In celebration of his latest music video for the song "For A Friend", former MEGADETH guitarist Marty Friedman recently answered some questions submitted by fans through the Jackson Instagram story and showed off his Jackson guitars.

Asked what his plans for 2022 are, Friedman said: "Hopefully that's playing for all of you people out there. It's been too long. My album came out in April of 2021. Usually, when my album comes out, I tour everywhere 'cause I love playing in every single country, every single city. I've only played in Japan [in support of the album]; I did two tours of Japan. I love being in Japan but I also love playing for everyone. And I really appreciate all the support all of you have always given me, even when I can't make it to where you live. That's the first thing I'm gonna do [this] year when it's a little bit more of a smoother international touring process."

Marty's latest album, "Tokyo Jukebox 3", received a North American release on April 16, 2021 via The Players Club/Mascot Label Group. The record, which was made available in Japan in October 2020, is the third in a series that began with "Tokyo Jukebox" in 2009, and then "Tokyo Jukebox 2" following in 2011. The trilogy presents Friedman's inspired performances to Japanese repertoire he's chosen to cover.

Marty has spent the last few years working on a documentary called "Spacefox". The film, which is being directed by Jeremy Frindel, the founder of Substratum Films, follows Friedman's reinvention from lead guitarist in MEGADETH to one of the most famous TV personalities in Japan.

In July 1999, Friedman was onstage performing at Woodstock '99 in front of a sea of fans as the lead guitarist for MEGADETH. Since joining the band in 1990, Marty played a crucial role in their rise to stardom with his unorthodox style of virtuoso guitar playing, selling millions of records worldwide, and being nominated for multiple Grammy Awards. Just six months after Woodstock, in an unexpected move that shocked his friends, family, and especially his bandmates, despite platinum albums and sold-out tours, for reasons unknown, he suddenly quit the band and walked away from it all. Unbeknownst to his U.S. fans, Marty moved to Tokyo to pursue his love of Japanese pop music, and in the process, reinvented himself as a wildly successful Japanese TV celebrity. Marty has appeared on 700-plus television programs, commercials and motion pictures since then, and become was dubbed "the Ryan Seacrest of Japan" by Billboard magazine in the USA.

According to Rolling Stone, the man who claims he was the baby featured on the cover of NIRVANA's "Nevermind" album has refiled his lawsuit against the band, a little over a week after a judge dismissed his initial complaint.

Last August, Spencer Elden filed the lawsuit, alleging the photo of the baby reaching for a dollar in a swimming pool violated federal child pornography statutes and arguing child sexual exploitation. He also claimed the image on the cover was taken and used without his consent.

In last month's motion to dismiss, NIRVANA, as well as Kurt Cobain's widow, Courtney Love, had asked the court to throw out the lawsuit, saying Elden's claim that the photograph on the "Nevermind" cover is child pornography is "not serious" and insisting that his claim is "barred by the applicable statute of limitations." Federal child pornography law has a 10-year statute of limitations, beginning when a victim "reasonably discovers" the violation itself or the harm caused by it.

On January 3, Judge Fernando M. Olguin, who was presiding over the case at the U.S. District Court in Central California, dismissed the case after Elden missed his December 30 deadline to file an opposition to the defendants' motion to dismiss. However, Elden had the option to refile an amended lawsuit by January 13, which he has now done.

In the amended lawsuit, filed on Wednesday (January 12), Elden claims that NIRVANA "intentionally commercially marketed the child pornography depicting Spencer and leveraged the lascivious nature of his image to promote the 'Nevermind' album, the band, and NIRVANA's music, while earning, at a minimum, tens of millions of dollars in the aggregate." However, the second amended complaint drops a claim related to sex trafficking. Elden's prior suit alleged that the defendants did "knowingly benefit from participation in what they know or should know is a sex trafficking venture."

In their motion to dismiss, NIRVANA and Love had asked the court to throw out the lawsuit, saying Elden's claim that the photograph on the "Nevermind" cover is child pornography is "not serious" and insisting that his claim is "barred by the applicable statute of limitations." Federal child pornography law has a 10-year statute of limitations, beginning when a victim "reasonably discovers" the violation itself or the harm caused by it.

"Elden has spent three decades profiting from his celebrity as the self-anointed 'Nirvana Baby'," read the motion which was filed on December 22. "He has reenacted the photograph in exchange for a fee, many times; he has had the album title 'Nevermind' tattooed across his chest; he has appeared on a talk show wearing a self-parodying, nude-colored onesie; he has autographed copies of the album cover for sale on eBay; and he has used the connection to try to pick up women.

The motion added: "Elden's claim that the photograph on the 'Nevermind' album cover is 'child pornography' is, on its face, not serious. A brief examination of the photograph, or Elden's own conduct (not to mention the photograph's presence in the homes of millions of Americans who, on Elden's theory, are guilty of felony possession of child pornography) makes that clear.

"The 'Nevermind' cover photograph was taken in 1991. It was world-famous by no later than 1992. Long before 2011, as Elden has pled, Elden knew about the photograph, and knew that he (and not someone else) was the baby in the photograph. He has been fully aware of the facts of both the supposed 'violation' and 'injury' for decades.”

The motion went on to say: "In addition to his child pornography claim, Elden has alleged that the creation of the photograph for the album cover art entailed the sex trafficking of Elden when he was a baby. Setting aside that this premise is absurd, the statute Elden invokes to cover conduct in 1991, became effective on December 19, 2003 and has no retroactive application to conduct by a defendant that pre-dates its effective date."

Late last year, Elden amended his lawsuit against NIRVANA to include the allegation that the photographer hired to take the photo, Kirk Weddle, also shot images of Elden styled to look like Playboy founder Hugh Hefner. The new filing also drops former NIRVANA drummer Chad Channing as a defendant in the case.

According to Rolling Stone, Elden's first updated complaint cited personal journal entries from late NIRVANA frontman Kurt Cobain, which were published by Riverhead Books in 2002, in an apparent attempt to prove the claim that the photographer intended the cover image to be sexual in nature.

"Undated journals written by Cobain sketch the album cover in a sexual manner, with semen all over it," the document stated. "In several instances, the journals describe Cobain's twisted vision for the 'Nevermind' album cover, along with his emotional struggles: 'I like to make incisions into the belly of infants then fuck the incision until the child dies.'"

The documents also repeated the claim that Weddle intended to "trigger a visceral sexual response from the viewer" by activating "Spencer's 'gag reflex' before throwing him underwater in poses highlighting and emphasizing Spencer's exposed genitals." The documents add: "Weddle soon after produced photographs of Spencer dressed up and depicted as Hugh Hefner."

When Elden first filed his lawsuit against the surviving members of NIRVANA as well as the estate of Kurt Cobain in August, he alleged the photo of the baby reaching for a dollar in a swimming pool violated federal child pornography statutes and argued child sexual exploitation.

A month after filing his lawsuit, Elden, who is now 30, requested his genitalia be removed from "all future album covers" on the 30th anniversary of the project.

"Today, like each year on this date, our client Spencer Elden has had to brace himself for renewed unwanted attention from the media and fans alike throughout the world," his attorneys told USA Today. "This is a choice that he has never had."

The attorneys said that they planned on continuing the legal proceedings in order to "bring long-awaited privacy and dignity back to our client."

"We implore the NIRVANA defendants to right the wrongs of their past, by acknowledging the harm they have perpetrated and redacting the image of Mr. Elden's genitalia from further reproductions of 'Nevermind' because behind every cover is a person pleading for their privacy back," they added.

