The Voice of the Cult: Leather Leone interview

Back in the '80s, before gothic / symphonic / Nightwish-like / female fronted metal acts, it wasn't the most regular thing to see a woman performing classic heavy metal. We had few known ladies like Doro of Warlock and Jutta of Zed Yago and many more not so known but still great, but there was also that voice in the classic Chastain albums such as The 7th of Never and The Voice of the Cult. Chastain was among those great US heavy power metal bands and Leather Leone can be easily described as the "female Dio".

Leather’s first solo album, Shock Waves, was released in 1989 and nearly three decades later, we have a new Leather album, simply entitled II. Leather II was released one year ago and we had a talk with the Voice of the Cult that remained unpublished. Until now.

Like that time back in the '80s, the solo album of Leather is released while Chastain (the band) is still active and between Chastain releases. But why now and which are the differences from the first Leather release? Leather replies without missing a beat, "I found this band in Brasil. They are a group of rockers that think like me and want the same thing. Opportunity can come at the most unexpected time in your life. The difference being now I am the boss. I am playing and creating my own rules as opposed to following the leader..."


The first solo album (Shock Waves) was indeed more in pair with the Chastain albums since David (Chastain) wrote most of the music. However, there is a trivia on the first Leather album; the title track is written by Mark Shelton of Manilla Road! David Chastain and Mark Shelton had a long friendship and collaboration, and they even recorded few demos back in 1988, which officially released few months ago under the name Shelton / Chastain, and the title The Edge of Sanity.


Back to Leather II now and 2018, what kind of stories do the new songs might carry? "I wrote this record mostly with Vinnie Tex (guitars) and Rodrigo Scelza (my manager)”, says Leather, to continue, “It was our blood sweat and tears that made it come to be. Daemon Ross (guitars) had written a couple songs that we decided to use. Lyrically for me it was based on my experience of meeting and getting to know my new family. And of course, my catholic upbringing always influences my thoughts."


Someone might say that Leather II sounds more focused than the latest Chastain albums and songs like ‘Lost at Midnite’ carry a strong '80s heavy metal vibe. According to Leather, the answer is simple, "Rodrigo certainly had the idea to just do straight ahead metal. Simple and pure. And I wanted a no frills, basic record. But the songs really just happened quite naturally for us. We connected immediately musically."


Back in the '80s again, Chastain was one of the greatest underground US metal bands but somehow the momentum was lost after the fifth album For Those Who Dare (1990). This is the kind of memories that are lost in time, or just forgotten… "It was so long ago to really remember... but Chastain was not a fan of touring. The club touring that we were doing wasn’t growing. I wanted to keep going and attempt to grab on to bigger labels and the opportunities that came along with that. We had different ideas. But I’m not even really sure of the offers Chastain had..."


Chastain reunion (David and Leather) just happened and in 2013 the album Surrender to No One appeared out of nowhere. However, after 6 years, still there are no signs of Chastain live shows. Back in 2015 I had an extended interview with David Chastain at Crystal Logic, where David told me, "I much prefer the studio. While I enjoy the hour on stage I don't enjoy the other 23 hours involved in touring." However, in late 2013, after the release of Surrender to No One, live shows were also mentioned in one of the emails we exchanged and he checked the possibility of a Chastain mini-tour in Greece. He even checked flights and expenses but nothing came of it because I didn't push it. But even if I did (with the right people involved, I guess) I don't know if it would finally happen or it was just a note in a general discussion. A Chastain live show in Europe would be something really great, though! David is such a talented guitarist and composer.


All this time, after For Those Who Dare (1990) until 2013, David Chastain released some solo albums plus some more Chastain releases. During that period, Leather got into animal medicine, did a record with the Sledge Leather project and was living the California life style waiting for the next chapter.


The '80s was a blessing for classic metal. Leather recalls, "The eighties were an incredible creative time. The blessing of being able to record and tour was life changing. I don’t live my life with regrets, it is as it was. I’m still here to change and improve all of it”, is a statement and proves that Leather is as strong as her voice.


