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Rik Fox






Non-profit organization







alchemist publishing








Pete Way bassist and founder of UFO & Waysted. Keith Mangold, a member of Pete Way Facebook Group pointed out an optical illusion in this photo. Can you spot it? Hint: Eyes


“When you expect strangely enough —John D. R


t things to happen - they do happen.� Rockefeller

The Sunset Strip Poster designed and executed with Bic pen, by Nic Van Hees, created for the CrĂźefest Hollywood Thursday, July 28th, 2016. Hawk logo is in the center. This is the second poster Nic created that includes Hawk. The first one was in 2015. Nic is shown on the right at the Whisky in Hollywood where it now hangs. Thanks Nic!!! :)


Rock Legend News Publications

The Hawk Album is Sold at:

Rock Legend News Publications are free. Download, print, save, share. Written By Londa R. Marks — July 2016 In the mid 1980’s Ahmet Ertegun, co-founder and president of Atlantic Records was considering signing popular Hollywood, California glam rock band HAWK to Atlantic Records. Just at that time turmoil within the band began and ultimately everything disintegrated due to money issues and personal differences. Being signed to Atlantic Records may have been a good thing, but maybe not; 25 years later, a HAWK album is at least still being sold by one of the original HAWK artists, Doug Marks, for $7.50–$18.00 each. If Atlantic Records had signed the band, possibly a lot of money/fame/ artistic validation would have happened with HAWK but also possibly no money would have been made for the artists. In some cases however, selling your own albums can give you con-



HAWK was founded by and sponsored by Londa R. Marks and Doug Marks. HAWK band lineup was Doug Marks (Metal Method guitar instructor, guitarist), Scott Travis (drums, Judas Priest), Lonnie Vencent (bass, BulletBoys & King Kobra), Charles Morrill (vocals). HAWK album included David Fefolt (vocals), Matt Sorum (drums, Guns ‘N Roses, Velvet Revolver, Hollywood Vampires, Motorhead), Dave Tolly & Steve Ayola (keyboards), Mark Edwards (drum tech), Mixed by Duarne Baron, Alex Woltman & Kevin LaHue at Pasha Music House, Hollywood. Originally mastered at Greg Fulginiti, Artisan Sound Records, Hollywood.


of how emotional and creative you are you have to make money. If you work hard for someone else, you can do the same for you. And, years from now you will appreciate yourself for having done so.


The Hawk album was recorded in 1986 as a Doug Marks solo project after the original band dissolved earlier that year.


HAWK album included David Fefolt (vocals), Matt Sorum (drums, Guns ‘N Roses, Velvet Revolver, Hollywood Vampires, Motorhead), Dave Tolly & Steve Ayola (keyboards), Mark Edwards (drum tech), Mixed by Duarne Baron, Alex Woltman & Kevin LaHue at Pasha Music House Hollywood, originally mastered at Greg Fulginiti Artisan Sound Records, Hollywood, CA.

HAWK VIDEOS & YOUTUBE VIEWS HAWK was: Doug Marks (guitar, guitar instructor Met-

al Method Productions), Scott Travis (drums, Judas Priest), Lonnie Vencent (bass, BulletBoys & King Kobra), Charles Morrill (vocals).

Hawk - The Dream (1985) YOUTUBE Views: 40,327

9 videos of one show at the Roxy in Hollywood, CA, and one album.

Hawk - Tell the truth (High Quality) YOUTUBE Views: 273,107

Hawk at the Roxy - 1985 - Burnin' Leather YOUTUBE Views: 5,392

Hawk - Into The Sky YOUTUBE Views: 15,391

Hawk at the Roxy - 1985 - No One to Love YOUTUBE Views: 50,974

Hawk - Victims YOUTUBE Views: 8,004

Hawk at the Roxy - 1985 - Bang Bang YOUTUBE Views: 8,128

Hawk - Fades So Fast YOUTUBE Views: 11,695

Hawk at the Roxy - 1985 - Witches Burning YOUTUBE Views: 34,364

Hawk - Can’t Fall in Love YOUTUBE Views: 18,337

Hawk at the Roxy - 1985 - Let the Metal Live YOUTUBE Views: 24,082 Hawk at the Roxy - 1985 - Hard As Nails and Overkill YOUTUBE Views: 6,534 Hawk at the Roxy - 1985 - Fades So Fast YOUTUBE Views: 19,512 Hawk at the Roxy - 1985 - Let the Metal Live YOUTUBE Views: 24,082 Hawk at the Roxy - 1985 - Bang Bang YOUTUBE Views: 8,128

“Get Your Music Heard, Post Your Music Here:" LKCB’S New Artist/Artist Group notif_t=group_activity Classic Stuff In Black and White

Destiny Tra

Purpose Because, Not Of Money; Because Of Self Belief By Londa R. Marks

In this section I was going to kind of complain about corporate structure thinking - how I dislike monopolies, how businesses can take advantage of artists and so on. And, I will likely still make some points along those lines even though we all make our own choices and should take responsibility for doing so. We do have the option to educate ourselves very easily these days... but while researching something interesting happened. I decided to look for videos on reincarnation, Tibetan Monks and such just to relax a bit and think about purpose but a video entitled, The Men Who

Built America Part 1 by the History Channel came up. It has been awhile, probably twenty years or so, since I’ve read on a regular basis about JP Morgan, John D. Rockefeller, Cornelius Vanderbilt, Andrew Carnegie, Tesla, Thomas Edison, Henry Ford and that powerhouse network of ‘over achievers,’ so I decided to watch it and try to align with a bit of their positivity again after I watched a video about reincarnation with the Tibetan Monks, which was quite interesting. It’s Not About Building America Necessarily, It’s About Purpose, Winning & The People Who Change Our Lives There are 4 parts to the The Men Who Built America in the History Channel documentary and after Part 2 it was sleep time. Awakening to continue watching the series didn’t come soon enough. It is such a well developed doc-


umentary with good actors, narration and well organized story lines. These leaders have always appealed to me, because not of money, but because of their confidence and belief in self. “They don’t think in terms of money, they think in terms of winning. Naturally if you win in business money follows. But that shouldn’t be your objective, your objective should be to win. Win, win, win. Not sometimes. All the time.” --Sumner Redstone, Majority Owner, Viacome & CBS. Cornelius Vanderbilt Cornelius Vanderbilt (May 27, 1794 – January 4, 1877) was a famous industrialist who worked in railroads and shipping. He had accumulated the largest fortune in the U.S. at the time of his death, in 1877. He bought his first boat for $125 and began a passenger ferry business in New York harbor with that

As Pete Way says, “It’s self belief, as simple as that. No self belief, no nothing.”

one boat ending up starting his own steamship company, eventually controlling Hudson River traffic. His father instilled in him a blunt, straightforward demeanor, and his mother, frugality and hard work. At age 11, Cornelius quit school to work with his father ferrying cargo and passengers between Staten Island and Manhattan. During the Civil War, Vanderbilt donated his fleet’s largest ship, aptly named the Vanderbilt, to the Union Navy. By 1864, he had retired from shipping, having amassed nearly $30 million in wealth. At age 70, Vanderbilt turned his attention more closely to railroads, acquiring the New York & Harlem and Hudson Line (which ran along the Erie Canal), and then going after the New York Central Railroad. Today, it is estimated that Cornelius Vanderbilt would have been worth more

than $200 billion, if calculating his wealth with the nation’s gross domestic product in 1877. This would make him the second wealthiest person in American history after Standard Oil co-founder John D. Rockefeller. When he died in 1877, Vanderbilt had amassed the largest fortune accumulated in the U.S. at that time. Vanderbilt is deemed one of America’s leading businessmen, and is credited for helping to shape the present-day United States. “Do you play cards Mr. Rockefeller?” John D. Rockefeller says, “No.” Cornelius Vanderbilt said, “Shame, you could learn a lot about competition.” Rockefeller said, “I know all I need to know.” Vanderbilt said, “So, I’m looking to do a deal with an oil refinery and that could be you.” Rockefeller said, “I’m willing to do an exclusive deal; $1.65 a barrel.” Vanderbilt said, “That’s a discount of more than a third. There’s several refineries in Cleveland, why should I give you such a deal?” Rockefeller said, “Because I’ll fill all your trains with my oil and if you don’t do the deal I’ll fill someone else’s trains.”

