Joe Siegler's Black Sabbath website
Tony Martin era Black Sabbath video documentary
Episode 21 - Eddie Trunk
Gene Simmons interview on The Henry Rollins Show (2007)
Due to the popularity of the "Henry Rollins Becomes A Born Again KISStian" post, I figured that I'd go ahead and post these videos of Rollins' interview with Gene Simmons on The Henry Rollins Show on IFC back in 2007. Besides the fact that both of these men are heroes of mine, this interview also has special significance for me in that it made me decide to get back into the interviewing game after leaving it 6 years prior (more on that later). Enjoy.
Ken Mills (PodKISSt, KISS Fan Site) interview
I actually had heard from Tony Gamm that James and Gary were thinking about putting together a podcast focusing on KISS. I wasn't really even aware of what a podcast was. Tony had mentioned that they were looking for an artist and they had seen some of my KISS related artwork. Little did the guys realize that I had done radio and interviews in a previous life.
What sort of criteria do you and your co-hosts use in determining the content for each episode of PodKISSt?
Sometimes by what is going on. For example, we HAD to do a KISS Kruise show and we wanted to do one that was fresh. Almost like it happened and so many days later, the show was out. We try to be topical and remain current.
On the other hand, when we can get a guest who has been part of the band or someone that worked with the band, we try to accommodate them in any way that we can.
We really want to be there for the band and the folks who have a part in things. We try to make the show have a "live" feel to it. We really are trying to be an audio fanzine of all things KISS.
What are some of your favorite PodKISSt episodes and why?
There aren't many that are not "my favorite episode." There is something that I love about each one. I am a fan of the show as much as any of our listeners are.
We have been blessed to have Ace Frehley, Peter Criss, Bruce Kulick, Tommy Thayer and Eric Singer on the show.
Some shows are done to promote new albums, events or causes that the members believe in. I have met Ace many times but when he calls your house on a Friday morning, that is a trip.
The Ace interview was a blast. He was my guitar hero growing up. The episode of PodKISSt with his interview was out when Anomaly was coming out. We were only supposed to have 10 to 15 minutes tops with him but he extended the interview to almost an hour. We were later told by his publicist that Ace was happy because we wanted to talk about his new album and not KISS. I think that is indicative of what we can bring to the table as far as interviews go. Ace had been interviewed all that month about his time with KISS but he had this amazing new album and people only wanted to ask him about 1977. We wanted to talk about the man and his music TODAY. That is really the only kind of thing you can get from something like the PodKISSt or in books that fans have written. Most media are only into what can get a headline - we want to talk about every moment about this band. Every album, every tour, everything.
Shout out to author Julian Gill, who has written some excellent books about KISS from a fan's perspective but also with a critical voice at the same time, along with the folks who wrote KISS Alive Forever: The Complete Touring History, Curt Gooch and Jeff Suhs. Fans should check out their books on Amazon (click the links to do so).
You've had several special guests on the PodKISSt. How much of a challenge has it been for you and/or your co-hosts to get people to appear on the show?
Easier than some might think. I believe that we have attained a certain level of respect from people. We have what we call "Friends of the PodKISSt". People like Lydia Criss, Loretta Caravello (Eric Carr's sister) and many others. They have been great and we have always been respectful of everyone that has been on the show.
Many of the folks that have been on the show give us mementos, Michael Doret (artist of the Sonic Boom and Rock And Roll Over album covers) gave James, Gary and myself proofs from when they were printing the Rock And Roll Over album cover and he signed them. To think that we have something that he and the band passed around and gave their approvals on is amazing.
Our shows about Eric Carr and the late great Bill Aucoin were labors of love. We are going to do another show about Bill with his partner, Roman.
People forget that KISS is not just about those 4 (or 10) band members. KISStory really is a phenomenon that is about everyone that was part of Aucoin Management, the road crew, the friends and the family of the band. So many stories worth telling.
Bill Starkey is another one. He is a great guy. He took one of my favorite pictures of my fiance and her children. I look at that photo and think, "Bill Starkey, the guy who started the KISS Army, took this picture!". We talk often. He is an amazing resource and someone that I am proud to call a friend in the KISS Army.
Who have been some of your favorite special guests and why?
Some of my favorite guests have not been in the band. Megan McCracken, who was there and lived with Bill Aucoin & Sean Delaney and talked about those early days. She was there at the very beginning and in episode #44: Sweet Pain, she talks about the guys and gives us an insider's point of view that we may not have seen.
