Category: Music

Interview, Music

Drummer Roxy Petrucci Discusses Madam X, Vixen And The New JSRG
Photo Credit: James Schmelzer
Roxy Petrucci  (Photo: James Schmelzer)

She’s feisty, she’s beautiful and she’s also one hell of a drummer. From her days performing with her sister Maxine in Madam x, to touring the world with Vixen while supporting Ozzy, Deep Purple and The Scorpions, there can be no denying that Roxy Petrucci is the real deal. Proving she’s one of the best drummers around (male or female); she was even asked by Billy Sheehan and Steve Vai to audition for David Lee Roth’s band shortly after his original departure from Van-Halen.

The classic Vixen disbanded in 1991 and despite doing a one-off for a VH1 show, have never officially reunited. But that didn’t stop fans from continuing to clamor for a full-on reunion.

In 2012 Roxy, along with former Vixen vocalist Janet Gardner and bassist Share Ross, approached guitarist Jan Kuehnemund about reuniting the classic Vixen lineup. When Kuehnemund passed on the opportunity, guitarist Gina Stile (who worked with Petrucci and Gardner on the 1998 Vixen album, “Tangerine”) was brought in to form JSRG (Janet, Share, Roxy, Gina).

Now, with a plethora of hits in their arsenal and having completed a successful run on the Monsters Of Rock Cruise, JSRG prepares to hit this year’s M3 Festival in Columbia, MD. In addition to more shows being in the works as well as a trip across the pond for this year’s Firefest, there have also been rumblings of new music.

I spoke with Roxy about JSRG, the MOR Cruise, Vixen, jamming with a guitar god and much, much more!

How was the Monsters of Rock Cruise?

It was the ultimate rock and roll experience. For everyone, both fans and performers. I’ve never done anything like that before and it was so much fun. It was intimate and a rock concert all combined into one. It was also one of our first gigs as JSRG. We did a walk on in New York last summer and played a few songs, but Monsters of Rock was our first full-on gig.

How did the JSRG project come together?

We had been working on a Vixen reunion for quite a while, but Jan wasn’t ready to commit. We then decided to call Gina Stile and before we could even hang up she was at the door ready to “Rev it Up”. [laughs].  Seriously, the fans were asking for it and we were ready. Now there’s no stopping us.

What’s it like working with Gina?

Gina is a firecracker. She’s great. I enjoy playing with both Jan and Gina. The difference I would say is drinking whiskey out of the bottle or on the rocks. One is more unfiltered, the other is more savoring. Both are great, it’s just what you prefer.

Tell me a little about your days with your sister in Madam X.

We truly lived on the road and were around each other 24/7.  Sometimes, we didn’t even go home for Christmas. I think the thing that actually kept us together was our love of heavy metal and being on stage. But the thing is, when you’re around people for so long, you’re bound to get on each other’s nerves. It’s more than a marriage, and we would have fights. I remember Maxine and I used to go at it and Bret [Kaiser, vocals] and Chris [Doliber, bass] used to go at it. That’s how we would get our aggression out. Sometimes, Maxine would even go at it with Chris and kick his ass. [laughs]. Maybe it was the whole love/hate thing made what we had even better!

Do you have a funny story to share from your days with Madam X?

Not too people were aware of this, but Bret and I were a couple for many years during Madam X.  I remember one night on stage he got a little too flirty with a female fan and I happened to throw out my stick and “accidentally” hit him hard in the back of the head!

How did you get into Vixen?

Janet [Gardner] was actually keeping track of me with Madam X because she had heard some rumblings about us breaking up. She came down and saw me play and after the band did break up` she contacted me. It took a few rehearsals for me to get the jest of how Vixen worked. The whole experience though was great for me.

What was the transition like going from Madam X to Vixen?

It was culture shock times 10!  In Madam X, we were always full-bore. Vixen took more finesse in my playing and I had to listen more. Initially, it was clear that Jan didn’t seem to like me very much or the way I played; as she would plead for me to not play so hard. It was then that I realized Jan needed some “Rox-therapy”, so I shot back by asking if she had a mouse in her pocket or if this was an acoustic set?  As I spent more time getting to know the girls and the dynamics of the band I became “Vixen-ized”, but there were still times I’d double-check to see if Jan’s guitar was plugged in. [laughs]

Did you know at the time it was going to be something special?

