Pivotal Rage Archives: King Diamond, March 18th, 2008

*originally appeared on http://webzine.pivotalalliance.com/



King Diamond is on the mend from his back injury that caused him to cancel his touring plans for his critically acclaimed album Give Me Your Soul . . . Please. In this conversation, we got a chance to ask King about his road to recovery, his Grammy nomination, the music video for “Give Me Your Soul,” his participation on the Probot album, politics, and of course Mercyful Fate. This was another fun and informative interview with King Diamond. I hope you enjoy reading it as much I enjoyed doing it.

King, since we last spoke, you were forced to cancel the tour behind Give Me Your Soul . . . Please. How are you doing? What is the prognosis on your injury?

Yeah, I had some herniated discs. This was the first time I ever had any problems. I have never been to any hospitals before, you know. I’ve never be so incapacitated, it was during the last two days of mixing (the album), when it happened. Obviously this had been a condition that been occurring over the years. (pause) You don’t really take care of your body enough…as you know people find this out later. I think you never think that anything ids wrong you just continue to do what you’ve always done. That was a heavy blow…there was a lot of pain to the point that I would not put any pressure on my left leg. You can’t describe the pain, the specialists told me that they know that these pains are some of the worst that people can experience. I certainly know that they speak the truth…it was so bad for a time that I couldn’t even walk. Now I’m able to walk around and can do interviews and stuff like that. I can sit normally on the couch and stuff like that, all around (now) the pain is (now) rare. I never really took any pain killers you know I just didn’t want to use those. I really think that by not doing so it really helped speed up the healing process. I think if you get on these pills you don’t want to experience the pain because it’s so uncomfortable, but at the same time you’re drugged up and drowsy and you just can’t function. The other thing you can lie in the wrong position for hours and since you’re taking painkillers you won’t know until later as they begin to wear off…if you’re not using painkillers you’re able to adjust yourself and reposition and help the healing process. I think if I were to put this into context for you…if there were let’s say 75 steps to full recovery I would say that I’m at about the 50tth step. It’s a lot better than how it was when it first happened that’s for sure. It’s not good enough right now to tour and to do a lot of what I’d like to be doing. Everything that I can possibly do I’m doing to get better. The road to recovery is going in the right direction.

What have you been doing during some of the down time? Any new ideas for a new album? What does a typical day look like for King Diamond while on the mend?

You can’t do a whole lot of stuff, you know…it’s a matter of doing business things, you know. We did do the video. That was in that period where I was not that good. We filmed out performance footage, I felt okay while doing it. When we were done filming and they began to pack up the cameras I felt awful. I think if I didn’t live on the ground floor I would have probably jumped out the window you know (laughs). Of course when you’re healing up you look into what else can be done, I want to be as productive as possible. We did the video and we’ve been working on other things, like those old retro DVD’s, we’ve looking for the right deal to get those out. These are bootlegs but they are very good quality, no body’s seen these before. We have Mercyful Fate before we even got signed, we have some rare shit, and I know that Brian Slagel was over at my house about a year ago and very surprised at the quality. I had told him about them, that the quality was very good for bootlegs. Once he saw them he said “I had no idea that they were this good!” He was excited about getting them out there for the fans to see. Hopefully we can get them don and there are these little side projects pooping off here and there. There’s a video game that’s coming out later this year that has asked if they could use some of our music, we’ll see if this happens. This is going to be a gig game from what I’m told. They’ve already got voice overs from Rob Halford, Dio and Lemmy…K.K. Downing has laid down some guitar solos and music for the game. A real heavy metal game where the landscaping you recognized heavy metal album covers and stuff. They also spoke about me doing a voice over but thing are moving slow at this point because they are in the middle of a merger. Hopefully that all works out, there’s something else. (pause) There’s also talk about preparing some of the album stories for a graphic novels. All these things that you can’t say for sure right now, but are excited to be a part of, we’ll have to see what happens. Theses are some of the things that you try to do on the business side that you can work on since I can’t be on the road, since I can’t be in the studio you know. I want to add that we had to make that hard decision a few months ago about the tour. Did we take the chance to tour with the idea that everything is going to be alright, and then if it doesn’t having to cancel the tour and everything scheduled to promote the album? Or do I cancel the tour, take the time to properly heal and in the process prolong my career and by doing so keep the fans happy? Canceling the tour wasn’t an easy thing to do, it was thought out carefully and I think we did the right thing, even if we didn’t like doing it.

Have you had an opportunity to work on new some ideas or concepts during the down time from the injury?

It hasn’t been until recently that I have even been able to hold a guitar on my lap. It has been a long road to where I am today. I have over the past few months been able to get some ideas down; I would turn on some of the stuff in the studio and get some ideas down. Obviously these will be for use later when we begin to write an album. I haven’t actually written anything for a new album, I hope to get together with Andy (La Roque) later this year and begin writing a new album. I’m taking things slow right now, I’m not wanting to prolong the healing process but I don’t want to get back to soon with Kind Diamond activities before I’m 100% ready.

You were nominated for a Grammy this year for “Best Metal Performance” for "The Never Ending Hill." How do you feel about the nomination?

Of course I’m honored. I mean, the more I thought about it. It’s pretty nice to be in that category among those five bands; they’re from all around the world, you know. It’s a pretty nice gesture. I mean, who decides this? It’s not a popularity contest you know, it’s recognition from the industry and then of course it’s really nice. On the other hand it really doesn’t make you any better or worse. I see this more of something that is really nice for the fans, the die hard fans where they have been there all along and then wow, there’s their favorite band among the nominated. I would have never expected this nomination I never considered us that kind of a band. I’ve never followed the Grammys in fact the only time I recall watching it on TV was when Metallica was performing. The nomination came as shock of course. Brian (Slagel) called me that morning (of the nomination) he said “hey congratulations, they have announced the Grammy nominations and you have been nominated for Grammy for “best metal performance” My response was “why?” Brian asked “why do you mean why? They liked the song so you’ve been nominated.” After a bit you begin to think it’s a really nice honor to be nominated.

You shot a video for the track "Give Me Your Soul" from Give Me Your Soul . . . Please. It premiered on Headbanger's Ball last week.

I think it turned out pretty good, too. It’s low budget you know…that’s what you see on MTV most of the time. As I said it’s low budget, but they did a great job for the money. I’m very pleased with the end result. I really like the shots of the band, we got a chance to work with some pretty good people on that one. I think it’s the first in like 17 years! (laughs)

The Mercyful Fate and King Diamond DVDs that are in the works, what is the status of those DVDs at this point?

We are still in the process of working out the deals on those. Like I said the footage we have is bootleg material but it’s good quality. I can’t wait to get those out, I hope to have those out this year, we still must go back and edit and put them together but my hopes are to get those out soon because I have been talking about these and I know it just has heightened people’s anticipation for these DVD’s. One thing is for sure I will not put out stuff that does not meet my standards and you and the rest of the fans will not be disappointed. There will be a King Diamond and a Mercyful Fate DVD, I have not determined if they’ll be released at different times or simultaneously.

Has there been any progress made on getting any of your albums onto the big screen? If you had a choice, which album would you really like to see made into a feature film?

Well I’d like to see something like that happen of course. I think we could do a lot with some of the characters from Them. Have a series of films with these chracters, I also like The Puppet Master. I think I wouldn’t go for a half effort, these have to be good or else I won’t give the okay. I’d like to see someone who brings in a fresh perspective on horror, I really like how Rob Zombie has developed as a director. I think Rob would be great to work with on a project like that. We have talked about doing this before, but nothing has gone beyond the talking stages.

Will we see Mercyful Fate again in the near future? Why or why not? As a fan, I’d love to see the band do another album and tour.

I think you could certainly see another Mercyful Fate album in the future, I’m definitely not ruling that out. I don’t know what the future holds, especially with how the music business looks like today. It’s hard to say what is going to a happen in the future I wish I had a big crystal ball. There are a many reasons why Mercy has been hibernating; we do have a (record) deal, we brought in out lawyers and we have secured a deal which no albums have been done. Mercy renewed with Metal Blade for The United States and Canada and Massacre Records for Europe has Mercyful Fate for the first time, but no records have been done for the new deal. The deal is just there dormant until the opportunity arises. I think I speak for the band that the reason we did it (signed the deal) is because we’d like to do it. I think had we not taken the steps to get the deal, and then when the opportunity came around we wouldn’t have a way to release the music. I think the fans sometime have no idea how much time it takes to secure a deal, it could take as along as six month or sometimes more. I don’t see Mercy as disbanded so when the new album comes out it’s not going to be a reunion album and when we tour behind the record it won’t be a reunion tour, you know. That would be so cheesy and cheap, that’s pretty much where the band stands right now. The record business has changed so much, who would have thought that Tower Records would close down? That was one of the biggest stores in North America for years now they are gone. I really think that so the next to go will be the major labels they’ll go before the independent labels I think. Simply because they have such big budgets for their artists, I don’t think those artists have fans that are as loyal and as die hard as metal bands do. King Diamond for example has some of the most die hard of fans; they’ll help keep us alive for a while, long after the major labels have gone. For people like Britney Spears when they sell only a tenth of what was projected it will send them and the label under. Who knows how long they can continue to lose money?

You're a U.S. resident, but are you a citizen? What do you think of U.S. politics? We have a presidential election coming this November. Who do you like in this presidential election and running the country in 2009?

I’m actually a citizen now. Oh good, this really interests me, but I don’t think I can pick one person that I like. Government is just so different than what I’m used to in Denmark. In Denmark for example, there are just so many more political parties one large party and two other smaller parties, there’s a better chance that those that are going to govern represent your ideas better than here. And you’ll also find that those that govern are more like a coalition. Here it seems like it’s either left or right, to me it seems like if I side with one party there are just and many things that I don’t agree with than what I agree with the other party the same the same things happens. I’m like wow, I just don’t get it, there just seem to be that in between area. It’s simply not there it’s either left or right. From my point of view this prevents progress. You hear about bills being presented; some you think “that would be really good for the population” but then the opposing party steps in and says “no that would not be a good idea, unless you also give us this, this and that.” I think “well what does that have to do with the other thing?” It’s like their sole purpose is to put a stick in the wheel and prevent the other from getting their ideas through regardless of whether it’s good for the population. That’s why we see how little gets done, so little get accomplished with congress in my opinion because there’s nothing but this big fight, it’s like it’s either this or that. There’s these projects where millions and millions of dollars are being spent; you must have heard of some of those too right man?

Bureaucratic waste? It’s frustrating for sure.

Some of those are just so…brain dead! I saw one day where they had picked a couple out, there was this donkey museum where someone was wanted to grant them thousands of dollars. They were out in the boonies somewhere where they had this yearly donkey festival and there they had this donkey museum. Who the hell wants to look at donkey museum?! It was absolutely insane, but there was some congressman wanting funding for it since it was where he was from. This isn’t even one of the big projects. You’ve heard of The Bridge To Nowhere right?
Yeah I’m familiar with that. [Note: Congress had previously approved a bridge in Ketchikan, Alaska, to fund reconstruction of a hurricane-damaged bridge in Louisiana. Dubbed the “Bridge to Nowhere,” the bridge in Alaska would connect the town of Ketchikan (population 8,900) with its airport on the Island of Gravina (population 50) at a cost to federal taxpayers of $320 million, by way of three separate earmarks in the recent highway bill. At present, a ferry service runs to the island, but some in the town complained about its wait (15 to 30 minutes) and fee ($6 per car). The Gravina Island bridge project is an embarrassment to the people of Alaska and the U.S. Congress. Fiscally responsible Members of Congress should be eager to zero out its funding.]
There we’re talking millions and millions of dollars. Those things…I really don’t know what to say. I’m just baffled, they (congress) complains that they are spending too much here and too much there and money is being things like these? So it’s just too bad that there just two parties I think. I think if there were additional parties there would be much better representation.