Same with Eddie Balandas, who worked with the band in their heyday. He was so great and we became friends. It was cool to get an almost daily call from him. He was always surprised that people wanted to hear about him and his story. He loved expos and meeting people. He had a very sweet heart. Great guy. His episode was PodKISSt #47: The Voice of "Alive II" Speaks! He did that shortly before he passed away. It was great to trap a bit of him and his part of KISStory.
I also have to mention "Dirty Dee"/Lisa Jane Persky. She is a trip, very fun and flirtatious. Love her to pieces. We want to do a KISS Meets The Phantom Of The Park commentary with her.
When and how did you become a KISS fan?
It was just before ALIVE! came out. I had washed my neighbor's car in exchange for 8-tracks. I had Dressed To Kill on 8-track. But when I heard ALIVE!, that was it! I never looked back.
What are some of your favorite KISS albums/songs and why?
ALIVE! - nothing beats it. There is something on every album that I love and I am so glad that KISS is still around and doing it. I never would have guessed that I'd be going to see KISS with my stepkids in 2012/2013. It is amazing.
Do you have a favorite KISS member or members? If so, who and why?
I admire Gene and Paul for keeping it together. Ace and Peter will always have a place in my heart as well. Bruce, Tommy and both Erics are cool. I never knew much about Mark St. John or Vinnie (by his choice). I met Vinnie twice; he was friendly. I stood and watched him open up for Alice Cooper. Alice came up to me and said, "Hendrix made love to his guitar, but this guy, he's nuts, he is raping the stage!" Which was a bit of a compliment from the amazing Alice Cooper.
We have been blessed as fans to have had some amazing musicians and entertainers in this band. It makes for a great rock soap opera.
How many times have you seen KISS in concert, what were some of your favorite KISS concerts/tours and why?
I honestly lost count of how many times I have seen the band. The '70s shows felt like you were at something that you could get in trouble for being at.
The '80s shows were so much fun. If you weren't there, you won't get it. I often hear the line from the song "Crazy Crazy Nights":
"And they try to tell us that we don't belong
But that's alright, we're millions strong
You are my people, you are my crowd
This is our music, we love it loud"
That and "Deuce" sum up KISS concerts for me. "Modern Day Delilah" is a great tune as well Loved hearing it live.
What are some of your other favorite bands/artists besides KISS and why?
The Beatles - my favorite band of all time. Alice Cooper, Cheap Trick, The Clash, Tom Petty, Johnny Cash, The Monkees, Kate Bush, etc. I should really stop there. Otherwise, it could go on forever.
I LOVE music. It is something essential in my life. Like air, I need it. Two things that I need in life are love and music. Everything else will work out if I have those two things.
Feel free to discuss and/or shamelessly plug any of your other endeavors here.
I guess just the show itself.
Some of the "Friends of the PodKISSt": John Humphrey of the band Seether and Joe Casey, one of the creators of "Ben 10", are fans and almost semi-regulars on the show.
The PodKISSt is not just Gary and me, it is a legion of folks who have done stuff behind the scenes or been part of the show. Besides James, there is also Geoff Guthro, Mike Mariacher, Travis Humbert, Roy Myers (our webmaster and friend), Tony Gamm, Julian Gill and the new blood - Matt Porter, Chris Czynszak, Cassius Morris and Matt Walters.
If I forgot anyone, I am sorry. But thanks to anyone who has been part of it. And thanks to the audience - we are so glad you are there. We have the best fans. We get emails all the time. Some of them are very dedicated. You are all amazing.
Thanks to Gary Shaller, who came up with the name PodKISSt and who had the vision to get us to our 6th year. He is a great person to create with.
Thanks for taking the time to listen to me ramble on and thanks for listening to the show. See you all at a show!
Henry Rollins Becomes A Born Again KISStian
I interviewed Henry Rollins via email this past week but have decided not to post it. Although he's definitely one of my top 5 heroes and I've been a HUGE fan of his for the past 25 of his 30+ year career, I just didn't find the interview worthy of posting due to his one or two short sentence answers to all of my questions. I know that he's constantly touring, working and/or travelling and I certainly don't fault him in the slightest but I also didn't want to bother him by asking him to beef up his answers or whatever. So anyway, long story short - no Rollins interview.
In it's place (and in honor of Rollins' 51st birthday tomorrow), I've posted these series of videos from one of Rollins' spoken word shows where he discusses in great (and HILARIOUS) detail of becoming a KISS fan after going to a KISS concert on their Farewell Tour in 2000. If this interests you at all, I highly recommend purchasing his Talk Is Cheap Vol. 2 spoken word CD, available for only $5 from his webstore (you can also purchase it digitally from his webstore as well). Enjoy.
