Joe Rogan: I had a great time speaking with John Nores today, author of “Hidden War” a great book on how game wardens in the USA on public and private land are uncovering secret marijuana farms put in place by Mexican cartels. The scope of these things is mind blowing. Thousands of these grow operations in California alone that are responsible for more than 80% of the illegal weed sold in the rest of the USA, weed that’s tainted with deadly banned pesticides. It’s a fucking crazy story.
TOOL (Official): Danny recently spoke with The Trap Set – listen here:
Danny recently spoke with @thetrapset – listen here: https://t.co/63JUjNkYtK
— TOOL effing TOOL (@Tool) August 21, 2019
Danny Carey is the rare artist with a wildly ambitious imagination, coupled with the virtuosic ability to manifest his singular ideas. Joe joined Danny at his Hollywood studio for one of our loosest, most freewheeling episodes yet! Danny talks about: growing up in Kansas City; his love of basketball; how his Midwestern work ethic helped him assassinate his competition; his love of Bill Bruford, Billy Cobham, and Tony Williams; playing in a country band with Jeff Buckley; the origins and creative dynamic of Tool; and how becoming a father changed his relationship to time. As an added bonus, Tool bassist Justin Chancellor dropped by near the end of the chat.
Bon Iver (Official): Justin Vernon sits down with Apple Music’s Zane Lowe to discuss the release of the fourth full-length album, i,i.
Interview with Gun N’ Roses guitarist Slash via Kerrang! Magazine
How close to drinking and drugging yourself to death did you really come?
“I had enough of those experiences where most people would go, ‘Okay, I’m done with this,’ but it didn’t put any fear into me whatsoever. I kept doing whatever it was I was doing. So all things considered, I managed to function and keep going. It didn’t really become an issue until 2005. There was a period in 2001 when I was really sick from alcohol poisoning and that slowed me down for a minute, and then it started back up again. 2004 and 2005 was pretty bad and finally, in 2006, I was like, ‘You know what? This isn’t fun any more. You can’t recreate that initial fucking buzz you had back in 1980-something, it’s never going to get that good again.’ And I slowly and surely got out, but it was really hard to get out from underneath all that dependency.”
Did anyone ever offer any helpful advice during that heavy time?
“David Bowie, once, when I was going through my serious hallucination phase. I talked to him about it because it was disturbing. Was this when I was seriously drinking? This was more drug-related. And he’d said, ‘No, you’re probably in a bad place right now and you have become vulnerable to a lot of outside interaction with things that people don’t normally see, and you’ve exposed yourself to this.’ And I was like, ‘Woah! That’s heavy…’ But that was a sound piece of advice. Or maybe an eye-opening clarification of the state of mind I was in.”
Can you remember how you felt when you first heard Axl Rose singing?
“The first time was on a cassette that Izzy [Stradlin, co-founding Guns N’ Roses guitarist] brought over to my house. There was all this noise and then there’s this really intense high voice over the top of it. My first impression was that it was very soulful. It had a bluesy, melodic thing to it, which was rare for that type of voice. You didn’t often hear somebody hold that melody together so naturally. Then I went to see him and Izzy play one time. I didn’t actually realize I was going to see the same person that was on that cassette. They were fucking hardcore on stage. Izzy was doing knee slides and Axl was bashing down. It was cool, like, ’Fuck…’”
How did you end up working with Michael Jackson on the Dangerous album in 1991?
“Initially, it was a phone call from my manager where he said, ‘Michael is trying to get in touch with you,’ and I was like, ‘Wow.’ So I called him back and he wanted me to play on Dangerous. We made a date and I went down to the Record Plant in Hollywood and he was there with [actor] Brooke Shields. That was very surreal. These were two people that I’d sort of grown up with, in a way. So we hung out for two minutes and they went off to dinner and left me with this song. I did my thing, he really dug it and afterwards he kept asking me if I’d be into doing this, or doing that. I’d do some shows here and there and it was fun because he was such a pro, and he was such a fucking talent from on high. That was the main thing: he was so amazingly musically fluid. Such a treat to be around.”
Did you want to be in a rock’n’roll band from the start?
