During a question-and-answer session aboard last month's Rock Legends Cruise, legendary rocker Alice Cooper, who was inducted into the Rock And Roll Hall Of Fame in 2011, commented on the fact that BAD COMPANY has been nominated for the Rock Hall's class of 2025. He said (as transcribed by BLABBERMOUTH.NET): "In the business, we call [BAD COMPANY singer] Paul [Rodgers] 'the voice', because he's just one of the best singers out there and one of the nicest guys ever. He had some physical problems lately, but I certainly voted for him," Alice laughed, referencing the fact that all previous Rock Hall inductees are voters for future classes after they're inducted.

Asked if there are any other artists he would like to make a push for to get inducted into the Rock And Roll Hall Of Fame, Alice said: "IRON MAIDEN. I mean, come on — IRON MAIDEN. How can you dis IRON MAIDEN? They have their own army out there. And another one is [American composer, songwriter, record producer and pianist] Burt Bacharach. Burt Bacharach wrote as many hits as THE BEATLES and he's not in the Hall Of Fame, and yet there's other guys that are in the Hall Of Fame that were writers. that weren't anywhere near Burt Bacharach. So, Burt Bacharach is certainly something that I would say."

Cooper also commented on the fact that for the past few years, the Rock Hall has broadened its base to include rap artists such as the late Tupac Shakur and N.W.A. The move has drawn criticism from many fans and fellow musicians who have taken issue with hip-hop acts — and other non-rock artists — being inducted into the Rock And Roll Hall Of Fame.

"Yeah, it's really hard for me to put somebody, let's say, like Missy Elliott in with THE WHO," Alice admitted. "I mean, those are two different worlds. But, like you said, it's a lifestyle. And it's really who brought what to the table. If somebody came in and had an impact that wasn't there before, and that's why you'll see some interesting people in the Hall Of Fame. I was like you. I was in there going, 'Come on. It's rock and roll bands — that's what rock is. But then I kind of loosened up that idea. Even Dolly Parton said, 'I don't belong in the Rock And Roll Hall Of Fame.' I mean, she's going, 'What am I doing in the Rock And Roll Hall Of Fame?' But then she made a rock record. I don't think anybody begrudges her that, but I would still I would prefer to see an IRON MAIDEN in there before I would see some of these other ones. Joe Cocker [would be good too]. [He] got my vote too [this year]."

While MAIDEN has been eligible to join the Rock And Roll Hall Of Fame since 2004, the band has only been nominated twice — in 2021 and 2023.

According to the Hall Of Fame, the IRON MAIDEN members that would get inducted include the current lineup of singer Bruce Dickinson, bassist Steve Harris, drummer Nicko McBrain and guitarists Adrian Smith, Dave Murray and Janick Gers, along with former guitarist Dennis Stratton, ex-singer Paul Di'Anno and former drummer Clive Burr.

Even though artists are eligible for the Rock And Roll Hall Of Fame 25 years after the release of their first album or single, iconic hard rock and metal bands like MAIDEN and MOTÖRHEAD have yet to be recognized by the institution, which inducted GUNS N' ROSES in that group's first year of eligibility.

IRON MAIDEN was on the ballot for the second time in 2023, but the institution's voters snubbed them once again.

The only metal or metal-adjacent acts to have made it into the Rock Hall so far have been BLACK SABBATH, LED ZEPPELIN, METALLICA, AC/DC, JUDAS PRIEST, KISS, VAN HALEN, RUSH, GUNS N' ROSES and DEEP PURPLE.

IRON MAIDEN finished in the fourth place in the fan vote for the 2023 Rock And Roll Hall Of Fame induction class.

Cooper was inducted into the Rock And Roll Hall Of Fame in March 2011 at New York City's Waldorf Astoria. He was inducted by Rob Zombie, who said during his introduction, "Alice Cooper invented the rock show. Before Alice Cooper, there was no rock show. They're more than a band. They were more like a murderous gang of drag queens — in a good way."

Bruce Dickinson photo credit: John McMurtrie

Legendary guitar virtuoso Yngwie Malmsteen will release his brand new album, "Tokyo Live", on April 25 via Music Theories Recordings. You can now check out the second blistering taster on the video for "No Rest For The Wicked" below.

The incomparable Malmsteen is one of the greatest guitarists to ever have lived. So, when the chance comes to witness the maestro in the live setting, you take notice. This mesmerizing spectacle can be witnessed on "Tokyo Live".

The concert was recorded at the Zepp DiverCity, Tokyo on May 11, 2024 as part of Yngwie's 40th-anniversary world tour. Calling upon an enormous catalogue of material, Malmsteen shredded his way through a furious set, backed by a mountainous Marshall stack wall.

Talking about the live experience, Malmsteen says: "Playing live in front of people is really what it's all about. It's exciting and dangerous because you have to take risks and there's no fixing afterwards."

Malmsteen's breathtaking technique takes center stage of the 100-minute concert while being cocooned by exquisite musicianship throughout. The setlist tracks Malmsteen's illustrious career, from "Hiroshima Mon Amour" and "Evil Eye" and through his remarkable solo career with "Rising Force", "Far Beyond The Sun", "Arpeggios From Hell" and "Seventh Sign" all the way up to his most recent material taken from 2021's "Parabellum", with "Wolves At The Door", "Relentless Fury", "(Si Vis Pacem) Parabellum", not to mention rousing renditions of "Paganini's 4th" and "Smoke On The Water".

The name of Yngwie Malmsteen has always stood for uncompromising excellence. In a career that now spans more than 40 years he has proven himself to be a unique artist. You can try to categorize him in any way you wish. But the manner in which this supreme Swedish craftsman has continually developed his music makes Malmsteen sublimely transcend any definition you attempt to impose.

He now has a catalogue of 22 solo studio albums, each of which has much to commend. Malmsteen's artistry has always clearly incorporated a healthy virtuosity, but his talent goes well beyond a comprehensive control of the guitar. The man is a fine composer and, on recent releases, has also showcased a strong vocal presence and now, with only this fifth live release, it captures four decades of relentless fury and blissful artistry of one of the true greats.

"Tokyo Live" track listing:

CD1

01. Rising Force (Live)
02. Top Down Foot Down (Live)
03. No Rest For The Wicked (Live)
04. Soldier (Live)
05. Into Valhalla (Live)
06. Baroque & Roll (Live)
07. Like An Angel (Live)
08. Relentless Fury (Live)
09. Now Your Ships Are Burned (Live)
10. Wolves At The Door (Live)
11. Hiroshima Mon Amour (Live)
12. (Si Vis Pacem) Parabellum (Live)
13. Badinere (Live)
14. Paganini's 4th (Live)
15. Adagio (Live)
16. Far Beyond The Sun (Live)
17. Arpeggios From Hell (Live)

CD2

01. Seventh Sign (Live)
02. Toccata (Live)
03. Evil Eye (Live)
04. Smoke On The Water (Live)
05. Trilogy-Vengeance (Live)
06. Cadenza 1 (Live)
07. Brothers (Live)
08. Fugue (Live)
09. Cadenza 2 - Grand Finale (Live)
10. You Don't Remember I'll Never Forget (Live)
11. Acoustic Cadenza (Live)
12. Black Star (Live)
13. I'll See The Light Tonight (Live)

In a new interview with Mojo magazine, QUEEN guitarist Brian May confirmed there is a possibility of him and his bandmates releasing new material. "I think it could happen," he said. "Both Roger [Taylor, QUEEN drummer] and I are constantly writing and coming up with ideas and doing things in our studios. I could have the beginnings of a QUEEN song right there in front of me now. It's just whether the idea reaches maturity or not. It's whether that seed can grow."

Last October, Taylor was equally hopeful QUEEN would release new music, telling Uncut magazine: "I think we might.

"Brian and myself were talking the other day, and we both said that if we feel we have some good material, why not?" he continued. "We can still play. We can still sing. So I don't see why not."

