Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore music and musicians from the 60’s to today. Enjoy the trip!
“Money for Nothing” is a song by British rock band Dire Straits, the second track on their fifth studio album, Brothers in Arms (1985).
This song is about rock star excess and the easy life it brings compared with real work. Mark Knopfler wrote it after overhearing delivery men in a New York department store complain about their jobs while watching MTV. He wrote the song in the store sitting at a kitchen display they had set up. Many of the lyrics were things they actually said.
Sting sings on this and helped write it (he and Knopfler are the credited writers). That’s him at the beginning singing “I want my MTV.” Sting did not want a songwriting credit, but his record company did because they would have earned royalties from it. They claimed it sounded very similar to a song Sting wrote for The Police: “Don’t Stand So Close To Me.”
Dire Straits recorded this in Montserrat. Sting was on vacation there and came by to help out.
The innovative video was one of the first to feature computer generated animation, which was done using an early program called Paintbox. The characters were supposed to have more detail, like buttons on their shirts, but they used up the budget and had to leave it as is. It won Best Video at the 1986 MTV Video Music Awards.The video was directed by Steve Barron, who also directed the famous a-ha video for “Take On Me” and Thomas Dolby’s “She Blinded Me With Science.”
In the book I Want My MTV, various people who worked at the network explain that Dire Straits’ manager asked the network what they could do to get on the network and break through in America. Their answer was: write a hit song and let one of the top directors make a video. Mark Knopfler took the directive to write an “MTVable song” quite literally, using the network’s tagline in the lyrics. The song ended up sounding like an indictment of MTV, but Les Garland, who ran the network, made it clear that they loved the song and were flattered by it – hearing “I Want My MTV” on the radio was fantastic publicity even if there were some unfavorable implications in the lyrics.Steve Barron was dispatched to do the video, and charged with the task of convincing Mark Knopfler, who hated videos, to do one that was groundbreaking. Barron says that Knopfler wasn’t into the idea, but his girlfriend – an American – was at the pitch and loved the idea. Knopfler agreed (in part because he didn’t have to appear in it), and Barron hired a UK production company called Rushes to work on it. Said Barron: “The song is damning to MTV in a way. That was an ironic video. The characters we created were made of televisions, and they were slagging off television. Videos were getting a bit boring, they needed some waking up. And MTV went nuts for it. It was like a big advertisement for them.”
Twenty-five years after the song’s release it was banned from public broadcast in Canada after one person complained about it being homophobic. The original version included a description of a singer as “that little faggot with the earring and the make-up” plus two other uses of the word “faggot,” although a cleaned-up edition was made available, Oz-FM in Newfoundland played the first edition in February 2010 at 9:15 at night. The result was a single complaint and the Canadian Broadcast Standards Council ruled that the unedited version of the song was unacceptable for air play on Canadian radio stations because it “refers to sexual orientation in a derogatory way.”Knopfler has pointed out the song was written from the viewpoint of a stupid character who thinks musicians make their “money for nothing” and his stupidity is what leads him to make ignorant statements. Speaking in late 1985 to Rolling Stone the Dire Straits songwriter expressed his feelings about people who react angrily to the song. He said: “Apart from the fact that there are stupid gay people as well as stupid other people, it suggests that maybe you have to be direct. I’m in two minds as to whether it’s a good idea to take on characters and write songs that aren’t in the first person.”Common sense finally prevailed on August 31, 2011 when the Canadian Broadcast Standards Council put an end to the ban and allowed individual radio stations to once again decide for themselves whether to play the classic rock tune.
Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore music and musicians from the 60’s to today. Enjoy the trip!
Three Dog Night, One: Release October 16, 1968
This was written by Harry Nilsson, a popular songwriter who had hits as a singer with “Everybody’s Talkin'” and “Without You.” Nilsson was inspired to write “One” from the rhythm of a telephone busy signal that he kept hearing.
This is about loneliness. It was used in the film Recess: School’s Out when the character of TJ is lonely and bored after all his friends go to summer camps.
This was the first song on Three Dog Night’s first album. It was one of 21 US Top 40 hits for the group, who did very well with songs written by other artists. Other hits by Three Dog Night include “Joy to the World” (written by Hoyt Axton), “Mama Told Me (Not to Come)” (written by Randy Newman) and “The Show Must Go On” (written by Leo Sayer).
Aimee Mann covered this for the 1999 film Magnolia. It was used in the title sequence, and became part of a soundtrack that put Mann back in the spotlight. In the ’80s, she was lead singer of the group Til Tuesday.
Three Dog Night had three members at the time that were capable of singing lead vocals. This track went to Chuck Negron.This song was used on the Family Guyepisode “Brian Wallows And Peter’s Swallows,” were it was played at a laser show.
Live music is an experience that cannot be streamed. Theres nothing like the “concert” experience. Vibing off the excitement from the crowd, the anticipation of whats to come and the climatic main event.
Music is the one stimulus that lights up the entire brain on a PET scan, including the cerebellum, part of the hindbrain that lies beneath the larger cerebral cortex resulting in the triggering of pleasure centers that release dopamine, a neurotransmitter that makes you feel happy. This response is so quick, the brain can even anticipate the most pleasurable peaks in familiar music and prime itself with an early dopamine rush.
Music provides a total brain workout. Research has shown that listening to music can reduce anxiety, blood pressure, and pain as well as improve sleep quality, mood, mental alertness, and memory. Music is one of the worlds greatest art forms for many reasons, not just health benefits. Music is the ultimate time machine as a song can immediately transport you. In celebration of concerts resuming in full force I decided to ask musicians and music journalists to share their most memorable concert experiences.
