Into the Pit: Bobby Jarzombek (Arch/Matheos - Part 2)

Comment

Into the Pit: Bobby Jarzombek (Arch/Matheos - Part 2)

As the most dedicated members of San Antonio’s and South Texas’ metal community are undoubtedly aware, one of their own is the drummer for several acts. Bobby Jarzombek has put his stamp on Fates Warning, the solo bands of former Skid Row vocalist Sebastian Bach and Judas Priest singer Rob Halford and is a former member of Riot and Spastic Ink. Just to name a few.

Mostly splitting time nowadays between Fates Warning and Bach’s group, Jarzombek also more than dabbles in the Fates Warning spinoff side project Arch/Matheos, the duo featuring Fates Warning founder and guitarist Jim Matheos and original vocalist John Arch. Jarzombek played on the project’s entire six-song, 55-minute progressive metal masterpiece Sympathetic Resonance in 2011. While Fates Warning toured behind 2013’s Darkness in a Different Light and just ended another tour in support of 2015’s Theories of Flight, this time opening for Queensryche including a March 22 stop at the Aztec Theatre (coverage here), Arch/Matheos consequently was put on the back burner.

Until now.

Arch/Matheos will release Winter Ethereal on May 10 via Metal Blade Records. This time, Arch and Matheos employed the services of various former and present Fates Warning musicians and a couple of guests, as Arch discussed among several topics with Alamo True Metal on Monday during Part 1 of the Arch/Matheos breakdown (listen here).

Jarzombek, who plays on first single and video “Straight and Narrow” (watch below) and “Wrath of the Universe” on the nine-song offering, again was asked to drum on the entire album. In essence, his answer paved the way to the variety of musicians that appear on it.

“The reason it was done that way, originally — and this is an important fact — what happened was Jim approached me about playing on the whole thing like when we did Symphathetic Resonance,” Jarzombek told ATM moments after the Arch interview. “And I said, ‘Man, I don’t have time to play on the whole thing. I really don’t. You know, learning the songs, tracking, editing and all that stuff myself. And so I said, ‘I don’t have time for it, but I’ll help you look for a drummer.’ I started sending him video clips of guys and recommending guys. He was at the same time sending me videos of guys: ‘what do you think of this guy?’ ”

The splitting of duties allowed each guest drummer, which included Thomas Lang and former Fates Warning backstopper Mark Zonder and bassist — current Fates Warning member Joey Vera, former member Joe DiBiase and current Testament bassist Steve DiGiorgio — to add their own style to the record, giving it a different flavor and feel compared to Sympathetic Resonance.

“And it ended up being that a couple of guys could only do a portion of the record,” Jarzombek said. “And (Matheos) said, “The thing is, that might be kind of cool, get a couple guys to play on different songs. It’s not really a band, it’s a project, and people know it’s a project.” And I said, ‘Well, if you can get some guys to play on a song or two, I’ll play on a song. Then I go, ‘Well, I’ll play on two songs.’ And it turned into this weird sort of a bunch of different guys.” Then Jim was like, ‘Well, since you’re the veteran of this thing, you can pick the songs you want to play on. And I picked ‘Wrath of the Universe,’ and he goes, ‘I got this other one that I haven’t written yet. But I kind of have an intro and this and that, and that ended up being ‘Straight and Narrow.’ That was the last song he wrote. He said, ‘I think that’ll be good for you because it’s heavy and has double bass.’ That song sort of suited me well. That’s how it all came to be.”

The video shoot for “Straight and Narrow,” which Arch also spoke about in Part 1, presented its own challenges for the other members given that Fates Warning was on tour at the time.

“We had a headlining show on the Queensryche tour in Fayetteville, and Jim said, ‘It’s close enough to John, and we’ll do it in the morning and have the crew set up everything early,’ “ Jarzombek said. “We shot it before Fates Warning did our soundcheck. Oh, what a day!”

