Tag Archives: Ozzy Osbourne

Ozzy “not ready to retire”

Ozzy Osbourne has stalled his plans to retire because he doesn’t want to die like his father.

Sharon Osbourne wants a commitment from her husband, the former Black Sabbath frontman to announce his plans to give up performing live next year, after he turns 70.  Ozzy, on the other hand, insists she’ll have to wait a while because he’s not ready to walk away from the stage.

Ozzy told Rolling Stone:

“People around my age go, ‘I’m 65 now. I’m retired’, and then they f**king die.  My father got a bit of cash from the job he had, did the garden and died.

That’s a bit of an anticlimax after working so many years in a factory. I ain’t retiring. People still want to see me, so what’s there to retire from?”

He assured fans that the end of Black Sabbath earlier this year wasn’t the start of his own swansong:

“They’ve (bandmates) retired but I haven’t.”

The news will come as a bit of a surprise to his wife, who recently confirmed she and Ozzy had arrived at a retirement plan.

The TV personality, who has managed her husband’s career for decades, announced she is preparing to wind down her appearances on shows like The Talk in America and Britain’s The X Factor within five years and she has told Ozzy he must give up touring.

Sharon has been reported as saying:

“I’ve given myself five years then it’s time to say goodbye from the industry.  I just think that it would be enough. I want to keep my dignity. I’ve been working since I was 15 in this industry and I think that’s enough.

It’s very difficult if you’re at a gig and you’re the oldest person in the room. I think when you get to a certain age it can be somewhat embarrassing. I don’t want to be one of those people standing at the side in a mini skirt pretending you love it. I don’t want Ozzy singing Crazy Train at 75. I think it’s best you go out before you hit that 70 and go out on top.”

Wyrd Ways Rock Show Presents: Powerzone – 12/12/2016

This is a pretty special one, it’s our 150th show special! The Gentleman and Roadie are joined in the studio by occasional guest presenter Mark, we play some awesome tunes and even have time for a game of ‘Moth or Band’. Sound fun? Have a listen and enjoy! – GoM m/

Ennio Morricone – The Ecstasy Of Gold
Metallica – Fuel
Dreamtale – Dreality (Cheese Sandwich)
Freedom Call – Metal Is For Everyone (Cheese Sandwich)
Eluveitie – King
Korpiklaani – Hunting Song
Skálmöld – Niðavellir
Svartsot – Jotunheimsfærden
Grave Digger – Healed By Metal
Sabaton – Winged Hussars
Nightwish – 7 Days To The Wolves (Epic Track)
Xandria – We Are Murderers
Sonata Arctica – Full Moon (Volt Track)
In Flames – Moonshield (Volt Track)
Kalmah – Cold Sweat [Thin Lizzy Cover] (Coverzone)
Vicious Rumors – Chasing The Priest
Metal Church – Reset
Iron Maiden – Another Life
Black Sabbath – Fairies Wear Boots
Judas Priest – Electric Eye
Motörhead – Trigger
Ozzy Osbourne – Shot In The Dark
Black Label Society – Concrete Jungle
Europe – Rock The Night
Warrant – Cherry Pie
Dio – Rainbow In The Dark

Powerzone Halloween Spooktacular!

No tricks, just treats on this week’s Powerzone!

Make us your evil evenings soundtrack, we’ve got all the Metal you need to make your Halloween BRUTAL!

Including ghouls, ghosts, vampires, scary clowns, bears, trolls, goblins, witches, wolves, zombies and Frankenstein’s in attendance! See you at the link…

Grave Digger – Return Of The Reaper / Hell Funeral
Civil War – Road To Victory
Hammerfall – The Sacred Vow
Lordi – Hell Sent In The Clowns
Alice Cooper – Feed My Frankenstein
Finntroll – Sång
Nekrogoblikon – Bears
Ghoul – Blood And Guts
Tankard – Zombie Attack
Helloween – Halloween (Epic Track)
Trick Or Treat – Paper Dragon
Hell – Land Of The Living Dead (Volt Track)
Mercyful Fate – Evil
Carach Angren – The Sighting Is A Portant Of Doom
Cradle Of Filth – Hallowed By Thy Name [Iron Maiden Cover] (Coverzone)
Evil Scarecrow – Crabulon
The Devin Townsend Band – Vampira
Iced Earth – Wolf
Twins Crew – Burn The Witch
Wolf – At The Graveyard
Powerwolf – Headless Cross [Black Sabbath Cover]

Wyrd Ways Rock Show Presents: Powerzone! 10th October 2016

Get yourself battle ready to enter the Powerzone! – we’re off to tear internet radio a new one!

Coming up on the show this week, we’ve got some brand new Sonata Arctica, Sabaton, Vetten Äpärät, Lordi, Skálmöld and Alestorm – but it’s not all about the new: we’ve got classic metal galore, including the long awaited return of WATT Year! Plus plenty of folk and power metal as per usual, should be a good ‘un! Join us cos we’ll be bringing the BRUTAL! \m/

Here’s the Playlist:
Hammerforce – Access Denied
Sonata Arctica – Fairytale
Kamelot – The Black Halo
Lordi – Down With The Devil
Rob Zombie – Demonoid Phenomenon
Black Sabbath – Jerusalem (WATT Year?)
King Diamond – The Trial (WATT Year?)
Iced Earth – Iced Earth (WATT Year?)
Trollfest – Uraltes Elemente
Vetten Äpärät — Wind Of Exhaustion
Iron Maiden – Dream Of Mirrors (Epic Track)
Megadeth – A Tout Le Monde
Whispered – Strike! (Volt Track)
Children Of Bodom – Red Light In My Eyes Part 2
Sabaton – Camouflage
Battle Beast – Into The Heart Of Danger
Ozzy Osbourne – No More Tears
Black Label Society – What’s In You
Alestorm – Kvaðning (Skálmöld Cover) [Overload] {Coverzone}
Skálmöld – Drink (Alestorm Cover) [Overload] {Coverzone}
In Flames – Eye Of The Beholder (Metallica Cover) [Overload] {Coverzone}
Brymir – The Rain

Who Are The Metal Taliban?

