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Aerosmith, Iron Maiden, Soundgarden, Megadeth, Duff Mackagan, Geoff Tate Vs. Queensryche, Corrosion of Conformity, Jane's Addiction, and tons more hard rock and heavy metal news

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  • Robert
    AEROSMITH performed earlier tonight (Thursday, November 1) on the CBS talk show Late Show With David Letterman . You can now watch video footage of the band s
    Message 1 of 1 , Nov 2, 2012
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      AEROSMITH performed earlier tonight (Thursday, November 1) on the CBS talk show "Late Show With David Letterman". You can now watch video footage of the band's appearance below. Also available is an interview with singer Steven Tyler and guitarist Joe Perry.
      AEROSMITH will complete their contract with Columbia Records on November 6 with the release of the band's new album, "Music From Another Dimension", and the group may join the ranks of acts like RADIOHEAD, NINE INCH NAILS and PEARL JAM who have left the major label world behind.
      According to The Pulse Of Radio, Tyler told reporters on a conference call last month that "if the band stays together, yeah, we'll definitely go that route, something somewhere over there. We've been keeping record companies stocked with millions of shekels for years, been making a lot of people rich — not that we haven't, but every now and then you get into arguments with labels (and) you think, 'Where is all this money going?' We've definitely thought of putting stuff out."
      Perry was more cautious about the idea, however, saying, "We've talked about every idea you can think of out there, and we really don't know. There's so many different directions we can go."
      "Music From Another Dimension" is AEROSMITH's first album of all-new material in 11 years, although three singles released so far from the disc — "Legendary Child", "What Could Have Been Love" and "Lover Alot" — have failed to catch fire at radio stations.
      The band will begin a new leg of touring on November 8 in Oklahoma City, and plans to follow that with a world tour in 2013. Beyond that, Tyler plans to record a full solo album next year as well, while Perry will become the third member of the band, after Tyler and drummer Joey Kramer, to publish his autobiography.
      Vans and IRON MAIDEN are excited to give metal fans the chance to grab an instant classic with the Vans x Iron Maiden The Number Of The Beast Classic Slip-On and Sk8-Hi. Each shoe comes emblazoned with the iconic Eddie cover art from the album and an embroidered IRON MAIDEN logo on the heel.
      Among the most popular Vans band collaborations to date, Vans and IRON MAIDEN have previously created four other projects saluting other essential MAIDEN albums: "Killers" (2007), "Piece Of Mind" (2007), "Powerslave" (2008) and "Trooper" (2008).
      You can buy or find out more about these special kicks and where to find them at a dealer near you at vans.com/ironmaiden.
      The third studio album from IRON MAIDEN, "The Number Of The Beast" was a seminal album for heavy metal and a pivotal point for the band, becoming their first record to reach the No. 1 spot on the U.K. albums charts and securing them a platinum record in the U.S. The album produced such hits as "Run To The Hills" and "The Number Of The Beast".
      When word began to leak out towards the end of this past summer that Iron Maiden’s Steve Harris would be releasing his first solo album, it caught more than a few people by surprise. After all, the veteran bassist has been widely considered the creative mastermind behind everything that Maiden does.
      So what is it that made Harris step out from underneath the Iron Maiden banner after nearly four decades with the group for a solo moment? Well, it wasn’t a spontaneous decision. In fact, ‘British Lion,’ the new solo release from Harris, is a project that has been in the works for over a decade, with the roots of the music stretching back to 1992 when he first began working with a young group named, you guessed it, “British Lion.”
      Although that group eventually fell by the wayside, the name — and several of the songs, stuck with Harris and he was determined to do something eventually with the material. Vocalist Richard Taylor and guitarist Grahame Leslie have been carried over from the original British Lion project, adding guitarist David Hawkins along the way (with drummer Simon Dawson later rounding out the lineup). Together, they collaborated with Harris to further flesh out the original material and write additional songs for the new album.
