For Parallel Universe, the highly-anticipated eighth studio album from the Plain White T’s, the band decided to explore a deeper sonic landscape. Still present are the band’s radio-friendly melodies and singer Tom Higgenson’s signature vocals, but the songs themselves have been tastefully enriched with elements of synths and guitar tones. The result is an album of the familiarity as well as a mature sound that takes the band to an entirely new level of cool.
Parallel Universe was produced by Matt Squire (Ariana Grande, Panic! At The Disco) and includes infectious tracks like “Your Body” and “Bonnie I Want You”. The latter of which a risqué homage to lost youth and a love that might have been. Other standouts on the album include the ethereal, groove-ridden “Light Up The Room” and “Top of The World,” which has a funky eighties kind of vibe.
Plain White T’s is: Tom Higgenson [vocals], Tim Lopez [lead guitar, vocals], Dave Tirio [rhythm guitar], Mike Retondo [bass], and De’Mar Hamilton [drums].
AXS recently spoke with Tom Higgenson and Tim Lopez about Parallel Universe (which will be released on August 24) and more in this exclusive interview.
AXS: How does the new album, “Parallel Universe” compare to some of the band’s previous work?
Tim Lopez: We came up in a time when we were considered punk rockers and it was all about just recording drums, guitars and bass. We love how far music has come since we started and knew it was a place we needed to be. But we didn’t change much about the songs or the writing, just in their production and presentation. Instead of sticking to what we’ve done previously, we tried new things and carved out a new sonic bed for the songs to lay in. We decided to explore sounds and make something that was really cool and unique.
Tom Higgenson: We come from that punk rock background, and one of the things we kept saying was retro punk from the future. We wanted it to sound like old school eighties but very futuristic as well. We took inspiration from that kind of feeling.
AXS: What was it like working with Matt Squire on this album?
TL: The songwriting process for was lengthy for this album, but we didn’t know what the sonic direction was going to be until Tom and I and [collaborator] Brandon Day wrote the last batch of songs. As soon as Matt heard that last batch, he got it and exponentially pushed the album in that direction. He was awesome to work with and an absolute wealth of knowledge. It was such an awesome vibe and everyone was so positive. The results speak for themselves.
Read the rest of my Interview with Plain White T’s by Clicking Here!
Emily Kinney’s introspective new album, Oh, Jonathan is a bit of a departure from the singer-songwriter’s previous work. It’s a collection of cinematically inspired songs about love, relationships and metaphor.
Produced by friend and collaborator, Ben Greenspan, Kinney’s album is a poetic and visceral stamp of the artist’s thought process and life. Songs like the infectious “Boy Band Hero” draw from the idea of high school daydream, while deeper tracks like “Jonathan,” “Mortal” and “Soda Glass” are as much autobiographical as they are hook-laden. The use of synth elements is also widely prevalent on Oh, Jonathan. Giving the album a mature, cohesive quality.
Widely known for her stint as Beth Greene on AMC’s “The Walking Dead” (where her music and singing were often featured), Kinney has successfully balanced the role of both musician and actor. And with Oh Jonathan, she’s also succeeded in creating an atmospheric and relatable album. Whether it’s that special place in your heart for unrequited love or the feeling of never being exactly sure of what it is you want. Kinney’s music fills that space. Your imagination will fill in the gaps.
AXS recently spoke with Kinney about Oh, Jonathan and more in this exclusive new interview.
AXS: How would you describe Oh, Jonathan in terms of its sound and how it relates to some of your previous work?
Emily Kinney: When I was approaching this project, I wanted to see a little more of an atmospheric and sonic landscape. I wanted it to have a little more air and space. It led me to using more synths and less guitars. I also started experimenting with different producers and eventually found Ben Greenspan. He influenced a lot of the different instrumentation on this album.
AXS: Has your approach to songwriting changed much over the years?