I recently joined a couple of Metal forums, to see if anything had changed in the years since I last had the time to use them.  It seems that they have, and not necessarily for the better.  The experience shows a lot of what is wrong with the Metal scene at the moment, and has been for about the last ten years or so.  Actually nearer 20.  That problem is fracturing of the fanbase, caused by elitism.

What do I mean by that?

It’s in the title: The Metal Taliban.

They seem to think they have the right to decide what is Metal, and what isn’t.  If it’s not Metal, it is derided and so are it’s fans.

They are the reason the live scene as a whole is struggling and why Metal will not be able to reach the heights it did in the late 80’s.  The Metal Taliban have decreed that if it doesn’t have Cookie Monster vocals, it’s not Metal.  If it doesn’t sound as if it was recorded inside a biscuit tin, it’s not Metal.  If more than three people like it, it’s not Metal.

That’s bollocks.  Are these people saying that Ronnie James Dio wasn’t Metal?  Are they saying Simon Hall, Dave Mustaine, Rob Halford, Bruce Dickinson, Jorn Lande and Ozzy Osbourne aren’t Metal?  They’ll also tell you, with that air of smug superiority they all seem to have, that anything “-core” isn’t Metal.  I’m here to tell you that it is.  It ALL is.  Just because you don’t like it doesn’t give you the right to decide it’s not Metal.

So what, I hear you ask, is Metal?  It’s very simple.  Far simpler than The Metal Taliban would have you believe.  It’s a more aggressive, louder, faster offshoot of Blues.  That’s all you need in terms of a definition.  Mötley Crüe, Def Leppard, Guns N’ Roses, Metallica, Judas Priest, Dimmu Borgir, Bring Me The Horizon, Black Veil Brides are ALL Metal.  Why?  Offshoot of Blues.  Blues-y chord progressions with lyrics with meaning (sometimes stories).  That is Heavy Metal.  That is what it all boils down to.  -core is what happens when Hardcore (which is really Punk cross pollinated with Thrash) cross pollinates with… well… Thrash.

The list goes on, but they are all formed by another form of music cross pollinating with Heavy Metal.  That makes them ALL Metal.  Don’t like that?  Tell it to someone who gives a flying one.  That, dear friends, is the crux of it; “Like”.  There are people (The aforementioned Metal Taliban) who decide that they like Metal.  They then decide that if they don’t like it, it’s not Metal.  They’re like the “troo kvlt” Black Metal kids (and they usually are kids).  Blinkered fools who want to be seen as “special”.  Just like the hipsters they so despise.  That’s actually what they are, though.  Hipsters in Metal band shirts.

Just like all hipsters, they should be laughed at, generally derided, possibly pitied for being so narrow-minded, but ultimately discounted and ignored.

When the whole Metal family can do that, we may just regain the position we had 30 years ago.

Download 2016

Message from The Editor:
So there I was, going through the spam box of the mail@ account on the Wyrd Ways Rock Show email system.  Somewhere near the bottom, I found the following.  To preserve the authenticity, I have copied and pasted directly from the original document.

Ali, whoever you are, wherever you are, may the Gods of Metal smile upon you…

Review of Babymetal:
Sky: RAIN
Crowd: ? ALWAYS LOOK ON THR BRIIIIGHT SSSIDE OF LIIIIFE
Babymetal: BOUNCE ON STAGE LIKE BOUNCY THINGS KAAAAWAAAAAAIIII
Babymetal backing band: MELTS ALL FACES
Babymetal backing band bassist: PLAYS JACO PASTORIUS LEVEL TAPPED SOLO THAT EVEN SOMEONE LIKE FLEA COULD NEVER HOPE TO DO
Babymetal guitarist: PLAYS STEVE VAI LEVEL SOLO
Babymetal Singer: makemecircle (twirls fingers round) I SAY MAKE ME CIRCLE
Crowd: MAKES BIGGEST CIRCLE PIT I HAVE EVER SEEN.
Babymetal backing band: MELTS ALL FACES
BabyMetal: YATATATATATATITITITITITITYATATATATATTTTOOOTITITITIT CHOCOLATE CHOCOLATE TITITITYATATATATA
Crowd: GOES MENTAL
BabyMetal singer: Gimmeee WOOOOAAAAAAAYYYAAAAAOOOOOOO
Crowd: (responds to call and response as if it were Freddie himself calling it)
WOOOOAAAAAAAYYYAAAAAOOOOOOO
Sky: RAINS LIKE FUCK ON EVERYONE
Crowd: DOESNT CARE BECAUSE BABYMETAL ARE FUCKING AWESOME AND THEIR FACES ARE MELTED OFF BY THE BACKING BAND AND HEARTS FILLED WITH TEH UBERKAWAIIII
Babymetal: FANKOOO DONNINTOOON SEEEYAAAAA
Babymetal backing band: MELTS MOAR FACES
Crowd: PIT PIT PIT MOSH MOSH MOSH FUCK WE’RE ALL SOOO FUCKING WET BUT FUCKING HELL THAT WAS AN EPIC SET FROM WHAT WE ALL THOUGHT WERE A FAKE GIMMICK BAND

Wildhearts Review:
Crowd: is wet and grateful for under cover gig
Wildhearts: have less hair and less hairspray and less spandex and looser clothes in general than when I last saw them a few times in the nineties
Crowd: ❤️
Wildhearts: play some great songs that were minor hits in the 90s
Crowd: ❤️
Wildhearts: play Motörhead song
Crowd: ❤️❤️❤️
Ginger: Banters
Crowd: ❤️❤️❤️

