Mon
22
Jun

VAN HALEN Once United

Artist: 
Release Year: 
2015
Categories: 
News Feed
I was going to sum up the last few days in the tumpultous world of Van Halen, but then I got this newsellter from Van Halen Rising author Greg Renoff. Makes for a good short summary and a nice diversion:
 
"The past week has been a tumultuous one on Planet Van Halen.

In a brutally frank interview with Billboard, Eddie minimized the contributions of former Van Halen bassist Michael Anthony.

His words quickly went viral. 

When Sammy then blasted Eddie in defense of Anthony, calling Eddie a liar, it too made headlines around the web. 

But earlier in the week, Hagar had lodged another charge against Eddie and Alex Van Halen. Sammy told Eddie Trunk that the brothers had taken legal action to stop Hagar from performing Van Hagar songs when Hagar's band, the Circle, performs on TV. 

Are we having fun yet?

All of these events reminded me of story I had to leave out of Van Halen Rising because of space issues. It involves a 1976 legal dispute that saw the four members of Van Halen unified in their efforts to support their band.

It's a good reminder that at one time, Van Halen was a four-man gang with an us-against-the-world mentality."
 
In 1976, Daniel Sullivan, then just out of college, was a concert promoter in Los Angeles. Back in 1974, he'd gone to Pasadena City College with David Lee Roth and had become friends with him. The following year, he'd put on successful shows featuring Van Halen at LaCañada High School. 

To kick off the Bicentennial Year, Sullivan hired Van Halen for $500.00 to play a show on February 27 at Glendale High School.

Early ticket sales were brisk, and Sullivan was sure this would be his biggest gig yet. 
Then the city of Glendale came calling. 

Photographer Mary Garson, who shot pictures at Sullivan's shows, recalls what happened: "Dan promoted the show, sold tickets, did the contract. He did everything right except get an insurance bond with the city of Glendale. The city wouldn't let him do the show without one. He told me, 'I'm screwed. I've sold several hundred tickets, but the city says I need a $50,000 insurance bond. I don't have the money to pay for it.'"

Sullivan had to cancel the concert. 

So he began refunding tickets, and called David Lee Roth to tell him the bad news.

Roth didn't take it well. 

Roth told Sullivan, "Hey, well, you still owe us 500 bucks."

Eddie, it turns out, was even more fixated on the fact that Sullivan had signed a contract promising to pay the band $500. Even though the show didn't happen, Eddie still wanted Sullivan to pay. "Eddie was pretty adamant about it," Sullivan told me in 2012. "I said, 'Look, I can't do it. I don't have the money. I’ll do another show for you guys or whatever.'" 

Eddie replied, "No, I want the 500 bucks." 

When Sullivan said again that he didn't have the money, the band said we'll see you in court.
___
 
"So they ended up suing me in Small Claims court in Glendale," Sullivan recalls. "I was bummed, especially because even though we were in small claims, we were still friends. It was weird.

"So my Dad and I come in to the courtroom and there’s the band, on the other side of the court, all of them, dressed in suits.

"I swear to God it was the most amazing thing. I was just a kid, and I'm with my Dad, and here's Van Halen on the other side of the court. David Roth represented the band. He said that I broke the contract and didn’t follow through with the contract. In the end, they won a judgment for 500 bucks against me."

But Sullivan never paid. Garson recalls that the judge didn't attach a payment plan schedule to the ruling, so Sullivan just didn't ever settle the claim.
___

More than two years later, Sullivan had lost touch with the band and was living in London. Then one day in the fall of 1978, he got a big surprise: "I'm taking a bus down these streets and I see this sign, a rainbow-colored poster saying Van Halen is playing at the Rainbow Theater."

Sullivan showed up for the show on October 22, 1978. After the gig, he had a roadie bring a note to the band members. 

He recalls what happened next. 

"David, Alex, and Eddie came out and they were so sweet, especially David. He was like, 'Daaannn! How ahh yah ya mothafucka?' It was just the coolest thing ever. I was probably one of the few people there other than the crew who had seen them on the other side of the Atlantic.

"So the show's over and we're looking for some place to go but everything in London was shutting down for the night. So I went to all these private [after-hours] clubs with them. It was amazing."
 

