Backstage Auctions’ Rock Gods and Metal Monsters 2015

By: Pat Prince, Editor of Goldmine Magazine

On June 20, Houston-based auction house Backstage Auctions will begin its annual Rock Gods and Metal Monsters Auction. Consisting of memorabilia from iconic rock ‘n’ roll artists and the heaviest bands on the planet, the Rock Gods and Metal Monsters Auction is as interesting and rock solid as any annual music auction there is.
Gene Simmons body armor from the KISS Psycho Circus tour.

Goldmine asked Backstage Auctions owner Jacques van Gool a few questions about the upcoming Rock Gods and Metal Monsters Auction, which runs June 20-28 (special VIP preview June 13-19) and will feature over 1,000 hard rock and heavy metal auction lots. 


GOLDMINE: Why and when did you decide to make the Rock Gods and Metal Monsters Auction an annual event?

JACQUES VAN GOOL: Well, let’s see, this is our fourth one in four years, so 2011 was the first time. The reason why is multiple; it’s a lot of fun, we’re very comfortable handling “all things” Hard-Rock and Heavy-Metal and most importantly, there is a growing number of collectors who wants Metallica, Megadeth, Anthrax and Slayer over Jefferson Airplane, Grateful Dead and the Beach Boys.

GM: In your opinion, what artist is a perfect example of a ‘Rock God,’ and then a ‘Metal Monster’?

VAN GOOL: Ha, that’s a interesting question. When I think of a Rock God, I’m visualizing a music icon with universal reach and Rock and Roll Hall of Fame level accomplishments. Actually, that might not be such a good answer because the Rock and Roll Hall of Fame is hardly the yardstick for what’s relevant, but figure of speech…think KISS, Ted Nugent, Steven Tyler, Angus Young, Eddie Van Halen, Rob Halford, Lemmy etc.

Metal Monsters are the guys and girls who are the gorilla glue that keep this metal community together. They all are and have been carrying the metal torches and flags for decades and they are the ones who have written and performed the metal anthems that so many of us grew up with; Scott Ian, Dave Mustaine, Gary Holt, Alex Skolnick, Lita Ford, Mike Portnoy and so on. Not surprisingly, we have many Metal Monster consigners!

GM: How is heavy metal becoming the new genre to collect?

VAN GOOL: For starters, I think it’s an age thing. Right now the most active demographic that collects are people, mostly male, between the ages of 35 and 55, who grew up on music from the 1980s and 1990s. Setting aside a few big pop stars, those were the years of heavy metal, hair metal,
Paul Bostaph (Slayer) gloves, sticks and drum head.
thrash metal, industrial metal, grunge rock, as well as the early days of nu-metal. The other reason is that ‘anything’ rock and metal has always created a more fanatical crowd due to the whole counterculture element. The metal genre has created – and continues to create – a high level of loyalty. Once a metalhead, always a metalhead. Combine that with the graphic element of metal – something that is exceptionally strong and important, and you will find a community that expresses their love for ‘their kind of music’ through t-shirts, patches, buttons, fashion, posters, vinyl, etc. Even if you don’t care for metal, you simply can’t deny the cool factor. Do you want to hang a poster of a weepy dude with an acoustic guitar on your wall or would you like to see Manowar getting ready for battle? Next…!!!

GM: Are other ‘80s genres coming to the forefront of collectibility?

VAN GOOL: Not as strong but I certainly see potential for (British) New Wave and Synth-Pop (New Order, The Smiths, The Residents, Kraftwerk) and Post-Punk. Clearly 1980s Pop – or at least the A-list – has already been collectible for quite some time now, such as U2, Madonna and Prince. It would be nice to see those genres grow in collectibility, albeit that I don’t believe that it will happen in the same way and format as selling 1960s and 1970s collectibles.

Lita Ford (second from left) wearing her famous black cat suit from the early Runaways days (see on display below, left).
GM: Talk about some of the highlights of this year’s Rock Gods and Metal Monsters Auction, and why.

VAN GOOL: This is such a hard question, simply because I think that most of everything that we
Lita Ford's black cat suit.
have in the auction is special, no matter how large or small. There is Lita Ford’s famous black cat suit from the early Runaways days, or a fully-signed bass drumhead from the first ever American show of Venom in New York. Mike Portnoy and Charlie Benante both are offering a complete drum kit – which is a first for both of them, but then we also have a multitude of impressive guitars from various rock stars. You can bid on Marilyn Manson’s tour-used army hat, Tommy Lee’s drum sticks, Stephen Pearcy’s microphone grip or Gene Simmons body armor from the Psycho Circus tour. And speaking of KISS, we have the ‘oldest known to exist’ fully-signed promo photo which is a museum piece all by itself. There are hundreds of backstage passes, guitar picks, autographed items, record awards, tour shirts and jackets…the catalog is not for the faint of heart.

GM: There seems to be a growing amount of ‘gear’ at music memorabilia auctions nowadays. Do you find that collectors are usually musicians themselves when collecting musical gear?

VAN GOOL: No, not really. I mean, sure, a good number will buy amps, cabinets, road cases, microphone stands etc. to actually use and enjoy, but I know that there is an equally large number of people who simply buy gear for display purposes. I have seen people turn road cases into coffee tables, storage bins and even cabinets and book cases. These days an amp or cabinet makes for an equally attractive piece of decorative furniture than for example a birdcage or a fake bamboo plant. And it’s a better conversation piece too!
Lita Ford case, featured in the auction.

GM: You just had a distinct metal auction with Rex Brown of Pantera. Will there be more Pantera memorabilia available from this auction?

VAN GOOL: Yes, there will be a few more pieces. There are about 10 lots from Rex in this auction and another equal number of items coming from other consigners, such as some passes, picks, itineraries, record awards, etc.

GM:  Are the artists usually easy to work with? Do they ever go through separation anxiety after the commitment to auction off personal possessions?

VAN GOOL: I don’t know if ‘easy’ is the right word but I personally have been able to build very good relationship with all our metal consigners. Two things you have to know; metal artists are known to have to do a lot on their own and most had to build their band (and brand) from the ground
Rare Scott Ian (Anthrax) guitars, set to be auctioned. 
up. In other words, for the most part they are self-sufficient and generally knowledgeable about the business side of things. The other element is that metal artists generally have a very strong bond with their fans. They are very comfortable with exposure and don’t hide behind a bodyguard who will whisk them to a blacked-out limo. So, if you can speak their language, understand their drive and history and most importantly, be honest, you’ll end up doing just fine.

GM: What is next for Backstage Auctions after the Rock Gods and Metal Monsters Auction is over?

VAN GOOL: Vacation, R&R, trips to the reflexologist, kicking in a dent in the 100 or so saved shows on my DVR and maybe even a nap or two. After that we are getting ready for a ‘one-of-a-kind’ auction on behalf of a former British photo agency with tens of thousands of negatives from the 1960s and 1970s U.K. Rock & Pop scene, as well as a Classic Rock & Pop auction later in the year. Meanwhile, we’re also looking at a few ‘stand-alone’ auctions for some A-list clients…METAL clients that is!