Beth Jordan (Amplified With Beth Jordan Radio Show, Unfinished Business Co-Producer) Interview
I became friendly with Eric's sister back around 1996 after I sent her a cassette of a tribute that I did in Eric's memory on my radio show. She contacted me afterwards and we just became friends.
When and how did your professional working relationship with Loretta begin?
Around 1998. That's when we started discussing a potential CD project that eventually became the Unfinished Business album.
What were the circumstances that led to you handling Eric Carr emails, Facebook and Twitter accounts?
Every now and then, Loretta and I would discuss some cool merchandise that she was having made or other ideas and I would ask her how she was gonna promote it. Her answer was "on ericcarr.com" and I asked if she had thought about doing anything with the social sites also. She didn't know much about them, so I explained what I did with mine and she gave me the go ahead to set up Eric's. At first it was just Myspace (remember them?) and then as Facebook and Twitter blew up, we added accounts there too. We had so many fans join us (to date, we have over 4500 likes on Facebook and just over 2000 followers on Twitter; we don't use Myspace anymore) that we decided to create an email account where we could receive and respond to fan emails without them going to either of our personal email boxes.
Although I didn't become a KISS fan until 1993 and thus completely missed out on the band when Eric Carr was in it, it's always been 100% apparent to me that his legacy will forever live on. What do you most attribute that fact to?
He was very talented and fans found his look appealing but it was definitely the fact that Eric never had the "rock star" mentality. He was always smiling and joking with people and he ALWAYS took the time to talk with the fans and get to know them. Whether it was 5 or 95 degrees outside, if one fan or 1000 fans were waiting to meet him by the buses or outside the hotel, he would stop and chat with them all. And it wasn't the typical "here's my autograph" and leave. He knew what a blessing it was to have the KISS gig and he never forgot what it felt like to be a fan.
My best friend (who's a drummer) grew up in the 1980s and his #1 favorite band back then was KISS, so needless to say, he was also a HUGE Eric Carr fan and to this day, he feels that Eric never got the respect that he deserved when he was alive. Do you agree or disagree with this? And why?
I agree. Unfortunately, even though he could play rings around Peter, Eric was always "the new guy" to some fans because he wasn't Peter Criss. Eventually, he proved himself to be beyond capable and, after several more years, that he belonged there as much as anyone else. However, no matter what he did or how good he was, he was never completely out of Peter's shadow.
Whose idea was the Eric Carr tribute album Unfinished Business and how exactly did it come to fruition?
It was Loretta's. She discovered some recordings (some alternate versions of songs that we already knew about and other brand new songs) and asked what I thought about putting an album together. We chose Unfinished Business as the title because every track on the album (aside from a demo or two) was incomplete. As we discussed it more, the more creative the album became. Instead of just slapping these unfinished songs on a disc and calling it a day, it was - let's see if we can find artists who were Eric's friends to help us finish them.
What exactly did your role as co-producer of Unfinished Business entail?
As co-producer, I helped to decide what songs we were gonna use, what artists we were gonna contact to help us finish them and to review the demos and give my feedback regarding any changes that might be needed. I was also the producer and mix engineer on a couple of the tracks myself: "Through the Years" and "Midnite Stranger"
Have you gotten any feedback on Unfinished Business from any of the members of KISS? If so, who and what did they say?
Not really. I know Bruce was very proud to be a part of it. I believe KISSOnline is or was selling copies of the album, so I know that Gene and Paul don't disapprove. I'd be interested to hear their thoughts though.
What is/are your favorite track(s) on Unfinished Business and why?
I'm a little too close to it to have just one but I love "Just Can't Wait". That's the opening song on the album with Ted Poley on vocals. It was one of the first to be completed for the album and it's just a great, straight-out-of-the-1980s song. I also love ZO2's version of "All Hell's Breaking Loose". They really nailed it!
What are the dates of the KISS concerts that Eric's drum solos were taken from for the track "Through The Years" on the Unfinished Business album?
The exact dates are unknown for all of them but the first one was a demo that we found of his very first recorded drum solo when he was 16 or 17. The second one was from a show in Auckland, New Zealand on the Unmasked tour in 1980 and the last one was from one of his last shows during the Hot In The Shade tour in 1990.
Feel free to discuss any of your other endeavors here.
I'm also the host of an all-request 80s metal radio podcast called Amplified. You can check it out on iTunes, at amplified-radio.com or on the social sites: @amplified247 on Twitter and Amplified with Beth Jordan on Facebook. For requests, call 954-817-1434 or email me at amplified247@yahoo.com
Dweezil Zappa Interviewed On The Most Recent Episode Of ZappaCast
Episode 20 - Radio Sucks Radio Show 4
Black Sabbitch Needs A Bassist!