I knew there was something special when I first started rehearsing with them. I wish we would have had more of our own tunes to record for the first record, but it was beneficial for us to record “Edge of a Broken Heart” and “Cryin”. Not only are they great songs, they put Vixen on the map. As we toured, we gelled more and then came the “Rev It Up” record that was written by the band.

What’s one of the most outrageous things a fan ever did to get your attention?

One of my favorites was the time when a fan wanted to meet us so badly that he actually crashed his car into the back of our limo. We all got out and autographed his traffic ticket. [laughs]

You also auditioned to be the drummer for David Lee Roth’s band after he had left Van-Halen. How did that come about?

It was shortly after I had just joined Vixen.  I don’t remember if it was Steve [Vai] or Billy [Sheehan] who told me that they were having auditions and asked me to come in. At the time, Steve Vai’s wife Pia was the bassist in Vixen so I got to know Steve through her. Dave wasn’t there for the audition but I just remember looking to my right and seeing Steve Vai and there on my left was Billy Sheehan. It was awesome! I was scared shitless, but it didn’t matter if I got the gig or not. I was jamming with Steve and Billy! Another career highlight. I was solid and kept it going but Greg Bissonette nailed it and eventually got the gig. I was happy for him. He deserved it.

Do you remember which songs you auditioned on?

We did two songs from the ‘Eat Em And Smile Record’. I remember one of the ones I did was ‘Ladies Night In Buffalo’. The other was ‘Big Trouble’. That track has a real sexy groove and it felt great to lock it in with Billy. After that tune, I remember Steve started playing this monster riff and Billy and I kicked in and jammed! It just doesn’t get any better than that! Well, maybe if Rob Halford grabbed a mic and joined in! [laughs]. 

Tell me about your musical background.

I came from a musical family so it was never a question of “Do you want to play?” it was “What instrument do you want to play?”  At the time, Maxine was playing flute, my brother was playing sax and my other sister was playing accordion, so I played the clarinet.

Eventually there came a time where my Dad asked me if I wanted to play something else. Maxine was playing guitar and said that she was going to start a girl rock band, so my choices were either bass or drums. I picked drums and never looked back.  Although, the last tune on the Vixen “Tangerine” CD is a hidden track called “Swatting Flies in Wanker County”.  It’s a swingin’ blue grass instrumental with yours truly on the clarinet!

Did you ever find it challenging being a female drummer or being in an all-female band?

Sure, clearly I’ve encountered challenges in this highly charged testosterone driven industry.  But overcoming these tough challenges also brings sweet success few ever get to experience.  My focus will remain on the things I can control.  Therefore I like to think I’m a dominant drummer with a stage presence that allows me to hold my own in any rock band. Love me or hate me I’m rock-n-roll to the bone!

Are there any players you’d like to work with?

I’d love to jump on stage with Billy Sheehan and Paul Gilbert to rock ‘Shy Boy’. I love that song! In fact, I may try to convince the girls to throw it in our set. Now THAT would be an unexpected treat, don’t ya think? [laughs].

(l to r: Gina Stile, Janet Gardner, Roxy Petrucci, Share Ross)
(JSRG)  l to r: Gina Stile, Janet Gardner, Roxy Petrucci, Share Ross (Photo: Mark Weiss)

What was the reason behind the Vixen break up?

I guess it depends on which band members you ask, but after 20 years, does anyone really give a rat’s ass anymore? We’re BACK and better than ever! Who knows what the future holds but for right now, we’re fired up and focused on JSRG and giving fans the ultimate Vixen experience.

For more on JSRG Visit their Facebook page by Clicking Here

Roxy will be performing along with sister Maxine and Rachel May (Broadzilla) at The Detroit Pub on May 18.  It’s for the Ronnie James Dio Stand Up and Shout Against Cancer Benefit. Click Here for more information.

Guitar World Interviews, Music

Guitar World Interview: Erik Martensson Discusses ‘Rise Up’ – New W.E.T. Album

RiseUpIn 2008, Frontiers Records asked guitarist and producer Erik Martensson (Eclipse) to write six songs for an album project with Jeff Scott Soto (Talisman) on vocals. At the same time, keyboardist/guitarist Robert Säll (Work Of Art) was also asked to contribute six songs of his own to the project. After listening to each other’s material and discovering how differently it sounded, the duo decided to scrap the songs and start writing together. Soto loved the result of their efforts so much that what started out as a solo project instead morphed into the super group W.E.T. (whose initials stand for the names of each member’s other respective bands).

