Lee Kerslake, Drummer for Ozzy Osbourne + Uriah Heep, Dead at 73

Lee Kerslake, an English drummer who had performed with both Uriah Heep and Ozzy Osbourne, died on Saturday (Sept. 19) at the age of 73. Ultimate Classic Rock and TMZ each reported news of the death.

Last year, Kerslake revealed that he had been given months to live after battling cancer for several years. He stopped playing with Uriah Heep in 2018, four years after receiving a diagnosis of prostate cancer, according to TMZ. Over the weekend, Heep confirmed Kerslake’s death on social media.

Kerslake was borne in Dorset, England, in 1947. Playing drums from a young age, he performed with several groups such as With the Gods, Head Machine and Toe Fat before joining up with Uriah Heep in 1971. With Heep, he recorded on the bulk of the group’s studio efforts from 1972’s Demons and Wizards to 1998’s Sonic Origami. An early-’80s stint as Ozzy’s drummer only brought Kerslake further recognition in the rock world.

“Lee was one of the kindest men on earth, as well as being a brother he was an incredible drummer, singer and song writer!” Uriah Heep guitarist Mick Box shared on Saturday. “He had a passion for life bar none and was much loved by the fans, as well as anyone who crossed his path!”

In January 2019, reports emerged that Osbourne had given the terminally-ill musician a pair of platinum plaques for Blizzard of Ozz and Diary of a Madman, classic Ozzy albums to which Kerslake had contributed.

“I really wrote a nice letter to them and I hope they will come to terms with it and say yes,” Kerslake said of his initial request, which was ultimately granted by Osbourne. “A platinum certification on my wall for these albums would be fantastic and it would say I helped create those albums.”

Rockers We’ve Lost in 2020

Powered by ProGo Productions

Report: Leaked AC/DC Pics Show Band With Brian Johnson, Phil Rudd

Does a group of leaked photos show AC/DC newly performing with classic members Brian Johnson on vocals and Phil Rudd on drums?

According to Ultimate Classic Rock, the photographs that appear to show a reunited AC/DC recently filming a music video were reportedly posted, then removed from the band’s official website earlier this week. See those images down toward the bottom of this post.

If legit, the pics are the best proof yet that the Australian rockers have professionally reconvened with Johnson, who left the band back in 2016, and Rudd, who parted ways with the group in 2015.

Since that time, of course, Guns N’ RosesAxl Rose replaced Johnson for AC/DC live performances. However, rumors have been building in the past couple of years that the band were getting both Johnson and Rudd back into the fold. Even Foo FightersDave Grohl weighed in on the issue in 2018.

Late last year, two other musicians confirmed that AC/DC were preparing a comeback with Johnson and Rudd in tow. According to one source, not only was a new AC/DC album in the works — but also a tour of the band’s native Australia with guitarist Angus Young joining Johnson and Rudd for the trek.

Ready to rock?

See AC/DC in Most Streamed Spotify Songs for 66 Big Rock + Metal Artists

Powered by ProGo Productions

Dave Mustaine: How I Forgave + Got Back With David Ellefson

Today, there’s no bad blood between Megadeth vets Dave Mustaine and David Ellefson. In 2004 though, that wasn’t the case as Ellefson attempted to sue his then ex-bandmate for the sum of $18.5 million. Ultimately, the two put it all behind them and in a new interview Mustaine explained how he forgave the bassist and welcomed him back into the band.

“I think forgiveness is a super-cool thing,” Mustaine told Fox Sports 910’s ‘Freak Nation’ (transcription via Blabbermouth) when discussing his new book, Rust in Peace: The Inside Story of the Megadeth Masterpiece, which is out now.

“When David Ellefson sued me for $18.5 [million], and the judge dismissed it [in January of 2005] and then made him pay a bunch of money on top of that, he got his ass handed to him in public,” described Mustaine, who admitted, “And I was really, really, really hurt by the things that he said about me. And I thought, ‘You know what? If I never see him again, I guess I’ll be okay.’ And I was sad, but I figured he was gone.”

Fate had different plans, however, as Mustaine recalled, “One day, I was flying home from Dallas, and the flight stopped in [Ellefson’s hometown of] Phoenix, and for some stupid reason, I called him up and I said, ‘Hey, you wanna have dinner?’ And he said, ‘Yes.’ So we went out.”

From there, the intentions were pretty clear.

“The first thing he said was, ‘I wanna tell you, it was the stupidest thing I ever did suing you, and I wanna apologize.’ And I looked at him and I waited a beat, and I said, ‘Dave, I forgive you. I completely forgive you. I love you.’ And it was over like that,” the Megadeth frontman confessed.

It’s a life lesson Mustaine has carried with him and he urged others to consider it in their lives. “I think that that’s really something great that people should take with them today, anybody listening to this. There may be somebody you need to forgive or somebody you need to apologize to, but I’ll tell you what — it makes [you feel] a lot better at the end of the day,” the Megadeth leader affirmed.

Ellefson, who was a part of Megadeth from 1983 through 2002, officially rejoined the legendary thrash group in 2010. He even may sing on a ballad about all that past bad blood between him and Mustaine on Megadeth’s forthcoming record. Most recently, Mustaine compared the new material to the band’s first two albums.