Review of Korn:
Sky: FUCK YOU ALL AHAHAHAHA
Crowd: FUCK YOU RIGHT BACK WE HAVE PONCHOS
Korn: be 50 year old zillionaires having teenage angst
Crowd: Bounce a little bit
Korn: BOWWOWZIGAZIGAOOOGEYBOOGEY?
crowd: bounce a tiny bit
Korn: I SAID ‘JABBERWOOCKEYSCOOOBYDOOWAKKAWAKKABIBBITYBOBBITYBOO’
Crowd: some bouncing
Korn: WOKKAWOKKAIZZYWIZZY?
Crowd: bouncing reduces
Korn: BOOPBOOPDEDOO?
Ali: meh
Korn: DOOTDOOT?
Ali: wanders off for nachos

Review of Rammstein‘s first song:
Til: I AM THE GOD OF HELLFIRE
Arthur Brown: er…. Excuse me, I think you’ll find actually that…
Rammstein: FUCK YOU OLD MAN THIS IS OUR CENTURY MOAR FIYAH AND EXPLOSIONS AND SEXY SEXY MUSCLES AND BOOOOOOOOOM

Review of Ranmstein:
Sky: HAHAHAHFUCK YOU WE WILL RAIN ON YOU
Crowd: NO FUCK YOUBWE HAVE PONCHOS AND WELLIES
Rammstein: it’s okay guys, we’ll warm you up with SO MUCH FUCKING FIRE
Crowd: we love you sexy sexy Nazi men
Rammstein: DONT CALL US THAT! WE’RE THE NICE GERMANS
Crowd: BUT YOU BLOW EVERYTHING UP AND HAVE SEXY OUTFITS AND MUST HAVE BEEN SOME SORT OF EUGENICS EXPERIMENT RAISED BY KRAFTWERK AND LEFT TO PLAY WITH MATCHES IN THE KITKATCLUB AS KINDER
Rammstein: NO, WE’RE NICE GERMANS AND TO PROVE IT WE WILL ONLY BE SLIGHTLY UBERMENSCHEN AND BLITZKRIEGY AND WILL SING A NICE SONG ABOUT OUR MOMMY
Crowd: WE LOVE YOU SO MUCH BLOW MORE SHIT UP INCLUDING THE GIMP KEYBOARD PLAYER AND THE STAGE
Rammstein: JA! AND VE VILL FLY ABOUT ON FLAMING ROCKET SHOOTING ANGEL WINGS
Crowd: WE LOVE YOU SRSLY FOR REALS
Rammstein: HAVE MORE FUCKING AWESOME MUSIC AND ROCKETS AND SMOKE JETS AND FIRE THEN
Crowd: SPAFFS DRY OF TEH AWESUM
Rammstein: You’re velcum.

Review is Sixx AM:
Nikki Sixx: HELLO DONNINGTON
Crowd: HOW THE FUCK ARE YOU STILL ALIVE?
NIKKI SIXX: LETS RAAAAAAAAAAAAAWK
Crowd: No, seriously, how are you still alive? (Starts to bounce)
NIKKI SIXX: I HAVE HAD SEXUAL SEX WITH MORE PEOPLE THAN THERE ARE IN THIS ENTIRE AUDIENCE
Crowd: WE KNOW, SPEAK TO US OF YOUR WISDOM OF THE WAYS OF RAWKSECKS
Nikki Sixx: YOU ALWAYS LOVED THIS COCK ROCK SHIT REALLY EVEN THOSE OF YOU MISERABLE FUCKERS WHO CLAIM TRUE METAL IS THE ONLY TRUE RELIGION
Crowd: YOU SPEAK TRUTH (does RAWK hands and bounces more)
Nikki Sixx: GIRLS SHOW ME YOUR BOOBIES
Crowd: hmm maybe… Not right now though, it’s cold
NIKKI SIXX: SINGS EPIC POWER BALLAD ABOUT BEING A DEPRAVED RAWKSTAR WHO GOT CLEAN
Crowd: NAH THANKS SING ABOUT DEPRAVED SEX SHIT PLS
Nikki Sixx: OKAY!
Crowd: NO BUT SERIOUSLY HOW ARE YOU EVEN ALIVE?
Nikki Sixx: I WROTE ABOUT IT IN SOME BOOKS YOU CAN ORDER AVAILABLE IN ALL GOOD BOOKSHOPS AND ON AMAZON
Crowd: YOUR PLAN TO HAVE A SECOND PHASE OF YOUR CAREER IS WORKING AND YOURE SORT OF COOL AND THE SONGS ARE DECENT ENOUGH AND YOU ACTUALLY OFFER SOME INTERESTING INSIGHT ABOUT ALL THAT DEPRAVED CRUE RAWK SHIT
Nikki Sixx: OH THANK FUCK IM NOT TURNING INTO A TOTAL CUNTY WANKER LIKE GENE SIMMONS THEN
Crowd: RAISES FISTS AND GETS INTO IT EVEN MORE
Ali: yeah, alright, but you’re no Zodiac Mindwarp

Lawnmower Deth review:
Crowd: ?❤️❤️
Lawnmower Deth: HAHAHAHHOLYFUCK THERE ARE A LOT OF YOU HAVE SOME CLOWNS AND SILLY STRING AND BALLS ANS RAISE YOUR HANDS AND DO MEXICAN WAVES AND BOUNCE
Crowd: ????❤️❤️❤️❤️????
Lawnmower Deth: HOLY FUCK WE’RE OLD AND WERE ONLY TAKING THE PISS IN THE FIRST PLACE HOW THE FUCK ARE WE PLAYING DONNINGTON AT THIS AGE STILL
Crowd: ???❤️❤️❤️???
Lawnmower Deth: WE HAVE A SPECIAL GUEST
Kim Wilde: ITS ACTUALLY REALLY ME NO SERIOUSLY
Crowd: WOOOO
Lawnmower Deth: OKAY WERE GOING TO DONA SONG WITH KIM WILDE
Crowd: FUCK YEAH
Kim Wilde and Lawnmower Deth: EGG SANDWICH EGG SANDWICH EGG SANDWICH
Crowd: hahahahawtf
KIM WILDE AND LAWNMOWERDETH: PSYCHE!!
Crowd: HAAHAHAHAH NO SERIOUSLY JIST PLAY IT THAT WAS FUNNY BUT GO ON
Kim Wilde: OKAY – KIDS IN AMERICA KIDS IN AMERICA KIDS IN AMERICA
Crowd: NAAAA NA NAAAA NAAA NAAAAAAAAAAAH
Kim Wilde: WERE THR KIDS WERETHE KIDS WERE THE KIDS IN AMEEEEERICCCA
Creowd: NAAAAAAAAAAA NAAAAAA NAAAAANAAAAAA NAAAAAAA
Lawnmower Deth; we can’t fucking believe she agreed to that but I suppose she must have for a few royalties out of us over the years so cheers Kim mwah mwah mwah
CRowd: ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️???❤️❤️❤️❤️❤️

