Category: Podcast

Categories
Interviews Listen Music New Releases Podcast Top Stories

RATT ‘Out of the Cellar’ Inside the Album w/ Producer Beau Hill PART I – full in bloom Interview

  • Post author By admin
  • Post date

Inside the Album w/ Beau Hill

RATT
Out of the Cellar (1984)

The Complete full in bloom ‘Out of the Cellar’ Podcast

The full in bloom interview with RATT producer Beau Hill is now available.  LISTEN TO THE ENTIRE INTERVIEW VIA EMBEDDED YOUTUBE CLIP ABOVE, ON YOUTUBE, OR VIA THE SOUNDCLOUD WIDGET BELOW.

Search for RATT items and RATT-related items on FIBITS

Check back for more video / transcribed excerpts from this interview.

An excerpt taken from the beginning of our interview has been transcribed below.  You can listen to the entire interview via the embedded YouTube clip above or at this location.

full in bloom: What’s new and what’s on the horizon?

Beau Hill: Well, basically all I do these days is mix.  Bands from around the world send me files, bands that I’ve never met or heard from.  I guess they go by reputation and then they find my website, and then they email me.  We figure out how to do business together.  They send me the files, I go to work and I send them back.

full in bloom: Is there anything you mixed recently that you took a liking to?

Beau:  Absolutely.  I did one Kix record, Midnite Dynamite.

full in bloom: I loved that record.

Beau:  Thank you.  So, they were doing the thirty year anniversary of Blow My Fuse and Blow My Fuse was supposed to be my record.  But, again, there was another little falling about money with myself and the leader of the band, at the time, he’s no longer with them.   Anyway, somebody else did the record and when it came up to do the reissue, which they just did, they said, ‘hey, let’s see if Beau wants to do the remix on it.”  So, I did…the whole album.  Really, really super happy with it.  Number one, it was so fun for me to work with those guys again, and it came out great.  That’s the most recent thing of merit.  People send me files from everywhere, Australia, Moscow (laughs), it’s so crazy.  I think they are primarily small projects, self-funded.  I still like doing it and I guess I’ll keep doing it until I get bored or I don’t like doing it anymore, and then I just won’t.  It’s still my passion;  I love doing it.

full in bloom: What are you mixing with, console or are you on the computer?

Beau:  I’m Pro Tools complete, that’s it.  I kept a few of the real vintage pieces of outboard gear.  Without getting to wonky about it, like some Pultecs and some Avalons, things like that, that I still use every day.

full in bloom: What do you mostly use the Avalons for?

Beau:  I use the Avalons for the final chain on the 2-Buss, right before the final mix.  It warms it up a little bit, and then there’s a compressor that I use on the 2-Buss.  It’s very sensitive, I guess.  I can compress like less that a half a dB and it warms it up.  It doesn’t make it pump. which is what I really like about it.

full in bloom: What was your introduction to RATT?

Beau:  I was living in New York in a rat-infested hovel (laughs).  I had just come back from L.A. doing some work with Sandy Stewart, and I met Doug Morris on that particular day, the president of Atlantic Records.  He and I hit it off really well.  So, I was home in New York.  Then about three weeks after I got back, the phone rang and it was Doug’s secretary.  She said, “can you speak to Doug for a moment’ and I said, ‘absolutely.’  ‘Hi Doug, how are you,’ and he said, ‘listen, will you go to L.A. with me and I want you to look at this band.  I think you’d be a great producer and if you’ll produce them, I am going to sign them.’  I was just like dumbfounded at that point.  I went, ‘yes sir, absolutely, I’m there.’  We got on the plane, and funnily enough, I thought Doug was going to put me in coach and he would fly first class.  But he bought us two coach tickets.  So, he sat in coach with me the whole time, which I thought was pretty fun.  We went to see them at the Beverly Theater.  I said, ‘absolutely, I would love the opportunity.’

full in bloom: What was your first impression?

Beau:  I liked them.  My main first impression was, there were two thousand kids in that theater that were absolutely losing their mind.  That was about all the reinforcement that I needed.  There’s definitely a market for this – these kids are definitely responding to this band – so, I jumped at the chance.

full in bloom: Did you get the EP first?

