According to TMZ, Marilyn Manson claims his "career is in the gutter" and he's still "receiving threats to his life" after at least 15 women have accused the musician of sexual assault. Three of his accusers, including ex-girlfriend Ashley Morgan Smithline and "Game Of Thrones" actress Esmé Bianco, have filed lawsuits. Manson has denied all allegations, which he has called "horrible distortions of reality."

The 53-year-old shock rocker — born Brian Warner — said in new legal documents that online death threats make him feel "anxious, distraught, depressed, worried, frantic, and sleepless" and he's also worried about someone harming his second wife, Lindsay Usich.

Marilyn confirmed he was dropped by his record label, Loma Vista Recordings, and talent agency CAA, and has been "excluded from Hollywood social and business gatherings."

Manson claims his music is suffering, he can't tour, he can't release his book, his paintings have been "devalued" and his art shows have been "indefinitely postponed."

Manson said his "false portrayal as a rapist, abuser, and child pornographer" has also caused him to lose two acting roles, Starz series "American Gods" and Paramount+ series "The Stand".

The singer's latest legal move comes eight months after he filed a defamation suit against former fiancée Evan Rachel Wood, alleging that she and her girlfriend conspired to bring him down with a series of coerced sexual abuse allegations.

Manson sued Wood for defamation, emotional distress and "impersonation over the internet," according to a complaint filed with the Los Angeles Superior Court.

In the complaint, Manson accused Wood and her "romantic partner," artist Illma Gore, of recruiting and pressuring women into making allegations against him, and impersonating FBI agents to further coerce the women by making them believe their families were in danger.

Manson alleged in the complaint that the "Westworld" actress and Gore "publicly cast [him] as a rapist and abuser — a malicious falsehood that has derailed [his] successful music, TV, and film career."

Manson later shared the complaint to his social media accounts, writing, "There will come a time when I can share more about the events of the past year. Until then, I'm going to let the facts speak for themselves."

Wood alleged in the documentary "Phoenix Rising" that she was "coerced into a commercial sex act under false pretenses" while filming the 2007 music video for "Heart-Shaped Glasses" with her then-boyfriend Manson.

Manson's attorney Howard King later denied Wood's allegations in a statement to People, claiming that the singer "did not have sex with Evan on that set, and she knows that is the truth."

Wood, who was in a relationship with Manson from mid-2006 until early 2011, claimed in the "Phoenix Rising" documentary that the music video shoot was "the first crime [he] committed against me."

"It's nothing like I thought it was going to be," Wood said. "We're doing things that were not what was pitched to me. ... We had discussed a simulated sex scene, but once the cameras were rolling, he started penetrating me for real. I had never agreed to that. I'm a professional actress, I've been doing this my whole life; I've never been on a set that unprofessional in my life up until this day."

A little over a year and a half ago, Wood named Manson as the previously anonymous abuser she referenced while testifying before the California Senate in relation to the state's Phoenix Act, which extends the statute of limitations on domestic violence from three years to five. In February 2021, Wood claimed in a social media post that Manson "groomed" and "horrifically" abused her for years. After she shared her accusations, several other women posted their own allegations against the singer. The women claimed to have endured "sexual assault, psychological abuse, and/or various forms of coercion, violence, and intimidation" at the hands of Manson.

Manson later released a statement denying the abuse allegations leveled against him, writing on Instagram: "Obviously, my art and my life have long been magnets for controversy, but these recent claims about me are horrible distortions of reality. My intimate relationships have always been entirely consensual with like-minded partners. Regardless of how — and why — others are now choosing to misrepresent the past, that is the truth."

Canadian rockers NICKELBACK played the first of three intimate shows last night (Tuesday, November 15) to celebrate the release of their new album, "Get Rollin'". The gig, which took place at History in Toronto, Ontario, Canada, marked NICKELBACK's first performance in three years.

NICKELBACK's setlist for the Toronto show included the first two singles from "Get Rollin'" — "San Quentin" and "Those Days" — as well as hit songs "Photograph", "Someday" and "Rockstar".

The band will play two more shows this week: November 18 at the Starland Ballroom in Sayreville, New Jersey and November 20 at Foxwoods Resort Casino in Mashantucket, Connecticut.

NICKELBACK's setlist for Toronto concert:

01. San Quentin (live debut)
02. Savin' Me
03. Photograph
04. Animals
05. Leader Of Men
06. Someday
07. Far Away
08. Figured You Out
09. Rockstar
10. Those Days (live debut)
11. Gotta Be Somebody
12. How You Remind Me
13. Burn It To The Ground

"Get Rollin'" will arrive on November 18 via BMG.

The official music video for "San Quentin" was filmed on August 30 at the Simon Fraser University Convocation Mall in British Columbia. According to CTV News, hundreds of NICKELBACK fans attended the shoot, including one fan who one fan traveled all the way from Edmonton.

"San Quentin" was inspired after frontman Chad Kroeger met a real-life warden from the notorious high security California prison. The song follows the story as he plots his clever escape.

Regarding why it took so long to produce the follow-up to 2017's "Feed The Machine", Chad told the WRAT radio station: "Well, we should have been making a record a lot sooner, with all that time off [due to the coronavirus pandemic]. But it's weird to say this, but for 25 years it feels like someone's been standing behind us with a cattle prod and telling us, 'Hey, the record's gotta be done at this time. We're gonna tour at this time. We're gonna do Australia and then we're gonna go do Europe and then we're gonna come back. We'll go across Canada. We'll hit America.' Just like every other band that has to do this stuff, you wanna get a chance to see your fans all around the world. But with this, we were, like, 'We'll get to it when we get to it.' [Laughs] And yeah, we took our time with it, which was just a wonderful luxury, to be able to sit back and [go], 'No. I'm gonna play this guitar solo 40 more times for another three days and make sure it's just exactly how we want it as opposed to deadline, deadline, deadline."

"Get Rollin'" and "Get Rollin' (Deluxe)" will be available via digital platforms and physical CD format. The deluxe edition includes four bonus tracks — acoustic versions of "High Time", "Just One More", "Does Heaven Even Know You're Missing?" and "Horizon". Standard and exclusive versions of the album will also be released on vinyl in 2023.

Amassing hits for over two decades, NICKELBACK is the 11th best-selling musical act of all time, counting over 50 million units sold and over 4.7 billion career streams to date. The band has released 23 chart-topping singles, with 19 reaching the U.S. Billboard Hot 100 chart. Their undeniable success has resulted in over 26 awards, including Billboard Music Awards, American Music Awards, MTV Video Music Awards, MuchMusic Video Awards, People's Choice Awards, JUNO Awards, and more. Among their numerous accolades the band has also achieved 12 consecutive sold-out tours, with nearly 10 million tickets sold worldwide.