Chastain never played in Europe, but Leather performs occasionally with her solo band playing all those classics. "He (David Chastain) doesn’t want to tour. My focus is touring with LLB, the Leather Leone band”, simple and plain, Leather wants to deliver. "The audience’s everywhere are incredible. Anytime I can share music with friends is what life is all about. I look forward to continuing my story".


And yes, the motto “Love & Dio” has a special meaning for Leather, "I had the privilege of knowing Dio. It has an effect on my musical life still. He is always with me”.


So, what the future holds for Leather? "Hard to predict the future. It has always thrown me a curve ball. So many situations have changed already... I hope to tour, I wanna play the UK and make music with my boys. Only time will tell."

The View From Below: Thinking man's metal band - HEIR APPARENT interview with Terry Gorle.

Nearly after 30 years, US metal legend HEIR APPARENT returns with a new album! Seattle, WA's Heir Apparent was founded in 1984 by guitarist Terry Gorle. During 1985, Heir Apparent signed with Black Dragon Records and completed the first album "Graceful Inheritance" that was released in 1986. Up to this day, the debut album of Heir Apparent is considered as one of the best US metal albums of the 80s.

After highs and lows in the music industry and lineup changes, finally the band was signed by Metal Blade Records and released their second album "One Small Voice" (1989), one of the best progressive metal albums of all times. Although the future looked bright, tensions surrounding commitment and finances within the band caused a rift that split the group.

In 2011, Crystal Logic had a detailed interview with Terry Gorle regarding the history of Heir Apparent and you can read everything about the past HERE. 

"The View From Below" is the title of the third Heir Apparent album that is set for release on October 15th of 2018 via No Remorse Records.

"The View From Below" is produced by Tom Hall and Heir Apparent. Tom Hall has also produced all the previous Heir Apparent releases and he has also worked with Queensrÿche on "Queensrÿche" EP (1983) and "Empire" (1990), among others.

Tracklist:
1. Man in the Sky (Schwartz, Shaw)
2. The Door (Gorle, Shaw)
3. Here We Aren't (Sakiya, Shaw)
4. Synthetic Lies (Gorle, Blair, Shaw)
5. Savior (Gorle, Blair)
6. Further and Farther (Gorle, Shaw)
7. The Road to Palestine (Gorle, Shaw)
8. Insomnia (Gorle, Shaw)

Lineup:
Will Shaw – Vocals
Terry Gorle – Guitar
Derek Peace – Bass
Ray Schwartz – Drums
Op Sakiya – Keyboards

  

Terry Gorle is a very intelligent person and you can regard Heir Apparent as "thinking man's metal band", something that was used in the past for Queensrÿche. We tried to approach Heir Apparent and "The View From Below" differently than most interviews and since we already spoke about the past 7 years ago, now we are talking about the present, the future and the world. This is a very special and thoughtful interview with Mr. Terry Gorle.

 

- Heir Apparent are back with a new album, nearly 30 years after "One Small Voice". "One Small Voice" was different than the debut album "Graceful Inheritance", and so it is "The View From Below" compared to the other two. One name, three albums, three different musical statements. What connects those albums?

TG: The bassist, the drummer, and the guitarist! This seems like a question for the critics to answer, since my only goal is to write good songs that are fun to play, and utilize the talents of the singer. The band has a general philosophy about mankind being the guardian of the planet, and the importance of rising above cultural delusions and inequality, so I suppose there is a continuity in the general themes of our song lyrics.,

- "The world has made its choice, there is no turning back now". Does the world reflect each one of us and are there choices that can't be undone? Or we just gave away everything to the "Man in the Sky"?

TG: Will’s lyrics alternate between statements from a personal view, a cultural view, a view from a segment of society, or a generalized impersonal overview of a world condition. This leaves many things open for interpretation by the listener, and I think it allows every person to find what they connect with and relate to. Personally, I think almost anything can be undone, but whether or not problems can be fixed depends on the power of the forces responsible for creating and prolonging the problem, or their ability to indoctrinate and control perceptions…

- "We hold the key to unlock the door and open our minds". Isn't this a choice or "The Door" is so well hidden that there is no choice after all? What choices Heir Apparent did in the past that should be better locked behind the door?