In addition to Jarzombek, Fates Warning of course has other San Antonio ties given that vocalist Ray Alder, who replaced Arch with the 1988 album No Exit, is from here and continues to have family in the Alamo City though he spent many years living in California and now does so overseas. Jarzombek and Matheos are the only members of Fates Warning and Arch/Matheos who steadily work with both vocalists, giving Jarzombek a unique perspective on both. Not only from his point of view in general but also of his interpretation of the dynamic between both vocalists.

“It’s weird because I sort of grew up with the band as a fan or listener with the John Arch stuff, the first three records, that era,” Jarzombek said. “That’s what I knew what Fates was. But I never got to play with them at that point. When Ray came out with Parallels and all that, obviously that was the most successful time of the band. And then when I joined the band, Ray was in the band obviously, in 2007. And I knew Ray from San Antonio and that whole thing. Me and Ray are good friends, we’re close on the road. I would say Ray is the guy I hang out with more than anyone in the band.”

Jarzombek had not met Arch until it was time to do the Sympathetic Resonance album. But it didn’t take long to draw a parallel, if you will, between the two singers from a drumming perspective.

“Singing wise, I don’t look at it really any different, you know, as far as who the singer is,” Jarzombek said. “I started learning some of the songs without vocals on Sympathetic Resonance. And then when John came in and sang the parts, sections were longer, something else thrown in, a few little bars. Some kind of ascending or descending pattern coming up or down. He kind of changes stuff when he goes in the studio or when he starts writing lyrics in kind of how he wants to fit things in.

“So that sort of was different for me than Ray where sometimes, when Jim sends me a song and there’s no vocals yet, it stays pretty much to the structure of the song. Even songs like ‘Firefly,’ I kind of had something when I worked that out. And it made sense to me. But then when the vocal came out, and the way Ray sang that song, I started changing the dynamics of my playing. Like how open my hi-hat is, whether I’m playing crash right. It changes with Ray more so because with the way he sings, there’s a little bit more emotion or something in it that makes me play a little different hearing his vocal. Which is kind of a cool thing. I think more so with John, I’m sticking a little closer to the parts that I had, but the sections do change. That’s only one example I can think of. Those things stick out to me.”

Comment

Into the Pit: John Arch (Arch/Matheos - Part 1)

Comment

Into the Pit: John Arch (Arch/Matheos - Part 1)

As the original voice of Fates Warning, John Arch’s signature high-pitched style is uniquely synonymous with the progressive metal veterans’ first three albums in the 1980s. But after the most well-known of that trifecta, 1986’s Awaken the Guardian, the vocalist parted ways with the band.

The end of Arch’s tenure became significant in two facets:

  1. He was replaced on 1988’s No Exit by San Antonio native Ray Balderrama, known in metal circles as Ray Alder, who continues to front the band today and most recently visited his hometown when Fates Warning opened for Queensryche on March 22 at the Aztec Theatre (coverage here)

  2. Arch would go on to basically disappear from the music scene for 17 years

After recording a solo EP in 2003 in which he reunited with Fates Warning founder and guitarist Jim Matheos, Arch and Matheos created a side project simply called Arch/Matheos that debuted with 2011’s Sympathetic Resonance that featured San Antonio native and current Fates Warning drummer Bobby Jarzombek behind the kit for each of the album’s six songs that totaled 55 minutes.

At long last, in between Fates Warning’s two most recent albums, Arch/Matheos returns May 10 with Winter Ethereal on Metal Blade Records. Unlike its predecessor eight years ago, Matheos and Arch enlisted various players to perform on the album’s nine songs that include their staple of lengthy lyrical story telling, complicated time changes, and heavy riffs dabbed with the slightest touches of tranquility.

"This stems from both of us trying to step out of our comfort zones a bit, sometimes voluntarily, sometimes being pushed," Matheos said in a press release. "Having worked together so many times, it would be easy to fall into the same way of doing things, and I think we were both interested in exploring some new areas."

