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Tim Roberts

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Bret Michaels and Dee Snider are teaming up for a rockin’ Canadian adventure!

The Poison frontman excitedly announced their joint tour stop in Ontario, Canada, slated for Friday, July 19, as part of the Timmins Festival. Michaels couldn’t contain his enthusiasm, sharing the news on X:

“Ontario Canada, get ready for an epic night of music! Bret Michaels brings the Parti-Gras to Timmins Festival + Dee Snider of Twisted Sister & Steven Augeri, former lead singer of Journey.”

Interestingly, it seems Dee Snider was just as surprised by the announcement. Taking to X, he expressed his excitement with a touch of humor:

“I’m going to Canada? I mean, I’M GOING TO CANADA! Thank god for social media.”

This collaboration isn’t the first for Michaels and Snider. Michaels had previously unveiled the dates for his ‘Parti-Gras 2.0’ tour, following up on last year’s success. This time around, the tour spans six cities and boasts a stellar lineup featuring Snider, Don Felder of the Eagles, Chris Janson, and original Foreigner singer Lou Gramm.

Their camaraderie was evident earlier when Snider joined Michaels for the Parti-Gras Day event on September 8th at Capital Credit Union Park in Ashwaubenon. Now, their joint venture promises to deliver an electrifying experience to Canadian rock fans.

 

In a recent Metal Hammer interview, the rockstar opened up about the balancing act between his music career and his family life. With his hectic schedule keeping him away from home, Davis revealed that his family is the one thing he’d be willing to put Korn on the line for:

“I’ve got music and my family. They’ve got to coexist. One’s not more important than the other. If it came down to my son or music, I’d choose my son! But sacrifices are inevitable. I’m constantly on the road.”

So, if the music ever stops, we now know why.

Fatherhood has brought about a seismic shift in Davis’ priorities.

These days, Davis finds solace in the quiet moments at home with his three kids: Pirate, Zeppelin, and Nathan. In an interview with the Orlando Sentinel, the frontman delved into how being a father has reshaped his outlook and its impact on his music:

“They’re the reason I keep going, the reason I’m still here.”

Despite the joys of domestic life, Davis will soon hit the road again for his solo tour, leaving behind the comfort of home for the roar of the crowd.

In a recent interview with VRP Rocks, Lou Gramm of Foreigner reminisced about the pivotal record deal that set them apart from their contemporaries. Reflecting on the past, Gramm shared how initially, despite several record labels attending their rehearsals, they were met with indifference:

“Our manager arranged for record labels to come witness our rehearsals, eager to gauge our live sound. Approximately seven labels graced us with their presence, yet each one ultimately passed on us.”

But the band’s journey didn’t culminate there. Gramm went on to recount the turning point orchestrated by former A&R luminary John Kalodner, who recognized the distinctive essence within Foreigner’s music:

“Shortly after, John Kalodner approached us, expressing a keen interest. He remarked, ‘I truly want to engage with you guys. Your songs possess a rare quality – each distinct yet collectively cohesive. They exude a uniqueness absent in many contemporary acts.'”

Foreigner’s path to securing their deal was not without its challenges. Much like Queen’s iconic “Bohemian Rhapsody,” which faced criticism for its length, Foreigner encountered similar scrutiny during their quest for a record deal. Gramm recalled the negotiations:

“We were advised to condense our tracks, with a directive to trim them down to radio-friendly durations. The suggestion echoed Queen’s predicament. ‘The demos and live renditions,’ they said, ‘averaged between six and eight minutes.’ To fit the radio format, we had to pare them down to concise, impactful pieces.”

Despite these obstacles, Foreigner persevered. Gramm recounted the pivotal moment when Atlantic Records, under Jerry Greenberg’s helm, recognized their potential:

“After presenting the edited versions, Greenberg’s enthusiasm for our music remained undimmed. However, he faced a conundrum due to their length. Yet, he swiftly produced a contract. Our manager promptly engaged legal counsel, and within a fortnight, the deal was sealed.”