Named the "most successful rock back of the decade" by Billboard in 2009, NICKELBACK is one of the most commercially viable and important rock acts of the past two decades. The four-piece, comprised of Chad Kroeger, Mike Kroeger, Ryan Peake and Daniel Adair, is globally celebrated for its career-defining and award-winning hits, including "How You Remind Me", "Photograph", "Far Away" and "Rockstar", which all held top spots on the Billboard 100. Their success includes worldwide sales of more than 50 million units, solidifying their status as one of the top-selling acts of all time and the second best-selling foreign act in the USA in the 2000's decade, behind only THE BEATLES. Their inescapable, irresistible smash "How You Remind Me" was named Billboard's "Top Rock Song Of The Decade". It was the number-one most played song on U.S. radio (any format) in the 2000s decade according to Nielsen Soundscan, with over 1.2 million spins.

Amongst all these accolades, they've also been named Billboard's "Top Rock Group Of The Decade" and received nine Grammy Award nominations, three American Music Awards, a World Music Award, a People's Choice Award, twelve JUNO Awards, seven MuchMusic Video Awards, and have been inducted into Canada's Walk Of Fame (2007). With more than 23 chart-topping singles and fans spanning the globe, NICKELBACK boasts twelve consecutive sold-out world tours, playing to well over 10 million diehard and adoring fans.
Toronto, thank you so much for having us! We’re off to New York!

📸 Richard Beland pic.twitter.com/41VpS7YJ3U

— Nickelback (@Nickelback) November 16, 2022

British progressive rock luminaries JETHRO TULL have completed work on the recording of their 23rd studio album, following swift on the heels of their critically acclaimed return earlier this year with "The Zealot Gene", their first LP in two decades.

JETHRO TULL leader Ian Anderson comments: "We have been putting the finishing touches to the artwork for the album cover and wrapped up the recording and mixing a few weeks ago. Due to the usual long wait for vinyl pressing and manufacturing, we are scheduled for a spring 2023 release, but during the weeks and months to come, you will be hearing more about the record and the various formats which will be available.

"It's a little too early just yet to tease you with titles, tracklists and content, but rest assured that it is all done and dusted as to mastering and the main elements of art and packaging. I hope you will like the concept and themes when I am ready to tell you more. It has been a long and tricky job to get the material recorded during a hectic schedule of touring in these last months. A day here, a day there and the odd burst of a few days together at some points along the way.

"I wrote the main themes and lyrics back in January of this year and sent the first demos to the band in February and March, much as I did with 'The Zealot Gene', back in 2017. Most of the recording took place in June and August with the stereo mixing done in September. My new pal Bruce Soord of THE PINEAPPLE THIEF undertook to create the Surround Sound mixes and an alternative stereo mix too."

JETHRO TULL has live dates scheduled for this year, with shows in mainland Europe before returning to the U.K. for its annual Christmas shows, and then further dates in 2023.

"The Zealot Gene", released in January 2022, was JETHRO TULL's 22nd studio album and it garnered critical acclaim across the board. Reaching No. 9 in the U.K. album charts, a feat the band hadn't reached since 1972, it also debuted at No. 4 in Germany, No. 3 in Switzerland, No. 5 in Austria, No. 8 in Finland, as well as top 10 in the U.S. Current Album chart and Rock Album chart.

With more than 30 albums to their credit and sales totaling more than 50 million, JETHRO TULL is one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Anderson, TULL still continues to tour throughout the world, entertaining audiences of all ages.

JETHRO TULL consists of:

Ian Anderson - Flute, acoustic guitar, harmonica, vocals
David Goodier - Bass guitar
John O'Hara - Piano, keyboards and accordion
Scott Hammond - Drums.
Joe Parrish-James - Guitar

Originally released 12 years ago, Masterplan’s epic, fourth studio album Time To Be King – long gone out of print – is finally back in stock. For the first time ever as coloured, red LP Gatefold, the re-release of this highly collectable vinyl edition is now available via the AFM Records store.


"We are very proud; that our Time To Be King album will be released in celebration of our 20th band anniversary“, guitarist and band mastermind Roland Grapow comments. "As a big vinyl fan, I am particularly very happy about it!"







Time To Be King was released on May 21, 2010, after Masterplan’s original singer Jorn Lande rejoined forces with the band. The masters of their craft gained a new energy and were set to continue their impressive career from a place of strength. 


With a perfect combination of catchy and challenging songs, the band attracted the attention of the listener from start to finish. Epic, melodic, masterful songs full of beauty and grace; the result of extensive songwriting sessions, re-awakened by the old spirit, were all there to be counted! While the only LP edition was released on black vinyl back in the day, finally, Time To Be King is available as a red LP Gatefold reissue; a MUST-HAVE that belongs into every well-sorted power and melodic metal record collection! Furthermore, AFM Records also reissued the band’s second album, the pathbreaking Aeronautics.


Looking to the future, Grapow reveals: "Our new studio album is almost written, just the vocals and some lyrics are still missing. We will also release a live DVD soon, which was recorded in Gothenburg in 2003. We have already booked a few festivals for 2023 and hope to come back full force with Masterplan!"

ANTHRAX recently canceled shows in continental Europe as part of its fall 2022 touring activities, citing "ongoing logistical issues" and "costs that are out of our control." The pioneering thrash metal band had been due to play numerous shows across Europe following their run of dates in the United Kingdom, which still took place between September 27 and October 8.

In a recent interview with Neil Jones of TotalRock, bassist Frank Bello elaborated on ANTHRAX's decision to scrap the European gigs and forge ahead with only the United Kingdom dates. Asked if it was "a Brexit thing" that caused the cancelations, Bello responded (as transcribed by BLABBERMOUTH.NET): "It's a human thing at this point, my God. I mean, it's a budgetary thing.

"When we originally planned everything, as we do — ANTHRAX has been in the U.K. and Europe forever, we have toured there; we have a great big fanbase there, and we love playing for them — we did a budget, as we do, the year before and before we put the shows on sale. After COVID, when everything went crazy, money-wise, financially it wasn't feasible to do it anymore," he explained. "When I saw the numbers, they were literally triple — triple to what they originally started at. We would be coming home at such a loss — you don't mind a little bit of a loss just to play to the fans — but such a loss, we would have been really bad off for a while. So it didn't make sense. When [we] looked at it, we said, 'All right. There's better times ahead.' And that's the way to look at it now. Look, heating costs and everybody's gotta put food on the table. I get it right now. So it's just a really hard time for everybody.

