In the realm of hard rock and guitar virtuosity, few names resonate as profoundly as Rik Emmett.

Renowned for his masterful fretwork and distinctive vocals, Emmett has left an indelible mark on the music world through his solo career and tenure with the iconic Canadian rock band Triumph. Recently, he unveiled “Diamonds – The Best of the Hard Rock Years 1990 – 1995,” a compilation featuring tracks from his first three solo releases alongside two previously unreleased gems, fans can go on a sonic journey through Emmett‘s evolution during this dynamic period.

In an interview, with Sonic Perspectives collaborator Rodrigo Altaf, Rik graciously offered insights into the compilation and his illustrious career. Reflecting on the selection process behind the album’s tracklist, Emmett delved into the creative process that fueled his solo endeavors during the early ’90s. From the raw energy of “Absolutely” to the introspective musings of “The Spiral Notebook,” each song encapsulates a distinct facet of Emmett‘s multifaceted artistry, promising listeners a captivating auditory experience.

Beyond his musical exploits, Rik Emmett candidly addressed personal challenges, including his health journey and his tenure as a music teacher. Despite facing obstacles, Emmett‘s passion for music remains undiminished, evident in his commitment to sharing knowledge and inspiring future generations of musicians.

The conversation also touched on tour plans and the prospect of live performances – as his fans eagerly awaited the opportunity to witness Emmett‘s electrifying stage presence once more. Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.

The post RIK EMMETT On Collaborating With ALEX LIFESON & JAMES LABRIE: “That Was Probably One Of The Greatest Days In The Studio In My Life” appeared first on Sonic Perspectives.

As the bassist for Armored Saint and Fates Warning, Joey Vera has carved a unique legacy in the genre, spanning decades of uncompromising musicianship and reliable low-end on both these bands. With Armored Saint, he’s been an integral force behind the band’s dynamic blend of power, melody, and raw energy, while his tenure with Fates Warning has seen him contribute to the band’s progressive metal soundscapes, pushing boundaries and captivating audiences worldwide.

Joey toured with Anthrax in the mid-2000s and more recently played with Mercyful Fate until conflicts of schedule led him to leave the band. And if that wasn’t enough, he’s also a member of the hard rock outfit Motor Sister, along with vocalist/guitarist Jim Wilson (Mother Superior), guitarist Scott Ian (Anthrax), drummer John Tempesta (White Zombie, The Cult) and vocalist Pearl Aday (Pearl)

Armored Saint has been on a particularly tumultuous path. The loss of guitarist Dave Prichard, who succumbed to leukemia in 1990 was definitely the lowest point, and difficulties with the record company and the overall market landscape led to their split in 1992. Singer John Bush would join Anthrax and record a series of albums, and Armored Saint would only reunite in 1999, although their output would be sporadic back then. The release of 2010’s “La Raza” marked a period of more intense activity from the band, and nowadays they seem more active than ever.

Recently touring the U.S. and Canada in support of Queensrÿche and later doing a set of headlining shows in the US, Armored Saint had a handful of hectic few weeks and will take a break until the busy festival season during the summer months in Europe.

During their recent stop in Toronto, bassist Joey Vera sat down with Sonic Perspectives collaborator Rodrigo Altaf to discuss the recent tour, a few memorable shows from his past, and plans for the remainder of 2024. Listen to their spirited chat in the links below.

The post JOEY VERA Talks ARMORED SAINT’s Recent Tour, Upcoming New Single, And Discusses Likelihood Of FATES WARNING Touring appeared first on Sonic Perspectives.

Sebastian Bach will release his long-awaited studio album, “Child Within the Man”, on May 10th via Reigning Phoenix Music.

With a career that has spanned over 35 years and tens of millions of albums sold, billions of streams, chart-topping songs, and packing arenas/theaters worldwide, Sebastian is back with a vengeance with the release of “Child Within the Man”. All hail the new “King of all Media” with his monstrous imprint on music, theater, film, television, and pop culture.

Although his last album, “Give ‘Em Hell”, was released in 2014, Sebastian continued to tour and perform. He launched successful tours such as 18 and LIVE and the celebratory 30th-anniversary outings in honor of Skid Row‘s self-titled album and “Slave To The Grind”. In 2016, he released his critically acclaimed autobiography “18 and Life on Skid Row”.

“Child Within the Man” sees Sebastian blending the raw energy of aggressive metal with the allure of unforgettable melodic hooks. To bring his ten-year musical vision to life, Sebastian tapped into a diverse pool of talented musicians from the rock and metal world. Leading the charge with his unmistakable vocals, Sebastian enlisted Devin Bronson on guitar, Todd Kerns on bass, and Jeremy Colson on drums for the album. Adding luminaries like Myles Kennedy, John 5, Steve Stevens, and Orianthi as collaborators and guest stars further enriches songs with their unique styles.

With Elvis Baskette producing, it’s no surprise that the result is a boundary-pushing endeavor, delivering entertaining and enduringly memorable music. It’s exciting to see artists like Sebastian continue innovating and evolving within the metal and rock landscape.

On April 14th, Sebastian performed at the Whiskey-a-Go-Go and will start his tour in Brazil on April 26th. To pre-order the album or tickets to his upcoming shows, click HERE.