This time, Jarzombek plays on two tracks including first single and video “Straight and Narrow” (below). Former Fates Warning drummer Mark Zonder and guest drummer Thomas Lang also perform on the record. Bass players include former Fates member Joe DiBiase, current Fates and Armored Saint member Joey Vera and a guest appearance from Testament, Charred Walls of the Damned and Spirits Of Fire bassist Steve DiGiorgio.

Arch graciously went “Into the Pit” with Alamo True Metal on Monday to discuss the making of the new album and video versus the Arch/Matheos debut. He also delves into the dynamic with his Fates Warning replacement Alder plus the reasons touring isn’t made for him as much as recording music in the studio and how that affects any thought of Arch/Matheos eventually supporting Fates Warning on the road.

So kick back, grab a cold one, put on the headphones, and listen to our entire conversation below. Then click here for Part 2 of “Into the Pit” with Arch/Matheos to read Jarzombek’s take on the project.

The original voice of Fates Warning and one-half of the Arch/Matheos side project offshoot of Fates Warning with guitarist Jim Matheos goes "Into the Pit" to discuss the upcoming May 10 release of "Winter Ethereal," his career in Fates, his dynamic today with current Fates singer and San Antonio native Ray Alder and much more (photo courtesy Freeman Promotions: April 2019)

Comment

Love for Whitesnake no stranger to veteran rockers in Alamo City

Comment

Love for Whitesnake no stranger to veteran rockers in Alamo City

If ever there was a band that rarely strays from the theme of its songs, Whitesnake might be near the top of the list. For nearly four decades, original vocalist David Coverdale has crooned one tune after another about sex, love and . . . well, that pretty much covers it.

No political agendas. No earth-shattering religious messages. No pleas to save the environment. Just good old-fashioned Rock N’ Roll that speaks to various forms of those two main topics — or shall we call them 1A and 1B — while doing so in an entertaining way.

The latest example for the Alamo City came last Wednesday as Whitesnake brought its “Flesh & Blood” tour in support of the forthcoming May 10 album to the Aztec Theatre. While the musicians backing up Coverdale have changed over the years, the current lineup was also on stage during the band’s two previous visits to the Majestic Theatre in 2016 (coverage here) and supporting Coverdale’s remake of classics from his Deep Purple era in 2015 (coverage here).

Veteran guitarists Reb Beach (Winger, Dokken) and Joel Hoekstra (Night Ranger) again joined all-world drummer Tommy Aldridge, bassist Michael Devin and keyboardist Michele “The Italian Stallion” Luppi in playing approximately 90 minutes of classics and new material after The Black Moods trio warmed things up with bluesy rockin’ music and bell-bottoms easily influenced by Led Zeppelin (see 46-photo slideshow including setlists below).

Aldridge, the longest-tenured Snake save for Coverdale after joining the band on the 1987 smash self-titled album, continues to amaze with his intense drum solo highlighted by fists of fury that have been his staple dating to his days with Ozzy Osbourne and the late Randy Rhoads. Meanwhile, Coverdale’s voice continues to hold up while he clearly does less talking to the crowd to save it for the songs, except for introducing his bandmates during new track “Get Up” and classic ballad “Is This Love” on the back end of Aldridge’s solo (ATM footage of all below).

Even more surprising than Whitesnake unveiling a whopping five songs from an album that was still more than three weeks away from being released — “Get Up,” “Hey You (You Make Me Rock),” “Gonna Be Alright” and new singles “Trouble Is Your Middle Name” and “Shut Up and Kiss Me” (ATM Facebook Live footage here) — was Coverdale’s complete omission of fan favorite and highly successful 1989 album Slip of the Tongue. While the title track’s duration of high-octane vocals might put a little too much strain on Coverdale’s throat these days, “Judgment Day” and “The Deeper The Love” snuck into the set on recent visits. This time, however, the record was completely and inexplicably ignored with only Flesh & Blood, the self-titled effort and 1984’s Slide It In being represented among Whitesnake’s 13-album arsenal.