EK: I still write the same way. It usually starts with something I want to say and then figuring out a way to say it in a phrase or little poem. All of these songs relate and chronicle the on and off relationships I’ve had. The other thing I usually do is just play around on the guitar. “Popsicles” is a song where I came up with a simple guitar riff and wrote the poem over that riff. “Mermaid” is that way too. I found a riff and laid the words out over it.
AXS: What inspired the song, “Boy Band Hero”?
EK: I was in a relationship that had ended and came up with the idea of feeling like a lot of it was all made up in my head. I thought about another song on the album, “Jonathan,” where I’m drawing him, tracing his face and making him into someone he might not be. Now that I was so far removed from this relationship, it felt like it was all just a daydream and I had imagined in all. That line, “just a daydream” kept going on in my head. I thought back to high school and when my imagination would just run away with itself. The whole idea of being in class and imagining things is how it all began.
AXS: What can you tell me about the song, “Mortal”?
EK: “Mortal” is one of my favorites. That song reflects on a time when everything was so magical. It was inspired by an evening when there was an eclipse and the moon turned pink and red. I remember we went up on the roof on a building downtown. We had pizza and just sat and watched. All of these songs describe real moments.
Read the rest of my Interview with Emily Kinney by Clicking Here!
Deen Castronovo and Johnny Gioeli first joined forces on Hardline’s 1992 debut album, Double Eclipse. Since then, Gioeli has continued to lead Hardline while Castronovo (who had previously been in the super-group, Bad English), went on to perform with such artists as Ozzy and Revolution Saints as well as completing a seventeen-year stint with classic rock legend, Journey. He’s currently the drummer for another hard rock supergroup – The Dead Daisies.
Twenty-five years later, Deen and John have finally reunited for an impressive Gioeli-Castronovo debut album. The aptly titled, Set The World On Fire.
The strength of the new album stems not only from the melodic, hook-laden songwriting but also from Gioeli’s raw vocal talent and Castronovo’s double-shot combination of driving rhythm and his own high octane vocals. Whether it’s autobiographical songs like “Through” and “Who I Am” or surprises, like the duo’s cover of Lady Antebellum’s “Need You Now”, Set The World On Fire is a nod to the past and a look to the future for two of music’s finest artists.
AXS recently spoke with Deen Catronovo about Set The World On Fire; The Dead Daisies; his career and more in this exclusive new interview.
AXS: How did this project with Johnny, Set The World On Fire, come about?
Deen Castronovo: It actually started with Serafino Perugino, the president of Frontiers Records. He called me up one day and said, “You know, Dean. If you could collaborate with any singer, who would it be?” I told him it would have to be Johnny [Gioeli], hands down. I’ve always loved Johnny’s voice and he’s one of the most talented singer/songwriters and frontmen I’ve ever had the opportunity to work with. Johnny and I hadn’t worked together in nineteen years, and he and I together is pure pandemonium. When we first got together it was a blast telling stories about our time together in Hardline and when we were opening for Van Halen. It was like we’d never left. Johnny’s voice hasn’t changed a bit. It sounds just as good, if not better than when we were both in Hardline.
AXS: The album has a cool, melodic rock vibe. Can you speak a little to the songwriting?
DC: Alessandro Del Vecchio does much of the songwriting. He loves melodic rock. It’s his forte and he knows just what to write. He and I have this telepathic connection. He knows what I want and I know what he’s looking for.
AXS: Is there a song on the album that has special meaning to you?
DC: The first song I really loved was “Who I Am”. It describes a little about where I was in my life three years ago. Through it all, Johnny never left my side. As a friend, he’s had my back and stuck with me. So, that song is really special.
AXS: The song, “Through” also seems very autobiographical.
DC: That one was a Johnny and Allesandro song. It’s another one that talks about Johnny and I and the things we’ve gone through. If you watch the video, there are pictures of us when we were in Hardline.
You can read the rest of my Interview with Deen Castronovo by Clicking Here!