"I know we're gonna be back, and with a vengeance," Frank added. "So it's gonna be a lot of fun the next time around. I look forward to playing to all U.K. and Europe. We did a great U.K. run. I felt it was a little short, even though we did a lot of places. But I wanna come back and just play the way we should be playing."

Prior to scrapping the European shows, ANTHRAX had just wrapped a U.S. tour with BLACK LABEL SOCIETY. HATEBREED served as special guests.

When the European cancelation was first announced on social media, one fan in the comments section suggested that the cancellation could have been a result of low ticket sales. ANTHRAX replied: "Rest assured, there were zero issues with sales. Check out the news over there for a few minutes. We absolutely adore the European fans and love playing there and are very sad not to come. It doesn't work 'example' when tour buses double and triple in cost."

Bello previously discussed the decision to call off the European dates in September in an interview with BLABBERMOUTH.NET. At the time, he said: "When was the last time we canceled a European tour? We've never done it. The god's honest truth: Everything budgeting-wise is insane right now. We budgeted it last year and came back to this year with the gas lines and all the shit that's going on. It was three times the budget. We would have gone into a bad deficit, horrible. And the promoters are saying, 'It doesn't make sense for you guys to do it.' The buses, just life in general. It's horrible. We were able to salvage the U.K. But people know us. They know we'll be back. We love it there. I can't wait to go back. It's just a bummer that life is in the way of metal. [Laughs] What's going on in the world is in the way of metal and making people feel good with our music.

"We've been away," he continued. "We just did the BLACK LABEL SOCIETY and HATEBREED tour and we got the taste back. We were looking forward to the next leg, the U.K., then right into Europe. We're used to touring a few months at a time. Then our manager comes, 'We can't do this with the accounting.' It's like, 'What? How did this happen?' Then you read the papers and you understand. It's terrible."

ANTHRAX's latest album, "For All Kings", came out in February 2016 via Nuclear Blast.

ANTHRAX celebrated its 40th anniversary in 2021 with a number of special activities and events. Formed by guitarist Scott Ian and bassist Dan Lilker in Queens, New York on July 18, 1981, ANTHRAX was one of the first thrash metal bands to emerge from the East Coast and quickly became regarded as a leader in the genre alongside METALLICA, SLAYER and MEGADETH.

Active over the past five decades, ANTHRAX has released 11 studio albums, been awarded multiple gold and platinum certifications, received six Grammy nominations, toured the world since 1984 playing thousands of shows, including headlining Madison Square Garden and playing Yankee Stadium with the "Big Four".

"For All Kings" was called by some critics ANTHRAX's strongest album to date. Its arrival followed a five-year period during which the group experienced a rebirth of sorts, beginning with ANTHRAX's inclusion on the "Big Four" tour, and continuing with the release of comeback LP "Worship Music".

Mirror, mirror, on the wall, who's the finest band of them all? BLACK SABBATH!

A special tribute to Brummie rock music legends BLACK SABBATH has been unveiled in Birmingham. And BLACK SABBATH guitarist Tony Iommi was a special guest at Velvet Music Rooms on Broad Street to see the unusual tribute for himself.

The hand-engraved mirror with neon lighting, which will eventually hang in Tony Iommi's studio, depicts the iconic BLACK SABBATH heavy metal bench that adorns the Black Sabbath Bridge on Broad Street. The mirror also bears the name "Never Say Die!" in tribute to SABBATH's 1978 album and title track — the last studio album with the band's original lineup.

The mirror was designed and made by BLACK SABBATH fan Paul Riding, who originally created it for an art exhibition held at Velvet Music Rooms.

Tony, who made his visit after he had been sent a picture of the mirror, said: "This is the first time I've seen it for real and it's fantastic. I love it. I am going to put it up in my studio."

Paul, who engraved the mirror by hand, said: "I'm absolutely thrilled that my work will now adorn a room in Tony Iommi's studio. What an honor! I've been an avid BLACK SABBATH fan since the 1980s. 'Never Say Die!' is one of my favorite songs, so it had to be on there."

Mike Olley, general manager of Westside Business Improvement District (BID),said: "We are buying the mirror as a special gift to Tony for all the work he has done for the BID and Birmingham as a whole. He has, and continues to be, a fantastic ambassador for Westside and his home city."

After seeing the mirror at Velvet Music Rooms, Tony bumped into novelist Paul Finch who was at Velvet for a separate art event. Paul gave Tony a copy of his latest book.

Tony's contributions to the BID include a special guest vlog recording in June this year in which he wrote about his early life as a welder and engineer. He was also heavily involved in approving the now-famous BLACK SABBATH bench, which he and bandmate Geezer Butler unveiled in June 2019.

After the visit to Velvet, Tony then toured Broad Street with Mike Olley and enjoyed sitting on the BLACK SABBATH bench again.

On a city-wide level, Iommi, whose name is also on the Broad Street "Walk Of Stars", played a major part in the opening ceremony for this year's Commonwealth Games at Alexander Stadium.

Tony Iommi thrilled at reflection in Black Sabbath mirror gift

Mirror, mirror, on the wall, who’s the finest band of...

Posted by Geezer Butler 'Walk Of Stars' Broad Street Birmingham on Thursday, November 17, 2022

In a new interview with Anne Erickson of Audio Ink Radio, JUDAS PRIEST's Ian Hill once again touched upon the prospect of his band one day touring with fellow metal legends IRON MAIDEN. He said: "It's a great concept. I mean, the trouble with IRON MAIDEN and ourselves is we're always busy, always doing something, and trying to get in a gap there when we're both nothing so we can do something together is more difficult than you think. But, yes, it would be a great tour or a great bill — JUDAS PRIEST and IRON MAIDEN, and maybe one or even two others; it would be a great bill. And, you know, you live in hope that it'll happen one of these days. You never know. The stars might line up again. [Laughs]"

Almost a year ago, former JUDAS PRIEST singer Tim "Ripper" Owens revealed during an appearance on the "Who's Your Band?" podcast that PRIEST turned down a tour with MAIDEN while he was in the band. Owens, who fronted PRIEST between 1996 and 2003, referred to the decision in the interview as a "bad move".

Three years ago, Halford said that he would love to see PRIEST join forces with MAIDEN for a tour. "I think both bands would look to do that," he told Consequence Of Sound. "It's all about the timing of doing such a thing. We're good friends."

He added: "When we talk about rivalry, healthy rivalry, it's like the Arizona Cardinals and the Raiders or the Phoenix Suns and Golden State Warriors. It's that kind of rivalry, a good rivalry. It's a fun rivalry. But I think both bands have admired each other throughout the metal years, and it would be a spectacular event — PRIEST and IRON MAIDEN together."