The Rock Gods & Metal Monsters Auction is set to go live on June 20th. A special VIP preview will start on June 13th. To get your All Access VIP Auction pass visit the registration section here: VIP Access

#RGMM2015

CD Review: House Of Lords – Indestructible

CD Review: House Of Lords – Indestructible
Frontiers Music
All Access Rating: B+

House Of Lords - Indestructible 2015
It doesn't take an advanced degree in psychiatry to diagnose the split personalities of House Of Lords.

The latest citadel of progressive pop metal erected by James Christian and friends balances heavy thunder with sweeping melodic grandeur, as the Frontiers Music release Indestructible strives to serve two masters and does so with aplomb, the brawny, rumbling riffs and charging assaults of thrill rides "100mph" and its more atmospheric alternate universe "Die to Tell" dissolving in giant swells of dark, majestic choruses.

Unlike the somewhat generic and uninspired Precious Metal, released in 2014, Indestructible finds its footing instantly, the lyrics proving more thoughtful and deep than before, and blazing rockers like "Go To Hell" and the title track forcefully announcing their presence. As calculated and progressive as Queensryche, with the bittersweet, soaring "Pillar Of Salt" a particularly grandiose composition, House Of Lords can also craft memorable and compelling pop hooks, such as those summoning listeners to "Call My Bluff" and "Another Dawn" like beautiful sirens.

Together for a decade now, the House Of Lords lineup of Christian, guitarist Jimi Bell, bassist Chris McCarvill and drummer B.J. Zampa seems intent on sticking around, the seamless transitions from crushing metal riffs to expansive, spellbinding choruses on Indestructible and ability to design passages connecting them demonstrating they are fully capable of producing power and beauty upon command. This isn't the House Of Lords of Gregg Giuffria or Chuck Wright, but then again, their DNA is similar. Don't write them off yet. Their best days may still be ahead of them, even if they just can't resist tossing in a saccharine ballad like "We Will Always Be One."
– Peter Lindblad

CD Review: Trixter – Human Era

CD Review: Trixter  Human Era
Frontiers Music
All Access Rating: A-

Trixter - Human Era 2015
Don't tell Trixter they're hopelessly stuck in the '80s. To anyone who says time has passed them by, singer/guitarist Peter Loran would like a word.

In the title track to the pop-metal merrymakers' utterly infectious new Frontiers Music release Human Era, Loren, with complete conviction, sings, "Here we are now, not dated/A little torn and not so jaded." That last word should be stricken from Trixter's vocabulary.

Always optimistic and upbeat, with a penchant for making rousing, feel-good rock anthems and a healthy respect for the holy trinity of drums, bass and guitars, the Jersey boys who were big in the late '80s fly high on Human Era, slapping a new coat of sonic paint on an old formula, this bright, energetic follow-up to their 2012 reunion album New Audio Machine coming off as unexpectedly fresh, fun and exciting. Just don't get too caught up in lyrics that are rife with recycled themes and worn-out cliches.

Only the most miserable, joyless bastard on the planet could find fault with the charming and irresistible "Not Like All The Rest" and its engaging hooks, and the brilliant, affecting melodies and galvanizing choruses just gush from "Every Second Counts," "Good Times," and that aforementioned title track. Jon Bon Jovi wishes he had a song like any one of those three still in him, and the rushing excitement and soaring vocal harmonies of "Midnight in Your Eyes" could make Def Leppard question its continued existence. More frenetic and lively, "Crash That Party," "Rocking To The Edge of The Night" and "For You" testify to Trixter's surprisingly youthful vitality, as Loren, lead guitarist Steve Brown, bassist P.J. Farley and drummer Mark "Gus" Scott – whose playing has never been sharper as a unit – usher in the Human Era.
Peter Lindblad 

Picking through 'American Trash' with Jean Beauvoir

Former Crown of Thorns mates team up on new album
By Peter Lindblad

Beauvoir-Free - American Trash 2015
Names tend to get dropped all over the place when discussing the unique and fascinating careers of Jean Beauvoir and Micki Free.

Once upon a time, Free plied his craft in a reconfigured Shalamar, filling in after Jody Watley and Jeffrey Daniel left the glittery disco-driven soul/R&B outfit.

With Shalamar, Free earned three Grammy nominations, helping make "Dancing in the Sheets," from the Footloose soundtrack, a Top 20 hit in 1984 and actually nabbing a Grammy for 1985's "Don't Get Stopped in Beverly Hills," included in Beverly Hills Cop. Free and his striking looks later gained more recent fame when he was, at least in part, the subject of a famed "Dave Chapelle Show" sketch, with none other than Eddie Murphy's brother, Charlie Murphy, making mention of photogenic features.

And then there's Beauvoir, a former member of scandalous New York City punk provocateurs The Plasmatics – famed for their destructive, and often lewd, behavior and the shocking theatrics of Wendy O. Williams – and later a part of Steven Van Zandt's Disciples of Soul, before his song "Feel The Heat" caught the ear of Sylvester Stallone, was featured in the movie "Cobra" and became a Billboard Hot 100 hit.

Jean Beauvoir and
Micki Free
All that doesn't even begin to scratch the surface with these two, who've individually collaborated over the years with the likes of The Ramones, KISS, Debbie Harry, Billy Gibbons of ZZ Top, Carlos Santana, The Pretenders, Lionel Richie, Queen's Roger Taylor, former Yes guitarist Trevor Rabin and the list goes on and on and on. Not to mention that Beauvoir once served as musical director for Gary U.S. Bonds and sang lead with doo-wop legends The Flamingos.

Behind the scenes, both Beauvoir and Free have grown into powerful entertainment executives – Beauvoir having partnered with such industry heavyweights as Richard Branson, Ted Fields and Jimmy Iovine, and the aforementioned Little Steven of Bruce Springsteen's E Street Band, "The Sopranos" and "Little Stevens Underground" fame, among others, and Free, proud of his Native American heritage and making more gritty, bluesy rock concoctions these days, working with Hard Rock International and the Seminole Tribe of Florida.

Their paths crossed again in the early '90s when Beauvoir – conspicuous by his flowing blonde Mohawk hairstyle – and Free founded the melodic hard-rock combo Crown of Thorns, a much-beloved group that gained popularity throughout the world.

In 2003, they reconnected, both of them having moved back to Los Angeles. Reviving their partnership, they set about writing and recording a new album titled American Trash under the Beauvoir-Free moniker that's just about to be released via Frontiers Records. Big, soaring choruses that make your heart burst, powerful hooks, strong vocals and thick, tasty riffs are the stuff American Trash is made of, and it features some of the best songwriting they've ever done together or apart.

Beauvoir talked recently with the All Access blog about the new record, his creative partnership and friendship with Free and his incredibly diverse career. 

The new album is fantastic. Explain how you and Micki reconnected and decided to record together again. And what do you remember about meeting for the first time?
Jean Beauvoir: Thanks!!! After the split following the debut, we reconnected some years later finding ourselves living in the same neighborhood in LA. We started hanging out together and talked about recording or playing together again. We did a couple of gigs in the UK, Hard Rock Calling main stage with Springsteen, Aerosmith etc. It was fun! I mentioned to Frontiers that we were thinking about doing a new album, they were into it and so we made a deal.

