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All the best metal bands are really punks. When they forget that, that’s when they start sucking.
Eureka Machines’ Chris Catalyst, Über Röck Midnite Mixtape Massacre interview
It’s really sad that a band like Queen probably wouldn’t be given time of day now. Their tunes are so brilliantly weird and interesting while retaining amazing pop hooks and camp drama aplenty.
Eureka Machines’ Chris Catalyst, Über Röck Midnite Mixtape Massacre interview
It’s a shame that the word ‘pop’ is now seen as dirty by so many.
Eureka Machines’ Chris Catalyst, Über Röck Midnite Mixtape Massacre interview
Bear in mind that they went from ‘Please Please Me’ to ‘I Am The Walrus’ in four years, without the huge musical tapestry for a backdrop that we all take for granted nowadays.
Eureka Machines’ Chris Catalyst on the evolution of the Beatles’ sound, Über Röck Midnite Mixtape Massacre interview

You Ended Up Sounding Like Your Band

A shorn Jerry Cantrell and Sean Kinney of Alice in Chains talk with Jack Osbourne (yes, that Jack Osbourne) and Fuse about their new album The Devil Put Dinosaurs Here, the current state of rock, touring plans, and sounding like… well, like AiC.

Dave Grohl discusses all things Sound City on Late Show with David Letterman

And how awesome is the Late Show band?! They play the Foos’ “Everlong,” complete with horns, as Dave comes on stage, and in the outro, they break into King’s X’s “We Were Born to be Loved.”

Bass Controls Everything

Sweetwater Minute: Doug Pinnick

Mitch Gallagher sits down with King’s X’s Doug Pinnick—for more than a minute—for Sweetwater Minute, the music megastore’s weekly video show. Doug was in town for a recording clinic at Sweetwater Studios, and he talked with Gallagher about why he started playing bass, his early musical memories, the musical journey that led him to help form King’s X, and his current bass setup.

Enjoy!

Rush’s Neil Peart takes CBC’s George Stroumboulopoulos on a track-by-track journey through Moving Pictures on the 6/17/2011 episode of George Stroumboulopoulos Tonight.

What’s Going On Here Tonight?!

Flying Colors pre-show chat with Noisecreep

Supergroup Flying Colors sat down with AOL’s Noisecreep for an exclusive interview backstage prior to their first ever show together on Tuesday, September 4 at the James Armstrong Theater in Torrance, CA. They discussed the setlist, the fans’ reactions to the album, the writing and recording process, and how it compares to their other work. Read Noisecreep’s short concert review after checking out the video.

And if you haven’t picked up the Flying Colors debut yet, what are you waiting for?!

How seriously can you take yourself when you’re sitting there in a superhero costume and full face makeup?
Ace Frehley on the now-infamous The Tomorrow Show interview with Tom Snyder, No Regrets: A Rock ‘n’ Roll Memoir
By the time we took our places opposite Tom, on the set, in full KISS costume and makeup, I was feeling no pain. And I was ready for anything.
Ace Frehley on the now-infamous The Tomorrow Show interview with Tom Snyder, No Regrets: A Rock ‘n’ Roll Memoir
I think we just have this crazy, innate drive to get better.
Geddy Lee on what inspires Rush to continue making music, The National interview on CBC

The National’s Peter Mansbridge talks with Geddy Lee about Clockwork Angels

A funny thing happened after we were together for about 20 years. Where most bands start to break up, we were kind of becoming intrigued with staying together, because so few stay together, and we wanted to see what the fruits of a long-term, good relationship could do. So here’s a band 38 years on, and we are pushing it. We’re trying to see where we can go as a band.
Geddy Lee on Rush’s longevity, The National interview on CBC

In the Studio: Songs from the Big Chair

Songs from the Big Chair album cover

I went through a schizophrenic period in my mid- to late-teens simultaneously loving and hating Tears for Fears’ Songs from the Big Chair (as well as the band itself)—hating it because that’s what any self-respecting metalhead is wont to do with a multi-gazillion-selling synth-pop Billboard hit; loving it for Roland Orzabal’s and Curt Smith’s songwriting and musicianship. It didn’t hurt that the album had some really good songs on it.

Redbeard and In the Studio celebrated Songs from the Big Chair’s 25th anniversary back in February 2010 with this interview with bassist and vocalist Curt Smith. Listen as they discuss the formation of the band, the reasoning behind the strange name, and the making of their breakthrough album and the songs that launched their popularity in the U.S.

via In the Studio:

Recording an album that a million people purchase is no mean feat, but doing so is not always a benchmark of musical quality. Celebrity (and notoriety), timing, even technology such as the viral internet video, can propel the likes of Milli Vanilli, Billy Ray Cyrus, Vanilla Ice, and Ashlee Simpson past the million sales mark only to be relegated to trivia contests at best, punch-lines at the worst. However, to get ten million or more people to buy your album is in no way trivial or a joke. It implies with it a measure of universal approval that transcends time, geography, and that most indefinable of attributes, taste. To sell through to more than ten million individuals, the music’s appeal has to spread horizontally across a wide cross-section of age, ethnicity, education, financial and lifestyle strata.

That’s precisely what Tears for Fears did in Summer 1985, displacing Bruce Springsteen‘s Born in the USA with only their second effort, Songs from the Big Chair. While the two individuals’ names, Roland Orzabal and Curt Smith, may indeed be the stuff of ’80s Trivia Night down at your local pub, the music contained on the ten million-plus seller…Big Chair has no indication of becoming comical any time soon, unless you count laughing all the way to the bank.