Beau:  I don’t remember how that all came about.  Obviously, I got the EP at some point, because I think we took two songs off of the EP and redid them.  I don’t remember the exact sequence of events, but we started that record very quickly.  We went into pre-production rehearsal first, because I think….they hadn’t been signed yet, so that took however long, a couple of weeks.  My remembrance is that it happened pretty quickly.

full in bloom: I thought it was just one song on the EP, “Back for More.”  Did you guys recut “You Think You’re Tough?”

Beau:  No.

full in bloom: What was the other song that was from the EP?

Beau:  I honestly don’t remember.

Tom Allom

full in bloom: Tom Allom (Judas Priest) was originally slated to produce that record?

Beau:  That’s who the band wanted. The band did not want me to produce the record at all. Who was I? (Laughs) I was nobody.

full in bloom: I’m assuming he was busy or did he turn down the record?

Beau:  No, Doug made it a contingency of him signing the band, that they had to use me. It was, ‘this guy is doing your record or you’re not getting signed to Atlantic.’ That was pretty much the way it went down.

full in bloom: Wow. So, what was it that made them think you were a good fit for RATT?

Beau:  The only person that thought I was a good fit for RATT was Doug Morris and RATT’s manager Marshall Berle, who was Milton Berle’s nephew. The rest of the band were very displeased with the position they were put in, because, you know, they didn’t know me from a knothole. You know, they wanted bragging rights, I guess, of being able to get somebody that was a known quantity like a Tom Allom to do the record, rather than telling people ‘we got this loser from New York that’s friends with the record company’ (Laughs) ‘and then forcing us to use him.’ But that’s the truth, they really did. So, the band really had no choice. It was Beau’s record or you’re not on Atlantic. (Laughs)

full in bloom: What are those initial sessions like, kind of standoffish a bit?

Beau:  Yeah, it was quite challenging. (Laughs)

We’ve only just scratched the surface, there is a lot more interview left. You can listen to the entire interview via the embedded YouTube clip above, directly on YouTube at this location, or via the Soundcloud widget below.

Hire Beau Hill to mix your album @ BeauHillProductions.com.

Search for RATT items and RATT-related items on FIBITS

Categories
Books Gear Guitars Interviews Listen Music New Releases Podcast Podcast Excerpts Top Stories

K.K. Downing Interview 2019 – Talks Book, Guitars, Flying V, Judas Priest, Michael Schenker, UFO

  • Post author By admin
  • Post date

Judas Priest Co-Founder / Guitarist
K.K. Downing

The full in bloom interview with Judas Priest co-founder / guitarist K.K. Downing is now available.  LISTEN TO THE ENTIRE INTERVIEW VIA THE CLIP ABOVE OR ON YOUTUBE.

An excerpt taken from the beginning of our interview has been transcribed below.  You can listen to the entire interview via the embedded YouTube clip above or at this location.  Check back for more video / transcribed excerpts from this interview.

full in bloom:  What’s a typical day like for you nowadays?

K.K. Downing:  Ahhh mate, since I decided to do the book (Heavy Duty Days and Nights in Judas Priest) I’ve been really busy, to be honest, because it took a lot of doing to put the book and everything together.  Then of course when it was released last September or October, whenever it was, I’ve been pretty non-stop, to be honest.  It took me by surprise a bit really because it was released in America and Canada and in the U.K. simultaneously, but now other countries.  It has only just been released in Germany, since then it was released in Finland and Bulgaria.  So I’m pretty busy with it, to be honest.


PURCHASE K.K. Downing’s memoir on Amazon or Da Capo

full in bloom:  I saw that you had auctioned off a couple of your iconic guitars.