“I was a big fan of music from as far back as I can remember. I used to love going to gigs and seeing bands and I was totally mesmerized by it all, but it never clicked with me to go and do that myself until I picked up a guitar because [former Guns N’ Roses drummer and childhood friend] Steven Adler had one. I thought, ‘Well, he knows how to play guitar, so I should play bass to start a band.’ Then I found out from a local music school that it wasn’t the bass I wanted to do at all, it was lead guitar. All of a sudden that set me off in this direction. But the thing that excited me musically at that time? When you’re a teenager, regardless of how cool the music is that your parents are listening to, you start to discover your own. Aerosmith’s [1976 album] Rocks was the pivotal influence for me back then. The band’s attitude and that sloppy, hard rock thing made me go, ‘Woah!’ Every musician has their ‘Woah!’ artist or record that blew their mind. That was mine.”
Read the entire article at this location.
According to Slash, @gunsnroses were “like that gang that walked into a room like, ‘You don’t want to fuck with us.'”https://t.co/fbYB7UXe7e pic.twitter.com/87UGBUf4D4
— Kerrang! Magazine (@KerrangMagazine) August 19, 2019
Ten Years After (Official): “Ric Lee talks to Billboard magazine about playing Woodstock Festival and coming back to The States 50 years later to be part of the anniversary celebrations with his original band mate Chick Churchill and newer members Colin Hodgkinson & Marcus Bonfanti”
RIc Lee talks to Billboard magazine about playing Woodstock Festival and coming back to The States 50 years later to be part of the anniversary celebrations with his original band mate Chick Churchill and newer members Colin Hodgkinson & Marcus Bonfantihttps://t.co/pw77LJ6Nyc
— Ten Years After (@TenYearsAfterUK) August 9, 2019
Drummer Ric Lee, who remains from the original lineup along with keyboardist Chick Churchill, remembers Woodstock fondly in his new memoir, From Headstocks to Woodstock. And as the group prepares to go back to the garden — with a planned U.S. release for its 2018 album, A Sting In the Tale, later this fall — Lee spoke with Billboard about memories of mud, music and getting in and out of Woodstock alive.
If I remember right we didn’t actually know about (Woodstock) until we were on tour at the time. We were doing the Newport Festival (package) on the road and we were with Nina Simone in St. Louie the night before (Woodstock). All along our manager had been saying to Frank Barsalona, our agent, “No, the money’s not good enough. We’re not gonna do it.” And then, as momentum built up through the press and TV and all the people coming from around the world Barsalona finally phoned him and said, “Look, I think you’re crazy if you don’t sign and do this. Janis has just signed. Jimi Hendrix is signed. The Doors are doing it, the Airplane, the Who,” whoever else. He said, “You’d be crazy not to do it.”
And at that time they were talking about it maybe being 50,000 people, which was no bigger than we’d done at the Seattle Pop Festival earlier in the year, so Woodstock didn’t seem that big at the time — but of course, as you well know, it grew to monstrous proportions. It was in the papers every day by then. It was on television. There were people stirring up stories about how there was going to be a riot, it’s gonna be a mess — this, that and the other. We started to get an idea of the momentum of the thing.
The first time we really got a sense of the enormity was when we flew in by helicopter, ’cause you couldn’t get within six miles of the place since everybody had just dumped their cars on the side of the road and you couldn’t get through. We’d left St. Louis at six that morning and had not really had that much sleep. We arrived at a Holiday Inn, which was like Tranquility Base, and all the rooms were taken so we ended up sharing with Big Brother & the Holding Company and there was nowhere to sort of lie down and get a decent kip. And the next thing was Dee Anthony, who was acting as our American manager at the time, said, “Come on, you’ve got to get to the festival. They want you. You’re supposed to be on in an hour’s time.” So we went to get in the limousines that brought us from New York and he said, “Nah, you can’t get in by road. You’ve got to go in by helicopter.”
Andy Timmons: “I really enjoyed this interview for Cosmo Music with Neil Shukla! It was early, so I MAY be slightly over caffeinated :)))”
Andy Timmons talks about his philosophy and approach to playing guitar, being influenced by Mike Stern, and how Eric Johnson crafts his tone.”