See Megadeth in the Most Performed Songs by 50 of Metal’s Biggest Bands

Powered by ProGo Productions

Did AC/DC Just Leak New Photos With Brian Johnson and Phil Rudd?

Photographs that appear to show a reunited AC/DC filming a new music video were reportedly posted, then removed from the band’s official website earlier this week.

The images are noteworthy because they feature three members who departed AC/DC at various stages of the chaotic tour in support of the group’s most recent album, 2014’s Rock or Bust.

The group is widely rumored to have completed a new studio album using tracks recorded by founding rhythm guitarist Malcolm Young prior to his 2017 death. Young was forced to leave AC/DC prior to the recording of Rock or Bust due to a battle with dementia and other health issues.

Drummer Phil Rudd played on Rock or Bust, but was unable to go on tour after he was arrested in November 2014, and sentenced to eight months of home detention for threatening to kill and possession of methamphetamine and marijuana.

Singer Brian Johnson was forced to leave the tour in March 2016 after doctors told him he risked permanently losing his hearing. Guns N’ Roses singer Axl Rose replaced Johnson for the final 23 shows of the tour. Shortly before the trek’s conclusion, bassist Cliff Williams announced that he would be retiring from the group.

The new photos show longtime lead guitarist Angus Young, his nephew Stevie (who replaced Malcolm as the group’s rhythm guitarist in 2014), Johnson, Rudd and Williams all together in front of a large red version of the band’s logo. Rudd did not appear in any of the promotional videos for Rock or Bust, so seeing him and Stevie Young together indicates that the photos are indeed new.

AC/DC has not confirmed or commented on any reports regarding new recording, release or touring plans.

Powered by ProGo Productions

34 Years Ago: Megadeth Release ‘Peace Sells… But Who’s Buying?’

As a founding member of Metallica and a major contributor to the band’s groundbreaking debut Kill ‘Em All, Dave Mustaine was clearly a gifted songwriter and a talented musician. However, his first effort to reach the top of the thrash metal hierarchy with his band Megadeth, 1985’s Killing Is My Business… And Business is Good, suffered from sub-par production and it lacked the stand-out hooks to catapult the band to stardom. Fifteen months later, on Sept. 19, 1986, Mustaine and his bandmates followed-up their debut with the exceptional, catchy and powerful riff-fest Peace Sells… But Who’s Buying?

The band started working on two of Mustaine’s compositions, “Black Friday” and “Black Omen” as early as December 1985, but most of the heavy lifting for Peace Sells took place after Megadeth finished touring in support of Killing Is My Business. Again, Mustaine wrote all the songs and the caliber and quality of his new material was leaps and bounds above anything he had ever done.

“Megadeth was capable of extraordinary musicianship,” he wrote in his memoir Mustaine. “The twin guitar attacks on ‘The Conjuring,’ the great harmony line in ‘Peace Sells’ were achieved not only through careful composition, but through the camaraderie that comes when a band is really clicking.”

Megadeth, “The Conjuring”

That Megadeth clicked so well is amazing considering the physical condition all of its members were in. Guitarist Chris Poland and drummer Gar Samuelson were addicted to heroin and sometimes pawned the band’s equipment for money to score dope. Bassist David Ellefson and Mustaine weren’t in the throes of addiction, but they were heavy users. To a large extent, Mustaine and Ellefson started abusing narcotics because they were living in barely tolerable conditions and were basically penniless.

“I was living in a building called the complex, which is where all the bands used to rehearse,” Mustaine told me in 1999. “The place was by the meat packing plants and it was a dive. David Ellefson had found some unsuspecting victim to live with. This was the singer from Détente, [Dawn Crosby]. Dave and I went over to her house one time and the sink in her bathroom looked like the sink in a gas station – and the same with the toilet. And Dave would tell me nightmares of him being over there, and her making him sleep on the floor while she had sex with another girl.”

Megadeth was still under contract with indie label Combat Records when it started recording Peace Sells… But Who’s Buying? at The Music Grinder Studios in Los Angeles on Feb. 15, 1986. Mustaine co-produced the album with Randy Burns, and the group exited the studio March 20. While the budget was scant, the albums sounded much fuller and more professional than the band’s debut. Before the album was released, Combat sold Megadeth’s contract to Capitol Records, which hired engineer Paul Lani to fix the recording flaws and give the record a crisper bite.

Mark Weiss, Getty Images

Clearly, songs like the chant-along “Wake Up Dead” and the barreling, graphically brutal “Good Mourning/Black Friday” were next level stuff, but the obvious standout was the title track. From the opening jaunty bass line to the contagious main riff, “Peace Sells” remains one of the most memorable numbers from the thrash era. The vocals were snarky, but political, proving the Mustaine had more than tales of decadence and mayhem in his lyrical arsenal, and the rhythmic shifts in the song gave it lasting impact.

Even MTV picked up on the appeal of “Peace Sells,” using the bass intro for its MTV News reports for nearly 10 years. Though Peace Sells… But Who’s Buying wasn’t as musically intricate as Megadeth’s tech-metal masterpiece 1990’s Rust in Peace, it featured more challenging rhythm and tempo shifts, and more guitar fills and better leads than most early speed metal and thrash releases. And the album cover blew away Killing, establishing the band’s mascot Vic Rattlehead as an iconic metal figure right up there with Iron Maiden’s Eddie the Head.