In the annals of music history, Foreigner’s journey serves as a testament to resilience and the power of distinctive artistry to triumph against adversity.

In a recent chat with Full Metal Jackie on “Whiplash,” aired by KLOS radio, former SKID ROW frontman Sebastian Bach delved into the inspiration behind his upcoming solo album’s title, “Child Within The Man,” slated for release on May 10 through Reigning Phoenix Music. Reflecting on his nickname “man-child” given by his wife, Bach shared how this theme has resonated throughout his career, infusing his performances with youthful energy and audience engagement. The album title draws from a lyric in one of its tracks, a phrase that stuck with Bach, echoing in his mind.

Bach also shed light on the album’s artwork, particularly poignant as it was crafted by his late father, acclaimed visual artist David Bierk. Recalling the discovery of his father’s painting depicting him as a child beside a beat-up Cadillac with a backdrop of Jesus ascending, juxtaposed with another painting capturing his iconic stage presence, Bach envisioned merging these elements into the album cover. The imagery, reminiscent of ’70s album art, evokes a sense of nostalgia and personal connection, bridging the past with the present.

Recorded in Orlando, Florida, “Child Within The Man” was helmed by producer Michael “Elvis” Baskette and features contributions from renowned musicians like John 5, Steve Stevens, and Orianthi, among others. Bach’s involvement extends beyond vocals, as he either wrote or co-wrote all 11 tracks. The album’s first single, “What Do I Got To Lose?,” co-penned by Bach, Myles Kennedy, and Baskette, offers a taste of what’s to come.

Ahead of the album’s release, Bach plans an extensive international tour in 2024, spanning Latin and North America. Dubbed the “What Do I Got To Lose?” tour, it kicks off with shows in South America before heading to the U.S. and Mexico. Bach teased audiences with a live performance of the single during a recent concert in Minnesota and earlier released a music video for the track, featuring his former bandmate Rob Affuso and cameos by comedian Craig Gass and his wife Suzanne.

“Child Within The Man” marks Bach’s first full-length release since 2014’s “Give ‘Em Hell,” continuing his collaboration with Frontiers Music Srl, known for championing AOR acts. With its blend of nostalgia, rock energy, and personal reflection, the album promises to be a compelling addition to Bach’s musical journey.

Amid swirling rumors in 2016 suggesting a possible return of Dave Evans to AC/DC following Brian Johnson’s hiatus, the former frontman swiftly debunked the speculations during a candid conversation with José Luis Mata Sanchez, dismissing them as baseless chatter.

Setting the record straight with trademark bluntness, Evans minced no words, declaring, “We call that in Australia bullsh*t. Okay. Bullsh*t.”

Refuting any notion of a potential reunion, Evans clarified that he was fully engrossed in his own musical endeavors and hadn’t entertained the idea of returning to AC/DC’s fold, dismissing the rumors as mere attempts to grab headlines.

Moreover, Evans shed light on the circumstances surrounding Axl Rose’s temporary stint with AC/DC, attributing the decision to Angus Young’s friendship with the Guns N’ Roses frontman. According to Evans, Rose stepped in as a favor to Angus to help the band fulfill its tour commitments during Johnson’s absence, squashing any misconceptions about Rose permanently joining the band.

Addressing the hypothetical scenario of an AC/DC invitation, Evans affirmed his commitment to his solo career, emphasizing his preference for performing his own material alongside classics from the AC/DC repertoire.

When prodded about AC/DC’s best vocalist, Evans didn’t hesitate to place himself at the top of the list, tongue firmly in cheek. He emphasized the distinct styles of himself, Bon Scott, and Brian Johnson, asserting that comparing them would be futile and unfair.

Reflecting on his departure from AC/DC in 1974, Evans dispelled any notions of animosity, attributing his exit to practical concerns about financial stability rather than any interpersonal conflicts. With characteristic candor, Evans laid bare the realities of the music industry, emphasizing the pragmatic decisions musicians often face.

