKHQ\RXJHWXSRQÄĽVWDJH and people are listening to you. I still do, every time. What matters is what you do with it.â€? She smiles, then turns and strides towards her people. As the four muscians spend their last minutes chatting to new fans and embracÄĽ ing those recognised from previous shows, you can sense an excitement that has propelled them this far and will no doubt keep on pushÄĽ ing them to higher ground. Only a fool or a Schuylkill County Fair judge would bet against them. H A L E S TO R M â€™s current album Vicious is out now on Atlantic Records. The band are on tour in the US through to December 16.
Brum enchanted evening: Halestorm bid Birmingham farewell.
later is full of such moments. Lzzy opens with a URXVLQJDFDSSHOODRI,*HW2Éą that is equal parts Tina Turner and Ronnie James Dio, slipping seamlessly into Do Not Disturbâ€™s lascivious grind. Arejay later produces comically overÄĽ sized sticks and lays into a drum solo that is so Spinal Tap you half expect him to go the way of all â€™Tap sticksmen and spontaneously combust. H E S H OW
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Up in smoke: Aerosmithâ€™s Steven Tyler, Cumberland Hotel, London, October, â€™76.
Alice Cooper’s producer thought they weren’t good enough. Their record label wanted to drop them. But frontman Steven Tyler always knew he could bully Boston bad boys Aerosmith into shape. This is the story of Toys In The Attic, and how America’s greatest homegrown rock’n’roll band proved all their doubters wrong… Portrait Ian Dickson Words Paul Brannigan PLANET ROCK
remembers it, he was backstage at the HIC in Honolulu, awaiting the delivery of DVDFNIXORIEORZZKHQKHKHDUGWKHULɱ6LQFH WKH GD\V ZKHQ WKH ¿YH PHPEHUV RI$HURVPLWK lived together under one roof at 1325 Commerĥ FLDO$YHQXHLQ%RVWRQWKHVLQJHUKDGDSSRLQWHGKLPVHOIWKHJURXS¶V/LFN 'LYLQHUĦ³P\VNLOOZDVWRLVRODWHWKHPDJLF´KHGHFODUHVĦDQGLQWKH FLUFXODU 1HZ 2UOHDQV IXQNĥLQVSLUHG ¿JXUH -RH 3HUU\ ZDV WR\LQJ ZLWK RQĥVWDJHGXULQJWKHVRXQGFKHFNLQ+DZDLL7\OHUKHDUGDQXJJHWZRUWK H[FDYDWLQJ5XQQLQJIURPWKHGUHVVLQJURRPKHJUDEEHGDVHWRIGUXPĥ VWLFNVOHDSWKLPVHOIEHKLQG-RH\.UDPHU¶VNLWDQGVHWWOHGLQWRDJURRYH ³$QGWKHUHVW´VD\V7\OHUZLWKDW\SLFDOO\ÀRXULVK³LVKLVWRU\´ ([FHSWLW¶VQRWTXLWHWKDWVLPSOH:KHQ:DON7KLV:D\EURNHLQWR WKH867RSLQ-DQXDU\DIXOOPRQWKVDIWHUWKHUHOHDVHRILWV SDUHQWDOEXPToys In The AtticLQ$SULOLWZDVRQO\WKHVHFRQG$HURĥ VPLWKVLQJOHWRGRVR+DG7\OHU¶VVORZĥEXUQLQJSRZHUEDOODG'UHDP2Q QRWEHFRPHDKLWRQH\HDUHDUOLHU$HURVPLWKZHUHVHWWREHFDQQHGE\ WKHLUUHFRUGODEHO%HIRUHWKDWVLQJOHFKDUWHGDQGDKHDGRIPDNLQJ¶V Get Your Wings WKHLU VHFRQG DOEXP WKH %RVWRQ EDQG KDG EHHQ JLYHQ DYHU\FOHDUYLVLRQRIWKHIXWXUHE\&%6³,I\RXUQH[WUHFRUGGRHVQ¶WGR UHDOO\ZHOO´WKH\ZHUHWROG³WKHQ\RX¶UHQRWUHFRUGLQJDUWLVWVDQ\PRUH´ Get Your WingsXOWLPDWHO\SHDNHGDW1XPEHUKDUGO\DVWDWLVWLFWR JHWFKDPSDJQHFRUNVSRSSLQJEXWMXVWHQRXJKWRNHHSWKHEDQGRQWKH SD\UROO:LWKToys In The AtticWKHQWKHUHZDVVWLOOPXFKWRSURYH ³:HGLGQ¶WNQRZ:DON7KLV:D\ZRXOGEHFRPHLFRQLFWRXVWKHQLW ZDVMXVWDTXLUN\OLWWOHVRQJWKDW,ZURWHEHFDXVH,ZDVLQWR1HZ2UOHDQV IXQNPXVLFDQGLWZDVIXQWRSOD\´VD\V-RH3HUU\³%DFNWKHQZH GLGQ¶WWKLQN:RZWKLVLVJRLQJWRWDNHXVWRWKHWRSWKLVLV JRLQJSODWLQXP<RXMXVWWULHGWRPDNHWKHEHVWUHFRUG\RX FRXOG VR \RX FRXOG VXUYLYH VR \RX FRXOG KLW WKH URDG :KDWHYHUDQ\RQHPLJKWVD\QRZDQ\PRUHWKDQWKDW ZDVGUHDPLQJ´ 6WHYHQ7\OHUNQHw better than anyone else that it would be hard graft not dreams that ZRXOG PDNH $HURVPLWK VWDUV +H¶G been drumming that message into New York -RH 3HUU\¶V KHDG IURP WKH GD\ WKH\ dolls: Tyler PHW LQ WKH VXPPHU RI 3HUU\ and Joe Perry, UHPHPEHUV 7\OHU DV ³D SHUIHFWLRQLVW´ aka ‘The Toxic Twins’, UHFDOOLQJ WKH VLQJHU IRUFLQJ 3HUU\ DQG KLV Madison EDQGPDWHVĦJXLWDULVW%UDG:KLWIRUGEDVVLVW7RP Square +DPLOWRQ DQG GUXPPHU -RH\ .UDPHU Ħ WR SOD\ VRQJV Garden, NYC, RYHUDQGRYHUDQGRYHUDJDLQ³XQWLOLWZDVULJKWWRhis December 3, HDUV´:KHQWKLVwriter askeG7\OHULIKLVPHWKRGVHYHU 1975.
“ THIS WAS THE WATERSHED FOR US. I WAS REALLY STARTING TO PULL RIFFS FROM THE AIR.” JOE PERRY crossed the line into bullying, he evaded answering directly, but DQVZHUHG³+RZWKHIXFNHOVHGR\RXJHWDEXQFKRIWHHQDJHUVWRVWRS ZKDWWKH\¶UHGRLQJDQGMXVWIRFXV"´ ³,W¶VKDUGEHLQJLQDEDQG´VKUXJV7\OHUKLPVHOIDOUHDG\DVL[ĥ\HDUYHW RQWKHFLUFXLWEHIRUH$HURVPLWKIRUPHG³%XWWKHGLɱHUHQFHKHUHZDV WKDWQRERG\OHIWQRERG\ZHQWWRJRWRFROOHJHHYHU\RQHGXJLQ$QG WKHQZHZHUHRɱ´ 'RXJODVPHWXSZLWK$HURVPLWKDW D FRQYHUWHG EDUQ LQ$VKODQG 0DVVDFKXVHWWV LQ -DQXDU\ IRUSUHĥSURGXFWLRQRQZKDWZDVWREHWKHLUWKLUGORQJ SOD\HU KH IRXQG D \RXQJ EDQG HDJHU WR LPSUHVV DQG WLJKWO\ ERQGHG E\ QLQH PRQWKV RI VROLG WRXULQJ 7KH %URQ[ĥERUQSURGXFHUKDGDOUHDG\JDLQHGWKHTXLQWHW¶VUHVSHFWZLWKKLV ZRUNRQWKHLUDSWO\QDPHGVHFRQGDOEXPGet Your Wings, on which, says 7RP+DPLOWRQKH³OLWWKHEDQG¶VFUHDWLYH¿UHV´ ³:H¶G KHDU VRQJV OLNH 6DPH 2OG 6RQJ $QG 'DQFH FRPLQJ RXW RIWKHVSHDNHUVDQGZHWKRXJKWZHZHUHVLWWLQJRQDPRXQWDLQ RI JROG´ %UDG :KLWIRUG ZRXOG UHFDOO ³$QG WKHQ ZKHQ 'UHDP2QVWDUWHGKLWWLQJRQUDGLRRXUFRQ¿GHQFHZDV VN\KLJK´ 6R WRR ZHUH H[SHFWDWLRQV WKLV WLPH DURXQG JLYHQWKDWRQWKHURDGWKHTXLQWHWKDGEHHQVPRNLQJ KHDGOLQH DFWV VXFK DV 6ODGH 7KH *XHVV :KR DQG 0RWW 7KH +RRSOH 7XUQLQJ GRZQ DQ RɱHU WR ZRUN with the band on Get Your Wings$OLFH &RRSHU SURĥ GXFHU %RE (]ULQ KDG SURQRXQFHG $HURVPLWK ³QRW UHDG\´7KLVWLPHZRXOGEHGLɱHUHQW ³7KLVZDVWKHZDWHUVKHGIRUXVLQEHFRPLQJUHFRUGLQJV DUWLVWV´VD\V3HUU\³,WZDVWKH¿UVWUHFRUGZHKDGWRVWDUWIURP VFUDWFK DV IDU DV ZULWLQJ JRHV Ħ WKH VHFRQG UHFRUG VWLOO KDG D IHZ FRYHUVDQGVRQJVZH¶GEHHQSOD\LQJRXWRQWKHURDGIURPHDUO\RQĦEXW ,ZDVUHDOO\VWDUWLQJWRJHWLQWRWKHPRPHQWXPRILWLQWHUPVRIZULWLQJ ,ZDVUHDOO\VWDUWLQJWRSXOOULɱVIURPWKHDLU´ H E N P R O D U C E R JAC K
S STEVE N TYLE R
Beyond the fringe: A freshly coiffured Joe Perry, Civic Auditorium, Santa Monica, June 1975.
All the young dudes (clockwise from left): Joey Kramer, Tom Hamilton, Brad Whitford, Joe Perry, Steven Tyler, 1975.
Dream on: Steven Tyler and Brad Whitford onstage, June 1975.
â€œDRUGS WERE PART OF OUR LIFESTYLE, BUT SLEEP DEPRIVATION WAS JUST AS IMPORTANT...â€? STEVEN TYLER â€œWe were a band who were still trying to prove ourselves, and we were conscious that whatever music we wrote, weâ€™d be playing it on the road for the next year. So the consideration was, How is this going to go down live?â€™ We wrote everything with that in mind, and with the fans in mind. As a songwriter you start thinking in terms of, If I was sitting in the audience, what would I want to hear? That gave new focus to the songs that ended up on Toysâ€Ś Âł-RHLVWKHPDVWHUDWWKURZLQJRXWULÉąVÂ´VD\V7\OHUÂł:KHQZHOLYHG together in Boston in 1971 heâ€™d sit in his room and get stoned and play guitar with his amp on and, I swear, more great shit would come out of KLVÂżQJHUVLQRQHQLJKWWKDQZHHYHUFROOHFWHGLQ\HDUVÂ´ album began in earnest in PLGÄĽ-DQXDU\ DW WKH 5HFRUG 3ODQHW LQ New York, the facility in which Jimi Hendrixâ€™s Electric Ladyland and the New York Dollsâ€™ debut album were tracked. The band put in 16 hour days, six days D ZHHN IHHGLQJ RÉą RQH DQRWKHUÂśV HQHUJ\ DQG WKH LWVRXQGDOLWWOHPRUHSHULRG/HWÂśVKDYHWKHKRUQVRQLW URRPÂśV VWRULHG KLVWRU\ Âł7KH MXLFHV ZHUH Ă€RZLQJ DQG and make it sound more like the original version that we VWXÉąZDVKDSSHQLQJWKHZD\\RXZDQWHGLWWRÄŚRQWKH heard. So that was quite a transformation, going from this Ă€\Â´%UDG:KLWIRUGUHFDOOHGÂł3XWLWXSDQGLILWZRUNV VWUDLJKWÄĽDKHDGJXLWDUWKLQJWRDOPRVWDELJEDQGVRXQG$QG JUHDWDQGLILWGRHVQÂśWMXVWPRYHRQÂ´ LWUHDOO\ZRUNHGÂ´ Âł7KH5HFRUG3ODQWZDVRXUOLWWOHFDVWOHÂ´VD\V7\OHUÂł:HÂśG 7KHDOEXPÂśVRWKHUVWDQGÄĽRXWWUDFN<RX6HH0H&U\LQJZDV sit down with Jack and get an arrangement in seven or eight BEYOND another Tyler ballad in the Dream On vein. â€œThat was an idea hours and go and record it the next day with an arrangement so BLIZZARD! SteveQKDGEDQJLQJDURXQGLQKLVKHDGIRU\HDUVÂ´3HUU\UHFDOOV IXFNLQJJRRGWKDWWKHVRQJVDOPRVWVDQJWKHPVHOYHVÂ´ Tune in to ÂłDQGZKHQKHEURXJKWLWWRWKHEDQGZHĂ€HVKHGLWRXWDQGWKHQ :DON7KLV:D\ZDVVWLOOMXVWDULÉąDQGDJURRYHDWWKLVVWDJH PLANET ROCK the orchestration was added. Weâ€™d been through the same NQRFNLQJ LW LQWR VKDSH ZDV SURYLQJ GLÉˇFXOW :KLOH 3HUU\ PLAYS IT IN FULL process with Dream On but we felt much more comfortable worked on the song, Tyler, Whitford, Hamilton, Kramer and every Monday at 11pm when we WKLV WLPH DURXQGÂ´ <HDUV ODWHU ZKLOH PDNLQJ WKH Done With Douglas nipped out of the studio to see the new Mel Brooks bring you a classic MirrorsDOEXPDVWUXQJÄĽRXW7\OHUKHDUGKLVPDVWHUSLHFHRQWKH ÂżOP<RXQJ)UDQNHQVWHLQ:KHQWKH\UHWXUQHGWKHEDQGPHPÄĽ album every week, radio, and, without realising it was a song he himself had EHUV ZHUH FUDFNLQJ XS UHÄĽHQDFWLQJ RQH VFHQH IURP WKH ÂżOP broadcast in all its SHQQHG VXJJHVWHG D FRYHU WR 3HUU\ Âł,WÂśV XV IXFNKHDGÂ´ FDPH ZKHUH0DUW\)HOGPDQÂśVFKDUDFWHU,JRUHQFRXUDJHV'U)UHGHUÄĽ glory, played sans interruption. the brusque reply. LFN)UDQNHQVWHLQÄŞ*HQH:LOGHUÄŤWRIROORZKLP â€œThe story of Aerosmithâ€™s drug use is kinda done in the Âł:DONWKLVZD\Â´)HOGPDQLQVWUXFWVDQGLQRQHRIFLQHPDÂśV SUHVVÂ´7\OHUVLJKVÂł7Ke drugs were part of our lifestyle then, but sleep least subtle but most hilarious visual gags, Wilder does just that. â€œHey, deprivation was just as important here, with me sitting in a dingy hotel in :DON7KLV:D\PLJKWEHDJUHDWWLWOHIRUWKHVRQJÂ´-DFN'RXJODVVXJJHVWÄĽ Hellâ€™s Kitchen writing the lyrics after a long day at the studio, back when HG,QVSLUHGWKDWVDPHQLJKW7\OHUZURWHWKHO\ULFVDERXWDIDWKHURÉąHUÄĽ 42nd Street ZDVIXOORIKRRNHUVDQGSLPSVDQGVKDG\EDUVÂ´ ing his chronic masturbator son some advice on losing his virginity. Âł%XWRQWKHZD\WR7KH5HFRUG3ODQWWRUHFRUGLWÂ´KHUHFDOOVÂł,ORVW OYS I N T H E Attic was released on April 8, 1975, emerging all the lyrics to the album in a yellow cab. And so that night I had to WR JHQHUDOO\ SRVLWLYH UHYLHZV 5ROOLQJ 6WRQH PDJD]LQH rewrite the lyrics from memory. The reason it came across as kinda a rap KDLOHGWKHEDQGDVRQHZLWKÂłDOPRVWXQOLPLWHGSRWHQWLDOÂ´ more than singing is that I really didnâ€™t have time to get into bed with the ZKLOHZULWHU5REHUW&KULVWJDXREVHUYHGÂł7KHVHER\VDUH O\ULFVWKH\ZHUHKRWRÉąWKHSUHVVVR,MXVWWKUHZLWGRZQVSHDNLQJPRUH OHDUQLQJDWUDGHLQUHFRUGWLPHÄŚHYHQWKHVOXGJ\QXPEHUV WKDQVLQJLQJ%XW,WKLQNLWZRUNHGRXWMXVWÂżQHGLGQÂśWLW"Â´ JHWFUD]\7RREDGWKHWZRUHDOZKRPSHUVDUHDWWDFKHGWRURFNVWDUO\ULFV 2WKHUVRQJVEHJDQWRFRPHWRJHWKHULQWKHEOHDNPLGÄĽZLQWHU7RP albeit clever ones, because Steve Tyler has a gift for the dirty line as well Hamilton donated the brilliant Sweet Emotion. Whitford chipped in DVWKHGLUW\ORRNÂ´ ZLWK5RXQG$QG5RXQG7KHEDQGÂśVGUXJGHDOHULQWURGXFHGWKHPWR%LJ 7RP +DPLOWRQÂśV 6ZHHW (PRWLRQ JDYH WKH EDQG D7RS KLW DQG 7HQ,QFK5HFRUGDQGDFRYHURIWKDWZDVFXW DOWKRXJK:DON7KLV:D\IDLOHGLQLWLDOO\WRUHSOLFDWHWKLVVXFFHVVĂ€RSSLQJ Âł:H ZHUH EDVLFDOO\ MXVW GRLQJ LW DV D WZRÄĽJXLWDU URFN DQG UROO upon its release in August 1975, air play did help push its parent album DSSURDFKÂ´:KLWIRUGWROG6RQJ)DFWVFRPÂł:HZHUHOLVWHQLQJYHU\KHDYÄĽ ily to the original versionRIWKHVRQJÄŹDQGÄGHFLGHG/HWÂśVDFWXDOO\PDNH to Number 11 on the Billboard FKDUWVRPHSRVLWLRQVKLJKHUWKDQ
OR K ON TH E
G E T T Y , L L OY D N E L S O N / F RO M T H E B I L L A D L E R A RC H I V E AT T H E C O R N E L L H I P H O P C O L L E C T I O N
Get Your Wings at its peak. The band hit the road hard, with the likes of Foghat, Ted Nugent and REO Speedwagon in support: by December their momentum carried them all the way to New Yorkâ€™s fabled Madison Square Garden. For Tyler, whoâ€™d long dreamed of appearing at the iconic arena, the success was bittersweet. â€œWe were worked to death,â€? he recalled. â€œWe were seen as a cash cow. We did three shows a week and we were kept on blow. No one ever once said, â€˜You guys had better take a break.â€™ At any time I could have had a heart attack and people would have looked away and said, â€˜Well, we didnâ€™t know what they were doing.â€™ Bullshit! Everybody knew what we were doing and we were a mess.â€? Nonetheless, in the midst of the madness, the singer NQHZWKDWKLVEDQGKDGÂżQDOO\WKHDOEXPWKDWZRXOGPDNH them stars. â€œI knew weâ€™d made it,â€? he wrote in his autobiography Does The Noise in My Head Bother You. â€œI was the kid who put my initials in the rock â€™cos I wanted the aliens to know I was there. Itâ€™s a statement of longevity. The record will be played long after youâ€™re dead. Our records would be 60
â€œWE WERE WORKED TO DEATH, A CASH COW KEPT ON BLOW.â€? STEVEN TYLER up there in the attic, too, with the things that you loved and never wantÄĽ ed to forget. And to me, Aerosmith was becoming that.â€? Speaking to this writer in 2017, Joe Perry was, typically, a little more measured than his old pal, in his assessment of the record, sales of which then stood at 32 million copies worldwide. â€œWell, those songs still resonate with the fans, thatâ€™s for sure,â€? said Perry. â€œWith the early records, weâ€™d play almost every song live, and you quickly learn which ones the audience likes, those songs rise to the surface for a reason. $QG,WKLQNPD\EHZLWKWKLVDOEXPDQGZLWKÄŹÂśVÄ Rocks, we came closest to making the perfect Aerosmith album.â€?
BREAKING DOWN THE WALLS In 1986, thanks to a call from Run-DMC, Aerosmith unexpectedly found themselves pioneering the crossover between rock and hip hop. By Mark Blake. IN 1985, Aerosmith were, if not dead, then ﬂoundering. That year’s Done With Mirrors LP failed to revive their career, and Steven Tyler and Joe Perry were bouncing between drug binges and spells in rehab. Meanwhile, the hotly tipped US hip hop trio Run-DMC were making a new album, Raising Hell, when their co-producer Rick Rubin played them Toys In The Attic. After encouraging them to rap over Walk This Way, Rubin called Aerosmith’s manager Tim Collins to ask if Tyler and Perry would guest on Run-DMC’s cover. “Um, Rick, what is rap?” asked Collins. Still, the promise of $8,000 for the session was enough to lure the recently Toxic Twins to the studio. “They’d made a loop of the song,” Tyler recalled, “and
they were rapping over it. I thought, What’s this gonna be?” In Walk This Way, the libidinous Tyler swaps masturbation for “going down on a mufﬁn” and manages to bed a cheerleader, her sister and her cousin. The bragging lyric and the rolling cadence of the vocal lent itself to a hip hop treatment. Strip in Jam Master Jay’s hypnotic drum loop and Joe Perry’s slashing guitar riff – and the results were irresistible. “It had a swagger our version didn’t have,” admitted Tyler later. It was the video, though, which compounded how revolutionary this fusion was in 1986. Symbolically, Run-DMC were shown in one studio, Tyler and Perry in another, both parties banging on the dividing wall in protest at the noise the
other is making. Then Tyler batters his way into DMC’s studio to howl “Walk this-a-waaay!” through a hole in the wall, and the sparring factions are united on-stage. Run-DMC’s Walk This Way became a Top 10 UK and US hit; Run-DMC saw Raising Hell reach Number 1, and Aerosmith gained a new young with 1987’s Permanent Vacation LP, their biggest hit yet. By the turn of the ’90s, the likes of Faith No More and Red Hot Chili Pepper had further broken down the barriers between rock and hip hop, and Public Enemy and Anthrax were unveiling their thrash/rap love-in Bring The Noise. Clash: Aerosmith But the journey and Run-DMC started here. at Magic Venture Studios, NYC, March 9, 1986.
Sight for sore eyes: Joe Perry and his Corvette Stingray, Waltham, Massachusetts, August 10, 1975.
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It’s been another thrilling year for rock music, with legends returning and a raft of fabulous new talent emerging. We asked Planet Rock’s presenters and writers to nominate their favourite albums of the year, and having totted up the votes we now unveil the results. Fancy winning them all? Step this way… PLANET ROCK
THE YEAR IN ROCK
THE YEAR IN ROCK
The ﬁfth full-lengther from these West Coast blues-rockers and Rick Rubin’s former protegés delivers a whisky barrel-load of weeping slide guitar and poetic story-telling from mightybearded preacher man Ethan Miller. What, though, in Lucifer’s name, is an alligator bride – would you marry one, and what would happen on the wedding night?
Stone Broken Ain’t Always Easy (SPINEFARM)
The West Midlands foursome’s second album sports riffs larger than the testicles of the North Paciﬁc right whale, but also the tunes to match. You could strip paint with the guitars on Worth Fighting For and still have a smoochie ﬁrst dance to the lighters-aloft power ballad Home. Straight outta Walsall; next stop, the world.
Blackberry Smoke Find A Light (EARACHE)
Stone Temple Pilots Stone Temple Pilots (RHINO)
Flesh And Bone, the ﬁrst song on Find A Light, suggests a monster truck bumping across the New Mexico desert, steer horns on the radiator grille, Skynyrd on the radio. The wheels keep turning, on 12 more nuggets of Southern-fried rock’n’roll, as loud and proud as Smoke frontman Charlie Starr’s woolly-mammoth sideburns.
Naming a new album after the band itself suggests STP making a fresh start following frontman Scott Weiland’s tragic demise. New boy Jeff Gutt’s radiofriendly roar ﬁts the brief like an old pair of Docs, and the San Diegan grunge survivors’ comeback LP is an embarrassment of whirling-dervish, Zeppelin-tinged riches.
Slash featuring Myles Kennedy & The Conspirators
Living The Dream (SNAKEPIT/ROADRUNNER)
Slash might have been welcoming us back to the jungle in 2018, but Living The Dream disproves the notion that Myles K and his Conspirators are Slash’s Sunday-morning kickabout team after Guns N’Roses’ FA cup ﬁnal squad. Hell no! Instead, this third collaboration between the rock vets offers up a banquet feast of spitand-sawdust rockers and head-back, crotch-forward ballads. Truly dreamy.
The Temperance Movement A Deeper Cut
TM frontbloke Phil Campbell (below) and his men’s sturdy Brit take on the blues just gets bigger and better, even after weathering some pesky line-up changes. A Deeper Cut shimmies and pimp rolls, like their former touring partners The Rolling Stones, with Built-In Forgetter boasting the ﬁnest riff Keef’n’Ron forgot to write.
Therapy? Cleave (MARSHALL)
Angry slightly older men alert! Impending middle age hasn’t smoothed off Northern Irish power-trio Therapy?’s barbed edges. Cleave provides another outlet for mouthpiece Andy Cairns’s fuck-the-world rhetoric (“Do you feel let down? ’Cos I feel so let down,” he announces on Kakistocracy) amid a warmly familiar barrage of bulldozing drums and guitars.
