"I put riffs on my iPhone, but something very unfortunate happened to me about six months ago," Hammett tells Jasta on the podcast. "I lost my iPhone containing two hundred and fifty musical ideas. And I was crushed. It didn't get backed up. And when it happened, I was bummed out for about two or three days. I walked into the house. My wife saw me and she said, 'Uh-oh, what's wrong? Did you get a phone call from a relative?' I said, 'No.' She said, 'What's going on?' I told her, and she understood."
"I just plain lost it," he continues. "I can't find it. I'm still looking for it to this day. I just set it somewhere and� It still might turn up. I'm hoping it will. To try to remember those riffs�? I can only remember, like, eight of 'em. So I just chalked it down to maybe it just wasn't meant to be and I'll just move forward with it."
Hammett says he uses the phone to capture ideas whenever inspiration strikes. "For me, music comes at all times of the day. When I get a riff, sometimes it's a complete riff and I can just play it and there it is, sometimes it's half a riff and I have to tweak it. Sometimes it's just a rhythm or a note selection. Or sometimes it's just something that I hum in my head. But it can come from anywhere, and I put it on my phone, and I make sure the phone is f***ing backed up. All you musicians out there who use your phone, make sure it's backed up. Right?!"
The guitarist explains how he and the group take the riff sketches and work to develop them into a full song. "We get together and we jam out," says Hammett. "And, you know, one riff leads to another riff, which leads to another, and, all of a sudden, you have somewhat of a skeleton of an arrangement, and you just jam on it and pound it out, talk about it - talk about what you would like to hear, where you would like to see it go." Read more and stream the full interviewhere.
Ward issued a public statement on Wednesday outlining his need for Osbourne to retract his comments and apologize as a possible step towards further discussions about a full band reunion in time for Sabbath's final album and tour.
Osbourne replied on Thursday with apparent surprise at Ward's concerns, refusing to apologize and re-stating that the drummer was not fit to tour. Ward shot back on Friday with an extended response addressing specific topics referenced by the singer while restating his belief that he was fit to rehearse and record and was preparing his workout regime to ramp up his fitness level come tour time.
"Well, I know I didn't expect you to respond to my request of an apology," Ward writes. "By the way, it's pretty easy to go back and really look at what was truth and what was not. I notice you're including Tony and Geezer in being in full agreement, that with my health condition I couldn't have played a two hour set with a drum solo. First time I've ever heard about a two hour show with a drum solo.
"But I'm asking you, not them. Why did you stay in the studio working with me? Why did we go to England for band rehearsals in August 2011? Why did we continue rehearsing in the Fall? Why did we make the announcement of 11/11/11? Why did you call me in late January 2012 asking me to come over to England to continue rehearsals? Why, if you thought I was so unhealthy, did you continue with me at all? You know why, Oz, because I was fine. I was playing. I was good to go." Read morehere.
USA Today reports KISS members voiced their own characters for the project, which centers on a Halloween concert at the group's amusement park Kiss World.
Scooby, Shaggy and the rest of the Mystery Inc., gang drop by to hear some tunes but wind up partnering with the musicians to take on the Crimson Witch, a spooky lady with a nefarious plan to summon the evil and powerful Destroyer from the alternate dimension of Kissteria.
The film will feature six classic KISS tracks plus a new song written by the band specifically for the film. The adventure also features guest-voices by Kevin Smith, Jason Mewes, Darius Rucker, Garry Marshall, Penny Marshall, Jennifer Carpenter and Pauley Perrette. Check out the trailerhere.
It's believed the tragedy was a result of overcrowding. Police chief Hugo Insulza reported: "More people were in the club than should have been present."
An emergency services spokesman added: "Even after the venue reached full capacity, people kept pushing to get in. That led to the collapse of a fence, that fell on people inside." Read morehere.
Drummer Adam Gray had this to say, "I've had the best times of my life during the last eight years with this band. From years of playing for little to no audience - to stages and massive crowds all over the world I thought I would never experience.
"I've met some of the coolest people and am so thankful for all of the friendships I've made. It's time to really dedicate my time to improving at my instrument and getting back to the drawing board.
"Thank you to all my fans and friends who have supported me and will continue to support me through whatever is next. I hope you see you all one last time on our European farewell tour. Thank you!"
Ben Witkowski adds, "To all of our European fans and friends, it breaks our hearts to say that this coming June will be our final appearance overseas in Europe. We are extremely excited to share these last moments with you all, since you have been such a huge part of the band. We began touring in Europe before Texas In July had ever even played a show in California or any other western states or North American territories.