I actually met Micki back in the '80s when he was with Shalamar. We'd run into each other hanging out at clubs in Paris, N.Y. and L.A. We each thought, "Yeah, that is cool! We should do something together someday."

Why do you think you and Micki work so well together? And how have you grown as songwriters?
JB: We have similar ways of thinking and we just have fun doing it. We take a real casual approach. We sit at my house with a couple of guitars, like we did at the beginning and it just flows. He'll play a riff, I immediately hear a melody and it turns into a song. I think the growing comes with the more you do it, the better you get.

As with Crown of Thorns, there’s a wonderful blend of meaty guitar riffs and melody. How did the making of this album hearken back to the days of Crown of Thorns for you and how did it differ? 
JB: That's always how I see things, good riffs and good melodies. That's the recipe in my eyes. From the first Crown Of Thorns record, to the other albums I did after Micki and to anything we do together or separately. We like good music, melodies and songs that move you, make you feel. So we try to make that happen whenever writing.

Where does the title American Trash come from?
JB: It has two meanings on this album. Not in a negative way, but we were hanging out together and the name came up. We feel in some ways we're outcasts – I from the Plasmatics, Micki always being a rebel and we both always kind of go against the grain. Also, in the song, it's an imaginary strip club. I was in Key West and went to see a cool rock and roll DJ named Rocko; he's a big rock fan and he told me, "Jean we need some great rock tracks for me and my DJ friends to play in the strip clubs across America!" It kind of inspired me and made us think of how those clubs and the girls have always been sisters to rockers and have been supporting rockers while they were trying to make it. We decided to write a song that would pay homage to them.

“Shotgun to the Heart” has great hooks and guitars that just sound mean. Tell me about how that song came together and what you like about it?
JB: It started with a cool riff from Micki for the verse and I just heard melodies right away. Usually from there, I hear a chorus that would complement musically and we add that in. From there, the lyrics just come from the vibe we feel. It just felt like "Shotgun to the Heart." I usually lay down a guide vocal that has certain sounds or syllables that come naturally. Then the lyrics come – "Shotgun To The Heart" was just right!

Two of my favorites are the title track and “Cold Dark December,” both of which have really funky grooves but I also really like the vocal treatments for both, even though they’re pretty different. How crucial are these elements to the Beauvoir-Free sound, and how much time did you spend on them in creating these two tracks in particular?
JB: Very cool! Our backgrounds have back beat and groove – where we come from, other styles of music we've played, so this comes naturally. I think that is part of our sound. We actually don't spend much time to get the initial song; that usually comes in 10-30 minutes to be honest, basic structure and melodies. Then the final production that I do and getting everything right takes two to three days for each song including vocals, backgrounds, getting the lyrics right etc.

Do you enjoy recording songs like the title track and “Whiplash,” which are heavier rockers, as opposed to a soaring ballad like “Just Breathe”? 
JB: I enjoy it all! I think it's great to have an album with balance and that takes you on a journey. Different subjects, an overview of life as we see it, personal or mirroring what we see happening around us. I always think that way when making albums.

Why did it make sense to position “Angels Cry” as the album opener? That song in particular seems to represent what the Beauvoir-Free sound is all about to me.
JB: It was not carefully thought out. I guess we felt the same that "Angels Cry" was the most representative and should open. It just came from a feeling.

“Never Give Up” seems like a very personal song. There must be a story behind that one. Talk about coming up with the lyrics for that one.
JB: Good call, that was very personal and I really feel those lyrics. It was late at night and the lyrics just came to me. It addresses everyday struggles and believing in yourself. Contrary to what many may feel, we all go through our ups and downs. I truly believe you have to work through them even if you hit bottom at times. I think this rings true for lots of people and a song like this is meant to inspire and make listeners feel that they're not alone in feeling this way. Never give up.

When the two of you get together to write and record, do you find you agree on most things or is there a creative tension, like it’s always been for a lot of the greats, that leads to great results?
JB: Actually, there's no tension. It really flows. There's a mutual respect and we both admire and are excited of each other's contributions. When Micki plays something, I always like it and immediately dig it and hear where it should go. When I finish a track and send it off to Micki, he always texts me back with excitement and positivity!

Jean Beauvoir and his trademark
blonde mohawk
Your musical history is absolutely fascinating. How did you go from being musical director of Gary U.S. Bonds to singing with The Flamingos and then becoming part of the NYC punk scene and joining The Plasmatics?
JB: Hell knows! Thank you!!! I know, pretty wide... Gary and the Flamingos came to me early in. It was great musical training and made me adaptable to all situations – serious school as a kid. Then I discovered punk, which due to my rebellious personality and desire to be groundbreaking and unique, it fit right in. I loved the rawness, power, anger and effect it had. The fans were amazing! Even with Gary, I would play my original songs between his sets and they would always rock. He really liked it and supported me. The Flamingos was great vocal training singing with one of the best vocal groups of all times. I learned a lot about harmony, vocal structures etc. – didn't get to use it much with the Plasmatics, but really came in handy later on in my career.

I remember living in a small town in northern Wisconsin and seeing the Plasmatics on TV, and just being completely blown away by what I was witnessing. How did you like the attention you were getting, and were the stage antics planned out or were they made up on the spur of the moment?
JB: I loved the attention. We couldn’t walk down the street without being mobbed. It was pretty exciting. All the TV exposure and press really made the band recognizable around the world. A lot was planned out. We rehearsed the show quite a bit – Actually more than I have ever rehearsed! It was like a day job! Eight hours or so everyday that we weren’t on tour.

How did you come to join up with Little Steven and in what ways has he impacted your career?
JB: After leaving the Plasmatics, I wanted a solo deal as an artist/singer. Actually I wanted to make my record my way playing everything. Every label turned me down and basically said, if I want to continue along the lines of the Plasmatics, they’d be into it, but musical singing etc. was not an option. I met Steven through my manager from Gary U.S. Bonds. Turns out he had organized the Gary U.S. Bonds [collaboration] with Bruce Springsteen and Steven producing. He thought we’d get along and suggested that they rehearse for Gary’s album in my N.Y. loft rehearsal space. Steven and I met and Steven loved what I was doing as an artist. I was really against playing in someone’s band at that point. I had offers from Prince, Billy Idol and so on, but I really wanted to be solo. Steven convinced me to join his band, the Disciples of Soul. He felt that doing that would give me the credibility that I needed, since Springsteen and The Plasmatics couldn’t be further opposites. He was right and was very helpful to me moving into my solo career.

How much did it mean to you to have Sylvester Stallone choose “Feel the Heat” for the movie “Cobra” and did it change the career path you were on in any way?
JB: It meant a lot! After leaving Steven, I met a manager Gary Kurfirst right before totally giving up. He told me he’d have me a deal within weeks. I went to Sweden where I had received a singles deal offer from ABBA’s company. He told me not to sign and then called me to say Richard Branson loved my demos and was offering me a deal, actually our own label imprint! I flew to London to meet Sir Richard Branson and sign. Shortly thereafter, Al Teller from Columbia offered me as well! Exciting times!!! Right before the release, Gary received a call from Stallone saying that he heard my song while editing his film in L.A. and wanted my song for the biggest film campaign in the history of film to date – “COBRA.” I was freaking and I can still remember going to Times Square, hearing my song loud as the trailer for the film. It was used in every commercial in the world and was amazing. The song became a big hit around the world because of this! Besides, I’m a big Stallone fan, so it was so very cool!