Correspondent Robert Cavuoto spoke with Sebastian, who shares how his management didn’t allow him to listen to his completed album or discuss any details of its creation with friends or family, how Myles Kennedy approached producer Elvis Baskette about sharing song ideas – one of them became the first single, how he appreciated working with Myles, and why Sebastian thinks this is his comeback album!

Watch or listen to their conversation below, and remember that for more interviews and other daily content, follow us on Facebook, Flipboard, and Twitter, or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.

The post SEBASTIAN BACH Talks New Album “Child Within The Man”: ‘It’s Mindblowing To Have My Songs Played On FM Radio In 2024’ appeared first on Sonic Perspectives.

Celebrating twenty years of existence, Baroness released their critically acclaimed sixth album, “Stone”, on September 15, 2023. As discussed in our review (which can be read here), this is one of their most cohesive pieces of work, although there’s plenty of room for experimentation. And obviously, now is the time to promote “Stone”, and showcase it to the world.

Entitled “Sweet Oblivion Tour”, this run of dates consists of more than 30 shows in 49 days. A gruesome schedule, but one which doesn’t seem to scare John Dyer Baizley (lead vocals, rhythm guitar), Gina Gleason (lead guitar, backing vocals), Nick Jost (bass, keyboards), and Sebastian Thomson (drums). The band still finds time to do store appearances on selected dates, where they do a short acoustic set and sign copies of the album.

In the heart of Toronto’s vibrant music scene, Sonic Perspectives collaborator Rodrigo Altaf had the unique opportunity to sit down with two of the driving forces behind the critically acclaimed band Baroness. Backstage at the iconic Danforth Music Hall on November 19th, the anticipation in the air was palpable as he caught up with Nick and Sebastian.

As the stage lights prepared to illuminate another unforgettable performance, they delved into the inner workings of Baroness, exploring the creative process, the evolution of the tour, and the raw energy that fuels their live shows. Join us as we go behind the scenes and unravel the sonic tapestry woven by these two exceptional musicians, offering a glimpse into the musical journey that has captivated audiences worldwide.

Listen to their conversation below, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard, and Twitter or subscribe to our YouTube channel to be notified about new content we publish on a daily basis.

The post Rhythmic Revelations: A Backstage Encounter with BARONESS’ Bassist NICK JOST and Drummer SEBASTIAN THOMSON appeared first on Sonic Perspectives.

Europe has recently released its new single, “Hold Your Head Up,” ahead of a 2024 documentary film about the band’s meteoric rise to becoming one of the greatest rock bands in history.

The song is a vibrant rocker reminiscent of their early hits and captures Joey Tempest [vocals], John Norum [guitars], John Levén [bass], Mic Michaeli [keyboards], and Ian Haugland [drums]continuing to be one of the most influential forces in rock music today. It was produced by Klas Åhlund (Ghost) and mixed by Stefan Glaumann (Rammstein, Def Leppard), who also mixed Europe‘s “Secret Society” album. To purchase “Hold Your Head Up” head over here.

Europe plans to head to the studio this winter to pull their song ideas and riffs together for a new album due out in late 2024 / early 2025. It will be their 12th and first studio album in five years since “Walk the Earth.”

The brand-new documentary entitled “Europe – The Movie” will tell the story of the band, from formation until the present day, telling of their rise to success in the mid-’80s, through hard times and heartache, to coming back in the millennium and the current successes the band has achieved.

Correspondent Robert Cavuoto spoke with Joey Tempest moments before they hit the stage at The Palladium in London last month for their second to last show of their Time Capsule, 40th Anniversary Tour. Joey shared how the band has been compiling song ideas and plans to go into the studio this winter. He also discusses content fans can expect to see in the documentary and reminisces on their heyday of the 80s when they were besieged in the street and the on-stage mishap that led to enlisting Mic Michaeli to handle the keyboard duties in 1984. Listen or read the transcript of their conversation below.

INTERVIEW TRANSCRIPT

You are playing at The Palladium tonight in London, a show for your Time Capsule 40th Anniversary tour. It must be close to show time.

It is only an hour and a half from showtime, so it’s getting exciting.  We are on this 40th-anniversary tour of 21 shows. It’s going so well, and I’m excited about playing in London. It’s a hometown gig for me, as well as Stockholm. I have two hometown gigs!

We spoke in 2017 for “Walk the Earth”, so getting some new music from the band has been long overdue. It’s a great song, and we are excited about it.

Thank you, we are pleased about it. We made it in the studio this summer before the tour kicked off. Since we weren’t touring during the pandemic, I was collecting ideas, and this is the one I felt strongly about. I sent it to the guys, and they all liked it and wanted to work on it. We managed to quickly get it done in a few days.

I read you will be putting out a documentary in 2024. I wondered if the new song “Hold Your Head Up” is a retrospective tribute to the band’s career that will be used in the film?

We are featuring the song in the documentary. It just came together that way, and it’s a good observation! It was luck that the song tied it all together. Early in the documentary, you see us in the studio today, but then you get transported to the suburbs of Väsby when we were teenagers dreaming of becoming a touring band and coming up with the band’s name. We also found old footage on VHS tape from hotel rooms and recording studios. We had more material than we initially thought. It all formed into a really good story at the end of the day. We are in the final stages of completing it, and it’s almost there. It will probably come out in early 2024.