Back in November 2022, May was asked by Variety if there is "any chance" of him, Taylor and singer Adam Lambert recording new music together. He responded: "I've got to tell you it hasn't happened yet, but we do bring the subject up. Generally, when we are together, the live show is all-consuming. There isn't really time to discuss any studio action. We feel as if the live stuff is what the public wants. And when we're not on tour, Adam has his own career. So, I suppose that the opportunity to make an album together doesn't come up, but I'm not saying that it couldn't happen."

Five years ago, May and Taylor revealed to Classic Rock magazine that they tried to record a new song with Lambert but they ultimately decided against releasing it.

"We did record a song which we haven't actually finished," Taylor said at the time. "I can't remember what it's called. I think we were still discussing what we should call it."

Added May: "It was a song that we'd tried to adapt that had come from a friend. It had the makings of being a great song, but we couldn't crack it. We couldn't get there."

The recording sessions for track reportedly took place in Nashville during a QUEEN + ADAM LAMBERT U.S. tour.

Taylor went on to say that he wouldn't rule out a new QUEEN album with Lambert on vocals.

"It would be nice to do some stuff," he said. "I wouldn't rule it out. Adam has said, 'Any time you want me to sing on something…' If the other two decide, 'Let's do something', I'd be there."

Lambert, May and Taylor first shared the stage during "American Idol" in May 2009 for a performance of "We Are The Champions". They teamed up again in 2011 at the MTV European Music Awards in Belfast, Ireland for an electrifying eight-minute finale of "The Show Must Go On", "We Will Rock You" and "We Are The Champions" and in the summer of 2012, Lambert performed a series of shows with QUEEN across Europe as well as dates in Russia, Ukraine and Poland. They have since completed a number of tours and performed at some of the biggest festivals in the world.

In May 2019, Lambert said that he wasn't convinced it was the right move for him to record new music with QUEEN. Speaking to Hunger, he said: "People always ask if we want to record together, and I'm not sure it makes total sense, because it wouldn't really be QUEEN, because, to me, QUEEN is Freddie. My favorite thing is collaborating and putting these concerts together and creating on stage — it's super fulfilling and exciting. To present these ideas to these two gentlemen — especially when they like the idea."

May previously described Lambert as the only singer the band had found capable of filling the shoes of iconic frontman Freddie Mercury, who died in 1991 of complications from to AIDS. "Adam is the first person we've encountered who can do all the QUEEN catalogue without blinking," said May. "He is a gift from God." Taylor echoed the guitarist's sentiments, adding: "[Adam's] incredibly musical, and we certainly take anything he says quite seriously."

Lambert, for his part, downplayed the Mercury comparisons, saying: "There's never going to be another, and I'm not replacing him. That's not what I'm doing. I'm trying to keep the memory alive, and remind people how amazing he was, without imitating him. I'm trying to share with the audience how much he inspired me."

In 2004, QUEEN recruited BAD COMPANY singer Paul Rodgers, with whom they completed two world tours and released an album, "The Cosmos Rocks", in 2008. They amicably parted ways a year later when Rodgers returned to BAD COMPANY. Since 2011, QUEEN has been fronted by Lambert.

In 2022, QUEEN shared a rediscovered track, "Face It Alone", featuring Mercury's vocals.

Is this just fantasy? The new MOJO stars Queen with new Brian May & Roger Taylor interviews. Plus Sex Pistols, The...

Posted by MOJO on Thursday, March 13, 2025

In a new interview with Audacy, GHOST mastermind Tobias Forge addressed the band's announcement last fall that GHOST's 2025 world tour would be "a phone-free experience", with guests maintaining possession of their phones at all times, secured in Yondr pouches. He said (as transcribed by BLABBERMOUTH.NET): "It's an experiment. And to be perfectly honest, my 16-year-old daughter was very, very, very, very skeptical of this idea. And then she was, like, 'No one's gonna buy a ticket.' And I was, like, 'I don't know. I have no idea what people [will do].' I just know one thing, and that is that over the years it's gone absolutely insane. If you have 10,000 people at a concert and 8,000 of them are holding a phone, there's something deeply disconnected. And, obviously, this implies that I had this conversation with my daughter, but we talk about a lot of things and we speak openly about things. But I was saying, like, 'That's like having an intimate moment with someone and that person would just take out the phone like that.' 'Oh, hold on. I'm just gonna take a photo.' I know some people do that.

"If I'm just speaking for myself — I know a lot of artists don't care and I know that there are plenty of upsides, especially commercially because you want people that… The whole thing in the business is, basically, 'Yeah, we want people to film because we want people to see the show, and that will sell more tickets.' Fine. I understand that there's a promotional tool with social media. I'm not gonna neglect that. Part of our success is obviously from social media… We started on MySpace. That was the root cause for our success at the time. I don't know if we would ever become anything if it weren't for MySpace. And, obviously, our TikTok has played a huge part.

"I'm not saying that all social media is bad," he clarified. "I'm just saying that when it comes to the actual live show, my calling, my reason for being there is the connection between myself and everybody that I brought with me that are working in tandem to give you an experience, that experience is completely decocked if everybody's just filming. Am I wrong? Am I right? I don't know. That's how I, and we, felt."

Forge went on to reference the fact that GHOST's feature film debut "Rite Here Rite Now" was filmed over two nights in September 2023 at the Kia Forum in Los Angeles. The two concerts were device-free experiences; use of phones and smart watches was not permitted in the performance space. Upon arrival at the venue, devices were secured in individual Yondr pouches that were opened at the end of the event.

Tobias said: "This is where we put some practice into the theory. Some of the best shows we've ever done in modern time was — I mean, as far as how it felt for us, what the vibe was — was when we played in L.A., when we recorded 'Rite Here Rite Now'. We were all taken by the fact that people were there. The crowd was there. We have never seen people like that. That was, like, 10 years ago when you saw people engaging. And I get goosebumps when I think about that. And I was, like, 'Fuck, I wanna do that every night. I want everyone to feel like this,' because I know — and this is the conversation I had with my daughter. It's, like, 'I understand that you in theory think that this is like a downside, like a bad thing.' I want people to experience this. It's just two hours of your life. Come on. If you hate it, okay. We all felt so good when we were in L.A., and I know a lot of people said the same thing. It was a great feeling. Fans were saying afterwards, like, 'I was allowed to just sing along and just act… I could do whatever I want. I don't have to worry about someone filming me or…' I mean, I'm not gonna place all the words in everybody's mouths here, but it's a great feeling, and I wanna recreate that."

Forge previously discussed GHOST's phone "ban" earlier this month in an interview with Planet Rock. He said at the time: "I really wanna underline that the ban has nothing to do with, let's say, copyright control. It's not that we wanna sit on all the material and we don't want anybody to monetize [GHOST videos]; it has nothing to do with that."

Tobias continued: "The 'Rite Here Rite Now', the film, the essence of messaging in that film was exactly that, but also I, but us collectively, working, making that film… We filmed two shows in L.A. in front of audiences where they had to put their phones into pockets. You don't give it away. You have your phone; you don't have to worry about that. If you need to call, you can go out. If you need to take a photo, you can take a photo of yourself out in the lobby; that's fine. But what ended up happening was that we had such an engaged crowd that seemed joyous in a way that… I had to go back years and in time since I last saw a fully engaged crowd where everybody's actually watching [the show]. They don't have to watch me, but they're watching the band."

The 44-year-old Forge added: "I don't wanna turn this into an ageist thing where I'm gonna tell 14-year-olds everything was better back then. But I swear that the experience of shows and the making of memories, the making of magic, was much more powerful. Some of the best shows I've ever been to, I have maybe not even seen a picture from that because they all live here [in my head]. They live in my core. That's the memory I have of that. And that is an experience I wish for… Obviously, the part of our crowd that are older and more aware, maybe this becomes a little bit nostalgic then. But I really believe that the younger portion of our crowd will, as they did in L.A., come out saying, like, 'That was not only a great concert; that was also an overwhelming experience.' Because I do believe that you will feel that."