Rich Deckard, Writer: I’ve been going to concerts pretty much my whole life. Started with my Dad taking me to see Styx at the Lee Civic Center Fort Myers Florida, which was followed by getting dropped off with friends at that same venue to see Ozzy, and just took off like a rocket from there… Maiden, Rush, Kiss, Metallica…most of the metal acts from back in the day, followed by the edgier, arty stuff I graduated to later, like Black Flag, GBH, Bauhaus, Love and Rockets, Circle Jerks, etc etc. But through all these years, and through countless bands, there’s a short list of acts that I was genuinely lucky to see; because either they didn’t tour in the States much, they didn’t have long careers, they were too expensive, whatever the reason, in hindsight, this short list were events that I’ll never forget:
The Cramps– saw them more than once, one of my all time favs, and they always fucking delivered. There will never be another band quite like them. Bowie– Even though he was huge, he just didn’t seem to tour all that much, and when he did, tickets weren’t cheap. It was later in his career, the Glass Spider tour, but it was still fantastic. And it really blows people’s minds today when I tell them I saw him live. Die Antwoord– A surprise to many that know me, but I actually love this band. They’re so different, so original. I went with an ex who loved them, and by shows end, I left as a fan boy. Realistically, for many reasons that have nothing to do with me, I’ll probably never see them again. Wolfmother– God, what a monster debut lp…all killer, no filler. Great show, great performance, and got to hang with them before the show for a sound check- meet and greet. The original line up broke up prior to the second lp and they were never the same. Glad I saw them when I did. And this one comes in as an afterthought edit: Motorhead– I say this not because they were hard to see ( I saw them many times ) but because of one particular gig I saw: the last one. They played Orlando right before the Motorboat Cruise, which unfortunately was the end. So…seeing a frail but determined Lemmy on his last stage on land was something I’ll never forget.
Graveshadow: William Lloyd Walker – Guitars. The most memorable moment for me was going to Ozzfest when I was 15. Iron Maiden was the big draw for me; they’ve always been my favorite band. But also getting to see Black Sabbath, Arch Enemy, Mastodon and Rob Zombie all on the same bill was like a dream come true. I was into all of those bands and getting to see them all perform on the same day was captivating. Seeing them get on stage in front of thousands of people and be able to reach all of them with their energy and passion was life-changing. When Iron Maiden came on I just remember being mesmerized by the stage set up, the performance and the roar from the crowd after every song. It really kind of sealed the deal for me; I knew I wanted to be a part of something like that. Being able to share my passion with others from around the world became my singular driving force. I went with two of my closest friends and it wasn’t long after that we formed the first band I was ever a part of. I haven’t looked back; ups and downs aside I wouldn’t trade my journey with music for anything. It’s been a challenging, rewarding experience all the way through and I’m always hungry to see what comes next. Watch Graveshadow’s video Soldier Of 34. Subscribe to Graveshadow on YouTube Graveshadow on InstagramGraveshadow on FacebookGraveshadow on Twitter
Sinnery – Alon Karnieli – Vocalist and rhythm guitar player. It was the 22nd of May 2010 and Metallica finally made a comeback to Tel Aviv. I was 14 at the time and already a huge Metallica fan making my first steps into the metal world. I also played guitar for a few years up until then, but I wasn’t very good. I was watching the whole show from the bleachers since I was too short and my parents thought I would get trampled in the mosh pit. There I was at my first metal concert waiting eagerly for it to start so I can gaze upon it from the distance and then all of the sudden the “Ecstacy of Gold” started playing and right after “Creeping Death” began playing and these four dudes took the stage by storm keeping my jaw scraping the bleacher’s floor for the next two hours. Never before have I seen anything like it, I was starstruck by the lights and the band’s performance on stage and also the crowd chanting in unison throughout the whole set. Right there and then I knew that this is exactly what I want to do for the rest of my life and so a couple of weeks after that show I started my first band where I met Idan Kringel who was my partner in crime since then, we founded Sinnery together. Subscribe to Sinnery on YouTube. Follow Sinnery on Instagram. Follow Sinnery on Facebook.
Dreams In Peril – Dalton Collins – Bass I grew up in a music-oriented family, my uncle played guitar, my sister played guitar, my cousins played guitar, my grandmother played the piano and the drums, my mother sang in bars with bands, my dad messed around playing guitar and well, I picked up the bass guitar, and now I play for a Death Metal/ Hardcore band named Dreams In Peril. I saw my first local show when I was about 11 years old and I hung out with 20 to 30-year-old musicians and thought, someday, I’m gonna do that too! And I did! I have had lots of failures along the way and I basically grew up within the Kansas City Metal/ Music scene and was coached along the way by the local musicians as I grew up! I am still learning and will probably never stop learning. But music has always been a major part of my life. The comradery of my scene and also going to the bigger concerts and seeing the process of becoming a bigger musician really gave me an indication that it is very much possible to reach my goals and dreams. It has always been my goal to get further within the music industry. I grew up with it.
Tour Dates – Dreams In Peril w/ Pig Weed: May 27 – The Graffiti Room – Bedford Park, IL May 28 – Maple Grove Tavern – Maple Heights, OH May 29 – Westside Bowl – Youngstown, OH May 30 – Sovereign – Brooklyn, NY May 31 – The Stoney Badger Tavern – Lynchburg, VA June 1 – The Recreation Center – Fredericksburgh, VA June 2 – Black Circle Brewing – Indianapolis, IN June 3 – Vivo – Overland Park – Kansas City, MO June 4 – Kendalls Bar – Oklahoma City, OK
Pablo Sanchez- Musician – Public Figure: My most memorable concert experience was when I went to see David Lee Roth live in West Palm Beach, Florida 2002. The show was amazing and I was blown away by so much talentship, the musicians that I saw play with David Lee Roth that night were James Lomenzo on bass (Megadeth), Ray Luzier on drums (Korn) and Brian Young on guitar (Paul Stanley). That show was the closest thing to a Van Halen show from the early days and was truly amazing. After 18 years of that show I had the privilege to interview Brian Young and I had the amazing oportunity to record two songs with him, Van Halen’s D.O.A and Black Sabbath’s Heaven and Hell for my YouTube channel. Follow Pablo on Facebook Art and Wine Channel Here, on Instagram Art and Wine Channel Here, and on The Art and Wine Channel on YouTube.
Sahil Makhija aka Demonstealer – Musician – Demonic Resurrection. My most memorable concert would be the Inferno Metal festival in Norway in 2010. Demonic Resurrection was a band I started when I was 17 years old. There was no real scene in India, hardly any international metal bands had ever played in the country. We had no concept of music festivals that were multiple days filled with the best bands ever and it was something we’d never experienced. In 2009 when we were confirmed for the festival we didn’t know what to expect but we were excited like a bunch of kids in a candy store. In fact we had no experience booking the band for festivals and thanks to a cultural exchange program between India and Norway we got to be the first Indian metal band to go and play in Norway at the festival.