TG: Again, the listener has the freedom to find their own interpretations. To me, the lyrics represent oppression by any form of government or cultural institution that hides the truth from the public. This is a common element in several of our songs over the years, speaking to individual strength and the quest for knowledge. To be independent in the sense that you use your own mind and not be an unquestioning follower or victim of deception.

- "Everything gone in an instant, sometimes over before it began". The new album is completed and it is out there. Do you believe that in the current music industry MUSIC and ART really matter for the masses or everything is few clicks in fast-forward and everyone has an opinion for everything despite his knowledge or not? Are we here or "Here We Aren't"?

TG: Well, the sad state of an instant gratification society and the constant propaganda of marketing to either drain your wallet or drain your brain is disconcerting. I hope that people can pull their heads out of the sand and be smarter than that. For me, this is a very emotional melancholy song about birth and death, the occasional feelings of futility that everyone feels from time to time, and the idea that our lives are inconsequential within the bigger picture of our infinitesimally small place in this vast universe over billions and billions of years. Ultimately, this life is all we have, so we owe it to ourselves to make the very most of every moment to be the very best we can be. Although there are no lyrics at the end of the song, I am trying to express despair becoming a sense of hope in the solo.

- "On these new paths deep inside my brain, all the charts and graphs can hardly explain". Have you followed new music over the last three decades and where do you believe Heir Apparent can stand today? Does it matter after all or you just want to create your own ART despite the "Synthetic Lies" of the industry?

TG: "Synthetic Lies" was conceived as a prelude to "Savior", and far more of a science fiction story about the human mind and its perceptions and vulnerabilities. I don’t follow music in general, as my time and extra money is limited. When I have time to listen to music, it’s usually something at least 25-50 years old. This album was written with a hope to appeal to a wide range of people. In 1985, the audience for our music was 14-30… now it is 14-65… We made no effort to go backwards or copy the past. We simply set out to write songs that we enjoyed playing that provided a landscape for Will’s talent. Hopefully the industry, or at least some people within the industry, will appreciate the fact we have come out of nowhere to create something unique and valid, that does not copy any trend or cater to shallow formula consumerism.

- "Man and machine sharing thoughts". How was the recording procedure of the new album? Do you believe that the way technology has evolved it affects music positive or negative?

TG: The process of recording this album was new to us. We did not use a traditional studio or record as a band playing at the same time like on the previous albums. I engineered all the instrument tracking at my house. Will recorded his vocals at Tom Hall’s house. The album was also mixed by Tom at his house. Digital recording allows endless variables, so you need discipline to say when enough is enough. We had time and budget constraints, so in that sense it was similar to using tape and analog… at $50 an hour, time has not changed over time. ;-)

- "Comfort is the enemy". The new album has a strong artistic vibe but it might be out of current trends. How "Further and Farther" do you believe you can go with Heir Apparent?

TG: It all depends on the fans and the industry. Today’s trend is tomorrows leftovers, so all we can do is create something we are proud of and let the people decide. We feel this is our most complete and comprehensive album that Heir Apparent has made. Our work is done for now. If the story of a band who can come back after 30 years to create a great album becomes something the industry decides to get behind, then we will take advantage of that opportunity. We know there is a certain existing fan base that will buy this and enjoy it. Our ability to survive as a band beyond this, let alone ever come close to the dream of being professional musicians, depends entirely on forces within the industry deciding to support this to an audience that as of today is unaware we even exist. If someone in a position of power decides this album represents a new trend, here we go… those things are out of our control.

- "All roads lead to Palestine". World, politics, jobs, daily life, the complete system of modern society seems lost. Are we really lost and every individual is trapped in daily routine? In the '60s and '70s people of the art made a difference with public statements. Can this happen again or we will never find "The Road to Palestine"?

TG: Good questions… to one extent or another, we are all living within those traps. As artists, all we can do is attempt to educate and spark conversations that open minds. People need to want to change, they need to want to make the world a better place. Sometimes the sacrifice required takes too much effort, and the day to day struggles provide an excuse for inaction. If mankind is capable of rising above their cultural delusions and vengeance in order to unite and find peace, all roads lead to Palestine. Mankind has a limited time to utilize science and technology to create a sustainable planet that can feed 10 billion people by 2050 without accelerating the extinctions of plant and animal species that are necessary for balancing this biosphere. We must unite in science and bring our best minds together before it’s too late. 