In 2019, shortly after Halford made his comments, IRON MAIDEN bassist Steve Harris said that he was open to a hypothetical MAIDEN/PRIEST pairing. He told SiriusXM's "Trunk Nation With Eddie Trunk": "It's funny because I saw [Halford's comments in the media] myself. And also, apparently someone today said that Ian Hill said something about it as well. So, I don't know. I suppose the management has gotta get their heads together and [make] something like that [happen]. But, yeah, why not? I suppose the fans can push for it to happen. But we'll see."

Harris also talked about his recollections of MAIDEN's 1981 North American tour as the support act for PRIEST, which, at the time, was promoting its "Point Of Entry" record.

"[I have] lots of good memories," he said. "And I really love that album, 'Point Of Entry'. Some people don't think it's their favorite PRIEST album. But I suppose 'cause we were on tour [with PRIEST when they were supporting] it, I really liked it."

In 2018, Downing told SiriusXM's Eddie Trunk that the contentious rivalry between PRIEST and IRON MAIDEN developed when the two bands toured together in the early 1980s. "We'd just finished the 'British Steel' record in England, and we were going out on tour [in early 1980 with IRON MAIDEN]," he recalled. "And then the next thing I know, I read in a music paper that [IRON MAIDEN said] something like, 'Yeah, we're gonna blow the bollocks off PRIEST,' or something like that. And I went, 'What the hell is this shit?' We were still in the recording studio, tidying up the last mixes or something. And I said, 'Well, who are these guys?' Why should we have [them] on tour if they're gonna create this type of vibe before we've even met them, let alone done a show together?' I said, 'Let's get rid of them and get somebody that really appreciates the gig,' of which there would have been an awful lot of bands. But anyway, everybody talked me into going with it, and I said, 'Well, fine,' obviously being democratic. And the next thing I know, we were at the rehearsals at some theater in London somewhere, and this bunch of guys walked in and just sat down in front of me. And I said to my guitar tech, 'Who are those dudes there?' [Laughs] And he went, 'Oh, that's the support band.' And I said, 'Well, who the hell invited them into our rehearsal?' I was thinking about what I read in the papers. And I said, 'Well, just go and tell them that they weren't invited and they need to leave.' I didn't see an invite; nobody told me they were coming in — when you're trying to work out songs and this and that and the other. So that's what happened."

Downing continued: "Anyway, we went on tour [together], and can I just say they didn't blow the bollocks off JUDAS PRIEST — we were pretty well established at the time, and those guys were coming up through the ranks. So that happened. But it wasn't a good atmosphere on the tour, and it's not something I like to have happen — it shouldn't be that way. And next thing I know, somebody [said], 'Oh, IRON MAIDEN is opening up for you on their first U.S. tour [in 1981].' And I went, 'Oh, no! Not again. Can we just not have those guys on [the tour]?' But they came on the tour [anyway], and they created upsets, is what they did, for different reasons and it led to a confrontation and it got a bit ugly. I don't know how it all happened, but I did meet [former IRON MAIDEN singer] Paul Di'Anno so many years later, in about 1995, and he said, 'Hey, K.K., we're sorry about that quote in the paper.' And that's all you need.

"But, anyway, like I said, it's all water under the bridge," K.K. added. "Those guys were young, coming up through the ranks, a bit delinquent, but at least they had balls, they got on with it, they knew what they wanted to do."

In his autobiography, Di'Anno claimed that he was the main reason old feelings of rivalry existed between MAIDEN and PRIEST during the early 1980s — something that Downing later denied. "Paul apologized personally to me — what a great gesture," K.K. told Rock Hard magazine in a 2003 interview. "But he wasn't the main reason for the rivalry. At the time of 'British Steel', PRIEST was the bigger band and MAIDEN was the supporting act. They were saying that they [would] blow us off the stage without any problem — well, I thought their behavior wasn't very nice. I'd have loved to send them home to take another band with us, [one] who would have appreciated the chance. But we were told not to do it as it would have looked like we were frightened by them. So we kept on going... but they were very arrogant. And I remember the main rehearsal before the tour when there were a few guys hanging around in the room who didn't say a word and watched everything we did — every step we made and every move of the stage lights. I wasn't very pleased and asked the guitar tech to tell the guys to leave the place. Don't get me wrong: I'm not too good not to play in front of the supporting band — but they could have asked, at least, if it was okay to attend the rehearsal. We went on tour and they didn't blow us off the stage, of course. I watched quite a lot of the MAIDEN shows, but the reaction of the audience wasn't very explosive — because the fans were waiting for us. Okay, MAIDEN became one of the biggest bands of the metal scene — and I'm proud of them. We made a big mistake by focusing more on the U.S. than on Europe after releasing 'British Steel'. [I mean], we lost a lot of attention at home. In the U.S., we were quite big — and MAIDEN asked us for a support slot on our U.S. tour. We said yes — and the same old story happened again. It had a lot to do with rivalry and jealousy."

When asked what he would say to Harris if they bumped into each other, K.K. told Rock Hard: "I'd buy him a beer — because it's an old story. Like I already said, I'm proud of what MAIDEN achieved and of what they did for the British metal. It might sound stupid — but it's true."

SKID ROW guitarist spoke to France's Loud TV about the addition of Erik Grönwall to the group's lineup. The Swedish vocalist joined SKID ROW in January as the replacement for ZP Theart, who had been in the group for more than six years. Theart played his final gig with SKID ROW in February before being officially given the boot.

On the topic of Erik's singing ability, Scotti said (as transcribed by BLABBERMOUTH.NET): "Erik can sing anything, I think. I'm pretty sure he can… Well, I know he can sing anything that SKID ROW has ever done. And I've yet to see something he can't sing. He's an incredible talent. His singing is amazing. And he's equally as great a performer."

Regarding what it's like to share the stage with Erik, Scotti said: "It's like he's doing [the] Power Core [workout] up there. He's all over the place. He's incredible. It's so interesting, because you watch him backstage, and he's just Erik. He's a cool guy. He's funny. He's got a positive attitude. And then he walks out onstage and you're, like, 'Who the fuck is this guy? Who is that person? I don't know that person. He's possessed.' I try and stay out of his way. When I see him coming, I just [step back].

"From the beginning, from the first shows in Vegas, it was great being on stage with him," he continued. "Now we've been doing it long enough where we know each well enough on stage and how to interact with each other. It's a little awkward in the beginning when somebody new comes in. You have to get a feel for what they do on stage. And now we've got it down and we've been out doing lots of shows and I think we're pumping it 98 percent at this point."