Where did the name King Diamond originate? It sounds glam to me, or did at first. Was this inspired by your love for Alice Cooper?

If you look at the old pictures, the constumes and clothing could have been considered glam. But aside from that I don’t see anything glam about us. I know the music and the attitude certainly was not….

Sorry, I was referring to the name King Diamond…

Oh, well the actual name…that’s back up to where I have to spin up a lie for you then! (laughs) I have no clue how the name came to be, I know when it came to be. It was approximately in 1976, I was play guitar in a band, no singing at all. We all came up with names like Alice Cooper who we knew wasn’t really Alice Cooper you know. Thinking that we were going to make it big, we needed new names because we were afraid that no one would be able to say our Danish names. We took up new names and how I came up with King Diamond I have no idea. People seem to think that because of the saying “diamonds are forever” but that’s not it though I’m still here.

"Sweet Dreams," the track you did for Dave Grohl's Probot album, how did that come together?

Dave Grohl, he has a lot of metal in his blood, as I found out I didn’t know that at first. He got in touch, he had this idea to put out an album of metal songs. The album would be a different style than The Foo Fighters. I was approached if I’d be interested and of course I was and Dave sent me, I think it was six demo songs. This was just to give me an idea of what he was doing on the album, they were rough mixes. Then he pointed out which of the songs he felt were right for me, it was interesting because it wasn’t like a King Diamond or a Mercyful Fate song, it was a whole different style. When I heard the demos I thought “that might be really interesting.” I was given freedom to do whatever I wanted on the track as the music was already demoed. I actually never talked to Dave himself, I dealt with a middle man; I think it was a guy in the band I think, who would then talk to Dave. I would talk to him about the song, like there should be a solo from this spot to this spot. It was definitely fun to do.

Thanks to Vince at Metal Blade for setting this up and for keeping us in mind during King Diamond press days. And of course thanks to King Diamond who is a great interview subject and a true gentleman. Also if you haven’t already pick up a copy of King Diamond’s critically acclaimed album Give Me Your Soul . . . Please, do so now because it's a fantastic record with a storyline in real time, which makes it a very unique listening experience.

R. Mosqueda

Pivotal Rage Archives: King Diamond, June 10th, 2007

orig*inally appeared on http://webzine.pivotalalliance.com/

King Diamond will release his new album on June 26th, 2007 entitled Give Me Your Soul…Please. Like with previous King Diamond albums, Give Me Your Soul…Please promises to be a huge event among the Diamond Bangers around the world. And this will be a big production when they hit the road to promote the album. I’m a longtime fan, having discovered King Diamond on the original Headbanger’s Ball when I saw the music video for the “Invisible Guests.” I was curious, bought Them, and worked my way back to Abigail and Fatal Portrait and then discovered Mercyful Fate. Getting a chance to interview King Diamond is a dream come true. I was armed with 22 questions, but along the way I threw the script out the window as right out of the blocks King took over and ran with it. Who am I to interrupt? This being round three of press interviews, I figured he had had enough of fans and press interrupting and asking the same old questions, which I’m sure mine weren’t all that unique either. Partway into the interview, the Metal Gods decided to have some fun with me. A precursor was getting disconnected twice while on deck to speak with King Diamond, but then partway into our conversation my micro cassette player died!!!! So I began to take shorthand notes, which I do in my paying gig and the rest went off with out a hitch. So what you’ll see here are some of the highlights of the conversation with the mighty King Diamond which took place on 6.8.07.


Correct me if I’m wrong here, but the new album’s artwork was done before the storyline. You bought the artwork and then wrote the story around what you saw in the painting, right? There’s a story behind the painting and how you came across it. What’s the real story?



No. (laughs) That’s not exactly how it was at all. You see the idea or concept or working idea was already in the works when the artwork came into the picture. I had begun to work on the storyline. The answer is that it wasn’t inspired by the cover. What happened was that our label’s distributor in Denmark came across the painting and he though that we should look at it as it would make a perfect King Diamond album cover. I eventually saw what he was talking about and I agreed I liked the artwork. Originally the little girl in the painting had a set of eye balls in her hands. The name of the painting was called “My Mother’s Eyes.” We changed it a little to fit the story that we had been working on we also added the mirror that you see in the final version. The mirror is actually a mirror in my house so there’s a personal connection there. You can hear what I’m talking about in the song “Mirror, Mirror.” We made it look like the girl is looking in the mirror where she wasn’t in the original painting. As for the story, I don’t want to give too much away. You’ll understand when you pick up the album.



What sets Give Me Your Soul…Please apart from previous King Diamond albums?



Well with Give Me Your Soul, we have done something that we have never done before. We wrote a story that happens in real time or as the person is hearing the album. It’s like the show 24. It’s occurring as you’re watching it. As you know, in the past everything we have done in story form but in the past tense. We’re usually in the 1800’s or something, you know. The other difference with Give Me Your Soul is that we have gone back to the basics. If you have heard the album you’ll be able to hear that there’s something a little different sonically. The backing vocals aren’t as layered, there’s a better flow to this album. And for this album the lyrics were inspired by the music that we demoed. As I said we had the concept, the lyrics came later. I think the end result is better songs, the melodies are better and I’m very happy with the lyrics. As we were recording the album, the more I heard the more I was inspired to make this album better. This one is a psychological thriller kind of an album, it plays with your mind where in the past things were laid out and you were very clear on what and where the fear was coming from. Our webmaster who is very critical of our records for years was wondering when we would issue an album that would top Abigail, then we released The Puppet Master, so then he began to ask how this album would top The Puppet Master? He’s a great friend and an unbiased critic he will let me know what he thinks, as do the fans. If you come in with the idea that you’re going to do a classic album one better, then when does it end? I don’t know if let’s say Abigail come out today that it would be the classic that it is today. I don’t know, times change. Fans hold an album dear for whatever reason. Maybe it was the first album they heard, bought, or it has some significance to them and that becomes their album. That is used to measure everything that comes after. I try not to think of topping an album. I go in with the belief that I’m going to make the best album possible. With Give Me Your Soul…Please we would just keep working and working on it until we were all satisfied. It just happened a little bit different. Our webmaster heard the new album and he calls me as says “you kicked my Dutch ass!!!” He liked what he heard. He tells me he’s in the process of writing a review for the website. I can’t wait to read it.



How was the recording of Give Me Your Soul…Please handled? In this day and age you don’t even have to be in the same room or country for that matter. What’s the process for your eclectic band?



Right! My drummer Matt Thompson and I both live in Dallas, Texas, Hal lives in Denmark, Mike Wead and Andy are in Sweden. We are international that’s for sure.

For Give Me Your Soul I wrote eight of the songs on my own and Andy wrote the other five songs. We traded demos and ideas back and forth, but when were ready to begin recording Andy who has his own professional studio called Los Angered Recording in Sweden. He packed up his gear as did the rest of the band and they brought it to my house. Everything was set it up here and my house became the studio. Andy and Mike eventually left and they were able to lay down their solos from their homes and sent them back to us so we could add them to the already existing songs. For this album we started a while ago, we toured in America and other countries, took a break we wrote some more and began to plan out some ideas for the next album. Then came the second leg of the American tour, then more touring, then a live album and more touring. In between some of the breaks I began to write down some ideas. Someone was telling me that it has been nearly four years since the last studio album? I can’t believe it, because it’s been like we’ve been busy either touring, making appearances at festivals, writing, recording demos, recording the album, and now promoting this album!



When you ventured out on your own as a solo artist, did you envision that you’d be releasing concept albums at the rate that you have?



Yes, I have always been interested in writing strictly concept albums. This obviously didn’t fit well in Mercy but when I set off on my own I did envision putting out concept albums. I needed to develop this style, as you know there five songs on Fatal Portrait album that are fit together in story form, so I began this on that album.

I’d like to think that I have gotten better over the years. I think this kind of style has become comfortable for me it suits me. I’m able to write in story form at a good pace.



Speaking of Fatal Portrait the re-mastered version features “No Presents for Christmas” on it which was originally a holiday anti-single, as I like to call it. Anyway there’s a line on there where you use “Tom and Jerry drinking Sherry.” Are you referring to the cartoon characters on there?



In all honesty, I was familiar with the cartoon characters but when I was writing this song it fit well with what was being written. I think the line you’re referring to stayed because it flowed better than some of the other ideas I had at the time. It was done in good fun and not to really offend anyone.



I love the last album the Puppet Master and I know there has been mention of it making it into a motion picture. Frankly I think there are a number of albums that you released that would make great films. Do you have any interest in venturing onto the big screen with your work?



I would be very much interested in making one of these stories into a film. Not just The Puppet Master, but how about Them? I think Them would make a great film and can you imagine what we could do with Grandma? She could be huge, like Freddy Krueger or like Jason from Friday the 13th. The thing about horror films these days is that they aren’t doing anything that’s different. It’s not horror anymore, it’s about special effects and things like that. The stories aren’t strong like they used to be twenty, thirty, or even ten years ago. If you think back to the recent remakes of old horror movies, they claim that it will be better than the original and it’s just not. It’s a shadow of the original and that is frustrating as a fan of the classic horror films.



So getting back to the question I’m very interested. I think a barrier has been the fact that I have no connections to anyone in the film industry. With the way that industry works I’m afraid that they would change my work to their vision of what it should be. Just think about the remakes. I have often been asked to tape record two hours worth of material to pass along to a writer who will then work on the screen play! Excuse me. I wrote those stories!!! This is the thing that worries me a little about venturing into film. I would have to meet the right person that hopefully is a fan and knows the stories already and makes a film that is true to the storyline and true to the characters in it.



And you have a way with a story. I really liked the DVD that came with The Puppet Master. I have seen that countless times and the first time I watched it was alone in the dark in surroundsound. I don’t get freaked out too easily, but that was very eerie.



Good! I know I’m doing my job then. I like the psychological aspect of horror, how the mind plays into people’s imagination. You’ll have a lot of that kind of thing happening with the new album. I like for example what they did with the movie The Grudge. They didn’t have to resort to blood and gore. A lot of it was the psychological aspect that is what sacred people. When you pick up the new album you’ll also be treated to what I’d like to think is the best packaging we have ever done. So I suggest you open it up, pop the CD into your stereo system, light a candle, lights down, and enjoy the story.



Have you and Rob Halford ever discussed doing a duet? Would you like it to happen? I have the cover you did with Mercyful Fate of “The Ripper” and it gives the original a run for its money.



Thank you. That was a fun song to record. Judas Priest is obliviously a huge influence; Rob has been a great inspiration to me. He’s one of the reasons that I’m here doing what I’m doing. No, I have not ever been approached about doing something with Rob. Would I do it? Yes, I would love to work with Rob, if the opportunity came up; I’d do it in a second, of course.



Aside from The Metal God, who else has been an influence on you as a singer or songwriter?



Well, as I stated Rob Halford vocally. I also love Alice Cooper. He has a brilliant ability as a songwriter and he’s a great showman. He’s the reason that I use all the visuals and costumes on stage. I wanted to do what he was doing, but add my own style. One that might be a surprise for you and some fans out there reading this is David Byron from Uriah Heep, great singer with a dynamic vocal and he too was theatrical. I don’t know that when you see a King Diamond show you see his influence in there, but it’s there.



I read in an article a couple of years back about Mercyful Fate and King Diamond live footage that was unearthed for possible DVD releases. I’m loving the DVD’s that came with the Roadrunner 25th Anniversary reissues of Melissa and Abigail. Is there a full length DVD of King Diamond and Mercyful Fate in the cards?



