Rock News

[pegasus216]

During an appearance on the latest installment of the "Talk Is Jericho" podcast, producer Bob Rock (pictured) defended his work on METALLICA's controversial 2003 LP "St. Anger" by saying that both LED ZEPPELIN legend Jimmy Page and former THE WHITE STRIPES frontman Jack White "took the time to say how much they like that album."

According to Rock, Page expressed his appreciation for the CD when the produced ran into the guitarist while they were both eating breakfast at hotel. "I know Jimmy," Bob said. "He got up and walked over to me, gave me a big hug, and said, 'It's great to see you,' blah blah, 'I love the 'St. Anger' album.'"

White's praise came at a screening of the documentary "It Might Get Loud", which co-starred Page. "I was at the premiere, and Jack White came over," Bob recalled. "He says, 'I'm Jack White.' I said, 'I know.' He says, 'That's my favorite METALLICA album.' So," laughed Rock, "I'm okay with those two."

Rock did acknowledge that "St. Anger" wasn't embraced by many METALLICA fans, who criticized it for its lack of guitar solos, extended riffs, its raw production and the thin drum sound.

"It's a very odd record," he conceded. "But it is… It's the truth. It's the raw truth about them at that time."

Rock also addressed the drum-sound controversy, explaining: "People comment about the sound, but when we went in, I said to them, 'I can't set up the drums exactly the same way. I can't do that.' It's like, why does metal music have to have this certain sound before it's metal? So I kicked the can a bit in that way."

He continued: "We could talk about this for a long time, but, really, the sound of the drums on that, I got the first set that [Lars Ulrich] ever used when they rehearsed in the house in Oakland, when they first got together. I set it up and Lars stared at it, right? For, like, months. And then one day he sat down and played, and it was ringing and it was raw, and he said, 'This is it.'"

Rock also discussed the lack of solos on the album. According to the producer, "Lars said, 'No guitar solos.' And [James Hetfield] and I are going, 'But … that's what [Kirk Hammett] does.' So every song, Kirk comes in and plays a solo, and if it doesn't make the song better, we're not using it — and we went through the whole album like that."

Ulrich admitted to The Pulse Of Radio a while back that the band was surprised by the hostile reaction to "St. Anger" by many fans. "It threw us a little bit, sure, 'cause the whole thing was to just keep it as raw as possible," he said. "And I'd like to think that we accomplished that [laughs], to the point of obviously a little too raw for some people, and that's okay. I mean, it is what it is. I have not one regret about it. I'm proud of it, proud that we had the balls to see it through."

Speaking to Classic Rock magazine, Ulrich defended the drum sound on "St. Anger". He said: "That was on purpose. It wasn't like we put it out and somebody went, "Whoa! Whoops!" I view 'St. Anger' as an isolated experiment. I'm the biggest METALLICA fan, you've got to remember that. Once again, as we've been known to do, once in a while these boundaries have to be ****ed with. We'd already done 'Ride The Lightning', which I believe is a fine record. It didn't need to be re-done."

He continued: "When we heard the record from beginning to end, I felt — and it was mostly me — that the experience was so pummeling, it became almost about hurting the listener, about challenging the listener, so we left the songs unedited. I can understand that people felt it was too long."

"St. Anger" was released in June 2003 at the end of a turbulent two-year period in which bassist Jason Newsted left the group, James Hetfield went for a lengthy stay in rehab, and the entire band threatened to break apart. The album's raw, lo-fi production, lack of guitar solos and unorthodox sound were not well-received by many of the group's fans, who still often cite it as METALLICA's worst record. "St. Anger" has nevertheless sold more than six million copies worldwide, although fans have generally not warmed up to it in the 12 years since its release.

 

[swiftdog2.0]

During an appearance on the latest installment of the "Talk Is Jericho" podcast, producer Bob Rock (pictured) defended his work on METALLICA's controversial 2003 LP "St. Anger" by saying that both LED ZEPPELIN legend Jimmy Page and former THE WHITE STRIPES frontman Jack White "took the time to say how much they like that album."