K.K.:  I’m into the zone now the last few years where I don’t feel that, probably like a lot of other people, that time is not necessarily on my side.  I say that because I’m 67 years old and I’m going to be 68, so I’m kind of pushing 70 and that’s kind of getting up there.  I guess you get to be a bit nervous, I suppose.  Obviously, losing good friends along the way, and things that are happening seemingly on a, not necessarily on a daily but a weekly basis, you know, we’re losing people, obviously.  A good mate Lemmy (Kilmister) is gone, a good mate Ronnie just before him went, Ronnie Dio, and lots of things happen.  We just lost Vinnie Paul, a good mate.  We go back together, obviously, with Pantera doing tours with us….and my good buddy Jeff “Mantas” (Dunn) from Venom.  He actually died towards the end of last year on the operating table, but they brought him back.  Jeff is out there gigging again.  I’m not saying I’m going to pop the clogs at any point.  But coming back to the guitars, whatever you got.  You find yourself doing things that probably are best not spoken about, but lots of people do it.  Does it make sense to start making your own funeral arrangements or do you have to put the burden on your family?  So things like that, you enter the zone and I found myself owning a lot of things, a lot of stuff that had no value and I’m thinking to myself, ‘is it a burden if something suddenly happens?’  It’s kind of me getting my house in order, if you know what I mean.

full in bloom:  Sure.

K.K.:  So not to put the burden on my family, if suddenly I got ran over by a car or had a sudden massive heart attack or something, then I think it’s better to probably, as I said, get the house in order.  I don’t want my family to argue or to decide whether to sell things off or not to sell things off because they would think that I wouldn’t want it or I would want it.  I’ve put myself in a position where all of these things that happen to me, that I’m going to make my own decisions about what to do.  So basically I found myself with an awful lot of guitars and a lot of ones that I don’t use and wouldn’t use anymore.  If I go back out on tour or record again, so obviously those guitars that I would use are still here, close by me.  But the other ones that were basically surplus to requirements had a very good value, it’s better for me to….basically it’s like stocks and shares and stuff like that.  Time to cash it in, so it becomes liquid cash that you can actually put in an inheritance package for your family if something should happen.  So that’s kind of me just taking care of business, really.

The 1967 Gibson Flying V (pictured above) was K.K.’s main guitar on all albums up to 1981’s ‘Point of Entry.’

full in bloom:  Were you shocked when the ’67 Gibson Flying V sold for almost $200,000?

K.K.:  Yeah (laughs).  I was expecting, to be honest, about half that.

full in bloom:  I think on the (auction) site they estimated it to be around 10 to 20 thousand dollars.

K.K.:  Yeah, I think that’s probably just to get a massive audience.  I don’t know how it works, myself.  Obviously that was a 1967 Flying V and Gibson only made 111 of those guitars, and those guitars were put in some pretty famous hands, to be fair.  I don’t know everyone that had one…I know Dave Davies from The Kinks had one.  I know Jimi Hendrix had one.  I know that Andy Powell from Wishbone Ash had one, still plays that guitar, he does.  I know that Marc Bolan had one. I know that Keith (Richards) from the Rolling Stones had one.  I do know where a lot more went, but there wasn’t that many to go around.  Obviously I got my hands on one.  Obviously the Schenkers had a couple.  So they were bound to have been worth more than 20….I was offered $25,000 more than 20 years ago, cash there and then by a guy that went to a concert.  That guitar was used on a lot of stuff, a lot of concerts.  It was my flagship guitar, for sure.  But I retired that guitar a long time ago because it was getting too valuable.  So I’d never take it out on the road, and now I’m using scalloped frets and all of that sort of stuff.  So, nice to pick up now and then but really there’s not a great value in that.  I’ve still got some very, very nice and some very valuable guitars.

full in bloom:  You use the scalloped neck now, huh?

K.K.:  I’ve been using the scalloped frets now since about 1984.

full in bloom:  Oh crap, I didn’t know that. (laughs)

K.K.:  Yeah, yeah.  Every guitar I’ve had since then has got scalloped frets.

full in bloom:  What would you say is the benefit of that?  I have played on them before but it almost seems like it’s harder or something.

K.K.:  Yeah, but if you’re a little guy like me, not very strong hands and all that, then scalloped frets can really help.  I use light gauge strings but it still takes a bit of pushing, here and there, really.  Especially if you want to get those tone and half bends in.  In particular, the main reason, especially when you still have got soft skin…I used to get calluses on my fingertips but I don’t really get calluses anymore because you’re using light gauge strings and scalloped frets.  I find I can make those bends a lot easier, because, the thing is, you get fingertip friction and that’s why a lot of guys went to jumbo frets, you know, to get less finger friction.  There’s not that much friction with the finger and the fretboard, so that does help.  You can get your finger more sideways on the string when you’re bending, when you push it, as opposed to having to push down and then laterally.  So, it’s just one of those things.  Once I tried it, I just liked it and never went back.  Way back we’d still play hot and sweaty clubs and so doing those bends just became a lot easier with scalloped frets, really….a bit more reassuring.

full in bloom:  In the book you talked about how Les Binks (ex-Judas Priest drummer) had done the double bass on “Exciter” and I think everybody kind of points to that “Overkill” song by Motörhead being that foundation of thrash with the double kick.  I found that interesting that “Exciter” came out in 1978 and “Overkill” came out in 1979.