Megadeth, “Peace Sells” Music Video

Art for the album was rendered by Ed Repka, who also rendered classic covers for Death as well as model designs for the “Hellraiser” films. “The jacket art arose from a lunchtime conversation at a rib joint in New York, across the street from the United Nations,” wrote Mustaine. “I was there with our agent, Andy Summers, and we started brainstorming. By the end of that conversation we had come up with the idea of Vic standing in front of the UN, shortly after a nuclear holocaust, trying to sell property. That became the quintessential Peace Sells image.”

Megadeth toured extensively for Peace Sells and the album reached No. 76 on the Billboard album chart. After the tour, however, Mustaine fired Poland and Samuelson because their drug problem was impeding the forward progress of the band. Peace Sells was certified gold in November 1988, and went platinum four years later.

Loudwire contributor Jon Wiederhorn is the author of Raising Hell: Backstage Tales From the Lives of Metal Legends, co-author of Louder Than Hell: The Definitive Oral History of Metal, as well as the co-author of Scott Ian’s autobiography, I’m the Man: The Story of That Guy From Anthrax, and Al Jourgensen’s autobiography, Ministry: The Lost Gospels According to Al Jourgensen and the Agnostic Front book My Riot! Grit, Guts and Glory.

See Where ‘Peace Sells’ Ranks Among Our Top 50 Thrash Albums of All Time

Powered by ProGo Productions

Uriah Heep and Ozzy Osbourne Drummer Lee Kerslake Dead at 73

Lee Kerslake, who played drums with Uriah Heep, Ozzy Osbourne and others, has died at the age of 73 after a battle with cancer that began around 2015.

Semi-retired for health reasons since 2007, Kerslake was best known for appearing on Osbourne’s first two solo albums, Blizzard of Ozz and Diary of a Madman, and for the legal dispute that arose over his contribution to the early ‘80s titles.

“It’s with the heaviest of hearts that I share with you that Lee Kerslake, my friend of 55 years and the best drummer I ever played with, lost his battle with cancer at 03:30 this morning,” Kerslake’s longtime Uriah Heep bandmate Ken Hensley wrote, according to Classic Rock. “He died peacefully, praise the Lord, but he will be terribly missed.”

English-born Kerslake’s first notable appointment came with a band called the Gods, with whom he recorded the albums Genesis and To Samuel a Son in 1968 and 1969, and in 1970 he appeared on Orgasm with Head Machine and Toe Fat’s self-titled LP. All these projects featured Hensley, who became part of Heep’s founding lineup. In 1971 Kerslake played on Albert One with National Head Band.

“The English scene was always at a boil,” he recalled in 2002. “We were always waiting to get connected in English music, because there was so much cross-talent. Where I was born and bred, there were major musicians Bob Fripp, Greg Lake, John Wetton – and I consider myself somewhere in among that league. There were some fabulous musicians, but the only way we could make it was to go up to London, because it’s the heart of the music industry.”

Later in 1971 he reunited with Hensley in Heep in time to become a member of their classic-era lineup. The drummer’s first studio appearance came on their fourth album, 1972’s Demons and Wizards. “When I was offered it the first time, I turned it down,” he admitted. “And it wasn’t [Hensley] that was the deciding factor. It was when I met [band leader] Mick Box. Mick and me got together down at Jubilee Studios. … I set my kit up, he set his guitar up and we just started playing a bit and jamming. About three and a half hours later, when we put our instruments down, we looked at each other and went, ‘Fancy a beer?’”

He added of breakthrough LP Demons and Wizards, “Mick and others said the missing link was, they didn’t have the drummer – they didn’t have the harmony choral parts quite there … I was the missing part of the key, so to speak. From then on, I wrote music as well. I wrote three songs with Mick on that album, and with David Byron. It seemed to gel when I joined. We all worked with each other.” He played on eight further LPs before being replaced by future AC/DC drummer Chris Slade for 1980’s Conquest.

That same year Kerslake met Osbourne, who’d recently been fired by Black Sabbath, and helped found the band Blizzard of Ozz alongside bassist Bob Daisley and guitarist Randy Rhoads. He recalled receiving a call from an agent in Germany: “He phoned me up and said, ‘I didn’t know you’re not in Uriah Heep. Do you want to join the band Ozzy Osbourne’s trying to put together?’ I said, ‘I don’t know. We’ll audition each other.’ I auditioned them, and they auditioned me. It was the first time I ever heard Randy Rhoads play. I knew Bob Daisley – I knew how good Bob was. When I heard Randy, I just went, ‘Wow!’ And when he heard me, he jumped about three feet in the air. I hit the drums and they went off like a couple of cannons and hit him in the back! He just jumped for joy. It was great. As much as they were impressed with me, I was certainly impressed with Randy and Bob.”

He remembered the musical experience as incredibly positive, saying, “The recording was fun, because we were left to our own devices – me, Bob, Randy and Ozzy. …We all used our own experiences. I would come up with ideas from Randy’s guitar part. Randy would come up with ideas for a riff, and give me a drum pattern to it. It was great. Wonderful. And the tour was excellent, because it was so tight. Professional. It was really good.

“As soon as we finished that English tour, things started to take flight with Blizzard of Ozz and we were asked to do another [album] together. That’s when I had the opportunity to come in with a lot more ideas. That’s when I co-wrote six of the songs. I had ideas from other things I’d been writing. Plus what Randy had, and what Bob had. We put them all together. On a couple of the tracks I think we churned out two of them in about eight or nine minutes. That was the magic.”