Will it be available on a streaming platform or for a theatrical release?

We are involving people to get that together to find the most interesting scenario for it. It could be all of those aspects you mentioned. It will be a serious thing that we want fans to be able to see it. It’s a great story about the era.

There’s also a new album in the works for late 2024 / early 2025. How deep are you into writing and recording it?

We talked about that last week. We have some ideas. One was “Hold Your Head Up,” so we are not entirely starting from scratch. We think this winter, we will pull all the ideas together and send them to each other. If we are lucky, we can get it out, like you said, later next year or early 2025. We are looking forward to recording it. It’s been a while since Walk the Earth in 2017, which was recorded in Abbey Road Studios.

When you go into the studio, do you have all the songs fleshed out, or do you prefer to be more spontaneous in creating songs as a band?

We like to be very well prepared! We like to leave a few things in the air, like breaks, intros, or maybe a song that is less than 100%. We want to be rehearsed on 10 to 15 songs before we enter the studio. That’s the kind of band we are! Sometimes, we can be a bit lazy and write in the studio, depending on the producer. When we have worked with Dave Cobb, he is a good writer; he can join in on a bridge or intro, which works well because we know him. Sometimes, we can write one song in the studio.

I know you are still working on the songs, but will the album have any unexpected moments that Europe is famous for and fans can look forward to?

You sound familiar with the band, and we always like to take fans on an adventure. “Hold Your Head Up” has some punch to it with some old Europe metal edge to it while feeling modern. I have a few ideas that are a bit different to share with the band yet, so there will be some exciting stuff.

Will you be coming to the US to tour in support of the album when it does come out?

Yeah, I hope so! Our management company is in California, so we have an agent who is always looking. As you know, we were supposed to go to the US in 2020 on a major two-and-a-half-month tour, and it didn’t happen because of everything that went on in the world. We have been looking ever since, and it’s about finding the right scenario, band to go with, or package tour. We could look into going back to all the House of Blues venues again. It’s really important for us to get back to the US, and I hope it’s soon!

You’re an expressive lyrist who can paint pictures in people’s minds and a terrific storyteller writing about positivity and hope. What do you think is your biggest strength as a songwriter?

That’s an interesting question. I don’t know where it comes from, but I know my Mom has always been a very positive soul! I have some of her thinking on that aspect; there is always hope, and there is always light! That sentiment always creeps in even when we write about a tragic event in the world. It’s just the way I am, I suppose. That doesn’t stop us from finding issues that are more serious. At the end of the day, it’s music, and it’s Rock & Roll. I have never gone down the road to do a serious album about a theme. We started in that direction for the “Walk the Earth” about where democracy went [laughing], but halfway through, we realized we are a rock band! There are a few things in there that make you think a bit more.

With that thought in mind, what inspired you lyrically when you first started Europe, and what inspires you now?

You get older, and you start thinking about everything that you have experienced. You have a late-career and an early career, so you can look at things in relation to each other with more depth. You read more and write more music as you evolve. I like to anchor lyrics in reality more than the first album when we were 18 years old. It was cool when it sounded cool, and that was it [laughing]! My Dad passed away, and when I wrote the lyrics to “Hold Your Head Up,” I remember him telling me, “Get up; I know you can do this!” That was the thought behind that song, but I’m sure the album will have new songs anchored around the band, my life, or what is happening around the world. I think that is how you evolve; you tend to write about things that are important to you.

Are you always inspired to create music?

Yes, I think about music every day and listen to music every day. I play guitar and keyboard almost every day, depending on what I’m doing or if I’m traveling. It’s been part of my life since I was 6 or 7. There was always an instrument at home. My sister had a guitar and piano, and she didn’t continue, but I did. I like to express myself musically, and it makes me feel good to write and think of new ideas. I collect lyrics and melody lines all the time.

Keeping the documentary in mind with the history of your career, what are one or two key attributes that you feel have carried Europe through all the ups and downs of the music business and challenges the band faces on a daily basis?

The main thing is that we are all from the same place. We used to watch concerts together, we rehearsed together, and we partied together in those days. We went to different schools, but we were still connected with friends and watching each other’s bands. That is one of the things that we really appreciate after all these years. The band is like one soul with five different elements. It carries us now as the egos have calmed down, so there are no major fights. We feel lucky that we have each other and have this job. In the realm of music, we are all in agreement with the same artists and music styles. That means there will never be a major issue with choosing or writing songs. We are in the same world musically, so there will never be disputes going down with our musical roots. Some bands break up citing musical differences; wow, how is that possible? In a band that has been together a long time, it’s difficult to cite that as a reason. It comes down to the fact that we have so much in common regarding music, direction, and playing live.

Growing up in the 80s and listening to your music was a magical time. Is there anything worth reliving from the 80s?