Nevertheless, Whitesnake has always been about putting fun into the sex and Rock N’ Roll. From the strains of “Here I Go Again” to “Love Ain’t No Stranger” and “Slow N’ Easy” that left out the sultry introductory portion, the lit-up smiles and dance moves of those especially attractive in the crowd again indicated Coverdale’s powerful hold among the female species.

Consider it straightforward mission accomplished again. In the stylings of the Snake. And in the still of the night.

Comment

Rock veterans of Oyster Bake treat thousands to shell of a fun time

Comment

Rock veterans of Oyster Bake treat thousands to shell of a fun time

For more than a century, the Fiesta Oyster Bake has been bringing musical entertainment of various genres, dizzying carnival rides and games, wine tasting and copious amounts of food to a two-day festival as a scholarship fund-raiser for St. Mary’s University and the official kickoff to the city’s annual 11-day Fiesta extravaganza.

This year, Fiesta morphed into 18 days due to today’s Easter Sunday falling in the middle of the party.

In the past half decade, gradual signs of Oyster Bake traditions trimming down or being cut out entirely have reared their head. Wine tasting went by the wayside on Friday nights. Places where stages once existed are now fenced off. Then there was the unthinkable that occurred last weekend: the disappearance of shelled oysters (thereby relegating the lone presence of oysters at the Oyster Bake coming in the form of shots).

But one thing’s for certain. The rock music will never die at the Bake. And while the heavy bands that perform at the Bake are predominantly in the style of those repeatedly played on 99.5-KISS FM, with a few coming back every other year, the Oyster Bake’s tradition continues to draw thousands from around the country partaking in a festival that many other cities wish they could revel in (see 62-photo slideshow below).

Headlined by Seether and preceded by 10 Years, Red Sun Rising, Dirty Honey and for the first time, local rockers Jessikill, this year’s rock stage again accomplished what it always sets out to do — rock people’s asses off in a family-oriented atmosphere.

Backed by a virtually cloudless day in the mid-70s that saw temperatures quickly drop to a windy 50s prior to the headliners taking the stage, this year’s collection of bands delivered the goods in fine fashion. Puddle Of Mudd, a band often filled with drama causing show cancellations or walk-offs as usually centered around frontman Wes Scantlin, was supposed to play the Bake for the first time since 2010. But alas, a cancellation of a different kind — the band being unable to fly out of snowy Sioux City, Iowa, the night before — altered the set times of the early bands and made for longer intermission periods until Red Sun Rising came on 90 minutes later than scheduled at Puddle Of Mudd’s original time of 5:30 p.m.

With two albums and an EP behind them, Red Sun Rising made its first visit since the 2017 Oyster Bake. They dominated their set, wisely so, with the brilliance of debut album Polyester Zeal on tracks such as opener “Imitation,” “The Otherside,” “Emotionless,” “Amnesia” and “Push.”

If you were to determine the bands that typically play San Antonio more frequently than any others, they’d likely be Saxon, Chevelle and 10 Years. Not necessarily in that order.

Not only did 10 Years return following Oyster Bake visits in 2014 and 2016, they were at the Rock Box two months ago celebrating a decade of Division. This time, a mixed set delighted the crowd that was either there to rock or mingle and drink with friends as thousands explored the grounds that also included Tejano, R&B and country music stages one night after Starship headlined the ‘80s era evening.

10 Years stole the show in terms of enthusiasm and playing to the fans as vocalist Jesse Hasek bodysurfed his way into the throng on three different songs. More than any musician, Hasek put the men in blue — which unlike recent Bakes comprised most of the law enforcement presence rather than county sheriffs that have been known to not take kindly to moshers and body surfers — to work as they quickly approached the barrier each time and ensured everyone’s safety.