"With that being said, it is safe to say that traveling to your countries have always been, and forever will be, one of the most memorable things for us all. Thank you for giving us a home away from home all these years, it has been an absolute pleasure rocking with such a metal part of the world. We love you, see you in June for final Texas In July European tour. Let's make it the best one we ever had."See and announced dates here.
The band delivered a virtually identical set to their April 10 headlining appearance, with one exception: they swapped out "The Jack" midway through the set and replaced it with their 1975 classic, "High Voltage."
The group will now head to Europe for a summer run that starts May 5 in Arnhem, Netherlands. AC/DC will then launch al fall stadium tour of North America August 22 at Gillette Stadium in Foxborough, Massachusetts.
Frontman Brian Johnson recently revealed retired guitarist and band founder Malcolm Young inspired the group to the record their latest album and head out on a world tour following his retirement after being diagnosed with dementia.
"It's just given us that impetus to just do it for him," said Johnson, "because you know before the dementia really took hold of him he said 'just get out and make music lads, just for me one more time'. I don't want to be sentimental about this because, boy oh boy, I'm not a sentimental kind of guy. But that's what we're doing." Check out videos from the Coachellas performancehere.
The show at The Record Connection in Niles, Ohio saw the band deliver a 9-song set that included three tracks featured on "Songs From The Laundry Room", a 10-inch vinyl collection of early Foo demos and an unreleased track issued especially for the annual event.
Recorded at Barrett Jones' Laundry Room Studios in Seattle, Washington, the package includes demos of "Alone + Easy Target" and "Big Me", a cover of Kim Wilde's "Kids In America", and a previously unreleased song, "Empty Handed."
Head Foo Fighter Dave Grohl was doing double duty as a performer and the 2015 Record Story Day Ambassador, helping bring attention to the annual event designed to promote over 700 independently owned record stores in the USA, and hundreds of similar stores internationally. Read more and watch video from the RSD performancehere.
The movie also stars fellow Sons actors Mark Boone Jr, who portrayed Bobby Munson, and Niko Nicotera, who played Ratboy. The film tells the story of two adopted siblings that fall in love and devise a plan to kill their father.
Manson posted a picture on Facebook from the film's Oklahoma set, with the caption: "Tulsa Day One of Let Me Make You A Martyr with Mark Boone Jr. and Nico N. In Tulsa/Route 66". Read more and see the photohere.
The three members sat down at Roth's Pasadena, California home for the interview, which is presented alongside a session with Roth and Japanese media.
Fetaured guests include Van Halen producer Ted Templeman and Guitar World's Editor-in-Chief Brad Tolinksi, who shed light on the song and the band's influence.
"Jump" spent 5 weeks on top of the US Billboard Hot 100 chart in the spring of 1984, while the "1984" album went on to sell more than 10 million copies in the States alone.
Van Halen recently reissued remastered versions of "1984" and their 1978 self-titled debut as a special package with "Tokyo Dome Live In Concert", their first live release with Roth.
Check out video of the TV specialhere.
Hanneman stopped playing live with Slayer in 2011, two years before his death from alcohol-related illness. The band have just completed work on their 11th album, their first to feature Holt's work. It also marks the return of drummer Paul Bostaph, who replaced Dave Lombardo in 2013.
Asked whether he hesitated to continue with Slayer after Hanneman's death and Lombardo's departure, Holt tells Metal Insider: "No, well by the time of Jeff's tragic passing I'd already been doing it for a while. We all hoped, no one more so than myself that Jeff would be recovering, reclaiming his throne.
"It started as just helping some friends out, I had no idea that almost five years later or whatever - four years plus, that I'd still be here and Jeff wouldn't. You know the band wants to continue and I just try to make Jeff proud." Read morehere.
Luppi's resume includes studio sessions with artists and bands including Reb Beach, Eric Martin, Gregg Giuffria, Maurizio Solieri, George Lynch, Doug Aldrich, Ian Paice and many others. He has also toured with Italian singer Umberto Tozzi and Finnish metal outfit Thaurorod, has released albums with Vision Devine and Secret Sphere, as well as issuing a series solo projects
Luppi joins a Whitesnake lineup that includes frontman David Coverdale, guitarists Reb Beach and Joel Hoekstra, bassist Michael Devin and drummer Tommy Aldridge. Read morehere.
They hired Matt Starr to fill in, but Torpey was still involved on the road, singing on some tracks and adding percussion on others. And he says the news was a crushing blow at first, but adds that his family and bandmates helped him focus on living life to the full.