Idles Joy As An Act Of Resistance
It’s not every year Brit punk gets sonically reinvented and given a singular new voice, but that’s what’s happened thanks to Joe Talbot’s discombulating Bristolian noisemen, Idles. Grown-up man-angst – about his stillborn child, the perils of ﬁghting men with perms, immigration – is set against ﬁerce guitarscapes, equally thrilling consumed live or on your living room hi-ﬁ.
18 The Alligator Bride
Year Of The Tiger
Myles Kennedy’s spot on the Outlaw Country Stage at 2018’s Ramblin’ Man Fair showed his willingness to step away from the full-throttle demands of his arena-rock day job. This debut solo album was inspired by the death of Kennedy’s father, a Christian Scientist who refused medical treatment on religious grounds, when his son was just four years old. Myles strives to make sense of it all on songs such as Blind Faith and Ghost Of Shangri-La. By allowing acoustic and slide guitars and subtle string arrangements do the hard graft, he lets these deeply personal songs breathe. It’s not all navel-contemplation introspection, though. There’s a quiet optimism to Year Of The Tiger, and a sense of nostalgic fun to one song, Haunted By Design, where Kennedy – accidentally on purpose? – sounds more like an early ’80s David Coverdale than the man himself on Whitesnake’s Come An’ Get It.
New noise: Myles Kennedy and (below) angelic upstarts Turnstile.
Halestorm Vicious (ATLANTIC)
Frontperson Lzzy Hale leads her group back to more familiar territory after 2015’s glossy left-turn Into The Wild Life. Here, it’s all sandblasting riffs and unbridled rage, while Hale lets rip like a petulant teenager who’s just had her PlayStation controller conﬁscated by Dad.
Turnstile Time & Space (ROADRUNNER)
Second time around for these troubled young men of Baltimore, Maryland. On Time & Space’s signature songs – try the bullish opener Real Thing or the disembowelling bass-driven I Don’t Want To Be Blind – hardcore punk meets heavy metal power.
Massive Wagons Full Nelson (EARACHE)
In which the burly, whiskery men of Lancaster bring their uniquely now take on old-school metal to the masses. With songs about how crap Facebook is (China Plates) and a 101-year-old skydiver (The Ballad Of Verdun Hayes), there’s warmth, wit and genuine emotion in these barmily infectious hard rock songs.
Greta Van Fleet Anthem Of The Peaceful Army (REPUBLIC)
Partly composed in a remote cabin in the wilds of Chattanooga, Tennessee, the millennial mini-Zep explore ecology and the ruinous state of the planet, as well as the usual love and sex, on this debut album; irresistibly swinging through the likes of Lover, Leaver… and killer single When The Curtain Falls.
Clutch Book Of Bad Decisions (WEATHERMAKER)
Finding the sweet spot between bluesy stoner-rock, metal and “weaponised funk”, this 12th release from Maryland’s ﬁnest is full of gems. Neil Fallon’s growl and fuzzed-up guitar propel the swaggering
title cut and the blaring horns-assisted In Walks Barbarella over the ﬁnishing line – and back out for a victory lap. Very few bands have matured with such class.
Caning it: Rob Halford and the Priest unleash a “truly great” LP.
The Magpie Salute High Water I (PROVOGUE)
Shake your moneymaker, again. Former Black Crowes Rich Robinson and Marc Ford salute the old band but also stamp their own identity on this debut studio album. There’s sweet southern soul, folk, honky-tonk and psychedelia, with West London singer John Hogg ﬂavouring the mix with a some irresistible Brit rock grit.
Deafheaven Ordinary Corrupt Human Love (ANTI-)
The fourth studio album by these angst-ridden San Franciscans splices its black-hearted riffs with moments of genuinely beautiful, jawdropping sublety and a title borrowed from Graham Greene’s novel, The End Of The Affair. Prepare to be stroked, then, by Near and You Without End and have your face melted by most of the rest.
Alice In Chains Rainier Fog (BMG)
The One You Know, the opening track here, has a riff so brutally repetitive it’s the musical equivalent of Chinese water torture. So far, so vintage Alice, then. Rainer Fog (with vocalist William DuVall in for the late Layne Stayley) is thrillingly on-message: doomy, introspective and shot through with soaring melodies.
A Perfect Circle Eat The Elephant (BMG)
On their ﬁrst album in 14 years, Maynard James Keenan and Billy Howerdel’s sporadic, on-off supergroup join the dots perfectly between mournful balladry, slashing hard rock and nouveau prog. With lyrics drawing on death, politics, religion and the chaos and uncertainty of the modern world, you wonder what took them so long.
Judas Priest Firepower (COLUMBIA)
These are challenging times for the Priest. Following Firepower’s release, it was revealed that guitarist Glenn Tipton had been diagnosed with Parkinson’s Disease and was retiring from the road. His replacement was announced as the album’s co-producer, ex-Sabbat man Andy Sneap. Yet despite the difﬁcult circumstances surrounding its birth, Firepower had more of that precious ﬁre in its belly than any other Judas Priest album released this century. The involvement of co-producer Tom Allom (the engineer on British Steel and other ’80s Priest records) suggested a nod to the past. So too did Firepower’s cover art, evoking the
bastard robotic offspring of Screaming For Vengeance’s hellion and that phallic joystick on the front of Turbo. It succeeds by sounding as if its songs might have been written in the 1980s but were recorded this side of the millennium. Despite helping deﬁne heavy metal in all its uncompromising glory, Priest have what many of their disciples lack: namely, an innate sense of melody. There are riffs aplenty here, but choruses too. The punishing title track immediately takes up its place in a roll of honour alongside other great Priest LP openers, Exciter, Rapid Fire, etc; Never The Heroes is a socially conscious mid-tempo call-to-arms with an earworm hook; and Lighting Strike contains the silliest (read: greatest) Priest lyric since forever. When Rob Halford declares, “I’ll bring you the head of the demon, I’m peeling the skin from his face”, you know you’re in the presence of a truly great Priest album. PLANET ROCK
THE YEAR IN ROCK
MESSAGE FROM THE CLERGY WE WISH TO INFORM YOU THAT THE CLERGY HAS BEEN INFORMED OF CARDINAL COPIA AND HIS NAMELESS GHOULSâ€™ MOST RECENT ACCOLADE. PLANET ROCK HAS AWARDED PREQUELLE WITH ITS HIGHEST HONOUR, ALBUM OF THE YEAR. WE ARE TRULY PLEASED AND GRATEFUL FOR THIS PRESTIGIOUS AWARD. WE RECOGNISE THIS WOULD NOT BE POSSIBLE IF IT WASNâ€™T FOR GHOSTâ€™S LOYAL BELIEVERS AND SUPPORTERS AND WE GIVE THANKS TO EACH AND EVERY ONE OF YOU.
Ghost Prequelle (LOMA VISTA)
â€œItâ€™s hard to imagine a more compelling or audacious metal album being released in 2018,â€? read the ďŹ nal line of Planet Rock Editor Paul Branniganâ€™s review of Prequelle in June. Facing some uncertainty over the future of his band, with ex-members having ďŹ led a legal suit against him, Ghost mastermind Tobias Forge dug deep to create an instant classic, a collection of life-afďŹ rming Satanic spirituals rooted, paradoxically, in doom, death and darkness. From the Black Death-inspired Rats through to the walk-with-me-in hell hymnal Life Eternal, Forge conjures up a fantastical, spectral phantasmagoria through which star-crossed lovers, bewitching demons, vengeful spirits and the mysterious, omniscient Cardinal Copia glide. Truthfully, one might argue whether Prequelle is actually a metal album at all, drawing as it does from â€™80s stadium rock, classical waltzes, Ennio Morricone soundtracks and liturgical arias, but, by popular assent, itâ€™s inarguably the boldest, most fearless, sui generis rock album of the past 12 months.
WI N ALL 20 ALB U M S! /HWÂˇVNHHSWKLVVLPSOH6HQGDSRVWFDUGÄŤZLWK\RXUIXOOFRQWDFW GHWDLOVÄŹWR3ODQHW5RFN0DJD]LQH$FDGHPLF+RXVHÄŚ2YDO 5RDG/RQGRQ1:'7ZLWKWKHKHDGOLQH G I M M E R O C K P L A N E T R O C K ! DQGZHÂˇOOVHOHFWRQHOXFN\ZLQQHUDWUDQGRP &ORVLQJGDWH-DQXDU\7KHXVXDO7 &VDSSO\
Ghoulâ€™s night out: Ghostâ€™s Cardinal Copia at Londonâ€™s Royal Albert Hall, September 9, 2018.
THE CULT HEROES
SCOT TISH MUGGERS? DISORDERLY C ONDUCT? A DRUNKEN NIKKI SIXX’S TOXIC URI NE? A M E R I C A’ S G R E A T E S T I N D E S T R U C T I B LE GOOFBALL R O C K E R S C H E A P T R I C K H AV E S U R V I V ED IT ALL – A N D S T I L L R E F U S E T O G I V E U P. “ W E ’ RE TOO D U M B T O Q U I T, ” T H E Y T E L L M A R K B L AKE.
Trick shot: Cheap Trick in 1978 (clockwise from top) Tom Petersson, Bun E. Carlos, Robin Zander, Rick Nielsen.
lead singer Robin Zander ZDV DWWDFNHG WKH ÂżUVW time he visited the UK. It was the early â€™70s and heâ€™d just been to see Black Country glam rock hooligans Slade play at a bingo hall in Edinburgh. â€œOh God,â€? he sighs. â€œIâ€™d grown up near Chicago and never had a problem, EXW WKH ÂżUVW ZHHN , OLYHG LQ 6FRWODQG , was mugged by these kids.â€? It was middle of winter and Zander UHWXUQHG WR KLV IUHH]LQJ FROG Ă€DW RQ Princes Street. â€œThere was no hot water DQG\RXKDGWRJRGRZQWKUHHĂ€LJKWVRI stairs to putâ€Śâ€? he pauses, â€œa shilling in the meter.â€? Zander hasnâ€™t uttered those words in a while. Robin and his teenage pal, Brian, played in a duo and were staying with a Scottish friend and hoping to get signed to a British record company. â€œBut they all told us to go home and practise some more,â€? he admits. Zander had gone to The Beatlesâ€™ homeland to seek his forÄĽ tune, but what he was looking for was actually right there at home in Rockford, Illinois. 7KHÂżUVWWLPH=DQGHUVDZIHOORZ5RFNIRUG native and future Cheap Trick guitarist Rick Nielsen, he was playing with a group called The Grim Reapers. Nielsen had yet to adopt his trademark costume of baseball cap and bow tie, but he was already a little peculiar. Âł5LFNKDGDVWUREHOLJKWĂ€DVKLQJRQKLPÂ´ Zander recalls, â€œand it was his birthday. He was playing a keyboard with one hand and throwÄĽ ing a birthday cake in the air with the other, catching the bits as it fell down and eating them. It was pretty, er, far out.â€? H EAP
found each other in 1973, when Zander joined Nielsenâ€™s new group &KHDS 7ULFN Âł:KHQ , ÂżUVW heard Robin I realised Iâ€™d found the voice for the songs I was writing,â€? says Nielsen today. Completed by bass player Tom 3HWHUVVRQDQGQRZH[ÄĽGUXPPHU%XQ(&DUORV Cheap Trick would go on to make 19 studio DOEXPV RI HDUZRUPÄĽIULHQGO\ KHDY\ SRS DQG the breakthrough live document Cheap Trick At Budokan. Heaven Tonight, Dream Police, Lap Of Luxury and Woke Up With A Monster ÄŞUHPHPEHU WKDW RQH"ÄŤ KDYH FKDUWHG &KHDS7ULFNÂśV GL]]\ KLJKV DQG RFFDVLRQDO ORZV ÄŚ DQG DOO SRLQWV LQ EHÄĽ tween. â€œWhatâ€™s the secret of staying togethÄĽ HU"Â´SRQGHUVWKHÄĽ\HDUÄĽROG1LHOVHQLQDYRLFH grown gravellier with age. â€œYou donâ€™t have to like what you do, but youâ€™ve gotta love it. We have fun and weâ€™re stillâ€Ś pretty good.â€? HE
TR I C Kâ€™S
CO U PLE
Stepping out: Cheap Trick at the American Music Awards, January 1980.
â€œ YOU GET FULL OF YOURS E L F, S T A R T T O M C AT T I N G AROUND AND THINKING Y O U â€™ R E A B I G S H O T. â€?
Cops and rockers: promoting the Dream Police album in Tokyo, Japan, March 1979.
Necks appeal: Rick Nielsen on-stage at Madison Square Garden, July 29, 1988.
Cheap Trick never split up, and became a touchstone for groups as varied as MĂśtley CrĂźe and Nirvana, Green Day and Bon Jovi. Theyâ€™ve also watched other bands get big E\ UHÄĽSXUSRVLQJ HOHPHQWV RI WKHLU VRXQG ,Q December, Cheap Trick support Def Leppard on their UK arena tour. â€œTheyâ€™re good guys DQG IDQV RI RXUVÂ´ =DQGHU RÉąHUV JUDFLRXVO\ Though you canâ€™t help wondering if heâ€™s secretly gritting his teeth. As a teenager, Rick Nielsen, the son of RSHUDÄĽVLQJHUSDUHQWVZDVDQREVHVVLYHFROOHFÄĽ tor: records, guitars, copies of Melody Maker which he had airmailed from the UK. â€œWhen The Beatles and The Kinks came out, that was it,â€? he says. Âł$PHULFDQ PXVLF ZDV DZIXO , couldnâ€™t stomach all that West &RDVWVWXÉąÂ´ â€œEverything on American radio was so boring,â€? adds Zander. â€œWe just latched on to the UK. The :KR7KH 0RYH ÄŚ WKRVH JURXSV were more exciting.â€? Cheap Trickâ€™s 1977 debut sounded like Midwestern kids ZHDQHG RQ 79 DQG WUDVKÄĽSRS culture trying to play The BeatÄĽ lesâ€™ Magical Mystery Tour. Not much has changed. â€œWe donâ€™t change,â€? Nielsen points out. â€œWeâ€™ve neverâ€Ś progressed.â€? The guitarist pronounces the last word as if heâ€™s never said it before. The LPâ€™s front cover set their image in stone. Zander and Petersson looked like rock star gigolos en route to the Playboy Mansion; Bun E. Carlos, with his cigarette and droopy â€™tache, like he should be running an illegal gambling den, and Nielsen like the class clown pulling faces in a school photo. Âł7KHORRNZDVDQH[WHQVLRQRIZKR,ZDV as a kid,â€? explains Nielsen, whoâ€™d been the star of his school orchestra until he called its direcÄĽ tor â€œan incompetent, drunken foolâ€? and was NLFNHGRXWÂł,ÂśGQHYHUKDYHDGPLWWHG,ZDVWKH FODVVFORZQEXW,ZDVÂ´ Cheap Trick played every bowling alley DQGVSRUWVEDULQ,OOLQRLVDQG:LVFRQVLQ1LHOÄĽ VHQ ZDV WKH DQWLÄĽURFN VWDU +H GUHVVHG OLNH
a dweeb in checkerboard sweaters and a bowtie and hid his retreating hairline under D Ă€LSSHGÄĽXS EDVHEDOO FDS +H ZDV D K\SHUDFÄĽ tive performer, gurning, windmilling and VFLVVRUÄĽNLFNLQJZKLOH=DQGHUORRNHGFDOPDQG collected in a shirt and waistcoat, an image KHÂśGOLIWHGIURP%RZLHDQG%U\DQ)HUU\Âł,RQO\ steal from the best,â€? he insists. &KHDS 7ULFNÂśV EOHQG RI KHDY\ ULÉąV DQG VXJDUÄĽVZHHWPHORG\FRQWLQXHGRQÂśÂśVIn Color and â€™78â€™s Heaven Tonight. Today, Nielsen comÄĽ pares this yin and yang combination to â€œMariÄĽ O\Q 0DQVRQ PHHWV , GXQQRÂŤ 6KDQLD7ZDLQÂ´ They also stuck with the cartoon image. In Colorâ€™s sleeve showed Robin and Tom stradÄĽ GOLQJ+DUOH\ÄĽ'DYLGVRQVRQWKHIURQWDQG5LFN and Bun E. perched on kidsâ€™ push bikes on the Ă€LS,WZDVNQRZLQJDQGFRPLFDOEXWLWZDVQÂśW enough. Cheap Trick played with everybody: from AC/DC to Lou Reed, from The Kinks to 5XVK WR .UDIWZHUN ÄŞ\HV KraftwerkÄŤ DQG VWLOO couldnâ€™t get a hit. Then came Japan. N TH E N EVE R-E N D I N G pub debate about the greatest live albums ever, thereâ€™ll always be someone rooting for Cheap Trick At Budokan, alongside Strangers In The Night, Live And Dangerous, etc. And rightly so. By 1979, America hadnâ€™t succumbed to Cheap Trick, but the Far East had. Zander reÄĽ calls their manager suggesting they spend their ÂżQDOÂłEXFNVRUZKDWHYHUÂ´RQPDNLQJD live record in Tokyo. â€œWe were broke and it was our last attempt to make something hapÄĽ pen. Our manager said, â€˜Donâ€™t worry, itâ€™s just for Japan, no one else is going to hear it.â€™â€? Cheap Trick At Budokan arrived in 1979, and America suddenly and unexpectedly VXFFXPEHG,WZHQW7RSDQGDOVRPDGHWKH 8.7RS ZKHUH LW ZDV LVVXHG RQ VRÄĽFDOOHG â€˜Kamikaze yellow vinylâ€™. â€œYeah,â€? winces =DQGHUÂł1RUDFLVPLQWHQGHGWKHUH,WZDVWKH record companyâ€™s idea.â€? Even now, the singer seems bemused by it all. On the night, Cheap Trick only included WKHLULQIXULDWLQJO\FDWFK\SRSVRQJ,:DQW<RX To Want Me because the promoter at the
PDLQWDLQWKHSLQÄĽXSQHUGUDWLREXWWKHPXVLF lost some of its sparkle. Âł2XUODEHOÄŹ(SLFÄNHSWDVNLQJÎź:KHQDUH you going to do another I Want You To Want Me?â€™â€? sighs Zander. When Heart started scorÄĽ LQJ KLWV ZLWK VRQJV E\ RXWVLGH ZULWHUV (SLF suggested Cheap Trick try the same. Until now, theyâ€™d written everything themselves, bar the odd cover version. The 1986 blockbuster PRYLH 7RS *XQ WXUQHG 7RP Cruise into a superstar, and Kenny Logginsâ€™ Danger Zone and Berlinâ€™s Take My Breath Away into worldwide hits. But who recalls the soundtrackâ€™s third single, Cheap Trickâ€™s Four great underrated, 0LJKW\ :LQJV FRÄĽZULWWHQ E\ Harold â€˜Beverly Hills Copâ€™ under-loved CT songs. Faltermeyer? â€œI could write Heâ€™s A Whore shitty songs on my own, (on Cheap Trick, 1977) thanks,â€? deadpans Nielsen. â€œI â€œThis girl, didnâ€™t need anyone to help me sheâ€™s a joke, do it.â€? sheâ€™s a Cheap Trickâ€™s 1986 LP, The joke,â€? implores Doctor, didnâ€™t fare much betÄĽ a frantic ter. â€œHave you listened to it Zander, as the Trick lately?â€? growls Nielsen. â€œCoupÄĽ out-Ramones the Ramones la good songs.â€? Cheap Trick on this peerless garage-rock wanted Def Leppardâ€™s producÄĽ tear-up. er â€˜Muttâ€™ Lange, but he was Southern Girls busy making Hysteria, so they (on In Color, 1977) ended up with his colleague, Cheap Trick Tony Platt, instead: â€œWe were sound like a told, â€˜Hey, this guy is just as zonked-out, JRRGÂś:HOOÂŤ*XHVVZKDW"Â´ hard-rock Beach Boys Things could only get on this worse. That summer, Cheap homage to a group of Trick supported MĂśtley CrĂźe friendly female Trick fans in Britain, and found themÄĽ from Southern Canada, selves playing the same apparently. theatres theyâ€™d once headÄĽ The Way Of OLQHG 'XULQJ D ODWHÄĽQLJKW The World boozing session, the CrĂźeâ€™s (on Dream Police, 1979) Nikki Sixx dropped his trouÄĽ The sers and urinated on Nielsenâ€™s orchestral MDFNHW 5LFN ZDV ZHDULQJ LW strings? The at the time. It seemed like a jangling guitar riff? metaphor for Cheap Trickâ€™s The desperate situation. nursery-rhyme lyric? Itâ€™s the Meanwhile, Tom PetersÄĽ best song ELOâ€™s Jeff Lynne sonâ€™s new group had fallen never wrote. apart. One night, he ran into Anytime KLV H[ÄĽEDQGPDWHV DW D SDUW\ (on Cheap Trick, 1997) thrown by Julian Lennon. Any The Trick awkwardness disappeared â€˜go grungeâ€™ when Petersson tripped and or else spilt a pitcher of beer in NielÄĽ pastiche VHQÂśV ODS +H UHÄĽMRLQHG &KHDS grunge. Take your Trick soon after.
Trick And Treat
Cheap thrills: the Trick in 1985 (from left) Jon Brant, Rick Nielsen, Robin Zander, Bun E. Carlos.
Budokan told them they needed to pad out the set list. I Want Youâ€Ś became a huge hit and remains their most famous song. â€œMaybe weâ€™d been thinking too hard beÄĽ fore,â€? admits Zander. â€œWeâ€™d just thrown this WKLQJWRJHWKHUÄŚDQGLWVROGÂ´ Cheap Trick had their fourth album ready to go, but it was put on ice as Budokan kept VHOOLQJ:KHQLWÂżQDOO\DSSHDUHGDream Police FRPSRXQGHGWKHVXFFHVVZLWKDKLWÄĽVLQJOHWLWOH track and the big ballad Voices. It also saw 1LHOVHQ DQG &DUORV UHÄĽSURPRWHG WR WKH IURQW cover and the whole group looking like the RGGHVWFDPSHVWODZHQIRUFHPHQWRÉˇFHUVHYHU Suddenly Cheap Trick were superstars in their homeland. Nielsen with his daft sweater DQG FDS DQG RXWODQGLVK ÂżYHÄĽQHFN JXLWDU ÄŞLQÄĽ WHQGHG DV D JHQWOH SLVVÄĽWDNH RI 5XVKÂśV *HGG\ /HHDQG$OH[/LIHVRQZKRERWKSOD\HGWZLQÄĽ QHFN D[HVÄŤ KDG EHFRPH WKH ELJJHVW FDUWRRQ rock star in America. The band also realised one of their teenage dreams when they recorded 1980â€™s All Shook UpZLWK7KH%HDWOHVÂśSURGXFHU*HRUJH0DUWLQ Nielsen had just missed the birth of his son Daxx to play, along with drummer Carlos, on John Lennonâ€™s Double Fantasy sessions. â€œIf it was Paul McCartney Iâ€™d have gone to the hospital,â€? he jokes. Nielsen, Carlos and Lennon toasted Daxxâ€™s arrival into the world and even planned to work together again. â€œJohn Lennon was talking about playing live and he wanted Cheap Trick to be his EDQGÂ´FODLPV5LFN
All Shook Up didnâ€™t sell as well, and illustrated Cheap Trickâ€™s greatest problem: they were too quirky for the heavy metal crowd, too heavy for the pop kids and too old for the â€˜new waveâ€™. As the 1980s got underway, cracks began to appear. â€œYou get full of yourself when the money starts to pour in,â€? admits Zander. â€œYou start tomcatting around, thinking youâ€™re a big shot, then you get arrested and thrown in jail.â€? Cheap Trick were touring with Heart in 1980 when Zander was nicked. â€œIt was for disorderly conduct without violence,â€? he divulges. Zander didnâ€™t get much support from his bandmates: â€œWe were all getting too big for our britches. Being from a VPDOOWRZQOLNH5RFNIRUGNHSW us anchored, but the 1980s was a strange time.â€? Change was perhaps ineviÄĽ table. Tom Petersson left to start a group with his then wife, D *HUPDQ IDVKLRQ PRGHO DQG fellow Illinois musician Jon Brant played bass on Cheap Trickâ€™s next four records. Brant ZDV JRRGÄĽORRNLQJ HQRXJK WR
pick. Either way, their teen spirit is strong.