“San Antonio, you have something really special here,” Hasek said when he was back to standing upright on stage. “We will gladly do this again and again and again.” Truer words may never have been spoken.

Seether, meanwhile, had the honor of being the featured attraction but the unlucky fate of seeing temperatures rattle many in attendance due to a brisk night wind by the time they hit at 9:15 p.m. Nevertheless, “Stoke the Fire” opened the set and was soon accompanied by fan favorites “Gasoline,” “Rise Above This,” “Broken,” “Fine Again,” “Words as Weapons” and the tune whose video was filmed in nearby Boerne — “Country Song.”

Often alternating between the trio of frontman Shaun Morgan, bassist Dale Stewart — both of South Africa — and drummer and Oklahoma native John Humphrey — and a quartet, Seether recently added Corey Lowery on guitar. Lowery, formerly of Seether touring partners Saint Asonia, is the brother of Sevendust guitarist Clint Lowery. Watch my 2015 chat with Lowery and Saint Asonia vocalist Adam Gontier for AXS.com here, plus conversations with Stewart and Humphrey.

Whether the Oyster Bake continues to recycle some of its rock acts or do away with some traditions in the future is secondary compared to the festival existing at all in grand form. While we may not be around for another 103 years to appreciate that many subsequent ones, you can’t beat the enjoyment of roasted corn, burgers, chalupas, chicken on a stick or chocolate-covered strawberries in one hand while holding high your horns with the other as long as you still can.

Comment

Scars embraced, Godsmacked and stitched up while raising rockin' awareness

Comment

Scars embraced, Godsmacked and stitched up while raising rockin' awareness

No matter the music genre, there are concert acts that focus on having nothing but fun. Others emphasize political or religious agendas whether you the paying customer like it or not. But in 2019, the hard rock and metal landscape is trending toward having a rockin’ good time while shedding light on vital components of life.

And that’s not exactly a bad thing.

The latest instance came last Tuesday at Freeman Coliseum when Godsmack played the second night of its U.S. tour with Stitched Up Heart before an estimated 3,500 fans at Freeman Coliseum. For all of Godsmack’s heavy older tunes and its newer tracks that tip the scale toward the commercial hard rock side, it was a piano offering that yielded the most important part of the evening.

Announcing his new Scars Foundation, Godsmack vocalist/guitarist/drum battler/pianist (is there anything he can’t do?) and leader Sully Erna introduced new track “Under Your Scars” by revealing an organization focused on something much more useful than preaching — raising awareness of mental health issues such as depression, suicide prevention, post traumatic stress disorder and bullying (more details here). The song is also arguably the most meaningful one on latest album When Legends Rise, for which Godsmack was making its latest San Antonio visit nearly a year to the day of the record’s release that coincided with serving as the theme song to World Wrestling Entertainment’s “Greatest Royal Rumble” pay-per-view event last April 27 in Saudi Arabia (ATM footage and 50-photo slideshow below).

But the serious tone of Godsmack’s ballad didn’t mean the group had lost its touch on rocking out or Erna forgetting how to be silly. When he wasn’t bragging about his hair gel, Erna was encouraging the guys in the crowd to place their significant others atop their shoulders for 1000hp track “Something Different.” Without losing stride, Erna added to his various forms of talent by declaring “I see boobies” when the more daring females decided to flash him.

During previous area visits such as the 2014 Uproar Festival in Corpus Christi, Godsmack had a frustrating knack for opening with mellow tracks such as “Generation Day” (coverage here). Ironically, while touring in support of its mellowest album, Godsmack got the memo to come out with fists pumping on the title tracks to When Legends Rise and 1000hp. The latter is normally accompanied by bursts of flames when Erna bellows “Turn. That. Shit. Up. Louder.” Alas, unlike its neighboring AT&T Center, the Freeman doesn’t allow for pyrotechnics. Those songs were followed by the Erna-penned tune widely believed to be about Motley Crue bassist Nikki Sixx in “Cryin’ Like a Bitch.”