He tells MusicRadar: "At first, you think you're life is over. You think it on a lot of levels - there's physically, but also your sense of identity, who you are. I've been a drummer for 45-50 years, and suddenly it's like, 'Well, he used to be a drummer.' That's how I processed it, as if my identity was shaken. It felt taken away." Read morehere.
The 1975 title was their last album to feature the early 70s lineup of Ian Anderson, Martin Barre, John Evan, Barriemore Barlow and Jeffrey Hammond-Hammond.
It's been remixed by Steven Wilson and includes seven bonus tracks, a full concert mixed by Jakko Jakszyk and live footage shot in Paris in 1975. It's presented in a casebound book and comes with 80 pages of background history and notes by Anderson.
The 2CD and 2DVD La Grande editions will be accompanied by standard CD, digital and vinyl versions. Listenhere.
The new release will be available in 2CD, 2LP, DVD, Blu-ray and on digital formats and will be released on May 29th in North American and June 1 in the UK.
Never Enough appears on the bonus disc bundled with the CD, DVD and Blu-ray releases and features over 70 minutes of extra material recorded at her shows between 2010-2014. Watch the videohere.
The Los Angeles thrash icons headline the fourth stage on Sunday night for what will be their first Donington appearance in five years. Funeral For A Friend's appearance is their first in four years and follows the release of this year's album Chapter And Verse.
This latest announcement sees a total of 27 extra bands added to the bill, which is headlined this year by Kiss, Slipknot and Muse. Some further 'surprise' acts are expected to be revealed in the lead-up to the event.
Joining Suicidal Tendencies, Blues Pills, COC and FFAF are 36 Crazyfists, Carcass, Yellowcard, Lacuna Coil, Krokodil, Antemasque, Three Days Grace, Malefice, The Wild Lies, Upon A Burning Body, September Mourning, Von Hertzen Brothers andmore.
"Stevie Ray Vaughan is the ultimate guitarist," said Mayer. "He had incredible courage because he fought to overcome the evils of drug and alcohol addiction, and when he did, he returned to the stage as an even better guitar player for it.
"There's a term that gets thrown around in conversation, especially about guitar payers, where someone is called a 'wannabe.' It means you're a fake, a fraud, a phony. But if you straighten the words out, it means 'want to be.' Wanting to be something is very important, it's meaningful, it's a great way to live. I'm a Stevie Ray Vaughan wannabe."
Double Trouble were joined by Stevie's brother, Jimmie, at the podium and for a live performance that saw the lineup include guitarists Doyle Bramhall II and Gary Clark Jr.
The group delivered versions of "Pride and Joy" and "Texas Flood" before Jimmie stepped to center stage to play a solo rendition of his 1994 tribute to his brother, "Six Strings Down."
Stevie Ray Vaughan topped the fan ballot for the event with more than 18 million votes - more than 5 million ahead of the next nominee. Check out video from the eventhere.
It was the singer's second Rock Hall honor: Reed and The Velvet Underground were inducted by Smith in 1996. Reed's widow, musician Laurie Anderson, was on hand to accept the award on behalf of her late husband.
"Lou understood pain and he understood beauty," said Anderson. "He knew these two were often intertwined. That was what energized him and made him vibrate.
"You change forever when you have the love of your life die in your arms. When Lou died in my arms, I watched as he did tai chi with his hands. I watched the joy and surprise that came over his face when he died."
The musical tribute to Reed saw the Yeah Yeah Yeahs' Karen O and Nick Zinner deliver a version of "Vicious," followed by a Beck performance of "Satellite Of Love."
Reed was inducted at the 30th annual ceremony along with Green Day, Stevie Ray Vaughan and Double Trouble, the Paul Butterfield Blues Band, Joan Jett and the Blackhearts, Bill Withers, Ringo Starr and the "5" Royales. Check out video from the inductionhere.
The duo of vocalist/bassist Mike Kerr and drummer Ben Thatcher played the track during their appearance at Coachella last weekend, where they will return for to perform again this weekend.
The band are on the road in support of their 2014 self-titled debut album, which debuted at No. 1 on the UK album charts upon its release last summer.
Royal Blood were named Best British Group at the BRIT Awards in London in February. On Wednesday, the band were joined by Metallica drummer Lars Ulrich for the final song of their set at Slim's in San Francisco.
Watch the Conan performancehere.
The new promotional video was put together by frontman Kim Stenberg, who decided to do it himself after discussions with external video firms came to nothing.