â€œIt hadnâ€™t been the same without him,â€? admits Zander. Peterssonâ€™s reappearance for â€™88â€™s Lap Of Luxury strengthened the Cheap Trick brand, but Epic gave them an ultimatum: have a hit VLQJOHÄŚRUHOVH,WZRUNHG7KH)ODPHD=LSÄĽ SRÄĽZDYLQJSRZHUEDOODGZULWWHQE\KLUHGJXQV Bob Mitchell and Nick Graham, gave Cheap 7ULFNWKDWPXFKÄĽQHHGHG861XPEHU 8EHUÄĽ7ULFN IDQ %LOO\ &RUJDQ RQFH VDLG Âł7KH)ODPHZDVSUREDEO\WKHEHJLQQLQJRIWKH end or the end of the beginning.â€? NevertheÄĽ OHVVLWVDYHGKLVKHURHVÂśFDUHHUÂł+H\WKDWÂśVWKH business,â€? states Nielsen. â€œIt is what it is.â€? suggests â€œthe â€™80s was a strange timeâ€?, WKHQ WKH V ZHUH VWUDQJHU still. Cheap Trick split with Epic and released just three DOEXPVLQWKDWGHFDGH7KHODVWÂśVCheap Trick, had the same title as their debut, and appeared on the independent Red Ant 5HFRUGV $ ORXG PHVV\ URFNÂśQÂśUROO DOEXP LW LOOXVWUDWLQJWKHLULQĂ€XHQFHRQ:HH]HUDQG)RR )LJKWHUVEXW5HG$QWZHQWEXVWDERXWPLQÄĽ XWHV DIWHU LW FDPH RXW Âł1RERG\ ERXJKW WKDW UHFRUGEXW,UHDOO\GXJLWÂ´VD\V1LHOVHQ &KHDS7ULFNKDYHEHHQPRUHSUROLÂżFWKLV FHQWXU\ HYHQ WKRXJK %XQ ( &DUORV GLVDSÄĽ SHDUHG LQ WR EH UHSODFHG E\ 1LHOVHQÂśV VRQ'D[[7KHSDUW\ÄĽOLQHZDV&DUORVKDGEDFN problems, making him unable to perform a full VHW&DUORVGHQLHGWKLVDQGÂżOHGDODZVXLWWR HQVXUH KH UHPDLQHG DQ RÉˇFLDO PHPEHU DQG retained his stake despite no longer touring. The matter was settled out of court. The four originals performed together when Cheap Trick were inducted into The 5RFNDQG5ROO+DOORI)DPHLQ%XWUHODÄĽ tions seem tense. â€œI havenâ€™t spoken to Bun E. VLQFH WKHQ EXW ZH QHYHU FKDWWHG PXFK DQ\ÄĽ ZD\Â´1LHOVHQLQVLVWVÂł'D[[KDVEHHQZLWKXV HLJKWRU\HDUVQRZÂ´ &KHDS7ULFNSURYHWKHWKHRU\WKDWLI\RX VWLFNDURXQGORQJHQRXJKHYHQWXDOO\\RXÂśOOJHW UHÄĽGLVFRYHUHG ,Q WKH ,OOLQRLV 6HQDWH SDVVHG D UHVROXWLRQ QDPLQJ $SULO RÉˇFLDO &KHDS7ULFN'D\0HDQZKLOHWKHLUVRQJVKDG EHFRPH FXOWXUDO VKRUWKDQG IRU ÂżOP DQG 79 SURGXFHUVZKRJUHZXSLQWKHÂśVDQGÂśV Besides Top Gun, Cheap Trickâ€™s music has WXUQHG XS LQ PDQ\ PRYLHV DQG 79 VKRZVIURP*XDUGLDQV2I7KH*DOD[\ 9ROXPHWR6RXWK3DUN,QRQHHSLVRGH RI7KH6LPSVRQVFDUWRRQ$VLDQVWRUHÄĽ keeper Apu was seen washing his car and crooning Dream Police. â€œI like it,â€? Zander laughs. â€œI think itâ€™s cool.â€? $FRXSOHRI\HDUVDJR5LFN1LHOVHQ F AS R O B I N ZAN D E R
â€œ W E H AV E L I V E S O U T S I D E CHEAP TRICK. NOT MUCH OF A LIFE, BUT LIVES NEVERTHELE SS.â€?
DWWHQGHGDODXQFKIRUURFNÂśQÂśUROOFKHI$QWKRQ\ %RXUGDLQÂśV QHZ ERRN 7KH FXOLQDU\ ZRUOGÂśV enfant terrible told him Cheap Trick was the VRXQGWUDFN WR KLV \RXWK Âł, WKLQN $QWKRQ\ OLNHGWKHKHDYLHUVWXÉąÂ´VXJJHVWV1LHOVRQ ,WZDVQÂśWDQLVRODWHGLQFLGHQW7KHVHGD\V SHRSOH RIWHQ VWRS =DQGHU DQG WHOO KLP WKH\ ORVWWKHLUYLUJLQLW\RUKDGWKHLUKHDUWEURNHQWR RQH RI KLV VRQJV Âł,W VWDUWHG DURXQG \HDUV DJRDQGLWÂśVXVXDOO\,:DQW<RX7R:DQW0H EXWDOVR9RLFHV0DQGRFHOORDQG6XUUHQGHURI course.â€? 6XUUHQGHU &KHDS 7ULFNÂśV VHFRQG PRVW IDPRXV VRQJ LV D ZU\ VHOIÄĽUHIHUHQWLDO WDOH RI a kid seeing his â€œmom and dad rolling on the couchâ€? while listening to their sonâ€™s Kiss records. â€œThereâ€™s a generation of moms and GDGVWKDWZHUHUROOLQJRQWKHFRXFKÄŚRULQWKH EDFNRID&KHYUROHWÄŚOLVWHQLQJWR&KHDS7ULFN DQGWKH\ÂśYHDOOJRWNLGVQRZÂ´VD\V=DQGHU &KHDS 7ULFNÂśV %HDWOHV REVHVVLRQ ÂżQDOO\ SHDNHGLQZKHQWKH\SHUIRUPHGSgt PepÄŚ perâ€™s Lonely Heart Club Band in full with the +ROO\ZRRG%RZO2UFKHVWUD7KH\ZHQWRQWR SHUIRUPLWDJDLQLQ/DV9HJDVRYHUVHHQE\7KH %HDWOHVÂśIRUPHUHQJLQHHU*HRÉą(PHULFN Âł:H GLG VKRZV DQG *HRÉą GLG WKHP DOO ZLWK XVÂ´ VD\V 1LHOVHQ SURXGO\ 'RHV LW JHW DQ\ EHWWHU IRU D NLG ZKR RQFH FROOHFWHG Beatlesâ€™ records?
The ďŹ‚ame still burns: Cheap Trick in 2018, with Daxx Nielsen, right.
3UREDEO\ QRW EXW 5LFN JLYHV WKH LPSUHVÄĽ sion Cheap Trick keep going because itâ€™s all WKH\ÂśYHHYHUGRQHÂł:HOLNHZRUNLQJÂ´KHVD\V Âł:HDOOKDYHOLYHVRXWVLGH&KHDS7ULFNÂŤ1RW PXFKRIDOLIHPD\EHEXWOLYHVQHYHUWKHOHVVÂ´ Nielsen has been married to wife Karen VLQFH 7KH\ KRQH\PRRQHG LQ /RQGRQ ZKHUHKHWHOOVPHWKH\VDZWKHRULJLQDO<HVDW the Marquee. Zander, meanwhile, lives with VHFRQGZLIHIRUPHU3OD\ER\SOD\PDWH3DPHOD 6WHLQ:KDWGRHVKHGRZKHQKHÂśVQRWSOD\LQJ ZLWK&KHDS7ULFN\RXZRQGHU"Âł1RWKLQJ,ÂśP SUHSDUHGWRWHOO\RXDERXWÂ´KHODXJKV )RXU GD\V DIWHU WDONLQJ WR 3ODQHW 5RFN &KHDS7ULFNZLOOSOD\-DSDQDQGWKHQ$XVWUDOLD )RXUGD\VDIWHUFRPLQJRÉąWRXUZLWK'HI/HSÄĽ SDUG5LFN1LHOVHQWXUQV+HÂśVFHOHEUDWLQJ E\WDNLQJDPRQWKRÉąEHIRUHJRLQJEDFNRQWKH road, starting with a gig at the Casino Resort LQ1LDJDUD)DOOV â€œItâ€™s just what we do,â€? Nielsen insists. â€œThe IXWXUH":HVRUWRISODQDKHDGEXWZKDWDP, JRQQDVD\"+H\ZHÂśUHSODQQLQJZRUOGGRPLQDÄĽ WLRQ:HÂśUH JRQQD EH WKH QH[W ELJ WKLQJ 1R weâ€™re not. But weâ€™re too dumb to quit.â€? It sounds like the best reason in the ZRUOGIRU&KHDS7ULFNWRFDUU\RQ CH EAP TR ICK
tour the UK with in December.
D E F L E P PA R D
MY PLANET ROCKS
Ghoulish punk rock, heavyweight stoner jams, a seductive GDQFHĂ€RRUK\PQ and the ultimate wedding songâ€Ś DISTURBED FRONTMAN DAVID DRAIMAN TIME-TRAVELS TO SELECT THE ANTHEMS THAT SOUNDTRACKED HIS TEENAGE YEARS. I L LU S T R AT I O N
long and hard when asked to expand upon his belief that, with their seventh album, Evolution, Disturbed have made their version of Metallicaâ€™s phenomenally successful â€˜Blackâ€™ album. â€œPeople love that quote!â€? he chuckles. â€œI guess it sounds pretty cocky. But, quite simply, this is our strongest body of work.â€? +DYLQJ ODQGHG ÂżYH FRQVHFXWLYH %LOOERDUG FKDUW WRSSHUV ÄŚ IURPÂśVBelieveWKURXJKWRÂśVImmortalizedÄŚRQHPLJKWWKLQN that the Chicago band have already courted the mainstream. But having scored a huge KLWZLWKDGUDPDWLFUHÄĽUHDGLQJRI6LPRQDQG*DUIXQNHOÂśV7KH6RXQG2I6LOHQFHRQWKHLU ODVWVWXGLRVHW'UDLPDQFRQVLGHUVDQHZ\HDU]HURÂł:HQRZKDYHWKHFRXUDJHWR create unreservedly and without limitations, as my favourite artists always haveâ€Śâ€?
I N T E RV I E W : PAU L B R A N N I G A N
AV I D D R A I M A N L AU G H S
SEX PISTOLS Holidays In The Sun (on Never Mind The Bollocks, Hereâ€™s The Sex Pistols, 1977)
:KHQ,ZDVÂ¿UVWLQWURÄ¥ GXFHGWRSXQNWKHYHU\ Â¿UVWUHFRUGWKDW,OLVWHQHGWRZDV Never Mind The Bollocksâ€¦7KLVLV WKHÂ¿UVWWUDFNRQWKHUHFRUGD EDOOÄ¥EXVWHUVRDPD]LQJO\ LQÄ¥\RXUÄ¥IDFHDQGUHEHOOLRXVDQG DOOWKHWKLQJV\RXZDQWIURP SXQN7KH6H[3LVWROVGHÂ¿QHG SXQNDQGWKLVVRQJLVOLNHD UDOO\LQJFU\WRPH,ZDVLQWR DORWRISXQNDWWKHWLPHÄ¦ %X]]FRFNV5DPRQHV0LVÂ¿WV 2SHUDWLRQ,Y\Ä¦EXWWKH3LVWROV ZHUHVXFKDQLPSRUWDQWEDQGLQ P\OLIH,NQRZDORWRIZKDW WKH\ZHUHVLQJLQJDERXWZDV VSHFLÂ¿FWR%ULWDLQEXWUHEHOOLRQ LVXQLYHUVDODQGWKLVPDGHWRWDO VHQVHWRPHEDFNWKHQ
THE CURE Disintegration (on Disintegration, 1989)
7KH&XUHSDLQWVXFKD EHDXWLIXOPXVLFDOODQGÄ¥ VFDSHLQWKLVVRQJ7KLVPLJKW VRXQGVWUDQJHEXWLWÂ¶VVR EHDXWLIXOO\GHSUHVVLQJ,ORYH WKHZKROHYLEHRILWDQGLWNLQGD SXWV\RXLQDSODFHZKHUH\RXÂ¶UH DEOHWRFRPHWRWHUPVZLWK\RXU HPRWLRQV7KDWÂ¶VZKDWLWGLGIRU PHDWWKHWLPHZKHQ,Â¿UVW KHDUGLWDVDWHHQDJHU0\ IULHQGVDWWKHWLPHZHUHYHU\ LQWRSXQNDQGQHZZDYHDQG, GLVFRYHUHG7KH&XUHWKURXJK WKHP3HRSOHGRQÂ¶WJLYH5REHUW 6PLWKHQRXJKFUHGLWKHÂ¶V DEVROXWHO\EULOOLDQWDQGWKURXJK KLP7KH&XUHFUHDWHGDZRUOGRI WKHLURZQ,I,ZDVJRLQJWRGRD 'LVWXUEHGYHUVLRQRID&XUH VRQJ,PLJKWGR1HYHU(QRXJK
JOURNEY Open Arms
(on Escape, 1981)
7KLVLVDVSHFLDOVRQJ EHWZHHQP\ZLIHDQG, ,Â¶PVXUHLWÂ¶VDVSHFLDOVRQJ EHWZHHQDORWRIJX\VDQGWKHLU
ZLYHVEXW,DFWXDOO\VDQJWKLVWR P\ZLIHDWRXUZHGGLQJ$V VORSS\DQGGUXQNDV,ZDVDWWKH WLPHVKHZDVWRXFKHG-RXUQH\ ZHUHKXJHIRUPHEDFNLQWKH GD\,FRXOGQÂ¶WJHWHQRXJKRI 6WHYH3HUU\Â¶VYRLFHDQGWKH DQWKHPLFQDWXUHRIDOOWKHLU VRQJV,ZDVDEVROXWHO\HQDPÄ¥ RXUHGE\WKHP6DGO\,QHYHU JRWWRVHHWKHPZKHQ6WHYH 3HUU\ZDVIURQWLQJWKHEDQG EXWWKHVRQJV,Â¶YHKHDUGIURP KLVQHZUHFRUGTracesVKRZWKDW KHÂ¶VVWLOOJRWLW
MISFITS Last Caress (on Beware, 1980)
,ORYHGWKH0LVÂ¿WV7KHP DQGWKH5DPRQHVDUHWKH WZRPRVWPHORGLFSXQNEDQGV WRPH*OHQQ'DQ]LJUHDOO\LV WKH'DUN(OYLVRIWKHJHQUHKLV YRLFHLVVRSRZHUIXODQGXQLTXH DQG,ORYHGKRZKHFRXOGPDNH SXQNVRXQGVRKDUPRQLRXV7KLV VRQJLVWKHSHUIHFWH[DPSOHEXW WKHUHÂ¶VVRPDQ\JUHDWRQHVÄ¦'LH 'LH0\'DUOLQJ 0RPP\&DQ, *R2XW$QG.LOO 7RQLJKW"WKHOLVW JRHVRQ:KRKDVQÂ¶W ZRUQD0LVÂ¿WVVKLUWDWVRPH SRLQWLQWKHLUOLIH"
FUD]\ZKHQWKLVWXQHZRXOG FRPHRQDQGWKDWJURRYH VWDUWHGXS
THE DOORS Break On Through (To The Other Side) (on The Doors, 1967)
,ORYHGZKDW7KH'RRUV HPERGLHGDQGWKHYLEH RIZKDWWKH\FUHDWHG7KLVVRQJ MXVWW\SLÂ¿HVZKDW7KH'RRUV ZHUHWKH\ZHUHDOODERXW EUHDNLQJWKURXJKWRWKHRWKHU VLGH-LP0RUULVRQZDVDQ DPD]LQJIURQWPDQ\RXFDQÂ¶W KHOSEXWKDYHWUHPHQGRXV UHVSHFWDQGDGPLUDWLRQIRUZKDW KHGLGDQGWKHDUWLVWWKDWKHZDV )RUVRPHUHDVRQ7KH'RRUV GRQÂ¶WVHHPWREHKHOGLQWKH VDPHKLJKUHJDUGDVDORWRIWKH FODVVLFURFNEDQGVDQG,GRQÂ¶W NQRZZK\WKDWLV,WVHHPV XQMXVWLÂ¿HGWRPH
Sweet Leaf (on Master Of Reality, 1971)
6SHDNLQJDERXWP\GUXJRI FKRLFH0\Â¿UVWH[SRVXUH WR6DEEDWKZDVWKHWe Sold Our Soul For Rockâ€™nâ€™RollFRPSLODWLRQ DQGWKLVVRQJLQSDUWLFXODUÄ¦ ZLWKWKHJURRYHDQGWKDW DPD]LQJULÉ±DQGSURJUHVVLRQ SOXVWKHLQFUHGLEOHKRRNWKDW 2]]\ZLHOGHGÄ¦,MXVWORYHG'LG ,KDYHP\RZQOLWWOHVWRQHUURFN FUHZWKHQ",KDYHP\RZQOLWWOH VWRQHUURFNFUHZQRZÄ«/DXJKVÄ¬ :KHQHYHU,KHDUWKLV,FDQÂ¶W KHOSEXWEUHDNLQWRDVPLOH 2]]\LVRQHRIWKHPHQ,UHVSHFW PRVWLQWKHZRUOGKHÂ¶VDQ DPD]LQJPDQZLWKDQDPD]LQJ IDPLO\DQGZKDWWKH\Â¶YHGRQH IRUWKHJHQUHLQJHQHUDOLV LQFUHGLEOH
THE SMITHS Please, Please, Please, Let Me Get What I Want (on Hatful Of Hollow, 1984)
DEPECHE MODE Personal Jesus (on Violator, 1990)
7KHUHXVHGWR EHDUHDOO\ VWURQJLQGXVWULDO PXVLFVFHQHLQ &KLFDJRZKHQ,ZDV JURZLQJXSDQG DOWKRXJK'HSHFKH 0RGHDUHQÂ¶WDQLQGXVWULDOEDQG WKLVJRWDORWRIDLUSOD\LQWKH LQGXVWULDOFOXEVEHFDXVHRIWKH IHHORILW,ORYH'HSHFKH0RGH LQJHQHUDOMXVWDERXWWKHLU HQWLUHFDWDORJXHULJKWEDFNWR VRQJVOLNH-XVW&DQÂ¶W*HW (QRXJK%XWEDFNLQWKHGD\ ZKHQ,ZHQWWRFOXEVOLNHWKH /LPHOLJKWDQGWKH&URZEDULQ &KLFDJR,Â¶GDOZD\VJHWDOLWWOH PRUHDPSHGDQGDOLWWOHPRUH
Just canâ€™t get enough: Modeâ€™s Dave Gahan.
Ä«6LQJVÄ¬Î¼+DYHQÂ¶WKDGD GUHDPLQDORQJWLPHÂ«Â¶ ,ORYHWKDWVRQJ,ORYH7KH 6PLWKVDQG,ORYH0RUULVVH\Â¶V YRLFHDQGLQFUHGLEOHZLWDQG O\ULFLVP7KH6PLWKVZHUHVR GLÉ±HUHQWDQGXQLTXHWKH\GLGQÂ¶W IROORZDQ\SOD\ERRNDQG WKHGLUHFWLRQVWKHLU VRQJZULWLQJWRRNZDV LQFUHGLEOH,QP\ OLWWOHFOLTXH7KH 6PLWKVNLQGDIHOO LQWRWKHQHZZDYH FDWHJRU\DQG WKH\ZHUHD FRPIRUWDEOHÂ¿W IRUXV&DQÂ¶W VD\,HYHU VWXFNDQ\ JODGLROLLQ P\MHDQV SRFNHWV EXW 7KH6PLWKVZHUH KHURHVWRPH D I S T U R B E D â€™s new album
Evolution is out now on Warner Music.
JASON REDWOOD, GET TY
THE COVER STORY
Maiden’s voyage: (clockwise from top right) The band’s ﬁrst photo session for Sounds, Leicester Square, London, October 1979 (from left, Doug Sampson, Paul Di’Anno, Tony Parsons, Dave Murray, Steve Harris); Dennis Stratton in 1980; Steve Harris on-stage during the Killer World tour, 1981; Harris and Di’Anno backstage in Holland, October 5, 1980; Clive Burr in 1980.
ROSS HALFIN, GET TY, ALAMY
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Eastenders: Iron Maiden at their rehearsal room in 1979 (from left) Clive Burr, Paul Diâ€™Anno, Dennis Stratton, Dave Murray, Steve Harris.
Innocent exiles: Maiden on-stage at Groenoordhallen, Leiden, Holland, supporting Kiss, October 5,1980.
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“THE BAND DIDN’T HAVE A MICK JAGGER. WE NEEDED A SYMBOL, AND THAT WAS EDDIE.”
A remastered reissue of I R O N M A I D E N ’s VHOIĦWLWOHGGHEXWDOEXPDORQJZLWKUHPDVWHUVRI .LOOHUV7KH1XPEHU2I7KH%HDVWDQG3LHFH 2I0LQGDUHRXWQRZRQ&'DVWKHÀUVWLQVWDOPHQW RI7KH6WXGLR&ROOHFWLRQħ5HPDVWHUHGVHULHV
Beastie boy: Bruce Dickinson on-stage at New York’s Madison Square Garden, October 2, 1982.
How’s Maiden ﬁrst four albums paved the way for their global success.
EMI, April 1980 “Won’t you come in to my room, I want to show you all my wares…” Steve Harris’s original vision for Maiden was to combine the complexity of Yes and Genesis with Wishbone Ash’s twin-guitar harmonies and the melodicism of Free. But the East Londoners’ debut album offered much more. Running Free, with Paul Di’Anno’s lyric about embracing the chaos of youth, is an early escapist anthem, Phantom Of The Opera stands as Harris’s ﬁrst attempt to fuse high and low culture in epic form and Remember Tomorrow sets a template for moody minor-key balladry which Metallica have mimicked from Fade To Black onwards. Had Maiden held back the brilliant Wrathchild from 1980’s Metal For Muthas compilation and swapped that and Sanctuary in for, say, Transylvania and Dave Murray’s off-colour Charlotte The Harlot, they might just have made the ﬁnest heavy metal debut album of all time.
EMI, February 1981 Released on February 2, 1981, Maiden’s second album is perhaps most signiﬁcant for a) marking the beginning of the band’s working relationship with producer Martin Birch and b) for introducing former Urchin frontman Adrian Smith as Dave Murray’s guitar foil, the pair having been pals since the age of 14. Their telepathy is evident throughout an ambitious, ridiculously underrated album which pivots much closer to prog than punk. The six-minute Prodigal Son nods towards
The Who, Murders In The Rue Morgue and Innocent Exile channel the spirit of Edgar Allan Poe and the title track is one of Paul Di’Anno’s most dramatic performances. Curiously, Killers was savaged by former champions Sounds, who awarded the set just one star, and damned it as “more of a failure than a triumph”. While it peaked at UK Number 12, the album sold 750,000 copies worldwide, 150,000 of those in the US, giving Maiden a platform for a tilt at Stateside glory. Sadly, Di’Anno wouldn’t last long enough to unleash his Cockney charm on the colonies.
“After it Maiden was a worldwide major act.”
EMI, May 1983 EMI, March 1982 From the outside, ﬁring fan favourite Paul Di’Anno in the summer of 1981 looked like a bold move for Maiden, but once the vocalist’s lifestyle choices began fucking with his ability to do his job, his days were numbered. Steve Harris then faced the prospect of writing an album from scratch in just four weeks and blooding new vocalist Bruce Dickinson. With their backs to the wall, Maiden delivered their ﬁnest album to date. Adrian Smith’s blossoming songwriting partnership with Harris delivered two storming cult faves in The Prisoner and 22 Acacia Avenue, while the galloping Run To The Hills, the philosophical doom of Hallowed Be Thy Name and the diabolical title track are three of metal’s all time classic anthems. Released on March 29, 1982, the album debuted at UK Number 1, and broke the Top 40 in America. “Before The Number Of The Beast we were part of the New Wave Of British Heavy Metal,” noted manager Rod Smallwood.
Though Piece Of Mind rarely polls high in any list of all-time great metal albums, Steve Harris actually considers it the ﬁnest of Maiden’s ﬁrst four releases. “Piece Of Mind is just special,” he says. “We felt like we were on a high, and you can hear that mood on the album.” With live-wire ex-Trust drummer Nicko McBrain replacing Clive Burr on drums, Maiden’s ‘classic’ ﬁve-piece line-up assembled here for the ﬁrst time, and the improved chemistry in the unit was tangible in the nine songs taped with Martin Birch in the Bahamas. Having been tied up in legal red tape on TNOTB, Bruce Dickinson delivered a mouth-watering taste of his compositional skills with the G.K. Chesterton-referencing Revelations, and kicked off what would prove to be a superb songwriting partnership with Adrian Smith on the soaring Flight Of Icarus. While the Crimean War-themed The Trooper is undeniably the LP’s most celebrated track, its hidden gem is the gently hypnotic Still Life, a rare co-write between Harris and Dave Murray.
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Iron Maiden frontman Bruce Dickinson is holding court with a beer in his hand. Itâ€™s been four months since the British heavy metal legends announced the return of prodigal sons Dickinson and guitarist Adrian Smith to the fold, and even ZLWKMXVWWKUHHGDWHVRIWKHUHXQLWHGEDQGÂśVVROGÄĽRXW(G+XQWHUWRXUXQGHU KLVEHOWWKHÄĽ\HDUÄĽROGYRFDOLVWLVDOUHDG\EXOOLVKDERXWZKDWOLHVDKHDG â€œI donâ€™t want to equal peopleâ€™s expectations,â€? Dickinson states, â€œI want to exceed them. This band is far better now than it was at its supposed peak. Weâ€™re building up such a head of steam. Weâ€™re going to be unstoppable.â€? Itâ€™s fair to say that history has borne out the truth of Dickinsonâ€™s words from two decades ago. In that time, Iron Maiden have UHOHDVHG ÂżYH VWXGLR DOEXPV WKH PRVW UHFHQW RI ZKLFK ÂśV The Book Of Souls WRSSHG WKH FKDUWV LQ FRXQWULHV including the UK, where it became the Londonersâ€™ ÂżIWK 1XPEHU DOEXP 7KH VXSSRUWLQJ WRXU WKH bandâ€™s longest with Dickinson on vocals since WKH Âś 6RPHZKHUH ,Q 7LPH WUHN VDZ 0DLGHQSOD\VKRZVDFURVVVL[FRQWLQHQWV IHUULHG DFURVV WLPH ]RQHV LQ WKHLU RZQ (G )RUFH2QHSODQHZLWKTXDOLÂżHGSLORW'LFNLQÄĽ son in the cockpit. Yet before that tour climaxed back in 1HZ <RUN ODVW -XO\ 0DLGHQ ZHUH DOUHDG\ PDNLQJIXWXUHSODQV(YHQE\WKHLURZQORIW\ standards, The Legacy Of The Beast tour, named after the comic and mobile game UHOHDVHG E\ WKH EDQG LQ ZDV D VWDJJHUÄĽ ingly successful endeavour. Since Dickinson and Smithâ€™s return, Maiden have alternated EHWZHHQQHZDOEXPWRXUVDQGÎź+LVWRU\+LWVÂś tours. Using the interlocking â€™worldsâ€™ from the game as an anchor, this was another FKDQFH WR VKRZFDVH D IRXUÄĽGHFDGHÄĽGHHS FDWDORJXH6RPHIDQVDFURVVFRXQÄĽ tries showed up for a staging The Guardian called â€œa classic of the genreâ€? and which this magazine hailed as an â€?outrageously extravaÄĽ JDQWSURGXFWLRQÂ´WDNLQJLQDVLWGLGDĂ€\LQJ 6SLWÂżUH Ă€DPHWKURZHUV D KXJH LOOXPLQDWHG FUXFLÂż[ VZRUGÂżJKWV D ÄĽIRRW (GGLH LQĂ€DWDEOH GHPRQV DQG Mad hatter: Bruce in scary mask during more costume changes than Fear Of The Dark, a Cher Las Vegas residency. Berlin, June 13; Steve â€œThe Book Of Souls tour Harris and Dave was pretty bloody awesome, Murray, Birmingham,
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Flash of the blade: Eddie and Bruce cross swords in Birmingham.
and when we came to the end of it, I was like, Wow, I could go on for a couple more months,â€? says Dickinson, speaking to Planet Rock from Australia, whereâ€™s he on a spoÄĽ NHQÄĽZRUG WRXU LQ VXSSRUW RI KLV EHVWÄĽVHOOLQJ DXWRELRJUDSK\:KDW'RHV7KLV%XWWRQ'R" â€œWe wanted to stay in the moment of that really successful situation, so we started WKLQNLQJDKHDG:HZDQWHGWRJRHYHQELJJHUÂ´ )RUWKHUHFRUGERWK'LFNLQVRQDQG0DLGÄĽ HQEDQGOHDGHU6WHYH+DUULVDUHNHHQWRFUHGLW WKHEDQGÂśVPDQDJHU5RG6PDOOÄĽ ZRRGZLWKFRQFHLYLQJWKHFRQÄĽ FHSW RI WKH VKRZ D ÄĽVRQJ WKUHHÄĽDFWPRUDOLW\SOD\WKHPHG DURXQGZDUUHOLJLRQDQGKHOO Âł,JRWDELWRIDEROORFNLQJ from Rod for suggesting that WKH LGHD ZDV %UXFHÂśVÂ´ ODXJKV +DUULV VSHDNLQJ IURP KLV home in Florida, just days
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Holy smoke: Dickinson torches Stockholm during Flight Of Icarus, June 1.