He’s known as the go-to authority for his hard rock and heavy metal expertise, but now radio and television personality Eddie Trunk is hitting the road. Taking viewers on a behind the scenes journey to experience the sights, sounds, stunts and culinary cuisine at some of the country’s legendary music festivals with his brand new AXS-TV series, “Trunk Fest”.
As one of the genres leading proponents as well as an encyclopedia of rock music [Trunk’s famous “Stump The Trunk” segment was a fan favorite on “That Metal Show”], “Trunk Fest” takes Eddie out of his comfort zone and has him doing things he never would do. Whether it’s getting schooled in the ways of motorcycle stunts with daredevil Doug Danger at Sturgis Motorcycle Rally at Buffalo Chip or making jambalaya at the New Orleans Voodoo Fest + Art Experience, “Trunk Fest” is more than just music. It’s an overall experience.
In addition to interviewing such diverse artists as George Thorogood, Taylor Hawkins [Foo Fighters] and Tom Morello and Chuck D [Prophets of Rage], the series also gives viewers an inside look into what really makes the festivals tick.
Future episodes of “Trunk Fest” include excursions to Kentucky’s Larger Than Life Festival; a jaunt to the California coast for the eclectic KAABOO festival, and a trip to scenic New York for Mountain Jam.
I recently spoke with Eddie Trunk about “Trunk Fest” and more in this exclusive new interview.
How did this new series, “Trunk Fest” come about?
Eddie Trunk: I had done some things with AXS over the last few years. Most recently, I hosted a documentary film series called “Reel To Real”. They came up with the idea of covering music festivals and wanted to know if I’d be interested in hosting. The executive producer, Evan Haiman, is an old friend and the two of us got together over lunch and talked. It was a no brainer and now here we are. What’s cool for me is that the show takes me a little bit out of my wheelhouse. It’s still music related and talking to artists, but it’s also about traveling and the festival experience. It’s taken me to some really cool places and taught me some things along the way as well.
What was the filming process like?
ET: Most of the shows we’ve done have been two day shoots. Normally, I’d come in and shoot all my segments [the interviews, the stand up] over the course of a day and the crew would usually stay on an extra day to shoot B-roll footage. Then it’s all edited up. It’s a great crew and they do a great job. We were in some amazing places shooting outdoors and the show looks incredible.
What was your favorite part about doing the series?
ET: I’ve interviewed artists my entire career in radio and TV and love it, but my favorite part about this series is that it’s not just doing interviews. It’s taking me out of my comfort zone; putting me in different situations and discovering things I normally wouldn’t discover. Like being on a motorcycle; firing guns; being to cities I haven’t been to in a long time and experiencing foods I’d never tried before. For me, it’s about the exploration. We have more festivals in America now than we’ve ever had and it’s cool to get out and explore what’s happening. The experience is the buzz word for this show.
Click here for a preview of the premiere episode of “Trunk Fest”.
You mentioned learning some things while filming this series. What were some of the revelations?
ET: One of the things I was surprised about was an episode we shot in New Orleans for Jazz Fest. It has of all the music genres (pop, hip-hop, rock, classic rock) but the least amount of jazz [laughs]. That was eye-opening. There was another huge festival in San Diego I’d never heard of called KAABOO, which was also really interesting. Then there were moments with Chad Smith from Red Hot Chili Peppers, Taylor Hawkins from Foo Fighters and Tom Morello, who’s a good friend. The whole experience has been phenomenal.
Did you always know you wanted to have a career in entertainment?
ET: The number one thing for me from the time I was in high school was how can I take the music I love and share it with other people? Over the last thirty-five years, I’ve done radio and TV; worked in a record store; did freelance journalism; worked for a record company; managed artists, and have written two books. But it’s never been about trying to promote me or becoming famous. It was always about promoting the bands and helping to push them.
You’ve always had a strong opinion when it comes to The Rock & Roll Hall of Fame. Has that opinion changed with the recent induction of bands like Deep Purple, KISS and Bon Jovi?