According to Rock, Page expressed his appreciation for the CD when the produced ran into the guitarist while they were both eating breakfast at hotel. "I know Jimmy," Bob said. "He got up and walked over to me, gave me a big hug, and said, 'It's great to see you,' blah blah, 'I love the 'St. Anger' album.'"

White's praise came at a screening of the documentary "It Might Get Loud", which co-starred Page. "I was at the premiere, and Jack White came over," Bob recalled. "He says, 'I'm Jack White.' I said, 'I know.' He says, 'That's my favorite METALLICA album.' So," laughed Rock, "I'm okay with those two."

Rock did acknowledge that "St. Anger" wasn't embraced by many METALLICA fans, who criticized it for its lack of guitar solos, extended riffs, its raw production and the thin drum sound.

"It's a very odd record," he conceded. "But it is… It's the truth. It's the raw truth about them at that time."

Rock also addressed the drum-sound controversy, explaining: "People comment about the sound, but when we went in, I said to them, 'I can't set up the drums exactly the same way. I can't do that.' It's like, why does metal music have to have this certain sound before it's metal? So I kicked the can a bit in that way."

He continued: "We could talk about this for a long time, but, really, the sound of the drums on that, I got the first set that [Lars Ulrich] ever used when they rehearsed in the house in Oakland, when they first got together. I set it up and Lars stared at it, right? For, like, months. And then one day he sat down and played, and it was ringing and it was raw, and he said, 'This is it.'"

Rock also discussed the lack of solos on the album. According to the producer, "Lars said, 'No guitar solos.' And [James Hetfield] and I are going, 'But … that's what [Kirk Hammett] does.' So every song, Kirk comes in and plays a solo, and if it doesn't make the song better, we're not using it — and we went through the whole album like that."

Ulrich admitted to The Pulse Of Radio a while back that the band was surprised by the hostile reaction to "St. Anger" by many fans. "It threw us a little bit, sure, 'cause the whole thing was to just keep it as raw as possible," he said. "And I'd like to think that we accomplished that [laughs], to the point of obviously a little too raw for some people, and that's okay. I mean, it is what it is. I have not one regret about it. I'm proud of it, proud that we had the balls to see it through."

Speaking to Classic Rock magazine, Ulrich defended the drum sound on "St. Anger". He said: "That was on purpose. It wasn't like we put it out and somebody went, "Whoa! Whoops!" I view 'St. Anger' as an isolated experiment. I'm the biggest METALLICA fan, you've got to remember that. Once again, as we've been known to do, once in a while these boundaries have to be ****ed with. We'd already done 'Ride The Lightning', which I believe is a fine record. It didn't need to be re-done."

He continued: "When we heard the record from beginning to end, I felt — and it was mostly me — that the experience was so pummeling, it became almost about hurting the listener, about challenging the listener, so we left the songs unedited. I can understand that people felt it was too long."

"St. Anger" was released in June 2003 at the end of a turbulent two-year period in which bassist Jason Newsted left the group, James Hetfield went for a lengthy stay in rehab, and the entire band threatened to break apart. The album's raw, lo-fi production, lack of guitar solos and unorthodox sound were not well-received by many of the group's fans, who still often cite it as METALLICA's worst record. "St. Anger" has nevertheless sold more than six million copies worldwide, although fans have generally not warmed up to it in the 12 years since its release.

Bob Rock can defend that album all he wants. The production values are still awful. The snare drum sounds like a freakin' kickball for cryin' out loud!

I'm not a big Metallica fan so I have no opinion on how the material compares to their other work. I'm looking at this from a sound perspective. From a sound perspective it gets a "fail" from me.

Never been a big fan of Bob "Rock" as a producer anyway. He's a pompous DB.

