Queensryche's verdict: progressing into new era with Fates Warning unconditionally human

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Queensryche's verdict: progressing into new era with Fates Warning unconditionally human

For the 3 1/2 decades Queensryche and Fates Warning have been playing in the Alamo City, one thing has remained constant perhaps more than any other: San Antonians don’t care as much about personnel changes as they do having a rockin’ good time hearing classic favorites.

And while Queensryche delivered a fair share of those songs once again while headlining the Aztec Theatre on Friday night with Fates Warning and local openers Gandhi’s Gun, it delved deeper into its six-year run with vocalist Todd La Torre than it ever had live in the city in which it played its third show as a band in 1983. On the strength of The Verdict, which dropped March 1, Queensryche provided a healthy mix of new and old tunes, no longer relying mostly on Operation: Mindcrime and Empire favorites to carry its performance. And for a rare change, San Antonio reacted favorably to a change in what its ears were hearing (setlist in 48-photo slideshow below).

Not only did Queensryche show plenty of confidence in opening with new rocker “Blood of the Levant” and including The Verdict’s “Man the Machine,” “Light Years'“ and “Propaganda Fashion,” but it played the closing tracks from its 2013 self-titled debut with La Torre in “Open Road” (ATM Facebook Live footage here) and the title track to 2015 follow-up Condition Human (ATM footage below). Unlike the 30th anniversary show Sept. 20, 2011, at the Majestic Theatre in which Queensryche opened with a then-new track from the forgettable Dedicated to Chaos, then played 15 consecutive classics before a second new track yet still had a fan yell out his objection to hearing something fresh, the nearly sold-out throng at the Aztec took in this version of Queensryche’s foray into a new time with open-minded optimism.

With bassist Eddie Jackson and guitarist Michael Wilton, who spoke with ATM for AXS during the 2015 visit (watch here), as the lone remaining original members joined by guitarist Parker Lundgren and touring drummer Casey Grillo, the Seattle rockers now fronted by a Floridian who reportedly also played drums on The Verdict delivered the goods once again. Although second tune “I Am I’ from 1994’s Promised Land came off as a bit forced to quickly include an older song, Queensryche did a respectable job using the extra time allotted as a 90-minute headliner when compared to half that time frame opening for Scorpions last Sept. 7 at Freeman Coliseum (coverage here). La Torre banged on a miniature drum kit perfectly in sync with Grillo at times. His vocals were top notch and, though he nor anyone else probably wants to hear it, showed remarkable resemblance to original singer and predecessor Geoff Tate on occasion, particularly on “Screaming in Digital” (ATM footage below). And that’s not a bad thing, though La Torre certainly carries his own style more often than not.

If you had come into the evening taking the over on an over of 1 regarding the number of Operation: Mindcrime tunes Queensryche would play as a headliner, that would’ve been a sure bet on paper. Surprise! Queensryche only offered up “Eyes of a Stranger” and is to be commended for doing so even though that album will always be regarded as the group’s best by this and many other minds. The fact that “Queen of the Reich,” “Take Hold of the Flame” and the usual Empire favorites were included were apparently enough to make the fans not mind that, for the second consecutive visit, original drummer Scott Rockenfield was missing in action, reportedly on an indefinite hiatus.

Fates Warning had no such issues. The latest homecoming show for 12-year Fates drummer Bobby Jarzombek and native vocalist son Ray Alder, who currently lives in Spain, saw the progressive metal veterans in the same direct support chair Queensryche was in six months ago. As such, Fates Warning continues to tour on 2016 release Theories of Flight, a record the two San Antonians discussed with ATM for AXS just prior to its release (watch here). With original guitarist Jim Matheos, longtime bassist Joey Vera and guitarist Mike Abdow lending their talents to usual mainstays “A Pleasant Shade of Gray” and more recent tunes “The Light and Shade of Things” and “Seven Stars,” Alder and Co. delighted an always welcoming audience for a band that helped open the gates of progressive metal to the likes of Dream Theater in the early to mid ‘80s. Watch ATM footage of 2013’s “Firefly” below.

Along with Saxon, the two bands most San Antonians would see live if they were here 365 days a year arguably would be Queensryche and Fates Warning. Their influence on the local scene, in large part to the disc jockeying days of the late Joe Anthony, is virtually immeasurable. It was good to see fans’ former reluctance of their favorite bands’ changing of the guard both musically and personnel wise turn into acceptance. Such reaction reflects well on the scene and helps ensure these artists continue to progress with newer music.

In turn, that gives them extra incentive to keep returning. Perhaps till they can’t scream in digital anymore.

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Into the Pit: L.A. Guns singer Phil Lewis

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Into the Pit: L.A. Guns singer Phil Lewis

As the vocalist of one of Los Angeles’ sleaziest bands from the debut self-titled album in 1988 through today, Phil Lewis has seen just about everything involving L.A. Guns. But while many fans and media members may focus on L.A. Guns formation’s connection with Guns N’ Roses back in the day, Lewis’ story is unique from a different perspective.

The voice behind hair metal classics “Sex Action,” “Electric Gypsy,” “Never Enough,” “One More Reason,” “Bitch is Back,” “Rip and Tear” and “The Ballad of Jayne,” Lewis started in a band called Girl, whose guitarist was Phil Collen of Def Leppard. After enjoying popularity with L.A. Guns during the MTV and Sunset Strip heyday, the band broke into two halves, with Lewis and drummer Steve Riley going one way and guitarist Tracii Guns utilizing various singers for his rendition.

But in 2017, Lewis and Guns found themselves working and playing live together on the strength of stellar album The Missing Peace, which included a December 2017 performance at Vibes Event Center as part of the “Hair Metal Holiday” that featured headliner Ace Frehley, L.A. Guns, Dokken, Graham Bonnet Band and Enuff Z’Nuff (coverage here).

Refusing to rest on their laurels, L.A. Guns on Friday will release 12th album The Devil You Know via Frontiers Records. Buoyed by opening track and latest single “Rage,” the sleaze L.A. Guns is known for is apparent along with some punk influences that weren’t on the previous album.

A candid and no-holds-barred Lewis discussed these topics and more while going Into the Pit with ATM on Thursday. Click below to hear our entire conversation.

(Editor’s note: On Saturday, two days after this interview, L.A. Guns released a statement that drummer Shane Fitzgibbon, who played on the forthcoming album, has quit the band and is being replaced by Ace Frehley and Lita Ford drummer Scot Coogan).

The vocalist of L.A. Guns goes "Into the Pit" and gets very candid while discussing the band's career, his involvement with both factions of the group, his first band Girl, an interesting tidbit about one of the group's videos that hits home with him, how long he went without talking to guitarist Tracii Guns before reuniting with him, the early days, new album "The Devil You Know" that comes out March 29 and more (ATM photo by Jay Nanda: December 2017).

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Jake E. Lee leaves significant chunk of career off Red Dragon Cartel's return

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Jake E. Lee leaves significant chunk of career off Red Dragon Cartel's return

Considering he's a famed 62-year-old guitarist who stepped out of the metal scene for more than a dozen years between his time in Badlands and the 2014 self-titled debut of new band Red Dragon Cartel, you couldn't blame fans for salivating at the return to the Alamo City of Jake E. Lee on Friday night. 

Lee, who oh by the way replaced the late Randy Rhoads in Ozzy Osbourne's band on iconic releases Bark at the Moon in 1983 and The Ultimate Sin in 1986, co-writing several non-credited songs along the way, is the feature component of Red Dragon Cartel. Along with oft-maligned vocalist Darren James Smith, drummer Phil Varone and the bassist on Lynch Mob's inaugural and best album Wicked Sensation in 1990, Anthony Esposito, Lee's visit had the potential to be shattering in terms of volume and entertainment value. At least on paper. 

But it was another piece of paper where Red Dragon Cartel came up short. The choice of songs. 

Touring in support of sophomore release Patina, a more bluesy record than the first RDC album, Lee understandably set out to promote the latest effort. Unfortunately, he did so at the expense of the majority of his Badlands years, shunning his Osbourne material almost entirely and scaling back on Red Dragon Cartel's heavy debut.

Playing a 13-song set, Lee opted to perform 80 percent of his new album -- eight of its 10 tracks -- out of those 13 offerings. Lee waited too long to throw the audience a Badlands bone, saved his shockingly lone Osbourne offering for a Bark at the Moon 2002 re-issue bonus track that was truly just for the diehards in "Spiders" (ATM footage below), didn't realize that some fans departed following the fourth, fifth and sixth songs after hearing nothing but Red Dragon Cartel material and, in letting only his stellar guitar skills do the talking, said nary a word to the crowd. Other than a pair of male fans jumping up and down repeatedly, the audience spent more time wondering when a recognizable Osbourne or Badlands track was coming and filming with their phones instead of pumping fists or tossing up horns.

That Lee didn’t speak was perfectly fine. His absence from the metal scene rekindled desires to hear him play, not chat. And shred he did. But even that came with a caveat, as the somewhat reclusive axeman spent 99 percent of the 75-minute performance on the left side of the stage. Lee ventured just once to the right half to tell Esposito something before playing in the middle solely on finale "Feeder," one of only two tracks from the self-titled record. Even when Lee kept to his comfortable stage left, he often turned to the side, facing one or two crew members standing there, and the wall, rather than the people who paid to see him amaze them with his skills.

The formation of Red Dragon Cartel got off to an inauspicious start in 2013, and Smith will always be measured against that, as unfair as it may seem as time passes. During Red Dragon Cartel's inaugural concert at the Whisky a Go Go in Hollywood, an inebriated Smith jumbled lyrics to Osbourne songs in a less-than-solid performance. After Lee and Smith were said to have ironed out some issues, the guitarist took what many may have seen as a gamble by bringing Smith back for Patina. To his credit, Smith is more than credible on the album and carried it over to the Rock Box, though he admitted when the group finally got around to playing "3-Day Funk" by Badlands: “This song might truly kill me!” (ATM Facebook Live footage here; setlist in 57-photo slideshow below). 

While some may point out Red Dragon Cartel played the Rock Box on Nov. 18, 2014 (with a different bassist and drummer) and offered up some Osbourne tracks that night, the fact remains Lee's career, which also involved playing in Rough Cutt, is mostly known for being one of the madman's guitar sidekicks. Lee also would've been better served by keeping in mind that because of his lengthy sabbatical, Friday's concert was witnessed not only by those who brought his classic records to the meet-and-greet that he graciously autographed, but by many seeing him live for the first time. Even Michael Jordan played meaningless NBA preseason games that took place in cities without professional franchises because he was mindful many at those exhibitions were watching him play for the first, and perhaps only, time in their lives. 

Ironically, Lee’s bassmate on The Ultimate Sin, Phil Soussan, was scheduled to play the same stage three weeks earlier on Valentine's Day with Last In Line only to see that gig canceled, presumably due to low ticket sales. While Lee had no such issues, the approximately 150 fans who showed up, though paltry by "Heavy Metal Capital" standards, deserved to hear a couple of tracks from that classic record. Or at least more than a show dominated by Patina. Playing a set vastly different from his previous visit and dominating it with new material would’ve been fine if that previous visit occurred within the past two years rather than a 4 1/2-year gap.

That said, the only other Badlands offering was arguably the highlight of the night as Smith gutted out "High Wire" for the first of two encores after admitting he was “scared” to attempt the high-pitched sound of the late Ray Gillen (ATM Facebook Live footage here). Badlands' biggest hit "Dreams in the Dark" was performed in 2014 but not on this night. Nor were other favorites “Winter's Call," "Hard Driver" or "Rumblin' Train." It would've been nice to hear the band try.