Things began to go wrong during the Madman cycle, Kerslake said. “[T]he only annoyance we had was we were trying to get them to give us the money they promised up front. We were going in, doing the album, and saying, ‘Wait a minute. You’ve got a record deal. We want some money up front. We need to have some money to live off of, and get ourselves together.’ … They said ‘OK, guys, you’ve got your deal. Now go back and finish the album.’ So we thought, ‘That’s great.’ We went away for a break, and next we found out [Daisley and I] were out.

“Everything [had been] working fine. It was only when Sharon [Osbourne] came in that we had a problem… she wasn’t the manager until Diary of a Madman. … [S]he came in and it started to get edgy. But we never suspected a thing until we went away on holiday. Next minute, they’re rehearsing with Tommy Aldridge and Rudy Sarzo, and going to America. Ouch.”

After his 1981 dismissal – with the official line having been that his sick mother needed his care – Kerslake received a call from Mick Box, who wanted to reinvent Heep, so he rejoined and brought Daisley with him. “Our minds were taken off [Diary of a Madman]. We were too busy getting Uriah Heep off the ground,” the drummer said.

However, foundations for the future legal dispute had been laid when Kerslake and Daisley were denied Madman songwriting credits they believed they were entitled to, and neither were named in the recording credits. Aldridge, of Whitesnake fame, spoke in 2005 of his involvement in being named and pictured as the drummer on the LP: “I think it’s pretty obvious that it’s not my drumming on that album. I have never taken credit for that recording and have always given Lee Kerslake, whenever asked or interviewed, the credit he rightly deserves. … As for the photo, it was as big to me as well. I first saw it when everyone else did… when the record was released. It was not my choice/decision for that image to imply that I was on the album.”

Part of Kerslake’s argument centered on the musicians’ assertion that Blizzard of Ozz had been a band of equals, while Sharon Osbourne argued that it had always been a solo project with three hired hands. The lawsuit went to court in 1998, with Kerslake and Daisley claiming credits and royalties. The case was ultimately dismissed in 2003, leaving the pair bankrupt. The previous year, reissues of both albums had featured new drum and bass tracks by Mike Bordin and Robert Trujillo respectively, with the originals only returned in 2011. “That was a really kind of fucked-up thing,” Faith No More and ex-Ozzy drummer Bordin said later. “That wasn’t what I was going in expecting to do. It wasn’t the way it was presented to me at all. I never knew that.”

“The audacity!” Kerslake said in 2002. “Whatever we’ve done to deserve that, I have no idea. It doesn’t make me look bad, or Bob look bad. It makes Ozzy and Sharon look terrible for doing such a destructive thing. Those first two albums have stood the test of time – 20 years – because of us writing and playing them. … It’s like taking a Harley-Davidson and making it sound like a Yamaha. … It is senseless, because at the end of the day all the fans are gonna realize… that’s why suddenly I’m getting inundated with interviews.”

In 2003 Kerslake and Daisley recorded their own versions of some of their Osbourne tracks with Living Loud, which also featured Deep Purple guitarist Steve Morse and Australian singer Jimmy Barnes. Kerslake continued to work with Uriah Heep until his health-related departure in 2007, after having appeared on 13 more studio albums. A band statement said that he’d “found the rigors of constant touring increasingly stressful and will now take the opportunity over the next few months to embark on a stringent campaign in order to resolve his health issues.” Box lamented the departure of “not only someone who I have worked with for some 35 years, but also one of my closest and oldest friends who I love like a brother.”

In 2009 Kerslake explained, “I’ve had a lot of illnesses which I’ve refused to let take me over and beat me. But there are certain things you cannot beat, old age and everything that comes with it. You can’t deny that. That’s why I had to retire. I have rheumatism in my neck bones, from shoulders to the brain. So because of this I have a headache 24/7. It’s bit of a pain but I’m not going to complain because that’s my life. I’ve had a tough life, I’ve lived hard and fast and I’ve enjoyed it. And I’m enjoying it now probably more than ever. … I couldn’t do a three-month, six-weeks on one go anymore. It just takes all out of me. But I still play just as hard on the drums. As I did when I was 25. Except now it hurts!”

Among other projects, he formed his own Lee Kerslake Band to continue working periodically and also appeared alongside Hensley and fellow ex-Heep man Paul Newton on occasion. In 2015 he and Hensley appeared with Heep for a two-hour reunion show in Moscow.

He announced his cancer diagnosis in 2015 but asserted his determination to defeat the illness, saying, “I have had numerous tests and have been told by my specialists that I will be around for a good while yet — meaning years. My bone and prostate cancer can be controlled for me to live pretty much a normal life — after all, I kicked my diabetes into remission, so I will bloody well beat this.” He added, “I still have a lot of loyal fans to play to, which I intend to do in the coming years. I also want a big spread on my 80th.”

He continued to work intermittently, pursuing a documentary about his career to be titled Not on the Heep. “I wanted people to realize there is camaraderie in the music industry between all the musicians, even when we don’t speak to each other for maybe 20 years,” he said in 2018. “I went to Joe Elliott’s house from Def Leppard and he did an interview, I went to Ian Paice’s house, and it was bloody wonderful – we played drums together.” He added that he also wanted the film to act as encouragement for artists who were trying to work through poor health. In addition, he reported he’d completed a solo album, Eleventeen, which he was “shopping” with a view to a 2019 release.