The sad alternative is that cultural delusions and greed-driven politics will result in tribal factions fighting for diminishing resources, which will only buy the ignorant “winners” a short amount of additional time in a world far too damaged to recover. I’m not siding with the fatalistic, I’m presenting the reason for being reasonable.  It’s time for mankind to unite toward preservation of life on this planet. To bring this full circle… Art, and the ability to create it, is a luxury that can only exist when not eclipsed by whatever else is required to survive.

- "Chasing the dream". There are many positive reviews on the new album and you are already planning live shows for 2019. I hope "Insomnia" won't reach Heir Apparent and the silent whispers will turn to shouts. In every aspect. So which are your future plans?

TG: We are very encouraged by the early reviews. Now we wait for actual sales and the continued interest from promoters to tour and support the album. We have done the work and made the investment and sacrifice to be here for the fans, and we hope for the very best in return.

- And finally, why "The View From Below"?

TG: These are very strained political times in America and around the world.  The resurgence in nationalism, paranoia, prejudice, greed, propaganda, and corruption. “The View From Below” represents anyone looking at the world while suffering from oppression or inequality, either social, political, or institutional. Also, the album art suggests evolution and the connections that exist between everything in this universe… from a spiral strand of DNA to a spiral galaxy. Life, and existence. We look forward to performing for you in 2019, and celebrating this.

At the moment, Heir Apparent are booking dates for live shows in 2019 and confirmed shows so far include:

Up The Hammers Festival (Sat 16 March 2019) Athens, Greece

Rock Hard Festival (Sat 8 June 2019) Gelsenkirchen, Germany

Headbangers Open Air (Sat 27 July 2019) Elmshorn, Germany

More dates TBA

Heir Apparent official website

Follow Heir Apparent on Instagram HERE

Follow Heir Apparent on Facebook HERE

Follow No Remorse Records on Facebook HERE

OPEN BURN interview - Music, Lethal, Divine Intermission and a band you got to know.

Do you like progressive power metal from the United States? Keep reading. Do you like bands like Lethal and Queensrÿche? Good for you. Now forget everything and check Open Burn. You got to know Open Burn. You got to learn them and folow them.

What is Open Burn? Eric William Johns on vocals, Dell Hull on guitars, Glen Cook on bass and Jerry Hartman on drums. Back to start. If you like progressive power metal, some names above might ring you a bell, since all of them are related with Lethal, besides singer Eric that has also a long past with bands like Simple Aggression.

Open Burn have their first full-length album just released via No Remorse Records, under the title "Divine Intermission" and we talked with all of them. You got to love Open Burn.

 - When did you start Open Burn and what the name of the band stands for?

DH: I think Jerry, Eric and myself first started in mid 2015 playing cover songs at a benefit? Soon after we started working on original material. Glen joined us after we returned from Greece with Lethal in 2016. The term Open Burn is used in the U.S. by people who are actually burning fields or brush on their properties. You can usually see hand made signs posted "open burn" from time to time throughout the countryside wherever someone is doing this. I saw one of those signs one day on my way to the studio and sort of jokingly brought up the idea to the guys to use it for a band name. Glen said he liked it so it stuck. Haha.

EWJ: Since someone asked me, once they saw our EP artwork, what the cover was supposed to represent, I thought I'd give you all the scoop. Once we had decided on the name Open Burn, I went to work trying to think of a visual that matched the name and still had an identity of its own. What immediately came to mind, to me, was the chemical burn scene in David Fincher's brilliant film Fight Club. By the way, guitarist Dell Hull took the idea and ran with it on Photoshop to create all the artwork for the EP. He did a pretty amazing job, if you ask me...

- Which are your influences and besides bands and musicians, what things inspire you to create music?

GC: My musical influences are broad but the ones who had a real impact on me include The Beatles, Elvis Presley, Duke Ellington and Iron Maiden. As for ongoing inspirations, I believe they really just feed a chronic desire to communicate musically and might come from my family, my dog or anywhere else. From a practical perspective most of my musical inspiration comes from my band mates since that is with whom I am typically making music.