      The throbbing low-end gristle of lead single ‘This Is My God’ and the Purple-esque keyboards that lead off ‘Us Against the World’ mix with tracks like ‘The Chosen Ones,’ which mash various ‘70s hard rock influences from the Who to UFO to form an album package that retains enough of the Harris songwriting trademarks (and you certainly can’t mistake that bass) to avoid alienating the harshly loyal Maiden fanbase. And yet this is distinctively different and not just something that could be an Iron Maiden album dressed up under another name.
      We had the rare opportunity to chat with Steve to talk about the new album and also got his thoughts on ‘The Number of the Beast,’ 30 years after the fact and how that album changed the course for the now legendary heavy metal group.
      The basic seeds for this band have been in place for quite a while now and yet, the material doesn’t feel dated. How much of this stuff dates back to when you first encountered some of the band members working as British Lion and how much of it was stuff that was freshly written for this album?
      Well there’s 10 songs, so seven of them were written much later and three of them were early stuff. But I think those three songs, they’re such powerful songs that they just absolutely needed to see the light of day. So that’s what kickstarted the whole thing really, because I was trying to help the band back in the day. I named the band and was managing them, producing them and I was also writing with them. It was just a shame that it fell apart, but I thought that “British Lion” was such a powerful name that one day I’m going to use it myself, so I have!
      Of those three songs, what was the one that really got you excited about this band and the prospects of doing a project like this?
      Well there’s a couple of them, really. I think that ‘The Chosen Ones’ and ‘Eyes of the Young … and ‘A World Without Heaven’ also, but I think that those two in particular were really special songs and I felt they really needed to come out at some point. ‘Eyes of the Young’ is a totally, totally different kind of thing to what people might expect from me, but to me, it’s just an uplifting song and it’s going to be a really good live song as well. I think it’s really powerful.
      It’s funny that you mention that one, because ‘Eyes of the Young’ definitely stuck out to me as one particular track that the pop elements are probably a bit outside of, as you said, what people might expect to hear from Steve Harris and at the same time, there’s that same vibrant energy that we’ve heard in so much of your playing through the years.
      Yeah, that’s the thing is that people now might listen to that and go “oh, it sounds too poppy,” or something like that, but the influence of that song really comes from an era where that wasn’t an issue. It’s just a really good uplifting song, so I think that people need to just listen to it with an open mind and give it a chance. Listen to the album a few times and they’ll see that it’s very, very different to what I’ve done with Maiden. The vocalist is very different and I think he’s a great singer, but he’s really different, so people need to get their heads around that and just give it a chance.
      I think with the stuff that you do traditionally with Iron Maiden, people expect longer songs. There’s a lot of shorter and more concise songs on this record. It’s pretty tightly formatted as an album. With songs like ‘Eyes of the Young’ and some of the other tracks on this album, did you find yourself writing differently and did anything change about your approach?
      Yeah, well the thing is that my influences range right from the ‘70s and the ‘70s was such a wide diverse time for music and a fully creative time for music. Bands were just basically signed and told to go and evolve, really. There was no pressure on them to be any one thing or another. So the songwriting [in that era] had all sorts of things going on and that’s where the influences all come from. With Maiden or with this or anything else that I do, that’s where all of the influences come from. It’s such a wide variety of influences and people maybe sometimes forget where those influences come from. But I think it’s all about good songs and it’s such a grey area as to who thinks what is good and what isn’t.
      This is some of my favorite material that I’ve heard from you in recent years. Everything feels very natural and it had to be fun, writing, recording and playing this stuff.
      Yeah, well there was no pressure at all. I absolutely love what I do in Maiden and enjoy every minute of that too. This is enjoyable in a different way in the sense that I suppose [because] the people that you’re working around have not had the [same] sort of success or limelight that I’ve had, so there’s just an earthiness to that and it felt really good.