Through the use of technology like Yondr, fans are able to place their phones in a pouch that unlocks only after they leave the no-cell-phone zone. The pouch can also be unlocked at specific cell phone stations inside the venue.

Phone-free concerts are touted as a way to cut down on illegal filming and non-stop selfies that can take away from the performance.

Yondr founder Graham Dugoni said his company's pouches were created for "phone-free spaces" where "creativity and productivity could flourish in the absence of technology."

Phones, Apple watches and other communication devices are placed in the pouch and sealed using a magnetized lock, which can be opened with an unlocking base.

Musicians like Jack White, Alicia Keys, and comedians Dave Chappelle and Jerrod Carmichael have used Yondr pouches at their shows to encourage people to live in the moment.

A number of other musicians have come out in recent years to say that mobile technology is ruining the concert experience, including SLIPKNOT and STONE SOUR singer Corey Taylor. He told "Loudwire Nights" that "it's fine" if people want to take pictures of his bands' shows, but not so much if they are videotaping entire performances. "It's one thing to film it, it's another thing to just be staring at your screen while you're filming it," he said. "It's right there. Are you so terrified of real life that you can't do anything unless it's on that little four-by-four screen? Ugggh. It's very weird."

Former SKID ROW singer Sebastian Bach in 2015 urged fans to keep their cell phones at the bottom of their pockets and just watch his performances. "Be in the moment," he said. "You're distracted and it's distracting to the performer as well. Like, put your fuckin' cell phone away, dammit! You're never even going to watch that footage."

The overuse of cellphones to capture grainy, blurry photos and videos at concerts has for years vexed and enraged artists like Bach, who lamented the fact that every one of his performances could be recorded and shared on YouTube almost immediately.

"If I go to a wedding and sing a song, it's on Blabbermouth the next day and everybody analyzes it," said Bach. "It's a really backwards way to watch a band. It's a drag sometimes when I go up there and the first thing I see is everybody getting their phones out and holding them toward my face. It makes you feel intimidated."

Back in 2012, Bruce Dickinson chastised a fan for texting during an IRON MAIDEN concert, calling him a "wanker."

When Axl Rose reunited with his former GUNS N' ROSES bandmates Duff McKagan and Slash for the first time in 23 years at the Troubadour in Los Angeles in April 2016, the concert was phone-free.

"God, it was wonderful," McKagan told The New York Times. "It was the old-school feeling, where people were dancing and getting down. It was really cool."

GHOST will release its new album, "Skeletá", on April 25 via Loma Vista Recordings.

The European leg of GHOST's 2025 world tour will kick off on April 15 in Manchester, United Kingdom and conclude on May 24 in Oslo, Norway. The North American leg of GHOST's 2025 tour will launch on July 9 in Baltimore, Maryland and wrap up on August 16 in Houston, Texas.

The physical home video of "Rite Here Rite Now" was made available on December 6, 2024.

In a new interview with RockTheLife, SAVATAGE guitarist Chris Caffery spoke about online criticism he and his bandmates have received for reactivating the band without late SAVATAGE guitarist Criss Oliva and Criss's brother, SAVATAGE mastermind Jon Oliva. Referencing the fact that he engaged in online banter during the pandemic on the social media channels of sites like BLABBERMOUTH.NET and SAVATAGE-related pages, Caffery said in part (as transcribed by BLABBERMOUTH.NET): "I have a decent relationship with the Blabbermouth people… In the COVID time, I would watch people get stir crazy and be online. And I saw what was going on with Blabbermouth, how they were really releasing a lot of frustration in the one-liners that were happening on that site. And you could see a lot of musicians that were a part of those conversations. They were getting so mad. And I would sit there laughing my butt off at some of these jokes. And I just decided one day to join in."

Chris continued: "There was one pretty ridiculous statement made at one point by somebody that had said he was the reason why a band or a particular type of guitar metal had started, and I kept putting that person's name into all these other posts, and the Blabbermouth people knew that I was being them. 'Cause they would always have Corey [Taylor] from SLIPKNOT — they had their one name that would wind up in every post to be funny. And I was doing it with the one name I was using, and they got pretty hip to it. So, even when I get to the title and the posts come out with me in the Blabbermouth thing, they don't attack me in it. And I think that what's pretty cool is I think there's a respect that happened over the fact that the roots inside of there know that my sense of humor got what they were doing. And I never thought it was anything that was bad. It was something that was so funny in the midst of the weirdest year of my life and I just chimed in with them and it was kind of funny. So look at that and I'm just, like, it's not a bad thing. I mean, those people are all music fans and they're having a good time. And I thought it was always funny when I watched the musicians that got so upset."

Caffery added: "I've had plenty of times where people had had their comments about me. Throughout the years with SAVATAGE — I get trashed more on the SAVATAGE sites than I do on Blabbermouth, because there's always people that aren't happy about things: 'As long as Criss Oliva is not alive, it's not SAVATAGE.' It's, like, well, you wouldn't be talking about Criss Oliva… The reason why you have thousands of people [talking about SAVATAGE alive online] is because we've kept the legacy alive. It's given you the ability to have two thousand people talk shit about me instead of twenty. So your voice of no reason is heard by a lot more. And I appreciate that 'cause you're advertising the legacy of SAVATAGE. And nobody likes Criss Oliva more than me. And that that's just a fact. He was a big reason why I am who I am and where I am. So, like I said, I brush it off. And you grow up a lot on that as time goes on."

Joining Chris in SAVATAGE's current touring lineup are Johnny Lee Middleton on bass, Al Pitrelli on guitar, Jeff Plate on drums and Zak Stevens on lead vocals.

Jon Oliva, SAVATAGE's founding vocalist and keyboardist, in 2023 suffered a T7 vertebra fracture in three places, a severe injury that has left him relying on a wheelchair. Additionally, he was diagnosed with multiple sclerosis and Ménière's disease, conditions that have further complicated his health.

Zak joined SAVATAGE in 1992 as the replacement for Jon Oliva. Zak sang on four albums with the band — "Edge Of Thorns" (1993),"Handful Of Rain" (1994),"Dead Winter Dead" (1995) and "The Wake Of Magellan" (1997) — before departing in 2000, allowing Jon to return. Both Jon and Zak took part in SAVATAGE's 2015 performance at Wacken Open Air, which marked the band's first, and only so far, appearance on stage since they went on hiatus back in 2002.

SAVATAGE's last album release, "Poets And Madmen", in 2001 was highlighted by Jon's return as lead vocalist, replacing Zak, who left the band citing family reasons, and the departure of Pitrelli, who accepted an offer to join MEGADETH in 2000. Pitrelli did record solos for some songs prior to his exit. Another very limited U.S. tour followed, supported by FATES WARNING in the early shows, and then NEVERMORE for the remainder. Around this time, Jon chose Zak's replacement in the form of Damond Jiniya (DIET OF WORMS). Damond performed Zak's parts on tour, with Jon having an increased vocal role in proceedings.

In September 2021, Jon Oliva was arrested on the west central coast of Florida for driving under the influence as well as possession of a controlled substance. Police charged Oliva with possession of cocaine, which is a felony, and DUI, which is a misdemeanor. Oliva was reportedly arrested again in July 2023 on another cocaine possession charge.

Back in 2016, Jon announced on social media that he suffered a stroke in April of that year. At the time, he said: "It was not as serious as it could have been, but it did leave me with some physical recovery challenges often associated with strokes."

Despite his health issues, Jon said that he didn't regret the way he had lived his life. He wrote: "I lived the rock 'n' roll lifestyle since I was 18. It's all I knew and I enjoyed the ride very much. But there comes a time in everyone's life where you have to step back and make some life-changing decisions... which I have."