"Black Sabbitch have decided to seek a new bass player. We already have a number of promising women coming in but if you know a woman who can rock the bass like Geezer and play these songs as close to the original as possible please point her our direction."
Mike Gitter (King Artist Management / A&R for Roadrunner, Atlantic and Century Media Records) Interview
I was born in 1966. The first record I ever bought, or that my parents actually bought for me, was the soundtrack to the film version of Tommy. I was probably too young to realize that Oliver Reed wasn't in The Who! I got turned onto it by Joe McGrath, the older kid that lived down the street. The Acid Queen fucked me up! Music was actually incidental compared to the artwork or some of the literary references. Tolkein. Roger Dean. Heavy Metal magazine. Ghost Rider. Richard Corben's cover of Meatloaf's Bat Out Of Hell. Add in Zeppelin's "Misty Mountain Hop" or "Spaced" by Aerosmith and music became a trigger for my ears and imagination.
What were some of the first bands/artists that you listened to on a regular basis and why?
I’ve said this a couple of times and it’s totally true - The Bad Brains, Black Flag and SSD were my Led Zeppelin.
I didn’t have any older siblings, so I was left to discover bands on my own. I had The Beatles and Jim (“Bad Leroy Brown”) on 8-track. I checked out Alice Cooper while at summer camp because there was an awesome Marvel comic about him and the From The Inside album. Led Zeppelin was unavoidable. Think of how many pubescent torsos first rubbed hard to “Stairway” at junior high dances! Then came DEVO! Oh yes! DEVO! Music for outsiders. Punk rock? Well, kinda. A few magazines at the time, including Trouser Press and Heavy Metal, had articles that helped point the way for me to the more extreme and more interesting artists and records like The Spudboys from Ohio (Devo, that is). The Talking Heads, The Clash and Gary Numan all helped me get through junior high.
SSD were from Lynn, Massachusetts, a couple of towns over from where I lived (Marblehead) and those guys would often come and skateboard in my town. Plus, they were SSD. They were guys you looked up to. Their music and Straight Edge stance was so fierce, you had to be a part of it.
Unlike all of my other Decibel Geek Podcast interviewees, you and I have growing up in the 1980s hardcore scene in common. How has that informed you throughout your long professional music industry career?
Don’t forget the struggle, don’t forget the expense accounts! I think the biggest lesson learned from growing up in the hardcore and punk scene in the '80s was the powerful three letters: DIY. It doesn’t matter the milieu. To realize your vision, both creatively and in business, you need to take things into your own hands. Plus, it better informed your bullshit meter as to how ridiculous things in the music business could be.
Oh, and with the exception of Too Fast For Love and Shout At The Devil, Motley Crue still sucks.
You were also in a hardcore band in the '80s called Apology, which put out a record on Wishingwell Records, which was run by Pat Dubar and Pat Longrie of Uniform Choice (one of my all time favorite hardcore bands). What do you remember about that time?
First off, the Apology record sucks. We were a terrible band. It was a band that I started with a guy named Matt Baker, who I met when he was touring with Justice League. The thing I didn’t realize is that he was the fill-in guitar player who knew very little to nothing about punk, hardcore or post-hardcore. It was all down hill from there. I can’t sing – still can’t and had no business doing so. The record was produced by Vic Bondi (Articles of Faith, Jones Very, Alloy) and if the band had a coherent idea, it would have been okay. It wasn’t. It’s bad. Quite sadly, the other guitar player in the band killed himself a few years later.
The mid to late '80s was a time for a lot of good and bad music coming out of the hardcore scene. There were some killer records. The first Dag Nasty record. The first Gorilla Biscuits record. Rites of Spring. It was a period for a lot of bands to expand their sound and ideas. Uniform Choice’s second record was one of those records that just missed the mark. It’s like they missed their own point! It’s not a hardcore record or a rock record. Then again, the production didn’t help it.
The first Uniform Choice tour of the U.S. that I went out on was pretty interesting. The band had already changed style a bit, grew their hair and were playing some of the songs from the second album. It’s not the band that kids were expecting when they came through town. In Connecticut at The Anthrax Club, when the band played “Screaming for Change”, they got pelted with pennies, dimes and quarters! It would have been beer money if the band was not still predominantly Straight Edge.
I may be wrong on this but didn't you have a hand in getting Dubar's band Mind Funk signed to Epic Records? If so, discuss.