Well they will eventually be released so far things are moving very slowly. Too slow, I think. I feel we should have had these out a while ago. Between preparing, then releasing our live album and doing some live shows and promotion things slowed down. Right now the King Diamond DVD is ready, I have selected the tracks, I have approved the footage, and it’s now in the hands of the legal department. They are handling all the legalities, which is what has slowed things down yet again. The King Diamond DVD will be a double DVD set. There will be some backstage footage of us on The Conspiracy Tour which fans will get a thrill out of, there’s rehearsal footage from The Eye era, there’s concert footage from a special appearance we did in day light! On a sunny Sunday afternoon no less. You have to see that, it’s incredible. There’s also footage from 1986 from Washington D.C., and European Tour footage from that same year. I think we have enough footage from possibly two Mercy DVDs but I know we’ll at least get one out there soon. I had Brian Slagel over watching some of the footage not too long ago and when he saw it he was freaking out. He was like “we need to get this stuff out man!” I agree we need to get it out there for the fans to have. This footage we have had in our possession for some time and it has not been available to be copied or bootlegged so I know this hasn’t been seen by the fans. This is so rare. We have footage of Mercy from even before Mike Denner was in the band. That’s how far back some our archives go. That footage is from one of our first gigs in Copenhagen with my early make-up. I hadn’t perfected it yet, and you’ll have to see that. There’s footage from 1984 where we played at an old church that had been converted into a club, if you can believe that. Anyway there we are playing; this footage was actually confiscated by our manager at the time from some kids that were recording us on one of the big bulky beta cameras. At one point the manager took it upon himself to snatch the tape from the kids before they could escape with it, the kids demanded it back, and the manager said that they’d have to call the authorities for that to happen. They didn’t as they knew they were breaking the law and we have that tape to this day. There’s also footage of various outdoor festivals, one of which also featured Metallica. There is a lot of good stuff on there.



Why aren’t you as accessible to fans after the shows anymore? How much wear and tear does the voice take on a tour?



(long pause) Ruben, it’s nothing like that. The simple answer is that I’m doing this out of respect for the fans. Allow me to explain; for many years I used to immediately get off stage and hangout with the band, friends, fans, whoever. I would drink and party and not take care of my voice, which is my instrument. I found that began to affect my voice. While no one ever said anything, I realized how disrespectful that was to the fans at the next show. Those performances afterward certainly weren’t going to get my best. I have a lot of pride in my voice and the performance I give on stage. I’d like to be able to replicate everything that I do in the studio live. This is why it’s nice to take this new approach with the new album anything on the album must be replicated live. If I can’t do it live then I won’t do it on the album. It’s more than just not partying anymore; I have been taking better care of myself. The last tour we went two and half months on the road with very few days off, can you imagine what a mess I’d be if I went out and partied each night? I drank two beers on that tour and both were with a meal. With those long tours, seems like the longer you’re out the more likely you’ll get ill, you get worn out, and one thing I found since I have been taking care of myself, I’m the last one to get sick if at all. You see the guys in the band are out with the fans and the crew, shaking hands, taking pictures, and things like that. Well, the more contact you have with people the more likely you’ll be exposed to a cold or worse. Like I said, I need my voice. I have a reputation to uphold. So there is no mysterious reason why I’m back on the bus as soon as the show is over. I’m sweaty, tired, and I need to rest. That is all. I sweat more than the rest of the guys, between make-up, layers of clothing, and the heat from being up on stage I’m soaked. And if I catch a cold breeze I’m afraid of getting sick. Another thing about me and touring is that I can’t sleep if I’m moving, so that makes it impossible for me to fall asleep on the tour bus or if I’m on a plane. So when I can get rest I do. It’s not at the most convenient times, but I have to do what I need to do to stay healthy. I have a theory why I’m staying healthier than the rest of the guys in the band. I use up less oxygen than them because I’m singing and talking to the audience the entire time on stage, which prevents me from taking in anything that could make me ill. The hour and forty minutes on stage during our set is my fun. That is what I live for. So it’s not meant to offend the fans. I’m doing it out of respect to the fans that have bought tickets to see the best performance that I can give. You see, some of those fans haven’t seen us in a year, sometimes two or three. I want their experience to be the best possible. That’s not to say that if I see a fan I won’t stop and say hello or sign something. I just need time to rest. (King then whispers to someone in the room with him. I couldn’t really make it out.) Oh I’m sorry, go on.



Is there someone in the room with you?



Yes there is, it’s my cat Magic. She’s sitting here with me. She’s cleaning herself after her meal.



Out of pure curiosity, you’re now officially a Texan. What was the relationship between you and Dimebag Darrell? How did collaboration on Voodoo come to be?



Yes, I’m in Dallas, I’ve been here for some time now. We became good friends in ’92 or ’93. I knew of him before. How could you not? Pantera were very popular on MTV and radio at the time. We crossed paths a few times and one day Dime, Vinnie, and Rex invited me over to Dime’s house to jam on a few tunes. I think at that time Phil had moved to New Orleans, so I had no contact with him. Anyway I made it over to Dime’s house to jam on some songs. They were going to have a New Year’s Eve party and they were playing some songs and they asked if I wanted to get on stage and perform. I said sure and I found myself there having more to drink that actually rehearsing! Eventually we got it together the next day and we performed later that night at the party. It was a good time. We did “Green Manalishi,” “The Ripper,” and another song. We shared our love for Judas Priest as you can tell. How I got Dime to record the solos on the song “Voodoo,” our engineer at the time had done some work with Pantera and one day he mentioned “you should get Dimebag to play the record.” The next thing I know we have him in the studio recording and playing in the studio. He was fun to have in the studio and I have to tell you he was a genuinely nice guy. I miss him. One thing I remember about the way he worked in the studio he would use some odd phrases to communicate what he wanted. I remember sitting in the studio watching him play the solo, then hearing the play back and he said “hey, could you turn up the woo-woo?” The engineer turned a few knobs and played it back for him and he said “okay.” I was puzzled; I wouldn’t have known what he wanted!



Have your personal beliefs changed at all over the years and if so, how?



They haven’t changed at all. I still have no religious affiliation or beliefs. At the same time it would be naïve of me to say to someone that there is no God. Who am I to challenge someone’s beliefs? I will say that if you believe in a God then where’s the proof? There are many religions out there. There are flaws with each religion where no one God in a specific religion reigns supreme over another. There’s a lot of confusion and that’s what the theme behind the album House of God. If you look at the make-up I used for that particular album I have crosses pointed in all directions. It signifies this confusion. Religion is also a huge factor in many wars throughout history. Just ask the Catholics and the Protestants. They have been killing one another for some time now. I prefer not to take part in religion.



Thanks for your time King. I saw Metal Blade rolled out the North American tour dates for Give Me You Soul…Please. While I’ll have to wait until you next year to see you, I’m sure it will be well worth the wait.



Thank you very much, Ruben. I haven’t even looked at the dates quite yet, but I have them here with me somewhere. Take care and we’ll see you on tour.



Well there you have it. King Diamond on Pivotal Rage! I ran out of time and still had about a dozen more questions; they’ll be in reserve for next time. Thanks to Emmy @ Metal Blade for getting us on the third round of interviews and for Vince for trying not once but three times to get the call through. And once again King Diamond because an interview is only as good as the subject matter! Don’t forget to grab the new album on June 26th It’s called Give Me Your Soul …Please.

R. Mosqueda

Pivotal Rage Archives: Krokus singer Marc Storace, May 25th, 2007

*originally appeared on http://webzine.pivotalalliance.com/

I was floored the first time that I got a chance to interview Marc Storace of Krokus. As he stated in our previous interview if he’d become available we’d do it again. Well we were able to pin Marc down to answer some more questions and also to bring us up to speed on the tour for the Hellraiser album in Europe and the odds of Krokus making it stateside for some dates. As before Marc is a stand up guy and did lightning strike twice?! Well read on and you decide.


Marc first of all Thank you very much for taking the time to do a follow up interview. We at Pivotal Rage loved having you on the site as a featured interview the last time around.


Much has happened in the meantime so thanks for another opportunity to chat Ruben.


First, I’d like to ask how the tour with Hammerfall went. How did the audience take to the new material from Hellraiser? What were the highlights of that tour?


The Tour went even better than expected, and it was the most intensive European Tour for Krokus so far, even when compared to the 80's! Hammerfall earned themselves a huge loyal following over a consistent ten year period of touring on this continent. We were honored to be invited to take part on their biggest tour so far. Likewise, we found out that Hammerfall are a band of old Krokus fans themselves. The first thing that Joachim did when we first spoke was to play me our single “Angel of My Dreams”, which he had installed as the ring tone on his handy even before realizing that it was a new Krokus song ! They were all happy to have us on board and we occasionally partied, and they often hung out on the sides of the stage during our shows and vice-versa. A few weeks into the tour we were told that they had never taken such a harmonious package on-the-road as this one was. The opening act, The Poodles are also from Sweden, were very easy to get along with and all of us managed to professionally put aside any feelings of rivalry until showtime. The whole tour was an admirable display of solidarity and friendship between musicians. Being the special guests, we had only fourty five minutes of showtime each night, so we were forced to condense our normal headliner set into an energetic and punchy rock show. We slowly reduced the number of songs from the latest Hellraiser album down to “Angel of my dreams” and the title track “Hellraiser.” Many of our older loyal fans who showed up appreciated this, yet we won over loads of new young fans everynight. The reaction was sensational! Amongst other places, and some new territories, we were mostly impressed by the way we went down in Stockholm, Hamburg, Münich, London, Pratteln, Paris, and Milan. Spain was also an exciting new surprise for Krokus. I hope we can revisit next year with a new album.


I understand that at one point there was a wreck involving the band and their tour bus? How is everyone and just what happened there?


We counted our lucky stars. It was a terrible shock for all of us and it happened after only two weeks into the tour. We collided with a truck on an icy road down in the south of Denmark, and were lucky to get away with only some minor cuts and bruises. The driver was lucky not to lose his left leg from the knee down! It was snowing heavily, so after a warm meal, everything was loaded onto a new bus and we drove on before getting snowed in. We did not want to risk missing out on the Hamburg gig.


I read at one point you where left behind by the bus driver at a stop? How did that happen? And did you make it back in time for the gig?


That happened during our intensive headlining tour late last year, right after the gig in Copenhagen. It was my own fault because I failed to inform our driver that I was popping out to use the bathroom. Everyone else was fast asleep, so she simply drove off thinking I too had gone to bed. Luckily it was a twenty four hour truckstop and the manager was totally friendly, and some Krokus fans kept me entertained while I waited for my pick-up! It took a while, and if it had not been for our Stateside manager, and fan club president, Peter Waelti, who was already up whilst europe was sleeping, it would have taken much much longer, because I could not reach anybody here on the phone. In the end I made it safely down to Flensburg, Germany in time for a sound-check, a light meal and a great gig. I also hit the sack pretty early that night too!


Where are you guys in terms of promotion for the album? Will you guys continue to promote at this point?


We have not stopped promoting Hellraiser. Old and new fans are still flocking to our gigs. That’s the cool thing about a classic rock band like Krokus. We have a vast repertoire of never-ending Hits stretching back to 1980, and our fans show up anyway, whether we have a new album out or not. By now, of course, everyone knows all the new songs and joins in. It’s a great emotional experience attending a Krokus concert, and our fans get positively activated and let their hair down, releasing anger, frustration, loneliness, or whatever the devil it may be. Just call it pent up emotions in one big celebration of life.


When I got the confirmation about the second interview from Peter, he stated that you guys were about to receive a gold album? That’s great news, I’m happy for you.


Thank you. If it wasn’t for those loyal fans that still prefer to buy our cd rather than illegally download from the internet, we would never have gone gold! I’m glad there are still so many people out there that appreciate the hard work we invest into every new cd, and still enjoy the true value of collecting the real thing, with the songs, pictures, lyrics, information and the artwork chosen by the band themselves. The gold presentation took place during one of our recent shows in the cool Alpenrock House near Zürich Airport, and Peter flew in especially to hand us the fullsize gold records personally, in front of a cheering crowd. A very cool emotional night indeed, check www.krokusonline.com for more.