Shortly after SAVATAGE's reunion performance at the 2015 Wacken Open Air festival in Wacken, Germany, Oliva claimed that he felt better than he had in 20 years because he had "stopped drinking and eating" in preparation for the concert. He explained: "It's my voice that's freaking me out, because, even when I was in my late 20s, early 30s, doing songs like '24 Hours Ago' were always really hard to do. And, of course, I didn't realize that it was all the drugs and alcohol I was doing. But, after doing that, getting my act together and stuff, singing '24 Hours Ago', it's actually easy now. [Laughs]"

In addition to his work with SAVATAGE, Oliva is well known for co-creating the classical music-meets-prog rock and pyro act TRANS-SIBERIAN ORCHESTRA alongside Paul O'Neill. Oliva has reportedly remained involved in TSO's activities even after O'Neill's April 2017 death of an accidental drug overdose.

Jon's brother Criss, who was one of the founding members of SAVATAGE, was killed in October 1993 by a drunk driver when he and his wife Dawn were en route to the Livestock festival in Zephyrhills, Florida. The driver of the other car was found to have a drunk driving record of seven prior DUIs and having a blood alcohol content of .294 percent.

During an appearance on the latest episode of The Mistress Carrie Podcast, DISTURBED guitarist Dan Donegan and drummer Mike Wengren spoke about the musical inspiration for the band's new single, "I Will Not Break", which came out on February 21 via DISTURBED's own label, Mother Culture Records. Dan said (as transcribed by BLABBERMOUTH.NET): "We were out in L.A. last fall and just started getting the ideas out. And we had an album's worth of material already done. And me and Mike and Drew [Fulk, also known as WZRD BLD], our producer, were sitting in the room. And I like to keep going. Once the ball's rolling, I don't like to quit — I don't like to stop, because I always feel like the excitement's there. You've got something new so I keep writing. And David's [Draiman, DISTURBED singer] trying to play catch-up, because he's gotta write all these lyrics to these songs. So a lot of times he wants us to stop because 'cause we're getting too far ahead of him. And one day I was in the studio, and I was already digging back into old demos that I had at home, old cassette tapes that we had in the '90s, as we're going through the vault of things… So I wanted to go back and just kind of get back in that headspace of… Some of those recordings were actually just hitting the 'record' button and putting a little cassette player in the back of the room, so it's the worst quality ever. But I wanted to hear some of those improvised tapes and get in that headspace of where we were back then. And even though 'I Will Not Break' is a brand new riff, it kind of just had that vibe."

Donegan continued: "I was supposed to be tracking guitars in the studio for something else that day and I'm, like, 'Ah, let's just put that on the back burner. I just feel like doing something new.' And we just start messing around a bit and I'm just playing around with this riff for a while. I changed the riff probably 50 times as we were sitting there, and I think when the riff finally came about, I think me, Mike and Drew just looked at each other and were, like, 'That's it. That's the one. Go with that.'"

Dan added: "Cakebread is one of the wines we have backstage here [on tour]. And we were having that in the studio that night. We opened up a bottle of wine and started improvising. So the working title for the song was called 'Cakebread'."

Mike also reflected on the making of "I Will Not Break", saying: "[Dan's] riffing out, and we'll loop some beats for him and he just sits there. And he can riff for hours sometimes. Sometimes something comes out in five minutes. Sometimes it comes out in five hours. It had been going around. I'm, like, 'You know what?' I'm sitting in the back of the room. I Doordash some wine. The best that the store had on Doordash was Cakebread. So the guy shows up. I crack open the wine. Within five minutes of pouring the glasses for everybody, that riff for 'I Will Not Break' came out."

Asked when DISTURBED fans can expect a full-length follow-up to 2022's "Divisive" album, Dan said: "We really don't know. Ten minutes before you walked in the room, we were just talking with our manager too. Our main focus has been this 25th-anniversary tour [of DISTURBED's debut album, 'The Sickness']. We do have a lot of stuff recorded, obviously, with the first single out. There hasn't really been much talk about the release yet, just because we're so focused on these tours. It's hard to think about it when we're selling out the Garden and all these other places. We're just riding this wave and we're on a high right now that there hasn't been any deep discussion just yet of if it's coming out this year or next year. We've still gotta strategize that."

Donegan previously talked about "I Will Not Break" last month in an interview with Ryan McCredden of the I-Rock 93.5 radio station, DISTURBED guitarist Dan Donegan. He said at the time: "[That song] came late in the recording process. We were out in L.A. this past September, October and November, just getting the ball rolling. There was no really gameplan of a timeframe or deadline in any way. We had some time off the road with only a handful of shows last fall, so we said, 'Let's get back in the room and get things going again and see how the creative process goes.' And everything was going great. We wrote a bunch of material, tracked it all, and then 'I Will Not Break' kind of came late in the session. I just felt like I still had a lot left in me. And I was supposed to be tracking guitars for something else that day, and I just told my producer I felt really creative. I wanted to kind of go with this kind of old-school — I wanted to give something to David that was gonna hopefully trigger kind of that old-school delivery out of David. So we just kind of worked on this heavy groove, this beat, and I just started improvising over it, and as soon as the riff came around, we kind of all just looked at each other, like, 'That's the one. That's the one.' And then I just continued down that road and put together a rough structure. David wasn't there at the moment, at the time, so we just kind of worked out the music and put together a rough structure. And when I'd seen him next, I kind of went over it with him and he connected with it. And he kind of gave us those elements that we were looking for — the still melodic, but still quick, rapid-fire syncopation at times and just that kind of delivery we were hoping to pull out of him. And we thought it would be a great lead-off track to share with the fans."

When McCredden noted that "I Will Not Break" sounds like something DISTURBED could have recorded 25 years ago, possibly inspired by the fact that the band was preparing to embark on a 34-date North American tour celebrating the 25th anniversary of their 2000 debut album "The Sickness", Donegan concurred. "I was going through the archives and going through a lot of stuff here, my memorabilia, gearing up for this 25th-anniversary tour, and I came across some old demo tapes," he said. "I had actually cassette tapes, if people don't remember what those are. Back in the day, in the late '90s, when we got David in the band, we would just set up a little cassette player in the back of the room and hit 'record' and record us — crappy version, but record our practices so we could hear us just improvising ideas. And so I was kind of in that headspace 'cause I was listening to these old riffs and these old deliveries of us just kind of improvising, like I said, and it just had me in that headspace. Actually, one of the song ideas was a riff I pulled from 1998 off the demo and I kind of slid it back into the mix. I have a history of doing that. I have a way of sneaking in old ideas and seeing if it triggers anybody, if they remember it and pick up on it, if it's been that long ago. But I try to get back into that headspace. And so, even though the riff for 'I Will Not Break' is brand new, I was kind of in the spirit of that old-school DISTURBED, and that's what we were hoping to do — trigger [David] in that that kind of way."

"I Will Not Break" marks DISTURBED's first new music since its acclaimed 2022 album "Divisive".

According to DISTURBED, "I Will Not Break" is "a necessary song, about becoming stronger than the forces that constantly try to tear you down." The track includes the stirring lyrics "I've had enough of feeling terrified, now I'm deciding that I won't be hiding from anyone," which encourages listeners to push back in the face of adversity.

Fulk previously worked with DISTURBED on "Divisive", which was recorded in Nashville, Tennessee.

According to Billboard, "Divisive" sold 26,000 equivalent album units in its first week of release, with 22,000 units via album sales.

On the all-format Billboard 200 chart, "Divisive" debuted at No. 13.

DISTURBED has had five No. 1s on the all-genre chart, beginning with "Believe" in 2002.