ET: It actually has. I’ve been a vocal opponent of the Hall of Fame but have to give credit where credit is due. There’s still a lot of work to be done, but seeing Alice Cooper, Rush, Bon Jovi and Deep Purple be in there is a positive movement. About four years ago, they [The Rock Hall] made me a voter, and that’s another good sign. Even though I beat the hell of them, instead of holding it against me, they brought me in and let me have a voice.
Are there any other projects you’re currently working on?
ET: Right now, my focus is on getting word out about “Trunk Fest”. Ever since “That Metal Show” ended, I’ve been busy doing radio. I do six live shows a week on Sirius/XM; one daily on a channel called Volume that airs every day from 2-4 p.m. ET and replays at 9-11 p.m. ET. Outside of that, I’m doing a lot of hosting and appearing at festivals. I also just recently got confirmed to go on tour with Deep Purple in November and host their shows in Mexico. After all these years to know artists and have these opportunities is amazing. I’m really lucky.
What excites you the most about the new series, “Trunk Fest”?
ET: A lot of people know me for being a music junkie, but this show has me doing things I normally wouldn’t do. The show is very real and honest. I also don’t go into a situation knowing all the background. I’m learning right along with the audience as we go. The other thing is that any festival I would normally go to would be more hard rock-based, but I went to one in Mexico for Zac Brown and others that focused more on EDM and pop. Even though that music might not be my favorite stuff it’s been really educational and I’ve learned a lot. I think the audience will as well.
Trunk Fest premieres Sunday, July 1st at 9:30 p.m. ET / 6:30 p.m. PT on AXS-TV
Savannah Outen took a bit of a break to find herself both as an artist and person, but has returned stronger than ever. The beautiful songstress’ brand new single, “Sad In The Summer” is evidence of that. It’s an ethereal, haunting and self-reflecting track about letting go of the past and finding your freedom. With a new-found sound and an infectious, summery groove single, Outen proves that her brief hiatus was worth the wait.
AXS recently spoke with Savannah Outen about “Sad In The Summer” and more in this new interview.
AXS: How would you describe your style of music?
Savannah Outen: It’s a pop, soulful and rhythmic mixture. I look up to artists who are great storytellers, so I make sure that my lyrics are very conversational and nostalgic. I love singers like Christina Aguilera and Jessie J who can belt out and sing crazy melodies. I love to capture all of that in my songs.
AXS: What inspired your new single, “Sad In The Summer”?
SO: I wrote that song last year with Colin Dieden (The Mowgli’s). It’s about a casual relationship I was in with a guy that was constantly going back and forth. I feel everyone has been in a situation they know is toxic, and one that you need to get out of. It’s only a matter a time before you finally find the exit sign and are able to free yourself. “Sad In The Summer” is my anthem for that, and in writing the song I found a new sense of freedom.
AXS: What’s your songwriting process like?
SO: It changes every day, and that’s the best thing about it. I really like the visual of working from a title and for “Sad In The Summer,” I could already see the artwork and music video. It’s also a vibe thing. I wrote the song with one of my closest friends, and then an incredible producer literally took the song to another level. It all magically worked out. There was something in the room that was bigger than any of us.
AXS: Is “Sad In The Summer” part of a larger project you’re working on?
SO: Right now, we’re releasing one single at a time. An EP may be the goal at the end of the year, but I’m having fun just releasing singles. I’ve also seen the final edit of the video for “Sad In The Summer”, which will be ready to go soon. I’m so excited to share it.
Read the rest of my Interview with Savannah Outen by clicking here!
If you’ve attended a rock festival recently, chances are you’ve seen one of Ron Williams’ striking, hand-painted guitars.
Founded by Williams, Ronzworld Guitars are all painted by the artist himself, without the use of stickers, prints or wraps. Each design is original and done entirely by hand, which means that no two instruments are exactly alike.