John D. Rockefeller

John D. Rockefellar (July 8, 1839 – May 23, 1937) grew up poor, sold candy to neighbor kids and did other odd jobs to help support his mother and family after his father left the home to be a traveling salesman. Founder of Standard Oil Company, John D. Rockefeller became one of the world’s richest men. Born in Richford, New York, John Davison Rockefeller moved with his family to Cleveland, Ohio, at the age of 14. Unafraid of hard work, he embarked on a number of small-business ventures as a teenager, landing his first real office job at age 16 as an assistant bookkeeper with Hewitt & Tuttle, commission merchants and produce shippers. A careful and studious businessman who refrained from taking unnecessary risks, Rockefeller sensed an opportunity in the oil business in the early 1860s. With oil production ramping up in western Pennsylvania, Rockefeller decided that establishing an oil refinery near Cleveland, a short distance from Pittsburgh, would be a good business move. J.P. Morgan

John Pierpont Morgan (April 17,

1837 – March 31, 1913) was an American financier, banker, philanthropist and art collector who dominated corporate finance and industrial consolidation during his time. “His instincts about people would always make him a winner. John Pierpont Morgan was able to look at people and immediately make a judgment of their character and their integrity; one of his greatest strengths.” —Henry P. Davison II, Great Grandson of Morgan Partner In 1912 public opinion turned firmly against big business. A senate committee was setup to investigate what they termed “Money Trusts” on Wall Street. JP Morgan (April 17, 1837 – March 31, 1913) was ordered to appear in December. Samuel Untermyer an affluent New York City trial lawyer asked the questions for the committee. Morgan was drilled for hours. But, in one line of questioning he was able to redeem his actions in the eyes of a wary public. Samuel Untermyer asked Morgan, “Is not commercial credit based primarily on money or property? Morgan answered, “No sir.” The first thing is character.” “Before money or property?” Untermyer countered. “Before money or anything else,” Morgan replied. Money cannot buy it because a man I do not trust would not get money from me on all the bonds in Christendom. I think that is the fundamental basis of business.” Morgan had stated the banking philosophy on which he built his empire. —Bio, JP Morgan History Documentary After his death, Theodore Roosevelt summed up JP Morgan’s life: “Mr. Morgan was politically opposed to me. Yet whenever I was brought into contact with him I was struck not only by his very great power but by his sincerity and truthfulness.” “They don’t think in terms of money, they think in terms of winning. Naturally if you win in business money follows. But that shouldn’t be your objective, your objective should be to win. Win, win, win. Not sometimes. All the time.” --Sumner Redstone, Majority Owner, Viacome & CBS JP Morgan Quotes “Well, I don’t know as I want a lawyer to tell me what I cannot do. I hire him to tell how to do what I want to do.”

“Go as far as you can see; when you get there, you’ll be able to see farther.” John Pierpont “J. P.” Morgan

And then I thought about how passion ate these men were. In fact, they may even be more passionate than a visual aritst or musician. And, they don’t need an audience as much as they seem to need to prove to a few other competitors - and themselves - that they can win; win at everything they do. It’s a game. Life is a game. They play the game of business. Artists and musicians play the art game - but that is a business too. Books on these American leaders got me through a really tough situation when I arrived in Los Angeles in 1982. One of the most important messages I got from this series and those books is that we all have a purpose. And, although I was looking for principals of purpose in Tibetan monks, serendipity intervened and reminded me of present reality. Purpose is not always easy to understand or accept. Tibetan Buddhist Monks say, “We choose our parents and what we become before we are born. Look at where you are today. You got there by your choices.” The Men Who Built America may be known for having built America, but what they did was build a way of life - in unison - because of competitive spirit, much like how the Renaissance was born, much like how the 70s rock ‘n roll was born. A group of highly charged spirits subconsciously knew, operated consciously, influencing each other through that energy to build something historic; all the while enacting their purpose, their historic purpose. If only one of them had existed I wonder if any of it would have happened. It seems to me that in order to fulfill purpose one has to surround themself with those who will make them be their best. Like-minds. Completion of self. And anyone who says, “I complete myself,” consider the fact that you don’t complete yourself if you buy food, buy clothes, live in a building, borrow money, buy automobiles, build a business, work a job, have relationships of any

kind and so on. There is always a need to surround ourself with others that help put a fire under us in some fashion. These men didn’t develop companies because they owed people jobs. Jobs happened because these men did the daily hard work and no giving up to create a dream, a company. Jobs just happened to be an opportunity resulting from the risks they were willing to take. I like that Thomas Edison quoted Michelangelo’s quote “Genius is eternal patience” to JP Morgan who then said, “Michelangelo.” I have used that requote at the end of each Rock Legend News publication since the beginning. When I heard them say that, I knew I was supposed to include this article about The Men Who Built America in this issue. They helped empower me and hopefully they will empower at least one person. That doesn’t mean I am like them, it just means I understand what it takes to achieve dreams; Hard work. Daily. No giving up. You take that train and ride it until you see that dream as part of your reality. Be careful of what you think someone else is thinking. Sometimes we have a tendency to think that others think like we do. That is not always the case. “The idea is to see what’s missing. That’s what a creative entrepreneur does, he serves people with things they need.” —Russell Simmons, Co-Founder Def Jam Watch: The Men Who Built America Part 1 OF 4 by the History Channel [Sources: and History Channel Series, The Men Who Built America, Wikipedia]

“Don’t be afraid to to go for the great.” —

o give up the good —John D. Rockefeller

Creative People’s Brains Really Do Work Differently “The creative genius is “occasionally crazier and yet adamantly saner than the average person.” The common traits that people across all creative fields seemed to have in common are an openness to one’s inner life; a preference for complexity and ambiguity; an unusually high tolerance for disorder and disarray; the ability to extract order from chaos; independence; unconventionality; and a willingness to take risks. Read Article: http://


Hollywood Effects Written By Londa R. Marks 6 January 2017

HAWK, the glam band I sponsored and developed with Doug Marks included Charles Morrill, Lonnie Vencent (Bullet Boys), Scott Travis (Judas Priest) happened at the same time Motley Crue, Poison and Rik Fox was a part of the Hollywood scene I was immersed in during the 80s and early 90s.

Rik Fox was with SIN and STEELLER (Yngwie Malmsteen, Ron Keel...) and earlier Rik was one of the original members of W.A.S.P., including coming up with the band name - even though he has gotten a lot of flack about it and other projects he was involved with. Living in Hollywood in the rock scene also means living at the Rainbow Bar and Grill. Hawk did. Hanging out at the Rainbow is hanging out with artists

like; Ozzy, Blackie, Lemmy… Blackie would arrive around midnight and you always know when someone cool comes through the door because the Rainbow plays their music. Blackie liked for me to hang out with him at ‘his table’ and he had me come to a recording session at Pasha studio in Hollywood to watch him lay down some vocal tracks to ‘Wild Child.’ That was cool and I still have that tape/demo he gave me - no, don’t ask it is not for sale for any price. Blackie told me to listen to the demo while he went to England. He called me from England and asked me what I thought of it. You know, what wasn’t to like about it? I asked him how he came up with the screeching sounds and he said it was a sound peacocks make. Blackie is a very talented and cool guy but he can be a hard edge too. That is part of his nature, his way of mak-