Hill also reflected on the lineup changes that SKID ROW went through in the years prior to Erik's addition to the band. He said: "Between the EPs that we did and then some… We lost [former SKID ROW singer] Johnny Solinger. Well, actually, we parted ways with Johnny Solinger and then, unfortunately, years later, he passed away. And that period from then to when we got Erik was a little bumpy. As people know, we've gone through a few singers. And I think it's a matter of finding that missing piece that we've needed the whole time to bring us to the next level. We always say that when [drummer] Rob [Hammersmith] joined the band, we became a better band. We needed that last piece to make us an even better band. So the puzzle is complete. We are ready to go back in the studio and start working again."

Grönwall went from auditioning for the competition show "Swedish Idol" back in 2009 by singing a cover of "18 And Life" to being asked to front SKID ROW earlier this year.

Erik, who was diagnosed with acute lymphoblastic leukemia in March 2021, was a member of the Swedish hard rock band H.E.A.T. for nearly a decade before exiting the group in October 2020. In September 2021, he announced that he was cancer free after receiving a bone marrow transplant one month earlier.

Grönwall sang on H.E.A.T.'s last four studio albums — "Address The Nation" (2012),"Tearing Down The Walls" (2014),"Into The Great Unknown" (2017) and "H.E.A.T II" (2020).

In September 2021, Grönwall released his new cover version of "18 And Life" via all streaming platforms.

In 2018, Grönwall debuted in the U.S. for 10 million viewers in NBC's live broadcast of Andrew Lloyd Webber's and Tim Rice's musical "Jesus Christ Superstar". Along with John Legend, Alice Cooper, Sara Bareilles and others, Erik played the key role of Simon Zealotes.

In late March, SKID ROW released its first single with Grönwall, "The Gang's All Here". The song is the title track of the band's latest album, which arrived on October 14 via earMUSIC.

SKID ROW played its first show with Grönwall on March 26 at Zappos Theater at Planet Hollywood Resort & Casino in Las Vegas, Nevada as the support act on the rescheduled dates for SCORPIONS' "Sin City Nights" residency.

DISTURBED guitarist Dan Donegan spoke to Matt Bingham of the Z93 radio station about how the events of the past couple of years have affected the lyrical themes covered on the band's upcoming album, "Divisive". He said (as transcribed by BLABBERMOUTH.NET): "In a big way. Obviously, with the whole world having to hit the 'pause' button and not knowing what this pandemic was gonna be and turn out to be and just stopping all of our lives, not just our lives, but obviously the music industry being affected by it in a large way, because our whole livelihood is based off of contact and being in front of thousands of people. So, it obviously was one of the later career choices for us to make a comeback, obviously, it was harder for that, to get out of this pandemic and find out what live entertainment was gonna be and what restrictions there may be. So, it was challenging — for all of us, our crew members, everybody that… Their whole livelihood was taken away from them. And my heart goes out to a lot of guys that worked for us and for other artists that had to go out and find new jobs during that whole time and a new career path. So it was challenging. It was challenging mentally. It kind of had an effect on me dealing with it and having the live show taken away from us. It's always been therapeutic for us. That's why we write music and do it. It's our outlet and our way to seek that therapy. And we went through a difficult time. Mike [Wengren], our drummer, went through a divorce early on in the pandemic. I went through a divorce earlier this year. It was a tough time. It affected our personal lives. And then, obviously, all the changes in the world and politically and things going on here in the U.S., it's become quite a mess and quite the division amongst each other. Everything you see on social media, it's just become a mess. It's pretty disgusting. It's sad to see the division that has been going on here. It's like people wake up in the morning and they can't wait to get on social media to see what they can bitch about. We're just so divided. It's, like, 'If you don't believe what I believe, then I hate you.' And 'You're a racist.' And 'You're a homophobe.' Just the name calling. It's just an ugly time right now."

Donegan, who in the past has shared posts on his personal Facebook page that amplified Republican talking points and that were derogatory to Democrats, continued: "It's just shocking to me. And now I see it within friendships and family members. And people are that much at odds to where it's affected those close relationships, not just the strangers that can hide behind the keyboard in their mom's basement and spew out their hatred towards it. I don't know. It's just really disappointing to see people torn apart, a country torn apart like this. And I think we need to take a step back and take a look at the way we've been acting. We're called the United States. We're not really acting all that united in the past couple of years."

Dan's divorce inspired the "Divisive" song "Don't Tell Me", which is a duet with HEART's Ann Wilson. In two decades, it breaks ground as the first-ever guest collaboration on a DISTURBED record. Clean guitar soundtracks the story of a long-term relationship in the middle of its last gasp. DISTURBED singer David Draiman and Ann engage in a call-and-response before locking into a skyscraping harmony as the solo reaches for the heavens.

"It was very personal to me," admitted Dan. "I was going through my divorce, and I wanted to touch on the fact I was in a very long marriage to a wonderful woman. She's a great mother to my kids. We were together for 18 years. Even though the marriage was in a tough spot, it was hard to leg go, because we'd invested so much into each other. I felt like listeners could relate to it."

"Divisive" will arrive on November 18 via Reprise. The LP was recorded earlier this year with producer Drew Fulk (MOTIONLESS IN WHITE, LIL PEEP, HIGHLY SUSPECT) in Nashville, Tennessee. The follow-up to 2018's "Evolution" includes the three recently released singles "Hey You", "Unstoppable" and "Divisive".

About the "Divisive" album title, Draiman noted: "Partisan tribal warfare has become a part of our regular existence nowadays. It's one big battle of the cliques. The whole idea of the record is to be a wakeup call for everyone. Our society has become addicted to outrage. Music is the best cure for what ails us though. If only everyone reached out and used it. There's no better environment to forget about all of this shit than live music. We can be together and realize we have more in common than not. Recognize what's happening and let's make a change for the better."

Donegan added: "Whatever it takes, we've got to pull it together. We've always tried to take negative topics and spin them in a positive light. From touring around the world, we've seen the power of music as the universal language to bring everyone together from all walks of life. We can still play songs to unite people, and it's a pretty powerful feeling."

SALIVA has released a new radio single, "High On Me", to all major platforms.

SALIVA singer Bobby Amaru stated about the track: "'High On Me' is about a day in the life of someone's opioid addiction. Is it me or the drugs that keep you sticking around? The opioid epidemic is something so many struggle with and most never make it out the other side. I've had many friends die from it and it saddens me when I hear of someone losing that battle."

This past June, SALIVA released another single "Crows". Two months earlier, the band dropped "Revelation Man", which was SALIVA's first new track in four years.

SALIVA will continue to release tracks and ultimately a full album in spring of 2023. The new music has a contemporary feel but sticks to the blue-collar roots that the band's fans love.