“Rise Up”, the new sophomore album from W.E.T. continues to build upon the cohesion of talent that won critical acclaim for Martensson, Säll and Soto. Together with guitarist Magnus Henriksson and drummer Robban Bäck, the album presents a combination of massive production quality, impressive songwriting and blistering solos by Henriksson that takes the new “classic rock” sound well into the 21st century.

I spoke with Martensson about the new “Rise Up” album and more in this interview.

This new W.E.T. project has been a long time coming.

It has. The album was actually finished at the end of May 2012, but after a summer break we decided to go back and do three more songs. “Walk Away”, “Rise Up” And “The Moment” were the ones we recorded. I remember we drank a lot of coffee, but came up with a lot of great songs. [laughs]

You can read the rest of my Guitar World Interview With Erik Martensson
by Clicking Here.

Guitar World Interviews, Interview, Music

Former Vixen Bassist Share Ross Ready To Rev It Up Again With JSRG

In a world where males seem to dominate most of the guitar spectrum, ShareRoss continues to break down walls. Whether it’s her bass prowess, songwriting skills or having held her own against the forces of a Michael Schenker or a Tracii Guns, the beautiful blonde who once ruled the 80’s as bassist for Vixen is still proving she’s more than capable of running with the big boys.

(l to r: Gina Stile, Janet Gardner, Roxy Petrucci, Share Ross)
(l to r: Gina Stile, Janet Gardner, Roxy Petrucci, Share Ross)

Vixen disbanded for a short while in the early 90’s but aside from a one-off reunion for VH1, Ross hasn’t performed with the band during its various lineup changes. Not one to rest on her laurels, she’s remained busy during her post Vixen years. Ross was bassist for the super group ‘Contraband’ (with Schenker and Guns) as well as released three albums with her band ‘Bubble’ (with husband Bam). She’s also won the coveted John Lennon Songwriting Contest in 2000 with the song ‘Sparkle Star’, written a book on punk knitting and now even finds time to mentor and empower young women to become successful in the digital age. All this, and she’s still one bad ass rocker to boot!

For fans desperate for a return to the glory days, the wait is over. After a long hiatus, (and not a minute too soon) Ross is returning with JSRG, a band that includes 3/4 of the classic Vixen lineup. JSRG (whose initials stand for each of the ladies’ first names) features Ross (bass), Janet Gardner (vocals/guitar) and Roxy Petrucci (drums). Added to the mix is guitarist Gina Stile (also a member of Vixen from ’97-’98). Together, the ladies of rock are once again ready to rev it up.  It started last month with a journey on this year’s Monsters of Rock Cruise.

I caught up with Ross and spoke to her about JSRG, Vixen and how she continues to forge her own path.

How long has this reunion been brewing?

We’ve been talking about getting back together as Vixen for a while. I know some people think there are some big shenanigans going on, but the fact is we’re all still friends with Jan (Kuehnemund – Vixen guitarist who holds the rights to the name). The timing just isn’t right. So, we’ve decided to let go of the Vixen thing for now and reached out to Gina. Out of respect for Jan, we’re not going to call it Vixen and instead calling it JSRG.

Read more of my Guitar World Interview with Share Ross Here.

Interview, Music

Boney James Delivers ‘The Beat’

The BeatThere are so many different influences in musical style these days that artists sometimes find the need to blend them together in order to make music that’s sonically appealing. But saxophonist Boney James believes there are really just two kinds of music: good and bad. His latest album, “The Beat” falls into the former category by cleverly combining the elements of R&B and Latin, and is already my choice for album of the year, in any genre.

From the moment I first heard this album, it immediately became clear that it would become the default soundtrack in my car wherever I went. It has elements of sound that make you want to move your feet, while others are best absorbed in the evening twilight, perhaps with a fine glass of wine. From the fresh version of Stevie Wonder’s “Don’t You Worry ‘Bout a Thing” that kicks off the album to the smoothness of “You Can Count On Me” and everything in between, the album is nothing short of brilliant. Repeated listenings find you choosing a different favorite song, something unheard of for an album in the day and age of instant gratification.

James pulls no punches in bringing out the heavy hitters for “The Beat”, including Rick Braun (“Batucada, The Beat”), Raheem DeVaughn (“Maker of Love”) and U.K. poet/musician The Floacist on “The Midas (This Is Why).”