I didn’t help them in getting signed. I did get Pat into Mind Funk though. I knew Johnny and Marsha Zazula and Maria Ferraro from Megaforce Records and Crazed Management. They had this band that was comprised of members of M.O. D. and Celtic Frost, so why not make the lineup even stranger? They had tried out a few singers before, including Mark from Death Angel, but no one seemed to work out until Pat came along.
Like almost everybody who grew up on Uniform Choice, I wasn't all that crazy about Mind Funk when I first heard it. However, UNLIKE almost everybody who grew up on Uniform Choice, I have since come to love Mind Funk. What was your opinion of Mind Funk way back when and what is your opinion of them now?
Back then? Of course I thought Mind Funk was great back then. Dubar was a friend of mine. It was a step “up” from Uniform Choice and a cool band in many respects. Now? Goofy name. It made you think they were going to sound like Fungo Mungo or 24-7 Spyz or something! Apparently, it was a more acceptable way to advertising the band’s “real” name: Mind Fuck. The first album really doesn’t age that well. It feels like it’s a pretty top-heavy idea with a very strange lineup. Jesus! The band was comprised of members of M.O.D., Uniform Choice and Celtic Frost!
The second album the band made, Dropped, stands up a lot better. Better production (Terry Date produced it) and a much better, more cohesive lineup which also included Jason Everman from Soundgarden and Nirvana. Yes, it was recorded in Seattle and yes, it was definitely very contrived but that was perfectly fine. Pat sounds way better on that record as well. The first one felt like he was still feeling it out. Which, of course, he was.
You did a punk/hardcore zine called xXx in the '80s and have written for many publications as well. As a writer, who are some of your influences and why?
Truthfully, other fanzines at the time. Forced Exposure was really big for me. I was pretty enthralled by what was going on in the early Boston scene and the first six or so issues really schooled me on that. If anything, the visual content of that zine was pretty incredible. Lots of stark black & white pictures that went with the music of the time perfectly.
On a personal level, Al Quint and Suburban Voice (which, at first, was Suburban Punk) was probably more important than any zine of the time. We were friends. We started a band together called No System, which I got booted out of for being a terrible singer. I should have learned the first time.
Pushead was an influence both as a writer and for the help that he gave me pushing me out of the fanzine “nest”. I loved his Puszone column in Thrasher. We were communicating a lot and he encouraged me and gave me the forum to write for the magazine writing about bands that I dug and that he and I felt were either important or going to be important. I interviewed Duff McKagan from Guns N’ Roses and talked about The Fartz. When I talked to The Sugarcubes, we focused on their time as a Crass band called KUKL.
There were definitely a lot of other great fellow writers and editors who gave me a hand as a growing writer. Lonn Friend from RIP was one. Actually, one of my first editors was Danny Fields, who edited a magazine called Hard Rock Video. Before that, Danny had earned his place in the history books as the A&R guy who signed The Stooges and The MC5. He also was The Ramones’ first manager.
Discuss your years as Director of A&R for Atlantic Records in the mid '90s.
It was a really great time. First off, I was learning to do A&R: signing bands, working on records, dealing with artists, etc. Secondly, it was still the era where people bought music, so there was a bit more money floating around and I was lucky enough to sign and work with some great bands: Jawbox and Bad Religion being two really notable ones. It was the “who will be the next Nirvana era?” and labels were willing to pay to find out.
I had a couple of great bosses while I was there – in particular, Jason Flom, who has run many record companies over his career, including Atlantic and Capitol, and delivered hit artist after hit artist – from Skid Row to Paramore to Black Veil Brides. You learn a lot from watching someone like that.
Yes, I did meet Ahmet Ertegun (Atlantic Records founder) and I remember one night when he came to a party that one of the heads of A&R was having downtown. The guy stayed as long as anyone there.
There were definitely some interesting moments. Peeing in the stall next to Ted Nugent. Being at the MTV Music Awards after-party where there was some rap rivalry tension in the air. Watching CIV, who I signed, get to open for KISS. A&R-ing the Testament - Low record where they heavied up and took a turn that’s only gotten heavier as time’s gone by.
Do you think that so many underground bands signing with major labels like Atlantic in the '90s had a positive or a negative effect on the underground music scene in general?
It was really positive. I got a killer job and I’ve been able to dawdle around the music business to varying degrees of success for many years now!
The underground and alternative music scene was primed for a perfect storm. You had 15 years of a hardcore and indie backdrop. You had Lollapalooza in 1990 to assemble a demographic. It was a matter of the right spark. Nirvana's Nevermind was that spark. It was going to happen. Sonic Youth, Henry Rollins/Rollins Band and Jane’s Addiction were already success stories. Then Nevermind.