Williams and his art made its debut at Summer NAMM 2016 and caught on like wildfire, leading Williams to partner up with leading manufacturers like ESP, PRS, Ibanez, Dean and Fender, among others.
This summer, and in partnership with The Music Experience, Ronzworld will launch the Official Festival Guitars Experience at a number of rock, alternative and country music festivals.
At each festival date, Ron and The Music Experience will raffle/auction off a limited number of official, one of-a-kind-festival guitars hand-painted by Williams. Fans can enter by making a donation to the current partnering charity for that festival date.
Guitar World recently spoke with Williams about his passion for painting guitars and more in this new interview.
How did you get into painting guitars? Was a career in art and music something you aspired to growing up?
I always played guitar as a kid and had bands when I was in high school. I really love the art and style of the Charvels and Jacksons from the Eighties. I also loved to draw and actually went to college for art. After graduation, I got a job in advertising doing storyboards. That led to a 24-year career as a creative director in New York City. I was eventually transferred to Florida about five years ago.
At the time, my family still lived in upstate New York. So, I was living in an apartment in Florida until we could move everyone down. My office was close to my apartment, and at night I had nothing to do. It was then that I decided to take up drawing again, but I discovered the art store in town couldn’t get an illustration board like the one I used to draw on. I started thinking to myself, “All right. What am I going to paint?” Lo and behold, I saw a Jackson sitting in the corner of the apartment and decided to put some art on it. It came out great and I found a guy who could do a clear coat finish for me. I remember after I got the guitar back, it was the coolest thing in the world. So, it went from being something that I did out of boredom to what I’m doing today.
What kind of mediums do you use for painting?
It’s all acrylic. I started out using a paint brush, but found that the finish you use to seal the guitar turns bumps into a white haze. I now use acrylic paint pens. They look like magic markers but flow acrylic paint. There’s no edge because the paint goes on very thin, and the finish comes out ridiculously cool.
Where do you draw inspiration for your work?
When I’m showcasing my own personality, I paint what I like. And since my favorite genre is heavy metal, skulls and tribal art are the aesthetic leaning I appreciate. But if it’s a commissioned project, I take the customer’s ideas into consideration. The body style of the guitar also helps out a bit too. There’s not a lot of “canvas space” on your typical standard Strat, and especially if you put a Floyd Rose on it. You get a little more space and can detail more on guitars like Explorers and Deans.
Read the rest of my Interview with Ron Williams by Clicking Here!
And Justice For None is the seventh full-length studio album from Five Finger Death Punch. The release marks a new chapter in the band’s history, after the band was forced to overcome internal tensions, along with a well-documented legal battle with their label, Prospect Park.
Produced by Kevin Churko (Ozzy Osbourne, Disturbed), the new album features driving rock staples like “Sham Pain,” and “Fake,” as well as a smashing cover of The Offspring’s “Gone Away”. With inspired riffs and muscular grooves, the band maintains their signature identity while pushing themselves into new musical territory.
In addition to the new album, Five Finger Death Punch will embark on a co-headlining tour with Breaking Benjamin this summer.
Guitar World recently spoke with Zoltan Bathory, the band’s guitarist, about And Justice For None and more in this new interview.
What made the band decide to name the new album And Justice For None?
We were in a lawsuit with the label, and it was a long process. The thing is, no one really wins a lawsuit. So, when we were finished, ‘And justice for none’ was a line that Ivan [Moody, the band’s frontman] dropped. We started thinking and decided to call the album that because it embodied the situation we went through. It’s also a nod to Metallica and we knew it would also piss off the online trolls [laughs]. It was perfect!
How does the new album differ from some of the band’s previous work?
Every record is different and a time capsule of where you are at the moment. This one is a little more diverse. We always write about what’s socially, politically or personally relevant. It embodies every shade of music and lyrical emotion that’s happened to the band over the last few years.
What was the writing process like?
