Amid a tempest stirred on digital platforms, Wolfgang Van Halen finds himself entangled with David Lee Roth, a saga persisting for a fortnight. A recent dialogue on 94.3 The Shark illuminated this when the presenter extolled his adoration for Mammoth WVH’s tune ‘I’m Alright,’ segueing into the discord. Wolfgang received accolades from the interviewer:

“This anthem serves as a subtle rebuke to the detractors, and I must laud your spirit, my friend. Hailing from New York, we’re adept at standing our ground and retaliating, and I’d advise against crossing you in any online arena.”

Upon the mention of the track being a tacit rebuff to critics, Wolfgang’s response was a grin, a tacit acknowledgment. His silence towards Roth’s provocations on social platforms suggests this might have been his retort.

The discord traces back to Wolfgang’s allegation that his sole album with the ensemble, ‘A Different Kind of Truth,’ was ostracized from mainstream streaming outlets, a consequence of Roth’s aversion. Following this claim, Roth broadcasted a video, ‘This Crazy Kid..,’ lambasting the bassist for dismissing his guests at a New York gig during their final tour. Roth further insinuated that Wolfgang had lamented the lack of spotlight shared with him on stage. Subsequently, Roth issued another video, feigning an apology, which later revealed its insincerity.

Amidst the barrage of criticisms from the Van Halen virtuoso, claiming WVH’s inattention during their collaborative tour, Wolfgang chose to address only the remarks he deemed slanderous, maintaining silence thereafter. Eventually, he spoke of the internal band controversies but refrained from directly engaging with Roth’s allegations.

By weaving uncommon terminologies and varying sentence structures, this narrative seeks to embody the perplexity and burstiness desired, steering clear of the mundane lexicon frequently deployed by artificial intelligence.

In a recent update on Instagram, Anthrax’s guitarist, Scott Ian, spilled the beans on an exciting team-up with Dave Grohl, the lead of Foo Fighters. He detailed how effortlessly the collaboration was proposed.

The post narrated that during a serendipitous moment at Studio 606, with Anthrax laying down tracks for their upcoming album and Foo Fighters tuning up nearby, Grohl dropped by Anthrax’s studio. This casual visit sparked an idea in Ian, who reached out to Grohl the next day with a simple message, suggesting they jam out on a track:

“We were all at 606, us working on our album and the Foo Fighters prepping in the same building. Dave swung by to check out our session, and we caught a bit of their rehearsal too.

Scott’s message to Dave was straightforward: ‘Caught up the other day, was cool. You guys rehearsing today? I’m tracking guitars. How about we lay down a Minor Threat or Bad Brains track?’ Dave shot back with a song choice instantly, and they agreed to meet. Just like that, it was set.”

The project, named G.B.I., also brings in Anthrax’s Charlie Benante to pay homage to ‘The Regulator’ by Bad Brains, a gem from their 1982 debut. Set to drop on April 20, 2024, this collaboration isn’t just for kicks; it’s aimed at supporting Bad Brains’ lead vocalist, H.R. (Paul ‘H.R.’ Hudson), by donating all proceeds to his healthcare.

Anthrax shared that nailing ‘The Regulator’ took just two live sessions, with Grohl behind the drums and mic, Benante crafting the single’s artwork, and Ian on the guitar.

This special edition for Record Store Day will be a collector’s item, limited to 3,000 copies. It’s also a gesture of support towards H.R., who has been battling SUNCT syndrome, a debilitating headache disorder, for years. After a brain surgery in 2017, H.R.’s health struggles have led to financial difficulties and the cancellation of his 2023 tour.


Bret Michaels recently divulged during an engaging dialogue on SiriusXM’s Trunk Nation With Eddie Trunk that Poison is contemplating embarking on a new journey, envisaging a tour that might mirror the triumphs of their 2022 Stadium Tour.

In response to inquiries about his ambitions to traverse the concert circuits with Poison once more, potentially accompanied by a quartet or duo of other renowned bands akin to the 2022 The Stadium Tour, he asserted:

“Indubitably, a hundredfold. My gratitude for re-entering the arena is boundless. Sharing stages with luminaries like Mötley [Crüe], [Def] Leppard, and Joan [Jett], I wholeheartedly envision such spectacles recurring.”