We were booked to play the John Dee stage which was the smaller of the two stages at the festival. The gig was one of the best times we’ve ever had. Not only did we play to a packed venue we were welcomed by the Norwegian metal crowd. We saw some people up front headbanging who even knew the lyrics to our songs and when our set ended there were chants of ‘one more song’ which we did not expect. After our set we even saw a group of 4-5 metalheads all wearing our merch. We met so many people who loved our set. It really was one of the most memorable gigs we played. And the cherry on the cake was experiencing a real metal festival for the first time. Getting to actually run into some of our metal heros like Ihsahn, Arnt Obsidian and many more. Heck we even ran into Ghaal at the breakfast buffet at the hotel and Samoth as well. One of the best memories I’ll have of my life. Subscribe to Demonic Resurrection on YouTube. Follow Demonic Resurrection on Bandcamp. Follow Demonic Resurrection on Facebook. Follow Demonic Resurrection on Instagram.
Helsott– Eric Dow- Vocals When I was 18 years old I saw Pantera 4 nights in a row. On the second night in San Diego, right after the show the security just left the gate for the backstage area so I just walked straight back there and the first thing I saw was Phil Anselmo, Kerry King, Tom Araya, and Dimebag. I just walked up to their circle and passed a joint around with them and they gave me some beers. I hung out with them for 20 minutes or so. Dimebag was the nicest guy there. He and I walked off to the side and continued a conversation for another 10 minutes. He gave me a hug and a guitar pick and that was one of the best memories I have ever had at a concert. The next night was an epic story…but perhaps for another time. Follow Helsott on Facebook. Follow Helsott on Instagram. Follow Helsott on Twitter. Subscribe to Helsott on YouTube. Watch Helsot’s video “I’ll Make Ya Famous.” Pre order their new album “Will And The Witch “ Here
The Medea Project– Brett Minnie – Vocals/GuitarSaron Gas, Durban, KZN, South Africa 2001. Before the internationally known alternative rock band Seether there was Saron Gas. Three South African lads who played the vast (in distance) local circuit before they left for the USA and a well earned record deal. They were a powerhouse of post-grunge mayhem, and this was one of their final shows before the migration. A mutual friend of mine and the band was invited on stage to join them as a guest vocalist. Being the hooligans we were in our local night club and a lot of us knowing the band in a personal capacity, the poor chap was heckled and interfered with, but managed to pull off his guest appearance, with his trousers flying at half mast as someone in the audience decided to dive onto the stage and yank them down. This is one of the joys of pre-social media and camera phone shows, there is no proof on the internet of this ever occurring. One song later the crowd erupted into one of the most intense mosh pits I have ever had the pleasure of being in. Now bear in mind that this is subtropical Africa, in the height of summer, so temperatures are normally very warm in the evening with incredible humidity. Standard show attire is often flip-flops and board shorts, which we often dubbed as “the surf metal look”. Add in this tumultuous pit and all sorts of hilarity ensues. I recall that evening ending with myself having to stumble out of the pit and venue, just wearing the front portion of my shorts as someone had grabbed onto my pockets as I was careening by and torn the back portion clear off. Not something you’d forget easily, and this has had the lasting impact of me still charging into insane pits whenever the opportunity arises. I’ve always been drawn to music since I was very young. I was involved in performing arts at school and dabbled in various disciplines. Some part of me has this need to perform on stage, I can’t explain it any further than that. My parents listened to a lot of folk and early rock and roll, and so the guitar was accessible to my ears. I begged my parents for a guitar for years and finally got one in my teenage years, a beaten second hand classical guitar that I used to play through an old tube hi-fi with a stick-on transducer pickup. Then I discovered Iron Maiden and Man-O-War and the bass work hooked me, that’s what I wanted to do! So, not having much money, I made a few plans and managed to borrow an old beaten bass and set about figuring out how to play the instrument. Bass is a strange beast though, you can play the guitar unaccompanied, however with a bass it’s a fundamental part of music, so ultimately you need to play with other musicians, also music itself is a social thing, so all of these things added up into me throwing my lot in with live music and joining my first band.
The Medea Project – Pauline Silver – Drums/Percussion Live Jimmy Presley, Durban, South Africa My earliest memory of an original band and one that still comes up in my conversations now, is Live Jimmy Presley. Blasting the South African alternative nightclub stages in the early 90’s, they were an entity to behold. Hailing from Joburg, the Industrial band put on shows like no other. This was before the interwebs and it was always thrilling when an indemnity form was thrust before me on entry to the nightclub as it was a sure sign that LJP was playing that night. Gracing the stage, a huge frame with car parts hanging off it, an anvil, gas bottles and various other flammable paraphernalia. I can still remember the power and sound that emanated from the stage along with smoke and fire along with the smell of burning hair as people would headbang right in the midst of angle grinder sparks that sprayed off stage as they played. “The band quit due to growing concerns for audience safety, especially after our last gig. Going that far with the show and then cutting back wouldn’t work’ recalls Derek Davey (bass and drums).” Getting into music was not a conscious decision. Growing up, we always had music playing at home and as a teenager, it was the medium that would fuel and tool my rebellious nature. My dad was a musician but didn’t do much to help or inspire me but I always had an impulse to play an instrument which was a journey of love and hate. Playing live was merely a distant dream and when I did end up joining my first band much later in life than most, I was adamant that I didn’t want to play live at all. I was happy just being creative, hanging out and jamming with my bandmates. When we were asked to play a gig, I eventually relented and said I would do 1 show and no more. Well 1 show turned into many shows, 4 bands, 3 instruments and a journey with no regrets! Follow The Medea Projecton Facebook. Follow The Medea Project on YouTube. Follow The Medea Projecton Band camp.