They were great moments and tough moments, too. There were things we didn’t like to do, like perform on the family TV shows. We didn’t want to keep doing it, and some of us hated it more than others. There are elements from when we started to become one of the biggest bands in the world: going through cities like Rome, Paris, Los Angeles, New York, and Tokyo and experiencing it together, then going out to clubs after the show, we felt on top of the world. That feeling is there! There were a lot of playback sessions and lots of travel when we wanted to be on the road instead [laughing]. We had the down period when Grunge came in. The band went home to Stockholm only to find that some of the members realized they had less money. It was tough for some of the guys for a while. We met each other again and wanted to help each other and carry each other. Now we are together longer than on the first run. It’s about communicating and having the same goal of working together.

That’s a testament to your friendship.

Yes.

When you were on tour in the 80s, was it like Beatlemania when you rolled into a new city?

It was! In Rome, we had to sneak out of a big church when people started recognizing us. We couldn’t go on the streets in Europe for a while. Being in cars to go to and from the shows was almost impossible. Some of the stories are in the documentary. It was out of control for a while [laughing]. It was cool to go through it, it was all a good thing. People were just wanting a piece of us [laughing].

On the first two albums, you played keyboards, and then on the third, you brought in Mic; tell us about the decision to transition to having a fifth member.

There was an early moment in Europe‘s career when I played keyboards on stage. I had a bad experience when the keyboard broke down, and I was standing there with the keyboard misfiring and sounding weird. It was one of those decisions that I’m not going to go down this road again! Even though I played keyboards on the first two albums, in the back of our minds, we wanted to have that extra band member. Mic was a friend from school who was in a band, Avalon. He was the one who lent me a keyboard in college and wrote the “The Final Countdown” on. We were connected in that sense, and he was the only guy in school who had a keyboard [laughing]. Later on, we remembered him. He was still part of the music scene and played in different bands, and one of his bands opened up for us. We went to ask him, and he pretended to be cool about it; inside, he was like, “Yes! Yes! Yes!” He wanted to be in a touring band. So, in 1984/1985, everything kicked off with this line-up we are still with today.

The post JOEY TEMPEST of EUROPE Reflects On New Single “Hold Your Head Up”: ‘We Always Like to Take Fans On an Adventure’ appeared first on Sonic Perspectives.

Not many bands can leave a lasting impression and legacy like Black Sabbath have done over the last 50 years. They have been flying the flag for heavy metal throughout their career to legions of fans around the world since their eponymous debut album, “Black Sabbath”, which was released on February 13, 1970. They went on to sell over 46 million albums, with 19 releases making them.

They are arguably one of the world’s biggest bands in the world and the Godfathers of Heavy Metal. Black Sabbath and its original members, including Ozzy Osbourne [vocals], Geezer Butler [bass], Tony Iommi [guitar], and Bill Ward [drums], are household names due to their hard work and perseverance. Together they catapulted Black Sabbath to stardom and became heavy metal legends.

Now Geezer Butler has released his career-spanning memoir, Into The Void: From Birth To Black Sabbath – And Beyond, which provides insights into the band’s tumultuous career with all the member changes. The book is a fascinating page-turner that chronicles his life growing up in Birmingham, England, forming Sabbath, penning the lyrics for their songs, and touring the world countless times over. He candidly shares the circumstances surrounding his departure in 1986 and what led to the band’s reunion with the four original members in 1997/1998.

Into The Void: From Birth To Black Sabbath – And Beyond is a must-read for Black Sabbath fans as it is written from a place of honesty and passion while done with integrity. The book is be available today (June 6th) in North America and will arrive in the United Kingdom on June 8th. Orders are available on Amazon.

Robert Cavuoto caught up with the legendary Geezer Butler, for a candid interview – in collaboration with our friends from Bravewords – about his life in and out of Black Sabbath. He gives us a deep dive into how they convinced Bill Ward to join the band in the late ’60s, how drugs initially fueled the band’s creativity only to hinder it later, insights into his most misunderstood song, “Black Sabbath,” and which songs from their 1980 release “Heaven and Hell” were initially written for Ozzy Osbourne. He provides the rationale for Ronnie James Dio‘s departure in 1982, why he sold the rights to the band’s name to Tony Iommi, and always remained friends with Bill Ward despite him not being part of the Sabbath‘s reunion tour. Listen to their conversation below – or read the transcript -, and remember that for more interviews and other daily content, make sure to follow Sonic Perspectives on Facebook, Flipboard and Twitter and  subscribe to our YouTube channel to be notified about new content we publish on a daily basis.

Interview Transcript:

I enjoyed your biography and learned so much from it. Readers will need an organizational diagram or scorecard to track all the musicians who have come and gone in Black Sabbath’s storied career.

 I lost track myself [laughing].

That situation lends itself to the thought that every rock band is dysfunctional.

Yes! It must be when working with four completely different people, or however many were in and out of Sabbath. We all have our quirks, and we are all very different.

There are so many great stories in the book, and the one I found most intriguing was that drugs helped seal the deal for the four original members to unite and forge a friendship that catapulted the Sabbath to stardom. Without drugs, we may have never had Sabbath, which is hard to wrap my head around.

It certainly helped in the early days! As soon as we showed Bill Ward that we had hash, he was “all in” to joining us!

Sabbath forever changed the heavy metal landscape with their songs and riffs. The songs still hold up some 50 years later. Once the band was established, do you think the drugs enabled or hindered creativity?