ing things happen. He’s a professional. Scott Travis (Judas Priest drummer) is like that too. Both are similar in that they are highly disciplined which can cause people to think they are mean spirited sometimes but they are just disciplined with their work. Rik Fox may appear that way too (to some people) but he works hard and has a heart of gold. Of course with success comes the critics and Rik has spent a lot of time verifying his positions in Hollywood even though it is pretty obvious that Rik is and has been everything that he (Rik) has stated even though some want to take that away from him or misunderstand things, make mistakes in what they hear, twist things around intentionally or unintentionally. Rock ’n roll can also bring with it hatred and violence. And, the irony is that rockers are the most loving individuals on the planet. It’s all about Love, Peace, Sex, Music, Remaining a child of Art, Rockin’ Forever. Blackie is a pro and I doubt he wanted to get into this but in Wikipedia “Blackie Lawless has begrudgingly confirmed that Rik Fox had indeed, been a band member but, ‘only for a couple of rehearsals,’ which may not be entirely accurate since Rik Fox spent some 4 months rehearsing and writing with the band. Rik Fox is also shown in early W.A.S.P. band photographs taken by Don Adkins Jr. during the band’s first photo session. Causing a firestorm of controversy thirty years later after the fact, despite the grumblings by some die-hard W.A.S.P. fans desperately attempting to re-write a revisionist history of the band, it should be submitted for consideration that, since Rik Fox created the bands’ name while he was, in fact, an early band member, at that moment of the creation of it becoming the band now-known as W.A.S.P., technically speaking, no matter what happened to the band after Rik Fox left, that histor-

ic point still qualifies him as an original founding member along with Lawless, Piper and Richards.” Some good elements can come from negativity though such as enlivening competitive spirit, bringing out the best in artists like with Rik Fox who just keeps getting better and works daily to make that happen. Rik Fox has die hard fans, a supportive wife Tamara Fox and close friend Phil Pedroza, administrator of Rik Fox Facebook Group who also works in Security Crowd Management (CSC) in Los Angeles. Both are friends of mine whom I respect a great deal. They both have integrity and stand up for what they believe in. Both exhibit exceptional work and personal ethics on a daily basis but if Rik Fox is one thing, or is ‘at fault at anything’ it is being direct and honest. I’m proud to feature Rik Fox in this issue. Thanks Rik!

Destiny is no matter of chance. It is a matter of choice. It is not a thing to be waited for, it is a thing to be achieved. William Jennings Bryan













Rik Fox




INTERVIEW WITH ROCK LEGEND NEWS Bassist Rik Fox ‘The Winged Knight of Heavy Metal’, from Hollywood, California’s 80’s glam bands: SIN, STEELER and W.A.S.P. originally acquired by Rock Legend News for publication in Tempi-Dispari, Rome, Italy and Rock Legend News, Firenze, Italy in 2014. Rik Fox, originally from N.Y., began photographing glam bands of the 70s like KISS, The Brats, and The Harlots of 42nd Street, and befriending The New York Dolls and drummer Peter Criss of KISS before becoming a resident fixture on the NYC legendary Max’s Kansas City and CBGB’s rock scene himself with The Martian Rock Band as well as performing six nights a week with VIRGIN, and an early version of SIN along with The E. Walker Band on the NJ / NY club scene, before going on to Hollywood to establish his own successful glam presence. Rik Fox is also known for being one of the hotly debated founding members of WASP. Rik took time out of his busy schedule to do an interview with Rock Legend News and here is what Rik had to say: RLN: You started on the path to glam rock of the 80’s by photographing bands like New York Dolls and KISS in New York. What attracted you to KISS and New York Dolls glam style? Rik Fox: Well, allow me to clarify, I didn’t photograph The New York Dolls so much as I did The Brats, KISS and The Harlots of 42nd Street, mostly at a club in Queens, NY not far from my home, called Coventry. It was a flourishing club across from Manhattan that showcased many of the Manhattan rock scene’s glam bands. I also hung out at the famous 82 Club where many of the same bands performed. In any case, while I was in high school

during my formative years between 1970 and 1974, it was a magical and evolutionary time in the history of rock music. Many bands were rising up from out of the ashes of the 1960’s and early 1970’s, and becoming something of a theatrical rock revolution. There was something very primal and attractively exciting about this; it was very different from what came before. Bands used to just stand there pretty much and just ‘play.’ Now, there was the incorporation of band interaction and movement onstage, a physical interpretation of the music in an energy coming from the stage. Bands began to incorporate wearing face make-up eye-liner, eye-shadow, lipstick, platform boots tight velvet or satin pants, and jackets, sequins and rhinestones began catching the stage lighting. There was also an element of androgyny, with bands like T. Rex, David Bowie, Mott the Hoople, Slade, The Sweet and Queen. This began to make its way to American shores and into the hard rocking punkish presentations of Detroit’s MC5 and Iggy Pop and the New York rock bands, like The Harlots of 42nd Street, The New York Dolls, Teenage Lust, The Brats, Luger, The Planets, Street Punk, Spike, and, of course, more notable bands like Alice Cooper, Silverhead and KISS. It was like the anger of punk meets the androgyny of glam. Since I had already become friends with KISS’ drummer Peter Criss before he was in the band, and began to go to watch KISS’ rehearsals in NYC, even before guitarist Ace Frehley was a band member, I was also a member of the photography club while in high school around 1972-73, so, I had access to all the film and developing materials I could get my hands on for free. My father had bought me a German-made Hanimex

Practika 35mm camera and I was good to go. I began sneaking into clubs in NY like The 82 Club, and Coventry in Queens and photographing many of the bands I was attracted to. I shot many of these bands and began to become influenced by them musically as a fledgling bassist. Originally, the first band I was attracted to was Steppenwolf in 1967-68, and they were not glam, but a leather-wearing hard rock and blues band. So, it’s difficult to explain exactly what this new attraction was; it was just something I felt in my heart and soul; some new form of personal communication with an audience who loved being entertained by this new form of music, which was loud, brash, very catchy and simply played. One night, I even hung out with some of the members of The New York Dolls while I was photographing bands at Coventry, and I dressed along just like they did. In fact, Dolls drummer Jerry Nolan complimented my burgundy satin pants, and when I told him I was friends with his childhood friend, Peter Criss, he lit right up and smiled. Then I chastised him for carelessly dropping his cigarette ashes on my new pants, and he apologized. RLN: After moving to L.A. from N.Y., you played bass guitar in several bands including SIN, STEELER and WASP. Which of these groups do you feel most tied to and why? Rik Fox: Hmmm, difficult to say; each had its own special attachment. Passing the audition for and becoming an original founding member of WASP of course, had its own magic; it took me back to the loft in NYC and watching KISS evolve, so, naturally, I felt like stepping into a dream come true. Everything was going well enough, until, unfortunately, four months later, Blackie Lawless changed his mind, after I had created the band’ new name from

Sister to WASP, and he suddenly fired me for no apparent plausible reason; the demo we recorded reflected my bass tracks which, to this day, stand up as solid and melodic. So, any back-pedaling excuses such as ‘musically Rik couldn’t cut it’, really make no sense and are all baseless and clearly BS lies. But the songs were very fun to play and record and, to this point, Blackie was very happy with how things were progressing with this new band line-up. However, in the band photos taken by Motley Crue photographer Don Adkins Jr., I looked like I didn’t fit; I looked like Angel’s Punky Meadows, while the rest of the band looked like a bunch of sadistic truck drivers, LOL. Although briefly rehearsing with both WARLORD and HELLION, it was STEELER that initially put me on the map so to speak, and opened the way for me. That was all the energy I needed to help me establish that I was no longer just a face in the crowd, but now a solid member of one of the top bands of the Los Angeles’ history of Heavy Metal, along with Motley Crue and RATT. To look at, STEELER wasn’t so much a glam band as much as just a straight-ahead, Heavy Metal band with lots of high-energy. Going toe-to-toe with Yngwie every night that we performed, began to give me the integrity and respect that I worked so hard to earn, and Ron Keel was the consummate showman performer. Where this guy drew his performance energy from was a mystery to me, and we had fun playing off of each other onstage. We LOOKED like we were having FUN up there, and the audience picked up on that and fed it back to us. And despite coming from playing six nights a week back in Jersey, Drummer Mark Edwards taught me a lot about what really made a rhythm section click solid and we worked on it on a daily basis in rehearsal. But, despite all the hard work musically, I began to find myself constantly becoming the brunt of jokes by other jealous

RIK FOX WITH FRIEND VINNIE VINCENT band members on the scene about my Angel-looking hairstyle, and not appreciated for my solid, in-the-pocket playing style. While STEELER’s music was not complex rocket science, you did need to be on top of your game musically which I was, rising to the occasion with every performance. Somehow, that became overlooked. As for SIN, that was where I began to evolve and blossom from crawling to hitting the ground running. I was finally in my element and in complete creative control of my own band, comprising of 4-fifths of us being from NY; I had the fallout members from the Mongol Horde band ALIEN join me in a reformed version of SIN, and we eventually became known as ‘a peoples’ band’. So much so, that in a public music magazine poll, SIN was voted the top-drawing Metal Rock band of the 1984 Los Angeles music scene over Keel, Stryper and Odin, and that meant a LOT. SIN had a completely different attitude compared to the rest of the L.A. bands who tried to emulate us but lacked the NY attitude that the other bands lacked and we became known for. We co-headlined a show with Stryper and supported Keel and the fans went nuts for us. All the hard work was paying off. Although everyone in the band brought something great to the table, I had to refine and fine-tune it thru my vision and the end result made the fans and the club owners and the promoters very happy. SIN headlined almost every show and sold-out venues everywhere. So, to answer the question, I’d have to say it is a toss-up between STEELER and SIN that I feel most tied to. Recording and performing with SURGICAL STEEL was fun, but not as rewarding overall as SIN. RLN: What was your approach to the music played during the 80’s?