Review of The Megadeths:
The Megadeths: RAAAARAAA WIDDLE WIDDDLE WIDDDLE HELLLLO DONNNINGTOOON RAAAAAARAAAAWIDDDDLEEWIDDLE
Crowd: We quite like this actually
Ali: doesn’t like this actually. Wanders off to find AntiFlag to see if they put the drums in the circle pit again like they did at Rebellion last year
Ali: is also quite dunk so apologises if quality levels dop

AntiFlag review:
Antiflag: WE ARE ANT EYE FLAG
CROWD: speak properly please
Antiflag: PITTSBURGH PENNSYLVANIA
CROWD: wotever
Antiflag: POLITICS POLICE BRUTALITY RELIGION
CROWD: wotever
Antiflag: starts to be interesting and good
Crowd: hmm wait actually
Antiflag; MAKE FRIENDS WITH PEOPLE AROUND YOU AND BE FRIENDLY AND SHIT
crowd: OKAY
ANTIFLAG: MAKE MORE NOISE THAN THE MEGADETHS
CRROWD: OKAY RAAAAAAAAAARGH
ANtiflag: sing some stuff back to us
Crowd: OKAY
Antiflag: STARTS TO KILL IT NOW THEYRE NOT TALKING ABOUT POLITICS OR FUCKING PITTSBURG PENNSYLVANIA
crowd: FUCK THEYRE ACTUSLLY KILLING IT
Antiflag: IF SOMEONE FALLS DOWN PICK THEM UP LOOK AFTER EQCH OTHER WHILST WE’RE FUCKING KILLING IT
Crowd: HOLY FUCK THEYRE DEFIJITELY KILLIJG IT.
crowd: RAISES HANDS AND BOUNCES AND SHIT
ANtiflag: PLAYS CLASH SONG
CROWD- TOTALLY LOSES IT AND THE PIT IS FUCKIJG HARDCORE BUT AS DIREXTED EBERYONE THAT FALLS DOWN GETS PICKED UP
Antiflag: PLAYS SONG WITH LOVELY MELODIC CHORUS
Crowd: TOTALLY SINGS IT ALL ALONG AND FUCK YOU THE MEGADETHS
Antiflag: PLAYS SONG AND STARTS CIRCLE PIT
CROWD: DOES EPIC CIRCLE PIT
Antiflag: DISASSEMBLES DRUMKIT AND MOVE IT TO THE FUCKING PIT AND THE SINGER CLIMBS ON IT AND THE crowd: IS LIKE ??????YOURE SEPPOS THAT ARE BORING ABOUT POLITICS BUT FUCKING HELL YOU BROUGHT IT TODAY

Review of Skindred:
Crowd: WE’RE ALL FUCKING METALHEADS WHO LIKE METAL AMD METAL IS DEPRESSED WHITE BOY BLUES AND ANGST BUT HEY WAIT A SECOND THATS A BLACK GUY?
Skindred: YES IM A BLACK GUY
Crowd: BUT YOU SING LIKE TOM JONES. WAIT. SHIT. NO. YOU SING LIKE ROB HALFORD. WAIT. SHIT. NO. YOU SING LIKE EDDY GRANT.
Skindred: HAHAHA I CAN DO ALL THAT SHIT AND RAGGAZAGGGA TOASTIN TOASTING
Crowd: fucking hell…
SKINDRED: MELTS ALL FACES ABD MAKES CROWD BOUNCE BOUNCE
crowd: BOUNCES BOUNCES
Skindred: MAKES CROWD SING
crowd: SINGY SINGY SING
SKindred: YOU CUNTS (he calls the crowd cunts a lot but that’s okay because that just means best mate if you’re from Wales, which the singerist is) ARENT SINGING LOUD ENOUGH. MY KIDS ARE HERE, DONT EMBARASS ME IN FRONT OF MY KIDS YOU CUNTS
Crowd: SINGY SINGY SINGY FUCKING ALL THE SINGY SING
Skindred: MORE LIKE IT BUT BOUNCE AND SING
Crowd: BOUNCES AND SINGS AND DOES A LITTLE SEX WEE ABOUT HOW FUXKING AWESOME SKINDRED ARE
Skindred; OKAY HERE’S A NEW SONG
crowd: FUCK ME THATS AN INSTANT CLASSIC CAN WE ALL GO ONLINE TO BUY A COPY NOW?
Skindred: NO YOU FUCKING CANT YOU CUNTS BECAUSE YOU NEED TO FUCKING BOUNCE AND MOSH SOME MORE
Crowd: OKAY IF WE SKANK AND BOGLE A BIT TOO?
Skindred: TOO FUCKING RIGHT YOU CAN YOU CUNTS
Crowd: WE’RE NOT SURE WHEN THE COMMITTEE THAT RUNS METAL STARTED LETTING BLACK DUDES WITH PROPER DREADS AND SHIT BE FRONTMEN INSTEAD OF JUST THE OCCASIONAL BASS PLAYER IF NO ONE ELSE WAS AVAILABLE BUT THANK FUCK THEY DID BECAUSE THIS IS FUCKING EPIC
Skindred: HAHAHAHAHA TOASTIN TOASTIN MEEEETTAAAAAAL SCCCCCREEEEEEEAAAAAAM TOOASTIN TOOOASTIN
Crowd: THIS IS SO GOOD
Skindred: does Nobody Gets Out Alive
Crowd: WE CANT EVEN HANDLE THIS ITS SO FUCKING GOOD
Skindred: NOW TAKE YOUR CLOTHES OF AND WHIRL THEM ABOVE YOUR HEAD
Crowd: NEWPORT HELICOPTER IN FULL EFFEXT EVEN IN THE PISSING RAIN
Skinded: NAILED IT
crowd: YOU DID. KEEP DOING THIS SHIT AND YOULL BE PROPER HEADLINING IN A FEW YEARS
Ali: you know what? Beavis and Butthead giving cred to Cypress Hill is probably how we got here and what convinced the committee to let black dudes in. Shame we had to get through The Limp Biscuits to make it here though. But damn, that was some fine stuff.