James once envisioned himself in another career role, even having achieved a degree in History from UCLA. But that was before he decided that music was going to become his life. After four gold albums, three Grammy nominations and sales totaling more than 3 million records, it’s hard to argue that he’s made the right choice. With “The Beat”, he is certain to add to that total.

I had the pleasure of speaking with Boney James about the new album and more.

What was the spark that ignited “The Beat”?

I’ve always played around with the idea of one day doing a full-on Latin record. I began by thinking about how I could pull it off and decided to try working on an arrangement of one of my favorite Latin songs, Batucada (The Beat); which Sergio Mendes recorded. I’ve always loved the song and as I was working on it, I decided to try and take out the samba beat and put on more of an R&B back beat. It was so fresh sounding that it became an a-ha moment where I discovered that if I combined the Latin with my R&B groove, it would become this whole new thing. That’s what sparked the whole record.

BoneyJames1Your fresh take on Stevie Wonder’s “Don’t You Worry ‘Bout A Thing” follows a similar formula.

Stevie had done a similar thing with his version by mixing the Latin with the R&B. He’s an R&B singer, but he incorporated a lot of Latin percussion into that song.  So I figured I would do my version of his version of that, and it became this whole third thing.

Tell me about how you connected with Raheem DeVaughn for the track “Maker of Love”.

I had written the music for that song and needed a vocal. Raheem was someone who was on the top of my list of artists I was hoping to work with someday. So just as I’m having that thought, I get an email from Twitter saying that Raheem DeVaughn had started following me. Out of the blue, he  just followed me. I emailed him and asked if he’d like to do a collaboration. I wound up sending him the track and a few days later, he sends me back this whole finished thing. I thought I was just going to get a demo, but he wrote and sang it it all in one night. It was pretty awesome.

What’s your process for songwriting?

It happens in many different ways. Usually though, I’ll be sitting in my studio practicing my saxophone when I’ll get an idea. A little shred of melody or rhythm will pop into my head and I’ll go over to the keyboard and pound out a few measures of the idea. I’ll put it down and save the file and then later on, I’ll go back to it and it starts me on this incredible journey of taking a little nugget of an idea and turning it into a song. It’s a great experience and one of the best parts of what I do. Taking something that once didn’t exist and turning it into something real. I love it.

Where do you get your song titles?

What I like to do is listen to the song many times, close my eyes and try to imagine what kind of feeling I’m getting from it and then see if there’s some kind of poetic, clever way I can communicate that in a song title. ‘Mari’s Song’ is named for my wife. Her real name is Lily, but the family calls her Mari. It’s an old nickname she has.

For ‘Sunset Boulevard’ I was thinking about driving. It’s a great street in LA that goes from downtown all the way to the beach and I thought that was an apt title.

For “Acalento (Lullaby)”, I was already thinking lullaby, but since the album had a Latin element I thought to myself, “How do you say “Lullaby” in Portuguese?” I looked it up online and luckily, it was poetic sounding. [laughs]

How would you classify your style of music?

I don’t feel like I belong to any certain style of music. I just try to do my own thing and people respond to it. It’s really gratifying.

BoneyJames2Growing up, you started out playing clarinet and then switched over to sax. What prompted the change?

There were so many clarinets in the band at the time and the teacher needed a sax player. I was one of the better clarinet players and my teacher thought it would be easier for me to transition over, so he sort of leaned on me to do it. Right away I loved it. It opened up more of a Pop and R&B repertoire for me, as opposed to the classical style that the clarinet had been.

Who were some of your influences?

I grew up listening to a lot of Motown: Aretha Franklin, Marvin Gaye and Curtis Mayfield. As I picked up the horn, I started listening to more fusion like Grover Washington Jr., Weather Report and Chick Corea.

You have a history degree from UCLA. Was there a time where you considered pursuing another career?

I was very interested in history and originally thought I was going to be a lawyer. I thought it would be a good pre-law degree to have. About a year into college was when I discovered that music was my true love and decided to pursue it as a living.  But since I had already started college, I figured I’d finish it.

What’s next for you?

I’m so proud of this new record that I’m going to dedicate the next 18 months of my life to getting out there and letting people know that it exists and making some noise.

For more on Boney James check out his official website by clicking here.