Where do the United States fall into the touring plans behind Hellraiser. When we last spoke there was talk about getting on a package tour here and touring this summer. Is that still something that is in the works?


Unfortunately things did not quite work out as expected with the new label in the USA. We feel totally let down in this respect because, once again, a good record was released in the United States without the appropriate campaign to ensure that it was well promoted and distributed. A real pity for a great album like Hellraiser and today’s live Krokus is really the best! However, we are still signed to a great US Booking Agency and are now free again to go shopping with the next album. I’m sure we can sign on with a better label for our 2008 release.


You also did some acting, when we last spoke you were on your way to promote the film Anuk with Doro. How was the film received and will it makes it’s way to U.S. shores as a DVD release?


Anuk was very well received, especially within the rock world, and I believe it still has much more mileage ahead. The DVD was just recently released in Germany and Austria, and once it is translated into English should also make it across the big pond. Doro called me up to say she is thinking of releasing the song from the soundtrack, “On My Own” on a maxi-single. We sang and recorded that song together with Luke, the maker and main actor in the film. It was written by Luke and myself.


Marc have you guys been working on any new music or ideas for a new album?


Yes, we switched into writing mode during breaks from the road. We have started working on basic ideas individually.


Marc is it true that back in the early days Krokus had clothing designed by Dee Snider’s wife Suzette? How did that connection happen?


That’s a pretty long time ago, and I don’t quite remember how it all came about, but it must have been whilst we were in New York City that LD, our tour manager arranged for us to meet Suzette. She came and took our measurements and ideas and made some clothes for us but unfortunately we were not satisfied with the results and LD kindly asked her to take them back! I don’t think she was very pleased, to be honest!!!


How do you think the classic material stands up today? Is there anything that’s you’d love to go back and change or re-record? If so what?


I think that similar to classic cars, classic songs still live through their own authenticity. I don’t expect a classic Jaguar, or Corvette to carry airbags or even have a cd player at all, and likewise I enjoy the fact that classic songs sound more alive because they were recorded on reel to reel analog equipment and exude the depth and warmth of old valves. This does not mean that I would never re-record an old classic, but if I did I would certainly interpret it in the way that I feel the song today.


As I have stated before you are a genius when it comes to picking covers, recording them and making them your own. What’s a song that you’d like to cover that you haven’t yet recorded? And why?


Thanks for the compliment. I have not considered recording any new covers in a long while and honestly speaking, I prefer to cross that bridge when I come to it, since I believe that spontaneity of deliverance is what gives a cover song it’s real magic.


Is there new music that you’ve discovered that you’d like to share with us? Bands that might have grabbed your attention while on the road?


On the road I am daily exposed to traffic noise, loud conversation, vibrations, soundchecks, concerts, pyro, etc, so I don’t normally spend my free time listening to more music. I do that when I arrive back home. I mostly leave the radio on in the background and when I shove a cd in it’s usually to listen to classics.

Thanks so much for taking the time to answer some more questions. I hope Krokus makes it over to U.S. shores sooner rather than later. Take care and I will talk to you soon.


Thanks Ruben and take care yourself too.


Do you have any parting words for the readers?


I hope that the news about our diminished hopes of touring the USA this year has not made you as sad as we all feel about it.

The fight goes on! Please call up your Local Radio Stations for more hard rock and while you’re at it, ask for your favorite Krokus song. Help us accomplish what our ex-label failed to do. Introduce Hellraiser to your friends and tell them “Don’t Burn It. Buy It! Piracy is stealing the livelihood from your favorite bands”.
Rock On.


Thanks for Peter Waelti for his help in setting this interview up. Your help was much appreciated you went above and beyond the call of duty. For more information on all that is Krokus or for information on the Hellraiser album go to www.krokusonline.com. Again a huge Thank You to Marc Storace for his time and effort. We’ll talk soon, I’m sure of it.

R. Mosqueda

Pivotal Rage Archives: Quiet Riot drummer Frankie Banali, October 21st, 2007

*originally appeared on http://webzine.pivotalalliance.com/

If you’re a regular reader, you’ve likely read my review for Frankie Banali’s 24/7/365: The Tribute to Led Zeppelin. Frankie rounds up a who’s who of hard rock singers and musicians to create one hell of a listening experience. If you’re expecting a watered down tribute to Zepp, you will be hugely disappointed. Frankie took some time from his constant touring with Quiet Riot to answer some questions related to the 24/7/365: The Tribute to Led Zeppelin album, as well as happenings with Quiet Riot and their latest record Rehab. Frankie is a stand up guy, humble, gracious, and a class act. Read on, and see what I mean.

Frankie, you have followed up the brilliant Quiet Riot Rehab album with your tribute album to Led Zeppelin entitled 24/7/365. How long had you had this record in the works?

Making this record is something that I've wanted to do for many years but the actual process began early in 2005. Because I understood that since it was not original material and that many of my musical friends had their own careers and schedules and because my motivation was not a financially beneficial endeavor because it was self finance. I didn't have any deadlines to meet. This gave me the luxury to take my time and allow everyone who participated to work their contributions into their separate schedules. It took a little over a year to complete on and off. I then lived with the mixes for a few months. I decided to remix it twice and mastered and re-mastered three times. I wanted to make sure that each track was a respectful interpretation of these great songs written and recorded originally by Led Zeppelin.

You used Tony Franklin, who played bass on all the tracks on 24/7/365 and was featured on Rehab. How long have you known him, and what did he bring to the album?

I've been a fan of Tony since I heard him on the first The Firm record which he did with Jimmy Page and Paul Rogers. Later on he knocked me out with his wonderful bass playing with Blue Murder. The first record that I did with Tony was Gary Hoey's Animal Instinct release. Tony is hands down my favorite bass player to work with and his marvelous talent is second only to what a wonderful person he is. Simply the best. Tony brought a certain authenticity to the tracks that only a British musician can understand and especially with someone like Tony whose musicality and performing sensibilities are second to none. He understand this music intimately. I've been very fortunate to have recorded a number of times with Tony as well as playing a few live dates with him.

You have a who’s who of singers on the record, and even some surprises, like Mark Boals and Jeff Scott Soto. I would have never expected to hear them on here. Don Dokken, Kevin Dubrow, Glenn Hughes, and Paul Shortino deliver stupendous renditions of the Led Zeppelin back catalog. I think the best performances are from the old timers. How difficult was it getting these guys to commit to the album? They aren’t just laying around waiting for calls. All have their respective projects or solo careers in full swing, right?

With a few exceptions, I've known most of these wonderful musicians for a number of years and they were all very willing to participate and I had made it clear to each that I was willing to wait for their schedules to allow them to make their contributions. In return for their kindness in participating, I also made sure that each received payment for their time. That is the best way to keep your friends friendly!

How did you go about selecting the tracks for the record? Did you have a list already? Or did you have the respective singers pick out what they’d like to record?

If you notice, I avoided many of the songs that people expect to hear from the Led Zeppelin song list, things like “Stairway To Heaven,” “Black Dog,” “Rock & Roll,” “Communication Breakdown,” etc. I wanted to do songs that were special to me, things that some listeners may have overlooked or forgotten. In a way through the song selection, this is truly a personal tribute to Led Zeppelin and as such all the songs chosen are my favorites for this record. The key for me to make the songs that I picked work was in marrying which singers and guitarists would work best for the mood, vibe, intensity or sensitivity of each track. So none of the choices were random and I asked specific singers and guitarists to participate in the songs that I chose for them to sing and play on.

A track by track breakdown of the new album by Frankie himself:
“The Wanton Song”
Alex Ligertwood on Vocals, Doug Aldrich on Guitar
I was really impressed with the vocals that Alex had done on the "Second Wind" record and especially on the track "Freedom Jazz Dance" and I also very much enjoyed his work with The Average White Band. I think that Alex's vocals on “The Wanton Song” are spectacular! I've known Doug for over twenty years and we've talked about working together for all those many years but the situation never presented itself. I have a lot of respect for Doug as a musician and as a person. I knew that he would be the perfect guitarist to bring his fiery guitar style to this track.
“Four Sticks”
Glenn Hughes on Vocals, Steve Fister on Guitar
Glenn, as everyone knows, is my favorite singer and it was natural for me to think of Glenn when it came to Four Sticks because this song is so different from your typical rock song, even by Led Zeppelin. It is a very special song that required a very special and dynamic vocal. Special, atypical, dynamic are all words that also describe the wonderful talent that is Glenn Hughes. I was blessed to have first recorded and played live with Glenn for the Hughes - Thrall record and this was a wonderful opportunity to work with Glenn once more. Steve Fister is somewhat unknown to many people, but he is likely best remembered for working with Lita Ford in the 1980's. Steve is by nature a blues guitarist and an excellent one at that. I had recorded a number of drum tracks for Steve's record Dodging Bullets and was impressed with the honesty of his blues roots and guitar style as well as being very capable on a variety of stringed instruments, so he was a natural to play on a number of these tracks, namely “Four Sticks,” “Kashmir,” “Ramble On” and “Gallows Pole.”
“Kashmir”
Don Dokken on Vocals, Michael Lardie on Keyboards, Steve Fister on Guitar
I think most people are surprised at my choice of Don for the vocal on "Kashmir" until they hear him sing it. I've known Don since before I was in Quiet Riot. Don ad I were in a very early version of Dokken, along with Juan Crocier (ex-Ratt) when Don played guitar as well. I knew the subtle characteristics of Don's vocal style and knew he would be the ideal choice for “Kashmir.” His vocal turned out exactly as I had envisioned it and I am so happy that he was willing and able to record this track. Michael Lardie was the instant choice to play the multi keyboard tracks for this song. He is keenly aware of the music of Led Zeppelin and really brought a certain authenticity of sound layers which this track required. Michael was truly wonderful on this song and a key element in the overall sound of this track. The perfect choice.
“Out On The Tiles”
Robin McCauley on Vocals, Reb Beach on Guitar
Robin is a wonderful singer with arguably one of the best vocal ranges in the business. Robin came in completely prepared to sing this track and his pitch was absolutely perfection. Like most of the singers on this record, I had to find singers that could hit all those high Robert Plant vocal lines and melodies, and Robin did not disappoint. He was the only choice to sing this wonderful Led Zeppelin track. I had the opportunity to hear Reb lay a number of times with Winger and knew that he is one of the best shredders in the business. I also knew that while working with Whitesnake, he had to know the blues. Although “Out On The Tiles” is not a particular blues based song, it is definitely a riff oriented song and Reb is one of the best riff guitarist. Although the original version of this song does not have a guitar solo, I asked Reb to add one to the ending section of this track. He blew me away with his psychedelic like solo on this one.
“Ramble On”
Paul Shortino on Vocals, Steve Fister on Guitar
Paul and I have known each other since we worked together on the fourth Quiet Riot release simply titled Quiet Riot. When I first heard Paul sing the Janis Joplin classic "Piece Of My Heart" I couldn't believe that he had done such a wonderful interpretation of the original. Paul was my obvious choice for this vocal. His smoky Jack Daniels and cigarettes tone was perfect for the verses but he also has the range to carry the upper register vocal on the choruses which this song demanded. Paul was wonderful on this track.
“The Ocean”
Mark Boals on Vocals, Bruce Kulick on Guitar
I knew of Mark through his work with Yngwie Malmsteen, but I did not know him personally. Engineer/guitarist Neil Citron knew Mark and I jumped at the opportunity to have him sing on this track. Again, this song really required those high vocal gymnastics that Robert Plant made famous, and Mark really did a fantastic job on this song. I was very fortunate to have him on this song and he became one of the new friends.Bruce is world know through his participation in KISS, but I had also heard Bruce on the Union record where his blues roots where very evident. I knew that he would be perfect to play on this track and he brought a very authentic guitar style especially on the solo section of this track. Bruce is also a great guy with solid musical knowledge.
“The Immigrant Song”
Bobby Kimball on Vocals, Gilby Clarke on Guitar
Bobby has impressed me year after year with his wide range of vocal styles through his career with Toto. Bobby is a genuinely wonderful singer and person and here again I needed someone with that high vocal style and range. Not only did I get that, but he put his own Louisiana blues sound on this vocal. Absolutely wonderful. It was a privilege to have him on this record. Gilby is an all out rock and roll guitar player, so who else would I get but Mr. Clarke to play on this track and “Royal Orleans.” Gilby brought some of the Guns N’ Roses magic to these two songs by delivering great 1970's style guitar solos because he understand that style of music intimately. I was very fortunate that he was available and wanted to play on these tracks. He is also a new friend.
“Royal Orleans”
Jeff Scott Soto on Vocals, Gilby Clarke on Guitar
I've known Jeff for likely twenty or more years. Jeff is immensely talented and he has great rhythm and blues roots. He was the first singer that came to mind for “Royal Orleans” and the logical vocalist for this track. To me “Royal Orleans” has always been a sort of funk Led Zeppelin track and Jeff really brought out the funk and the rock on this one. He is a very underrated singer.
“Gallows Pole”
Kevin DuBrow on Vocals, Steve Fister on Guitar/ Mandolin/Banjo
Everyone knows of my longtime association with Kevin as members of Quiet Riot. As in the case of my choice for a vocalist on “Kashmir,” for “Gallows Pole” I instinctively knew that this song was a perfect vehicle for Kevin to sing on. Most people only associate Kevin with a very aggressive vocal style and no one really knows that Kevin can also sing strongly in lower registers. Kevin did an amazing vocal on this track and was able to cross between the lower register of the intro and versus and then kick it into high gear for the chorus section. I am really proud of the vocals Kevin did on this one even though he thought it to be the wrong song for him to sing. In the end, he was the right choice.
“Custard Pie”
Chas West on Vocals, Bill Leverty on Guitar
I didn't know Chas very well prior to asking him to sing on this track, but I knew of his work in the Jason Bonham band and especially his experience at singing some of the Led Zeppelin classics. He was the obvious choice for this track because he could interpret the lyrics where the written words is far different than the sung words as was the case in the original. He did a wonderful version of this vocal. Another new friend.Bill is likely one of the most underrated and one of the most deserving of recognition. I've had the pleasure of knowing Bill for a number of years through a lot of dates that Firehouse has done with Quiet Riot. Bill's guitar talents are boundless and endless. I was very happy to invite Bill to play on this track and he really brought a lot of life and passion into the track and particularly the solo section. He was also able to double some of Tony Franklin's bass riffs on the vamp section solo at the end of the track. Bill is also another wonderful person as well and a good friend.
“When The Levee Breaks”
The 24/7 Overture-Levee Guest Vocalist: Joan Fraley
This particular piece was really a wonderfully fun adventure. While is starts with the iconic John Bonham drum groove and also ends with that same theme, the center section is a group of edits of all the tracks that came before it on this recording. Neil Citron did a masterful job at editing all the selected sections and in a sequence that made sense because they were all done in real time. That is to say, we did not alter the tempo form track to track to make the edits work, it is all as the tracks where recorded in the original tempo for each. Neil weaves editing magic and it is a testament to his talents behind the board. Joan Fraley is a truly great local but unknown talent. She is a absolute blues based bass player and vocalist. It was really wonderful to have her sing on When The Levee Breaks because she brought the vocal style of Robert Plant to the track while not sacrificing her laid back vocal sensibility. I really think that her vocal is as good as any of the great vocalists that are on this record.
“(They Were) The Eye of God”
Frankie Banali on Drums/Hand Percussion, Neil Citron on Guitar/Bass/Keys/Stringed Instruments
“(They Were) The Eye of God” was a title that I think captures a little bit of the spirit of the Led Zeppelin phenomena that continues still today, and I hope that the listener will understand that this song pays homage to Jimmy Page, Robert Plant, John Paul Jones and the late great John Henry Bonham. As to the last part of your question, there were no really out of the ordinary stories to the recording of these tracks. Everyone came in a very professional and positive way and everyone wanted to do the best performance possible.