A deluxe 30th-anniversary reissue of "Nevermind", featuring its original cover artwork, was made available on November 12.

In Elden's complaint filed in Los Angeles federal court, he claimed that his "identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor which has been distributed and sold worldwide from the time he was a baby to the present day."

According to the suit, the defendants "knowingly produced, possessed, and advertised commercial child pornography depicting Spencer, and they knowingly received value in exchange for doing so. … Despite this knowledge, defendants failed to take reasonable steps to protect Spencer and prevent his widespread sexual exploitation and image trafficking."

Elden claimed that his parents never signed a release authorizing the use of the photos, which were taken in a Pasadena aquatic center in 1990. He alleged that the band promised to cover his genitals with a sticker, which was never incorporated into the album art.

The suit further alleged the defendants "used child pornography depicting Spencer as an essential element of a record promotion scheme commonly utilized in the music industry to get attention, wherein album covers posed children in a sexually provocative manner to gain notoriety, drive sales, and garner media attention, and critical reviews."

Elden sought damages of either $150,000 from each of the defendants or unspecified damages to be determined at trial, attorney fees, an injunction to prohibit all parties "from continuing to engage in the unlawful acts and practices described herein," and a trial by jury.

"The permanent harm he has proximately suffered includes but is not limited to extreme and permanent emotional distress with physical manifestations, interference with his normal development and educational progress, lifelong loss of income earning capacity, loss of past and future wages, past and future expenses for medical and psychological treatment, loss of enjoyment of life, and other losses to be described and proven at trial of this matter," the lawsuit stated.

Elden's parents were reportedly paid only $200 for the photos, and the shoot lasted around 15 seconds.

In a 2016 interview with Time magazine, Elden said: "It's a trip. Everyone involved in the album has tons and tons of money. I feel like I'm the last little bit of grunge rock. I'm living in my mom's house and driving a Honda Civic.

"It's hard not to get upset when you hear how much money was involved," Elden added. "I go to a baseball game and think about it: 'Man, everybody at this baseball game has probably seen my little baby penis,' I feel like I got part of my human rights revoked."

"Nevermind" has sold over 30 million copies worldwide and was certified diamond by the RIAA for sales in excess of 10 million copies in the U.S. al

THE OFFSPRING has dropped another episode of "Cockpit Karaoke", a video series featuring frontman Bryan "Dexter" Holland and guitarist Kevin "Noodles" Wasserman singing along to some of the band's biggest hits from inside a private jet that's being flown by Holland, who is a licensed pilot. This time, Dexter and Noodles have opted to tackle "Let The Bad Times Roll", the title track of THE OFFSPRING's latest album.

When "Cockpit Karaoke" was first launched last July — featuring the duo singing "Come Out And Play", with the "Keep 'Em Separated Guy" along for the ride — Holland told SPIN: "We know everyone's heard of 'Carpool Karaoke', but 'Cockpit Karaoke'??? No one's done that!! Since I'm a pilot, we thought it would be great if Noodles and I had some fun and got to sing along to some of our many hits."

"Let The Bad Times Roll" arrived in April 2021 via Concord Records. The follow-up to 2012's "Days Go By" was once again produced by Bob Rock, who also worked on the band's last two LPs.

Holland, Wasserman, drummer Pete Parada and new bassist Todd Morse wrote and recorded "Let The Bad Times Roll" in the last few years at various locations, including the band's studio in Huntington Beach, California.

Last August, Parada announced that was being dropped from THE OFFSPRING's touring lineup after refusing the COVID-19 vaccine for medical reasons. At most of the band's recent shows, he was replaced by Josh Freese, a top L.A. session musician who has played with DEVO, THE VANDALS, NINE INCH NAILS, A PERFECT CIRCLE and GUNS N' ROSES. Freese previously played with THE OFFSPRING on a number of occasions, including during the recording sessions for the "Splinter" (2003), "Rise And Fall, Rage And Grace" (2008) and "Days Go By" (2012) albums.

In a new interview with KUSI's Paul Rudy, Sammy Hagar spoke how he mended his relationship with the late Eddie Van Halen prior to the legendary VAN HALEN guitarist's October 2020 passing. He said (as transcribed by BLABBERMOUTH.NET): "The whole year, of 2020, in the early parts, around January, Eddie and I connected and we started talking again. We were talking about writing music again. We were talking about going out and touring with the whole gang one time for the big time in '22; that was the plan. Of course we wouldn't wanna announce anything like that. But I think Wolfie [Eddie's son Wolfgang Van Halen] said it in some interviews how everybody was planning on doing that, and it would have been the greatest thing that ever happened to VAN HALEN. Unfortunately, Eddie didn't make it.

"I don't think anyone realized how sick he was," Sammy continued. "And then when I started talking to him [again], I would send him a call and he wouldn't answer. I would send him a text and say, 'Word man…' — I used to call him 'Word Man — 'Word man, where are you, man? I'm trying to get a hold of you. You're making me nervous.' And about a day later, he'd get back [to me] and say, 'Dude, I was in the hospital.' I'd say, 'Oh, god.' It was funny. 'Dude, I'm in the hospital. Give me some slack.'

"But I'll tell you what: that guy was made out of something special, man. That Dutch blood or whatever it is, he hung in there a long time. He's had cancer and hip surgery and all these things for years; I guess he'd battled it almost 20 years."

According to Sammy, Eddie never allowed his health or substance abuse issues to significantly affect his live performance. "Eddie always played great," he said. "That's the thing that used to make me mad, 'cause he could drink as much as he wanted, do anything he wanted and come out there and still play good. I'd be going, 'This guy is making me mad.' [Laughs]"

Hagar replaced David Lee Roth in VAN HALEN in 1985 and recorded four studio albums with the band — "5150", "OU812", "For Unlawful Carnal Knowledge" and "Balance" — all of which topped the U.S. chart.

Sammy, Eddie, Alex Van Halen and Michael Anthony last teamed up in 2004 for a U.S. summer tour. In exchange for taking part in the tour, Anthony reportedly had to agree to take a pay cut and sign away his rights to the band name and logo.

In his autobiography, "Red: My Uncensored Life In Rock", Hagar slammed Eddie, saying the guitarist was unkempt, hunched over, frighteningly skinny, drinking wine straight out of a bottle, missing part of his tongue (after a cancer scare) and several teeth. He told an interviewer in 2012: "What happened on that reunion tour in '04 was some of the most miserable, back-stabbing dark crap I've ever been involved with my whole life."

In a 2015 interview with Rolling Stone, Eddie questioned an "embellished" portion of "Red: My Uncensored Life In Rock" that painted the guitarist as a "very angry drunk" during the group's 2004 reunion tour.

In November 2020, Eddie's son Wolfgang revealed that his father had contemplated a "kitchen-sink tour" that would have included Anthony, as well as vocal turns from both Hagar and Roth. There was even talk about bringing back Gary Cherone, who sang with VAN HALEN on one poorly received album, 1998's "Van Halen III".

Eddie died at St. John's Hospital in Santa Monica, California. The iconic VAN HALEN axeman passed away from complications due to cancer, his son confirmed.

Round Hill Music has acquired the music publishing, master rights and master rights royalties for, and entered into a long-term administration agreement for the neighboring rights income from the catalog of David Coverdale, legendary WHITESNAKE frontman and DEEP PURPLE lead singer from 1973 to 1976.