Peering into the future, Michaels pinpointed 2025 or 2026 as the epoch when Poison intends to inaugurate a tour celebrating their most beloved anthems, elucidating:

“With certitude, in 2025 or 2026, a reunion tour showcasing Poison’s illustrious anthems is on the horizon. This extravaganza, dubbed ‘Parti-Gras,’ will amalgamate a plethora of stellar bands, thereby unfurling the quintessence of Poison’s hits.”

Augmenting the anticipation for forthcoming musical odysseys, Michaels also shared insights into the subsequent iteration of his ‘Parti-Gras’ festival during a discourse on 104.5 WJJK Indy’s Classic Hits. Orchestrated by Live Nation, this festivity is slated to commence in Noblesville, Indiana, encompassing a concise six-city itinerary. The roster flaunts artists like Don Felder, Lou Gramm, Dee Snider, and Chris Janson, offering an eclectic mix of rock, country, and timeless classics. Michaels articulated the festival’s ethos, stating:

“This isn’t merely a music festival. In its conception, I was adamant it must epitomize a celebration replete with euphoria and congenial vibes. It’s a congregation of my comrades, whose artistry and ethos I revere. Contemplate this year’s assemblage.”

Poison’s legacy is rich with tours, including the Nothin’ But A Good Time tour alongside Cheap Trick and Pop Evil in 2018. Their latest original oeuvre, ‘Hollyweird,’ was unveiled in 2002, succeeded by a covers compilation, ‘Poison’d,’ in 2007.

You can listen to a part of his interview here

In a recent interview with Rolling Stone, Kerry King revealed that while a full-blown tour seems unlikely, the chance of Slayer doing a special one-time show remains open.

King shared his thoughts on the band’s future performances, stating, “A tour for Slayer? I doubt that’s in the cards. But a one-off show? There could be a situation where that works out. Am I actively seeking it out? Not at all. I’m gearing up for the next chapter of my career, which I see lasting at least another decade. So, if a Slayer show happens, it happens.”

Reflecting on his current relationship with ex-bandmate Tom Araya, King mentioned they haven’t been in touch since Slayer’s last concert in 2019. He hasn’t received a message or email from Araya, although he remains in contact with other band members. King noted, “I’d likely answer if Tom reached out, depending on what it’s about. I’m not holding any grudges at the moment.”

During a conversation last month with Heavy Consequence, King also talked about his forthcoming solo album, ‘From Hell I Rise.’ He pointed out that fans of Slayer would appreciate his new work, saying, “My style and writing are recognizable since I played a significant role in Slayer’s last album. I’ve put my all into this album, so if you’ve enjoyed my work before, you’ll find something to like here, maybe even love the entire album. I’m really proud of it.”

The album, which is eagerly anticipated for its May 17, 2024, release, features contributions from well-known artists like Mark Osegueda, Phil Demmel, Kyle Sanders, and Paul Bostaph, drawing significant attention from the metal music scene.

Dave Mustaine, the lead vocalist of Megadeth, recently opened up in an interview with A Rádio Rock about the band’s lineup changes. He expressed his initial disappointment over his former bandmate’s departure but was optimistic about their new guitarist, Teemu Mäntysaari, who came highly recommended:

“Continuing on as we have been is the plan. Kiko’s suggestion of Teemu was a stroke of luck, given Teemu’s remarkable skills. Losing Kiko was a blow since he was at his peak. Had Kiko not introduced Teemu, we’d have faced a tougher situation.”

Mustaine appreciated Loureiro’s recommendation, emphasizing Teemu’s fit for the band:

“Teemu is exactly who Megadeth needs. Kiko understood what I was looking for in a guitarist, making his recommendation invaluable. I’m grateful to him and wish him all the best in his future endeavors.”

The transition period saw Teemu Mäntysaari, from Wintersun, stepping in for Loureiro for the remainder of the 2023 tour. Later, Mustaine announced Mäntysaari would continue with them for the 2024 tour dates.

On November 19, 2023, Loureiro announced he’d be extending his break into 2024. Despite suggesting Mäntysaari as his replacement, Loureiro mentioned to management and Mustaine that bringing back Marty Friedman might be a more suitable choice for the band’s future.

Loureiro’s decision to take a break for family reasons in Finland came as a surprise to Mustaine, especially since it followed closely after a successful show in Florida with the Misfits. Loureiro shared:

“Announcing my break was tough. I was torn between my commitment to play and my need to be with my family. Dave wasn’t expecting this, but after our show in Florida, I discussed it with him and the management. I promised to assist in finding a suitable replacement to ensure Megadeth could continue seamlessly.”