SALIVA will be on tour in December with AWAKE AT LAST and SEVENTH DAY SLUMBER.

As previously reported, SALIVA reunited with its original singer Josey Scott for a one-off appearance at this year's Blue Ridge Rock Festival in September at the Virginia International Raceway in Alton, Virginia.

Scott left SALIVA at the end of 2011 after 15 years with the group, reportedly to pursue a solo Christian music career. He was quickly replaced by Amaru, who can be heard on SALIVA's last four releases: "In It To Win It" (2013),"Rise Up" (2014),"Love, Lies & Therapy" (2016) and "10 Lives" (2018).

SALIVA released six albums with Scott and tasted platinum success and a Grammy nomination for its first big hit, "Your Disease".

In May 2021, SALIVA celebrated the 20th anniversary of its breakthrough major label debut, "Every Six Seconds", with a special project called "Every Twenty Years", an EP of classic songs re-recorded with Amaru.

Descend into the darkening depths with Undrask's immersive new single "The Thing In The Pit". Brutal rhythms, intricate melodies and eerie choral chants manifest a demonic atmosphere that's enhanced with theatrics in the music video. 


"We're happy to share a taste of our upcoming album, God Emperor. This track is our protagonist's descent into literal and metaphorical darkness, where 'The Thing In The Pit' resides. One of the more straightforward, driving tracks on the album, and we look forward to sharing the rest!" 







Thundering percussion creates a haunting introduction alongside an eerie choir. Metal instrumentation explodes into life with a contrapuntal array of heavy rhythms and sees lightning speed melodies spark into being. Guttural vocals deliver a commanding presence and yield a further burst of aggressive power into the ferocious mix. "The Thing In The Pit", and the upcoming album, delve deeper into the story of the creation of the Longhammer - "Longhammer" is a track featured on the previous LP Battle Through Time. "The Thing In The Pit" showcases Undrask's evolution and provides a thrilling first glimpse of what is to come. 


 

Inverno is a new Italian metal band whose line-up comprises Diego Cavallotti (Lacuna Coil), Danilo Arisi (Avelion), Daniele Salomone (D With Us), Nicola Pedrali (Genus Ordinis Dei) and Simone Orizio (A Hero Named Coward).


"Martyrs" is the fourth single released by Inverno: a song that once again refines the band’s formula with edgy riffs, abundant and vitalizing tempo changes, growling vocals and catchy yet sharp choruses.







The lyrics, music and video further develop the concept of "Hollow", "Lands" and "Roots", the three singles preceding "Martyrs". Inner conflict is still the main theme, as we're often poor arbiters of our own emotions and desires.











For further details, visit Inverno on Facebook.


 

Canadian rockers, Headstones, released their new full-length album, Flight Risk, on October 14th via Known Accomplice. Today, the band has issued a video for the opening track from Flight Risk, a song called "Headlight Holds A Deer".


The clip, which can be seen below, was directed by Stuart Campbell, with special thanks given to Rusty Hook Auto Salvage.







Catch Headstones live on the Flight Risk tour. Tickets are available here, with confirmed dates as listed:


November
22 - Thunder Bay, ON - Thunder Bay Community Auditorium
24 - Winnipeg, MB - Burton Cummings Theatre
25 - Regina, SK - Casino Regina
26 - Saskatoon, SK - Coors Event Centre
27 - Red Deer, AB - Bo’s Bar
29 - Calgary, AB - The Palace Theatre
30 - Grande Prairie, AB - Better Than Fred’s


December
1 - Edmonton, AB - Midway
3 - Vancouver, BC - Commodore Ballroom
8 - Waterloo, ON - Maxwell’s
10 - Buffalo, NY - Town Ballroom
14 - London, ON - London Music Hall
15 - Oshawa, ON - Oshawa Music Hall
16 - Ottawa, ON - Bronson Centre
22 - Toronto, ON - Phoenix Concert Theatre


Flight Risk is pre-apocalyptic rock and roll at its finest, following up Headstones' 2019 release PeopleSkills, which garnered two Top 10 radio hits with “Leave It All Behind” and “Horses”.


This is one of the most subversive Headstones rock and roll records to date. Flight Risk is the result of years of relentless work ethic and dedication, a testament to the long-standing relationships within the band and their team. The album features a surprise co-write on the track "Ashes", between Hugh Dillon and long-time friend and collaborator Taylor Sheridan; one of the most prolific, premier storytellers of his time, and architect of hit series’ Yellowstone and 1883, Oscar-nominated films Sicario and Hell Or High Water.


The album is available to order / save here.





Tracklisting:


"Headlight Holds A Deer"
"Everything Or Nothing At All"
"Flight Risk"
"When It Goes Badly"
"Tangled"
"Hotel Room"
"Neon Rome"
"Ashes"
"Psychotropic"
"Pilot Light"
"Rink"


"Everything Or Nothing At All" video:





"Flight Risk" video:





"Tangled" video:





Headstones lineup:


Hugh Dillon – vocals, harmonica
Trent Carr – guitar, vocals
Tim White – bass, vocals
Steve Carr – keys
Jesse Labovitz – drums


 

Forged from the melting pot of Detroit's underground metal scene, Asylence is a well-oiled metal machine built with passion, intent, and ferocity like no other. At the beginning of next year, they will be releasing their full-length album, Endanger Us All.


A music video for the single, “Soulless”, can be viewed below.


Vocalist Ryan Lang: “This is another oldie but a goodie. One of the heaviest songs we’ve ever written especially early on in the band. This is screaming in an addict's face. This is how hard it is to see a loved one fade away into the depths of addiction. This song is so emotional for me, I’ve lost far too many friends to drugs and addiction, and I’m no stranger to my own struggles myself. I hope that this song can provide someone with comfort that they are not alone and maybe this could help encourage people to wake up and change their lives for the better.”




A fun fact about the single, the ending was actually first written off the cuff live. They screwed up how it was supposed to end and just ran with it and the crowd loved it. They did too, so it was added to the final song. The album Endanger Us All is a combination of Asylence’s oldest and newest material. The older songs have always been a staple in their live sets and they wanted to finally record them right and do them justice. The new songs have been completed since the release of their 2020 EP Eulogy Of Man and they really constructed the bridge from what we were to what they’re becoming.


Asylence started out trying to be as heavy as they could possibly be but now they find themselves exploring more techniques and ideas that they had never previously thought to pursue. They are recommended for fans of Arch Enemy, DevilDriver, and Amon Amarth.

Recently wrapping up their North American tour supporting legendary German speed metallers Accept, Narcotic Wasteland - founded by guitarist Dallas Toler-Wade - is sharing their assaulting new single, “Victims Of The Algorithm”. A music video can be viewed below.