Key acquisition highlights:

* The catalog includes recordings from Coverdale's career as a solo artist and as the frontman of WHITESNAKE.

* The catalog includes master royalty participation from recordings during Coverdale's tenure as the lead singer of DEEP PURPLE.

* The catalogue includes Coverdale's music publishing assets and long-term administration rights for Coverdale's neighboring rights income.

* The catalog provides attractive exposure to WHITESNAKE's 1987 self-titled multi-platinum album which sold over eight million copies in the U.S. alone.

* WHITESNAKE hits in the agreement include "Here I Go Again", "Is This Love", "Crying In The Rain", "Still Of The Night" and "Fool For Your Loving".

* DEEP PURPLE master royalty tracks included in the catalog include "Burn" and "Stormbringer".

* Also included in the catalog is "The Last Note Of Freedom", from the "Days Of Thunder" film soundtrack, co-written with Hans Zimmer and Billy Idol.

Coverdale is an iconic rock frontman best known for his role in WHITESNAKE, of which he was a founding member. Coverdale was also famously and firstly the lead singer of DEEP PURPLE from 1973 to 1976, featuring in their albums "Burn" and "Stormbringer", both of which were certified gold in the U.K. before the band's breakup in 1976. Following this, Coverdale released two solo albums "White Snake" (1977) and "Northwinds" (1978). After founding WHITESNAKE in 1978, Coverdale was present for all of their major successes, including the 1987 multi-platinum self-titled album and the 1989 album "Slip Of The Tongue". In 1990 Coverdale co-wrote with Hans Zimmer and Billy Idol the song "The Last Note of Freedom" for the Tony Scott film "Days of Thunder".

The catalog has diversified revenue exposures including, on the master side, streaming, comprising 23% of revenue mix, with the balance being comprised of 17% physical, 4% download and 6% sync. Revenue from the music publishing assets comprises 39% of revenue while neighboring rights royalties comprise 11%. In terms of geographical exposure, 47% of the revenue is from the U.S., while the balance is from other countries.

The top songs ranked by revenue are: "Here I Go Again", "Crying In The Rain", "Fool For Your Loving", "Is This Love", "Still Of The Night", "Slow An' Easy", "Burn" and "Stormbringer".

All figures above are based on the catalog's royalty statements in the calendar years 2018-2020.

Trevor Bowen, chair of Round Hill Music Royalty Fund, commented: "The Board is pleased to provide RHM shareholders with access to David Coverdale's own legendary catalog of hits as the frontman from one of best known rock bands of all time, who helped to define an era of music. We are delighted to be deploying capital into such high-quality acquisitions while continuing to evaluate further attractive opportunities."

Josh Gruss, chairman and CEO of Round Hill, the company's investment manager, commented: "David Coverdale is a true rock icon. As the frontman for two of the world's greatest bands, WHITESNAKE and DEEP PURPLE, he has blazed a trail since the early '70s, and his legacy and influence on the generations of artists that followed him cannot be understated. To have been entrusted with David's work is a proud day for Round Hill."

Coverdale commented: "I am thrilled beyond words to joyfully announce that my existing catalog of works, both songs and master recordings, which I have been involved in creating for over 50 years, is now in exceptionally safe hands with the fine people at Round Hill. I look forward immensely to working together with Josh Gruss and all at Round Hill to ensure the legacy of my existing works for future generations to enj

The new BULLETBOYS lineup, featuring singer Marq Torien, guitarist Ira Black (OF GODS & MONSTERS, LIZZY BORDEN, METAL CHURCH), bassist Brad Lang (Y&T, BURNING RAIN) and drummer Fred Aching (POWERFLO, BILLYBIO), made its live debut yesterday (Saturday, January 15) at RokIsland Fest in Key West, Florida. Photos and video of the performance can be found above and below (courtesy of Jessica Chase).

Torien launched the new version of BULLETBOYS earlier this month after the band's original lineup fell apart following a two-year reunion. Original bassist Lonnie Vencent failed to show up for a scheduled BULLETBOYS performance at the Whisky A Go Go in West Hollywood, California on December 16, forcing the gig to be canceled. Torien instead delivered an acoustic set with Black. It was later announced by guitarist Mick Sweda and drummer Jimmy D'Anda that they would not be returning to the band.

Last week, Sweda discussed his departure from BULLETBOYS in an interview with Waste Some Time With Jason Green. When asked if he informed Torien about his decision to exit the group after BULLETBOYS' canceled concert at the Whisky A Go Go, Mick said: "I think that [Marq] pretty much expected that that was gonna happen. Who's to say that this wasn't part of a plan, in the beginning, that at the first opportunity he was going to find a way to go back to having his subservient musicians playing. I don't know. It's hard to say. And frankly, it doesn't interest me at all at this point.

"Frankly, I feel a huge sense of relief and a sense of weight lifted off my shoulders every time I leave this band [laughs], because it can be nerve racking and stomach churning," he continued. "And there's no need for it in my life at this point. I've got plenty of other things I could be doing. So that's what I will be doing."

Sweda went on to say that he "always felt like" he "was spending more time doing damage control" than he was enjoying his time as a member of BULLETBOYS.

"It's funny, people are, like, 'Well, dude, just go play music. Why can't you guys just get together and you go out and have fun and play music.' Well, were it so easy," he added.

"The shows were great. We were having a great time. People were responding," he said. "It seemed like there was a potential for an upward trajectory. And as soon as — and these aren't my words; this is somebody who's very close with us and observing it… It's, like, 'When you guys are in a room, everything seems to be great and you're having fun. As soon as everybody gets apart, that's when the voices in people's ears start speaking and the noise starts to have an effect. And, really, that's the way it was — as soon as we finished the gig, that's when everything started to slide downhill."

Sweda previously opened up about his departure from BULLETBOYS in an interview with "This That & The Other With Troy Patrick Farrell" earlier in the month. Speaking about why the reunion of BULLETBOYS' original lineup didn't last more than two years, Sweda said: "You go into these things with what I'd describe as hope but it's kind of qualified hope. You know that there's a shelf life, you know that there's a 'use by' date, or at least 'best use by' date, and you just hope it doesn't come too soon. And for me, frankly, it came too soon. I was really looking forward to the year and all the shows we had booked and looking forward to going out and having a great time this summer. We were thinking that the [aborted] Whisky show [on December 16] would be something that would sort of pull us together after a tough 2021 and something that might sort of create bond that would carry over, and alas, that was not to be. We had a couple of guys that were really important to the functioning of the band, namely the manager and the drummer, that decided that they didn't wanna move on and be a part of it. So, essentially my decision was made for me at that point."

Regarding the personal differences that ultimately caused the reunited BULLETBOYS to fall apart, Mick said: "It's very difficult to explain. I know there's a lot of external noise, I know that there are voices whispering in everybody's ear, and once everybody gets away from that buzz [from playing together], it starts to set in. I'm not gonna speak for anybody else, but you start wondering what's happening. And then you hear something happened and somebody did this or somebody did that or said this, and it all just starts manifesting in this… I suppose it is insecurity, I suppose it is distrust. And for me, I have to be able to trust the guys in my band; I have to be able to know that somebody isn't gonna go behind someone else's back and say something or do something. And that just starts to dissipate, I suppose, with the time away. It's funny — when you get back together, all of that just sort of subsides into the background because there's a bigger goal in mind and a bigger picture; you want to achieve that and you don't wanna let everybody down. So it's easy to overlook that. But there comes a time where it just feels like it's toxic and poisonous, and nobody needs that in their life, especially at our age."