Unholy trinity: Harris, Nicko McBrain and Dickinson, Lisbon Altice Arena, Portugal, July 13.
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theatre, then Iron Maidenâ€™s current DXGLRÄĽYLVXDOVKRZWKDWEDWWHUVWKHVHQVÄĽ HVLQWRVZHHWVXEPLVVLRQZRXOGGHPROÄĽ ish all contenders and pretenders alike EHIRUHWKH\FDXJKWVLJKWRIWKHUHGFDUSHWÂ´ WKHPDQDWWKH([SUHVVJXVKHG %RWK +DUULV DQG 'LFNLQVRQ ZLOO FRQIHVV WR PL[HG HPRWLRQV ZKHQ WKH WRXU FOLPD[HG ZLWK WZR VROGÄĽRXW KRPHFRPLQJ GDWHV DW /RQGRQÂśV2$UHQDRQ$XJXVWDQG Âł,IHOWOLNH,FRXOGFUDFNRQULJKWDURXQG WKH ZRUOGÂ´ VD\V 'LFNLQVRQ Âł+DYLQJ VDLG that, we do need to take a break, because itâ€™s a very intense show, and your body does need VRPHUHFRYHU\WLPH,ÂśPWKH\RXQJHVWLQWKH EDQGDQG,ÂśPEORRG\Â´ â€œItâ€™s always a little sad,â€? Harris agrees. â€œI ORYH SOD\LQJ OLYH DQG VRPHWLPHV WKH JDSV EHWZHHQ 0DLGHQ WRXUV IHHO WRR ORQJ WR PH %XW WKDWÂśV RQH RI WKH FRPSURPLVHV RI EHLQJLQDEDQG$QGIRUPHWKDWÂśV ZKHQ , FDQ FUDP LQ P\ %ULWLVK /LRQ WRXUV ,W KHOSV NHHS PH JURXQGHG 2QH PLQXWH ,ÂśP RQÄĽ VWDJHZLWK0DLGHQZLWKDIXFNÄĽ LQJ SODQH JRLQJ RYHU P\ PLANET ROCK
I R O N M A I D E N take their The Legacy Of The Beast tour into North and South America in 2019. See IronMaiden.com for details.
Âł, WKLQN SHRSOH know that weâ€™re not just going to do the one gig already announced,â€? says 6WHYH+DUULVÂłEXW5RGZLOOEHDWPHXSLI I say anything more. In this day and age, LWÂśV YHU\ GLÉˇFXOW WR NHHS DQ\ P\VWLTXH VR Iâ€™m hardly gonna tell you, am I?â€? Âł:KHQ%UXFHFDPHEDFNWRWKLVEDQGZH all agreed that Maiden wasnâ€™t going to be UHVWLQJRQRXUKLVWRU\Â´+DUULVDGGVÂł$OO,FDUH about is how this band feels now. The Legacy Of The Beast tour was a nice way of telling the old stories in new ways. Âł%XW,WKLQNZHÂśUHDOODOUHDG\H[FLWHG at the thought of starting some new stories tooâ€Śâ€?
“WE HAD A FEW SPINAL TAP MOMENTS...”
Nostril-damus: Steve Harris and Nicko McBrain at Atlético Madrid stadium, July 14, 2018.
Bruce Dickinson and Steve Harris select some highlights from The Legacy Of The Beast tour set list. ACES HIGH Steve Harris: “Always a great set opener. Even now, when I hear Churchill’s speech starting up I start to get goosebumps, and that’s a good sign, because hopefully the crowd is feeling that too. I must admit, starting off with this and with a Spitﬁre screaming above us we did wonder, How are we going to follow that?”
WHERE EAGLES DARE Bruce Dickinson: “We wanted to use the intro music from the movie, as we did years ago, but it’s a different century now, and now you need a personal letter from Clint Eastwood to authorise that. So we made our own intro tape. The Spitﬁre crash is actually the sound of a Stuka.”
2 MINUTES TO MIDNIGHT BD: “We’ve always been surprisingly prescient about political issues. 2 Minutes To Midnight was spot-on with what was going on in 1984, and with what’s going on now. You’ve got all the big powers selling arms, genocide across the world, private wars costing the lives of thousands – all happily bankrolled by the States, ourselves, the Russians and the French.”
REVELATIONS BD: “I always liked the lyrics from O God Of Earth And Altar by G.K. Chesterton, and it really suited having some rock-style chords underneath it. It’s a song about religion, but not conventional religion, the occult and alchemical side of it, which is a theme I’ve always been interested in, as explored in The Chemical Wedding, my album about Blake, and the movie I did about Aleister Crowley.”
THE CLANSMAN BD: “I have a sword ﬁght with Eddie in The Trooper, which is the next song up, so I got a claymore to use on The Clansman, as a nod to Braveheart. We had a few Spinal Tap moments where the claymore was covered up too well and I had to rip half the set down trying to ﬁnd the damn thing!”
FOR THE GREATER GOOD OF GOD SH: “I’ve always loved my prog rock, I grew up on it. Having songs like this in the set, the big, epic, dramatic songs, offers a good counterpoint to the more aggressive songs. We do a twohour set every night, so you have to have different dynamics, because neither us nor the audience can be jumping around the whole time.”
THE TROOPER SH: “This is the sort of aggressive, adrenalinebased songwriting we were good at in the early years. I think everyone knows that I’ve never taken a drug in my life, but I feed off adrenaline, and when that runs out, I guess I’ll have run out! It’s a song about the Crimean War, but sadly it seems like there’s always a new conﬂict to write about.”
IRON MAIDEN SH: “Could we play an Iron Maiden gig without this? I mean, we could, we’ve more than enough songs to make it work, but since the very early days we’ve always ended our main set with this, so it’s a traditional thing now, and I think the fans expect it. It’s always a highlight of the night.”
FEAR OF THE DARK BD: “I tried to repurpose this song on this tour to make it more scary, with the Jack The Ripper-style outﬁt. Originally, I wanted to have LED lamps embedded in my palms, like Iron Man, so that I could be like a human searchlight. We got some lamps, but they weren’t working for me. Then we got one on a bracket, like the hermit with his lamp on the Tarot card. Scary, gothic, dramatic, a bit of smoke – perfect!”
RUN TO THE HILLS BD: “Run To The Hills is a reminder that you should never take yourself too seriously. Rather than try to recreate the serious topic of the song, I mime galloping on an invisible horse, which is my tribute to Monty Python And The Holy Grail. I also have a virtual apple in my back pocket so I can give my invisible horse a pat on the head and a munch of invisible apple. These little details amuse me.”
THE WICKER MAN BD: “The great thing about doing The Wicker Man is that it kicks into touch this idea that we stopped writing catchy songs in 1987. People think we only do prog-style songs since I came back [in 2000], but we’ve had a lot of catchy songs and The Wicker Man is one. It’s a great crowd favourite. I was blown away by how well it went down every night.”
THE EVIL THAT MEN DO SH: “Adrian [Smith] wrote the opening riff, I wrote the chorus and Bruce chipped in too. I remember he thought that the bridge should be the chorus, and I said, It’s a bloody good bridge, but it’s not the chorus, we need something to lift the song again. When we play it live now, it’s obvious that I was right!”
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Open-hearted debut from the most talked-about rock band of 2018...
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GRETA VAN FLEET ++++
P L A N E T R O C K 101
Glittery serenades: the mostly reunited Smashing Pumpkins.
The glory of their past in stereoscopic wonder...
In contrast to the anarchic teenage angst and fadÄĽ HGĂ€RZHUSRZHURIWKHLUJUXQJHÄĽHUDFRQWHPSRUDULHV WKH 7KLQ /L]]\ DQG =HSSHOLQÄĽZRUVKLSSLQJ DOWURFN TRYING TO pinpoint precisely what made SmashÄĽ PLVÂżWVFKRVHWRH[LVWDOPRVWHQWLUHO\LQDIDQWDVWLFDO ing Pumpkins one of the biggest rock bands of the world of their own making. That they surpassed most â€™90s, selling tens of millions and topping charts of their peers in terms of both sales and ambition around the world with 1995â€™s landmark Mellon Collie XQTXHVWLRQDEO\ LUULWDWHG WKH JHQUHÂśV VHOIÄĽDSSRLQWHG $QG 7KH ,QĂ€QLWH 6DGQHVV, isnâ€™t as easy as you might gatekeepers. But when Corgan boasted that the douÄĽ 6KLQ\$QG2K6R%ULJKW WKLQN$WWKHIRUHIURQWZDV%LOO\&RUJDQÂśVHPRÄĽNLVVHG EOHÄĽGLVF Mellon Collieâ€Ś would be Gen Xâ€™s answer to 9RO/31R3DVW YRFDOVDKLJKÄĽSLWFKHGHÉąHPLQDWHZKLQHWKDWSURMHFWHG 7KH:DOO ahead of release, he was right to do so. 1R)XWXUH1R6XQ pain, heartache and vulnerability. Then there was the By the end of the â€™90s, however, the Pumpkins NAPALM phosphorescent guitar force, with Corgan and fellow were falling apart. Chamberlin was given his marchÄĽ VL[ÄĽVWULQJHU -DPHV ,KD ÂżQGLQJ QHZ ZD\V WR SOD\ ing orders for being arrested with heroin following GLÉąHUHQWSDUWVWKDWZHOGHGWRJHWKHULQWRRQHLQGLVÄĽ WKH RYHUGRVH RI WRXULQJ NH\ERDUGLVW -RQDWKDQ tinguishable assault. 0HOYRLQKHUHWXUQHGLQMXVWEHIRUH&RUJDQÂżUHG %DFNHG E\ YDVWO\ XQGHUUDWHG GUXPPHU -LPP\ bassist Dâ€™arcy Wretzky for being what he would later &KDPEHUOLQ DQG EOHQGLQJ LQĂ€XHQFHV IURP ÂśV URFN GUHDPÄĽSRS FDOOÂłDPHDQÄĽVSLULWHGGUXJDGGLFWZKRUHIXVHGWRJHWKHOSÂ´%\WKHFORVH JRWKDQGHYHQFODVVLFDORYHUWXUHVWKHLUVZDVDVRXQGWKDWZDVÂżHUFHO\ of 2000, the band was no more. intelligent yet remarkably human. It was the romantic charm of their 7KHQIROORZLQJDVL[ÄĽ\HDUDEVHQFHGXULQJZKLFK&RUJDQDQG&KDPÄĽ VWDUU\ÄĽH\HGRGHVWRURFNHWVVSDFHER\VDQGEXOOHWVZLWKEXWWHUĂ€\ZLQJV EHUOLQUHOHDVHGRQHDOEXPIURPQHZSURMHFW=ZDQ6PDVKLQJ3XPSNLQV that locked so well into the cannon of MTV escapism, outsider lullaÄĽ were reborn. Truth be told, though, the excitement that surrounded bies and shoegazer fairytales for a generation that dared to dream. WKHLUJORU\KH\GD\KDVZDQHGZLWKWLPH5XPRXUVRIDQRULJLQDOOLQHÄĽXS Tenth studio album from partially reunited alt.rock figureheads.
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SMASHING PUMPKINS ++++
102 P L A N E T R O C K
L I N D A S T R AW B E R RY
Albums reunion album and tour were, therefore, ZHOFRPHGZLWKRSHQDUPV:KLOH,KD¶VUHWXUQ ZDVQ¶W HQWLUHO\ XQH[SHFWHG Ħ KH PDGH D JXHVW DSSHDUDQFHRQĥVWDJHZLWK63LQDQGFRQĥ WULEXWHG JXLWDU DQG PHOORWURQ R DW W UDFN RQ Corgan’s 2017 solo album OgilalaĦWKHSURVSHFW RI DUFV UHVWRUDWLRQ W R W KH OLQHĥXS ZDV HQWLFLQJ,WZDVQRWWREH L YLQJ KHU ¿UVW LQWHUYLHZLQ QHDUO\ WZR TRACKS GHFDGHV DW WKH EHJLQQLQJ RI WKLV HDU WKH Knights Of Malta HVWUDQJHGEDVVLVW FULWLFLVHG KHU IRUPHU IULHQG Silvery Sometimes IRU H[FOXGLQJ KHU ³,W ZRXOG KDYH EHHQ DZHĥ (Ghosts) VRPH´ VKH QRWHG ³%XW %LOO\ ZLOO QHYHU GR LW Travels 1RWLQWKLVOLIHWLPH´&RUJDQGHQLHVKHUFODLPV Solara 7KH 3XPSNLQV ZRXOGQ¶W EH WKH 3XPSNLQV Alienation ZLWKRXWGUDPDDQGLQWULJXH Marchin’ On 7KLV WHQWK IXOO OHQJWKVHW SURGXFHGE\ With Sympathy 5LFN 5XELQ ĪZKR ZRUNHG ZLWK &RUJDQ RQ Seek And You Shall Destroy OgilalaīVHUHQGLSLWRXVO \WLHVLQZLWKWKHJ URXS¶ V 30th anniversary and ushers the arrival of the QH[WFKDSWHULQWKHLUKLVWRU\$ORQJVLGH&RUJDQ DQG,KDORQJĥVHUYLQJD[HPDQ-Hɱ6FKURHGHUUHPDLQVSLWFKLQJLQIRU D WULSOH JXLWDU DVVDXOW WKDW DV HYLGHQFHG DW WKHLU UHFHQW RQHĥRɱ 8. VKRZDW/RQGRQ¶V:HPEOH\$UHQDFDQUDQJHIURPGHOLFDWHO\WH[WXUHG WRGHYLRXVO\KHDY\DWWKHÀLFNRIDVZLWFK 7KHUH LV OLWWOH RI WKLV PHWDOOLF PDMHVW\ DSSDUHQW KRZHYHU GXULQJ WKH DOEXP¶V LQWURGXFWRU\ VHJPHQWV 2SHQHU .QLJKWV 2I 0DOWD LV D SLDQR EDOODG WKDW XQIROGV WKURXJK D VSLUDORI V PSKRQLF VWULQJVDQG FRXQWU\VZLQJSHSSHUHG ZLWK UHYHUVHG+HQGU DQJXLWDUV DQGLPPH 6KHOWHUĥVW\OH EDFNLQJYRFDOV 6LOYHU\ 6RPHWLPHV Ī*KRVWVī WKHQ WUDGHV WKDWZKROHVRPHYLQWDJHURFNIRUKLĥ¿FUXQFKLWVMDQJO\FKRUGVVLWWLQJ ULJKWDWWKHEUHDNĥSRLQWRIFOHDQEHIRUH7UDYHOVSXWV&RUJDQ¶VPDVWHU VLJQDWXUHĦSRZHUIXOVLPSOLFLW\ĦWRJRRGXVH /HDGVLQJOH6RODUDLVZKHUHLWDOOFKDQJHV7KHSRXQGLQJGUXPVDQG GLVWRUWHGVLQJOHĥQRWHJXLWDUVFRXOGMXVWDERXWPDNHLW6PDVKLQJ3XPSĥ NLQV¶DQVZHUWR(QWHU6DQGPDQEHIRUH&RUJDQFDOOVRXW³7HDUGRZQ WKHVXQEULQJGRZQWKHVXQ,¶PQRWHYHU\RQH´GXULQJWKHFOLPDWLF FKRUXV0DUFKLQ¶2QJHWVHYH QKHDYLHU DIXU QDF HRIWKUDVKPHWDOLQW HQĥ VLW\OXUNLQJ GHF HSWLYHO\LQVLGHLW VLQLWLDOZDUPJORZRIGL]]\DQGIX]]\ URFN GDEEOLQJLQPXVFXODUPDQLIHVWDWLRQVWKHJURXSKDYHQHYHUGDUHG WRWU\EHIRUH6SDFHSV\FKHGHOLDZRUPVLWVZD\LQWR7UDYHOV$OLHQDWLRQ DQG FORVHU 6HHN $QG <RX 6KDOO 'HVWUR\ 7KRXJK &RUJDQ KDV DOZD\V GRPLQDWHGWKHEDQG¶VVRQJZULWLQJLW¶VKHUHWKDWWKHUHWXUQLQJSUHVHQFH RI ,KD PRVW UHFHQWO\ D PHPEHU RI RQĥRɱ DUWĥURFN VXSHUJURXS $ 3HUIHFW&LUFOHLVPRVWNHHQO\DQGSRZHUIXOO\IHOW ,IQRWWKHIXOOEDQGUHXQLRQORQJVWDQGLQJIDQVFUDYH 6KLQ\$QG2K6R%ULJKW«LVWKHVRXQGRI6PDVKLQJ3XPSĥ NLQV UHWUHDGLQJGLVDɱHFW WKH HG JORU\ RI WKHLU SDVW LQ VWHUHRVFRSLF FRQW HPSRUDU\ ZRQGHU ill i p i i i pl p p P DV W HUIX OO\ĥRUFKHVW UDW HGDQG JOLWWHU\ VHUHQDGHV :KHUH WKHJUHDWFRQWUDULDQ&RUJDQ ZLOO OHDG WKHP WR QH[W is anyone’s guess, but this DOEXP VWDQGV DV D ZHOFRPH UHDɷUPDWLRQRIWKHLUVLQJXODU WDOHQWV6KLQHRQ
They throw in new influences with varying degrees of success...
BY JA M E S H I C K I E
THE VIRGINMARYS have teetered on the edge of bigger things for several years, WKRXJK QHLWKHU RI WKHLU ¿UVW two albums, 2013’s Kind Of &RQÁLFW and 2016’s Divides, ever quite distilled their IRUPLGDEOH¿UHDVDOLYHDFW*RGORYHVDWULHUWKRXJKDQGZKLOHWKH 0DFFOHV¿HOGGXRGRQ¶WULJKWWKHZURQJVKHUHWKH\GRWKURZDPXOWLĥ WXGHRIQHZLQÀXHQFHVLQWRWKHPL[ZLWKYDU\LQJGHJUHHVRIVXFFHVV 2SHQHU/RRN2XW)RU0\%URWKHULVDVKDSHĥVKLIWHUERWKPXVLFDOO\ DQGLQWHUPVRI$OO\'LFNDW\¶VYRFDOZKLFKÀLWVEHWZH HQZKRRSLQJDQG wailing; it feels familiar, though pinpointing its inspirations proves difĥ ¿FXOW RU7 KH7ZR2I8 VPHDQZKLOHZHDUVLW VFRORXUVPRUHH SOLFLWO \ ZLWKDJUL]]OHGYRFDODQG DFKLQJEOXHV JXLWDU OLQHUHFDOOLQJ7KH$ IJKDQ :KLJVQG ZKLOH WKHUH¶V QRWKLQJ ZURQJ ZLWK KDWĥWLSSLQJ WKHUH DUH VHYHUDOSRLQWVLWEHFRPHVDOLWWOHRQWKHQRVHĦ'DYH*URKO¶VQRVHWREH SUHFLVH $V ZHOO DV KDYLQJ VHHPLQJO\ EHHQ QDPHG XVLQJ D FOLFKpGĥVRQJĥWLWOH JHQHUDWRU (\H )RU $Q (\H DQG %OLQG /HDG 7KH %OLQGDUHIDX[)RR)LJKWHUVZLWKWKHODWWHUDGLUHFWOLIWIURPWKHURFN JLDQW¶VWUDFN7KH6N\,VD1HLJKERUKRRG ,W¶V D VKDPH EHFDXVH WKHVH PRPHQWV GLVĥ WUDFWIU RP WKH RQHVZKHUH 7 KH 9L UJLQPDU\V SURXGO \RFFXS WKHLU RZQODQH7KHRQHĥWZR RI : DQQDH%)UHH DQG OD JV DUH Q HH DPSOHV 7KH IRUPHU VL D ORRVHOLPEHG EXW LQFUHDVLQJO UDZ WKURDWHG VWRPS ZKLOH WKH ODWWHU ¿QGV ÀDLOLQJ JXLWDUV PDUULHG WR GHFLGHGO\ %ULWLVK FRXSOHWV Ī³6L[ \HDUV sober, I’m still hungover/My TRACKS IDFH RQ WKH HGJH OLNH WKH Look Out For ZKLWH FOLɱV RI 'RYHU´ī ,W¶V My Brother during those highlights that SOS4UNI \RX FDQ¶W KHOS ZLVKLQJ WKH\¶G Eye For An Eye delivered more of this, or to For The Two Of Us think about what might have Blind Lead The EHHQLIWKH\KDG Blind
B E ST TRACKS: .QLJKWV
Familiarity breeds content on British rockers’ flawed third album.
Should have gone to Specsavers: The Virginmarys.
Get Me Back Home B E ST TRACKS:
/RRN2XW For My %URWKHU Flags.