Guitar World Interviews, Music

Guitar World Interview: Gunnar Nelson discusses father’s legacy, James Burton and Scrap Metal

NelsonConsider a world where Bob Dylan, Johnny Cash and The Eagles were all regular visitors to your house. A world where George Harrison was literally “Uncle George” who lived next door, and one where Mama Cass Elliott was your babysitter. Now consider guitarist Gunnar Nelson and his brother Matthew, for that was the world they grew up in.  Where most fans could only dream of meeting their musical heroes, the sons of the legendary Ricky Nelson were privy to music royalty nearly every single day of their childhood.

Ricky Nelson’s music (and particularly the guitar prowess of James Burton) has been cited as a major influence for such players as Brian May and Jimmy Page. Proving that the apple doesn’t fall from the tree, the brother’s own 1990 debut album went multi-platinum and spawned the #1 hit, “Love and Affection”.

The Nelson Brothers are currently involved in several different projects. Their recent album; “Lightning Strikes Twice” is a follow-up of sorts to the hugely successful “After the Rain”. They’re also involved in a traveling road show called “Ricky Nelson Remembered” which pays tribute to their late father and his music.

In addition, the brothers are also performing as part of “Scrap Metal”, a show which features the lead singers of popular 80’s bands doing nothing but their biggest hits. Finally, Gunnar and Matthew are working on a brand new Brothers Nelson experience that’s been five years in the making and promises to showcase the duo as a modern day Everly Brothers.

I sat down with Gunnar Nelson to get the scoop on these projects as well as what it was like growing up in a musical household and performing alongside legendary guitarist, James Burton.

What was it like growing up in such a unique musical environment?

I was born too late for my Dad’s first go around in music, but when Matthew and I were becoming musically conscious, it was vintage garden party Stone Canyon Band. I remember my Dad rehearsing in the pool house that was right down the hall. Bob Dylan would stop by the house and George Harrison lived next door; always encouraging him to write his own songs. When Matthew and I were growing up, this stuff was in our house all the time. I mean, these guys were doing what the Eagles wound up doing four years later, but in MY house. [laughs]

Read more of my Guitar World interview with Gunnar Nelson here.

Guitar World Interviews, Music

KRUSH: Bassist Billy Sheehan Discusses New NIACIN Album

NIACIN-CRUSHFrom his early days with Talas and David Lee Roth, to his time spent with Mr. Big and Steve Vai, bassist Billy Sheehan’s has worked alongside some of the giants in music. But, perhaps there’s no better outlet that allows Sheehan to flex his bass muscle than when he’s working on a NIACIN project. After a seven-year hiatus, Sheehan has once again reunited with acclaimed keyboardist John Novello (Chick Corea, Ritchie Cole) and world-renowned drummer Dennis Chambers (Santana, Parliament) to release KRUSH; a tour de force of sonic blues goodness. Combining exceptional musicianship combined with the rich vocabulary of Hammond B3, it’s a sound that also delves into the territories of jazz and rock without being limited by the boundaries of either.

I spoke with Sheehan about the new NIACIN album as well as his days performing with David Lee Roth. He also reminisces about his very first concert experience: seeing Jimi Hendrix.

How did the Krush project come together?

All of us have been busy working on other project, but our schedules finally worked together and allowed us to get together and do some writing. Our writing process is casual and allows us to dig deep into our past. John and I went to his house, sat around and told stories and played and came up with ideas that over time morphed and evolved into songs. Next, we’ll make a demo with simple drums (just to keep time) and then send it off to Dennis and ask him to wave his magic wand on them. Dennis is the greatest musician I know, on any instrument.

How would you describe NIACIN?

We refer to it as “Bluesion”; like fusion only blues based. Whereas normal fusion is either a combination of jazz and rock or funk, this is more blues based fusion with elements of jazz. The B3 is what takes it down that blues road automatically, just because it’s such an essential instrument. I remember there was a time when I was younger where having a B3 in the band was even more important than having a guitar player.

You can read the rest of my Guitar World interview with Billy Sheehan by clicking here.

Guitar World Interviews, Interview, Music

Guitar World Interview: Joe Bonamassa Discusses The Guitar Center Blues Masters Challenge

bluesmastersGuitar Center’s Blues Masters, through a partnership with Joe Bonamassa, is offering ten musicians the chance to perform in Los Angeles backed by Bonamassa’s band as well as provide one undiscovered blues guitarist with a career-altering opportunity for development and exposure under the tutelage of one of the biggest names in blues rock.

Now through the end of April, guitarists can submit videos of their best lead guitar performance to one of ten official Joe Bonamassa backing tracks. The videos will then be judged through a series of selection processes by both industry professionals and eventually, Bonamassa himself.