I’m really into film scores and descriptive writing that creates a picture in your head or tells a story. What we do is always write the music first, and the music has to have a vibe or paint some kind of picture. Once we’re all satisfied, we give it to Ivan to work on lyrics. He’ll ask us what we were thinking about when we wrote it and base the lyrics off that. When you create a vibe and the vocal catches it, it’s a double whammy in songwriting and adds another layer of emotion.
Read the rest of my Interview with Zoltan Bathory by Clicking Here!
Saxophonist, Michael Lington is one of the world’s top contemporary jazz artists. He also has an incomparable knack for combining hook-laden melodies with soul-infused grooves. Lington’s tenth solo album, Silver Lining, continues this trend; particularly with the leadoff track, “City Life,” which tastefully captures the seductive charm of big-city living, and features a tasty guitar solo by Dave Stewart (Eurythmics).
Produced by Barry Eastmond, Silver Lining also features Grammy Award-winning artists Ray Parker Jr. on the track, “M-Funk” and soul legend William Bell’s inspired vocal on the Curtis Mayfield classic, “People Get Ready.” Other standouts include the funky, “Break The Ice,” and Dorian Holley lending vocals on the classic Tower of Power hit, “So Very Hard To Go.”
Silver Lining will be released on Friday, June 8, which coincides with Lington performing as the opening act for the legendary, Barry Manilow.
AXS recently spoke with Lington about Silver Lining and more in this exclusive new interview.
AXS: How would you describe Silver Lining in terms of its sound and maybe how it relates to some of your previous work?
Michael Lington: It’s an organic soul-jazz record. We recorded it all live in the studio so we could get the right feel and really vibe with each other. This is the third album I’ve done this way, and it produces a more fun and live feel. Almost as if you were at a concert.
AXS: What’s your songwriting process like?
ML: Every song has its own story. Most of the songs were written as a collaboration with my producer, Barry Eastmond, and myself. Sometimes, we get together and write and other times it starts with him sending me a little idea or groove and I put a melody on it. Then we continue writing until we feel it all makes sense. It’s a very collaborative process.
AXS: As an instrumentalist, how do you determine what title to give for a song?
ML: Song titles are hard for me and are usually the last part of the process. What I normally do is sit down, usually with a glass of wine, and listen to each song and really discover what it makes me feel like and somehow, a title appears.
AXS: Let’s discuss a few tracks from Silver Lining. What can you tell me about “City Life”?
AXS: “City Life” was one of the first songs written for Silver Lining and sets the tone for the overall feel of the album. I remember we had just finished mixing the song twice, but still felt that there was something missing. That’s when I came up with the idea of asking Dave Stewart to do his guitar magic on it. We also added a grand piano. As soon as I heard these elements, I knew I had found what I was looking for.
Read the rest of my Interview with Michael Lington by Clicking Here.
Out of The Darkness is the debut solo album from The Outfield’s vocalist/bassist, Tony Lewis, and the first since the passing of his friend and longtime collaborator, John Spinks, in 2014. The Outfield took the ’80s by storm with their 1985 debut, Play Deep, and songs like “Your Love,” “All The Love” and “Say It Isn’t So”. More than thirty years later, “Your Love” is still featured prominently in compilation albums and commercials as well as streamed nearly a million times a week.
Lewis’ new album is rich with the spirit of The Outfield, particularly on songs like the catchy first single, “Into The Light” and the colorful “Here And Now”, but that’s to be expected. The Outfield’s signature sound is ingrained in Lewis’ DNA. But there’s a new magic in Out Of The Darknessthat’s undeniable. Perhaps its because Lewis showcases other strings in his musical bow as songwriter, producer, guitarist and drummer. A process Lewis himself says felt very natural. Regardless, Out of The Darkness is not only a nod to the past, it’s also welcoming wish to the future.
Out Of The Darkness will be released on Friday, June 29.
In addition to the new album, Lewis will also be part of this summer’s Retro Futura tour, which kicks off in Atlanta, GA on July 11.
AXS recently spoke with Tony Lewis about Out Of The Darkness, The Outfield, touring and more in this exclusive new interview.