Solitary – Roy Miller – Drums To single out one most memorable show I’ve attended is a hard thing to do as there’s so many. A few that need a mention are: Slayer at Rock City in 2000, God Forbid opening for The Haunted at the Leeds Cockpit in 2005, The Haunted at the Manchester Academy 3 in 2003, Manowar at the Birmingham O2 in 2011, Slayer at the Astoria in 2003 doing Reign In Blood But the main one that sticks out is Slayer at Download in 2004. One of their best performances of the near 20 time I’ve seen them and the atmosphere was something I’ll never forget. Something had happened with their gear arriving from Holland so they played the 2nd stage in the tent instead of their main stage slot. Everyone who was there to see Slayer that day was in that tent. When the crew rolled out Taking Back Sunday’s gear all hell broke loose, the stage was bombarded with bottles and anything else anyone could get their hands on and there just seemed to be one massive ‘Slayer’ chant filling the tent. There was a tense atmosphere in the air and I can only imagine it was what attending a Slayer show in the late ‘80s must have been like. Rumour has it Taking Back Sunday refused to take the stage due to the hostility filling the air in anticipation of Slayer, so when their gear was rolled off and Lombardo’s kit was rolled on a massive cheer went up and the ‘Slayer’ chant started again. I remember Tom had lost his voice and the only time he spoke when not singing was to introduce ‘Dead Skin Mask’ as he did. It added to the intensity of the show and the band just put their foot to the floor, and raced through their set. I remember people climbing the masts of the tent, being drawn into one of the many pits around me and just banging my head like I was 14 again and just being covered in sweat and god knows what else by the time they had finished. I’ve been into music for as long as I can remember. There’s a pic of me as a baby with headphones on giving the thumbs up. But my real love for it started after hearing my dad play Appetite for Destruction as a 10 Yr old. Fast forward 3yrs and just before my 13th birthday I went to my 1st gig at the Milton Keynes Bowl to see Gun’s n’ Roses in 1993. It was around this time I started to learn to play guitar as i wanted to be Slash, but fate led me to the drums and the rest is history as they say. Follow Solitary at Imperative PRManagement UK. Follow Solitary on Facebook. Follow Solitary on Instagram. Follow Solitary on YouTube. Follow Solitary on Bandcamp. Follow Solitary on Spotify. Find Solitary on Metalville Records
Final Coil – Phil Stiles – Vocals/Guitar Growing up in the south of England in the 90s, getting to gigs was difficult and I was well into my teens before I was able to see the music that was increasingly becoming central to my existence. My gateway into live music was listening to a mix of John Peel, John Cavanaugh’s Rock Show and the Evening Session, all of which broadcast gigs and all of which I slavishly taped, listening to the shows over and over, imagining what it would be like to be there. It was a mix of Reading and Glastonbury shows I listened to the most, and I had tapes featuring sets from bands that I still love today – Soul Asylum, Beck, Hole, Mudhoney, Belly, Sonic Youth… alternative bands that just blazed away on stage and which, in that pre-internet era, felt a million miles away from the little town in which I lived. The one show that made me want to pick up a guitar was Sebadoh. I’d discovered the band not long before, when they released Harmacy, and I’d just hit that age (fifteen or sixteen, I think), where I could twist my mum’s arm a little to let me go to a show. The band were playing Portsmouth at a venue called The Wedgewood Rooms. It’s a small place, and back then it had a red entrance hall and a black central room – sticky floored and already filling up when my friend and I arrived. It seems funny having spent so many years playing in venues exactly like it, but it was so exciting to walk into that room. It smelt of rock ‘n’ roll – that mix of over-zealously applied deodorant, stale beer, cigarettes and sweat –and I wandered the perimeter three or four times, my eyes eating up my face, as I finally got to see this magical place I’d been imagining for years. The posters on the wall, some tattered and stained with thrown drinks, told of awesome tours that I’d been too young to see and forthcoming attractions too numerous and exciting to fully absorb. The crowd, meanwhile, was that typical alternative mix of long-haired teens and leather-jacketed veterans – talking in small groups, or downing pints at the bar. It was strange. I’d never set foot in that room before, but before I’d heard a note, I knew I’d be back in this place that just felt like home.We edged our way to the front far too early, and then glued ourselves to the railing. Some of the bigger audience members may have been able to prise my fingers of the metal tube that separated us from the stage, but I was determined to make sure they’d have to fight for it. The first band on was QuickspaceSupersport, a short-lived art rock band from London. I’d heard them – on John Peel I think – and they were amazing. The sheer volume of their set was like nothing I had previously experienced, and it felt like the drums were tenderising my innards. I honestly can’t remember much else of their set. I jumped. I screamed. They were gods that walked the earth and the room was a heaving mess of moving bodies. It’s probably a rose-tinted memory, but I remember it as being not unlike the video for Sonic Youth’s Dirty Boots, and it all seemed so unutterably cool. Then Sebadoh came on. This being a time where money was tight, you bought a CD and listened to it to death, not knowing when you’d have the cash for the next one. As a result, I knew a good deal of the songs and spent the set giddily singing along. What I didn’t expect was that the band would regularly swap instruments, with Lou singing the majority of the calmer numbers, while bassist Jason gave vent to the punkier pieces. Then Bob Fay would head to the front (one of the others covering the drums), and I could only marvel at a band so comfortable in switching roles at the drop of a hat. It was a typically schizophrenic set, taking in indelible anthems like Beauty Of The Ride and then scarring the venue with all-out punk assaults like Crystal Gipsy. Way heavier than on record, it was my introduction to the idea that you could be nuanced on record and then utterly rip on stage – something that I always love when I watch a band. By the time it was over, I had been wedged against the barrier for some two hours, and I could have happily stayed there for another two. Instead, I joined the rest of the audience streaming out of the venue. Soaked in sweat, neck aching and ears ringing, I was euphoric at what I had witnessed, and heartbroken that it was over. It was a transcendental experience and writing this now I am all too aware of how inadequate mere words are to convey what I experienced at that show. As for what followed… well, I already had a guitar at home, but I’d been lazy, learning little beyond the basics. After that show I knew I had to try and do something, and I started really working at my chords. I saved up and bought a cheap guitar and amp (the guitar I still have, the amp is long gone) and I pushed that thing as hard as I could, trying to wring the same punk energy from six strings that seemed to defy my fingers as often as they obeyed my will. Eventually, it led to Final Coil and, if we sound very different to Sebadoh, I like to think some of that schizophrenic spirit can be found in our music. Some things dull with age and it’s easy to let cynicism set in, but I’ve never lost that sense of excitement that I get at the start of a gig. I guess different people get that rush for different reasons, but there’s just something about the sight of the amps piled high that comes with its own unique sense of anticipation. I’ve seen more gigs than I can count, and played a nit insignificant number, but I will never forget the intensity and wonder of that Sebadoh show and it has absolutely influenced everything I have done since. Follow Final Coil on Instagram. Follow Final Coil on Facebook. Find Final Coil At Worm Hole Death Records. Find Final Coil at Imperative PR Management UK. Follow Final Coil on Spotify. Subscribe to Final Coil on YouTube.