Stenberg shared the following with Prog: "I had to learn everything along the way. It demanded hours of work - luckily we'd chosen one of our shorter songs!"
King For A Day will be followed by Karisma releases of Magic Pie's first three titles, Motions Of Desire (2005), Circus Of Life (2007) and The Suffering (2011). Watch the videohere.
Her name really was Angel. I finally asked on the third Tuesday night in a row I ran into her at my neighborhood club. I'd sling my guitar on my back and walk the literal two blocks-a rare thing in LA- to go see and be seen by my peers. Far from some sort of industry showcase, these boozy Tuesdays were simply a night of local musicians hanging, playing, supporting each other on and off the stage. A smorgasboard of different talent would show up there - some straight up R&B pop singers fresh from stints on "The Voice" or on hiatus from some tour. Others were more classically Americana songwriters, driven by folk. Others like me steeped equally as deeply in rock roots along with folk and blues. It was a great scene- and it lasted only two months.
During those Tuesdays I got to know Angel a little deeper- though only really through one lens. We always met in that sloshy place after a few glasses of wine, when words flow freely and arms are thrown tightly around new acquaintances like life long friends. Though Angel's charm and charisma was that it didn't take the wine or whiskey for her to be free with herself. She was young- in her mid twenties. She was dark and ravishing, a gorgeous deep African color with long extensions in her hair, perfect white teeth, naturally hazel green eyes. And she could sing. The girl could sing almost anything.
But where Angel and I met most intimately was in talking about Him. He was one of the brothers in the band that had a residency these Tuesday nights- the brothers who were sort of the fulcrum for this whole far flung local musician scene. He was a good musician- a talented songwriter, guitarist, great harmonizer with his band of boys. He was tall and blessed with fine features. A pretty boy Irish lad. He was also her latest fling- a recent hookup- and was all consuming to her butterfly mind. I watched her flit and float around the room, engaging with everyone there- such a local sweetheart with her husky laugh and touchy embraces. But it was Him she really wanted to impress. And somehow, me being her older, 'wiser' cohort- she confided in me what was really going on in her heart about him.
I must admit, having known Him for years before Angel came into my life, I'd always thought him to be a catch. He was talented and kind and present in his skin. He had a charming way of never breaking eye contact when you were speaking- and of seeming genuinely interested in the lives of people he knew only vaguely. Certainly he was one of the guys I enjoyed sharing the stage with in impromptu local jams, and I followed his and brothers' band progress with some attention. So when I discovered that it was He she was enthralled with- I felt somehow a little connected. I got what she was so attracted to. And maybe through her weaving the plaintive story over the next few weeks, one Tuesday at a time, I was able to hop on board a bit. Like a voyeur into their on again- off again relationship that truthfully wasn't really based in much of anything and had absolutely no future ahead. I felt weirdly connected, like I had some role in this passion play.
But in the end, it honestly ended up making me feel a little gross. I couldn't quite understand why I devoted so much time - and looked forward to - listening to her pouring her heart out to me. And then the strategizing with her about how to deal with him. And eventually how to relent and put him out of her mind.
Oddly enough- by examining that sort of vaguely shameful space, I was able to go deeper into my own heartbreak memories of post-college love life. I remember so well the walks of shame back home. The dashed hopes that maybe this connection might really be something vital. The hot nights of passion followed by mornings of weary disappointments. (Beer goggles certainly aren't relegated only to the male of the species--What was I thinking?)
I wrote the first version of the song in a frenzy. It just sort of poured out of me all in one afternoon. Once I had Angel as my muse- it was gloriously easy. And a few months later when I decided to create the Bullyheart record, the song at the time temporarily titled "Angel" was certainly in the running for the track list. It just took a few rhythmic tweaks on my part, and some nipping and tucking at the lyrics so that I could deliver the song like Chrissie Hynde singing a Tom Petty tune.
When the tracking of all the songs for "Antigravity" was finished, and we were deep into mixing, it became clear that the song title "Angel" was just too lazy, and somehow didn't seem fair to the memory of my brief friendship with this girl. I had to dig a little deeper into my own memories to come up with a better one. And so, upon further reflection, I realized that the overall feeling I was working with in this tune- what I recall from those days of searching for someone to really see me- was the overlying hollow feeling that there was no winning there. No way to actually get what it was I was looking for- just as Angel felt at the end of the line with her would-be lover. Plainly put, and thus the obvious choice for the ending of each chorus and then later the title- there was "No Pleasing You."
Hearing is believing. Now that you know the story behind the song, listen for yourself and learn more about the albumright here!