Review of The Temperance Movement:
Temperance Movement: plays lame MOR
Ali: yawns and wanders off in search of coffee

Interlude:
Ali’s attempt to pull Sexy Rawk Girlie:
Ali: Hey Sexy Rawk Girlie how’s it going?
Sexy Rawk Girlie: oh hey, yeah having a great time how’re you and what bands have you seen and are you having a great time and is your tent dry and where are you from and what sort of music are you into and bounce bounce happy happy chatty friendly talk talk
Ali: realises he cannot communicate with humans. Only cats and the people that live in his phone. And also has a horrific moment of self awareness about the state of his personal hygiene and breath that could fuel Rammstein’s flamethrower and nutsack fluff that Sarah Pickles could make the evilest of felt dragons out of and may need solvents to remove his socks.
Sexy Rawk Girlie: oh, hey, you look a bit ill, you feeling okay, I’ve got some paracetamol in my bag if you need it and I can get you some water and
Ali: I’ll leave you alone forever
Sexy Rawk Girlie: oh. Okay, well, hope you feel better soon and have a great rest of Download
Ali: ….

Review of Jane’s Addiction:
Jane’s Addiction: Hey Ali, would you like to be right at the front of the stage
Ali: yes please
Jane’s: oh, and would you like some dancers suspended by hooks in their back swinging above your head?
Ali: yes please
Girls in crowd: would you like us to get our boobies out?
Ali: um… Okay, sure… If you want to, that would be cool
Jane’s: and would you like us to play all your favourite songs?
Ali: yes please
Jane’s: No problem
Ali: Squee
Jane’s: and is it okay is we do a tribute to Bowie and get everyone to sing along to Rebel Rebel?
Ali: fine
Jane’s: and we can finish with Jane Says, which is one of the loveliest songs ever, yeah?
Ali: oh fucking thank you I love you and have such a burst of teh happies
Jane’s: you’re welcome Ali we clearly love you too as we’ve done all this for you
Ali: ?

Review of Iron Maiden:
Ali: it’s still stupid o’clock and I’ve got a long day ahead packing up and getting home but let’s do this. Iron Maiden have for a really long time now been a core part of what being British and slightly angsty and needing some escapism is. They used to be really serious and needed to position themselves as something that was against the establishment and had a lot to prove. But they won that battle and became the establishment. Or rather the establishment of the alternative to the mainstream. They very cleverly gamed having a number one hit single in the same way that Bill Drummond and the KLF did, which broke them right through to the mainstream, and offered horror and fantasy and history as ways to personify and manage difficult emotions. Just like Buffy the Vampire Slayer. Somewhere along the line two things happened. First – They stopped being just for white male adolescents. Some of those guys grew up and kept loving Maiden for the music and some of the shit maiden helped them with never went away anyway. But that Teenage Dirtbag song made the point that Maiden didn’t just work for those guys but girls feeling some of the same things too. And not just for British people but the shared experience of growing up worldwide. And South America especially loved them. In just one other important example I can think of their importance in another culture is shown in Persepolis – an autobiographical story about a girl growing up in and then escaping from post-revolution Iran of the Ayatollahs where she talked about how black market Iron Maiden cassettes changed her life. Second – somewhere down the line Maiden stopped taking themselves seriously and maybe saw Spinal Tap and got the joke, or realised what they were really offering with all this horror and history and decided that dealing with emotions and issues didn’t have to be all serious and could be fun too. That’s when I started liking them.
Maiden: thank you for that, Ali, but we’re now going to play some of those songs about horror and history and fantasy and everyone is going to raise their horns and sing along
Crowd: awwwww yiiiisssssss
Eddie: oh hai
Crowd: FUCK YEAH EDDIE
Brucie: Guys, I have some bad fucking news, maybe some of you out here haven’t heard, but some wanker shot a whole load of people who were just out dancing and having fun. And a load of politicians are already jumping on it and being arseholes. Fuck that. Those gay dudes who were out dancing were our brothers and fuck those murdering arseholes of all persuasions and the politicians who’re making it worse with their agendas. It’s all more important than ever that we all have to live and love and sing and dance. So I’m changing the set and all eighty five thousand of us are gonna sing a song called Blood Brothers, for each other and for those people that were killed.
Crowd: respect. And yes. Let’s live and love and sing and dance.
Maiden: BLOOD BROOOTHHHERS. WHOOOAAAAAH OOOOOHHH AAAAOOOOH.
Crowd: BLOOD BROOOTHHHERS. WHOOOAAAAAH OOOOOHHH AAAAOOOOH.
Brucie: Yes. That. Be good to each other.

Sixx AM Release New Single

Sixx AM, featuring bassist Nikki Sixx (ex-Mötley Crüe, Brides Of Destruction), guitarist DJ Ashba (ex-Guns N’ Roses, Beautiful Creatures) and vocalist James Michael, are releasing the title track of their current album, Prayers For The Damned as their new single.