Sweda went on to say that he has had no direct conversations with Torien since he made the decision to leave BULLETBOYS. "I didn't have to speak with Marq," he explained. "The way that played out pretty much spoke volumes for me, and there was nothing else to be said. My understanding is that he's already looking at putting together a group of fellows to go out and do there dates. My big concern is that when people see Jimmy's picture or see my picture out there, I just want them to know that that is not gonna be the case and they're not gonna see the original band. And there's no guarantee that that artwork and those photos won't be out there representing the gigs as such. So as long as everybody knows what ticket they're buying and what to expect, I'm okay with that."

When Sweda first discussed his exit from BULLETBOYS during a January 3 Facebook Live stream, he said: "In the past, I know it's been brought up that anybody who isn't in BULLETBOYS has quit on the fans. And that may or may not be something you'll hear in interviews or whatever. And trust me, it has nothing to do with quitting on fans and everything to do with just not wanting to travel down a path that is fraught with strife and distrust and bitterness and everything else.

"It's really, at this point in our lives, imperative — at least for me; I'll speak for myself here — that I just remove all forms of toxicity," he explained. "And I'm sure all of you understand it just can't be a part of my life anymore. And the fact that we were all original and having some good shows and having a great time playing the shows — there's no doubt about that; I had a wonderful time and I was looking forward to doing it all of 2022 — but once it gets to a point where it's poisonous, you can't have it in your life…

"I'm grateful that everybody understands, and I apologize to you. I was really looking forward to this being a nice run, being a nice year and finding a way to make our way through it. But that is not to be."

The original BULLETBOYS lineup made its live return in December 2019 with a sold-out performance at the Whisky A Go Go in West Hollywood, California.

Aside from one show in 2011, original BULLETBOYS members D'Anda, Sweda, bassist Lonnie Vencent and Torien had not performed together since 1993.

BULLETBOYS formed in 1988 at the very peak of the Los Angeles glam metal movement. As a collection of talented musicians, BULLETBOYS were able to quickly capture the attention of music fans around the world. Unlike other rockers of the day, the BULLETBOYS possessed more hard rock-blues fusion than pure hair metal. Thanks to comparisons to the likes of AEROSMITH and VAN HALEN, talent scouts came running and the band quickly received their first major label contract.

BULLETBOYS' self-titled debut was released in 1988 via Warner Bros. and peaked at number 34 on the Billboard 200. The album spawned two hit singles, a cover of the O'JAYS classic "For The Love Of Money" and "Smooth Up in Ya", both of which charted on the Mainstream Rock chart and saw regular airplay on MTV. BULLETBOYS went on to release two more albums, 1991's "Freakshow" and 1993's "Za-Za", before splitting up.

Marq has yet to give an interview since the latest breakup of BULLETBOYS' original lineup.

Torien and Black have a new project in the works with Jesse Hughes (EAGLES OF DEATH METAL). More details will be announced soon.
















Posted by BULLETBOYS on Saturday, January 15, 2022





BULLETBOYS live at RokIsland Fest! ?

Posted by BULLETBOYS on Saturday, January 15, 2022

Former FEAR FACTORY singer Burton C. Bell and his ASCENSION OF THE WATCHERS bandmate Jayce Lewis took part in a Facebook Live chat yesterday (Friday, January 14) on the official ASCENSION OF THE WATCHERS page. You can now watch the question-and-answer session below.

When asked if he identifies more with melodic or aggressive vocals, Bell said (as transcribed by BLABBERMOUTH.NET): "For me, it's all about… It's not a preference. It's all about vocalizing for feeling and vocalizing a moment and capturing those harmonies that I hear in the music and trying to emulate them with my voice. Believe it or not, I can hear harmonies in chunky riffs — I can hear harmonies and I hear melodies in my head. Now, for me, when I do the heavy voice, I'm not screaming; I'm vocalizing. Like a pastor or a preacher, he orates loudly and distinctly to his followers that he's trying to convey a message passionately, and that's what I'm doing. I'm not screaming — I am orating the message out passionately and as succinctly as possible. And depending on where I am in the song or what the harmony's doing, what the melody is calling to me, that's what I'll do. I love singing — I love harmonies, I love singing, I love the heavy vocal. To me, it's all harmonics, and it just depends on what the song calls for. And I'll be doing both as long as I can."

Speaking about his singing technique when it comes to switching between styles, Bell said: "When I started off, I never had any type of vocal lesson or [training] at all. I was doing what I felt; I was doing what I wanted to get out of myself, to release. And the only instruction I had in the very beginning was learning how to breathe. So lung power, diaphragm power was the key. And I didn't really think about having to switch over; it was just like that. [Snaps fingers] I did it without thinking. I don't know how to explain it. It's just one of those things. It's like turning off and on a switch."

In September 2020, Bell issued a statement officially announcing his departure from FEAR FACTORY, saying that he "cannot align" himself with someone whom he does not trust or respect.

Bell's exit from FEAR FACTORY came more than two weeks after guitarist Dino Cazares launched a GoFundMe campaign to assist him with the production costs associated with the release of FEAR FACTORY's long-awaited new LP, "Aggression Continuum".

Bell later told Kerrang! magazine that his split with FEAR FACTORY was a long time coming. "It's been on my mind for a while," he said. "These lawsuits [over the rights to the FEAR FACTORY name] just drained me. The egos. The greed. Not just from bandmembers, but from the attorneys involved. I just lost my love for it.

"With FEAR FACTORY, it's just constantly been, like, 'What?!' You can only take so much. I felt like 30 years was a good run. Those albums I've done with FEAR FACTORY will always be out there. I'll always be part of that. I just felt like it was time to move forward."

Pressed about whether there is any chance of a reconciliation with FEAR FACTORY down the line, Burton said: "I'm done. I haven't spoken to Dino in three years. I haven't spoken to Raymond [Herrera, drums] and Christian [Olde Wolbers, bass] in longer than that, and I have no intention to. I'm just moving forward with my life."

FEAR FACTORY's fundraising campaign marked the first public activity from the band since it completed a 2016 U.S. headlining tour on which it performed its classic second album, "Demanufacture", in its entirety.

"Aggression Continuum" was released in June 2021 via Nuclear Blast Records.

Bell's ASCENSION OF THE WATCHERS project released its second full-length album, "Apocrypha", in October 2020 via Dissonance Productions.


AOTW LIVE STREAM

Posted by Ascension of The Watchers on Friday, January 14, 2022

RATT singer Stephen Pearcy has set "Agent Provocateur" as the title of his sixth solo album, to be released later this year.

Late Saturday night (January 15), Pearcy took to his Instagram to share a photo of his first five CDs — "Social Intercourse" (2002), "Fueler" (2004), "Under My Skin" (2008), "Smash" (2017) and "View To A Thrill" (2018) — stacked on top of one another, and he included the following message: "STEPHEN PEARCY Solo record #6 'Agent Provocateur' tba 2022. #stephenpearcy #agentprovocateur #tobereleased #2022 #ontour".