 

[FlakeNoir]

Bob Rock can defend that album all he wants. The production values are still awful. The snare drum sounds like a freakin' kickball for cryin' out loud!

I'm not a big Metallica fan so I have no opinion on how the material compares to their other work. I'm looking at this from a sound perspective. From a sound perspective it gets a "fail" from me.

Never been a big fan of Bob "Rock" as a producer anyway. He's a pompous DB.

I'm not a fan of the album.

 

[pegasus216]

David Bowie entered 1974 as one of the world’s biggest rock stars. He was still flying high on the success of the Ziggy Stardust character, whose image had become so famous that it wound up gracing the cover of the singer’s eighth album, Diamond Dogs, which was released on April 24, 1974.

The strange aspect about the return of Ziggy is that Bowie had famously retired him nearly a year earlier, during the last show of the tour in support of the follow-up, Aladdin Sane. So, after the late-1973′s covers LP, Pin-Ups, Bowie laid off the Spiders from Mars and proceeded to hire session musicians to back him on Diamond Dogs.

The sessions were spread over several months and studios in and around London, before culminating in a final mix at producer Tony Visconti’s newly built personal studio. Since producing and playing bass on 1970’s The Man Who Sold the World, Visconti had been busy overseeing Marc Bolan’s classic glam LPs, so this reunion proved both timely and momentous in seeing Bowie’s next crucial career transition through.

Bowie had been planning to build a full-fledged concept album around George Orwell’s dystopian classic, 1984, 10 years before the fateful date. But when the author’s estate refused to grant him their blessing, David was forced to scale back on overt references to the novel, and rework the material to mesh with other, unrelated song ideas and make sense of it all, somehow.

As a result, Diamond Dogs became a complex affair, both musically and lyrically, which quickly moved on from the apocalyptic prophecies intoned on the introductory mood piece, “Future Legend,” into the title track’s more familiar arena glam aesthetic (backed by faux concert sounds) and the dramatic cabaret balladry of “Sweet Thing,” which was beautifully garnished by Mike Garson’s piano.

However, the ensuing “Candidate” didn’t pack that typical, finely crafted Bowie touch and, when followed by an elegiac reprise of “Sweet Thing,” felt like a poorly finished concept album remnant (which is precisely what it was). In that regard, it previewed other 1984-inspired leftovers stuffed onto Diamond Dogs’ second half. Flourishes of infectious creativity were often weighed down by dark, overwrought words, which were made all the more confusing for being untethered from the initial source material.

Luckily, Bowie’s formidable pop instincts ensured that these ebbs were invariably countered by undeniable crests — namely via the unusually direct love letter to his adoring fans, “Rock ’n’ Roll With Me,” and the gloriously raw career landmark, “Rebel Rebel,” which built the bridge between glam and the not-yet born British punk movement in four-and-a-half perfectly imperfect minutes.

All this being said, not even artistic triumph, chart-dominating singles and impressive album sales (No. 1 in the U.K. and No. 5 in the U.S.) could mask Bowie’s ongoing growing pains on Diamond Dogs. This is why, with decades of hindsight, Diamond Dogs now seems more like the gateway from the Ziggy Stardust era to his Thin White Duke blue-eyed soul period, and beyond.



Read More: 41 Years Ago: David Bowie Releases 'Diamond Dogs' | 41 Years Ago: David Bowie Releases 'Diamond Dogs'

 

[pegasus216]

A commercial breakthrough album for the Moody Blues, On the Threshold of a Dream, yielded no hit singles — but it didn’t need to. Issued in April 1969, the high-concept song cycle would become the Moodies first chart-topper in the U.K. and their first Top 10 hit in America.

Focusing on our dreams, and how they sometimes fail us, the album arrived just as the race into space was reaching a fever pitch, but also as things were finally slowing down for the Moody Blues.