Forged in Black – Kevin Rochester – Drums. Being the oldest member of the band, I was a teenager in the 1970’s & living in Southend-On-Sea, Essex (U.K.), we had the famous Southend Kursaal. Apart from being a beacon for families, it housed The Kursaal Ballroom, which was on the circuit list for every band around (from home & abroad); we saw the best of the best there, virtually every week. On Jan 10th 1976 Black Sabbath arrived as part of their ‘Sabotage’ tour. I had become a firm Sabbath fan after hearing ‘Paranoid,’ then bought the eponymous classic ‘BlackSabbath,’ then every subsequent album after. I had just bought ‘Sabotage’ & was looking forward to seeing them for the first time. When they came on, I wasn’t prepared…..!! The sound was so bloody loud, but very clear & the crowd were following Ozzy from the word go, who was encouraging everyone to head bang, go crazy etc. Tony Iommi was as he is today, the calm man in black, knocking out the enormous riffs that invented metal. Geezer Butler was as animated as always with his solid inventive bass lines….then there was Bill Ward – he is the reason I am a drummer, from hearing the albums, as he was on the jazzier side like me. Live, he hit harder than anyone ever gave him credit for, he was an absolute powerhouse that night, and he led the band from the back. Wherever I looked, every person was head banging, nearly all the time; it was the most powerful gig I have ever seen to this day. I will add one more gig, being Led Zeppelin August 11, 1979 Knebworth. This is a gig worth mentioning, especially as the two appearances they did here were their final gigs in this country. They were not a band that affected me like Sabbath, but I really did like & respect them & the set was good, but more relaxed, you could lie down & watch a band at festivals back then. The fact you tell people you saw Zeppelin, is met with disbelief most of the time. Follow Forged in Black on Instagram. Follow Forged in Black on Facebook. Follow Forged in Black on Twitter. Subscribe to Forged in Black on YouTube. Find Forged in Black on Imperative PR Management UK. Find Forged in Black at Fighter Records. Follow Forged in Black on Bandcamp. Follow Forged in Black on Spotify.
Consecration – Jorge Figueiredo – Drums Throughout the years I have watched a few bands. Not as many as I would have wanted to. From local bands I was very good friends with, to full- on festivals I have attended there is one band (okay…maybe two) that will always be in my mind and in my heart. DIMMU BORGIR back in 2003 in Lisbon. They were on their top form, musically for me it was a masterpiece and still is and the stage presence was immense. That was one of the first gigs I attended. Lately I haven’t attended any top shelf gigs apart of the ones I play, life is just too busy with other things, you know! And then there is that other band that I was absolutely gobsmacked by – and that was DEFTONES. I mean they were ‘wow’! Like I said previously, from local bands back where I came from who I was very good friends with, to family members being involved in music – it was always part of my life. At the age of 8 I picked up an acoustic guitar and thought, ‘this is not for me’…so I chose drums! Follow Consecration on Instagram. Follow Consecration on Facebook. Follow Consecration on Twitter. Subscribe to Consecration on YouTube. Find Consecration at Imperative PR Management UK. Follow Consecration on Bandcamp. Follow Consecration on Spotify. Find Consecration at Redefining Darkness Records.
A video of KITTIE guitarist/vocalist Morgan Lander, drummer Mercedes Lander and bassist Ivana “Ivy” Vujicrehearsing the song “Cut Throat” last weekend can be seen below.
KITTIE shared the clip on Thursday (May 12) and wrote in an accompanying caption: “A little sneak peek at practice progress in our creepy jam dungeon. We had a blast this past weekend. #kittie #cutthroat #practice”.
Morgan and her sister held their first rehearsal together since 2017 in April. A month earlier, Morgan confirmed to Anne Erickson of Audio Ink Radio that KITTIEwill play more shows beyond the already announced appearances at the Blue Ridge Rock Festival in September and at the When We Were Young festival in October. “That’s it for this year,” Morgansaid. “But next year, we definitely will. But I think those opportunities will come later on.
“We don’t have anything set in stone, but I think it’s something that, like I said before, once these doors are open, I think we can expect to feel comfortable doing a few more little things here and there and hopefully we’ll be able to do some more one-offs in the States and Europe and that type of thing,” she explained. “So the possibilities are endless.”
Joining Morgan, Mercedes and Ivyat the above-mentioned shows in the fall will be guitarist Tara McLeod.
Asked in a recent interview with the “Talk Toomey” podcast what led to Vujicreturning to KITTIE for the upcoming dates, Lander said: “Ivy played on two of our albums, the last two albums that we did. She left the band right before the very last big tour that we ended up doing; she did the Soundwave Festival [in Australia] with us in 2012, and those were the last shows that we did with her. And she just kind of settled into her life, started a family, got married, and so that’s sort of been what she’s been up to. But Ivy‘s a metal girl at heart and she’s always been super, super easygoing about stuff. I just sent her a message and I was, like, ‘Hey, can we talk?’ And we had a really, really great phone call and I just sort of explained the situation, explained what was going on. I asked her if she’d be into doing it, and she was, like, ‘Yeah. Sounds great.’ … It’s very much one of those things where you don’t talk that often anymore, you don’t see each other that often, but then, when you all get together again, that chemistry and that vibe is always there.”
Morgan continued: “I feel like that lineup of KITTIE in particular was always very super pro, super chill — no stress, no drama. Just, like, ‘You know what? We’re gonna go out there and we’re gonna sound amazing.’
“She’s an incredible bass player. I don’t think that Ivy gets enough credit. She is absolutely incredible. So it’s gonna be great.”