"The Sickness 25th Anniversary Tour" kicked off in Nampa, Idaho on February 25. Produced by Live Nation, each night features two sets of music, opening with DISTURBED playing the five times platinum "The Sickness" in full, followed by a full set of greatest hits. The first half of the tour features support from special guests THREE DAYS GRACE, featuring the return of original singer Adam Gontier, and opener SEVENDUST, and the second half features special guests DAUGHTRY with opener NOTHING MORE.

Since "The Sickness" was released in 2000, the album was certified five times platinum by the RIAA, spent a total of 106 weeks on the US Billboard 200 chart, and Revolver named it one of "Top 25 Debut Hard Rock Albums." Billboard said of the title track upon release: "'Down With The Sickness' is, of course, the quintessential DISTURBED song, harnessing all the band's seethe and its now-famous tribal beat and guitar chug into three and a half minutes of alt-metal mayhem. It's menacing, it's rhythmic, it's rebellious."

Photo credit: Travis Shinn

In a recent interview with The Seth Williams Show, TESLA bassist Brian Wheat was asked for his opinion of the Rock And Roll Hall Of Fame. He responded (as transcribed by BLABBERMOUTH.NET):  "Listen, I think it's a bit of a popularity contest. I saw that THE BLACK CROWES are [nominated this year].

"If THE BLACK CROWES are gonna be put in the Rock And Roll Hall Of Fame, then perhaps TESLA should be considered for it purely for the fact of the [TESLA 1990 live album] 'Five Man Acoustical Jam'.

"How it's been told to me is that if you do something that is kind of influential or creates a movement or whatever — okay. Well, I mean, BLACK CROWES were… And I don't wanna really talk about THE BLACK CROWES, because Blabbermouth will get on this and then [THE BLACK CROWES singer] Chris Robinson thinks I'm…

"I love THE BLACK CROWES. I've loved THE BLACK CROWES since day one, and I'm glad they're being considered."

Referencing the fact that BAD COMPANY is also nominated for the Rock And Roll Hall Of Fame this year, Brian said: "My question with BAD COMPANY is, why so long? Why have they waited so long? BAD COMPANY should have been in there before a lot of bands.

"I don't trip on this Rock And Roll Hall [Of Fame]," he continued. "Pretty soon it's not gonna mean shit, because everyone's gonna be in the Rock And Roll Hall Of Fame… But I mean, just in general, it's, like, who isn't in the Rock And Roll Hall Of Fame? There's gonna be more people in the Rock And Roll Hall Of Fame than aren't in the Rock And Roll Hall Of Fame. [They'll] have to come up with a new one."

When co-host Chris Akin noted that "Five Man Acoustical Jam" "created that whole unplugged movement, which was a a legitimate movement," Wheat said: "Well, it was, but I wanna go on record and just say that we did not invent that. The thing that we did was we had the first successful acoustic live album — before Rod Stewart, before Eric Clapton, before NIRVANA. And that's what we did do — that was our contribution. So based on that contribution, do I think that merits us going in the Rock And Roll Hall Of Fame? I don't know. I mean, you can make that argument for a lot of artists that are in the Rock And Roll Hall Of Fame. Did what they do merit them to be in the Rock And Roll Hall Of Fame? I don't know.

"Listen, if they called and they wanted to put us in there, would I turn it down? No. No," he continued. "But am I gonna be heartbroken if TESLA never gets in the fucking Rock And Roll Hall Of Fame? Absolutely not. What matters most to me is that 40 years later, people are still paying their hard-earned dollars to come and see us play by the thousands. And that, to me — you can keep all the fucking awards; that's the one that I'm most proud of, is that when I look out there and I see 2,500 people, wherever we go in America to play, singing our songs, and there's three generations of people…

"I don't need to be put in the Rock And Roll Hall Of Fame, I don't need a Grammy, I don't need any of that shit to validate what TESLA has done or does," Brian added.

"Listen, I can't get caught up in that shit. I mean, I ain't gonna lose any sleep over it. It's, like, 'Okay, cool.' I was happy to see Chris and Rich [Robinson of THE BLACK CROWES] get nominated. And I was happy to see them recognize Chris Cornell for SOUNDGARDEN, 'cause I think Chris Cornell was a great singer and a true artist. I didn't really pay too much attention to who else was there except BAD COMPANY. And I was, like, 'It's about time.'

"To me, that first BAD COMPANY record was as classic and influential as 'Van Halen I' was, to me. They were both equally as… I mean, you had the 'Bad Company I' record, just like you had 'Led Zeppelin I', just like you had 'Van Halen I'. And you had THE BLACK CROWES' first record. And a lot of people have TESLA's first album [1986's 'Mechanical Resonance'], which they consider to be a classic first album. And listen, I'm not gonna say that it wasn't. I'm proud of that fucking record. It is a good first record. I look at a lot of bands' first records that are in the Rock And Roll Hall Of Fame, and their first records aren't very fucking good."

Asked if TESLA's hypothetical Rock Hall induction would see original guitarist Tommy Skeoch reunite with his former bandmates for a performance at the event, Brian said: "Absolutely. So [would] Troy [Luccketta, original TESLA drummer]. So [would current TESLA guitarist] Dave Rude. Absolutely. If that were ever to happen, it would not be right. But Tommy would definitely be there. And so would Dave Rude. You would see TESLA with three guitar players… Yes, if that ever were to happen, the whole original band would play and so would Dave Rude. So there'd be six of us up there."

Released last November, TESLA's latest six-song EP, "All About Love", includes four versions of the title track (acoustic, electric, hybrid, live); a live version of "Walk Away", a concert favorite from "Reel To Real, Vol. 1"; and another new song, "From The Heart", an instrumental track by guitarist Frank Hannon.

Some fans criticized TESLA for adopting a 1980s-style polished production for its latest album, 2019's "Shock". The follow-up to June 2014's "Simplicity" was helmed by DEF LEPPARD guitarist Phil Collen, whose own group is no stranger to slicked-up, glossy-sounding recordings.

In September 2023, TESLA released the official music video for its cover of AEROSMITH's "S.O.S. (Too Bad)". The song is a bonus track on TESLA's live album, "Full Throttle Live!", which arrived in May 2023. The LP includes the band's "Time To Rock!" single, plus other songs, all recorded in August 2022 at Full Throttle Saloon in Sturgis, South Dakota.

In September 2021, original TESLA drummer Troy Luccketta announced that he would "take a little time from the road" to spend with family and friends. He has since been replaced at TESLA's gigs and in the recording studio by Steve Brown, the younger brother of former DOKKEN drummer Mick Brown.

TESLA's debut album, 1986's "Mechanical Resonance", went platinum on the strength of the hits "Modern Day Cowboy" and "Little Suzi". The 1989 follow-up album, "The Great Radio Controversy", produced five hits, including "Heaven's Trail (No Way Out)" and "Love Song", which hit the pop Top Ten.

In a new interview with John The Metal Mailman of the KBER 101.1 FM radio station, DREAM THEATER guitarist John Petrucci discussed the band's decision to reunite with Mike Portnoy in October 2023, 13 years after the drummer first left the progressive metal titans. Asked if it felt like it had been that long since they last played together, Petrucci said (as transcribed by BLABBERMOUTH.NET): "Well, in some ways, yes, and in some ways, no. We've accomplished so much over those, not only the past 15 years, but over 40 years. I mean, it's crazy that we're doing a 40th-anniversary [tour]. But Mike coming back was, like, we didn't miss a beat. He's just our buddy and our brother and it just feels so great to have him back. And playing live on stage together again, you can feel the energy and the chemistry is just so evident. You look out in the audience and people are just loving it. So, yeah, it's pretty amazing."

Regarding whether he prefers working in the studio over being on the road, Petrucci said: "Honestly, I love it all. I could live in the studio. I love that environment. I love being creative and the whole vibe, just being in your own space with the guys, or even if it's just you and the engineer, and having fun capturing sounds and playing. I literally could just live in there. But then once I get on the road, I'm, like. there's nothing like live performance, interacting, the challenge of trying to play this stuff live and having to have all your chops ready. And then you're touring the world, seeing great places, you get to travel, and that's a wonderful thing as well. So I kind of — I love it all. It's great."