Northern Sun Wanna Be Free Flags Step Up All Fall Down
P L A N E T R O C K 103
He doesnâ€™t want pity, just a moment of your time... BY S I M O N YO U N G
Zwicky Remix] B E ST TRACKS: Taking Me Back, Valley Of Fire, Once Upon A Melody
104 P L A N E T R O C K
You Do It
8VLQJDVHULHVRIH\HPRYHPHQWVWRFRPPXQLFDWH through a system created by his father, Jason continÄĽ ues to write music despite his diagnosis. Triumphant HeartsLVRQHVXFKH[DPSOHRIKLVXQVZHUYLQJUHVROYH AGED JUST 16, guitarist Jason Becker had it all. WRVDWLVI\KLVFUHDWLYHXUJHVDOPRVWWKUHHGHFDGHVRQ This child prodigy teamed up with Marty Friedman Triumphant Hearts $VKHRQFHVDLGÂłÄŹ01'ÄKDVFULSSOHGP\ERG\DQG and formed Cacophony, a formidable duo who signed MUSIC THEORIES RECORDINGS/ speech, but not my mind.â€? with Shrapnel Records and released two albums in MASCOT LABEL GROUP 7RKHOSKLPUHDOLVHKLVYLVLRQIRUWKLVKLVVHYHQWK TXLFN VXFFHVVLRQ ÄŚ ÂśV Speed Metal Symphony and solo album, Becker enlisted a team of similarly prodiÄĽ *R2É˛WKHIROORZLQJ\HDUÄŚHVWDEOLVKLQJWKHPVHOYHV JLRXV JXLWDULVWV 8OL -RQ 5RWK &KULV %URGHULFN -RH DVERQDÂżGHJXLWDUKHURHVEHIRUHWKH\ZHUHHYHQROG Satriani, Paul Gilbert and Joe Bonamassa all step up enough to drink in bars. After the release of his solo WRPDNHKLVLGHDVEXUVWLQWROLIH$QG%HFNHUÂśVÂżQJHUÄĽ debut album Perpetual BurnKHZDVWDVNHGLQ SULQWVDUHDOORYHUWKHUHFRUGLQJVWRRVSOLFLQJDUFKLYH ZLWK WKH XQHQYLDEOH WDVN RI UHSODFLQJ 6WHYH 9DL DV UHFRUGLQJVLQWRWKHDPELWLRXVÄĽWUDFNSURMHFW JXLWDULVWLQ'DYLG/HH5RWKÂśVEDQG 7KH RSHQLQJ WUDFN 7ULXPSKDQW +HDUW LV D VWLUULQJ RUFKHVWUDO %XWOLIHKDVDKDELWRIEHLQJFUXHO6HYHUDO\HDUVODWHUWKLVVKLQLQJ SDVVDJHIHDWXULQJDVRDULQJVRORE\RQHÄĽWLPH&DFRSKRQ\FRKRUW0DUW\ WDOHQWÂśV FDUHHU ZDV FXW GHYDVWDWLQJO\ VKRUW +H ZDV GLDJQRVHG ZLWK )ULHGPDQSOXVWKHWDOHQWVRIWKHFHOHEUDWHGYLROLQLVW*ODXFR%HUWDJQLQ 0RWRU 1HXURQH 'LVHDVH DQ LQFXUDEOH FRQGLWLRQ ZKLFK OHDYHV WKRVH DQG%HFNHUÂśVZLIHFHOOLVW+L\RUL2NXGD,WIROORZVZLWKWKHYRFDOÄĽOHG DÉąHFWHGZLWKDGUDVWLFDOO\VKRUWHQHGOLIHH[SHFWDQF\ÄŚVRPHWLPHVMXVW +ROG2Q7R/RYHDVRQJZKLFKRULJLQDOO\EHJDQOLIHDVDQLQVWUXPHQWDO ÂżYH\HDUV'HVSLWHEHLQJXQDEOHWRZDONWDONRUEUHDWKHXQDLGHGKLV %HFNHUKRZHYHUZDVPRYHGWRZULWHO\ULFVVXQJE\&RGDQ\+ROLGD\Âł, sheer determination to continue to make music was chronicled in Jesse NQHZ,KDGWRWHOOP\VWRU\WRH[SODLQKRZ,FDQFRQWLQXHOLYLQJZLWKÄĽ 9LOHÂśVDZDUGÄĽZLQQLQJGRFXPHQWDU\-DVRQ%HFNHU1RW'HDG<HW RXW IHHOLQJ KDWHÂ´ H[SODLQV WKH JXLWDULVW 7KH GHOLFDWH 2QFH 8SRQ $ Melody features a recording of Becker playing the guitar aged three DQG&DFRSKRQ\ÄĽHUDVRORVDOOWLHGWRJHWKHULQDQH[WUDRUGLQDU\SLHFH Brave heart: 7KHWUDFNWKDWZLOOKDYHJXLWDUDÂżFLRQDGRVVDOLYDWLQJKRZHYHULV the inspiring WKH HSLF QLQHÄĽPLQXWH9DOOH\ 2I )LUH D VRUW RI Jason Becker. fantastical Ennio Morricone piece fed through DQXPEHURIJXLWDUSHGDOVDQGDPSV,WIHDWXUHV 7KH 0DJQLÂżFHQW D VWHOODU FDVW ZKLFK IHDWXUHV )ULHGPDQ 6WHYH 9DL -RH %RQDPDVVD 3DXO*LOEHUW1HDO6FKRQ0LFKDHO/HH)LUNLQV 0DWWLDV (NOXQGK *UHJ +RZH -HÉą /RRPLV 5LFKLH .RW]HQ *XV * 6WHYH +XQWHU DQG Ben Woods. Equally, the fretboard histrionics RI7DNLQJ 0H %DFN DQG7HOO 0H 1R /LHV ZLOO TRACKS GHOLJKW IDQV RI 'DYLG /HH 5RWK IHDWXULQJ DV Triumphant Heart WKH\GRXQUHOHDVHGRXWWDNHVIURPÂśVA Little Hold On To Love Ainâ€™t Enough. Fantasy Weaver Such moments mark Triumphant Heart as an Once Upon A Melody LQVSLULQJ DQG ELWWHUVZHHW UHOHDVH EXW LWÂśV DOVR We Are One DQLQFUHGLEOHIHDWRIUHVROYHLQWKHIDFHRIVKHHU DGYHUVLW\ 1RW WKDW -DVRQ %HFNHU ZDQWV \RXU Magic Woman SLW\MXVWDPRPHQWRI\RXUWLPH Blowin' In The Wind Âł6RPH SHRSOH IHHO VRUU\ IRU PHÂ´ KH VD\V River of Longing ÂłDQG , XQGHUVWDQG WKDW , UHDOO\ IHHO OXFN\ Valley Of Fire WKRXJK , GRQÂśW PLVV SOD\LQJ JXLWDU DQ\PRUH River Of Longing ,ÂśPVXUHWKDWÂśVRXWRIQHFHVVLW\EXW,DPJUDWHÄĽ Taking Me Back ful for so much more.â€? Tell Me No Lies -DVRQ%HFNHUWKHQDWUXHJXLWDUKHUR Hold On To Love [Chuck Guitar whizz overcomes adversity to steer all-star cast on ambitious project.
So far, so zeitgeist: Dan Reed Network in â€œimmersive global eventâ€? mode.
those attending were also given the opportunity to appear in the Networkâ€™s new video. Reed said they wanted to â€œbreak down the boundÄĽ aries between those who love creating music and those who love enjoyÄĽ ing itâ€?, updating some of their hits and allowing the fans to contribute to the new compositions. 6RIDUVR]HLWJHLVW8QIRUWXQDWHO\5HHGÂśVEUDQGRIIXQNURFNÄĽOLWHKDV QRWDJHGHVSHFLDOO\ZHOO2SHQLQJWUDFN)DGHWR/LJKWÄŚIHDWXULQJEDFNÄĽ LQJ YRFDOV IURP WKH DVVHPEOHG WKURQJ RI IDQV ÄŚ LV DPRQJ WKH QHZ UHFRUGLQJVDQGZKLOHLWKLQJHVRQDELJUDGLRÄĽIULHQGO\KRRNWKHRYHUO\ JORVV\SURGXFWLRQHQVXUHVLWQHLWKHUIXQNVQRUURFNV5LWXDOWKHÂżUVW single taken from their eponymous album in 1988, retains most of its RULJLQDO HQHUJ\ ZKLOH 5LJKW ,Q )URQW 2I 0H EUHH]HV DORQJ RQ DQ insistently poppy melody. Forgot To Make Her Mine, another favourite from their live shows over the B Y PA D D Y W E L L S years, sees the band dig into Funk-rockers mine the source and invite their funkier side, but again fans along for the ride. WKHV\QWKÄĽKHDY\DQGSULVWLQHO\ SROLVKHG PL[ HÉąHFWLYHO\ BACK IN the late â€™80s, early â€™90s, Dan Reed Network neuters any remnant of gritty were hotly tipped as rockâ€™s Next Big Thing. They had edge. Rainbow Child, taken a string of successful albums, and support slots with from 1989 release Slam and the likes of Bon Jovi and The Rolling Stones, while the bandâ€™s biggest hit in their WKHLUVLONHQÄĽWUHVVHGIURQWPDQJUDFHGPDJD]LQHFRYHUV Origins TRACKS heyday, is still the strongest of the time. Despite the hits and hype, however, they ZERO ONE ENTERTAINMENT Fade To Light showing here, its rousing never quite scaled the heights of rock stardom, with chorus bolstered by the live the advent of grunge pushing them out of favour. Their Ritual audience in the studio. increasingly disillusioned singer stepped away from Right In Front Of Me $Q DOEXP IRU GLHÄĽKDUG the music business in subsequent years. Forgot To Make DRN fans, the invited guests, Following their 2016 comeback LP, Fight Another Her Mine and those that prefer their funk without any Day, Dan Reed Network are maintaining momentum with Origins, Shameless menace or sass, then. Reed has often cited DQ HLJKWÄĽWUDFN FROOHFWLRQ RI QHZ VRQJV DQG UHLPDJLQHG ROGHU PDWHULDO Let It Go 3ULQFHDVDPDMRULQĂ€XHQFHLQWKHSDVWEXWVDGO\ Recorded across studios in Manchester, New York, Portland and StockÄĽ One Last Time this is decidedly more beige than purple. holm, the band turned the sessions into an â€œimmersive global eventâ€? by inviting their fans to witness, and indeed partake in, the making of the Rainbow Child QHZUHFRUG$VZHOODVVHHLQJWKHFUHDWLRQRIDWUDFNIURPVWDUWWRÂżQLVK B E ST TRACKS: Fade To Light, Ritual
Reedâ€™s brand of funk rock-lite has not aged particularly well...
DAN REED NETWORK ++
P L A N E T R O C K 105
Tribal energy: Mother Feather, with Ann Courtney (far right).
KHURZQVLJQDWXUH OLQHE DSDQHVHP DQXIDF WXUHU EDQH , DQG HQGV WKH \HDU RQ DQRWKHU KLJKÄ¦WKHXQGLOXWHGUHDOLVDWLRQRIKHUWKULOOÄ¥ LQJO\ DFFRPSOLVKHG IUHWZRUN SOD\LQJ XS WR D PXVLFDO OLQHDJH WKDW VWUHWFKHV EDFN WR KHU OHJHQGDU\ DQFHVWRU -RKDQQ 6WUDXVV %XW LQ DPRQJDOOW KH HRFODVVLFDOP DVWHU\WKHUH DUH SRFNHWV RIEOXHV EULOOLDQF H HPSOR\LQJVDQÄ¥ JXLQHFRXQWU EHQGVVLPLODUW R6ODVKÂ¶VFKRLF H c i i P i c , on Hope *URZVWKHVDPHKHDY\Ä¥KHDUWHGURPDQFHNLQÄ¥ GOHGRQ6ORZKDQGEDOODG:RQGHUIXO7RQLJKW $VLQVWUXPHQWDODOEXPVJRWKLVLVDJRRG\ Amit Sharma Alegria, Here With You, Hope Grows, Lion Among Wolves B E ST TRACKS:
MOTHER FEATHER Constellation Baby MET L L DE
Everything Is Fine
+++ Rising singer-songmanâ€™s compelling first outing. p c i K , Slipknot and Glassjawâ€™s debuts, Ross Robinson excels at locatÄ¥ LQJUDZÄ¥QHUYHGDUWLVWVDQGSRNLQJWKHPLQWKH VWXGLRXQWLOVRPHWKLQJH[WUDRUGLQDU\RFFXUV 2U UDWKHU HUXSWV 6LQJHUÄ¥VRQJZULWHU 'DQQ\ Î¼$PLJR7KH'HYLOÂ¶.LUDQRVLVDQLGHDOFDQGL GDW H IRUKH W 5RELQVRQUHD 7 WPHQW KH PD WLSW RHEHWZHH QURFNIRON DQGFRXQWU EXW KLV WKURXJKOLQHL VO ULFDO EORRGOHWWLQJ DQGPDFDÄ¥ EUH KXPRXU 7KRXJK 5DJH $JDLQVW 7KH 0DFKLQHÂ¶V %UDG :LON LV SUHVHQW RQ GUXPV WKLV GHEXW LV ODUJHO\ DQ DUUHVWLQJ VORZÄ¥EXU DDLU P DUU\LQJ DFRXVWLF SDVVDJHV ZLWK D OLIHÄ¥ WLPHÂ¶VZRUWKRIUHJUHWVRQ&RFDLQH$QG$EHO DQG,+RSH<RXU+XVEDQG'LHV$WVRQJV WKRXJKLWLVDOLWWOHEORDWHGGeorge Garner B E ST TRACKS: Cocaine And Abel, First Day Of The End Of My Life, I Hope Your Husband Dies
106 P L A N E T R O C K
Alice Cooperâ€™s fiery guitar player lets rip on solo debut. Â³,Â¶YHVSHQWPRVWRIP\FDUHHU SOD\LQJRWKHUSHRSOHÂ¶VVRQJVÂ« QRZ , ZDQW WR VKRZ WKH ZRUOG ZKDW ,Â¶P DOO DERXWÂ´UHDGWKHPLVVLRQVWDWHÄ¥ PHQWRQ 1LWD UDXVVÂ¶ 6W V Kic p WKLV GHEXWOVR NQRZQ DV 0 HJD0XUUDGXULQJ KHU VWLQW LQ DO OIHPDOH / EDVHGULEXW WH 7 KH ,URQ Maidens, cl c i RYHU IRXUHDUV RIVHUYLFH LQ WKH $OLFH &RRSHU EDQG WKH EORQGHJXQVOLQJHULVWKHYHU\ HPERGLPHQW RI D PRGHUQÄ¥ Blonde GD\ JXLWDU KHUR $W WKH gunslinger: Nita Strauss. EHJLQQLQJ RI VKH PDGH KLVWRU\ DV WKH UVW IHPDOH DUWLVWRW EHDZDUGHG
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Totally Awesome, Constellation Baby, Red Hot Metal
RO B B L A C K H A M , E S T E R S E G A R R A , L A R RY D I M A R Z I O
AMIGO THE DEVIL
S c i l l p pc c c N Y . )LUVW WKHUHÂ¶V WKH DOEXP FRYHU $QQ &RXUWQH\ DQG (OL]DEHWK &DUHQD GDXEHG LQ SV\FKHGHOLF ZLWFK\ H\H PDNHÄ¥XSFXWDGUDPDWLFGDVKÄ¦WKHUHDUHKLQWV RI 6LRX[VLH 6LRX[ 6WUDZEHUU\ 6ZLWFKEODGH .LVV DQG WKH 1HZ <RUN 'ROOV 7KHQ WKH PXVLFHTXDOO\EROGDQGFRORXUIXOZLWKJUXQJÄ¥ H\ JXLWDUV DQG SRZHUIXO GUXPV WKH ZKROH WKLQJWULEDOLQLWV HQHUJ URGXF 3 HG E RVKXD 9DOOHDX RYHU KUHH W P RQWKV DW URRNO \QÂ¶V 0LVVLRQ6RXQ GDQG9DOOHDX V7KH*ODVV: DOO WKLV VHF RQGDOEXPOLNH LWV VHOIÄ¥WLWOHG SUHGHFHVVRUVWDQGVDQGIDOOVRQOHDGHU&RXUWÄ¥ QH\Â¶VSHUIRUPDQFH$WUXHVSHFWDFOHVKHORVHV KHUVHOI FRPSOHWHO\ UHDFKLQJ GHHS LQVLGHWR VWDUH GRZQKHU GHPRQV RQ songs written at a low point, l , l i i l i , GDQFLQJ DQGHPSRZHUPHQW DQGVH DQGOLEHUDWLRQ 7KH HQWUHSLHFH F LV WKH WLWOH WUDFN D YHULWDEOH WRXU GH IRUFH WKDW VKH FDOOV Â³D IHPLQLVW SUD\HU RI VXSHU FRQQHFWLRQÂ« ,ZDQWZRPHQWREHIUHHDQG , ZDQW WR EH DQ H[DPSOHÂ´ 6KH LV GÅŒ D JUHDW RQH DWWKDW Alice Clark
ARCHITECTS Holy Hell EPITAPH
DJDLQ IHZ FDQ WUDQVSRUW \RX WR KRWÄ¥EORRGHG FOLPHVTXLWHOLNHELJ-RKQNick Ruskell B E ST TRACKS:
Jimâ€™s Whiskers, Chicken Delight
Eighth album spurred on by their guitaristâ€™s death. There are moments on Holy Hell that feel uncomfortable to listen to, such is their complexÄ¥ ity and rawness. Over time, however, ArchiÄ¥ WHFWVÂ¶HLJKWKDOEXPWKHLUÂ¿UVWVLQFHWKHWUDJLF passing of founding guitarist Tom Searle on August 20, 2016, reveals just what a special and staggering record it is. Grief and love and KXUW DQG GHÂ¿DQFH PDUN HYHU\ PRPHQW Thereâ€™s the smothering heft of Hereafter, the piercing strings and viciousness of the title WUDFN RU WKH RSHQÄ¥ZRXQG KRQHVW\ RI '\LQJ 7R +HDO DOO Â¿QGLQJ YRFDOLVW 6DP &DUWHU LQ devastating form. The atmosphere, tension and expulsion of pain all build to a poignant FORVLQJ RQHÄ¥WZR ZLWK 'RRPVGD\ DQG $ Wasted Hymn featuring lyrical and guitar contributions from Tom. Only the Brighton Â¿YHÄ¥SLHFH ZLOO NQRZ KRZ WKH\Â¶YH SLFNHG XS WKHSLHFHVWRUHFRUGWKLVWRZHULQJDQGÂ¿WWLQJ WULEXWHWRWKHLUIDOOHQEURWKHUZKLFKFRQÂ¿UPV their status as the premier British metal band of their generation. David McLaughlin
Session players make Little Feat/The Bandinspired debut. /RQGRQÄ¥EDVHG FODVV\ QHZ IRXUÄ¥SLHFH -DZERQH KDYH SOD\HGZLWKWKHOLNHVRI(ULF&ODSWRQ5REHUW 3ODQWDQG5RQQLH:RRG7KHLUPXVLFLDQVKLS Ä¦ SDUWLFXODUO\ WKDW RI +DPPRQGSLDQR DFH 3DGG\0LOQHUÄ¦VKLQHVRQWKLVZDUPEHDXWLÄ¥ fully produced record and, with Milner and guitarist Marcus Bonfanti sharing able OHDGÄ¥YRFDO GXWLHV WKH\ RR]H UHOD[HG FRQÂ¿Ä¥ GHQFH %XLOW RQ ZHHÄ¥VPDOO KRXUV HOHFWULF SLDQR DQG SDFNLQJ DQ LPSHFFDEOH JURRYH Two Billion Heartbeats gives a rough estimate of our lifetimeâ€™s ration, then ponders how we should live and whom we should spend time ZLWKDVWKH\HODSVH7KLVGHEXWÂ¶VRWKHUVWDQGÄ¥ RXWVÄ¦URRWV\URFNHU*HW:KDW<RX'HVHUYH EXFROLF FRXQWU\ ZDOW] 7KH <HDUV 8VHG 7R 0HDQ6R0XFKÄ¦VRXQGVLPLODUO\VOLFNLQWKH EHVWSRVVLEOHVHQVHEXWWKXVIDU-DZERQHODFN WKDWRXWODQGLVKVSDUNRILPDJLQDWLRQDQGWKDW RQH NQRFNÄ¥RXW VRQJ WKDW FRXOG WUDQVIRUP DQ H[WUHPHO\ FDSDEOH EDFNLQJ EDQG LQWR WUXH contenders. James McNair
B E ST TRACKS:
Hereafter, Dying To Heal,
A Wasted Hymn
JON SPENCER Spencer Plays The Hits IN THE RED
+++ Blues Explosion man unleashes solo debut. Most veteran artists beginning a solo career try something UDGLFDOO\ GLÉ±HUHQW +RZHYHU -RQ6SHQFHUÂ¶VPDLGHQVRORYR\DJHUHÄ¥UXQVKLV EDFNÄ¥SDJHV HYRNLQJ WKH RYHUGULYHQ JUHDVHU ULÉ±V RI KLV %OXHV ([SORVLRQ DQG WKH JRWKLF menace of Boss Hog, adding a soupcon of +HDY\7UDVKÂ¶VVZDJJHULQJKROOHUDQGÄ¦WKDQNV WRWKHXVHRIDQROG&KHY\JDVWDQNDVSHUFXVÄ¥ VLRQ Ä¦ WKH SRVWÄ¥LQGXVWULDO FODWWHU RI 3XVV\ *DORUH7KHEOXHVÄ¥SXQNQRLVHLVRIDJHQHUDOO\ KLJK VWDQGDUG ZKLOH WKH O\ULFV Â¿QG 6SHQFHU particularly exercised, with a number of WUDFNVÄ¦WKHSRLVRQRXVVOLQNRI)DNHWKHULJKÄ¥ WHRXVVWRPSRI'R7KH7UDVK&DQÄ¦DLPHGDW 'RQDOG7UXPSWKRXJKLWÂ¶VÂ¿WWLQJWKDW6SHQÄ¥ FHUÂ¶VLUHLVÂ¿HUFHVWRQ%HHWOH%RRWVÂ³,PLWDWLRQ OHDWKHU:LWK D SODVWLF ]LSSHUÂ´ 5HVW DVVXUHG Spencer is still the real thing. Dave Harrington
Two Billion Heartbeats, The Years Used To Mean So Much B E ST TRACKS:
B E ST TRACKS:
Fake, Overload, Alien Humidity
JOHN GARCIA John Garcia And The Band Of Gold NAPALM
More spark required: session men Jawbone.
The ex-Kyuss singer doing his thing in style. Of all the members of legendÄ¥ DU\GHVHUWURFNNLQJV.\XVVLW is frontman John Garcia who KDVFRQWLQXHGWRMDPRQWKDWIX]]\VXQÄ¥EDNHG boulevard. While guitarist Josh Homme has found fame and fortune with Queens Of The 6WRQH$JHDQGEDVVLVW1LFN2OLYHULKDVVWUXFN RXW DV D SXQN WURXEDGRXU WKH VLQJHU KDV DOZD\VKDGGXVW\ULÉ±VDQGKLVVPRRWK5REHUWÄ¥ 3ODQWÄ¥LIÄ¥KHÄ¥ZDVÄ¥IURPÄ¥3DOPÄ¥'HVHUW YRFDOV DW the core. The Band Of Gold throws up very few surprises, but continues to tap into that speÄ¥ cial place that remains elusive to so many FRS\LVWV ZKHUH KRWÄ¥UHG VDQG PHHWV ODQJXLG JURRYHV DQG WHTXLOD GUXQN VWUDLJKW IURP WKH bottle. The start of winter is probably not the best time to release such sunny fare, but then P L A N E T R O C K 107
ACCEPT Symphonic Terror Ä§/LYH$W:DFNHQ NUCLEAR BLAST
+++ The re-energised German rockers, plus orchestra, play al fresco in their homeland. In recent years, metal titans Accept have undergone something of a renaisÄ¥ sance. Though they cut a swathe through â€™80s metal with classic albums like %DOOV7R7KH:DOO, 0HWDO +HDUW and 5HVWOHVV $QG :LOG, the last GHFDGHRUVRKDVVHHQJXLWDULVW:ROI+RÉ±PDQQ and his troops of terror actually becoming bigÄ¥ ger than ever, even with the absence of original, FURZÄ¥WKURDWHG VLQJHU 8GR 'LUNVFKQHLGHU 7R wit: at last yearâ€™s Wacken festival they saluted 80,000 fans with a mammoth show including an orchestral section, captured live here. The UXQÄ¥WKURXJKVRIVWDSOHVOLNH5HVWOHVV$QG:LOG and Fast As A Shark are as joyously energetic and destructive as ever, particularly when charged by the sound of an entire festival singÄ¥ LQJ DORQJ ZKLOH WKH PLGÄ¥VHFWLRQ LQ ZKLFK +RÉ±PDQVKRZVRÉ±MXVWKRZJRRGKHLVZLWKD fretboard by playing a load of classical â€˜hitsâ€™ with symphonic backing is an intriguing distraction. Was Beethoven a metal maniac? On this evidence, he may well have been. NICK RUSKELL
DQXQÃ€LQFKLQJTXDOLW\WRKHUGHOLYHU\RQ<RXU +HDUW ,V $V %ODFN $V 1LJKW DQG WKH DXWRÄ¥ biographical Spiders In My Bed; the last a tale RI PHQWDO DQJXLVK RÉ±VHW E\ D MDXQW\ FRXQWU\Ä¥ URFN EDFNLQJ$IWHU VRQJV WKH XQÃ€LQFKLQJ DSSURDFKZLOOOHDYH\RXVKHOOÄ¥VKRFNHGEXW\RX FDQÂ¶WTXHVWLRQKHUFRQYLFWLRQ MARK BLAKE B E ST TRACKS: %DJ%DQJ%RRP%RRP<RXU
++++ Collaborative debut album from UK bluesrock guitarists. A triumvirate of British guitarÄ¥ LVWV Ä¦ 7UR\ 5HGIHUQ -DFN +XWFKLQVRQDQG0LNH5RVVÄ¦KHDGXSWKLVQHZ RXWÂ¿WZLWKDFROOHFWLYHSHQFKDQWIRUWKHHDUWK\ and rootsy rockâ€™nâ€™roll of decades past. With RULJLQDO WUDFNV Ä¦ WKUHH IURP HDFK RI WKH IURQWPHQ DQG D FRXSOH RI LQVWUXPHQWDO FRÄ¥ ZULWHV WKURZQ LQ Ä¦ LWÂ¶V D UHFRUG ZLWK SDOSDEOH
B E ST TRACKS: )DVW$V$6KDUN%DOOV7R7KH
BETH HART /LYH$W7KH5R\DO$OEHUW+DOO PROVOGUE/MASCOT
108 P L A N E T R O C K
6KH3DLQWHG7KH0RRQ*KRVW +RXQG5LGHU/HYLDWKDQ B E ST TRACKS:
PROPER MUSIC/AT THE HELM
Californiaâ€™s queen of hand-wringing blues-rock let loose in London. %HWK+DUWÂ¶VSRVWÄ¥PLOOHQQLDOUHELUWK continues. After a troubled 1990s, when her career was derailed by a previously undiagnosed bipolar disorder, Hart returned ZLWK D UXQ RI ZHOOÄ¥UHFHLYHG DOEXPV 7KLV summer 2018 concert feels like a victory lap. Listening to her switching seamlessly between rock, soul and country, and vamping through the title track to 2012â€™s %DQJ%DQJ%RRP%RRP, LWÂ¶VHDV\WRVHHZK\VKHÂ¿OOHGWKH5R\DO$OEHUW +DOODQGEHFRPHDJRÄ¥WRJXHVWYRFDOLVWIRU-HÉ± %HFN DQG -RH %RQDPDVVD 1HYHU RQH WR VK\ away from exploring her personal strife in song, Hart pours the turmoil into the music. Thereâ€™s
crossover and chemistry among the band that VZDJJHUV FRQÂ¿GHQWO\ EHWZHHQ ORRVHÄ¥OLPEHG blues, Southern rock and even a touch of psychedelia. With solid material throughout, 5RVVÂ¶V FRQWULEXWLRQV SURYLGH VRPH RI WKH albumâ€™s high points, She Painted The Moon KLQJLQJRQDWKUHHÄ¥SURQJHGJXLWDUJURRYHDQG contrastingly woozy chorus, while the hypnotic blues of Leviathan revel in dark menace. If thereâ€™s a lingering sense that at least one very ZHOOÄ¥ZRUQ FRS\ RI 7KH 6RXWKHUQ +DUPRQ\$QG 0XVLFDO&RPSDQLRQ is never far from their crib notes, thereâ€™s still plenty to enjoy here. PADDY WELLS
Skin-ned alive: Skunk Anansie unleash concert recordings.