The grand prize winner will receive an opening slot at Bonamassa’s headlining show in Los Angeles this fall as well as a cash prize and gear from Gibson, Ernie Ball, Marshall Amplification and Dunlop. In addition, the winner will also receive an in studio mentor session with Bonamassa and producer Kevin Shirley, who has worked with the likes of Journey, Led Zeppelin, Iron Maiden and more.

I spoke with Bonamassa about Blues Masters as well as some of his latest projects.

GUITAR WORLD: Tell me a little about your involvement with Guitar Center and Blues Masters.

I’ve been involved in Guitar Center’s King of The Blues Competition for the past several years and it’s been a lot of fun. Everyone is playing so well that it makes me wish I was 18 again. These guys are so unbridled and enthusiastic. The Blues Masters is a chance for aspiring blues guitarists from across the U.S. to submit their best lead guitar performance to one of my tracks. There‘s a submission and selection process and I’ll be getting involved more towards the end of the year when they finalize the selection, and then we’ll pick a winner.

Check out the rest of my Guitar World interview with Joe Bonamassa Here.

For  official rules and other information concerning Guitar Center’s Blues Masters, please visit: http://www.guitarcenter.com/bluesmasters.

Childhood Memories, Dear Diary, Life, Music

Dear Diary: March 30th, 1988

meI really am grateful that I took the time to semi-regularly write a journal during my high school days. It gives me the opportunity now to look back and see where I was and just how far I’ve come. Back then, the future was bright and there were no limitations. Oh sure, there are definitely some things I lament doing and not doing, but all things considered, I wouldn’t change a thing. The good, the bad, the mistakes I’ve made – they’ve all made me into the person I am today.

This was my situation 25 year ago this very day: I had just graduated from high school nine months ago and was already a college drop out, living at home and without a job. Most of my time was spent either practicing my guitar, driving a beat up 1974 Ford Torino, bumming money off of my mom and grandmother and doing anything I could do to make it to the big time.

One of the biggest regrets I had musically in high school was not being able to participate in my senior year Battle of The Bands competition. It was an annual event held in the high school gym every spring, and gave students the opportunity to showcase their musical talent in front of the greatest audience of all: their peers. Even if you didn’t win, just being in the battle was a right of passage for future rock-star musicians.

At the time, I had no band and thus couldn’t participate. But for some reason that now escapes me, (I blame it on the ten Zimas I drank on my wedding night), I was somehow able to submit an entry for the competition the following year, 1988. By this point, I had already formed my first three-piece band and had begun the process of taking over the world with our brand of face melting metal. Needless to say, I was elated to have this opportunity (albeit a year later) and wanted to really shine.

Reading this journal entry now, a quarter century later is surreal. I was (still am) a huge Ozzy/Randy Rhoads fan and at the time must have played the song ‘Crazy Train’ a million times. I was also hugely into Poison and AC/DC, so those songs also had to be included on the live demo tape we recorded for the judging panel to see if we had what it took to compete. We never did get a call back about being in the battle that year, and I never followed up on it. By that time, my band had already started playing real gigs and the battle (much like the reason we could compete in it in the first place) soon became a distant memory.

Even better than the entry I wrote about the battle of the bands was the question I posed to myself afterwards. I asked myself what it was that was making me so happy in life. My answer is pretty cool.

Here’s my journal entry from 25 years ago: March 30th, 1988:

explorer3/30: I attended a meeting of the Battle of The Bands. It will be quite a competition. I think we’ll get in. They only take eight bands and I’m confident that ‘Silent Rage’ will be one of them. We have a demo and I think it is really good. My situation has really changed since last year at this time. Back then, I was the high school student who dreamed of being in the battle and now I’m actually living the thing I should’ve done last year. Even if we’re turned down, at least we tried.

All I know is, the other seven bands they choose better be extremely good. We played and recorded Crazy Train three times on my cassette player and kept the best version; the one that’s there now. The first attempt had no bass, then too much bass and on this one, it’s an even balance. I swear, some parts of that song make me think Randy Rhoads was controlling me. Even the Poison shit sounds professional. Where it goes “I’ve gotta have you, oh yes I do!” I swear, that little lead I play is C. C. Deville. My original is quite good too and Shook Me by AC/DC is kick ass.

Why are you so happy lately?