K.K.:  Yeah (laughs), there you go.

full in bloom:  There wasn’t another case of that, right?

K.K.:  No, I don’t think so.  Les was pretty innovative and obviously a very good drummer.

Simon Phillips played drums on ‘Sin After Sin.’

full in bloom:  Simon Phillips came in after Les quit, which I didn’t even realize until I read your book.  If he would have wanted to join was there a possibility he could have been in the band?

K.K.:  Yeah, we asked him but he was just enjoying his life as a top session guy, really….and he probably thought that going on the road with Judas Priest was a bit risky (laughs).  You know the stories you hear about rock n’ roll bands, smashing up hotel rooms and all of the crazy antics.  Simon was a great drummer but he was a pretty clean cut lad at the time.  I think he had his birthday in the studio.  I’m not sure how old he was.  I can’t remember if I said in my book if he was 21 or was he 18?  He was young, anyway.

full in bloom:  In your book you talk about a Hell’s Angels story involving UFO and how you were friends with Michael Schenker.  He always seems like such a reserved guy.  What was that friendship like?

K.K.:  It was more of a professional friendship, I think really.  I think that we had a lot in common for some reason, probably because of his association with UFO.  I mean back in the early days, I think UFO and Scorpions were my favorite bands and I hope that Priest was one of their favorite bands.  I think in that genre of music, Priest, Scorpions and UFO were probably in a niche together, really, in a certain way, if that makes any sense.  Obviously, me playing the Flying Vs and Michael playing the Flying Vs and, you know, I got to know all of the guys well in the Scorpions….really quite well.  I spent a lot of time living down there in Spain in Costa del Sol and their father lived down there, you know, Michael and Rudolf’s father.  He lived down there with a lady and they asked me to take him some gifts one day, because they didn’t know exactly where he was, but I managed to find out where he was…..and they have a sister, Barbara.  Michael used to always get on my case because he wanted that ’67 Flying V (laughs) and I think I bought it the day before he came up from London to buy that guitar.  The guys told him ‘ahhh, Ken Downing of Judas Priest bought it yesterday.’  He never forgave me for that and he certainly won’t now if he knows he pitched 200 grand (laughs).  But every time we meet up…..Michael did ask me to join the Scorpions at one point in Los Angeles.  He also asked quite a few other guitar players.

full in bloom:  What year was that?

K.K.:  When Uli (Jon Roth) left the band.

full in bloom:  Wow.  Did you consider it at all?

K.K.:  No.  Michael came to a show at the Whisky (a Go Go) on Sunset Strip and we had just played 5 shows in 3 days, and so we were doing well, you know….and I was happy.  Otherwise, I would have gone.  But I felt that Priest were probably going to do better than the Scorpions.  It was a good idea to weaken Priest and strengthen the Scorpions (laughs).   I guess we were pretty big rivals, really, the Scorpions and Priest.  Well, you know, in a healthy way.  Yeah, Uli left and they asked Michael to look out for a guitar player and I guess I fit the bill because Uli, we were kind of similar players in a way, I suppose, me and Uli back then with whammy bar stuff and being what some people would call ‘sons of Hendrix,’ which Uli certainly was….and  a great player.  I was very flattered, really, because Uli was an excellent guitar player.

full in bloom:  What was Pete Way like at that time?

K.K.:  Pete was quite an amazing guy….but they were pretty reckless, those guys were, UFO….and I guess Michael found that hard to come to terms with, really.  They really lived the (laughs) rock n’ roll lifestyle.  It was pretty crazy stuff.