Rik Fox: Interesting arrangements from the earlier late 1970’s where sometimes the bass followed the guitar lines…As the 80’s progressed, lots of interesting hook-oriented songs with a simple grooving bass line at the bottom of it all. So it was apparent that one had to write in a similar vein to catch the audience’s ear. Lyrically, all my songs tell a story and as direct influences I cite Aerosmith’s Steven Tyler, and STARZ’s Michael Lee Smith, both true wizard wordsmiths. I LOVED Ronnie James Dio’s writing style as well. But I believe in the essential ‘formula’ rock pattern, great intro hook, and then get to the point. Have a rocking great chorus and a simple but to the point melodic solo, nothing overly complicated. For a successful song to stay on everyone’s minds, in my opinion, the guitarists’ solos should properly underscore what the song is saying and not use each and every song as a personal showcase for showing off. Bottom line: it’s about the SONG. A good team-player guitarist can underscore the song and still show what they can do without overdoing it. A great, tight rhythm section keeps the groove flowing. As long as your singer doesn’t suffer from ‘LSD’ (lead singer disease) which can ruin a band by the singer believing that they are above the team-player core value, then you’ll have a successful band who writes great songs and collaborating is the way to go. Big egos are what ruins a bands’ success. RLN: Rik, can you reveal anything that has been kept hush or tell us any secrets about the 80’s? Rik Fox: Oh boy, could I! (laughing)…I plan on talking about that topic in my book I’m writing. I can speak from personal experience on how fake and plastic a lot of the L.A. music scene has sometimes been. And, of course, once I talk about it, I seem to make enemies because the guilty parties hate it when you shed some light on their dark corner of what they’d rather you keep quiet about and not expose them. Remember that song by The O’Jays? “They smilin’ in your face, all the time they wanna take your place, the backstabbers...”

While most players seem pretty cool, some walk around with egos that need some trimming down and they don’t like feeling like they have to compete with you if your name is more popular than theirs. Some are envious, some jealous, and some are intimidated by you. People talk behind your back and say the most outrageous things about you, and then when they meet you, they have a completely different impression as compared to how you were described to them. Since I left the music scene a few decades ago, I slipped down in popularity, and others have come up in their own and have seemed to established themselves in such positions that they will hold on to at all costs, even if it means openly attacking whatever you’ve achieved in order to keep you from trying to re-enter the scene again. Currently at the time of this interview, I’ve been experiencing just that. Despite concrete documentation and proof as having been an original founding member of WASP, I have been dismissed and discredited just because Blackie Lawless won’t own up to it and tell the truth about it. Now he’s got minions who believe it like gospel scripture. Since he’s in a much better political position to be believed because his track record is longer and better than mine, he censors that truth. So, like Jim Jones, ultimately, there are blind fools out there who swallow Blackie’s Kool-Ade and believe the lies. Now, if and when I get back to a better level of success, then, much of the BS will melt away (or make even more controversy) because then, my side of my personal experiences will seem that much more believable. Essentially, it comes down to this: No matter what you have achieved successfully, there will always be someone who lives to target you and shoot you down--There is no profit in lying, so why not just tell the truth? ‘A lie will be halfway around the world before the truth can get its shoes on’ as the saying goes, so, some blind sheep would rather believe the lies of their heroes instead of the truth from the underdog, right? What’s really funny is that, after the truth finally comes out, they either still disbelieve it based on nothing tangible, or come crawling back begging forgiveness and claiming that they were your friend all along and then, that’s when you let them have it back. In their face. In spades. RLN: Tell us about playing with Ron Keel and STEELER. Did you enjoy playing with Ron and Yngwie Malmsteen? Rik Fox: Truly a learning curve experience for sure. As I stated above, Ron is the consummate professional performer and front man. In looking back, I believe STEELER was always Ron’s band and Ron’s vision, there’s no doubting that. Like myself, he was / is a man with a vision. Sometimes if or when that vision strays from the course you have in mind, for whatever reason(s), then you feel the need to readjust and alter your course to get it back on track. As he has stated, when Ron saw what the L.A. music scene was like and what his original line-up was up against, he felt the need to improvise, adapt and overcome. That’s a given. It just so happened that I had an ad running in a local music magazine and that fate would have it that my ad caught Ron’s eyes, thank God. It was kismet and fortuitous. KISS drummer, the late Eric Carr and I were hanging out and had seen STEELER at The Roxy a few months before and were blown away by them. Ironically, it was Ron Keel who called me and we met and talked. Apparently he liked our meeting and gave me a demo to learn and said to learn the songs and come

back and we’ll see what happens. Obviously history bears out that I not only got the gig, I recorded the STEELER debut album as well. I joined as the new bassist for STEELER in December of 1982, eleven months after I was let go from WASP, and had auditioned for RATT, and rehearsed for awhile with both WARLORD and HELLION. That’s quite a hefty comeback, ha, ha, ha…When STEELER played at The Roxy supporting VANDENBERG, Nikki Sixx came backstage (with Blackie Lawless in tow) to congratulate me and wish me well and success. We took an infamous photo of that moment and Blackie pushed his way into the photo. As for Yngwie, well, a lot of water has passed under the bridge since we both pounded the boards together. It seems that from day one, there was always a condescending and arrogant attitude there and it was only a matter of time before the opportunity presented itself for him to jump ship and leave, which he did to join ALKATRAZZ. Yngwie and Ron were always butting heads over how Ron’s songs were arranged. Drummer Mark Edwards and I could only look on in jaw-dropping disbelief, watching these two arguing and Yngwie literally insulting Ron to his face about how the songs were ‘too simple and couldn’t they be arranged to be more interesting to him to play’. As soon as the album was completed and we did a few more shows, the straw seemed about to break the camel’s back and again, I never saw it coming, but after the last show with the album line-up, I was told that the band was going to ‘restructure itself’ again and that since Yngwie left, that it was time for them to find another bassist to replace me. I have no idea how this was a sound decision, (and years later Mark Edwards told me he agreed in retrospect, that it wasn’t a very sound decision). But STEELER kept enduring line-up changes until it ultimately became KEEL. So your guess is as good as mine as to why all these changes took place. Today the STEELER fans want to see a STEELER reunion and I don’t blame them; I’m all for

one, but, due to an accident, Mark cannot play drums anymore and Yngwie looks at STEELER as a step backwards in his ‘illustrious’ career, leaving only Ron and myself, so, we can’t bring the fans the album line-up. in June of 2013, after I performed two STEELER songs reuniting with Ron and KEEL at The Whisky, Cinderella’s Fred Coury who was there, stepped up and threw his hat in the ring and made it known to Ron and I that if any STEELER reunion were possible, that he’d like to step in and drum for us. And although I would dearly miss not being able to play with Mark Edwards, I’m perfectly OK with that.