DREAM THEATER kicked off the North American leg of its 40th-anniversary tour on February 7 at The Met in Philadelphia, Pennsylvania. The trek is "An Evening With Dream Theater" and is the first tour of North America since Portnoy's return to the lineup, joining singer James LaBrie, bassist John Myung, Petrucci and keyboardist Jordan Rudess. The tour will conclude on March 22 in New York City.

DREAM THEATER's sixteenth studio album, "Parasomnia", came out on February 7, 2025 via InsideOut Music. The LP marks DREAM THEATER's first release with Portnoy since 2009's "Black Clouds & Silver Linings".

"Parasomnia" was produced by Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returns once again to lend his creative vision to the cover art.

Portnoy co-founded DREAM THEATER in 1985 with Petrucci and Myung. Mike played on 10 DREAM THEATER albums over a 20-year period, from 1989's "When Dream And Day Unite" through 2009's "Black Clouds & Silver Linings", before exiting the group in 2010.

Mike Mangini joined DREAM THEATER in late 2010 through a widely publicized audition following the departure of Portnoy. Mangini beat out six other of the world's top drummers — Marco Minnemann, Virgil Donati, Aquiles Priester, Thomas Lang, Peter Wildoer and Derek Roddy — for the gig, a three-day process that was filmed for a documentary-style reality show called "The Spirit Carries On".

Iron Bonehead Productions is proud to present the long-awaited debut album of Finland’s Moonfall, Odes To The Ritual Hills, on CD and vinyl LP formats.

Hailing from the ever-fertile Finnish black metal scene, Moonfall’s origins date back to 2008. The duo released one demo in 2010, Ad Majorem Sathanae Gloriam, before disbanding the next year. The band reactivated in 2020 and released a demo, with a split with Regere Sinister the following year.

However, this duo – Goatprayer and Black Moon Necromancer, both of whom handle multiple instruments depending on the recording – have been insanely prolific together, currently playing in the esteemed Witchcraft as well as other such cults as Necromonarchia Daemonum, Funerealm Gloom, Darkera, and Infernathan. Even separately, both men are notable: among many others, Goatprayer maintains the monolithic Ceremonial Torture, while Black Moon Necromancer currently plays guitar for the legendary Beherit.

Still, Moonfall have yet to release a full-length display of their dark, defiant powers… until now. Fittingly titled Odes To The Ritual Hills, Moonfall’s long-awaited debut album encapsulates their ancient aesthetic whilst pushing it to more-depraved depths. With all the bands both Finns number between them, some sonic traits remain consistent – utterly gutsfucking bass, sewer-drenched vokills, an ominously lumbering gait, a wholesale defiance of modern “black metal” or even “doom” tropes – and some influences, such as old Necromantia and Barathrum as well Greece’s Lemegethon and Colombia’s Nebiros, figure prominently. And as tempting as it is to liken Moonfall as an aesthetic counterpart to the mighty Ceremonial Torture, Odes to the Ritual Hills proves that the duo are digging their own, absolutely ancient earth.

The album as a whole comprises four songs across nearly a half-hour, with two songs at ten minutes each; its song sequence is such that atmosphere is incredibly heightened, akin to a moonlit walk across misty moors. Of course, burly bass guitar guides these mystical journeys with an insistent, almost-sexual throb – some could point to domestic underground deviants Ride for Revenge here – but the vintage synths, sensually swirling with their own dark magick, really put Moonfall in rarefied territory. That Odes to the Ritual Hills is bookended by two shorter, all-synth instrumentals does not undersell the album’s intrinsic power; in fact, their strategic placement is integral to the record’s all-engrossing journey.

With these Odes to the Ritual Hills, Moonfall have at last returned from the darkest past with the year’s truly oldest record.



Tracklist:

“1560” (2:10)
“Countess Carody” (10:09)
“Ode To The Ritual Hills” (9:36)
“Thus Spoke Satanael” (5:13)

“Countess Carody”

In a new interview with Joe Scibilia of The Rock N' Roll & Coffee Show, WARRANT singer Robert Mason was asked if there are any plans to release new music as a follow-up to 2017's "Louder Harder Faster" album. He responded (as transcribed by BLABBERMOUTH.NET): "We have something that might happen. I kind of feel that there's that huge nostalgia component. My ego doesn't mean I have to put a record out just for the sake of it. And I understand you make a certain piece with — fans wanna come and hear the nostalgia, and that's our role, that's our lane to kind of stay in. If we come up with something great and we wanna put something out, we certainly might. I've got ideas. I know [WARRANT bassist Jerry] Dixon does as well. He and I worked together just a couple of years ago on a bunch of material for something that might have been a record that we just kind of put aside for a minute because he started playing with the band less and we were trying to concentrate on just making our live band and our consistent touring as good as possible for us."

Asked if there is really a reason for a band like WARRANT to put out an album in today's musical climate, Robert said: "We wrestle with that, but that's the nostalgia component. Sometimes promoters or agents say, 'Well, we can sell a new tour and a thing,' I'm, like, 'Yeah, but there's so much nostalgia and that's what really fans [want to hear].' We play a couple of songs off the two records which I did with the band, songs we wrote to do that, and people dig it. We do 'Louder Harder' and I get 'em to scream the chorus and they're still into it. There's a certain component — and I love those people — that are into that. But I think as years go by, the one thing is if you're one of the last bands standing, then the herd narrows and you become one of those bands. It can go either way, and I sometimes I wake up and I'm, like, 'Man, we should do a record,' and then I go, 'You know what? I watch the people's reaction to the catalog material and I still get off on doing it. And so does the band.'"

He continued: "There's no urgency to put something new out there. The climate of a band of guys in their 60s — what are we gonna get? A radio hit? It's a bygone era, and if it makes a good story for interviews, cool. And it's satisfying to play new songs. I will always do that in one respect or another. I write for other people. There's some film and TV work and stuff that we've all dabbled in. It's still satisfying. And it's something in your soul. It makes you feel good to be creative if you're a songwriter type. But then again, those hits are the hits. They're still fun to play, and that gets a great reaction from the audience. So then is that my time best served? No."

Regarding whether he would ever put out a solo record, Mason said: "I've been asked. And I play piano. I wake up and make coffee every morning and go sit at a very nice antique grand piano in my house and go hammer away on it heavy handed, like I do everything. And I write a ton — I have a ton of guitar stuff and a ton of piano stuff.

"It seems almost gratuitous and weird and like egocentric to [make a solo album]," he explained. "I write with a bunch of friends in Nashville, and some in particular you just get on great with and every time you hang out and do something, it's just magic.

"I might someday. I would almost wanna do something to throw a curve ball and do an acoustic-piano-and-voice thing only, or very little instrumentation. I wouldn't wanna put a rock band together and do it necessarily, 'cause then it's, like… The thing is, if you go play live, you're, like, 'I do that. That's my job.' I would rather explore something completely different. Or at least genre specifically different that would be, like, 'Wow, that's that guy? Really? He doesn't scream like he's coughing up a lung. He can actually sing that too."

Elaborating on the musical direction his solo music might take, Robert said: "I grew up, man, in love with my dad's music and crooners and music from the 40s, 50s and 60s. So, I have lots of sides."

"Louder Harder Faster" was released in May 2017. The disc was recorded with Jeff Pilson — a veteran bassist who has played with DIO, FOREIGNER, DOKKEN and T&N, among others — and was mixed by Pat Regan, except for the song "I Think I'll Just Stay Here And Drink", which was mixed by Chris "The Wizard" Collier (FLOTSAM AND JETSAM, PRONG, LAST IN LINE).

Mason replaced original WARRANT singer Jani Lane in 2008 and has brought a degree of stability to the band after Lane's unceremonious departure and subsequent 2011 death.