The track is a crushing speed storm of death thrash, with its visceral vocals, and a demolishing blast beat war to annihilate the mosh pit. The song is the first time drummer/ vocalist Joseph Howard collaborated with Wade.


"I had the music done for an untitled track that I already recorded in the studio, but I didn't have lyrics written yet, then Joseph showed me lyrics he wrote called Victims of the Algorithm and after I read them, I knew they were the perfect match for this song. To break it down, Victims of the Algorithm is about a lot of things, but for me, after reading Howard's lyrics, it's mostly about putting down our phones and breaking free from this ridiculous round of existence we have created for ourselves. Disconnecting from the daily neurotypical absurdities and enjoying life in the moment." says Wade.




The music video was created by Kenji Tsunami of Tsunami films. Footage for the video was captured at the Thirsty Axe in Ukiah, CA, and at the band's rehearsal space in San Francisco, CA.


"I think Kenji really captured our live prowess very well!! It has a very gritty punk rock feel to it, and fits the song and its meaning perfectly," adds Wade.


“Victims Of The Algorithm” will be featured on Narcotic Wasteland's forthcoming 2023 album via Megaforce Records (release date to be determined). The single was recorded with engineer, and producer Erik Schultek who is no stranger to the band having recorded drums, engineered and produced their self-titled debut album. The band's 2023 album will be the follow-up to their sophomore full-length 2017’s “Delirium Tremens”.


Stream “Victims of the Algorithm” here.





Inspired mostly by thrash metal and classic heavy metal, Narcotic Wasteland is becoming more thrash and speed and less death metal and getting better at writing material that is meaningful and powerful. They are recommended for fans of Vader, Death, The Crown, Autopsy, Pestilence, and Nile.


Previous singles:


“Morality And The Wasp”





“The Best Times Have Passed”:


 





 


Narcotic Wasteland started as a side project Dallas Toler-Wade had been working on the past few years when he was not touring or in the writing/studio with metal heavyweights Nile.


"So I just started writing some songs kind of more in the style of things I was playing before my time in Nile. The more we started working on these demos the more we wanted to complete an album and take it to the stage!!! Our observation of what was going on in parts of the town we grew up in and in other parts of the world fueled a new level of angst for me personally.” - DTW


(Photo - Andrea Roberts)

At last night's "Bowl For Ronnie" event in Studio City, California, Bruce Dickinson's longtime collaborator Roy "Z" Ramirez was asked by The Metal Voice about the progress of the recording sessions for the IRON MAIDEN singer's next solo album. He responded: "I can't really say much. It's being worked on. It sounds fabulous and all that. Actually, it sounds brilliant."

As for when fans can expect to see the LP released, Roy said: "I have no idea."

This past March, Bruce told Consequence about his next solo album: "I've been working on it, on and off, since [2005's] 'Tyranny Of Souls'. But between lockdowns and albums and MAIDEN tours and everything else, I'm looking for a clear space to actually nail and say, 'Okay, this is what it's gonna be,' and get Roy to put some backing tracks down. And then we can do it. So we're at the point now where we've already got — I don't know — anywhere between 50 and 70 percent of the material for the album, depend[ing] on what we pick, from things we've already got. And I think we'd like to tweak it a little bit. So I've got some time. When I finish this [U.S. spoken-word tour] in March, I've got three weeks in L.A. And so I'm gonna be tweaking a few things with Roy. And we'll see where we get to. And if we get to the point where we can start putting backing tracks down, then I'll be off touring with MAIDEN and he can be chipping away doing the backing tracks. And the technology exists now, of course, which didn't exist back in the day, to just get on a Zoom call with him and take a listen. We were already going that way on 'Tyranny Of Souls'. He actually sent me a CD of the backing tracks — just rough; no guitar solos; just rough — and I put a set of headphones on. I was in Japan on tour at the time, and I just walked the streets of Tokyo at, like, nine in the morning with a notepad, mentally writing words and melodies, and then just flew back to L.A. and did the vocals. And that worked out great; 'Tyranny Of Souls' is a great album."

Back in December 2017, Dickinson said that his next solo LP would likely include a reworked version of "If Eternity Should Fail", the opening track on IRON MAIDEN's 2015 disc "The Book Of Souls". At the time, he said that he had about "half" of his seventh record already written and he also confirmed that "If Eternity Should Fail" was originally penned as a Dickinson solo track.

He told Finland's Kaaos TV that the original plan was for his next solo record to be "a whole concept album, which was gonna be called 'If Eternity Should Fail'. And 'If Eternity Should Fail' was the title track to my new solo album," he said. "And a bit like [Dickinson's 1989 solo song] 'Bring Your Daughter To The Slaughter' [laughs], it got commandeered for IRON MAIDEN. So if I did do another solo album, which I think I will, I might just stick to my original plan and have that as the title track. I mean, I did write it — it was the first track that I wrote for it. So, yeah, I'd probably still include that song. But it would be… the feel would be slightly different — not very much, though — from the MAIDEN version."

In 2015, Dickinson told France's Hard Force magazine that "If Eternity Should Fail" ended up being used by IRON MAIDEN after bassist Steve Harris heard the demos that Bruce was working on for what was supposed to be his next solo album. "And [Steve] went, 'That's a really cool song. Can we use that? That's gonna be the opening song on the album,'" he recalled. "And I went, 'Yeah, okay.' And he was already writing, I think… He was already thinking of 'The Book Of Souls' as being the title, so he told me about the Mayan thing. And I'm, like, 'Yeah, that's cool. Okay. Yeah, I see where you're going.' But in my case, that song was written as part of a story. So the spoken word at the end is the beginning of a story that goes through the whole album. And one of the characters is Dr. Necropolis; he's the bad guy. And the good guy is Professor Lazarus; he raises people from the dead. So that introduces Necropolis in the spoken-word thing. And I asked Steve… I said, 'Look. Okay. I get having the song…' 'Cause it opens up with, 'Here is the soul of a man.' 'Yup. Get that. But what about the end?' I said, 'Will people understand what this is about? Because this is nothing to do with the Mayans or anything. This is to do with… I'd come up with a concept album that doesn't happen.' [Laughs] And he [went], 'No, no, no. It's just talking about souls and everything, and it sounds great.' I went, 'Okay.' [Laughs]"

Dickinson made his recording debut with IRON MAIDEN on the "Number Of The Beast" album in 1982. He quit the band in 1993 in order to pursue his solo career and was replaced by Blaze Bayley, who had previously been the lead singer of the metal band WOLFSBANE. After releasing two traditional metal albums with former MAIDEN guitarist Adrian Smith, Dickinson rejoined the band in 1999 along with Smith. Since then, Dickinson has only released one more solo album (the aforementioned "Tyranny Of Souls") but has previously said that his solo career is not over.