What’s your personal favorite on the record and why?

That is impossible for me to say because I am so close to these recordings and because there is something special for me in each of the tracks. There are some things that stand out in my mind, Alex Ligertwood’s incredible vocal on The Wanton song, Glenn Hughes’ interpretation of Four Sticks as well as the overall percussive vibe of the that track, Kashmir feels good, those are some memorable moments that immediately come to mind. I know that you expressed in your kind and appreciated review of 24/7/365 that “When The Levee Breaks” overture and “(They Were) The Eye of God” should not have been included, but from my perspective “When The Levee Breaks” overture was a nice way to go from track to track as a further collective evidence of some of the variety of writing styles that Led Zeppelin achieved, and it was a lot of fun to create that track. The closing “Eye of God” was simply a way of showing how Led Zeppelin has influenced the writing style of both Neil Citron and I, and how the style of John Bonham and the drum sound that he and Jimmy Page created has had an impact on my own interpretation of that style and sound. It was never meant to be a copy of a Led Zeppelin song, just the influence. That is the beauty of doing a solo record even if it’s a tribute, one can do whatever one chooses.

I was surprised that I didn’t hear “Moby Dick” on 24/7/365. I would have loved to hear your take on that song. Did that ever cross your mind? Was it just too obvious?

I think it would be pointless to attempt “Moby Dick” because one would have to choose to copy the recorded version found on Led Zeppelin II which was largely a Jimmy Page edit of the highlights of the studio recorded version of that solo. The other choice would have been to copy one of the many live versions that John Bonham performed over the years. Lastly one could have started with the musical ensemble intro and the vamp out and create a solo in-between. None of these would have made sense to me. A drum solo is a very personal statement that is created and dictated by the drummer performing it. Besides, there is only one John Henry Bonham and that certainly is not me or anyone else for that matter. He was that talented and that unique.

Any chances of another album like this in the future? How about Frankie Banali does The Who?

Odd that you should ask that question in relation to The Who because a number of people have asked that very same question. But no, no plans to record another tribute release. This Led Zeppelin tribute is really just a very honest dedication of my love for Led Zeppelin and John Bonham in particular.

You’ve worked with other bands in the past. Heavy Bones was a great band, and you’ve worked with Blackie Lawless and W.A.S.P., but I also read where you did sessions with Billy Idol? What Billy Idol recording have you been featured on?

I recorded the drums for “Money Money” and “Baby Talk” on Billy Idol’s US debut EP Don’t Stop back in 1982. Those are the only tracks I am at liberty to discuss.

What was it like working with Billy Idol? Did you ever get offered a permanent gig with him?

I only worked with Billy very briefly. He was incredibly cooperative and professional while still being Billy Idol and a lot of fun. He was always prepared, always sang great and was always on in his own inimitable way. His producer Keith Forsey was wonderful to work with as well, really a wonderful producer and person. No, I was never offered a permanent or live performance situation with Billy. They were just sessions.

Blackie Lawless has had an up and down career over the last decade. You came on board during The Headless Children. Phenomenal album. Probably that last great W.A.S.P. record, in my opinion. Seems like you were always on deck to fill in when Blackie’s hired gun bailed or was asked to leave. What’s the relationship with Blackie these days and would you ever work with him again?

The Headless Children was the first record of many that I did with W.A.S.P. and I think it is the best and most advanced record that the band ever released. I am very proud of my participation on that record. There is no relationship between Blackie Lawless and I and there is no chance of either party working together again. I have always been very grateful to the support that I’ve largely received from the fans of W.A.S.P. and will always be grateful to them and respect them.

Rehab is a solid album and an album that quite frankly I didn’t think Quiet Riot had in them. It’s in the classic rock arena with a mix of soul and blues. Humble Pie, Mott The Hoople, and Foghat come to mind. Is this an album that could have been recorded if you still had Rudy Sarzo and Carlos Cavazo in the band?

Thank you for your compliments on the Rehab record. It is a record that Kevin and I have wanted to make since we met and finally had the opportunity to record and have it reflect the musical influences that we both have benefited from, those of British blues/rock bands of the late 60’s and early 70’s. I think that if the Metal Health lineup would have attempted to make Rehab, it would have sounded like just another Quiet Riot record and the song writing would have been far different that what is on Rehab.

For those that might not be familiar with who is in the band these days, who’s playing bass and guitar? You’re the drummer and Kevin is singing, but what about the other guys in the band and how did they get the gig?

Chuck Wright is the bass player and he has a shared Quiet Riot history both recorded and live since 1981, albeit on a on again off again basis. He’s a great bass player and he and I work well together in the context of live performances. The guitarist is Alex Grossi a former Beautiful Creatures.

Over the years Kevin’s mouth and ego have shrunk. He was arrogant and obnoxious back in the 80’s. Did anyone have control over him back then? I know some bridges were burned as a result of his comments.

Whatever Kevin may have said or done was said and done a long time ago and I don’t hold it over his head. Why some people who were largely either not a part of it or directly affected by it still have some point of contention and criticism is hard for me to understand and it‘s truly a waste of time. If anyone may have suffered any consequences it may have been the members of Quiet Riot and I for one hold no ill feelings or regrets. Kevin and I are friends and that is all that matters now. And for everyone else, Kevin is the voice of Quiet Riot, he’s a great singer and all the critics, professional and unprofessional, should just move on. I have......

If you had a chance to do it again, would you have retained the Quiet Riot name when you guys brought Paul Shortino on board? And what are your thoughts on that album? “Stay with Me Tonight” is a great track. Perhaps the production was too slick, but overall I liked the album.

After we enlisted the talented voice of Paul Shortino into the ranks of Quiet Riot and started writing material for what eventually became the fourth QR album, we realized that not only had the sound of the band changed, but so had the style of the songwriting. We seriously considered a fresh start of sorts with a new name and started thinking of a name to use. When I informed the label that this was what we were thinking of doing, the label said fine but unceremoniously announced to us that without the name Quiet Riot we would only receive 50% of the advance and likely very little if any support. The money and commitment were based on the name Quiet Riot , so we kept the name. I still think that QR is a great record, that Paul did some really outstanding vocals, and we had some very good songs on it. Both the producer and the production were out of control, and in the final analysis none of it mattered anyway.
What’s the best album in the Quiet Riot back catalog that the casual fan hasn’t heard and why?
I think the 1995 release Down To The Bone has some great material which few have heard due to it being a homegrown release with weak distribution. 1993’s Terrified has some great moments on it. Rehab is the best record that Quiet Riot has released since Metal Health, but has so far gone largely unnoticed by radio and invisible to the fans due to the choice and avenue of this release. Since release of Rehab in October of 2006, we have been playing live the tracks “Free,” “South of Heaven” and “Old Habits Die Hard.” These three songs have become a permanent part of our live set list when we are headlining a show. When we are the special guest or the opener of an event and thus have a shorter set, we will at least do one or two of these three songs.

I know you read the review and you posted the link on your website. I thank you for your time and hope to get another opportunity to interview you in the future. Keep making the music. We love hearing it!

I am truly grateful that you took the time to listen to 24/7/365 The Tribute to Led Zeppelin as it is truly a labor of love for me and it is indeed my sincere and personal tribute to Led Zeppelin, a band that has had a huge impact in my musical life and has brought so much joy to me, and to John Henry Bonham the greatest rock drummer to ever pound a groove. God rest you Mr. Bonham.

Thanks for your time, Frankie! Check out the 24/7/365: The Tribute to Led Zeppelin, and while you’re shopping pick up Quiet Riot’s Rehab record. It’s fantastic. For all things Frankie Banali, head to his official website: www.frankie-banali.com/.