SKUNK ANANSIE /,9(# REPUBLIC OF MUSIC
+++ Career spanning live album celebrating 25 years of the group. Formed in 1994, Skunk AnanÄ¥ sie, led by the formidable
female black singer Deborah â€˜Skinâ€™ Dyer, were DQ DQWLGRWH WR ZKLWHÄĽER\ LQGLH DQG %ULWSRS ZLWKDFRPEDWLYHPXVLFDODSSURDFKDQGVRXQG that Skin dubbed â€˜clit rockâ€™. Signed after only WKHLUVHFRQGJLJWKHLUH[SORVLYHVKRZVTXLFNO\ earned them a loyal following and between DQGWKH\QRWFKHGXS8.7RS hits including 1996â€™s Weak, 1997â€™s Hedonism DQGÂśV&KDUOLH%LJ3RWDWR7KHPDMRULW\RI the 26 tracks included here are taken from WKHLU $QDUFK\WHFWXUH WRXU DQG WKH WUDFNÄĽOLVWLQJLVKHDYLO\ZHLJKWHGWRZDUGVWKRVH FRPPHUFLDOO\VXFFHVVIXOVLQJOHV%XWLWLVÂżHUFH UHDGLQJV RI GHEXW VLQJOH /LWWOH %DE\ 6ZDVWLNNND,QWHOOHFWXDOLVH0\%ODFNQHVVIURP the same yearâ€™s inaugural album Paranoid & SunÄŚ burntDQG<HV,WÂśV)XFNLQJ3ROLWLFDOIURP IROORZXSStooshWKDWSDFNWKHELJJHVWSXQFK ALICE CLARK Little Baby Swastikkka, Intellectualise My Blackness, Yes Itâ€™s Fucking Political B E ST TRACKS:
BERNIE TORMĂ‰ S
Veteran Irish axe-hero surfs crowdfunding wave. I c c VKRZP DQ %HUQLH 7 RUPp Ă€DQNÄĽ LQJ D SRVW3XUSOH N,,0,DQ *LOODQ EHW ZHH Q DQG \RX ZRXOGQÂśW IRUJHWKLP5 RFNLQJDORRNWKDWZDVW ZRÄĽSDUWV HOHFWU LFJ SV\WRRQHÄĽSDUW3LUDWH2I7KH&DULEÄĽ EHDQ 'XEOLQÂśV ZKLWH 6WUDWÄĽZLHOGLQJ +HQGUL[ DÂżFLRQDGR ZDV D ZL]DUG DW UXHVW DU 1 RZ 7 RUPpKDV EHHQ HQMRLQJ DVP DOO DYDOD IR FKH FURZG IX GH DOEXP UHOHDVHVWKH ODW HVWEHLQJ Shadowlandsâ€?DJ OUD ĹˆĹŒ GRXEOHÄĽVHWZLWKDJXHVWÄĽ VSRW IURP IRUPHU *LOODQ NH\ERDUGLVW &ROLQ 7RZQV ,I :DWHU 7R :LQH FULEV LWV ULÉą IURP :HOFRPH 7R 7KH -XQJOH DQG 2QH 7R %ODPH PRWRUV DORQJ ZLWK %HUQLHÂśV XVXDO ZKDPP\ÄĽ DVVLVWHGWKULOOVDQG VSL OOV KHL VPRUH UHHFWLYH RQ GURQHDFFRP SDQLHG WUDG ULVKJRHV , ÄĽ-LPL LQVW UXPHQWDODUHZHOO7 R UP V6 OiQ/H LVQ RJDLGK7KHUHÂś VQRWKLQJKHUHWRULYDOKLVEHVW ZRUNZLWK*LOODQLWÂśVWUXHEXWVRPHWLPHVMXVW NQRZLQJ WKDW %HUQLH 7RUPp VWLOO ZDONV KLV W l i .JAMES M CNAIR
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SHORT THE PRODIGY NOTOURISTS TAKE ME TO THE HOSPITAL/BMG
STRAIGHT ARROWS O T p
B E ST TRACKS: One To Blame, Innovative Jam Scorching neo-garage/ psych combo from Sydney with retro-â€™60s hits up the wazoo. V JDUDJH UHYLYDOLVWV JR LQ RXU SRVWÄĽ-DFN:KLWH XQLYHUVH WKLV$XVVLH TXDUWHW Letâ€™s Boogie! Live From Telia Parken DUH UHPDUNDEO\ SXULVW VWLFNLQJ WR WKH ÂśÄĽÂś VERTIGO NuggetsWHPSODWHRIUHYHUEÄĽFODQJLQJOHDGÄĽJXLWDU OLQHV IX]]HGÄĽRXW ULÉąV GUHDP\ KDUPRQLHV DQG VXUO RZOLQJLYHQLWV LQKHUHQWVLPSOLFLW WKH S i li c i ZKROHJ HQUHF DQJHWPRUH UHSHWLWLYHDQG ZHOO i p . JHQHULF WKDQ DOP RVW DQ\ RW KHU DURXQGRZÄĽ 'DSSHU 'DQHV 9ROEHDW KDYH HYHU HYH Q DVW RSSHG &KRF RODWH :DWFK %DQG SXQFKHG WKHLU ZD\ LQWR FKDUWV gives the right time twice a decade, and Straight and arenas worldwide through $UURZVLQMHFWWKHZKROHVRXQGZLWKVXÉˇFLHQW a combo of hefty metal, rockabilly suave and energy and songwriting nous to make it feel 0LFKDHO3RXOVHQÂśVPDQÂśVÄĽPDQEDULWRQH$QGLI IUHVKDQGYLWDODIXOOKDOIÄĽFHQWXU\RQIUR P LWV \RXDUHWKHFRPSDQ\\RXNHHSWKHQWKHJXHVWV RULJLQDOL HSWLR KHL UWKLUGDOEXPUDFHVRÉą WKH\FDOOXSRQDFURVVWKLVOLYHVHWDUHWHVWDPHQW WKHEORFNVZLWKWKHVFDWKLQJ1RWKLQJ7R0H WR WKHLU ZLGH DSSHDO IURP &DQDGLDQ URFNHU LWVORVHUÄĽLQÄĽORYHFKRUXVDFWXDOO\UHFDOOLQJSULPHÄĽ 'DQNR -RQHV WR EL]DUUHO\ IRUPHU ER[LQJ WLPH ÂśV SXQNHUV %X]]FRFNV ZKR RI FRXUVH FKDPS 0LNNHO .HVVOHU *X Wâ€? I Q RK RXU were never short of a memorable chorus. WKRXJKLVIHOORZF RXQWU\PDQ/DUV8 OULFK ZKR 6LQJHUÄĽVRQJZULWHU 2ZHQ 3HQJOLV ODWHU SURYHV EULQJVW KXQGHURX V ÂżUHSRZHU WRXLWDUDQJÄĽ his dexterity with Gun Manâ€™s deft mutation of VWHUV$QG DGL OODF%ORRGEHIRUH9ROEHDW VKHUR /RX 5HHGÂśV 9LFLRXV ULÉą DQG WKH :KRÄĽLO\ ZRUVKLS VSL OOV RYHU LQWR D ZRUNPDQOLNH (QWHU NHUUDQJLQJ2XW$QG'RZQ,QGHHGOn Top! is 6DQGPDQ 'HOLYHULQJ UROOLFNLQJ ULÉąV WR QHDUO\ YHULWDEO\SDFNHGZLWKQXJJHWV SHRSOHLQ7HOLD3DUNHQWKHEDQGDUHRQ ANDREW PERRY VXFKVL]]O LQJIRUP R XFD QSUDFWLFDOO VP HOOW KH SRPDGH JAMES M ACKINNON B E ST TRACKS: N i T M ,O D , G M E ST TR KS: Lola Montez, The Everlasting
VOL E T
incantations remain raw, nasty and truly original as they approach their 40th anniversary.
VENOM & FAITH TRI KI WOO
++++ Success has never blunted Liam Howlettâ€™s uncompromising, and urgent synth-punk beatdowns.
TOM MORELLO THE ATLAS UNDERGROUND BMG
N ill i M R cc L ll i ic i S ic i l . l i Tl pi Miiippi.
WIT HING SE SON I c i
MEL N HOLY DIS O
i i p liic, EDM
VENOM STORMTHE G TES SPINEFARM
Venomâ€™s diabolical demon-summoning
Obviously indebted to QOTSA, London alt.rockers Witchingseason rumble and roll through 11 tracks of fuzzed-up disco-doom on an engaging debut.
R NNIG N
P L A N E T R O C K 109
He sounded wounded but invincible. Sadly, that last trait was only an illusion...
BY STEVI E C H I C K
CHRIS CORNELL ++++
Unreleased B E ST TRACKS:
110 P L A N E T R O C K
Seasons, Mind Riot, Into The Void
:KHUHWKHER[VHWH[FHOVKRZHYHULVDQWKRORÄĽ JLVLQJ&RUQHOOÂśVRIWHQIUXVWUDWLQJFDUHHURXWVLGHRI the band, where he often struggled to deliver on WKHSURPLVHRIKLVWDOHQW6HDVRQVDWUHDVXUHRÉąWKH VRXQGWUDFN WR &DPHURQ &URZHÂśV URPÄĽFRP THE GRUNGE GENERATION strove to make Chris Cornell Singles, sounded like it was cut at Bron Yr Aur while peace between the might, volume and poetry of the UME Zeppelin were writing their third album, and was classic rock period they were raised on, and the an early suggestion that brilliance was within his values and aesthetics of the punk rock era that JUDVS %XW KLV ÂżUVW VROR DOEXP ÂśV Euphoria Ă€RXULVKHGDVWKH\FDPHRIDJH7KDWODWHÂśVHDUO\ Morning ZDV EOHDN DQG ZD\ZDUG ÄŚ ZKHQ KH UHÄĽ ÂśVDOWHUQDWLYHURFNPRYHPHQWUHIUDFWHGWKHEHVW UHOHDVHGLWLQKHUHWLWOHGLWEuphoria Mourning of the past through this unforgiving underground $IWHUWKDWKHKRRNHGXSZLWKWKUHHÄĽTXDUWHUVRI lens, binning that which now felt limp and embarÄĽ Rage Against The Machine for the brutish heavy rock of Audioslave; UDVVLQJ EXW SUHVHUYLQJ WKH EUXLVLQJ ULÉąV WKH PHORGLF VRSKLVWLFDWLRQ three albums followed, units were shifted, but the group never escaped WKH0DUVKDOOVÄĽGLDOOHGÄĽWRÄĽGHFLEHOV WKHVHQVHRIEHLQJOHVVWKDQWKHVXPRIWKHLUSDUWV)XUWKHUVRORDOEXPV Few bands made such sense of this collision of ideals and sonics as IROORZHGLQFOXGLQJÂśVScream, a brave but roundly scorned collaboÄĽ Soundgarden, thanks not least to frontman Chris Cornell, whose voice UDWLRQ ZLWK KLSÄĽKRS VXSUHPR 7LPEDODQG ZLWKRXW KLV 6RXQGJDUGHQ ÄŚ IXOOÄĽEORRGHG VHDULQJ EXW DEOH WR SLYRW WR JHQWOH DQG SURIRXQG RQ IRLOV&RUQHOORIWHQVRXQGHGFUHDWLYHO\DGULIW DKDLUSLQÄŚHPERGLHGWKHVLUHQEDQVKHHZDLORIWKHSURWRÄĽPHWDOJRGV Or so it seemed at the time; but this box set tells a PLQXV WKH VH[LVW VXEÄĽ7RONLHQ O\ULFV DQG KROORZ PDFKLVPR :KHQ GLÉąHUHQW VWRU\ +HUH WKH KLJKOLJKWV IURP Euphoria Mourning sound &RUQHOO VDQJ KH VRXQGHG ZRXQGHG EXW LQYLQFLEOH 7UDJLFDOO\ ZH VDWLVI\LQJO\ GDUN DQG PRPHQWRXV WKH FUHDP RI $XGLRVODYHÂśV /3V DV OHDUQHGODVW\HDUWKDWWKDWODVWWUDLWZDVRQO\DQLOOXVLRQ PXVFXODU DV DQ\ RI &RUQHOOÂśV RXWSXW DQG WKH WLWOH WUDFN RI Scream an 7KLVFRPPHPRUDWLYHUHWURVSHFWLYHFHOHEUDWHV&RUQHOOÂśVZRUNZLWK LQWULJXLQJLGHDZKHQQRWVWUHWFKLQJLWVFRQFHSWDFURVVDZKROHDOEXP 6RXQGJDUGHQÂśVFDUHHURYHUURXJKO\WZRRILWVIRXUGLVFV7RWKHLUFUHGLW Better still are the stray soundtrack contributions and collaborations WKHFRPSLOHUVKDYHQÂśWVLPSO\FROOHFWHGDOOWKHEDQGÂśVVLQJOHVÄŚWKRXJK WKDWOLWWHU&RUQHOOÂśVFDUHHU those that are here, like the psychedelic swoon of Black Hole Sun and 6XUHWKHZRUOGQHYHUQHHGHGDQRWKHUYHUVLRQRI:KROH/RWWD/RYH WKHUDELGÄĽGRJEUDZORI5XVW\&DJHUHWDLQWKHLULUUHVLVWLEOHGDUNSRZHU but the singer hams up the vocal with enough to conviction to make ÄŚ LQVWHDG ÂżQGLQJ VSDFH IRU OHVVHUÄĽNQRZQ JHPV VXFK DV WKHLU JHQLXV 6DQWDQDÂśVVZLQJDWWKH=HSEHKHPRWKIXQ7KH UHZULWH RI 6DEEDWKÂśV ,QWR 7KH 9RLG DQG D VHDULQJ OLYH UHDGLQJ RI UDZÄĽERQHG EOXHV\ KDUG URFN RI 3URPLVH &RUQHOOÂśVSDHDQWRIULHQG$QG\:RRG0LQG5LRW FHUWDLQO\ GHVHUYHG OLIH EH\RQG 6ODVKÂśV Raging sound: Cornell and VHOIÄĽWLWOHG RIWHQ KRÄĽKXP DOOÄĽVWDU VROR Tom Morello DOEXP%RQGWKHPH<RX.QRZ0\1DPH in Audioslave. PHDQZKLOH ÂżQGV &RUQHOO PHHWLQJ WKH WXQHÂśV WRZHULQJ KLJK GUDPD RQ LWV RZQ WHUPVDÂżQHVKRZFDVHIRUKLVYRFDOV ,WÂśVWKHXQUHOHDVHGWUDFNVWKDWZLOOPDNH TRACKS WKLVER[HVVHQWLDOIRUGHYRWHHVÄŚKLJKOLJKWVLQÄĽ FOXGLQJ WKH SV\FKHGHOLF EOXHV RI :KHQ %DG CD1: Does Good and a sorrowful take on SinĂŠad Soundgarden/Temple Of The Dog 2Âś&RQQRUÂśV3ULQFHÄĽSHQQHG1RWKLQJ&RPSDUHV CD2: 80RUHRYHUChris Cornell delivers a thorough Solo/Audioslave SRUWUDLW RI D WDOHQW EURDG HQRXJK WR ÂżOO IRXU CD3: discs and not feel overstretched, an artist who Collaborations/Acoustic was mercurial, but gifted enough for fans to CD4: IRUJLYHDQ\ORQJHXUVLQKLVFDWDORJXH Live/Previously Anthology of the uneven career and inarguable talent of the late Soundgarden frontman, who died last year.
Black hole son: Chris Cornell gets heavy with Soundgarden, Feyenoord Stadion, Rotterdam, June 23, 1992.
CREEDENCE CLEARWATER REVIVAL The Complete Studio Albums CRAFT RECORDINGS/UMC
++++ CCRâ€™s seven studio LPs in deluxe box set form. Of all the American guitar bands that emerged in the 1960s, few have endured quite as resolutely as have Creedence Clearwater Revival. Despite the El Cerrito quartet having concluded their business inside of six years, many of their songs have risen with graceful ease to the status of standards. The Complete Studio Albums features 65 songs, many of which display a simplicity of purpose that in lesser hands might appear remedial. But CCR were no arrivistes, and founder John Fogerty, in particular, bestows upon the material an ageless and timeless voice that stands equal to singers such as Van Morrison and Joe Cocker. Presented with powerful panache, a song such as Run Through The Jungle capÄĽ tured the essence of Americaâ€™s paranoid and dangerous age with an ease reminiscent of the Stonesâ€™ Gimme Shelter. And while CCR lacked the poise of their more glamorous brethren, the repeated warnings of a hard rain soon to fall resonate from their troubled times all the way to ours. IAN WINWOOD Have You Ever Seen The Rain, Fortunate Son, Bad Moon Rising B E ST TRACKS:
THE JIMI HENDRIX EXPERIENCE Electric Ladyland EXPERIENCE HENDRIX/LEGACY
+++++ 50th anniversary edition of unimpeachable third LP. $IWHU D EXVWÄĽXS ZLWK SURGXFHU Chas Chandler, Hendrix took control at New Yorkâ€™s Record Plant, recruiting musician friends to create a WHFKQLFRORXUGUHDPZRUN7UDÉˇFÂśV6WHYH:LQÄĽ ZRRG SOD\V RUJDQ DQG -HÉąHUVRQ $LUSODQHÂśV Jack Casady bass on the spectacular blues jam 9RRGRR &KLOH ZKLOH :LQZRRGÂśV 7UDÉˇF SDOV 'DYH 0DVRQ DQG &KULV:RRG SURYLGH EDFNÄĽ ing vocals on the explosive acid rock of CrossÄĽ WRZQ7UDÉˇFDQGĂ€XWHRQWKHFKLPHULFDO ÄŞ$0HUPDQ,6KRXOG7XUQ7R%HÄŤUHVSHFWLYHO\ Mason also plays acoustic guitar on Hendrixâ€™s 112 P L A N E T R O C K
YHUVLRQRI$OO$ORQJ7KH:DWFKWRZHU7KHUHÄĽ sults are peerless. This exemplary repackage WKHQ DGGV VROR GHPRV ÄŞD VWLUULQJ $QJHOÄŤ HLJKWVWXGLRRXWWDNHVÄŞDKHDUWVWRSSLQJ$QJHO Caterina; a tremendous Long Hot Summer ZLWK$O .RRSHU RQ SLDQRÄŤ DQG D 6HSWHPEHU Âś +ROO\ZRRG %RZO VKRZ ZKLFK FDSWXUHV Jimi at his frenzied live peak. LOIS WILSON &URVVWRZQ7UDÉźF ÄŤ$0HUPDQ,6KRXOG7XUQ7R%HÄŹ$OO$ORQJ The Watchtower B E ST TRACKS:
RUSH +HPLVSKHUHVÄ§WK$QQLYHUVDU\ UME/ANTHEM/OLE
++++ The trioâ€™s last dance with the side-long epic. Punk had mutated into new wave before it had some small impact upon Rush. Sequencers, mullets and shorter songs crept into their earÄĽ O\ÂśVDHVWKHWLFEXWFLUFDÂśVHemispheres WKH\ZHUHVWLOONQHHÄĽGHHSLQGRXEOHÄĽQHFNVDQG *UHHNP\WKÄĽLPEXHGSURJÂł/HWÂśVVD\RXULGHDV exceeded our grasp,â€? Geddy Lee recently admitted, doubtless mindful of the albumâ€™s ÄĽPLQXWH WLWOH WUDFN <HW Hemispheres as a whole has much to treasure, and even that ÂłVRQJÂ´ÄŚ&\JQXV;ÄĽ%RRN7ZR+HPLVSKHUHV ÄŚKDVPRPHQWVRIEULOOLDQFHÄŞZLWQHVVWKHVFLQÄĽ WLOODWLQJ JXLWDU VROR DW PLQVÄŤ /D 9LOOD Strangiato still stands up as an extraordinarily imaginative instrumental, while Neil Peartâ€™s political allegory The Trees soon became DPXFKÄĽORYHGVWDSOHRIWKHEDQGÂśVOLYHVKRZV Still, in lieu of any outtakes here, the live sets IURP$UL]RQDLQÂśDQG3LQN3RSIHVWLYDOLQ ÂśDUHDWDGXQHQWLFLQJJAMES MCNAIR B E ST TRACKS:
The Trees, La Villa Strangiato,
JETHRO TULL 7KLV:DVÄŤWK$QQLYHUVDU\(GLWLRQÄŹ RHINO
++++ Tullâ€™s blues and jazzinformed debut revived. Âł,WÂśVWKHVRXQGRIWUDLQVEXFNHWÄĽ ing through an English countryÄĽ sideâ€Ś of children running downÄĽ hill.â€? So runs one goofy US radio
DGSURPRWLQJ7XOOÂśVVLQJXODUGHEXWKHUH UHLVVXHG RYHU IRXU H[WUDVÄĽULFK GLVFV ,WÂśV WKH only Tull album to feature guitarist Mick Abrahams, thereafter replaced by Martin %DUUHDQGLWEULGJHVWKHEDQGÂśVEOXHV\HDUO\ÄĽ )OHHWZRRGÄĽ0DFÄĽZLWKÄĽĂ€XWHDSSURDFKDQGWKH IRONLHU IDLU WKDW VDZ ,DQ $QGHUVRQ DQG FR take prog to the woods. Porcupine Treeâ€™s 6WHYHQ :LOVRQ KDV GRQH DQ DFH MRE RI UHÄĽ mixing the original album and bonus tracks, and you can almost smell the patchouli on a lithe My Sunday Feeling recorded for BBC UDGLR &OHDUO\7XOO DUULYHG IXOO\ÄĽIRUPHG EXW Abrahams and Anderson disagreed over a diÄĽ rection, hence Abrahams chose to continue KLV EOXHV DÂżFLRQDGR MRXUQH\ ZLWK %ORGZ\Q 3LJ )LQH PDQGROLQÄĽULFK ERQXV WUDFN /RYH Story, meanwhile, signposts where Tull would head next. JAMES MCNAIR My Sunday Feeling, Beggarâ€™s Farm, Move On Alone B E ST TRACKS:
REO SPEEDWAGON 7KH(DUO\<HDUVÄŚ HNE RECORDINGS
+++ Illinoisâ€™ future soft rock superstars long before the hits. At last glance, REO SpeedÄĽ ZDJRQÂśV DOEXP Hi ,QĂ€GHOLW\KDGVROGVRPHPLOOLRQFRSLHV,W ZDVWKHLUQLQWKEXWWKHÂżUVWWRFRPHZLWKLQ spitting distance of the US Top 20, eventually going to Number 1 in that territory. This ÄĽ&' SDFNDJH FKDUWV WKHLU GD\V RI VWUXJJOH XSWRÂśV Live: You Get What You Play For. 7KLV LV 5(2 WKH KDUGÄĽJUDIWLQJ 0LGZHVWHUQ EDUEDQGÄŚGURRS\RIPRXVWDFKHDQGIUL]]\RI SHUP ÄŚ GLVSHQVLQJ KRQNLQJ EOXHV URFN ZLWK WKH RFFDVLRQDO SRVWÄĽSV\FKHGHOLF ZRUNÄĽRXW or romantic ballad to lighten the mix. Apparently, REO fell out with their original singer who didnâ€™t like singing love songs, and GXPSHG KLP LQ D FRUQÂżHOG DIWHU D JLJ +LV replacement, Kevin Cronin, was more amenable, and you can hear the seeds of Hi ,QĂ€GHOLW\â€™s power ballads begin to germinate LQÂśV5(2. Most of 7KH(DUO\<HDUVÄŚ , though, genuinely sounds like music IRU GULYLQJ D SLFNÄĽXS WKURXJK D FRUQÂżHOG presumably while keeping an eye out for abandoned lead singers. MARK BLAKE B E ST TRACKS: Ridinâ€™ The Storm Out, Keep Pushinâ€™, Flying Turkey Trot
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A wizard, a true star: Steven Wilson wows the Albert Hall.