In 2018 Kerslake reported he’d been given eight months to live, and said the dispute with the Osbournes was “all forgotten and forgiven,” adding, “I’ve written to Sharon and Ozzy recently, a personal letter basically asking them to kindly send me platinum album certifications for Blizzard of Ozz and Diary of a Madman, to hang on my wall before I die. It’s on my bucket list. I hope they will come to terms with it and say yes. I went belly-up bankrupt when I lost the case to Sharon and Ozzy Osbourne in the courts. It costs me hundreds of thousands and I had to sell the house, and then started to get ill. … But a platinum certification on my wall for these albums would be fantastic. … It would say I helped create those albums.” In January 2019 his wish was granted when the Osbournes sent him his platinum discs.

Powered by ProGo Productions

Metal-Loving, Trans Satanist Won a Republican Sheriff Nomination

Get used to the name Aria DiMezzo, because she’s making the rounds in metal media after winning the Republican nomination for Cheshire County Sheriff in New Hampshire. Why is this news relevant? Because not only does she love metal and play in a band, but she’s also a transgender anarchist Satanist who used the election to prove a point about being an uninformed voter.

That’s right, the 32-year-old is not boasting about her success. Instead, she’s using it to show that people put too much faith into the political system without doing their own research on the candidates they elect into such positions.

DiMezzo first posted on the blog Aria for Sheriff back in June, announcing that she would be running against Eli Rivera for Cheshire County Sheriff with the slogan “Fuck the police.” “Aria is also from the south, where she has seen first-hand the dangers of bigotry, overt and subtle,” the introductory post reads.

A self-proclaimed libertarian anarchist, she ran unopposed and ended up winning the GOP nomination by receiving over 4,000 Republican votes. In her follow-up blog entry, which was posted Sept. 11, she explained how her victory shows how broken the system is, because she likely wouldn’t have won if more people knew who she was and what she stands for.

You could have easily looked at a sample ballot prior to the election, and you could have simply looked up the candidates in a search engine. By doing so, you, like the good citizen in Rindge, would probably have been appalled, and probably wouldn’t have voted for me. I wouldn’t have begrudged you for that. I was, after all, rather upfront about it. I went into it expecting that I would lose the primary to a write-in candidate, because I didn’t think that so many voters were just… completely and totally oblivious about who they are voting for.

Because the fact is that you didn’t bother. You trusted the system. You trusted the establishment. You trusted the party. You felt safe. You were sure that there must be some mechanisms in place to prevent from occurring exactly what just occurred. Your anger is misplaced if you direct it at me. Please listen. Your anger is with the system that has lied to you. Your anger is with the system that convinced you to believe in it, trust in it, and have faith in it, when it is completely and utterly broken.

More than 4,000 people went into the voting booth on September 8 this week, and they all filled in the circle by my name despite knowing absolutely nothing about the person they were nominating to the most powerful law enforcement position in the county. That’s a level of recklessness of which any decent human being should be ashamed.

DiMezzo elaborated further on her decision to run for the position.

I’m running for sheriff because I oppose that very system, and the sheriff has the most hands-on ability in Cheshire County to oppose that system. The system that let you down by allowing me–the freaking transsexual Satanist anarchist–be your sheriff candidate is the same system I’m attacking. I’m sorry, and I know it hurts to hear, but that system is a lie. The entire thing is a lie. It’s broken from beginning to end, and my existence as your sheriff candidate is merely how this reality was thrown into your face.

The nominee recently announced that Trivium‘s “The Heart From Your Hate” will be her campaign song. Also, check out a video of her band FUD covering Black Sabbath‘s “War Pigs” below.

aria4sheriff.com

FUD — “War Pigs” Black Sabbath Cover

The Best Metal Album of Each Year Since 1970

Powered by ProGo Productions

Ozzy Osbourne Hopes to Tour in 2022

Ozzy Osbourne‘s ‘No More Tours 2’ farewell run has been met with several obstacles. Multiple worldwide tour legs were postponed as the singer battled a litany of medical setbacks before the coronavirus pandemic shut down the touring industry. Despite all this, the 71-year-old legend has expressed hope to be back on the road in 2022.

Speaking with Rock Classics Radio on Apple Music Hits (audio below), the Prince of Darkness answered a handful of questions ahead of the 40th anniversary expanded edition reissue of his iconic debut solo record, Blizzard of Ozz.

When pressed for his perspective on the influence he’s wielded over half a century’s worth of music, the singer remained humble, confessing, “I never really thought about it. I’m just Ozzy. My wife calls me Ozzy. I’m just Ozzy. I’m just here.”

In the same question, Ozzy was also asked to share his thoughts on the ongoing pandemic, to which he continued, “I’m trying to recover so I can get… The only good thing about this pandemic [is that] I couldn’t work anyway [this year] because of my injuries.”

That’s when he looked ahead at when he could feasibly be back on the road.

“I’m hoping that I’ll be booking 2022, I think,” said the singer, who cast doubt on how feasible a return to touring will be over the next year as the coronavirus pandemic looms large. “To be honest with you, I don’t think it’s going to get ship shape until the end of next year,” forecasted Ozzy.