Vujic joined KITTIE in 2008 and appeared on the band’s fifth studio CD, 2009’s “In The Black”. She also wrote and recorded bass for KITTIE‘s sixth album, 2011’s “I’ve Failed You”.
When We Were Young will be held on the Las Vegas Festival Grounds on the Strip on October 22, October 23 and October 29.
When the lineup for When We Were Young was first revealed, KITTIE said: “Thanks for your patience with our silence friends. The truth is we’ve been in full on crisis mode the past week and weren’t sure if we’d actually be able to make this happen but it’s true and we’ll be there to melt your face off and we hope you got your tickets.”
KITTIE has not performed since its reunion show at London Music Hall in the band’s native London, Ontario in 2017, celebrating the group’s documentary “Kittie: Origins/Evolutions”.
In January, the original lineup of KITTIE — Morgan, Mercedes, Fallon Bowman(guitar) and Tanya Candler (bass) — reunited for an online chat to celebrate the 22nd anniversary of its gold-certified 2000 debut album, “Spit”.
Candler left KITTIE after the release of “Spit” in order to finish high school and was replaced by Talena Atfield.
Bowman exited KITTIE in 2001 and started her own industrial/electronic project, AMPHIBIOUS ASSAULT.
After KITTIE completed the touring cycle for 2011’s “I’ve Failed You” album, the band entered a long period of inactivity during which Morgan focused on a marketing job for a chain of fitness clubs while Mercedes worked in real estate and more recently at a software company. The group also began work on a career-spanning documentary, “Origins/Evolutions”, which finally saw the light of day in 2018 via Lightyear Entertainment in North America.
“I’ve Failed You” sold 3,000 copies in the United States in its first week of release to debut at position No. 178 on The Billboard 200 chart.
Slipknot are wasting no time diving into their Knotverse, partnering with Titan Forge Games to bring “the 9” as playable characters within the popular Smite multi-player online battle game.
As you can see in the trailer below, all nine of the Slipknot musicians are prepared to do battle, with each mostly aligned with the instrument of their choosing which has now become a weapon. And seriously, the axe wielding skills of Jim Root, Mick Thomson and Alessandro Venturella look absolutely scary. Not to mention the thunder packed in the drums of the already powerful Clown, Jay Weinberg and Michael Pfaff. Get a closer look in the trailer below.
And for those who are looking for a more in-depth demonstration, it appears as though you can see a demo of the new Slipknot playable characters happening today (May 11) at 3PM ET at twitch.tv/smitegame.
For those not familiar, Smite it s free-to-play, third-person multiplayer game in which players control a god, goddess or mythological figure during team-based combat. Gamers can test out multiple modes of playing styles in order to improve their gaming experience and enter a variety of game modes. The game itself is available here.
Today the spotlight is being focused on Norwegian solo metal artist Anniken and her latest single off her forthcoming debut album “Climb Out of Hell”on May 13, 2022 via Rockshots Records.
Entitled, “Spotlight”, the single and album opener kicks is a track that many musicians can relate to. It’s about the anxiety and desire for success along with the love and hate relationship of being up on stage with the spotlight focused on you.
Anniken has been a part of the Norwegian heavy metal scene for years with her band Darkest Sins, the studio project Ana – Metal for Charity, as well as being a part of her husband Marius Danielsen’s trilogy Legend of Valley Doom, both in the studio and with the live band. While in Darkest Sins she opened for bands such as Anthrax, Jorn, TNT, and UDO along with Legend of Valley Doom she has worked with legendary musicians such as Ralf Scheepers, Amanda Somerville, Roland Grapow, Matt Barlow, Doogie White, Jennifer Batten, and also actor John Rhys-Davies from the Lord of the Rings and Indiana Jones movies.
Writing her own songs and having a profound love of lyrics, Anniken is now progressing into her solo endeavours. Anniken‘s debut album “Climb Out of Hell” features nine tracks, a few of them co-written with her husband Marius Danielsen.
It is a varied metal album that is melodic, raw, and catchy with different types of songs for every kind of metal fan. Some slow, some fast, most of them heavy. Some of the songs have a deeper meaning to them, while others are just exactly what you think they are.
“Firstly, I want people to enjoy the music. Secondly, I want them to notice the lyrics. I love listening to music while reading them and trying to understand the stories that are being told. I hope that the listeners feel the same way. I like to also add, that some of the songs were written a while back. I had others that didn’t make the cut. Overall, it is fun to write with other artists and see how the songs turned out both in the studio and live. But writing with others also means compromising. And that is one of the main reasons behind starting my solo project. I wanted to show what I could do, without the guys (yes, the bands I’ve played with always consisted of all guys and me). It is, unfortunately, easy to underestimate female artists in metal. At least, that is my experience. There aren’t as many women within the genre as there are men. Very often I experienced that people just assumed everything was written by the men in the group. I don’t mind being “just the singer”, but I would love to show the world that I am, in fact, more.”
Track Listing: 1. Spotlight (3:52) 2. Climb Out of Hell (3:58) 3. Back Then (4:12) 4. Just Walk (5:05) 5. Keep the Light (4:15) 6. Star (4:49) 7. No Name (4:04) 8. Save Us (4:48) 9. Amplified (3:17) Album Length: 38:23
Album Credits: – All songs are written by Anniken, tracks 6,7 and 8 are co-written with Marius Danielsen. – Cover/art is a compilation of two paintings by Sylvie Rasmussen, Anniken’s grandmother. – Album is produced by Marius Danielsen. – All lyrics are written by Anniken, except for the lyrics for Star, which are co-written with Marius Danielsen
Vocals: Anniken Guitar and Bass by: Marius Danielsen Orchestrations by: Gabriels (Tracks 1,2,3,4,6,7,9), Peter Danielsen (Tracks 5,6) Drums by: Alessandro Kelvin Choirs by: Marius Danielsen, David Åkesson Growl vocals by: Brandon Bordman Solos by: Gabriels (Track 1), Bill Hudson (Tracks 2,5), Nick Giannakos (Track 3), Fredrik Enochson (Track 4), Tommy Johansson (Track 5), Jimmy Hedlund (Track 6), Nils Courbaron (Track 7), Marius Danielsen (Track 8), Terry Wapram (Track 9)
Out Now! LionSoul unveils their new album “A Pledge To Darkness” via Rockshots Records. The band’s third full-length follows their previous releases “Welcome Storm” (2017) (Limb Music), “Omega” (2013), and EP “The Throne” (2015). Since the band’s formation in 2012, they have shared the stage and toured with artists such as Domine, Iron Savior, GammaRay, Kissin’ Dynamite, Geoff Tate, Tygers Of Pan Tang in Italy and across Europe along with festival appearances on Metal For Emergency (IT), Biker Fest (IT), and Loud and Proud Festival (IT).