There is a lot more interview left.  We still talk about the 1979 AC/DC-Judas Priest tour, Bon Scott, Iron Maiden, British Steel, Screaming for Vengeance and more Judas Priest.  You can listen to the entire interview via the embedded YouTube below, directly on YouTube at this location, or the Soundcloud widget below.


PURCHASE K.K. Downing’s memoir on Amazon or Da Capo

Categories
Behind the Album Entertainment Interviews Listen Music New Releases Podcast Podcast Excerpts Top Stories

Mark Kendall Interview – Talks Mitch Malloy, Early Great White, Jake E. Lee, Ozzy & More

  • Post author By admin
  • Post date

Great White Guitarist
Mark Kendall

The full in bloom interview with Great White founder / guitarist Mark Kendall is now available.  Several excerpts from the interview have been transcribed below.  You can listen to the entire interview via the embedded YouTube clip above or the Soundcloud widget below.  Check back for more video / transcribed excerpts from this interview.

full in bloom:  How’s it going with Mitch (Malloy)?

Mark Kendall:  It’s going great. We’re starting to write songs now. The great thing about it was, since he lives in Florida now, he moved from Nashville to Florida, so it’s not just like I can go ‘hey, come on over, let’s work on songs,’ I went in the studio, just a friend of mine’s little studio down the street, I wrote a couple of songs;  I sent him (Mitch) a song.  Normally when I work with singers, I’m in the room with them and I might give them some melody ideas, or just let them know what I’m hearing.  But I just sent him music and he came back with a full song, and me and Michael (Lardie) were blown away.  We couldn’t believe it.  I’m going ‘man, this is great to break the ice like this because it will be less work for me’ and unless I hear something that I don’t agree with, I’ll pretty much go with it.  Normally I have ideas about melodies in my head, but I wanted to give him a chance and give him music and see what he comes with.  So, that’s working out real good.  We’re just kind of putting riffs together.  We’re going to rehearse tonight and go over a few things.  We’re kind of taking our time just trying to come up with the best stuff we can.  But we definitely want to get something this year with Mitch on it.

Great White vocalist Mitch Malloy

full in bloom:  Why did he move to Florida from Nashville?

Mark:  I guess he had been in Nashville for awhile and him and his wife just decided to move to Florida for whatever reason.  She might have family there.

full in bloom:  And you’re still based out of Los Angeles?

Mark:  Yeah. I’m actually near a city called….Have you ever heard of Riverside or Redlands?

full in bloom:  Sure.

Mark:  Yeah, I live near Redlands, CA, but it’s kind of up in the hills.  Like not way in the mountains, but like 3500 feet up.  It’s a lot cooler, that’s why I got out of Palm Desert;  it was just so brutal in the summer.

full in bloom:  Were any of the recent fires near you?

Mark:  No, that’s more in the Valley on the other side of Los Angeles.  That’s about 100 miles from me.  Obviously, I saw it on the news and all the devastation.

full in bloom:  We had that about seven years ago in Colorado Springs.

Mark:  A really good friend of mine lived in Colorado Springs.  I’m not sure if he’s still there but he used to be a referee on the Pro Billiards Tour, Scott Smith.  He had a place called Rack N’ Roll.  On one side they had bands playing and on the other side they had pool tables.

full in bloom:  I saw that you’re quite the pool shark.

Mark:  Yeah, it’s kind of a hobby of mine.  I’ve been playing forever.  So I probably play better than your average guitar player.

full in bloom:  Is it too early to think about putting together an album with Mitch?

Mark:  No, not at all.  That’s what we’re kind of doing now;  we’re just writing songs.  Michael and I have been coming up with a lot of things.  Just kind of sending ideas back and forth, and today, we’re going to get in a room together because that’s when the best stuff happens….when we’re all playing together.  In an actual recording, we’ve never sent each other our parts before.  That’s really kind of a first, that I’ve sent Mitch music.  Normally, we get together.  When we do it for real, we always get together, but we come up with ideas on our own.  Like the last record (Full Circle, 2017), we only got together for ten days before we went to Michael Wagener’s (studio) in Nashville.  We all had a lot of ideas.  For the first four days, we were in this kitchen area just like showing each other ideas.  We didn’t really get a lot done….just kind of picked the stuff we wanted to work on and then went at it hardcore for six days.  But we went up there with no lyrics finished;  we just had ideas for choruses and stuff.  It was pretty funny, Michael Wagener was definitely not used to that (laughs).

full in bloom:  Did (former Great White singer) Terry (Ilous) write the lyrics for that, or does everyone just kind of pitch in?