In retrospect, how underground were the bands that were signed at that point? Nirvana blew the roof off of the underground when they released Nevermind. I think it had a polarizing effect. Yes, it made for a much bigger audience for more “revolutionary-minded” bands like Fugazi or Bikini Kill or Born Against but in doing so, it also gave them a better platform to espouse their musical and political stances. It made it a lot easier to find an alternative to Creed and Fastball in many ways.
The Nirvana “Perfect Storm” didn’t just extend to the obvious post-Dischord, SST or Sub-Pop bands. It also opened musical palettes for a few minutes to allow the likes of Godflesh, Sleep, Helmet, The Obsessed and Foetus all in there. Then, THANKFULLY, we all came to our senses and allowed O-Town, Britney and The Gin Blossoms to put everything back on track (wipes forehead).
What was/is your take on Steve Albini's "The Problem With Music" piece being as how you yourself came from the hardcore scene?
In most respects, it was spot-on, though more fixated on failure than success. While the likes of The Fluid, Skiploader and Man Will Surrender went crashing down in flames, there was also Green Day, Social Distortion and a few others who beat the odds.
The article has had a lot of staying power, which is why it’s been reprinted so often over the two decades since it originally appeared. Now, the fact that I am mentioned in it as an A&R guy is a pretty big compliment. I don’t mean that in a villainous way or that I was the Judas of the hardcore scene but I do think that I made a difference in the post-hardcore landscape.
Discuss your many years as Director of A&R for Roadrunner Records.
That’s a novel. It was 12 years with lots of successes, a few failures, some high points, some frustrations and a lot of great people coming into my life. The first couple of years there had the sort of mistakes you usually make at a new label. The first band I signed, Both Worlds, a band that featured John Joseph from the Cro-Mags and a couple of guys from Leeway, was a complete and utter failure. Working with The Misfits on their second post-Danzig record was interesting – to put it mildly.
There were definite points where I felt like I was totally in synch with what the label was doing and other points where I felt like I was swimming against the current. When I started seeing bands like Glassjaw or Killswitch Engage or even Still Remains have a bit of success, it really reaffirmed to me that you need to stick to your guns and do what comes naturally. Even developing a band like Ill Niño was a lot of fun. They were a unique band in their own right – blending Latin rhythms with rock and metal. They also had a killer live show, which was the thing that initially got me hooked on the band.
There were definitely some moments where I had to deal with failure. I put my all into Mutiny Within, which was a great band of really, really talented kids with an amazing potential that they never quite pulled off live. I also signed an offshoot of Abigail Williams called Born of Fire, which got dropped as part of a wholesale roster cut before they had even recorded a note of music. One of the great things about Roadrunner was that as tough as the executive staff could be, they never let you feel like you were facing immediate dismissal if a record didn’t “happen” – at least in the immediate sense! (laughs).
Killswitch Engage was an unbelievable experience. Watching a band grow from what was essentially a studio project to a gold-level selling band was rewarding at every step. Every success, from the critical response to Alive Or Just Breathing to seeing them play in front of tens of thousands of people at the Download Festival, was all richly rewarding. There were other points. The success of Dragonforce. Having Dave Mustaine in my life over the course of two Megadeth records and seeing how those records were a part of Megadeth’s career turnaround.
I could keep going. That time, like any time in anyone’s career, has as much to do with the experiences and the people more than anything. Now that I’m thinking about it, one great moment that I can think of was during 9/11. I was living in New Jersey with my girlfriend and current ex-wife. The only way to get out of Manhattan was on ferries going from the West Side to Hoboken. We would have been stranded if it wasn’t for one of the Ill Niño guys picking us up and going out of his way for at least two hours to drop us at home. That’s the sort of personal relationship and success in connecting with people that is a lot more important than any Soundscan report.
I know that I'm very much in the minority of this but I absolutely love Life Of Agony, particularly their first two albums. What'd you think of them when you were at Roadrunner?
They were a good band with the occasional flash of brilliance. River Runs Red is a classic. Ugly is solid. Soul Searching Sun has a few good moments. Keith Caputo is as true an artist as you’ll find – and a really good soul at that.
To me, like Type O Negative before them, they were one of the bands that Roadrunner took to radio with varying degrees of success. That experience for the company helped pave the way for Slipknot and, ultimately, Nickelback.
What were the circumstances under which you left Roadrunner in 2009?
Very good circumstances actually. After a 12 year run, which is considerable for any A&R person’s career let alone his tenure at a single company, they simply didn’t renew my contract. It was a simple case of not growing together anymore. At that point, we wanted different things out of each other as an employee and employer.