Last June, Pearcy told Vintage Rock Pod about his upcoming follow-up to "View To A Thrill": "So much time has passed since we started writing, Erik [Ferentinos] and I — my guitar player and co-writer guy [for] most of my solo [stuff]. It was so long ago. And the record was done; we had the songs written, like, six months ago. And that was a year process. Since then, I've been writing like a fool and writing with him, and all these new songs [came out]. So I figure let's do a double record and give it all you've got — just go in there and lay it down and say, 'Here. This is what happens in two years when you write tunes.' 'Cause they're way different. It goes all over the place, this record. Our new bass player, Jerry Montano, he did time in HELLYEAH; he's more of an aggressive writer/player. So these songs could be real heavy, heavy or they could be RATT sounding, obviously, if I write 'em. I'm trying to take 'em outside. I'm trying to do a lot of different things. And it's gonna be interesting, because it's gonna go all over the place, so good luck."

Last spring, the 65-year-old founding RATT vocalist, who has been focusing mostly on his solo career while the band has been off the road, dropped the official music video for a previously unreleased solo song called "Don't Wanna Talk About It". The track was written "circa 2000s" entirely by Pearcy and features Stephen on vocals and guitar, Ferentinos on lead guitar, Mike Duda on bass and Greg D'Angelo on drums.

"Don't Wanna Talk About It" arrived two months after the release of Pearcy's cover version of DURAN DURAN's 1981 hit "Girls On Film". Prior to that, Pearcy issued another new solo single, "Night Flight", a collaboration between Pearcy and Ferentinos, which is expected to appear on Stephen's upcoming LP.

Pearcy's fifth solo LP, "View To A Thrill", came out in November 2018 via Frontiers Music Srl. The follow-up to 2017's "Smash" was produced by Matt Thorne and Pearcy and was mixed and mastered by Thorne and Ferentinos.

Pearcy and bassist Juan Croucier are the sole remaining original members in RATT's current lineup, which made its live debut in July 2018 in Mulvane, Kansas. Joining them in the band are drummer Pete Holmes (BLACK 'N BLUE, RATT'S JUAN CROUCIER) and guitarists Jordan Ziff (RAZER) and Frankie Lindia.

In January 2021, Pearcy told SiriusXM's "Trunk Nation With Eddie Trunk" that he was open to the idea of making a new RATT album with all the surviving members of the band's classic lineup.

RATT hasn't released any new music since 2010's "Infestation"

During an appearance on this past Wednesday's (January 12) episode of SiriusXM's "Trunk Nation With Eddie Trunk", W.A.S.P. leader Blackie Lawless revealed that he "one of the first people [who] contracted" COVID-19, the disease caused by the SARS-CoV-2 coronavirus. He recalled (as transcribed by BLABBERMOUTH.NET): "It was kind of a bizarre thing because… [METALLICA's] James Hetfield was having a showing at the Petersen [Automotive] Museum here in L.A. for his cars [in January 2020]. And I hadn't been anywhere in quite some time. So I thought, 'Okay, I'm a car guy.' So we went down to see the cars. What we weren't anticipating when we got there is that — we found out later — it was the single largest event in the history of the Petersen Museum; there was, like, a thousand of people there and a lot of fans. So as soon we walked in the door, it turned into a little bit of an in-store appearance — and so, people wanting photos and just to say hello and things like that. Well, when you're taking photos and all that, everybody gets up close and everybody's breathing on everybody else."

He continued: "So we go to the show, everything's fine. About a week later, I started feeling kind of tough. A couple of days into it, I thought, 'Well, I've got the flu.' Well, about four days in, which normally you would start feeling better, I wasn't. So I thought, 'Well, tomorrow I'll feel better.' The next day I got up, I was worse. And I thought, 'Well, this is a bad one. I'll be better tomorrow.' The next day I was even worse than that. This goes on for about seven or eight days. And I'm getting at the end of my rope and I'm thinking, 'What the hell is this?' Then I lose my taste and smell and all that; that went on for two more weeks after that. But we don't know what this is because there's no name for it yet. It was the end of January in 2020. So then I started getting better, but it goes on for weeks and weeks. And so we didn't know what it was. Then we started hearing this rumbling that there's something out there with this funny name on it. So, about three months in… It took the better part of three months to really shake it."

In the U.S., more than 62% of the population are currently fully vaccinated against the coronavirus, while more than 74% have received at least one shot, according to data from the Centers for Disease Control and Prevention (CDC).

More than 849,000 people have died from the coronavirus in the U.S.

According to the CDC, unvaccinated people are 10 times more likely to test positive for COVID-19 compared to those who are vaccinated and had a booster shot. Unvaccinated people are also 20 times more likely to die from the virus.

According to the nonpartisan, nonprofit web site Fact Check, while vaccines reduce the probability of getting infected, they are not 100% effective, so there is a chance that an unvaccinated person could infect a vaccinated person — particularly the vulnerable, such as elderly and immunocompromised individuals. And, despite vaccination providing excellent protection against severe disease, a small proportion of vaccinated people still require ICU c

MEGADETH's Dave Mustaine has paid tribute to vocalist/bassist Burke Shelley of legendary Welsh rockers BUDGIE who died on January 10 at the age of 71.

Earlier today (Saturday, January 15), the 60-year-old Mustaine took to his Twitter to write: "I heard Burke Shelley passed away. I am saddened at our loss of a really great musician. I wish I knew him. I'd say, 'Thank you for your life, your inspiration, and your music.'"

Mustaine has mentioned his love of BUDGIE on a number of occasions in the past, including in an interview with Kerrang! when he recalled how he landed a gig as METALLICA's guitarist in 1981. "I called up Lars [Ulrich, METALLICA drummer] after seeing the ad in The Recycler and told him I listened to MOTÖRHEAD. I also said I liked BUDGIE and [in a mock Danish accent] he answered, 'You loike fockin' BODGIE, man?' He sounded excited about that. So I met him at his house in Newport Beach, and it was a lot of fun. I was in the garage where everything was set up. I was warming up and the guys were in the other room listening. Eventually I got tired of waiting for them, so I went in and asked if they were ready to audition me. They told me, 'No, you've got the job.' So I was like, 'Awesome! Okay, let's go.'"

METALLICA was one of several high-profile groups which covered BUDGIE classics over the years: "Crash Course In Brain Surgery" appeared on 1987's "Garage Days Re-Revisited", and "Breadfan" was the B-side to the "Harvester Of Sorrow" single in 1988.

Ulrich also paid tribute to Shelley, writing on his Instagram: "Thank you Burke for everything you did for heavy music and much next level appreciation for co-writing and creating two songs that METALLICA were honored to record over the years, 'Breadfan' and 'Crash Course In Brain Surgery'."

Two years ago, Shelley said that he was suffering from aortic aneurysm — a dangerous and abnormal swelling of the main artery that supplies blood to the body. He was also batting Stickler syndrome, a genetic disorder that can cause serious vision, hearing and joint problems. At the time, he told Wales Online that he turned down surgery because of the risk that it would cause irreparable spinal damage.

"I want to live what life I have left and not be crippled," he said. "I've got faith in God and have no worries about where I'm going. So I'll just go when He decides to take me and, in the meantime, I'll carry on doing what I want to do. Simple as that."

Shelley said the surgery he had in 2010 for aortic aneurysm resulted in damage to his diaphragm, leaving him unable to sing properly.

Often thought of as a cross between BLACK SABBATH and RUSH, the underappreciated outfit has influenced countless acts, despite enduring countless line-up shifts throughout their history.

The group originally formed in 1967 in Cardiff, Wales, comprised of Shelley (vocals, bass), Tony Bourge (guitar) and Ray Phillips (drums), and by the early 1970s they'd inked a deal with MCA Records.