You’ve written with so many big names in the music industry, from KISS to the Ramones to Deborah Harry and Lionel Richie and The Pretenders. That really speaks to your versatility as a writer. Who were your favorite people to write with and what experience sticks out in your memory as being particularly special?
JB: I hate to sound diplomatic, but I loved it all. They are all so different, but masters of their own worlds. To be asked to contribute to greatness is incredibly fulfilling. Also, Nona Hendryx, N’SYNC, Doro Pesch. I had the opportunity to taste all genres and they were each the best at what they did. As time goes on, they’ve all become even more important and recognized – really glad to be a part of that!

Your entrepreneurial work is just as impressive as your musical exploits. Do you find the business side of your career just as gratifying as the creative side, and who has been especially inspirational in this aspect of your life?
JB: I don’t know if it’s as gratifying, but at times necessary – even though I do enjoy doing business that makes a difference, helping artists, breaking new ground like being involved in Lilyhammer that brought Norwegian talent to the US, [and] other TV shows that I’ve done which gave exposure to talent. I’m involved in a children’s TV show, books and film called “City Of Friends,” which is really great – incorporates music as well. I like doing new things, breaking new ground. That is fulfilling to me. People who have done that or do that are inspiring to me.

Given your history, your perspective on the current state of the music industry would be invaluable. Gene Simmons has talked about how “rock is dead” and how young rock artists simply don’t have a chance today. Do you agree or is there hope for a younger generation of rock musicians to experience the same success you have?
JB: I agree, they don’t have a chance. Only kidding!!! I think it’s different, definitely not as easy in some ways to get heard, but much easier in other ways. Back in the day, you had to be one of the chosen few by a major label to even have a chance of success. Now, bands can get their own fans, make their own music at home without the need of a big budget – do their own videos with an iPhone. The problem is, everyone can do it and there’s a lot of talent out there, so its really hard to shine amongst the millions all trying the same thing. So a young band still needs to differentiate somehow, so that the cream rises to the top. The other difference is that they have to do it themselves, without the same support as before.

Jean Beauvoir and Micki
Free reconnected when
both moved back to L.A. in 2003
Going back to American Trash, was there a point in the making of it where you felt that the old magic between you two had returned or was it always there from the beginning on work on it?
JB: Yeah, right away, we have a magic when we work together. It’s always there.

What would you like to listeners to come away with after listening to American Trash?
JB: Enjoy it, love it, take away the messages 'cause they’re for you. Use it to live your life.

Lastly, the blond Mohawk is such a distinctive look. How did you come up with it and do you think it’ll always be something that’s a part of your style?
JB: It’s been a part of me so long, that I actually never feel like myself without it. It came when I joined The Plasmatics. I had a white stripe before that, like a skunk! I shaved off the sides when I joined the band

It was natural to me and the blond hair at the time represented racelessness. I felt that you should be who you wanted to be, do what you wanna do ... self expression. I had lots of problems from people back then; they felt I was going against my roots. I’m glad to see that now all that thinking has changed – was nice to see the great Sly Stone sporting my blond Mohawk look at the Grammys and even happier to see that the press wrote the he was channeling Jean Beauvoir from The Plasmatics!

Decades of Music Memorabilia Takes Center Stage in the 2015 Rock Gods and Metal Monsters Auction

This year’s Rock Gods & Metal Monsters Auction is going to be one of “the” auction events of the year and if you haven’t signed up for your All Access Auction Pass you will definitely want to do so after reading about the artists and type of items featured in the auction.

We have an impressive group of notable hard rock and heavy metal artists who have cleaned out their storage lockers and personally selected each item that will be featured in the auction. 
 
The headliners include; Alex Skolnick (Testament), Paul Bostaph (Slayer), Dave Mustaine and David Ellefson (Megadeth), Mike Portnoy (Dream Theater), Stephen Pearcy (Ratt), Scott Ian, Charlie Benante and Frank Bello (Antrax), Rex Brown (Pantera) and Lita Ford (Runaways).

Additionally, the auction will showcase memorabilia featuring AC/DC, Aerosmith, Black Sabbath, The Cult, Cheap Trick, Def Leppard, Guns N' Roses, Judas Priest, Kiss, Linkin Park, Marilyn Manson, Metallica, Motley Crue, Motorhead / Hawkwind, Ozzy, Poison, Slipknot, Van Halen Rob Zombie and loads more!

Whether you collect guitars, amps, pedals, gear, drums, record awards, stage worn attire, picks & sticks, signed memorabilia or vintage crew and tour t-shirts & jackets, tickets & passes, itineraries, photos, posters, promotional items – there is something for everyone’s taste and budget.

Of course we have a few special highlights including; an amazing collection of artist owned and used guitars, drum kits and gear, impressive array of rare and unique artist signed items, an absolute stunning collection of original RIAA Record Awards and a vast selection of tour memorabilia including itineraries, passes and apparel.

The auction will be live from June 20th – 28th with a special VIP Preview that starts June 13th. If you are not registered for your All Access Auction Pass, rock on over and sign up today – it takes just a minute and there is no fee to sign up. Link: All Access Registration

Follow Backstage Auctions on Twitter and Facebook for auction highlights before, during and after the event. 

#RGMM2015

BACKSTAGE AUCTIONS - A boutique online auction house specializing in authentic rock memorabilia and exclusively represents legendary musicians, entertainment professionals and entities. Every auction event is unique, reflecting the artist's legacy and chronicles their legendary career.





Short cuts: Whitesnake, Faith No More, Coal Chamber

CD Review: Whitesnake – The Purple Album
Frontiers Music
All Access Rating: B

Whitesnake - The Purple Album 2015
Feeling nostalgic, even though his efforts to reunite with mercurial guitar icon Ritchie Blackmore were ultimately rebuffed, David Coverdale decided to revisit the past on The Purple Album, an homage to the Mark III and IV versions of Deep Purple he once so ably fronted. The first Whitesnake record to feature new guitarist Joel Hoekstra, The Purple Album contains re-imaginings of tracks from Deep Purple's Burn, Stormbringer and Come Taste the Band releases ensconced in full, rich sound and the seductive timber of Coverdale's ageless vocals.

Retaining all the bluster and roiling energy of the original, a full-throttle   albeit relatively straightforward  take classic "Burn" hits the gas and never lets up, and neither does the muscular, hard-charging "Lady Double Dealer," although they suck every bit of bluesy soulfulness from "Mistreated," turning into a leaden lump. That's not the case with the smoldering "You Keep On Moving," with its sultry organ and Coverdale's slinky phrasing. Amid the spare, haunting atmosphere of "Soldier of Fortune" there is lush acoustic strum and picking accompanying the lonely protagonist, while "Might Just Take Your Life" turns heavy and raucous after unraveling a nest of burnished slide guitar. It's not exactly clear why Whitesnake is doing this. Too often, it's hard to tell any difference between past versions and these new ones. That said, if nothing else, The Purple Album showcases the power and glory of a period in Deep Purple history begging to be re-evaluated.