      ‘This Is My God’ has a very primal sludgy sound in the mix. Can you tell me what was in your head sonically when you were recording that track, envisioning how you wanted to sound?
      I just wanted to sound very powerful with lots of low end on it but also it’s a very melodic song, so it needed to have the light and shade in it and I think that’s come out.
      Your bass really just busts out of the mix on that one and overall, British Lion is a very dynamic album. Did that bring any challenges when it came time to mix the record?
      Well that particular song you’re talking about is very bass-driven anyway, because that’s the main riff running all the way through it, so it’s not me being bass-crazy, it’s just the fact that it’s a very heavy riff that needs to plug right through the song. But I think really that the approach is whatever is needed for whatever song, really. Sometimes I’ll play busier than others, dependent on what I feel the song needs. That is the luxury I do have is that I can decide what I think it needs rather than someone else. That’s always been a plus point for me whether it’s with this or with Maiden.
      You just put out a video for ‘This Is My God’ and it’s a cool video. Where did you film that one?
      Well, most of it was filmed in Canada and obviously, you can see that there was a little bit filmed in New York But most of it is from a place called Banff in Canada, which is about two hours north of Calgary and it’s an amazingly beautiful place, as you can see.
      I found it interesting what you did with some of the playing on this album, as far as how you used it in relation to the songs, for instance, hearing the way your bass chases the vocal on a song like ‘The Chosen Ones.’ I thought that you went to some interesting places on this album with your playing.
      Yeah, I like to think that I go interesting places on all of the records that I do, hopefully. But first and foremost, I think of myself as a songwriter, so I just do whatever I think is right for the song. I could play bass lines all over the place from an ego point of view, but some songs don’t need to do that, so sometimes less is more. But like on ‘The Chosen Ones,’ I thought that it did need to chase the vocal in the chorus, so that’s what I did.
      Did your schedule allow you to record as a collective or was it done in pieces?
      It was all done in bits and pieces all over the place at different times over the years. It took a long time to do but it proved that you can basically do something a completely different way and end up with a result that you’re really happy with. So I’m really pleased with it and it sounds cohesive, I think. It doesn’t sound like a “bits and pieces” album at all.
      Despite your concerns about people giving this album a chance, it seems like the overall reception has been pretty positive.
      It’s been very positive for the most part. There’s been a few people that haven’t been so kind to this thing, but it’s just a matter of opinion and that’s fair enough. But I think these people initially reacted when they very first heard the album when we had an online playback and they were talking about stuff straight away without really having the chance to have it sink in at all. I think some of those people maybe have changed their mind and some of them won’t. But it is what it is. Hopefully people will like it but if they don’t, well, then they can give it to someone else.
      I know you’re hoping to do some live shows with this band. What are your thoughts on that and what do you think would be the ideal setlist opener?
      Well, I think the opening song of the album has got to be the opener, the way it stands at the moment. I suppose that possibly could change. But I think we’ll be doing something in Europe sometime next year. Maiden is going to be playing throughout the summer in Europe anyway. We [Iron Maiden] just played North America, so I don’t know when we’ll hit these shores [with the new band, to promote the Steve Harris album], but I definitely would like to play around the world with it. I think the songs will be great live and we’ll see what happens. But first and foremost, I suspect that we’ll work over in Europe [to play some solo shows].
      The Steve Harris name on the album cover obviously brings instant name recognition to this project. Was there any thought towards putting this out with a band name instead?
      Well, I think what I would like it to evolve into, is a band/side project, I would like it to evolve in that way. It was the right thing to do it like this, but I think it does feel more like a band with time. It’s a bit difficult for the rest of the guys, because they’re hanging around all of the time waiting for me, in between Maiden stuff. Apart from that, it does feel like a band, so I think in the future, it will be pushed more in that direction.