This is what the vocalist had to say about the song and the album:

SOS Festival – 16/07/2016

It’s the end of July, it’s Manchester, so it must be SOS Festival, now in it’s ninth year.  It’s also the first year at a new venue: the Longfield Suite at the Civic Centre in Prestwich.  It’s something of a step-up in terms of size, and is also harder to find!

Anyway, I couldn’t get there on Friday for the first night, so I ended up missing Babylon Fire, Pythia and Absolva, and thanks to my SatNav, I managed to miss Soma Dark.

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The first band I did manage to see were iDestroy, featuring Becky Baldwin of Triaxis on the bass.  Their stuff is more on the Punky side than most of the bands that were on that day, drawing comparisons (in my head at least) with the likes of Therapy?  Might have just been me, though!

Definitely worth seeing.

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Aonia

Next up, in stark contrast to the stripped back music and line-up of iDestroy were Sheffield-based Symphonic Power Metal band, Aonia.  Things have changed for them since our last encounter (which, to be honest, was an EP that sounded like it was recorded in someone’s bedroom).  As a live band with their new membership, the band are a lot tighter and more powerful, coming over a lot like Germans, Coronatus.  Good stuff.  Another band Nightwish may well be having to watch their backs for, along with another band who are on today.

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A Jokers Rage

A Joker’s Rage were something of a surprise.  Good quality Hard Rock with the odd hint of Nu Metal.  And Harlequin face paint.  The frontman is a potential superstar, so long as he drops the fake Americanisms and carries on being a Yorkshire lad.  He certainly talks a good game and on this evidence the band have the musical firepower to back up the big talk.

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Ritual King

Ritual King are something different compared to the other bands that have been on today.  They’re a proper 70’s throwback featuring no-one born before the late 80’s, tapping a similar vein to the likes of Rival Sons, Orchid and Vintage Caravan.  Little lads like them have absolutely no business being able to channel an era that well!

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Gemma of Dakesis

Dakesis are another band that have been through a massive change or two since I last saw them.  As well as losing their frontman, they have recruited a new keyboard player to replace their original one, who has stepped up to take over lead vocals.  Another change is that they’ve moved from being a straight Power Metal band to become one that plays MASSIVE Symphonic Metal.  These guys are another one of a crop that should have Tuomas Holopainen looking over his shoulder.  Gemma Lawler, in moving from the keyboards to the front of stage has become a consummate frontperson, in full command of the stage as well as an engaging level of interaction with the audience.  The whole band perform as a tightknit unit and for my money were the band of the day (against some very stiff competition).

Vicious Nature were a very pleasant surprise.  They feature former members of Martial Law and Cloven Hoof, so I was expecting NWOBHM, which would have been fine as far as I was concerned.  What we got was something much heavier and aggressive, falling into post-Pantera Modern Metal.  Groove Metal?  Yeah, you could definitely call it Groove Metal, but with more melodic vocals.  Very impressed.

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Attica Rage

Then came the headliners, Attica Rage, bearing the standard for Glaswegian Metal like no other band since The Almighty, back when Ricky Warwick was still a proud Scot.  This is a band I’ve never seen a poor show from and tonight’s headline set was worthy of the name.

New track, El Chupacabra, is something a little different, being somewhat heavier than normal.  If it signals a new direction, it works, coming on like speeded up Black Sabbath.  Talking of Sabbath, the spectre of Messrs Osbourne, Iommi, Butler and Ward is strong in the next piece of new material, the riff to which would do Tony proud.

Despite a thinning crowd as fatigue kicks in (the show started at midday and it’s twenty minutes to midnight), the band don’t flag, finishing the show with a breakneck version of Motörhead’s Overkill, featuring a truly stunning display from Richie Rage on the drums (how he managed to get that much noise out of such a small kit…) and six-stringer, Stevie Bell, who shreds like a man possessed by the spirits of Steve Vai and Gary Holt.  These guys fully deserved their headline slot, but it was a shame that a lot of the audience had to leave before they finished, since they missed a cracking set.

Cage9 to release New Album through Ellefson’s Label

LA’s Cage9 released their album Illuminator, on June 3rd in North America via eOne with a European release due in July through SPV. In addition the record released June 3rd in Japan via Triple Vision Entertainment.

Cage9 main man Evan Rodaniche (who writes and produces all the band’s music) had this to say about the new single (for which you have just seen the video): “This song is dedicated to my father, who passed away about a month ago after a two year battle with cancer. But even when I first wrote these lyrics at the onset of his terminal diagnosis as a sort of comforting mantra, in the back of my mind I believed my dad was indestructible. I never thought I’d be adding an “in loving memory” dedication at the end of this video. But then he was gone. And that’s what this is all about. We spend our modern lives wrapped up in our first world problems, completely disconnected with the natural cycles of the planet around us.”

He continues, “We shot the video DIY with a couple Canon DSLR cameras, a black sheet in our rehearsal room and about forty non-actor friends, fans and family who showed up one sunny Los Angeles afternoon in 2015 to mouth the lyrics to a song they’d never heard. We aimed to bring home the message that no matter who you are, we’re all in this together.

Everything You Love is also the track that caught David Ellefson’s attention and ultimately inspired him to sign us to EMP. After a few conversations with our A&R guy Thom Hazaert, he brought it to David, and he got it. The rest is history.”

Says Ellefson, “Cage9 is definitely the real deal. When I first heard Everything You Love Will Someday Die, it instantly struck me as the closest I’ve heard to a song with a true Metallica/Megadeth core, with the radio accessibility to really connect with a modern Rock audience. And with the band’s history, and everything they’ve accomplished, they were a perfect fit for what we are doing at EMP.”

Rodaniche continues, “As for the song, itself, it’s a little bit of old school thrash mixed with something more melodic and a little piano and acoustic guitar wankery to push it over the 6 minute
epic-metal-song mark. (Yes, there’s a radio edit.) I was the 14 year old kid running around with a worn out cassette of Peace Sells in his Walkman, so having the dude that brought us pretty much THE most recognizable bass riff of my, (and half the planet over 30’s) youth, dig our band is a HUGE honour.