UHVLGHQF\DWWKH5R\DO$OEHUW+DOOLQODWH0DUFK RIWKLV\HDUVHOOLQJVRPHWLFNHWVHome Invasion ÄŚ KLV WKLUG VROR OLYH UHOHDVH ÄŚ ZDV UHFRUGHGDQGÂżOPHGRQWKHÂżQDOQLJKW $VNDQ\IDQDQGWKH\ÂśOOVD\WKDW\RXGRQRW GLSLQDQRXWRID6WHYHQ:LOVRQDOEXP+HZDV RQFHRQWKHQHZVGHVWUR\LQJL3RGVWRLOOXVWUDWH KLVUHDVRQLQJWKDWDOEXPVDUHPHDQWWREHFRQÄĽ VXPHGDWRQFHDQGQRWSHFNHGDW6RZKLOHWKLV VHWOHDQVKHDYLO\RQTo The BoneDQGLVSHSSHUHG ZLWKKLJKOLJKWVIURPKLVFDUHHUWKHUHÂśVDVHQVH RIFRKHVLRQWKURXJKRXWWKDWOHQGVLWVHOIWRRQH JORULRXVH[SHULHQFH 2IWKHÄĽVRQJVHWWKHUH The â€˜King of Progâ€™ shines in this lavish DUHVL[3RUFXSLQH7UHHWUDFNV audio-visual feast. ÄŞLQFOXGLQJ 7KH &UHDWRU +DV BY S I M O N YO U N G $ 0DVWHUWDSH /D]DUXV DQG 7+,6 )285ÄĽ(<(' ÄĽ\HDUÄĽROG LV ÂłSUREDEO\ WKH 7KH 6RXQG 2I 0X]DNÄŤ DQG PRVWVXFFHVVIXO%ULWLVKDUWLVW\RXÂśYHQHYHUKHDUGRI Â´ WKUHHIURPKLVVWXQQLQJ 1RW RXU ZRUGV EXW 7KH 7HOHJUDSKÂśV ZKLFK ZHUH DOEXP Hand. Cannot. Erase. VSODVKHG DFURVV SRVWHUV DGYHUWLVLQJ KLV PRVW UHFHQW ÄŞ$QFHVWUDO +RPH ,QYDVLRQ Home Invasion: In Concert VRORDOEXPWKHLQQRYDWRU\SRSÄĽURFNRITo The Bone 5HJUHW ÄŤ ,VUDHOL YRFDOLVW At The Royal Albert Hall ,W GHEXWHG DW 1XPEHU LQ WKH DOEXPV FKDUW $QG 1LQHW7D\HEMRLQV:LOVRQIRU EAGLE ROCK ENTERTAINMENT ZKLOHWKLVIRXUÄĽWLPH*UDPP\QRPLQHHPLJKWQRWEH WKUHH To The Bone FXWV ÄŞ3DULÄĽ DKRXVHKROGQDPHKLVERG\RIZRUNLVXQGHQLDEOH DK %ODQN 7DSHV DQG 3HRSOH )LUVWWKHUHZDVKLVEDQG3RUFXSLQH7UHHZKRKH :KR(DW'DUNQHVVÄŤDQGWKH OHG IRU DOPRVW WZR GHFDGHV EXW SXW DVLGH ZKHQ KLV VHWFORVHVZLWKWKHWLWOHWUDFN DWWHQWLRQVVKLIWHGWRKLVRZQVRORHQGHDYRXUVIROORZÄĽ RI ÂśV The Raven That ReÄŚ LQJWKHUHOHDVHRIVHFRQGDOEXPGrace For Drowning fused To Sing 7KHQDORQJWKHZD\WKHUHKDYHEHHQQXPHURXVYR\DJHVLQWRVRQLF Home Invasion LV DYDLODEOH RQ PDQ\ OX[XULÄĽ H[SORUDWLRQ SURYLQJ WKDW KHÂśV QRW MXVW WKH Îź.LQJ RI 3URJÂś WKH H[SHULÄĽ RXV IRUPDWV EXW LWÂśV WKH %OXÄĽUD\'9' UHOHDVH PHQWDO 1RÄĽ0DQ WKH .UDXWURFN EHQW RI ,(0 ÄŞVKRUW IRU ,QFUHGLEOH WKDW LV EHVW IUDPH IRU IUDPH LWÂśV D EHDXWLIXOO\ ([SDQGLQJ 0LQGIXFNÄŤ KLV DPELHQW GURQH %DVV &RPPXQLRQ SURMHFW VKRWGRFXPHQWRIWKLVPXVLFLDQDWWKHSHDNRI WKH ÂłPHODQFKROLF URFNÂ´ RI %ODFNÂżHOG ZLWK $YLY *HÉąHQ DQG 6WRUP KLVDOFKHPLFSRZHUV &RUURVLRQZLWKIHOORZSURJDFRO\WH0LNDHOcNHUIHOGWRI2SHWK B E ST TRACKS: People Who Eat Darkness, 3UROLÂżF QR" ,WÂśV QR ZRQGHU KH KDV D ZKRSSLQJ FXOW IROORZLQJ Home Invasion, Pariah ,QGHHG KLV WRXU LQ VXSSRUW RI To The Bone LQFOXGHG D WKUHHÄĽQLJKW
Its cohesion makes it a glorious experience...
STEVEN WILSON ++++
114 P L A N E T R O C K
TRACKS Intro â€œTruthâ€? Nowhere Now Pariah Home Invasion/Regret #9 The Creator Has A Mastertape Refuge People Who Eat Darkness Ancestral Arriving Somewhere But Not Here Permanating Song Of I Lazarus Detonation The Same Asylum As Before Song Of Unborn Vermillioncore Sleep Together Even Less Blank Tapes The Sound Of Muzak The Raven That Refused to Sing
DVDs & Books
AC/DC 1973-1980 Jeff Apter JAWBONE
+++ The Bon Scott years, in illustrated diary form. Given that Australian author $SWHUKDVDOUHDG\SHQQHGDELRÄĽ JUDSK\ RI $QJXV <RXQJ ÄŞ+LJK Voltage: The Life Of Angus Young, AC/DCâ€™s /DVW 0DQ 6WDQGLQJÄŤ LQ DGGLWLRQ WR JKRVWÄĽ writing books with AC/DCâ€™s former bassist ÄŞ0DUN (YDQVÄŤ DQG H[ÄĽPDQDJHU ÄŞ0LFKDHO %URZQLQJÄŤ RQH PLJKW ZRQGHU H[DFWO\ KRZ PXFKPRUHLQVLJKWDQGHQWHUWDLQPHQWFDQEH ZUXQJ IURP WKH $QWLSRGHDQ KDUG URFNHUVÂś ZHOOÄĽGRFXPHQWHG VWRU\ ,WÂśV WR KLV FUHGLW WKHQWKDW$&'&ÄĽLVVXFKDQHQJDJÄĽ LQJ UHDG 'UDZLQJ WRJHWKHU D ZHDOWK RI FRQWHPSRUDQHRXV SUHVV FXWWLQJV DUFKLYH radio interviews and original interviews, $SWHU PDNHV IDPLOLDU WDOHV FUDFNOH ZLWK FRORXU DQG OLIH UHFDSWXULQJ D VHQVH RI WKH feral energy around the band on their dogged DVFHQW DV WKH\ PRYH IURP VFDQGDOLVLQJ $XVWUDOLD WR EHPXVLQJ PLGÄĽÂśV %ULWDLQ WR VHGXFLQJ$PHULFDÂł:HÂśUHQRWWRRFRQFHUQHG ZLWK EHLQJ YHU\ DUWLVWLF RU VRXQGLQJ SUHWW\Â´ Bon is quoted as saying in a 1979 interview ZLWK6XSHU5RFNÂł:HMXVWZDQWWRPDNHWKH ZDOOVFDYHLQDQGWKHFHLOLQJVFROODSVHÂ´0RUH EDQGV ZRXOG EHQHÂżW IURP VXFK D FRQFLVH PLVVLRQVWDWHPHQWPAUL BRANNIGAN
THANKS A LOT MY KIBBLEWHITE: MY STORY Roger Daltrey BLINK
++++ The Whoâ€™s mighty lungs finally spills the beans. There are many I D V F L Q D W L Q J revelations in 5RJHU'DOWUH\ÂśVORQJÄĽRYHUGXH PHPRLU FKLHI DPRQJ WKHP that being in The â€™Orrible Âś2RZDVDFWXDOO\ZHOOTXLWH IXQ 3HUKDSV EHFDXVH XQÄĽ OLNH 3HWH 7RZQVKHQG WKH singer didnâ€™t bear the weight of having to write and demo the Fringe beneďŹ ts: RGG URFN RSHUD or Daltrey.
WKUHHLQWKHODWHÂśVDQGHDUO\ÂśVWKHVLQJHU ZDV IUHH WR PHUULO\ FRQVXPH WKH EHHUVSOLÉą JURXSLH EHQHÂżWV RI OLIH RQ WKH URDG WKHVH SOHDVXUHVRQO\LQWHUUXSWHGE\FRQVWDQWÂżQDQÄĽ FLDO FKDRV FDUV EHLQJ GULYHQ LQWR VZLPPLQJ SRROV H[SORGLQJ KRWHO EDWKURRPV DQG KLV GUXPPHU WKURZLQJ GUXPVWLFNV DW KLV KHDG IURPEHKLQGWKHNLW2IFRXUVHLWZDV.HLWK 0RRQÂśV FRQVWDQW JRDGLQJ DQG GUXJÄĽWDNLQJ WKDW UHVXOWHG LQ WKH EDFNVWDJH ÂżJKW LQ WKDWVDZ'DOWUH\ÂśVEHLQJEULHĂ€\NLFNHGRXWRI the group, whereupon he vowed never to use KLVÂżVWVDJDLQVWKLVEDQGPDWHVDJDLQÄŞWKRXJK SXVKHGWRH[WUHPHVKHZRXOGÄŤ,QWHUHVWLQJO\ 'DOWUH\LVNHHQWRSOD\GRZQKLVKDUGÄĽQXWUHSÄĽ utation, portraying his teenage years as spent GRGJLQJ WKH ORFDO $FWRQ WRXJKV UDWKHU WKDQ ÂżJKWLQJWKHPDQGUHFDOOVKDSS\GD\VVHZLQJ IULHQGVÂś FORWKHV DQG PDNLQJ VDUQLHV IRU KLV ZRUNPDWHV DW WKH VKHHW PHWDO IDFWRU\ WKDW HPSOR\HGKLPSUHÄĽ:KR%XWZLWKDOLIHOLYHG LQWKHFRPSDQ\RIWKHOXQDWLF0RRQPHUFXÄĽ ULDO3HWHVRPHWLPHVUDWKHUVSLWHIXOÄŞLWVHHPVÄŤ -RKQ(QWZLVWOHDQGORWVRIROGODJVWKHVWRLF GRZQÄĽWRÄĽWKHÄĽHDUWK5RJHUÂśVVWRU\LVQHYHUIRU DPRPHQWGXOOPAT GILBERT
LED ZEPPELIN By Led Zeppelin
SUNSHINE OF YOUR LOVE
REEL ART PRESS
Eric Clapton And Friends GENESIS
++++ Official document of Slowhandâ€™s Crossroads Festivals 1999-2013. %DFN LQ (ULF &ODSWRQ invited a few old mates, inÄĽ FOXGLQJ %RE '\ODQ DQG 6KHU\O&URZWRMRLQKLPRQÄĽ stage at Madison Square Garden to play some VRQJVDQGMDPWKHEOXHV7KHVKRZZDVRUJDQÄĽ ised to raise funds for the CrossÄĽ URDGV &HQWUH UHKDE FOLQLF LQ Antigua, and would within a IHZ \HDUV EHFRPH D UHJXODU HYHQW ZLWK DQ HYHUÄĽVZHOOLQJ FDVW RI PXVRV OHQGLQJ WKHLU VXSSRUWWRWKHSURMHFW7KLV ODYLVK SKRWR ERRN LQFOXGHV interviews with many of WKHP ÄŚ MXVW RQH UDQGRP GLS ÂżQGV-HÉą%HFN*DU\&ODUN-U 1HDO6FKRQDQG-RH%RQDPDVVD UHFRXQWLQJ WKHLU &URVVURDGV stories and how Claptonâ€™s SOD\LQJWRXFKHGWKHP5RQQLH :RRG UHFDOOV DVNLQJ (ULF ZKR ZDV EHWWHU KLPVHOI RU .HHI " Âł1HLWKHU,ÂśPEHWWHUWKDQERWK RI\RXÂ´+DPAT GILBERT
â€œHey, hey mama!â€? Itâ€™s the ofďŹ cial photo book. THE FINAL photograph in Led Zeppelin By Led Zeppelin shows them sharing a joke in a backstage corridor just before showtime. Itâ€™s a ďŹ tting sign-off for the story of a life lived on the worldâ€™s greatest stages. While their ďŹ rst posed photo session shows Robert Plant and John Bonham not quite bedded into their roles as rock stars-inwaiting, any innocence dissipated the moment they walked on-stage. The three survivors share their memories almost as an afterthought. John Paul Jones â€“ forever typecast as â€œthe normal oneâ€? â€“ insists, â€œIt was all about the music, all of the time.â€? Except, as timeless as that music is, Zeppelin also sold a timeless image (â€œRough and ready, joyous and ecstatic,â€? according to Plant). And rarely more so than in this book. The live photos capture Zeppelinâ€™s unbridled energy, but also, via several panoramic shots, the ever-increasing size of their audience. This, then, was the view Zeppelin had while conquering the world. That said, itâ€™s their swagger â€“ and none more so than the ever-swaggering Jimmy Page â€“ that comes to the fore here. A shot taken at The Cherry Tree, Welwyn Garden City in 1969 says it all. Locked in tight on a low stage in front of naff pub curtains, Zeppelin look like they are about to spontaneously combust â€“ and take the boozer with them. It was all about the music, but also a whole lot more.
MARK BLAKE P L A N E T R O C K 115
The Low Life Showing love to those underrated LPs. This time: a musical selďŹ e of hard-livinâ€™ days and nights. By James McNair.
Wild at heart: UFO on-stage in 1982.
UFO CHRYSALIS, 1981
&ORFNLQJÄĽLQDWMXVWRYHUPLQXWHVDQGZLWKDQHDWIRXUVRQJVSHU VLGH WKH DOEXP EHJLQV ZLWK &KDLQV &KDLQV ZKHUHLQ 0RJJ SDUDGHV VRPHW\SLFDOO\VWUHHWZLVHÄĽEXWÄĽWURXEOHGFKDUDFWHUV*DPEOLQJPDQDFN Of Diamonds is intimately involved with disillusioned table dancer /LWWOH HDQLHDQGGLHVLQDEDU ÄĽURRPEUDZODIW HUVKHOHDYHVKLP 7KHPHVRITXLHW GHVSHUDWLRQ VPDOOÄĽWRZQHVFDSHDQGWKHVHDUFKIRU JODPRXUUXQWKURXJKWKHDOEXPDQGWKLQJVUDUHO\WXUQRXWZHOO6DUDK WKH SURWDJRQLVW RI PLQRU KLW VLQJOH /RQHO\ +HDUW ÂłKXQJHUV IRU WKH EULJKWOLIH6RPHWKLQJPRUHÂ´EXWWKHÂłHOHFWULFJXLWDUVÂ´DQGÂłRQHQLJKW VWDQGVÂ´VKHVRZLOOLQJO\HPEUDFHVOHDYHKHUFU\LQJKHUVHOIWRVOHHS 9DOHQWLQR WKH ORWKDULR ÄŞRU SLPS"ÄŤ LQ IDEXORXV JXWWHU SDVVLRQÄĽSOD\ 0DNLQÂś0RYHVLVUDPSHGXSWRWKHVWXÉąRIFDULFDWXUHEXWHOVHZKHUHDV ZKHQ0RJJFRQIHVVHVKHÂśVÂłORRNLQJIRUDZLOGURVHÂ´RQWKHWLWOHWUDFNÂśV VHHG\\HWMR\RXVVWUHHWV\PSKRQ\\RXVHQVHWKDWThe Wild, The Willing And The Innocent might be a vĂŠritĂŠ portrait of the bandâ€™s DIWHUÄĽKRXUVOLIHVW\OH+HURLQKDGE\WKHQLQÂżOWUDWHGWKHLU UDQNV DQG DOO NLQGV RI WKULOOÄĽVHHNHUV KDQJHUVÄĽRQ DQG outlaws would have been part of their daily experience.
I â€™ V E S O M E T I M E S wondered what became of my dinky little cassette copy of The Wild, The Willing And The Innocent. Itâ€™s sad to think RILWODQJXLVKLQJLQVRPHODQGÂżOOVLWHLWVSODVWLFFDVHFUDFNHGLWVEURZQ oxidised tape spooled out and decomposing. It could be hundreds or SHUKDSVHYHQWKRXVDQGVRIPLOHVDZD\IURPZKHUH,ÂżUVWSOD\HGLWRQ P\$NDLFDVVHWWHGHFN7KDWZDVLQEHIRUH,ÂśGOHQWLWWRVRPHRQH somehow knowing even as I did so that it would soon vanish into the abyss of tenuous friendship. A UFO ticket stub from the Glasgow Apollo would soon feature in P\EHGURRPVKULQHWRDOOWKLQJVKDUGURFNEXWIRUQRZ,ZDVMXVWJHWÄĽ WLQJLQWRWKHPPRVWO\YLDDFRS\RIWKHLUPRQXPHQWDO 1979 live album Strangers In The Night,ÂśGKRPHÄĽWDSHGLW RQWRD&WKDWSOD\HGDWZLOGO\Ă€XFWXDWLQJVSHHGV When I broke the bank and bought a copy of The Wild, The Willing And The InnocentLWZDVWKHÂżUVW8)2 studio album I heard in its entirety. I was coming at WKHLUEDFNFDWDORJXHDUVHDERXWIDFHEXWKDGVWXPEOHG XSRQDPLGÄĽSHULRGFODVVLF7KH UHFRUGVWLOO VWDQGVXS DV D EULOOLDQWO \DUUDQJHGVXLWHRISRWHQWZRQGHUIXOO \PHORGLF hard rock tunes. Closing track Profession Of Violence is ULJKWXSWKHUHZLWK'RFWRU'RFWRU/RYH7R/RYHRUDQ\ RWKHU6FKHQNHUÄĽHUD8)2FODVVLF\RXFDUHWRPHQWLRQ TRACKS No Place To RunWKHDOEXPWKDWSURFHHGHGLWVDZ8)2 Chains Chains, Long SDLUHGZLWK%HDWOHVSURGXFHU*HRUJH0DUWLQQROHVV,WÂśVD Gone, The Wild, The GHFHQWUHFRUGEXWLWZDVRQThe Wild, The Willing And The Willing And The Innocent, Innocent,ÂśGDUJXHWKDWYRFDOLVW3KLO0RJJDQGJXLWDULVW3DXO Itâ€™s Killing Me, Makinâ€™ Chapmanâ€™s songwriting partnership really began to shine. Moves, Lonely Heart, Couldnâ€™t Get It Right, Îź7RQNDÂś &KDSPDQ ÄŚ QLFNQDPHG EHFDXVH OLNH WKH PHWDO Profession Of Violence toy brand of the same name he was supposedly indestructiÄĽ PERSONNEL EOHÄŚKDGSUHYLRXVO\EHHQZLWKDFH:HOVKURFNDFW/RQH6WDU EXWKHÂśGDOVREXLOWDUHSXWDWLRQDVDVXSHUÄĽVXE:KHQ*DU Phil Mogg (vocals), Paul Chapman (guitar), Neil 0 RRUH OHIW6NLG5RZLQLW ZDV7 RQND ZKRGVWHSSHGLQ Carter (keyboards, guitar, Heâ€™d also had earlier stints playing live with UFO i 197 saxophone, backing vocals), Pete Way (bass), DQG EXWNo Place To Run ZDVKLVÂż UVWVWXGLR UHF RUGLQJ Andy Parker (drums), with the band. John Sloman (additional TWTWATI ZDV UHFRUGHGDW$LU:HVVH[6RXQGDQG8WRÄĽ keyboards), Paul SLDVWXGLRVLQ/RQGRQDQGZDVWKHÂżUVW8)2DOEXPWREH Buckmaster (orchestral arrangements) HQWLUHO\VHOIÄĽSURGXFHG,WVDZH[ÄĽ:LOG+RUVHVNH\ERDUGLVW UK\WKPJXLWDULVW1HLO&DUWHUUHSODFH3DXO5D\PRQGEXWWKH PRODUCERS UFO VWDOZDUWUK\WKPVHFWLRQRI3HWH:D\ÄŞEDVVÄŤDQG$QG\3DUNHU ÄŞGUXPVÄŤUHPDLQHG 116 P L A N E T R O C K
M U S I C A L LY, THE album has countless moments RIFODVV&KHFNRXW&KDSPDQÂśVULSÄĽURDULQJVRORVRQ/RQJ Gone and Makinâ€™ Moves; the little backing vocal hook that makes the chorus of the title track so special; the H[TXLVLWHSRZHUÄĽFKRUGDQGVD[RSKRQHÄĽEROVWHUHGOLIWÄĽRÉą WKDWKDSSHQVDIWHU/RQHO\+HDUWÂśVSLDQRLQWURWKHVLPSOH SRSÄĽURFNWKULOOVRI&RXOGQÂśW*HW,W5LJKW 7KH VWDQGÄĽRXW WKRXJK LV FORVLQJ EDOODG 3URIHVVLRQ 2I 9LROHQFH WKH FODVVLHVW UHFRUGLQJ 8)2 HYHU PDGH ,WV ÂżUVW KDOILVDOPRVWFODVVLFDOLQVWUXFWXUHZLWK&KDSPDQÂśVSLFNHG Q\ORQÄĽVWULQJ JXLWDU RUQDPHQWHG E\ JUDQG SLDQR Ă€RXULVKHV and stately strings. The words are a little cryptic. Seemingly SDUWORYHVRQJDQGSDUWKLWÄĽPDQFRQIHVVLRQDOLWÂśVZKROO\LQ NHHSLQJZLWKWKHDOEXPÂśVRWKHUFDVWRIFKDUDFWHUVDWDPDMRU FURVVURDGVEXWWKHGHOLFDF\UDWFKHWVÄĽXSWKHSRLJQDQF\ The second half of the song comprises Chapmanâ€™s lyrical JXLWDU VROR DQ HOHJDQW DQG FDUHIXOO\ FRQWDLQHG WKLQJ XQWLO it shifts up an octave. It eventually climaxes with virtuoso Ă€XUULHVEHIRUHODQGLQJXSRQDVXVWDLQHGQRWHWKDWTXLFNO\ blossoms into feedback. Wow. 86 KDUG URFN KLVWRULDQ DQG '- (GGLH7UXQN LV DPRQJ those who have singled out The Wild, The Willing And The Innocent for praise. The albumâ€™s crowning glory is Phil 0RJJÂśVHYHUÄĽVWHDGIDVWYRLFH+LVWLPEUHLVPDJQLÂżFHQWDQG KH QHYHU VKRZERDWV KHUH KH MXVW WHOOV VLPSOH FRPSHOOLQJ stories of people in the gutter looking at the stars.
The Wild, The Willing And The Innocent
Academy Events present
JANUARY 2019 26 MINEHEAD Giants of Rock* 30 EXETER Exeter Phoenix* 31 BARNSTAPLE The Factory* FEBRUARY 2019 01 SOUTHAMPTON The 1865* 08 BRIDGWATER Cobblestones* 09 TRURO The Old Bakery* 15 GLOUCESTER Guildhall* MARCH 2019 06 SHOREHAM Ropetackle 07 CARDIFF Clwb Ifor Bach 08 PLYMOUTH The Junction 09 BRISTOL Thekla 13 NOTTINGHAM The Bodega 14 LIVERPOOL O2 Academy2 15 SHEFFIELD O2 Academy2 16 PRESTON The Continental* 17 SETTLE Victoria Hall* 19 YORK Fibbers 20 GLASGOW The Hug & Pint 21 EDINBURGH Voodoo Rooms 22 NEWCASTLE The Cluny 23 SCARBOROUGH Top Secret* 24 CAMBRIDGE Junction 2 27 NORWICH The Waterfront 28 BIRMINGHAM O2 Academy3 29 OXFORD O2 Academy2 30 LONDON O2 Academy2 Islington willeandthebandits.com
plus special guests
WED DEC 12 MANCHESTER O2 RITZ THU DEC 13 GLASGOW NEW VENUE SWG3 GALVANIZERS FRI DEC 14 LONDON O2 SHEPHERD’S BUSH EMPIRE SAT DEC 15 NOTTINGHAM ROCK CITY SUN DEC 16 HULL CITY HALL URIAHHEEP.CO.UK NEW ALBUM ‘LIVING THE DREAM’ OUT NOW ON FRONTIERS RECORDS
LIVING THE DREAM 2018
PRESENTED BY THE ACADEMY MUSIC GROUP, WRECKING BALL PROMOTIONS AND DHP FAMILY BY ARRANGEMENT WITH APA & SIREN ARTIST MANAGEMENT INC IN ASSOCIATION WITH PLANET ROCK
THURSDAY 13TH DECEMBER 2018 O2 FORUM KENTISH TOWN LONDON
*Rainbeakers will not be appearing on the following dates
PLUS SPECIAL GUESTS
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THURSDAY 6th DECEMBER 2018 LONDON O2 ACADEMY2 ISLINGTON SUNDAY 9th DECEMBER 2018 BIRMINGHAM O2 INSTITUTE2
THU 06 DEC OXFORD O2 Academy2 PLUS SPECIAL GUESTS
TUE 11 DEC BIRMINGHAM O2 Institute2
An ACADEMY EVENTS & FRIENDS presentation by arrangement with K2 AGENCY presents
ACADEMY EVENTS by arrangement with K2 AGENCY presents
by arrangement with K2 presents
25 YEARS DEAFER DUMBER BLINDER TOUR
EXCLUSIVE UK SHOW PLUS SPECIAL GUESTS
THURSDAY 6th DECEMBER 2018 O2 ACADEMY ISLINGTON, LONDON CLAWFINGER.NET PLUS SPECIAL GUESTS
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SUN 23RD DECEMBER 2018 O2 ACADEMY2 ISLINGTON LONDON
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WEDNESDAY 23rd JANUARY 2019
O 2 INSTITUTE2 BIRMINGHAM uncleacidband.com
T h e B u y e r sâ€™ G u i d e
THE RAW RESPONSE TO TRAGEDY. THE RETREAT FROM THE MAINSTREAM. THE FAN FAVOURITE. SO WHICH ALBUM IS BEST? George Garner explores the deep waters of the unďŹ‚inching Seattle anti-heroesâ€™ output.
I N 2 0 1 1 , the members of Pearl Jam watched their lives play out on a cinema screen. Alongside a host of boisterous fans, frontman Eddie Vedder, guitarÄĽ LVWV6WRQH*RVVDUGDQG0LNH0F&UHDG\EDVVLVW-HÉą Ament and drummer Matt Cameron took their seats in Torontoâ€™s Princess Of Wales Theatre as Cameron Croweâ€™s documentary PJ20 told their story as part of their 20th anniversary celebrations. In a press conference afterwards, Eddie Vedder recalled how it all started when he received a demo that altered the course of his life. â€œI just heard something that I had never heard before,â€? he said of the music that compelled him to MRXUQH\IURP6DQ'LHJRWRWKH3DFLÂżF1RUWKZHVWLQ order to meet his future bandmates. â€œI thought that I would have a week in Seattle,â€? he laughed. That week transformed into a lifeâ€™s work frontÄĽ ing one of rockâ€™s most extraordinary groups. Formed
in the aftermath of Ament and Gossardâ€™s prior band Mother Love Bone, following the fatal overdose of frontman Andrew Wood, Pearl Jamâ€™s debut, Ten, crystallised grunge in the worldâ€™s consciousness DORQJVLGH1LUYDQDÂśVNevermind. With Ten VHOOLQJ PXOWLÄĽPLOOLRQV DFFXVDWLRQV RI the band cashing in/selling out inevitably followed. Fame gnawed at them so much they proactively sabotaged their own success: potential hits were shelved, they stopped making videos and, to this day, interviews are rare. Fortunately, their 10 studio albums speak volumes. And with hundredsRIÎźRÉˇFLDO ERRWOHJVÂśRIWKHLUHSLFÄĽOHQJWKJLJVWKHLUYROXPLQRXV live discography is worth celebrating in itself. Much more than just grungeâ€™s great survivors, Pearl Jamâ€™s collected body of work constitutes one of the most exhilarating and expansive in rock. Letâ€™s examine the evidence in detailâ€Ś
Vedder the devil you know: Pearl Jam at the Eagles Ballroom in Milwaukee, October 1991.