      Your tour this year with Maiden paid homage to ‘Maiden England’ and fans are very stoked about the planned ‘Maiden England’ reissue for next year. What can you tell us about where that project is at? What sort of bonus material will there be on the package and what has the process been as far as any necessary cleanup of the footage and things like that?
      Well, it’s still a work-in-progress at the moment, so I can’t say too much about it, but that’s one of the things that I’ve been working on as of now, to be honest. So it’s still in the pipeline and we’re still working on stuff.
      It’s been 30 years since ‘Number of the Beast,’ which was the start of a very important new era for your band. What are your thoughts looking back at that time period?
      Well, it was a scary time period as well, because we’d just changed singers and at the time, it was a very traumatic period for us, worrying about how people would take to the new singer, but take to him they did, in a big way, so we didn’t need to be worried! [Laughs]
      But before the album came out, it was very worrying. We knew we had a really strong album and we knew we had a really great singer in Bruce, but you just never know how people are going to react. Lucky enough, everyone liked him and obviously it went on from there.
      It’s incredible to read that you were working from scratch on that album and had very little material prepared prior to recording. And yet the album completely hit the mark. How did that change your approach to future recording? Was going in cold a good thing?
      Totally, yeah. We didn’t have any material. We’d used everything up that we had from the periods before that, [from] before we were signed and the first two albums. The second album ‘Killers,’ there’s only three or four totally new songs, the rest of all of the stuff was all from early periods, so the pressure really was on big time. Not only did we have a new singer, but we also had to come up with the goods to come out with a really strong album with completely new material. The weird thing is that all of that material was written in a two or three week period, because that’s all of the time we had. So that put us under so much pressure, but that dictated the way we’ve recorded everything since. We thought, “Well, that’s the way we work well, under pressure, obviously,” so that’s what we’ve done ever since. We’ve just allowed ourselves a specific time of period to write and that’s what we do. So we don’t ever write on the road, we just write right there [in the moment] and it’s worked well for us ever since!
      CSA Celebrity Speakers — which represents speakers, including the world's experts on leadership, strategy, innovation, marketing and Nobel prize winners — has posted a couple of showreels showcasing IRON MAIDEN singer Bruce Dickinson's skills as a public speaker, featuring footage from his October 10 keynote speech at the IBM Smarter Business event at the Stockholm Waterfront Congress in Sweden.
      Dickinson is the lead singer of IRON MAIDEN, a commercial pilot, business angel, entrepreneur, creative business thinker and international fencer. Bruce was a pilot and marketing director for Astraeus Airlines, which recently went into administration and is now in the process of leading them out of liquidation. In addition, Bruce has government funding to create an aircraft maintenance company creating 1500 jobs in Wales.
      Bruce is involved in an air ship venture to manufacture lighter than air drones with a contract to supply the U.S. Army. He is also setting up a separate training company (Real World Aviation) to train future pilots.
      Bruce left IRON MAIDEN in 1993 in order to pursue a solo career, his passion for fencing and an interest in becoming a pilot. Bruce rejoined the band in 1999 and has gone on to release four albums; despite this, he hasn't stopped flying Boeing 757s.
      Bruce is very keen to speak on his projects tying it in with business start-up, entrepreneurship and business creativity. In addition, he is willing to talk about the parallels between his music and business careers. He is also able to deliver team building experiences focused around his flight simulator.
      Reunited grunge legends SOUNDGARDEN have announced three intimate North American shows in support of their new album, "King Animal". They will play Irving Plaza in New York City on November 13, Phoenix Concert Theater in Toronto, Ontario, Canada on November 16, and at The Fonda Theatre in Los Angeles on November 27.
      Fans who pre-order"King Animal" before 11:59 p.m. PST on November 7 will be sent a password which allows access to the on-sale on November 8 at 12 p.m. local time for the shows at Irving Plaza in New York, Phoenix Concert Theater in Toronto and The Fonda Theatre in Los Angeles. Tickets will be sold on a first-come-first-served basis, and there is no guarantee a password will get you tickets. Additionally, there will be a public on-sale that will begin at 10 a.n. local time on Friday, November 9.