While Godsmack’s set was fairly similar to its 2017 River City Rockfest visit save for the new tunes (coverage here), such as including mainstays “Straight Out of Line,” “Voodoo,” “The Enemy” and traditional closer “I Stand Alone” (setlist below), they did shake things up a bit. Longtime fans’ knowledge was tested when the band segeued first-album classic “Keep Away” into an instrumental jam of the last half of the debut album’s opening number “Moon Baby.”

But of course, the favorite part of any Godsmack concert continues to be Erna’s drum battle with Shannon Larkin better known as “Batalla de los Tambores.” With Larkin’s drum kit coming to the forefront of the stage, Erna’s own kit appeared from behind a curtain and perched itself next to Larkin’s as the duo matched one another with various beats and riffs including Rush’s “Tom Sawyer,” Aerosmith’s “Walk This Way” and Metallica’s “Enter Sandman” as joined by lead guitarist Tony Rombola and bassist Robbie Merrill (ATM footage below). As is also Godsmack’s tradition, the batalla gave way to a very extended version of “Whatever” as Erna kept up his custom of motivating the fans by telling them if they were loud enough to his liking, he would go to the next city of Beaumont and tell them “they are a bunch of goddamn pussies” compared to San Antonio. Of course, Erna likely said the same thing about the Alamo City during the tour kickoff in Arizona. But who’s keeping score?

Support act Stitched Up Heart wasn’t immune from displaying its importance either. Living the dream by opening for Godsmack, frontwoman Alecia “Mixi” Demner — who used to deliver pizzas before rocking out in arenas — guitarist Merritt Goodwin, bassist Randy Mathias and drummer James Decker mixed tracks from 2016 debut Never Alone with those scheduled to appear on this fall’s sophomore effort (ATM Facebook Live footage here).

The day after the concert, Stitched Up Heart released “Lost” as a new single featuring Erna helping out on vocals (listen here). While it would’ve been a special treat to see the two team up live, that didn’t happen. Nevertheless, the track is Stitched Up Heart’s version of inspiring those who struggle with mental issues.

“ ‘Lost’ is about being trapped inside your mind and struggling against yourself to see the light,” Demner says in a press release. “Sully and I had been trying to work on something together for awhile, and I’m so grateful that we were able to collaborate on this. It turned out even better than I imagined, and I’m so excited to share it as the first taste of our new music.”

With a little bit of luck and plenty of fortitude, perhaps other metal bands will follow Godsmack’s and Stitched Up Heart’s lead by using their platform to let their fans new and old know how they can improve the lives of their own friends, family members and themselves amidst their personal difficulties. Rocking out to a slew of songs for three hours in addition to that would merely be the icing on the cake.

GODSMACK SETLIST: When Legends Rise, 1000hp, Cryin’ Like a Bitch, Say My Name, Straight Out of Line, Awake, Unforgettable, Something Different, Keep Away (segueing into last half of "Moon Baby”), The Enemy, Voodoo, Batalla de los Tambores (drum battle), Whatever, Under Your Scars, Bulletproof, Come Together, I Stand Alone

Comment

Pranks galore hit to the core as tour ends for hometown boys Nothing More

Comment

Pranks galore hit to the core as tour ends for hometown boys Nothing More

Dinosaur costumes. Guitarists wrapped in Saran wrap. How about a mariachi band introduced for the grand finale just for kicks?

It was all in the “Truth” tour conclusion’s sold-out night of work Saturday at the Aztec Theatre as hometown grown Nothing More culminated a six-week run of fun in humorous fashion with grindcore act Of Mice & Men and young rockers Badflower and Palisades.