Cage9 originated in Panama where I grew up playing in a band yet having pretty much never experienced famous bands performing live to learn from, not to mention any of our idols like Megadeth or Metallica. This definitely makes getting this chance to work with David in a mentor/label situation that much more amazing. Very excited to be releasing our new album Illuminator with EMP this summer.”

Eventually the band moved to Los Angeles, and with no outside help, has released almost 100 songs over 6 albums (including one in Spanish), sold 25,000 plus physical copies worldwide, toured the US (over 50 dates last year alone), Japan and Central America, as direct openers for Ozzy Osbourne, Bad Religion, Seether, In This Moment, and have also shared bills with Sevendust, Hellyeah, Karnivool and many more. Rodaniche also spent a few years on guitar with sci-fi metal purveyors Powerman 5000 and helped co-write, record, mix and produce their last few albums along with ex-Flyleaf singer Lacey Sturm’s new solo album, Boy Hits Car and more. The quartet now includes San Diego native Brian Sumwalt on
drums, Michigan transplant Matt Borowski on guitar, and Leslie Wyatt on bass and backing vocals

Illuminator has catchy hooks, great musicianship and killer songwriting…  I can see them making some real noise in 2016.” Blasko / Ozzy Osbourne

Cage9 totally belong on the radio...” Ben Bruce / Asking Alexandria

I can’t remember when an opening band grabbed our whole band’s attention like Cage9 did recently. We watched side stage for their entire set and became believers.” Jason Null / Saving Abel

There is a certain pop element to the songs that really pushes them over the top… The same element that pushed bands like Shinedown and Hinder over into the Top 40 world. …and the production is fucking OUTSTANDING. Matt DiRito / PopEvil

“I’ve been a fan of Evan’s vocals for a very long time and the new material really showcases the incredible talent of this band. Great hooks and very well-crafted songs all over this new record!”
Francesco Artusato / Devil You Know

“Goddamn it’s the best stuff I’ve spent time with in a while…it’s totally beautiful.”  Ron Underwood / 9Electric

“I love listening to new music…and the new Cage9 does not disappoint!”
Brian “Head” Welch / Korn

Phil Anselmo, Robb Flynn, Racism and Metal: does it matter if musicians are racist?

If you have an interest in Metal, you’ve more than likely by now seen, or at least heard about, the video showing Phil Anselmo’s actions at Dimebash last week:

You may also have seen Robb Flynn of Machine Head’s response video posted a few days later:

In the first video, Anselmo shouts “white power” accompanied by what is widely believed to be a “sieg heil” salute. In Flynn’s video, he points out that this is by no means the first time that Phil Anselmo has said or done something so inappropriate and that this latest incident is the straw that’s broken the camel’s back; Robb Flynn has had enough of Anselmo’s bullshit and bullying persona, and vows to never perform a Pantera song ever again.

Now this issue has seen tempers flare on opposing sides. We have fans of Phil Anselmo defending him saying that people shouldn’t be so sensitive, his personal actions are separate from his music and, even if he is a racist, Metal is all about being “extreme” and “offensive” and so you’re not really “Metal” if you have a problem with him. On the other hand, we have people more sympathetic to Robb Flynn’s view of things who declare that racism has no place in Metal and that, just because he’s very famous and popular, Anselmo’s actions should not be simply brushed under the carpet and ignored. Like Flynn, I’ve seen several other Metal fans, writers, DJs, etc. say they are now “done” with Anselmo and are boycotting Pantera, Superjoint Ritual, Down and any other band or project he’s been involved with. To be perfectly honest, while I am very sympathetic to Robb Flynn’s take on things, I can, to a degree, see where both sides are coming from here.

First of all, I am not going to debate whether or not Phil Anselmo is a racist. I don’t know if he said what he said with any element of seriousness or malice, I don’t know if he is genuinely prejudiced against people of other races and ethnicities, and I am not sufficiently experienced in racial politics (privileged white bloke speaking here) to discuss the ins and outs of what it actually means to be a racist. What is clear, however, is that regardless of intent, Anselmo’s actions were idiotic, divisive and exclusionary; even if he isn’t racist, he certainly appears to be one in this video. Moreover, even if he was “joking”, the language and symbols used here are so historically offensive that such excuses are irrelevant. Not that I’m in the business of telling people what they can or cannot make jokes about; I’m just saying that, when you attempt (poorly) to inject humour into a subject that is so hurtful to so many people on such a deep, fundamental level, don’t be surprised if not many people are laughing along with you.

The point is that the use of such language and symbols, regardless of context, will ALWAYS alienate a lot of people; to suggest otherwise is to misunderstand or ignore their historical context. But, what about the protestation (which many on Facebook, Twitter, etc. have voiced) that to criticise Anselmo for this is racist against white people? Why, they cry, is it ok for black people to say “black power”, but not ok for white people to say “white power”? Robb Flynn mentions in his video that to compare the two phrases implies a gross ignorance of (quite recent) history. “Black power” is used to fight oppression whereas “white power” is used to promote it. And yes, there have been racially-motivated crimes against white people, but to suggest that it’s anywhere near the level of persecution suffered by black people is preposterously moronic.

Essentially, dismissing the use of racist language and gestures as something that’s no big deal suggests a distinct lack of empathy. A lot of people treat the Metal community as if it’s just them and a few of their mates; everyone looks the same, acts the same and has the same opinions and attitudes about everything, so there’s no need to worry about offending or excluding anyone ever. Nothing could be further from the truth. I have been a Metal fan since my mid-teens, nearly 15 years now, and the Rock/Metal community is by far the most beautifully diverse group of people I have ever known; I have met people of countless nationalities, genders, races, sexualities, religions and socio-political backgrounds. The idea that none of them should have a problem with Anselmo’s actions is ridiculous; maybe you don’t find it offensive, but what about black, Asian, or Hispanic Metal fans? Maybe, for example, there’s a bunch of kids right now in India, Peru or Tunisia who have recently got into metal, are excited about maybe starting a band of their own, and then they see this video of Phil Anselmo: how do you expect they would react? Do you think they’d just laugh it off as a joke? Maybe they would, but what’s more likely is that they’d get the impression that Metal is not meant for them; it’s made by white people, for white people.