It also was odd that in a group where a legendary guitarist is the featured member, the only solo belonged to Varone on drums. The fact that tracks from The Ultimate Sin such as the title track, "Killer of Giants," "Secret Loser" or even MTV smash "Shot in the Dark" were ignored and that Lee's mesmerizing ending to "Bark at the Moon" was omitted meant most fans did not get what they expected to see and hear. 

Five or six songs from Patina would have served Lee's purpose of promoting his new album and still satiated the crowd’s appetite. Eight new tunes at the expense of his more well-known eras, however, was like eating the Caesar salad only to find out the restaurant would have to close prior to receiving that fat juicy steak you looked forward to before leaving the house.

Hopefully one of rock and metal’s best guitarists ever will keep that in mind while remembering the Alamo City would love to see him return. With a better choice of his great music expressed for all to experience.

Click the links for ATM Facebook Live footage of local openers Wall Of Soul, Eden Burning and Dallas-based Rendered Heartless, and see them in action in the slideshow below.

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Sevendust, Tremonti end tour with a heavy bang

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Sevendust, Tremonti end tour with a heavy bang

Sevendust’s love affair with San Antonio has reared its head for many years, but especially so with each subsequent visit. Last Saturday’s gig at Vibes Event Center was the latest chapter that etched its own characteristics into the band’s Alamo City legacy.

There was the 2015 Fiesta Oyster Bake in which the natives of Atlanta headlined the 99th annual rendition of the event. That one will be remembered for vocalist Lajon Witherspoon not only showing compassion for body surfers who were dragged forcefully over the railing and onto the ground by law enforcement, but for the frontman tearfully sharing with the roughly 30,000 at St. Mary’s University that he and his wife were about to have their first child after several attempts (coverage here).

Sevendust closed the city’s concert scene in 2017 by celebrating 20 years of its debut self-titled album in its entirety, also at Vibes Event Center (coverage here).

Saturday’s visit ended a six-week run with Tremonti, Cane Hill, Lullwater and Kirra celebrated by a group photo at show’s end. Sevendust did its own unique celebrating by again catering to the old-school fans, playing only one song — “Dirty” — from latest album All I See is War (setlist in 60-photo slideshow below). Crowd favorites “Black,” “Denial” and “Waffle” — the latter resulting in Witherspoon singling out a fan named Samantha he had met earlier in the day who requested that song to him — dotted the group’s set. However, unlike the prior visits, no media videography with professional cameras was allowed. As such, you’ll have to settle for ATM’s Facebook Live footage of personal favorite “Enemy.

Some bands go through the motions on the final night of a tour. Some show the wear and tear of a long grind. And some, such as Sevendust, go balls out not wanting it to end. Almost.

“I want to say something about this tour,” Witherspoon said. “Wait, hold up. Y’all throwing out requests. I’m about to tell a story, and this guy’s like, ‘Face to Face!’ But we started at a place called Shiprocked in Galveston six weeks ago. . . . I really don’t want this to end, but I can’t wait to be in my fucking house tomorrow!”

With drummer Morgan Rose smiling and raising his eyebrows at a certain photographer while effortlessly jamming, guitarist Clint Lowery playfully flipping off that same person, bassist Vince Hornsby making his usual facial expressions at the crowd and guitarist John Connolly unassumingly laying down his riffs, Sevendust charged through their 14-song set that also included “Shine,” “Thank You” and, yes, gave that one fan and many others their wish of traditional closer “Face to Face.”

The Vibes and its sister stage the Rock Box have undertaken a wide array of shows, and their itinerary will only continue to grow both in numbers and importance. That’s because neighboring competitive venue Alamo City Music Hall — whose parking lot Sevendust headlined with 10 Years and Kyng in 2013 — shut down last month. Through the tireless work of bar owners Micaela and Steve Rodriguez and their staff, the Vibes added a downstairs portion to the left of the Vibes’ stage that includes 10 shiny bathroom stalls each with their own sink and wooden doors accompanying two additional bars — a nice touch that adds to the venue’s appeal and renders the air conditioning issues that plagued separate Mastodon and Breaking Benjamin shows at the Vibes in 2015 a distant memory.

An artist who played the Rock Box’s parking lot during the two-day Fall Ball in 2014 while headlining with Alter Bridge (coverage here) was Sevendust’s direct support Mark Tremonti’s solo band. As if his riffs in Alter Bridge aren’t heavy enough, Tremonti gets to spread his guitar wings a little more frequently and more heavily in his eponymous band as well as sing lead. Touring in support of fourth album A Dying Machine, Tremonti ripped through a nine-song 45-minute set that showcased three of his project’s records. After the third song, Tremonti became extra fired up by spotting a naysayer in the crowd.

“Why you flicking me off all night,” Tremonti angrily asked. “What? What? What? You suck, shut the fuck up!”

The loud roars of the 1,000-plus fans inside the Vibes gave way to “The Things I’ve Seen” from his first release All I Was in 2012 (setlist in slideshow). Seventh and new tune “Throw Them to the Lions” had the intensity of an album opener and could’ve received votes for the heaviest tune of the night among all five artists. Immediately following the final note of “Wish You Well,” the band made its way to the merch table to meet as many fans as possible prior to Sevendust taking the stage 30 minutes later.

Cane Hill, the middle artist on the bill, disappointingly played 98 percent of its set in silhouetted darkness — not exactly a photographer’s best conditions at a concert. Their rap-metal style also was the most different of the five bands, though they were heavily endorsed by Lowery, who wore their T-shirt during Sevendust’s set.

Lullwater of Athens, Georgia, was arguably the loudest group on the program with their crunchy Southern riffs, thunderous drums and straightforward-yet-powerful songs. Having formed in 2007, it would not be fair to label the lads as an up-and-coming band. But the sky’s the limit for vocalist/rhythm guitarist John Strickland, lead guitarist Daniel Binnie, bassist Roy Beatty and drummer Joe Wilson after releasing Voodoo just eight days earlier. Lullwater is definitely a band on the rise that can fit on basically any tour package. Who knows? Maybe they’ll follow in Sevendust’s and Tremonti’s footsteps as having performed at the Oyster Bake in the not-too-distant future.

Kirra out of Oklahoma City kicked off the night to a sizable crowd that showed up early enough to check them out and were rewarded for doing so. The band’s history is a unique one. Guitarist Daxton Page, drummer Zach Stafford and bassist Ryne McNeill founded the group six years ago along with then-vocalist Jesse Williamson. Kirra released material via Pavement Entertainment, the same label that reps San Antonio’s Waxpanel, whom ATM interviewed last week (watch here).

However, Williamson died in a car crash in January of last year, and Kirra used a fill-in vocalist while touring with San Antonio’s Nothing More. Current singer Gabriel Parson joined the fold last April, and Kirra went on another tour with Bobaflex — which likely explains why McNeill was wearing a Bobaflex T-shirt on the Vibes’ stage.

A mixture of veteran artists, side projects and bands with promising futures made for a special trek-concluding recipe in the Alamo City. Sevendust had definitely arrived . . . and departed leaving the audience hungry for more heavy rock the next time they come through town as only they can deliver.

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Into the Pit: Waxpanel

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Into the Pit: Waxpanel

After forming a Christian rock band in the summer of 2008, singer/guitarist Micah Lindner went through several versions of Waxpanel that would result in personal and musical trials and tribulations in an effort to drop the group’s initial release. A couple EPs — self-titled and Beginnings — resulted over the course of eight years.

Then the “Big One” hit.

Taking the songs from those EPs and adding them to six new tunes, Waxpanel dropped For Those Left Standing, its debut full-length album, Feb. 22 via Pavement Entertainment.

It only took 11 years.

Reaping the rewards of their hard work, Waxpanel graciously went Into the Pit on Saturday to discuss their long journey and why they chose to evolve into a Christian modern alternative grunge band. Afterwards, Lindner, bassist Chris “Fletch” Fletcher and drummer Steve Boldway jammed out one of the album’s tracks, “Absolution,” at their rehearsal space exclusively for ATM.

While the material on the album was mostly Lindner’s brainchild, Boldway wrote rocker “You Don’t Say.” That combines with other heavy tracks such as “Suitcase,” the significantly Christian tones of “From Here” and “My Life For You” and the early EP offerings such as “The Struggle” and “Dying Inside.” Lindner’s 8-year-old son even makes his presence felt on acoustic just-for-fun interlude “The Chronicles of Captain Sea Biscuits.”

Waxpanel finds itself in some noted company on Pavement Entertainment, whose roster includes Flaw, 9Electric, Powerman 5000, Vixen singer/guitarist Janet Gardner, Candlebox and Soil. Candlebox also has San Antonio ties, as singer Kevin Martin went to high school here. Fletcher, who has played musically with Lindner for five years, recently left San Antonio seven-member and former Pavement rap/metal outfit Pigweed. And he may not be the only forthcoming addition to Waxpanel.

Click the boxes below to watch the two-part interview and to see the band in action at practice. Special thanks to the guys in Waxpanel and the folks at Pavement Entertainment for making it all possible.

The local Christian modern grunge band goes "Into the Pit" with Alamo True Metal to discuss its 11-years-in-the-making debut full-length album For Those Left Standing that was released eight days earlier, and its evolution as a group that's about to grow in numbers, in this two-part interview. Then the guys were kind enough to jam a tune at rehearsal exclusively for ATM. (Interview filmed by Liesl Goes; song footage and photos by Jay Nanda).

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Arriba! Sammy Hagar & The Circle round up a rockin' time at Rodeo

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Arriba! Sammy Hagar & The Circle round up a rockin' time at Rodeo

Pulling into the AT&T Center’s grounds of the annual San Antonio Stock Show & Rodeo on Thursday night yielded a moment that could only make one chuckle. Shuffling at random among 16,000-plus songs on an iPod was “Right Now” by Van Halen.

It was a sign of things to come.

Half of the quartet responsible for that 1991 MTV hit were about to share the premises with livestock, cowboys, mutton bustin’ children and a carnival. And although you can barely drive 5, let alone 55, in a rodeo parking lot, the knowledge that Sammy Hagar & The Circle were about to take the rotating stage was enough to make even the most ornery of bulls extra hyped.

Hagar and bassist Michael Anthony were making their first Alamo City visit in nearly a decade after playing Sunset Station on Sept. 20, 2009, with Chickenfoot. This time in tow with guitarist Vic Johnson and drummer Jason Bonham, the son of the late Led Zeppelin drumming legend John Bonham, The Circle were primed to take the crowd on what Hagar called “a history lesson.”

The foursome opened with a tune unrecognizable to many although “Trust Fund Baby” is a rocking new single that will be on the May 10 release of Space Between, which marks The Circle’s debut of all-original material. What followed was a slew of influential music paying homage to the careers of Hagar, Anthony and Bonham’s father.

The more familiar strains of Hagar’s solo career took flight on second song “There’s Only One Way to Rock.” Over the 70-minute set, The Circle delighted an audience mostly comprised of the generation that grew up with classics such as 1973’s ode to Hagar’s time in Montrose, “Rock Candy,” and the 1986-95 Van Hagar era including “Poundcake,” “Why Can’t This Be Love” and “Right Now” (the latter two complete with backing tracks of Eddie Van Halen’s original keyboard and piano work, respectively). Johnson has the thankless task of following in the footsteps of Van Halen and Joe Satriani as legendary guitarists in two bands Hagar has fronted but unassumingly more than held his own on the six-string.