CD Review: Faith No More  Sol Invictus
Reclamation Recordings
All Access Rating: A

Faith No More - Sol Invictus 2015
Sarcasm practically dripped from the title of Faith No More's 1997 record Album of the Year. Admissions of fatigue and creative restlessness seem to indicate members knew full well that it was not their finest hour and preemptively stole the thunder from critics who couldn't wait to savage it. Sol Invictus, on the other hand, is the sound of a revitalized Faith No More reveling in its eclectic nature and designing grand, bombastic opuses capable of waking the dead.

Made of expansive choruses, earth-scorching guitar riffs, a dizzying array of crazed vocal treatments, cascading piano and heavy, urgent rhythms, "Superhero" bristles with live-wire energy before giving way to spacious, orgasmic release. The almost unbearable tension of "Separation Anxiety" simmers and builds, as a dark, menacing bass groove relentlessly paces like an agitated predator smelling blood and prowling an eerie soundscape. An "Old West" vibe pervades "Cone of Shame," with its martial drums, before exploding into a thrash-metal frenzy, but on "Matador" and "From The Dead," Faith No More wants nothing more than to craft interesting and memorable pop songs. "Rise of the Fall" is a charming slice of bouncy experimental dub, while Mike Patton briefly showcases his soulful, R&B crooning in an otherwise epic "Sunny Side Up," emblematic of the LP's stylistic shape-shifting modus operandi. Laced with sardonic humor and delivered with Patton's gruff narration, "Motherfucker" is a combination of Ween's wacky word play and Raymond Chandler's hard-boiled storytelling, although some may toss it aside as an exercise in self-indulgence. While not entirely flawless, Sol Invictus is playfully ambitious, willing to take risks and it rewards repeated listens with new discoveries – rare traits in this day and age. Dig through its layers of instrumentation, some of Patton's most diverse and ferocious vocalizations, and unpredictable arrangements that are veritable minefields of musical pleasures and fall in love with Faith No More all over again. Album of the year, indeed.

Coal Chamber
Rivals
Napalm Records
All Access Rating: B+

Coal Chamber - Rivals 2015
Once more unto the breach for the resurrected Coal Chamber, the Gothic nu-metal hooligans returning from a 13-year exile with Rivals, an album of menacing, regimented grooves, pummeling drums and psychotic vocal fury expelled by one Dez Fafara. On par with, or perhaps even surpassing, past works, Rivals is pure vitriol, Fafara's taste for thick, raging aggro – seemingly heightened by his work with the wildly successful DevilDriver – awakened in heaving, hook-heavy batterings "I.O.U. Nothing," "Bad Blood Between Us," "Another Nail In the Coffin" and "Suffer in Silence" that occasionally assume new and often more violent shapes. Anger energizes Coal Chamber, an industrial band that's seemingly in touch with only one emotion. It fuels the down-tuned toxic waltz that is "The Bridges You Burn" and pushes them to dive headlong into the swirling circle pit of "Over My Head." And while melody and beauty may be in short supply around these parts, Rivals gets unexpectedly weird with the Monster Magnet-like cosmic acid trip "Orion" and its 1:11 of dystopian desert weirdness, while noisy guitar skitter crawls across the spacious darkness of a devastatingly heavy title track like a scorpion and the wah-wah effects of "Wait" light up stormy skies with intense ultra-violet grooves. And that adherence to monster grooves, as well as its increasingly diverse songwriting, sets Coal Chamber apart from its Rivals.
– Peter Lindblad

CD Review: Nelson – Peace Out

CD Review: Nelson – Peace Out
Frontiers Music
All Access Rating: A-

Nelson - Peace Out 2015
Taking a respite from paying homage to the music of their father, the Nelson twins – progeny of '50s teen heartthrob and garden partygoer Rick Nelson – get back to doing what made them famous.

The pop-metal wonder boys relive their glory days on the Frontiers Music release Peace Out, as Matthew and Gunner reintroduce themselves and their brand of infectiously melodic hard rock to a rather dour and depressed music world desperately in need of a mood-elevator like the catchy, spirited opener "Hello Everybody."

More injections of guitars with a sugary crunch, knockout hooks big enough to land a marlin and vocal harmonies to die for are necessary, as well, as Nelson lets the good times roll with "Back in the Day," "Invincible," "I Wanna Stay Home" and the soaring "Let It Ride" – the singalong choruses, life-affirming sentiments and sunny nostalgia made for drives up the California coast with the top down.

Nelson will never be as angry as Slayer, or as unsavory and street tough as Motley Crue. They're too wholesome for that, and Peace Out is their life-is-good manifesto, where a blissful, dreamy ballad like "On the Bright Side" can co-exist with ruggedly heavy, swaggering rockers such as "Rockstar," "Bad For You" and "You And Me." Maybe it's not a deep, highly literate exploration of the human condition. That's all right. A veritable gold rush of well-crafted, uplifting tunes for these dark days, Peace Out just might be the Nelson album you never knew you wanted.
– Peter Lindblad

CD Review: The Knack – Zoom

CD Review: The Knack – Zoom
Omnivore Records
All Access Rating: A-

The Knack - Zoom reissue 2015
Zoom always held a special place in Doug Fieger's heart, the 1998 album by The Knack that was said to be his favorite.

Never mind that he took the occasion to declare that "Pop is dead!" and asked mourners to bring their shovels for a not-so-solemn burial – this after the resurrection of the band's punk-y smash hit "My Sharona" on the charts, thanks to the 1994 movie "Reality Bites."

With that strutting, brash and completely lovable simpleton of a song getting a second chance at love four years prior, The Knack made a triumphant late-'90s return with Zoom, due for a well-deserved expanded reissue treatment by Omnivore Records, the label that's planning to re-release the band's final three records with a wide assortment of extras.

Zoom is first up, and it's easy to see why Fieger was so fond of it, the record brimming with vitality, confidence and assertiveness, as it strides into a listener's consciousness like a beautiful woman who knows all eyes are on her, its songs memorable and utterly charming. Full of bright, spangly power-pop rocks – the infectious, punched-up "Pop Is Dead," "Harder On You," and "Can I Borrow I Kiss" among them – simply bursting with catchy, candy-coated hooks, sharp guitars, "snap, crackle, pop" rhythms and expertly crafted melodies, Zoom has a brilliant glow about it. As does the tastefully appointed "Love Is All There Is," with its sighing, cascading vocal harmonies – found everywhere on Zoom, which featured original members Fieger, Berton Averre and Prescott Niles, along with new drummer Terry Bozzio  – that could melt the coldest of hearts.