 

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Mon
22
Jun

Guitar International Interviews STEVE STEVENS

Artist: 
Release Year: 
2015
Categories: 
Podcasts & Radio
 
Robert Cavuoto interviews guitar legend Steve Stevens for Guitar International:
 
"Not many guitar players can flawlessly cross as many musical boundaries as Steve Stevens has done in his career. His prolific and innovative playing has changed the face of music, and together with Billy Idol, they helped revolutionizing a new genre of music.
I had the pleasure of sitting down with a Steve to talk about his latest release, Kings & Queens of the Underground, his constant desire to evolve as a musician, and his role within the monstrously successful band known to the world as Billy Idol."
 
 
Sat
20
Jun

STEVE BROWN Stepping Back Into DEF LEPPARD

Trixter guitarist STEVE BROWN is stepping back into DEF LEPPARD for Vivian Campbell, who just posted a picture on Facebook with the caption "I suppose I better update my profile pic while I still have hair", suggesting he must once again undergoe treatment for cancer. 
 
I wish Vivian and the band well during this time. 
 
Fri
19
Jun

EDDIE VAN HALEN Billboard June 19 Cover & Interview

Artist: 
Release Year: 
2015
Categories: 
News Feed
Billboard Cover Sneak Peek: 5 Ways Eddie Van Halen Breaks the Rock-Star Rules
By  | June 18, 2015 10:35 PM EDT
Van Halen is about to embark on a 40-plus-date North American tour. But when legendary guitarist Eddie Van Halen takes the stage with the band (starting July in Seattle), fans won't be in the presence of a typical hell-raising rock star, even if his technique did inspire scores of hell-raising metal bands. He's been sober since 2008, but kicking alcohol is only the tip of the iceberg.
For Billboard's latest cover story, out Friday, June 19, we caught up with Eddie Van Halen, who wasn't shy about his atypical rock star ways. He hates touring (and doesn't have much of a relationship with flamboyant frontman David Lee Roth), but is hitting the road anyway. He continues to make new music (Van Halen released a the LP A Different Kind of Truth in 2012) but doesn't listen to anyone else's music, new or old. Here are five reasons there's no other rocker quite like Eddie Van Halen: 
1. He Partied in His Heyday, But Not Exactly Like a Rock Star
Like the rest of Van Halen, Eddie indulged in drugs and alcohol, but not while partying. Drug and alcohol-free since 2008, he told Billboard about how he would get drunk and snort cocaine alone at night in hotel rooms, just to experiment with the guitar: "The blow keeps you awake and the alcohol lowers your inhibitions," Van Halen says. "I'm sure there were musical things I would not have attempted were I not in that mental state." 
2. He Doesn't Listen to Any New Music 
Not only does he not listen to old Van Halen records, but the guitarist hasn't purchased new music since 1986. That special album was Peter Gabriel's So. And new music? Don't even think about it. "I couldn't make a contemporary record if I wanted to, because I don't know what contemporary music sounds like," he admitted to Billboard. He does occasionally listen to Yo-Yo Ma (because he love the sound of the cello), so there's that.
3. He Dresses Normcore
Okay, so there are punk and indie musicians who rock the regular Joe look, but few rock stars from Van Halen's era will say, "I'm a T-shirt and jeans guy." And he definitely didn't bond with former Van Halen singer Gary Cherone over clothing choices: "We were getting ready to go on tour, and all of a sudden I see this John Travolta outfit -- these big lapels and a crazy jacket. He's like, 'This is my stage outfit.' That's when I realized it wasn't going to work," says  
4. He Played on Michael Jackson's Iconic 'Beat It' -- But Doesn't Think It's a Big Deal
When asked about playing the guitar solo on Michael Jackson's "Beat It," Van Halen simply refers to it as "20 minutes of my life," and figures he probably should have gotten songwriting credit, but doesn't seem to care much for not making any money off it:
 "I literally thought to myself, 'Who is possibly going to know if I play on this kid's record?' So I went to the studio and listened to the song twice, and I didn't like the section they wanted me to solo over. They wanted me to solo over the breakdown. I asked [Thriller producer] Quincy Jones to edit the chords underneath the solo," he recalls. "Then I could play the solo in the key of E, but it was the chords underneath that made the solo interesting. So I guess I did rearrange it."
5. He Doesn't Remember His Own Band's Lyrics 
Aside from not being able to read music, Eddie admits he's also forgotten many of the lyrics to Van Halen's songs. And though he barely has a relationship with David Lee Roth, he soldiers on for the fans: "I think it's now built into people's DNA, that it just won't be Van Halen if it's not Roth's voice," he explains. "You make music for people. Otherwise, just play in your closet. And how do you reach the most people? By giving them the band that they know. To do it any other way would be selfish.”
Read Eddie Van Halen's Billboard cover story when it's out Friday, June 19.