      For fans that cannot be in New York City, Toronto or Los Angeles, SOUNDGARDEN will be performing on "Late Night with David Letterman" on November 12 with a "Live At Letterman" worldwide livestreamed concert immediately following at 8 p.m. EST on CBS.com and VEVO. The band will also perform on ABC's "Jimmy Kimmel Live!" on November 26.
      SOUNDGARDEN's first collection of all-new material in 16 years, and first since the group reunited in 2010, "King Animal" will be released on November 13 via Tom Whalley's new record label, a partnership between his Seven Four Entertainment and Republic Records.
      Deluxe versions of "King Animal" include a box set, a deluxe CD, iTunes deluxe and 180-gram double vinyl. Many of the deluxe editions include album track demos recorded in singer Chris Cornell's home studio.
      For details of the "King Animal" deluxe versions, visit SoundgardenWorld.com.
      "One of the problems about Megadeth is that we've been severely misinterpreted by the press. I'll say something in an interview, and they'll either take what I said completely out of context or they evaluate it based on one sole statement and not the whole idea," Dave Mustaine tells Noisecreep.
      We're on the phone with the Megadeth guitarist/vocalist discussing the upcoming remastered and expanded 20th Anniversary Edition of their hit Countdown to Extinction album when the subject of the media comes up.
      "I've made political statements my whole career," says Mustaine, 51. "I find it so un-American that we all hate people in this country now just based on who they say they are voting for. Whatever political party you are -- hey, more power to you. I'm an independent. I saw that actress, Stacy Dash, getting killed in the public just because she said she was going to vote for Mitt Romney. I thought to myself, 'Damn! This is not who were are as Americans. We're better than that.' It was disappointing."
      Out on Nov. 6, the Countdown to Extinction reissue pairs the remastered original album with a 1992 concert, recorded live at San Francisco's Cow Palace, which has never before been released in its entirety. With politically charged songs like "Foreclosure of a Dream" and "Symphony of Destruction," the album couldn't be reissued at a better time.
      By the time of Countdown to Extinction, Mustaine was already politically outspoken, a fact he says threw a lot of folks in the mainstream for a loop. "The title track of the album was about animal rights and the dichotomy of a metal band writing a song about that was unheard back then. Most people in the mainstream media we were sacrificing animals, but here we were sticking up for their rights."
      Mustaine also did his part to get Megadeth's audience to vote in the 1992 presidential election. "I got to be part of the Rock the Vote movement and I helped get a bill passed into law. I've had my hands in politics -- I've been to the White House, met a president. I got to cover the Democratic National Convention for MTV, which was an honor and a privilege to be the unofficial spokesperson for the disenfranchised youth of America at the time.
      "I was there asking people questions no one else was asking. Not to mention that most people think that heavy metal fans and musicians are stupid. I would go in there and they would start looking at me like, 'What is he saying? Why doesn't he sound like Spicoli?' I shocked them," the singer laughs, referring to the lovable yet burnt-out that was played by Sean Penn in the 1982 teen classic, Fast Times at Ridgemont High.
      Mustaine says he's sick of what he sees as an ultra-liberal media double standard. "The public doesn't have the time to learn all of what is happening out there. Everyone is busy trying to survive. Who would have ever thought that someone as powerful as Ted Turner would go on the Piers Morgan show the other night and actually say that's it's good that there are American troops committing suicide. Are you kidding me? I was stunned. But it didn't make the media like other things do because Turner is a liberal and he's part of the liberal media and they've squelched it so no one sees it.
      "Whether you're a Republican, Democrat, liberal, or even a Communist, you should be outraged about what Turner said. He probably realized he messed up in the interview and said to the folks at CNN, 'Don't cover this or I'll fire you.' He can do that. CNN fired Amber Lyon because she wanted neutral, and unbiased reporting."