As for Yngwie, well, Ron always says ‘never say never’, but I can’t see Yngwie ‘stepping backwards’ to express his gratitude and join STEELER in reuniting with the band that gave him his first opportunity to introduce him the U.S. I was informed that Eddie Trunk, (being a self-proclaimed STEELER fan) and That Metal Show had turned down an opportunity to have the entire band on the show as guests including producer Mike Varney. Now that is really stupid in my opinion and the fans should write to the show and demand to know WHY. I’d personally like to see Rob Marcello step in and clean some clocks…Now that would be a blast for the fans. RLN: You played Hollywood at the same time Motley Crue was playing. Were you influenced by Motley Crue or were they influenced by you? Rik Fox: Actually, Motley Crue was playing the clubs way before I did. I was still ‘new’ in L.A. in February of 1982 and just a ‘fly on the wall’ so to speak, reckoning and seeing how the store was being run. I saw Metallica opening for Crue at The Whisky and getting booed off the stage. So, clearly Motley Crue were never influenced by me or anything I brought to the table, they had already hit the ground running long before I arrived in L.A. and were already very well established in the scene, and I was like a kid in a toy store staring in wonder at all I saw around me. Honestly, I’d have to say that a LOT of the other bands in L.A. were influenced by Motley Crue in one way or another, including myself. When you see something successful you attempt to emulate it as best as you can without ripping it off directly, so you adapt it and try to creatively do something to make it your own. Historically, everyone in rock and entertainment steals or ‘borrows’ from each other, I’ve seen it done and I’ve been stolen from too. The difference is, when I borrow from someone who’s influenced me, I don’t try and hide it, I openly admit it and pay tribute to my source. I loved what Nikki was doing with Motley Crue and I applaud and salute him for what he’s achieved. And, as with Motley Crue’s ‘template’, when I created the costuming concepts for SIN, and we began seeing it resonating with the fans that were coming to our shows wearing variations of our stage costuming, as well as other bands beginning to copy our looks, then, along with our songs, I knew I was doing something original. I’d hoped that, comparatively speaking, for what smaller accomplishments I’ve brought to the table as any kind of pioneer of the L.A. Metal Scene, that someone recognizes what I’ve achieved as well. SIN was an awesome band to see onstage delivering loud catchy and heavy songs and looking awesome; it was a perfect marketing package…I’m certainly not finished by any measure, ha, ha, ha. RLN: Historically, SIN was one of the first bands on the Hollywood glam scene in the 80’s. In your opinion who really started the Hollywood glam era? Rik Fox: Well, allow me to correct that; SIN was clearly NOT one of the first glam bands on the Hollywood scene, there were many others who established that concept long before I ever arrived in Los Angeles. As far as I know, LONDON was one of the first ‘glam’ type of bands to establish themselves in Hollywood, copying their theme directly from the UK bands of the British Invasion such as Mott the Hoople, Slade, Queen, The Sweet and such. The New Jersey band VIRGIN, who became SIN in 1976 also were copying the same British glam bands. But that was long before I ever arrived in L.A. SIN’s image was

not so much ‘glam’ as it was a theatrical approach to a post-nuke image. I had all kinds of apocalyptic themes on the drawing board and sketches of our costume ideas, and stage designs that, unfortunately, never were able to get off the ground after our management and producer (Dana Strum) had their hands involved in the break-up of the band. However, SIN *was* one of the most popular hard-rock, and heavy metal bands on the L.A. music scene and we were almost signed—we had a demo deal and recorded master album demos. I was, in fact, responsible for creating (or pioneering) some kind of theatrical stage design look which, to be perfectly honest- I was influenced by an MTV video of The Police for their ‘Synchronicity’ video - in which we see Sting hanging from a wire dressed in some kind of post-apocalyptic blast-shredded clothing—as soon as I took that adapted concept further for the entire band SIN, other bands then apparently began to imitate and our fans began to come to our shows imitating our look. This went so far as to having Van Halen’s David Lee Roth who came to one of our shows and he was looking me up and down, which I later realized why—2 weeks after he came to our SIN show, the Van Halen video for the song ‘Jump’ hit MTV and there, was DLR wearing an exact copy of my stage pants! KISS’ costume designers were also in the audience for our SIN shows; Paul Stanley was seen onstage shortly after, during the Asylum Tour, wearing a conglomeration of the stage look I designed. What’s really interesting, is at about the same time over on the East coast, in New York, Twisted Sister were also wearing a nearly identical stage look (created by Dee Snider’s wife), with all the similar colorful shredded material-over-black, the same as SIN’s costuming which I designed…Coincidence? Upon sharing a New Years’ concert bill with SURGICAL STEEL in 1986, Lita Ford (and her then-manager) rendered me a high compliment when she saw my self-designed Surgical Steel costuming, and asked if it was made by legendary rock costumer Ray Brown. I stated, ‘no, I made this myself’ and she reacted extremely impressed. RLN: You were interviewed in the 2011 book entitled: ‘W.A.S.P.; A Sting in the Tale’ by author Darren P. Upton. Can you tell us some anecdotes about WASP and what actually happened with you and WASP? Rik Fox: At the time of this interview, it should be known that this has become such a controversial issue among the fans and friends of the band that it has, in fact, seemingly drawn actual battle lines between them; those who believe the truth of my side of the story, and those who disbelieve in the face of it. This is not about money, or personal opinions, but only that proper credit is rendered and recognized. Many of the individuals who are the most vocal about this issue are mostly those who were not actually there in 1982 when all of this took place, but are only those who have chosen to reinterpret what they have heard from second-hand gossip and then attempt to fill in the blanks themselves with their own versions of what actually happened based on bad hearsay. There are one or two individuals who were there, but have, over the years, become hostile witness’ and due to their personal issues of envy and jealousy, have chosen to lie to the public and alter the actual story to the point where it has grown a life of its own which is now, at the root of the controversy and some people just don’t know *what* to believe. As I mentioned in another reply above: It is said that ‘a lie will be halfway around

the world before the truth can get its shoes on.’ First of all, I must begin and render my extreme gratitude and deep appreciation to Darren P. Upton for reaching out to me and having the kind and thoughtful consideration to include me in his book among the other early (and later) WASP band members and to hear my story without any bias…Since his WASP book has been published, it has created an even wider chasm among the WASP universe of fans; We can read for ourselves that most of the former members have no love lost for Blackie and most share a distaste for such a greedy control-freak with boundary issues and bullying issues. Darren informed me that there are two camps of WASP fans that either believe my experience and fully and positively support me as an original founding member of WASP, and then, there is another camp of individuals who were never there, which continuously (and contemptuously) attempts to discredit me, and dismiss my personal experience as being a member of the original line-up of WASP…It’s been quite a ride and I appreciate the fans who continue their unwavering positive support for and to me, because it has not always a very pleasant one. Darren has probably been the most responsible person for helping my story get out to all the fans who, to this day, tell me they had no idea that I was the band member who actually created the bands’ name. Anecdotes I have plenty of. Whether or not they are believed by some of the disgruntled critics is another story, ha, ha, ha. But then, how could my anecdotes be so accurately described unless I was actually there when the critics weren’t, right? OK, right after I arrived at his house on Feb. 4th 1982, Blackie told me ‘If you’re going to lie, lie BIG; the bigger the lie, the more prone people are to believing it.’ And he picked a doozy; following his own advice when he carefully evades the subject of ‘Was Rik Fox ever a band member of WASP?’ Despite the photographic and recorded documentation, some thirty years later, now comes a small horde of critics who have drank Blackie’s Kool-Ade and believe his Big lie. This is why he knew what he was doing when he let me go and demanded that ‘you are not to own any proof that you were ever in this band, and you are to surrender all photos you have of you with the band.’ Now, if that wasn’t premeditated, then I don’t know what is. After we recorded the now-infamous WASP demo, we’re back at his house, and Blackie looks at me and says ‘I’m glad we got you; the search is definitely over for a bassist and I’m happy with how the demo came out.’ I said ‘I hope we can make a good team working together, after all, you’re a Virgo and I’m a Capricorn…and, if Gene (Simmons) is a Virgo and Paul (Stanley) is a Capricorn, so, if that works for them, then…’ and Blackie just smiled at me. Apparently being a good songwriter is not good enough for the guy, he also has to take other people’s ideas and lie that they were his own; After I went to Blackie and told him of my idea for the new band name of WASP, (and the ‘Road Warrior’ look), and we both told the rest of the band, I had no idea that he actually went around telling people that it was *his* idea! WASP / L.A. GUNS drummer Steve Riley confirmed that for me years later, when he came over my place in Hollywood; he said ‘Blackie did this all the time to his other band members.’ Why was I let go from the band? Well, there’s two sides to that; mine and Blackie’s and Blackie is NOT going to come clean and admit it; it would undermine everything he’s ever said about WASP’s origins. The night of their Troubadour show at the after party, Randy Piper told me the story why, that today, he back-pedals and now refuses to admit to. At first, everything was great, a few rough bumps here and there equipment-wise,