R. Mosqueda

Pivotal Rage Archives: Iced Earth singer Tim "Ripper" Owens, August 22nd, 2007

*originally appeared on http://webzine.pivotalalliance.com/


There is no doubt that metal fans are the most dedicated, rabid, and loyal of all the musical genres. So if you can imagine this, you’re a fan that grew up listening to your favorite metal band, then years later you’re picked out of a crowd to sing for them? That really did happen and that guy is Tim Owens, later given the nickname “Ripper” by Judas Priest guitarist Glenn Tipton. Tim went on to record two live albums with Judas Priest and two studio records, Jugulator and Demolition respectively. Then came a time when Priest and Halford reunited and Tim stepped aside. Who would have thought that lightning would strike twice, as he was asked by his friend Jon Schaffer to join Iced Earth after laying down vocals for the album The Glorious Burden? I got a chance to see Tim and Jon play in Seattle; it was a six hour drive. Somehow I convinced the old lady that “I had to be there.” She agreed and before she could change her mind I bought tickets and booked a hotel room. It was a magical night, but that’s a story for another time. Pivotal Rage was granted an opportunity to speak with Tim during round one of press days for the new album Framing Armageddon. Check out what he had to say.

Correct me if I’m wrong. You were originally asked to be the guest vocalist on The Glorious Burden back when Matt left. Is that right?

Right. Initially the idea was to guest on the album. Jon had just let Matt go and he and we had talked about working together on a project years before. I just had no idea that we’d be working on Iced Earth material. When he called me up, I saw this as an opportunity to work with him. At the time I was still in Priest, but they weren’t planning on doing anything for a while. I was available and was eager to work with Jon. I think it worked out. Jon needed a singer and Priest eventually got Rob back in the band. And I’m very proud to have been a part of The Glorious Burden.

When did you first meet Jon Schaffer? And when did you guys begin to talk about working together?

As I said there was talk about doing a project something like what Jon has done with Demons and Wizards, not Iced Earth. I first met Jon when he came backstage to meet Judas Priest. We hit it off from the beginning. We kept in touch over the phone and we developed a good friendship.

How do you feel about your Iced Earth records as opposed to your recordings with Judas Priest or Beyond Fear?

Well, I’m extremely happy with the response Beyond Fear got; it’s been consistently the highest reviewed album that I have ever been a part of. It’s very gratifying as I wrote the songs, lyrics, and melodies. It’s all me. I took liberties with the vocals on Beyond Fear. That's something that I didn’t entirely do on my own in the past. Iced Earth has allowed me to write more than any other band that I have been a part of, aside from Beyond Fear. I’ll say this, that Framing Armageddon is the most vocally demanding album that I have done to date and it’s top notch. I’m sure you’ll agree when you hear it.

Does it tire you that some people think of you as the former Judas Priest singer?

Never. I never get tired of being referred as a former singer of Judas Priest. I’m so proud of being part of that band. These guys were and are my idols. And I was a part of the band and its history. There were some great moments and memories of being in Priest. For me, my performance and my input on the song “Blood Stained” is one of my proudest. What upsets me is when I get tagged with the label of a Rob Halford clone. We have some similarities, but we are also very different. That’s frustrating to me; I can hear the difference. Rob was an influence of course, but I can stand on my own.

It seems like there are two fan bases: the Matt Barlow era fans and the Iced Earth fans. How do you feel about being under the microscope by the Barlow fans? How do you deal with that?

I’m not too concerned about that. I’ll even add that there are Tim “Ripper” Owens fans that aren’t fans of Iced Earth. I respect Matt as a vocalist. He had a different style. He has a mid-range and lower register vocal. I can do that too, but Jon has gone away from that. I think that often fans don’t stop to think that Jon Schaffer wrote 90% of the melodies when Matt was in the band. I think if you read back at previous interviews with Jon, he has gone on record and said so. On The Glorious Burden I wrote melodies. “Red Baron/Blue Max” is a good example of this. I think there are fans that talk negatively about the change without even giving the band a chance or really taking the time to actually listen to the band’s music. The band isn’t that different; only the voice has changed. Jon has elected to go for a natural, powerful vocal, and the proof can be heard on “Ten Thousand Strong.”

Do you have more freedom when it comes to lyrical content or melodies in Iced Earth as opposed to Judas Priest?

In Iced Earth as with Judas Priest, there is one person that’s steering the ship. In Priest that person was Glenn Tipton and in Iced Earth it’s Jon Schaffer. I have been given more opportunities to write and give input on melodies with Iced Earth than with Priest. I hope my role and contribution in this band will continue to grow with each album. I’m excited for the future of Iced Earth.

How comfortable are you singing classic Iced Earth material? When I saw you on the last tour, the true test was you singing “Iced Earth.” When I heard that, I was sold.

Well, thank you. I’m glad you’re listening. I’m very comfortable singing classic Iced Earth songs. I think the reason being that I was a fan of the band first, so I was familiar with the songs.

Jon has raised the bar yet again with tackling the Something Wicked storyline. Tell us how Framing Armageddon came together.

Well, as you probably know, this is a project that is near and dear to Jon’s heart. He’s had been wanting to get this out since about a year or two after Something Wicked This Way Comes was released. He has always had a vision of releasing the story. The time had to be right. Not only was timing essential but I think Jon was also waiting on getting the right label involved. I don’t think Jon felt that the band’s previous label would have supported such an album or would have given it the attention that it needs. SPV is very supportive and they are completely behind Framing Armageddon.

“Ten Thousand Strong” is an epic track and one of my favorites on the album. To me, “Ten Thousand Strong” sounds like it has a Blind Guardian influence, just in the way that the vocals are layered and in your face. What’s your favorite track on the album and why?

You know, that’s hard to say. Right now, there are three that I really like a lot. Like you said, “Ten Thousand Strong” is a great one. There’s a lot happening there with the vocals. I also like “A Charge to Keep,” and I love how “The Clouding” builds up. I love the feeling I get from that song. I’d love to have those songs work their way into the setlist. We’ll see what makes it into the final cut. You’ve heard the album?

Yeah, I have. I got one with voiceovers all over it.

Well, unfortunately that’s what the label had to do with press getting copies of an album then people feeling the need to share it. It would have wound up on the internet. I know Jon wasn’t happy with the review copies having voiceovers, but that’s just the nature of the business these days.

I understand. There was some press guy in Italy that leaked the new Dimmu Borgir album and now that particular label sends out review copies in the 99 track format. Still it’s kind of interesting that it’s Jon on the voiceover. It’s a collectable.

You’re right. If you’re a fan, you’ll definitely want to hold onto that.

I have to add that the live performance on of “The Gettysburg Trilogy” was remarkable. It was a wonderful way to close the show. It sent chills up and down my spine watching and hearing you guys perform it in its entirety without missing a beat.

Thanks. You know, that was quite the challenge to end the show with “The Gettysburg Trilogy.” It was at the end of the show. We had done like an 80 minute set then end it with what turned out to be a 30 minute encore with no breaks. I was spent at times, but the fans kept me going. It was like getting a second wind. After the end of “The Gettysburg Trilogy” we were exhausted.

With the anniversary of September 11th just around the corner, how do you think the war on terror has gone? If I recall, you and Judas Priest were grounded in Mexico when that went down.

Right, we were grounded in Mexico. We were on tour behind the Demolition album and it came to an abrupt end when the attack occurred in New York. Priest had Anthrax and Iced Earth opening at the time. You know, I tend to stay away from talking about politics. I’m not the political guy, but I do think that we need to support and back whatever decision our President has made. Whether you like George W. Bush or not, we have to come together. I think it’s no secret that Jon is the political guy in this band and he’s made it clear that he’s conservative. There are things that I agree with Jon on and there are things that I disagree with Jon on. Likewise with my brother. He’s on the far left. There are things that I agree with him on and there things that I strongly disagree with. I just hope that we find a resolution to this and get those people (military) out of there soon.

Richard Christy has moved on. He’s now on The Howard Stern show. He’s been doing some outrageous over-the-top things on Sirius. Did you think he had this in him? There’s boundaries that have been crossed that leave me shaking my head. What was he like as a bandmate?

Well, I haven’t really heard what he’s been doing on there, but I can say that Richard was an outlandish, goofy kind of guy that had a talent for making you laugh. I remember this guy always making home movies and recording things, stunts and stuff like that. In addition to being a fantastic drummer, I think he has found his calling. I think he really wanted to make a career out of comedy and this was the opportunity of a lifetime for him. I wouldn’t be surprised that when the Howard Stern show ends, or maybe even before that, we see Richard writing for a television show on primetime or movies. I wish him the best.

I look forward to seeing you guys live again and hopefully you guys will make it out to Portland, Oregon on this tour.

I hope so. We’ll be working on it, that’s for sure. We don’t have a date confirmed but we hope for an extensive tour of North America.

Be sure to pick up Iced Earth's new album Framing Armageddon when it drops on September 18th, 2007 through SPV USA. I’d like to thank Tim Owens for taking time to speak to Pivotal Rage. We won’t forget it! And to Dave @ EarspiltPR for setting this up, I can’t thank you enough!






R. Mosqueda

Pivotal Rage Archives: guitarist Yngwie J. Malmsteen, October 3rd, 2008

*originally appeared on http://webzine.pivotalalliance.com/


I remember the first time I heard Yngwie Malmsteen like it was yesterday that was back in like 1986. It was wild hearing this guitar player playing what appeared to be electric classical metal. I’ve been a fan since. Along the way I’ve gotten a couple of opportunities to see Yngwie live and it was a treat each time. So when I was asked if I’d like to interview him I jumped at the chance. Sure I was nervous this is after all one of the greatest guitarists of all time. Yngwie will be releasing his latest album on October 14th, 2008 on his own imprint Rising Force Records. The album is entitled Perpetual Flame and it features the vocals of former Judas Priest and Iced Earth singer Tim Owens. I hope you find the interview as interesting as I found it fun. Read On.



How long did it take to write and to record Perpetual Flame?



You usually with previous records the answer would be the same as always, but with this one it was written and recorded very differently. Usually you write some music then head into the studio and record the drum then the band then come back and begin to add stuff over it, add the vocals then you head back mix it then go on tour then you start the process over. For this one we were on extensive tour for Unleash The Fury and I’d get some ideas I’d write them down for later. There were no immediate thoughts to get into the studio right away and get another album done. I just kept writing songs and put them together, really taking my time. It got to a point where I had enough material that I said “okay I think it’s time to get into the studio and begin to record.” I then got our drummer and took him into the studio and he laid down some of the drum tracks. The drums where then completed then we headed back on the road. When we got back from the road I began to weed out some of the songs that didn’t fit or weren’t as strong, then we went back on the road again. We came back I heard the material with a different set of ears and again began to refine the material. Then we headed on the road to South America and then Russia. I found that every time I came back to the material I would hear it differently and I would add or subtract from the original vision. I really think that taking time away from the material really helped make this one of the strongest albums of my career. I think when the fans hear this they’ll agree that this is a great album.



Do you think you’ll write an album like this again?



I don’t know you see this all just happened the way that it did. When I kept coming back to the songs I’d hear things that were missing or that needed to be reworked, whether it was a lyric, a melody or a riff. I just had a different perspective each time.



You got Tim Owens on vocals now. What was it like working with Tim in the studio?



It was a great experience Tim is a true professional and he really added a great performance to the songs with his powerful vocal. I can’t complain I just can’t wait to play live for the fans and have then hear Tim sing stuff off Perpetual Flame and the classic stuff.



Did you handle the recording of the vocals differently?



No, they weren’t handled any differently than anything that I have done in the last 18 or so years. The only time that I had a singer come in and do his thing was with Joe Lynn Turner; personally I became very frustrated with that so I haven’t done that since. I think I’m like a Vivaldi or a Picasso, I see the whole picture so I want to create the whole picture. I don’t like doing the background, just the foreground or just a tree. I’m not happy with that I want to do the percussion, I want to do the choir parts I want to play the bass tracks and I want to write the story. I don’t want someone to come in and sing “yeah baby let’s do it tonight.” So that’s how I work. It’s an extreme amount of work between writing, arraigning, recording and producing, but I love it and I need to have control over the vision. When it’s finished, when I hear it there’s a huge sense of satisfaction there.