This early lineup remains BUDGIE's most definitive, due to the fact that it spawned three of the group's finest albums — 1971's self-titled debut, 1972's "Squawk" and 1973's "Never Turn Your Back On A Friend" — while the group's quirky song titles became somewhat of a trademark for the trio (such ditties as "Nude Disintegrating Parachutist Woman", "Hot As A Docker's Armpit", "In The Grip Of A Tyrefitter's Hand" and "You're The Biggest Thing Since Powdered Milk").

Despite building a sizeable following in their homeland (while never breaking out of cult status stateside), Phillips left the group prior to their fourth album, 1974's "In For the Kill!", replaced by newcomer Pete Boot, which would in turn set off a flurry of steady lineup changes over the years for the group (the only constant BUDGIE member from the beginning was Shelley). Further releases were issued throughout the '70s, including 1975's "Bandolier".

Shelley and company would remain together for a few more years before splitting up quietly by the mid-'80s. But almost as soon as they disbanded, groups began covering BUDGIE classics, including IRON MAIDEN ("I Can't See My Feelings"), while back in its early club days VAN HALEN was known to cover the title track from "In For The Kill!"




I heard Burke Shelley passed away. I am saddened at our loss of a really great musician. I wish I knew him. I’d say, “Thank you for your life, your inspiration, and your music. pic.twitter.com/C2tYGb7JX8

— Dave Mustaine (@DaveMustaine) January 15, 2022








I'm a big Budgie fan https://t.co/d93kNiBbxa

— Dave Mustaine (@DaveMustaine) December 30, 2016

In a new interview with Niclas Müller-Hansen of RockSverige, BUCKCHERRY frontman Josh Todd spoke about how he has managed to stay sober for 27 years while he is surrounded by alcohol in venues on tour. He said: "The staying sober part, like not drinking or using drugs, isn't the hard part. The hard part is really managing your mind, because it's the mind that's busted. The alcoholic mind and the addict mind is the problem. The drinking and the using is just the symptom of the problem. The only solution is the spiritual one, and I don't wanna sound cooky, but that is the truth. It's about [being] spiritual in life and all those things, and how do you do that? Well, for me, doing annual inventories where I take it out of my head and write it down and tell somebody else about what's going on with me. I do meditation every day, I work with others, I go to meetings and stuff like that.

"Drugs and alcohol is all over the place," he continued. "If you're a rich businessman, there's a lot of that. There's drugs and alcohol everywhere; it's not just musicians.

"I have crew guys that smoke a lot of weed, and I'd roll a joint for you. It doesn't bother me. I don't like to be around it for extended periods of time. I don't wanna be around someone who is super fucked up because If I'm not fucked up, it's no fun for me. I like to get people really fucked up and then leave [laughs] and let them be fucked up.

"I don't preach about my sobriety," Josh added. "If getting fucked up works for you, God bless you. It didn't work for me after a while. I got really fucked up from 13 to 23. You wouldn't have recognized me. I was a horrible drug addict and alcoholic and it just didn't work for me anymore. I did it real good."

Asked if he managed to quit drinking on his own or if someone else got him into rehab to help him stop using alcohol, Josh said: "There were a few things that happened in my life all at one time that got me sober. My first daughter was born, and she just turned 27. I was a broke musician at that time. I was terrified and did not know how to be a father. I didn't have a father since I was 10 years old. I didn't know anything about it. I was trying to achieve my dreams and it wasn't happening and I had a massive alcohol and drug problem. I just intuitively just kinda thought to myself, 'Man, I'm at the crossroads, and something's gotta change. I don't know what to do.' I just said that out loud and was thinking about it every day.

"I got arrested for drunk driving in Orange County and got assigned all these AA meetings for my DUI program," he revealed. "I started going to the meetings, and at some point, some guy stood up and he didn't look like me. He was just a nine-to-fiver-type guy, shirt and tie, and I didn't know that people lived sober. He basically told my story. He talked about how he drank and did drugs and it was, like, 'Oh my God, this is me.' That gave me the courage to just raise my hand and say 'Newcomer.' And that's when everything changed. I knew this was the last stop on the block. I was heading to jail, institutions, or death. I had already had alcohol poisoning at 23, and at one point my hands were paralyzed for a good hour and I didn't know it was alcohol poisoning. I had been doing crystal meth and drinking for three days straight, got alcohol poisoning and it scared the shit out of me. I had a lot of those moments of clarity while I was drinking and using but I couldn't stop. That's how I got sober and I just never looked back. I knew that as long as I put sobriety on the top of my list, everything else will work out in my life. And look at me — it all worked out."

BUCKCHERRY is continuing to support its latest album, "Hellbound", which came out in June via Round Hill Records. The follow-up to 2019's "Warpaint" was recorded in the fall of 2020 in Nashville, Tennessee with producer and songwriter-for-hire Marti Frederiksen, who has previously collaborated with AEROSMITH, DEF LEPPARD, Jonny Lang and Sheryl Crow, among many others.

In the summer of 2020, BUCKCHERRY recruited JETBOY's Billy Rowe as its new guitarist. He joined the group as the replacement for Kevin Roentgen, who left BUCKCHERRY in July of that year.

In 2019, BUCKCHERRY enlisted Francis Ruiz as its new drummer. He joined the group as the replacement for Sean Winchester, who exited BUCKCHERRY after laying down the drum tracks on "Warpaint"

Former DIO guitarist Craig Goldy recently spoke to Metal Express Radio about how musicians have been affected by the restrictive environments imposed by the COVID-19 pandemic, and the corresponding technological implications. He said in part (as transcribed by BLABBERMOUTH.NET): "Everything is about self-preservation right now, but at the same time, there's all sorts of groups and people getting together trying to help one another. So it's a combination of everything. It's like no other time.

"I lost my stepfather and my mother during this time, so it was kind of weird," he continued. "The last six years, I was taking of them, really. So when they were gone, it was just a completely different world. Everything that I ever knew and depended on and relied upon suddenly disappeared. It's all coming back little by little. But at the same time… I just got off the phone with a guy who just… It's, like, some people are so stubborn about vaccines. When this thing first hit, we were crying out for a vaccine, and now there's certain people… I understand that if they don't get a vaccine, they may lose their job. And that's a difficult situation to face, but at the same time they don't see the bigger picture.

"How that affects music is that this is a social and economic change," Goldy added. "The last time something like this happened was [the 43 day-conflict in 1991 called] Desert Storm. It was a nationwide recession. There was all sorts of things that happened as a result of that. And it changed music — changed the musical appetite. So that's gonna happen soon. The musical appetite is gonna change soon. And why it changes and where it's gonna go is gonna be very interesting. But it seems to be all predicated on this sort of self-preservation. I know I keep saying that. Over here, maybe it's just because I live in San Diego — maybe that's just the way it is here in San Diego. But from what I see on the news, it doesn't seem to be any different [in other parts of the world]."

Back in 2018, Goldy made headlines when he said that he hoped then-U.S. president Donald Trump would "get a chance to really show people what he's all about" because he believed that the billionaire real estate mogul "loves his country" and "wants to get rid of the bullshit." Speaking to "The Metal Gods Meltdown", Goldy said: "Donald Trump, he is a jackass, but at least he's not owned by anybody. So that way when he walks into office, he's not automatically having to operate under somebody else's agenda other than his own. I think he gave us a bad sell job, but deep down inside, I think he really does wanna try to do something good. And same thing with poor [former president] Barack Obama — he walked into a good-old-boy situation, and they were not gonna let a black president solve all the problems that all the white idiots made, so they fought him tooth and nail."