He elaborated, “I think this winter is going to be fucking bad. Because you’re going to have the flu. People are saying, ‘I’m not taking the flu shot.’ You know what? You can give me any fucking [inaudible], but I’m not going to be number one on that fucking new vaccine. I don’t want to be the first one to wake up with a set of fucking antlers in the morning. I’m the Prince of Fucking Darkness [inaudible] fucking brandy. Horns maybe.”

Listen to the interview clip below.

Ozzy Osbourne released Ordinary Man, his first solo album in 10 years, earlier this year and featured Duff McKagan (Guns N’ Roses) on bass and Chad Smith (Red Hot Chili Peppers) on drums. Slash (Guns N’ Roses) and Elton John also made guest appearances in addition to Tom Morello (Rage Against the Machine).

A new Ozzy-branded Funko Pop! figure is on the way as well, this time with the singer modeling the same appearance as on the Ordinary Man album cover.

Ozzy Speaks With Rock Classics Radio on Apple Music Hits

See Ozzy Osbourne in the Most Streamed Songs From 66 of Rock + Metal’s Biggest Bands

Powered by ProGo Productions

Jimi Hendrix: 50 Quotes For 50 Years

“Don’t let things happen – make things happen” is an attitude that many people try to adopt, but circumstances around them don’t necessarily make it easy. It wasn’t easy for Jimi Hendrix to make things happen, but in his short musical career he achieved a lot, and certainly hoped to achieve more.

In selecting 50 quotes from across his most remarkable period, from 1966 until his death on Sept. 18, 1970, it’s might be easy to first conclude that Hendrix said things that still resonate today. Maybe he did; but what’s more important is that he managed to transmit ideas and attitudes to an audience that, otherwise, might never have encountered them.

That’s the most important way an artist achieves immortality.

How he got his stage name: “88 percent from my birth certificate, 12 percent from misspelling.”

“If I didn’t smoke, I’d be fat as a pig. My nerves are very bad. I like tipped cigarettes mostly, alternating with menthol ones – about a pack over a day and a half.”

“I just called my dad once when I came to England to let him know I’d reached something. He asked me who I had robbed to get the money to go to England.”

“Actually, I’m scared to go home. My father is a very strict man. He would straight away grab hold of me, tear my clothes off and cut my hair!”

“You see, different music is supposed to be used in different ways. I believe the best time to listen to classical music is any time when it’s very quiet or your mind is very relaxed. When you feel like daydreaming, maybe.”

“I like to watch the lightning. Especially in the fields and flowers when I’m on my own. I read a lot of science fiction.”

On Bob Dylan: “I saw him one time, but both of us were stoned out of our minds. I remember it vaguely. … We were both stoned there, and we just hung around laughing – yeah, we just laughed.”

On the Beatles: “They’re one group that you can’t really put down because they’re just too much. And it’s so embarrassing, man, when America is sending over the Monkees – oh, God, that kills me!”

On the Who: “We don’t really break anything onstage. … If we wanted to break something up, we would do it. There’s a lot of times in the past I have felt like that too. But it isn’t just for show, and I can’t explain the feeling. It’s just like you want to let loose and do exactly what you want if your parents weren’t watching. I dig the Who; I like a lot of their songs.”

“Here’s one thing I hate, man: When these cats say, ‘Look at the band; they’re playing psychedelic music!’ And all they’re really doing is flashing lights on them and playing ‘Johnny B. Goode’ with the wrong chords. It’s terrible.”

“The one thing I really hate is miming. It’s so phoney. So far, the only thing I was asked to mime was a Radio London appearance and I felt guilty just standing there holding a guitar. If you want to scream and holler at a record, you can do that at home. I’m strictly a live performer.”

On the Jimi Hendrix Experience: “We know what song we’re gonna play and what key it’s in and the chord sequences, and we just take it from there. And so far it hasn’t bugged me in any way like saying, ‘Oh, no! There he goes playing that rock ’n’ roll bass pattern again.’ Everybody’s doing pretty cool.”

“I know I can’t sing; I’m primarily a guitarist. Some people think I’m good, and that’s what I want to find out. I’ve been working with myself and my ideas for 21 years. Now I want to find out from everyone else if they are any good.”

“I prefer to play in Europe, because here people listen and understand what it’s all about, whereas they freak out in the States. I don’t like playing at night because I can’t see the audience. This is the best part of big open-air festivals: It’s daylight, and you can see the faces of the audience.”

“Strangely, there were only 15,000 people left when we played at Woodstock as I insisted on playing in daylight, which meant waiting for the fourth day, and most of the kids had split by then.”

“I dug the Woodstock festival – especially Sly [Stone] and Richie Havens. And the guy from Ten Years After, yeah, I was just a little bit jealous when I saw him play.”

“I think it would be better if I’d gone to the Isle of Wight and mingled … took a sleeping bag with me and mixed with the crowds, to identity with it all. It would be so much better than all this, but there are the usual problems. If I do things like the that, people come up to me saying, ‘Look, it’s him …’”

“Sometimes I feel we should do a free concert. I see the prices that the kids pay to see us, and it’s just ridiculous.”

On his wilder stage performances: “We did those things mostly because they used to be fun. … They just came out of us. But the music was the main thing. Then what happened? The crowd started to want those things more than the music. Those little things that were just added on, like frosting, you know, became the most important. Things got changed around. We don’t do that stuff as much any more.”