The Red Rocker, who has played Texas Motor Speedway in Fort Worth and celebrated many a birthday over his nearly 50-year career with gigs at Cabo San Lucas, Mexico, also entertained on the mic as only he can. He introduced one of Van Halen’s 1988 hits by telling the audience, “This is my first rodeo. . . I’ve been to a rodeo now, and I’m alright with it” (watch his complete speech via ATM Facebook Live footage of “Finish What Ya Started”).

The highlight arguably was The Circle’s jamming of Led Zeppelin’s “Rock N’ Roll” segueing into “Heavy Metal,” another 1981 standout from Hagar’s Standing Hampton album. Wearing a black cowboy hat, Bonham undeniably expressed pride in carrying on his father’s legacy on some of rock’s most timeless tracks. With the large 360 stage giving all corners of the AT&T Center similar views of the band aided by scoreboard-sized TVs, fans were able to catch rarely seen vantage points of a drummer’s point of view (see 25-photo slideshow below).

San Antonians could thank their lucky stars Sammy Hagar & The Circle were in town exclusively for the rodeo given that the group’s tour doesn’t start till April 19. For those who missed it, The Circle will return to South Texas on Tuesday, April 30, at ACL Live at The Moody Theater in Austin. Each ticket purchased includes a free CD of the forthcoming album (tickets here). Hagar may or may not don a Spurs hat at that show as he did Thursday, but he’ll likely unfurl another Texas flag and autograph that and, uh-hem, any other item thrown his way on stage.

The rare appearance in San Antonio by Hagar and Anthony also resulted in two endings. One official and one impromptu. The former saw Hagar take charge on his most popular Sammy Hagar & The Waboritas song “Mas Tequila,” arguably the most fun tune of the evening. After all, what’s a Red Rocker and Michael Anthony concert without some sort of mention of tequila or Jack Daniels?

Alas, a venue official informed the frontman he had three minutes with which to end the evening. Hagar looked at Anthony and said, “Mikey, do we have a three-minute song?” With that, Hagar launched into an awkward a cappella version of Van Halen’s “Cabo Wabo” — a 7 1/2-minute track — by working in “I’ve been to San Antonio” in place of the original version’s “Dallas, Texas” before concluding matters to plenty of applause.

The 71-year-old Hagar may not jump around on stage much anymore, but that doesn’t mean his energy and enthusiasm have waned. Hagar is nearly two months older than Ozzy Osbourne, who has canceled 2018-19 tours of Europe, New Zealand, Japan and Australia due to pneumonia having landed him in the hospital. Yet another reason the Alamo City could consider itself fortunate to have had the opportunity to see Hagar in action again.

What’s the Red Rocker’s secret? It’s gotta be mas tequila, right?

Arriba!

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Into the Pit: Tim 'Ripper' Owens

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Into the Pit: Tim 'Ripper' Owens

If the list of bands, artists worked with and side projects attached to Tim "Ripper" Owens' name appears longer than the line of metalheads waiting for tickets to a Cardi B concert, well, that's because it is.

The latest offerings for the one-time Judas Priest, Iced Earth and Yngwie Malmsteen power vocalist who also finds himself in Dio Disciples and Charred Walls Of The Damned include a pair of bands coming out with self-titled debut albums Feb. 22. Owens, whose replacing of Rob Halford in Judas Priest in 1996 paved the way for the movie "Rock Star" in 2001 that starred Mark Wahlberg and Alter Bridge frontman Myles Kennedy (ATM interview here), is in power vocal trio The Three Tremors with Cage, Death Dealer and Mercyful Fate collaboration Denner/Shermann singer Sean "The Hell Destroyer" Peck plus Jag Panzer's Harry "The Tyrant" Conklin.

Owens is also in Spirits Of Fire, whose debut release in the realm of Savatage-meets-Judas Priest includes Steve DiGiorgio of Testament (Owens' bassist in Charred Walls Of The Damned), former Fates Warning drummer Mark Zonder and Savatage/Trans-Siberian Orchestra guitarist Christopher Caffery, who spoke with ATM on Jan. 24 (listen here).

The Three Tremors are more than catchy nicknames, however. A vision of Peck's more than five years ago, he enlisted Owens and Conklin for 12 furious power-metal tracks and high-pitched screams that include "Bullets for the Damned," "The Cause" and “The Pit Shows No Mercy.” Having already toured Europe, the group that includes guitarists Dave Garcia and Casey Trask, bassist Alex Pickard and drummer Sean Elg flies the flag for metal throughout the album's track listing: 

  1. Invaders From the Sky

  2. Bullets for the Damned

  3. When the Last Scream Fades

  4. Wrath of Asgard (video)

  5. The Cause

  6. King of the Monsters

  7. The Pit Shows No Mercy

  8. Sonic Suicide

  9. Lust of the Blade

  10. Fly or Die

  11. Speed to Burn

  12. The Three Tremors (bonus track)

The Three Tremors kick off a U.S. tour Valentine’s Day. Although no Texas dates have yet to come forth, that didn't stop the 51-year-old Owens, a native of Ohio, from discussing a wide swath of his influential and renowned career. Click the widget below or here to hear the entire conversation accompanied by an 18-photo slideshow (photos by Jay Nanda/Alamo True Metal; Three Tremors band photo courtesy Dimitris Karageorgiou).

The all-everything vocalist who replaced Rob Halford in Judas Priest from 1996-2003 and sang in Iced Earth and with Yngwie Malmsteen goes "Into the Pit" to discuss his forthcoming new groups The Three Tremors and Spirits Of Fire, other current bands such as Dio Disciples and Charred Walls Of The Damned, his unpredictable choice of favorite cover song he's done, providing San Antonio band Jessikill the opportunity to jam with him on stage and other topics (ATM photo October 2011).

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Marty Friedman, area support acts spread the shred

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Marty Friedman, area support acts spread the shred

The shred was out in full force Wednesday at The Rock Box. And it came by various methods.

There was the headlining signature wall of sound from former Megadeth-turned-solo guitarist Marty Friedman. That was preceded by the blending of power and speed from Austin natives Immortal Guardian uniquely highlighted by the simultaneous guitar and keyboard playing of band founder Gabriel Guardian. Fellow Austin artists A Good Rogering brought their own brand of rougher, heavier guitar, and all was kicked off by Jessikill and the shred style familiar with local headbangers of one Jyro Alejo.

Friedman, the axeman behind arguably Megadeth's best album, 1990's Rust In Peace, and its hit follow-up in 1992's Countdown to Extinction, is on the road supporting live album One Bad M.F. Live!! Friedman is a sensation in Japan, where he is fluent in the language, has lived since 2003, married a Japanese woman and starred on numerous TV shows. Friedman even taught The Rock Box crowd how to say "Fuck yeah" in that language. But he wasn't the only one shredding in his band. 

Friedman's performance was jump started by female bass wizard Kiyoshi, who hair-swirled, head banged and strummed her way to a furious kickoff on the low end. She was soon accompanied by hyped-up drummer Chargeeee (yes, that's four E's), whom Friedman compared to Animal of The Muppets during our chat prior to his 2016 visit to Fitzgerald's (listen here). Get a taste of the band in action via ATM's footage in the video box below that includes Kiyoshi riffing and singing to Michael Jackson’s “Wanna Be Startin’ Something.”

Joined by guitarist Jordan Ziff, Friedman spanned a bulk of his solo career and pre-Megadeth band Cacophony, which he shared with Jason Becker. Friedman also unveiled a new song he wrote for Wall of Sound for the ALS-stricken Becker entitled "For a Friend" (setlist in 63-photo slideshow below). Showcasing that his group is more a band than individual artist per se, Kiyoshi, Chargeeee and Ziff enjoyed their own solos, with the latter singing and playing a part of Queen's "Bohemian Rhapsody."  

Friedman gave a scant taste of his Megadeth days with a dash of "Ashes In Your Mouth" and fan favorite "Tornado of Souls" (ATM footage below). He segued from opening track "L.A. High Ball" into "Hyper Doom" by exhibiting the acoustic riff that transfers "Holy Wars" into "The Punishment Due." Friedman was quick in other ways too. He inadvertently faked out some fans after regular set finale "Ballad of the Barbie Bandits" as they headed outside prior to the encores. That forced the band to quickly jump back on stage, and once the departed heard Friedman's voice, they rushed back in to catch "Undertow" from his 2014 solo album Inferno before finale "Kaeritakunatta Yo."

Immortal Guardian scored a huge coup by earning the honor of supporting Friedman on his entire tour, complete with luxurious tour bus/home. Vocalist Carlos Zema, bassist Thad Stevens and drummer Cody Gilliand joined Guardian's guitar and keys duality (even his guitar's fretboard was decorated as a keyboard) in powering its way through a 45-minute set before meeting with fans. Veterans of the "Shred Sled," a jamming-in-the-streets concoction used at several South By Southwests and other festivals, Immortal Guardian tore through songs from Revolution, Part 1 and Super Metal: Edition Z, having worked with Halford, Bruce Dickinson and brand new Spirits Of Fire supergroup producer Roy Z. Watch ATM's Facebook Live coverage of "Surface." 

While Friedman expresses various styles of guitar and can get raw and rough-sounding when he desires, it was still a bit odd that A Good Rogering's heavier death-style sound was included on the bill. The group fronted by singer/guitarist Skunk Manhattan even ended with the title track to 2017 EP This is Death Metal, although, to be fair, its latest single is the acoustic “Out of Reach.”

But with only 30 minutes allotted to strut its stuff, A Good Rogering wisely emphasized its heavier side with drummer Rom Gov, guitarist Rick Lambert and bassist Sammiard Alvarado complementing Manhattan. Alvarado and Manhattan told the crowd they got their start in San Antonio without mentioning their band is based in Austin. Thus, it didn’t resonate with the effect they were looking for. Nevertheless, the band let its music do the talking in fine fashion, even if its style was a bit out of place among three artists that emphasize the power and speed subgenre.

Jessikill opened with "Dead of Night" and "Save Me" from debut full-length Another World in kicking off the evening. Alejo, vocalist Jessica Alejo and bassist Arturo Knight this time were joined by Jordan Ames, the latest drummer at a position that has become a revolving door. Still, the local metal knights shined once again and even unveiled the yet-to-be released "Lightning.” Ames fit in seamlessly on those tracks plus Jessikill mainstay "The Beast" in which Knight sings lead before Jessica Alejo takes the second verse while displaying her sword. But in what reeked of a case of the soundmen toning down the support acts, Jyro Alejo (who used to be in Immortal Guardian) and his jaw-dropping 664-note-per-minute solo on "The Beast" had more than one fan lamenting it wasn't as loud as it could've been.

But that was merely a blip on the night as a whole.

Although fans would’ve benefited from the translation of the titles of his Japanese songs and, of course, delving more into his Megadeth arsenal (maybe even playing an entire track instrumentally), Friedman’s third visit since 2016 to the Alamo City — especially for an artist who lives in the Far East — was nothing to sniff at. Backed by a charged-up band that makes an instrumental concert more fun and action-packed than your typical show without lead vocals, Friedman and Co. are welcome to spread the shred until we're all dead. 

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No need to be Disturbed as rockers powerfully raise awareness of societal issues

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No need to be Disturbed as rockers powerfully raise awareness of societal issues

Known as one of the more consistently solid rock and metal bands of the 21st century, Disturbed brought the fire to the Illusions Theater at the Alamodome on Friday night with support act Three Days Grace. But vocalist David Draiman, guitarist Dan Donegan, bassist John Moyer and drummer Mike Wengren did something else too. Something not a lot of bands have the balls to do. 