During a recent sit-down with ET’s Nischelle Turner at the iHeart Studios in Los Angeles, Jon Bon Jovi opened up about Richie Sambora’s departure from Bon Jovi, shedding light on the circumstances surrounding the guitarist’s exit from the band in 2013.

Dispelling rumors of discord, Bon Jovi clarified, “There was never a fight. It was never about money; it was never about a girlfriend. He had issues… and he literally didn’t show up. We were playing for 20,000 people, and there’s a black hole on the stage.”

Jon empathized with Sambora’s struggles, acknowledging the weight of substance abuse, anxieties, single parenting, and personal loss that plagued the guitarist. Despite the challenges, Bon Jovi grappled with the decision of carrying on without Sambora to honor the livelihoods of the band and crew, as well as the millions of fans eagerly awaiting their performances.

Revealing a pivotal moment in their reconciliation, Bon Jovi recounted watching the new limited series, ‘Thank You, Goodnight: The Bon Jovi Story,’ with Sambora, where the guitarist apologized for his departure. This act of contrition served as a catalyst for healing their fractured relationship over time, with Jon recognizing that Richie’s choices stemmed from personal struggles rather than animosity.

Meanwhile, Sambora reflected on his departure in the documentary trailer, expressing regret for the manner of his exit while emphasizing his continued fondness for the band. Responding to Richie’s sentiments, Bon Jovi affirmed the honesty in Sambora’s portrayal, emphasizing that the documentary reflects the journey of growth and resilience shared by the band members.

Despite their differences, Bon Jovi underscored the deep bond shared between him and Sambora, noting that while they may not have spoken during filming, the documentary serves as a testament to their enduring camaraderie. ‘Thank You, Goodnight: The Bon Jovi Story’ is slated to premiere on April 26 on Hulu, offering fans an intimate glimpse into the band’s legendary journey.

The anticipation is palpable as Dream Theater gears up for their highly-anticipated 40th-anniversary tour, marking drummer Mike Portnoy’s return to the fold after a staggering 14-year hiatus. Portnoy, in a candid chat, revealed that prior to the COVID-19 pandemic, a reunion seemed unlikely. However, the unexpected downtime of lockdowns provided the perfect opportunity for reconnection.

Reflecting on the serendipitous chain of events that reignited their musical and personal bonds, Portnoy disclosed, “But once we were all locked down, John [Petrucci] asked me to play on his solo album. Then, from there, Jordan [Rudess], John, and myself did the Liquid Tension Experiment album. And then I did John’s tour. So there were just these series of events of reconnecting us — not only on a musical level but also on a personal level for many years prior to that.”

With Portnoy back in the fold, the band entrusted him with the monumental task of curating the setlist for their upcoming concerts. Speaking on the Pure Saturation radio show, Portnoy shared the band’s eagerness to inject fresh energy into their live performances:

“They have expressed to me that they kind of have been missing it and that they kind of want me to take the reins with the setlist and with the ideas of crazy sets and crazy shows and unique things. It seems to me — I mean, John Petrucci and I talked about it briefly. I think he really wants me to take those reins again.”

Dream Theater’s fall tour kicks off on October 20 in London, promising an exhilarating musical journey across Europe, with the final curtain set to fall on November 24 in Amsterdam. Buoyed by the excitement of the tour, the band has also been hard at work, recently wrapping up writing sessions for their eagerly awaited new album. With each note and beat, Dream Theater continues to captivate audiences worldwide, cementing their legacy as progressive rock icons.

In a recent interview with LA Lloyd, Jacoby Shaddix of Papa Roach expressed his optimism about the future of rock music, citing bands like Falling In Reverse and Bad Omens as torchbearers for the genre.

Shaddix exuded excitement for the resurgence of energy reminiscent of the early 2000s within the current rock scene. He praised the emergence of younger bands such as Falling In Reverse, Beartooth, Bring Me the Horizon, and Bad Omens, remarking on their inspiration and enthusiasm:

“And then you’ve got this new artist Falling In Reverse that’s coming up, and there’s a lot of younger [bands] — Beartooth, Bring Me the Horizon, and a lot of very inspired younger bands — Bad Omens — coming up. And I think the future of rock is exciting — rock and punk rock music. It’s just bubbling, man. And so, it’s a good time to be in rock and roll.”