Mark:  We all did, and lucky for us, he (Michael Wagener) records one song at a time.  Not the basic tracks;  the basic tracks we finish, and then we redo the guitars and everything, and we’ll just have a scatting-thing going on.  But we knew in advance, once we were going to start doing the overdubs, we knew in advance, the night before, what songs we were going to do the next day.  So we all just kind of crammed together, we were living in this house in Nashville.  We all just got together and came up with the lyrics and we’d go in with a lyric sheet each day to give to Wagener.

Michael Wagener

full in bloom:  The house is at Michael Wagener’s (studio)?

Mark:  No, we rented a house.

full in bloom:  Like an Airbnb kind of thing?

Mark:  Yeah, that kind of thing.  Really nice, on a lake.  It was really killer.  Really great vibe…really quiet…no distractions whatsoever.  It was just awesome.

full in bloom:  I think when I interviewed Wolf Hoffmann long ago he had a farm with a studio on the property and Michael either lived at the studio, but it was Michael’s studio.  Didn’t Wolf move?

Mark:  Yeah.  Wolf moved, but Michael loved Nashville so much that he bought a house there on about five acres and built a studio on his property.  A state-of-the-art, most killer studio you can imagine.

full in bloom:  I’m kind of obsessed with the self-titled (album) and Out of the Night (both engineered/produced by Michael Wagener), those early days.  My very first concert was Great White opening up for Judas Priest.  I was like twelve years old.  To me, as a kid, I thought you guys were better than Judas Priest, and I don’t know if that was because you guys related more to me.  But I just love the whole white BC Rich, your whole thing with the headband….that whole vibe and the self-titled record I thought really captured the essence of Los Angeles.  I have always loved that record…and I still love that record.

Mark:  I still like it, actually and my kids all love it.  I can still listen back to that and it still holds up.  It was pretty amazing.  When we first met Alan Niven (former Great White manager) and we were going to make the EP (Out of the Night), we flew Michael Wagener out from Germany and he didn’t know very much English.  It was a real early part of his career and it was real exciting.  We did that EP and we didn’t really have a record deal at that time, just a distribution (deal).  Somehow, through some kind of magic, to this day I’m not really exactly sure, we got a song in heavy rotation on the biggest station in Los Angeles, with no record deal, and that’s how the excitement was created.  I’ve never heard of that before and I’ve live in L.A. my whole life.  I’ve never heard of a band that’s not signed to be in heavy rotation with the Tom Pettys and whatever.  So, that was pretty amazing, total magic.  The first tour was with Whitesnake, in Europe.  So the thing you saw with Priest, that was our second run.  I’m really glad because it gave us a little bit of seasoning, playing arenas and stuff.  We were coming out of like clubs and backyards, basically.  It was a pretty amazing experience.

full in bloom:  Is there a memory that stands out from that Judas Priest tour?

Mark:  One memory I have is playing Glenn Tipton (Judas Priest guitarist) in pool for like ten hours, and it was on a show date.  We had a show the next day and we played until like seven in the morning.  And (laughs) we go, ‘we got to go to sleep, man’ but we were so into it.  It’s funny, we just lost track of time.  We went and took naps.  I remember after I got off stage and I wanted to see what condition he was in and the whole band was walking by and Glenn looked at me and goes, “I don’t feel well” (laughs).    It was awesome….and they did a great show.  Also, just in general, they kind of took us under their wing a little bit.  They had more experience;  they had been on more tours and stuff, and we didn’t know what the hell was going on, we were kind of green.  They were just really good people.

full in bloom:  The crowd loved you guys in Dallas.  I’m assuming other crowds loved you, too?

Mark:  It was like that every night.  It was completely, insanely amazing.  It was a different band then;  we were just a trio.  Just bass, guitar and drums.  The music was a little different.  It was a very early part of our writing.  Judas Priest and the Scorpions were both bands that were kind of flying under the radar when we were first writing songs, a couple of years before we broke out and went on tour with them.  We were going to work in the morning and listening to Priest but they weren’t really a commercial band at the time.  So, not a lot of people knew about them, just the ‘hip rockers’ (English accent).