MEGADETH’s David Ellefson spoke to 93.1 WMPA’s “In The Basement With Jesse Bruce” about the creation of the bass intro to the song “Peace Sells”, from the band’s 1986 album Peace Sells… But Who’s Buying?
“It’s funny,” Ellefson said (hear audio below). “Dave [Mustaine, MEGADETH guitarist/vocalist] and I were living with our producer from our first record, Killing Is My Business; his name’s Karat Faye. We were living up in a bungalow in Hollywood Hills and Laurel Canyon. We were so poor. We had no electricity. I think we were getting electricity via a cable, like an electrical extension cord from a neighbor. We were on hard times, if there ever was one. And Dave picked up… I had a bass. It was a bass that I had ripped the frets out of. He picked it up and he started playing it. And that riff basically then became the guitar riff of the song, the bass riff of the song. We went to rehearsal that night, and that song literally wrote itself right there in the band room. And I’m a firm believer that great songs do that — they just write themselves.”
MEGADETH’s DAVID ELLEFSON: How The Bass Intro To ‘Peace Sells’ Was Written https://t.co/ycwc6UHWVN
— full in bloom (@fullinbloom) August 6, 2019
iHeartRadio Presents: Inside The Studio with Dave Matthews Band. In the segment, Dave talks about turning 50, politics, music and much more. Listen to the interview via the embedded widget below.
This time around on iHeartRadio Presents: Inside the Studio, host Joe Levy goes deep with Dave Matthews, on the heels of the release of his most recent (and record-setting) #1 album “Come Tomorrow” (RCA Records). Levy probes everything from the recent changes in the Dave Matthews Band lineup, Dave’s response to the backhanded compliment he receives in the hit film “Lady Bird” and why it looks like there’s no end in sight for the 50-something rocker.
iHeartRadio presents “Inside The Studio,” a brand-new, in-depth series featuring intimate conversations with some of music’s biggest stars. Each episode features an unscripted sit-down with artists on the verge of releasing new material – rounded out with a sound-rich tour through their lives and discographies. Taking advantage of podcasting’s lean-in approach, “Inside The Studio” reveals previously unseen sides of artists, giving fans the sort of access that is missing from much of today’s music coverage. Inside the Studio is written and hosted by Joe Levy, a Contributing Editor at Rolling Stone, and correspondent for Access Hollywood who is frequently seen on The Today Show and CBS This Morning, and is produced by iHeartRadio and Audiation.
Jack White recently joined author Malcolm Gladwell for an episode of his Revisionist History podcast to discuss the genius of Elvis Presley. Listen to their discussion and Jack’s impromptu performance of Elvis’ “Are You Lonesome Tonight” at this location.
Ozzy Osbourne was recently interviewed by Huffington Post. Here are some highlights:
“People ask if I have any regrets and would I change anything, and of course we all have regrets, but I wouldn’t change anything because I believe in fate. I could have gone any which way – I could have been a burglar.
“I tried my hand at all sorts of things, but I knew that it was music that was going to change my life.
“Someone asked me what the best gift I’ve ever had was, and I thought about things Sharon has bought me, but then it dawned on me – my father went into debt to buy me a PA system. If he hadn’t have done that, I wouldn’t be sitting talking to you now.”
“It was a befitting end to a great experience. We started out playing bars and what have you in Birmingham and we ended in Birmingham. It was a really nice, romantic way to end. It was a magical night.”
“John Bonham and Robert Plant come from the Midlands area, there’s Slade, Roy Wood, Stevie Windwood, The Moody Blues, Black Sabbath, The Move, Jeff Lynne, ELO – it was one after the other.
“What gets me is a lot of people go on about the Liverpool thing, but Birmingham had so much talent. But they didn’t get the same reaction like they did in Liverpool.”
“The reason why we live in LA is because our children live there. I keep saying that I want to spend as much time living here as in LA, but it’s the children we are there for. Sometimes, when we have a family feud, I’ll go, ‘when does the next plane go home?’. It’s just where the kids are.”
The Vinyl Guide: This week Trey Spruance talks about his music collection, rare vinyl & early stories of Mr Bungle.
Beyond The Thunder: THUNDER! Episode 5 of “AC/DC Beyond The Thunder” is live featuring AC/DC drummer Chris Slade. Listen now!