Some of that residue of youthful energy and sexual tension that made 1979's chart-topping Get The Knack such a ubiquitous sensation remains, but Zoom is a damn sight more mature and sophisticated, recalling The Beatles at their creative apex. Colorfully psychedelic, its swirling harmonies almost hypnotic, "(All In The) All In All" – smartly and beautifully arranged to transition and flow almost effortlessly in the manner of a professional ballroom dancer on LSD – is a spinning magical mystery tour guided by the Fab Four, while the swooning melodic sweetness of "Mister Magazine" belies the stinging critique of tabloid journalism contained therein. Suffused with bittersweet longing and tender regret, which practically oozes out of its carefully stacked piano chords, "Everything I Do" is just as wonderful, exhaling pain and sadness like Badfinger.

Slightly rough and somewhat more sparse, scruffy demos of "Mister Magazine," "Harder On You," and "(All In The) All In All" only go to show how fully formed these songs were at birth, whereas the bonus track "She Says" has a bit of a country twang, is full of unabashed yearning and rises on majestic piano, revealing an appreciation for Roy Orbison's flair for the dramatic. Not to be forgotten, Bozzio joins the band on a new version of "My Sharona" that's tougher than the original, but is just as catchy as ever. Get The Knack may have made them stars, but Zoom has the teenage symphonies to God that are going to get The Knack into heaven. Doug's waiting for the rest of them.
– Peter Lindblad

Inside Iron Maiden: The Paul Di'Anno years

Author Greg Prato releases new book on metal giants' first two albums
By Peter Lindblad

Greg Prato's "Iron Maiden '80-'81" 2015
Iron Maiden's global domination as one of heavy metal history's greatest conquerors continues on unabated.

Still packing arenas and stadiums across the world, jet-setting to far-flung locales that embrace them as visiting royalty, the metal legends show no signs of slowing down, especially with singer Bruce Dickinson at the controls of Ed Force One.

There was a time, however, when a very different Iron Maiden was ravaging England with a vicious "punk metal" assault that spearheaded the New Wave of British Heavy Metal.

This was before Dickinson, before Nicko McBrain and the most well-known Maiden lineup. This was the era of lead vocalist Paul Di'Anno – as well as guitarist Dennis Stratton and drummer Clive Burr – and theirs was a raw, visceral sound that generated two classic albums (Iron Maiden and Killers) and eventually gave way to the more melodic and complex "prog metal" that made Maiden famous.

A new book by noted author Greg Prato chronicles Maiden's Di'Anno years in "Iron Maiden '80-'81," an oral history of the period composed through tons of insightful interviews with producers, band members – including a very candid and forthright Di'Anno – and other metal musicians. In some ways, it's also a history of NWOBHM, with a detailed look at the making of those first two Maiden albums and insider perspectives on why this lineup didn't last.

Prato recently took some time to answer some questions about his book and this volatile time in the life of Iron Maiden. Ordering information is included at the end of our Q&A.

Why did you decide to do a book on the early years of Iron Maiden? Did you feel in some way that it was an era that’s been somewhat forgotten?
Greg Prato: I was a huge Maiden fan growing up, lost track of them for most of the '90s, and then reconnected with their classic albums in the late '90s/early 21st century. And I found myself enjoying their first two albums (with Paul Di'Anno on vocals) the most of the bunch. I started reading up once more on the band's history, and noticed there was no book that focused solely on the "Di'Anno era" of Maiden. Like all the books I've done up to this point, it's a subject that I wanted to read about, but there wasn't a book on the marketplace, so I decided to stand up and do the bloody thing myself. To answer your other part of the question, early Maiden isn't necessarily forgotten (it seems like if you ask the average headbanger what their favorite two Maiden albums are, it's usually The Number of the Beast and Killers, the latter being Di'Anno's last album with Maiden) – I just wanted to read/learn more about it!

You talked about in the introduction how those early albums are the ones you enjoy the most, even though you were introduced to the band during the Bruce Dickinson era. It’s interesting that Mike Portnoy said basically the same thing. What makes those albums so exciting for you?
GP: Two of my favorite rock styles are probably vintage heavy metal and vintage punk rock, and to the best of my knowledge, Maiden was one of the first bands to merge both together (specifically on their first two albums) РMoțrhead being the other band. And this style later served as the template for what became thrash metal. I also always dug Di'Anno's vocals Рwhile I certainly appreciate singers whose voices border on the operatic (Freddie Mercury, Rob Halford, and Ronnie James Dio are some of my all time favorites), it seems like my favorite rock singers are those who don't sound like they're classically trained, but have a lot of personality in their voices (Di'Anno, Paul Stanley, Alice Cooper, Joey Ramone, Mick Jagger, etc.).

Author Greg Prato
You interviewed a wide range of people for this book. Who was the toughest interview to secure and, ultimately, what did it add to the story?
GP: Not many were difficult to secure, but perhaps the most interesting way an interview was conducted was with ex-Maiden guitarist Dennis Stratton. I got in touch with a gentleman through Stratton's website, who explained that Dennis now lives in a remote location and doesn't do email or phone interviews, but what he could do is if I emailed my questions, he would get them to Dennis, who would then record his responses as a sound file, and I would then get it sent back to me! Mr. Stratton was kind enough to answer two rounds of questions that way.

Tell me about talking to Paul Di’Anno. He’s such a big part of this story, obviously. What did you learn about him and his relationships with his band mates from your interviews that you didn’t know beforehand?
GP: It was great speaking to Mr. Di'Anno (who also was kind enough to grant me two interviews, as more questions came up after first round). I wasn't sure how he was going to be going in, because I had read his autobiography, 'The Beast," which includes some pretty darn wild and dangerous stories. But he was a very kind and talkative chap. As far as his relationship with his former Maiden mates, it sounds like he doesn't harbor any ill will towards them, and that he recently had a humorous run-in at an airport with longtime Maiden manager Rod Smallwood, which he recounts in the book.

There’s such a wide range of opinions about him as a singer. Do you think he gets the credit he deserves from not only the fans, but also his colleagues in the business?
GP: Yes and no. Any serious heavy metal fan I would think is well aware of Di'Anno's vocal contributions and importance towards Maiden's early albums and sound. But perhaps to newer fans who may just be discovering Maiden and other veteran metal acts, maybe not – since they've probably only been exposed to Bruce Dickinson-era Maiden. But as you read in the book, just about everybody interviewed has very complimentary things to say about Di'Anno's vocals on those Maiden discs.

Is Paul right, do you think, that the New Wave of British Heavy Metal started and ended with Iron Maiden? And with this story, did you want to tell the story of NWOBHM as well?
GP: Tough to say Рbefore Di'Anno told me that for the book, I would have said that there were other important contributors to the NWOBHM, tops being Def Leppard, Saxon, and Diamond Head (while a few veteran acts that were gaining steam at the time seemed to be lumped into NWOBHM at the time Рnamely Moțrhead and Judas Priest). But after Di'Anno's quote, I can kind of see his point Рthink "NWOBHM," and Maiden is really the band that automatically comes to mind. And out of all the NWOBHM bands, Maiden probably stuck to their stylistic guns the most, and didn't soften their sound further down the line (not to take anything away from Def Leppard, who I think did the right move with the direction they went with on Pyromania and Hysteria).