In a new interview with Andrew Daly of Metal Castle, legendary hard rock vocalist Joe Lynn Turner (RAINBOW, DEEP PURPLE, YNGWIE MALMSTEEN) was asked for his thoughts on his contemporaries using backing tracks in the live setting. He said: "I think it's become too much. I understand some groups need to rely on these computers, but I'm old school, and I think live music should be live. That's what people pay for. If you are well-known and you're going out there and using backing tracks, you're not being honest; it's pantomime. It's not even karaoke. I feel it's cheating people, and it's cheating yourself. Because if you can't cut it live, well, that's what separates the men from the boys. That's what separates who's great and who's average. Anyone can cover it up in the studio, but it all comes out live, and if you can't hack it, then get off the stage.

"I understand there's a technology that certain bands use today, but if you're KISS, for example, maybe you ought to quit while you're ahead, guys. Don't you think you've got enough money to where you don't need to take all the static for doing what you're doing? All it's doing is destroying your legacy, and you'd probably be better off if you just stopped. I'm not trying to point them out individually, but they've been known to use it.

"And look, I understand how difficult it is, especially for singers, because you can only go so many nights in a row. So, if you want to be out there still, maybe cut back the nights, and maybe you can't make as much money. I think we have to look at the driving force here and then try and understand the motivation for why they do it. If you're only doing it for money, so you can have five nights instead of three, that's not a good enough reason for me. Go play for three nights and be yourself. Or stop doing it altogether."

In recent years, more and more artists have been given a pass for relying on pre-recorded tracks, drum triggers and other assorted technology that makes concerts more synthetic but also more consistent. For better or worse, pre-recorded tracks are becoming increasingly common for touring artists of all levels and genres and they're not just used in pop music — many rock artists utilize playback tracks to varying degrees.

Last month, Sebastian Bach and Ronnie Radke engaged in a war of words on Twitter over FALLING IN REVERSE's decision to cancel a festival appearance due to "missing" laptops.

Just hours before FALLING IN REVERSE was supposed to appear at the WIIL Rock festival on September 24 at Lake County Fairgrounds in Grayslake, Illinois, the singer and his bandmates scrapped their performance because their laptops — which the musicians use to "run" their "show" — were lost. At the time, Radke said in a video message that he and his bandmates had "no other option" because "as a band in 2022, you need your laptops. It's like driving a car without an engine."

One person who seemingly defended Radke and FALLING IN REVERSE is MÖTLEY CRÜE's Nikki Sixx. The bassist wrote: "Keep beating that fake bullshit drum. Sounds so 'Get Off My Lawn'. God forbid if some artists use technology as a creative tool on albums and in live settings. I get it. Just open your mind and stop fighting reality. Makes you sound outta touch and I like that you fly the rock flag."

In March 2020, SHINEDOWN guitarist Zach Myers said that "90 percent" of rock artists use at least some pre-recorded tracks during their live performances. He told Rock Feed: "It bothers me that it bothers people. I'm, like, 'Why does this bother you?' It's the way it is. People have been doing this since the '80s. And we want the sound to be the best it can be. Could we go up there, just the four of us, and put on the best rock show ever? Of course. But that's not how we wanna do it."

Bach previously said that he is "one of the last people" who are still not using pre-recorded tracks at their live shows. "I don't know how much longer I can say to you that I don't use tapes onstage, because I don't, and I never have," he told Consequence Of Sound. "And I still don't. When I have opening bands, and they're using tapes, and then I come out and I don't use tapes… sometimes, it makes me feel stupid, because I'm like, 'What am I doing, when all these kids half my age can come onstage and do all of my moves, but they don't have to warm up for an hour before the show, or weeks, before the first show?' Sometimes, I'm like, 'Why do I even bother, if the public is so used to this other way?' It's becoming very rare to come see a good band that's actually a real band — that's not miming or doing silly moves while a tape is running. It just becomes more rare as the years go on."

In 2019, IRON MAIDEN guitarist Adrian Smith said that he doesn't "agree" with certain rock artists relying on pre-recorded tracks during their live performances. "I tell you what, I see it with a lot of younger bands, and I don't think it's a good thing at all," he told the New York Post. "I mean, the music is getting too technical now. You have computerized recording systems, which we use, but I think we use them more for convenience than because we need to. We've toured with a couple bands that use tapes — it's not real. You're supposed to play live; it should be live. I don't agree with using tapes … I think it's a real shame."

Sixx has been open about MÖTLEY CRÜE's use of taped vocals during live performances, saying, "We've used technology since '87." He added the group employed "sequencers, sub tones, background vox tracks, plus background singers and us. [MÖTLEY CRÜE also taped] stuff we can't tour with, like cello parts in ballads, etc.... We love it and don't hide it. It's a great tool to fill out the sound."

In a 2014 interview, MÖTLEY CRÜE guitarist Mick Mars admitted that he wasn't comfortable with the fact that his band used pre-recorded backing vocals in its live shows, claiming that he preferred to watch groups whose performances are delivered entirely live. "I don't like it," he said. "I think a band like ours… I have to say '60s bands were my favorite — '60s and '70s bands — because they were real, like, three-piece bands or four-piece bands, and they just got up there and kicked it up. Made a mistake? So what? Sounded a little bit empty here or there? So what? It's the bigness and the rawness and the people that developed and wrote the songs and made them and presented them. To me, that's what I really like. I mean, I could put on a MÖTLEY CD and play with it all day long. I don't wanna do that."

KISS lead singer Paul Stanley, who has been struggling to hit the high notes in many of the band's classic songs for a number of years, has been accused of singing to a backing tape on KISS's ongoing "End Of The Road" tour.

Back in 2015, KISS bassist/vocalist Gene Simmons slammed bands who used backing tapes for not being honest enough to include that fact on their concert tickets.

"I have a problem when you charge $100 to see a live show and the artist uses backing tracks," Simmons said. "It's like the ingredients in food. If the first ingredient on the label is sugar, that's at least honest. It should be on every ticket — you're paying $100, 30 to 50 percent of the show is [on] backing tracks and they'll sing sometimes, sometimes they'll lip sync. At least be honest. It's not about backing tracks, it's about dishonesty.

"There's nobody with a synthesizer on our stage, there's no samples on the drums, there's nothing," Gene continued. "There's very few bands who do that now — AC/DC, METALLICA, us. I can't even say that about U2 or THE [ROLLING] STONES. There's very few bands who don't use [backing] tracks."