The band’s previous two albums, Days of Future Passed and In Search of the Lost Chord, had served to establish the Moodies as seminal prog rockers. They’d been recorded, however, in a flurry of activity between tours. That wasn’t the case with On the Threshold of a Dream, which found the Moody Blues taking most of two months in early 1969 to record. Their confidence was at an all-time high, their imaginations soaring, and their musicianship air-drum tight after a lengthy U.S. tour opening for Cream.

The Moodies brought all of that to bear on Threshold which, though loaded with strings, still boasted a number of hooky moments early on including “Lovely to See You,” “To Share Our Love,” and “So Deep Within You” — the latter of which was subsequently recorded by the Four Tops, a testament to its status as a should-have-been hit. But the long-form Threshold, created of a piece and best played that way, also expands to include ambitious compositions blending psychedelia and classical.

All five members of the Moody Blues contributed songs, with co-founder Graeme Edge‘s aptly titled “In the Beginning” — an atmospheric recitation featuring vocals by Justin Hayward, Edge and then Mike Pinder — serving as the album’s launching pad.

“My job back then,” Edge told Ultimate Classic Rock, “was to write a poem that kind of hinted at all of the various themes to make sure that people’s heads were pointed in the right direction.” Tony Clarke, who served as the Moodies producer from 1966-1979, played an integral role in pulling all of these seemingly disparate textures and ideas together, Edge said.

“That one more than any other album, Tony Clarke was the driving force behind that,” the drummer said. “We were all very interested, but Tony Clark and I and Pinder especially, were all very into the space race. Tony wanted to do [an album to show] what it felt like. To Our Children’s Children [which came after Threshold] was kind of buried under stone to be dug up in 200 years with a time capsule kind of feeling. Threshold was about the journey and getting out into space, both physically and metaphorically.”

Rock critics like Robert Christgau of the Village Voice hated it, comparing the Moody Blues to MOR purveyors Ray Conniff and Hugo Montenegro. “Were it not for their titanic success,” Rolling Stone once sniffed. ”They might easily be dismissed as an odd and overlong joke.”

Instead, fans — then as now — steadfastly ignored all of that. On the Threshold of a Dream would spend a remarkable 70-week run on the British album charts.

 

[pegasus216]

Streaming or simulcasting concerts is becoming more common — even the Grateful Dead are getting in on it — but the members of Rush still prefer a more traditional approach.

According to guitarist Alex Lifeson, the band’s upcoming tour itinerary includes “no plans for a live stream” — and that’s exactly the way he wants it.

“It’s a little old-school,” explained Lifeson. “We want to keep it ‘that event, that concert, that congregation.’ In that sense, we’ll do it a little more old-fashioned.”

On the subject of potentially releasing instant live albums from the shows, however, he’s a little more malleable. “That’s not a bad idea. We’re so overwhelmed with getting the show together that we haven’t discussed something like that,” he noted, while quickly pointing out that although the technology is there, he’d want to make sure the sound is up to his standards before anything went out.

“It’s a relatively easy thing to develop. We like to be in control. We don’t just want to provide a board mix, like a bootleg,” Lifeson continued. “It would sound pretty good – I’ve heard a lot of mixes that come off the console that we use for research. But they’re not quite what I would want to have released.”

Whatever happens, Lifeson assures fans that those who turn out for these shows will go home satisfied. “It’s a pivotal tour for us. It’s an anniversary tour. It also comes at a changing time for the band,” he noted. “We’re having a lot of fun putting the sets together, and I think the fans are going to be very pleased with what we’re doing.”

As previously reported, Lifeson hasn’t been shy about sharing the amount of pre-production work that’s going into this rehearsal — particularly with regards to rehearsals. “We’re nuts,” he’s quoted as saying. “We rehearse for six weeks before the rehearsals. I’m serious. I’ve been rehearsing for three weeks now. I spend four hours, three times a week, and then the rest of the time I play for an hour to two hours. And that’s just to get ready for rehearsals.”