Reading about Iron Maiden’s evolution in this book, it seems like Paul’s time had an expiration date from the very start. Was his departure almost preordained?
GP: Another tough-to-answer question – you're hitting me hard with these questions! It seems like Di'Anno and the rest of the band were going in two different directions regarding what they thought Maiden should sound like, Di'Anno wanting to stick with the "punk metal" sound, while Steve Harris and the others wanting to open up their sound (which eventually shifted towards a more "prog metal" approach). It would have been interesting to hear what Mr. Di'Anno would have done on The Number of the Beast material, though.

Who, besides Paul, is the most interesting character or interview in the story of Iron Maiden’s rise? Maybe Dennis Stratton, whose relationship with Paul was pretty frosty? They definitely have different views on Rod Smallwood, the band’s longtime manager.
GP: Tony Platt, who produced the "Women in Uniform" single (as well as engineered AC/DC's Highway to Hell and Back in Black) had some interesting things to say about what really happened behind the scenes at the recording session for that song (it was a cover song that supposedly the band was forced to record against their wishes, in hopes of scoring a hit single). And interviewing the producer of Maiden's first album, Wil Malone, was very cool – to the best of my knowledge, I don’t think he has ever been interviewed before about his memories of working with the band.

There seem to be disagreements over what went on in the studio during the making of the first album, at least between Wil Malone and the band. Does he get an unfair rap for the production of that record?
GP: I personally like the sound of the first record! Raw and live – the way most of my favorite all-time rock n' roll recordings are. I admit that the sound of Killers is better, but the sonics of Iron Maiden get a bad rap, in my opinion. That album still holds up well – both sonically and musically.

Whose reaction to hearing that first album or memory of making it surprised you the most?
GP: Well, obviously Di'Anno's, who holds nothing back in voicing his disapproval of Malone's production!

In talking to everyone, did you come away with a new appreciation for that first album that you didn’t have before? Did what someone said about it make you look at it differently?
GP: No, my three favorite all-time Maiden albums are Iron Maiden, Killers, and Number of the Beast, so I've appreciated those early releases for a very long time. I thought it was interesting that Mr. Malone explains that he was consciously going for a "punk meets metal" sound on the album – so it may not have been solely the band's doing.

What was the best Iron Maiden touring story you heard from your interviews?
GP: The late/great Clive Burr filling Di'Anno's shoes with shaving cream right before going on stage, Stratton going out for his birthday with Kiss' Gene Simmons and Paul Stanley, an interesting story by Raven's John Gallagher about getting ripped off opening for Maiden, and Tygers of Pan Tang's Robb Weir almost falling off the stage backwards opening for Maiden…but being saved at the last second!

Everybody talks about the production of that second album, Killers. Was that the main difference between those first two records, or was there more to it than that? It seems as if there was a real sea change in the direction of the band in the aftermath of that first record.
GP: The sonics have a lot to do with the difference between the two. As far as the material, both albums are great from start to finish. But there is something about Killers – if I really had to choose a favorite Maiden album, I'd probably go with that one. Perhaps because there are so many songs on it that have either been forgotten or are seldom played live anymore by Maiden (namely, a song that I always thought could have been a rock radio hit at the time – "Prodigal Son").

What do you think set Maiden apart from the other NWOBHM bands? And do you think the other bands from that era were aware of the differences?
GP: As I said earlier, they appeared to be one of the first bands bold enough to merge punk and metal, and the fact that they became a global success by not shifting their approach towards a more pop direction. Not sure if the other bands were aware of the differences, as most NWOBHM bands followed a similar "punk metal" sound on their debut albums.

What would you like Iron Maiden fans to come away with after reading this book?
GP: With all my books, I make sure the main story is included, but also, I always try and include a few facts or stories that have never been recounted anywhere before. Ever wonder if Di'Anno was presented The Number of the Beast material before he left? What was Maiden up to when they learned of John Lennon's murder? What are Di'Anno's two favorite rock concerts he ever attended? All are included in "Iron Maiden: '80-'81," dear friends!

To read a sample chapter of 'Iron Maiden: '80-'81,' go to: http://www.songfacts.com/blog/writing/iron_maiden_80_81/

For ordering info (and to view Greg's other books), go to:

Satyricon's black-metal night at the opera

Norwegian legends work with choir on new live album
By Peter Lindblad

Satryicon - Live At The Opera 2015
It was a night to remember for Satyricon, as the black-metal visionaries fulfilled a fervent wish to perform live with the Norwegian Opera Choir in Oslo on Sept. 8, 2013.

No strangers to having worked with choirs or orchestras before, as they did on such albums as 2002's Volcano, 2008's The Age Of Nero and 2006's Now, Diabolical, Satyricon has released darkly magical visual and audio recordings of that night in a DVD and a two-CD concert album titled Live At The Opera, out via Napalm Records.

Such outings that pair armadas of classically trained musicians with rock bands are often dreadfully boring and self-indulgent affairs. Live At The Opera is the exception, as Satyricon's blackened, brooding sonic transmissions from the underworld glow and grow more urgent and fiendishly dramatic than their studio counterparts, thanks to the rising vocal hellfire spewed from the mouths of the choir.

Recently, Satyricon drummer Frost took time to do an e-mail interview with Backstage Auctions' All Access blog about the new live record and provide an update on what the group is working on in the studio.

"Currently we are busy jamming, creating and rehearsing material for two albums simultaneously; one cover album and one new studio album," said Frost. "We have put the engine in the fifth gear now!"

Read the rest of our chat with Frost below.

What made this event so special for you and Satyr? Did the night live up to your expectations?
Frost: Getting to perform black metal with a full choir at the main hall in the national Opera should be special to anyone. Never have the grand and majestic aspect of Satyricon been lifted to a higher level. We knew that the Opera show would be great, and so it became.

In looking back at that night, was there a particular moment that stood out as being really dramatic or moving in any way?
Frost: The whole show was actually full of such strong moments. I even continue finding new parts and details that thrills me when listening to the recording now; parts that I didn’t truly hear or notice at the time of performance.

Satyricon's performance with
the Norwegian Opera Choir was
a spiritual experience
How did the idea for this performance come about and was there anything that was especially difficult in trying to pull it off?
Frost: We were invited to do a one-song performance with the Opera choir at an event in early 2012, and it was the outcome of that cooperation which made us realize that we should try to stage a full show with the choir. It just sounded so awesome and potent. When we found out that the choir was interested in such an extended collaboration, too, it was basically a matter of determination, will and patience to reach the goal. Musically it wasn’t particularly difficult or demanding, most of all because the choral arrangements were so well carried out, even if it required a big effort from all parties.

As a drummer, what's it like working with a choir like that? How is it different from a normal Satyricon show?
Frost: I played the drums as if it had been an ordinary Satyricon show; we were not to do any adaptions. On a personal or spiritual level, though, one will of course not remain untouched by such circumstance.

Was it challenging in any way to choose a set list?
Frost: We picked songs that we felt would work particularly well with the choir, for instance songs with very strong emotional nerves, or songs with very transparent themes where there is lots of space for the choir to really shine. As the Opera show was also the first show on the “Satyricon” touring cycle, we obviously had to pick quite a few songs from that album, but all these songs did also sound excellent with choral arrangements.