Meanwhile, Bad Omens received accolades when they secured the top spot on a list of the 30 most popular hard rock songs from 2023, as voted by Octane listeners, edging out Falling In Reverse. Reacting to the news, Falling In Reverse’s frontman Ronnie Radke took to X to congratulate Bad Omens, acknowledging the power of their music and the support of their fans.

However, Radke’s sentiments about the current music landscape differ from Shaddix’s optimism. In a series of social media posts, Radke criticized what he perceives as a shift in the hardcore scene, lamenting what he views as a departure from its former authenticity. He also took aim at new metal bands, accusing them of hypocrisy for singing about violence while displaying sensitivity on social media platforms.

Recently, during Knotfest Australia, Disturbed’s drummer Mike Wengren shared the stage with Pantera, sparking discussions about the possibility of him filling in for Pantera’s current drummer, Charlie Benante, in the future.

In a candid interview with The Break Down With Nath & Johnny, Wengren expressed his admiration for Benante’s drumming prowess while also hinting at his readiness to step into the role if the opportunity arose:

“Honestly, if they told me, like, somebody took Charlie out tonight, I think I could step in. Actually, you know what? Let me make sure I clarify this. All respect to Charlie, ’cause he’s killin it, man.”

Wengren highlighted Benante’s dedication to capturing the essence of Vinnie Paul’s drumming style and acknowledged the challenge of replicating such an iconic sound. However, he expressed confidence in his familiarity with Pantera’s catalog, suggesting he could proficiently handle around 80 percent of the band’s setlist if called upon.

Meanwhile, in a separate interview, Dream Theater’s Mike Portnoy addressed speculation about his potential involvement with Pantera as a drummer. Portnoy, while expressing his willingness to take on the role, emphasized his belief that Benante is the perfect fit for the position:

“You’d have to ask those guys; I have no idea. Obviously, I would have done it in a heartbeat of ass, but Charlie is absolutely the right guy for the gig.”

Portnoy also reflected on his past collaborations with Pantera members Rex Brown and Phil Anselmo, indicating his contentment with those experiences and his support for Benante’s current role in the band.

In a recent chat with Revolver, Mike Shinoda reflected on the early days of Chester Bennington, shedding light on the evolution of their musical journey.

Shinoda reminisced about the origins of Linkin Park, initially birthed as Xero. As they delved into crafting music, the band gradually expanded, ultimately welcoming other members into the fold. Recounting their first encounter with Chester, Shinoda emphasized the singer’s initial demeanor:

“[Chester] was a different breed back then, far from the iconic, powerhouse vocalist we know today. Picture this: a diminutive figure, clad in unassuming attire, with a voice that hardly hinted at the seismic vocal presence he would become known for. He wasn’t belting out screams on records; instead, his vocals leaned towards aggression, yet it wasn’t his primary forte.”

Shinoda elaborated on the collaborative efforts between himself and Bennington in shaping Linkin Park’s sonic identity:

“He and I embarked on a journey to unearth the essence of our band’s DNA. It was a process of trial and error, navigating through moments of brilliance and missteps. But amidst the experimentation, we stumbled upon gems that resonated with us, laying the foundation for our signature sound.”

Reflecting on Bennington’s vocal prowess, Shinoda confessed in an earlier interview with Splice that he initially underestimated the depth of Chester’s talent. However, as their partnership blossomed, Shinoda recognized the innate brilliance in Bennington’s singing. Together, they embarked on a quest to unearth Chester’s authentic voice, steering away from emulation towards self-discovery.

Throughout their collaboration, Shinoda consistently praised Bennington’s vocal versatility, underscoring their shared commitment to pushing creative boundaries. Through experimentation and dedication, Bennington transitioned from mimicking others to embracing his unique vocal identity, a testament to their enduring musical partnership.