“I dream a lot and I put a lot of my dreams down as songs. I wrote one called ‘First Look Around the Corner’ and another called ‘The Purple Haze,’ which was all about a dream I had that I was walking under the sea!”

“You can’t expect deep feeling to come out of music put down on bits of paper with arrangements. I feel everything I play; it’s got to be inside you.”

“You don’t plan songwriting. You don’t get into a certain groover to write a song. You can get inspiration for a song at any time, because music is just what you feel.”

“You never know what shape clouds are going to be before you see them.”

On working in his Electric Lady Studios: “It’s a very relaxing studio, and it doesn’t have that typical studio atmosphere. There are lots of cushions and pillows, thick carpets and soft lights. You can have any kind of light combination you like … just what you feel like. I think this is very important. There are many capable engineer around now; the problem is this atmosphere thing.… I’m into this combination of music and color; it’s an extra sense of awareness. I’m thinking about a film using those techniques.”

“On the first LP, I didn’t know what I was writing about then. Most of the songs, like ‘Purple Haze’ and ‘The Wind Cries Mary,’ were about 10 pages long, but then we’re restricted to a certain time limit so I had to break them all down. … I didn’t know whether they were going to be understood or not. Maybe some of the meanings got lost by breaking them down, which I never do anymore.”

“I’m a little bit quiet, a little closed. Most of the time I don’t talk so much. What I have to say, I say with my guitar.”

“I’m here to communicate. That’s my reason for being around; it’s what it’s all about. I want to turn people on, and let them know what’s happening. Even if they have 9-to-5 jobs and come to the family and TV, that’s what counts, to keep turned on.”

“But politics is old hat. Anyone can go round shaking babies by the hand, and kissing the mothers, and saying that it was groove. But you see, you can’t do this in music. Music doesn’t lie. I agree it can be misinterpreted, but it cannot lie. When there are vast changes in the way the world goes, it’s usually something like art and music that changes it. Music is going to change the world next time.”

“It’s best to have violence on stage and watch it through TV than do it yourself.”

“Some of the vibrations people claim they are getting now, it is true considering the fact that the Earth is going through a very – what do you call it – physical change soon. … Since the people are part of Earth, they are going to feel it too. In many ways, they are a lot of the reason for causing it.”

“I don’t really believe that … transcendental mediation is much more than day dreaming. If you really believe in yourself, you can think it out on your own.”

“I think religion is just a bunch of crap. It’s only man-made stuff, man trying to be what he can’t. And there’s so many broken-down variations, all trying to say the same thing, but they’re so cheeky, all the time adding in their own bits and pieces. Right now, I’m working on my own religion, which is life.”

“Some people have told me that they think wearing a military jacket is an insult to the British army. Let me tell you I wear this old British coat out of respect. This was worn by one of those ‘cats’ who used to look after the donkeys which pulled the cannons way back in 1900. This coat has a history; there’s life to it. I don’t like war, but I respect a fighting man and his courage.“

“You know, when you’re young, most people have a little burning thing, but then you get your law degree and go into your little cellophane cage. You can do the family thing. I’ve wanted to do that at times. I’ve wanted to go into the hills sometimes, but I stayed. Some people are meant to stay and carry messages.”

“[A]nybody can protest. … Like in records or whatever you use music for, anybody can protest but hardly anybody tries to give a decent type of solution – at least a meantime solution, you know.”

“[T]hat’s what the establishment’s waiting for, for people to start fighting against their own selves, like for instance black against white, yellow against pink and all that. But that’s not the idea of the thing. … The idea is against the new and the old, and the establishment causes this by playing games, by turning different colors against each other to make the younger generation weak.”

“There’s no such things as age brackets; not in my mind, ‘cause a person’s not actually old in numbers of years, but how many miles he’s traveled, you know? How he keeps his mind active and creative.”

“Your body’s only a physical vehicle to carry you from one place to another without getting into a lot of trouble. … People who fear death – it’s a complete case of insecurity. That’s why the world’s screwed up today, because people base things too much on what they see and not on what they feel.”

“There really are other people in the solar system, you know, and they have the same feelings too.”

“I have only one life to live. I might not be here tomorrow, so I’m doing what I’m doing now.”

“All the things I thought were important before I had a hit record are just as important now:. Trying to understand people and respect their feelings, regardless of your position or theirs. The beautiful things are still the same, the sunset and the dew on the grass. No material wealth changes the way I think about these things.“

“I felt maybe too many people were coming to see me and not enough to listen to me. … My nature changed as well.”

“If I stay with one person too long, if I feel more obligated than I do pleased, that makes me – as it were – have to get away. So I don’t know how free [a] feeling like that is, if every time you turn around you might be with somebody.”

“I can’t have fun like anybody else. I used to be able to go somewhere, down to the Wimpy [burger bar] or something like that … but most of the time I go down there now, there’s always people asking for autographs, somebody looking at me really strange – you know, whispering and all that. So then, naturally you get complexes about that.”

“[I]f I wasn’t a guitar player I probably would … be in jail. … I get very stubborn, like with the police. I used to get into arguments with them millions of times. … So, I’d probably wind up getting killed.”