Disturbed raised awareness about depression. They spoke of suicide prevention. They took an unofficial survey of the approximately 9,000 in attendance to find out who has been affected by those unfortunate struggles. And they rocked the house with songs focusing on topics many are afraid to address in their normal lives.

But that doesn't mean Disturbed forgot how to have fun. They did so explosively on their Evolution tour in support of their sixth studio album. Armed with new fist-pumping anthem "Are You Ready" as the opening track, the Chicago multi-platinum selling band that now has two Austin residents in Draiman and Moyer was making its first visit since headlining the 2016 River City Rockfest before 27,500 outside the AT&T Center. With the stage set up in a V-shape, two sides of general-admission rockers enjoyed a steady stream of mainstays such as "Prayer," "Voices," "The Game" and Genesis cover "Land of Confusion" mixed with new tune "No More," which served as the second of three encores in a 1-hour, 45-minute performance.

Disturbed's softer side, however, was arguably the highlight. With a miniature drum kit and stage set up in the back of the venue in front of the soundboard, the band was joined by guitar tech Jeremy Chaisson for new tracks "A Reason to Fight" and "Watch You Burn." In between, Draiman summoned the Illusions Theater's patrons to make a pact to not "stand idly by" while their friends and loved ones destroy themselves and contemplate ending their own lives. Draiman even referred to the fact he misses the late vocalists Chester Bennington of Linkin Park, Scott Weiland of Stone Temple Pilots and Chris Cornell of Soundgarden (ATM footage of both songs below). 

However, it wasn't all melancholy inside the dome. Disturbed returned to the main stage acoustically with "Hold On to Memories," displaying photographic mementos of their families and musical peers over the years, with the loudest cheers saved for the late "Dimebag" Darrell Abbott and brother Vinnie Paul of Pantera (see 110-photo slideshow below). A pair of orchestral members joined in when Donegan took his place at the piano on the smash cover of Simon and Garfunkel's "The Sound of Silence," with Donegan's instrument rearing its pyrotechnic head (ATM footage here). 

Not one to be shy about engaging a crowd or calling it out, Draiman did a little of both. Early on, he spotted a disturbance and took control. "Security, I got this," Draiman exclaimed. "Whatever's going on over here, cut it the fuck out! Unless a hand was touching the wrong place. Is that what happened? . . . Sir . . . apologize and move on."

On the other hand, the vocalist called up a couple to join the band on stage because "we see them at so many shows." Dominick and Bunny revealed they've been to at least 50 Disturbed gigs, and when Draiman asked, "What keeps bringing you back?," Dominick simply answered, "One of the best bands in the world." Draiman then told them to sit in front of Wengren's kit for the next tune, labeling it "the best seat in the house."

Rhythm section members Moyer and Wengren enjoyed time in the spotlight with their respective bass and drum solos. Moyer, who spent time during Disturbed's 2011-15 hiatus in Adrenaline Mob, Geoff Tate's Operation: Mindcrime and as part of one-time Iron Maiden singer Blaze Bayley's The Foundry, has also been heavily involved with School of Rock out of Austin, helping young aspiring kids achieve their dream of playing music.

Three Days Grace, which played the 2017 River City Rockfest, warmed up the dome by supporting last year's release of Outsider. Vocalist/guitarist Matt Walst replaced the unique voice of current Saint Asonia singer Adam Gontier in 2013, joining his brother and bassist Brad Walst in the Canadian quartet. Fan favorites "Animal I Have Become" (ATM footage here), "Break," "Never Too Late" and "I Hate Everything About You" were joined by newer tunes such as “Infra-Red” and "Right Left Wrong" (ATM footage here).

Both bands paid verbal homage to the other during their respective sets, solidifying a pairing that made for a rockin' evening. Although Disturbed should have left the title track to Indestructible off the menu in favor of that album’s “Deceiver” or “The Night,” or mandatory anthem and title track to third album Ten Thousand Fists, or the popular "Stricken," it struck gold with "Stupefy" and of course its first hit, final encore "Down With the Sickness."

No matter the crowd size, venue or reason for its visits, Disturbed always delights and shows why they'll be a force to be reckoned with — as long as they choose to rock our world and keep the hiatuses in the rear-view mirror.

DISTURBED SETLIST: Are You Ready, Prayer, The Vengeful One, The Animal, Stupefy, Voices, Land of Confusion, Hold On to Memories, The Game, A Reason to Fight, Watch You Burn, The Sound of Silence, Indestructible, Inside the Fire. Encores: The Light, No More, Down With the Sickness

THREE DAYS GRACE SETLIST: The Mountain, Home, The Good Life, Pain, Infra-Red, Painkiller, Break, Right Left Wrong, I Hate Everything About You, Animal I Have Become, Never Too Late, Riot

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Into the Pit: Christopher Caffery

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Into the Pit: Christopher Caffery

As a veteran guitarist in '80s and '90s progressive metal band Savatage and a main fixture in the over-the-top metal symphonic production that spreads holiday cheer known as Trans-Siberian Orchestra, Christopher Caffery is no stranger to the six-string landscape. Also an accomplished solo artist, Caffery is set to unleash a new project called Spirits Of Fire, a conglomeration of power metal fusing ever-so-slight dashes of Flamenco guitar on a self-titled release due Feb. 22 via Frontiers Records.

Caffery (from left) has joined forces with Testament bassist Steve DiGiorgio, all-everything vocalist Tim "Ripper" Owens (Dio Disciples, Judas Priest, Charred Walls Of The Damned, Yngwie Malmsteen) and former Fates Warning drummer Mark Zonder. The 11-track album, dominated by Caffery's hard-hitting riffs and Owens' diverse vocal styles and range, is highlighted by "Light Speed Marching," "Temple of the Soul" "All Comes Together" and "A Game" before ending with lone ballad "Alone in the Darkness."

Caffery, who also released solo effort The Jester’s Court last year, helps spearhead the East Coast faction of Trans-Siberian Orchestra. San Antonio received the West Coast version Dec. 23 which featured Caffery's cohort in Savatage, bassist Johnny Lee Middleton, in a nearly 3-hour bombastic performance (coverage here).

Caffery, unfortunately, is no stranger to death and adversity in the metal world. In addition to losing TSO founder Paul O’Neill in 2017, Caffery's time in Savatage overlapped the late Criss Oliva, brother of the band's vocalist/pianist and TSO veteran Jon Oliva, as he toured behind landmark albums Hall of the Mountain King (1987) and Gutter Ballet (1989).

Caffery spoke today with Alamo True Metal about his new and old bands, and the emotional impact on him of those who have moved on. Click the widget below or here to listen to our complete conversation, to find out the story of Spirit Of Fire's birth, the group's road plans and more (photo courtesy Frontiers Records).

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Soaring vocals, violins, guitars, drums narrate TSO's explosively joyful 'Ghosts of Christmas Eve'

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Soaring vocals, violins, guitars, drums narrate TSO's explosively joyful 'Ghosts of Christmas Eve'

The River Walk being adorned with Christmas lights and the presence of the city’s tree in Alamo Plaza or Travis Park aren’t the only rites of passage this time of year in San Antonio. The Trans-Siberian Orchestra’s annual visits to tell The Ghosts of Christmas Eve can be added to the list whether one has been naughty or nice.

Sunday’s annual double dosage of extravagant heavy metal story telling marked TSO’s 20th anniversary celebration as well. And it came with its own stocking stuffers for a captive audience that filled the AT&T Center:

  • Rows of flames dotting the main stage

  • Dual guitarists rising in the back of the venue

  • Pyro shooting diagonally across the stage

  • A Texas chapter of the TSO serving as backing instrumentalists

  • A charitable donation of $1 for every ticket sold resulting in a pre-show presentation of a check for $20,607 to Project Angel Fare of San Antonio (see 84-photo slideshow below)

  • A bassist and electronic violinist soaring above the center of the Center, performing as high as the Spurs’ five championship banners hanging from the rafters

  • TSO’s logo spewing flames from the back of the venue that could be felt on the back of the necks of many patrons sitting on the floor

Did we mention the pyro?

Narrated by Phillip Brandon and told in musical form by a who’s-who cast of supremely talented musicians, TSO even made it snow inside the venue in a city that rarely sees the white stuff. Talk about pulling out all the stops.

Add it up, and families and metalheads alike were equally entertained by a 2-hour, 24-minute afternoon set that preceded the group’s 8 p.m. showing.

TSO has forged on since the 2017 death of its founder, guitarist Paul O’Neill. Adorned with two factions that tour the East and West coasts, Sunday’s group featured the leadership of original guitarist Al Pitrelli, a former member of Megadeth and Savatage. TSO, of course, was spawned from Florida metallers Savatage in 1996 and continues to employ the services of that band’s bassist Johnny Lee Middleton and guitarist Chris Caffery. Middleton was on hand at the AT&T Center, joining violinist Asha Mevlana and guitarist Angus Clark as performing a bulk of the program above the stage. Middleton made his mark throughout Savatage’s catalog from 1986-2001 on albums such as Fight for the Rock, Hall of the Mountain King, Gutter Ballet and arguably the record that led to TSO’s existence, 1991’s Streets: A Rock Opera.

The first half of the set was TSO’s rendition of the Christmas Eve story which included “Night Enchanted,” “Oh Holy Night” and Savatage’s 1995 instrumental “Christmas Eve Sarajevo (12/24)” (setlist in slideshow). Though hailing from the Sunshine State, TSO may as well have taken a page out of Texas’ book by doing things bigger and better. A whopping 10 vocalists were highlighted by the soaring yet soothing voices of Chloe Lowery and John Brink, both of whom unofficially competed for longest held note at more than 20 seconds. Jeff Scott Soto, no stranger to most in the audience after bursting onto the metal scene as the lead vocalist on Yngwie Malmsteen’s 1985 Marching Out album as well as being an accomplished solo artist, also had his moments to shine.

Those seeing TSO for the first time, which was about a quarter of the audience after being asked by Pitrelli, likely also were familiar with drummer Blas Elias, known for his early ‘90s work in Slaughter. But some of the lesser-known musicians weren’t exactly slouches. Clark, vocalists Andrew Ross, Mats Leven, Jodi Katz, Ashley Hollister and April Berry and keyboardists Vitalij Kuprij and Jane Mangini (Pitrelli’s ex-wife) helped bring a thunderous joy to the festive occasion dotted with supreme musicianship. Although, the female singers swinging their heads from side to side seemed out of place with Christmas story telling.

Pitrelli saved the final band introduction for his lost cohort O’Neill, saying, “I miss you, my friend” while pointing to the heavens and dedicating “Someday” to him. Curiously, though, no mention was made of another TSO musician who died in the same area of Florida in 2017 — Adrenaline Mob bassist David Zablidowski, who lost his life when A-Mob’s RV was struck by a tractor-trailer reportedly after having pulled to the side of the road to change a flat tire, with the RV catching fire. Adrenaline Mob and TSO East Coast vocalist Russell Allen survived along with A-Mob guitarist Mike Orlando.

The last half of the show was a collection of non-story telling TSO tunes, with an additional highlight coming in the form of “Chance” from Savatage’s 1994 Handful of Rain album (something Testament and former TSO guitarist Alex Skolnick discussed with ATM in October regarding his participation on it (watch here). Although that song’s original vocalist Zak Stevens is on TSO’s East Coast faction, the AT&T Center’s group played and sang it splendidly.