Eventually, it hindered the process. It was boring in those days as there was no internet to look at on your laptop, there were only two TV channels, and both finished at 11:00 pm in the UK. You couldn’t phone home without it costing a fortune.  It was just something to do when you got together. We saw drinking booze and taking various drugs as a way to socialize.

Did the band do other things to occupy their time while on tour or between making albums outside of music?

Apart from the groupies which, you would get tired of them quickly. I would read as I brought a lot of books with me.

You wrote the lyrics to most of Sabbath’s songs. What’s so interesting is how misinterpreted they have been to being pro-Satanism.

Exactly; the first song I wrote, “Black Sabbath,” was a warning against Satanism and not to get involved in the occult. In England, many people were involved in black magic; the Stones had their album, Their Satanic Majesties Request, and Arthur Brown was singing about “I am the God of Hellfire.” It was a big underground satanic thing. People who were brainwashed by Christianity were looking for something to rebel against their parents. By rebelling, they were turning to the dark side. It was a fad that didn’t last very long, and the song “Black Sabbath” warned against it. It was totally misunderstood, particularly when we got to America.

Why is “Into the Void” the perfect title for this book, and how does it relate to your career with the band?

I came up with ten different titles for the book. The publishers liked After Forever and Into the Void. Eventually, after consensus, Into the Void won as the strongest. We were called Into the Void when we first started the band, and nobody gave us a chance in Hell of doing anything. Our parents figured let them do their thing for a year, and then they will come to their senses and get proper jobs. That summed it up best.

Being on tour is a hard and lonely life, as I can understand your parent’s perspective to let it run its course and get it out of your system.

It is a hard life being away from home, missing people, being in strange places, and not knowing anyone. The only people you know are the band.

You mentioned everyone in Sabbath had a predetermined role in Sabbath right from the beginning; Tony was the leader, Bill was the fall guy, and Ozzy was the joker and not held in the highest regard. What was your predetermined role?

I gave the band the direction in the type of music we played, from Blues to Cream, and eventually to adding Aynsley Dunbar‘s song “Retaliation” to the first Sabbath album. I also gave the band the name Black Sabbath.

In the late 70s, when Ozzy Osbourne was still with Sabbath and on the verge of leaving, I found it odd to hear he pointed out Sabbath’s songs had too many keyboards. Considering he had Don Airey play keyboards on “Blizzard of Ozz” and backed up most of Randy Rhoad’s guitar playing.

 That’s typical Ozzy! I think he meant that we were doing more instrumental songs towards the end of the original line-up, so he felt left out. He didn’t want us going in that direction.

My introduction to Sabbath was the “Heaven and Hell” album. The songs on that album were light years ahead of what was happening musically at the time. Were those riffs or song ideas written for a potential album with Ozzy?

 They were! A couple of songs were written with him in mind, especially “Children of the Sea.” When we were writing that with Ozzy, he didn’t have much interest in it. There may have been two or three other riffs Tony had come up with that eventually came out on the “Heaven and Hell” album. I think Ozzy had lost interest in the songs by that time.

Did Ozzy have alternate lyrics to “Children of the Sea”?

I don’t really remember that now.

Ronnie James Dio was eventually let go from Sabbath, and in the book, you never explained how he took the news of being fired.

I think he saw it coming because he already had a solo record deal with Warner Brothers, which we weren’t told about. When we did find out about it, he wasn’t a member of our band because he went his own way. It was just one of those things that happened. I don’t think anyone ever said to him, “You’re out of the band,” It was a mutual agreement.

When you left Sabbath in 1986, you sold the rights to the band’s name to Tony. Why did you do it, and do you regret it?

I really thought it was the end of Sabbath. I never envisioned the four of us getting back together or Ozzy coming back. To me, that was the end of Black Sabbath. I had things going on in my private life, and Tony wanted to carry on with the band, so I said take the name. I would not go on calling myself Black Sabbath. I would never do that. Tony wanted to, so he made me an offer, and I took it. The only regret was when the original band did get back together. Ozzy was talking about the name’s origins when the originals got back together. We got it sorted out in the end, and I was happy to have it solved.

Did it impact all the merchandise at the time?

How it works is if Tony and Ozzy agree to something and I don’t, I have the final say because they own the name. Aside from that, everything is still split four ways.

In the book, you discuss when Ozzy left Sabbath, he asked you to form a band.

Yeah, we were thinking about it. At the time, Ozzy was getting fed up with things, and I was getting delusional about the band and didn’t feel I was having enough say. Ozzy and I discussed getting a band ourselves, but that fell through.

It was a testament to your friendship to separate from Sabbath and put together another band.

We still remained friends apart from all the ups and downs of the band. You can’t have four people together for 50 years and not handle the ups and downs. There have been terrible fall-outs; you forget it and then come back together. It’s just the way of life!

 That’s a fascinating point, as you were very candid and shared things that were said against you as well as sharing challenging stories about other members, but the band still found the compassion to remain friends despite all the ill words to reunite.

I think it is all about trying to prove your point of view. You start to feel that my point of view is right, so yours must be wrong. Eventually, it becomes water under the bridge.

In 2006, Black Sabbath was inducted into the Rock & Roll Hall of Fame. Why did the band refuse to perform at the ceremony?