Last month Dixon told Mark Strigl about WARRANT's plan to release new music: "We're kind of thinking and probably implementing kind of like a box set of things we have with Jani, unreleased stuff. We have maybe a song from a demo. We've got, like, nine records that [the rights] have come back to us over the years. So we wanna do some sort of box set with some new music as well, but also include all of WARRANT — Jani years, Jaime St. James years, 'Born Again', 'Rockaholic', all of [it]."

Asked if there are "numerous tracks" with Jani Lane that have not been released, Jerry said: "There actually are hardly any, but there's a few that we got back that we're working on finding. There's a lot of things that happened with the legality of stuff, but there are a couple diamonds that we have found. But we released everything with him. We never did anything just to go do it. If we were gonna record, it was a purpose — it was for a soundtrack or a record. So, you pretty much have 99.9 percent of everything out that we've done."

Elaborating on what might be included on the aforementioned box set, Jerry said: "Like, say we're writing and we're recording with Jani and he's talking, but it's not a finished song yet. So it may be something that entails video. We're sharing all that stuff. The making of 'Dog Eat Dog', we have a lot of behind-the-scenes stuff of that record that nobody's ever seen."

Regarding WARRANT guitarist Joey Allen's comment from October 2024 that he and his bandmates were collecting footage for a possible documentary, Jerry said: "Yeah, we have that in the works too, but it's a lot of speculation and people have ideas, but who's doing the work? So we'll figure it all out. But, yeah, I think it's time to do that and not give everything away on social media for free and just let people steal it and take it and molest it. And it's disgusting. We wanna put something out that people can take home and enjoy, like the old days."

Last October, Joey was asked by Become A Guitarist Today whether there has been any talk of a follow-up to "Louder Harder Faster". He said: "Here's the deal with WARRANT on records, is that the first three records, Jani Lane was the the creative force behind all the songwriting, which is fantastic. I mean, he was great at it. And it was a magic time for everybody. When you've got a guy that's bringing in songs like '[Mr.] Rainmaker' and 'Uncle Tom's Cabin', and nobody else is bringing in 'Uncle Tom's Cabin', you're, like, 'Okay, keep on going.' And so when he wasn't in the band, and then you've got the five of us, it's kind of the same thing. Whoever writes the music brings it in. If it's good and it's complete, then there you go. And I'm not a songwriter as much as I am a guitar player. I'm great at interpreting people that can't play guitar great and turning it into some cool-sounding riffs, the way I play. But it gets to the point where if there's riffs out there and you need somebody to come in and write lyrics to it, well, then everybody should pay attention and see if there's a riff out there. So the choices of songs and how we put a record together is very arduous. It's very difficult for WARRANT, for some reason. And it's amazing that after a record like 'Louder, Harder, Faster' that the band was still together. So, looking forward to another record, you're, like, 'Hmm.' [Laughs] 'Do you wanna do that again now — what is it? — seven years later?' And I think there's some desire, but it's not heavy."

He added: "New music's different now. People do records, nobody cares. So do we do a few songs at a time and release a song or two? I don't know what our model is gonna be. We're not going away. How's that? You want us to go away? We're not. And we still do 50 or 60 shows a year over here [in the U.S.]."

Allen went on to say that WARRANT fans can expect to see something else that might satisfy their craving for new product.

"We've gotten through a lot of our archives of videotapes and pictures and things that we all four of us have in our boxes in the attic and we've gotten them down," he said. "Because everybody had those little video cameras back in the day. So, there is private video from 1987. And I think we're trying to catalog all that data and kind of put together some type of a documentary with that stuff. And that's the next project. So if anybody was in the band from the front end on, from 'Dirty Rotten Filthy Stinking Rich' on, they're gonna get a peek behind what we were doing, what you thought we were doing. Were you right? Were you wrong? I mean, it's certainly not gonna be X rated by any means, but if you see some of the shit that did go on, it's great fun. I don't know if it'll be rated as a comedy or what, but there's some funny shit in there. So that's it."

Joey previously talked about the possibility of a new WARRANT album in March 2024 in an interview with the "Rimshots With Sean" podcast. He said at the time: "New record? I don't know. The last one was fun to make, and [producer] Jeff Pilson was fun to work with. And the one before that [2011's 'Rockaholic'] with [producer] Keith Olsen — God rest his soul — was great and fun to do.

"It's such an undertaking for us, and the return on making a record is [miniscule]," he explained. "You know what I mean? And not everything's about money. It's, like, can we play it live? Well, you can, but people are just gonna sit there and look at you, like, 'Where's 'Cherry Pie'? Where's 'Uncle Tom's Cabin'? Where's 'Down Boys'? Where are those hits I wanted to hear?' And so you can't go out and play three or four or five new tunes, which would be — for me, thumbs up. I would dig to do that. But we have a responsibility to play the songs that people really wanna hear too. So it's a double-edged sword. And that's what I mean when I [say], what's in it for us? It's not financially. The thing in it for us is to play new music, to create new music, to grow. Let's not be a nostalgia act. So I don't know if it'll be a new record or if it'll be a song at a time or whatever — I'm sure sooner than later something [will] happen — but nothing's going on right now."

In December 2023, WARRANT guitarist Erik Turner told Robert Miguel of Uvalde Radio Rocks that he and his bandmates were "not sure" what they were going to do as far as new music was concerned. "It's just been a little bit — there's just been some stuff going on where we haven't really been doing any new music," he revealed. "We have some riffs [being thrown] around. We have some half-finished songs going on. Due to some personal stuff going on, we're just kind of on hold as far as the new record goes. Nothing horrible, but just band stuff."

In March 2023, Allen told Mankato, Minnesota's "The Five Count" radio show that he and his WARRANT bandmates were "actually writing right now for a record. So people are sending riffs around. You can do it on the Internet nowadays," he explained. "We just have a cloud-based files system where we just upload ideas. And somebody will take an idea, a music idea, and put some lyrics to it, and we'll start to craft our songs. So maybe by this fall we'll dig into the studio again and [record] the follow-up to 'Louder Harder Faster', which came out, I think, six years ago this year. The recording process takes about four or five weeks, so maybe early next year we'll have something new out for everybody to listen to and back on the road we will go to support that."

Nearly four years ago, Mason told the "Thunder Underground" podcast that there wasn't "a defined schedule" for WARRANT's next studio album, but he added that he and his bandmates are "always writing."

In 2020, Turner told the "Talking Metal" podcast that WARRANT was "throwing some ideas around" for a new LP. He said: "I've been sending Robert some riffs, and Robert's been working on songs. I've got a song going with Jerry. So it's a slow, long process for us, but the seed of a new record has been started. Now, that doesn't mean the seed will grow into a record. We've got a long way to go. We don't have one finished song. We've got a couple of things cooking, and we're actually sending ideas around back and forth to each other."

WARRANT is rounded out by original drummer Steven Sweet.

During an appearance on the latest episode of "The David Ellefson Show" video podcast, former SLAYER drummer Dave Lombardo reflected on how he and SLIPKNOT's Joey Jordison filled in for METALLICA drummer Lars Ulrich when he was unable to appear at the Download festival in England in June 2004. Ulrich later blamed his non-appearance on exhaustion, caused by an unrelenting tour schedule and the break-up of his seven-year marriage to Skylar Satenstein. Jordison played eight tracks from the 11-song set, with Lombardo and Ulrich's then-drum tech Flemming Larsen helping with the remaining cuts.