The new album “A Pledge To Darkness” is a huge step forward in LionSoul‘s career as it is more heterogeneous, in some ways darker than the previous ones. Featuring 11 roaring cosmic tracks, it brings with it nuances ranging from thrash to melodic death metal, including some death metal vocals in order to give more emphasis to certain passages. The album is a composition of different stylistic approaches that converge into the power/heavy roots that still remain at the basis of their sound. The songs range from a classic power metal opener with spatial atmospheres up to a futuristic western ballad, from speed metal tracks – that wink at thrash and melodic death metal – to 80’s synth-wave tunes, from mid-tempo hymns in Teutonic/industrial style to the almost omnipresent Cyberpunk themes. “A Pledge to Darkness”remains in all respects a power metal album, but with some dosed contaminations. Overall, its goal is to take you on a hyperspace voyage from Tatooine to 2049 Los Angeles, while passing through Tranctor. The band explains further:
“Imagine your planet at the end of its life and you have the burden to preserve the knowledge so you take a spaceship for a trip to L A in 2049 meanwhile you pass through a portal between 1953 to 1986 and also you change your skin to save the human race from a virus.”
Recommended for fans of speedy heavy metal, power metal, hard rock, and 80’s soundtracks, “A Pledge to Darkness” is now available as of April 29, 2022.
Track Listing: 1. Continuum – 1:35 2. Exile to Arise – 4:27 3. Amber of Illusion – 4:48 4. Wailing in Red – 4:37 5. No Beginning (Nor An End) – 4:38 6. Soldier Through Time – 3:47 7. Skin 2 – 3:39 8. A Pledge to Darkness – 5:13 9. Red Flame – 4:15 10. Man, Machine, Almost Rhyme – 5:30 11. The Stranger – 5:22 Album Length: 47:56 Album Credits: – Written and Produced by Ivan Castelli and Aurelio Parise – All growl vocals and by Claudio Facheris – Recorded and Mixed by Fabrizio “Izio” Romani at Media Factory Studio – Esine (BS) – Vocal parts recorded by Andrea Facheris at Loft-1 Studio – Dalmine (BG) – Mastered by Simone Mularoni at Domination Studio in San Marino – Cover art by Stan W. Decker
Just a year on from their warmly received debut album, Worldwide Desolation, Brotality are back with a new entry in the chronicle of their remarkable rise through the ranks of the metal underground. The Maopolski brothers have crafted an album of accomplished skill and captivating imagination, drawing on the influence of heavy metal’s revered legends, its groundbreaking contemporary pioneers and their own unique and powerful vision. Journey with them into forbidden territories and discover the magic and the terror beneath the trees. Prepare yourself for the musical revelations of The Woods Will End You.
Since Brotality began in 2016 the band have developed at incredible speed. From the unbridled energy and enthusiasm of their first EP, Hypernova, Brotality have morphed into a formidable proposition that couples the hard hitting riff attack of thrash with the adventurous, expressive dexterity of progressive metal. Most tellingly this band have now mastered the art of song writing, crafting dynamic pieces that challenge and entice, drawing listeners into the embrace of their hooks, melodies and exhilarating power. From rigorous, imposing heaviness to passages of uplifting beauty, Brotality have woven it all into the fabric of the tale that is The Woods Will End You.
Now with drummer John Haring firmly ensconced in the ranks Brotality are better equipped than ever before to continue their mission of spreading positivity through the power of metal. This young band have already opened for the likes of Deep Purple and Judas Priest, picking up numerous awards and radio chart recognition along the way. With the June 3rd release of The Woods Will End You through Rottweiler Records, word of Brotality will spread further and faster around the world. Driven to succeed, there is nothing that Brotality cannot achieve.Visit Brotality on Facebook For more information on Brotality click here Visit Rottweiler Records here
Halifax, Nova Scotia’s Elektric Mistress has a new EP “Chapter 99” coming out, which promises to be a sonic blast of psychedelic groove tinged with occult overtones and sludgy riffs. This will be their second EP, following their self-titled in 2019. Since then, they have added a new guitarist and a potent new layer of sounds for fans to discover. The first single they are releasing is the title track, a stomper that will get you moving and vibing to the lyrical themes of communing with the dead. The band explains further:
“Chapter 99 was honestly not the first choice for this single; we had some trouble deciding just what to present, because we think they’re all pretty ok, heh. We decided to get an objective set of ears to sort out our predicament, and this one stood out above the rest. It’s about trying to connect with the other side. It has a definite occult overtone, in the oldest heavy music tradition.”
Having a second guitarist has added to the complexity of the band, although their evolution has remained fairly steady over the past couple of years. They have started to incorporate guitar harmonies to complement their stoner rock style but still leave room to be unique and creative and resonate with listeners. Lyrics are inspired by events, people, memories, feelings, or certain energy. There are plenty of psychedelics, sci-fi, witchcraft, and apes!
The EP “Chapter 99” was entirely recorded and self-produced by the band, and all the stringed instruments and keys are digital. It was mixed and mastered by Alex Burris at Fang Recordings, and the EP artwork was done by Ricardo Arreola.
Elektric Mistress is not out to reinvent the wheel, they deliver straightforward rock n’ roll vibes for good times and bad. They are recommended listening for fans of Black Sabbath, Deep Purple, and Pink Floyd.
Join the séance of “Chapter 99” via its premiere on DoomedandStonedHERE.