For a band that graduated from Sam’s Burger Joint and Sunken Garden Theater to touring Europe with Five Finger Death Punch and playing California festivals such as Aftershock and Knotfest (ATM coverage of the latter here and interview here), Nothing More demonstrated several facets to its always lively and entertaining show:

  • It hasn’t forgotten where it came from

  • While many artists ending a tour talk about how they can’t wait to get home to their families and into their beds for the first time in a long time, Nothing More played and spoke as if it didn’t want this tour to end

  • It has a sense of humor on stage to go with its deep lyrical content

  • It has no love lost for a certain local rock radio station

Nothing More also graduated to selling out the Aztec for the first time, a step up from its 2015 visit (coverage here) as vocalist Jonny Hawkins, guitarist Mark Vollelunga, bassist Daniel Oliver and Arizona native and drummer Ben Anderson dominated its set with songs from 2017 and latest effort The Stories We Tell Ourselves. With band members silhouetted behind a curtain underneath the word “truth” spelled upside down, the barefoot and shirtless Hawkins climbed the group’s 14-foot-tall scorpion tail contraption as the cloth fell to the floor and the audience roared.

New tracks including opener “Let ‘em Burn,” “Funny Little Creatures,” “Go to War” and “Do You Really Want It” (ATM Facebook Live footage here) meshed with previous album offerings “Mr. MTV” and “Christ Copyright.”

After members of Nothing More and Of Mice & Men pranked support acts Badflower and Palisades by tightening up guitarists in Saran wrap during the former’s final song “Animal” (ATM footage below) and the latter by laying on stage in baby pools, the more no-nonsense tone of Of Mice & Men took to the stage. All levels of the Aztec took the positive reaction up a notch as the heaviness intensified, as evidenced by ATM’s footage of “O.G. Loko” below.

But even Of Mice & Men was not immune to the pranking, as two guys in dinosaur outfits pranced around the stage (see 70-photo slideshow below) before their jurassic asses were shot down by water guns. The band’s guitarists even mimicked their dead bodies while shredding away.

Ironically, a more serious re-enactment of a shooting scenario dotted the theme of Nothing More’s “Truth” tour as depicted on an autographed poster at the merch booth (see slideshow). Amidst the fun and humor, Nothing More’s Hawkins spoke of two organizations with whom the band teamed in its constant lyrical call to attention to suicides, mass shootings, depression and mental health issues in general (watch ATM footage of “Jenny” and “Tunnels” below). Every ticket sold also contributed $1 to those causes.

Although Nothing More has done away with its swiveling “Bassanator,” the unique setup that was a staple of its early years and allowed Hawkins, Vollelunga and Oliver to tap on the instrument simultaneously, the group still featured those three pounding on various drums scattered on the stage. And yet that wasn’t even the best part of the show’s finale.

Prior to traditional closer “Salem,” Nothing More’s pranks came back to bite them when Palisades, Badflower and Of Mice & Men hilariously brought out a mariachi band, giving Nothing More an extra taste of being back home. Hawkins conceded that the gesture won the prank of the night before he launched into genuine appreciation for virtually everyone except local rock station 99.5-FM KISS, for which he saved some scathing commentary (ATM footage below).

From gimmicks to raising awareness of serious issues to straight ahead Rock N’ Roll to shunning a source a band thought it could count on for local support, Nothing More and its opening acts proved something else: that the ending of their “Truth” tour was a story they could tell not only themselves, but also their kids and friends, for years to come.

Comment

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

Comment

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.

Comment

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

Comment

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).

Comment

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

Comment

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.

Comment

Sevendust, Tremonti end tour with a heavy bang

Comment

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.

Comment

Into the Pit: Waxpanel

Comment

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).

Comment

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

Comment

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!

Comment

Into the Pit: Tim 'Ripper' Owens

Comment

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).

Comment

Marty Friedman, area support acts spread the shred

Comment

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. 

Comment

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

Comment

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

Comment

Into the Pit: Christopher Caffery

Comment

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).

Comment

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

Comment

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.

Comment

Rockin' women at forefront of empowering celebration at Aztec Theatre

1 Comment

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.

1 Comment

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

2 Comments

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.

2 Comments

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

Comment

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.

Comment