And how’s this for a fun fact? Yours truly was first-chair violin in 7th grade at the same junior high school as TSO violinist Roddy Chong, who was first chair at the same time in his 8th grade class. Alas, Chong is also touring with TSO’s East Coast faction.

Much like taking a cruise or seeing the Grand Canyon, an investment in a TSO Christmas concert should be on one’s family holiday bucket list. You’ll rarely see another collection of well-known and lesser-known multi-cultural musicians with their unique brand of talent unified in celebrating the holidays and heavy metal simultaneously.

Start buttering up Santa for tickets to next year’s show. Perhaps the effort will result in a Christmas Eve story of your own to tell the children someday.

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Rockin' women at forefront of empowering celebration at Aztec Theatre

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Rockin' women at forefront of empowering celebration at Aztec Theatre

The evolution of females fronting, and leading, otherwise all-male hard rock and heavy metal bands has gone from proving they belong as a form of equality to showing they can rock just as hard as men. To standing on their own. To ridding the genre of the term “female-fronted” so that it’s no longer something considered to be unique.

To that end, three of metal’s finest — uh-hem, “female” — singers and/or singer/guitarists brought their bands to the Aztec Theatre on Tuesday night in a show of solidarity for female rockers. And to celebrate.

Headlined by Halestorm, with support from a theatrical In This Moment and beginning with goth veterans New Years Day, the ladies and their backing men converged for a night of fun metal (see 91-photo slideshow below). Highlighted by Halestorm singer/guitarist Lzzy Hale, In This Moment’s Maria Brink and New Years Day’s lone original member in vocalist Ash Costello, the women on stage came, entertained and conquered.

Touring in support of fourth album Vicious, Halestorm’s quartet of Lzzy Hale, her brother and drummer Arejay Hale, guitarist Joe Hottinger and bassist Josh Smith churned out 14 tunes with six coming from the latest record such as the sultry “Do Not Disturb,” the Grammy nominated “Uncomfortable” and the first of three encores “The Silence,” an acoustic duet between Lzzy Hale and Hottinger. Another five tracks came off 2012’s The Strange Case Of . . . including “Mz. Hyde” and the blistering “Love Bites (So Do I),” a tune Halestorm performed during the 2012 Mass Chaos tour at the Alamodome in support of Staind and Godsmack prior to that album’s release. Check out ATM’s Facebook Live footage of “Amen.”

Halestorm demonstrated how much it has grown and matured musically since supporting Staind and Chevelle in 2009 at Austin Music Hall and taking part in the inaugural Rockstar Energy Drink Uproar Festival in 2010 in Corpus Christi (watch ATM interview here). Also veterans of the 2013 and 2015 River City Rockfests, Halestorm emphasized its musical growth while surprisingly shunning its entire 2009 self-titled debut album’s “started-it-all” hits “I Get Off,” “It’s Not You” and “Familiar Taste of Poison.” But you can watch the more modern version of Halestorm with ATM’s footage of Arejay Hale’s humorous drum solo segueing into “Freak Like Me” here and Lzzy Hale’s attention-getting intro to second encore “I Miss the Misery” below.

In This Moment, while trying to find its sound since 2007 debut Beautiful Tragedy, is no stranger to playing shows in San Antonio in which it didn’t always fit in with the other bands on the bill. Cases in point: the 2009 Vans Warped Tour that featured mostly college and alternative acts; the 2011 All-Stars tour that was loaded with metalcore acts (watch ATM interview with Brink and guitarist Chris Howorth here); the 2015 family-oriented, radio-friendly Fiesta Oyster Bake and even their first headline trek with Motionless In White nine years and a day to Tuesday’s concert when Brink confided to ATM her band was not ready to headline so soon into its existence.

But that was hardly the case at the Aztec.

In This Moment has put out six studio albums in 11 years plus assorted other EPs and a live record/DVD. Brink and Howorth, the lone remaining original members in what has become a revolving door of sorts of bassists, second guitarists and drummers, have turned up the stage theatrics tenfold since first coming onto the scene. Exotic costumes, a pair of backup dancers and a setting so large that the drum kit is placed off to the left side (audience’s right) of the stage to accommodate it.

To show that there’s little room for ego on this tour package, In This Moment was afforded several things normally not befitting of a non-headlining band: a curtain drop, a set longer than an hour (70 minutes), an encore (“Whore”) and even large balloons raining from the Aztec. One almost had to remind itself that Halestorm was still to follow after seeing all that.

But ITM’s visual display is always a unique unveiling. The down side to finding its sound, however, is that In This Moment continues to ignore its first three albums live, opting to only play material from its fourth, fifth and latest sixth offering Ritual. Combine that with an instrumental medley of Metallica’s “For Whom the Bell Tolls” and “Creeping Death” plus an iconic Phil Collins cover that’s on the new album, and it’s perfectly OK to wonder if In This Moment will ever perform “The Promise,” “Forever” or “Daddy’s Falling Angel” again. Watch ATM’s footage of “In the Air Tonight” and “Big Bad Wolf” here.

Saddled with the job of warming up the sold-out Aztec for Halestorm and In This Moment, Costello and New Years Day had the luxury of playing before a venue that was already packed on the lower level before the festivities began — something that doesn’t happen often for support acts even on weekend shows.

New Years Day was sporting a couple of different band members, and a much more toned-down goth look, from its July 2017 Vans Warped Tour appearance. After opening with “Kill or Be Killed,” Costello and Co. knew how to get a Texas crowd fired up early. The vocalist directed everyone on every tier of the Aztec to put their horns up for the late Vinnie Paul Abbott and “Dimebag” Darrell Abbott before launching into their rendition of Pantera’s “Fucking Hostile.”

Of course, if a band is going to perform a cover around these parts of a legendary Texas band, it better own it. Further, there’s always two sides to cover songs: either the band does the original justice or, if it sounds completely different, there’s the argument that either it was horribly done or the band could be credited for doing it its own way. In New Years Day’s case, the first verse leading to the first chorus was virtually unrecognizable for a couple of reasons: Costello, of course, sounds nothing like Phil Anselmo. Secondly, the drums and overall tempo of the song is played slower than Pantera’s blistering version. Thirdly, Costello whispers some of the lyrics rather than performing it with Pantera’s angst. Give New Years Day an “A” for effort and for Ash.

New Years Day also stood on its own by having guitarist Nikki Misery play in the audience on “Scream” (ATM balcony footage here). Misery, who drooled a lot on stage at Warped Tour while wearing a shirt that said, “Who the fuck is Nikki Misery?”, was part of the toned-down look this time as the men in New Years Day left the white face paint at home and wore black vests over black long-sleeved shirts and ripped black jeans. Of course, that may have also been due to playing indoors in December as opposed to on 100-degree asphalt in July. Misery, though, didn’t completely tone down his antics as he sucked on guitar picks before spitting them into his hand and handing them to a lucky fan.

With the exception of too many covers being played and early material being left off the sets, Halestorm, In This Moment and New Years Day accomplished their mission. They made the Aztec aware that women could rock at the forefront of male bands. They put smiles on roughly 1,500 faces. And they undoubtedly influenced other females to perhaps have their daughters follow their path one day soon.

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South Texas Legion's all-star cast shines brightly, adds to legacy

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South Texas Legion's all-star cast shines brightly, adds to legacy

The world of heavy metal is loaded with supergroups. A collection of all-star members from various bands congregating on stage to jam, have fun and in some cases come up with their own original music rather than simply playing covers.

Then there's the South Texas Legion.

The STL fits each of the above criteria but with one additional vital caveat. The historical significance of its members, and the “Heavy Metal Capital” scene of which they were a part in the Alamo City and its surrounding areas in the 1980s, was the main impetus of the South Texas Legion’s formation. And the reason it’s taking its act to Germany next spring.

And why it delighted a packed Fitzgerald’s Bar on Wednesday night in a rare opportunity to see some of South Texas’ finest musicians join forces to play tunes from their respective bands.

In a league, or legion, of its own, the South Texas Legion's collective resume came together as a Thanksgiving Eve celebration of the early metal days. But it proved to be more than a trip down Memory Lane (see 66-photo slideshow below).

The brainchild of guitarist Art Villarreal — founder of S.A. Slayer and Karion — members of South Texas' storied past took part in a 95-minute Q&A with Ruben Luna of Hogwild Records and Jake Wylde from KSYM-FM radio. Yours truly was given a mic by Jason McMaster — vocalist of Watchtower, Dangerous Toys, Ignitor, Evil United and Broken Teeth — to ask a question about the famed Nov. 30, 1984, "Slayer vs. Slayer" concert at the Villa Fontana . . . and the fun was on.

McMaster emceed the session, with Militia vocalist Mike Soliz rounding out the original panel of five. That soon grew to include the Jarzombek brothers, guitarist Ron and drummer Bobby, with the latter answering Wylde's question of how he came to play in Halford, the solo band of Judas Priest vocalist Rob "The Metal God" Halford. But rather than bask in their former glory, the members of South Texas Legion relayed the importance of their bands' roles in the emerging South Texas heavy metal scene. Then they showed they "still got it" by performing for another 90-plus minutes.

One of the highlights was when Villarreal spoke about what led to the formation of S.A. Slayer as well as Motorhead tribute Martyrhead.

"This was 1981. 'Ace of Spades' was brand new," Villarreal said. "We lost our drummer and bass player. I put out an ad in the ‘Express-News.’ It might have been ‘The Light.’ Some guys called and had no idea what I meant by 'heavy:' (I'd say) 'What do you play?' (They'd say) 'Tenor sax.' Click. Then Donnie called me."

Donnie Van Stavern, an important piece of the scene as a two-stint bassist in Riot since 1988's Thundersteel album that included Bobby Jarzombek on drums, was unable to attend the festivities. So was Target 7 (and former Fates Warning, Karion and S.A. Slayer) vocalist Chris Cronk. Van Stavern, along with Machine Head drummer Dave McClain, Ron Jarzombek and guitarist Bob “Bob Dog” Catlin, took part in S.A. Slayer, which performed a one-off gig with the Big-4-of-thrash Slayer 34 years ago next week at the Villa Fontana.

With California's Slayer touring in support of its Haunting the Chapel EP, both Slayers brought thrash and heavy metal to town with Militia and Syrus providing support. Slayer frontman Tom Araya, in fact, paid homage to that show Aug. 15 at the Freeman Coliseum during his band's farewell San Antonio concert by performing in a “Slayer vs. Slayer” T-shirt (coverage with photos here).

Soliz had his own perspective of that historical gig, which cost a difficult-to-fathom $5.

"That show was probably the highlight of Militia," Soliz said. "The cool thing about that for us was not just the fact we were opening for both Slayers, but we got a soundcheck for that show. And the crowd was just sic! One guy came up and said, 'I'm here to see y'all!' He had a catcher's mask and nails coming out of it, and he said he was there to see us."

McMaster joked: "How much did you pay that guy?"

Soliz, an Austin native, described the importance of venues such as the Villa Fontana and Ritz Theatre. "They welcomed metal with open arms,” he said. But Soliz wasn't too keen on the radio support, or lack thereof, in his hometown during the '80s. "I don't think Austin had time for metal," he said. "They were busy being bluesy."

Villarreal added: "I lived in Austin for awhile. Their rock stations were stuck on Led Zeppelin and maybe the new Van Halen. I met one guy who knew who the Scorpions were. One guy!"

"But not in San Antonio," McMaster, a Corpus Christi native and longtime Austin resident, chimed in. "They had (late disc jockey) Joe Anthony and Hogwild Records."

McMaster also brought up his gigs with Watchtower at the Villa Fontana and a 1984 concert at the Cameo Theater with Juggernaut and Helstar.