Adding that he voted for Trump, Goldy went on to say: "I'm there — I'm hoping that someday he'll get a chance to really show people what he's all about. 'Cause I really think, deep down inside, he really loves his country and he wants to make a change and he wants to get rid of the bullshit. And he has got over two hundred years of bullshit to clean up in four years. So God bless him."

Several hours after Craig's interview remarks were first published by BLABBERMOUTH.NET, Goldy used his personal Facebook account to add the following comment below the original story: "In this hour-long interview, Trump has little to do with anything that I said. Yes, I voted for him, thinking maybe just this once he was the guy that could change the 'same-as-usual' politics, but he's only gone on to prove just how much of a jackass he really is! I voted for change, not for racism or any other foul action this man has shown himself to be capable of."

Goldy joined DIO during the "Sacred Heart" tour in 1986 after original guitarist Vivian Campbell was fired from the band.

For the past decade, Goldy has played sporadic shows with DIO DISCIPLES, which is made up of former members of DIO, along with a rotating lineup of singers, including former JUDAS PRIEST frontman Tim "Ripper" Owens.

CRO-MAGS frontman Harley Flanagan has defended his decision to get the COVID-19 vaccine, saying it's about being "responsible" and doing whatever he has to do "to exist in the world."

Earlier today, Flanagan, who has apparently spent the last few days visiting friends and family in Denmark, shared the following message via Instagram: "To all those who are against vaccinations. I too believe in freedom of choice but I also believe in looking out for each other. And if I have to get vaccinated to travel and to play concerts and do what I like to do then that's what I'm gonna do. It's not about 'boot licking' like some of these assholes want to say, it's about doing what I have to do to exist in the world and do what I like to do and be responsible.

"I have traveled many times this year I have all my vaccinations my booster and I have not gotten sick. The people I know Who have gotten sick with the shots lived through it. So I choose to listen to my doctor who went to medical school as opposed to listening to conspiracy theorist's online.

"Whatever you choose to do or whatever you believe I hope you all have a healthy safe and happy new year and I hope to see you out on tour in 2022

"We will get through this!"

Harley's comments come less than two weeks after his former bandmate, ex-CRO-MAGS frontman John Joseph, said that he beat COVID-19 by "investing" in his immune system. The 59-year-old, who is also an author, Ironman triathlete and proponent of a vegan, clean-living lifestyle, shared the news of his diagnosis in an Instagram video on December 20. He said at the time that he still wouldn't get the vaccine, claiming that "the unvaccinated ain't the problem. If you got three fucking shots in and you're still getting coronavirus, you need to ask yourself what the fuck is going on," he said. "You're entrusting your health with the ones who are profiting off of your illness," Joseph added. "Think about that for a fuckin' second. Think about the disconnect that it takes for you to entrust your health to these motherfuckers. All of them — Pfizer, J&J [Johnson & Johnson], Moderna, fuckin' AstraZeneca — fuckin' corrupt companies. Do some fuckin' research. Before they were all safe and effective; now the J&J, yeah, it causes blood clots. Wake up, people. You're being fuckin' played, and that's the reality of the situation."

Back in March 2020, at the very beginning of the COVID-19 pandemic, Joseph said that no one was addressing "the real issue" — that eating animals is bad for human health.

The new coronavirus is believed to have originated from one of Wuhan, China's many "wet markets" — so called because animals are often slaughtered directly in front of customers. These markets put people and live and dead animals — dogs, chickens, pigs, snakes, civets, and more — in constant close contact.

In the U.S., more than 62% of the population are currently fully vaccinated against the coronavirus, while more than 73% have received at least one shot, according to data from the Centers for Disease Control and Prevention (CDC).

More than 822,000 people have died from the coronavirus in the U.S.

According to the CDC, unvaccinated people are 10 times more likely to test positive for COVID-19 compared to those who are vaccinated and had a booster shot. Unvaccinated people are also 20 times more likely to die from the virus.

According to the nonpartisan, nonprofit web site Fact Check, while vaccines reduce the probability of getting infected, they are not 100% effective, so there is a chance that an unvaccinated person could infect a vaccinated person — particularly the vulnerable, such as elderly and immunocompromised individuals. And, despite vaccination providing excellent protection against severe disease, a small proportion of vaccinated people still require ICU care.

In 2019, Joseph and drummer Mackie Jayson reached a settlement with Flanagan regarding ownership of the CRO-MAGS name. Flanagan is now performing under the name CRO-MAGS while Joseph and Jayson are performing as CRO-MAGS "JM".
























View this post on Instagram









































A post shared by Harley Flanagan (@harleyfflanagan)

V-MODA, award-winning manufacturer of the world's finest high-fidelity audio devices, Roland, world-renowned electronic musical instrument manufacturer, and Bravado, Universal Music Group's merchandise and brand management company, celebrate the world's greatest rock and roll band, THE ROLLING STONES, in officially licensed, limited edition over-ear headphones. The Crossfade 2 Wireless, Rolling Stones Edition, is available in three collaborations: "Classic Licks", "No Filter" and "Tattoo You", and touts award-winning signature sound (45+ Editors' Choice Awards), ensuring a premium audio experience.

Crossfade 2 Wireless, Rolling Stones Edition offers virtually identical sound in Bluetooth mode and pure analog wired mode for audiophiles, gamers, musicians, DJs, and all music listeners.

With its wireless range, multi-device paring ability, and 12+ hours of playback time, users can bring their music anywhere, anytime, with their favorite devices like smartphones, computers, turn-tables, CD players, and more.

An exclusive "RS No. 9 Carnaby" V-MODA headphones edition, the lifestyle brand from THE ROLLING STONES, with the global flagship store based at 9 Carnaby Street, London, U.K., is also set to launch in early 2022. The RS No. 9 Carnaby edition will feature the updated RS No. 9 Carnaby logo taken from the band's legendary tongue-and-lips logo, originally created by John Pasche in 1971.

"We are thrilled for THE ROLLING STONES to partner with V-MODA and Roland in this category as their world-renowned premium product aligns with the world's most recognized rock and roll band," says Frank Bartolotta, senior vice president, strategic brand partnerships and licensing at Bravado.

Yoshi Shibata, general manager, Roland, V-MODA division, added: "Customization options and impeccable sound quality set V-MODA apart from other headphones, and THE ROLLING STONES are in a league of their own as music and style icons. Bringing these three new designs to our V-MODA catalog gives fans of the band and brand retro yet stylish headphone choices with no compromise on quality."

Tony Price, CEO of Roland U.S., said: "As Roland celebrates 50 years of making world-first electronic musical instruments this year, and THE ROLLING STONES celebrate their 60th anniversary, the teams at Roland and V-MODA are grateful for the opportunity to showcase iconic design elements at the center of THE ROLLING STONES' identity within our award-winning V-MODA product lineup."