 

[pegasus216]

In early 1975, Pink Floyd announced that they’d tour the U.S. in April, even as the group worked to finish its upcoming album, Wish You Were Here. Floyd fans snapped up the tickets, especially in Los Angeles, where the band scheduled what Billboard called “an unprecedented five-night stand” at the Los Angeles Sports Arena between April 23-27.

While rock fans in the City of Angels rejoiced, Los Angeles Police Chief Edward M. Davis seethed. The self-proclaimed “meanest police chief in the history of the United States” hated rock music and all of its trappings. After assuming the role of chief in 1969, Davis doubled-down on a department policy that saw LA rock fans arrested for minor offenses while attending shows. Rolling Stone reported in 1975 that “thousands” of concert attendees had been charged with everything from marijuana possession to underage drinking since 1967. The Free Press spelled out the obvious the same year: Davis’ unspoken, unofficial policy “is to discourage rock events in the city of L.A.”

In the weeks leading up to Floyd’s residency at the Sports Arena, rumors swirled that the LAPD intended to use the series of shows as an opportunity to send a public message about drug use at concerts. In support of this claim, one fan would tell Rolling Stone that during his March arrest at a Robin Trower gig, he heard a cop say, “If you think this is something, you ought to see what we’re going to do at the Sports Arena.”

That first night at the Sports Arena, approximately 75 officers, both plain-clothed and uniformed, swarmed through the crowd. By the end of the evening, 88 Pink Floyd fans had left the premises in handcuffs. The next night, 134 more faced the same fate. Jim Rissmiller, one of the two men who promoted the concerts, denounced the police, saying officers “dragged kids out of the audience. … I’ve never seen such an attitude of aggressiveness.”

While Floyd performed on April 25, Davis stood before an audience of his own at the Los Angeles Hilton. Speaking to Rotary Club members, Davis used the occasion to denounce the goings-on across town. “Tonight at the Sports Arena, under three governmental agencies, they have a dope festival,” he said. “You could get stoned just walking through the place.” In support of Davis’s contention, police later estimated that about 70 percent of the crowd was smoking pot at that first Floyd show.

By the time Floyd left town, the arrest total had reached an eye-popping level. In total, the LAPD arrested 511 individuals for various offenses. While most of the charges (364) involved “simple possession” of marijuana, other charges included “minors under the influence” and “sexual perversion,” a charge levied at kids who sought release at a nearby park.

In the wake of Floyd’s performances, a significant backlash against Davis’ policies developed. The manager of the Sports Arena and the show’s promoters both termed the LAPD’s behavior as “harassment.” The Los Angeles Times reported that the fan behavior at the shows was “orderly” and suggested that the LAPD had a “double standard” when it came to policing rock fans. Most importantly, the civilian-controlled Los Angeles Police Commission called Davis to the carpet after complaints flooded in from the public.

In the face of this criticism, Davis was unrepentant. He labeled the manager of the Sports Arena a “crybaby,” and declared that California legislators who’d consider reducing criminal penalties for pot were “irresponsible, no-good sons of bitches.”

Despite Davis’ public defiance, pressure from the media and the police commission did force him to change course during the remaining two years he served as chief. In October, police made few arrests at an Elton John concert at Dodger Stadium, an approach in line with Davis’ post-Floyd promise to city officials that at “large rock concerts … law enforcement efforts will be concentrated on the more serious violations of the law (e.g. the sales and use of hard narcotics).” Faced with the disapproval of large swaths of the public and growing numbers of politicians, Davis backed down.

In the years that followed, evidence of this shift was in the air at concerts in the city. When house lights dropped, pot smokers indulged, knowing that the LAPD would look the other way while the performance was underway. Davis, you can be sure, remained none too pleased.

 

[swiftdog2.0]

Streaming or simulcasting concerts is becoming more common — even the Grateful Dead are getting in on it — but the members of Rush still prefer a more traditional approach.