Because we didn’t want to be accepted, we had been turned down by them for ten years. Eventually, we said, “Why don’t you just take us off the ballets?” Then they said you’re in, and we weren’t expecting it, so it didn’t mean anything to us then. They asked us if we would play, and we said No. We decided we would turn up but not play.

You gave your very honest opinions of the situation in the book on the members of Sabbath; what is your opinion that Ozzy may go out on tour performing in a wheelchair?

I wouldn’t be surprised; it’s up to him and has to do with his solo career. Whatever Ozzy wants to do is up to him. It’s sad that he has to do it, but if Ozzy wants to get out there and play to his fans one more time, good luck to him!

Do you still stay in touch with Tony, Ozzy, and Bill?

I do with Tony. Bill doesn’t have the internet, and I haven’t talked with Ozzy since the last Sabbath gig.

Bill wasn’t part of the most recent reunion tours. He was publicly upset about not being part of it, and I wonder if you ever made amends with him.

I never fell out with Bill. There were no hard feelings in 2019 when we got a Grammy Lifetime Achievement Award. He wasn’t on the tour in any capacity. Even if he just came on for a couple of songs, it would have been brilliant. Bill felt it was all or nothing, which we respected. I still don’t exactly know what happened between Ozzy, Tony, and Bill. I was on holiday in Hawaii, and when I came back, Bill wasn’t in the band. So I never got onto it.

One of the biggest concerns expressed in the media was whether Bill could perform a two-hour show. Was there ever a doubt in your mind he could make it through a show and a tour?

I don’t think he could. It’s one of those things that we gave him the option to do as much as he could. Bill‘s attitude was that he wanted to do the whole thing, not part of it, and if he was not doing the whole thing, he didn’t want to be part of it. If they had said to me I could come on and play bass for three songs, then piss off, I would be really upset as well!

You have put out solo albums in the past. Are you working on any new music?

Not at the moment. I’m getting up there in age. I’m always writing music and playing, but no plans to release anything.

Do you still practice bass?

I’m still playing, just yesterday, in fact. I love playing. I find it relaxing while getting my frustrations out!

Was this book written during the pandemic while you were locked in the house with nowhere to go and nothing to do?

A lot of it was. I probably had about 500 pages. The publishers said, “You can’t say that you can’t say this, and you will get sued if you say that!” [Laughing] They also would cut out parts that they felt were boring. They got 500 pages down to about 300 pages.

I bet the stories cut for legality reasons were pretty good.

Absolutely! I told the publishers I was in Black Sabbath, not The Osmonds! [Laughing] They told me that if I could give them proof, we could keep it in. I told them I didn’t have a camera crew following me around every day of my life, so you have to take my word for it! They didn’t, so we left it out of the book.

I want to thank you for your time today and wish you an early Merry Christmas! [laughing].

[Laughing] Thank you!

People will have to read the book and get to the epilogue to understand that inside joke!

The post BLACK SABBATH’s GEEZER BUTLER Talks Upcoming Book “Into the Void”: ‘There Have Been Terrible Fall-Outs; You Forget Them and Come Back Together’ appeared first on Sonic Perspectives.

Often wonder and been intrigued by what life is like working, managing or being an artist, a rock star? Traveling to foreign countries, seeing the sights, feeling the energy of live audiences, night after night, and experiencing firsthand the screaming fans? It’s not always glorious or glamorous; in fact, there is more to it than you think. One thing for sure, it takes a lot of people to make it happen, with lots of talent, dedication, and nerves of steel to deal with the unknown day after day. It’s hard work, it’s a life like no other. If you’re lucky enough to experience it, love it, and embrace it for what it is, it can be yours for a lifetime.

Rikk Feulner has spent over four decades as a tour manager, working with some of the most iconic musicians in rock and country music: The Eagles, Robert Plant, Johnny Winter, Keith Urban and Dream Theater, just to name a few. Having crisscrossed the globe countless times, he has accumulated a wealth of experiences and stories that he now shares in his new book “Stars Don’t Carry Their Own Baggage”. With an insider’s perspective on the music industry and a deep love for the craft, Feulner offers a fascinating glimpse into the world of touring and the people who make it all happen.

“Stars Don’t Carry Their Own Baggage” is the story of up-and-coming 80’s rock band Cherry Thieves. but this isn’t your typical rock-n-roll origin story, this is the early days of a band through the eyes of their tour manager. Get the inside scoop, hear the untold stories, and find out if Cherry Thieves can survive their first world tour, and each other…

To get an insider’s view of Rikk‘s experience and how they reflected in a fictional way on his new book, restless interviewer Rodrigo Altaf sat down with Feulner for over half an hour, to discuss about his life on the road and how thousands of anecdotes shaped the pages of “Stars Don’t Carry Their Own Baggage”, what it takes for someone to be a great band manager, and of course, you can expect some Dream Theater insight, like who were the worst opening act for them, and what to expect from their upcoming summer tour. Watch or listen to their entertaining conversation below; and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.

Order “Stars Don’t Carry Their Own Baggage” from any of the following links: Amazon | LuLu | Barnes And Noble

The post Music Industry Veteran & Longtime DREAM THEATER Tour Manager RIKK FEULNER Talks New Book, Life on The Road and Upcoming DREAM THEATER Summer Tour: “DREAM THEATER Don’t Get to Play Any Festival in the US, So They Created Their Own” appeared first on Sonic Perspectives.