Riot Act (Epic, 2002)
9.11.2011 Toronto, Canada
As with other grunge alumni, in their early days Pearl Jam were often unfairly misrepresented in the press as consummate miserablists. That was always a one-dimensional evaluation, but it is worth noting that latter-day Pearl Jam albums have excelled at making songs about contentment every bit as compelling as those channelling angst. With soaring entries like The Fixer, Just Breath and Amongst The Waves, Backspacer celebrates how very sweet it is to be – ﬁttingly for this band – alive.
By this point in their career, Pearl Jam were at serious risk of burn-out. Though they had been temporarily rejuvenated by working with Neil Young on 1995’s Mirrorball album, they were otherwise fatigued by fame, boycotting Ticketmaster, and affected by poor communication within their ranks. Yet out of this exhaustion came an album that, whilst underperforming commercially, showcased a band making some of their greatest songs in the form of Sometimes, Present Tense, Lukin and Hail, Hail.
(J Records, 2006)
Galvanised by the presidency of George W. Bush, Pearl Jam raged like they hadn’t since the early ’90s on their self-titled eighth release. There is a breath-taking sense of urgency here, whether it’s protesting against the Iraq War on World Wide Suicide, highlighting poverty on Unemployable or Vedder mourning the loss of his close friend Johnny Ramone on Life Wasted. Beyond these searing cuts, however, are moments of rareﬁed grace; the slow-burn serenity of Come Back and epic scope of Inside Job showcase a band on mesmeric form.
Pearl Jam took the absolute piss out of the notion of “difﬁcult second album” syndrome with Vs.. Not only did it shift some 950,000 copies in one week in America alone, it also rivalled their seismic debut’s quality. In particular, the social consciousness evidenced on Ten was painted on a much broader canvas here; Daughter saw Vedder tackle domestic violence from a female perspective, while Gloriﬁed G took a swipe at gun culture. Bonus: also features some of the most explosive rock songs of the ’90s via Go, Blood and Rearviewmirror.
Though it feels somewhat reductive to claim that Pearl Jam’s essential album is their debut, to be fair it’s not just any old debut. The Seattleites emerged fully formed here as one of rock’s greatest bands. That songs as accomplished as Black, Release, Alive, Even Flow and Jeremy were conceived by a ﬂedgling act is astounding – it may as well have been christened Greatest Hits Vol.1. An instant classic and multi-million seller, Ten remains their indisputable calling card – one freighted with enough raw feeling to help reshape rock music for a new generation.
It is impossible to talk about Riot Act without ﬁrst addressing the trauma that preceded it. On June 30, 2000, nine fans died in a crowd surge during Pearl Jam’s Roskilde Festival set – the event was ruled an accident, but that did little to alleviate the emotional toll on the band. With Vedder explicitly addressing the tragedy on Love Boat Captain, singing, “Lost nine friends we’ll never know, two years ago today”, Riot Act is best understood as a beautiful, meditative response to a tragedy.
The day after the PJ20 premiere, Pearl Jam played a 20th anniversary concert at Toronto’s Air Canada Centre. The set list not only drew from every corner of their discography, it was also supercharged with emotion. PJ had covered Mother Love Bone’s classic Crown Of Thorns before, but here they played it with Vedder singing Andrew Woods’ Chloe Dancer intro in full for the ﬁrst time. As for the grand ﬁnale? Oh, just Neil Young joining them for a killer Rockin’ In The Free World.
Yield marks a signiﬁcant seachange in Pearl Jam’s songwriting. Following two records of Eddie Vedder steering the ship, Yield saw the band adopt a more collaborative approach to the creative process. The result was one of their most anthemic albums thanks to Given To Fly, Low Light, Brain Of J. and Wishlist, while the shapeshifting groove of Do The Evolution was even promoted with – STOP THE PRESS! – a music video. After years of fending off the world at large, Yield was Pearl Jam resurfacing to offer a warm handshake.
A vocal contingent in the Pearl Jam fan community insist that Vitalogy is their ﬁnest outing. Assuredly, it is an utterly beguiling listen. Sandwiched between beloved songs (Better Man, Corduroy) are moments of arch eccentricity, such as the accordion freak-out of Bugs. Vitalogy is, then, important for what it represents: released in the same year as Nirvana frontman Kurt Cobain’s suicide – a subject many interpreted as being addressed on Immortality – this is the sound of a band taking a sharp turn away from the mainstream. They’re still reaping the rewards.
7/11/03 Mansﬁeld, Massachusetts (Epic, 2003)
Given they can – and will – perform any song from their sizeable repertoire, there are just too many variables at play for one Pearl Jam show to please everyone. Unless we’re talking Mansﬁeld ’03. Across three nights they played 82 originals and 12 covers, with only one song duplicated. For the ﬁnal night they went into overdrive with a 46-song set capturing them in imperious form. It even included a full acoustic set. Sometimes more is more.
P L A N E T R O C K 119
Mistreated but unbowed: the mighty Hughes rocks Camden.
Stormbringer he â€˜Voice Of Rockâ€™ revisits his fecund stint in Deep Purple to sterling efect.
GLENN HUGHES E LECTR IC BALLROOM
Monday, October 15, 2018 T H E E L E C T R I C Ballroom is heaving, surely as packed as itâ€™s been on any night since the exiled sons and daughters of Ireland swarmed here in search of love, of at least a decent â€˜shiftâ€™, in the 1940s. The London date of Glenn Hughesâ€™ Classic Deep Purple Live WRXU ZDV RULJLQDOO\ ERRNHG LQWR WKH ÄĽ Surprise: itâ€™s only Joe bloominâ€™ Bonamassa!
capacity Koko club on Camden High Street, DQG D VZLWFK WR WKH VPDOOHU ÄĽFDSDFLW\ Ballroom at the eleventh hour, results in a VHULRXVO\ RYHUÄĽSDFNHG YHQXH DQG D UDXFRXV atmosphere. (YHQEHIRUHKHVWHSVRQÄĽVWDJHLWÂśVKDUGWR EHJUXGJH WKH ÄĽ\HDUÄĽROG PXVLFLDQ QLJKWV such as this. When Hughes scraped himself RÉą KLV EDWKURRP Ă€RRU LQ IROORZLQJ a Christmas Day drug overdose, a return to the spotlight must have surely seemed like an impossible dream. Regularly shunned, pitied DQGPRFNHGE\KLVSHHUVÄŚ*DU\0RRUHRQFH famously claimed Hughes would sooner reach IRU D 0DUV EDU WKDQ D JXLWDU ÄŚ KLV VHOIÄĽEHOLHI never faltered. So when he prefaces an epic Gettinâ€™ Tighter this evening by thanking the crowd for â€œstanding by this old dudeâ€? the resulting cheers warm the heart. The one constant, the eternal source of salvation and redemption for Hughes, is, of course, That Voice, a force of nature which age cannot wither. Wounded and vulnerable one minute, powerful and invincible the next, itâ€™s an instrument which convincingly sells ZKDWFRXOGRWKHUZLVHEHHQGÄĽRIÄĽSLHUFDEDUHW and transforms Hughesâ€™ revisiting of past glories into a truly special occasion. It helps, of course, that he is gifted some incredible VRXUFH PDWHULDO WR ZRUN ZLWK$ VHWÄĽRSHQLQJ SDLULQJRI6WRUPEULQJHUDQG0LJKW-XVW7DNH <RXU /LIH VHWV WKH WRQH PDJQLÂżFHQWO\ ZLWK +XJKHV HÉąRUWOHVVO\ QDLOLQJ HYHU\ QRWH DQG backing trio Soren Anderson ÄŞJXLWDUÄŤ -HVSHU
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ROBERT SUT TON
â€œItâ€™s G minor!: Glenn Hughes and guest star Joe Bonamassa tear through Highway Star.
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DFDQYDVMDFNHWDQGWUXFNHUFDSVKXÉ¹HVLQWR WKH EDFNJURXQG FKHHUV DUH LQLWLDOO\ PXWHG :KHQWKHJXLWDULVWVWDUWVWRSOD\WKHVRORRQ 0LVWUHDWHG KRZHYHU MDZV GURS DQG QHFNV FUDQH,QPXIWL-RH%RQDPDVVDPLJKWQRWEH WKHZRUOGÂ¶VPRVWUHFRJQLVDEOHJXLWDUKHUREXW WKHZD\KHPDNHVKLVJXLWDUVLQJLVWUDQVFHQÄ¥ GHQWDQGKLVF DPHR KHUHDQGRQDVFRUFKLQJ +LJKZD\ 6WDU HOHYDWHV D JUHDW QLJKW LQWR DQ XQIRUJHWWDEOHRQH7KLVVKRZÄ¥VWRSSHUDOPRVW EULQJVGRZQWKHURRI 7KH ZULWHU ) 6FRWW )LW]JHUDOG RQFH IDPRXVO\RSLQHGWKDWWKHUHDUHQRVHFRQGDFWV
LQ $PHULFDQ OLYHV &OHDUO\ WKH VWDWHPHQW GRHVQÂ¶WDSSO\WR%ODFN&RXQWU\H[Ä¥SDWV/DVW \HDU *OHQQ +XJKHV SURXGO\ WROG WKLV PDJDÄ¥ ]LQHWKDWKHKDVÂ³OLYHGWKHOLYHVRIWHQPHQÂ´ DQGWKDWFURRNHGMRXUQH\KDVQÂ¶WDOZD\VEHHQ SUHWW\WRREVHUYH+HÂ¶VEHHQPLVWUHDWHGKHÂ¶V EHHQDEXVHGEXWZLWKDPLFLQ KLVKDQGRQ DQ\ JLYHQ QLJKW WKH GHWHUPLQHG ROG PDVWHU LV VWLOO FDSDEOH RI VHWWLQJ KHDUWV DÄ¥JORZ DQG PAUL BRANNIGAN VSLULWVVRDULQJVN\ZDUGV The manner in which Joe Bonamassa lets rip on a blazing Highway Star.
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P L A N E T R O C K 121
Planets rock: John Fogerty, chooglin’ at London’s O2 Arena, October 25, 2018.
Wrote A Song For Everyone Former Credence Clearwater Revival frontman serves up a feast of all-American anthems on the opening night of BluesFest 2018.
JOHN FOGERTY T H U R S D AY, O C T O B E R 2 5 , 2 0 1 8
O2 Arena, London
conceive of any other act in London this week having such a wealth of riches to draw upon. When Fogerty prefaces a tender reading of Whoâ€™ll Stop The Rain by pointing out that heâ€™s using the same Rickenbacker 325 guitar he played at Woodstock in August 1969, itâ€™s a gentle reminder of his often underrated contribution to rockâ€™nâ€™roll history. In that same year, Creedence released three killer albums ÄŞBayou Country, Green River and Willy
I T â€™ S H A R D to watch John Fogerty slug hit after hit out of the park tonight without thinking of his painful estrangement from these remarkable songs for almost a quarter of a century. For the longest time, Creedence Clearwater Revivalâ€™s forÄĽ mer frontman refused to perform his Flyinâ€™ away: John back catalogue classics, indeed would Fogerty and switch stations when one came on friends get airborne. the radio, which they did, regularly. Yet even as he shunned his art, others rushed to embrace it: Johnny Cash, U2, Rod Stewart, Ramones, Elton John and Hanoi Rocks are just a handful of the artists who covered his tunes and sang his praises during those bleak and bitter years. In Bruce Springsteenâ€™s warm speech inducting CCR into the Rock DQG5ROO+DOORI)DPHLQÄŞÂł,QWKH late â€™60s and early â€™70s they werenâ€™t the hippest band in the world, just WKH EHVWÂ´ÄŤ KH KDLOHG WKH SRZHU poetry and simplicity of Fogertyâ€™s VRQJZULWLQJQRWLQJÂłRQO\DIHZGLGDV much in three minutesâ€?. Itâ€™s a quote that springs to mind early tonight as And The Poor BoysÄŤDQGVDZIRXUVLQJOHVÄŞ3URXG the ÄĽ\HDUÄĽROG&DOLIRUQLDQVLQJHUÄĽVRQJZULWHU Mary, Bad Moon Rising, the aforementioned VSRUWLQJ D QDWW\ VSDFHÄĽWKHPHG EOD]HU RYHU D *UHHQ5LYHUDQG'RZQ2Q7KH&RUQHUÄŤVWDOO WUDGHPDUN Ă€DQQHO VKLUW DQG Ă€DQNHG E\ KLV just shy of the summit of the US national doppelgĂ¤nger son Shane on guitar, thrashes charts. When The Beatles split the following through a muscular Travelinâ€™ Band, Green \HDU (O &HUULWRÂśV RZQ ZRUNLQJÄĽFODVV KHURHV River, Hey Tonight and Up Around The Bend could lay claim to being the biggest rock band in just north of 10 minutes. in the world. Just two years later, however, The eighth annual BluesFest programme CCR themselves had split acrimoniously, and LVQÂśW OLJKW RQ KHDY\ZHLJKW DWWUDFWLRQV ÄŚ 9DQ John Fogertyâ€™s descent into what he rememÄĽ Morrison, Robert Plant, Beth Hart and EHUVDVWKHÂłORQJGDUNWLPHVÂ´EHJDQ Counting Crows feature prominently across Itâ€™s hard then to begrudge the great man WKH H[WHQGHG ZHHNHQG ÄŚ Eut itâ€™s hard to
some of the more questionable choices in tonightâ€™s set. As sweet as it is to see him ZHOFRPH KLV \RXQJHU ER\ 7\OHU ÄŞZKR SOD\V ZLWK6KDQHLQS\VFKÄĽURFNTXLQWHW+HDUW\+DUÄŤ RQÄĽVWDJH IRU UDJJHG EODVWV WKURXJK *RRG Golly Miss Molly and The Sonicsâ€™ Psycho, itâ€™s an intervention which kills momentum. (TXDOO\ D FURZGÄĽSOHDVLQJ VWDJJHU GRZQ Bourbon Street for covers of My Toot Toot, -DPEDOD\D ÄŞ2Q 7KH %D\RXÄŤ DQG *DU\ 86 %RQGVÂś 1HZ 2UOHDQV VXSSOHPHQWHG E\ WKH KRUQVHFWLRQDQGDEDVVÄĽGUXPÄĽWKXPSLQJ7\OHU marching through the audience playing When The Saints Go Marching In, is excruciating. But Fogertyâ€™s race for the tape in the VKRZÂśVÂżQDOWKLUGLVSXUHJROGDUHPLQGHURI the soul, compassion, empathy and simmerÄĽ ing rage that courses through his best work. Have You Ever Seen The Rain? is prefaced by a video screen dip into the family photo DOEXP DQG D GHGLFDWLRQ WR )RJHUW\ÂśV ÄĽ\HDUÄĽ ROG GDXJKWHU .HOVH\ 5RFNLQÂś $OO 2YHU 7KH World prompts Planet Rockâ€™s incredulous gig SDUWQHUWRH[FODLPÂł:DLWKHZURWHWKLVWRR"Â´ DQGDGULYLQJ7KH2OG0DQ'RZQ7KH5RDG is a reminder that Fogertyâ€™s compositional skills didnâ€™t dry up with CCRâ€™s disbandment in 1972. .HHS 2Q &KRRJOLQÂś IHDWXUHV DQLIW\(GGLH9DQ+DOHQÄĽVW\OHLQWUR a searing harmonica solo and a pyroÄĽ technics display hot enough to singe IURQWÄĽURZ H\HEURZV ZKLOH DFFRPÄĽ SDQLHG E\ IRRWDJH RI9LHWQDP:DU protests, Fortunate Son scorches without any theatrics, its acerbic analysis of the ruling classâ€™s appetite IRU SXVKLQJ ZRUNLQJÄĽFODVV PHQ DQG ZRPHQ LQWR WKH ÂżULQJ OLQH RQ foreign lands every bit as relevant in 2018 as it was in 1969. Thereâ€™s no room for either Lodi or Run Through The Jungle, sadly, but, as red, white and blue streamers shower the audience, who could DUJXHZLWKDFORVLQJRQHÄĽWZRRI%DG Moon Rising and Proud Mary, two of the most evocative American rockâ€™nâ€™roll standards ever written? Âł&UHHGHQFH made music for all the waylaid Tom Sawyers and Huck Finns,â€? Bruce Springsteen noted in his poetic Hall of Fame induction speech, but for a time it looked like their frontman was going to get lost forever on his own journey into the XQNQRZQ 7RQLJKW Ă€DQNHG E\ IDPLO\ DQG friends on the other wide of the Atlantic, the OHDGHU RI WKH7UDYHOLQÂś %DQG ÂżQDOO\ VHHPV DW home. PAUL BRANNIGAN The grit and fury in Fogertyâ€™s vocals on the scathing, timeless Fortunate Son.
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P L A N E T R O C K 123
TEN GIGS TO SEE THIS MONTH 3 4 5 FOR MORE INFO AND TICKETS GO TO PLANETROCK.COM
Hysterical: PR DJ, and Leppard crooner Joe Elliott.
DEF LEPPARD/ CHEAP TRICK
The Shefﬁeld rockers – who were recently shortlisted as Rock and Roll Hall of Fame nominees – will perform their legendary 1987 album Hysteria in its entirety on this 11-date arena tour of the UK and Ireland. Rock Hall inductees Cheap Trick support on all dates.
Fun fact: Def Leppard spent an estimated £4 million recording Hysteria Expect: an arena full of people losing their minds when Joe Elliott asks if they take sugar
When: December 1-18
124 P L A N E T R O C K
THE MAGPIE SALUTE This band – led by former Black Crowes guitarist Rich Robinson –released their debut album, High Water I, this summer and pay a visit to the UK this winter, including a headline slot at Planet Rockstock. With a line-up that also features Marc Ford and Sven Pipien, would it be foolish to think there’ll be a smattering of Crowes classics? Wet one’s whistle: by listening to their single, Send Me An Omen
Planet Rock’s annual party returns to Trecco Bay, South Wales in November. The three-day weekender features headline sets from The Magpie Salute, The Black Star Riders and The Dead Daisies, plus the likes of the Geoff Tate-led Operation: Mindcrime, Walter Trout and Wayward Sons bolstering a thrilling bill.
Following his sold-out March tour, the Pretorian bluesman will return for a nine-date run this November, plus an appearance at Planet Rockstock on December 1. If you’ve not had a chance to listen to his latest album, Perfection Kills, it’s best you acquaint yourself as soon as humanly possible.
As part of his upcoming UK tour, Fish will perform Marillion’s 1987 album Clutching At Straws in its entirety and a selection of tracks from his forthcoming album, Weltschmerz. The 6’4” Hibernian fan announced earlier this year that he will retire from touring in 2020, so catch him while you can.
Get there a day early for: RavenEye, who kick off the festival with a special headline set for Gold Ticket holders on November 29 Don’t: even think about going to work on December 3
Don’t shout: “Dan! Dan! Dan!” Nod approvingly during: the stomping, Audioslave-like drive of Dog Day When: November 21-30
Painfully niche fact to drop in the merch queue: In 2000, Fish appeared in the Scottish detective show, Taggart, as Dougie Todd Best Marillion song about a cocktail: White Russian When: December 2-13
When: November 30-December 2
Don’t shout: “Where’s Chris, then?” When: December 1-11 Easy rider: BSR’s Ricky Warwick.
Ace Face: Clutch’s Neil Fallon.
7 6 CLUTCH
Currently in the midst of an extensive European trek, the perennial London rockers hit the UK in support of their latest album, Living The Dream. Kicking off with a date in Manchester, the band stop off at Glasgow, London, Nottingham and Hull. With 25 albums under their belt, it’s anyone’s guess how they pick a set list to satisfy their most loyal fans. Expect: Gypsy, the opening track from their 1970 debut ...Very ’Eavy ...Very ’Umble Hats off to: sole original member Mick Box for 49 years of continued service to rock When: December 12-16
These Maryland volume dealers roll into the UK just a week before Christmas and will cause more earthly tremors than any amount of fracking. Expect a fat slice of their latest album, Book Of Bad Decisions, while frontman Neil Fallon roams the stage like a wild-eyed lay preacher.
BLACK STONE CHERRY Following their Main Stage appearance at Download this summer, the Kentucky quartet return to the UK for a seven-date arena tour in support of their latest album, Family Tree. The band promise a “Southern-fried, rock’n’roll revival” and are bringing vehicular-themed rockers The Cadillac Three and Monster Truck along for the ride. Expect: a few classic covers sprinkled in their set Do: go to the toilet before their 21-song show When: December 6-14
BROTHERS OSBORNE These Nashville-based bearded siblings – John and TJ – released their country-ﬂavoured second album, Port Saint Joe earlier this year. And, following their sold-out tour earlier this year, the pair are back this November for a second helping of Britain’s service station fayre.
It’s been six years since the Finnish symphonic rockers have performed any UK headline dates. Now, the wait is over, as the six-piece have lined up three arena shows in support of their best-of compilation, Decades. Support comes from Helsinki power metallers Beast In Black. Did you know?: Floor Jansen is a soprano, but has nothing to do with the TV crime family Don’t expect to see: Richard Dawkins in the pit When: December 8-11
Expect: the irresistible single, Shoot Me Straight Best song about deflecting blame: It Ain’t My Fault When: November 25-December 2, Planet Rockstock December 1
Spill your beer to: the thundering X-Ray Visions Best Clutch song about that thing above your neck: The Face When: December 18-22
Killing Floor: Nightwish’s Floor Jansen. Kentucky fried: BSC’s Chris Robertson.
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WIN! A BUNCH OF IRON MAIDEN SWAG Our friends in Maiden have dug deep into their merch box for a load of hot shizzle to give away to one lucky crossword solver…
ENTRIES IN BEFORE JANUARY 23, 2019
TE L L U S WHAT YO U TH I N K O F P L AN ET R O C K MAGA Z I N E AN D WI N £250! G O TO P L AN ETR O C K.CO M / S U R VEY
1 Motörhead album unleashed in 1986 (11)
1 Metallica instrumental (5)
5 First name of frontman born William Bruce Rose Jr (3)
2 Tygers Of Pan Tang song, covered by Kreator (8)
7 Iron Maiden’s 1990 album, -- ------ For The ----(2,6,5)
4 Status Quo’s 1994 album Thirsty Work contained Lover -- The Human ---- (2,4)
8 A track from Scorpions’ 2010 album A Sting In The Tail (2,5)
5 Opening line of Diamond Head’s Am I Evil?: “My mother was - -----” (1,5)
10 San Francisco thrashers who covered Sweet’s Set Me Free (7)
6 --------- Strikes Twice, claimed Molly Hatchet (9)
12 Song from Iggy Pop’s 1977 album The Idiot (7) 14 Late Celtic Frost bassist, Martin Eric --- (3)
3 Aerosmith discovered them in the attic (4)
9 End Of --- ---, a song from the 1983 Kansas album Drastic Measures (3,3)
16 Former Judas Priest axe-lord, KK ------- (7)
10 The Black Crowes found things Hard To -----(6)
17 Rock ----- Never ---, asserted the Michael Schenker Group in 1984 (4,3)
11 Marillion’s Radiation album offered - --- Words For The Dead (1,3)
20 Nottingham record label who brought us Napalm Death (7)
12 No Rest --- The ------, declared Ozzy in ’88 (3,6)
23 ---- ---- ----- To Yourself, insisted The Georgia Satellites (4,4,5)
13 - --- U No Wrong, insisted Steve Jones on 1989’s Fire And Gasoline (1,3)
24 Dio song, Just Another --- (3)
15 Alex Mitchell fronted late-’80s rockers ------ -Power (6,2)
25 Henry Rollins’ book ----- ------ Blues, published in 1992 (5,6)
18 Therapy? track, ------, Cryin’, Only (6) 19 Let -- ----, demanded UFO (2,4) 21 Much-missed Motörhead guitarist, Fast ----Clarke (5) 22 Manowar frontman ---- Adams (4)
CROSSWORD SET BY JASON ARNOPP
How to enter Fill in the answers in the grid opposite and whack over this page to Planet Rock Magazine, Maiden Crossword, Academic House, 24-28 Oval Road, London NW1 7DJ. Don’t forget to add your name, address and contact details.
WHO THE HELL ARE THESE gUYS?
Let’s do the time warp again... Well, hello boys! Someone is looking mighty ﬁne today! There’s a lot to unpack in this sensitive portrait of unreconstructed masculinity, but chief among the questions on everyone’s lips, surely, is Who The Hell Are These Guys? Could one of these hard rock hunks be you, dear reader? We are on (metaphorical) tenterhooks! Answers to mail@ planetrock.com; see page 26 for last issue’s correct answer.
130 P L A N E T R O C K
INSIDE ISSUE Ä˝Ä˝ OF THE ESSENTIAL MUSIC MAGAZINE FROM THE MAKERS OF MOJO AND PLANET ROCK, BRITAINâ€™S GREATE ST ROCK RADIO STATION
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REVEIWED! Your guide to all the music you need STARRING
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LEMM Y At Home TOM MORE LLO Revolutions And Revelations LED ZEP B a n a n a s, Po r n Sta r s An d He l l s An g e l s FI SH Cooks Som e Fish U FO Wil d , Wil l i n g & No t So In n o ce n t PE AR L JAM Rated And Reviewed!