EWJ: I have answered the question of my musical influences dozens of times probably over the years. As far as why I make music, you have to first understand what music is. It is the oldest form of communication we know to exist. Listen to the whales in the ocean or the birds in the trees or the wolves in the forest. They all sing to each other. It's in our shared DNA. All of us. When I sing, all of the obstacles of language are removed. Its the only time when I communicate I feel anyone might understand me. Music is my tether to the world; without it I would float away.

DH: I guess music is just an outlet for me to speak without words. I draw basic inspiration from my long time musical influences, The Beatles, Led Zeppelin, Iron Maiden, Pink Floyd and Metallica. When I come up with a part or section of music that we play as a band I get additional inspiration from what my band mates add to it. I rarely know what they’re going to do but I do know it will always be good. That inspires me further.

JH: The guys I’m playing music with are my biggest influences. They make it easy to go to rehearsal and have a great time doing what I love to do which is play music. I’ve always been drawn to music from an early age and anything that had some kind of rhythm seemed to catch my attention. As far as bands, I like the classics, Led Zeppelin, Deep Purple, The Doors, Black Sabbath, Judas Priest, etc. I do listen to all types of music, new and old. There are always some new sounds and textures you can learn from and draw inspiration from
 

- Having three members from Lethal, does it mean that actually you guys wanted to write new music and somehow, something in Lethal was moving slow, so you started something new? Is Open Burn a different beast, which are the similarities and which are the differences with Lethal?

GC: We've all played in multiple different bands since no one band can outlet all of our inspirations. Starting Open Burn had nothing to do with Lethal. Eric hooked up with Jerry and Dell to play some cover tunes at a local benefit show. There was clearly some chemistry so they decided to put a band around it. Since I was in Lethal with Dell and Jerry and had been playing in another band with Eric for the previous 4 - 5 years (Graves Road) I was a natural fit when they needed a bass player.

EWJ: The biggest difference is that there is a different singer.  The next biggest difference is either one or two less guitarists (depending on which version of Lethal). As to the speed or slowness of Lethal, I was not in that band. It's not for me to say. I assume Jerry, Dell, and Glen wanted to make new music or they wouldn't have hung out with me.  All beasts are different beasts; just like all snowflakes are different.  Even identical twins have tiny differences...

DH: I think any similarities musically are just coming from our common influences. Glen and I first started playing together in Lethal in early 1983 so we’ve pretty much always had the same influences. I’m not trying to write anything new that purposely sounds like Lethal but at the same time I’m not trying to avoid it either. Just whatever comes out, comes out.

- You privately released a 5-track CD in 2017 and now a full-album under the title "Divine Intermission" is out on No Remorse Records with some same tracks in both releases. Are they the same or different recordings? Different mix? Where all the songs written at the same period and do you have more songs that probably are not recorded?

EWJ: The five songs on the EP are the same recordings that appear on "Divine Intermission" along with four songs that were recorded later.  All of them except the acoustic version of "Statues" (which is included as a bonus track, really), were recorded at the same studio with the same producer; just at different times. So the five songs that are on our debut EP are remastered on "Divine Intermission" to match the mastering of the 4 songs that appear on the album for the first time. I think each of us have plenty of ideas for the next record. I have a bunch of lyrics and melodies sketched out in my phone and laptop. I'm sure Dell and Glen have stuff too.  We work fast when we all actually are able to get together.

DH: Yeah, the songs come together pretty quickly when we start jamming on the ideas. I probably have enough newer musical ideas for 2 more full albums. At this point it’s just a matter of putting them together.

- What's the idea behind each song of "Divine Intermission"?

EWJ: The idea is to make good music. If I told the meaning behind the lyrics I have ruined the surprise and discovery of figuring out for yourself. If you really like the song; if you really want to know what it means, go and search. Discover.

GC: I would gladly spill the beans but Eric will not divulge any hidden meaning to us either, lol! One of my favorites on the album is "Mary's Lament" which is a reference to Mary Shelley and the monster she created.