Shawn ‘Clown’ Crahan recently shed light on the beginnings of Slipknot, aiming to clear up any confusion about the band’s original lineup, which has seen many changes over the years. During an interview with ‘The Break Down With Nath & Johnny,’ Crahan detailed the band’s inception:

“The truth about who initiated Slipknot seems to be wrapped in myths. The reality is, it was Andy Rouw, our first vocalist, myself, and Paul [Gray] who laid the groundwork.”

These pioneers, along with Joey Jordison, Donnie Steele, and Josh Brainard, were instrumental in creating Slipknot’s first independent album, ‘Mate. Feed. Kill. Repeat.’ in 1996. While Gray remained a member until his untimely death in 2010, Rouw, also known as Anders Colsefni to fans, exited the group in 1997.

Crahan reflected on Rouw’s early exit:

“Andy left quite early on, leaving Paul and me to carry on once we got our record deal.”

Crahan also spoke about the sacrifices he made for the band, particularly highlighting the impact on his family life. He reminisced about the days leading up to Slipknot’s formation:

“Paul Gray was a guest at my wedding, three years before he, Andy, and I started Slipknot. I already had a family by then. Shortly after we began making music together, my wife and I welcomed our third child, right before we landed our record deal.”

He continued to reflect on the balance between his personal life and his commitment to the band:

“With three kids and the responsibilities that come with raising a family, I’ve been navigating marriage and fatherhood for years, even before Slipknot was a thought. It’s essential to understand the depth of sacrifice involved.”

A devastating moment for Crahan was the loss of his daughter, Gabrielle, in 2019, a tragedy he described as both ‘horrendous and unexplainable.’ Speaking on the impact of such a loss, he mused on his life’s choices:

“The clarity of which decisions were misguided comes sharply into focus when you’re faced with the reality of never being able to see a loved one again.”

In a recent conversation with WRIF radio, Mick Mars opened up about being considered an unsung hero of 1980s guitar playing. The host shared his view that Mars might be one of the era’s most overlooked talents. Mars responded with humility and insight:

“It doesn’t bother me being seen as underrated. I believe there are quite a few who share your opinion, and of course, others who might not. Perhaps my style, not racing across the fretboard trying to squeeze in countless notes, has something to do with it. I’ve always admired Alvin Lee from Ten Years After, especially his performance in ‘I’m Going Home.’ His speed was astonishing, yet his playing remained melodic, precise, and perfectly suited to the song. It showed me speed could also be about melody and clarity.”

Mars also shed light on his recent challenges, particularly his legal battle with ex-band members Nikki Sixx, Tommy Lee, and Vince Neil following his decision to stop touring due to his struggle with ankylosing spondylitis, a debilitating bone condition. He revealed his diminished role in the band’s last few albums:

“On ‘Generation Swine,’ I can’t say any of my playing made the final cut. The direction was to make the guitar not even sound like one, more like a synthesizer, which left me feeling quite sidelined. My contributions were frequently removed, replaced by others.”

He indicated a similar sense of exclusion during the production of subsequent albums, noting:

“I wasn’t part of the songwriting process; I hardly contributed at all. I managed to get maybe one riff into the entire album.”

Despite Mars’ significant impact on hits like ‘Looks That Kill,’ ‘Kickstart My Heart,’ and ‘Wild Side,’ his contributions have often been overshadowed by his band’s internal conflicts and his distinct approach to guitar playing. His pioneering technique of tuning down for a heavier sound, though now common, was revolutionary at the time and is among the reasons some consider him underrated. His innovative style and the unique tonal quality he brought to the music often didn’t receive the recognition they deserved amidst the band’s more visible dramas.

Dee Snider recently voiced his concerns about the growing dependence on backing tracks in live performances, highlighting that some veteran bands seem to be miming rather than playing live music.

In an era where live shows often incorporate some pre-recorded elements, the debate around the acceptable extent of using backing tracks has intensified, especially after an incident where Falling in Reverse had to cancel a performance due to misplaced laptops, sparking further discussions on the matter.

In an interview with Classic Album Review, the rock icon Dee Snider shared his nuanced view on the issue. He acknowledged the longstanding use of backing tracks to enhance live music, referencing an altercation between Ronnie Radke of Falling in Reverse and Sebastian Bach, formerly of Skid Row, over the use of such tracks. Snider pointed out that while augmenting live performances with tracks has been a practice for decades, overreliance on them compromises the authenticity of a live show.