 

 
Fri
19
Jun

TRIXTER - Human Era (Review)

information persons: 
content: 
95%
section name: 
BEST TRACKS
content: 
Rockin’ To The Edge Of The Night
Crash That Party
Every Second Counts
Beats Me Up
Good Times Now
Midnight in Your Eyes
Human Era
Produced By: 
Trixter
Release Date: 
2015
Released: 
Worldwide
Musical Style: 
Melodic Rock
Label: 
Frontiers
Artist: 
Score: 
95
Release Year: 
2015
Categories: 
Reviews
This is just one of those albums that is set to please just about everyone. Fans of old-school 80s melodic hard rock, fans of great anthemic, kick-ass tunes with a good production and fans of great classic era music that doesn’t sound dated.
Trixter follow up the success of New Audio Machine with arguably one of the best ever records.
It’s just a whole lot of fun to listen to.
Huge production, big guitars, big songs and big attitude.
 
The guys just get better and better. Taking the party rock vibe of their early days and mixing it with a more mature retrospective attitude to their songwriting, Human Era mixes the best of both worlds, giving you some kick-ass hands in the air tunes that a 40 year old wouldn’t be embarrassed pumping out of the car stereo.
 
Rockin’ To The Edge Of The Night and the riff heavy, double timed Crash That Party are two fist pumping hard rockers to kick off this album in big style.
Not Like All the Rest mixes Steve Brown’s penchant for modern rock with old-school 80s rock for a sweet anthemic hybrid.
For You is 80s Van Halen before a contender for Song Of The Year blows my mind. The sentimental melodic rocker Every Second Counts features everything I love about this music. Modern, classic, melodic…
The following track is just as essential. Beats Me Up is a beautiful new-meets-old, hands in the air stadium ballad.
And it just continues with the harmony drenched mi-tempo melodic rock anthem Good Times Now and the moodier, darker Midnight in Your Eyes and the rapid fire 80s rock of All Night Long.
Soul of a Lovin' Man is a cool edgier, gritty rocker and then the album is closed in perfect class with the moodier, more melodic and reflective title track Human Era.

Others may have a more sentimental attachment to the band’s debut or earlier work, but for me – this is their best album to date and shows a refined maturity mixed with the classy side of 80s melodic hard rock.
It’s a super fun and thoroughly enjoyable album and the band deserve big credit for the results.
Fans from all walks of life are going to enjoy this – it might even be the first ever Trixter purchase for some.
 
 
Fri
19
Jun

BEAUVOIR FREE - American Trash (Review)

information persons: 
content: 
83%
section name: 
BEST TRACKS
content: 
Angels Cry
Shotgun To The Heart
Never Give Up
It’s Never Too Late
There’s No Starting Over
Just Breathe
Produced By: 
Beauvoir Free
Release Date: 
2015
Released: 
Worldwide
Musical Style: 
Melodic Hard Rock
Label: 
Frontiers
Artist: 
Score: 
83
Release Year: 
2015
Categories: 
Reviews
 
The architects of the great, no classic, Crown Of Thorns self-titled masterpiece are back together again to create the next chapter in their partnership.
Multi-instrumentalist and singer/songwriter Jean Beauvoir teams with guitarist/songwriter Micki Free to record this album as a duo, with the mission of picking up where the million dollar (literally) CoT debut left off.
 
After living with this for a while, I say the guys have an album split down the middle between hitting their target with a bullseye, and missing the mark.
Where it works is where the material best resembles the expected Crown Of Thorns sound. The voice of Beauvoir, the fine melodies and groove laden guitar work from Free are a true joy to hear in such well-produced songs such as the opening crunch of Angels Cry; the rolling melodic rock of Shotgun To The Heart (this could have been straight off the debut); the semi-acoustic Never Give Up and the glorious AOR anthem that is It’s Never Too Late. If only every track was as wonderful as this one. The closing There’s No Starting Over is also terrific old-school melodic rock.
The guys deliver a knockout ballad too, well worthy of the Crown Of Thorns name, Just Breathe is the big sentimental, harmony filled power ballad.
 