 - How do you see the current status of metal music in United States? Are there any bands that you distinguish?

EWJ: I don't really listen to any music that I haven't loaded myself on my phone or flash drive that plug ins my car stereo.  That leaves me pretty oblivious to what is current in the metal world.  Unless I know them personally, worked with them in the studio, or played shows with them, there is a good chance I haven't heard them.  Friends of mine are routinely amazed that I have never heard of (insert band or artist here).  I'm just a creature of habit.  The old stuff still sounds good so I rarely deviate from the stuff I know for sure I will enjoy.

DH: I really don’t listen to much new music and really haven’t since the late 80’s / early 90’s. The scene got really stale for me then and most of the new music coming out, then and since, is really just a rehash of earlier stuff that I already liked. I suppose if I heard something with a fresh sound I would explore it more. I don’t mean to say there’s not any music since that I don’t like. I do like some stuff I’ve heard but I purposely don’t listen to it more than once or twice so I won’t be influenced by it. I’d rather stick to my roots for my influences.

- Speaking of United States, I can't pass the opportunity to ask a musician-artist like you, how do you see the current status of politics in your country?

EWJ: Nothing good will come from me answering that directly.  I would potentially be alienating half of my fan base at home who doesn't agree with my politics. Instead, let me quote the Gospel of St, Matthew (7:15) "Beware of false prophets, which come to you in sheep's clothing, but inwardly they are ravening wolves."  Each of you can interpret that how you wish...

- How did the Lethal reunion (at least for few live shows) happened?

JH: We are lucky enough to have fans that want to see us play. Martin Brandt contacted us in 2007 and put us in touch with the KIT festival and the rest snowballed from there.

DH: Like I said, Jerry and I started playing and forming what is now Open Burn in 2015 so that is really what led up to me joining Lethal for a few shows the following year. I’ve really been focused on Open Burn since.
 

- If Lethal will be active again (full active and not just posts in facebook) will it affect Open Burn?
 
GC: No.

DH: There’s no reason for it to affect Open Burn at all.

EWJ: I'm not in Lethal so I would have to wait and see how it affects me like everyone else.

- Are there any plans for live shows with Open Burn?

EWJ: I think we will play live shows at some point soon.  We are all older veterans of touring and know what a toll it can take on you.  It's hard to agree to that kind of strenuous endeavor the older we get.

DH: I would love to do live shows. The sooner the better with our new album coming out. Hopefully we can get some set up soon.

"Divine Intermission" is out now on No Remorse Records.

Join Open Burn on facebook HERE

Carl Canedy interview: From The Rods to Apollo Ra and beyond - Tales of a True Headbanger

Carl Canedy is one of those important persons of US Metal. Drummer of The Rods, highly acclaimed producer, songwriter, headbanger... With The Rods being strong again, arranging few reissues and his first solo album recently out, we had no other option and contacted our friend Carl for a detailed interview. Enjoy...
 

Back in your early days, what made you start beating the drums?

I remember seeing a drum kit at a wedding reception when I was 4 and half and it was as if the Angels were all around it singing Hallelujah. I'd wanted to play drums from that day on. I actually didn't get a kit until I was 13. I did my best to make up for lost time.  

Your friendship and partnership with Dave Feinstein goes before The Rods, since you played drums for D.Feinstein's  Midnight Lady 7" single, 

right?

It has been said that I have but actually a drummer named Dave Galutz played drums on that track. David and I met during the early '70's. My band rehearsed in the Garage and Elf (with Ronnie Dio) rehearsed in the house so I've known David from the Elf days.

How did you and David decide to form The Rods?

We had tried working on a project that didn't get off the ground. It led to my becoming part of the initial Manowar. David and I decided that we were a good fit musically so it seemed like a logical choice for us to work together.

Did you play with Manowar also in their early days? Are there any recordings that you made together?

I did and there are some recordings I made of rehearsals and there is also the demo we recorded. I know fans have shared the demo on the internet. There were intense and exciting times with that band watching the music take shape. I'm proud to say I was there at the genesis of such a great and legendary band.

Back in The Rods, what do you remember from your first private release of 'Rock Hard'?