but musically, I never saw any problems. We were a tight band and, to my recollection, I locked in tight with Tony Richards’ drumming. All of that can be heard on the WASP demo along with my more melodic bass lines than what Blackie played later on. When Randy is asked about this, he back-pedals and, like Blackie, consistently evades coming out and answering the question directly—that’s a sign of knowing the truth and refusing to say anything out of self-protection or self-incrimination. He knows, musically, there were no problems with me. The honest story I have been told by Randy which he now recants, is that I was let go by a band leader who became angry with me because of, on occasion, one or two girls I brought back to Blackie’s place who had earlier in the evening turned down his advances at a club. I had no idea that this had happened and so, according to Randy, Blackie must have thought that I was doing it on purpose as if to rub it in his face. It was only later that I was told by the girls that Blackie had hit on them earlier in the evening and they said no, but rather came on to me being the ‘new guy’ in town. Apparently this must have become some kind of personal issue with Blackie and so, out of the blue he stops talking to me and I knew something was wrong, but never thought it had anything to do with me. One day he says ‘we need to talk’ and begins to tell me how ‘it’s just not working out with the band, and that I am being let go…I am not to own or possess any photos or proof of ever having been with the band.’ I said to myself, ‘screw that’, and took the negatives and went out and had copies made, and when Blackie found out he flipped out and went berserk, yelling and screaming at me. I handed over most of the photos but not all of them, which, at present are the only proof of my actually having been one of the original founding members of the band. We’ve seen musicians let go from bands for some really ‘out there’ reasons, but for being jealous of ‘the new guy’ and then trying to use the oldest back-pedal in creation of falsely blaming it on him being an inferior player, in the face of an awesome demo, is a clear example of what has become one of the most controversial conspiracies in the world of rock music. When asked directly, Blackie (and Randy) carefully evade answering directly and try to change the subject. That is because they know that admitting the truth will prove that they have, in fact lied to the fans all these years. And because my career is not as accomplished as Blackie’s he is in a much better position to be believed. However, if my career was just as extensive, it would be a different story and my side would be equally as plausible to be believed. I’m just very appreciative to all the WASP fans who have displayed a huge amount of positive support in the face of all this and they know the truth will prevail. As for my dismissive critics flaming up the social media internet, instead of living their own lives and staying out of my business, all they are really doing is blowing a lot of hot air, pontificating from their own soapboxes to gain their own attention by discrediting me. WHO CARES who these idiots are?!? Opinions are like assholes, it is said, and everybody has one. A few of Blackie’s fans have become obsessive Internet stalkers in Facebook over all this, and insist that ‘in their opinion’ that the original line-up of WASP were the members who recorded the first album. Look, it’s all very simple: Blackie was with The New York Dolls for the very last TWO shows of the last two weeks of their last tour. Are there any photos? No. Any recordings? No. Any proof of this? Not in print so far. Does everyone believe Blackie’s

claims? Yes, without a doubt... Why? Because he’s BLACKIE LAWLESS. Conversely, I was with WASP for FOUR MONTHS. Did I record with the band? Yes. Did I create the band’s name? Yes. Did Blackie arrange for a band photo shoot? Yes. Are there photos? Yes. Did Blackie try to forbid me from possessing any of those photos? Yes. Premeditated? You bet. He KNEW what he was doing. Do some fans believe all this? No and Yes. And there, is where the line in the sand is drawn. And in that line in the sand, having been drawn, I have lost a few old friends over this stupid controversy, but also gained a few new ones. I’m not the one who gets overly agitated about all this; the idiot morons who are attacking me are the ones who keep stirring all this old news up, but they blame me for what they, themselves are doing. But yet, there are critics, who were never there in 1982, and insist on claiming that in the face of the recorded and photographic documentation of my being an original member of WASP, that it means nothing and proves nothing unless or until they hear it from Blackie himself. How ridiculous can you be?!? People can believe whatever they want; it doesn’t change the fact of what I lived thru in my personal experience as an original founding member of WASP. And so, until a better day, when truth shall reign, the controversy rolls on. I salute the WASP fans everywhere who still stand by me. RLN: Rik why do you think the 80’s are re-igniting? I mean, it is like it’s 1985 in Colombia, South America; it is happening here in Italy and it is apparent all over the world that the 80’s and even the 70’s styles are becoming enlivened again. Rik Fox: Well, I recently signed with Premier Records label here in the U.S. and I have a new band project called “RIK FOX’S ANGRY ANGELS”… so I look forward to rocking for you all someday and watch for my musical releases; I have plans to release a Rik Fox Anthology of highlights of some of the bands I made my mark with… but in light of the fact that there is nothing new coming out that resembles the 80’s bands or 80’s types of music and presentations. So, from what I can see (and I might be out of the loop here) it’s all harder thrash type of bands with bald heads and goatees…? Not that there’s anything wrong with that, but that image is so NOT 80’s…the 90’s Seattle scene took care of that. But, that being said, everything old is new again. Why do you think there is such a proliferation of 80’s’Tribute’ bands? Because everyone misses all the FUN that those types of bands brought to the stage and 80’s bands look a little silly with bald heads and goatees, LOL Just kidding. We’re ALL older now, us veterans of the 80’s music ‘wars’, so all we can do is bring you what you loved without all the glammy splashy looks, but deliver the same hard rock with the same intensity. That last 80’s generation of players are reuniting (except STEELER it seems so far) because that is where what is left of the market still lives. Especially, mostly in Europe now, where it is still very much alive and the fans are still very supportive of it. In the U.S. the market is all but dead, or drying up; greedy promoters take all they can get off the top without lifting a finger to promote in the traditional sense as they used to (all the older Jewish guys like Bill Graham who were great promoters in the ‘Old Guard’ have retired with nobody competent enough to take their place), bands don’t draw like they used to, venues don’t want (or have the money) to pay everyone’s asking price, everyone’s asking for enough (or more) to make a profit from, and many performers are going broke in the process.

in the 80’s and have cut back on a fair amount of support unless you are a member of an upper-level range touring act. Lots of players are like hired guns, jumping from band to band just to keep playing out there. Things are hurting all over here in the U.S. and somebody needs to get organized enough to re-boot the program back into a state where everyone is happy and makes some money.

Now, you have to produce your own CD albums (which cuts out the middleman--but also cuts your traditional tour support), so you have to sell your CD albums at your shows and hope you sell enough to make some kind of profit to pay for your tour. Throw in t-shirts which are now being sold at an INSANE pricing and you MIGHT make enough for a hotel instead of sleeping in your vehicle. Then there’s negotiating your position on the concert bill, who’s greasing whose palm, etc. You’d really better LOVE what you do, because there is very little money in it anymore. Thankfully most of the countries outside of the U.S. still have markets of opportunity to support all that American 1980’s rock music and I salute all who do; you’re helping to keep the dream and the spirit alive. As the late Ronnie James Dio used to say: ‘Good on ya!’ Thanks for having me and keeping an open mind! Mille Grazi! Cheers!