Track Listing: 1. Magic Dust – 4:06 2. Radio – 5:38 3. Cocaine Johnny – 4:24 4. Chapter 99 – 5:47 EP Length: 19:56
EP Recording Credits: • All songs performed by: Elektric Mistress • All songs written by: Elektric Mistress • Produced by: Elektric Mistress • Mixed by: Alex Burris at Fang Recordings, Dartmouth, NS • Mastered by: Alex Burris at Fang Recordings, Dartmouth, NS • EP Artwork by: Ricardo Arreola • Member of SOCAN • Canadian Content (MAPL)
EP and Live Band Line Up: Kyle Cantfell – Guitar Jason Cantfell – Guitar Kieran Richardson – Bass Maxwell Poole: Vox Riley MacDonald – Keyboards Valencia Canales: Drums
About: Channeling the energy of inspirations such as Black Sabbath, Deep Purple, and Pink Floyd, Halifax, Canada Elecktic Mistress is all about the groove with their face-punching psychedelic stoner rock firmly rooted in what has come before, but also pushing towards what is ahead. If you’re looking for a true retro psychedelic synth-rock experience with a progressive edge, Elektric Mistress is here to deliver! Take a deep breath and ride the wave through a hypnotic haze of electric highs and sedated tones to take you back in time and return again. Comprised of guitarists Kyle Cantfell (Guitar) and Jason Cantfell, bassist Kieran Richardson, vocalist Maxwell Poole, keyboardist, Riley MacDonald and drummer Valencia Canales , Elektric Mistress began their journey through oblivion in 2018, making noise on the Canadian East coast scene, which included performing on the area’s largest event, the Maritime Metal and Hard Rock Festival during the same year of their conception. The band released their first debut in 2019 with their self-titled EP showcasing their unique soundscape of stoner rock ignited with crunchy, groovy guitar riffs, bombastic drums, dirty keys, and choice bass licks plus loud and raspy vocals. Now in 2022, the band returns with their follow-up and sophomore EP “Chapter 99” for release in June 2022. The band adds: “Friends, this EP has been a long time coming. As a lot of other bands experienced at the beginning of the pandemic, not being able to gather as a full band or find open studio space kind of made making music difficult. So we decided to do it mostly by ourselves, at a distance. With some help, we got it done. We’re stoked to finally present it for streaming everywhere. We hope it’s worth a listen or three. We think we’ve been steady on the course as far as evolution goes for this next release. However, now that guitarist Jason Cantfell has joined the band, we’ve been doing a lot more guitar harmonies and stuff we couldn’t do before; the end part in Cocaine Johnny is a good example of that. Definitely expect more of that in the future.” “Chapter 99” is due out on June 17, 2022 and will be available on all digital platforms.
East meets West as Vancouver’s Rebel Priest will be supported by Toronto’s Deadwolff for “The Rebel Wolff Tour” this coming June and July across British Columbia and Alberta. The tour will kick off in Vancouver, BC on June 24th, which will not only be the first date of the seven-show trek, but also the release date of Rebel Priest‘s new EP “Lesson In Love”.
Tommy Wolffe of Deadwolff adds:
“Here we go! We’re fresh off the road from our east coast tour and couldn’t be more excited to be hittin’ west coast Canada with our good buddy’s Rebel Priest! We’ve got a loud time of a tour lined up, so get ready to Double up with The Rebel Wolff Tour!
Jayme Black of Rebel Priest adds:
“More than stoked to hit the road with our East coast rock n roll family! Gonna be a greasy road trip fueled on octane and blood! Get ready western Canada! If you want blood!? YOU GOT IT!”
The Rebel Wolff Tour w/ Rebel Priest and Dead Wolff June 24 – Vancouver, BC – Have A Good Laugh Festival. *Afternoon show – Deadwolff only June 24 – Vancouver, BC – Lana Lous June 27 – Maple Ridge, BC – The Wolf Bar June 28 – Kamloops, BC – Pogue Mahones June 29 – Kelowna, BC – Missions Tap House June 30 – Lethbridge, AB – TBA July 1 – Calgary, AB – The Palamino July 2 – Edmonton, AB – Starlite Temple
Rebel Priest is a no-nonsense, real-deal rock n’ roll band composed of three seasoned musicians who have been making their way through the Western Canadian rock n roll scene for years. Vocalist/bassist Jayme Black (Lust Boys, The Toxiks); guitarist/vocalist Benny Kemp (Lust Boys, Road Rash); and drummer/vocalist Nate Pole (Kill Matilda, The Toxiks) bring nothing but unadulterated, high energy grease infused Trash N’ Roll! The band has had the pleasure of touring Japan, and performing alongside bands such as Udo (Accept), Lordi, Diamond Head, Crystal Pistol, Flotsam, and Jetsam along with playing many headlining gigs with the energy of Motorhead meets Motley Crue. Since forming in 2014, the band has released three studio albums “R’ley Heavy” (2019), Enabler (2017 ), Self-Titled (2015) along with one live record “Dead Alive @ SBC (2017). Now in 2022, they offering up a slab of new music in the shape of a new EP “Lesson In Love” via Batcave Records/Thundermoose Entertainment on June 24th to follow their 2021 EP “Lost In Tokyo”. The forthcoming EP “Lesson In Love” is four tracks that ready’s fans to hear the band’s NWOTHM influences along with their brand of slurry heavy Rock n Roll.
Compared to last year’s EP “Lost In Tokyo”, which was written in Japan at the very end of 2019 about their adventures in the country, “Lesson In Love”takes a new avenue as they explain:
“On this EP, we really tried to lighten it up and go back to the energy and feel that got us playing in the first place, music for and adventure or memory-making music! The soundtrack for that summer you’ll never forget or that time you did that thing and you’ll always think of it when you hear this song. It’s a feel-good and takes no prisoners combo at the same time!”
Rebel Priest is recommended for fans of Guns n’ Roses, AC/DC and Motley Crue.
A blend of hard rock, punk, and metal, Deadwolffset themselves apart from other bands with their take on the New Wave of Heavy Rock and Roll. Recommended for fans of Judas Priest, Motorhead, and W.A.S.P, Deadwolff‘s is a revival of foot-tapping, beer-drinking, headbanging tunes, and more. They are touring in support of their latest self-titled debut EP released digitally via Boonsdale Records and on cassette via Metal Assault Records.