"The first time I played the Villa Fontana was when Watchtower opened for S.A. Slayer," he said. "You know what I loved about that place? The floor was filled with headbangers. Did that place have an air conditioner? I don't think so. But you know what, I didn't care! . . . I feel like I'm from San Antonio."

The South Texas Legion was a conglomeration, a who's-who of the South Texas metal scene, joining forces at Fitzgerald's. Various combinations performed songs from S.A. Slayer, Karion, Juggernaut and Militia. Watch ATM's Facebook Live footage of Watchtower's "Meltdown" here.

Bobby Jarzombek played the first half of the set on drums before giving way to Chip Alexander of Karion and Militia. Bass player Pete Perez, who joined the Jarzombeks in Spastic Ink and played in Riot and Syrus, also jumped up on stage while Villarreal and Catlin — who has played various instruments on 35 albums — held down the guitar forts throughout the show. Ron Jarzombek and Juggernaut's Scott Womack also chimed in on a few loud and heavy tunes, while the evening’s event afforded fans an opportunity to see the Jarzombek brothers perform together in one of the rare instances since their Spastic Ink days.

Not to be outdone was Helstar vocalist James Rivera, who recently took part in Megadeth bassist David Ellefson's "Basstory" at Fitzgerald's (coverage with interview here).

But it's not as if Wednesday's seemingly one-off get-together was just a holiday weekend gathering that would go its separate ways by night's end. Villarreal is taking the South Texas Legion to the Keep It True festival in Germany in April after he played there in 2014. Juggernaut is also slated to perform there for the first time and will have both of its albums re-released by Metal Blade Records at the start of 2019. Listen to a 2017 ATM interview for AXS with Metal Blade CEO Brian Slagel here.

"When German festivals are calling us to reunite this (movement) and wanting us to bring it over there in 2019, that's a big deal," McMaster said. "All those people that go to those festivals, you know what they remind me of? They remind me of San Antonio. They remind me of you."

Villarreal added: "They even know about my demos," while Soliz said, "The fanaticism is 1984 over there."

Despite Perez's and Bobby Jarzombek's presence, there were no Riot or Fates Warning songs performed, nor a mention of the late Riot guitarist Mark Reale. Well, other than the fan who kept shouting his name and calling for a performance of "Thundersteel." Reale, who founded Riot in New York, died of Crohn's disease in a San Antonio hospital in January 2012 while his bandmates were honoring their commitment to the second annual 70000 Tons of Metal cruise in the Grand Cayman Islands with the blessing of Reale's father Tony. Mark Reale was 53. However, the panel did mention other lost musicians such as Byfist vocalist Vikk Real and S.A. Slayer singer Steve Cooper.

Although the South Texas Legion pulled out Iron Maiden's "Prowler" (ATM footage here) and ended with an all-encompassing jam of Judas Priest's "The Ripper" that featured Alexander and Bobby Jarzombek changing drum seats in the middle of the song, the rest of their set featured their bands' originals. Check out ATM footage of Juggernaut’s “Hallow’s Eve,” Militia’s “Salem’s Square” and S.A. Slayer’s “Final Holocaust” plus Facebook Live footage of Juggernaut’s "Impaler" with Rivera on vocals and S.A. Slayer’s “Unholy Book” as sung by McMaster. Watch “Panzer,” originally done by Karion, below.

Rivera may have summed up the evening the best.

"San Antonio, you made my career," he said regarding his 3 1/2-decade Houston band. "San Antonio gave birth to Helstar. The first review said we were from San Antonio. We'll take it. We know where the metal is."

On Wednesday night, the music was being kept true by the South Texas Legion's Legends of the Great Texas Metal Era. The devoted turnout certainly didn't mind doing its part to keep it alive and well too.

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Jason Kane & The Jive's CD release showcases local metal, thrash & hellacious boogie

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Jason Kane & The Jive's CD release showcases local metal, thrash & hellacious boogie

Most concerts spotlighting local bands tend to feature artists with similar styles and sound. Even national concerts around town lean on pairing local artists that closely resemble the headlining acts they're supporting.

Friday's CD release party of Jason Kane & The Jive's sophomore album Hellacious Boogie not only shined the light solely on some of San Antonio's finest bands. It mixed up the styles and demonstrated that various sub-genres can get along while sharing the same stage. 

That platform was The Rock Box, and the party kicked off in serious fashion. The no-nonsense thrash provided by young upstarts X.I.L. kicked attendees squarely in the teeth on "Judgment Day," "Full Throttle Ass Kicking (F.T.A.K.)," “I Got a Gun” and Witching Hour." And lest anyone question why a thrash band was opening for the bluesy '70s-ish stylings of Jason Kane & The Jive, Kane himself kept his black leather jacket on prior to his penchant for strapping on a guitar over his topless body and bell-bottom jeans when he plays with The Jive, joining X.I.L. for a rendition of Diamond Head's "It's Electric." X.I.L. lead guitarist Joseph Aguilar offered to Alamo True Metal after the set that his band and Kane had only rehearsed it once. Watch ATM's Facebook Live footage here. 

Aguilar, along with singer/bassist Austin James, guitarist Quinten Serna and drummer Jordan Hoffart hearken to a combination of a younger version of Warbringer with a touch of Metallica's angst-ridden teenage days. Watch them in further action here. 

Next up was the in-your-face power of Deathdodger. Opening with "The Real You," Deathdodger set the tone of its all-too-brief ballsy set that also featured “Hell Ride” (ATM Facebook Live footage here) plus personal favorites "Two Fives Make Ten" and "Die Young."

Singer/guitarist Jack Davis III continues to hold the fort down in one of the city's underappreciated bands that deserves more gigs. Along with mainstay drummer David McGilvrey, guitarist Johnny Rodriguez and Korn tribute Freaks On A Leash frontman Josh Moore on bass, Deathdodger showed you don't have to thrash to provide several mean punches of rock. Bang your head to ATM's footage of newer track "Get Some" here.

The Heroine bridged the bluesy sounds of The Jive with Deathdodger's rock and metal as the one group on the bill that often provides a mixture of styles. From a song that's more than a decade old in "Hardworking Man" to newer offerings "Who Do You Love" and "Highway 16," vocalist Lynnwood King, lead guitarist David Arias, rhythm guitarist Jorge Luevano, bassist Wesley Vargulish and drummer Johnny "Lightning" Hernandez again demonstrated why they've arguably been San Antonio's hardest working and longest running metal band. Fresh off their sixth consecutive year of performing at the city's annual River City Rockfest on Sept. 22 (coverage here), The Heroine was a no-brainer inclusion to Kane's release party. Watch ATM Facebook Live footage of "Wolf Mama" here.

Alas, the headliners took to the stage with what likely will be the longest show they play in their hometown. A whopping 25-song set featured nearly every tune in The Jive's arsenal as Kane, bassist Nick Jive and drummer Chapoy saw the hard work of their second album come to fruition. The entire brand new CD was played live along with 2017 self-titled debut offerings "How I Do," “Crystal Ball” and "Sweet Tooth." Watch ATM footage of "Nomad" and "Bossman" below. 

The Jive enjoyed its nearly two-hour stint in the spotlight one night before heading to The Rock Box's bigger stage known as Vibes Event Center as the opening act on the 2nd annual Salute to Joe Anthony, which was headlined by Legs Diamond and featured Killer Dwarfs, Axe and Heyoka.

Kane got down, literally, and dirty with the guitar (see 61-photo slideshow below) and affectionately told the crowd to "Shut your mouth" on the intro to "Bossman" while he and his cohorts mixed things up on "Courthouse Blues," "Pussyfootin’ " and amazingly soothing slow number "In Time."

On a night Black Molly was playing Fitzgerald's and many in the city were getting a head start on Halloween partying, the turnout of less than 200 still could've been greater. But for those who were there, they witnessed a rare feast of bluesy funk, rock and thrash rolled into one big trick-or-treat smorgasbord of heavy metal.

The way it should be.

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Into the Pit: Alex Skolnick Trio

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Into the Pit: Alex Skolnick Trio

The guitarist of a marquee thrash metal band walks with a jazz drummer and standing bassist into a bar  . . . 

Those looking for a punchline Thursday night at Fitzgerald's witnessed, and received, something entirely different. The Alex Skolnick Trio, led by one of the lead guitarists of California Bay Area thrash titans Testament, delighted an intimate and mostly seated audience that knows Skolnick from his many years of raging with frenetic fretboard precision in Testament ever since he joined the band as a teenager on 1987 debut album The Legacy. Continuing to showcase his marksmanship through mainstay records The New Order, Practice What You Preach, Souls of Black and The Ritual up to 1992, the protege of Joe Satriani's found another calling when Skolnick left Testament in the mid-'90s before returning in 2005. 

Although many of those in attendance at Fitzgerald's likely saw him two months prior at Freeman Coliseum as part of Testament supporting Slayer on its final North American tour (coverage here), it's that jazz mode mood in which Skolnick finds himself throughout a five-city Texas run of dates that will bring the Trio to Austin tonight at The North Door (tickets here). Not to be outdone, standing bassist Nathan Peck and drummer Matt Zebroski joined Skolnick in graciously going Into the Pit with Alamo True Metal prior to taking the stage with local acoustic duo Jyrokill -- comprised of Jessikill vocalist Jessica Alejo and guitarist Jyro Alejo -- supporting (see slideshow below). 

The Alex Skolnick Trio released Conundrum on Sept. 7, its first studio album of all-original material since 2011's Veritas. Among the new tunes offered at Fitzgerald's were openers "Unbound" and "Culture Shock" (ATM Facebook Live footage here). With Peck strumming away on the low end of the standing bass, Skolnick showed his softer and calmer side of the instrument on "Django Tango" (ATM footage here). Among the covers the Trio played were tributes to Stevie Ray Vaughan plus tunes from their previous records such as Aerosmith's "Dream On" and a "99/09" dedication to Prince.

And since you're wondering . . . even though the Trio has been known to play an interpretation of Metallica's "Fade to Black," no, they did not perform jazz renditions of any Testament tunes.

There are no saxophones, trumpets or trombones as part of the Trio's ensemble. That contributed to what was often a much more rockin' version of a jazz concert than those seeing the Trio for the first time may have anticipated. While Skolnick assured, "I still love playing loud, screaming guitar" -- just in case some didn't catch Testament at the Freeman on Aug. 15 -- he also showed that a jazz concert doesn't have to be 100 percent brooding or moody. On the contrary, Skolnick, Peck and Zebroski demonstrated that the Alex Skolnick Trio isn't as far removed from Skolnick's works with Testament as one might think. They merely showcase different sides to be appreciated of one of metal's largely underappreciated axemen, backed by a pair of mates who aren't exactly slouches and have proven as much with Skolnick for 15 years. 

Watch Part 1 of our chat by clicking the video box below as Skolnick, Zebroski and Peck discuss all things Trio, Testament and more, with Part 2 that includes some blasts of Skolnick's past and somewhat unknown facets of his present here. Then watch the AST end its performance with a 20-minute jazzed-up version of Scorpions' "Still Loving You" here.

Jyrokill wasn't above expressing its penchant for, and talent of covering, its heroes as well. The pair paid homage largely to Ronnie James Dio with "Children of the Sea," "Holy Diver," "Heaven and Hell" and "Neon Knights" meshing with offerings of "Diamonds and Rust" and Foreigner's "Double Vision." The recently married couple showed they could rock in chairs decades before they find themselves in rocking chairs. A further example was their lone original of the night, "Run and Hide" from Jessikill's 2018 debut full-length Another World, along with a splendid, rarely heard version of Yngwie Malmsteen's "I Am A Viking" since they are also in the Malmsteen/Dio tribute band Sacred Star. 