Multi-platinum rocker Theory Of A Deadman will release their eighth studio album, “Dinosaur”, on March 17th via Roadrunner Records.

The track “Dinosaur” is currently at #12 on the Top 10 at U.S. Active Rock Radio and quickly approaching the Top 10. This album marks a return to form stylistically while growing and learning to solidify their place at the top of modern hard rock. Ultimately “Dinosaur” stands out as the band’s best work to date because it’s about a shared experience with the audience. Theory Of A Deadman featuring Tyler Connolly [lead vocals, guitar], Dave Brenner [guitar, backing vocals], Dean Back [bass], and Joey Dandeneau [drums, backing vocals] have found their groove. This hard-hitting album’s ten songs riffs lumber ahead with the swaggering force of a T-Rex and the grace of a Brontosaurus.

While the singles “Dinosaur” and “Ambulance” hit you like a freight train, their newest single, “Two Of Us (Stuck),” slows things down to showcase the band’s signature wit on a breezy piano-laden breakup bop that takes a hard left from the refrain of the Grover Washington Jr. and Bill Withers classic “Just The Two Of Us.” Ultimately, Theory Of A Deadman is giving rock n’ roll precisely what it needs to deliver a barrage of rock anthems.

 “Dinosaur” is available to pre-order now at  THIS LOCATION.

Theory Of A Deadman will perform tracks off “Dinosaur” for audiences worldwide throughout the year. Following a run of dates this winter in New Zealand and Australia, the band teams up with Skillet for the co-headlining Rock Resurrection Tour. The 25-date trek, also featuring support from Saint Asonia, crosses the U.S. from February 17th through March 26th, where it wraps at The Wiltern in Los Angeles. See below for all upcoming tour dates, and visit HERE for more info and to purchase.

Correspondent Robert Cavuoto had an in-depth conversation with bassist Dean Back about the making of “Dinosaur”, the importance of injecting humor into their songs, his insights into the three key aspects that lead to the band’s success, and what new songs fans can expect to hear on the Rock Resurrection Tour. Listen to conversation below and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.

“Dinosaur’ Album Artwork

“‘Dinosaur’ takes us back to our roots with this riff-driven rocker,” shares Connolly. “To me, it feels like it could fit on any of our albums, but I will say if you like the old THEORY OF A DEADMAN, you’ll love the new THEORY OF A DEADMAN.”

“Rock is where we made our bed for all these years,” adds guitarist Dave Brenner. “It’s been a while since we had an up-tempo in-your-face track like this — and it felt good.”

With sky-high hooks, riffs as thick as a 2×4, rumbling grooves, and a razor-sharp sense of humor, THEORY OF A DEADMAN — Tyler Connolly (lead vocals, guitar),Dave Brenner (guitar, backing vocals),Dean Back (bass),and Joey Dandeneau (drums, backing vocals) — have quietly persisted as an unapologetic, unbreakable, and undeniable hard rock force with major multi-platinum hits and countless sold-out shows in each of the past two decades. Jamming together in basements throughout high school, the band burst out of their small hometown of North Delta, British Columbia with the self-titled “Theory Of A Deadman” during 2002.

In addition to the double-platinum breakthrough album “Scars & Souvenirs” (2008) and gold-certified “The Truth Is…” (2011),THEORY OF A DEADMAN have notched a procession of hits, including the gold-certified “All Or Nothing”, “Bitch Came Back” and “Lowlife”, platinum-certified “Angel”, “Hate My Life” and “Not Meant To Be”, double-platinum “Bad Girlfriend” and triple-platinum “RX (Medicate)”. As the biggest smash of their career thus far, the latter hit, off their 2017 album “Wake Up Call”, marked their third No. 1 on the Billboard Hot Mainstream Rock Tracks chart and garnered a nomination for “Rock Song Of The Year” at the iHeartRadio Music Awards.

Their impressive catalogue has also logged two Top 10 debuts on the Billboard 200 and amassed more than one billion collective streams on Spotify alone and over 675 million views on their official YouTube. In 2020, the award-winning band’s seventh studio album, “Say Nothing”, landed at No. 2 on the Billboard Alternative Albums chart and No. 3 on the Rock Albums chart. Plus, the album, featuring the chart-topping and powerful single “History Of Violence”, earned praise from American Songwriter, Billboard, Alternative Press and Classic Rock magazine which awarded it four out of five stars.

The post DEAN BACK of THEORY OF A DEADMAN Discusses Upcoming “Dinosaur “Album: “It Will Take You on A Roller Coaster Ride Between The Rockers and Ballads” appeared first on Sonic Perspectives.

The achievements of rock n’ roll heavyweights The Trews are many and mighty, highlighted by multiple radio hits drawn from seven critically acclaimed studio albums plus several EPs, a pair of live records, and a retrospective. The band’s 2021 release, “Wanderer,” emerged with their fiercest and most accomplished songs to date, taking the band further into the realm of rock greatness.

The Trews — Colin MacDonald [singer/guitarist], John-Angus MacDonald [guitarist], Jack Syperek [bassist], Chris Gormley, and Jeff Heisholt [keyboards]are currently on a US tour that started January 24th in Boston, MA, and wrapped it up last February 5th in Chicago, IL.