“Success, to me, is like doing your utmost, achieving the ultimate. Well, I have not done that. … I think I shall always be looking for success.”

“One day I want to become a parent. Now that is what the world is all about. Having kids. Like planting flowers.”

“I’d like to have my own country, an oasis for the gypsy-minded people. My goal is to erase all boundaries in the world.”

“I want to be the first man to write about the blues scene on Venus.”

“It’s all turned full circle; I’m back right now to where I started. I’ve given this era of music everything. I still sound the same, my music’s the same, and I can’t think of anything new to add to it in its present state. … This era of music – sparked off by the Beatles – has come to an end. Something new has got to come, and Jimi Hendrix will be there.”
 
 

Check Out Jimi Hendrix’s Guitar Hero Yearbook Picture

Powered by ProGo Productions

Chris Cornell’s Daughter Feels ‘Moral Obligation’ to Help People

In the age of social media and growing an individual “brand,” people can go one of two ways — use their following to advertise for companies and make money or spread awareness for the greater good. Chris Cornell‘s daughter, Lily Cornell Silver, is aware of her platform, and she feels a “moral obligation” to use it to help people.

Silver launched her online talk-series Mind Wide Open on July 20, which would’ve been her father’s 56th birthday. Created both in his honor and as a result of the global pandemic, Silver has had guests from mental health experts to Duff McKagan and Eddie Vedder join her for conversations on the topic.

Silver is aware that her relation to Cornell and close connections with members of bands such as Pearl Jam and Alice in Chains helps give her the upper hand when it comes to recruiting contenders for the show. She and one of Vedder’s daughters Olivia each have their own show now because of this.

“We were born with a platform handed to us on a silver platter, and it’s like, ‘how are we gonna use that?” Silver described to Loudwire Nights. “We both have talked about how we feel kind of like a moral obligation. How can I just sit here with this platform and use it to post bikini pics? We have to use this to spread some sort of awareness or share our knowledge.”

“[Mental health] resources and access to resources are so, so limited,” she continued. “So I wanted to create some sort of platform where it’s completely free, completely accessible, runs across multiple platforms, where I can have high-profile people like Ed or Duff, and have mental health professionals… be able to share the information and their wealth of knowledge in a way that allows anybody to access it.”

Listen to the full interview above.

12 Rock + Metal Bands Featuring Kids of Rockstars

Powered by ProGo Productions

Machine Gun Kelly Signed 13K Albums With Wrong Artwork

2020 is the year of pop-punk for Machine Gun Kelly, and his new album Tickets to My Downfall will be out a week from today on Sept. 25. He hasn’t had the greatest luck with the artwork for the album, though. Upon revealing the new cover art, he admitted he accidentally signed 13,000 copies of the wrong one.

The musician shared the story behind how the new album art came about in a video clip on Twitter.

“Are you fucking kidding me, because I literally just signed 13,000 of these,” MGK said defeatedly while sitting at a table surrounded by seemingly endless stacks of albums. “Today, ladies and gentlemen — everything got fucked.”

Earlier this month, Kelly revealed that he was being forced to change the artwork he originally had picked out for Tickets to My Downfall because the drawing copied a photo his label didn’t own the rights to.

The day after his brutal realization that he had just put all of that effort into signing thousands of the wrong album, he decided to do an improv photoshoot in an empty pool with a guitar that has the album title written on it. The video shows snippets from behind-the-scenes of the shoot, and the final product is displayed at the end.

Watch below, and pre-order MGK’s new album here.

The 50 Greatest Pop-Punk Albums of All Time — Ranked

Powered by ProGo Productions

Bon Jovi Joins Jennifer Nettles for Revamped ‘Do What You Can’

Bon Jovi has again teamed with Jennifer Nettles, frontwoman of the country band Sugarland, this time for an updated version of “Do What You Can.”

The single, originally released by Bon Jovi back in April, details America’s ongoing fight against the COVID-19 pandemic. With lyrics discussing social distance, PPE and frontline responders, the song touches on many topics which have become commonplace in 2020 society. Still, “Do What You Can” strikes an uplifting tone, it’s chorus praising the unbreakable human spirit:

“When you can’t do what you do / You do what you can / This ain’t my prayer, it’s just a thought I’m wanting to send / ‘Round here we bend but don’t break / Down here, we all understand / When you can’t do what you do / You do what you can.”

With Nettles in the fold, the updated version of “Do What You Can” boasts a new country twang. The singer trades vocal parts with Jon Bon Jovi, while fiddle and banjo highlight a broadened musical arrangement.

“As I finished the mix and did the video [for the album version], I said, ‘Boy, this song would have such crossover potential,’” Jon Bon Jovi explained to Rolling Stone. “Jennifer was my first choice, and she said yes.”

The music video, featuring a masked Bon Jovi exploring the city if New York, also received an update. Nettles is now added throughout the clip, including a rousing performance high atop a Big Apple building. Watch the video for the new version of “Do What You Can” below.

This isn’t the first time that Bon Jovi and Nettles have collaborated. The two famously teamed in 2006 on the song “Who Says You Can’t Go Home,” which peaked at No. 1 on the Billboard Country Chart and earned both artists a Grammy Award.

Bon Jovi’s upcoming album 2020 – featuring the original version of “Do What You Can” – is due for release Oct. 2.

You Think You Know Bon Jovi?

Powered by ProGo Productions