We began recording within the first three months of being together. Chris Bubacz (first Metallica album) was at Fredonia University and we would record there on our days off from gigs. It was an exciting time and releasing 'Crank it Up' as our first single and having it played on radio was a big thrill. I called a Rochester, NY Station to see if they'd received it and they told me how great it sounded on the air and that fans were calling in requesting it be played. A very exciting moment.

The Rods, Wild Dogs, In The Raw, Let Them Eat Metal, Heavier Than Thou... Golden years of The Rods in the first half of the 80s. During that period the band was one of the most iconic names of US Metal. What each album means for you?

The Rods: Fun, hard work, sex, no drugs and Rock and Roll. We played as much as possible and recorded that album in between gigs with Chris Bubacz in Fredonia, NY where he was a recording engineer student.

Wild Dogs: Exciting, frustrating (record label pressure, management problems). Doing the Iron Maiden dates was a huge thrill. All the English press was fun and interesting.

In The Raw: This was done in 48 hours again with Chris Bubacz engineering. We went into the studio, I found drums from all over the studio and built a kit. We played live and overdubbed the vocals and guitar solos. The photo was taken by our manager after being awake for almost two days (genius move). It's a demo but the fans love it and I believe they love the fact that it's The Rods live in the studio. Chris captured the band warts and all and I think that's why it's held up over time.

Live: was just simply that. It was live but it was tough to have recording gear follow you around. In the end I'm not sure recording many dates was a good idea. We might have done better recording one gig well. I still love 'Hellbound', which we've never recorded in a studio setting. Maybe one day...

Hollywood: A collection of songs that we felt should not have The Rods name attached (so the fans wouldn't be disappointed with the more melodic songs). David and I had material we'd written that we wanted out but it really didn't suit The Rods style. Rick Caudle came in to do vocals (suggested by Andrew Duck MacDonald who also suggested Joey Belladonna to me for Anthrax. Thanks Duck!). I really enjoyed working with Rick and there are some strong songs on this album.

Let Them Eat Metal: Again Chris Bubacz recording. Some really good songs on this album and we seem to get many requests from fans for songs from this album. I love playing 'Let Them Eat Metal' live. It was winter when we recorded it and it wasn't the most fun I've had recording but I did like the record.

Heavier Than Thou: This was really fun working with Shmoulik Avigal on vocals. Also a highlight for me was working, once again, with one of our first bass players Craig Gruber. Sadly Craig just passed a few days ago. It's been tough losing a good friend. Craig and I were such a great rhythm section and I loved playing with him in every band we were in together. Garry was on tour with Kim Simmons so Craig was the obvious choice. Shmoulik really killed it on vocals. He wasn't originally going to be the vocalist. David was going to sing these songs, but when he heard Shmoulik sing he felt Sam was the best choice for these songs. I think there are some great songs on this album. The album was getting some really strong national attention when the label went under. I felt it was one of our strongest albums.

What was the reaction of press during those years?

Press was strong at first, then they went for the throat on a couple of albums ('Live' and 'Hollywood') then came back with great reviews for 'Heavier Than Thou'. The fans always stayed with us. Hail all Wild Dogs!

Best and worst moment from your live shows back in the 80s?

Best moment for me was our first arena show in Binghamton, NY, opening for Blue Oyster Cult. It was my first show in front of 10,000 people and the crowd was very supportive and I threw my drum sticks into the crowd for the first time (and loved it but I was also told to never do it again to avoid a lawsuit).
Worst was opening for Judas Priest in Albany, NY at the Palace theater before we were signed. We didn't quite understand monitoring on a large stage and I could hear David's guitar and it was a huge mess. The Promoter of the show, who was considering us for management, suggested that both the bass player and myself be replaced. Not the best gig but it was awesome seeing Priest from our dressing room above the stage!

When did you start working as a producer and what made you occupy with that also?

I've always been interested in producing. Kelakos was my first real experience (just re-released www.Kelakosband.com). With The Rods, David and I just began producing ourselves because we were the only ones around. No money to hire one and so we started learning on our own.