According to guitarist Alex Lifeson, the band’s upcoming tour itinerary includes “no plans for a live stream” — and that’s exactly the way he wants it.

“It’s a little old-school,” explained Lifeson. “We want to keep it ‘that event, that concert, that congregation.’ In that sense, we’ll do it a little more old-fashioned.”

On the subject of potentially releasing instant live albums from the shows, however, he’s a little more malleable. “That’s not a bad idea. We’re so overwhelmed with getting the show together that we haven’t discussed something like that,” he noted, while quickly pointing out that although the technology is there, he’d want to make sure the sound is up to his standards before anything went out.

“It’s a relatively easy thing to develop. We like to be in control. We don’t just want to provide a board mix, like a bootleg,” Lifeson continued. “It would sound pretty good – I’ve heard a lot of mixes that come off the console that we use for research. But they’re not quite what I would want to have released.”

Whatever happens, Lifeson assures fans that those who turn out for these shows will go home satisfied. “It’s a pivotal tour for us. It’s an anniversary tour. It also comes at a changing time for the band,” he noted. “We’re having a lot of fun putting the sets together, and I think the fans are going to be very pleased with what we’re doing.”

As previously reported, Lifeson hasn’t been shy about sharing the amount of pre-production work that’s going into this rehearsal — particularly with regards to rehearsals. “We’re nuts,” he’s quoted as saying. “We rehearse for six weeks before the rehearsals. I’m serious. I’ve been rehearsing for three weeks now. I spend four hours, three times a week, and then the rest of the time I play for an hour to two hours. And that’s just to get ready for rehearsals.”

I believe Lifeson about the rehearsals and prep for the Rush tour. A lot of their stuff is extremely tough to play.

 

[swiftdog2.0]

Social Distortion is touring the US this summer to honor the 25th anniversary of their self-titled major label debut. They are playing the album Social Distortion in it's entirety. I'll be at the show in Boston on 8/23/2015 \w/

Here is the album in it's special blue vinyl release:

 

[pegasus216]

That is very cool, Swiftdog! Have fun at the show!

 

[pegasus216]

Rolling Stones Release Alternate 'Can't You Hear Me Knocking' From 'Sticky Fingers' Reissue

 

[swiftdog2.0]

Dave Grohl has yet another side band:


Meet Dave Grohl and Corey Taylor's New Band

 

[FlakeNoir]

Dave Grohl has yet another side band:


Meet Dave Grohl and Corey Taylor's New Band

Does this man ever sleep?!

 

[swiftdog2.0]

Does this man ever sleep?!

I don't think so.

 

[pegasus216]

Ok, you all have got to listen to this! Best rock song I have heard in like forever! John has a winner! It will be out on May 5th, and I am picking up a copy as soon as it hits the store!

Listen to John Lodge's New Song 'In My Mind': Exclusive Premiere

 

[pegasus216]

I found snippets of the songs on youtube. I am so excited about this music! This is the way rock should sound IMO!

 

[FlakeNoir]

Ok, you all have got to listen to this! Best rock song I have heard in like forever! John has a winner! It will be out on May 5th, and I am picking up a copy as soon as it hits the store!

Listen to John Lodge's New Song 'In My Mind': Exclusive Premiere

It sounds a bit Pink Floyd(ish)... I like it.

 

[pegasus216]

It sounds a bit Pink Floyd(ish)... I like it.

That was my thought also. See, the 'old guys' know how to do music right!
Did you listen to the snippets?
I hope he does really well with this album, and I'm hoping it will get air play.

 

[FlakeNoir]

That was my thought also. See, the 'old guys' know how to do music right!
Did you listen to the snippets?
I hope he does really well with this album, and I'm hoping it will get air play.

I listened to about the first minute or so... was multitasking. (watching SOA/moderating )

 

[pegasus216]

I can't stop listening to it! Come on Tuesday!