Crossfade 2 Wireless Features

* V-MODA award-winning signature sound (45+ Editors' Choice Awards) both in wireless mode via Bluetooth technology and wired mode for pure analog and zero latency essential for gamers and DJs

* Lithium-ion battery provides 12+ hours of continuous music, entertainment, and calls. Recharge it to 100% in 100 minutes thanks to the included elegant V-Micro USB cable; unlimited hours of music in analog wired mode

* Dual-diaphragm 50mm drivers and hi-resolution CCAW Japanese coil for Hi-Res Audio certification (JAS) when cabled Built-in hidden microphone specially tuned and optimized for phone calls and voice assistants

* Bigger memory foam cushions and sturdy yet flexible metal-core headband provide comfort for extended listening sessions and natural noise isolation

* CliqFold hinge for ultimate convenience and to fold headphones into impossibly small exoskeleton case on-the-go

The Crossfade 2 Wireless, Rolling Stones Edition feature 50mm dual-diaphragm drivers that provide a clean, deep bass, vivid mids and a wide 3D soundstage for a seamless listening experience. These headphones are certified by the Japan Audio Society (JAS) to Hi-Res Audio standard in wired mode and are built to travel, boasting 12+ hours of wireless playback on a single charge. They also fold down to fit into their hard-shell travel case, which includes storage room for charging and audio cables on-the-go. The ability to pair with two sources at one time is another practical feature — like a smartphone and smartwatch while working out — making it easier to be wholly connected to devices without having to sacrifice one or the other.

The V-MODA Crossfade 2 Wireless, Rolling Stones Edition Matte Black headphones will be available in January 2022 in three design variations, "Classic Licks", "No Filter" and "Tattoo You" for $279.99 at V-MODA.com, Amazon, and select authorized Roland and V-MODA retailers.

Nearly seven years after announcing that he would embark on a special tour during which he would perform ACCEPT songs one last time under the DIRKSCHNEIDER banner before closing that chapter for good, former ACCEPT frontman Udo Dirkschneider is continuing to play ACCEPT material at select shows, including at the September 18, 2020 U.D.O. concert in Plovdiv, Bulgaria, which was released on DVD and Blu-ray in March 2021. Speaking to El Lado Oscuro about why the ACCEPT tracks are still finding their way into the U.D.O. setlist, Udo said (as transcribed by BLABBERMOUTH.NET): "I was doing DIRKSCHNEIDER for nearly three years and played only ACCEPT songs for three years — I think nearly three hundred shows or whatever. And that was also not planned. It was normally planned to do maybe 10, 15 special shows, but then it was exploding. And after these three years, I really [wanted] to say, 'Come on. I don't wanna play now ACCEPT anymore.' I mean, I have, at this time, 16 albums out with U.D.O., and I said, 'Come on. We have enough own stuff.' But then we did this Bulgarian show, and, of course, the promoter was, like, 'It's a special evening. Maybe you can play some ACCEPT songs.' And I said, 'Okay. Come on. It's the only show this year. We put some ACCEPT songs into the setlist.' And [in 2021] we had two shows — in Belgium [at the] Alcatraz festival and a festival in the Czech Republic, but this was under [the name] DIRKSCHNEIDER. So that was already normally planned also for 2020 for the 'Metal Heart' anniversary show. And then they said, 'Okay, we wanna do these shows now.' And then they said, 'Okay, but you have to do it under DIRKSCHNEIDER.' And then, let's say in the end, for us, it doesn't matter which name — DIRKSCHNEIDER, U.D.O. or whatever. And in the end, it also doesn't matter what kind of songs we are playing except U.D.O.; for us, it was the most important thing to go on stage and play in front of people. And of course, the audience appreciated it. I mean, still they wanna hear these songs. Okay, I don't have to make the whole evening ACCEPT songs."

Dirkschneider went on to say that requests for him to keep playing ACCEPT material also came from promoters in America. "The promoter, they came up and said, 'Yeah, a tour, blah blah blah.' It's also now moved to [2022]. And then they said, 'Yeah, but we heard Udo doesn't wanna play any ACCEPT songs,'" he said. "And then my management said, 'Yeah.' [And the promoter said] 'Yeah, but he cannot do America without 'Balls To The Wall'. It's not possible.' They were really asking, this has to be in the setlist. Then I said, 'Okay. Come on.' I know 'Balls To The Wall' in America is huge — a huge song. So I said, 'Yeah. Come on. It doesn't matter.' And now, all the people, they come and [say], 'Yeah, when you go on tour, maybe you can put three or four songs of ACCEPT in there.' Of course, they're always asking for 'Balls To The Wall', 'Metal Heart', 'Fast As A Shark' and, let's say, 'Restless And Wild' or stuff like that. So we will see. Maybe on the next tour we put it in the end as an encore.

"In the end, [it's about giving] people what they want," Dirkschneider reasoned. "Somebody also was saying, 'Can you imagine [a] DEEP PURPLE [concert] without [them playing] 'Smoke On The Water'?' I said, 'Not really.' So he said, 'Okay. You're in the same situation. They wanna hear some classic stuff.' So that will be definitely happening."

Last March, Udo confirmed to Canada's The Metal Voice that U.D.O. will "definitely" play some ACCEPT songs if the band's North American tour materializes in 2022.

When he first announced the DIRKSCHNEIDER tour in 2015, Udo said that had "to make a clear break for myself — close the book and this is it. And I have the problem that people come to me and ask me to play more ACCEPT songs," he explained. "Other people ask me why I play ACCEPT songs at all, because there are [more than] fifteen U.D.O. records. I want to avoid such things and avoid the repeating questions concerning ACCEPT. I just can't stand that anymore. There is nothing more to be said. U.D.O. exists longer than ACCEPT. We have more records than ACCEPT."

While acknowledging that some ACCEPT fans wanted to hear the band's classic songs performed by the group's original singer, Dirkschneider explained at the time that "you always have these comparisons [between how these songs are played by ACCEPT and U.D.O.]. I don't want this anymore either. [The current lineup of ACCEPT] also play 'Metal Heart', they play 'Balls To The Wall' and 'Princess Of The Dawn'. And then some people tell me, 'Oh, [current ACCEPT singer Mark Tornillo] is doing it better than you.' And I go, 'That's fine. Enjoy yourself.' But I don't want this anymore. And to avoid all of this in the future, I said, 'We are doing this one more time.'"

Dirkschneider said in 2016 that his vow to never play ACCEPT material again came with one caveat. "If the band ACCEPT dissolves one day in the near future and I am still around with U.D.O., then there is a chance that I put ACCEPT songs back in the setlist," he said. "But currently there is ACCEPT, so go see them [if you want to see those songs performed live]. They are playing these songs."

Udo previously said the original plan was for DIRKSCHNEIDER to only "a few shows," and "then [the tour] got bigger and bigger [due to demand]." But, he added, "I don't want to complain about that."

Back in 2018, ACCEPT guitarist Wolf Hoffmann declined to comment on Dirkschneider's decision to embark on one final tour during which the singer would perform nothing but ACCEPT songs. "I have lots of thoughts about that, but I'm not gonna share 'em with you," he told SiriusXM's "Trunk Nation With Eddie Trunk". "I'd rather not comment on that, because that seems so much 'back and forth,' and I think I should stay away from it… You can draw your own conclusions all day long, but I'm not gonna get into it; it's just not worth it.

"I get asked [about Udo] so many times, and, man, it's been so many years — it's such an old story by now," Wolf continued. "We've moved on way past that, and we've had 10 brilliant years [with Mark Tornillo], we're making cool albums; I think we're doing fine. So I don't spend any time thinking about it.

"I'm very proud of the history we have together and all that, but I'm just not gonna get into the current 'he said, she said' whatever — it's not worth it," Hoffmann concluded.