      Before finishing the interview, Mustaine leaves us with this: "I remember reading about something when Walter Cronkite was still alive. It was about this news team working in a newsroom. They had just decided that they were no longer going to use a news producer and got a television producer instead. So the television producer says to the room, 'So what do you have for me today? Let's run down the stories.' The reporters then tell him all of their news items, but then he says, 'I know, but what's the story?' He wanted something juicier.
      When news is turned into some kind of reality-based TV thing, instead of just the facts, we're in trouble."
      The 20th Anniversary Edition of Countdown to Extinction will hit stores on Nov. 6 via Capitol/EMI. Megadeth will be heading out on a U.S. tour where they'll be performing the entire album in its entirety. Check out all of the dates below and make sure you pre-order your copy of Countdown to Extinction today!
      Tour dates:
      09 Providence, RI Lupo's at the Strand
      10 Huntington, NY Paramount Theatre
      11 Worcester, MA The Palladium
      13 Wallingford, CT Oakdale Theatre
      14 Sayreville, NJ Starland Ballroom
      16 Atlantic City, NJ House Of Blues
      17 Niagara Falls, NY Rapids Theatre
      19 Stroudsburg, PA Sherman Theater
      20 Columbus, OH LC Pavilion
      24 Myrtle Beach, SC House Of Blues
      25 Charlotte, NC Fillmore
      26 Atlanta, GA The Tabernacle
      28 Kansas City, MO Midland Theatre
      01 Salt Lake City, UT Great Saltair
      02 Boise, ID Knitting Factory
      4 Reno, NV Grand Sierra Theatre
      6 Las Vegas, NV House Of Blues
      7 Pomona, CA Fox Theatre
      Rainstorm Entertainment has announced that it will produce the biographical documentary "It's So Easy And Other Lies", which will be directed and produced by Christopher Duddy ("Cougar Club"). The film will be produced by Steven G. Kaplan ("The Big Empty", "F*CK" and "Sunset Strip") for Rainstorm Entertainment, and by former GUNS N' ROSES bassist Duff McKagan, whose life story the film is based on. The start date is scheduled for later this year. Executive producers include Daniel Zirilli ("Locked Down"), Joe Mundo ("Sunset Strip"), Christopher Shelburne and Kati Thomson ("Sunset Strip").
      The film, which takes its name from the title of Duff McKagan's best-selling autobiography, will document the remarkable life of one of the founding members of both GUNS N' ROSES and VELVET REVOLVER. It is the story of his rise to the pinnacle of fame and fortune, his struggles with alcoholism and drug addiction, his personal crash and burn, and his phoenix-like transformation via a unique path to sobriety and eventual redemption. The book was a best seller in 2011, with the film being targeted at not only that fan base, but to fans of Duff's bands, including GUNS N' ROSES, VELVET REVOLVER and LOADED. Combined, these bands have sold over 100 million albums worldwide.
      Said Steven G. Kaplan: "We are thrilled to partner with Duff McKagan on this impactful documentary which transcends the rise, fall and redemption of a rock star and delves into real life issues of addiction and sobriety."
      In a 2011 interview with Rolling Stone magazine, McKagan stated about the "It's So Easy" book, "It's not really my story, it's really not even my autobiography or memoir. I think that term is overused. It is a story of some shit that happened to me, but probably not the typical [things] what people might expect. It's not my story of GUNS N' ROSES or VELVET REVOLVER. All of those things are sort of in it, because they're things I bounced through as I was getting deeper and deeper into addiction and finding my way out. It was challenging going through some of these things that I hadn't thought about for a long time. And writing forces you to take your own part of your life, of what role you actually played — as opposed to the one you make up later on."
      Duff's VELVET REVOLVER/GUNS N' ROSES bandmate Slash has published his own book, as has ex-GUNS drummer Steven Adler, who released his life story, "My Appetite For Destruction: Sex And Drugs And Guns N' Roses", in July 2010.