How did the choir enhance these songs in your opinion?
Frost: Some songs or parts got more epic or grand, other parts got a stronger emotional impact, others again got a different type of drive or energy and turned into fundamentally different versions of the original. The show as a whole felt very ceremonial, which suited it well.

Satyr out front, playing guitar and
singing in front of the Norwegian
Opera Choir
What do you think of the recording of that night that's being released as Live at the Opera?
Frost: It does justice to what actually went on. Most importantly – it happens to be an actual live recording (rather than a “live” recording, which is more usual). Satyricon sounds marvelous on this recording.

To you, what songs worked especially well in this arrangement, and were there any from the Satyricon catalog that you think would work equally well but that weren't included on this night?
Frost: It all sounds fantastic in my opinion; each song in its own way. I’m sure we could potentially have included more Satyricon songs that would have worked well with choral arrangements, but we would have to draw the line somewhere, wouldn’t we?

You've worked with other choirs and orchestras on records before. What was different about collaborating with them in the studio, as opposed to a live performance?
Frost: First of all, what you achieve with a choir is fundamentally different from what you achieve with an orchestra. We have worked with a choir before, but in a much, much smaller format and only in a controlled studio environment. A live performance with a large choir, consisting of both male and female singers, taking place in the Opera house, is completely different from anything we’ve done prior to that. Where we earlier had collaborated with small groups of orchestra musicians or singers to give a certain flair to specific themes, we were now adding a whole new dimension to all the songs of a full show.

While Satyricon is still associated with black metal and your sounds retains a lot of the traits from that genre, what was it that made you want to expand your template as a band and morph into something different? Was that always the plan or did something transpire that made you want to incorporate other sounds?
Frost: Your question makes me wonder what your perception of black metal is. It might seem we’re not on the same page at all, which makes it difficult for me to give a proper answer. To me, Satyricon has deeper depths and a more dangerous vibe than any of our early works, for instance. Furthermore do I find black metal to be a very open and innovation-driven, constantly developing genre. At least we in Satyricon have always had a strong musical passion, creative drive and a conquering spirit (this probably brought us to black metal in the first place), which constantly brings us to evolve. It’s not a plan, it’s the heart of the band to operate that way. If you feel it natural not to regard Satyricon as black metal anymore, then fine by me, but I certainly don’t understand you.

Are there other orchestras or choirs you would like to work with down the road?
Frost: We haven’t gotten to think that far, really.

Check out Satyricon's Facebook page at www.facebook.com/SatyriconOfficial to keep up with everything going on with the band.


CD Review: Nashville Pussy – Ten Years of Pussy

CD Review: Nashville Pussy – Ten Years of Pussy
Steamhammer/SPV
All Access Rating: A+

Nashville Pussy - Ten Years of Pussy 2015
Lemmy knows a thing or two about pussy ... Nashville Pussy, that is.

To the sainted leader of one of rock 'n' roll's most notorious bands, these raunchy, Southern rock reprobates are the real deal. In Kilmister's own words, "If there's ever been a better band to open for Motorhead, I've not heard them!"

Any doubters should acquaint themselves with Ten Years of Pussy, a new 22-track, two-disc "best of" collection from Steamhammer/SPV that's a 120-proof distillation of everything that's great about rock 'n' roll, taking the best Nashville Pussy material from the last decade of recorded material and pairing it not with a nice glass of Chardonnay, but rather a handful of live firecrackers that should be handled with care instead.

Unapologetically nasty and unrepentant about its sinful ways, Nashville Pussy's shotgun wedding of AC/DC's metallic crunch, the rowdy, red-neck swagger of Lynyrd Skynyrd and punk's reckless energy makes them as potent as moonshine on such fist-pumping anthems as "Come On Come On," "Pussy Time," "I'm So High" (with Danko Jones) and "Why Why Why," their infectious choruses swimming in STDs and drunken rebellion. And while they don't mind getting messy and sloppy, as they do on the rambling, Stones-y bump-and-grind of "Before The Drugs Wear Off" and the torn-and-frayed blues of "Lazy Jesus," Nashville Pussy favors hooks and mean-ass riffs as tight as Mick Jagger's pants, the blazing – not to mention hilarious – condemnation of the modern Confederacy "The South's Too Fat to Rise Again" absolutely scorching the earth.

And while the main package of choice Nashville Pussy studio tracks offers an essential primer for anybody still unfamiliar with how cohesive and powerful a unit they are – the salacious crawl of "Til The Meat Falls Off The Bone" is a particularly wicked delight – an extra disc of six vicious, rip-roaring concert cuts from Blaine Cartwright, Ruyter Suys, Bonnie Buitrago and Jeremy Thompson makes them seem even more savage and combustible when freed from the studio. Burning like Jack Daniels going down the wrong pipe, the Southern-fried boogie meltdown of "Nutbush City Limits" and the raucous, one-two punch of "Struttin' Cock" and "Late Great USA" are pumped full of adrenalin and wired on trucker speed. And that's just how God intended Nashville Pussy, champions of trailer-trash excess and poor decisions, to play.
– Peter Lindblad

Digital review: Crowbar – Equilibrium

Digital Review: Crowbar – Equilibrium
eOne Music
All Access Rating: A-

Crowbar - Equilibrium 2015
Anybody who can turn Gary Wright's mid-'70s starry-eyed, soft-rock smash "Dreamweaver" into an epic, sludge-metal space odyssey – where even the hard of hearing can make out Kirk Windstein's hoary, all-encompassing screams as clear as day – deserves sainthood.

So does Equilibrium, the sixth album from Crowbar, and the last with original bassist Todd Strange. A game-changer for the NOLA heavyweights originally released 15 years ago, the jaw-dropping Equilibrium is now available digitally for the first time from eOne Music and begging to be reassessed. Back in the spring of 2000, it served notice that Crowbar's dark ambitions were becoming fully realized.

Tunneling its way deep inside some interstellar vortex of sound, Crowbar's swarming, cinematic cover of "Dreamweaver" is a mesmerizing aural experience, and it may just be the band's crowning achievement. Those bearing witness to the minor-key ruins of "To Touch the Hand of God," with its expansive, choral-like vocal arrangements, rainy intro and lonely, doom-laden piano plunking, might disagree, however.

Obviously, Equilibrium is ponderously heavy, its massive bulk breaking any scale that would attempt to measure the sheer tonnage of lugubrious, bulldozing title track and its slowly churning, ever-widening cousin "Command of Myself," precursors to the trudging, exploding punishment of "Eurphoria Minus One" and an even more vigorously combustible "Things You Can't Understand."

Sammy Pierre Duet joined Windstein on guitar, with Sid Montz on drums, for Equilibrium, the low-tuned, six-string devastation throughout retaining the hairy edge of Crowbar's hardcore punk roots –manifested in the raging, faster-paced "Uncovering." Where the band's last album, Symmetry in Black, unhinged its jaws and devoured everything in its path, Equilibrium is tougher, it hits harder and the payoffs are more immediate. Hopefully Crowbar will play a good portion of these tracks on its upcoming "Summer of Doom" tour with Lord Dying and Battlecross. Welcome to the 21st century, Equilibrium.
– Peter Lindblad