The band is the reason. For once in my life, I’m doing something that I really want to do. I’m in my career. No one understands why I talk about it so much. They think it’s probably a phase. It’s not.

I didn’t want to play guitar to be a hobby. I wanna be the best. I want to someday look in a guitar magazine and see my picture as an artist and be recognized as a guitarist and songwriter. Sure, in the beginning everyone gets into it for other reasons; like girls, money and fast cars. I originally thought girls were the reason I got into it too. But deep down, I had this weird feeling and as each day passed, I fell more in love with music than ever before.

Before my junior year in high school was over, I was taking Music Theory. But even that wasn’t enough. In my senior year, I took Music Appreciation, Choir and Theory II. During that time I had guitar lessons and sometimes practiced for five hours a day. Now, the girls don’t matter. As long as I can live normally, I don’t care about the money or the fast cars either. I’ll drive a Torino until I’m 90. All I wanna do is play and make money that way. I want to write songs and have money to go out to dinner. After three long years it’s starting to happen.

I’m so happy about my life at this point, I can’t help but talk about it. Someday, my hope is that everyone else will understand it too.

Guitar World Interviews, Music

Guitar World Interview: Warrant Bassist Jerry Dixon Discusses Band’s Legacy and Summer Plans

From his early days playing the LA club circuit, bassist Jerry Dixon saw something in a young up and coming band that piqued his interest. A late night discussion with the band’s guitarist, Erik Turner would soon begin a partnership that planted the seed for one of the most successful hair metal bands of all time. With the arrivals of Joey Allen (guitars), Steven Sweet (drums) and the amazing singer/songwriter Jani Lane, Warrant was soon on the road to stardom.

Having been through many trials and tribulations over the years (most notably, the on again/off again relationship with the Lane, who passed away in 2011), the band has persevered by adding vocalist Robert Mason (Lynch Mob) to the mix in 2008 and released 2011’s Rockaholic, an album on which Dixon summed up his experiences best with the track, “Life’s A Song”.

Warrant

Twenty five years after those early recording sessions for what became the band’s debut album, “Dirty Rotten Filthy Stinking Rich”, Warrant continues to make music and tour to fans that simply can’t get enough of their melodic, in your face anthemic rock.

Warrant is:  Jerry Dixon (bass), Robert Mason (vocals), Joey Allen (guitars), Erik Turner (guitars) and Steven Sweet (drums).

I spoke with Dixon about the early days of Warrant as well as what the band has planned for the summer. Check out the Guitar World Interview here.

Guitar World Interviews, Music

Guitar World Interview: Stryper’s Michael Sweet Discusses New Albums, Book, Tour

Stryper

Michael Sweet may just be the busiest guy on the planet. For 2013, the Stryper front man has plans for no less than three albums, two tours and an auto-biography. The revival officially begins on March 26th when the band releases the appropriately titled “Second Coming”; a sixteen-song collection of classic Stryper re-records as well as two brand new tracks.

In an era when such “re-makes” are generally frowned upon, Stryper has managed to take their already vintage sound and moved it to a much heavier level. Fans of the band’s first three albums will be blown away with the freshness from “new” versions of songs like “Loud N’ Clear”, “Soldiers Under Command” and “Calling On You”. ‘Second Coming’ also features two brand new Stryper tracks that balance out an already amazing effort and puts the spotlight squarely on Sweet’s own phenomenal guitar prowess.

In addition to the new album, Sweet’s own solo album and auto-biography are planned for release this year. And, if that isn’t enough, Stryper will enter the studio in April to record an album of all new material that will coincide with a summer tour.

Stryper is: Michael Sweet (Guitars/Vocals),  Oz Fox (Guitars), Timothy Gaines (Bass) and Robert Sweet (Drums).

I spoke with Sweet and got the scoop on all of these projects. In addition, he also lets us in on yet another “scary” surprise that he has planned for the end of the year.

What was the genesis for Second Coming?

Initially, we intended to make this record for our publishing company. Usually, people tend to roll their eyes at the thought of doing re-records because you’re already used to the original and sometimes think, “What’s the point?” Typically, it’s hard to recapture the same “magic” that you had on the originals. But what’s cool about these songs and this record is that not only we were able to capture all of the magic from the original songs, but in some ways surpass and add some new magic to them as well. When people hear this album as whole, they’re going to be blown out of the water.

Check out the rest of my Guitar World interview with Michael Sweet by clicking here.