      Rainstorm Entertainment is a privately financed development, production, financing and sales company. It was launched in 2002 by Kaplan. Rainstorm's mission is to produce high-quality, commercially viable, financially responsible and talent-driven feature films by writers and directors who have compelling stories and unique visions.
      The last six months have put tremendous strain on singer/songwriter Geoff Tate and what was once Queensrÿche.  The band had been working on many projects over the years collectively and on solo ventures; which had never been a problem.  In the last year, the other band members were working on their separate effort while Tate worked on his; Kings and Thieves, due out November 6, 2012, and then all hell broke loose.
      Fans were left with their lower jaws swinging when the news broke that Queensrÿche had parted ways after spending nearly half their lives together making rock n’ roll history.  As some say, good, bad or indifferent; press is press so damage control through the carnage is usually the first line of defense as everyone is so polarized in such a mess.  Let us all remember that these are people’s lives and though lines have been drawn in the sand, it should have never gotten that far.  Fans, friends, family and contemporaries have all read or heard about what took place this past April in São Paulo, Brazil.  Though seven months have passed since the incident, both camps have recently been in court asking for what each believes is theirs; the name.
      “Well, we’re in a court case now.  They fired me, basically.” says Tate with a little chuckle.  “They can’t, legally, because we have a corporation together — we have three corporations together, and they can’t legally do that.  And so it’s what’s called a ‘corporate dispute’ now.  We have a court date that’s set for November of next year.  And in the meantime, we’re in litigation, basically, so anything can happen.  So what originally happened was they started a side project — which is fine.  We’ve all had the agreement we can all do side projects over the years.  And Scott’s [Rockenfield] done a number of them and so has Michael [Wilton], and I’ve done a solo project, and that kind of thing.  And so I was getting ready for this new album and doing a short acoustic tour.  And they decided that they were going to put together a side project called Rising West, which is fine.  But then they found out that they couldn’t book any shows because that name doesn’t have any value.  And so they fired me and went after the name, Queensrÿche.”
      “And of course, they can’t do that legally,” explains Tate.  “So I had to file what’s called an injunction to try to get them to stop using the name.  I spent a fortune taking them to court and filing this case.  And at the end of the day the judge decided that, ‘Hey guess what?  Both parties can use the name Queensrÿche for the rest of the year.  And so we have our court date.  And so my whole plan kinda backfired, in a sense, because I was just saying, ‘Hey let’s not use the name, either of us, until we decide what we’re going to do.’  But they wanted to keep doing it.  And so as of right now the judge gave us permission for both parties to use the name Queensrÿche.  So in the spring I’m launching a new Queensrÿche and now we’re booking dates for it.  And both ‘Queensrÿches’ will be touring.  Somebody is going to win the name next November, in 2013, and whoever wins the name has to pay the other party off the value of what the name is worth at that point.  So either I’ll be getting a large sum of money or they will.”  Tate lets out a heavy sigh and continues.  “It’s a terrible, awful situation and it’s not what I chose to do.  It’s definitely not the way that I envisioned my band and my life’s work ending on that note.  I envisioned us all being elderly gentlemen sitting around the park playing checkers going, ‘Hey, you remember back in the day when we did this?’”
      Once the decision came down from the judge, Tate gave a lot of thought to his new line-up.  “When the judge said that we could both use the name Queensrÿche I thought long and hard about how to go about doing that,” Tate said as he settled into the conversation.  “And so I’m kind of a list maker.  I got out a piece of paper and a pencil and I just kind of started making lists of what I wanted to try to accomplish with it.  First and foremost I wanted to have really great players.  I wanted to be able to stand on that stage with people that would really throw everything they had into the music, because that’s what I do.  And so I wanted to find people that were amazing players.  Secondly, I wanted to find people that I had a relationship with already or I was friends with or I really respected their work.  Rudy Sarzo and Bobby Blotzer; I’ve known for 30-plus years.”