Click HERE to keep yourself up-to-date with what’s going on in their musical universe.

Correspondent, Robert Cavuoto, spoke with guitarist John-Angus MacDonald almost at the end of the tour, about the band’s latest release, how they captured their signature sound, the challenges of hitting the road post-pandemic, and the legacy the band wants to leave behind. Listen to conversation below  and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.

The post JOHN-ANGUS MACDONALD of THE TREWS: “I Want to Write Songs That Mean Something to People” appeared first on Sonic Perspectives.

August 19th marked the release of the self-titled debut of SiX by SiX. The collaboration between Saga‘s guitarist Ian Crichton, singer, producer and bass player Robert Berry, and Saxon‘s drummer Nigel Glockler will impress the most demanding progressive rock fans out there.

Six By Six was born when Robert and Ian started exchanging ideas and sewing them onto proper songs. A year’s worth of work went by until the duo was confident that they had something special in their hands, and Nigel was brought into the fold to add his beats to the material. The end result is prog-rock at its best: from the positive message of “Yearning to Fly”, through the political leanings of “China”, all the way to the heavy riffing of “Save the Night”, the trio brims with confidence, and shows their potential to go even further. While the chemistry of the band transcends audio speakers and their sound is distinctly their own, comparisons to other power trios past and present will likely be inevitable. SiX by SiX boldly say, “Bring it on!”

Certainly, discerning listeners will hear an expansive guitar-driven pallet, paired sonically with the unique flavor of the Crichton/Berry songwriting collaboration. If you don’t already know Ian, Nigel, or Robert individually or collectively as SiX by SiX, you’ll likely know them soon. Management is in place; the record company has assembled an enthusiastic support team and a tour is in the works.

Nigel Glockler might be more famous for pounding the drums with British metal legends of Saxon, but he’s no stranger to prog-rock. Having been part of the super-group GTR and Asia in the 80’s, and being influenced by Italian proggers PFM and many more, he displays a different side of his playing on SiX by SiX. The band is really excited with the recent release, and plans for a tour are well underway.

Sonic Perspectives collaborator Rodrigo Altaf is a longtime Saxon fan, and was able to sit down with Nigel to discuss the new band, the highlights of his career, and future touring plans. Watch or listen to their spirited chat on the links below  and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.

The post SAXON’s Drummer NIGEL GLOCKLER Reflects on SIX BY SIX Debut Album: “It Was Great Fun to Make This Record, and the Vibe in the Band is Very Positive” appeared first on Sonic Perspectives.

A lone soldier on the front-lines of creativity, John Mitchell has been at the forefront of forward- thinking and progressive rock for decades now. As a member of such revered prog ensembles as It Bites, Arena, Frost* and his own projects Kino and The Urbane, he has become a uniquely vital contributor to the modern scene, while his credentials as a producer for countless contemporary rock acts are unquestionable. But since 2015, John has been operating under name Lonely Robot: a solo project in all but name, it has enabled him to fully express his own musical vision, via some of the most vivid and fascinating music of his career to date.

“The truth is, I only ever intended to make three albums and then stop,” he laughs. “Then we got to the end of the three albums and I had a discussion with the label about maybe not releasing the next one under the name Lonely Robot, but with true Germanic business sense, they said, ‘We have established the brand now!’ So then everyone’s wondering where the guy in the spacesuit has gone! But I don’t really care what it’s called, as long as I get to keep making music. The thing I find most freeing about Lonely Robot is that I can just sit there on my own, get on with it at my own pace and not wait around for other people!”

If the first four Lonely Robots offered wistful, sci-fi-tinged observations on the state of things, the new record “A Model Life” is perhaps understandably infused with the anxieties and ominous omens of the real life, present day. The new songs have a little more grit under their fingernails than any of their predecessors; even if the relentlessly inventive, melodic splurge of his songwriting remains soundly intact. In musical terms, “A Model Life” marks a notable departure from the synth-fuelled futurism of 2020’s “Feelings Are Good.” It hits harder than any previous Lonely Robot record, but with a warmth and wit that few can match. Meanwhile, with long-awaited tour dates tentatively etched into the horizon, John Mitchell declares himself ready and cautiously optimistic for whatever the future holds.

“A Model Life” will be available as Limited CD Digipak, Gatefold 2LP+CD & as Digital Album. Pre-order it now here.

Our unstoppable interviewer Rodrigo Altaf sat down once again with John Mitchell at the brink of the release of “A Model Life” and they engaged in a dynamic chat peppered with jokes, discussing Mitchell‘s creative process, how Craig Blundell drums made it to the album, what lies ahead for Kino, Frost* and Arena, the status of the upcoming tour dates and much more. Watch or listen to their spirited chat on the links below  and remember that for more interviews and other daily content, Sonic Perspectives is on Facebook, Flipboard, Twitter and YouTube, where you can be notified about new content we publish on a daily basis.

The post LONELY ROBOT’s JOHN MITCHELL Dissects New Album “A Model Life”, Talks Future and More: ‘I Really Wanted this LONELY ROBOT Record to Be as it Turned Out, It is Certainly My Favorite’ appeared first on Sonic Perspectives.