There’s a lot more to go. You can listen to the entire interview via the embedded YouTube clip above or the Soundcloud widget below.  Check back for more video / transcribed excerpts from this interview.

Categories
Interviews Listen Music New Releases Podcast Top Stories Tour Dates

Terry Glaze Interview – Pantera, Lord Tracy – Full in Bloom Podcast, Metal Magic

FULL IN BLOOM PODCAST

Our Full in Bloom Podcast interview with former Pantera vocalist & Lord Tracy frontman Terry Glaze can be heard via the Soundcloud widget or YouTube video below.  The interview covers his days in Pantera, Lord Tracy and much more.

Listen to Excerpts:

Terry Talks About….

Dimebag Darrell’s Death

Pantera’s Formative Years

Rex Brown’s Book (also transcribed)

Lord Tracy’s History

Terry Glaze Bio -> TerryGlaze.com

nov. 29, 1964 – born columbus, ohio

1980 – formed pantera with vince abbott, darrell abbott, tommy bradford and donnie hart

1983 – pantera releases first album “metal magic”

1984 – pantera “projects in the jungle”

1985 – pantera “i am the night”

1986 – exit pantera, joined up with three musicians, formed what would eventually become lord tracy

1989 – lord tracy releases “deaf gods of babylon”

1991 – exit lord tracy, joined up with three musicians, formed what would eventually become blowphish

1993 – exit blowphish, moved east to maryland

1995 – joined up with two musicians, formed what would become wondermilk

1999 – formed the crayfish

2000 – crayfish first release “i wish you were dead”

2001 – mike and terry release “eyeball”

2002 – crayfish “red”

2002 – mike & terry “march”

2003 – mike & terry “battle for the universe”

2003 – mike & terry “love butcher”

2004 – lord tracy reunion shows, mission from god

2004 – lord tracy releases “live”, “cull none”, and “4”

2006 – “1971”

2007 – terry wins grand prize on “deal or no deal”, takes massive winnings and disappears

2008 – terry tragically loses all his winnings on bad video poker investment

2008 – lord tracy releases “porn again”

2008 – lord tracy video for “wondermilk”

2009 – lord tracy plays ROCKLAHOMA

2009 – lord tracy video for “man in japan”



Categories
Interviews Listen Music New Releases Podcast Top Stories

Full in Bloom Podcast – Pete Holmes – Episode 1 – Black n Blue Drummer, Michael Schenker, Uli Jon Roth, Ian Gillan, Gene Simmons

FULL IN BLOOM PODCAST

Our Full in Bloom interview with Black ‘N Blue drummer Pete Holmes can be heard via the Soundcloud widget or embedded YouTube video below.  The interview covers Pete’s early days in Black ‘N Blue, working with music legends like Michael Schenker, Uli Jon Roth, Ian Gillan, and Gene Simmons.

Black ‘N Blue formed in 1981 and released four successful and critically acclaimed albums through Geffen Records, including their self-titled debut (1984), Without Love (1985), Nasty Nasty (1986), and In Heat (1987), with the latter two albums produced by the legendary Gene Simmons of KISS.  The band, which featured Jaime St. James (vocals), Tommy Thayer (lead guitar, and currently performing with KISS as the replacement for Ace Frehley), Jef “Woop” Warner (guitar), Patrick Young (bass), and Pete Holmes (drums), started in Portland, OR as a group of friends that came together to make their mark on 80’s hard rock. The band eventually relocated to Los Angeles and soon found themselves signed to Geffen Records.

The band would go on to sell over a million albums throughout their tenure in the ’80s.  The band scored a hit single with “Hold On To 18” (from the group’s self-titled debut), a track that is widely known as a hard rock classic and still garners airplay on stations across the country.  Their 2nd single, “Miss Mystery” (from Without Love), was a great success for the band.  Throughout their early career, the group toured relentlessly with the likes of KISS, Aerosmith, Queensryche, Night Ranger, Yngwie Malmsteen, and several other platinum acts.