      “We’ve been friends all these years, and always talked about making music together, so when this thing came up, I called them and luckily they were able to move their schedules around and make it all work.” Tate continues.  “We’re both very excited about the prospect.  Glen Drover I’ve known for a while and I came at him more as a fan.  I love his guitar playing.  He’s just a really special guitar player and a very fluid player.  And I thought that he and Kelly Gray, would be a really interesting guitar team because they’re complete opposites in their style.  Glen is very fluid and Kelly, every time he picks up a guitar he picks a fight with it — it’s just this chunky, kind of forceful style, and I thought that would be an interesting juxtaposition of styles.  So that’s kind of my game plan, was to do that and I put together a great live band that people would want to see and that I’d want to play with. Glenn and Rudy and Bobby are strictly for the upcoming Queensrÿche dates and I have a different group of people who are supporting me on my solo tour.”
      Tate’s solo tour actually started in January of 2012.  He decided to start writing and put his newest LP together rather quickly as there was no long drawn out process to write and record, which can depend on the people working with you; and that’s not a bad thing it’s just the way it is.  “Well, it depends on the album, and it depends on the people around you,” says Tate, “if it was a Queensrÿche record, it would take a long time, because working with those guys was very difficult.  They weren’t real prolific writers.  So if I had to wait for a Queensrÿche record and depend on Michael, Scott and Eddie [Jackson] we’d probably put out a record every 10 years.  But with this situation it’s completely different and that’s what I think I loved about it was that it was very immediate and I can work at my pace.  I’m a workaholic.  I write every day and I work long hours every day, and that’s what I do.  So what was great about this is I could set my own pace and make it happen on my schedule so I didn’t have to compromise so much.  So that was really fun.  And it was fun being solely responsible for it all.  I like that aspect of it.  And I like the fact that I can shape it any way I want and not have to compromise so much in different areas.”
      Tate’s live show will be reminiscent of both his solo career and that of his time with Queensrÿche.  Creating a stage show that is interesting for others and Tate himself is key to his sanity at this stage of the game as he feels the challenge is not becoming bored or complacent.  “It’s my solo presentation, so I’m going to be pulling from both my solo records and Queensrÿche material as well,” enthused Tate, “and it’s going have several movements to it — the show.  So I’ll take people through different movements, different songs that have a similar vibe for a section and then change the vibe up and completely change it and go into a section that’s quite a bit different.  It’s a cool show.  I’ve been rehearsing it for a couple of weeks, and we actually start on the 17th in New Jersey.  So I’ve been rehearsing the band every day and customizing it and changing songs in and out.  And we have a huge amount of songs we’re playing.  So that way we can change the set up weekly and substitute and interchange songs.  One of the great things I love about this particular band is that we’re not playing with any kind of click track or computer support, so it’s all live playing.  It’s all real vocals, real instruments, a drummer who’s keeping time, and we’re not tied to this arrangement that you have to do with a click track, which is real restrictive to play that way.”
      “You can’t change the arrangement up and you can’t change the song structure at all.”  Tate explains with excitement in his voice.  ”You have to kind of play it exactly how you have it.  And so this way, it’s all live.  So I can throw my hand up in the middle of a section and that signals the band that we’re going to change-up and go to a different section instead of a planned section.  So we can really have and create really interesting dynamics with the tracks, and you can segue between different songs and then come back to the original.  You can do a lot of cool things that we’ve never been able to do before.  So I’m very excited about that.”
      It will be another year before all parties involved meet again to plead their cases and wait for the final judgment on the coveted name, but in the meantime, Tate is confident in the fact that change is a good thing, inevitable and his future will never be stagnant.
      Scion Audio/Visual, (a.k.a. Scion A/V), the in-house record label and lifestyle marketing divis

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