Where the guys miss the target for me is when they go off course to explore some bluesier, heavier sounds. Morning After didn’t grab me at all to start, but is saved by the melodic chorus; the garage rock of American Trash is something that doesn’t suit the album and I’m not too hot on Whiplash either, which is more AC/DC than CoT.
Add in a couple of ok tracks and the album seems split between classic and tracks dependent upon a listener’s mood.

In the end it’s great to hear these guys together again and this is going to make a lot of Crown Of Thorns fans happy. There’s a little of the debut here, some Lost Cathedral (their second best opus) and a little of the experimentation that slipped into latter day CoT albums.
All in all – a solid album, but not the classic I was anticipating.
 
 
Fri
19
Jun

HOUSE OF LORDS - Indestructible (Review)

information persons: 
content: 
88%
section name: 
BEST TRACKS
content: 
Go To Hell
Pillar Of Salt
100 Mph
Call My Bluff
Die To Tell
We Will Always Be One
Produced By: 
House Of Lords / Mixed: Ty Sims
Release Date: 
2015
Released: 
Worldwide
Musical Style: 
Melodic Hard Rock
Label: 
Frontiers
Score: 
88
Release Year: 
2015
Categories: 
Reviews
 
House Of Lords are in quick time with another all new studio release to follow up last year’s Precious Metal. Now up to album number six since converting to the James Christian controlled lineup of Jimi Bell, B.J. Zampa and Chris McCarvill; House Of Lords are a force to be reckoned with.
They will have to be careful about how much material they are putting out and ensuring that the quality doesn’t drop. In the last 18 months we’ve had two studio albums and James Christian’s own solo album.
 
After the patchy Precious Metal (which I rated too highly at the time), the band deliver some monster melodic rock tunes on Indestructible. It still doesn’t match the brilliance of Come To My Kingdom and World Upside Down, but it does deliver a few new HOL classics, even if the sound of the band has changed somewhat.
What I am referring to is the heavy use of James’ lovely wife Robin Beck on harmony and lead “high vocals” throughout the album.
James’ voice has become a little rougher in recent years, but he is now abdicating the role of singing the higher notes to Robin. Her voice is very cleverly mixed in there, but it’s very obvious and at times it sounds too high compared to the sound of old.
Listen to any of the HOL albums up until Cartesian Dreams and you’ll hear only James on harmonies and high vocals. From Big Money onwards it has slowly changed the band’s sound. And while I love the sound and style of the band and still really enjoy their music – this album especially – it’s a different vocal style/mix being employed.
For this band I do prefer the all-male harmonies of earlier albums.
 
The hard driving Go To Hell is as heavy as it sounds and is made better by an infusion of keyboards (still not enough keyboards in the album generally). The chorus of this and the huge hard rock groove of the very likable Indestructible is dominated by that high pitch vocal from Robin. Same goes for Pillar Of Salt. It’s a good song first and foremost, but I can hardly hear James in the main chorus line.
100 Mph is much the same again, another very high chorus, but it’s a ripping hard rock song and very catchy.
The melodic rock of Call My Bluff features one of the catchiest vocal melody lines in recent HOL memory. A terrific song and hook.
Die To Tell has come classic elements of the HOL sound and it is a good place to point out what a kick ass team James has behind him.
Another Dawn has another strong chorus of course, but I’d have preferred to hear more of James in the chorus.
Ballads come in the form of the anthemic We Will Always Be One and…. Yes, that’s it! One big quality ballad while the rest of the album just rocks out – like the double-time fury of the last two tracks Ain't Suicidal and Stand And Deliver.

Yes, another highly rated quality album from House Of Lords, but more and more so, they are a different sounding band vocally. The songs though are good. Very good. Some of their best in a few albums.
Jimi Bell is a guitar legend and Chris and BJ are the rhythm section from (good) hell. Absolutely blinding performances on there from those guys.
Good production and a clean mix make for an easy listen at any volume, but loud is always preferable of course.
 
 

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