Lombardo said (as transcribed by BLABBERMOUTH.NET): "Well, fortunately Joey, he had a METALLICA cover band when he was young, before SLIPKNOT or maybe even during SLIPKNOT. And so he was very familiar with a lot of their newer albums. I was into, obviously, the first three four — I think up until 'Master Of Puppets'. And then while at first I wasn't into the 'Black Album' eventually the Black Album grew on me, 'cause it is a masterpiece. And so I was more familiar with their earlier stuff. And so when I saw the setlist, I was, like, 'Okay, well, I could do these,' which was 'The Four Horsemen' and 'Battery'… So, when they told me, I said, 'Look, I can do the two. I could probably figure out some of the other ones.' But they had me just go up and do the first two, and then Joey, and, obviously, Flemming went up and finished the rest of the songs. So I was grateful. I was awesome. I have a picture in a frame, personalized frame, with all their names and everything, saying how grateful they were that I came up, I stepped up and helped them."

Lombardo continued: "One of the real special moments was in the rehearsal. We were in one of those — I guess it was a small portable rehearsal room. They have a drum set in there, they've got their amp, they jam, get warmed up, get ready. And we were in there, and I could see their excitement when I was playing the song. They were really into it. And I kind of sped everything up a little bit, just kicked them in the ass a little. And it was fun, man. It was that moment that was really special. Then we went on stage. And obviously professional mode steps in, and you really have to focus and make sure that everything's right and you kick ass for the moment. But it was a challenge — exciting, fun, grateful moment in history that will never be repeated again."

Elaborating on the feedback he received from the METALLICA guys for his performance, Dave said: "Some of Kirk's [Hammett, METALLICA guitarist] commentary, which I'll keep private, was really, really funny and very complimentary and very kind from them.

"I have nothing but respect for those guys," the drummer added. "I have absolute respect."

Back in January 2021, Lombardo told the "Speak N' Destroy" podcast about his 2004 performance with METALLICA: "I remember being approached by SLAYER's manager, and he just basically said, 'Hey, Dave, we have a bit of a crisis. Lars can't make the show.' And I was, like, 'Okay, what's going on?' And they asked if I'd be interested. I don't know if he said if I'm interested in doing the [full] set or a few songs — whatever — but I took one look at the setlist, and I wasn't very familiar with their later material, so I agreed to the two opening songs.

"I met up with the guys, and we hung out in their little rehearsal room, dressing room, and we jammed the two songs that I was familiar with, and then shortly after that, we went on stage," he continued. "We had a great time in the room. I love those guys. I've never had any beef with them or anything. It's always been amicable and kind. They've always been great towards me, and I have likewise. So we had a great time.

"And I've known [METALLICA bassist] Robert Trujillo since the SUICIDAL [TENDENCIES] days. And I actually performed with Trujillo on a cover of 'Battery' [for the 2001 album 'Metallic Assault: A Tribute To Metallica']. Yeah, that's out there. So we played that [at Download], and then, of course, 'The Four Horsemen' — we did that as well.

"It was a lot of fun," Dave added. "It was a moment in history, a moment in time, and I loved it — it was amazing. Especially when I went into the double-bass section in 'Battery', at the end, and James [Hetfield, METALLICA frontman] was, like, 'Fuck!'"

Back in 2014, Lombardo was asked during a clinic in Italy to comment on the fact that Ulrich's drumming skills are constantly questioned. He replied: "I think Lars is a good drummer. He's a good arranger. He arranges… Without Lars, there wouldn't be a METALLICA. So you have to give him credit for what he does for the band."

Lombardo continued: "It's very important... When you have a chemistry within a band. There's four members of the band. When there's chemistry, like a special interaction between musicians, if you take one musician out, it's not the same. If you take Lars out of the equation, it won't be the same."

While speaking with U.K.'s Rhythm magazine back in 2009, Lombardo was a bit more critical of Lars's drumming abilities, saying that playing with METALLICA at Download in 2004 was a great experience, but adding that it was good to "show 'em how it's done!" Dave continued. "No disrespect to Lars, because Lars is great and he's a very nice guy, but he needs to spend a week at my house and we need to sit down and play. I could show him — 'No, Lars, like this!'… 'Let's chill, let's relax, have some coffee and let's play!' [Laughs]"

A few months later, Lombardo was asked by Noisecreep if Ulrich had ever accepted his offer of drum lessons. "Oh man, no, he hasn't," Lombardo said laughing. "Yeah, but that was all done as a joke. It's just me having fun."

Lombardo added: "Of course someone ask[ed] me about Download festival. It's like, 'Yeah, show him how it's done.' [But] I don't need to show him, he's amazing, but there's always that kind of rivalry, that fun rivalry."

In a 2005 interview Ulrich stated about his non-appearance at the 2004 Download: "It was the first-ever METALLICA gig I'd ever missed."

He continued: "You wanna try laying in a hospital in Germany while Dave Lombardo — the greatest drummer on the planet — is playing with your band. That's not easy."

Photo credit: Ekaterina Gorbacheva

GUNS N' ROSES has announced the amicable exit of Frank Ferrer, the longest-serving drummer in the band's storied run. The Axl Rose-fronted outfit thanks Frank for his friendship, creativity, and sturdy presence over the past 19 years, and they wish him success in the next chapter of his musical journey.

Frank first joined GUNS N' ROSES during a show in June 2006, helping anchor the rhythm section during subsequent tours, including their recent outings featuring the reunited trio of Rose, guitarist Slash and bassist Duff McKagan. Ferrer's last show with the band took place November 5, 2023 in Mexico.

During a May 2020 appearance on the "Appetite For Distortion" podcast, Ferrer was asked to name "the most challenging song to play" in GUNS N' ROSES' live set. He responded: "That's a really good question, because there's three eras in GUNS — there's the 'Appetite [For Destruction]' [era] with Steven [Adler], there's the '[Use Your] Illusion' [period] with Matt [Sorum], and then there's the Brain [Bryan Mantia]- Josh Freese 'Chinese Democracy' [era]. And all three eras are really unique. The 'Appetite' songs don't sound like the 'Illusion' songs — they don't have the same feel. So, the toughest part… I mean, in a weird way, it's almost kind of like all of 'em, especially from the Sorum-Adler era. And what I try to do as a groove drummer is try to sit somewhere in between both drummers, so you still have a punk rocky, off-the-rails kind of feel, but then a nice, solid, dependable foundation, like Sorum gives you. So, it's kind of challenging. Now, the 'Chinese Democracy' stuff is more straight ahead. The challenges I have with that is playing it more like Brain played them, even though I was able to add some stuff myself later on, once I joined the band."

He continued: "The toughest part is finding the right groove in between those two eras — the first two eras — I think. And I think especially with Slash [guitar] and Duff [McKagan, bass] in the band now, because it was their era — they wrote that stuff; it's their music — I'm able to find a nice spot where those guys are really comfortable playing the songs, but I'm also comfortable playing from my heart without being cerebral and having to think too much about the parts. So, I would say somewhere in between those two drummers."

Ferrer joined GUNS N' ROSES in 2006 as a temporary fill-in for Mantia. Before he knew it, Ferrer was a permanent member of GN'R, contributing to five songs on the "Chinese Democracy" album.

When not touring with GN'R, Ferrer played with a couple of side projects, THE COMPULSIONS and his personal band PISSER.

In 2016, Ferrer spoke to Music Radar about his approach to playing some of GUNS N' ROSES' classic songs. He said: "I really try to keep the spirit of the way the song was played. When we play the 'Appetite…' stuff, I try to have the push and pulls. Steven's [Adler] punk rock bits are great.

"Adler's playing was one of the greatest rock drumming performances in the history of music," he continued. "You can put it in the top ten. His playing on 'Appetite…' is perfect. Then with [Matt] Sorum, it's a little more tight and more reserved kind of playing. I do try to keep that spirit, though.

"I have tremendous respect for the drummers in GUNS N' ROSES. I love Brain [Bryan Mantia] so much. What Brain told me was to try and make the songs my own. I never forget that. Obviously my own personality comes through, especially on some of the funkier stuff. I might give a more New York hip-hop kind of feel to it."

Photo credit: GUNS N' ROSES (courtesy of The Oriel Company)