You worked very close with Megaforce Records also, since you produced few of their best albums, including bands like Anthrax, Overkill and Exciter, among others. Which ones are your most notable moments of those years as a producer?

Those were whirlwind days for me. Each project had its trials and tribulations. I loved working with Exciter, I spent quite a bit of time with Anthrax, having worked with them on 2 albums and an EP, and Overkill were clearly talented and Blitz was a star! I loved Dickie Peterson from Blue Cheer. That band was a huge influence on me and it was an honor to work with them. Jon and Marsha are the best to work with.

Did you work in any album that didn't come up as you wished because of a label intervention?

I have regrets of one kind or another but I blame them on myself and budget constraints. I can't blame others for my shortcomings. I accept responsibility (even if it's a hard pill to swallow at times) The other side of that is that I'm very proud of many aspects of my work.

Why did The Rods split after 'Heavier Than Thou'?

It was never a problem between the members. I was producing, David had bought a restaurant (the Hollywood in Cortland, NY. A great restaurant and our one consistent endorser) and Garry was touring with Savoy Brown. It was just as simple as that.

Give me a few words for the following names:

Joey DeMaio: He and I were a great rhythm section. Joey is a guy who walks the walk.
Jon Zazula: Impresario, visionary, great guy!  
Jack Starr: Talented and knows how to utilize talent around him.
Rhett Forrester: A star. True charisma and an awesome vocalist. I had a lot of fun with Rhett.
Riot: Great band!
Savatage: Ground breaking. Great band!
Queensryche: Loved them from the first album and looking forward to sharing the stage with them again June 13th in Endicott, NY
Armored Saint: Powerful vocals
Anthrax: Driven. Talented. Charismatic. Ground breaking.
Ronnie James Dio: Legendary and the nicest guy. I don't have enough words. Eternally grateful that he was kind enough to sing a song I'd written. RIP RJD
 

Back in the late 80s you worked with Apollo Ra, a band that never made it back in the day, but their songs are jewels of what is called 'US Metal', since few metal fans nowadays consider 'Ra Pariah' as a masterpiece. When did you meet them, how did you work with them and why do you think they never made it back then?

I met them through David Carpin. He owned Shatter Records. He was an attorney who started a label. I was hired to produce them but his label went bankrupt before we finished the album. I financed the project and shopped it for them. We had strong interest from Monte Connor (another visionary), Roadrunner and Mike Faley from Metal Blade and Michael Alago from Elektra. Michael saw them live and decided to pass on the band and from that word the other labels pulled the plug on their offers so we self-released. It's been a sad tale that this band was not a major force. Super talented guys and fun and hard working as well. I'm thrilled that the fans have found their music and kept it alive for all these years. I believe it's a fantastic album.

Since many people are not familiar with your projects, what have you done during 1990 to 2010?

Performed with a local band, written music and children's plays for my daughter's group and had a children's theater for 12 years. I also did the occasional project, such as John Hahn's solo album.

The Rods are back in full force since few years with an album released in 2011 ('Vengeance') and some live shows over the past years. Do you plan to record a new album soon and which are your future plans with the band?

Yes, we just played in Chicago and we are heading to Europe for Heavy Sound Festival, Belgium, a club date in Lubeck, Germany, and Muskelrock in Sweden. We are beginning work on a new CD and we are releasing a single featuring Veronica Freeman from Benedictum on vocals. We are also booked for Keep It True 2016 and will announce more European dates soon.

Few months before you released your first solo album 'Headbanger' and I have to admit that it was one of the best releases of 2014. With all these guests, anyone can understand how important personality you are for the American metal scene. What made you write and release a solo album, and also, were these songs older, or written for this album?

Thank you for the kind words. I'm proud of the album. It's been better received than I could have imagined. Reviewers and fans have been very kind. Some of these songs are new and some had been previously released.

What was the reaction of fans and press about 'Headbanger?

Again, the fans and press have been so kind and generous with their words and support.

Last words...

Thank you for being a true metal fan and supporter. Thank you to the fans who've stayed true to The Rods over the years. I always encourage any fan to make an effort to say hi at gigs. We love meeting you so make the effort to say hi and thank you for being true "Wild Dogs".

www.TheRods.com

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