Rik Fox website: Rik Fox Reverb Nation Page: http://www.reverbnation. com/rikfox Rik Fox Face Book Main Profile Page: And: Rik Fox Fan Page Facebook Group: (It’s a closed group, you can only post or see it if you’re a member)


Rik Fox Discography / Credits [Source: Wikipedia] With the Martian Rock Band 1975 New York City, N.Y. No recorded releases. Band photos by Leee Black Childers/Mainman. Several live performances (including the Max’s Kansas City and CBGB’s) Band photos, no demo, no known video. With SIN 1977 First Sin Demo- Rock ‘n Reel Studios, L.I., N.Y. September 1977 “Lady Killer” (Rik Fox), “Dance Momma, Dance” (Ian Criss/Rik Fox/Vinnie Matthews), “Slasher” (Ian Criss), “Little Girl” (Ian Criss. Rik Fox). Band photos and demo only. No known video. With The E. Walker Band 1980–81: Cover band - New Jersey/N.Y. Demo session/original songs. Bass credits only. Live Performances six nights per week, 1980–1981. Band photos and demo only. No known video. With Aggressor 1982 Cover band - New Jersey/N.Y. Live performances / band photos only. Shrapnel Records recording artist, Guitarist Dave Ferrara was band member. No known video or recorded material with Fox. With W.A.S.P. 1982 W.A.S.P. Demo (mistakenly referred to as ‘Face the Attack’), Magnum Opus rehearsal Studios, Buena Park, CA. April, 1982 Six songs. Wrote and played bass on; B.A.D. School Daze On Your Knees Sleeping in the Fire Hellion (One song not properly credited) “Master of Disaster” (Blackie Lawless/Rik Fox-Bass & lyrics). No live performances – band photos by Don Adkins Jr. With Warlord 1982 No Recorded releases/ no known band photos – taped rehearsals only. With Hellion 1982 No recorded releases/ no known band photos – auditions/rehearsals only. With Steeler 1982-83 Steeler Debut album, Prairie Sun Recording Studios, Cotati, CA. Shrapnel Records release. Recorded bass – entire album/all tracks. One cut credited: “Abduction” (Theme). Live performances March 1983—May 1983. No known video of this line-up. Studio: 1983 - Steeler Steeler 1983 Live: Steeler Excited ‘83, (Live album) Perkins Palace, Pasadena, CA, USA Metal Generation: The Steeler Anthology With Chris Impeliteri – 1983: Rehearsals only /produced no known product/photos. With Sin 1983 Sin (L.A. Mach I), Snake picture disc single released: “On the Run” (Rik Fox/H. Drossin), b/w “Captured in Time”. Now considered a rare collector’s item. Several live performances, band photos, no known video available. 1984, Sin (L.A. Mach II), Demo, Sunburst Studios, Culver City, CA. September 2, 1984. Producer: Rik Fox. Eight songs. Writing credits: “On the Run” (Fox/Drossin), “Ladies man” (Fox/Martel/Starr), “I’m No Angel” (Fox), “Vendetta” (Fox/Martel/Kristi). Dozens of live performances, band photos, no known video available. 1985 SIN (Album Master Demos), Kendun/Encore Recording Studios, Burbank, CA. Producer: Dana Strum. Four songs. “On the Run” (Rik Fox), “Don’t Say Goodbye” (Kristi/Starr), “We Got Your Rock” (M. Coopersmith), “Break Down the Walls (That Stop the Rock) (Fox, Kristi/Martel).

With Burn 1986/87 No Recorded releases/no known band photos – rehearsals only. With Surgical Steel 1986-87 Debut album, El Chaton Studios, Phoenix, AZ. Producer: Dan Wexler. Eight-nine songs (?) Unspecified. Song credits two (?), recorded entire album. Recorded with Dokken drummer Mick Brown on one track. Album Project unfinished/shelved; lack of budget to complete project. Several live performances including support for Lita Ford. Band photos, no known video available. With Thunderball 1987-88 Demo, Pro Rock Studios , North Hollywood, CA. Producer: Rik Fox Three songs. “Gypsy Brandy” (Rik Fox), “Love Trap” (C. Freeman/J. Aguar), “Cry of Love” (Fox/Mazzola). Other songs: “Back in Action” (Fox/Mazzola), “Bitchin’ Bewitchin’ “(Fox), “The Fire Still Burnz” (Fox/Mazzola). Several live performances recorded on video, band photos. With Dr. Starr & the Medics 1989 One Live Guest Performance, Phoenix, AZ. No known video. With Saints Ghosts & Thieves 1990 (w/ Carlo Bartolini from Dramarama) One Live Guest performance, Madam Wong’s West. No known video. With Johnny Crash 1990 Johnny Crash debut album “Neighborhood Threat”. Song: “Freedom Road” - Background vocals - no known promotional photos or video documentation available. With Kings Horses (with Randy Piper of W.A.S.P.) 1991 One live performance, The Waters Club, San Pedro, CA. Live photos, no known video available. With Flyboyz 1992 Demo, Five songs. Two songs credited: “Fascination” (Rik Fox), “Bad Reputation” (Fox/D. James). Several live shows - no video. With Spiders & Snakes 1993 Two live performance, several live band photos, no known video. 2014: Recorded bass tracks for the re-make Rascal’s song ‘I Ain’t Gonna Eat Out my Heart Anymore’ Spiders & Snakes 2014 album release ‘The Year of the Snake’. Several show performances videotaped and uploaded on to YouTube. Live Guest Performances With: Mark St. John (KISS) 4/1/1987 1988 “Rock ‘n Roll”—Joshua’s Parlor, Orange Co. CA. Sam Kinison, 7/26/1986 “Wild Thing”-The China Club, Hollywood, CA. (Including John Goodman, Steven Van Zant, Randy Castillo, Jean Beauvoir, Randy Hansen). Ronnie James Dio (Dio) 2013 to Present “We’re Stars” - Irvine Meadows, (Sacred Heart Tour show), and the following weekend with Rough Cutt at the Country Club, Reseda, CA. Several All-Star Jams in Los Angeles “Cold Day in Hell” and “Serenade” with Keel at The Whisky a Go-Go, Hollywood, CA., “You Drive me Nervous” , “Touch Too Much” at The Dave Brown Cancer Charity Benefit at Paladino’s Club, with Betsy Bitch and her ‘Knockers’ band. Several Kevin Estrada (Photographer) Birthday Jams and a performance at the Rock Against Trafficking Benefit with both Kevin Estrada and Spiders & Snakes. “The Trooper” at Lucy 51’s Club with August Zadra, Pauly Z and Brian Tichy, Several performances with Los Angeles bands White Lie and Spiders & Snakes. (all video performances on YouTube)

Mark Edwards, Ron Keel, Yn

ngwie Malmsteen, Rik Fox

Mark Edwards, Ron Keel, Yngwie Malmsteen, Rik Fox.

Listen to the Album>

Rik Fox WITH FRIEND Nikki Sixx

Rik Fox - Ron Keel - Yngwie Malmsteen

“The Winged Knigh


Former Steeler - Sin - Surgica Rik Fox at the GHS Booth r

ht of Heavy Metal”


al Steel Original WASP Bassist rockin’ a demo performance.


Madcap Music Review’s John Golde


en interviews Rik Fox at NAMM 2014


MAGICK MU Reso Perhaps we need more of what we crave, or, a form of it because we could be craving a type of balance that we need that includes either that drug or something similar. And possibly it is illegal for a financial reason. See previous articles about who controls what with money. There is plenty of info available about magic mushrooms including from Johns Hopkins. But, psilocybin helps treat drug addiction — including cocaine and tobacco addiction. This video, produced by http://www.reset. me, highlights how psychedelic medicines are saving lives worldwide. Numerous studies show these substances are non-neurotoxic, non-addictive and are having profound effects curing some of the most stubborn mental health disorders by helping people purge bottled up trauma.

Psilocybin Could Cure Alcoholism - High Times Magazine

Bill Wilson, the founder of Alcoholic Anonymous, went to his grave convinced that psychedelic substances could provide alcoholics with the “spiritual awakening” needed to continue down the road to recovery.