Would you be opposed to others writing or sharing their input?



I’ve had people in the past that have. It’s not all about Yngwie has to do it all, but I have to tell you when I haven’t had a part in writing the lyrics or some of the melodies I have walked away from that particular experience unhappy. I think it comes down to it’s my way of expressing myself, it’s what I say, it’s what I do. I don’t call myself Yngwie Malmsteen and have someone else come in and do the job you know? It’s Yngwie Malmsteen doing the job. This isn’t like Ozzy Osbourne or Michael Schenker with all due respect they don’t do everything they simply put their name on it. I demand to have the best people around me at all times, because you need the best to help you paint your vision.



Did you have your eye on Tim prior to him being available? What was it about Tim that you liked?



Oh yes I was a fan of Tim “Ripper” Owens for a while actually. He’s an amazing singer. I had an opportunity to be featured on an Ozzy Osbourne tribute record with Tim (NOTE: Yngwie and Tim were featured on Bat Head Soup on the track “Mr. Crowley”). We weren’t in the same studio when we recorded but it looked great on paper so it was interesting when I heard the final product. I thought it turned out very well, people have told me that it’s the best track or one of the best tracks on that album. Anyway, when I started to write songs like “Red Devil” and “The Damnation Game” I just knew that we needed someone else to sing. These songs were so heavy and aggressive that I knew that our old singer (Doogie White) couldn’t sing them. There needed to be a change. I envisioned the vocals to be more operatic. You know I don’t exactly know how it happened. I think we had spoken on the phone a few times. Tim “Ripper” Owens comes down to the studio to demo a couple of songs and he sang them just like I heard them. He got the job! Then this is weird we went to do some live shows in Germany then e came back to the States to finish up the album and mix it.



Did Tim get a chance to add some ideas regarding vocals or melodies?



Tim’s an amazing singer there’s no doubt about that. I wrote the melodies but in the end it’s his performance that is able to complete the painting. I’m certainly not going diminish his role on this album because it turned out fantastic. I’m just super pleased you know?



I can hear that for sure. How did you select Roy Z to mix Perpetual Flame?



It’s funny you know, I engineered the album and produced everything. I like bringing in somebody who is an outsider to mix the albums because I may not have proper perspective. Roy Z came up by a number of people who had worked with him. I think Roy Z did a smashing job the guys I’ve used have always done a fine job. I really liked what Roy brought to the album and I’d love to work with him again in the future.



Some fans gripe that you play your solos live different than what they hear on the albums. Have you heard this before and what do you think?



There’s a good reason for that, the solos on the records are improvised. The reason I do that is because to play the exact solo every night…I might as well stop doing this. What keeps me going and keeps things exciting is the fact that every time I do this, every time I go on stage it feels new to me. So to play the same thing over and over again it just wouldn’t seem right to me. Solos in the studio are all improvised, I ask the engineer to run tape or roll the machine and I go. If it feels good I keep it, if I don’t feel good about it I do another take. I don’t do it over and over again, I just go for it and if it feels good it stays. On stage it’s the same thing I play the solo how I feel that night. If you want to hear the exact same thing as on the record then you can just go listen to the record you know?



What do you think of Ritchie Blackmore’s new musical direction with Blackmore’s Night? I know Blackmore is a huge influence on you. Would you ever do anything outside of the box like that yourself?



I consider myself having already done that. I’ve done records that different and another thing…I don’t have people telling what to do I do whatever I want! And I do! (laughs) What I do is what I want to do. If I were to do something different later that will happen when and if it happens. Right now I don’t have the urge to do anything different; in fact I don’t even have the need to do the classical thing right now. I just want to rock! I just want to turn up the volume and go. That’s just where I’m at this time. Whatever happens later happens you know?



You’ve done so many great instrumental tracks in your career; one that I absolutely love is “Blue.” I was on your myspace page last night and it was the first track on the media player. That song floored me and it’s still fresh today. Being a blues fan I was caught off guard that you’d record a song that is so bluesy.



That’s why I simply called it “Blue.” I often play this one at guitar clinics because it’s a perfect example of how to play bluesy without playing blues scales. You can play bluesy with much more elaborate scales and without having the regular 12 bar chord progressions as well. Thank you for the compliment, Hendrix and blues stuff is something that I played since I was a kid basically. I always found the blues to be a beautiful thing but it was also limiting. I can only do that for so long then I have to do something else.



It sounds like there’s very little chance of a blues inspired album then?



I’ve always felt very comfortable with the kind of albums that I make. There’s no limits with the records that I make I don’t have to stay in one format, as I would if I were to do a blues album for example. On the new album there’s a song that’s like party rock it’s called “Red Devil” then you have heavier darker stuff like “Live To Fight” to extreme instrumentals like “Caprici Di Diablo.” I prefer to do that. I just haven’t had the desire to do an all instrumental or an all blues or an acoustic album or anything like that. Having said that I can’t say that I’m never going to do that you know? Like the other day someone asked me if I’d ever like to do an album where I sing everything. When I write I write with an operatic vocal in mind so obviously I couldn’t do that. I’m more like a blues singer in that regard. I like diversity and being able to do more than one style on my albums.



You have a number of U.S. dates this fall and it appears like your first show is this Sunday in Puerto Rico. Shortly after you guys play throughout the United States.



Right coast to coast in fact. It’s going to be very exciting. I love to play in the states you know. I love to play everywhere, the states feels like…I love to play in this country man.



These U.S. dates are they the first leg of the tour? Will there be more next year?



Yes and no, we did about two months in Europe this summer. I think this is just the beginning of a very long tour actually. There will absolutely be more dates for North America in 2009. We definitely have plans to cover more ground in the U.S. next year.



Would you consider being part of a package tour?



I’m open to all of that. I’m very flexible when it comes to things like that.



Any particular bands that you’d like to tour with?



No one in particular, but I would like to play with some of the great old bands like Sabbath, Priest bands like that I’m open to suggestions. I’d even think that it would be cool to play with different style bands.



I’m going to put you on the spot since you mentioned that you loved tour the U.S. How would you compare touring the States vs. Europe?



Well it’s a lot more comfortable! (laughs) I don’t know it’s just there’s a certain comfort in the fact that it’s the same language, the same currency, if you go to one guitar center on one coast it’s the same as on the opposite coast. It’s consistent. Where if you’re in France you’ll get something very different than in Spain for example. Don’t get me wrong I just came back from Europe and I love it there but there just a love I have for America I can’t explain it.



You live in the United States correct?



That’s right and I love it.



How long have you been here now?



(pauses) ….Twenty six years.



You’re an American!



Well, I’m a resident. My kid is he was born here.



How old is he?



He’s ten.



I imagine he’s already picked up an instrument or two at his age right?



He plays guitar you know. He’s a kid too, so I don’t push him. He’s a kid I want him to be a kid. I really want him to do things that kids do, he’s extremely smart, very intelligent. I have no worries he’ll make something incredibly good out of himself. I’ll be there every step of the way to help him do whatever he wants.



Last question, you’ve been incredibly gracious and I don’t want to blow any opportunity to possibly get a face to face when you come to Portland, Oregon. What is you favorite album in the back catalog? Not counting the new album. Let’s assume that Perpetual Flame doesn’t exist.



Yeah, there’s a couple of albums that are closer to my heart than others. Keep in mind that with each record it’s been the best album that I could make at that particular time. I think my classical stuff is very special so I think Concerto Suite for Electric Guitar and Orchestra is a great album, I like the first solo album is very special as is Alchemy. It’s almost like the albums are chapters in my musical career each a picture of where I was at that particular time. They all have their little story to tell…it’s difficult to say just one or even two you know. I think if people that haven’t ever heard anything that I have done in the past. If their new fans I would definitely say that Perpetual Flame is the one to get I’m telling you.



It’s a strong album from beginning to end.



Thank You


For the record I’d also add Odyssey to the list. I have a soft spot for that album.



Thank You, that’s the slick sounding album.



Yngwie I thank you for taking the time to answer some questions. I wish you the best with the new album Perpetual Flame have a great U.S. tour.



Thanks man I really appreciate it.



First and foremost thanks to Jennifer @ Chipster for getting this lined up, secondly thanks again to Yngwie Malmsteen for taking the time to answer some questions. Remember the new album Perpetual Flame will be released on October 14th, 2008 on his own imprint Rising Force Records.



R. Mosqueda

Pivotal Rage Archives: Iced Earth guitarist Jon Schaffer, September 3rd, 2008

*originally appeared on http://webzine.pivotalalliance.com/

Recently I had an opportunity to talk to Jon Schaffer when he did some interviews in support for the new Iced Earth album The Crucible Of Man due September 9th, 2008 on SPV. The album continues the storyline that began with The Something Wicked This Way Comes album and then Framing Armageddon and now The Crucible Of Man. While I had a list of 20 plus questions, when you don’t know what direction the interview will go as was the case here I had to go off script. Still I think the interview went well. You be the judge. Read on.

How is your back doing?

It’s doing great man. It’s doing very good, the last few years…I’ve been doing great, I can’t really complain. I have to be careful of what I do on stage and on the road. I just have to do a lot of stretches and stuff like that. If there’s any issues that come up I have to deal with them right away and not ignore them like I used to in the past. In the old days I used to ignore it and let it build until bad shit would happen. As I said it’s going great and can’t complain.

Has the injury put any limitations on your live performance?

Oh yeah definitely, I have to be more mellow on stage. Years ago I used to do all these wild head banging moves and that’s how I ruptured a disc in my neck on stage in Berlin in 1996. At that point I had been on stage acting like an animal and it finally caught up with me. The thing about the injury in Berlin I ignored it and I was in brutal pain. I continued to perform for four years then I began to get cortisone shots just to help with the pain, taking pain pills like crazy. It got to the point where I almost lost use of my right hand and I finally had to have surgery. They took out the bad disc and replaced it with some titanium plates and screws in there and fused everything together. I just have to be careful because I still have problematic discs. While they took out the worst one I still have two that are problematic and I just can’t hit the stage and begin to thrash my head around and do the insane stuff that I used to do. I just have to be more cautious and a little bit frustrating to tell you the truth because I can get caught up in the moment and the adrenalin rush and I find myself doing stuff that I shouldn’t be doing. It’s easy to forget, but it’s just the way it is man.

And you guys will be touring this September through October in North America right?

Right. We did a number of shows this summer in Europe. I’ll be fine man.

And you guys are kick things off in North America along the way you'll play at Progpower USA in Atlanta right? When I saw that you guys were on the bill I thought “special event” good time for a DVD or a live album. Is that a possibility? I mean you have Matt back in the band….

No. Not for that, though we did film several of the festivals in across Europe this summer. And we have plans to release a DVD called The Summer Slaughter later on. So it’s Iced Earth at various festivals and a lot of behind the scenes stuff. Along with a documentary style movie of the tour in Europe. It’s not going to be the “ultimate” production show, that something that’s yet to be made. This is going to be cool though. It’s going to be a celebration of Matt coming back and the set list is older stuff for the most part. It’s going to be fun man; it’s going to be a lot better than Alive In Athens that’s for sure.

I have the Alive In Athens DVD and I do recall reading that you weren’t thrilled with Century Media as this was not an officially sanctioned DVD. Was it the production that you weren’t happy about or what was it?