This of course is just not true, and you don’t even need to dig that deep to see that Metal is enjoyed by all kinds of people. Black Sabbath, Metallica, Dio, Slayer, Guns N’ Roses, X-Japan, Sepultura, Suffocation, Soundgarden, Alice in Chains, Dream Theater, Rage Against the Machine, KorRn, Orphaned Land, Deftones, ChthoniC, Lacuna Coil, Opeth, System of a Down, Dragonforce, Skindred, God Forbid, Killswitch Engage: all big-name Metal bands that have had members who don’t conform to the W.A.S.P./Aryan ideal, and there are countless more besides. If the point of Metal was to freely spout racist bile, then you can wave goodbye to these bands ever existing. Metal is of course an alternative, non-mainstream subculture but that doesn’t mean it’s an exclusive club, only open to a select few. There is nothing “extreme” or “alternative” about being racist; if you look throughout human history, it’s just about the most pro-establishment, conservative thing you can be! Mainstream culture often excludes and alienates many people, and Metal is an “alternative” to that. As Rob Zombie said in the documentary Metal: A Headbanger’s Journey: “Metal is all the weird kids in one place”. If Metal is not an inclusive place where people from all walks of life can feel accepted, then what on earth is the point? Ignoring racism is not “Metal”; fighting it and welcoming victims of it certainly is.

As I said at the beginning though, I can to an extent see where both sides are coming from here. Looking at the people who wish to ignore Phil Anselmo’s actions, they are invariably going to be big fans of his music, and it can be hard to accept that your idols are sometimes much less than perfect human beings. Especially with music, it is something that is often enjoyed as a total escape from the world and thus many people would rather not pay attention to its context (i.e. they’d rather concentrate on appreciating the music for its own sake). So, if such people are confronted with unpleasant contextual information (such as a musician’s offensive personal views or actions), they choose to ignore it, deeming it irrelevant in determining how good the music itself is. On the other hand, given that we have people saying they are turning their backs on Anselmo’s music as a result of his actions, it looks like the reverse is true too; that is, we have people refusing to listen to, if not outright disliking, music because of negative contextual factors. My personal position is somewhere in the middle though and, to explain why, I’ll need to recall something I learned at university several years ago…

I have Bachelor and Master’s degrees in philosophy, and one subject I studied was aesthetics: the philosophy of art. A central topic in this area of philosophy is the question of what it means for a piece of art to have value. We learned that a piece of art (be it a song, film, book, painting, etc.) can be said to have both “aesthetic” and “non-aesthetic” value. The aesthetic value of a Metal song or artist, for example, would be found in its composition, style, musicianship and anything else that makes it good from a technical standpoint. Non-aesthetic value however comes from external factors; moral, social and political considerations for example (i.e. anything that is separate from how good a song is on a technical level, but which can still affect how it is critically perceived). Aesthetic and non-aesthetic considerations can often conflict and contrast, so that we may find ourselves struggling to determine how valuable a piece of art is. A key example of this that I looked at during my studies was the film Triumph of the Will by Leni Riefenstahl.download

Aesthetically, it is considered a work of brilliance due to its ground-breaking cinematography. Non-aesthetically, it’s, well, a Nazi propaganda film; regardless of how technically good it is, the controversy of the subject matter invariably affects many people’s opinions of it. So, you might say the film is “good” if you place more importance on aesthetic factors, but “bad” if you place more importance on non-aesthetic factors. In either case, your overall view of the film is limited. Both aesthetic and non-aesthetic factors are necessary in order to determine how good or valuable a piece of art is; if we just focus on one or the other, we don’t see the full picture.

So what does this mean for Phil Anselmo and the large quantity of music that he’s produced?  It means that it’s understandable to criticise or boycott it as his actions arguably affect the non-aesthetic value of his music. Conversely, his actions do not necessarily affect the aesthetic value of his music, and thus many people remain happy to listen to it. I personally think it’s important to try and balance the two though. I am not the biggest Pantera fan but I’ll generally bang my head and so forth if Cowboys from Hell or 5 Minutes Alone comes on in a club. Will I stop doing that now? I don’t know, but I do know that it will perhaps affect my overall enjoyment of the music. Similarly, I think Ted Nugent has written some decent songs, but his Right-Wing views leave a bit of a sour taste in my mouth when I’m listening to them. Art does not exist in a cultural vacuum; how it relates to cultural norms and sensibilities is certainly going to affect many people’s opinions of it as it is just one little piece in the jigsaw of a person’s life. Personally, as well as being a proud Metalhead, I also identify as being English, Irish, bisexual, an atheist, a humanist, a liberal, a social democrat, and a feminist: I don’t stop being any of those things when I put my headphones in or attend a gig, and so they all feed into how I interpret and appreciate my music. 100 people may each recognise the technical brilliance or raw power of a great Metal song but a multitude of factors can affect how non-aesthetically valuable they each judge it to be.

To conclude, racism should not be accepted within Metal as it threatens the community’s inclusivity; we are a family, where no one should be made to feel unwelcome. Does that mean we should all stop listening to Phil Anselmo’s music? I personally think it’s understandable whichever decision you make there. Pantera’s influence and legacy are undeniable and if you are such a big fan of their music (or of Superjoint Ritual or Down), you might very well find it impossible to stop listening to it. But, don’t give people a hard time if, like Robb Flynn, they have decided to turn their back on it. The unacceptable nature of Anselmo’s actions means that, for many people, his music is now irreparably tainted. It may not be bad technically, but it is really hard to enjoy something if it offends, excludes or alienates you. For Metal to survive as a thriving community, it requires us to ultimately be respectful of the differences we have; Metal can make you feel free and liberated from the often oppressive nature of mainstream society and no one should be denied this.