AXS: How did the Out Of The Darkness album originate?
Tony Lewis: Basically, I had a four year hiatus following the passing of John. It threw me sideways. I couldn’t even pick up a guitar for a few years. Gradually, I started recording again and put some backing tracks together. I was struggling with lyrics when my wife, Carol, offered to help. She’s a great storyteller and most of her lyrics fit well. Everything just fell into place. But I didn’t set out to make an album. I just wanted it to be a body of work. They were songs I really believed in.
AXS: Let’s discuss a few tracks from the album, beginning with the first single, “Into The Light.” What can you tell me about it?
TL: The line “out of the darkness” means my venture back into the music industry after a four year hiatus. It’s about coming out of that dark period after losing John and getting back into the industry. After being known primarily as a singer in The Outfield, I wanted to re-emerge as a solo artist and show that have more than one string to my bow. It’s taken a long time but its something I really enjoy doing.
Read the rest of my Interview with Tony Lewis by Clicking Here.
In one of the most highly-anticipated tours of the summer, Poison, along with Cheap Trick and Pop Evil will embark on a string of dates across the U.S. that’s appropriately called “Nothin’ But A Good Time 2018”.
For Poison – which consists of all-original members Bret Michaels (lead vocals/guitar), Bobby Dall (bass), Rikki Rockett (drums) and CC Deville (guitars) the new tour promises to bring the hits, high energy as well as a few surprises. The band will also be celebrating the 30th anniversary of its sophomore release, Open Up and Say… Ahh. An album that featured not only the hit “Nothin’ But A Good Time” but also the #1 song, “Every Rose Has Its Thorn”.
AXS recently spoke with Rikki Rockett about Poison’s new tour and more in this exclusive interview.
AXS: What can fans expect from Poison’s upcoming tour with Cheap Trick?
Rikki Rockett: In the past, we’ve always gone old school with pyro and no video screens. This year, we’ve updated and are doing a bunch of video stuff and it really looks great. We also have a new front of house engineer. I’ve heard some recordings and it sounds awesome. We’ve also got a few other surprises in store as well. We’re on fire and ready to go.
AXS: What do you think makes the music of Poison and Cheap Trick so timeless and special? What keeps fans coming back?
RR: When people go to a Poison show, or any other “classic rock” show, they can expect to hear several hours of hit songs that they know. For the money, people don’t want to go to a show and hear just one or two songs they’re familiar with. They want to hear twenty. And that’s what you get with Poison and Cheap Trick. They’re songs that people grew up with and songs that have sustained.
AXS: Poison is one of few bands that continues to tour with its original lineup. To what do you attribute the band’s sustained longevity?
RR: We’ve managed to keep it together by learning how to be team players. To trust the other guy to pick up the slack and for them to expect the same from you. At the end of the day, when we get on stage and play, we understand what it’s all about and why we’re there. Bret and I started our first band when we were eighteen and we’re still doing to today. I’ve literally grown up as an adult with this band.
AXS: This year marks the 30th anniversary of the band’s second album, Open Up and Say… Ahh. What do you remember most about that time?
RR: They always say that it takes your whole life to write your first album, and three months to write your second, but that wasn’t true with us. We were just starting to get a feel for how to write and had all of these ideas that we wanted to get out. We never ran out of ideas. I think that was key.
AXS: Was there any pressure of having to repeat the success of the first album and to avoid the so-called “sophomore jinx”?
RR: Absolutely. People were actually ready to put a gravestone on us right after “Talk Dirty To Me”. But we just kept putting out a song and then another one. Then we did Open Up and Say… Ahh and started headlining right after the second single. We just kept the pressure on.
You can read the rest of my Interview with Rikki Rockett by Clicking Here.
Interview with Plain White T’s by Clicking Here!
Interview with Ron Williams by 
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Out of The Darkness is the debut solo album from The Outfield’s vocalist/bassist, 
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