Well, it wasn’t ever intended to be a DVD or meant for release. The show was recorded and meant to be used as snippets… I hosted a show for the German television channel Viva. That particular weekend they had a camera crew come down to Athens and follow me around the city and then the shot the show with the intention of using some of the performance footage between segments. So I was the VJ, I played other people’s videos and they showed performance clips in between. That’s what it was, it was a Viva special.
It was never intended to be a DVD; if that was the case we would have hired a real camera crew to record the show. There were just three cameras used two of which were camcorders needless to say the quality is really, really low. The editing job is fucking horrible! And don’t get me started on Century Media they are continuously cashing in on Iced Earth’s success, that’s what that is. That’s’ what the box set is, that’s what The Blessed And The Damned set is…the three products that they have released since Ice Earth has been off the label have been all a attempts to cash in on Iced Earth’s success and they will continue to do that kind of shit.

So it wasn’t for public consumption and you had no creative control I can see your point from the artist perspective.

They came out and said “we found this in the vault” and made it sound like it was something very special, bullshit! We all knew it was there, they knew that the reason it hadn’t been released before is because we had all agreed that it was the quality that we wanted that’s why it was there. It’s all greed man. I have to tell people to beware, it does not have my signature of approval because the quality isn’t there, that’s all. I think unless you’re a diehard collector you should feel no obligation to buy any of the stuff that Century Media has released since we parted ways.

Well I’m excited about this new DVD…

Like I said it’s not the “ultimate” DVD but it will be a very cool DVD. The “ultimate” DVD is a DVD that will be shot in the next year or so.

Being a fan I keep up on the Iced Earth news and visit the website regularly. One thing cool thing that you’re doing on this tour is that you’re offering V.I.P. packages for fans to buy for shows on the upcoming tour.

We have such a great and loyal fan base that we were trying to think of different ways to give that back to them somehow. We have had various attempts at fan clubs in the past that have always turned out to be a pain in the ass. Now we have a company that do thee kind of packages professionally so I really think this is really cool and the V.I.P. came from my new management. They came on board about 6 to 8 months ago and I took to them the idea of doing something special for the fans. This was an idea that was tossed around and I was all for it. It’s gonna be special, we get a chance to talk to the fans up close, we can sign their stuff and they’ll also get a special shirt. They’ll get a chance to spend some good one on one time with us. I think it’s really gonna be fun. We’re not going to have a bunch of people with cameras, we’re gonna have someone onsite that will be taking a picture of the fans with the band. We’ll get the person’s email address and when we get those online they’ll get their photo with the band.

That sounds very cool and high tech.

Yeah it is. These guys found a way to streamline this whole thing. That way you don’t have like 50 people standing around with cameras which could take a long time you know.

Did you have parts 1 and 2 of Something Wicked Concept done prior to the recording of Framing Armageddon?

As you know the story has been done for years but in terms of making it into music…all the music was written from February 2006 to February 2007. The exception being the lyrical parts and melodies on The Crucible Of Man. All of the music for both of the albums was recorded in February, April and about half the month of May of 2007 all of Crucible was recorded then, the only think that we need to complete were lyrics and a few guitar parts. That was completed after the last European tour that we did. So it was all written a performed with the same mindset, the music was designed after the titles of the songs. When I decided that I was going to do this I wanted to approach this from the many ways that I could as the author of the songs. I chose specific points of the storyline to focus on in the records, those points then turned out to be working titles for the songs and some of them ended up being b-titles. I chose the title called “The Wicked Child” and that it was going to be about his birth and that event. Then I went back and wrote the music to make it sound that way. That was my interpretation of it, that’s how I write most of the time it starts with the title. Or with a theme and it just rolls from there.

How much shifting around vocally did you have to do to the second installment of the story? Being that Matt sang on Crucible and Tim sang on Framing.

Not much, actually very little to tell you the truth. When you have two guys (Tim Owens and Matt Barlow) that are very capable singers it doesn’t really change much. I think there two parts that I had to adjust the melody that I was having Matt sing because it wasn’t a part that matched his vocal power so we’d move the melody up or down and adjusted it to his voice. A very minor adjustment, this was done maybe once or twice in a bridge section or something. Wasn’t much and didn’t require much.

Was Tim’s departure mutual? And how did you come to that his time coming off a couple of strong albums in The Glorious Burden and Framing Armageddon?

It wasn’t mutual. I love the work that did in the studio with the albums. It was pretty obvious on stage and in the live environment that Iced Earth just wasn’t feeling right.
Which was something that was completely foreign to me, because the singers that came before Matt were true believers, you can say whatever you want about the voice but the fact was when we were on stage it was all for one, one for all. I think that the audience also felt it, because the electric reactions. The thing that I noticed when we played live with Tim was that it just didn’t have…there was something missing. It took me some time to realize it and when we were on the European tour I was really analyzing the situation. The thing that I noticed when we played live with Tim was that it just didn’t have…there was something missing. It took me while to figure it out on the European tour, as I said I began to really look at things and then talked to Tim about it. I let him know my concerns…and I really think that at the end of the day that he was not really he was not really engaged in Iced Earth. Tim was more concerned with his solo album and band (Beyond Fear), the fans could feel it and I could feel it. It just wasn’t…people just didn’t believe it, even though he did these amazing performances, his highs are amazing and all that. At the end of the day the talent part will only get you so far you know? There just has to be a spiritual part there that has to be there to allow people to buy into it. I think that when you’re filling someone’s shoes whether it’s Matt or the guys that came before him, who were true believers you have to be just as good as them or better. That’s the thing in metal and bands like Iced Earth the reason we have such a rabid fan base is that they know Iced Earth is never going to wake up and do a rap album you know? They won’t see us do some off the cuff weirdo shit, we are a metal band and that is what you’re going to get. That’s what we do, I have driven this thing through two fucking decades and we’ve survived some serious fucking shit and we’ve always maintained on course, the fans know that. I truly believe if I was up on stage going through the motions that we would not have this loyal fan base, if I was just giving lip service to people they’d know it and they’d be gone. It’s as simple as that. So no it wasn’t mutual and there would have been a change anyway even if Matt didn’t come back into the picture. I would have completed Crucible with Tim then looked for another singer. Matt coming back into the picture was a trick of fate I think. We kept in touch and talked over the last few years though we never spoke about music. I heard about this project (Pyramaze) that he was doing and I thought Matt might be missing music again. So when I got home I called him and said “so what’s up dude are you missing it?” He said “yeah man I am,” I said to him “hey we should do something we should start another band or a project let’s do something.” One thing lead to another, because as police officer that being in Iced Earth once again would even be an option. As we talked it turned out that it could be an option and at the end of the day it seemed pretty silly to start up a new band when we have the Iced Earth thing. So within like 48 hours he was back in the band. I just had to be convinced that he was really committed to doing this. I said “if you’re going to do this I need you to do it all the way not half way.” So that was it man. I told that Matt was back and there’s been some interesting theories as to how this all happened, but I’m not going to go in to that. There’s all these fucking idiots who are running their mouths in these chat rooms and stuff. These guys base their spew age on personal opinions, biases and shit. I know the truth and I’m good with that.

Thanks for that response I appreciate your honesty and you sharing your side of the story.

The thing is man that people are going to believe what they going to believe. At the end of the day..people say a lot of shit about me, I’m aware of that. It really doesn’t make any fucking difference I know who I am and what I do, at the end of the day I sleep really well at night and I am very comfortable in my own skin. I’ve accused of treating people in this horrific way like people say then you know what? My life wouldn’t be going as great as it is. It’s just so sick how we can easily sit there and lie to ourselves, whether it’s our egos, or dishonesty or whether it’s just us being pathetic. How many people have you know that were fired and have taken complete ownership of why they got fired? Probably few to none right? The easy thing is to create a story that isn’t really true, but easier for you to live with it. You say that enough times that you begin to believe it then it becomes reality. You have then changed reality. I live my life as honest as I can, at times I have been brutally honest and I think that’s what people might not like.

Was part of the deal when Matt came back that he leave Pyramaze?

No. That was a decision that he made when he came back to Iced Earth, he couldn’t do two things at once.

Is Matt still a highway patrolman?

Yes. He’s actually a police officer in Delaware a small town in Delaware.

Would you consider adding Matt’s vocals to Framing Armageddon? Why or why not?

That is going to happen. That will be on the box set version. We had talked about doing a box set out of this and since we are doing one now, there will be a version of Framing Armageddon with Matt on vocals for continuity.

Any chance that Iced will be playing Framing Armageddon or The Crucible Of Man live at any point?

There's defiantly a chance that we could do both of these albums live, but I’m going to have to leave this up to the fans. I think we’ll have to wait and see what happens. I don’t think this is something that we’ll know until the album has been out for a year or so. If it’s something that people want we’re going to work very hard to give it to them. If something like this were to take place, it’s going to be a lot of work, if we do something like this I was it to be something that the fans are going to be excited about. If they aren’t then I don’t want to fuck with it! (laughs) Like with everything if I’m going to do something I want to do it right and I want to do it all the way man. Something like that it’s going to be a job, but it’s going to be great or I won’t do it. We’ll have to see what the demand is.

That sounds like an opportunity for an “ultimate” DVD to me.

(laughs) Me too man, we’ll see. Though I’d really like to do a DVD of a headlining show that has a taste of the entire Iced Earth catalog, stuff from The Glorious Burden, to everything man, all of the epics live. I’d like to have “Gettysburg,” “Something Wicked Trilogy,” “Inferno,” Suffering Trilogy” and all of the big epics all in one concert. That would be really cool and very special. The catalog is so fucking big and the fans are so passionate about the music. Even when we played in Europe three hours, no support acts, no solos none of that shit, we still had people complain. (laughs) There were like “why didn’t you play this song or that song?” You just can’t win sometimes! (laughs) But it’s cool because the fans are that passionate about the band and the music.

Do you have any material written for the next album?

Yeah there are ideas and riffs and stuff that might be used for the next album. I get ideas all the time, music just flows through me and when I pick up the guitar there are riffs that I may think are the basis for a song. At the same time for every usable riff or riff that I keep for a potential song there could be 150 that I don’t use. That kind of thing happens all the time. The reason that I don’t make quick decisions like this is that after being submersed in the “Something Wicked” thing is that I just need a break before I get started on the next thing, it’s really not smart to do it now. The reality is that I’ll be spending the next year or so promoting this album and to begin to think about the next thing when I know it will be a year or year and a half from now before we even begin to officially write for another record, my mind will be in a different place. I will have grown, I will feel different, I will be in a different mood and things will be different in a year or year and a half from now. I know myself well enough that the best thing to do is to get away from it for a while and come back refreshed then start attacking. I do have some ideas but I’m not going to share them right now. (laughs)

Fair enough. Last question I don’t know if you have a short answer to this. I want to be mindful of the time allotted and we’re just about done here. What are your thoughts on the upcoming presidential election?

I don’t discuss politics in interviews; The Glorious Burden got twisted around. A lot of journalists tried to make that album into a political album. It was clearly based on military history, in the same fashion that Horror Show was based on horror films. Iced Earth has always done concepts like that, but I think that it’s a historical time, having an African-American nominated for the Democratic Party. That’s a huge thing I think that’s really cool, having said that we’ll see what happens, these are very serious times. I think the American people have a very short memory span and that concerns me to some degree. I think it was within 6 weeks after 9/11 and people had their heads up their asses again about what’s going on. I have very dear friends of mine that are fighting in the trenches everyday and are very aware that we are still at war and just a very dangerous world. Not that we need to go around living in fear because if we do then they win, but to be blatantly stupid about it isn’t a good idea either. Here’s the thing too all these guys running for office they all run their mouths about shit. They don’t have the briefings that they’ll get once they step into the position. They all come out saying things like an armchair quarterback, “this is what I’ll do.” When they get into the position and you actually get the facts then thing change. (laughs) I just hope whoever it is that gets in there is taking the situation very seriously and they know what we are up against, because we are in a period of history that could very well be the most dangerous that we’ve ever faced. That could be due to the nature of the war, the sooner people realize that we are in a religious war the sooner we could put an end to it. All this politically correct stuff is just fucking asinine so there you go.

Thanks so much for the interview Jon.

Thank you, if you make it out to the show come up and say hello.

R. Mosqueda