Discuss your time as Vice President of A&R for Century Media Records.
I was there for a year and a half and worked as an A&R consultant for some time afterwards. Good people. Lots of ideas and energy flying around that company.
What do you make of what's left of the music industry in the early 2010s?
The record industry is certainly going through it's share of shake-ups but the music industry is fine. People like music. Now, it’s a question of how to monetize music. How to sell it. How to keep it valuable. That’s the real challenge for the next decade. In that, there are opportunities.
Do you foresee a day when you no longer work in any capacity in the music industry? Why or why not?
I don't know. I’ll be 46 this month. I can’t see myself not doing something involving music in some way, shape or form. I also don’t see myself becoming any less of a music fan. As far as me being in the business? That’s how you define it. Maybe I’ll teach a course in the history of rock & roll or something. I haven’t become cynical or jaded to music itself. I still spend way too much money on new records. I can barely talk to people for whom music is dispensable. There’s a lot of good role models out there for growing older and doing this “the right way” to the hilt. John Peel. Rollins. Brett Gurewitz. I have an old friend named Larry who manages Lamb of God. Now Larry has managed Cinderella, KISS and tons of other successful bands in his career. I know for a fact that he reads at least one “rock book” a week and, when he’s home, spends every Friday night simply listening to music.
Feel free to mention any of your other endeavors here.
Right now, I work with an old friend of mine named Scott Koenig under the umbrella of King Artist Management. He manages Fear Factory. We manage Prong and a number of other bands together. I’m having a lot of fun. It’s nice to get off the record company hamster wheel for the moment. It’s nice to own your own life after all this time.
WTF Moments of Rock Part I
But even the disaster that is the current state of pop music can be entertaining. Not the actual music, mind you, just the depravity by which the record execs practice their particular brand of torture. By example, Biggie Smalls gets murdered and the record execs think it’s a great idea for Justin Bieber to cover his songs. Actually I’m glad Biggie didn’t live to see this.
So, I present you with just a small first sampling of what I believe to be some of the greatest WTF moments in recent music in no particular order.
Chris Gaines
If you’ve never heard it, I strongly recommend you go to your local music store, find a copy, then go out to a nice large field and burn it. You’ll be doing yourself and the rest of the world a big favor. Don’t get me wrong, it wasn’t completely bad…well, yeah it actually was but I thought I’d try to say something nice. Don’t worry, won’t happen again.
The Blown Out Penis.
Yes, I said that, a blown out penis.
It seems that back in the prehistoric rock days of the 1970’s Three Dog Night was a mobile pimp show. I know you think the sexual mojo modern generations attribute to them doesn’t seem to be the type of whirlwind force you’d expect to produce stories with titles such as “Blown Out Penis”, but you’d be wrong. These guys were definitely one of the top groups of the 1970’s both musically and culturally, and women noticed.
It all began with a guy named Chuck. Chuck Negron was a nice looking guy with the obligatory 70’s Farrah hair who was living the dream. He toured the world doing good drugs and even more random women. Somewhere along this adventure, it seems that good ole Chuck began having man problems.
You see, the male body was never meant to copulate more than 42 times per day. But being the rebel that he was, Chuck threw caution to the wind and pretended he was a coked-up rabbit.
But somewhere along the road to infamy, he began to have a rather sensitive swelling and chapping. He finally managed to give himself a break and go to see a doctor. In his book, Three Dog Nightmare, Chuck says, "In my ignorance I thought, 'Wow! It's just like working out a muscle. It's going to be huge!” Poor ole Chuck. The doctor informed him he was flirting with disaster and made him promise to give his body a break. In Chuck’s defense, even Newton said that a body in motion tends to stay in motion. And since his body had been in A LOT of motion, it was quite difficult for him to quit cold turkey. He did, however manage to make it a week until he met a local beauty queen backstage. And the rest is the type of freak show history that makes drunken stories even more entertaining.
Apparently this innocent local pageant winner was witness to Chuck’s body attempting to unzip itself from him and run away after having decided that it had had enough of his misuse. It was reported that as soon as the festivities began, everyone heard a ripping sound which was, undoubtedly, followed by a high pitched screaming sound coming from Chuck. What followed was years of expensive psychotherapy for a beauty queen and a painfully embarrassing few hours in an emergency room in Oklahoma where Chuck says he “held his manhood while it bled profusely and closely resembled a split open, overcooked hot dog”. OUCH.
LULU
Metallica and Lou Reed. Separate, forces that can inspire awe and devotion. Together they just simply inspire you to shove an icepick as far into your ear as possible.