With arguably San Antonio's most regarded guitarist Ron Jarzombek on hand, Thursday night at Fitzgerald's was a chance to relish guitar talent local and abroad of various styles and genres. It proved that even if you temporarily take the electric out of the guitarist and replace it with jazz, blues or acoustics, you can't completely take the metal out of a foundation that bleeds throughout their six-string souls.

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Into the Pit: Megadeth's David Ellefson

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Into the Pit: Megadeth's David Ellefson

The last place you might expect a member of the Big 4 of thrash metal to appear on tour could be a bar hidden in the corner of a small plaza off San Pedro Ave. But original Megadeth bassist David Ellefson didn't earn a reputation for being arguably the nicest guy in heavy metal purely based on playing stadiums the world over.

While Megadeth works on the follow-up to 2016's Dystopia, Ellefson is taking his signature basses across the country for a three-month "Basstory" trek, incorporating stories behind his riffs and classic songs into jam sessions on stage. The Alamo City was lucky enough to be one of those stops Friday night when Fitzgerald's hosted the man who's much more than Dave Mustaine's sidekick.

But it wasn't just Ellefson and a bass on stage.

Ellefson more than acknowledged local Megadeth tribute band Rust In Peace. He made the dreams of singer/guitarist Ozzy Espinoza, guitarist Mario Prz Jr. and drummer Miguel Morales come true by spending nearly 90 minutes on stage thrashing out to a medley of riffs and vocals such as "Tornado of Souls," "Five Magics" and "Rust in Peace . . . Polaris." The “band” even pulled out "The Conjuring," a tune Megadeth doesn't play live anymore due to Mustaine's born-again Christian status and his no longer being in tune with its lyrics.

Prior to jamming with Rust In Peace, Ellefson began his set in solo fashion, dusting off "Killing is My Business . . . And Business is Good" and "Hook in Mouth" (watch ATM Facebook Live footage of the latter here). Later, he was joined by Helstar vocalist James Rivera for several tracks, including “Loup Garou” and “Fatal Chances,” both performed for the first time ever off their 2006 Killing Machine record Metalmorphosis (see setlist in slideshow below).

Although Ellefson was booked inside Fitzgerald's while an American Warrior Fest celebration with acoustic country music was taking place in The Yard, many of those military folks came in to watch Megadeth’s bass rattlehead discuss his instrumental knowledge and showcase his skills. See some of what they saw by watching ATM’s footage of snippets of “Countdown to Extinction” and “Dawn Patrol” here.

Watch more of Ellefson in action with ATM's footage of "Wake Up Dead" and "The Conjuring" here. Afterwards, Ellefson met with fans, even saying goodbye to a pair of his signature basses (see slideshow). Then he acknowledged his support for the troops, explained the impetus behind Basstory, spoke about his autobiography "My Life With Deth: Discovering Meaning in a Life of Rock & Roll" and more in a chat with ATM upstairs in Fitzgerald's loft while local acts played below. Watch our conversation by clicking the video box.

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River City puts the rock and fest in annual extravaganza with '90s flair

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River City puts the rock and fest in annual extravaganza with '90s flair

A day that began with a 70 percent chance of rain to the flooding extreme morphed into a 100 percent extravaganza of metal, food, beer, fun and nary a drop from the skies last Saturday. Nothing, evidently, was going to rain on the sixth annual River City Rockfest's parade.

Heavy on a roster of bands that flourished in the '90s -- something even Primus singer and bassist extraordinaire Les Claypool pointed out -- and heavy on the, well, heaviness, the festival treated more than 25,000 fans to a full day of partying headlined by Nine Inch Nails. Set up for the first time jointly in the parking lots of the Freeman Coliseum and a portion of the AT&T Center, with the Bud Light Courtyard serving as the halfway point, three distant stages provided a variety of metal talent and a field day for those who enjoy monitoring pedometers.

Stone Temple Pilots headlined the second stage with new singer Jeff Gutt, a virtual carbon copy of the late original frontman Scott Weiland in terms of look, mannerisms and sound. Which is to say STP is back in ‘90s form.

Living Colour came out of the Shade, the title of its new album, with original members Corey Glover on vocals, guitarist Vernon Reid and drummer Will Calhoun joined by birthday-boy bassist Doug Wimbish on a few new tracks and classic favorites "Type" and of course 99.5-KISS FM tune-on-repeat "Cult of Personality." They even covered The Clash's "Should I Stay or Should I Go," which can be found on the deluxe version of their debut Vivid, which is commemorating 30 years.

The Rockfest also brought out the "cycos" known as Suicidal Tendencies. Playing what was considered the third and smallest stage but which was lined up in the middle of the lots, original vocalist Mike Muir was so gung-ho on starting with his trademark, "What the hell is going on around here" on "You Can't Bring Me Down," but moisture on stage begged to differ as he slipped and fell on his keister. No worse for the wear, Muir picked himself up and got the set smashing with former Slayer drummer Dave Lombardo and hometown guitarist Dean Pleasants, a graduate of Sam Houston High School.

Chevelle, Bush and Clutch joined locals The Heroine, Lynnwood King & The Revival, Covina and Upon A Burning Body as well as All That Remains, which was added to the fest's lineup after Hellyeah bowed out following the death of drummer and former Pantera mainstay Vinnie Paul. The Heroine, fronted by King, and his jazz choir spinoff The Revival are the only bands local or national to play all six Rockfests. Covina, meanwhile, kicked off the day on the third stage with a noon set of San Antonio metalcore aided by friend and vocalist Paul Freedman of A House Divided.

Upon A Burning Body, as they did at the three-day, 55-band Knotfest in 2014 in San Bernardino, California (coverage here), incited the largest pits. Having played the second stage in 2015, the hometown national band received its first Rockfest main-stage opportunity and didn't disappoint with a 1:30 p.m. set. Vocalist Danny Leal donned a David Robinson Spurs jersey, and the party was on with opener “Red Razor Wrists" and “Texas Blood Money,” with its "Deep in the Heart of Texas" intro.

Bush and Stone Temple Pilots kept up the ‘90s vibe with frontmen Gavin Rossdale and Gutt, respectively, jumping off the stage and singing among the crowd. Primus won the unofficial award for Most Weird Vibe not only with its unique brand of rock that showcases Claypool’s ridiculous skill on the low end, but also the unpredictable event of body surfers making their presence felt on “Too Many Puppies” and “Mr. Krinkle.” Nine Inch Nails ended the joyous occasion with “Mr. Self-Destruct” himself, Trent Reznor, and Co. tearing through “Closer” and encores “The Hand That Feeds” and “Head Like a Hole” as part of a 90-minute set.

It's impossible to photograph every band at a festival such as the River City Rockfest, even when you're there from first note to last. Some bands’ set times overlap, the walks from one end-stage to the other can grow arduous, and there’s simply plenty of booths and games the fest has to offer that need to be enjoyed while the music is cranking. With enough food trucks, "Beer Beverage" and liquor tents and merch stands to fulfill a three-day fest let alone the one-day Rockfest, AEG's foray into the River City was done right in terms of setup, organization and opportunities for fun. Even if the musical roster was not as solid as previous years headlined by Guns N' Roses, Linkin Park, Disturbed and Def Leppard.

For the 2018 version, arguably the roster's most intriguing artist, Joan Jett & The Blackhearts, did not permit media photography. Jett must not have been feeling photogenic on her 60th birthday even though she was plastered on the huge stage screens throughout "Bad Reputation," “Cherry Bomb,” "I Love Rock N' Roll" and "I Hate Myself For Loving You." Stone Temple Pilots, meanwhile, was the lone artist mandating artist approval of all photographs prior to publishing but had not acknowledged Alamo True Metal's submissions six days ago as of press time. And unlike prior Rockfests, no media video footage was allowed.

So with that said, feel free to peruse the 232-photo slideshow now and when you begin coming down with a case of Rockfest withdrawals. Until next year, keep Rockfest-ing.

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West Coast metal from Symbolic teams with locals to shine on South Texas

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West Coast metal from Symbolic teams with locals to shine on South Texas

Although it marked their second visit to the Alamo City this year, last Friday night’s Symbolic performance at Fitzgerald’s Bar provided a better chance for local concertgoers to focus on the natives of San Diego, California, than the previous one.

That’s because the intimate crowd saw the West Coast quintet in headline mode rather than being one of 20 bands playing the two-day Memorial Day Metalfest at The Rock Box (coverage here). While being educated on what was likely their first time witnessing Symbolic in action, fans also learned Symbolic was recently signed to EMP Label Group — otherwise known as Ellefson Music Productions.

Yes, that’s David Ellefson. The bassist of Megadeth . . . who just happens to be bringing his “Basstory” tour to Fitzgerald’s this Friday (tickets and VIP packages here).

As is customary for Fitzgerald’s shows, a closer band went on after the headliners, this time with local bluesy trio Jason Kane & The Jive doing the honors. Along with local veteran supporters Minister Fiend and cover openers Elysian, Symbolic found itself in good company while schooling the audience on their brand of California metal.

Playing a slew of tracks from their EMP debut 5ive such as “Alternate Breed,” “The King Has Fallen,” new single “Devil Be Me” and “Almost Human” (setlist in 53-photo slideshow below), Symbolic’s dual guitars from Steve Potts and newest member Louie Borja, plus the piercingly melodic vocals of Scott Bruce, brought a different sound to San Antonio. Watch ATM’s footage of closer “Chameleon” here.

Along with bassist Bobby Fernandez and drummer Steven Elias, Symbolic showed that Ellefson has a nose for finding talent and locking it up to his label. The group’s bantering with the audience, particularly Bruce shaking hands and Potts dishing out picks and fist bumps, also ensured Symbolic would make a few new friends in the process (watch ATM Facebook Live footage of “Absolute” here).

Jason Kane & The Jive, a fixture on the local scene, is gearing up for its CD release party of Hellacious Boogie on Friday, Oct. 26, at The Rock Box with local guests The Heroine, Deathdodger and X.I.L. (tickets here). “Courthouse Blues,” “Pussyfootin’ “ and other familiar faves dotted the group’s 12:30 a.m. set that capped a fun night of rock.

That fun began with Minister Fiend and a cover supergroup of sorts in Elysian.

Minister Fiend, led by vocalist Harley Thompson and lead guitarist David Draven, rocked the house with several loud, up-tempo tunes under three minutes long, although the lighting for their set was the darkest and least photographer friendly of the four bands. Watch ATM footage of “In Hell We Trust” below, plus Facebook Live bonus coverage of “Sympathetic Breakdown” and “Overdose” here.

Elysian, meanwhile, didn’t break out predictable covers. Featuring 16-year-old vocalist Caitlyn Thomas, who began on the local scene as the frontwoman for another cover band Violent Revenge, the group opened with Bullet For My Valentine’s “Your Betrayal” and included “Not Falling” by Mudvayne and System Of A Down’s “Toxicity,” eventually closing with Metallica’s “Battery.” Guitarists Anthony Carrillo and Joey Villalobos comprise local original band Even In Death, while bassist John Bernal used to be in that group.

Even In Death will be playing Bonds 007 Rock Bar on Saturday, Oct. 6, with Rivethead, Sojen and Seven. They’ll also be on stage supporting Heaven Below on Saturday, Nov. 17, at Alamo City Music Hall with Under No One, Thunder Horse, Pigweed and Terror Form. Tickets can be purchased at the “Concert Listings” page of AlamoTrueMetal.com.