Medical scientists stunned as “magic mushroom” treatment found to heal mental illness… yet it remains illegal

Matthew Johnson who conducted a proof-of-concept trial using psilocybin to help heavy smokers quit at Johns Hopkins University in Baltimore, Maryland

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Terrence Mckenna

Terence Kemp McKenna (November 16, 1946 – April 3, 2000) was born and raised in Paonia, Colorado, with Irish ancestry on his father’s side of the family. was an American ethnobotanist, mystic, psychonaut, lecturer, author, and an advocate for the responsible use of naturally occurring psychedelic plants. He spoke and wrote about a variety of subjects, including psychedelic drugs, plant-based entheogens, shamanism, metaphysics, alchemy, language, philosophy, culture, technology, environmentalism, and the theoretical origins of human consciousness. He was called the “Timothy Leary of the ‘90s”, “one of the leading authorities on the ontological foundations of shamanism”, and the “intellectual voice of rave culture”. [Wikipedia]

Terrence Mckenna - The Shamans are the tech’s - 798,748 views

Natural Healing Works How Psychedelics Are Saving Lives Mushrooms of Superior Reason

“We are not alone and isolated. Nothing is isolated. We are each a uniquely evolving pattern of energy.” —Terrence McKenna

Discover You. Go Inside Yourself. Brain-Soul-Consciousness: a synthesis of ideas (in progress). It’s about the energies that are your soul. You. Not the body. • Tetrahedronal energy fields. • Resonant rotating fields. • Pentagonal energy fields.


CK MUSHROOMS Trippy Vibrations of Music

Mysteria - Awake Inside a Dream From the album: Tempting the Muse If you stripped away this shadow And if these eyes are windows I am lost without you.

What gives to this empty heart of mine Yesterday was cold, oh I can’t hide I am lost without you. Everything I didn’t know I need.

It falls around me like some long lost dream. Everything I didn’t I know I need. It falls around me like some long lost dream Like a desert rain Can you trust this? Can you trust this? Try.


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It Still Hurts - in memory of Lemmy Kilmister “It Still Hurts� It still hurts, I still weep Over promises we keep It still hurts, I still bleed Over promises we keep It still hurts, I still weep Over promises we keep It still hurts, I still bleed And the promise that we keep Will stay forever Do you know What happened to me? After we threw it all away Yeah, everyday I drowned in sorrow And just in case you want know If I can feel the pain It still hurts, I still weep Over promises we keep It still hurts, I still bleed Over promises we keep It still hurts, I still weep Over promises we keep It still hurts, I still bleed And the promise that we keep Will stay forever I try to go on But man it took a long time I through that your fate HJE&h=eAQFQ8nCp Would never change But somewhere you were Changing your mind And every day I feel the pain Driving me insane




Hal Patino's Nature of Substance, Quality & Individualism By Londa R. Marks | 3 September 2016 FROM OCTOBER ISSUE II VOL. II HAL PATINO FEATURE & INTERVIEW legend_news_october_2016_issue/1?e=0 It is one thing to be an awesome presence but

to be a person of substance as well is even better — and rare, like Hal Patino. Hal commands respect, but not in the sense that he verbally asks for it. He just automatically commands it because of the presence he has worked hard to obtain; a type of artistic quality, maybe having to do with his Italian name or possibly even Italian blood. I don't know, but I do know that Italians are very much like that. They work very hard to become the best they can be as a person, and more importantly, as an individual. Going through Facebook newsfeed I came across Hal's photos and realized how one photo was the perfect magazine cover photo for this issue. So I contacted Hal seeking his permission to use some photos for the review and casually mentioned that I would do an interview if he wanted. Hal, kind of took me aback by how gentlemanly he is, how kind and

VISIT HAL PATINO FACEBOOK WATCH THIS GREAT HAL PATINO VIDEO It was apparent from the few times we communicated that Hal Patino is by far a man of substance and not just a magazine cover. This is fairly obvious by his presence and actions overall but you never know until you communicate with someone who they really are. To be someone of intelligence, humble and provacative while communicating with compassion is generally surprising. Some things can easily be misconstrued and accepted while twisting it to fit negative perspectives in the world today. There has been much said about why Hal Patino is no longer with King Diamond that I think something important has been overlooked. Hal is a human being, he is not owned by anyone. He contributed 19 years of his life to King Diamond, a company owned by King Diamond, when Hal could have had his own company. Regardless of what happened with Hal no longer contributing to King Diamond's company, he did aid King Diamond's ideas and fortunes by being an important ingredient in the King Diamond chemistry but Hal also gained from the experience, of course. It is obvious that Hal Patino easily stands on his own though and time for Hal to develop his own creative ideas and express

them in his own way. There is absolutey nothing wrong with that no matter how it is rationalized, including the satanic accusations which like any religion stems from artistic creative ideas and creative execution. Believe it or not.

HOLLYWOOD, CALIFORNIA - ARE YOU READY !!! First show announced for the upcoming North American Tour 2017, at the world famous Whiskey A Go-Go, January 23rd.



henry howard


enry Howard, relocated from Tampa, FL where he was Artist Relations, Head of Quality Control and the Set-Up Dept., for 5 1/2 years at DEAN and LUNA GUITARS. Over the course of 5 1/2 years with Dean, Henry worked on set-ups of over 75,000 instruments. Henry says, “I needed a break from pointy guitars (ha ha).” In 2009 Henry relocated and founded "GUITAR WORX" in Folsom, CA, then in May, 2013, returned to his home state of NC, servicing musicians in North and South Carolina.  “Every guitar is different. I take everything into consideration: string gauge, tuning, playing style, etc. Everything factors in, and I apply it so it is perfect for you. I work on  electrics, acoustics, basses, banjos and mandolins. I also electrify acoustic instruments. To everyone who has already used my services ... Thank You! It has been a pleasure meeting you and working on your instruments. I pride myself for

Henry Howard has set-up and or customized instruments for: Dave Mustaine (Megadeth) - Michael Schenker (U-F-O, M.S.G., - Rudolf Schenker (Scorpions) - Vinnie Moore (solo, U-F-O) - Leslie West (Mountain) - Michael Angelo Batio - Uli Jon Roth (Scorpions/solo) - Jerry Cantrell (Alice In Chains) - Chuck Golf (Toby Keith Band) - Jeff Berlin (studio bassist/Jazz legend) - Randy Jackson (American Idol "Dawg," Top producer, pro bass player) - Sammy Hagar - Chas Cronk (Strawbs).  Plus assorted or the collective members of: Blackfoot - Molly Hatchet - Kansas - Trivium - Sevendust Morbid Angel - Mushroomhead - Deicide - L.A. Guns - Vicious Rumors - Cannibal Corpse - GWAR - Saliva Girlschool  ...... 100's of professional (satisfied) players. "I would like to add you to the list. Regardless if it's a budget model from Musician's Friend or Guitar Center, I can make it play better for you." —Henry Howard


k music > ger-albert-collins-ronnie-montrose-gary-mo


Pete Way Facebook Group Member Drummer Menace Child’s band:

Forgotten Child Forgotten Child Posters Available 20×36 super huge full wall posters (left) All original. In-box Menace Child for your copy: Forgotten Child Label: Cult Metal Classics Genre: Hard Rock Members Patrick Kane: Vocals Johnny Childe: Guitar Vincent Krash: Guitar Trace Douglas: Bass Menace Childe: Drums Hometown Los Angeles, CA, United States Menace & Pat starred in the Skid Row ‘18 & Life video.

Menace and Johnny in an old shot from the LA days!

“I never give th tell the truth a it’s hell.” —H

hem hell. I just and they think Harry Truman

magick of italy never stops In this section are depicted a few of the artisans in Firenze and Pisa who have become friends. When you come to Italy, be sure to visit them at their shops.


Photographer Brian Foldenauer

When in Firenze, Visit My Francesco

La Bottega d Via dei Federighi 3


They Have the Good Stuff

y Adorable, Creative Friends & Elisabetta

della Frutta 31 r Florence, Italy


ff! Organic Foods & Wines.

Londa R. Marks Studio Firenze, Italy Furniture By

Nassi Restauro Antichita Pisa, Italy

“Genius is eternal patience.” – Michelangelo Buonarroti


Rock Legend News January 2017  

Featuring Interview With Rik Fox Bassist: W.A.S.P. - Steeler / Yngwie Malmsteen - Sin

Rock Legend News January 2017  

Featuring Interview With Rik Fox Bassist: W.A.S.P. - Steeler / Yngwie Malmsteen - Sin