First, I have always found that when a band decides to get “artsy” they begin to suck. In this case, that’s truer than I ever thought it would be. Somewhere along the lines, some musicians begin to actually take themselves too seriously. They hang out in uppity coffeehouses with people wearing turtlenecks who reek of cloves and sandalwood. So apparently Lars’ AARP membership came with a Starbucks gift card and twenty gallons of essential oils.
To backtrack just a little, you have to understand where these two misguided elements immediately came from for this travesty. Lou Reed had pretty much destroyed any semblance of respect and reputation he’d had with his horrific Metal Machine Music, an album that has been described as, “getting ear fucked by a toaster”, “The tubular groaning of a galactic refrigerator” and compared to the excitement of a night at the bus station. I’ll save you the torture of hearing it; it’s pretty much a little plastic disk full of guitar feedback that makes it debatable as to whether there are enough semblances to anything intentional to actually be considered music.
On the other hand, Metallica’s previous release was the beginning of the end of the illustrious career of Robert Trujillo. After Load, which I still can’t shake the idea that the title should’ve been preceded by “taking a-“I guess anything they came up with would be good. Well I’d be wrong. Granted St. Anger wasn’t the worst album ever made. So for Metallica’s sake I say thank you Bay City Rollers.
But back to the most current abomination. Just in case you don’t know the story behind it, LULU is based on the plays of a 19th century German playwright named Frank Wedekind. Yes, Metallica has gotten so commercial they’re essentially doing musical theater now. They’ve reached the heights of that guy from high school who lived for nothing more than the drama club and now does cheesy dinner theater still pretending to be mysterious and rebellious even though he’s a glorified waiter. So what’s the album about? Well, it’s about 85 minutes too long.
So of course you’d expect the critics to love this. Well then you'd be wrong, and the fans hated it even more. Lou Reed has recently discussed death threats he’s received for “bringing Metallica down”. Lars commented by saying that the negative reaction comes from Lou Reed’s poetry, “not being for everyone”. No, really? Of course not wanting to be outdone, Lou Reed managed to insult Metallica fans even more by saying that the album wasn’t doing well among the fan base because, “this is an album for literate people”. I guess Master of Puppets was for simpletons and Ride the Lightening was for people without the common sense to not stick sporks in their eyes.
According to Billboard, Metallica has no literate fans since this is the lowest selling album ever put out by them. To tell the truth, I’m not really sure what to say about this album. It seemed everyone knew it was going to be crap before it came out, except Metallica and Reed that is. Why they would do this to themselves, and their fans, is beyond me. I guess this is Lars’ way of giving the big middle finger for not getting his cut from all those illegal downloads. Well Lars, don’t worry, you won’t be getting ripped off this time. I can pretty much guarantee no one will be illegally downloading this album.
Too Young to Die
If you haven’t seen the movie Too Young To Die, then you can’t truly be a KISS fan. Well, either that or you’re trying to keep a positive opinion about Gene Simmons. What does it have to do with Gene? Well, see that rather ugly drag queen to the left? Yep, that's Dr. Love himself.
In this twisted flick, the soundtrack is why I included it in this list. Well that and the complete joke Gene Simmons makes of himself.
The movie is a James Bond knockoff starring John Stamos as the son of a murdered secret agent. But that’s not important. What IS important is that Gene Simmons plays a transvestite so brilliantly you have to actually ask yourself if he is the world’s greatest actor, or a closet freak.
When Gene first comes on screen, it is during his musical number It Takes a Man Like Me To Be A Woman Like Me. Yeah. Sure the song is borderline, or over the line, but what’s worse is the costume. Gene comes out literally bumping and grinding while wearing a leather teddy, high heel hip boots, fish nets and a huge pink showgirl headdress. Gene sings the opening line to the title song while looking like Frankfurter’s ugly, fat sister and, for some strange reason, it sounds so familiar ("I've got no manners / And I'm not too clean / I know what I like / If you know what I mean, yeah!"), because he later ripped himself off and used the same lyrics on "Spit" on KISS' Revenge album. For the sake of KISS fans everywhere, I sincerely hope he spent months researching drag queens for this part and he didn’t just show up and do this naturally. But the fact that the costume is the same one worn by Lynda Carter in her TV special when she was trying to look like a female member of KISS, not sure if it would matter. So there you have it, Gene borrowed clothes from Wonder Woman.
As scary as his performance is, what’s scarier is that with all his money, influence and close guarding of imaging he does that this is still out there. If you haven’t seen it, I do recommend you search for it. This is the kind of thing that shuts down KISS drinking trivia games. But you have been warned, therapy may be necessary after viewing.