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Famed guitarists go solo with ironmen as Vinnie Moore, Gus G. rock The Box

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Famed guitarists go solo with ironmen as Vinnie Moore, Gus G. rock The Box

While a year’s worth of concerts often affords Alamo City metalheads various opportunities to see a slew of guitar wizards in a bundle of bands, rare is the chance to see such guitarists break out from their main acts into a solo, mostly instrumental setting.

That’s why Friday’s double whammy of current UFO and one-time Vicious Rumors guitarist Vinnie Moore and former Ozzy Osbourne sidekick and current Firewind skillsman Gus G. at The Rock Box provided a seldom-seen treat. Complemented by mostly instrumental local trio S.A. Territories, led in its own right by guitarist/singer Orrie V., the trifecta of guitar-driven acts shredded to theirs, and their fans’, hearts’ content.

Moore headlined a 10-song, 53-minute session filled with tunes spanning his solo career, including the title track to 1991’s Meltdown as his finale. He also offered up “Rain,” “Check It” (watch ATM Faceook Live footage here) and “In Control” (setlist in 40-photo slideshow below). Watch ATM’s footage of “Ridin’ High” here.

Taking the stage as a quartet, two of his mates were pulling back-to-back double duty after having backed Gus G. as well. Singer/bassist Dennis Ward, who produced Firewind’s 2017 and latest album Immortals, flexed his vocal cords more often with Gus than with Moore, while drummer Patrick Johansson effortlessly manned the kit. Johansson, the Swedish sticksman, is more commonly known as Yngwie Malmsteen’s current drummer since 2002’s Attack, though, ironically, he’s not to be confused with Anders Johansson, the drummer on Malmsteen’s monster ‘80s albums Marching Out, Trilogy and Odyssey but who is of no relation.

Gus G., the 37-year-old native of Greece, provided an entertaining electrical set, showcasing his three solo records: 2014’s I Am the Fire (ATM footage of the title track below), 2015’s Brand New Revolution and this year’s Fearless (watch ATM Facebook Live footage of “Big City” here). The cover of Dire Straits’ “Money For Nothin’ “ could have been omitted in favor of another original, but nevertheless, Gus’ fluid playing — conventionally or over his head and behind his back — accompanied, and may have even been the reason for, the pure joy he exhibited. That satisfaction, for Moore as well, carried over post-set as each artist posed for pics and signed autographs.

Yes, free of charge.

The hometown, meanwhile, was represented by S.A. Territories to kick things off, as Orrie V., bassist Tony Molina and exuberant drummer and crowd sparkplug Dino Duncan provided a string of original instrumentals and vocal tunes after an impromptu sound check jam of Slayer’s “Black Magic.” Watch them perform “Invincible” here. If you missed S.A. Territories, they’ll be at Alamo City Music Hall on Saturday, Oct. 6, supporting Syrus along with Numb To The Blow, Grind and Trejo for a $10 cover.

Whether of the local or national variety, stellar guitar work was in full force. The Friday night concert could have used at least a couple more hundred inside the downtown bar. But for those on hand, the affordable money spent wasn’t for nothin’. It was utilized in exchange for a solid showcase of neoclassical and rock guitar work and post-show meet-and-greets.

That’s a combination often resulting in empty pocketbooks for the average fan these days. But on this night, it was a combo that felt just right at The Rock Box.

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Pumpkins unite as Helloween provides storybook Hollywood performance

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Pumpkins unite as Helloween provides storybook Hollywood performance

Although they debuted in 1985 with Walls of Jericho, it was their first MTV video two years later for "Halloween" that sprung Helloween's brand of double-bass drum power metal mastery into the consciousness of metalheads everywhere. But unless you rushed out to your local record store and bought the band's Keeper of the Seven Keys: Part 1 cassette, you wouldn't have known that the 5-minute video was actually an edited version of a 13 1/2-minute masterpiece.

Hailing from Hamburg, Germany, then-vocalist Michael Kiske, guitarists Michael Weikath and Kai Hansen, bassist Markus Grosskopf and drummer Ingo Schwictenberg rode the MTV wave even higher with 1988's "I Want Out" off Keeper of the Seven Keys: Part 2. The mega-success from that video garnered Helloween a North American "Headbanger's Ball" tour opening for Grim Reaper and Armored Saint that turned Americans onto a band that would set itself apart from other power-metal monsters.

As with many artists who rise too fast for their own good, however, Helloween's fall from so much success resulted in Hansen departing in 1988 after the North American tour, then Kiske's firing and Schwictenberg's suicide, both in 1993. How apropos that Part 2 would include a track called “Rise and Fall.”

With Andi Deris replacing Kiske on vocals in 1994 and joining the constant rocks that are Weikath and Grosskopf, Helloween forged on, making album after album while Hansen formed Gamma Ray. Kiske, meanwhile, deviated from the scene for several years before emerging with Amanda Somerville on the Kiske/Somerville project, then his formation of Unisonic.

All the while, fans clamored for Helloween to get back together. In late 2017, they did just that . . . with a twist. Helloween brought back Kiske and Hansen, but not to replace anyone. Instead, they added to the current lineup, which also includes guitarist Sascha Gerstner and drummer Dani Loble.

The Pumpkins United septuplet was born. And it’s been making history ever since.

Having headlined the world's largest annual three-day metal festival, Wacken, in its native land in July before 80,000 maniacs, Helloween embarked last Friday night on the briefest of North American tours. With no Texas dates planned, a witnessing of the power-metal pumpkins necessitated a flight out to them. In this case, to Hollywood, California, where Helloween unleashed a riveting 2-hour, 40-minute set last Saturday night without a support act at the Hollywood Palladium.

Although San Antonio has its own historic venues such as the Majestic and Aztec Theatres, the Palladium's 4,000 capacity, all-general admission hall sparkles with history and chandeliers. Frank Sinatra opened the Palladium his way in 1940.

Nearly 80 years later, Helloween added its name to Palladium lore by starting with that 13 1/2-minute opus. Though the lyrics to "Halloween" could be considered by some to be cheezy with lines such as "Like the good ol' Charlie Brown, you think Linus could be right, the kids would say it's just a stupid lie," it's more appropriate to say the song exemplifies the fun the band genuinely has being unified. That applied when it was released in 1987. And it applied Saturday night.

With Kiske humorously adjusting the line "Am I in heaven" to "Am I in Los Angeles," Helloween was off and running. It didn't take long for a mosh pit to form in the middle with multi-cultural friends and strangers wrapping their arms around one another, dancing in unison. A Brazilian flag was held aloft near the front of the barrier as fans from all over hailed the German source of music playing in La La Land.

Kiske, in particular, is the intriguing piece to the Pumpkins' puzzle. Following his 1993 firing, the vocalist told several outlets, including yours truly in 2012, that he had not listened to a single Helloween song since his departure that featured Deris on vocals. Deris, meanwhile, is intriguing in his own right given that he has held down the vocal fort in Helloween for 24 years yet continues in some parts of the world to be a victim of his success due to hardcore fans clamoring for Kiske's return.

Now, Helloween faithful can experience the best of both worlds.

Following Kiske's and Weikath's chance meeting at a 2013 festival in which they patched things up, the seeds were sown for an eventual reunification. All of a sudden, not only was Kiske listening to Helloween material being sung by his replacement who has now been in the band much longer than he was, but they're singing duets onstage while enjoying their own spotlight on several tracks.

Weikath, the most consistent songwriter in Helloween, rarely changes his sullen expression on stage but is actually quite humorous too. A vastly underrated guitarist on the Flying-V, Weikath is the architect of the majority of Helloween's double-bass drum fury and lyrics even though he doesn't kick a drum pedal or sing a lick. Whether he's dangling a cigarette while shredding away or not, Weikath has been known to contort his facial expressions in an affectionate way while expressing the source behind Helloween's drawing power.

Deris' showcase included "Are You Metal?" and “Waiting for the Thunder,” the two most recent Helloween tracks performed, from 2010's 7 Sinners and 2013’s Straight Out of Hell, respectively — other than latest single “Pumpkins United,” the only released tune featuring the reunited group. Deris also highlighted his first Helloween recording from 1994's Master of the Rings with "Sole Survivor." Moments later, he introed what he said was the first Helloween track he ever listened to, 1985's "How Many Tears," while sharing those vocal duties with Kiske and Hansen, who was the band’s original vocalist on Walls of Jericho prior to Kiske joining for the epic Keeper of the Seven Keys releases. Hansen, meanwhile, took the vocal reins alone on a Walls of Jericho medley of “Ride the Sky,” "Starlight," "Judas" and "Heavy Metal (Is the Law)."

While the nearly 3-hour exhibition provided small breaks for the vocalists, Loble was afforded very little of a rest, showcasing how much of an ironhorse he is on the drums. But he did have some unique company for a few minutes. Though Schwictenberg passed 25 years ago, the band did not forget him. Loble began a solo before conceding to the TV screens of a solo from his late predecessor that morphed into a duet between the two -- a heartfelt tribute that culminated with "In Memory of Ingo Schwictenberg.”

Alas, it was the Keeper songs that shined the brightest. Kiske and Hansen teamed up in the style of Helloween's pumpkin-head mascots Seth and Doc on the aforementioned "Rise and Fall." Second song "Dr. Stein" and furious Part 1 opener "I'm Alive" set the tone back-to-back for a blistering night of German power metal before the night's lone ballad, 1987's "A Tale That Wasn't Right," which Kiske said he was performing onstage (in the United States) for the first time since that year, with the exception of the tour's kickoff the night before in Las Vegas.

Deris joined in on the Keeper fun on first encore "Invitation/Eagle Fly Free" (ATM Facebook Live footage here). No professional video was allowed throughout the night, and the band had specifically requested of its team not to have to grant interviews prior to the scant seven-show/six-city North American tour. Those were the only downsides to an otherwise unforgettable evening that nevertheless was captured in the 125-photo gallery below — unless you count the fight that broke out during that track, which included one mosher left-footing a fallen patron in the face..

Helloween already had announced a live DVD from this tour forthcoming, possibly recorded in Brazil, and a new studio album with all seven members that will focus on the songwriting trio of Weikath, Hansen and Deris. Those hoping for Kiske to dominate such a recording vocally will, like Kiske himself, have to rely on his mates writing material catered for him, though he has gone on record saying he hopes it will remain in the Keeper of the Seven Keys realm.

All in all, the future for Helloween and its fans looks bright. At least, brighter than the scary pumpkin faces that dotted black beach balls throughout the Palladium’s lower level on fourth and final encore "I Want Out," the band's second-most popular track thanks to significant "Headbanger's Ball" airplay in 1989.

Unlike the groups that reunite for money and don’t even smile at one another throughout their performances, it’s refreshing to see the members of Helloween, past and present, being best buds once again.

Or, at least, Pumpkins United.

SETLIST: Halloween, Dr. Stein, I'm Alive, If I Could Fly, Are You Metal?, Rise and Fall, Perfect Gentleman, Walls of Jericho medley (Ride the Sky, Starlight, Judas, Heavy Metal is the Law), A Tale That Wasn’t Right, Pumpkins United, (Dani Loble drum solo with Ingo Schwictenberg tribute), Living in a Dream/A Little Time, Waiting for the Thunder, Sole Survivor, Power, How Many Tears. ENCORES: Invitation/Eagle Fly Free, Keeper of the Seven Keys, Future World, I Want Out

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