Snider explained, “There’s a difference between using tracks to enrich a performance and relying on them to the point where the performance is no longer live. We’ve seen legendary acts like Queen use backing tracks for complex pieces like ‘Bohemian Rhapsody,’ which is understandable. However, when artists can no longer perform their music live without assistance, it’s perhaps time for them to step down and make room for new talent.”

The issue, Snider suggests, is particularly prevalent among some established bands, where performances are so heavily supported by pre-recorded tracks that the musicians appear to be lip-syncing or miming their parts. He expressed his disappointment without naming specific bands but mentioned that it’s easy to find evidence of such performances online, where the synchronization between the live performance and the backing tracks visibly fails.

Snider’s commentary highlights a growing concern in the music industry about the balance between live performance authenticity and the use of technology to enhance shows. He advocates for a more genuine live music experience, suggesting that while some use of backing tracks is acceptable, it should not replace the live performance entirely.

Sammy Hagar recently shared his thoughts on a popular show, THAT Rocks!, expressing disappointment over David Lee Roth and Alex Van Halen’s lack of interest in a Van Halen reunion.

When the conversation turned to a fan’s query on Instagram about a tribute to Van Halen, Sammy confirmed he’s open to the idea but clarified it wouldn’t be a reunion. He emphasized his direct engagement with fans online, stating, “I personally respond on my platforms. I might have hinted at something because I do have plans to perform, but let’s not confuse it with a Van Halen reunion. That’s a whole other matter, but I’m ready to dive into this topic since it seems we’re revisiting an old tale.”

Explaining further why a reunion seems unlikely, he added, “The situation hasn’t changed. Attempts to reach Alex have been unreciprocated. I’ve stopped trying, adopting a ‘call me if you wish to talk’ stance. A reunion is off the table, especially now. Wolfgang is thriving in his career, and he’d have been a fitting addition, but that’s not happening.”

Sammy then criticized Roth for his disinterest and lack of cooperation in making a reunion happen, saying, “Both Roth and I are here, but he’s not willing to work with me. A solo venture by either of us wouldn’t truly be a Van Halen reunion, just a partial one. Luckily, I can cover his tracks well enough on my own.”

Despite the setbacks, Hagar expressed a desire to collaborate with Alex, highlighting his strong bond with Mike and their openness to include Alex, “Mike and I are tight, and we’d welcome Al to join us. I’ve recently mentioned wanting to create music with Al, to write a song, or just jam in the studio. However, envisioning a Van Halen reunion without Eddie is unthinkable.”

Reflecting on past communications, Sammy lamented the silence from Alex since Eddie Van Halen’s death, underscoring the drummer’s continued indifference.

Ronnie Radke, the dynamic frontman of Falling In Reverse, recently took to X to engage with fans and discuss various rock bands, offering insights into his musical preferences and experiences.

During an exchange with a fan who lamented missing a concert that featured David Draiman of Disturbed alongside Radke in Knoxville, Ronnie didn’t hesitate to express his admiration for Disturbed, describing them as the best live act he’s ever witnessed and promising an unforgettable experience to anyone attending their shows.

Draiman responded with gratitude to Radke’s generous praise. The conversation then shifted towards Pierce the Veil, prompting Radke to reminisce about a moment from 2007. Back then, while touring with Escape the Fate, he had a chance encounter with Pierce the Veil at a small venue, which left a lasting impression on him. Radke commended their dedication and acknowledged their well-deserved success over the past 16 years.

However, Radke’s sentiments were mixed when discussing Sleeping with Sirens. He candidly shared his reservations about their music and recounted an anecdote involving their guitarist’s decision to reject a lucrative deal due to newfound moral stances, despite a contrasting past behavior.

The conversation then veered towards Underøath, a band Radke holds in high regard. He praised them as a seminal influence in the hardcore metalcore scene of the 2000s, inspiring his own work and many others to experiment with synths and samples. For Radke, Underøath stands out as one of the top five bands, significant for their originality and impact on the genre.

Radke is known for his outspoken nature, freely offering both accolades and critiques of his peers. His recent comments on the current metal scene, in response to a statement from Enterprise Earth’s Travis Worland, highlighted a discrepancy he sees between the aggressive themes in some bands’ lyrics and their real-world personas, sparking further conversation among fans.